Biographics
Published 12 Apr 2018Known as “the father of modern fantasy” his epic tales of legend and lore have been enjoyed by millions of people all over the world — devoured in popular books and adapted for Hollywood blockbuster films. Unbelievably bright, he was a distinguished university professor, poet, historian, and expert linguist. As a child, he even made up his own languages for pure fun.
Visit our companion website for more: http://biographics.org
Credits:
Host – Simon Whistler
Author – Crystal Sullivan
Producer – Samuel Avila
Executive Producer – Shell HarrisBusiness inquiries to biographics.email@gmail.com
Biographies by the book, get J.R.R. Tolkien’s biography from Amazon: http://amzn.to/2ChRfIV
December 20, 2019
J.R.R. Tolkien: Author of Worlds
February 24, 2019
The Hobbit: The Desolation of Warners (Part 3/2)
Lindsay Ellis
Published on 20 Apr 2018Nothing is pure.
From the comments:
Special Agent Washing Tub
2 months agoMe; * watching this and feeling my childhood shatter*
“Why does it hurt so much?”
Lindsay: “BECAUSE IT WAS REAL.”
February 23, 2019
The Hobbit: Battle of Five Studios (Part 2/2)
Lindsay Ellis
Published on 3 Apr 2018So we’ve looked into what the problems were with these movies, the question now is … why? What happened, Peter Jackson? WHAT HAPPENED?
From the comments:
app
5 months agoThat interview clip with John Callen near the end broke my heart. I also grew up with the hobbit and was bored to tears by the movies. But I never thought about the actors of the Dwarves and how important it was that they got pushed aside. The hobbit could have been amazing if it was this band of actors, dressed like dwarves, trying to reclaim their culture and finding out what that really means. It’s a pure idea, and ironically it was corrupted by greed… you reminded me what I loved about the book! :'(
February 22, 2019
The Hobbit: A Long-Expected Autopsy (Part 1/2)
Lindsay Ellis
Published on 27 Mar 2018In which we look back at The Hobbit trilogy and try to give it a fair shake.
Twitter: @thelindsayellis
Patreon: https://www.patreon.com/loosecanon
From the comments:
J Girl
9 months agoWho else is waiting for the next video to be titled “part 2/3” as a slap in the face to the fact that they switched it from two movies to three
February 7, 2019
Lord of the Rings – The Return of the King – Extra Sci Fi – #3
Extra Credits
Published on 5 Feb 2019Tolkien lived in a dark time in history, but he believed not only in having hope, but in sacrifice as a means to redemption, which is why we get such a satisfyingly bittersweet ending in the Lord of the Rings.
January 31, 2019
Lord of the Rings – The Two Towers – Extra Sci Fi – #2
Extra Credits
Published on 29 Jan 2019Tolkien’s writing was majorly influenced by the world he lived in — the concerns of World War II and the aftermath thereof were reflected in the themes of industrialization, more highly nuanced good-and-evil, and “questing” that The Two Towers emphasizes.
The Two Towers presents one big theme that impacted science fiction: industrialization. Isengard really brought into popularity the whole idea of “if you don’t treat nature with respect, you’ll be doomed by nature’s wrath.”
January 24, 2019
Lord of the Rings: The Fellowship of the Ring – Extra Sci Fi – #1
Extra Credits
Published on 22 Jan 2019J.R.R. Tolkien wasn’t *just* a fantasy author — he was a mythology master. As a result, he ended up inventing some of the most popular genre tropes that science fiction heavily draws upon. Fellowship of the Ring introduces the theme of the “lessening of the world” and the decay of humanity.
January 17, 2019
Tolkien and Herbert – The World Builders – Extra Sci Fi
Extra Credits
Published on 15 Jan 2019Mythic worldbuilding and intentionality just weren’t staples of science fiction until the works of J.R.R. Tolkien and Frank Herbert were published. We’ll be doing an analysis of The Lord of the Rings and Dune, respectively — works that still stand out today because they are meticulously crafted.
