Q: For each of you, would you describe how you first began to compose music for film, television, and video? Lolita Ritmanis: I studied screen scoring when I attended the Dick Grove School of Music. The first program I took was composing and arranging, and the second was film scoring. The film scoring program involved scoring something to picture every week. This was a very traditional method, using paper and pencil, and a book called The Knudson Click Track Book. We’d have to look up where moments on the screen would hit based on what tempo you’re at, musically. That’s kind of how I learned. After graduating, I had a several-year stretch of time during which I worked as a music proofreader and orchestrator. Some big studios, Disney and Warner Bros, and at a certain point, my reputation allowed me to have a door open to meet Shirley Walker, and I was recommended to her.
Michael McCuistion: I started writing music later in life than some young composers. I didn’t write anything until I was 17 years old, when I suddenly developed a passion for writing music. I also discovered that I wanted to write film music around the same time. So, I attended undergraduate school at the University of North Texas, where I pursued a degree in classical composition. I knew I wanted to be a film composer, but I didn’t know anything about writing music to picture. So, after I graduated from the University of North Texas I enrolled in the Screen Scoring program at the University of Southern California, and it was there at USC that I wrote to picture for the first time. It was kind of terrifying, really, because I was there as a “film composer" but I had never written to picture, while a lot of the other people who were in my class had already done that. I didn’t know the first thing about it…I just thought "I’m going to show up, they’re going to teach me how to do this, and it’ll all be fine!" So, I spent a year being the underdog, I guess you might say. Usually when you are starting a film composer career it takes a while to get things going, opportunities have to be created, they’re not just given. I was working for a keyboard player named Mike Lang, an incredible studio session player who played for all the main films and most of the leading composers – Jerry Goldsmith, John Williams, and other composers of that era. I worked for Mike for two or three years, and during that time, I met Don Walker, one of his mobile synthesizer rig technicians. Don asked me, “What do you do when you’re not working for Mike Lang?” I said, “I’m a film composer,” and he said, “Oh, really? My wife’s a film composer.” I said, “Who's your wife?” and he said, “My wife is Shirley Walker.” I said, “I've heard that name, but I don’t know her or her music. Knowing she is a film composer, I’d love to hear what she has to say about my music.” Don said, “If you give me some of your music I’ll see if she wants to take a listen.” I said, “sure,” so I gave him an audio cassette of some pieces I’d recorded after leaving USC. I didn’t see him for a while, and one day out of the blue I got a call from Shirley Walker saying she had heard my music and really liked it and wanted to invite me to become part of her team for BATMAN: THE ANIMATED SERIES. So, my first real composing gig was the first episode that I did with Shirley of BATMAN: THE ANIMATED SERIES. I had not written anything professionally before that time. The first cues that I wrote were for the episodes CHRISTMAS WITH THE JOKER and PRETTY POISON. She asked me to write just a couple of cues on those shows to see how things went. Lolita wrote for those, too, and that’s how we met each other.
Kristopher Carter: It’s remarkable how each of our histories have had all these totally unplanned intersections! I grew up in Texas and also attended the University of North Texas, where I studied composition. I was not there at the same time Michael was—we are seven years apart in age, so I began three years after Michael graduated. North Texas remains one of the largest music schools in the country, boasting a significant student enrollment. They have multiples of all the different teachers – several different piano teachers, several composition teachers, and Michael and I coincidentally both studied with the same piano teacher and the same composition teacher – and I hear it in the ways that we draw upon classically-oriented music; I totally hear how those original teachers guided us. I did some composing in high school and also played the piano and double bass, I was pretty sure that I wanted to study composition but after I did my college audition and realized that I wasn’t nearly good enough to be a piano or bass major I thought...so I guess I’ll be a composer then! <laughs>
However, in terms of pursuing a career as a professional composer, the paths were either to go into academia or to pursue film scoring. At the time I was at North Texas, pursuing a career in film scoring was looked down upon. They said, “Oh, you’re being a sell-out, you’ll be a commercial hack, and such,” so I had to button down the idea that I wanted to be a film composer… but they couldn’t stop me! I went to the library, where they have a vast collection of scores and music books. I found Fred Karlin and Rayburn Wright’s book ON THE TRACK… it’s quite a comprehensive book on playing drama, and orchestrating, and it’s an excellent resource for young composers. <Lolita and Michael quickly point out that they both have that book on their bookshelves!>. Even if some of the examples and conventions at this point are somewhat outdated, the idea of how to write for picture and how to really tell a story through music is timeless. That book is a great resource. And I had to create opportunities for myself, so I went to the film department and said, “Hey, I’m a young composer, I want to do films, hook me up with the student filmmakers." So, I quickly became the custom score guy that all the filmmakers wanted to use because there wasn’t anyone else who was offering it. So, by the time I was a senior in college, I’d actually already scored six or eight student films. The film department also produced a feature film as a collaboration between an independent film company in the Dallas area and the college. They sought a student to score it – by this point, it was no longer a well-kept secret that I aspired to pursue a career in film scoring. I was connected to the film department, and I scored my first feature film just weeks after graduating from college.
