I can't believe I still have to see posts about how much better ROP would be if Celebrían was the lead vs. Galadriel. As someone who has Tolkien Brainrot, I understand the appeal, I really, really do. As someone who has had to interact with so many people who either do not care about Tolkien Lore but are interested in fantasy television shows or are Jackson film fans first/foremost/only, y'all. Galadriel is a known character and a decent intro to lesser known characters.
Hate to break it to y'all but Celebrían is OBSCURE. I'm pretty confident in saying that if you get outside of Tolkien Fandom online circles, you could tell people that Elrond was married to Galadriel's daughter and the response you would get would be, "oh, I didn't realize that" because it's touched so lightly in the films. Celebrían isn't even MENTIONED by name. Now that I think about it, I'm not even sure if anyone mentions that Galadriel and Arwen are related at all!
My point is the show is meant to appeal to more people than us over here with Tolkien Brainrot!!!!!! I love Celebrían, but Galadriel was an easier sell to the potential of a wider audience as a lead. For a show that needs to go through so much lore very quickly, having Galadriel as the lead because she's 1) female [the overwhelming amount of male characters vs. female characters in the Legendarium is another post], 2) relatively familiar, and 3) has a set characterization to lead toward for an arc vs. her barely-even-mentioned-in-LotR daughter is a no-brainer.
7 notes
·
View notes
11 & 25 for tolkien ❤️
🔥 choose violence ask game 🔥
Tolkien
11 - number of fandom-related words you've filtered
7, one of them being "not Tolkien" LOL. Xkit blacklist my beloved.
25 - common fandom complaint that you're sick of hearing
If I never have to hear another Legolas hair discourse again in my life, it will be too early.
2 notes
·
View notes
TOLKIEN TLDR: Ainulindalë – The Music of the Ainur
Ever wondered how Middle-earth came to be? Here, have a silly, highly simplified summary of the creation of Eä according to Ainulindalë.
The story starts with Eru Ilúvatar; an all-knowing, all-powerful, capital-G kind of God, and the Ainur; the offspring of his thought. He teaches the Ainur (who are totally not angels) the art of music, and then he makes them sing for him. For a while, everything sounds great. Perfect harmony, perfect synch, everyone knows their part.
Well. Almost everyone.
One of the Ainur, Melkor (who is totally not Lucifer), decides that his role in the story is a bit too passive for his taste. He starts interweaving his own ideas into Ilúvatar’s perfect theme, and, well, I think anyone who’s ever been in a choir knows exactly how much discord a single diva can cause. Some Ainur join him, some ignore him, and some stop singing altogether. Eventually, Ilúvatar puts his foot down, stops the cacophony, and firmly explains to his choir that no, free will is not a thing in this household.
After his speech, Ilúvatar shows the Ainur a vision. They see a world, alive and growing, and they’re told that it was created by their music—including the discord that Melkor caused. In the end, it was all a part of Ilúvatar’s grand design. Classic capital-G God move.
The history of the world plays out before them, and they see the coming of the Children of Ilúvatar: first the Elves, and then the Men. The Ainur don’t get the full story, though. The vision ends without any major spoilers of the later ages. It’s more like a trailer, really, showing off the potential of this new world.
It’s a good pitch, and the Ainur are hooked. They want to see the rest. When Ilúvatar asks if any of them would like to descend into the new world, there are several volunteers. One of them is, of course, Melkor, who considers this an excellent opportunity to finally create something of his own. He wants a domain to rule. He wants subjects and servants. He wants this world for himself, and he wants the Children of Ilúvatar to call him “Lord”. (He’s not Morgoth, “The Black Foe of the World” yet, but he’s definitely working on it.)
Okay, so, terminology time. The world that has just been created is called Eä, and within it, we have Arda, which is basically Earth but flat. In Arda we have Middle-earth, which is the continent where The Hobbit, The Lord of the Rings, and most of The Silmarillion take place. Alright? Alright. Moving on.
Many of the Ainur decide to stay with their God, but some do descend into the new world. They become the Valar; gods-without-the-capital-G, and the Maiar; supporting spirits of the Valar. It’s not until after they’ve made their descent that they find out that there’s a catch—a small detail that Ilúvatar failed to mention.
The world isn’t finished yet.
What they saw was in the vision was just a foreshowing, and now it’s their job to make it come true. They’re going to have to turn a world that’s still dark and shapeless into a place where the Children of Ilúvatar can one day thrive. A bit of a dick move, if you ask me, but most of the former Ainur are fine with this setup. Melkor, however, immediately tries to claim Arda as his own kingdom and then proceeds to make life difficult for anyone who disagrees, which would be pretty much everyone. He does convince some of the Maiar to join him though, including the Balrogs and a being that will later be known as Sauron.
And so the terraforming of Eä begins. The strife between the Valar and Melkor turns into a seemingly endless cycle of creation and destruction, but eventually, they somehow manage to create a world that’s habitable for Elves and Men. It’s not a replica Ilúvatar’s vision, but it’s good enough. The history of Middle-earth can now begin.
A/N: The Silmarillion is an extraordinary piece of literature and I highly recommend reading it. It’s not a “the gist of things” kind of book though, and I’m very much a “the gist of things” kind of gal. I like simplifying and summarizing things, so that’s what I did. No disrespect intended toward the source material.
21 notes
·
View notes
We saw a take that was “if people become fans of an adaptation, then they aren’t REAL fans of the creator’s work” and “they probably won’t like the source material”...
That’s kinda crap, lol.
1. It’s like saying if someone like a cover of a song, they’re not going to like the original song, or the artist’s other works.
2. So what if they don’t? Sometimes the original isn’t all that great. Sometimes the original works are racist, or otherwise bigoted. Sometimes the creator was an asshole. Sometimes the original just wasn’t all that good.
3. People are perfectly capable of liking the original for what it was, and liking the adaptation for what it is, as two separate and unique things.
People are allowed to like adaptations-- just as much, or even more than the originals. People are allowed to be fans of an adaptation, and not the original. It doesn’t mean they’re not real fans. Someone enjoying an adaptation doesn’t mean anything besides someone likes the adaptation. People are allowed to like both. People are allowed to not even get into the original series. Let people like things! Even if you think the adaptation is shittier!
No, we don’t need to gatekeep fandoms from adaptations. The only gatekeeping we need to do, in fandoms, is against racists, queerphobes, alt right shitfucks, and others such people.
11 notes
·
View notes