I agree that Russo is a great choice--his music for Fargo and Legion is spare but really has some impact when it comes in, and he has taken some quite unexpected approaches. I like the fact that they're throwing some bones to fans (Mudd, TOS-inspired phasers) but otherwise going in a new direction. I think this cast (between Sonequa-Martin Green, Jason Isaacs and people from The Knick) has the potential to be the best ever. My main concern right now is with Fuller gone (and I've also heard that a lot of Fuller's early ideas would have driven hardcore fans absolutely MAD) there are too many cooks, including Akiva Goldsman--to match "peak television" I think you really need a strong show runner with a vision. But on the other hand, with whatever problems Discovery might have, I defy it to be as awful as the first two seasons of TNG, which were overseen by Gene Roddenberry. I fully intend to watch a bunch of episodes before I start hating (or loving).
The more hate I see the better. It means people still care about Trek. And I've almost never witnessed a situation where naysaying haters turned out to be right.
The more hate I see the better. It means people still care about Trek. And I've almost never witnessed a situation where naysaying haters turned out to be right.
Welcome to the dark side.
well, this ST fan skipped the last movie and have jumped ship, so to speak
I took a look at the first act of the premier episode tonight, and I won't presume to comment on the underscoring or any other aspect of this as yet unseen (by me) series. Also, I'm a late-comer to this thread, so I haven't read most of what's been said previously. But if anybody's taking a poll, you can count my vote among those who were not impressed with the main title music. The visuals were certainly striking, but for me they were getting no help from the music. Note, please, that I've said main title "music" but not "theme," because there barely was any theme, perhaps the first time ever for Star Trek. There may be a place for minimalist music in TV/film scoring, but the opening of a Star Trek show is probably the least likely spot to benefit from that sort of treatment. Comparisons are odious, but for me the title music only came alive in those last few bars where the Courage fanfare was quoted.
I'm lukewarm on the theme (reminds me of Downton Abbey a bit) but I did enjoy a lot of the scoring in the episodes. The only thing I would say is that it was a bit over-scored--Russo's music in Fargo and Legion is more effective because it's quite judiciously spotted, and there were at least a few points in Discovery where it got into generic territory, simply because there was so much scoring that it became harder to make an impression. But I enjoyed the show and I look forward to seeing where it and Russo goes.
I just saw the first two episodes -- and I liked a few tracks. Most of it is generic wall papery chords which sound like they weren't even composed by a human. And there is, as Jeff already has said, a lot of it.
As for the show, the design is amazing. The acting is little wooden, it sounds like the actors only met just now. The effects are a little too much, too heavy on the After Effects. Even a normal photon torpedo is a kamehamehameha of over 9,000 now. And I have *no* idea how this fits in canon, but I tink we're at the point we are not allowed to care
Second epische is much better, so I will give it a shot.
Major turn off, though, is that Star Fleet would baby trap a corpse to strike the enemy. Boooo!
The mix (at least that offered over Netflix here in the UK) didn't do the score any favours. The sound seemed a tad muted compared to other shows. Not sure if it's the same on CBS All Access?
Loved the first two episodes - very excited to see how this plays out. Star Trek is back!
This is 2017, and the score reflects that. I thought the music did what was asked of it – it didn't need to expand on anything because everything was right up there on the screen. Perhaps other episodes will give Russo more creative leeway.
I had a hard time warming to the show. It didn't help me that there were so many scenes with Klingons basically saying the same things again and again, and the new make-up is so heavy that they seemed inarticulate even when speaking their made-up language. It felt a bit like Starfleet had come upon a spaceship manned by overdressed bears.
The mix (at least that offered over Netflix here in the UK) didn't do the score any favours. The sound seemed a tad muted compared to other shows. Not sure if it's the same on CBS All Access?
Yeah, the music is mixed pretty quietly on there too, especially in the first episode. I'm not especially bothered by this since on the occasion when it did break through, it was generic as all hell.
(Especially the climax of episode 2. Sounded like a Game of Thrones battle scene.)
My only major complaint was the use of small-caps font for the Klingon translations.
Hey. If there's one language where you're allowed to use all caps in a translation: it's Klingon. And German, of course.
You can't use lower-case letters to talk about THE GLORY OF KAHLESS.
The main title will take some getting used to--eventually I'll hear it without thinking about how much it reminds me of Fringe, and then The Jedi Steps, but I'm sure it'll settle into the pantheon once that wears off. I hope the episodic scores get to show some personality; we'll see.
