The Lord of the Rings: The Rings of Power

Season 1 Analysis

Season Woke Score

out of 10

Season Overview

No specific overview for this season.

Season Review

Season 1 of The Rings of Power presents a grand-scale narrative set in the Second Age of Middle-earth, focusing on the rise of Sauron, the fate of Númenor, and the forging of the first Rings. The series sparks intense debate primarily due to its non-canonical casting choices and the characterization of its main female protagonist. The narrative heavily features a diverse cast across all races—Elves, Dwarves, Harfoots, and Men—departing significantly from previous adaptations and the source material's implied demographics. The central figure, Galadriel, is portrayed as an uncompromising warrior and political antagonist, embodying the 'Girl Boss' archetype. While the show largely avoids explicit lectures on modern social issues, the pervasive and calculated use of diversity across every culture and the dominant, adversarial portrayal of female leads are the central issues for many critics. Conversely, the show adheres to Tolkien's core concepts of objective Good and Evil and maintains a traditional family structure as a positive force, keeping the scores low in those specific categories. The overall effect is a clear prioritization of contemporary representation aesthetics over fidelity to the established legendarium's world-building.

Categorical Breakdown

Identity Politics8/10

Actors of color are systematically cast as members of Elves, Dwarves, Harfoots, and Númenóreans, which are races traditionally depicted as homogeneous in the source material's implied legendarium and previous screen adaptations. This 'race-swapping' is a highly visible form of forced diversity applied to nearly every faction. While the narrative does not overtly lecture on race or vilify 'whiteness' in dialogue, the deliberate casting pattern is a central and undeniable element of identity politics in the production.

Oikophobia5/10

The plot line of Númenor focuses on its isolationism and mounting resentment against the Elves and the Undying Lands, which is presented as a corrupting influence leading to the kingdom's canonical decline. This represents a narrative deconstruction of a great human kingdom's heritage based on pride and xenophobia. However, the themes of home (the Shire-like Harfoots) and ancestors are mostly treated with traditional respect, and the fall of Númenor follows an established, non-political arc of decline.

Feminism8/10

Galadriel is the driving protagonist of the entire series, depicted as a perfect, uncompromising warrior who is often antagonistic towards male figures of authority. The narrative foregrounds her as a solo 'Girl Boss' on a quest for vengeance, largely setting aside her canonical role as a wise, married co-ruler and mother. Prominent male figures like Gil-Galad and Elrond are portrayed as passive, dismissive, or only supporting her quest, fulfilling the trope of the all-capable female lead and the emasculation of male characters.

LGBTQ+1/10

The first season's narrative contains no explicit presentation of alternative sexualities, deconstruction of the nuclear family unit, or overt gender ideology. Relationships that are explored, such as with the Dwarves, Harfoots, and the human character Bronwyn, adhere to the traditional male-female pairing and a normative structure.

Anti-Theism3/10

The core conflict of the series is a battle against the objectively evil Dark Lord Sauron, and the divine figures of the Valar/Maiar (The Stranger) are present, which reinforces a belief in transcendent moral law. While the established 'religion' of Númenor is tied to their decline, it is more a spiritual failing of pride than a critique of theism itself. The overall framework operates within the clear objective morality of Tolkien's world.