Docteur Qui

Finally started with Succession. Halfway through the 1st season. Wow this show is amazing! I love it so much.

I love the Epilogue from WOTW more than the equivalent from The Fury. Not only dripping with atmosphere but insanely bleak.
 
I wouldn't complain if Williams spent the rest of his days just writing Epilogues! They seem to bring out a latent musical darkness within him.

"Epilogue" from The Fury has to be one of the most intensely dark and dispairing pieces Williams has ever written. It's one of my all time favourites of his. But as it's not technically from the film, I guess it doesn't count. Also, "For Gillian" is so light and fluffy it changes the mood of the work as a whole.
 
I'll also go with War of the Worlds. It's almost wall-to-wall bleak, as even its more hopeful moments are plaintive and understated.

The end credits version is a different recording, it's much faster. To the point where it's jarring to listen to the actual cue afterwards because it feels glacial in comparison. Same thing with Scherzo for X-Wings.
 
John Williams and insane tempo inconsistencies, name a more iconic duo (looking at you, Jurassic Park theme).

Most humans just don't enjoying listening to film scores.  We're a very, very, very, very, very small percentage of the planet.

I just can’t believe we live in a world where this box set actually exists. (And that I was smart enough to snag it when it was first announced). What a treasure trove and a testimony to MM and his philosophy of “future-proofing” the maestros work. 
 
Everytime I look at this set on my shelf I think, “Dang. They nailed this one.”
 
*bracing for incoming “missing shwam” comments*

In terms of the end credits suite, I hate the slow tempo of Finn's theme (or whatever it is called) versus as used in the actual film.  

War of the Worlds has virtually no light at the end of the tunnel to colour most of the cues. Even the military resolution and family reunion aren't big and happy, just glad that it's over with. Williams is not guiding us along the story with hints of the outcome planted and hope given, he locks us in with the characters who are just suffering through day to day with no greater vision of the proceedings, no idea what happens tomorrow.

Yeah sorry that's what I meant - and in the case of X-Wings the concert version (as heard on the OST) is slower than the film cue (the recording of which isn't present at all on the OST, likely because it's so cut up in the film). 

Ooh thanks, now I want to listen and compare! 

The end credits version is a different recording, it's much faster. To the point where it's jarring to listen to the actual cue afterwards because it feels glacial in comparison. Same thing with Scherzo for X-Wings.
 
John Williams and insane tempo inconsistencies, name a more iconic duo (looking at you, Jurassic Park theme).

I'm glad it was Mark Addy. I didn't know him so to me he is Robert Baratheon.

His Lector never gets any attention, which is unfortunate.

I love this. Really gives you a clear picture of the overall tonal structure at a glance. And I think even for those unfamiliar with the notation, it still shows one big difference between film cues (even with a solid internal structure like this one) and typical Romantic-era concert works: ending in a different key from the one started with (and stayed with most of the way through). I think If this were simply a film cue imported unaltered into the concert hall, it wouldn't be a very interesting observation. But the fact that Williams has revised it somewhat makes it much more interesting.
 
By the way, @Falstaft has already said something about this in his full article, where he states that:
 
The thing I'm wondering is whether, with these 2nd-round revisions, Williams may be trying to smooth out some of the changes in key, or at least give a little more time in preparing for them so they sound even more like a concert piece rather than an imported film cue.
 
It just seems that Williams has been trying to establish his legacy in the concert hall as much as he can in recent years, even in seemingly smaller ways like this.

The multiple iterations of the Scherzo for Motorcycle & Orchestra is an interesting case, isn't it? I'm not convinced the piece is improved either, though I can kind of understand Williams's thought process in implementing them.
 
This'll probably of limited use if you're not fluent with stem & slur analytical notation, but I did a little graph of the piece for an article that shows how the Scherzo's tonal plan is (and is not) affected by all these various changes.
 

Every time the discussion about one of these revised pieces ramps up, I wish for some highly musically literate person to create an infographic that lays out and color-codes the different sections of each piece by theme, instrument group, etc. I’m not capable of doing it myself, but if I were a 17th-century Prussian duke, this would totally be one of the targets of my aristocratic patronage.  

Brian Cox was offered the role of Robert Baratheon but turned it down
 
He probably woulda been good, but Mark Addy was great!

Lost shouldn't even be on that list. So many people who hated it completely misunderstood it. Or didn't realise that the show was never going to answer all its questions before it finished its run.
 
For what it's worth, the finale of Game of Thrones isn't that bad. There's far worse episodes earlier in the season, and all through seasons 5-7, but the final two episodes as a singular finale are actually pretty good (give or take a few scenes). The action in "The Bells" is rollickingly good fun, and there's some real melancholic beauty to the aftermath scenes in the finale.
 
The worst finale of all time will always be Dexter. What an insult to a once interesting show. That was a show that completely and utterly misunderstood its core premise by the end of things, tone-deaf and borderline irresponsible.

I still vote for Joe Kraemer

Indeed one of the best show of the year. Amazing stuff.

Hacks (Season 1)
 
Wow, one of the best finds of 2021 right here!  A true two-hander where the great Jean Smart and newcomer Hannah Einbinder vascillate between hatred and respect over the course of the season.  Smart is a legendary comedian with a residency in a Las Vegas resort whose tenure is about to end when the resort's owner (the also great Christopher MacDonald) wants to replace her show with a new one with more appeal to younger crowds.  Einbinder is a LA comedy writer who has recently lost her job after making offensive joke on twitter.  Their mutual manager sends Einbinder out to Vegas to help punch up Smart's act and the rest of the season unfolds from there.
 
The season is not only very funny, but also very good at storytelling, as various forms of friendship are formed, then broken, then reforged.  There are also a bunch of side character who also get interesting stories so the show never stays in one lane the whole time and has a lot going on.  Kaitlin Olson (Dee from Always Sunny) plays Smart's daughter and gets up to some pretty funny stuff; Their agent and his assistant are really funny too, and Laren Weedman shows up as the absurd mayor of Vegas too.
 
It's on HBO Max and has been renewed for a second season coming this year, catch up on the first one now!

Season 6 will begin in Q2 (April,May or June) and end in Q3 (July, August, or September)
 
So no split season after all!

The question reminds me of an anecdote I once heard, which I'll summarise:
 
"A friend who really likes opera convinced me I should give it a try, so he lent me his discs of Cosi Fan Tutte, Don Giovanni and The Marriage of Figaro. I listened to them and liked them so I went back to my friend and said 'They were great, I really like opera, what should I listen to next?'. My friend looked a bit sheepish and said 'Well, you do realise you started with the best ones: it's all a bit downhill from here.'.
 
I could say the same thing about film music and JW.
 
Mark
 
 

I absolutely love the red box with the Hogwarts illustration, so much more lively and Pottery than the final design!

Exactly. In fact I couldn't help but feel that HE was leading THEM.