Abby Epplett, Historian

The White Council was a name given to wise immortals who protected Middle-earth from Sauron and his vassals. The White Council in The Lord of the Rings that drove the dark forces from Mirkwood was actually the second White Council. The first White Council is described in Unfinished Tales (263) and was formed to remove Sauron from Eriador (northwestern Middle-earth, including the Shire) after he had tortured Celebrimbor to death. The second White Council likely emulated the first White Council and was formed for a similar purpose, this time to drive Sauron from Mordor and be rid of him for good.

Among the most famous fortresses in modern English-language literature, Orthanc was a stone tower at the center of the fortification Isengard located in Gondor and built during the Second Age. As described in Book III, “Chapter 8 The Road to Isengard” in The Two Towers , the “black and gleaming” tower was made of “four mighty piers” holding up a narrow floor of polished stone that allowed a visitor to stand at a height of “five hundred feet above the plain” . The black stone contrasts the White Towers near the Shire and the Grey Havens of Lune , playing into the themes of darkness, shadow, and light that appear throughout the text.

While I have been a fan of Tolkien’s writing for about twenty years, I saw his depictions of Mirkwood for the first time only a few weeks ago. Initially, I was surprised by the orderly rows of trees that looked no more than a hundred years old. Then, after considering the history of Middle-earth as a place of severe habitat destruction from millennia of wars, the apparently recent rehabilitation of the forest made sense. Unlike the Old Forest in the Shire with its massive trees, much of Mirkwood was restored as a shadow of its former arboreal glory. In this essay, I discuss the name of the kingdom and its place in folklore, how the elves’ respect for trees may have been inspired by Finnish culture, and how silviculture or active forest management has been practiced in Europe from ancient times to the present day.

Celebrimbor is best known in The Lord of the Rings as the creator of the “three rings for the elven-kings under the sky” while he lived in Hollin, also known as Eregion. In Tolkien’s posthumous work, the character was greatly expanded. Readers learn that he was a powerful and talented Elf who loved crafts and his family, befriended Dwarves and a dangerous stranger, and sometimes let his pride get the best of him. Celebrimbor began life as the only grandchild of Fëanor, the greatest of the elven smiths, and spent his immortality attempting to become even more skilled than his famous ancestor.

In a short scene of artistic license, I turn the Frodo & Sam Theme into an original song called, “The Sun Is Up”. This is the third time viewers will hear the song: first as a melody on the serinette , next as the tune whistled by Sam while returning home from the Green Dragon , and now as Sam opens up the curtains at Bag End in the morning. The scene also shows a bit more of what Sam does for work and what Frodo wears to bed.

I recently read the book The Tower and the Ruin: J.R.R. Tolkien’s Creation written by Michael D.C. Drout and published by W.W. Norton & Company in November 2025. This ambitious book is partially a memoir of Drout’s own experience as a lifelong lover of Tolkien’s work, having read the book over 40 times (123), including with his father and his own children. It also covers seven themes describing how Tolkien constructed his fantasy world and how it affects other people: origins, frames, texts, patterns, emotions, threads, and tapestry.

The dialogue from the animated musical scene “The Conversation at the Green Dragon” will be taken verbatim from the original text, but the instrumentals come from my own head. In this five-minute piece, I incorporate musical themes or leitmotifs from past scenes, along with themes that will become significant to the plot. The six themes represent taverns, adventure, the White Towers, the Grey Havens, the Road, and the relationship between Frodo and Sam. By creating variations on these themes and weaving them together, I design a cohesive soundscape for the scene while connecting it to past and future scenes throughout the series.

While gardening is not a skill typically associated with high fantasy literature, it was one of Sam Gamgee’s many talents. At the end of the scene in the Green Dragon in Book I, Chapter 1 “The Shadow of the Past” , the reader glances into Sam’s mind to learn that “there was a lot to do up in the Bag End garden… The grass was growing fast.” This short line references a continental divide in linguistics, European culture from the medieval period to the present, the politics of decolonization lawns, and environmental science, all of which I will unpack in this essay.

Ambiguity has been widely discussed when exploring the Grey Havens through an academic lens . The name itself feels ambiguous, its color halfway between the symbolic white of goodness and black of evil appearing throughout the text. The White Towers or Emyn Beriad feel less ambiguous with their location closer to the Shire and their defining color. During the Fourth Age, Hobbits restored and repopulated the Undertowers in Westmarch even as Elves gradually abandoned the Grey Havens to migrate across the water.

While talking with his friends at the Green Dragon , Sam mentioned his cousin Halfast Gamgee had seen a giant tree walking through the North Moors of the Northfarthing while serving his master, Mr. Boffin, who was out hunting. This brief aside, and the exchange that followed, gives the reader an enormous amount of information about hunting practices, social hierarchy, and folk belief in the Shire, which I will unpack in this essay.

Today, I am using my creative liberties to share a scene not appearing in the book that establishes the musical motif representing Frodo and Sam together. In my introduction to this theme, I combine the sound of the serinette with the whistling loved by hobbits along with exploring one interpretation of their relationship: that of a master and his disciple or acolyte.

