Thanks to Ringer Rud the Spud for the link.

The standard-issue Star Trek Into Darkness Blu-ray comes with a mere seven featurettes in the US. But there’s much more content out there! Buy the movie from iTunes and you get the director’s commentary; buy it from BestBuy (or Sainsburys, in the UK) and you get another selection of exclusive extras; buy it from Target and you get a few more.

If you’re a US completist, in other words, you’re going to need quite a few copies. Here in the UK, it appears that we get six featurettes, and if you want the commentary there’s a code for you to download it free from iTunes. People are riled, and on some level one has to wonder: are the studios intentionally throwing Blu-ray under a bus? Have they given up on the format?

This isn’t the first time this has happened with a major release. Avengers had extra bells and whistles at Bestbuy and Walmart, but those were slightly less essential extras than a commentary (the fact that the UK’s still waiting for Whedon’s commentary on that title is another disgrace).

If you’re a film fan and could only choose one feature, chances are it would be the commentary, so this drive to make that a hard-to-get rarity is – frankly – a terrible one. In a very good recent article on the movie Clue, director Jonathan Lynn mentions that he offered to record a commentary for its Blu-ray release and was turned down by the studio.

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Pre-order your copy of the AUJ: EE at Amazon

For more details, read the article here.

The day-to-day operation of the website, and the events we host, require a lot more resources than when we first started nearly 15 years ago. We sometimes find it hard to ask our readers for the help we need to keep running, so we began discussing what it is that makes TheOneRing.net worth helping out. It started out as a search for the Top Ten Moments of TORn, but the list got so long because each staff member had their own idea of important moments in TORn history. Here, instead, is something more encompassing: Ten Ways TORn helps serve Tolkien and Lord of the Rings fandom (listed in no specific order).

And, if you enjoy what we do, consider a donation (no amount too small, because every bit does help!) to keep us running!

If you can’t, that’s fine as well — keep reading, commenting and contributing. Because TORn is as much you as it is us!

If you’ve ever sent in an article, submitted a photo or report, posted on our messageboards, visited our chat, or commented on our twitter, facebook or g+, you’re the reason TheOneRing.net is among the largest and most-respected pillars of the Tolkien community on the web.

• Spy Reports

• Spy reports were a big part of our content when the website first started. From casting announcements to secret location pictures to leaked images of important plot points, spy reports were our bread and butter stories. Some of the reports were from random, anonymous sources, while others were official leaks from cast and crew. In fact, there were many production members who said they used TheOneRing.net to keep track of what some of the other filming units were doing. Other spy reports were just someone stumbling upon a film location and sending in a story or images and then we’d all try and guess what location it actually was. Some of our biggest spy reports were of Arwen at Helm’s Deep (which subsequently didn’t happen), Saruman’s prone body on a spiky wheel (which did happen), and TheOneRing.net was given the honor of introducing Thorin to the world. And very soon, we will be seeing stories from MrCere’s visit to the set from his Production Embed last year.

• Hall of Fire Chats and the Message Boards

• Literary discussions on the message boards and Hall of Fire chats – From the very beginning of TheOneRing.net, discussions of the books, chapter by chapter, has been a hallmark. After all, while we waited for news on who would be cast, where filming would take place, and rumors of what might be cut out, we had the books to talk about. Discussions worked by talking about one chapter at a time, and luckily, there are enough books with enough chapters, to keep those discussions going on for a long while. Since the beginning, we’ve looped through the books several times, but luckily, there are always new readers joining the discussion, and new interpretations to be had. And for something a little more dynamic, there are the Hall of Fire chats in Barlimans. Sometimes the talk is about a specific chapter, or a certain character, and sometimes it is about current events, such as new character images or reviews of a recently released trailer. No matter which forum you use, there is always someone to talk to about some aspect of Tolkien, the books or our fandom.

• TORns Live Videos

• We began with TORn Live, which consisted of Red Carpet interviews at premieres, awards ceremonies and special events like Cannes 2001 and SDCC. These would be recorded, edited and released online a few days or weeks later. But technology now allows for live streaming interviews and vlogs and the like. Quickbeam hosts a weekly TORn Tuesday event with interviews and discussions, while he interacts with a live chatroom. The Happy Hobbit ladies record and post their vlogs and post them within a day or two of their recordings, for a much quicker turnaround on video content. And right now we have the Road to DragonCon in full swing with live streaming from across the country.

