You may remember Amazon Studios as the party responsible for the incredible butchering of Tolkien’s World seen in the Rangz of the Kangz soap opera. I did a whole series on that, concluding with a quick and dirty re-writing of the entire awful affair that I believe is objectively better.
I’m entirely disinterested in defending the queers of colour responsible for that travesty, but I guess you could theoretically argue that they had to make an original work. Tolkien created the World, which lore enthusiasts claim they butchered, but they did need to come up with an original story. Sure, they completely failed, but they failed at a more difficult task than simple adaptation.
This was most definitely not the case for Amazon’s first Fantasy adaptation, the Wheel of Time. Robert Jordan, the original author, passed away in 2007 without finishing the end of his series, but Brandon Sanderson was tasked with doing exactly that. The final book, A Memory of Light, was released in 2013. A glossary to the series, The Wheel of Time Companion, was released in 2015, and answers any possible questions anyone could have.
Rest assured, this was not a Game of Thrones situation, where the talentless jew showrunners ran out of material and had to think for themselves. All Amazon had to do was adapt the books to the television. Unlike the Lord of the Rings movies, where Jackson was given the thankless task of adapting books that really deserved longer than a single movie, the Wheel of Time (WOT) adaption was in the format of a streamed show with arbitrary length. And the first season only covered the first book, not all fourteen of them.
So the first thing they decided was to make everyone mystery meat now. After that –
Oh you’re wondering why they made everyone in the small remote village weird mystery race creatures? Well there’s no logical rationale for this, but the showrunner, Rafe Judkins, is a fag.
He’s also a Mormon. I’ve only ever had good run ins with Mormons in real life, so if there’s any reading this don’t get offended, but this isn’t the first gay Mormon we’ve seen from Amazon Studios. Svelt Pelt commented on part 2 of my Rangz of the Kangz series, giving us some more information on the writers of that garbage.
IMDB gives us clear evidence that (retarded)Mormons run Hollywood!
“Patrick McKay is known for The Lord of the Rings: The Rings of Power (2022), Escape and Flash Gordon.
Is a practicing Mormon.”
“John D. Payne is known for The Lord of the Rings: The Rings of Power (2022), Escape and Flash Gordon.
Is a practicing Mormon.”
Literally identical bios and no other credits to their names.
You can verify Patrick McKay’s IMDB page for yourself, along with John D. Payne’s. I even got a screencap to verify that yes, these guys have three writing credits to their names. They are so small time that they don’t even have pictures. Despite this, they were installed as the writers for a literal billion dollar project.
The Playlist: Seriously, and no shade meant in asking this question, but I have tons of friends in the television industry who are dying to know how you got this gig. This show is your first IMDB credit. You got to showrun a series that Amazon paid $250 million for. One of the biggest intellectual properties in history. How did happen?
This reminds me of the two separate occasions where these incompetent writers had characters point out to Galadriel that everyone else in the entire Middle Earth thinks Sauron is gone. They then asked her why she thought otherwise, only to have Galadriel just make an angry face and then not give any sort of rationale for her weird hunch. It’s preposterous that these two inexperienced idiots would be put in charge of a billion dollar project, but they’re writers, so I’m sure they’ve got some –
J.D. Payne: We ask ourselves that every day.
Oh no, they don’t really know either. Maybe a glance at their faces would give us a clue.
And by the way, estimations of the cost of Rangz of the Kangz range from $750 million to topping $1 billion. So the interviewer is underselling how ridiculous this is.
[Laughs] No, it was an amazing confluence of events, where we’ve been working in the features side of the business for about 10 years and Patrick and I have been working together for 25 years at this point. And the opportunity to pitch for this story came along, and a relationship we had over at Amazon led to sort of like an open door to come in and offer our way in. And so we knew what Amazon had bought the rights to and they had bought their rights to 10,000 years of Tolkien history. And so really the field was wide open for how do you do this? What do you do? And we started combing through everything and thinking about it. And very quickly we said for it to really feel like Tolkien, it has to have this and this and this and this and this, and sort a series of very natural, organic things kind of bubbled up. And so we keyed in on this time period of the Second Age of Middle-earth, which has the history of the forging of the Rings of Power, the rise of the dark lord Sauron, and the fall of Numenor, the last alliance of elves and men. And so we came in and we brought that story to Amazon and said this is the thing you want to do. And there were other people that were in that pool who had far more impressive resumes than we did. And we were in some ways the dark horse candidate, really, but we came in with a lot of passion and a lot of excitement for Tolkien and feeling like this was the story that wanted to be told that matched the ambition of what Amazon wanted to make. And so the pool went from this many to this many to this many, and finally, it was just a couple of names. And then eventually we got the call saying guys, they want to go with you. And then also I should say, by the way, the process involved pitching to the Tolkien estate, Simon Tolkien. Because Amazon, as a book company, really wanted to honor the legacy of the Tolkien estate. So they gave them a pretty big seat at the table to approve the showrunner. And so we met with the estate as well. And so both they and Amazon sort of eventually centered around us and said, guys, we’d like you to do it. And I tell you that is the phone call of a lifetime, when that comes in, you realize that your entire life is divided to everything before that phone call and then everything after that phone call.
