From comedy and political drama, to large scale productions, Kip Chapman has the skills and range to accomplish whatever is needed of him for Amazon’s The Lord of the Rings inspired series.
This short biography of Chapman is the latest in our daily series highlighting the recent casting announcements.
Kip Chapman is an award-winning writer, director and actor with numerous film, theater and TV credits under his belt. Shortland Street, Top of the Lake and 6 Days, a movie about the 1980s Iranian hostage siege, are highlights from a review of his resume.
Chapman is a well established triple-threat artist, who has shown a tendency to ‘go big’ with stage productions as well.
Kip Chapman in Apollo 13: Mission Control
One of his biggest projects was as co-creator and performer of an interactive stage show called Apollo 13: Mission Control. The 2008 show recreated the ill-fated Apollo 13 mission – but with audience participation. The idea of this interactive theater piece was to encourage audience members to play along as astronauts, reporters and mission control staff, using consoles and props modeled on the originals at Houston’s Mission Control. The show toured New Zealand and Australia, eventually arriving in the US in 2013.
Kip Chapman in Hudson and Halls Live!
He followed Apollo 13 with the comedic Hudson and Halls Live!, another performance theater show, inspired by the 1980s TV chefs Peter Hudson and David Halls. Like his previous work, this was an immersive show – this time taking place in a 1980s TV studio, complete with live studio audience, and mimicking the eccentric cooking show. Hudson and Halls were known to be a bit chaotic, endearing, and funny, in this camp cooking show which broadcast from 1976 to 1986. They bickered, drank on air, and often struggled to complete the recipes. Chapman’s show emulated the recording of a single episode.
And from there, Chapman went even bigger, as the Creative Director of the 2017 edition of World of Wearable Art. How big is this event? It averages about 3500 people every night for more than two weeks! The Wearable Art aspect is pretty much costuming on steroids, and it is the job of the Creative Director to make all the sets and environments that these garments can live in – a significant task, to say the least. Above you can see an example of the amazing work that comes out of these shows – specifically Stuart Johnson’s 2002 winning entry ‘Persephone’s Descent.’
Chapman’s breadth of experience makes him perfectly suited for the complexity of Tolkien’s world, and Amazon’s production. While we have no clues from his experience on where he may fit, one could guess Chapman could play a Numenorian, or potentially an Elf. Your guess is as good as ours – time will tell!
Editor Note: Join TheOneRing.net as we focus on the recent cast member announcements for Amazon TV’s The Lord of the Rings inspired TV series. Throughout the month, and as part of our Tolkien Advent Calendar celebration, we will be taking a deep-dive into their previous work, relating that to the world of J.R.R. Tolkien. Today’s calendar is below.
The Amazon production of its Middle-Earth stories has been ongoing, but now we are in a time when the arrival of information from them concerning this production is accelerating.
The Professor – J.R.R. Tolkien
“By and For the Fans of J.R.R. Tolkien.”
TheOneRing.net’s tagline since 1999
The One Ring staff has been fans of J.R.R. Tolkien for quite some time, and it has always seen its core mission to be defined by its tagline: “By and For the Fans of J.R.R. Tolkien.” This site tries to do many things in support of this mission: support and celebrate fandom and fan activities – from costuming, to open invite events, to the line parties during the films, to group re-reads of Tolkien’s works, to so much more. However, this site has been humbly privileged to not only be supported by fans of Tolkien, but to be given access to many people involved in the production of adaptations of Tolkien’s work. The One Ring takes this gift of access seriously, and wants to do what’s best by the fans to make the most of this access, and to represent the best interests of the fans to these productions, so that the best possible adaptations of Tolkien’s work are made.
A few things have become clear to the staff of The One Ring (TORn) over the twenty years of its existence – time spent discussing and dissecting 6 major films, a handful of stage productions, multiple audio recordings, collectible figurines, and so much more. TORn has learned that what matters most is this:
“The more an adaptation sticks to the spirit and the motivation behind Tolkien’s work, the more successful it becomes, in both the short and long term, in both critical reception, and financial return.”
Over the years, TORn has learned an important lesson: if we, as fans, wish to have any influence over adaptations, we need to follow two important rules: first, we try to avoid quibbling over tiny details, and second, we gladly support the assignment of production staff, both in front of and behind the camera.
So, in terms of offering any constructive critique (pro or con), The One Ring will focus on trying to influence the productions to stay fidelitous to Tolkien’s spirit. For example, those who adapt Tolkien’s work would do well to read his letter #246 in “The Letters of J.R.R. Tolkien” to understand some of Tolkien’s subtle thoughts concerning the concept of ‘both intent and actions have consequences.’
