Arpy

Bruce is a Dudebro.

Please BBC, consider Michael Sheen for the next Doctor - he was great as Aziraphale in Good Omens!

I can't stop thinking that a better episode would've been to have the companions rescue The Doctor, with Captain Jack and do something with all those monsters locked up in the prison. I was thinking it might've provided a good opportunity for each of the companions to think about what The Doctor means to them, and why they might want to leave. Also, they had The Master's TARDIS and wasted it! Bring back The Rani... or something!!

Star Wars' own success is it's own doom - doomed to repeat itself, bring back characters, retread old stories. The Clone Wars (era) felt fresh to me because of the war across multiple worlds and the stories that could be told within it, and is another reason why I'm looking forward to the High Republic era, it'll be relatively fresh with new things.

Yes, Gold had a handful of great, recognizable, hummable themes, but that was back when the show was stronger and was still gaining momentum, peaking with Smith's era. I liked some of Akinola's brass of doom that souned like real brass.

She's falling, with style.

I agree that fans have some sense of ownership over the characters and franchises they love, and the studios do sadly have to bend to this will, however I'll take depressed, broken, Anti-Luke of TLJ over some souped-up Jedi any day. Fuck fan service, if someone has a creative vision they should follow it, regardless of whatever backlash they'll receive.

I was annoyed that there was only some throwaway line as to why The Doctor was imprisoned. I wish her imprisonment had more of a connection to the plot and had at least some weight to it that made us, and her companions, care why she was gone. The episode should've focused on that instead of another half-arsed Dalek plot.

He left out War of the Worlds.

Was reminiscing about this score and came across this insipid review on Rotten Tomatoes: 'The John Williams score is a bit too, well, John Williams'? What the fuck does that even mean? I think that's a great thing, you know, for the artist to sound like themselves. Jeez.

2020 was a shitty year, even without the pandemic. The films that were released were duds, the scores ranged from 'meh' to 'bleh' and the highlights for me were scores from decades ago getting a proper expanded release. So I hope to whatever deity exists that 2021 things return to form and things improve. Here are two categories that I bothered to pick: BEST CATALOG TITLES OF 2020: - Solo: A Star Wars Story (Deluxe) - How to Train Your Dragon (Deluxe) - War of the Worlds (LLL) To crib @mstrox 's category BEST NON SCORE ALBUMS OF 2020 - From This Place (Pat Metheny) - Travelogue Volume 1 (Michael Giacchino) BEST TV SEASONS OF 2020 - The Mandalorian - His Dark Materials - Fear the Walking Dead - Westworld S3 - The Crown S4 - The Good Place

Doctor Who needs a serious overhaul and a sharp return to the quality of stories that made the reboot successful. Jodie is a fine Doctor, suffocated by abysmally boring writing and a lack of focus on what made the character special. I have a feeling the show is on it's last legs and to be a fan since the 2005 reboot fifteen years ago, it's somewhat depressing to see it nosedive so hard into the ground.

I love the choral work in the X-Men suite, it's unfortunate it didn't include the other theme from the film.

Sorry I'm late to this, if I voted, I'd have chosen @gkgyver's piece. It looks like other members share this choice!

Exactly, Batiste is a fine composer and it's strange that they felt the need to have another pair of composers to do the underscore.

All jokes aside, Giacchino's involvement during that disgusting phase of the MCU was the only silver lining. Also, just wanted to continue my rant by mentioning how quick Marvel were, and how confident they were in rushing to establish a brand over establishing fully-fledged creative visions. The 'MCU' brand is deemed more important than the individual parts that make them which is why they didn't give a flying fig about the creative aspect or the small missteps they may have made. If it weren't for the strong entry film of Iron Man and the charisma surrounding the film and RDJ, the MCU would've been as hollow as the failed DCEU now is. What's worse? A giant corporation milking a creative product for all it's worth, or another giant corporation trying to cash in on the success of the other's business model?

Hollywood is running on the age old 'If it ain't broke, don't fix it' motto. As long as there are mindless, uncritical audiences to fill seats (or buy subscriptions to streaming services), this will perpetuate for years to come. There's also the advancement and acceptance of CGI around that period that forced every film production to devote budget and resources to it, and whilst the practice made films cheaper to produce, it meant every film adopted the same visual style and setpieces to try and stay relevant. It was sad to see the one film genre where the freedom of creativity and innovation should be on display - the Marvel superhero films - fall into a dismal rut of bland, lifeless, visually dead films for a while and still realise that despite how hollow those films were they still made a billion dollars each, spawning more of the same crap.

I couldn't vote on this one - I love both Powell and Giacchino's animated scores for different reasons. Powell's Dragon trilogy is unsurpassed, but I'm sure if Giacchino had a chance at something like that - the right project, at the right time - he could manage fine. Perhaps there'll be an Incredibles 3 in another fourteen years?

There are whole scenes that instead of featuring any exciting music are scored by a droning, pulsing beat. Sometimes I really love how he's incorporated the electronic elements, but those moments are few and far between.

I wish he would tone back the electronic blibbity-bloo and overall tone of the Mandalorian. He has this amazing theme that is then placed among these techno beats that instantly sour my interest.

The most egregious part of this film is the utter laziness of the writing when Lord's son emerges from the bushes at the end, unscathed and in the right place at the right time to find his father.

There's no strong thematic identity in Spiderverse, add to that the annoying Prowler noise that sounds like a police siren screaming underwater.

@Jay Just watch The Clone Wars - sure it has a messy start, but it gives much needed structure and semblance to the Prequels.

Then the parameters of the wish are undefined - meaning WW could've wished Steve back in his own body later on. Why was Steve brought back in a different body anyway? It makes zero sense.

Pedro Pascal's villain is what saved this film for me, but there are a shitload of plotholes, leaps of logic and other issues. I wasn't a fan of the first film, so this one felt fresh and fun at times, even if things were slightly predictable. Kristen Wiig's character 'Barbara Minerva' turns into 'Cheetah' human-cat hybrid for no reason, despite earlier in the film her wishing to become like Wonder Woman, who has no Cheetah traits at all... The ending resolution reminds me of Doctor Who's The Last of the Time Lords where time is reversed via the people praying for The Doctor through the satellites to restore his power.