Rings of Power Season 3: Is 'Least Bad' Actually Praise?
Daniel Mac Sweeney breaks down The Critical Drinker's review of Rings of Power Season 3, exploring his harsh verdict: 'least bad.' Discover criticisms on lore, character, and narrative.
From the original video by Daniel Mac Sweeney.
The Critical Drinker, known for his unfiltered takes, recently dropped his review of Rings of Power Season 3. His headline? It is the "least bad" season of the show to date. But what exactly does that mean? Is it a genuine compliment for Amazon's Middle-earth venture, or is it a backhanded insult suggesting the series is still far from good? Daniel Mac Sweeney delves into The Critical Drinker's biggest criticisms, examining everything from the show's controversial character portrayals and lore butchering to its "irrational diversity" claims, to determine if his harsh assessment is justified.
The Critical Drinker's "Least Bad" Verdict
The Critical Drinker begins his review with a provocative statement about Amazon Studios, saying,
Say what you want about Amazon Studios, but you can't fault them for sheer bloody-minded determination.
He suggests that most other companies, unlike Amazon, would have cut their losses on Rings of Power, comparing its continued existence to Disney's decision regarding Willow. He then delivers his killer line, calling it the "least bad season of Rings of Power so far." While "least bad" is hardly a ringing endorsement, he does credit the showrunners with slowly cutting away "egregiously cringe elements," streamlining the narrative, and trying for a darker, more serious tone. They are even attempting to soften the image of Galadriel, who was previously seen as unlikable. These are all changes fans, including Daniel Mac Sweeney, have wanted to see.
However, for The Critical Drinker, this "reluctant willingness to improve" is not enough. He still labels the show "filth-infested BGE water," brimming with bad acting, pointless side characters, and a complete butchering of Tolkien's lore and timelines. Daniel Mac Sweeney’s take is mixed: any effort to improve is better than none, suggesting they are listening. Yet, he cautions that when a starting point is so low, being "least bad" is not a win. He likens it to having the "most enjoyable car crash you have ever been in," emphasizing that it is still a car crash.
Plot Critiques and Questionable Decisions
The Critical Drinker provides a rundown of Season 3's plot, uncovering numerous issues. He notes the season begins with a recap, which he believes is there because "normies have probably forgotten what they saw," implying the studio is desperate to attract new viewers. He describes Sauron's plan to forge the One Ring, involving Celebrimbor as a "human pincushion." He mocks Galadriel's decision to trust a defecting orc and venture into a prison without backup or protection, even bringing one of the three elven rings, calling it a "bold strategy cotton." He also touches upon the Civil War in Numenor and the Dwarf storyline, both of which he finds pointless.
Galadriel's Character Misunderstanding
The Critical Drinker next scrutinizes Galadriel's character, highlighting a "half-hearted attempt to soften" her by reintroducing her husband, Celeborn, who was previously written out for "agency." This push aims to make her less "abrasive" and "unlikable." However, he questions if it actually works, concluding, "not really." He argues the show cannot abandon the "Warrior-Girl-Boss trope," which ironically cheapens the character and makes her weaker. He cites an example of her getting defeated in a sword fight and fleeing, suggesting the book's Galadriel would have unleashed raw spiritual power to terrify an enemy.
He concludes with a powerful statement:
By trying to pitch Galadriel as this sword-swinging warrior queen, they actually deny her the far more important spiritual power and wisdom that she's supposed to have.
Daniel Mac Sweeney agrees, calling this a crucial criticism. He asserts that Tolkien's Galadriel was powerful through wisdom, foresight, and spiritual strength, not primarily physical combat. Reducing her to a mere sword-swinger, even a competent one, fundamentally misunderstands the source material's portrayal of female power. He argues this modern adaptation misstep equates strength solely with physical prowess, thus weakening, rather than strengthening, the character by removing her inner light.
The "Not-Nazgûl" Lore Butchering
The Critical Drinker then rants about the "not-Nosgul." He mocks the show's explanation that they are technically "Nosgul ring servants instead of ringwrights," despite them functionally and aesthetically behaving exactly like Nazgûl. He finds this baffling because the Nazgûl in Tolkien's lore represent the tragic fall of once-good men, corrupted over decades by the Rings of Power. They embody ambition and desire turned against humanity. Instead, the show presents a drastically simplified origin:
it's been turned into a goddamn bloodsport match where the winner gets a free ring that instantly turns him into a mindless slave to Sauron.
