Some of today’s most compelling scores are on television, and for science-fiction and fantasy projects. This year’s crop was especially interesting, and I explored several of them in stories for Variety: Bear McCreary talked about his grand-scale music for The Lord of the Rings: The Rings of Power; Amie Doherty and Ramin Djawadi discussed their scores for She-Hulk and House of the Dragon, respectively; Laura Karpman regaled us with the complexity of recording Ms. Marvel; Natalie Holt and Hesham Nazih talked with us about Marvel’s Loki and Moon Knight; the composers of Severance, Foundation and The Book of Boba Fett chimed in on their special challenges; and Nami Melumad talked about the latest Star Trek series, Strange New Worlds. Nicholas Britell talked with us twice about Andor, first in announcing his involvement, long kept under wraps; and after the series debuted, although he was still reluctant to give away any secrets.
No sooner do we finish Oscar season than Emmy season is upon us. But it’s always fun if a bit of a scramble to see as many television shows as possible before interviewing their composers for Variety and the SCL. We looked at the superstars vying for Emmy song nominations here; the nominations in all seven of the Television Academy’s music categories were announced July 12. My analysis of the nominees, particularly the lack of superstars in the song categories, is here; more importantly, the diversity among this year’s nominees was notable. I discussed every nominee in all seven categories here; and the winners were finally announced on Sept. 3 and 4. My one regret: that my favorite TV song of the year, Mick Jagger’s Slow Horses theme, wasn’t even nominated — especially after I went to a lot of trouble to get him on the phone for an exclusive story.