Without some degree of freedom, the best people will simply be uninterested in adapting Tolkien.
As it concerns details of scripting and plot, TORn recognizes that adaptations will need to modify the story in various ways. While everyone will have their opinions on each and every detail, TORn realizes that changes need to be made, and the director and production company need to have freedom in telling the story. Without some degree of freedom, the best people will simply be uninterested in adapting a work. Therefore, while TORn will report on non-spoiling plot details that it becomes aware of, TORn commentary will be focused on, as stated above, encouraging production companies to stay true to the core spirit of Tolkien’s work. This is why, a few months ago, TORn pushed hard against even the possibility of gratuitous sexuality in adaptations.
Without some degree of freedom, the best people will simply be uninterested in adapting a work.
As it concerns casting and the assignment of production staff, what TORn has seen, time and again, is that there is incredible initial fan reaction for or against newly named cast members, but that all the support or angst over an acting choice disappears once the adaptation is released. To quote a far better author than I, all of that angst is ‘sound and fury, signifying nothing.’ Therefore, at this point, TORn almost universally celebrates the announcement of new cast and production staff, and wants to use whatever influence it has with them to encourage them to create performances that are fidelitous to the spirit of Tolkien’s work.
Adding Tauriel caused a lot of anxiety in early production of The Hobbit films
For some examples of this ‘unfounded sound and fury’ go back twenty years and consider how people were asking “Who is Ian McKellen? Can he play a convincing Gandalf?” “Who is Viggo Mortensen?” Can he carry 3 films as the action hero lead?” “Why is Elijah Wood – and isn’t he too young to play Frodo?” “Do we really want Rudy as Samwise Gamgee?” “Who is Miranda Otto? Can she play a convincing Eowyn?” My goodness; what time has taught us!
Again, one point is crucial so it bears repeating: TORn celebrates – universally – when staff is added to a production – both cast and crew. TORn does this because it has found that celebrating and supporting them encourages them in ways large and small to put in their best work – and to take more seriously comments TORn may make on choices that impact the core spirit of Tolkien’s work (as the staff of TORn best understands it.) TORn does this because it wants the best possible adaptations of Tolkien’s work to be released, so it focuses on what is most important.
Again, TORn has found that almost every debate about cast choice dies down once an adaptation is released, and then, it’s all about the strength of the performance of that cast, as individuals and as an ensemble. This is not just seen in casting of Tolkien-based productions, as shown in the examples above, but in every production, everywhere. For example, there was quite a bit of debate concerning the diversity of the original cast of ‘Hamilton’ – until it was released to pretty much universal acclaim.
Hamilton Cast
Why does TORn focus on fidelity to the spirit of Tolkien? Why does it work to not get sidelined by other issues? To paraphrase a line from the Jackson adaptation of The Lord of the Rings…
“There was some good in the spirit of J.R.R. Tolkien that motivated him to create his imaginary world in just the way he did. And it’s worth fighting for.”
Editor Note: Join TheOneRing.net as we focus on the recent cast member announcements for Amazon TV’s The Lord of the Rings inspired TV series. Throughout the month, and as part of our Tolkien Advent Calendar celebration, we will posting articles and cast profiles, as well as some other fun, all relating that to the world of J.R.R. Tolkien.
British-born American actress Cynthia Addai-Robinson brings a broad range, strong epic roots, and even some LotR/Hobbit connections to Amazon’s new Middle-earth series.
Cynthia Addai-Robinson and Manu Bennett in Spartacus
She’s experienced with episodic television, with a 2012-13 breakout role as Naevia, the slave turned warrior in the STARZ series Spartacus. The Naevia role brought with it some serious sword training, familiarity with New Zealand filming, and an overlap with some familiar folk to the Tolkien universe, including fan favorites Craig Parker, and especially Manu Bennett, who starred as Naevia’s lover, Crixus, in the series. Addai-Robinson’s credits stretch from drama (Marybeth Medina in the Ben Affleck vehicle “The Accountant”) to television series (appearing in all three CSI shows, and most recently in another STARZ series, Power), and geek-friendly offerings (like Aja in The Vampire Diaries and Amanda Waller in Arrow). Prior to taking up acting, she was an accomplished dancer, again with a broad repertoire from ballet to jazz. With that kind of range, an elven warrior role seems completely conceivable.
“The great thing about really heightened historical dramas is that they can convey much larger themes.”