QotD: Frodo’s sacrifice
I read a lot of The Imaginative Conservative. Their own description of themselves is as follows, “The Imaginative Conservative engages readers in a reflection on the great ideas, the great books and the great persons that make up our Western Tradition.” Dead white men – I suppose – as Berkeley know-nothings say. One of the frequent visitors to the page of the online journal is J.R.R. Tolkien. That British writer who gave the world fantasy – and thereby single-handedly made his indelible mark in the community of civilization. Tolkien’s fantasy is beautiful, and it is profoundly conservative. At the end of the Lord of the Rings trilogy, Frodo and Sam return home to the Shire. The scene is called “The Scouring of the Shire”, and they find Frodo’s home, which he went to the fires of Mount Doom to save, defiled by Saruman. Frodo realizes, in shock and dismay, that even after defeating such a great evil as he has vanquished in Sauron, he must undertake one last fight to save his home which is being ‘destroyed’ by ‘progressive progress*’.
I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: someone has to give them up, lose them, so that others may keep them. But you are my heir: all that I had and might have had I leave to you.
Tolkien was a true conservative – a romantic of the past – who understood that the value of our lives comes only if we understand the great ideas and epic struggles – those that the fires of time have purified – and learn from them, putting them to use in our own time, sprinkled with stardust product of nostalgia. But he was also of this world. The scene has always bothered me – the previous scene ends on such a high note that I’ve always felt that the story should end there. But Tolkien had one last lesson for us. The “Scouring of the Shire” it is said is taken from his experiences returning home from the Great War**; of how his Oxford countryside was changed forever by rapid industrialization, war-mobilization and a traumatized population. Of how things must change – and of how our fight to preserve that which is good in them is never-ending.
That there are no safe spaces anymore.
Joel D. Hirst, “Who the Hell is Milo?”, Joel D. Hirst’s Blog, 2017-02-23.
April 22, 2018
The Lament for the Rohirrim – Lord of the Rings – Clamavi De Profundis
Clamavi De Profundis
Published on 31 Mar 2018Here is our version of J.R.R. Tolkien’s poem, “The Lament for the Rohirrim!” We hope you enjoy it:)
A note on our interpretation:
We approached this piece more “organically”. The melody was composed by singing the lyrics, seeking to be true to the notion of vocal folk tradition. Therefore, the feel of this song is more rhythmically free and more focused on simply dwelling on the questions and answers of the text. There are two sections of the piece: the melody is sung first in a “contemplative” setting, and then repeated in a more “epic” setting, to explore varying sentiments drawn from this beautiful text.
We hope you enjoy this as much as we did creating it! Thanks very much for listening and for your support!
We are unable to get permission to sell this song so we are posting it here free for your enjoyment. If you want a copy of the mp3, we are offering it to those who support us on Patreon!
My brother composed and arranged the piece. My family sang it.
Please no bad language in the comments. We want this to be family friendly:)
Lyrics:
Where now the horse and the rider?
Where is the horn that was blowing?
Where is the helm and the hauberk,
And the bright hair flowing?
Where is the hand on the harpstring,
And the red fire glowing?
Where is the spring and the harvest
And the tall corn growing?
They have passed like rain on the mountain,
Like a wind in the meadow;
The days have gone down in the West behind the hills into shadow.
Who shall gather the smoke of the dead wood burning,
Or behold the flowing years from the Sea returning?
February 1, 2018
The Martian Chronicles – A Dying Race – Extra Sci Fi – #11
Extra Credits
Published on 30 Jan 2018We’re diving into Ray Bradbury’s short stories about life on Mars — and how that life reacts when it encounters human life, and what *their* reaction says about American society in the Cold War era.
November 8, 2016
Operational analysis: The Battle of the Pelennor Fields
The Angry Staff Officer analyzes the Battle of the Pelennor Fields (called by some the Battle of Minas Tirith) in terms of the six warfighting functions:
… Which leads me to my problem statement for this impromptu mission analysis that I am forcing you into: how did the forces of Gondor wage unified land operations versus the forces of Sauron at the Battle of Minas Tirith? More specifically, how can a primarily infantry force defend against a numerically superior enemy that possesses significant air assets, fires superiority, and freedom of movement and maneuver?
Couched in these terms, the problem statement resembles the complex situation faced by our brigade combat teams in a potential peer-to-peer engagement.
The situation – for those who do not remember it – is as follows: the forces of Gondor have been driven back from their forward defensive strongpoints along the Anduin River in the population center of Osgiliath. The withdrawal had been conducted in an orderly manner until the rear guard covering the retreat came under air attack by the Nazgul, which used their air superiority to drive the defenders into a panic. Most significantly, this air sortie wounded the primary land component commander, Faramir, depriving the forces of Gondor of their most effective warfighter.
