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Music Box has announced two new releases -- the third volume of their LES B.O. INTROUVABLES series, a three-disc set featuring rare French scores by various composers (in this case Bernard Gerard, Georges Hatzinnassios, Pierre Jansen, Pino Marchese, Patrice Mestral and Michel Portal); and a disc featuring two scores by Krishna Levy (Artemisia, 8 Women), CONTRE-ENQUETE (2006) and MORDBURO (1996).


The Final Countdown [reissue]
- John Scott - JOS
Mulan - Harry Gregson-Williams - Disney (import)


IFC is set to open the film The Nest (score by Richard Reed Parry of Arcade Fire), starring Jude Law and Carrie Coon, in some parts of the country where theaters are open.


September 25
Enola Holmes
- Daniel Pemberton - Milan (import)
Forces of Nature - John Powell - La-La Land
Hackers - Simon Boswell, songs - Varese Sarabande   
Il fischio al naso
- Teo Usuelli - Beat

Munster, Go Home! - Jack Marshall - La-La Land
Open 24 Hours - Holly Amber Church - Notefornote
Quando gli uomini armarono la clava e... Con le donne fecero din-don
– Giancarlo Chiaramello - Beat
Scream Queen! My Nightmare on Elm Street - Alexander Taylor - Notefornote

The Quinn Martin Collection Vol. 3: The Streets of San Francisco/A Man Called Sloane - Patrick Williams - La-La Land
October 2
Fatima - Paolo Buonvino - Decca (import)

Requiem - Dominick Scherrer, Natasha Khan - Svart
October 23
- Bernard Herrmann - Naxos
October 30
Devs - Geoff Barrow, Ben Salibury - Invada (import)

Date Unknown
Contre-Enquete/Mordburo - Krishna Levy - Music Box
Les B.O. Introuvables Vol. 3 - Bernard Gerard, Georges Hatzinnassios, Pierre Jansen, Pino Marchese, Patrice Mestral, Michel Portal - Music Box
Super Godzilla [video game score] - Akira Ifukube - Cinema-Kan (import)


