Tom Guernsey

Indeed. 1978, I remember watching a film where the lead character wore bright red Speedos over an electric blue Spandex body suit.
You don't get more pulpy than that 
 

Agreed, Tom. Imo, Elfman's score is one of his very best.
HULK was criticized for being, as one critic said: "Too wordy for kids, and too juvenile for adults", but at least it tried to present a comic book story in an original way.
Over the years, I've come to like it, and I regard it as the true first film in the MCU.

Makes you miss the Ang Lee version... even if that wasn't entirely successful, it did at least have a sense of style and a pretty terrific (I'd say underrated) Danny Elfman score.

It's better than The Fear of All Sums, the film about people with a maths phobia.

It's better than The Fear of All Sums, the film about people with a maths phobia.

the main situation I've seen is that women doing things in fiction is a concrete threat against some in the audience. (Another is "I can't masturbate to this"). Some of these are in contradiction with each other so it changes like a roulette. You see this in both the transformative and curatorial fandoms, and also in straight women who read/write for some reason.
 
On top of this, there are very clever and organized radicalization campaigns that use highly marketed fiction as tools for recruitment. I THINK this happens mostly to curatorial fandoms but I'm not sure. It results in all of the above but with increased conspiratorial thinking.  It puts the "victims" for the lack of a better word in contact with unsavory types until it turns out that they can't leave because the have been engulfed in the social network.
 
I meant more the tone, than the quality.

Fresh arrivals...

Well you can, but you'd need to make another kind of movie entirely. Which goes back to my earlier point, I think it's impossible to make an authentic "Indiana Jones" movie today, in the way we think of Indiana Jones.

The Indiana Jones trilogy did not have the slightest concern for continuity, and it was all the better for it. You had a small reference to the Ark of the Convenant in TLC and a nod to the sword trick in TOD. You can watch them in any order, no previous knowledge of any of the films is required.
 
Now, of course, the opening sequence of Raiders and the last scene of TLC work really well as opening and closing chapters for the character, but doesn't mean the movies have to even be seen in that order.
 
Characters and love interests come and go without any need to explain what happened in the meantime. That would only drag the movies down.
 
Now, this obviously only really works with an ageless hero. Indy seems to be roughly the same age in all three movies.
 
When you've let so many years pass between movies and Indy is obviously much older, the hero is no longer ageless. The order of the movies ceases to be insignificant. And adding to that, when you introduce marriages and sons into the mix, you can no longer ignore continuity. You can no longer make characters come and go without explanation.
 
You've shot yourself in the foot, basically. These movies can no longer be what they were conceived as. It becomes impossible to make an Indiana Jones movie in the same spirit. It is folly

The Grand Duel
 

When I was 9, I got the first 4 Raiders figures and the Well of Souls playset for Christmas.  Never in a million years did I think I’d ever get Temple or Doom Indy in that style.  I was a kid this morning when I found them.  For the record, I didn’t buy them all like the pic suggests. Just one to open and one to keep on the card. 

Like I said a few weeks ago, I just don't think it's possible to make a satisfying Indiana Jones movie today. No matter how talented the director or screenwriter is, or how good a performance Harrison Ford may bring. The Indy movies are about a young, charming, vital, globe-trotting archaeologist in the 1930's. Not a washed up, alcoholic pensioner living in a grubby NYC apartment in the 1960's.  It's just a totally different thing, and expecting it to be any more than a cheap copy was expecting too much. It was expecting too much in 2008, and certainly in 2023. And it's not only a different time in the films, it's a different time for film...they just don't make movies like that anymore. You just can't capture that again. That Indiana Jones is gone and isn't coming back.
 
Some of the reviews mention that he's estranged from Marion.  Mutt (to be fair, thankfully) is nowhere to be seen. Which means that Indiana Jones has officially joined Han Solo in the failed marriage/dead beat dad club, and Luke Skywalker in the washed up loser club. Just how we all want to think Indy ended up.  So well done Disney, well done. 
 
