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The Deadpool & Wolverine trailer made me sad.  I wasn't a child when the MCU was in its glory days, but I thrilled vicariously to the fact that movies for 9–12-year-olds were having such an incredible run—movies that barely earned their PG-13 ratings but delighted in adventure and heroism without being stuffy or portentous.  Marvel truly had the magic formula for a long, long time.  Now, with the MCU having overstayed its welcome, devalued its brand through overexposure, and misread fan appetites in equal measure over the past five years, this is what we're left with: a cynical, sophomoric, hyperviolent middle finger of a movie that leans into everything the great Marvel movies managed to avoid for so long.  And if you're a kid who loves superheroes, that's your Marvel option for the year.  A once-great kid-movie empire is behaving like the kid in middle school who can't wait to show off the dirty books in his locker.
 
If there's a silver lining, it's that Endgame was long enough ago—and the intervening movies and TV shows so disparate and haphazard—that they've probably lost most of the kids by now, and the only people lining up for this will be Fox-era nostalgics and frat boys.  I just remember a time when Marvel didn't have to court that audience because they had a four-quadrant formula that still managed to feel fresh almost every time.
 
When I was eight years old, I loved Wolverine, and I didn't need or want Logan levels of violence to do so, much less Logan levels of violence delivered with a nihilistic smirk and a side of dick jokes.  I hope this flops and leads Feige to some soul-searching, but I'm not optimistic.

The Deadpool & Wolverine trailer made me sad.  I wasn't a child when the MCU was in its glory days, but I thrilled vicariously to the fact that movies for 9–12-year-olds were having such an incredible run—movies that barely earned their PG-13 ratings but delighted in adventure and heroism without being stuffy or portentous.  Marvel truly had the magic formula for a long, long time.  Now, with the MCU having overstayed its welcome, devalued its brand through overexposure, and misread fan appetites in equal measure over the past five years, this is what we're left with: a cynical, sophomoric, hyperviolent middle finger of a movie that leans into everything the great Marvel movies managed to avoid for so long.  And if you're a kid who loves superheroes, that's your Marvel option for the year.  A once-great kid-movie empire is behaving like the kid in middle school who can't wait to show off the dirty books in his locker.
 
If there's a silver lining, it's that Endgame was long enough ago—and the intervening movies and TV shows so disparate and haphazard—that they've probably lost most of the kids by now, and the only people lining up for this will be Fox-era nostalgics and frat boys.  I just remember a time when Marvel didn't have to court that audience because they had a four-quadrant formula that still managed to feel fresh almost every time.
 
When I was eight years old, I loved Wolverine, and I didn't need or want Logan levels of violence to do so, much less Logan levels of violence delivered with a nihilistic smirk and a side of dick jokes.  I hope this flops and leads Feige to some soul-searching, but I'm not optimistic.

The Deadpool & Wolverine trailer made me sad.  I wasn't a child when the MCU was in its glory days, but I thrilled vicariously to the fact that movies for 9–12-year-olds were having such an incredible run—movies that barely earned their PG-13 ratings but delighted in adventure and heroism without being stuffy or portentous.  Marvel truly had the magic formula for a long, long time.  Now, with the MCU having overstayed its welcome, devalued its brand through overexposure, and misread fan appetites in equal measure over the past five years, this is what we're left with: a cynical, sophomoric, hyperviolent middle finger of a movie that leans into everything the great Marvel movies managed to avoid for so long.  And if you're a kid who loves superheroes, that's your Marvel option for the year.  A once-great kid-movie empire is behaving like the kid in middle school who can't wait to show off the dirty books in his locker.
 
If there's a silver lining, it's that Endgame was long enough ago—and the intervening movies and TV shows so disparate and haphazard—that they've probably lost most of the kids by now, and the only people lining up for this will be Fox-era nostalgics and frat boys.  I just remember a time when Marvel didn't have to court that audience because they had a four-quadrant formula that still managed to feel fresh almost every time.
 
When I was eight years old, I loved Wolverine, and I didn't need or want Logan levels of violence to do so, much less Logan levels of violence delivered with a nihilistic smirk and a side of dick jokes.  I hope this flops and leads Feige to some soul-searching, but I'm not optimistic.

The Deadpool & Wolverine trailer made me sad.  I wasn't a child when the MCU was in its glory days, but I thrilled vicariously to the fact that movies for 9–12-year-olds were having such an incredible run—movies that barely earned their PG-13 ratings but delighted in adventure and heroism without being stuffy or portentous.  Marvel truly had the magic formula for a long, long time.  Now, with the MCU having overstayed its welcome, devalued its brand through overexposure, and misread fan appetites in equal measure over the past five years, this is what we're left with: a cynical, sophomoric, hyperviolent middle finger of a movie that leans into everything the great Marvel movies managed to avoid for so long.  And if you're a kid who loves superheroes, that's your Marvel option for the year.  A once-great kid-movie empire is behaving like the kid in middle school who can't wait to show off the dirty books in his locker.
 
If there's a silver lining, it's that Endgame was long enough ago—and the intervening movies and TV shows so disparate and haphazard—that they've probably lost most of the kids by now, and the only people lining up for this will be Fox-era nostalgics and frat boys.  I just remember a time when Marvel didn't have to court that audience because they had a four-quadrant formula that still managed to feel fresh almost every time.
 