Shirley has a son, Ian, who is also my age and who is also a double-bass player. Ian and I were stand partners in the orchestra, and I asked him at one point, “Would you introduce me to your mom?” And he said, “Well, no, because everybody wants to meet my mom!” But I continued to have him play my student film scores, and I just kept sharing with him both my interest and my music. He finally said, ‘Okay, maybe my mom would be interested" in much the same way that Don Walker agreed to help open that door for Michael. So, I was able to come out to L.A. Shirley was orchestrating at that point for Brad Fiedel on a movie called STRIKING DISTANCE. Ian picked me up at LAX and took me straight to Sony Studios, where I was watching Shirley conduct. I was sitting in the bass section next to someone who was taking notes very studiously, as he was on deck to help with the orchestration. It turned out to be Michael! So, he and I met that day, and he played his demo tape for me during his lunch break in his car. He had played it for Shirley, and it was so good that I was worried if I was cut out for this! But Shirley listened, and she liked what she heard; when I graduated from college and I finished that feature film, she invited me to come out and be her assistant. She already had the BATMAN: THE ANIMATED SERIES going with Michael and Lolita and several other composers doing the writing. Still, she wanted to work me in whenever possible. We worked under Shirley through BATMAN: THE ANIMATED SERIES, SUPERMAN: THE ANIMATED SERIES, along with Harvey Cohen, and then BATMAN: BEYOND, which we all did together. After BATMAN: BEYOND, Shirley decided to focus on her feature film career and step away from television and Warner Bros. animation. So, she told the producers that "Mike, Lolita, and Kris have been writing music for all these years; we love their work, and I highly recommend that you continue their work with them." So, the next series, which was both TEEN TITANS and JUSTICE LEAGUE, was our first time working together. It was the three of us collaborating on these shows, and kind of becoming the three-headed superhero monster that we’ve become.
Q: How did you formally create Dynamic Music Partners on Dec. 2, 2024, and how did you decide to work together as a three-some?
Lolita Ritmanis: We were all working for Shirley, as Michael said, and then when we were out on our own, we really didn’t want a situation where we would constantly compete against one another or have one person be really busy with the other two sitting around waiting for the next thing. So, we decided to formalize our relationship. We decided to do what many composers were already doing: form a team. During that era, people like Mike Post, Hans Zimmer, to name but a few, would be the lead composer, and then have – now they’re called “Additional Music Composers”- working alongside them to assist, and also compose the score. Through careful planning, we decided to form this partnership. It’s something we take very seriously. Many people ask how we have managed to stay working together for all these years. We are there for one another, and, parallel to that, we are truly there for our clients because we can perform our best without being completely exhausted and spent. We are all working together.
Michael McCuistion: Our idea of working together has always been to share everything. Share all the success and share any difficulties that come along. We've had to have an excellent level of communication through all these years to make that happen, and that’s what we’ve always focused on. I think all of us wanted a certain quality of life, which is very hard to get in the entertainment business working alone. By sharing our work, we could ensure that we had time to have a life outside of work, and we weren’t constantly feeling overwhelmed or under pressure as the deadlines became more demanding. There were three of us to handle whatever came along. Schedules and deadlines were never a problem; we’ve never delivered any of our materials late throughout our entire careers. I think we’ve been extremely reliable in that way, and we’ve maintained sane, healthy lives, which is awesome
Kristopher Carter: The only thing I’d add is that the benefit to our clients is having three times the creative energy to put on something, but it’s also for us, as individual artists. We’re all very flexible with our voices. We’re all very different, if you really know the way that we write, yet we shape our voice to come together to make all of our scores homogenous and sound like the same dramatic idea. And they so inspire me; we are constantly raising the bar for each other, not in a competitive way, but in a lifting and elevating way, in terms of, ‘Wow, I really need to bring my A-game because Mike and Lolita surely have too.’ I love the inspiration that our partnership provides.
Q: What were some of the first mutual projects you had in scoring a
nimated television series?
Lolita Ritmanis: When you’re working with someone who loves everything that you’re doing and it’s just like, ‘no changes, everything’s great,’ it gives you breathing room and license to try new things, to really immerse yourself in the creativity of collaboration - without fear. It is a real joy. A great benefit to working as a team specifically can be in the challenging moments where one of us tries several versions of a cue, and still it’s not quite landing with the producer. In those moments I won’t hesitate to turn to Michael and Kristopher and say, ‘Okay, you give it a try,’ because I think the producer needs a fresh take on this cue. It’s really the vision of the filmmaker that we are trying to serve, not our own egos.
Michael McCuistion: JUSTICE LEAGUE was the first one on our own, technically.
Kristopher Carter: And TEEN TITANS.
Michael McCuistion: They were at the same time.
Kristopher Carter: We also did THE LEGION OF SUPERHEROES, we did BATMAN: THE BRAVE AND THE BOLD. There have been many different Men-In-Tights in our experience, as well as Women-In-Tights.
Q: How did the three of you usually work with the directors and/or producers on these projects?
Michael McCuistion: We’ve worked in many different ways. In episodic television, we’d sometimes each do an episode ourselves. More recently, though, we’ve been splitting the entire show up so that each episode is even split between the three of us. We all usually meet with the directors and producers, together. Nobody’s in the back room; they see all three of us, and they interact with all three of us, and we’re all part of the voice of shaping the score. And, I think in some ways, we’re like their peanut gallery when they play their first cut to us. They get our audience reaction, like doing a tiny market survey, when we see the picture and talk with them about the film – and that’s good too, because they’re not just getting one opinion, they’re getting three. Of course, during COVID, we did everything via Zoom. However, we’ve also worked via email and just about every other way you can think of. It’s good to have that flexibility, because there are three of us, and there are so many different ways we can work together on a project.
Q: What were some of the most challenging projects you worked on as a team?