• Conventions

• Convention appearances – Calisuri and Quickbeam hosted a panel at San Diego Comic Con in 2001, before the release of FOTR, and since then barely a year has gone by that TORn hasn’t had a presence at at least one convention. At many of the conventions we appear at we also have a presence on the exhibit hall floor where we have sold some of our classic TORn shirts. We love it when we get up on stage for a panel and half the people in the audience are wearing some of our older shirts.

•  

  

  Baggins Birthday Party sign

  Line Parties and Fan Events

• Line Parties and other fan hosted events – TheOneRing.net has always been a grass roots type of fan-site and that is no more apparent then looking at the Line Parties of years past. Whether it is just a few friends, or some hundreds of people signing up on the website to attend, fans like you all over the world hosted Line Parties. A few even took place over several days, and included costume contests and trivia games for prizes. Other fan hosted events over the years have been the Hobbit Day/Baggins Birthday Bash events on Sept. 22, the Tolkien Toast on Jan. 3 and the Tolkien Reading Day on March 25. TORn staff in Los Angeles have been hosting a Baggins Birthday Bash party for 11 years now, but there are fan groups around the world that have hosted similar events. Smaller moots happen around the world all the time, there is a very active group in Wellington and one in Croatia. If you are hosting a fan event in the next year or two, please feel free to tell us about it.

• The Oscar Parties

• Originally conceived as a fan event to help raise funds to buy TORn a new server, who could have imagined the Cast and Crew actually showing up to the FOTR oscar party? Even more surprising, who could have imagined the ROTK sweep and all those Oscars on stage at a fan hosted party?

• O.R.C and E.L.F.

• TheOneRing.net hosted conventions – The One Ring Celebration on the West Coast (O.R.C.) and the Eastern Lord of the Rings Festival on the East Coast (E.L.F.) were co-productions with a professional convention company, but they definitely had a TORn stamp on them. The conventions allowed us to combine our love of the films by interacting with cast and crew with our love of the books through academic discussions, the art shows and costume displays. We really did break the mold on how a commercial scifi convention is run and hope everyone who attended had a blast.

• Academic essays and editorials

• TORn has long standing relationships with many in the academic community who have posted guest essays and editorials. Over the year several staffers have posted in depth analysis to fan questions on the site as well. In fact, we have a whole section on the ‘old TORn’ (pre-crash) called Green Books for academic posts. This section had so much good stuff in it, we published a book called “The People’s Guide to J.R.R. Tolkien” and a sequel book as well.

• Driving fan initiatives

• After Return of the King was done and Peter Jackson moved on to do King Kong, the fans waited to see what would happen with The Hobbit afterwards. Months turned to years and still no word while studios went bankrupt, copyrights issues got tangled up and various lawsuits were filed for missing payments. Finally, a few fans decided they had had enough and started a petition to ‘Make the Hobbit Happen’. They brought it to TORn and we got thousands of you to sign so that a big pile of names was delivered to TPTB. A similar thing happened when there was talk that the production would be moved out of New Zealand. The fans could see no where else as Middle-earth, so the ‘Keep the Hobbit in NZ’ campaign was born, but this time on Social Media. And most recently, there was an explosion of Tolkien fan love over the #Votebilbo twitter event prompted by an MTV Audience Award.

• TORn Community

• This list compiles many of the things that TheOneRing.net does to keep you informed, entertained and engaged, but there is really just one thing that makes TheOneRing.net so important to keep around. And that is the community of fans that convene on our message boards, in Barliman’s chat, on Facebook and Twitter.

This site was built by fans getting together to discuss what they hoped for from Peter Jackson long before FOTR ever saw the light of day. The fact that a long existing fan-base gathered here meant engaged and informed discussion began from day one, including analyzing all the spy reports about casting and location details. We didn’t have to wait for the release of the films, or for several episodes of a new show to take off before we could discuss the minutia of every detail because our fan base was already well established.