September 18 - Pablo Sorozabal born (1897)
September 18 - Adam Walacinski born (1928)
September 18 - Dee Barton born (1937)
September 18 - Vince Tempera born (1946)
September 18 - A Streetcar Named Desire is released (1951)
September 18 - The Day the Earth Stood Still opens in New York (1951)
September 18 - Dimitri Tiomkin begins recording his score for Wild Is the Wind (1957)
September 18 - Henry Mancini begins recording his score to Bachelor in Paradise (1961)
September 18 - John Powell born (1963)
September 18 - Duane Tatro’s score for The Invaders episode “The Spores” is recorded (1967)
September 18 - Robert Drasnin records his first Mission: Impossible score, for the episode “The Slave” (1967)
September 18 - Jack Pleis records his score for The Wild Wild West episode “The Night of the Samurai” (1967)
September 18 - Alva Noto born (1969)
September 18 - Leonard Rosenman begins recording his score for Hide in Plain Sight (1979)
September 18 - Thomas Newman records his score for the Amazing Stories episode "Santa '85" (1985)
September 18 - Fred Steiner records his score for the Amazing Stories episode "Life on Death Row" (1986)
September 18 - Herbert Spencer died (1992)
September 18 - Arthur B. Rubinstein begins recording his score for Nick of Time (1995)
September 18 - Jay Chattaway records his score for the Star Trek: Voyager episode “Drive” (2000)
September 19 - Arthur Benjamin born (1893)
September 19 - Paul Williams born (1940)
September 19 - Alfred Newman begins recording his score for How Green Was My Valley (1941)
September 19 - Vladimir Horunzhy born (1949)
September 19 - Daniel Lanois born (1951)
September 19 - Nile Rodgers born (1952)
September 19 - Johann Johannsson born (1969)
September 19 - Johnny Harris begins recording his score for the Buck Rogers in the 25th Century episode “Planet of the Slave Girls” (1979)
September 19 - Joel McNeely wins the Emmy for The Young Indiana Jones Chronicles episode “Young Indiana Jones and the Scandal of 1920;” Patrick Williams wins his third Emmy, for Danielle Steel’s Jewels; Dennis McCarthy wins for his Star Trek: Deep Space Nine main title theme (1993)
September 19 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Search - Part 1” (1994)
September 19 - Jerry Goldsmith begins recording his score for Powder (1995)
September 19 - Willie Hutch died (2005)
September 20 - Frank DeVol born (1911)
September 20 - Frank Comstock born (1922)
September 20 - James Bernard born (1925)
September 20 - John Dankworth born (1927)
September 20 - Mychael Danna born (1958)
September 20 - Andre Previn begins recording his score for All in a Night’s Work (1960)
September 20 - Fred Steiner's scores to the Star Trek episodes "The Corbomite Maneuver," "Balance of Terror," and "What Are Little Girls Made Of?" are recorded (1966)
September 20 - Sidney Cutner died (1971)
September 20 - John Williams begins recording his score for The Poseidon Adventure (1972)
September 20 - Jack Marshall died (1973)
September 20 - Laurence Rosenthal wins his second consecutive Emmy, for Anastasia: The Mystery of Anna; Joel Rosenbaum wins his first Emmy, for the Knots Landing episode “Cement the Relationship” (1987)
September 20 - John Williams begins recording his score for Schindler’s List (1993)
September 21 - Chico Hamilton born (1921)
September 21 - Herbert Stothart begins recording his score for Son of Lassie (1944)
September 21 - Mason Daring born (1949)
September 21 - Herman Stein records his score for the Lost in Space episode "There Were Giants in the Earth" (1965)
September 21 - Walter Scharf records his score for the Mission: Impossible episode “Old Man Out” (1966)
September 21 - Robert O. Ragland records his score for The New Adventures of Wonder Woman episode “Hot Wheels” (1978)
September 21 - Pete King died (1982)
September 21 - Laurence Rosenthal wins the first of three consecutive Emmys, for Peter the Great; Arthur B. Rubinstein wins the Emmy for his Scarecrow and Mrs. King episode score “We’re Off to See the Wizard” (1986)
September 21 - Recording sessions begin on James Newton Howard’s score for Alive (1992)
September 21 - Gene Forrell died (2005)
September 21 - Geoffrey Burgon died (2010)
September 21 - Roman Vlad died (2013)
September 22 - Robert Mellin born (1902)
September 22 - Chuck Wild born (1946)
September 22 - Nick Cave born (1957)
September 22 - Dimitri Tiomkin begins recording his score for Last Train from Gun Hill (1958)
September 22 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The Left-Handed Man” (1965)
September 22 - Harry Geller’s score for The Wild Wild West episode “The Night of the Bottomless Pit” is recorded (1966)
September 22 - Samuel Matlovsky's score for the Star Trek episode "I, Mudd" is recorded (1967)
September 22 - Tuomas Kantelinen born (1969)
September 22 - Charles Previn died (1973)
September 22 - Artie Kane records his score for The New Adventures of Wonder Woman episode “The Bermuda Triangle Crisis” (1977)
September 22 - Jack Shaindlin died (1978)
September 22 - John Addison wins his only Emmy, for the Murder, She Wrote episode “The Murder of Sherlock Holmes;” Allyn Ferguson wins his only Emmy, for Camille (1985)
September 22 - Pat Metheny records his score for the Amazing Stories episode "Grandpa's Ghost" (1985)
September 22 - J.A.C. Redford records his score for the Twilight Zone episode “What Are Friends For?” (1986)
September 22 - John Williams begins recording his score for Home Alone (1990)
September 22 - Konrad Elfers died (1996)
September 22 - Lenny Stack died (2019)
September 23 - Clifford Vaughan born (1893)
September 23 - Gino Paoli born (1934)
September 23 - David Raksin begins recording his score for The Magnificent Yankee (1950)
September 23 - Lionel Newman begins recording his score for North to Alaska (1960)
September 23 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Life Work of Juan Diaz” (1964)
September 23 - Jerry Fielding records his score for the Mission: Impossible episode “The Cardinal” (1968)
September 23 - Richard Hazard records his first Mission: Impossible score, for “Commandante” (1969)
September 23 - Dave Grusin begins recording his score to The Yakuza (1974)
September 23 - Craig Safan records his score for the Amazing Stories episode "The Main Attraction" (1985)
September 23 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Shockwave, Part II” (2004)
September 23 - Malcolm Arnold died (2006)
September 24 - Leonard Salzedo born (1921)
September 24 - Douglas Gamley born (1924)
September 24 - Michael Tavera born (1961)
September 24 - Bernard Herrmann begins recording his score to Joy in the Morning (1964)
September 24 - Richard Markowitz records his score for The Wild Wild West episode “The Night of Sudden Death” (1965)
September 24 - Walter Scharf records his score for the Mission: Impossible episode “The Survivors” (1967)
September 24 - Richard Shores records his score for The Wild Wild West episode “The Night of the Kraken” (1968)
September 24 - Kenyon Hopkins begins recording his score for Downhill Racer (1969)
September 24 - Jerry Goldsmith begins recording his score for Star Trek - The Motion Picture (1979)
September 24 - Jerry Goldsmith begins recording his score for Baby: Secret of the Lost Legend (1984)
September 24 - Billy Goldenberg records his score for the Amazing Stories episode "What If...?" (1986)
September 24 - Jay Chattaway begins recording his score for the two-part Star Trek: The Next Generation episode “Gambit” (1993)
September 24 - Paul Baillargeon records his score for the Star Trek: Enterprise episode “Rajiin” (2003)


