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I think there is not a singular final statement. Williams probably receives more acclaim now, than at any other point in his career. The concerts in Vienna, Berlin and Milan, his collaboration with Anne-Sophie Mutter and the fact that he's still scoring films at 90 (!) years of age, including an Indiana Jones film, are such wonderful moments to witness. I think Williams 'final statement' is that during the last phase of his career, he was regarded as 'a great composer', not just a 'film music composer' and his music and presence was heralded in the epicentres of classical music.

Well, his comment at the end about living to 100 is adorable! https://twitter.com/TheLegacyofJW/status/1573344078133166080?t=-3DVOt-7R0wpWFSbhAnnwA&s=19

Here are a few examples - mic placement will have a big impact on the sound. For instance, Don Williams said he can tell if the engineer knows what they're doing by how close they have the timpani mic to the drum. Sometimes it will be just a few feet from the drum but some of the overtones are around twelve feet, so the sound of the drum won't be what you hear in the room because if the mic is three feet above the drum, it's not getting all the low frequencies! The resulting sound will be tight and emphasize higher overtones. This introduces a different challenge, mic bleed. You will get phasing issues if the timpani mic captures the bass drum (just as an example) so you want an assortment of mics with different recording patterns to minimize phasing issues. In addition, JW likes the mix to be in the room - meaning that the orchestra is already balanced and as long as the room is accurately captured, it should sound good. This means more reliance on the room mics like the decca tree and rear mics. That is a more classical approach and is not the trend today. Especially since lots of scores are striped - recorded in sections so only strings get recorded, then separately, only brass for example. Sometimes there is an A part and a B part of the strings, and the producer (er composer) can mix and match in post what part they use and how much of it. You can't do that in a room recording. It's also not unusual to record in different halls. I understand Pirates of the Caribbean did this so you might get the orchestra recorded in LA but the choir recorded in London and extra brass recorded their too then all mixed together. It's just an example of very different approaches and trends and they surely impact the final sound. I think the mic placement is an interesting one - I've mentioned this in other posts but sitting next to instruments is not the most interesting sound. They don't have their "true" characteristic sound up close. A powerful brass section might sound loud but tinny. Mics up close get more of that "tinny" sound. Generally, you mix the room with the spot mics to balance the issues each introduce. A double bass is very quiet up close but projects into the room and also has lots of subharmonic frequencies making other instruments sound louder (or fuller), these are examples of the complex considerations a mixer and engineer have to contend with. One other point that is worth mentioning - this is a chart of normal hearing loss with age. In short, the dark line at the top shows young people (in this sample 15-19 year olds) with normal hearing across all frequencies up to around 16,000 hz. 40 year olds will not hear above 14khz - the frequencies you hear drop as you age. By 70 there is almost 100% hearing loss above 10khz. So, though I have no insight to JW's hearing, the fact that he's 90, if we assume he has average hearing, he probably can't hear above about 6-8khz anymore. Include to that a lifetime of music which isn't great for hearing, it might not even be that good. It's worth pointing out that his hearing is probably better than anyone in that age, but the simple fact of his age generally impacts how good his hearing is and if he's the one approving final mixes, he's not hearing the nuances he once did. I think his engineers are all pros and know his sound well but as already mentioned, technology, styles and approaches change over time and what he might like now, might not be what he would have picked earlier in his career. Generally, instruments don't go near this high but there is a "sheen" or sparkle in those upper frequencies which he probably can no longer even hear though he knows is there. Just an opinion.

mocc.mp3 It's probably more than a bit incorrect since I have trouble reading the spots that are probably trying to communicate to me the sharp and flat symbols, and I am too tired to play a harmony guessing game atm. One bar of bassline is obscured, so I left it empty.

I can hear Barry's glorious drum machine in my head!

I feel like this and Mandolorian are good examples of when to deviate from the established sound. The problem is, all the other D+ shows are doing it too. Had they gone the full traditional route for Obi Wan (in a perfect world where it wasn't a low budget sci fi channel original) I don't think anyone would have cared that Andor doesn't sound like SW. As is, it's just another step into the generic modernizing of SW music

I can't speak to how accurate it is to the sheet music, and it's a little vague in my memory hearing just the piano part isolated this way, but otherwise that's very much in the vicinity of the score's main idea. I think the first few notes of the melody are also outlined by celeste at one or two points in the film. Good work, Fabulin!