And what is ‘fandom’ if not a community of like minded people passionate about the same thing. Sure, everyone has their own opinions, so every time a new image was released, or a new trailer appeared, the message boards and chatroom erupted into heated discussions. But as the years wore on friendships were made, some turning into marriage, and we all began meeting up at various moots, conventions, concerts, premiere events, trips to New Zealand or just coffee and a movie. How many of you newer fans were galvanized by the #Votebilbo campaign and now have a wider array of Twitter friends because of it? The fact that TORn was able to continue to exist during all those lean years between film productions is due mostly to you, the readers, sticking around to discuss anything and everything to do with Tolkien, and sometimes other bits of pop culture. We know that after the release of The Hobbit: There and Back Again we will see another decline of readership, but we also know that the community is strong, the friendships have been forged and all of you take that fandom with you where ever you go next.

So again, if you are so inclined to help support us and keep the website going, please do make a pledge or bid on one of the many cool auction items we’ve been posting about the past few days. On behalf of the All Volunteer Staff at TheOneRing.net, you have our deepest gratitude for all the support over the years.

Eric Garcetti was elected in May and says the city’s pre-eminence in the entertainment industry is under pressure from other US cities as well New Zealand, the UK, Australia and Canada.

The Guardian says film and television production is “haemorrhaging” from its traditional home and he is going to try to attract more film and TV to LA.

Garcetti ‘s campaign was backed and largely funded by members of the entertainment industry, the Guardian says. He told Variety he would introduce a Hollywood “tsar” to “fight a lot of fights”.

“If we don’t put a lot of strength toward winning a couple of battles in this war, we are just going to continue to be left behind on the battlefield.”

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Several TORn staff have compared the Sanders’ 48fps interpolation and the 24fps rendition initially released by Warner Bros. side-by-side — and we feel that even Sanders’ “amateur” (and that word seems unfair for something that looks so good) interpolation reduces picture blurring blurring from camera panning and fast movement.

The scene we’d particularly draw your eye to is the one where the barrels drop down the chute from the bowels of Thranduil’s underground stronghold into the river. There’s a noticeable increase in clarity there.

An aside: It’s even clearer in this version that the lids are not on the barrels as they roll down the chute from Thranduil’s cellar, and drop into the water. So: no lids. Sorry folks.

The Desolation of Smaug trailer in shiny 48fps

Anyway, you can watch Sanders’ 48fps version of the trailer directly below. Then, if you’d like to compare it against the original, head to Warner Bros.’ original trailer release which we’ve handily embedded at the bottom of this post. After all, there’s nothing better than comparing apples against apples, right?

Have a look at both, and let us know your thoughts below!

A couple of notes from Sanders on the work that went into his HFR interpolation, and how he accomplished it:

Faster actions scenes proved somewhat problematic, but overall it turned out pretty interesting. I may improve on it later. The true frame rate is 48fps, but the actual video file is rendered in 60fps, since many players (including VLC) can have trouble with 48.

I used Adobe After Effects CS6. For each cut, I would try both AE’s built-in pixel motion and Re:Vision’s Twixtor plugin, and use whichever one had better results. For some pieces of the cuts where the warping and ghosting artifacts really got out of hand, I just used plain old frame blending which just layers the previous frame over the next frame. At 48fps, it goes by so quick you can generally get away with it in very short spurts. however, I plan on revisiting these cuts in particular with Twixtor using tracking points and/or foreground masks. And of course, the most important thing is you always have to separate out the first and last frame of a cut and leave it un-interpolated so you don’t get a real nasty “morph” between cuts. That’s probably one of the more time-consuming parts with really fast trailers with lots of cuts.

TORn Staffer Mr Cere adds this thought, too:

48 fps doesn’t need to be with 3D, but the studio choose to make it so, which is a bad decision IMHO. They could release a non-3D 48 fps but never did. BIG loss for this consumer.

The year over year results are slightly skewed by the $55.7M it recorded from a television asset sale in 2012. With that included, net income came in at $35.9M, -16% vs the period last year, on revenues of $339M, +164%. Without the asset sale, net income would have been up $30M in Q2

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In last week’s article, I started with a simple question: how do book lengths, as measures by word count, compare to their adapted movie run times, as measured by seconds? I was mostly looking for a statistical basis to express my displeasure at The Hobbit: An Unexpected Journey (and by extension, parts 2 and 3 of this unnecessary trilogy), but I wound up comparing the density of the Hobbit movies, as measured in Words in Book per Second of Movie (WIBPSOM), to other prominent movie adaptations of books: The Lord of the Rings, The Hunger Games, and the Twilight franchises.

