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But Oscar Isaak suffered from the same problem. In every movie a completely new story arc leading nowhere.

Love it! Thank you! One final little nitpick: If “Solo Piano” is capitalized (and elsewhere “Composed” is capitalized), it looks weird/inconsistent IMO for “performed” to be lower case at the beginning. Of course when you use all caps as in your cool Night Passage cover art, such issues don’t even arise. Yavar

You know what, I didn't mind the sequel films as much as some people. I simply did not care enough. But one thing I will agree on with people who hated them is that Finn was the most wasted character of all. If there's anyone who deserves a good role in a new SW movie it's John Boyega. It would be a good move of Disney to make this happen. As for the project itself, I do not care about it one way or another. John Williams is unlikely to be attached so that is another reason not to be excited. If the film is fine, great. If it isn't, great as well. There are tons of films out there, both new and old, that I can consume instead. Karol

@Yavar Moradi Your diligence is noted, thanks for pointing that out ... an easily overlooked bit of info but in the pursuit of accuracy, important nonetheless. That Glass Menagerie illustration was used for a cover of the TV Guide ... which was also the source of this other fine painting by Amsel for The Corn Is Green, and used in the booklet that brings together these Barry recordings. Here are the updates: @Steffromuk Congratulations, it's good to see Intrada taking their artwork seriously. I loved what you did with Night Passage, a level of quality they surely deserve ... here's another variation.

I never got to know him but certainly came to recognize him as one of the OGs, great personality and a true JW believer. This post made an impression on me, it's the one I thought of when I saw this news. All the best to his family and friends, RIP

This is entirely valid. Music that is perfectly suited to one situation could be wildly inappropriate in another. You wouldn't believe the number of church musicians who've had to forbid the use of Cohen's Hallelujah for weddings or funerals... 😬

Out of curiosity I checked out the first two parter of the original show and was not expecting it to be even more fast-paced than 97. I was highly entertained, often for the wrong reasons, and will probably continue watching the original show Just from watching those two episodes though it's very clear how incredibly faithful 97 is as a continuation, and I even found myself thinking blasphemous things like preferring the music and version of the main theme in the new show over the old, as well as some of the character designs and VO (at least as of Season 1) While I'm at it, I just have to say that Episode 5 of this season was incredible and in age of media with incomprehensible plots and emotional flatness, it shone brilliantly. Extremely well-executed, no pun-intended

I don't think I could possibly disagree more Boom felt like Steven Moffat threw all of his scripts into a blender, including the scripts that also felt like they were his other scripts thrown into a blender. There were so many separate ideas in this episode, some genuinely interesting and worthy of a whole episode on their own, but none of them came together cohesively. What's worse is that 15 and Ruby were shockingly out of character that I was starting to question who exactly Moffat was writing for. In isolation the 'make sure you have fish fingers and custard for me' is just a cute reference but take into account that this warm, caring, and empathetic version of The Doctor turns into an extremely cold and critical atheist at the drop of a hat and starts going into lecture mode about how capitalism is bad it really evokes 11 and 12 far more than 15. Ruby also gets handed the idiot ball this episode and is mostly side-lined which is something Moffat would occassionally do with the companions under his run where they get less agency and have less of a human presence and are instead more drivers for the plot. All except for the moment where they acknowledge Ruby has never stepped foot on an alien planet before, which is a moment of that more overwhelmed human response that is present in Episodes 1-3 and so makes the rest of her interactions in 4 all the more jarring. The version of 15 and Ruby in Episodes 1-3 compared to 4 is a night and day comparison, with a nice clear subtle progression as the character drama slowly ramps up for both of them. Whereas here for the most part it's treated like both of them are seasoned and they're immediately thrown into incredibly high-stakes trauma which flies in the face of the deliberate character pacing of the previous episodes and emotionally falls flat as a result, especially because it seems like nothing about what happens here is haunting for them based on that sappy sort of ending. Having the vibe of 'all is well' when this version of The Doctor of all of them nearly got his companion killed on their fourth adventure doesn't sit right with me. It's like Moffat was focused on making things as dramatic and tense as possible but with none of the set up to sincerely get there, so you have a bag of Moffat cheap tricks like 'oh no, this character which in absolutely no believable way could die this soon, is dead!' and ironic deaths like the person who was just about to confess their love to another person dies before that and believing that they didn't reciprocate love. As ideas, these can work really well, but without the appropriate setup or in the case of the latter more organic human interactions, it falls incredibly flat. Just like it did in the finale of the Monk Arc in Season 10 where things quickly ramp up to the companion shooting The Doctor and the immediate fake-out. Feels like moments of 'wouldn't this be crazy if we did this' without consideration of 'does this actually make sense for the characters to do this at this moment'. I did not miss Moffat's dialogue at all, where instead of it feeling like something these characters would say reactively or to organically show their character it feels like a series of one-liners trying to be as pithy and deep as possible, often repeated like 'everywhere is a beach eventually', even if the dialogue flow in the moment is messed with. The constant formula of jokes that just go on and on about some off-screen adventure The Doctor had with a celebrity were something I grew incredibly tired of by the end of Moffat's run and was even more dismayed that trend got carried forward in the Chibnall era, that seeing it heavily de-emphasized in RTD2 was very welcome (compare the length of the jokes here to the one in Episode 3 where 15 says something along the lines of "Ms. Mills was a wild girl, we had some adventures" without going into gratuitous quirky detail). All in all, I think rather foolishly I was expecting RTD-era Moffat when that time has well and truly come and gone. I should've expected Twice Upon A Time Moffat where much of the same issues here were present there. He had an incredibly good run of episodes, but especially by the end of being a showrunner he's written a lot of Doctor Who, and without as long as a break as someone like RTD got (there was only a gap of really 1.25 Doctors for Moffat coming back compared to 3 full Doctors for RTD) I think that baggage is very much still there. This felt like a script that instead of deftly executing on a simple but brilliant idea, it was overthinking absolutely everything and trying to cram in as much as possible which I think is indicative of the kind of mindset you end up in after writing for the show for so long and getting into a mentality of having to one-up yourself. On the plus side I have significantly more appreciation for RTD's second go-around, because as someone who watched all of his post-Doctor Who content I could see that the man still has it whereas I don't think I've seen anything or heard anything of Moffat post-Doctor Who that would make me think the same (definitely open to recommendations to challenge this bias if anyone has anything though). It's not the RTD of the first era but there's enough of what I appreciated there in his new era that I find extremely impressive especially with all that previous showrunner baggage and the utterly transformed landscape of the world compared to then. He will write a Space Babies but at least we know he's also capable of writing a Wild Blue Yonder, and even in the case of the former there's some good character building for our main duo. Ultimately if I had to choose between something that was camp bordering on ridiculous, some naff ideas, and occasionally light and fluffy yet cohesive, and something that was dark and dramatic with promising ideas but utterly incomprehensible - I realise now I would choose the former in a heart-beat. That is why despite wondering about this question before I think I've settled on RTD coming back as showrunner was absolutely the right choice compared to Moffat coming back. There's a bias starting to form where it feels like only RTD can write Doctor Who TV in this current age that has been enforced by this episode, but I hope to be pleasantly wrong as I see what some of the other guest writers have up their sleeves this season. It is admittedly nice to be in a position where unlike the previous era I will look forward to seeing 'written by the showrunner' instead of dreading it though. That was very long but I had a lot to get off my chest, and maybe it'll resonate with some people. It's possible I'd change my mind on a rewatch but there's just so much about this episode that didn't come together that I heavily doubt that it would shift that much.

