TheRingsOfPower's radiant beauty is illuminating both figuratively and literally. roxana_hadadi writes
were often set in inky-black night or in the eerie ice blue of the North, without much variation in color palette. The overhead threat of Dany’s “children” meant a fair amount of time staring into the sky, waiting for the leathery fluttering of wings and their accompanying burst from the clouds.’s theme song, mimicked many of these strategies, from the musty Small Council meetings to the brief snippets of dragons.
Each place is individually realized, but all of them use actual and metaphorical light to draw us into what is happening onscreen and to link brightness, radiance, and luminosity to notions of heroism, ingenuity, and worthiness.
In Valinor, warrior Galadriel narrates that “nothing is evil in the beginning … even then, there was light” and then shares how Morgoth destroyed Laurelin and Telperion, the trees that lit the elves’ homeland, to start a hundreds-of-years-long conflict. “We had no word for death, for we thought our joys would be unending.
Galadriel further reinforces the link between physical light and metaphysical faithfulness with lines that pull double duty as she hunts for Morgoth and his second, Sauron. In a snowstorm, she urges her wary regiment to keep going with “We are losing the light,” a line that also speaks to the elves’ so-far-failed quest; when they reach a dilapidated castle tainted by black magic, she observes, “This place is so evil our torches give off no warmth.
That multifaceted quality results in varying levels of light in each frame so that no subject is ever blown out by too much or obfuscated by too little. Even when Galadriel unwillingly sails toward the Undying Lands at the end of premiere episode “A Shadow of the Past” and is nearly consumed by a magnificently burning portal — described earlier as a “light more intoxicating than any sensation in all of Middle-earth” — her expression of agony and uncertainty remains distinct.
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