MikeQ

Also, in the top 10 for Opening True Fridays: Best Opening True Fridays (i.e. Opening Friday sans Thursday Previews) Avengers: Endgame (2019) — 97.5 million Spider-Man: No Way Home (2021) — 72.0 million Avengers: Infinity War (2018) — 67.3 million Jurassic World (2015) — 63.5 million Star Wars: The Force Awakens (2015) — 62.1 million The Avengers (2012) — 62.1 million Star Wars: The Last Jedi (2017) — 59.7 million Avengers: Age of Ultron (2015) — 56.8 million Black Panther: Wakanda Forever (2022) — 56.0 million The Lion King (2019) — 54.9 million Doctor Strange in the Multiverse of Madness (2022) — 54.7 million Batman v Superman: Dawn of Justice (2016) — 53.9 million Iron Man 3 (2013) — 53.3 million Incredibles 2 (2018) — 52.8 million Furious 7 (2015) — 51.6 million Black Panther (2018) — 50.7 million Captain America: Civil War (2016) — 50.5 million Spider-Man 3 (2007) — 49.8 million Star Wars: The Rise of Skywalker (2019) — 49.6 million The Dark Knight (2008) — 48.7 million Harry Potter and the Deathly Hallows Part 2 (2011) — 47.6 million The Hunger Games (2012) — 47.5 million Beauty and the Beast (2017) — 47.5 million Peace, Mike

Great opening for Wakanda Forever - I'm impressed with it's level of retention relative to the original, given that the original was already a cultural phenomenon and the sequel had to move on without Chadwick. I'm curious to see what its legs are like in the coming weeks. Actuals may change, but as of now: Estimated Top Midnight/Preview Grosses of All-Time Rank / Title / Gross / Share of Opening Day Avengers: Endgame — 60.0 million (38.1%) Star Wars: The Force Awakens — 57.0 million (47.9%) Spider-Man: No Way Home — 50.0 million (41.0%) Star Wars: The Last Jedi — 45.0 million (43.0%) Harry Potter and the Deathly Hallows Part 2 — 43.5 million (47.7%) Star Wars: The Rise of Skywalker — 40.0 million (44.6%) Avengers: Infinity War — 39.0 million (36.7%) Doctor Strange in the Multiverse of Madness — 36.0 million (39.7%) The Dark Knight Rises — 30.6 million (40.4%) The Twilight Saga: Breaking Dawn Part 2 — 30.4 million (42.7%) The Twilight Saga: Breaking Dawn Part 1 — 30.25 million (42.2%) The Twilight Saga: Eclipse — 30.1 million (43.9%) Rogue One: A Star Wars Story — 29.0 million (40.8%) Thor: Love and Thunder — 29.0 million (41.7%) Black Panther: Wakanda Forever — 28.0 million (33.3%) Batman v Superman: Dawn of Justice — 27.7 million (34.0%) Avengers: Age of Ultron — 27.6 million (32.7%) The Twilight Saga: New Moon — 26.27 million (36.1%) The Hunger Games: Catching Fire — 25.26 million (35.6%) Black Panther — 25.2 million (33.2%) Top Opening Weekends of All-Time & Share from Previews Rank / Title / Opening Weekend Gross / Share of Opening Weekend from Previews/Midnights Avengers: Endgame — 357.1 million (16.8%) Spider-Man: No Way Home — 260.1 million (19.2%) Avengers: Infinity War — 257.7 million (15.1%) Star Wars: The Force Awakens — 248.0 million (23.0%) Star Wars: The Last Jedi — 220.0 million (20.5%) Jurassic World — 208.8 million (8.9%) Marvel’s The Avengers — 207.4 million (9.0%) Black Panther — 202.0 million (12.5%) The Lion King — 191.8 million (12.0%) Avengers: Age of Ultron — 191.3 million (14.4%) Doctor Strange in the Multiverse of Madness — 187.4 million (19.2%) Incredibles 2 — 182.7 million (10.1%) Black Panther: Wakanda Forever — 180.0 million (15.5%) Captain America: Civil War — 179.1 million (14.0%) Star Wars: The Rise of Skywalker — 177.4 million (22.6%) Beauty and the Beast — 174.8 million (9.3%) Iron Man 3 — 174.1 million (9.0%) Harry Potter and the Deathly Hallows Part 2 — 169.2 million (25.7%) Batman v Superman: Dawn of Justice — 166.0 million (16.7%) The Dark Knight Rises — 160.9 million (19.0%) Peace, Mike