Cynthia Addai-Robinson
Cynthia Addai-Robinson as Treasury Department analyst Marybeth Medina in ‘The Accountant’
In reflecting on her acting opportunities, Addai-Robinson was quoted, “The great thing about really heightened historical dramas is that they can convey much larger themes.” That sounds like someone ready to take on Tolkien!
Cynthia Addai-Robinson merrily ready for some epic mayhem… Instagram @cynthiaaddairobinson
Editor Note: Join TheOneRing.net as we focus on the recent cast member announcements for Amazon TV’s The Lord of the Rings inspired TV series. Throughout the month, and as part of our Tolkien Advent Calendar celebration, we will be taking a deep-dive into their previous work, relating that to the world of J.R.R. Tolkien.
We’ve been digging through the Green Book archives a bit to find relevant articles discussing the ‘purity’ of Tolkien and his works. We came across this classic from Green Book author, Anwyn, where she addresses the questions that came out of watching the 2003 MTV Movie Awards. If you aren’t familiar with it…read on!
The Hobbits Accept ‘Best Movie’ at the 2003 MTV Movie Awards
I admit it. I’m at a loss for a stunning literary topic, one that will provoke your emotions, stimulate your mind, and offer some insight into Tolkien’s life or works. I sat down this evening with my brain half fried, knowing that I had a deadline to meet, and started flipping channels. Lo and behold, what did I pass but the MTV Movie Awards, and hark, who should be sitting behind Kirsten Dunst but the intrepid trio of Sean Astin, Elijah Wood, and Billy Boyd? Moreover, what award should they be announcing at that very moment but the award for “Best Movie?” I stayed to watch, having not bothered the first time they ran it.
I admit it. My finger is not on the pulse, as they say, of the pop-culture acclaim the Lord of the Rings movie phenomenon has generated and continues to stoke. I have not followed marketing trends; I couldn’t tell my father what TTT had grossed at the box office when he asked. I know, in a general way, that these films are wildly popular beyond the book’s fan base, that the movies have started their own fire that, due to the modern climate, burns higher than the literary one created when Tolkien was still living. What I don’t know is whether or not that’s a good thing.
The intro was cute. Keanu Reeves was charming. And the winner is … The Lord of the Rings: The Two Towers. Elijah, Billy and Sean, looking MTV cool in untucked, unbuttoned shirts, bounded up on stage, where Sean apologized for Gollum’s previous tirade. “That dude is out of control!”
I admit it. I didn’t watch TORn’s clip of Gollum’s “acceptance speech.” I read a transcript and was horrified enough that I had no desire to watch it. Why? you ask. It was funny! you say. Perhaps. But the issue, in my mind, was not whether or not it was funny, but the fact that Tolkien is barrel-rolling in his grave at having one of his characters co-opted into speaking such filth. Puritan, you remark. Perhaps. “Purist” would be closer to the mark, I think. The hallmark of Tolkien’s work is the very purity of his language, and to find the most vile of modern insults coming out of the mouth of a digitally created Gollum disgusted me and, I think, would have appalled and disgusted Tolkien.
The boyishly handsome trio accepted the award on behalf of the production and left the stage. I came to my computer wondering. This new popularity: good or bad?
There is no need to speculate about what Tolkien himself would have thought. Though the popularity of his books, in his day, was smaller in scope and lesser in frantic, frenzied intensity than that we are observing now in response to the movies, he still had to fend off a wave of targeted questioning and obsession with minutiae, causing him to make remarks about his “deplorable cultus” and the dangers of becoming involved in the stories “in a way I’m not.” That tendency is more alive and well than ever today, thanks partly to the very wonderful establishment with which I am connected and others like it on the internet. “Fan fiction,” which I assume to have existed before the web but which certainly has suffered an unbelievable popularity explosion since, with access to an immediate and free forum, proves this in and of itself, as do the myriad questions we get at Green Books every day.
My colleague Quickbeam and many others have come down to the baseline opinion that if it encourages people to read Tolkien, then the indignities that come with the Hollywood marketing machine are well endured. But arepeople reading Tolkien as a result of all this hype? The evidence that I see is mixed.
Viggo reads ‘The Return of the King’
We get many letters at GB that include notes like “I am now reading the books to my [sons, daughters, nephews, nieces, grandchildren], and they LOVE them. They would never have been interested in them before the movie.” That’s wonderful, and of course I couldn’t be anything but pleased. But we get a greater number of notes, questions for the Q&A, that clearly show that their authors have not read and have no desire to read—only to know more about the world that their current idols [insert Elijah, Orlando, Billy, Dominic, Sean, Sean, or Viggo here] inhabit in these films. “Who is Aragorn and where did he come from?” “Who are Legolas’s parents? Does he ever fall in love? Is it true that he dies in the third movie?” and my personal favorite, “Can you give me a complete history of Elrond? Who is he, where did he come from, who are his parents, what is his significance?” Don’t tell me that these folks have any intention of reading—this stuff could be readily found if they’d ever even cracked a book.
