Hedwig

https://www.hollywoodreporter.com/news/gustavo-dudamel-conduct-score-west-side-story-1211638
 
Pretty weird that John Williams appears to be having zero involvement with this project?  

Just saw the film (which I thought was very good), and can only say that it was perfectly scored.
 
I'm sure I'm echoing many in stating that the film really is an extension of TFA's narrative (more so than any previous SW film in relation to its direct predecessor), something which certainly does inform the score. 
 
It really doesn't call for any big new themes, and in providing one for Rose, Williams is already more than generous (even though I'm glad he supplied it). 
 
What I will say, is that the score as heard in the film feels fresh, despite the many callbacks (many of which also have a bittersweet tinge to them). 
 
Looking forward to hearing the OST!

Let's have a look at the logical fallacies you've used:
 
1. Traitorous critic fallacy & Association fallacy ("PC police")
2. Abusive fallacy ("Grow a spine")
3. Appeal to tradition ("Pretty common phrase")
4. False dichotomy ("not a safe space")
5. False compromise ("not everyone is going to...")
6. Appeal to ridicule (sarcastic: "I'm sure misgendering would be an offense")
 
Plus Kettle logic and Gish-galloping, uniting all of your fallacies together.

Did you like how it sounded?

Poe’s theme does return in the first half of the film, but I didn’t notice it during the last act.
 
I’d compare Rose’s theme, at least the first half, to a major mode version of the force theme.  Usually performed by higher woodwinds, flute, clarinet, etc.  But it gets big statements as well.  The opening interval , at least as I remember it, was a perfect 5th - however rhythmically and as far as the contour it feels like the force theme for the first bar or two.  If I remember right the melody is always in 4/4, with two upward slurring sixteenth’s on the last beat of the first measure, followed by a beat 1 in a downward interval.  The second measure ends the same way.  That much I remember clearly.  It is a long lined melody.  Maybe not as long as Poe’s complete theme, but long regardless.
 
Hedwig - yes, that’s one of those moments.

It scares me when you ask that and I hesitate with modern action scoring because most of it tends to be banal and easy as pop music to write, where with Williams, and adventure classical scoring, I love the intricacy of that type of scoring because that orchestral way, for me, is the pinnacle of writing. So many modern action music tends to just be repeated notes ad nauseam, however I am sure he wouldn't do that and he would still be a master composer and orchestrator with it no matter what. We Shall See!!!!!

Mm..interesting.  There are some sweeping shots with just music, and some montage style stuff.  I don’t remember anything really in particular regarding this though.
 
There’s a part of the film where ALL sound is removed, including music.

So there are really 2 main stories in the film:
 
- Luke/Rey
- The Resistance (splits into two stories for a while.
 
So the heart of the score for the Luke/Rey story would have to be the force theme, with Rey's theme given a strong supporting role.  For the resistance, and particularly the story of Finn and Rose, it's Rose's theme.  The Resistance theme plays a prominent role, much more noticeably than anything written for Holdo.
 
Canto Bight really has some fun music for the chase scene (lots of horn rips!), and the source music used in the casino sequence has a lot of fun steel drum stuff.
 
And really - please don't think this is all doom and gloom.  I pointed out things that were noticeable to me, but this isn't some hack job of a score, so don't get that impression from what I'm telling you.

Do we know when exactly the sessions for TLJ began? I seem to remember being pleasantly surprised when reading that they had started because the Variety article from June 2016 seemed to reveal that he would begin work on RPO first... It's a shame that Spielberg had to make The Papers so abruptly as it seems to have made the schedule unworkable for Williams, understandably. Though if The Papers was filmed and scheduled for release one year forward from now then it would probably clash with the episode 9 sessions so I suppose there's just not very much luck with Williams' schedule at the moment! 