I found the writers being interviewed with Lindsay Weber, a producer, sandwiched in between the two. I’m not going to bother transcribing what they say, just watch how they speak and see if it doesn’t click for you.
Patrick McKay: I think they really took an incredible gamble on us. And I’m sure Amazon could speak to this, I’m sure it was scary for them, but I think they really believed in and wanted to see the same story we did. And it felt like a collaboration that wanted to happen. And we just feel enormously fortunate and humbled to have been in the place in our careers where when we looked at the books, this was the story we felt the show should be and that we thought, gosh, if we really stretch, maybe we have the ability to try to unearth it and bring it to the screen with the thousands of other incredibly talented artists we convinced to crazily go join this circus. But we’re absolutely well aware and conscious of the fact that it might from the outside look quite strange and maybe shouldn’t have worked and if audiences think it did, then we’re just enormously grateful, but truly humbled by the opportunity.
Yes it may indeed look strange from the outside, depending on how redpilled you are. To a normie, it doesn’t make sense how these two incompetent dipshits were allowed to have their hands touch a billion dollar project, let alone be the driving force behind the narrative. And yet, I find myself not in the slightest bit surprised.
When Roy Price stepped down from his role as a top Amazon Studios executive after being suspended when a producer accused him of sexual harassment, the company must have worried that he would be tough to replace. As the head of Amazon Studios, Price saw the company to heights of glory with award winners like “Manchester by the Sea” and “Transparent.” His work has been paramount in launching Amazon into competition with other new content producers Hulu and Netflix.
But on Friday it was announced that Jennifer Salke, a Jewish woman and the president of NBC Entertainment, will succeed Price as the top executive at Amazon Studios. As head of NBC Entertainment since 2011, Salke has overseen the development of many major shows, including “The Good Place,” “Master of None,” and “Brooklyn Nine-Nine.” As an executive at Fox, Salke developed “Glee” and “Modern Family,” and before that, the show “Bones.”
In addition to her track record of entertainment successes, off-screen Salke has launched an initiative called “Female Forward,” which works to provide “emerging female directors a path to break through in the television industry with the goal of facilitating gender parity within the field.”
It looks like Roy Price can be replaced after all.
I know how you feel. You were seeing all these queers and thinking “this is nice, but all these fags ruining things by themselves only gives me some of that sweet sweet bias confirmation dopamine hit. Where’s the Cohen?” Then you saw that the head of Amazon Studios is an activist jewess and all was once again right with the World. Or if not right, then wrong in that familiar way that makes you feel right at home.
The Wheel of Time showrunner Rafe Judkins recently confirmed that the show will include more LGBTQIA+ relationships as well as explore the polyamorous relationship between Aes Sedai Alanna Mosvani and her two warders Maksim and Ihvon that was introduced in the show’s first season.
If you want to see someone in the normie-friendly sphere rip this queer a new one you can watch this Disparu video, which he made in response to the JordanCon interview of Rafe Judkins that is referenced in the Bounding into Comics piece.
Amazon themselves put out a puff piece on Rafe Judkins just a bit after the show was launched. They don’t actually show him speaking until 2:15 seconds into the five minute long video. When we hear his voice, he sounds exactly as you would expect.
Let me transcribe that for you.
Rafe Jenkins: I just loooove penis.
Sorry, that was the subtext. This is what he actually said.
Rafe Jenkins: I lie awake at night wondering if I got it wrong all the time. Because I think if you’re not doing that then you’ve gotten arrogant and you’re not… doing the job and the job is to take these books, that everyone loves, and that I love, luckily, and make them into something that delivers on the heart of what’s there.
Jaime can you pull up that tweet of him talking about arbitrarily making the characters gay?
Oh he’s undoubtedly someone who loses sleep over not delivering a true experience to the fans. That’s why there’s negroes and pajeets everywhere in the small remote village, despite that making absolutely no logical sense, and breaking lots of things in the story. It’s also why he thinks it’s okay to just make characters anal fetishists apropos of nothing.
It’s also quite ironic that he bloviates about arrogance, when the second recommended video has this as its thumbnail.
The show is so bad that even (P)Redditors hate it. In addition to the anti-White casting decisions the show has an annoying feminist message, but the Reddit Creeps would love that, and if it was merely mediocre you’d see tons of videos praising it on YouTube. You see the exact opposite, and while season 2 did get greenlit, that’s likely because there were too many gears in motion and sunk costs for Amazon to pull out.
Just like the Rangz of the Kangz the show is such a basic failure on every possible level that no one can defend it outside of a tiny minority of troon redditors. Even there, in the most astroturfed echo chamber on the internet, the condemnation is near universal. One of the highest rated posts on the Wheel of Time Subreddit is from someone who made a fan edit, and had some extremely damning things to say about the original work.