So if people are not reading, what’s the fuss about? Special effects, swordplay, hot guys, and hot chicks, apparently. Again I hear that scraping, swishing sound … Tolkien is rolling.
I am not intending any commentary here on Jackson’s films themselves. My opinions on that score are well documented elsewhere. My concern is with the ultramodern hype that has followed.
I admit it. There’s not much reason to care whether or not the marketing machine runs at full efficiency and creates these millions of screaming Orli drones. After all, what does it hurt Tolkien’s books or my enjoyment of them? From one perspective, it doesn’t hurt one iota. From another perspective, it hurts to see characters that I regarded as the highest of the high, the pinnacle of heroic epic, degenerated into pop-culture icons. And it is not so with some of my other favorites. Anne of Green Gables, Elinor and Marianne Dashwood of Sense and Sensibility, and others have all been brought with sensitivity and grace to the big screen. And sensitivity and grace are not lacking in the majority of Jackson’s characterizations, either. So the difference must lie in the public reaction to them and to the supposedly clever accolades, like Gollum’s fling at the MTV awards, that follow.
Forgive me, dear readers, if I am indulging in a ramble without a point. This musing is simply part of a bigger question—how healthy is all this fandom, anyway? “Frenzy and intensity,” I said above to describe the modern fanboy and fangirl machines, and it’s true. The nearness of people to one another through the media and internet allows them to mass-embrace one concept in a way they never could have done a century ago. Is this healthy for our individual and collective minds and spirits? The screaming, the shoving for a picture or an autograph … I digress. Those are issues connected with all popular Hollywooders, not with Lord of the Rings alone, of course. And I guess that’s the crux of the matter—something formerly so exalted in the realm of literature alone has been brought to a level equal to that of the Backstreet Boys or Britney Spears. I guess that’s where the real rub lies. Like the rub of a tweed jacket upon the inside of a coffin. Tolkien is rolling.
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.
Amazon Studios’ LOTR Series Heads Into Uncharted Carnal Waters with Casting Call for Nudity and an “Intimacy Coordinator”
This might be a singularly surprising or even upsetting concept to present to Tolkien fans. If I were to address this reality to Star Wars, or Harry Potter, or even Miyazaki fandom it could raise eyebrows or outright alarm. But gather ’round the campfire and hear my tremulous words:
“Prepare for a newly-sexualized version of your favorite fantasy world.”
It’s the equivalent of saying: “Get ready to watch Anakin and Padme do something onscreen that will forever alter the way you see Star Wars. Sorry about the sand. It gets everywhere.”
Is this a real lightning rod issue? Depends on your temperament. I have to be really careful about presumed gatekeeping (which is not my intention) or any semblance of that; I just want this discussion WAY out in the open. Let’s get to the heart of this, because it is a thing now.
We must clearly ask ourselves what we want and don’t want from a billion-dollar Tolkien TV adaptation, because the tracks are laid and that train is headed straight for us, via your streaming device and paid subscription.
It is needful to discuss and understand those qualities of Tolkien’s work that are most important to us. Fair to say we have a worldwide multigenerational scholarly and fan community that share some great common denominators of what “fidelity” means in an adaptation of Tolkien. Thankfully we have shared voices; and if we shout from the rooftops collectively Amazon Studios might, perchance, just listen.
Let’s tell them what we expect. We are the audience they need to win over, after all.
T/W: By necessity, our topics today include sex organs, bodily functions, sexual abuse and rape in other fantasy TV shows, and coordinating intimacy—so here’s the trigger warning ahead of time. New territory for TheOneRing.net, BUT HEY IT’S 2020! Bear with me. We may find an egalitarian way forward in this conversation.
Amazon’s Approach: Will There Be Sex On Screen?
Fact check: We can confirm Amazon Studios has hired Jennifer Ward-Lealand, a well-known New Zealand Intimacy Coordinator, for the Lord of the Rings production.
The only Amazon show in NZ is Lord of the Rings, a production so overwhelmingly large that Auckland film unions report that over 80% of all local production crew are working on it, leaving no crew for other TV shows. It should be known that instead of clearly stating to be on LOTR, Ms. Ward-Lealand’s official site declares the acronym for “Untitled Amazon Project” / UAP is listed on her upcoming projects, first reported on Knight Edge Media and other sites. We know for sure Amazon’s UAP is the catch-all working title for LOTR. Remember how “Jamboree” and “Little Rivers” were the working titles for Peter Jackson’s LOTR and Hobbit Trilogies, respectively. But how much nudity is Amazon considering?