The findings were interesting in and of themselves (TL;DR: The Hobbit Books have way smaller WIBPSOM values than the other franchises), but they begged for a larger scale analysis, both in size of dataset and scope of inquiry. To address the size of the dataset, I found all of the (English language) entries on this list of best-selling books that have theatrically-released, non-silent movie adaptations. After including multiple movie adaptations of the same movie and excluding movies where I couldn’t find any data on book length as measured by word count, I came up with a dataset of 59 movie adaptations of best selling books.

As for scope of inquiry, well, let’s get down to brass tacks: is there any relationship between the density of a book’s movie adaptation, as measured by WIBPSOM, and the quality of the movie, as measured by its IMDB rating?

In a word, the answer to this intriguing question is an emphatic “no.”

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The image at right, part of Lee’s analysis, is certainly food for thought.

I know I’m late to this party, but I finally got around to seeing The Hobbit: An Unexpected Journey after hearing much belly-aching over how the story of a single book is split into three separate movies: it seems like a blatant cash grab by the studios, a cynical move that put franchise movie economics ahead of things like storytelling and pacing.

After seeing the movie, I can definitely sympathize with these complaints. It felt slow at times, particularly during the multiple expository scenes in the first half and the interminably long action sequence in the second half. Most importantly, I felt like the story didn’t advance far enough to justify taking up an entire movie on its own, especially compared to the Lord of the Rings movies.

So me being me, I decided to put this issue into quantitative terms. Specifically, I wanted to compare the length of the Hobbit movie to that of the source text, and run the same analysis for the three Lord of the Rings movies.

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The literary legacy that members of the Tolkien Estate want to protect

By:  Brian Tither

Introduction

I think that the reason why some members of the Tolkien Estate have sued Saul Zaentz and its subsidiaries over JRR Tolkien’s literary legacy is because of their overriding concern for protecting that legacy above all else. In particular I think that this is the intention of Christopher and Priscilla Tolkien, the surviving children of Tolkien. And as a former student of Tolkien’s academic speciality in Old and Middle English and Old Icelandic in New Zealand I personally support this intention after being frustrated at The Hobbit production being only valued for the other Hollywood productions and tourist dollars that it may bring into New Zealand. I am also frustrated at the way a lot of the people involved in the production seem to only value it for its enhancement of their individual film projects.

The literary legacy of JRR Tolkien

Tolkien was the Professor of Anglo Saxon at Oxford University in the years that Christopher and Priscilla and their deceased brothers John and Michael were children and Tolkien would come home and tell them stories based on the literature that he was teaching at Oxford. This came from Old Icelandic texts like Voluspa, which describes the rise and fall of Midgard, the Old Icelandic Middle-earth, where Tolkien got his names for his Dwarves, and The Saga of the Volsungs, where Tolkien got his ideas for Bilbo’s encounters with Gollum and Smaug from the God Loki taking off Andvari the Dwarf a ring which causes problems for its bearers and Sigurd’s slaying of Fafnir the dragon, which are supplemented by similar things in the Old English poem Beowulf. This was also supplemented by Tolkien getting his ideas for Beorn, which translates as ‘warrior’ from Old English and as ‘bear’ from Old Icelandic, and Bilbo Baggins, which translates as ‘dweller in a dwelling in a bag’ from Middle English and ‘dweller with a sword from ones in a bag’ from Old English, from characters such as Bodvar Bjarki, which translates as ‘the bear warrior’, and Hott Hjalti, which translates as ‘the small sword hilt’, from The Saga of King Hrolf Kraki, where Hott’s parents are described as living in what appears to be a house built in a hole in the ground.

Given that the name Hott and the Old English word holbytla for ‘hole-builder’ conflate together as hobbit, which means ‘small hole-builder’, and given the oral tradition that developed between Tolkien and his children, it is easy to see how Tolkien took it a step further with his children and got them to help him with creating a story from him one day writing down the words: ‘In a hole in the ground there lived a hobbit’. And from there the story developed as an oral tradition between them until Tolkien decided to write it down in a manuscript and this was published as The Hobbit some years later after he happened to show it to someone who recommended that he got it published. Then he wrote The Lord of the Rings, in which he referred to the mythology, later published as The Silmarillion, that he had been creating since before his children were born, while incorporating a character that he and his children devised from a doll that they owned, which they named Tom Bombadil.