He calls this reductive and simplistic, arguing it undermines Tolkien's themes. He sums it up as the "show's speedrunning its way towards recognisable stuff from the movies, even if it makes no sense for them to be there." Daniel Mac Sweeney fully agrees, noting that sacrificing complex moral decay for instant gratification or recognizable imagery from the Peter Jackson films is a profound disservice to Tolkien's themes. He emphasizes that lore accuracy matters because it is tied to the very meaning and depth of the story, and sacrificing it sacrifices the soul of the work.
"Irrational Diversity" and Worldbuilding
Moving to a more contentious point, The Critical Drinker discusses what he calls the "classic rings of power problem of irrational diversity," claiming it persists even when it conflicts with the showrunners' own objectives. He admits he can understand the motivation for casting diverse actors in Middle-earth and Numenor, even if it makes "no sense in context," suggesting it was to hit quotas. However, he criticizes the casting in the desert nation of Rune.
He argues Rune would have been the perfect opportunity to cast every vaguely Middle Eastern extra in Hollywood. Instead, he observes:
Still the same baffling mix of black, white and Asian people just hanging out together like it's a coffee shop in central London.
He calls this "absolutely bizarre." Daniel Mac Sweeney offers a nuanced, mixed take. He acknowledges that while "irrational diversity" can be misinterpreted as a dislike for diverse casting, The Critical Drinker's specific point about Rune is worth examining. If a show establishes distinct cultures and geographical regions, some consistency in casting within those regions can enhance immersion. His argument, as Daniel Mac Sweeney interprets it, is that the show's diversity seems disconnected from its own internal logic and world design. It is a criticism of inconsistency, not of inclusion.
Glimmers of Praise Amidst the Flaws
Finally, The Critical Drinker offers some praise, albeit sparingly. He commends Charlie Vickers for his performance as Sauron, stating he is "doing his level best to carry the show." While he does not connect Sauron's romantic connection to Galadriel or the difficulty of forging the One Ring to the books, he acknowledges Vickers' acting, investing Sauron with a "quiet, understated menace." He considers Vickers' scenes some of the best in the series. He also praises the actor playing Maroc, the defecting orc, despite finding the idea of an orc working with elves "completely ridiculous."
He reiterates his overall verdict: "If I was forced to rank this season against the others, I'd say it's probably the least bad season of Rings of Power so far." He concludes that this praise is "as impactful as saying, this car crash was the most enjoyable one I've ever been in." He believes the show still "abuses the lore" and creates more problems than it solves, but admits it shows a "reluctant willingness to improve." Daniel Mac Sweeney's take is that good acting, while elevating specific scenes, rarely saves a show with foundational problems in writing, lore, and direction. If a show requires three seasons and hundreds of millions of dollars just to become "least bad," it is likely too late to turn things around.
Frequently Asked Questions About Rings of Power Season 3
What was The Critical Drinker's main takeaway from Rings of Power Season 3?
He stated it was "the least bad season" yet, but clarified this was still akin to calling a car crash "the most enjoyable one," indicating it remains deeply flawed.
How does Rings of Power Season 3 reportedly misrepresent Galadriel?
The show attempts to soften her image but maintains a "Warrior-Girl-Boss trope," which, according to the review, reduces her spiritual power and wisdom in favor of physical combat, thus weakening the character.
What is The Critical Drinker's criticism regarding the "not-Nazgûl" in the show?
He critiques the show for simplifying the Nazgûl's origin, turning a complex corruption of men into an instant "bloodsport match" that undermines Tolkien's nuanced themes of power and moral decay.
Why does "irrational diversity" draw criticism in Rings of Power Season 3?
The criticism points to a perceived inconsistency in casting, specifically in the desert nation of Rune, where a more culturally specific form of diversity might have naturally emerged, rather than a "baffling mix" that seemed disconnected from the show's internal logic.
The Verdict: Still a Car Crash?
After breaking down The Critical Drinker's review, Daniel Mac Sweeney largely agrees with his assessment. The Critical Drinker's brutally honest assessment, while often extreme, largely hits the mark on the core issues that continue to plague Rings of Power. The show's attempts to improve seem to be a case of too little, too late, and often miss the fundamental essence of what makes Tolkien's world so special. For more in-depth discussions and video breakdowns, be sure to explore other content on the Daniel Mac Sweeney channel, available at https://blokstreams.com/.
This article is based on this video by Daniel Mac Sweeney, learn more at their website. Written and published automatically.
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