One such problem stems back to 2009 when the estate and studio were forced to reach a settlement after the author’s representatives claimed they were owed millions in profits.

Another was Christopher Tolkien’s (author's son) thoughts on the films having been rumoured to disproved.

In 2012, the estate and studio went head-to-head with Christopher publicly saying the films "eviscerated" the book, calling out the commercialisation of the original work. He believed the adaptations did the film an injustice. 

The conflict between the two parties stemmed from Warner Bros. allowing wizards, hobbits, elves, and other creatures feature on slot machines and other games. The adaptations were featured on merchandising that was not approved by Tolkien's estate, along with publisher HarperCollins who claimed the studio never had those licensing rights. Warner Bros. countersued, alleging the complaint cost them millions in license fees.


After years of battling, an undisclosed agreement has been met, a Warner Bros. spokesperson issuing a statement, reading: “The parties are pleased that they have amicably resolved this matter and look forward to working together in the future.” Terms of the settlement have not been publicly revealed, but no costs or fees have been awarded by a court, and neither party is entitled to recover the fees.

In 1981, BBC Radio 4 broadcast 26 half-hour stereo instalments of J. R. R. Tolkien's The Lord of the Rings. The novel has previously been adapted for BBC Radio in 1955 and 1956 and for National Public Radio in the United States in 1979 by The Mind's Eye, but till now no recordings could be found. The main content of the radio is mostly based on the novel, the heroes who represent the justice, fight against the big villain Dark Lord Sauron of Mordor, however, several original settings had been made some alterations by Brian Sibley and Michael Bakewell. In the summer of 1982, the series was broadcast in Canada, then in US and Australia. In 2001, the first film of the trilogy, The Lord of the Rings: The Fellowship of the Ring was released with huge success, followed by The Two Towers. Then, the BBC reissued the series in three sets corresponding to the three original volumes. In 2002, Radio 4 re-aired the 13-episode series to promote the station's newly launched digital platform.

 

After the release and success of the film series, the music of the film theme became classic and iconic. Being composed, orchestrated, conducted and produced by Howard Shore, the scores are widely regarded as one of the most significant achievements in the history of film music. There are nearly 90% of the film contains music, and in each specific scene, the motifs are grouped into sets and subsets of similar topics and are tied to places, cultures, characters, events and occurrences. The title of each piece of music also describes the main scenes and events of the plot. Following the theatrical release of each film, Howard Shore rebuilt the music from the films and original soundtrack releases into concert-hall movements, finally completing The Lord of the Rings Symphony, a highly organised six-movement piece for orchestra, choir, and soloist. Then, a DVD titled Howard Shore: Creating the Lord of the Rings Symphony—a composer's journey through Middle Earth has been released. In 2011, Shore also released the CD and MP3 version of the symphony. 

https://www.youtube.com/watch?v=yxB5AHoTalA

 

In 2006, the musical show of LOTR was first performed in Toronto, then it came to West End in London in 2007. The lavish Lord of the Rings musical had become one of the biggest commercial flops in West End history by the time it closed a year later, in July 2008, with a record of £25 million budget. In Toronto production, the musical was set in an unusual scale with large number of casts which is 65, with a cost of C$30 million. However, compressing such a large plot into three hours has obvious drawbacks. The main flaw in The Lord of the Rings, Tolkien once said, was that it wasn't nearly lengthy enough. Whether or not this is true of the book, it is unmistakably true of the stage adaptation. There isn't enough time for character growth or feeling. But the stage version's greatest strength is the way its various components come together to form an organic whole.