- For me this was exactly what the show needed: zone in on fewer characters, crystallise some of the narrative, and provide some clear imminent stakes. I didn't expect the transformation to Mordor to happen so suddenly, though I had expected it to be a big plot point; Mount Doom's true name (Orodruin) is name dropped earlier in the season, and it featured in a shot when Arondir was in the Elvish tower in episode 1 or 2. I really liked that it looms over Theo in the background, just before Arondir hands him the fake sword. I assumed the trenches the Orcs were digging would gradually be poisoned over time, and that's how Mordor would come into being; this more dramatic and sudden shift was spectacular, and a good curveball. But I do wonder how they build on it. My assumption is that Sauron's identity and whereabouts remain a mystery, and despite the 'success' of Adar's plan, people continue to doubt Sauron's return.
- The southlands now being a flaming hellscape needs to somehow result in thing settling down if they want to effectively raise tensions again in the future. I think maintaining authentic feeling tension is something the show might struggle with, judging by the decision to have Mithril somehow be essential to the Elves' survival. And, in a future season, Numenor is going to need to come to the rescue again, in a bigger way. The show needs to make that happen authentically, without just retreading the same ground (reluctant Numenor enters the fray, saves the day at the 11th hour). It's a tough task, really. I guess the events of this episode do mean that Numenor's great military strength will now be developed and realised in an authentic manner - knowledge of the threat in Middle Earth can convince both the isolationist faction and the Elf-friend faction of the need for more soldiers and ships.
- The switcheroo tactic seemed a little lame at first, but on second viewing it works for me. Nobody - especially not the Elves - would want to touch a magical object of Sauron's. They detest such things, much in the way Orcs and creatures like Gollum detest Elven food and items etc. It's notable that, when it's handed to Theo, he immediately senses something is wrong because, having bonded with the weapon already, he feels the absence of its power.
- I loved the music, especially for the calvary ride and then Galadriel chasing Adar. Superb stuff.
- torn a little on whether the show is too directly echoing the Jackson films; the aforementioned chase was clearly meant to evoke Arwen being pursued by the Ringwraiths in Fellowship (she uses the same Elvish phrase, the chase goes through the trees etc) but Galadriel is Arwen's grandmother so the echo is appropriate; Arondir telling Theo "be free of it" evokes Theoden telling Wormtongue "be free of him" in Return of the King, and so on. Other examples happened which I forget. There was a clever use of "gimbatul", which turns up in the Ring verse as part of the line "one ring to find them" - at the start of this episode, an Orc shouts "gimbatul" as they begin the search of the tower. Maybe it's because I've watched the films obsessively, but I had a slight feeling they were leaning a little too much on iconography and language from the films.
- a highlight for me is that, yes, this episode does tension, pacing, action, stakes and twists and turns well, but it also nails character and relationships. Elendil and Isildur's relationship feels clear, and real, and complex. While the show has had to do a massive amount because of the size of the cast and the world, for me, it has succeeded more than it's failed: I bought the dynamic between Arondir, Bronwyn, and Theo. Theo especially I really liked in this episode - he made his choice to stand with his family and he stuck with it, even when his mum tasked him with rear guard duty. Good on him. On another convincing character note, Galadriel is composed and at peace before and during the mission, because she's returned to her position as a commander - she's shaken and unclear again afterwards, bereft of clear purpose. While some might speculate on Halbrand/Galadriel romance, I think the shared feeling they have is one of joy in battle, rather than romantic love. It's a concern for both of them. Halbrand seemed like a berserker in his Numenor alleyway fight; Galadriel's lack of purpose outside fighting is exactly the lack that others have identified in her (Elrond, Gil-galad), and it also points to how she can and will grow into the Galadriel we see in the Third Age (a wise, responsible ruler who understands the Elves' Long Defeat, rather than someone itching to wage war and claim revenge).
- speaking of Galadriel, I am so glad we got to see more of her composed and in control. In episodes 2 through 4, I felt she spent too much time frantic, irritated and in confrontation. I get why that happened; it's because she truly is lost without resuming her hunt for Sauron. It's notable that her composure is fully there even when she's on the ship, heading to Middle Earth. The scene with Isildur and her was great, and it did some nice work with the idea of Numenor. Isildur is happy to leave it because of what it is becoming, and Galadriel sees him as an heir to the good aspects of Numenor. Like Aragorn, Isildur is the Heir of Numenor, and an Elf-friend.
- Raving about Galadriel, again kind of, but Adar for me finally felt like a realised villain in his confrontation with Halbrand and then especially with Galadriel. Ostensibly, Adar has lost, but he remains sure of himself (for obvious reasons, after the twist). His apparent calm in those moments, and his confusion about what crime he committed against Halbrand, made him a more effective villain. What I loved most about the confrontation between Galadriel and Adar is how extreme Galadriel feels, and it becomes a little uncomfortable. It's not enough that Adar is seemingly beaten; Galadriel wants to wipe out all Orcs. They're evil, yes, but as Adar says, they are as much a part of creation as everything else (which is true, because Morgoth interrupts and corrupts the Music of the Ainur before time begins, which means that corruption and evil must and will exist, even if good and love always win in the end). A really strong scene for me, grounded in the lore, but comprehensible without it.
- the lighting! How good was the lighting after the fight? The sunlight on Arondir and Theo; Adar's angular, pale face finally properly revealed; the shadows on Galadriel as she interrogates him; the sun vanishing before the hills as the Orcs head to the village; the cavalry arriving with the dawn (classic Tolkien).
- this episode got a lot right in bringing two major plot lines together and, not only resolving them, but immediately catapulting things forward. It did it not only with kick ass action and music and production values, but with characters whose motivations and emotions felt grounded, authentic, and connected to one another and the world. I have my concerns about how the other plotlines will resolve this season - especially the Elves, Dwarves, Mithril stuff - but this was a high point for the show. It was in danger of collapsing a little under the weight of everything it was trying to do, but it's shown there's the skill and the vision to bring some substantial parts of this together.