Kind of a Bach-Humbug comment.

...when you evaluate if it's worth it to run after the bus solely based on what score is on your headphones.

Surely even for someone older than me the natural cutoff is between Dalton and Brosnan. It's the longest gap between films and the official hand off from Cubby to Barbara/Michael.

Yes, go see him. I was listening to the concerto today. Yes, it does not sound (for the most part) like his film music, but, damn, there are some great moments even for the causal listener.

I just don't understand why they wouldn't want to musically tie it to Rogue One... If the only reason this show exists is because people supposedly adored Rogue One, wouldn't they want to make it feel as much like that movie as possible?

me at LLL looking at all the freshly shrink-wrapped CDs

So here's how I'm thinking about the initial score album now, look good? Howard Shore’s theme 01 The Rings of Power Main Title Concert arrangements 02 Galadriel - character theme for Galadriel - appears in episodes 1, 2, 3, 4, 5 03 Khazad-dûm - location/culture theme for the Dwarves of Khazad-dûm - appears in episodes 2, 4, 5 - this arrangement used as end credits of episode 2 04 Nori Brandyfoot - character theme for Nori - appears in episodes 1, 2, 3, 5 05 The Stranger - character theme for The Stranger - appears in episodes 1, 2, 3, 5 - this arrangement used as end credits of episode 3 06 Númenor - location/culture theme for Númenor - appears in episodes 3, 4, 5 - this arrangement used as end credits of episode 4 07 Sauron - character theme for Sauron - appears in episodes 1, 2, 3, 4, 5 08 Valinor - location/culture theme for Valinor - appears in episode 1 10 Elrond Half-elven - character theme for Elrond - appears in episodes 1, 2, 4, 5 11 Durin IV - character theme for Durin IV - appears in episodes 2, 4, 5 12 Harfoot Life - location/culture theme for the Harfoots - appears in episodes 1, 3 13 Bronwyn and Arondir - character theme for both Arondir and for Bronwyn - appears in episodes 1, 2, 3, 4, 5 14 Halbrand - character theme for Halbrand and also a location/culture theme for The Southlands - appears in episodes 1, 2, 3, 4, 5 18 Elendil and Isildur - character theme for both Elendil and Isildur as well as The Faithful - appears in episodes 3, 4, 5 21 Nolwa Mahtar - TBD 22 Nampat - character theme for Adar, also a theme for Orcs in general - appears in episodes 2, 3, 4, 5 32 The Mystics [0:00-3:11] - theme for The Mystics - appears in episodes 5 37 Where The Shadows Lie - theme for the rings themselves (and Ceremrimbor’s project) - appears in episodes 1, 2, 4, 5 - this arrangement used as end credits of episode 1 Episode 1 - A Shadow Of The Past 09 In The Beginning 15 The Boat Episode 2 - Adrift 16 Sundering Seas 20 The Secrets of the Mountain [0:00-0:27] Episode 3 - Adar 17 Nobody Goes Off Trail Episode 4 - The Great Wave 19 White Leaves 20 The Secrets of the Mountain [0:27-end] 23 A Plea to the Rocks Episode 5 - Partings 24 This Wandering Day 25 Scherzo for Violin and Swords 26 Sailing into the Dawn TBD (CD exclusive track) In Defiance of Death (Amazon exclusive track) Find The Light 27 For the Southlands (CD exclusive track) Riding At Dawn 28 Cavalry (Amazon/CD exclusive track) The Promised King 29 Water and Flame 30 In the Mines 31 The Veil of Smoke 32 The Mystics [3:11-end] 33 Perilous Whisperings (CD exclusive track) The Breaking of The First Silence 34 The Broken Line 35 Wise One 36 True Creation Requires Sacrifice

I would be money that Nolwa Mahtar is for the big battle scene everything is gearing up towards - maybe for Galadriel's battle charge when she leads the Numenorean army into battle. Though you'd think that moment would be scored with Galadriel's theme. McCreary said Nolwa Mahtar he wrote for a really HUGE moment that he felt couldn't use any existing theme and needed a new theme because of how impactful the scene was. I definitely think so. I think the first 3 mins is the concert arrangement and another track is spliced to it for some reason. OR Clearly the mystics and Stranger/Nori are going to end up meeting at some point, and the track scores their entire interaction but the first 3 mins is still a concert representation of the mystics' theme.

"Unfaithful"? It seems to be getting closer and closer to "offensive" to the source material.

