Arpy

The film and its score remain to be seen and heard. All we've heard is those few seconds presented in the trailer and the little clip on Giacchino's social media, there really isn't much to go on even with that.

To be fair - it's a teaser trailer of sorts, not a lot to gather of what the tone of each episode will be like.

1:51 - 2:10 is a wonderful Williamsism. The score for this episode was probably my favourite of the bunch in the way it emulates some of JW's style.

I'll tell you what I'm not disenchanted by: Revenge of the Sith, probably one of the best Star Wars films after Empire Strikes Back, and certainly leagues above the other two prequels. The sequels have made me only more thirsty for a complete score release of this amazing Williams score - it's dark, moody, bombastic, action-packed, somber, reflective and intricate and is really Williams giving us his last hurrah to Star Wars (before the sequels). WHERE IS THE OFFICIAL EXPANDED RELEASE? WHERE IS IT? WHY IS IT BEING KEPT LOCKED AWAY? WHY DOES DISNEY THINK THEY CAN DO THIS TO LUCAS'S LEGACY? The only thing mishandled here is that AGAIN we have to wait decades to hear this music properly.

Moffat started off so strong with Series 5, but lost steam by Series 7. Capaldi's era was (even by Moffat's own account) a kind of soft reboot and I think Capaldi's age, as much as it was a detractor to some audience demographics, really meshed well with the writing for his three seasons.

Well, it's not necessarily the creature itself that is at the core of those films problems and audience reception. Alien (1979) was more than just the creature, it was the atmosphere, the sci-fi get-up and the survival horror aspect too. Prometheus and Covenant took the creatures and demystified their origins, taking elements that are better left to our imaginations. The question of where the space jockey and the ship originated, or where the alien eggs came from don't need answers, they were merely elements used as a backdrop for the story.

Prometheus and Covenant were silly films. Scott needs to move on.

Hopefully the score works better in the film which I'm very much looking forward to. This is pretty shite music and I say that as someone who has loved Zimmer's other works. Quite disappointed with this effort and his for Dune. Over-produced, soulless, just evokes no feeling whatsoever. Zimmer had Mazzaro work on this too. Yikes.

@Jay Thanks for the update. I've bought quite a few Japanese score albums - largely from anime series and one thing I love about them is that there's a lot more attention paid to packaging than our western counterparts, which makes sense that these are physical items. I love the addition of obi strips and other packaging ephemera.

An alternative is to get it shipped to someone in the US who could then deliver it using any other postal service than USPS. I've ordered a few things from the US that have so far (fingers crossed) been processed through the USPS system. So if they don't go through then we'll know for sure nothing else is gonna get through.

What does everyone think about Disney removing the Slave 1 name from Boba Fett's ship? I believe they're calling it the 'Firespray'. Not a bad name, but I don't see the need to censor the original name.

Final Ascent is just another Time riff.

Pretty much sums up this thread:

Bran was utterly irrelevant and wasted, Arya's significance is somewhat exaggerated and all the other characters we care about are dropped or their characters neutered of their potential growth. I have to stress: potential growth. The show needed more time to develop. D&D were transparently disinterested with the show and were clearly inept without consultation from better writers - what's more is that they jumped ship when Disney dangled the dollars in front of their faces with a potential Star Wars film series! How did they justify this series and the prospect of an audience watching a prequel to a series that is an eight season train wreck?