Hi folks. As per my previous post(s), I’ve been doing a fan edit of Season 1 into a movie since the holidays. We are nearing completion (should be done this weekend if I can push through). Currently on the third rev of the film, and I can safely say I’ve watched each and every scene and dialog at least 10 times over, with a detailed analytical eye for what matters to the season arc and implications for later seasons. I’ve kept a close eye on what could be removed to reduce runtime, without cutting major plot elements.
One thing that really stuck with me: I’m amazed at how much I’ve been able to cut out WITHOUT impacting (and in some cases improving) the plot, characterization and worldbuilding. I wanted to share my thoughts below, coming from the perspective of storytelling efficiency and how I think the showrunners prioritized their airtime. I hope this is insightful and brings something new to the discourse.
Even the soyest of soyboys agrees that the show is just horribly written. It’s got the nonversation problem that plauged the Rangz of Power, but the worst offender appears to be the weird changes to characters and plot that makes everything make no sense, and I’m not even talking about the anti-White casting decisions. The show transparently contradicts established rules constantly, and it’s like the gay showrunners went out of their way to make this happen.
I had forgotten most of the book lore, but fans of the book are universally stumped as to why they changed so many things, and never for the better. Like, instead of, say, combining two characters to streamline the show for adaptation, they gave one character a wife, only to have him kill his own wife accidentally in the first episode. They also made another character a huge douche for no reason, then gave him a poorly written redemption arc where he suddenly acted nice to the main cast. All of this simply got him to where he was in the books, wherein he was always a friendly and sympathetic character. Then he gets killed off, despite him being crucial to the plot in the later books.
By the end of the first season, in December of 2021, the online mood had turned to dunking on this garbage, with this girl being one of the best examples. She was a huge fan of the books, and by episode 8, the series finale, she had already gone through the denial stage of grief, and was just outright laughing at the show.
And then we get a very silly scene of the Borderlanders running at full speed to get to the wall. And then we later just see a line of archers and that’s it, like that was their big plan. And I don’t understand why they didn’t use channelers to help them with this.
I know that the budget played a big role in the scene that we got and the way that we got it, but if we got it just like it was in the books the army would have been behind Rand, and we wouldn’t have needed scenes of them just running or them at the wall. It’s just – it would have been easier and saved budget by just doing it as it was in the books.
The reviewer, Bianca Popescu, actually starts laughing when talking about this next genius level change the fags made to the show.
Another scene that I don’t approve of is seeing Uno and Ingtar start digging for the Horn of Valere which was hidden under the throne.
*Pauses to laugh*
It sounds weird, I cannot believe I’m saying this, but the Horn of Valere was hidden beneath a throne. Ugh.
And the whole purpose of the horn of Valere and everything else that they find – in the books – at the bottom of the Eye of the World, those things were tools that were meant and destined for the Dragon Reborn to help him defeat The Dark One. In the books, throughout the first one, there’s been a lot of mention for the hunt for the Horn of Valere, and the hunters for the horn get to slowly understand what its purpose is. Even in the Wheel of Time World the Horn of Valere is something mythological.
The moment they find it you understand how much work the people from the Age of Legends put in to actually help the next Dragon Reborn, and I just love it in the books because it gives the World so much more scope and it builds the World so well. This is completely lost in this show because a great mythic object is hidden beneath a chair.
Imagine being a superfan of something like the Wheel of Time series. Imagine reading its 4.4 million words not just once, but many times over. Then you get to watch this fag take a hatchet to it, and it’s so bad that eight episodes in you’re almost entertaining yourself by laughing at the stupidity.
Anti-White pervertism and stunning incompetence are the two running themes here, and for Amazon Studios more broadly. Those who are on YouTube can’t point out the former, at least not overly forcefully if they want to keep their channels, but even if you just focus on the more objective qualities of writing the show is totally unforgivable purely in terms of the things they changed for no reason. And again, according to book readers these changes are just completely mystifying, even the ones that don’t necessarily have anything to do with politics. We’re dealing with incompetence of a magnitude that shouldn’t even be possible.
As a pre-teen I read almost all of Jordan’s books, but gave up after realizing that he had thoroughly lost the thread of the main plot. He also had a tendency to waste pages excessively describing tedious detail, or suddenly grinding the plot to a halt for no apparent reason. He was a great writer, but desperately in need of an editor.
To me, that sounds like the absolute perfect candidate for an adaption. A well edited version of the Wheel of Time could still draw upon his meanderings to provide a more deep and rich experience. They can show what he’s describing more impressively and far quicker. Superfluous side plots can be vastly streamlined. A lengthy TV adaption not just could have been, but should have been among the greatest Fantasy experiences of all times.
But (((Jennifer Salke))) didn’t want that, she wanted her anti-White MonkeyPox show, so we got this travesty instead. And Amazon is the winner of a winner take all market, so rest assured, failures of this magnitude won’t change anything.