I expect there to be a full explanation of how these "Mithrilchlorians" bind the whole universe and all beings together and how the elves can best hear their will and enact it. "Did you ever hear the tragedy of Myth-Elf The Wise? I thought not. It’s not a story the Elves would tell you. It’s a Dark Lord legend. Myth-Elf was a Dark Lord, so powerful and so wise he could use Middle-Earth's Power to influence the Mithrilchlorians to create life… He had such a knowledge of the Power that he could even keep the ones he cared about from dying. The dark side of the Mithrilchlorians is a pathway to many abilities some consider to be unnatural. He became so powerful… the only thing he was afraid of was losing his power, which eventually, of course, he did. Unfortunately, he taught his apprentice everything he knew, then his apprentice killed him in his sleep. Ironic. He could save others from death, but not himself."

Watch/Listen with his score annotations! This was so wonderful. Love reading his process while hearing the cues. I hope he gets more projects like this. Hope he gets an Emmy for this one.

I don't think he's used 'complete' in any tweet thus far so I guess it means episode 5 is actually complete. I certainly noticed nothing missing in the episode. At this rate there won't be more than 5 minutes of unreleased material from season 1. That's astonishing.

meaty big and bouncy?

Starting to get some hopium that this could be Williams’ year

Because it's a (generally) annoying trope. If English is used as a substition for Russian (i.e. the actors speak English, but in the story, the characters "really" speak Russian), it doesn't make sense to speak English with a Russian accent (just like the original Russian wouldn't have an English accent). What you could argue is that local accents should be represented - which in a way is what The Death of Stalin does (having a cast with all kinds of English accents). I liked that, though others found it annoying. My favourite trick for showing that the Russians speak Russian but then switching to English for the viewers' convenience is The Hunt for Red October, where the Russians start out speaking Russian with English subtitles, but in an early long take scene with a slow, steady zoom, they seamlessly switch to English. It's *almost* good enough that you barely even notice something has changed.

Yep ... it felt utterly unearned, the playing of we Have All The Time Of The World ... ooh, look at us! It's a callback to/ironic reversal of the end of OHMSS, aren't we clever! No, no you're not ... I'm sitting here in the cinema completely deflated that a Bond movie has actually ended with his death, and you're hoping for stolen kudos by playing one of the best songs of the series from one of its best entries? Fuck off. Fuck RIGHT off. And when you get there, fuck off some more.

This is a film franchise thought brought us 16 entries in its first 30 years ('62-'91) Dr No From Russia With Love Goldfinger Thunderball You Only Live Twice On Her Majesty's Secret Service Diamonds Are Forever Live and Let Die The Man With The Golden Gun The Spy Who Loved Me Moonraker For Your Eyes Only Octopussy A View To A Kill The Living Daylights License To Kill And then only 9 entries in its next 30 years ('92-'21) GoldenEye Tomorrow Never Dies The World Is Not Enough Die Another Day Casino Royale Quantum of Solace Skyfall Spectre No Time To Die What a difference!!! The spent way too much time and money on each movie now instead of making more simpler, more fun adventures for Bond to go on, rinse and repeat. Everything's gotta build off off and one-up what came before for some reason.

I like the idea of having a light and breezy, comedic, half-hour comedy MCU show amongst all their serious stuff out there, but instead of being a low budget affair where they can make a bunch of fun episodes without needing a ton of sepcial effects, they've created this expensive monstrosity where they constantly have Jen be in She-Hulk form when she doesn't need to be, and all kinds of other things inflating the budget, which I think makes them feel like they have to make every episode be important in some way, so a lot of the light fun possibilities are lost under the weight of all that. It's a show stuck between two worlds I guess.

Try being someone who regards the era of 'modern' Bond as having started with The Living Daylights, a movie now 10 years older than TND .

Two of the directors tease a season 2 pickup on Instragram! I hope it gets renewed, I loved this show. Easily the only phase 4 MCU content I'd consider re-watching any time soon

To me, the perfect balance was struck with Tomorrow Never Dies, with Michelle Yeoh as a badass "holds her own" spy and Teri Hatcher as your more standard Bond girl, but one that verbally spars with Bond in a fun way. And now realizing that movie is 25 years old.... I need some air.

Amazon LOTR!

https://variety.com/feature/2023-oscars-best-original-score-predictions-1235381044/

I wonder if mom dances like a Greek.