I'm not too concerned with the marketing of the film and whether or not it has a "hook" - though I understand the observations. My sense has been that the overall performance of the film will, once again, hinge on whether the film is an incredible visual experience that resonates emotionally with broad audiences, in the way that the first did. It needs do so in order to be able to reach the stratospheric heights of the first. I consider the opening weekend to be less important, especially since it is a December holiday opener again (where the exact parameters of "opening weekend" for films are less meaningful, I would say). Peace, Mike

It frequently looks like they shot on location, the effects are stunning. What will be really important, however, from a box office standpoint, is that the story resonates again. Peace, Mike

I hate to say this, but I feel pretty mixed about this film. On the one hand, the "com" side of this is quite good at times - threading queer jokes nicely within the narrative. On the other hand, the "rom" side is pretty lackluster, as far as romcoms go. The first rule of romcoms is that the characters need to be likeable, and for me, Billy Eichner's character of Bobby is not. Indeed, when the central conflict occurs, I found myself feeling more for Aaron than I did Bobby - even though the film clearly centres Bobby as the one who was wronged (and even though, intellectually, I knew where Bobby was coming from). The characterization of Bobby also isn't consistent, as he remains pretty infatuated with the very things he rails against. The film also reinforces what it is trying to critique. For a film that touts its queerness, "first ever" this and that, etc, it often felt focused on appealing to straight audiences, and lacking in the queer bona fides needed to appeal to a wide range of queer audiences. There are moments in the film I liked, but overall: it's a disappointment for me. Maybe if there weren't already many great queer romantic stories being told through film and television, I wouldn't be so hard on this. Peace, Mike

Edit: Nevermind - don’t want to harp on things too much. Peace, Mike

Well stated - I agree with this, and it touches on much of what didn't work for me in the finale. This would have been a more compelling way of establishing Sauron. Peace, Mike

In complete isolation from the rest of the season and from Middle-Earth lore, this episode was the most fun I've had all season. If I wasn't a Lord of the Rings fan, and just happened to sit down and watch this episode with a friend, I'd be like, "hell yeah". The problem is, much of it feels unearned and doesn't make sense to me given what we've seen up to this point. And admittedly, some of it doesn't sit well with me given my familiarity with the source material. As a LOTR fan, there are just some aspects of the characters and the lore that I envision a certain way. I can see how someone not as connected to the source material would appreciate it more. I'll let it sit with me some more, but for now I give the season as a whole a 6/10. I was pleasantly surprised when the first two episodes felt like they had established the beginnings of a cohesive narrative. The season wasn't able to build on this consistently from episode to episode, for me - with ups and downs, and episode 6 being the real high point. All IMHO. I will continue watching into season 2, because while it is uneven, there are those moments in the show that feel Tolkien and remind me of what I love about Middle-Earth. The Harfoots and their storyline were the strength of this final episode, as they have been much of the season. Peace, Mike P.S. I've fallen in love with the score for this series. Props to Bear McCreary for winning me over - I didn't give him a chance because I hold Howard Shore and his work on the LOTR trilogy so closely.

I completely agree. Peace, Mike

Galadriel has become a lot more compelling and refined over the last couple of episodes. The focus on her this episode was the real highlight for me. But yeah, what a cringe ending with the Southlands title being changed to Mordor. We didn't need it spelled out; just give us the wide shot, and the implication is clearly there. Peace, Mike PS. I continue to be impressed by the orcs. The level of craft put into the practical effects and makeup for the orcs is just terrific and makes for more interesting orc characters.