Fact check: Rumor! An open casting call for background extras “comfortable with nudity” appeared. Just how many naked extras do you need for a classy, romantic love-making scene?
Caleb Williams dug deep while reflecting on some of our earlier reporting on TheOneRing.net of new casting announcements by BGT Casting; stating ‘must be comfortable with nudity’ for upcoming roles in LOTR. Put two and two together: there’s an Intimacy Coordinator who serves an important role to ensure the well-being of actors during sex scenes (or with nudity) and then we learn nudity in certain roles is openly asked for.
Will Characters Be ‘Sexified’ That Weren’t In Tolkien’s Books?
Fact Check: Unknown! The precise story they’re telling is unknown, as is the time within the 2nd Age wherein it’s all set. Don’t know what’s in the scripts, their content, nor what proper characters are associated with already-established cast members. We do know who plays a handful of the leads (Galadriel, Elrond) with best guesswork. We follow these actors on Instagram but we don’t know exactly who this ‘Tyra’ characters is because Tolkien never named one.
We surely don’t know who’s involved in scenes of nudity/sexuality. Debate is now open on where that would be necessary in a grand story of Númenor or the Elven-smiths of Eregion, or the welcoming halls of Khazad-dûm in its pre-Balrog glory.
We do know they are using water tanks. A stunt performer was injured filming scenes underwater (and she has thankfully recovered). Possible connection to Númenor being flooded and ruined in a specific catastrophe? Yes, quite possible. Underwater scenes depicting naked people swimming? We just don’t know.
How Tolkien Presented Sexualized Content
He simply didn’t. Tolkien was super-duper Catholic. In his own words to his publisher he expressed the desire for his overall Legendarium to be presented as “‘high’, purged of the gross.” That’s from his famous Letter 131. I’ll get back to it in a bit. He did not write stories in the manner of George R.R. Martin, although the inverse is often true. The word ‘rape’ does not appear in The Hobbit, and only once in LOTR: The Return of the King (even then not referencing a person but a geographical place, Gondor: as in ‘sack’ or ‘pillage’).
There are a few notable instances of non-sexual nudity mentioned in The Lord of the Rings itself: (a) the hobbits’ bath in Crickhollow, (b) the running naked through the grass to clear their hearts and minds after imprisonment by the Barrow Wights, (c) Frodo’s rescue by Sam at the Tower of Cirith Ungol. Perhaps there’s one I missed.
A few stories from The Silmarillion include incredibly dark things like incest; as with Túrin and Niënor. But that wasn’t their fault (poor things) and Amazon Studios does not have the licensing for those particular stories.
That’s not what they’re currently producing.
Tolkien vs. Other Popular Fantasy
I’m more keen to look at Tolkien’s works the way the Professor himself looked at them. He was spiritually and mentally deliberate in everything he did. With his “Sub-Creation” Tolkien meant to celebrate God’s main Creation with such language and artistry as he possessed. This Secondary World of Arda was a vessel of joy and a profound expression of faith. If anyone had a “purity” litmus test for this kind of fantasy it was John Ronald himself, as seen in a nearly 10,000-word letter to his publisher Milton Waldman, from late 1951:
Do not laugh! But once upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend, ranging from the large and cosmogonic, to the level of romantic fairy-story, the larger founded on the lesser in contact with the earth, the lesser drawing splendour from the vast backcloths – which I could dedicate simply to: to England; to my country. It should possess the tone and quality that I desired, somewhat cool and clear, be redolent of our ‘air’ (the clime and soil of the North West, meaning Britain and the hither parts of Europe: not Italy or the Aegean, still less the East), and, while possessing (if I could achieve it) the fair elusive beauty that some call Celtic (though it is rarely found in genuine ancient Celtic things), it should be ‘high’, purged of the gross, and fit for the more adult mind of a land long now steeped in poetry. 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.
Excerpt from Letter 131, “The Letters of J.R.R Tolkien” (1981), p. 143
Here he admits his original ambitions may have been overreaching. Generations later we find they were not; as many other minds, artists, and hands have since played within Arda. Amazon Studios is playing in that sandbox right now, as I write this. Broadly speaking, Tolkien’s popularity helped launch an entire strata of “High Romantic Fantasy” that changed publishing forever. Previous adaptations of his books to films, plays, games, comics and audio have, by and large, held true to this aesthetic.