The legacy of the Tolkien Estate

But the story of his children’s involvement did not stop there because Tolkien consulted Christopher on virtually every turn of The Lord of the Rings as he wrote it, while Christopher went on to become a university lecturer in Old and Middle English and Old Icelandic as well. Then when Tolkien passed away he had Christopher appointed as his literary executor and charged him to complete The Silmarillion, which Christopher did. And he also appointed him with John, Michael and Priscilla to take care of other estate matters as well.

This included taking care of matters regarding his selling off the film rights to the books to Saul Zaentz, which Tolkien did to cover the high inheritance taxes that the books accrued upon his death, all which grew out of his experiences with being swamped by the royalty taxes that he had to pay due to the sale of the books from the popularity that he did not anticipate for them. And this included the estate ensuring that Saul Zaentz and its subsidiaries did not step out of parameters that were set by Tolkien to protect the literary legacy of his works, which by implication stretched into his academic speciality to the original texts where he got his ideas from that have no copyright on them. And this experience grew out of seeing what Walt Disney did to the works of the Grimm’s Brothers the latter who Tolkien had a particular affinity for because the Grimm’s brothers also created philological principles, which Tolkien applied in his academia and works. Hence Tolkien did not want to see tangible things like this in his works being turned into intangible things like theme parks, which by implication extends into things like video games and gambling outlets such as slot machines.

And there is a need to protect this literary legacy if this literature is not to become something only valued by the money that people might make out of it at the expense of accessing that literature to many. And one of the things that I have been perturbed about as a student of Old and Middle English and Old Icelandic is experiencing both The Lord of the Rings and The Hobbit productions consulting linguistic and Old and Middle English and Old Icelandic experts for the purpose of developing the movies without considering how such expertise comes from the collective intellectual property of teachers and students in these specialities, even though such intellectual property was strangely fused with Hollywood action movie conventions in the films. And possibly this is why The Hobbit movies have so far not had such experts promoting them like The Lord of the Rings movies had, which probably made it expedient for the first trilogy of movies to be nominated for Oscars in categories like Best Director and Best Film, which they won on the third movie, while the second trilogy so far has not received any such nominations.

The valuation of the legacy in New Zealand

Meanwhile, as I said above, The Hobbit movies have been only valued as a means to bring more Hollywood productions and tourist dollars into New Zealand and it has been seen by people involved in the production as only a means to develop their individual film projects. The latter was made clear to me in October 2010 when allegedly there was industrial action going on which was allegedly having Warner Brothers considering moving the production elsewhere. The impression I got then from such individuals was that if the production went offshore it would severely jeopardise their projects, which was enhanced to me by someone who spoke at The Hobbit rally, which occurred a few days before Warner Brothers decided to keep the production in New Zealand. This person referred to how The Lord of the Rings production created a community of filmmakers, which has left me the impression that this community has been dependent on both that and The Hobbit production for its existence.

Consequently I have decided that I will only support the film projects of individuals involved in these productions if they demonstrate to me sufficient appreciation for the intellectual property that was drawn on for these productions. And for me the benchmark that has been set for that is that shown to me by a prominent New Zealand Maori writer, some of whose works have been turned into films, who supported the teaching of Old and Middle English and Old Icelandic at the New Zealand university that he used to work for. He also left me with the impression that the term ‘Middle-earth’ should not be used as a means for cultural groups to promote their culture to gain tourist dollars without acknowledging the culture that Middle-earth comes from as Tolkien acknowledged and intended it, who said Middle-earth was a use of the Middle English middel-erde, which derived from the Old English Middangeard and is thus related to the Old Icelandic Midgard.

Meanwhile, universities have had to cut their Old and Middle English and Old Icelandic courses even when they have had a reasonable number of students doing them due to a reallocation of university funding from a government who has used The Hobbit production so far for political gain. And I think that this is abysmal given the free promotion that The Lord of the Rings movies got from the New Zealand experts in these specialities through public lectures that they delivered like other experts in the specialities in other places in the world on the release of each movie, which if it had of been picked up on by The Hobbit production might have meant that the media surrounding the movies would have been less focussed on the apparent lack of material in the first Hobbit movie and the technology used, which not all the movie viewers were happy with.