This was easily the best episode yet. It has given me faith that this is a story and show that can find its stride. The narrative this episode really worked - it was tight, while the larger picture is also coming into focus. (If this is the beginning of Mount Doom, we all know what happens here.) The balance of action and character moments hit the sweet spot. Arondir was able to shine this episode - Bronwyn and Theo, too. All capable actors, now that they’ve been given that chance. Adar continues to prove to be a compelling character - and one that brings a compelling moral question to the show, re: orcs. Galadriel and Halbrand’s relationship continues to strengthen each character. This episode let the elves be elves, and it was so satisfying. Did anyone else think they were hearing the Ringwraith theme for a moment there? Nampat sounded eerily similar. I’m curious who directed this episode, because the action and battle sequences were impressively done - and had good ebb and flow, tension and release of tension. I have some quibbles, but I'll leave it at that for now because this was a strong episode. Peace, Mike

For me, some aspects of Episode 5 were the strongest of the season so far, with other aspects being weak. The strength of this episode lies in the richer characterizations, and the moral dilemmas that help further the characters’ relationships to each other. Galadriel is the most fleshed out we have seen her, and we’re starting to see her strengths shine through her narrow-minded drive to avenge her brother. The scene where Galadriel and Halbrand share, and find common ground, in their traumas was a highlight. I'm happy (and relieved) that Elrond doesn't break his oath and speaks with his friend. As soon as the moral quandary around Mithril was established, I was worried that the show would follow the trope of broken promise, ruined friendship, etc. I’m glad that the show establishes a dilemma that tests their friendship, and that ultimately it endures. The power of friendship is central to this episode, and it is these moments that feel so Tolkien. The most compelling relationship in the show continues to be the one between Elrond and Durin, who remain my favourite characters. On the other hand, I’m feeling mixed-to-negative about the way the show establishes the origin story for Mithril, which is set up as being necessary for the elves to remain in Middle-Earth (or else perish). I don’t mind when the show takes liberties (because this is/will be necessary to create a cohesive story) - but I’m not sure this works. Instead, the show could have established Mithril as, according to the elves, having essential healing properties for their realm, without it needing to be this convoluted. I hope… Additionally, the Numenor storyline has proven to play out in a weak way, so far, IMO. I can’t help but feel the show would be better off without all the minor characters from Numenor: Elendil’s daughter, Pharazon’s son, and Isildur’s friends, all of whom feel unnecessary. I think a more streamlined approach to the relationship between Isildur and his father (setting up Isildur’s internal dilemma, Elendil’s disappointment in Isildur, and Isildur’s redemption) would have been better. If you want to flesh out the dynamic of the King’s Men vs the Faithful, do so through showing us more of the dynamics between Miriel/Elendil versus Pharazon. The former two make a good pair after the moment of realization they have together (in the previous episode) when the petals of the tree start falling - so make this pairing more explicit. This would simultaneously strengthen all of these characters, and move the plot forward in a more focused and character-centred way that mostly implies the social dynamics going on in Numenor. Maybe establish one new character of the Numenorean army, whom Pharazon has the ear of, and is the reason why Miriel & Elendil only have a small army/few ships initially. Some other things: The opening sequence with the Harfoots and the song felt Tolkien-esque and was a really lovely way to open the episode. The greater presence of magic and the mystical throughout this episode was very welcomed. I think @Black Hawk says it well in saying that there is a strange magic to the show, that also draws me in. I came into the show thinking it would be mess, and for now am glad that isn’t the case. But it needs to end this season's setup in decent shape for a season two to be able to really soar (that’s the hope anyway). Peace, Mike

I agree with your first assessment, and "a bit too neat" is the best way to describe it. Khazad-dûm is truly a highlight, as you mention. Peace, Mike

Some thoughts before bed: For me, episode 4 is probably the strongest so far. While the world-building of the show has been fun, my biggest concern has been giving room for characters to breathe. This episode has done the best job of slowing down (somewhat); allowing for extended conversations and for relationships to develop. We'll see how things unfold from here... Peace, Mike

