The Rings of Power No Longer Makes Sense for Amazon’s Prime Video

In the big sea of streaming services, Amazon’s Prime Video has always felt like the odd one out. Maybe it’s because the streamer exists as just another arm of Jeff Bezos’s empire that also includes the complete transformation of how purchasing anything works, electronic devices, and grocery stores. Prime Video has always been that thing you have, that small tab under the search bar you briefly see before typing in whatever you want delivered to your door in two days.

Prime Video began as one of the most ambitious gambits in streaming. Its Pilot Season program—where the streamer offered TV pilots for viewers to vote on which ones they wanted to see as full seasons that produced early hits like Transparent, Mozart in the Jungle, and The Marvelous Mrs. Maisel—was a unique take on what streaming could become. Its 2013-2017 initiative favored original programming by up-and-coming or indie filmmakers, fitting in nicely with the grand artistic ideals of the Peak TV era that saw more TV shows made than ever before.

An early fledgling of identity also came from the influence Bezos himself had over the streamer. Most notably, it was Bezos’s personal love for the SYFY TV series The Expanse that led him to revive the show on Prime Video shortly after its cancellation. Producer Andrew Kosove even told the LA Times the series was “Jeff Bezos’ favorite TV show.” Prime Video’s early slate was filled with cutting contemporary dramas, and Bezos’s presence was never totally out of reach.

But as the streaming landscape changed and became more infected by the IP mindset that dominated the film industry, so did Prime Video’s offerings. And the almost limitless amount of capital Amazon had to fund its projects led to increasingly expensive and bold projects. Prime Video became home to shows like the high-concept fantasy series Carnival Row (with a two season price tag of $140 million), the increasingly over-budget international spy series Citadel (whose first season ended up costing $300 million), and most recently, the purchase of the rights to some of the Lord of the Rings universe from the Tolkien estate that came with a $1 billion price tag for 4 seasons of Lord of the Rings: The Rings of Power.

Behind the scenes statements pointed to Amazon’s acquisition of Tolkien’s works as an effort by Bezos to compete with Game of Thrones, the prestige “fantasy for people who don’t like fantasy” show. Game of Thrones became noteworthy for taking many fantasy elements that had been relegated to “geeky” works and adding intense violence, language, and a healthy amount of HBO nudity. It was a cultural touchstone, a great return on investment for Warner Bros., a star-maker for its mostly unknown cast, and the envy of all other media companies.

The idea of The Rings of Power being the first “billion dollar show” was the most major talking point before the series was released. It followed in Game of Thrones’ steps by featuring a cast of almost entirely unknown actors. The show was heavily marketed and hyped, but when it finally aired the reaction was… flat. The series was praised for its beautiful design and realization of Tolkien’s detailed world, but much criticism was levied against the show’s slow pacing and boring characters. The Rings of Power lacked one of the main attributes that made the original Lord of the Rings trilogy such a success: an endearing and captivating cast of characters that you’re eager to see together. The end result was that many people watched at least the first episode, but lacked the motivation to finish Season 1. 

But The Rings of Power came attached to that 4-season promise, which meant even a lukewarm reception wouldn’t stop the series from forging ahead. After Season 1, the creators also announced the controversial decision to stop filming the show in New Zealand and move to the UK for Season 2. This decision cast shockwaves through the Oceanic nation, whose economy received a massive influx of money from the production of the Lord of the Rings and The Hobbit films, both trilogies being massive job-makers in the country along with bringing a large tourism presence to New Zealand. 

The decision to move was explained by showrunner Patrick McKay as being part of Season 2’s foray into new worlds in Tolkien’s universe. But there are likely two better reasons. One is that New Zealand’s strict handling of the COVID-19 pandemic and increased precautions likely seemed like a headache for Amazon, who was already funneling intense amounts of cash into the remote nation. The second reason is likely due to the UK’s generous tax relief rules for films and TV shows, including a specific increased credit for high-end TV productions that have episodes that cost greater than 1 million pounds each.

