While it looks like a flashy project that could ignite more interest in this promising new composer, I worry she will be 'regulated' by the producers to provide the same chugga-chugga/drones wallpaper that passes for film/TV music these days. I don't expect to hear Williams style brass fanfares and flourishes, but I hope she may be allowed to develop some themes and ideas that bolster the emotions and the drama. Doing additional scoring duties on JUSTICE LEAGUE would have helped her land this gig, I would guess.
I'm actually a little surprised Bear McCreary didn't get the gig, as he worked on the developer's last two shows (Da Vinci's Demons and Constantine). But he hasn't taken on any new television projects in a couple of years so he's probably focusing on his growing film career.
Given Goyer's affection for strong music in his projects, I'm fairly confident Toprak will be given the opportunity to shine here (as long as the budget can afford an orchestra, which is iffy given it's SyFy).
I am very excited to hear Pinar Toprak's new music. And another Bear McCreary TV score is not what is needed these days. It's great that another composer gets the opportunity. He has $20 million to keep him happy.
I watched the pilot. Not something I'll be returning to and the music is basically exactly as feared. And given that the rest of the production values are so high, cheap sounding, with plenty of electronics and samples.
(There's a couple of Williams quotes but they sound completely out of place given the tone of the rest of the score.)