I don't really know how to respond to this post. I'm sensing animosity towards me, and I'm not sure why. We're talking about a TV show that I was pretty sceptical of coming in, and am still unsure if it will ultimately land somewhere satisfying. At this point, all I've done is shared how I am enjoying the show so far, with some exceptions, and why. I make one comparison to/critical note of my favourite trilogy of all-time, and it's blown up as "pick[ing] apart the PJ films". If it wasn't already obvious, I'm a huge LOTR fan. Folks have different experiences when they watch a film or TV show - particularly when it's from beloved source material. It's not my goal to belittle anyone who thinks differently than me. I genuinely apologize if I triggered you in my comments - it was not my intention. Peace, Mike

I'm sorry to hear that was your experience with the scene. For me, it was structured and shot in such a way to make it unexpected/surprising - the slice of the neck after tension built around the water being poisoned; multiple deaths and a failed escape when it seemed the opposite would occur until those final arrows. I didn't think the deaths were particularly milked in terms of the emotion - more so the surprise. For me, a legitimately egregious attempt at unearned emotion is the death of Haldir from The Two Towers. I love the LOTR trilogy, but that death scene is a real example of one that is unearned. And basically anything from The Hobbit (anyone remember "Why does it hurt SO much?") - but I try to forget that trilogy exists (sorry PJ). Peace, Mike

Alright, here's some of my hastily written extended thoughts on episode 3: A strength of the show so far is the excellent world building. Khazad-dûm (and the dwarves/Elrond-Durin relationship) were the highlight of episode 2, with Númenor being the highlight of episode 3. (Plus Queen-regent Miriel, Elendil, and Isildur (IS-IL-DUUHR! …my brain can’t help but say his name like Elrond does in the prologue to The Fellowship)). We’re also learning more about the culture of the Harfoots - who continue to help ground the show in an important way by representing the innocent folks of Middle-Earth who will be impacted by the larger forces at play. I think without them the show would feel a little too free-floating in the drama of the immortal elves and the long-living, noble race of men, the Númenorians. This episode also begins to establish the divisions in Númenor, between the King’s Men and the Faithful. For anyone familiar, this storyline is ripe for some really excellent stuff - we’ll see how the show deals with it. Elendil is a great character addition (great actor), and I strongly suspect that Miriel Númenor is stunning, and I really appreciate the intentional ways that the show has hearkened “back” to the same architecture and design as we saw in Minis Tirith (Gondor) in the LOTR trilogy (given that Gondor is later founded by the descendants of Númenor, the Dúnedain). Really the show is connecting “forward” to what we know to be Gondor from its representation in the trilogy. Through the three episodes, the show has felt progressively more character-centred as the world is established. My hope going forward is that we will be able to spend more time with the central characters. I do wish there was something to further ground Galadriel’s motivations/feelings (anger, resentment, drive to avenge her brother, etc) - e.g. some flashbacks to the relationship between Galadriel and her brother Finrod that would help situate the motivations arising from that relationship and her loss. Some other thoughts: The escape attempt of the imprisoned elves in the orc camp was just awesome. Well-choreographed, and it was almost refreshing to see so many deaths occur; what we, as the audience, felt might be a successful escape ended only in bloodshed. Love the way the show continues to situate the world (Middle Earth and its various inhabitants, Númenor, and Valinor) through maps. The moment where the Harfoots remember who have been left behind was unexpectedly dark, and poignant. The nomadic vibes of the Harfoots is interesting - and distinguishable from Hobbits as we’ve known them before this. Looking forward to episode 4. Hoping the show continues to draw me in - we’ll see if they can “stick the landing” (so to speak) in the later episodes. We need a satisfying conclusion to the first season - such that the first season sets the stage and we can indulge in this world and a deepening of characters for seasons to come. This is the potential that there is in a television show of Middle-earth. Peace, Mike

I’d love to know the answer to that question, too. Personally, I hope so. I intensely dislike HFR, and wish they weren’t trying to push this format. I certainly don’t want it to become the norm, either. Peace, Mike

Haha, me too! But - and I know you said it yourself - I most definitely do agree with you on this. It’s fun to speculate. Peace, Mike

Peace, Mike

What alarm bells / theories are we talking about here? Because I'm now thinking... Peace, Mike