I am informed and appreciative of Star Wars music. I often have multiple hour long voice calls and discussions with people about multiple cue's but I don't have a standard because why would I.. just seems like thats setting yourself up for disappointment instead of enjoying something for what it is. That being said I do think Andor's music so far is on the higher end of it.

Can't wait to search through the Lego game files

They’re just editing down the big 10 minute action set piece into a 2 minute concert suite for the OST

I still don't understand why Kennedy didn't commission a Lucasfilm logo from JW ahead of TFA's release

There're so much to watch on TV right now. Not only from the universes of Star Wars, Star Trek, Marvel and DC, but also a lot of other big properties like Lord Of The Rings, Game Of Thrones, Stranger Things, Wheel Of Time, The Boys and The Sandman. And then we have "new" content like Succession, Only Murders In The Building, Hacks, The Gilded Age, Never Have I Ever, Picard, Archive 81, Outer Range, Foundation, White Lotus, Queen's Gambit, The Terminal List and so on and so on... That's great! Lots of quality shows and plenty to choose from. But I am exhausted. There's too much content. So, I've decided to step off certain shows. I'm not saying I'm not watching these because they are bad. It's just too time consuming. (But sure, some shows I've quit mid-season because it just didn't appeal to me. Some I never gave a start, for various reasons.) I guess in a lot of cases, I'm simply not the target audience. For some, I'm very clearly the target audince and - in spite of raving reviews - I just haven't mustered up the strength to press the play button. And that's OK. There's such a focus all the time on what we should watch, the must see, and the don't miss. But I don't watch everything anymore. I can't watch everything. It'd drive me insane if I did. Either I don't think it's good enough to spend my time on, or I simply don't have the time and prioritize another show or movie - or just life in general - instead. And you know what? I'm fine. The curiosity passes. The allure of the new show fades. New things come instead. And the tempo relaxes a bit. Maybe sharing a little bit about what we haven't watched is equally interesting. Maybe, for some, it can take some the preassure off of having to have watched everything - which I imagine is quite high especially for young people (do we have any of those here on the forum?). I'm not saying I'll never whatch any of the shows listed below. Some I am curious about, some I've had recommended to me, some I know I'll probably like, and some I could consider watching as a guilty pleasure, or even a pass-time activity. And maybe someone will give me a slight nudge in the comments. "Come on man, you have to watch this..." And then, maybe I will. Someday. But not now. So here it is. Stuff I haven't watched, for some reaseon. If anybody is willing, feel free to chime in on what series you haven't watched. Recent stuff that I haven't watched: She-Hulk - I watched the first four episodes, but I lost interest and don't want to watch any more. It's too cringy and bad. Ms. Marvel - Inspite of hearing good things, I just haven't been able to get the time to see this. Lack of interest from my side. Star Wars Andor - It just seems dour and/or sad. House Of The Dragon - As one of the few who didn't enjoy the original GOT-series, I am not very inclined to watch this. But I wouldn't mind giving it a try. But I don't know when, if ever. Star Trek Strange New Worlds - Mostly because it's not on any streaming service I subscribe to, and - you know what - it kinda feels like a relief. Star Trek Discovery - I kept up until S3, but since they moved it to a different platform I don’t have, I don’t really miss it. Lisey's Story - As a huge Stephen King-fan I love to keep up with the adaptions. But this one... well, it's on my to watch-list. Other series, I've also not watched: The Witcher - I just never got 'round to it. DC's Stargirl - I watched a couple of episodes, then stopped. Sweet Tooth - It looks alraight. It's on my watch list. But it'll probably be there a long time. Squid Game - I have to see this. But when? Cowboy Bebop - I am unfamiliar with the source material, but the show looks good. But I know it's not going to be renewed and I am unsure if it ends on a cliffhanger, and if it does I just can't. DC's Doom Patrol - I think I watched a couple of episodes. Not sure if I stopped because there weren't any more, or because I lost interest. The Umbrella Academy - I have no idea what this is about, but I have the feeling that people think it's good. Cobra Kai - Looks good, I'd like to watch it. Don't know when though. Superman & Lois - I am a huge Superman fan, but this doesn't feel like a Superman show to me. I stopped after S1, I think. DC's Titans - I never finished S3, I felt it just kept dragging and dragging. Reacher - The new one from Amazon. It looks good, I guess. But I don't know if I'll ever come 'round to it. Russian Doll - I am interested in this one. I intend to see it. Severence - I would like to see it, but I don’t have Apple TV+ any more. More stuff that it occurs to me that I've never watched: Sopranos - Shame on me. Breaking Bad - Really, shame on me. Better Call Saul - Well, since I didn't see Breaking Bad... The Ozark - "C'mon, it's great!" I know, I know... Narcos - Nope, I didn't see it. Sue me. Vikings - Never saw it. Don't intend to. Any of the Walking Dead shows or spin-offs. Jeez, that's alot, and this list'll keep on growing... (Please don't use this thread to bash what other people love - it's not about being right or wrong, we can all like different things .) Edit: True Detective - I kind of saw S1. Maybe I didn’t pay enough attention. At least, I always thought that was why it didn’t gel with me, because I hear it’s very good. I’d like to like this one because I like a good detective story.