But the Prime Video that The Rings of Power Season 2 airs on in 2024 is not the same one it premiered on in 2022. Somehow, in those two years, Amazon figured out what Prime Video should be. Aided by both existing shows that have increased in popularity and new series, Prime Video finally has a clearer identity.

Prime Video is a two prong streamer. The first main group of offerings are action-forward Dad shows. Series like Tom Clancy’s Jack Ryan, Reacher, and The Terminal List. Shows about government agents and covert dealings. Big guys fighting guys from vaguely foreign nations.

The other offering is unique takes on B or C-tier intellectual properties. The Boys brought a darker, more critical, and absolutely disgustingly violent take to the superhero genre. Mr. and Mrs. Smith took a generally liked film from 20 years ago, put two new buzzy and generally likable actors in the lead, and packed the rest of the show with slick pacing and actor cameos. Most recently, Fallout took a beloved videogame series and put post-Westworld team Jonathan Nolan and Lisa Joy at the helm to create a genuinely funny series filled with beloved character actors.

The resulting line-up is still mostly IP-driven, but the shows are done with actual audiences in mind. These series may start as IP, but they exist as their own individual works with clear visions. It isn’t IP for the sake of IP, it’s IP in service of telling a story or reaching a group of people that want to be entertained.

Watching the first 3 episodes of The Rings of Power Season 2, the show feels more reminiscent of Prime Video’s failures rather than its successes. It’s still grand and beautiful, but the story at its core is weak. Maybe it’s because its source material was meant to be read more as a history than an unfolding narrative. But as I watch the show, I continually ask myself “why does Amazon want to tell this story?” The Lord of The Rings books and movies mean so much to so many people. There’s a reason people learn to speak and write Elvish or spend years saving up to visit the hobbit holes. There is a wonder in the text and in the original films that inspires so many people, no matter their age or desire to read page-long descriptions of trees. 

When I watch Season 2 of The Rings of Power, I watch a show that has to exist. It is Bezos’ gambit, his desired competition in the TV streaming landscape. It doesn’t feel like being taken on a journey, it feels like being tied to technically adapting a text. 

Amazon wants what other streamers have. Last year’s Citadel, co-created by the Russo brothers, was designed to be spunoff by different nations to each make their own installment with their own high-caliber actors and in their own language. It’s a clear attempt to enter the international market that Netflix so successfully captures. Non-English language shows like Elite, Money Heist, and Squid Game became worldwide hits. Netflix even did the multishow international spinoff concept already with the no-frills crime procedural Criminal that had seasons set in France, Germany, Spain, and the UK.

2024 Prime Video is doing great without The Rings of Power. The critical success of Fallout and Mr. and Mrs. Smith led both to collect dozens of Emmy nominations this year. Every man over 35 tells me Reacher is great, and I absolutely believe them. Since the end of Pilot Season-greenlit shows like Transparent and Marvelous Mrs. Maisel, Prime Video is proving it’s still able to make exciting critical-darling shows, even if they have to be wrapped around pre-existing source material.

Much of this criticism is in vain because there is no stopping The Rings of Power now. Amazon must finish the $1 billion pie it bought in 2017. But I’m still holding out hope that this show can be salvaged. Maybe, instead of trying to find a palatable mix between Peter Jackson and Game of Thrones that takes the flavor out of both, the series can take some bold steps for the rest of the series. Maybe Amazon can bring in some stylish writers or try out some more intriguing original plotlines with new characters. 

There is also a high likelihood that The Rings of Power is as doomed as the mountain Frodo throws the ring into. But in a world where there are a hundred different Game of Thrones spinoffs in development, Bezos can still cheat off of his original inspiration. Maybe, down the line, Amazon can find a take on Tolkien that can unite its streaming service into a cohesive vision. If they can’t, then they might as well throw their $1 billion into the fire and destroy their obsession with this shiny powerful IP once and for all. 

Leila Jordan is a writer and former jigsaw puzzle world record holder. Her work has appeared in Paste Magazine, the LA Times, Business Insider, Gold Derby, TheWrap, FOX Digital, The Spool, and Awards Radar. To talk about all things movies, TV, and useless trivia you can find her @galaxyleila

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