Some quick thoughts on episode 3 before bed: Episode started off slow, but garnered momentum in the latter half - characters and their motivations are coming to focus The Harfoots may be the best darn part of this show - in no small part thanks to Nori and Markella Kavenagh who plays her. The score this episode, especially the Numenor theme - wow. SO GOOD. I'll expound on my thoughts when I've got some time. Peace, Mike

For what it's worth, Tolkien had references to Galadriel as one who "fought" and one with "Amazon disposition", etc. A piece of Tolkien's writing that stands out for me (from People's of Middle-Earth) : “Even after the merciless assault upon the Teleri and the rape of their ships, though she fought fiercely against Feanor in defence of her mother's kin, she did not turn back. Her pride was unwilling to return, a defeated suppliant for pardon; but now she burned with desire to follow Feanor with her anger to whatever lands he might come, and to thwart him in all ways that she could." The qualities we have seen so far in Galadriel in Rings of Power feels in keeping with this. All this said, you're absolutely allowed to still not like the depiction of Galadriel in the show, no matter what Tolkien's writings may suggest. Totally valid. Just wanted to throw this out there. Peace, Mike

Okay, some extended thoughts: The pleasant surprise I had over the first two episodes comes from how much it felt like they've set a pretty good foundation for a cohesive narrative story. Amazon has the rights to The Lord of the Rings and its Appendices - and while the Appendices are quite lengthy and packed full of information, they really do not provide enough narrative material for multiple seasons of television. One of my biggest worries about the show going in has been, at the least, tempered so far. The show runners have (maybe) done the work to craft a narrative that will work and stand on its own right. Even The Silmarillion - which Amazon does not have the rights to - is not super conducive to creating a larger narrative in television. It reads very much like the Bible does - it's not like The Lord of the Rings at all. It's why it was hard for me to get through The Sil, and why I rarely turn back to it. LOTR is a tale, with a through line, and a story and characters that I'm invested in. The Sil reads like history, and I didn't feel invested in it. So, while I completely respect folks who don't like changes from the lore, it doesn't bother me (or, at least, hasn't so far). What I most value is that this feels like a story in keeping with the spirit of Tolkien and Middle-Earth, with characters that I can invest in and that have compelling arcs/motivations/inner journeys. It does remain to be seen if this is the case, over the long term, but I'm hooked in and ready to keep watching. That said, a weak point for the show so far is that it does feel, at times, that it is missing that narrative piece or visual element that it needs (e.g. in the opening prologue), precisely because they do not have the rights. They've obviously had to carefully work around what they don't have the rights to - hopefully this becomes less of an issue moving forward. Some other thoughts: Wasn't sure about the Harfoots going in, but I'm now grateful they are included. They bring such a sense of humanity, joy, and humour to the show. While I am invested in Elrond and Galadriel, elves aren't necessarily the most relatable, given their immortality (and even if the die, they return with new bodies in Valinor). The mix of short/long hair on the elves hasn't bothered me. It did bother me going into the show, because I thought if they can't even get these things right, how are they going to get anything right? But I've never really considered long hair to be the defining feature of elves when visualizing them - instead things like their height, agility, grace, etc. The relationship dynamic between Elrond and Durin is wonderful - and garnered genuine out-loud laughs from me. (Also, Khazad-dûm is beautifully represented.) I appreciate how the show has set up the central inner conflict for Galadriel. It provides a reason for why she would choose not to return to Valinor now that she is able to (after the ban was lifted on any Noldorin elves that fought against Morgoth), and see her brother again. And it puts her in a position to have a strong character arc. Not sure how I feel about the actor playing Celebrimbor... I'll withhold judgment for now. I don't think that The Stranger is: I am very much looking forward to seeing how the season pans out. I'm hopeful that they can land it and we get many satisfying seasons to come. It's nice to be back in Middle-Earth. Peace, Mike

My initial thoughts after having just finished the first two episodes: I'm very pleasantly surprised. Very. It feels vibrant and full of life, and I'm already attached to multiple characters, which, for the most part, feel appropriately cast. And, for me at least, the hook is there. I'm on board. We'll see where it takes us. I'll share my expanded thoughts in the next few days. Peace, Mike