The actual legacy in New Zealand

Also, for the New Zealand world premiere of the first Hobbit movie such experts could have highlighted how it was part of New Zealand’s culture and heritage that our education system produced Kenneth Sisam, a graduate of both Auckland and Oxford Universities, who was Tolkien’s New Zealand born tutor when Tolkien first started learning these specialities. Sisam introduced texts to Tolkien that Tolkien said that he had previously never heard of before, which included the Old English poem Crist, which had words in it translated as: ‘Hail Earendil, brightest of angels/ above the middle-earth sent unto men’. This led to the first draft of the poem of Earendil the mariner that Bilbo sings in Rivendell the night before the Council of Elrond in The Lord of the Rings, which, in turn, Tolkien wrote after his first year of having Sisam as his first tutor, which was the beginning point of his legendarium.

In addition, these New Zealand specialists could have also highlighted how Tolkien alluded in his valedictory address, when retiring from being Professor of English language and literature, to the contribution that New Zealanders (and Australians) made to the Oxford School of English and the close contest which he had with Sisam for Professor of Anglo Saxon. The latter was also referred to in an interview just before the first Lord of the Rings movie’s release with an English born former lecturer in the speciality at a New Zealand university who was at Oxford when Tolkien was Professor there at the time the book was published who said that most undergraduates thought that Sisam should have been Professor.

Conclusion

This lecturer also told my classmates and me that the undergraduates at Oxford formed the basis for the Hobbits in Tolkien’s legendarium, them being derived from the undergraduates living in study groups with a tutor and a servant called a scout who looked after their personal needs assigned to each group. That is, Frodo Baggins and his cousins were based on the undergraduates, Bilbo Baggins on the tutor and Samwise Gamgee on the scout. And hence, whereas The Hobbit was something derived by Tolkien from his telling of stories to his children based on his academia, The Lord of the Rings was derived from his actual teaching of that academia. And I experienced an evolved version of that at university from a former PhD graduate of Oxford who got some of her Bilbos to teach Sams like me our letters like Bilbo does for Sam in the book. And according to one of those Bilbos my classmates and I are the envy of many who learn these letters around the world for having had this lecturer as a teacher, which is a sure foot in the door for any of her Frodos into universities such as Oxford and Cambridge. And it is such legacies that Christopher and Priscilla Tolkien are concerned with protecting knowing full well that without it their father’s legendarium would not even exist.

Brian lives in Wellington New Zealand on the main drag to both Victoria University where he was he was taught Old and Middle English and Old Icelandic at undergraduate level by an Oxford University PhD graduate and the Embassy Theatre where the red carpet rolled out for all New Zealand premieres for The Lord of the Rings and The Hobbit movies. He goes under the pen name of Brian Boru, which refers to his family descent from a famous Gaelic warrior-king of a millenium ago called Brian Boroimhe who is part of a Gaelic literary canon that he also wants to study.

Let’s dive right in and look at the goodies that are going to be on the discs.

The Filmmakers’ Commentary. Director/writer/producer Peter Jackson and writer/co-producer Philippa Boyens provide their perspective and stories on creating the first film.

New Zealand: Home of Middle-Earth. From Matamata to Queenstown, travel with Peter Jackson and his team across the stunning locations of New Zealand, transformed by the filmmakers into Middle-Earth.

The Appendices Part 7: A Long-Expected Journey. A 14-part chronological history of the filming of An Unexpected Journey, covering pre-production in the various departments of the film in the months leading up to the start of principal photography, the boot camp training for the main cast, and the work done on set chronologically through the three shooting blocks and in the world of its digital effects.