The Rings of Power 1x03 Adar Woof, the change in directors from JA Bayona (who did a fine job in the first 2 episodes, I thought) to whoever did this one was quite noticeable! The plot developments throughout this episode are all well and good enough, but the way so many things were executed left A LOT to be desired. No Elrond and Durin this week!? Are they only going to be in even-numbered episodes? No Bronwyn and Theo either... I guess with a cast as large as they created for this show this had to happen.... Galadriel - I don't understand why she plays every second of every scene like she's incredibly pissed off. It's almost like she's bringing urgency to a plot that the show itself is fine with developing quite slowly. It's weird. She seems to have no intelligence for how to deal with people, which you'd think she'd be an expert on at this point? Like she just gets herself in more trouble at Numenor instead of deftly negotiating her way out. S'weird. But still, once she got to the library with Elendil and realizes the "mark of Sauron" is actually a map of the Southlands, that was pretty cool. Halbrand - so he's not some random dude, but the king of the Southlands, descendent of a dude who united various random Southlands tribes together (to fight FOR Morgoth, or against him? The episode wasn't clear, or I just missed it). His fight with the random dudes was kinda boring, I'm not sure why I'm really supposed to care about this guy yet Numenor - This place was awesome, I really liked it. Gorgeous establishing shots showing the massive city, nice production design all around, and great music. But, I don't like they are setting up yet another mystery with the former king who is now alone in a tower, and the current queen going up to see him at the end, but we don't see him or understand why it's important to them that there's an Elf on their island. It reminded me of having Durin IV and Durin III opening a chest at the end of episode 2 and not revealing its contents (not even in this episode either!) Elendil, Isildur, and Eärien - Holy cow, Eärien was HOT! I'll be watching this actress's career with great interest... I thought Elendil was really interesting - the actor had a awesome deep voice, and seems to have a lot more going on that has been revealed as of yet. Isildur seemed like a bit of bore so far, but at least we know where his life will eventually end up by the final episode..... Nori, The Stranger, and the Harfoots - Hmmm, I like the characters of Nori and whatever her friend's name is, and The Stranger does intrigue me, but man, his story is moving at a snail's pace. I thought it was interesting that the Harfeet have this migration ritual, which makes perfect sense, but didn't really understand why they weren't willing to help out the Brandyfoot at all since the dad has the injured ankle, like WTF? That's not how a small village works. Especially after they all kept chanting "we wait for you", it made no sense. This storyline really needs to get more interesting soon Arondir - All the time spent with him in the trenches was by far the least interesting and compelling part of the episode. What felt like half an hour of screen time to reveal they are digging tunnels to avoid sunlight (which: isn't that how they've always operated?), and and turning The Southlands into a wasteland (which was already revealed in the Numenor scenes). Plus, the chain fight was really bad with bad CGI, and the warg was even worse, with terrible CGI (those eyes looked WEIRD man). The ending where he gets brought to Adar, but once again we don't see his face and end of a "cliffhanger" was yet another annoyance Here's hoping the pace picks up a bit soon - we need a big inciting event to really kick things off now, instead of all these mini-reveals

What? Who told you that? It's 100% untrue. You don't even *have* to see the first film, though it's certainly helpful. But my wife started watching without seeing any Karate Kid films and she followed everything perfectly and fell in love with the show (she just really hated Daniel LaRusso initially, lol). Characters from the 2nd film don't make an appearance in the show until season 3 and even then, little flashbacks fill you in on literally everything you would need to know. Sometimes it even helps to just infer context from those, because Karate Kid III was an especially bad film and you're frankly better off with the little excerpts they feed you in the show (and they are minimal and come late). The fourth Karate Kid movie from the early 90s, The Next Karate Kid, has not come into play for the Cobra Kai series in any way yet. There's some speculation that Hilary Swank's character might show up before the end of the series but it's pure speculation. And that movie is terrible so again you're better off not seeing it apart from any excerpts these brilliant showrunners might choose to include. In short: WATCH AWAY! Some stuff does get better and better, but if season 1 doesn't win you over it's probably not the show for you. But I think it's the greatest legacyquel of all time. Yavar

From my point of view, every year is Williams' year.