Kristopher Carter: What will probably be the most challenging thing and the true beauty of our partnership is when we did a feature film score that had to be delivered in ten days! We have worked on other projects beyond animation, including this independent film called BROKE SKY. We had known the music supervisor Alison Freebairn-Smith for many years, and the director was Thomas Callaway. Their work-in-progress film was accepted by the South by Southwest Film Festival in Austin. At some point, they thought, Wow, we should finish our film! And someone thought, ‘and that means music too!’ And Alison said, “I know just the people who can do this!” The music had to be delivered to be mixed into the film so that the film could be flown to Austin for its premiere at the film festival in ten days. So, the three of us split the film into three parts; we each had five days to write and produce the score, which was set in Texas, giving it a kind of Western ambient vibe. It wasn’t wall-to-wall action music, which would have been a more challenging task. Still, we produced all the music in five days. We had a recording session with a guitarist who brought twenty guitars to the studio and just played them, hitting the backs to create percussion, and then the score was done. It was stressful and challenging, but it was doable, and the director loved the score, and it was a very successful collaboration. It was a testament to the power that the three of us can bring to a project, especially under challenging conditions like that.
Q: What were some of the individual projects that each of you created on your own while part of the Dynamic Music Partners?
Michael McCuistion: We’ve each had things that we’ve done which haven’t necessarily been DMP projects, but our own projects. One of the things I did was a show for Griffith Observatory. A friend of mine, Dr. Laura Danly, who was the curator there, hired me to score one of their beautiful planetarium shows. Planetarium shows are played multiple times during the day, often for many years. Millions of people visit landmarks like Griffith Observatory, so I felt a great responsibility to that project, and especially because it is such a significant landmark. That was an exciting project for me because the various aspects of a planetarium show are not in perfect sync with one another. The star projector begins, the video projection begins separately with the audio and music, and then an actor performs the script live, and it’s never the same way twice. It was pretty challenging and a wonderful experience, more akin to a theater experience than a cinema experience. Another project I did apart from DMP was composing a classical piece for clarinet choir called “Jazz Moods." I’m a bass clarinetist myself, having studied and played low clarinets in college. I have a real affinity for that instrument, and I had some friends who were part of a professional clarinet choir here. They needed a new piece, so they asked me to write one, and I composed a 17-minute piece with several movements that we premiered together in Italy. I composed some music for video games early in my career. Activision hired me to write music for two video games, both of which were based on the live-action Spider-Man feature films. I also scored an animated movie for Warner Bros. titled BATMAN AND MR. FREEZE: SUBZERO. The studio provided a live symphony orchestra, a big band, and a female choir for the score. Knowing that I would have those live musicians and singers really inspired me to focus 100% of my efforts on composing the best music I could, knowing it would be performed by the finest Los Angeles studio musicians and singers. It was an exhilarating experience!
Lolita Ritmanis: As most people who meet me know within the first fifteen minutes, I’m Latvian. I’m a dual citizen; although I was born here, I hold an EU passport and am very active in the Latvian community. I’ve scored five major projects that I recorded in Latvia. The pivotal project, that led to other films is called BLIZZARD OF SOULS. This World War I film featured a huge symphonic score with choir. I am incredibly proud of the music. It was a dream project for me to work on, and it happened to come at a time when Michael and Kristopher could cover for me, allowing me to work on it really freely. The score is available on all digital platforms. https://en.wikipedia.org/wiki/Blizzard_of_Souls_(film)
That film opened some doors for me in scoring more feature films. Another project I am extremely proud of is “Women Warriors: The Voices of Change” - produced by Amy Andersson, Mark Mattson and myself - for which we earned a Grammy award a few years ago. Besides my work as a composer, I am one of the founders and was the president for three years of the Alliance for Women Film Composers. I’m also a member of the Motion Picture Academy serving on the Executive Music Committee. This year I have a feature film premiering in November, about a famous basketball player during the Soviet Stalinist era, a Latvian player, and her goal was to reunite with her brother who had fled Latvia during World War II. It’s a beautiful film; it sounds like it’s a sports movie, but it’s so much more about the emotion of those crazy times, and it somewhat echoes, actually, some of the stuff that’s going on in the world now, even though it happened way back then. It feels a little bit too close to home, now.
Life outside of work is very important to me. My husband and I have been married for 36 years, have 3 children and one grandchild - who is a spectacular little 2-year-old. I spend a lot of time producing her, directing her, and cuddling her!!
Kristopher Carter: I’ve had a long, many-year working relationship director Gregg Bishop; we’ve done five feature films together and a couple of short films. He’s a very gifted filmmaker and writer, and it’s so much fun to do music for him. He does a lot of horror projects, which is a complete departure from the kinds of music we write together for Dynamic Music Partners. I have done three other short films this year that are all in various stages of getting out to the festivals: one is called THE BAD MAN, which was shot in Bangkok; it was kind of a return to my rock roots, it features a lot of guitar and saxophones mixed in with Asian wind instruments that are run through guitar distortion – it’s very noisy! Since the Pandemic, I’ve been working on a set of classical pieces based on The Four Seasons, for piano and orchestra. The idea was that they would all be recorded remotely, due to the way the Pandemic kept us all at home, while we still wanted to make music together. So, I’ve been recording the piano at home; I work with musicians who record at their own studios, and then I put all the separate recordings together into one big piece. I’ve released Autumn and Winter, and Spring and Summer are coming soon. And for something completely different, I’m also an electronic music producer and DJ, and I have released an EP and three singles with my EDM project The KR Protocol.
Q: Were the music styles of the animation studios or their producers different to work with?