The individual chapters (and notice that a lot of them take titles from individual chapter of The Hobbit) include:

* The Journey Back to Middle-Earth
* Riddles in the Dark: Gollum’s Cave
* An Unexpected Party: Bag End
* Roast Mutton: Trollshaws Forest
* Bastion of the Greenwood: Rhosgobel
* A Short Rest: Rivendell and London
* Over Hill: The Misty Mountains
* Under Hill: Goblin Town
* Out of the Frying Pan: The Forest Ledge
* Return to Hobbiton: The Shire
* The Epic of Scene 88: Strath Taieri
* The Battle of Moria: Azanulbizar
* Edge of the Wilderland: Pick-ups and the Carrock
* Home Is Behind, the World Is Ahead

The Appendices Part 8: Return to Middle-Earth. Another selection of documentaries and featurettes await, further detailing the development, design and production of An Unexpected Journey:

The Company of Thorin. Explores the characters and backgrounds of the five families of dwarves and the company of actors chosen to play Thorin’s company on the Quest of the Lonely Mountain. Chapters include:

* Assembling the Dwarves
* Thorin, Fili and Kili
* Balin and Dwalin
* Oin and Gloin
* Dori, Nori and Ori
* Bifur, Bofur and Bombur

Mr. Baggins: The 14th Member. A revealing look at the film’s charismatic and talented lead actor, Martin Freeman.

Durin’s Folk: Creating the Dwarves Reveals the journey and process of designing, conceptualizing and physically realizing the dwarves in The Hobbit.

The Peoples and Denizens of Middle-Earth. Focuses on the realization of new characters and creatures encountered in the first film, from casting to characterization to physical and digital design. Chapters include:

* The Stone Trolls
* Radagast the Brown
* Goblins
* Azog the Defiler

Realms of the Third Age: From Bag End to Goblin Town. Follows the creation of the Middle-Earth locations from conceptual design to set and prop building to fully digital realities. Realms explored include:

* Hobbiton
* Rhosgobel
* The Misty Mountains
* Goblin Town

The Songs of The Hobbit. A look at the realization of Tolkien’s songs in An Unexpected Journey.

Pre-order your copy of the AUJ: EE at Amazon

The AUJ EE is already available for pre-order over on Amazon.com in a few different flavours — the collector’s edition gift set with bonus WETA statue, a Blu-ray 3D version and normal, non-3D Blu-ray edition.

Bootnote: We believe that the numbering of the EE appendices begins from seven because it carries on from the Lord of the Rings Extended Editions, which had six appendices on the extra DVD discs.

Alternative theory is that Tolkien also had six appendices for the LOTR books (labelled from A to F), but that seems much less likely.

Order your gift set via this link: The Hobbit: An Unexpected Journey Extended Edition with Amazon Exclusive Bilbo/Gollum Statue (Blu-ray 3D + Blu-ray + UltraViolet)

5-Disc Specs: 5 Disc BD: BD 1: 3D Ext Edition Feature + NZ Trailer BD 2: 3D Ext Edition Feature BD 3: 2D Ext Edition Feature + Filmmaker’s Commentary BD 4: • “The Appendices Part 7 – A Long Expected Journey: The Chronicles of The Hobbit – Part 1” • “The Appendices Part 8 – Return to Middle-Earth: Creating the World of The Hobbit” UV Copy of Ext Edition

Statue Specs: “Riddles in the Dark” was sculpted by Gary Hunt from Weta Workshop. Gary is part of the wider Weta team who worked on the film. The figurine is approximately 2.07 lbs. Size: 8” wide, 5.25” deep and 7” tall. The outer giftset box is illustrated by the film’s concept artists Alan Lee and John Howe. -

UPDATE: You can also get the gift set with regular Blu-ray (non-3D) via this link right here. The product details are nearly the same with a slightly smaller price for those who don’t have and will not have 3D televisions in the future. (The 3D version comes with a regular Blu-ray version also.)

[Gift Set] [Blu-Ray 3D + Blu-Ray + Ultraviolet] [Blu-Ray + Ultraviolet]

NO two Tolkien fans are the same. Yes, we harbor a deep and abiding love for all things Middle-earth, but (I like to believe) our tastes differ, even if only in the minutia. Some may enjoy the philological phantasmagoria that permeates Tolkien’s works, while others draw inspiration from the detailed locations and their histories. Personally, I have a thing for maps. However with the recent addition of Tauriel to the Middle-earth mythos, my thoughts have been drawn to the characters that inhabit our collective imagination and, more specifically, those of the female gender.

Tolkien, unlike many other fantasy writers of the twentieth century, was entirely willing to create strong, vividly imagined female characters. One that immediately comes to mind is Lúthien Tinúviel, who was so prominent in Tolkien’s world that she is not only mentioned in The Lord of the Rings, but is also a major character in The Silmarillion and even features in the epic poem The Lay of Leithian.

