Lord Of The Rings: The War Of The Rohirrim Is Beyond Woke With Hollywood Death Cult And LGBTQ Messaging Reaching New Lows
While Lord of the Rings as a property has seen the lore disrespected in recent years with Rings of Power, War of the Rohirrim becomes a complete subversive mess on analysis, with the plotline pushing evil LGBTQ lifestyles while shunning traditional marriage.
War of the Rohirrim stirred controversy among Lord of the Rings fans from when trailers hit. The introduction of Hera Hammerhand, a character who didn’t exist in the lore beyond being described as a daughter who Helm Hammerhand refused to offer in marriage to the son of a landowner, Freca, was a sign the producers didn’t care much about J.R.R. Tolkien’s established lore and were more focused on making the fantasy epic their own.
The story Tolkien tells is fairly brief, describing the history of Helm and how Rohan was flung into war after he killed Freca with one punch and banished his son Wulf. Four years passed, and Wulf amassed an army, besieging Rohan and causing Helm to retreat into his keep. He lost both of his sons during this time and was driven mad to where he stood outside of the keep and wreaked havoc on Wulf’s armies with his bare hands. He was eventually found outside, frozen solid in front of the gates.
Then, his nephew Frealaf Hildeson tracked down Wulf, who had split his armies, allowing for victory for the Rohan. Frealaf ascended to the kingship.
While War of the Rohirrim follows most of these plot points, it keeps the perspective of Hera the whole time, detaching the viewer from the main action and the interesting story Tolkien crafted. While this is at the core of why the film failed to resonate with audiences, it isn’t the subversive and evil part of the story.
In War of the Rohirrim, the cause of Wulf’s conflict is an obsession with marrying Hera. The Hollywood writers show the masculine as wanting to hold the woman down and force her into subservience in an attempt to portray the institution of marriage as something bad rather than the truth of a sacrament from God.
At the start of the movie, rather than presenting an appropriate request and denial of marriage from Helm, it goes to Hera, who proclaims she does not want to be married to Wulf. This does not make sense in a medieval setting, for one, but it gets worse from there as she proclaims she wants to marry “no man,” which can be taken two ways: one, that marriage is bad and her feminism requires her to be unwed so she can act as a male warrior, or two, that she is a lesbian, presenting a disordered LGBTQ lifestyle as something heroic.
The marriage obsession drives Wulf, while the men make stupid decisions throughout the film, an attack on masculinity and the institution of marriage very intentionally. It’s implied heavily throughout that women are required to be the leaders, and without them in such positions, the entire Rohan society falls apart.
Hera is kidnapped by Wulf and rescued by a strong female shield maiden-to-. The maiden goes toe to toe in combat with Wulf and his forces and rescues Hera singlehandedly. No men are required.
Later, when Helm dies, his one regret (even though both of his sons died horribly in this conflict) is that he didn’t listen to Hera. He affirms, despite her having done no deeds to deserve it, that she should be the one to lead her people, calling her both “cunning” and “strong” to unsubtly reiterate the point of the strong female lead.
However, the institution of marriage is struck again as the film progresses. During the final siege of the keep, rewritten as Wulf not being present but in battle with Frealaf in the original Lord of the Rings lore, Hera puts on a wedding dress to confront Wulf.
While it’s yet another cringy moment in which she goes toe-to-toe with a warrior man, fighting and having no problem being stronger than him in combat, the most subversive element is again an attack on the sacrament of marriage.
Wulf mocks Hera asking why he would marry her now. She once again reiterates that she will marry no man. This is where it gets creepy as Hera says she is wed “to death.”
While it could be construed at first that Hera is willing to sacrifice herself for her people, she doesn’t. She simply kills Wulf with the help of the shield maiden woman, showing again that women can be stronger than men.
The mockery of marriage by saying she is wed to death then looks like it takes a more sinister meaning because if she refuses marriage because it is madness in life, wedding death implies she’s given her soul over to Satan and is drawing upon evil’s power to best Wulf and his forces.
This is presented as the heroic and good thing.
Beyond this, lesbianism is implied further when Hera kisses the shield maiden on the cheek—the only kiss shown in the film—right before going into his battle. When the movie ends, the woman and Hera ride off together into the sunset, further implying that they have a lesbian relationship.
This film is a complete push of evil LGBTQ lifestyles, a dangerous message to women that they should not wed men and that men are crazy for wanting to have the sacrament of marriage. Moreover, Hera’s “wedding death” shows she is indeed a member of the Hollywood cult, which worships death and gives one’s soul to the devil.
While these moments are glossed over in War of the Rohirrim, the message is clear: It is not just about bastardizing Tolkien’s work in Lord of the Rings but about pure evil.
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