BACURAU - Mateus Alves, Tomaz Alves Souza

"As shot by cinematographer Pedro Sotero, 'Bacurau' is a colorful variation on 'Seven Samurai,' but there are no experienced warriors coming to the rescue here. Instead, the villagers must fight for their lives against encroaching forces and selfish politicians who will sell them out. Rita Azevedo’s outfits in 'Bacurau' range from the white coats or dresses of matriarchal characters, the townsfolk’s mishmash of multicolored tank tops and shirts, the camo gear of the hobby hunters playing dress-up and Lunga’s “Mad Max”-meets-clubwear look. Editor Eduardo Serrano’s compositions are both transfixing and unnerving, as quick edits of villagers taking drugs intersperse through both tense and slow moments in the film. Mateus Alves and Tomaz Alves Souza mix an eclectic collection of electronic and Brazilian sounds and music to enhance the movie’s sense of place and futurism."

Monica Castillo,

"Kleber Mendonça Filho and co-director Juliano Donnelles’s 'Bacurau' assembles a vibrant and eclectic collage of reference points. It’s a wild neo-western that pulls into its orbit UFO-shaped drones, elaborate folklore, limb-flaying and head-exploding gore, and Udo Kier as a villain who shouts in a mockingly high-pitched voice, 'Hell no!' This sci fi-inflected sociopolitical satire gleefully skirts camp, co-opting John Carpenter’s favored font for its credits, leaning hard into a chintzy electronic score (which includes 'Night,' a Carpenter original), and making frequent use of the antiquated wipe transition."

Sam C. Mac, Slant Magazine


"DP Darin Morgan keeps things looking polished on a limited budget, while he and Kasulke -- and editor Brendan Walsh ('Between Two Ferns: The Movie') -- ably capture the script’s wry sensibility, tweaking familiar setups like fast-paced montages, packed house parties, and awkward family dinners. These scenes are deftly aided by music supervisor Marissa Gallien, whose feminist soundtrack expands to include Annie Hart’s synth-pop score, Brit punk from X-Ray Spex and Junglepussy’s pivotally unapologetic hip-hop."

Elizabeth Weitzman, The Wrap

"At the same time, April and Clara are in denial of a conflict that will have to rear its head. The director, Benjamin Kasulke, is a veteran cinematographer who brings the L.A. settings a spangly glow, but he stages too many scenes with generic 'punch.' I wish he’d played against the comedy instead of italicizing it, and that he’d come up with some pop-music epiphanies and ditched the film’s cloying synthesizer score. Yet Kasulke establishes a space where Marks and Liberato can let their brainy sensual spirits -- and lashing putdowns -- fly, and he does an excellent job with the supporting actors, like Addison Riecke as April’s outrageously aggressive kid sister (who’s 13 and says things like 'So you’re rebound f*cking?') and Luke Spencer Roberts, who invests the Jon Cryer role with a stylish anxiety that’s more layered than usual. When he steals a kiss from April, we’re pretty sure she won’t ask for it back."