That's BY FAR my favorite track on the album. Loved when the B section of the theme plays at 1:21, especially with those JNH-like strings from 1:40 to 2:00.

I look forward to listening to the album again following your post!

Daisy Ridley Hoping to Reunite with John Boyega in New ‘Star Wars’ Film

Good luck buddy

Someone with such love for the score to ET no doubt had amazing taste in music (and not just film music). RIP. May his husband find strength on this grieving moment.

I listened to it... Well, I'm not so keen on Greek music.

Fixed

Yeah, I love doing these kind of things, and it's great to have a place to share them so other people can enjoy them, and if it brings them joy, I'm happy to contribute to that a bit. After all, we're here for the same thing, our passion for film scores!

Not that I’m aware, no.

There's never been another release without the dialogue bits, has there?

On the contrary! Your first priority was to the music, realizing that to play either on the organ would be detrimental to the quality. JWFan commends you! 👍

Well, while it would be interesting to see something new from him, there's been a recent report that says he's joining Disney to work on a live-action Star Wars project. How much he'll actually be involved remains to be seen. Is it just a cynical attempt to use his name to draw some of the old fans back? If the report is true, I guess we'll see.

I, too, speak from experience. People like to harp on the fact that, while the films were shot concurrently, they were edited one-by-one, and that's largely (not entirely) true, EXCEPT FOR THE EXTENDED EDITION: Each extended edition was edited (and, significantly, scored) concurrently with the next theatrical one, and in editing them, I'll quote Jackson literally: "I always find these extended cuts, given the fact that they usually come on the market a month or two before the next movie is due out, as this one in fact is, I always find them useful, because you can take things and embellish them a little bit because they're gonna lead into the subsequent movies." Its evident in little things, like Merry and Pippin finding Saruman's store at the end of The Two Towers, which explains the state they're in the beginning of The Return of the King. But also more meaningful setups like the gift-giving in Lorien and other things of this sort. Its part of the function of the extended editions: they're aimed more at creating a cyclical viewing experience than to be watched individually.

Cruella. Hmm. Emma Stone sounds too much like Bella Baxter here. I briefly found Thompson annoyingly over the top, but then she said: ‘You were… in the way’ and you just melt, you know. Good score, great songs.

Same here Jay. It's brings a lot of joy and I'm feeling greatful with a thread and posts like these. They are only small things, but they can really make a bad day or time a bit brighter. May sound cheesy, but I really mean that.

We didn't hava an organist, do it was the music playing through a sound system. If memory serves, we walked out to Gounod's Ave Maria. That one was with the church choir.