The latter work, which Tolkien never completed, chronicles the love between Beren and Lúthien. Another well-known character from the Legendarium is Elwing the White*, mother of Elrond and Elros. How prominent was she? After several unsuccessful attempts by Eärendil the Mariner to try and sail to Valinor, Middle-earth’s most-renowned seaman was only successful after Elwing joined him on Vingilot.

The two most well-known heroines, thanks in no part to the films, are of course Arwen and Éowyn. Yes, Arwen’s romance with Aragorn did seem a tad campy on the big screen (in a beautiful, melancholic fashion that truly added to the story), but let’s not forget: this is the same elf who faced down the Nine (even if it didn’t happen in the books) and single-handedly saved Frodo from certain death. And Éowyn’s fantastic line, “I am no man!” when taunted by the Witch-king? It still raises the hairs on the back of my neck. So good. Also, I would be remiss to neglect Galadriel, of Lothlórien. Not only is she a Ring-bearer of immense power, but she also sits upon the predominantly male (even if the Mair aren’t technically Men) White Council.

So, where does this leave us? Ah, yes: Tauriel. As a Tolkien fan, I’m ecstatic to see a fresh addition to the lore. As someone who considers himself to be rather versed in the ways of the entertainment industry, I see it as a shameless attempt to attract the ever-elusive demographic of young women (insert Orlando Bloom joke here) and adolescent males (insert scantily clad bikini picture here). Honestly? If she’s anything more than a Disney princess in elf ears, I’ll be satisfied.

What I’m trying to say, in a less cynical fashion, is that I trust Peter and Fran, I really do. But I’m also aware of the climate in which they have to operate. Big money means a big emphasis on making a big profit, and a necessary part of show business is trying to target as many demographics as possible. Time and time again, we see corporations put pressure on directors and writers to change their movies in ways that reach a larger audience, but harm the overarching narrative.

Will Evangeline Lilly be fantastic? I’m sure she will. Will her and Orlando’s on-screen chemistry, and indeed their very presence, contribute to the overall narrative of the trilogy? I’m sure they’ll make it work. Is it necessary? I remain to be convinced, largely because I’ve seen how sterile and bureaucratic the industry can be.

In the best of all possible worlds, I see Tauriel as the embodiment of the inner strength and outward beauty of all the aforementioned characters. Why Tauriel? Because The Lord of Rings trilogy had its strong female protagonists, as did the Silmarillion and the Legendarium before it. Therefore, in the spirit of a more diverse, modern telling of The Hobbit, I see it as only natural that Jackson and company would want to introduce a fresh female character. In truth, the only part of me that is uneasy is the fervently cynical, text-obsessed fanboy who’s shaking the bars of his cage and muttering, “but she’s not in the book!”

Until more elements of the plot are revealed, Tauriel remains a positive yet potentially unnecessary addition to Peter Jackson’s cinematic vision. In the end it all boils down to the spirit in which these changes are made to the source material. Who knows? I could be completely off the mark. When it comes to the Hobbit films I’ve yet to be disappointed.

In Jackson we trust.

* Bootnote. Most would automatically think of Aredhel with the appellation “the White”. However, there is one single reference that seems to indicate that the label also applied to Elwing. It’s from The Fellowship of the Ring where Aragorn is speaking to the four hobbits of Beren and Lúthien. As it’s direct speech, it does seem to be part of an oral tradition of either the Dunedain, or of the Noldor (or both). The quote in full: “For of Beren and Lúthien was born Dior Thingol’s heir; and of him Elwing the White whom Eärendil wedded, he that sailed his ship out of the mists of the world into the seas of heaven with the Silmaril upon his brow. And of Eärendil came the Kings of Númenor, that is Westernesse.” A Knife in the Dark, The Fellowship of the Ring.

Noah Smith is a freelance writer operating out of the woods of Pennsylvania, though he leaves often and for great lengths of time. The proud owner of more pet projects than any sane person deserves, he peddles his craft in various portions of the internet and local collegiate magazines, writing poetry, commentary, speculative fiction and erroneous remarks in the comment sections of videos. He writes on a blog called Utumbria and can also be found on Twitter. His opinions do not necessarily reflect those of TheOneRing.net or its staff.