Notice how he describes his connected Legendarium with words like “large and cosmogonic,” “splendour,” “elusive beauty,” “majestic,” “steeped in poetry,” and the most revealing of all: “‘high,’ purged of the gross.”
He never uses words like “scatological,” “salacious,” “sexually charged,” “tumescent,” “steeped in carnality,” or “debauched.” If you are even slightly attuned to Tolkien’s stories you know the tone he set. You know the point I’m driving at. I don’t even feel like being subtle anymore.
Look… this is Tolkien telling you why none of his characters masturbate or take a pee break behind the bushes. He’s telling you why his characters are never described in acts of copulation or defecation. Yes they certainly did copulate, but none of that needed to appear; violating his deliberate idiomatic approach that served his own noble purpose. Nobody ever said the word fart in Middle-earth, at least not through the voice of our omniscient narrator. Elsewhere he makes clear his reasoning: the heroic and sympathetic characters do not engage in acts causing revulsion. He leaves that to the Orcs, corrupted enemies, demonic monsters, and their poisoned physical environments; and it greatly heightens the sense of revulsion in the reader by such measured and careful use. Tolkien said that the Orcs’ language (part of their unique cultural brutalism) was far worse than he let on. SO NOTHING IS GRATUITOUS. Not one word is wasted in its application or import.
Professor Tolkien kept the toilets, orgasms, and such other bodily ephemera offstage the entire time. Invisible. Never even suggested. This is high fantasy, remember, and a special kind too. There’s one noticeable exception in The Hobbit: The Desolation of Smaug where Peter Jackson showed Bilbo and the Dwarves climbing into Bard’s house through the secret entrance of, yes, the toilet. Thus the word ‘toilet’ entered Middle-earth dialogue for the first time (Tolkien would have disapproved linguistically at the very least because it’s so damn French); but to some fans this silly, throwaway gag was a red flag that P.J. had *perhaps* missed some of the marks in his adaptation of The Hobbit (amongst other reasons, looking at you Tauriel/Kili/Legolas triangle) compared to the monumental achievement of his previous Trilogy.
Case in point: even the provocative director of the X-rated film Fritz the Cat, Ralph Bakshi, managed to keep it in his pants. His ambitious yet incomplete 1978 animated Lord of the Rings stays in the right lane, true to its high fantasy trope, even though the film is wildly psychedelic in its visual flair. Such a great contrast to his other fantasies Wizards and Fire & Ice which was R-rated “Adult Swim”-fare arriving decades early! Instinctively and thoughtfully, Bakshi knew that Tolkien’s story didn’t need all the Tits & Ass that had previously made the animator the darling of 70’s arthouse cinema. He kept that out of Middle-earth, indulging it elsewhere more suitably for his other films.
I recall my Dad taking me to the movies see John Boorman’s Excalibur when I was just 12. He knew my brother and I were really big on this sword and sorcery thing. Our love of Tolkien was so strong Dad figured the King Arthur legend would be ideal for us but he didn’t comprehend what was behind the “R” rating. I remember so clearly the opening scenes of Uther Pendragon’s sexual assault against Arthur’s mother, arranged by Merlin to conceive the future King. Shocked, my Dad leaned over to check on me—uncertain what to do: “You okay son? This might be too much for you…” I waved him off, “Yeah, I’m fine,” while my retinas were seared permanently with the first sexual act I had ever witnessed in my life. It was inscrutable and jarring to a child. Confusing. Dad wasn’t prepared to discuss the birds and bees and their biological needs, not by a mile. It didn’t overly-phase me, as my young mind was too busy trying to memorize The Charm of Making.
But it would strike me as very odd (and unnecessary) that a future predicament similar to my Father’s might befall parents innocently watching “a Tolkien fantasy show.” Imagine if suddenly you have to press pause, take the smallest children out of the room, and… “have the talk.” Well, you get it.
That was assuredly the moment for me where Tolkien differentiated himself from other fantasy storytellers. Indeed, that distinction was drawn in sharpest relief. Perhaps we are lucky that Mr. Boorman never got to direct LOTR for United Artists (that almost happened for real, but he made Excalibur instead).
“Dawn of the Firstborn Elves” by Ted Nasmith
If you are unfamiliar or never read Tolkien and wanted to get into the fandom, would you want to start with the adaptation that stikes furthest away from Tolkien’s literary sensibilities? One which could be deemed too much for a child to watch?
Sure, there’s more than enough room for all the “adult content” of darkness and otherworldly terrors from Tolkien’s larger span of legends, there is DEFINITELY a place for that! I’m not arguing against any adaptation desirous of that. We can go as far away from the golden-hued fairy story of Bilbo’s journey that you want and go right to the 2nd Age of Sauron-inflicted deceits, treachery, and metaphysical corruption.