Michael McCuistion: First of all, each producer and each director is a creative powerhouse unto themselves, and they each have a different way they approach their filmmaking. Part of what is most interesting is trying to discover what that way is; how does their creativity manifest itself; how do they communicate about their creativity? It’s our job to crawl inside their head without making them uncomfortable and figure out what’s going on in there so that we can ensure that the music fulfills their vision for their project. I don’t think it’s specific to a studio as much as it is specific to each creative visionary; it really wouldn’t matter which studio a particular producer was working for. In fact, we had one producer we worked with, Glen Murakami, who was producing TEEN TITANS at Warner Bros, and then he went to Cartoon Network to produce BEN 10: ALIEN FORCE. We worked with him in both places. And I can assure you that Glen is Glen, wherever Glen is! So, it’s really more about getting to know the person and how they approach their creative vision than anything studio specific.
Kristopher Carter: It’s interesting when you talk about, specifically, like DC superheroes, I think we’ve done seven different shows that had BATMAN, and each one was related, but a different kind of musical sound for BATMAN. There’s kind of a genera sound we expect to have for BATMAN – the darkness and the types of sounds that are associated with BATMAN – but every filmmaker has their own way they want to approach it. And so, even though we’ve done seven different shows with seven different BATMAN versions, each one has its own approach because each filmmaker wants to put their own stamp on it. They also want each of their contributors: collaborators, musicians, and composers to put a unique stamp on it, too. And so, it’s really been fun, I think, to explore different ways – you don’t want to retread the same ground all the time, and it’s very inspiring to – if you’re able to get inside the filmmaker’s head, as Michael was describing, what kind of musical approach you can come up with to accompany that.
Q: How did you create the many soundtrack albums that reflected the music from the series?
Lolita Ritmanis: The goal is to answer the call of the fans! That’s the biggest goal, but I’m going to pass it on to Michael to describe what we’re doing.
Kristopher Carter: There was a period of time when the permissions to release soundtracks didn’t have the support. And in more recent years, there are the right people who can say yes, and have been saying yes. And so, at this point, even though the shows are twenty years old, they’re finally interested in supporting us in actually putting together these albums on our own label. We want to put every piece of music that we can. For the longest time, we would receive requests from fans asking why this music wasn’t available, and the answer was that the necessary permission wasn’t in place, and the answer was no. And finally, the answer was yes! These soundtracks are very comprehensive, which brings us to the process that Michael can discuss.
Michael McCuistion: Several albums have been released in CD format from La-La Land Records; there was also a Rhino Records CD soundtrack for BATMAN BEYOND. People have those soundtracks to listen to, but the biggest communication that we were getting from the people who love our music, as Lolita was talking about, was that those albums weren’t comprehensive; they weren’t complete; they contained only a portion of the music from the show. When we were granted permission, gratefully, from WaterTower Music and Warner Bros. to release the original music from our series, we decided not to leave anything out. We didn’t want to make any cuts. The current format of digital streaming enables us to do something distinctly different from what is possible with physical media. We’re not limited by size. We don’t have to worry about how many tracks we have on a CD – there’s no limit to that in the purely-digital world. So, we decided to release albums containing a huge amount of music instead of following the normal audio runtime that is required for a physical CD release. Most of our albums contain around 90 to 99 tracks, featuring every note of the music that we can release. We can’t release music that contains vocals; there are strict rules about that. So, we’ve avoided tracks containing vocals for legal reasons. We do have the ability to release our instrumental music, so that’s what we’ve been focusing on, and we’re trying to release as much as possible, so everyone can get the track they’ve wanted for all these years!
Kristopher Carter: We just released BATMAN BEYOND Volume 3, which has 90 tracks and over two hours of music from the second season of the series. We have one more release coming up this year, at the end of the year, so if people want to check our website or our social media pages, to follow us or get in touch with us, we’ll be happy to let them know when it’s time to reveal what that end-of-the-year album’s going to be!
Lolita Ritmanis: Just that in addition to our composing, we are very much into paying it forward, we mentor the next generation of composers in the most prestigious schools and seminars. Michael and I are on faculty at USC - at the Thornton School of Music - Screen Scoring Program. All three of us collectively and individually have given master classes and seminars throughout the world, from Hong Kong and China, to Kraków, Poland, Spain and throughout the USA. We also very much enjoy conducting our music with orchestras throughout the world when the opportunities present themselves. We really enjoy that very much and hope to do more of it. So, that’s another thing we do. It’s not just the writing machine.
Michael McCuistion: It’s our way of Global Outreach! Thanks so much for the Dynamic Music Partners for taking their time to provide this detailedinterview of their splendid work over many years! - RDL
For more details, see https://dynamicmusicpartners.com/
In memory of Shirley Walker.
In Memory of Harvey Cohen.
SOUL ON FIRE (After suffering an accident, a young boy ends up relying on his family, his faith, and his community in his fight for survival). Director: Sean McNamara, Cast: DeVon Franklin, Masey McLain, William H. Macy. Score: Mark Isham. “SOUL ON FIRE hits theaters this Friday, October 10th,” said Isham. “I had the joy of scoring this incredible true story and I hope you all enjoy it too!”