More than 30,000 orcs and men of the forces of Sauron then enveloped the battle positions around Minas Tirith and began a siege of the 4,000 or so defenders of the city, which was primarily an infantry force with little in the way of cavalry or artillery. Significantly, the defenders possessed virtually no anti-air defenses, allowing the Nazgul freedom of movement around the battlefield – a dangerous proposition as the Nazgul also wielded considerable psychological damage (not unlike the sound of Stuka dive bombers in World War II). The greatest asset for Gondor was the wizard Gandalf – a force multiplier by any definition of the term – who was serving as the principle mission command adviser to Denethor. The objective for Gondor was to maintain their battle positions and hold out until reinforcements could arrive. However, lines of communication were cut during the siege and Gondor could not be sure that cavalry reinforcements from neighboring Rohan could arrive in time to save the city. This uncertainty weighed heavily on the forces of Gondor.
As a good staff officer, I turn to Army Doctrinal Publication 3-0, Unified Land Operations to understand the problem through the six warfighting functions. And given that J.R.R. Tolkien himself was a British signal officer during World War I, it would be appropriate to start out with mission command.
I imagine the author was grinning when he got to this section:
Luckily for Gondor, Gandalf then assumed command of all land forces, despite his position as a primary staff advisor to Denethor.
Yeah, that’s right, a staff officer took over operations.
Gandalf immediately provided vision and direction to the city’s defenders at a critical moment, as the forces of Sauron were conducting a breaching operation on the gates of Minas Tirith utilizing a battering ram named Grond. Arriving at the enemy point of breach, Gandalf rallied the forces in the engagement area, organized the defense, and directly opposed the primary enemy air and land component commander, the Witch-king of Angmar. The Witch-king was Sauron’s chief captain and commander of the Nazgul. Under his supervision, Sauron’s forces breached the main perimeter to the city and the Witch-king moved through the point of penetration into the far side of the breach, where he was confronted by Gandalf. The two land component commanders were prevented from close combat by the arrival of the primary maneuver element: the forces of Rohan.
H/T to John Donovan for the link.
October 12, 2016
A recut version of The Hobbit pares away most of the non-Tolkien parts
Not new, but new to me: I HAVE RECUT PETER JACKSON’S HOBBIT TRILOGY INTO A SINGLE 4-HOUR FILM
Let me start by saying that I enjoy many aspects of Peter Jackson’s Hobbit trilogy. Overall, however, I felt that the story was spoiled by an interminable running time, unengaging plot tangents and constant narrative filibustering. What especially saddened me was how Bilbo (the supposed protagonist of the story) was rendered absent for large portions of the final two films. Back in 2012, I had high hopes of adding The Hobbit to my annual Lord of the Rings marathon, but in its current bloated format, I simply cannot see that happening.
So, over the weekend, I decided to condense all three installments (An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies) into a single 4-hour feature that more closely resembled Tolkien’s original novel. Well, okay, it’s closer to 4.5 hours, but those are some long-ass credits! This new version was achieved through a series of major and minor cuts, detailed below:
- The investigation of Dol Guldor has been completely excised, including the appearances of Radagast, Saruman and Galadriel. This was the most obvious cut, and the easiest to carry out (a testament to its irrelevance to the main narrative). Like the novel, Gandalf abruptly disappears on the borders of Mirkwood, and then reappears at the siege of the Lonely Mountain with tidings of an orc army.
- The Tauriel-Legolas-Kili love triangle has also been removed. Indeed, Tauriel is no longer a character in the film, and Legolas only gets a brief cameo during the Mirkwood arrest. This was the next clear candidate for elimination, given how little plot value and personality these two woodland sprites added to the story. Dwarves are way more fun to hang out with anyway.😛
- The Pale Orc subplot is vastly trimmed down. Azog is obviously still leading the attack on the Lonely Mountain at the end, but he does not appear in the film until after the company escapes the goblin tunnels (suggesting that the slaying of the Great Goblin is a factor in their vendetta, as it was in the novel).
- Several of the Laketown scenes have been cut, such as Bard’s imprisonment and the superfluous orc raid. However, I’ve still left quite a bit of this story-thread intact, since I felt it succeeded in getting the audience to care about the down-beaten fisherfolk and the struggles of Bard to protect them.
- The prelude with old Bilbo is gone. As with the novel, I find the film works better if the scope starts out small (in a cosy hobbit hole), and then grows organically as Bilbo ventures out into the big, scary world. It is far more elegant to first learn about Smaug from the dwarves’ haunting ballad (rather than a bombastic CGI sequence). The prelude also undermines the real-and-present stakes of the story by framing it as one big flashback.