But why does it need to be prurient?
The horrors brought upon Númenor end up with Satanic style Morgoth-worship and ghoulish human sacrifices. Body horror? Beheadings? Ripping living hearts from a sacrificial victim? Maybe. But there are no brothels mentioned. No Littlefinger. No orgies.
The Hobbit and LOTR stand rather apart from the most insanely disturbing stuff within The Silmarillion (especially) and Unfinished Tales, so yes, it may yet be that someday we will have a separation of what Tolkien shows/movies you watch with your little ones… and those you just don’t. And now we realize the time may be upon us sooner than we think.
I’m just a guy who knows what he’s getting when he reads Tolkien. I know what I like: the languages, the world-building, the spirit of Arda. There’s a gazillion other styles and idioms of modern fantasy where you can get your fix of anything: be they puppets (The Dark Crystal: Age of Resistance) or video games (hey there Witcher).
Now The Witcher comes to mind as a counterpoint to Game of Thrones in terms of sexual portrayals. GoT portrayed so much of its sex negatively, tied to assault and dehumanizing acts (yeah, yeah there’s a wee bit of “romance” in the tub Jaime/Brienne) while in contrast The Witcher is extremely playful and wink-wink (hey, there’s a magic spell for your erectile dysfunction, how cute), and the orgy scene shows a woman completely in charge of its illusory energy. Not a victim at all compared to so many other depictions of female characters in fantasy. Yes, there’s room for all that sexy “insert tab A into slot B” in modern fantasy, as we have seen, but the end results can be widely divergent.
Y’all ready for this? As I said in the Star Wars example at the top of this piece, Amazon’s series might be an adaptation that forever alters how we see Arda.
What Exactly Do We Want From Amazon’s 2nd Age Series?
That’s the big kahuna. The ever-burning question. Observe what’s happening over there in Amazonland/Auckland. They hired a ton of very talented people but let’s focus on a couple of things:
Esteemed Tolkien scholar and author Tom Shippey was only brought on board to help with the Map of Middle-earth that launched their Twitter feed a year ago. There has not been any marketing effort since then and he is confirmed to be no longer on the project. It seemed to be only lip-service to the fans, which does NOT work. That kind of subterfuge will NOT work, Amazon. We don’t know why his name still appears on the Cast and Crew Listing over on IMDb.
John Howe is not currently in New Zealand and does not appear to be working on the production, certainly not in the fullness of his engagement as he was with Alan Lee back in the time of the New Line LOTR Trilogy. He may have provided some work for Amazon’s show but he’s seemingly not now.
Then there’s that one dude that has caused a wee bit of nerves. Bryan Cogman is onboard as a Consulting Producer, after his commanding story work for Benioff and Weiss on HBO’s Game of Thrones. Quite capable and mega-geek-centric, Mr. Cogman however was a focal point of some controversy on that production. Ringers have been quite vocal that the kind of “rapey” Sansa Stark storylines (attributed to Mr. Cogman) would NEVER be the kind of thing they’d want to see in Middle-earth, no matter how gritty you want to get.
Grit and realism have their place. Darkness and light are explored in their extremes. No one is shying away from the more “adult” things Tolkien had in his stories or saying they don’t exist. The real question is to what extent are they going to “sexify” this show for the sake of getting their next Game of Thrones mega-hit? Just look at this from Variety where Jeff Bezos has mandated a programming shift to get what he wants: another GoT.
AMAZON: So you’re okay with accidental incest, human sacrifice, dismemberment, and sins against Eru?
RINGER FANS: Yes! That’s what Tolkien wrote!
AMAZON: But… you’re not okay with depicting sexualized characters having intercourse?
RINGER FANS: Exactly! That’s what Tolkien wrote!
AMAZON: ……
A predictable future tweet
My personal take: What fans want most from any Tolkien adaptation is verisimilitude. Something that carries the true spirit of Tolkien and has integrity in realizing it. Amazon’s showrunners can keep that integrity by staying true to the themes and characters and intent of the author. It is not impossible to guess Tolkien’s intentions when they are so plainly available to us, even though he is gone. #FidelitytoTolkien is a hashtag we have endeavored to use. Not perfect, but it’s a decent axiom to bear in mind.
Seeing anything remotely sexified between Galadriel and Annatar (oooh, a hot young shirtless Sauron in his seduction mode) or anything else like that is going to turn off fans so fast it will cause seismic waves through a very vocal fandom.