Owen Gleiberman, Variety

THE BANKER - H. Scott Salinas

"'The Banker' has the look and feel of an idolizing biopic. The movie glosses over several events in Garrett’s life and rewrites portions of his own personal history, as well as Eunice’s role during the time depicted on-screen (to say nothing of the recent allegations of sexual abuse that came out against former co-producer and son of the main character Bernard Garrett Jr.). H. Scott Salinas’ score often shows up thick and heavy with swelling notes, saddling some moments with too much gravitas. Other scenes get too bogged down in the housing market math to flow freely into the next action, and skim over more damning redlining policies that kept potential Black homeowners out of neighborhoods across the country. This simplistic look at the fuller picture makes it seem Garrett and Morris were the only Black men who did not lack the wits and resources to take on housing inequality head-on, yet there were probably others like them who just haven’t had a movie made about them yet. With this in mind, 'The Banker' remains only serviceable."

Monica Castillo,


"Too bad, then, that Buck doesn’t fare as well in the presence of humans. Set to John Powell’s lively but generic orchestral score, the dog’s journeys through human turf are often undercut by his all-too-human ability to interact with flesh-and-blood actors: It looks ridiculous. Ford gives a soulful performance, but his tender interactions with Buck -- who engages with his master as if he comprehends every word -- are so unconvincing that it’s a wonder that the studio didn’t throw in the towel and let the animal talk."

Eric Kohn, IndieWire

EXTRA ORDINARY - George Brennan

"The supernatural comedy 'Extra Ordinary' opens with, and periodically returns to, lo-fi VHS footage, expertly faked complete with tracking noise at the bottom of the frame. These bits are excerpts from a video series called 'Investigating The Extraordinary,' where host Vincent Dooley (Risteárd Cooper) explains how we’re surrounded by ghosts that are easy to miss without a keen second sight, in a tone just serious enough for the goofiest lines to sneak up and score a laugh. ('Even the weakest ghost can possess cheese quite easily,' he explains matter-of-factly). Given these kitschy interludes and the movie’s synth-y score, it seems possible early on that 'Extra Ordinary' will be aimed directly at those ’80s fetishists who treat 'Ghostbusters' as scripture -- and that the movie will toil away in a subgenre that claims 'Ghostbusters' as one of its few successes."

Jesse Hassenger, The Onion AV Club

FIRST COW - William Tyler

"'First Cow,' adapted by Reichardt with frequent collaborator Jonathan Raymond from the latter’s novel 'The Half Life,' is many things. A simultaneously gentle and unsparing dissection of the formative flaws of capitalism, and thus of the 'American dream'; a frontier story which captures the harsh realities and simple pleasures of a life built painstakingly from rock, wood, and soil; a heist movie; an argument for the power of baked goods. It is somehow both brutal and pastoral, peaceful and laced through with the inevitability of disaster and death. (Nothing fragile can hold forever -- not a tree branch, not a ruse, not luck, and not peace, no matter what William Tyler’s beautiful, serene score might trick you into believing.) But above all else, it is a story of friendship, treated here as a haven and basic human need, as essential as water or bread. The film begins with a quote from William Blake’s 'Proverbs of Hell': The bird a nest, the spider a web, man friendship. And those bones are, for the viewer as well as the woman (Alia Shawkat) who finds them, both an invitation and a door into that friendship."

Allison Shoemaker,

"'First Cow' has been adapted from 'The Half-Life,' a novel by Reichardt’s longtime collaborator John Raymond, who co-wrote the screenplay with her. Raymond’s novel, however, contrasted the frontier setting with a modern-day tale of friendship; by dropping that storyline, Reichardt allows the period backdrop to take on an inquisitive quality that interrogates the present without confronting it directly. William Tyler’s ebullient score draws out the gradual sense of possibility percolating through the empty scenery, and gives the story a sweeter quality than the melancholy dominating much of her work. It hovers in the ambition of its characters, setting up the emotional process they undergo when the reality of their scheme comes crashing into the pictures."

Eric Kohn, IndieWire

"Featuring a terrific dusty score by William Tyler, and solid unshowy performances by Magaro and Lee (who we really want to see more of now), Reichardt finds a cultural moment where an unforgiving landscape and era begins to side up next to what’s become a relatively cosmopolitan time thanks to the goldrush and the fur trade. In its beautiful final moment, 'First Cow' whispers a silently hopeful notion: even in moments of tragedy, we are all we have and a life of loneliness is no life at all."

