For Immediate Release: ‘The Lord of the Rings’ and ‘The Hobbit’ Rights Offered to Pioneering Fan Site, TheOneRing.net
BERKELEY, CA, USA — Pioneering fan site, TheOneRing.net, has been awarded the opportunity to officially bid to become part of Middle-earth. As announced in early 2022, The Saul Zaentz Company reported its intent to sell its Tolkien holdings, which include movie, merchandising, gaming and live event rights to “The Lord of the Rings” and “The Hobbit”. The company hired investment bankers to manage the sale, and as part of the process, The One Ring, Inc, operating as TheOneRing.net, has been offered an exclusive 4-month window to become part of the buyers group. The extension was granted to allow the volunteer members of TheOneRing.net time to launch a ground-breaking and ambitious effort to give fans control of these historic properties.
“We realize the effort will be monumental, and the stakes are high, but if Frodo can take the Ring to Mount Doom, we sure as heck can get fans a chance to be stakeholders and advocates of Tolkien’s work.”
Michael Regina, Executive Editor and Co-Founder
TheOneRing.net will be launching this fundraising effort in the coming weeks via their website, social media platforms, and their newly minted Discord channel. (discord.gg/theonering).
Multiple levels of participation will be offered, from US$5 to the max tier of $250,000,000. Perks will include original manuscripts of ‘The Lord of the Rings’ and ‘The Hobbit’ as well as celebrity experiences with the plethora of individuals who have entered the Tolkien sphere over the past 80 years.
Kirsten Cairns, Senior Editor and Director of Partnerships for TheOneRing.net, who spearheaded TheOneRing.net’s previous successful crowdfund campaign, says:
“’The Lord of the Rings’ alone has sold nearly 150 million copies. If we can persuade those passionate fans each to donate at least $10 to this effort, we’ll be halfway there.”
The rights are expected to sell for an astounding $2 Billion with main competition coming from Universal (NYSE:UVV) and Amazon (NASDAQ: AMZN)
About TheOneRing.net Founded in 1999 by a group of like-minded Tolkien fans so anxious for the coming Peter Jackson Lord of the Rings films that they were gathering up every scrap of production information to be found, TheOneRing.net continues today in bringing fans the latest news on the beloved figures involved in the making of the wildly popular Lord of the Rings movies, as well as the newest information available on upcoming productions, Tolkien-centered events, new publications, and fan gatherings.
About the Saul Zaentz Company Based in Berkeley, Calif., Zaentz Co. is home to Middle-earth Enterprises, which handles its Tolkien-related licensing. Zaentz first made his name as the longtime leader of Fantasy Records, an influential jazz and rock label in the 1950s, ’60s and ’70s. He also produced such movies as “One Flew Over the Cuckoo’s Nest” (1975), “Amadeus” (1984) and “The English Patient” (1996), all three of which earned Oscars for best picture.
In a spy report for the ages, we’re excited to reveal Amazon is already planning an animated spin off from their Rings of Power series.
THE LORD OF THE RINGS (1978)
Anticipating the success of the show, premiering September 2nd on Prime Video, the creative team at Amazon are working on a children’s cartoon series. Here’s what our inside source told us:
The inspiration for the show came from the opening of The Hobbit, when Bilbo first encounters Gandalf. He remarks that the wizard ‘was responsible for so many quiet lads and lasses going off into the Blue for mad adventures. Anything from climbing trees to visiting Elves or sailing in ships, sailing to other shores!’ We thought it would be great to hear the stories of the other Hobbits, who had been on adventures with Gandalf in the past.
With this new series, we’re hoping to make ‘Saturday Morning Cartoons’ exciting, educational and fun again, with wholesome entertainment that is both silly, yet meaningful for the whole family. We’re delighted that Sir Lenny Henry, an actor with a well-known pedigree in comedy and family entertainment, has agreed to voice one of the main characters of the show. With such a distinguished performer already on board, we’re hoping to persuade Sir Ian McKellen to voice Gandalf for us. You really can’t have Gandalf without Sir Ian.
There hasn’t been a final title decision yet. ‘Adventure Hobbits’ was our first thought, but because The Rings of Power is set in the Second Age of Middle-earth, we’re featuring Harfoots in that series. So then we wanted to go with ‘Adventure Harfoots’; but of course the Istari didn’t arrive in Middle-earth until early in the Third Age – so can we blur the lines and have Gandalf and Harfoots together? Then of course there is the additional dilemma about whether it should be ‘Adventure Harfoots’ or ‘Adventure Harfeet’… It’s still a work in progress.