There won’t be any coming back from that. 1000’s of fans have replied and quote-tweeted this news with a variety of opinions for and against:
We are starting to see casting calls for actors "comfortable with nudity"
AMAZON DON'T DO IT
DO NOT!
This isn't Game of Thrones. Hedonism did not bring down Numenor.
Does the Tolkien Estate Have “Veto Power” Over the Scripts?
Fact check: Unconfirmed! Well, we have been reporting that they do but it is unclear to what extent that power really exists. It is troubling. The Estate’s authority over the show’s content might not be sacrosanct; indeed it may be limited to keeping the structural frame of the narrative within the existing timelines we know are book-canon. They most likely don’t have final script approval (maybe there’s an infinitesimal chance they do); but it’s more like a general oversight to prevent fundamental alteration to the histories. We have a funny feeling that the two-episode combined pilot they are finishing up will be presented for the Estate’s approval. Time will tell.
But in my mind we’re better off tackling this as a fandom right now, and tell them what we want and don’t want from this Tolkien adaptation. They must listen.
Ringers—I ask you all: Do you want this LOTR to be just a Witcher meets Riverdale series with the branding of Middle-earth slapped on it? Why do I even say that? Because I’m afraid that’s what’s happening. Respected Tolkien twitter scholar The_Tolkienist shared an epic 30-tweet thread on the matter (with plenty of wink wink sarcasm).
One of those threads that hold no provocatively debated issues, points of contention, highly divergent perspectives …
SEXUALITY, TOLKIEN & LOTRONPRIME.
Strap in, a cis het middle-age white male is going to splain.*
Leave your comments on our message boards and social platforms: Twitter, FB, Instagram, knowing that Amazon Studios are definitely listening… and collecting data (!)… and calibrating their next efforts.
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.
It’s that time of year, when fans from the world over gather in downtown Atlanta, for a weekend for well-mannered frivolity. Or crazed depravity. Or, most likely, some combination of the two. This year, alas, coronavirus means no in-person DragonCon, which is sad for all those who are missing seeing friends there. But it’s great new for anyone who has never been able to get to Atlanta, as this year you can join the fun online! And there is PLENTY going on for fans of Middle-earth. Let’s take a look…
Staffers deej and greendragon will be taking part as ever, and TheOneRing.net’s panel will be online at 11.30am ET on Saturday (5th). There, deej and greendragon will be joined by High Fantasy Track assistant director Madeye Gamgee, who was recently lured into joining the TORn staff. We’ll be looking back on the past 12 months of Tolkien fandom, and looking forward to see what we can be excited about in the year ahead. (Spoiler: there’s actually rather a lot!)
Before that, on Friday evening at 8.30pm ET we’ll be hosting a Lord of the Rings: The Fellowship of the Ring (EE) watch along. Set up your own device, and we’ll all hit play together at 9pm precisely; and text chat along as we watch. AND earlier on Friday, you can catch a panel with none other than Nori, Ori, Bombur and Bifur: Jed Brophy, Adam Brown, Stephen Hunter and William Kircher will be appearing together to chat all things dwarvish!
There are lots of other things happening which will be of interest to Tolkien fans. Here’s a list of highlights of the con weekend, beginning this evening:
Tolkien Come to Virtual Dragon Con High Fantasy Schedule 2020 (all times are Eastern Daylight)
Thursday, Sept. 3
9-10 pm
Sylvester McCoy (from 2011)
D*C Classics
10-11 pm
We Have Always Fought: Warrior Women in High Fantasy
D*C Fan Tracks
Friday, Sept. 4
10–11 am
Greg Hildebrandt Spotlight
D*C Main
5:30–6:30 pm
Dwarves on the Loose!(Jed Brophy, Adam Brown, Stephen Hunter, William Kircher)
D*C Main
8:30 pm onward
Watch-a-Thon! Fellowship of the Ring (hitting “play” together at 9 pm EDT)
And as if that weren’t enough… We are also excited to let you know that there WILL be TORn t-shirts available! You’ll be able to order them online, and we’ll be revealing the designs for 2020 in our panel on Saturday, 11.30am ET. So please join us then! We’ll also post links here for buying, after Saturday’s reveal.
It’s all happening at DragonCon 2020. We may not be able to gather in person, but we can still have merry meetings online; see you for panels, movie viewing, and more. Let the fun begin!
The horrors brought upon Númenor end up with Satanic style Morgoth-worship and ghoulish human sacrifices. Body horror? Beheadings? Ripping living hearts from a sacrificial victim? Maybe. But there are no brothels mentioned. No Littlefinger. No orgies. 