When I was eight years old, I loved Wolverine, and I didn't need or want Logan levels of violence to do so, much less Logan levels of violence delivered with a nihilistic smirk and a side of dick jokes.  I hope this flops and leads Feige to some soul-searching, but I'm not optimistic.

It's not good enough to be recorded yet!

or maybe he just didn’t like banning Banning Back Home. 

Woohoo!  I love this category, and I love that they so frequently honor film pieces in it.  That's an even dozen for Johnny, although I have to say, giving it to "Angela's Ashes" over "The Egg Travels" from Dinosaur was a cryin' shame.  But then again, skunking Hedwig was an equally cryin' shame, so I guess it's a dozen either way.
 
P.S. Your humble correspondent had the dubious honor of adding Johnny's name to the chart on this category's Wikipedia page!

Woohoo!  I love this category, and I love that they so frequently honor film pieces in it.  That's an even dozen for Johnny, although I have to say, giving it to "Angela's Ashes" over "The Egg Travels" from Dinosaur was a cryin' shame.  But then again, skunking Hedwig was an equally cryin' shame, so I guess it's a dozen either way.
 
P.S. Your humble correspondent had the dubious honor of adding Johnny's name to the chart on this category's Wikipedia page!

Woohoo!  I love this category, and I love that they so frequently honor film pieces in it.  That's an even dozen for Johnny, although I have to say, giving it to "Angela's Ashes" over "The Egg Travels" from Dinosaur was a cryin' shame.  But then again, skunking Hedwig was an equally cryin' shame, so I guess it's a dozen either way.
 
P.S. Your humble correspondent had the dubious honor of adding Johnny's name to the chart on this category's Wikipedia page!

Discuss.
 

For Helena’s Theme

John Williams doesn't shave.
 
William Ross does it for him.

It's really great, isn't it? I know enough about Williams's style of interviewing that a) his responses are often a little rehearsed and massaged and b) this one really does capture his incredible autobiographical memory and poetic sensibility towards his life and art. 
 
Also, I didn't know he remembered that the SW opening title initially began with that tiny run up! Who else remembers first listening to the "secret" track on the ANH Special Edition in 97 and just being blown away?!

Everyone uses the word "minimalism" to describe this score, but I'm not musically literate enough to venture it myself.  I'd say expect something that starts out somewhat austere and reserved, takes detours into darkness and drama, and ultimately arrives at a place of warmth and beauty that somehow, in places, still retains a whiff of futuristic austerity—not in a way that diminishes the warmth, but in a way that keeps the sound rooted in science fiction.  Even when the score hits its emotional heights, you won't mistake it for E.T.—which is also science fiction, of course, but of a purely Spielberg variety, rather than the Kubrick-Spielberg alloy that is A.I.

Everyone uses the word "minimalism" to describe this score, but I'm not musically literate enough to venture it myself.  I'd say expect something that starts out somewhat austere and reserved, takes detours into darkness and drama, and ultimately arrives at a place of warmth and beauty that somehow, in places, still retains a whiff of futuristic austerity—not in a way that diminishes the warmth, but in a way that keeps the sound rooted in science fiction.  Even when the score hits its emotional heights, you won't mistake it for E.T.—which is also science fiction, of course, but of a purely Spielberg variety, rather than the Kubrick-Spielberg alloy that is A.I.

Everyone uses the word "minimalism" to describe this score, but I'm not musically literate enough to venture it myself.  I'd say expect something that starts out somewhat austere and reserved, takes detours into darkness and drama, and ultimately arrives at a place of warmth and beauty that somehow, in places, still retains a whiff of futuristic austerity—not in a way that diminishes the warmth, but in a way that keeps the sound rooted in science fiction.  Even when the score hits its emotional heights, you won't mistake it for E.T.—which is also science fiction, of course, but of a purely Spielberg variety, rather than the Kubrick-Spielberg alloy that is A.I.

My dude, Enguerrand Etc. Etc., is back! Looking rather like an Indy villain himself, here he is with a rather slickly shot Motorcycle Scherzo!
 
 

Duh. It's obviously been too long since I've seen the film.
 
 

too many secrets...

My dude, Enguerrand Etc. Etc., is back! Looking rather like an Indy villain himself, here he is with a rather slickly shot Motorcycle Scherzo!
 
 

Wow, that's striking.  Makes me wish I'd picked up the ROTJ disc when the used bookstore had them all sitting there individually priced!

This fascinates me as well, actually, as a SE lifer who doesn't know any better.  I bought the ESB disc of the Anthology used because I just love that score the most.  Can anyone point to any YouTube videos or anything that illustrate the quality differences between the releases?  Is the current OST on Spotify the awful remaster or the 2016 one (or are those the same)?

I'm sorry, your musical files are not playing for me. Could it be an issue with the forum? Or maybe with myself? I tried a few days ago uploading a music file to another thread, one of them didn't work.
 

 
Are those cues available on YouTube? If so, could you post them with the timestamps, please? I never heard the Anthology albums so I can't compare.