Finishing SEASON 1:
"It's Still a Good Life"
9:36 in. And the cue after the commercial break.
A direct sequel to an episode of the original series. Two of the original actors from that episode reprise their roles.
So, how does this work...
If Audrey can send people to the cornfield and so can her father, how was mother expecting this to work? Why couldn't daddy just send himself back from the cornfield?
"The Monsters Are on Maple Street"
A garbage remake of an original series episode.
Some cues include what would be Snow's version of some blues/down-south flavor, funneled through the X-palette,
Guest-starring Don S. Davis and Eriq La Salle (you probably remember him from "Coming to America").
"I think if a person has God in their heart, they get more than a second chance; they get a fresh start."
"How Much Do You Love Your Kid?"
10:45 in. Eight minutes long.
Guest-starring Wayne Knight.
Funny thing, I could see a reality game show like this happening in real life. Well, not all of it.
"The Placebo Effect"
On a set of scoring from the show, I'd probably skip this episode score.
"The Pharaoh's Curse"
8:36 in. Magic training montage cue.
Saw the ending coming ahead of time.
Part 1: https://www.youtube.com/watch?v=TvggWzgu3qQ
Part 2: https://www.youtube.com/watch?v=eTxEWsTAOyY
Way way too much suspension of disbelief required for this episode.
I know how to fix the problem with the doll:
"She really wanted Buffy and Spike to hook up."
(that little girl is way way too young to be watching "Buffy the Vampire slayer)
"Eye of the Beholder"
13:04 in. Over eight minutes long.
A pointless remake of an original series episode. Unlike the original series episode that knew when to end, this just keeps going and like "Psycho", has the additional ending that was not needed. Unfortunately, in order to hear the score, you'll have to watch this redundant inferior crap.
"The Executions of Grady Finch"
10:45 in. And the short cue after the commercial break.
* = I don't know who that hot Eastern girl is that never speaks, but she's hot. She's not even credited.
About 15:10/18:25 in.
That's it. No further episodes.
There has been no release of the scoring from the show. In my mind, the unrealistic goal would be two sets of scoring, each two or three discs. A goal only achievable in ... well, you get the idea. ;-)
Now to say some words about the show...
This was, of course the second attempt at another series based on the original. Now, I have to say I did not see all of the 1985 series, but I remember it having it's ups and down -- just like this iteration. However, despite some of the good things I said about two or three episodes and of course my love for Snow's and highlighting many cues which I would gladly pay to own, I have to rip this show a new one found only in ... the Twilight Zone.
Okay, so I have to preface this by saying if you've not seen half or more of the original series and know the high standard it set, these comments are empty to you. If you got free time, stop reading this and go start the original series. Thank me later.
This iteration, much like the current iteration, focuses on the twists and surprises, but forgets the real heart and certain je ne sais quoi that, while not easy to do, was done for several seasons on the original show and some in the 1985 series. And while I've even seen those on the Left complain about the current iteration being nothing more than a woke-fest that lost everything that made the original series what it was, it can be hard to forget that this series did that in a number of episodes, just 99.5% of the time not slapping you in the face and calling you basically every name in the book with the writing. And therein lies one of the problems: the 2002 iteration was focusing more on making points than story telling. But that's not it's only problem.
(also, on the one hand it re-made episodes of the original series, but on the other hand it did a direct sequel to one; it wanted things anyway it could take them)
This 2002 iteration was not trying to be it's own thing, but rather was trying to be "The Twilight Zone" if filtered through Chris Carter. It was so desperately trying to go for "The X-Files" audience that it often felt like "The X-Files" (I even noted one episode in particular in an earlier post). They even hired Mark Snow to score it like he did on "The X-Files". Now, don't get me wrong, especially if you happen to be Snow and are reading this: Again, I love Mark Snow's. I just eat up stuff like "The X-Files", "MillenniuM", this, "Pasadena", all of which fall under the style he started falling into in the late 1980's which I simply label now the musical X-palette. And as readers know of other threads, I love his earlier work which Snow himself reportedly shuns (how can he look down on "Hart to Hart", come on). Having said that, the sound, even with variances in shows like "The Ghost Whisperer", just sort of all runs together and there's not much in the way of a unique musical identify, so the 2002 iteration just sounds like any other show he did in the X-palette sound. And this, I feel hurt the series. Yes, I know it worked wonders in two episodes in particular and derives the show so it seems contrary to make this statement, but in the end it dates it and any viewer who's watched shows from the 1990's/2000's, will say it sounds like "The X-Files". He tried to make good music and he did indeed succeed, especially as I noted two episodes where I felt he should have gotten an Emmy nomination, but the end result is an effort that was nothing more than a circular pastiche that did what the show needed it to do and not sound unique.
From the look, the lighting, the scoring, even some cinematography, and some writing, it just a Chris Carter knock off. Perhaps had it tried to not be that so hard, it would have gotten a second season.
As it was filmed in Canada, I might as well just go ahead and pulls a "South Park: bigger, Longer & Uncut": Blame Canada.