Rodrigo Perez, The Playlist

"Reichardt relies on an equally solid crew for the production elements. Costume designer April Napier ('Booksmart') and production designer Anthony Gasparro ('Certain Women”') studied texts from the era to build in authenticity, and William Tyler mixes his own soulful compositions with on-screen music (a scratchy violin here or a mouth harp there) to enhance the period feel."

Elizabeth Weitzman, The Wrap

"'First Cow' is deceptively spare: It’s shot by Christopher Blauvelt in his and Reichardt’s customary boxy ratio, which concentrates the image and keeps your eyes from straying to far-off corners (there aren’t any), while the composer, William Tyler, seems not to be scoring the action so much as gently, sadly musing on it with banjo and harp. (Tyler’s country albums are much more busily orchestrated.) The effect is just so. You’re left sad but happy. But very sad. But happy, after all, when you think about Blake and what a life without friendship could be. This haunting movie transports you to another world -- and redefines home."

David Edelstein, New York

"Subdued notes of suspense come into play as the movie progresses, amplified by the needling strings and unsettling drone sounds of William Tyler's acoustic score. But Reichardt has no interest in the kind of conventional storytelling that requires clues and revelations building to an explicatory conclusion. Instead, she simply lays out the pieces with great sensitivity and restraint, leaving the audience to make the association between the film's haunting final image and its almost wordless opening. In retrospect, that picture of death acquires a strange serenity."

David Rooney, The Hollywood Reporter

ONWARD - Mychael Danna, Jeff Danna

"Ian and Barley Lightfoot’s (Tom Holland and Chris Pratt) 24-hour quest is lively and sometimes funny but seldom surprising. Writer-director Dan Scanlon and co-scripters Jason Headley and Keith Bunin have assembled a story from spare parts of various adventure and sword-and-sorcery flicks, and topped it with a sentimental coda about the value of a male role model. Mychael Danna and Jeff Danna’s drippy score pleads for tears, but viewers who sniffle are more likely to have been moved by personal associations than the film’s emotional heft."

Mark Jenkins, Slant Magazine

"D&D nerds might get a kick out of the dreaded appearance of the Gelatinous Cube, a block of ooze that engulfs everything in its path, but the dangers that surface throughout the brothers' quest seldom remain a threat long enough to create suspense -- despite the hard work of Mychael and Jeff Danna's thundering orchestral score. The most impressive adversary is a fearsome creature spontaneously assembled out of the wreckage of a guardian curse in the story's climactic battle, though the simpler, rough-hewn menace of something like the Rock Monster in 'Galaxy Quest,' conceived along similar lines, was a lot more fun."

David Rooney, The Hollywood Reporter

RESISTANCE - Angelo Milli

"A romantic subplot between Marcel and a fellow Resistance fighter named Emma (Clémence Poesy), whose courage outstrips his own, similarly clouds our view of the man Marceau would become, while suggesting some rather conventional thinking in what makes audiences care about characters. Watching Marcel perform a wordless routine just for Emma, culminating with a flourish in which he produces a paper flower for her benefit, feels like something one might expect in a far tackier movie. That’s because 'Resistance' tells a story that’s plenty strong on its own terms, and if anything, it’s a bonus that one of the key participants should survive to become famous. Afforded depth and gravitas by Angelo Milli’s string score, the film hardly needs the framing device in which Ed Harris appears as Gen. George S. Patton, regaling his troops with Marceau’s story before inviting him onstage for his first public show."

Peter Debruge, Variety

SAINT FRANCES - Quinn Tsan, Alexander Babbitt

"It's no doubt true that pockets of conservative intolerance exist in Chicago's well-heeled 'burbs, but an indignant woman at the park (Rebecca Spence), bristling about Maya breast-feeding in public, feels more like a device than a real person. Likewise, a neighbor of Maya and Annie's (Rebekah Ward), who remembers Bridget from Northwestern and starts treating her like the help as soon as she registers the situation. The woman is such a toxic *sshole -- she wrote a motivational book called Resting Rich Face and has an 'Unborn Lives Matter' sticker on her refrigerator -- that you question whether their kids' playdates would be enough to sustain even a superficial friendship with the lesbians next door. But Thompson's direction and O'Sullivan's screenplay are more often characterized by their light touch than their missteps in a likeable film elevated by its crisp, summery look and warm score."