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In other news, composer Mark Isham offers his latest Another Few Moments of Inspiration, which he’s been posting online:
“My idea is that there is music in the air, music all around us; the world is full of it, and you simply take as much as you require.” — Edward Elgar, Composer
A Musical Moment: Trouble In Mind - Featuring Marianne Faithfull
?“I love to sing, and I love to drink scotch. Most people would rather hear me drink scotch.” — George Burns With eyes towards a beautiful future – Mark Isham
Stephan Eicke has published his latest non-fiction book, coming out on October 16 from Bloomsbury: “A DREAM COME TRUE - The Collaboration of David Lynch and Angelo Badalamenti.” With this work, a collage that bridges the gap between academic analysis and investigative journalism, I celebrate one of the most fascinating working relationships between a film director and a composer. The book analyses David Lynch the filmmaker through the lens of Angelo Badalamenti's music via extensive creative biographies of both, in-depth investigations into how the individual music pieces and scores came to be, how they were altered and changed during the editing process, and what clues both music and sound design can give to unlock the mysteries of individual works. Find more information on Bloomsbury's homepage:
Last year’s global cinematic cultural sensation, WICKED, which became the most successful Broadway film adaptation of all time, now reaches its epic, electrifying, emotional conclusion in WICKED: FOR GOOD– In Theaters November 21. The second of a two-part feature film adaptation of the Broadway musical, from Universal Pictures.
Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard (Jeff Goldblum). Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Oscar® winner Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard.
WICKED: FOR GOOD also stars Emmy nominee Bowen Yang and Bronwyn James as Glinda’s fawning assistants, Pfannee and ShenShen and BAFTA and Grammy nominee Sharon D. Clarke (Caroline, or Change) as the voice of Elphaba’s childhood nanny, Dulcibear.
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BLIZZARD OF SOULS (Latvian: Dv?se?u putenis), or THE RIFLEMAN (English title), is a 2019 Latvian historical drama film directed by Dzintars Dreibergs [lv]. It premiered on 8 November 2019 in Latvia and on February 20th 2020 internationally, at the European Film Market, with subsequent showings. The film is an adaptation of Aleksandrs Gr?ns' novel of the same name [lv], written about his service as a rifleman in World War I. Synopsis: After witnessing his mother being shot by the invading Imperial German Army, sixteen-year-old Art?rs, together with his father, decides to enlist in the national Latvian Riflemen battalions of the Imperial Russian Army in hopes of getting revenge and finding glory. Art?rs goes on to fight in World War I on the Eastern Front, where he loses his father and brother, and quickly becomes disillusioned. He joins the Bolsheviks, but when he is ordered to execute his friend, he realizes the Bolshevik's disregard for them and deserts, returning to his newly proclaimed country to fight in the Latvian War of Independence and start everything from scratch.
More details Here.
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GREENLAND 2: MIGRATION
Directed by: Ric Roman Waugh, Written by: Chris Sparling and Mitchell LaFortune, Based on Characters Created by: Chris Sparling Boyea, p.g.a., Ric Roman Waugh, Cast: Gerard Butler, Morena Baccarin, Roman Griffin Davis, Amber Rose Revah, Sophie Thompson, Trond Fausa Aurvåg, William Abadie Synopsis: In the aftermath of a comet strike that decimated most of the earth, GREENLAND 2: MIGRATION follows the Garrity family (Gerard Butler, Morena Baccarin, and Roman Griffin Davis) as they’re forced to leave the safety of their bunker in Greenland to traverse a shattered world in search of a new home.
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THE RED KING (2024–2025) AMC+ Exclusive Series – created and written by TobyWhithouse. Daniel O'Hara 4 episodes, Lisa Clarke, 2 episodes. Cast: Anjli Mohindtra, James Bamford, Lu Corfield, Adjoa Andoh, Sam Swainsbory. Drama Thriller. Synopsis: Police sergeant Grace Narayan is sent on a 'punishment posting' to an island with an eerie pagan religion. There, the cold case of a missing boy unearths buried secrets. The first two episodes of THE RED KING are now streaming.
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DEAD OF WINTER (2025), Action Thriller. Directed by Brian Kirk [21 BRIDGES (2019), GAME OF THRONES (2011) and LUTHER (2010)]. Cast: Emma Thompson, Judy Greer, Marc Menchaca, Gaisa Wide, Dolton Leeb. Score by Volker Bertelmann.
Synopsis: A woman, travelling alone through snowbound northern Minnesota, interrupts the kidnapping of a teenage girl. Hours from the nearest town and with no phone service, she realizes that she is the young girl's only hope.
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Last night at Curzon Mayfair in London, Apple Original Films held a special screening event for emotional new thriller, THE LOST BUS, starring Academy Award winner Matthew McConaughey and Academy Award nominee America Ferrera. From director Paul Greengrass and inspired by real events, THE LOST BUS is a white-knuckle ride through one of America’s deadliest wildfires as a wayward school bus driver (Matthew McConaughey) and a dedicated school teacher (America Ferrera) battle to save 22 children from the terrifying inferno. THE LOST BUS is written by Greengrass and Brad Ingelsby and based on Paradise: One Town’s Struggle to Survive an American Wildfire, by Lizzie Johnson. The film is produced by Ingelsby, Gregory Goodman, Jason Blum for Blumhouse Productions and Jamie Lee Curtis for Comet Pictures. Johnson is an executive producer. After hearing Johnson on NPR, Curtis read the book and brought the project to Blumhouse, where she has a first-look deal. In addition to McConaughey and Ferrera, the cast includes Yul Vazquez, Ashlie Atkinson and Spencer Watson. “The Lost Bus” will premiere globally on Apple TV+ on Friday, October 3, 2025.
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The Twisted Tale of Amanda Knox - TV show - Does truth exist if no one believes it? New episodes Wednesdays on Hulu TV.