Not a fan of all of Arnold's inclusion of dance music elements on the DAD score, but Backseat Driver from the TND one is great.

The buildup from 9:12 to 9:35 here is just incredible. This breathtaking moment of triple forte stacking of C# minor chords with D naturals shoved in so you get minor seconds with the root and tritones with the fifth for a dissonance that is truly twisted and horrific in context. If you already know the symphony, this moment seems to hang over the entire first half of the movement like the Sword of Damocles. The pure, innocent solo piccolo that rises out of the morass is like a beam of sunlight breaking through a storm cloud. When I saw Slatkin conduct this with the National Symphony he, in comments from the podium, linked this moment to the horrors of WWII, but I don't think it needs any added historical context to work narratively. Just one of a thousand examples of how Copland was a musical dramatist in everything he wrote. I've listened to this symphony well over 100 times and it never fails to give me goosebumps.

I love how This Wandering Day is heard basically isolated in the show. I thought for a wonderful moment that maybe the final track was an instrumental but it's just a different vocalist. And the cue about 11 mins in sounds surprisingly Shore-like with those strings.

I got it too from Presto yesterday, love it!!

Lando's not a theme, he's a man

If Williams wrote some funeral music for me, I would be dying to hear it.

I thought the very same about the last 15 minutes of CEOTK. The music does 90% of the story telling with characters just looking in awe and it is a far more complex set of emotions that film's ending conveys. Mystery + hope + fear + reunions + longing + joy + wonder + etc. I've also heard this very same passage of E.T. pointed out by musicians about what they dislike most about Spielberg + JW. I personally love it very much partially because I was a lonely young kid in the audience when I first saw and heard this film, Elliots age, and the film and score were incredibly moving and any time I hear it, I revisit my childhood. It hits all the nostalgia checkboxes like Spielberg and JW do so well. I remember before E.T. was released, they really teased this up as a sequel to CEOTK of sorts. CEOTK had a page in magazines just showing a road with a light at the end which was incredibly mysterious. E.T. teased...first he scared us with Jaws, then entertained us...

Yes! I mean, those weren't even that good..... Yes!! Not being cynical is one of its best attributes!! She's great! Hehe, I thought the same thing at times YES!!!!

Ms. Marvel 1x03 Destined I liked the early exposition dump about who the Clandestines are, that Kamala's great-grandmother was one of them, and that Kamala's bangle might be able to help them get home. The way it opened with an actual flashback to 1942 where the woman from Kamala's visions (Kamram's mother), Najma, finds the bangle in rubble was really neat. I also liked the humorous moment of relief for Kamala when she learns Kamram is actually 17 and some some ancient immortal I liked Bruno's apprehension about all this new info, and the Clandestine's motives; him warning her it may be dangerous nicely sets them up to lose patience, and turn on Kamala later in the episode. And he makes her a mask! I am now thinking she will keep getting more pieces of her final costume throughout the rest of the series... Boy was it rude for the Damage Control agent to not take her shoes off at Kamala and Nakia's mosque, and I liked that Nakia questioned their motives. And she won that board spot! The wedding was super fun! I loved the pure joy, and all the dancing, etc. I was so bummed when the Clandestines had to come in and crash it, and that Kamala had to be the one to pull the fire alarm and get everyone out of there. The fight sequences that ensued were all really well-done! I liked that there was different stuff going on, in different locations (the kitchen, the main ball room, etc). it was interesting that it all came to and end Najma trying to use the bangle and a vision of a train shows up and knocks everyone out, and all the Clandestine get captured by Damage Control! I liked that Nakia got to see Kamala using her powers, and I liked the littletag where Tyesha and another bride are outside and complement each other Interesting ending where Kamala's grandmother said she saw the train too, and that she must come to Karachi!