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Fans of either the Force theme or Crimson Tide, here comes daddy! There is a Dick Burton series from the early 80's that's entertaining enough and helps you to understand the troubled political history of a then-torn Germany.

Youtube comments suggest otherwise. He's better!

Hans Zimmer sounds more like Wagner than Williams ever did. Though Frankfurt is certainly closer to Dresden than Hollywood.

It's very unlikely that it's only *orchestrating*, that's a whole credit in itself. Usually co-composing means you get a scene/cue to work on and a handful of instructions (style, motifs, themes) and then present it to your employer for a review. If he/she likes it, you continue.

If the producers want that sound, even Balfe is able to supply it, Jackman even more so.

Williams' most Wagnerian moment comes in the rejected version of the cue 'Night Journeys' from Dracula. It's Liebestod from Tristan & Isolde (as we all know it was also a Herrmann favourite) and apart from that i'm hard-pressed to come up with *real* examples except the usual generalities.

Why?

Since you can't shoot them, shouting at them is the most viable alternative.

Or maybe it's simply boring and/or overbearing to him, like to many others?

Where?

Williams recently discouraged Wagner associations in a video interview that was linked here about Star Wars. Something about leitmotif technique and how he didn't really think he followed any Wagnerian principle (and didn't listen to Wagner).

Even more pop/rock-oriented than S1. No amount of lip service can cover up the fact that they don't want to continue Williams' idiom(s). It's better here than in the single-episode releases for the first season, condensed to its essentials. Not overly exciting musically, it brings to mind current video game scoring. It's certainly not bad for what it is, but kinda buries the hope Disney would allow the scoring to its new SW franchises to be a departure from current én vogue-trends.

It would, but it's still kinda boring. The 10-minute Jungle Chase is a lonely highlight (and even that repeats large strokes of prior stylistics) and i cannot bear how all these AI/MR/WotW minimalist/dissonant licks have found their way into IJ territory.

Is there any material in the 10-minute end credits cue that isn't in the score proper? (not the Williams intro)