KING IVORY: An action thriller, directed and written by award-winning filmmaker John Swab; starring James Badge Dale, Ben Foster, Michael Mando, Rory Cochrane, Ritchie Coster, George Carroll with Graham Green, Melissa Leo, and Sam Quartin. KING IVORY – coming to theaters nationwide on Friday, November 14th. From civilians to criminals to addicts to law enforcement, and everyone in between, all walks of life intersect in this thriller about the epidemic that is fentanyl; street name: KING IVORY. It is business as usual for Tulsa drug cop, Layne West (James Badge Dale), battling the local criminal element, which hits too close to home when his son, Jack (Jasper Jones), gets hooked on fentanyl. In conjunction with his partner, Ty (George Carroll), and FBI counterpart, Beatty (Rory Cochrane), West makes it his mission in life to take down those responsible, including the Mexican cartel’s local shot-caller, Ramón Garza (Michael Mando), Indian Brotherhood War Chief, Holt Lightfeather (Graham Greene), who controls state-wide trafficking while serving life inside the Oklahoma State Penitentiary at McAlester a.k.a. “Big Mac,” and the local Irish Mob family outfit, led by George “Smiley” Greene (Ben Foster), along with his mother, Ginger (Melissa Leo), and uncle, Mickey (Ritchie Coster). As Holt educates West during a prison visit, “The cartels want your kids, the next generation, who want what is new, and fentanyl is new.”
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GOOD FORTUNE is a 2025 American supernatural comedy film written and directed by Aziz Ansari in his feature directorial debut. Music by Carter Burwell (FARGO, THREE BILLBOARDS OUTSIDE EBBING MISSOURI, HONEY DON'T, THE BANSHEES OF INISHERIN, SPACE FORCE). Seth Rogen, Ansari, Keke Palmer, Sandra Oh, and Keanu Reeves star in the film. It follows an angel named Gabriel (Reeves), whose failed attempt to show Arj (Ansari), a struggling man, that money doesn’t solve one's problems—by body swapping him with his wealthy employer Jeff (Rogen)—results in Gabriel losing his wings, while the work he did as an angel begins to unravel around them.
Lionsgate presents, in association with Media Capital Technologies, a Garam Fiilms / Keep Your Head / Yang Pictures production. Good Fortune premiered at the Toronto International Film Festival on September 6, 2025, and is scheduled to be released in the United States on October 17, 2025. The film received positive reviews from critics.
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Written and directed by Guillermo del Toro, FRANKENSTEIN is on Netflix November 7. Starring Oscar Isaac, Jacob Elordi, Mia Goth, Felix Kammerer, with Charles Dance, and Christoph Waltz. Oscar-winning director Guillermo del Toro adapts Mary Shelley’s classic tale of Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation. Watch on Netflix: https://www.netflix.com/title/81507921
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Emmy-winning, GRAMMY and BAFTA-nominated composer Mac Quayle recently scored MONSTER: THE ED GEIN STORY, starring Charlie Hunnam, which is now available to watch on Netflix. Ryan Murphy’s Monster Anthology series returns with its third season: MONSTER: THE ED GEIN STORY. Serial killer. Grave robber. Psycho. In the frozen fields of 1950s rural Wisconsin, a friendly, mild-mannered recluse named Eddie Gein lived quietly on a decaying farm – hiding a house of horrors so gruesome it would redefine the American nightmare. Driven by isolation, psychosis, and an all-consuming obsession with his mother, Gein’s perverse crimes birthed a new kind of monster that would haunt Hollywood for decades. From Psycho to The Texas Chainsaw Massacre to The Silence of the Lambs, Gein’s macabre legacy gave birth to fictional monsters born in his image and ignited a cultural obsession with the criminally deviant. Ed Gein didn’t just influence a genre -- he became the blueprint for modern horror.
Quayle’s other upcoming projects include ABC/Hulu’s 9-1-1: NASHVILLE, composed alongside Todd Haberman and Justin Barnett, which premieres October 9th; Netflix’s HIS & HERS; season 2 of Apple TV+’s DARK MATTER; and FX’s BEAUTY. Watch the Teaser Trailer:
BLACK PHONE 2 – In Theaters October 17 Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again.
Four-time Academy Award® nominee Ethan Hawke returns to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw). As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone and seeing disturbing visions of three boys being stalked at a winter camp known as Alpine Lake. Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death and more significant to them than either could imagine.
From returning visionary writer-director Scott Derrickson, BLACK PHONE 2 is written again by Derrickson & C. Robert Cargill, based on characters created by Joe Hill. The film is produced by Jason Blum, Derrickson and Cargill. The executive producers are Ryan Turek, Adam Hendricks, Daniel Bekerman and Jason Blumenfeld. The cast includes Oscar® nominee Demián Bichir (THE NUN, A BETTER LIFE)as the supervisor of the camp, Arianna Rivas (A WORKING MAN)as his niece, Miguel Mora (THE BLACK PHONE) as the brother of one of The Grabber’s victims, and Jeremy Davies, returning as Finn and Gwen’s father, Terrence. Other new cast members include Maev Beaty (BEAU IS AFRAID) and Graham Abbey (UNDER THE BANNER OF HEAVEN). Universal Pictures and Blumhouse’s horror phenomenon THE BLACK PHONE, released in2022,received widespread critical acclaim and earned more than $160 million worldwide. Genre: Horror. Composer: Atticus Derrickson (V/H/S/85, WANTED MAN [short]. SHADOW PROWLER [short]).