H/T to Sarah Salviander on Gab.ai for the link.
October 3, 2016
QotD: Nitpicking sexual issues in Middle Earth
Warm Beds Are Good fails to grapple with the most interesting question of all, however, which is how Arwen and Aragorn could possibly have developed the hots for each other in the first place. It turns out to be rather hard to come up with any theory of Elvish reproductive biology under which Arwen’s behavior makes any sense at all.
Aragorn’s end isn’t that much of a mystery. He’s an alpha male of a warrior culture, chock full o’ testosterone and other dominance hormones guaranteed to make him into a serious horn-dog. She’s a beautiful princess, broadcasting human-compatible health-and-fertility signals in all directions. If she doesn’t actively smell bad, tab A fits slot B just fine from the point of view of his mating instincts.
No, the fundamental problem is Arwen’s lifespan. She is supposedly something like two thousand, seven hundred years old when she meets Aragorn. That’s an awful lot of Saturday nights at the Last Homely Disco West of the Mountains; if she has a sex drive anything like a normal human female’s, she ought to have more mileage on her than a Liberian tramp steamer. On the other hand, if her sexual wiring is fundamentally different from a human female’s, what’n’the hell is she doing with Aragorn? He shouldn’t look or smell or behave right to trigger her releasers, any more than a talking chimpanzee would to most human women.
“B-b-but…” I hear you splutter “This is fantasy!”, to which I say foo! Tolkien was very careful about logical consistency in areas where he was equipped by temperament and training to appreciate it; he invented a cosmology, thousand of years of history, multiple languages; he drew maps. He lectured on the importance of a having convincing and consistent secondary world in fantasy. Furthermore, Tolkien never completely repudiated the intention that his fiction was a mythic description of the lost past of our Earth, and that therefore matter, energy and life should be consistent with the forms in which we know them.
Therefore, it is entirely appropriate to analyze Middle-Earth as though it were a science-fictional creation, to assume Elves and Men both got DNA, and to ask if the freakin’ biology makes any sense at all under this assumption.
And one of the facts we have to deal with is that humans and elves are not just interfertile, they produce fertile offspring. That means they have to be genetically very, very similar. If there are dramatic differences between elf and human reproductive behavior, the instinctive basis for them must be coded in a relatively small set of genes that somehow don’t interfere with that interfertility. In fact, technically, Elves and Men have to be subspecies of the same stock.
When this came up on my favorite mailing list just after the first movie came out, my hypothesis was that elves (a) have only rare periods of vulnerability to sexual impulses, and (b) imprint on each other for life when they mate, like swans. This pattern is actually within the envelope of human variation, though uncommon — which makes it a plausible candidate for being dominant in another hominid subspecies.
This ‘swan theory’ would be consistent with Appendix A, which (a) has Arwen meeting Aragorn when he was garbed like an elven prince and (as near as we can tell through Tolkien’s rather clotted chansons-de-geste style) falling for him hard right then and there, and (b) has Arwen’s family apparently operating under the assumption that once that had happened, the damage was done and she wouldn’t be mating with anyone else, noway, nohow.
One of the techies on the list shot the swan theory down by finding a canonical instance of an Elf remarrying (Finwe, father of Feanor; first wife Miriel, second Indis). In subsequent discussion, we concluded that it wasn’t possible to frame a consistent theory that fit Tolkien’s facts. The sticking-point turned out to be the half-elven; Tolkien tells us that they get to choose whether they will have the nature of Men or Elves, and it is implied that they do so at puberty.
Since that’s true, the difference between Men and Elves can’t properly be genetic at all. It must be in the cloudy realm of spirit, magic, and divine interventions. This is not an area in which Tolkien (a devout Catholic) gives us any rules or regularities at all. Elvish sexual behavior could be arbitrarily variant from human without any reasons other than that Eru keeps exerting his will to make it so, and He very well might be intervening to keep elf-maidens’ hormones from getting them jiggy Until It’s Time.
Helluva way to run a universe, say I. Inelegant. A really craftsmanlike god would build his cosmos so it wouldn’t require constant divine intervention to function. It’s a serious weakness in Tolkien’s fiction, one that runs far deeper than anachronisms like domestic cats (which didn’t reach northern Europe until late Roman times) and tea (to Europe in 1610) in the Shire.
Eric S. Raymond, “Sex and Tolkien”, Armed and Dangerous, 2003-12-18.