Here at TORn we’re speculating that Amazon may also have wanted to create something to go up against Warner Bros.’ animated Middle-earth tale, The War of the Rohirrim, which is slated for release in April 2024. Now Amazon will have their own animated adventure from Arda. There hasn’t been a cartoon Hobbit since the days of the Rankin/Bass movies; we can’t wait to see the first images from this upcoming show.
Bilbo as he appeared in the Rankin/Bass ‘The Hobbit’ animated film (1977)
Staff from TheOneRing.net will be at Wondercon this weekend in Anaheim and this project is one of many we will be discussing in our Middle-earth! Coming to your TV this Fall presentation. Look for us tonight in room North 200A at 4:30 pm, tickets are still available online and at the door.
TheOneRing.net will be at WonderCon this year, and we will be hosting two panels over the course of the weekend, April 1-3 in the Anaheim Convention Center. If you plan to attend the convention, please read through the WonderCon COVID protocols.
Our first panel, Middle-earth! Coming to your TV this Fall will be at 4:30 pm on Friday, April 1 (no joke) in room North 200A. This will be our big overview panel, with all the news, rumors, and anecdotes about Amazon’s Lord of the Rings: The Rings of Power, as well as the WB’s upcoming animated War of the Rohirrim. There will be an update on any and all Middle-earth news, activities, and events coming up this year. And we can wait to see if anyone has had enough time to create a costume from the recent Amazon Teaser Trailer.
Our Second panel, I am no Man: The Women of Middle-earth will be a deep dive into Tolkien’s legendarium to discuss all the unique and wonderful women that Tolkien created. For those who have just read The Hobbit, Middle-earth feels like an ‘all males club’, but in The Lord of the Rings and some of the books of deeper lore, there are queens and warriors and creators, all women, who had a hand in shaping the Middle-earth we all know and love. The presentation is still being crafted, if there is a specific woman of Middle-earth you wish to see discussed, send an email to Garfeimao@TheOnering.net. Include the character name and a brief note about what makes her so special for you, we will include as many as we can fit into our allotted panel time.
According to Variety, Amazon has finally completed its $8.5 billion acquisition of MGM.
It was MGM’s precarious financial situation in the mid-2000s that delayed The Hobbit film series and contributed to the departure of Guillermo Del Toro from the production. Peter Jackson subsequently assumed the directorial role.
Amazon says it’s acquisition of “the storied, nearly century-old studio … will complement Prime Video and Amazon Studios’ work in delivering a diverse offering of entertainment choices to customers.”
Variety reports that the buy followed merger approval by the European antitrust regulator. That body’s review decided that overlaps between Amazon and MGM were “limited”.
Readers may recall that the Saul Zaentz Co. also recently announced the sale of its entire holding of Middle-earth IP, and that there is an ongoing legal stoush over whether Warner Bros./New Line Cinema still retains its LOTR/Hobbit film adaptations license. Given the above, it’s not impossible (though the chance is, perhaps, remote) that Amazon could eventually unite all the currently available Middle-earth film and television IP under its own banner.
There’s a particular letter in The Letters of J.R.R. Tolkien where Tolkien writes about his experience of dealing with a proposal from Forrest J. Ackerman to make an animated film of The Lord of the Rings.
Within that letter, there’s one revealing sentence.
Stanley U. &: I have agreed on our policy : Art or Cash. Either very profitable terms indeed ; or absolute author’s veto on objectionable[my emphasis] features or alterations.
Letter #202, The Letters of J.R.R. Tolkien.
The deal never happened, though Tolkien did subsequently sell film rights in 1969 to United Artists under the looming pressure of inheritance taxes.
These days, I suspect there’s no such pressure. More, the “Middle-earth universe” is seen as a proven starter for the world’s media companies. I think that has given Tolkien Estate leverage: the power to demand not just Cash, but Art as well.
In the context of the recent Vanity Fair feature, this explains not just the starting price for the Tolkien Estate’s rights auction a “gobsmacking” $200 million, but the documented demand for input into the direction of the series. In an early, seemingly unauthorised, interview, Tom Shippey described this “input” as a “veto power”.