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From Lionsgate and Fifth Season presents ANNIVERSARY: in theaters October 29, 2025. Directed by: Jan Komasa, Screenplay by: Lori Rosene-Gambino, Story by: Jan Komasa and Lori Rosene-Gambino, Cast: Diane Lane, Kyle Chandler, Madeline Brewer, Zoey Deutch, Phoebe Dynevor, Mckenna Grace, Daryl McCormack, Dylan O’Brien. Composers: Danny Bensi & Saunder Jurriaans. Synopsis: In this gripping thriller, a close-knit family is caught in the turmoil of a controversial rising movement known as “The Change.” Ellen and Paul (Diane Lane and Kyle Chandler) witness their lives fall apart when Ellen’s former student Liz (Phoebe Dynevor) reappears and starts dating their son (Dylan O’Brien). As Liz becomes a part of the Taylor family, tensions rise, and loyalties are tested. Liz’s role in “The Change” brings simmering conflicts to the surface, unraveling the fabric of the family just as the nation itself stands on edge during an alarming and challenging time of uncertainty.
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Composers Sarah Schachner (PREY, CHEF’S TABLE, THE LAZARUS EFFECT, THE TROOP),Benjamin Wallfisch (THE WOMAN IN CABIN 10, THE CONJURING: LAST RITES, PREDATOR: KILLER OF KILLERS, UNTIL DAWN, WOLF MAN) and director Dan Trachtenberg (PREY, PREDATOR: KILLER OF KILLERS, 10 CLOVERFIELD LANE) PREDATOR: BADLANDS, open up PREDATOR: BADLANDS on theaters November 7th. Synopsis: In the future on a remote planet, a young Predator, outcast from his clan, finds an unlikely ally in Thia and embarks on a treacherous journey in search of the ultimate adversary.
Watch the trailer: Predator: Badlands | Final Trailer
BRING HER BACK (2025) is an Australian horror film directed by Danny and Michael Philippou, and written Danny Philippou and Bill Hinzaman. The film stars Billy Barratt, Sora Wong, Jonah Wren Phillips, and Sally Hawkins. Australian composer Cornel Wilczek composed the film’s score; he is known for TALK TO ME, APPLE CIDER VINEGAR TV series, TOGETHER, BAY OF FIRES TV series, and much more.
The film’s plot follows two stepsiblings who find themselves orphaned and placed in the middle of an occult ritual by their new foster mother. BRING HER BACK was theatrically released by Sony Pictures Releasing International in Australia on 29 May 2025. The film received positive reviews from critics and grossed $39.1 million. On the review aggregator website Rotten Tomatoes, 89% of 261 critics' reviews are positive. The website’s consensus reads: “A domestic nightmare that draws its most profound scares from Sally Hawkins' deranged performance, BRING HER BACK is an exemplary chiller that reaffirms directors Danny and Michael Philippou as modern masters of horror.” The film premiered in the US on May 30, 2025, on VOD in the US in July 1, 2025; on the Internet on October 3, 2025, and on TV in the US on October 4, 2025.
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From director, writer, and co-producer Elwood Quincy Walker (TRICK [short], BLOODY BITES [TV], THE RULE OF THREE [short]), comes his latest short horror film, THE MORTICIAN’S DAUGHTER [21m]. Starring Bonnie Aarons (The Nun, The Conjuring 2, Mulholland Drive), Hannah Barefoot (EVERGREENS, FOUND, THE CHOSEN, REDEMPTION IN CHERRY SPRINGS), Logan Laurel (THE SIXTH FLOOR, MY DEADLY AFFAIR, THE 3RD GUEST); musical score by Alexander Taylor (PARALIAN [short], THE SERPENT’S SKIN, THE ELEPHANT IN THE ROOM, CHATEAU, DINNER WITH LEATHERFACE). Plot: After her mother’s death, Violet must fulfill her mother’s final wish that she is embalmed by her own daughter. But as she prepares her mother’s corpse in the funeral home she was raised in, Violet discovers a terrifying family secret. “This film has been a huge passion project over the past few years, said Walker, who announces that we’re finally having our LA Premiere at @screamfestla at the iconic TCL Chinese Theatre on Saturday, October 11th.”
On October 23, Netflix’s Emmy-nominated smash-hit rom-com NOBODY WANTS THIS will return for its highly awaited second season alongside a 19-song all-star soundtrack. Released via The Core Records in partnership with Interscope Records, NOBODY WANTS THIS Season 2: The Soundtrack will feature a powerhouse lineup of pop superstars (Selena Gomez, Teddy Swims), country hitmaker Kacey Musgraves, alt-pop heavy-hitters (FINNEAS, Portugal. The Man), and more. Watch the tracklist reveal video HERE, and go HERE to pre-order/pre-save NOBODY WANTS THIS Season 2: The Soundtrack now. Offering a special glimpse into season two of NOBODY WANTS THIS, the tracklist reveal video also features a sneak peek at Swims’ soulful and swoon-worthy “You’ve Got Another Thing Coming.”
The Core Entertainment CEO and Co-Founder Simon Tikhman worked closely alongside his team at The Core and Interscope to assemble the 19-song, genre-spanning tracklist to Nobody Wants This Season 2: The Soundtrack. “The fact that we were able to put together a one-of-a-kind soundtrack with incredible artists speaks to the success of the first season,” says Tikhman. “I wanted the music to reflect the same mix of honesty, sharpness, and heart that Erin brings to the story, while also creating a soundtrack that can stand on its own. I’m deeply invested in this project — and, of course, in its creator — which made getting the music right all the more meaningful.”
“Based on the success and acclaim of the first season, this was a really fun soundtrack to put together,” adds Sam Riback, President, A&R, Interscope Records. “So many artists were drawn to the uniquely captivating love story and the role of music in this series. We could not be more proud of the pool of artists we've assembled who helped create the musical backdrop for season two.”
