BLUMENKOHL

Season 2 was the show sitting with the popular kids and dressing in popular kids clothing and listening to popular kids music. The charm of the first season is lingering by a thread.

Everything about Season 2 (music, effects, make up, editing) is more refined, polished, and perfect. It’s like the whole production has been put through auto-tune and a quantizer. I’m not sure how I feel about that. Trapanese is awesome and will do a great job…but why did we need him to begin with? Sonya and Gion brought a more formula-breaking approach that was refreshing. The charm of season 1 was that it felt like a group of amateur filmmakers with no preconception of how a big-budget Netflix production should be like had stumbled on a boatload of money and had fun with it. This score has a lot of intricate thematic development going on. If you’re into that sort of thing, I’d invite you to do more than sample.

Shinzon's Theme in "A New Ending" is just chef's kiss perfection. I think John Williams is the last man standing who can write sweeping orchestra in that style. I used to be weirded out by the slow tempo of the TMP march in that track. Now the normal one feels too fast. Must be my old creaky bones! The old dying composer is slowing it down so he can savor his creation for an extra few seconds, one last time. If only we could do that with real time!

I dig it. You should go after your haters. Aggressively.

When King Mark says this, that’s your sign of the end times.

Square Escape is a really good fusion of Zimmer action music and Bond. I’ve never heard brass used quite the way you hear 35 seconds in. Surely there is some digital wizardry at work there? The brass has both bite, rapidity, and a softness that is unreal and satisfying! It’s on another plane from the usual choppy shit.

Dune sucks. I've played this 4 times already. The first 11 tracks are an uninterrupted supreme listening experience.

Even Hans Zimmer couldn’t conjure enough musical testosterone to balance a female Bond.

This was better than I expected.

I just broke 3-month music fast with a back-to-back real-world chronological listen to all 9 Star Wars Scores. They're all great, but three of them stand out as faultless, and one is on another plane in its totality. Star Wars is a breath away from perfection. It is only let down by its 1977 mixing and simplicity. The Force Awakens is a breath and the hair of a fine feline away from perfection. It's too dark and claustrophobic at times to make it an enjoyable experience. The Phantom Menace is perfection. Crisp is the word that comes to mind. The mix is sublime. The music is expansive but not so much that it feels disjointed. It's true to science fiction, dark where it needs to be, and brimming with energy and creativity. You feel like you're on a galactic adventure with this one. This is what I would take to a deserted island with me. The remaining six suffer from rambling incoherence at times. They are too ambitious, too unfocused, and start to move away from being Star Wars. If you just listen to the first of each trilogy, you get the best Star War musical experience. The three have exceptional continuity with each other (mix/mastering aside). They feel more cohesive together than they do with their respective trilogies. Thematically you basically get all the highlights of the 9 movies. That is all.

Thank you all for contributing to a 60% decline in Oscars viewership! Let’s keep it going next year! 2020: 23.6 million 2021: 9.8 million 🤣

Is this officially OOP?

So....Apple? Or [Insert Multinational Company Doing Bidness in China]?

If you had said this in 2008 I think you’d be wrong on the 10 year horizon at least.

You’re right, animation has developed quite a bit. I suppose I would ask: are we just so good at this now that there isn’t much more we can do to dramatically improve the cinema experience? Another 200 billion dollars is going to just get you diminishing returns on the blockbuster front. The Lucas dream of an Indy movie Renaissance just hasn’t panned out either.