It also says something about the power of Middle-earth that even with that eye-watering starting price and the attachment of certain pre-conditions, Netflix, HBO and Amazon all put their hand up and bid.
Still, even if Tolkien Estate was willing to put its foot down to get that capital-A Art, it was always going to take an equally ambitious (and well-resourced) studio to come through with the goods.
Despite Vanity Fair’s assurances (it’s pretty stunning that they’ve seen the first three episodes already), it’s too early for us ordinary punters to declare The Rings of Power a sure bet — in either the commercial sense, or the Art sense.
However, Vanity Fair’s first look under the bonnet shows there’s no lack of promise: the images are intriguing and suggestive, sets and costumes look suitably spectacular, and the production staff are making the right sort of noises about respecting the integrity of the source material.
But a show with the resources of The Rings of Power should (by default) have stunning production values and a real, lived-in feel. That’s just a given.
And it’s politic for showrunners to make the right noises (I would, too). The question is, can we identify instances of real substance to back those noises? Has the objectionable — as Tolkien might have seen it — been excised?
An Atlantis-like Númenor, the full glory of Khazad-dûm —- that vast dwarven metropolis carved out of the bones of the Misty Mountains, the puissance of the elven smith Celebrimbor, whose skills with metals and magic are crucial to the forging of the rings are all lore-friendly inclusions.
They’re also easy wins.
In a way, so too is the centrality of Galadriel.
Galadriel is a key player in the Second Age (fighting the long defeat, as she expresses in The Lord of the Rings). After the publication of that book, Tolkien increasingly came to view her as one of the most remarkable elves to play a role in Middle-earth’s history, and his later essays and notes paint her as an increasingly exceptional individual. She’s also incredibly peripatetic throughout the Second Age — wandering from Lindon, into Eriador and eventually south to Eregion, under the Misty Mountains to Lórien, back across to Imladris (Rivendell) and finally the south coasts of what would later become Gondor.
During all that, she’s a key participant in events. She joins Gil-galad to reject the approaches of Annatar, alternately collaborating and at loggerheads with Celebrimbor (and later advising him to hide Nenya, Vilya and Narya), before strengthening then-Lórinand (later Lórien). Unfinished Tales states that she views the dwarves of Khazad-dûm “with the eye of a commander”.
That bespeaks a driven individual — and this is something that the teasers from Vanity Fair support. I want to see lots of ambition from Galadriel — someone with just as much inner-belief and determination to make things happen as Fëanor, but with (even at the start of the Second Age) a touch more wisdom. I think you should too.
As showrunner McKay Patrick tells Vanity Fair: “This young hot-headed Galadriel… how did she ever become that elder stateswoman [who we meet in Lórien in The Lord of the Rings]?” The awareness of that difference is present; if the show is able to intelligently show this change, it will have taken a large step toward something that accords with J.R.R. Tolkien’s own musings.
Reassuring also is the gradual emergence of the Second Age threat — one that’s recognised by some, but not by others. After all, up until the forging of the One, Sauron (as Annatar) uses the velvet glove, not the iron fist. Very late writings recently published in The Nature of Middle-earth even suggest that his minions mocked him behind his back for this.
Again, direct statements from the McKay seem to back this: “We didn’t want to do a villain-centric thing. We wanted it [the first season] to be about introducing these worlds and the peoples who dwell in them and the major heroes and characters.”
And what is potentially one of the most contentious decisions — to include Hobbits as “Harfoots” — accords somewhat with both Gandalf’s description of Gollum’s folk (yes, I know those are, more correctly, Stoors): “a clever-handed and quiet-footed little people.”
And a note in the prologue chapter of The Lord of the Rings, “Concerning Hobbits” details that “even in ancient days [Hobbits] were, as a rule, shy of ‘the Big Folk’, as they call us, and now they avoid us with dismay and are becoming hard to find … [and] they possessed from the first the art of disappearing swiftly and silently, when large folk whom they do not wish to meet come blundering by…”
Is this one decision Tolkien Estate has weighed in on? Regardless, much will hinge on the execution of the concept.