David Rooney, The Hollywood Reporter

THE WAY BACK - Rob Simonsen

"The basketball games are filmed with a thrilling sense of reality: the fans seem real, the refs seem real, the kids on the other team seem real. O'Connor and editor David Rosenbloom have made a couple of really smart editing choices: you see Jack coaching the kids at practice, and as he details the plays, there's a cut to later in the game, showing the kids executing these same moves. The games feel like real games. I must mention here Rob Simonsen's score, and how well it's integrated. Some scenes go by without music at all, so when the music comes in, it's a cue that something is about to happen. It's a very big score. The film isn't filled with needle-drops of hit songs. (Similarly, Mark Isham's score in 'Miracle' is such a huge contribution it's hard to imagine the film without it.) O'Connor does not shy away from the emotion of his films. Instead, he embraces it."

Sheila O’Malley,

"'The Way Back' climaxes, as it must, with an all-or-nothing showdown against Hayes High School’s powerful arch rivals. But, in the film’s smartest and most resonant move, one that cleverly exposes the artifice of its own genre conventions, this big game doesn’t resolve much of anything. Instead, it’s merely the momentary high before Jack hits the lowest of lows. After he gets fired from the team for showing up to a practice stinking of booze, Jack goes on a bender that ends with him crashing his car, stumbling into the wrong house, and getting severely roughed up in a confrontation with the homeowner. For a moment, 'The Way Back' seems to be the rare sports film that recognizes that the gritty glory of competition can’t solve all your problems. Ultimately, however, it succumbs to the demands of its genre, with a final passage that cross-cuts between scenes of Jack in rehab and shots of his players excitedly rallying themselves for their first playoff game by shouting, 'Win this one for Coach Cunningham!' -- all while Rob Simonsen’s score, which shamelessly apes Vangelis’s iconic 'Chariots of Fire' theme, gradually swells to a mawkish crescendo."

Keith Watson, Slant Magazine


Satie's Greatest Hits (Satie), Murder by Death/The Pursuit of Happiness (Grusin), Black Snake Moan (various), And Justice for All (Grusin), Deep (Velazquez), Absence of Malice (Grusin), L'eredita Ferramonti (Morricone), On Deadly Ground (Poledouris), Son of the Morning Star (Safan), Dracula (Williams), Star Trek: Discovery - Season 1, Chapter One (Russo), On the Basis of Sex (Danna), Hangover Square/5 Fingers (Herrmann), For Honor (Bensi/Jurriaans), Assassins [2004 cast] (Sondheim), The Nutcracker and the Four Realms (Howard), Rosamunde (Schubert), Ralph Breaks the Internet (Jackman), Fur: An Imaginary Portrait of Diane Arbus (Burwell), The Zen Effect (Kent), Durante la tormenta (Velazquez), Eighth Grade (Meredith), Desert of the Tartars (Morricone), White Boy Rick (Richter), Mowgli: Legend of the Jungle (Sawhney), Annihiliation (Salsbury/Barrow), Star Trek: Discovery - Season 1, Chapter Two (Russo), The Girl in the Spider's Web (Banos), The Patriot (Williams), Ocean's 8 (Pemberton), Passion [2013 cast] (Sondheim), Planet Earth II (Zimmer, Klebe, Shea), Symphony No. 3/Finlandia/Karelia Suite (Sibelius), The Ballad of Buster Scruggs (Burwell), Eragon (Doyle), Mary Poppins Returns (Shaiman), Las leyes de la termodinamica (Velazquez), BlacKkKlansman (Blanchard), Per Amore (Morricone), Operation Finale (Desplat), Adrift (Bertelmann)

Read: The Abominable Man, by Maj Sjowall and Per Wahloo

Seen: Have I mentioned lately that it's been more than six months since I've seen a movie in a theater? All of you who are in areas where films can legally screen and are actually seeing them, thank you for supporting film exhibition but please stay safe. I love movieoing but Not That Much.

Watched: Fly Away Baby; The Avengers ("They Keep Killing Steed"); Three Ages [1923]; Deadwood ("Requiem for a Gleet"); Yossi & Jagger; NewsRadio ("Luncheon at the Waldorf"); The Spider Woman; Party Down ("'Not on Your Wife' Opening Night"); The Goat (1921); The Expanse ("Dulcinea"); X, Y & Zee; The Office [UK] ("Appraisals")

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January 19
Bjorn Isfalt died (1997)
David Shire records his score for the Amazing Stories episode "Moving Day" (1987)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Life Support” (1995)
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