Datameister

This. For every instrument mentioned in this thread, I can think of numerous passages that put it to wonderful use. There are plenty of contexts where a given instrument could sound out-of-place, and plenty of contexts where it's exactly the flavor that's needed.

I saw a TWOK screening in a theater a while back. It was a real joy, especially with an appreciative audience along for the ride. Anyway, we're going tonight. I've never seen this one on the big screen, so I'm looking forward to it, even though it'll probably only be, like, the second time I've watched the whole film in one sitting.

Maybe there's another multiverse in which characters look different in every universe...except for Spider-Man, who always looks like Danny Devito.

I like my MCU weird.

This is cool! I'm not going to double-dip—the existing expansion sounds very good and money is tight—but I highly recommend this one for anyone who doesn't already own it.

Jumping on the MCU show ratings train: WandaVision Loki Moon Knight Falcon and Winter Soldier Hawkeye 2 and 3 could just as easily switch places. None of them have truly stuck the landing in their finales, but they've all got things to like. Haven't seen enough of What If to rate it. Also, @GerateWohl...yes. Thank you. Yes.

I would hope for both. Or maybe a separate box for each trilogy, with the pieces from Galaxy's Edge, Solo, and Obi-wan squeezed in wherever there's room. The prequel trilogy would surely be the easiest. They've got all the elements and there aren't too many alternate cues. The original trilogy would be trickier because the elements would probably need some restoration—increasingly so each year, if those haven't already been transferred. And then the sequel trilogy should be easy in terms of the material's availability...but Christ, it'd be tricky to present everything on a commercial album. The overlapping layers of revisions are reportedly insane.

If we're lucky, maybe expansions will come in time for the 75th. Hope is a dangerous thing where these scores are concerned.

"Completely different reason": In order to listen to them...? And if you want the reason behind that, it's that...some film scores are enjoyable to me? If you want the reason behind that, I can only speculate. Early on, I was exposed to some films whose music I liked, and I was also exposed to some other pieces of great movie music apart from their films, and I was also exposed to jazz and classical music. I slowly started seeking out more and more soundtrack albums for films in which I'd heard music I liked. Later, I also started seeking out highly recommended soundtracks for films I hadn't seen. The scores my brain enjoys tend to have a great variety of music, strong roots in Western symphonic tradition, one or more memorable themes, and a nice balance between accessibility and interestingness.

Yay! Never got around to buying the OST, so this'll do nicely.

I love the film for a lot of reasons, one of which is the wonderful score. But I've never listened to it outside the film. I'm looking forward to this release arriving on my doorstep so I can fix that!

Both series are interesting. Williams ended his involvement in each with an enthralling score that largely reinvented the themes and overall sound. So predicting what later installments would have sounded like is difficult. Still, as others have mentioned, the JP films are weighted more toward action and suspense—areas where I don't necessarily think Williams has gotten better in recent years. The HP films are more character-focused by nature, and I think they would have been better-suited to Williams's strengths in the late oughts and early 2010s. So Potter it is for me.

Way less distracting than digital Tarkin, at least - even if that's a more compelling performance.

FWIW, I briefly met MG a while back. I complimented him on one of his less typical, lower-profile projects. He was quick to praise the team he worked with, somewhat downplaying his own contributions. On another occasion, I glimpsed the cue sheet for that project and it did properly credit the other composers/arrangers. (I suspect there's less ghostwriting on most of his projects, though I could be mistaken.)

I feel like I understand why he does this, and sometimes it does indeed help the flow. When it's done well, it's not obvious that a cut has occurred, and it can be a good way to tighten up the musical narrative. But a lot of the time, we do indeed end up with really great material being cut, material that would work perfectly well as part of an album listening experience. So I voted for "usually worsens," although I'd be more likely to use the word "often."