I return from my winter holiday break with new music, aptly named “The Adventure Song”. This piece covers the first few pages of “Chapter 2: The Shadow of the Past” as Frodo spends seventeen years at Bag End hosting parties with his twenty closest friends, visiting Elves and Dwarves in the woods, and not aging. As much as Frodo seemed to enjoy his life, he was curious about the land beyond its borders that his ‘uncle’ Bilbo had described in his stories. This essay details other adventure songs found in modern Western musicals that I used as a reference while composing this piece, along with a quick note about how I am voicing the Elves, and an explanation of the song’s structure.

This is my last blog post of 2025! I will discuss two aspects of folklore that appear during “Chapter 2, The Shadow of the Past” related to the seventeen years Frodo spent living alone at Bag End. During this time, he took many trips through the woods of the Shire and was rumored to speak with people from other lands, refugees fleeing danger in the South. Folk cultures around the world have long been fascinated by or afraid of forests. The hobbits’ fears of who might lurk in the woods aligned with fears of Ancient and Medieval people in the Real World. Meanwhile, human migration and displacement due to natural or man-made disasters have existed for thousands of years but have been studied only for the past few decades. During this essay, I will describe both of these concepts and point out similarities between them: our natural unease over the unfamiliar.

In previous case studies, I have combined information from the text of The Lord of the Rings with historical documentation to explore character behavior through a modern medical lens. These descriptions cannot be considered true diagnoses, as I am not a licensed psychiatrist, the characters are fictional, and the terminology that I use did not exist when the books were written. However, I hope that explaining these conditions will provoke empathy for people in the Real World who live with similar circumstances. While I will briefly cover the plausibility of two conditions that I have seen mentioned by other Tolkien enthusiasts on social media, I will spend most of the essay explaining my own interpretation.

When Frodo invited his twenty closest friends to his annual celebration of Bilbo’s birthday, these young hobbits were most likely his cousins from the Took branch of his family, as I cannot imagine a Baggins displaying such ridiculous behavior. By the time of Frodo’s generation and that of his younger cousins, members of the Took clan had married into nearly every other respectable clan in the Shire, bringing their wealth and quirky behavior with them. Besides reviewing the Took family tree and a potential cause of their unusual actions, I will explain how the clothing of wealthy hobbits changed from the time of Bilbo’s 111 st birthday to seventeen years later when Frodo was again visited by Gandalf. Finally, I believe the Took cousins were based upon a group of young people in the Real World who were contemporaries of Tolkien, and I will compare the behaviors of the two cultures.

For the second essay in a two-part series on my interpretation of Frodo’s wardrobe, I focus on clothing worn in different types of weather, including coats, hats, boots, early sunglasses, and floral outfits. Besides comparing clothing from the Real World to the version I made for Middle-earth, I examine how technology and culture shaped what people wore.

Past Abby would have written this post as one giant essay. Present Abby knows better. During today’s post, I will describe the leisurewear I designed for Frodo’s wardrobe with a special focus on the banyan, the smoking jacket and its matching hat, and Celtic clothes like argyle, tam-o’-shanter, and brekis . Next week, I will discuss weather-themed clothing, including coats, hats, and boots. Since Frodo was implied to have inherited the “rooms full of clothes” from Bilbo, the audience needs to see what he has: no pathetic blue shirt and suspenders for this Frodo.

At long last, I have managed to reach Book I, Chapter 2. During these past two weeks, I carefully read the chapter using multiple lenses of interpretation, including those of history, literature, world religion, and potential animated musical. I have written the first draft of the script to be used while crafting the animatic for this section, something I should have considered while creating the first chapter instead of building the landing gear while landing the proverbial plane. I have scheduled the essays I plan to write leading up to the release of the next animatic, which brings its launch to about a year from now, on October 25, 2026. Faster production is relative; I spent almost a year and nine months on the first chapter, and this is an improvement.

I was not sure what to write to go along with this animatic, which is the culmination of many months of work. I had originally begun an essay about the history of computer programs used to create my animatic. While the essay was certainly interesting, especially for technology geeks, it did not seem in line with my other essays in this series. I have decided instead to keep this essay as simple as possible and instead offer a brief summary of what I have learned so far. During my research of global histories and cultures, creating illustrations, and composing music, I have amassed a vast amount of knowledge and a wide-ranging skill set that I would not have thought possible at the beginning of the project. I have uncovered delightful stories and fun facts during this journey. For some highlights, I enjoyed learning about traditional clothing worn by Manchus, which partially inspired my depiction of Dunlending culture and took a MasterClass on voice acting presented by Nanc...

I had originally intended this post to cover the Tolkien Society Seminar 2025 held online on Saturday, October 18. However, since the event took place from 4:45 a.m. to 1:30 p.m. Eastern Time, and I had already scheduled in-person history events for that day, I decided to watch the replays when these are posted to the Tolkien Society YouTube channel . Instead, I will talk about a mini documentary by the BBC-run YouTube channel HistoryExtra that I have been meaning to watch for seven months. The animatic is still scheduled to appear next week, and my discussion of the conference will appear after the recordings are posted to YouTube. Because of the YouTube algorithm demanding clickbait titles, the mini-documentary is called The REAL history behind Tolkien’s Lord of the Rings, The Hobbit and more . The host was James Osborne , a HistoryExtra employee who studied archaeology and has experience as an entertainment journalist. Like other mini documentaries produced by History...