Do we know when exactly the sessions for TLJ began? I seem to remember being pleasantly surprised when reading that they had started because the Variety article from June 2016 seemed to reveal that he would begin work on RPO first... It's a shame that Spielberg had to make The Papers so abruptly as it seems to have made the schedule unworkable for Williams, understandably. Though if The Papers was filmed and scheduled for release one year forward from now then it would probably clash with the episode 9 sessions so I suppose there's just not very much luck with Williams' schedule at the moment! 

Wow thanks for the info! That's crazy about Williams being given the wrong cut... Thank goodness for the filmmaking team that he's so capable as to re-write music of such complexity at such short notice- and still make it work so well! This does make it a little clearer as to why he was maybe not so keen to return to Potter, though of course that's a whole other story with many different factors involved! Would imagine he could have felt as though his talents/general effort that he obviously puts into his scores wasn't really appreciated by the potter team. 
 
It really is such a shame we never got to hear anymore Williams music for the rest of the franchise... Was just listening to the first score the other day and was reminded again at how annoying it is that the themes for Voldemort weren't continued throughout the series! Such awesome themes (both the three note motif and the two direct A/B themes for the character) so memorable too, think most general movie goers would have recognised them if they had been used appropriately! 

According to one of the film's sound designers and re-recording mixers, Williams got to the podium on day 1 of sessions and realized something was very wrong, and figured out pretty quickly that he had been given an outdated cut of the film to score to. Oops!
 
You can see some evidence of this through the unusual slates on some cues (letters instead of numbers, as if Williams was uncertain as to what numbers would be correct to use), and the titling of one cue as "Sir Cadagon", who had a minor role initially that was cut down to a non-existent one in the end.
 
You can read about it in a little more detail here. It's indeed very bothersome that Williams has never talked very much about Potter. I guess there's not much about it to say though.
 
I was excited at first to check out the Harry Potter music documentary from 2010, but it wasn't very enlightening or insightful at all. There was some fun archive footage of Williams conducting for the first film though.

could you enlighten further about the re-writing of a 'chunk of the score' during the sessions for azkaban? always so frustrated at the lack of information and mystery surrounding the writing/sessions for all the potter scores... 

So Giacchino will do this, meaning we won't get a new JW score, the entire movie will be lens flares and it will likely go against all the established canon.
It could be good, but who cares if there's no John Williams score. Seriously.

I'm still patiently holding out for the other 'parody'... The Hobbit: An Unexpected Gangbang

Well if this comedy relates to slap stick, fart and feces jokes and fat people being fat then I can't see this being anything but a hoot. Obviously Gandalf will be an old funny drunkard, who has time to save the world in the midst of carousing.
Maybe the film will start as a drunken road trip and end up in Hangover type situation, where the characters try to piece together their adventures after nights of heavy drinking.
Hangover the Misty Mountains Cold...

gkgyver's right, though.
But yeah, all these Brad Bird and Abrams suggestions are way off the mark. Get Lars von Trier. What Star Wars needs is a scene in which Luke Skywalker masturbates blood out of his penis.

Indeed, John transcended genius long ago and became simply immortal.
Whee.

I get the same way when I listen to Christmas Star from Home Alone 2. Gorgeous, sumptious harmonies in the "starlight star bright" section.

Hobbit Slam with Shire Sausage. Sounds like something Sam and Frodo would have done...

Honestly, the same could be said on the other way round, i.e. people who never miss the occasion to roll their eyes and put labels like "fanboy", "reactionary", "hypocritical", "blind enthusiast", whenever someone shows a kind of spontaneous joyful (and sometimes naive) reaction to Williams' new music.
I'll frankly never understand why, in a place called "JWFan", people should be so divisive and always on the respective trenches when it comes to the simple fruition of new music written by John Williams. That's what keeps me at distance from engaging any kind of discussion here.

Well come on then Johnny, lad; Michael Bay is looking for a Transformers 4 composer.

Electronic percussion with string ostinato and horns playing two notes. Got to be Zimmer!
Of course, if it's totally overbearing, manipulative and saccharine, it's got to be Williams!

if it was a john williams film, people would be already panicking and saying that it means John's music is so bad they fear showing it...