Set against the above is the compression of the timeline that the showrunners discuss. First, kudos to the production staff for being clear on this. In fact, it recalls Peter Jackson’s bald statements that his films would include no Scouring of the Shire — a very real cause of fan angst at the time. (I still think that writing decision undersold some of the character development of the four key hobbits, but, weighing in at 201 minutes, PJ’s The Return of the King is already very long.)
I get the fact that it’s probably really difficult for any television series to traverse a 2,500-year history in a way that is not choppy and disjointed, and remains compelling viewing. Being able to see characters such as, say, Isildur and Ar-Pharazôn across a span of 5 seasons allows a great deal more screentime (and thus development and insight) than would be possible in a couple of seasons. A strictly linear structure would introduce them only at near the very conclusion of the entire series.
Still, I would have liked (as many speculated before the Vanity Fair article came out) to have seen Amazon be really daring and attempt to run two split, simultaneous timelines — one leading up to the forging of the One (and Sauron’s defeat by the elves and Númenor’s fleet), and another focused on Akallabêth and, perhaps, the War of the Last Alliance (also culminating in Sauron’s defeat, this time by the elves and the Dúnedain of Arnor and Gondor).
Doubtless, it would be demanding on the audience. But if it worked, it would have been amazing.
It’s worth noting, though, that J.R.R. Tolkien in his appraisal of the Morton Grady Zimmerrnan’s 1958 script made specific reference to his displeasure with time contraction of events.
There he states that:
I fail to see why the time-scheme should be deliberately contracted. It is already rather packed in the original, the main action occurring between Sept. 22 and March 25 of the following year. The many impossibilities and absurdities which further hurrying produces might, I suppose, be unobserved by an uncritical viewer; but I do not see why they should be unnecessarily introduced.
Letter #210, The Letters of J.R.R. Tolkien
Does that make this particular contraction objectionable?
In Letter #210, Tolkien points out that he doesn’t want to see “his work treated as it would seem carelessly in general, in places recklessly, and with no evident signs of any appreciation of what it is all about.” He does not want the tone lowered “towards that of a more childish fairy-tale.” Lastly, he does not wish for deliberate alteration of the story, in fact and significance, without any practical or artistic object [my emphasis].”
At least, those are my key takeaways.
Now, one observes that if the time scheme of The Lord of the Rings is packed, the precis account of the Second Age in The Tale of Years is most certainly not.
Tolkien also notes in Letter #210 that he closely observed the passing of seasons in The Lord of the Rings. He suggests that such pictorial representations could be used to non-explicitly indicate the passage of time. Similar effects might be employed for The Rings of Power series. Maybe not the thousands we are familiar with from “The Tale of Years”, but certainly dozens — or even the 100 to 200 that might encompass the lifespan of a Dúnedain of Númenor, or a dwarf of Durin’s line.
How much time is being contracted? Vanity Fair is not precise: the writers say that events are compressed “into a single point in time.” That might mean a span of a generation.
Here is where it would have been fascinating to be a fly on the wall in the discussions between Amazon Studios and Tolkien Estate.
Finally, keep in mind J.R.R. Tolkien’s letter to Milton Waldman outlining his artistic vision:
I would draw some of the great tales in fullness, and leave many only placed in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd.
Letter #131. The Letters of J.R.R. Tolkien
Absurd. Yet, here we are.
With this in mind, I think there are promising signs that Tolkien Estate (and indeed, Amazon Studios) is seeking Art, not just Cash. Early shoots with the promise of beautiful spring, you might say.
But there’s still an awfully long way to go.
As Galadriel says in The Lord of the Rings: “hope remains while all the Company is true.” We’ll see in September how true this particular company has been.
About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis.The opinions in this article are his own and do not necessarily represent those of TheOnering.net and other staff.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
As we all know, Prime Video’s teaser trailer for The Rings of Power was released on Sunday 13 February, and aired during the Super Bowl. With 257 million views in the first day, the teaser trailer has broken Super Bowl records (as reported by SyFy Wire). TORn’s own Official Trailer Watch Party, in partnership with Prime Video, and with a host of guests, had peak concurrent viewers over 65k. Whether you’re thrilled with the teaser, or skeptical about what’s coming in September, there’s no doubt that fans are interested.
We asked fans to share their reactions with us as they watched the trailer for the first time, tweeting to #LOTRFans. Prime Video have cut together some of these reactions, which you can watch below. And now we wait; what will be revealed next…?