Why Disney wants to do this to their most iconic heroes is beyond me, and why anyone wants to see Indy like this is beyond me.  As far as I'm concerned, Indy rode off into the sunset at the end of Last Crusade/the end.
 
 
 

I see ChatGPT confused Williams with Elfman with that "The Final Confrontation"

That's funny. Because 48 other people have beaten John head to head.

It turns out Film Music Reporter got the track list wrong
 
The album has 29 tracks and is 87 minutes long
 
https://music.apple.com/us/album/a-symphonic-celebration-music-from-the-studio/1680459073
 
So I guess the 1-CD version will have less than that and the 2-CD will have all of that?

Another one:
 

Robin and Marian (unused score)
This was strings heavy, and really plays like concert music more than film music.
I haven't seen the film, nor have I listened to Barry's score, but I believe it wouldn't fit at all, so it was a wise decision to discard it.

I expect it will include the score - I can't think of a recent Disney film with a deluxe edition soundtrack where the extra music was more pop songs (this isn't Prince of Egypt and it's two "inspired by" albums).

I'm not in Cannes, So I'll be there in music today!

Exactly that! I mind it less when the show is meant to be about something a bit darker so you kinda get what you expect, but it's gritty reboots/sequels that I dislike the most, prime example being Picard. Even the much more entertaining third season is still needlessly depressing at times.
 
I think we'll have to give Breaking Bad a go - if nothing else, if it disappears from Netflix before we do, it would be massively annoying! Given that I happily watch something like Dexter (where I need to see the reboot/sequel season which will hopefully make me feel less bad about the dreadful original finale), I don't think I'd find Breaking Bad hard to watch. I would say that I only use the word slog in the sense of my enjoyment rather than suggesting any particular show is bad and thus hard work to get through in a general sense.

Apparently a deluxe edition is scheduled to be released in June - https://vgmdb.net/album/129448
 
Hopefully it will have additional score tracks and not just more pop songs.

I didn't see Dexter after Season 3. I'm told this was no great loss. 

Will add my voice to those recommending The Sopranos and Curb Your Enthusiasm. 

I also am weary of 'gritty darkness' or whatever. Granted, Chernobyl (for example) was never going to be a light-hearted romp and was praised to the skies ... but no thanks.  

Yes, this is the Alsop cycle. I like it about as much as I like most Dvorak in that it's pretty good.

Soundtrack details for The Little Mermaid remake:
 

 
1. Triton’s Kingdom – Alan Menken (2:32)
2. Part of Your World – Halle (3:34)
3. Fathoms Bellow – Jonah Hauer-King, John Dagleish, Christopher Fairbank & Ensemble (1:28)
4. Part of Your World (Reprise) – Halle (2:37)
5. Under the Sea – Daveed Diggs & Cast (3:04)
6. Wild Uncharted Waters – Jonah Hauer-King (2:59)
7. Poor Unfortunate Souls – Melissa McCarthy (4:42)
8. For the First Time – Halle (4:08)
9. Kiss the Girl – Daveed Diggs, Awkwafina, Jacob Tremblay & Ensemble (3:16)
10. The Scuttlebutt – Awkwafina & Daveed Diggs (2:01)
11. Eric’s Decision – Alan Menken (2:21)
12. Vanessa’s Trick – Alan Menken (1:03)
13. Part of Your World (Reprise II) – Halle (1:33)
14. Kiss the Girl (Island Band Reprise) – Alan Menken (2:17)
15. Finale – Alan Menken (2:25)
 
http://filmmusicreporter.com/2023/05/17/the-little-mermaid-live-action-2023-soundtrack-album-details/

I don't know, but although I'm into other composers' extended harmony scores, it seems I'm not into Bernstein's much.
That said, I kind of like the main theme that opens the film, and how it develops in the ending cue.