Watch the trailer: Nobody Wants This | Season 2 Official Trailer | Netflix
Netflix’s official trailer for season two of “Nobody Wants This,” which dropped in September, features rising folk-pop singer/songwriter Cassandra Coleman’s “Bite My Tongue,” the first song released from Nobody Wants This Season 2: The Soundtrack. Listen HERE, to the emotionally raw but euphoric anthem.
Pre-Save/Pre Add: 'Nobody Wants This Season 2: The Soundtrack'!
Now playing on the Criterion Channel, CLOUD is a hypnotic, darkly funny action-thriller about a young black-market reseller whose online price gouging earns him dangerous enemies. Directed by Kiyoshi Kurosawa • 2024 • Japan. Starring Masaki Suda, Kotone Furukawa, Daiken Okudaira. A gonzo revenge thriller, a darkly comic anti capitalist critique, and a dizzying plunge into the alienated abyss of the internet, CLOUD is among the most audacious genre experiments to date from master of psychological tension Kiyoshi Kurosawa. Factory worker Yoshii (Masaki Suda) quits his job to pursue his side business reselling questionably procured items online at outrageous markups. His profits quickly grow—but so does his list of enemies, and the petty grievances of his disgruntled clients and competitors soon take on a terrifying life of their own. With slow-burn precision, Kurosawa constructs a dread-inducing vision of digital depersonalization that ignites into something altogether shocking and unpredictable.
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Apple TV+ has celebrated the world premiere of its highly anticipated action thriller THE LAST FRONTIER, starring and executive produced by Jason Clarke, co-created, written, and executive produced by Jon Bokenkamp and Richard D’Ovidio, directed by John Curran, composer ArielMarx (BLACK MIRROR, DYING FOR SAX, CANDY, A SMALL LIGHT, HAPPY FACE, KANGAROO ISLAND). THE LAST FRONTIER follows Frank Remnick, the lone U.S. Marshal in charge of the quiet, rugged barrens of Alaska. Remnick’s jurisdiction is turned upside down when a prison transport plane crashes in the remote wilderness, setting free dozens of violent inmates. Tasked with protecting the town he’s vowed to keep safe; he begins to suspect the crash wasn’t an accident, but the first step of a well-crafted plan with far-reaching and devastating implications. The ten-episode series made its global debut on Apple TV+ with the first two episodes on Friday, October 10, and will follow with a new episode every Friday through December 5, 2025.
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THE RUNNING MAN - Directed by Edgar Wright; Starring Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Jayme Lawson with Colman Domingo and Josh Brolin. SYNOPSIS: In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall. BASED ON THE NOVEL by Stephen King. Only in Theaters, Dolby Cinema, 4dx, Screenx, Premium Large Formats, and IMAX. November 14, 2025.
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STAR TREK: STARFLEET ACADEMY premieres January 15, 2026, exclusively on Paramount+. This thrilling new chapter follows a fresh class of cadets as they train under the watchful, demanding eyes of Starfleet’s finest. Together, they’ll face the highs and lows of academy life: forging unbreakable friendships, clashing in explosive rivalries, experiencing first loves, and stepping into their destiny as the next generation of Starfleet officers. When a mysterious new enemy threatens both the Academy and the Federation itself, these cadets must rise to the challenge or risk losing everything they’ve just begun to fight for. Starring Sandro Rosta, Karim Diané, Kerrice Brooks, George Hawkins, Bella Shepard, and Zoë Steiner, as well as Holly Hunter, who plays the captain and chancellor of Starfleet Academy. Additional cast members include Tig Notaro and Robert Picardo, reprising their roles as Jett Reno and The Doctor, and guest stars Oded Fehr and Mary Wiseman, reprising their roles as Admiral Vance and Sylvia Tilly, as well as recurring guest stars Gina Yashere and Paul Giamatti. Music by Jeff Russo.
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The Truth Never Dies. LAZARUS is a mystery thriller, starring Sam Claflin, Bill Nighty, and Alexandra Roach, directed by Daniel O’Hara, Nicole Volavka, and Wayne Yip, with score composed by SarahWarne (BOOKISH, KIRSK: 10 DAYS THAT SHAPED PUTIN, THE LONG SHADOW, TIME. HUMANS,TIME). The official synopsis for LAZARUS says that it “follows Joel Lazarus (Claflin) who returns home after his father Dr Jonathan Lazarus (Nighy) dies by suicide and begins to have disturbing experiences that can't be explained. “He quickly becomes entangled in a series of cold-case murders as he grapples with the mystery of his father's death and his sister's murder 25 years ago.” Prime Video has confirmed the release date for the series, with all six episodes set to arrive on the streamer on Wednesday 22nd October 2025.
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In THE FAMILY PLAN 2, it’s the holiday season and Dan (Mark Wahlberg) has planned the perfect vacation for his wife (Michelle Monaghan) and their kids to celebrate overseas – until a mysterious figure from his past (Kit Harington) shows up with unfinished business. An international game of cat-and-mouse ensues as Dan and his family battle, bicker, and bond their way through a series of bank heists, holiday hijinks, and car chases amid scenic European terrain.
An Apple Original Film hailing from Skydance Media, THE FAMILY PLAN 2 is directed by and executive produced by Simon Cellan Jones. Composer: Kevin Matley (DEN OF THIEVES: PANTERA, ARTHUR THE KING, THE FAMILY PLAN, CONCRETE COWBOY).
THE FAMILY PLAN 2 will premiere globally on Apple TV November 21, 2025.
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Preorder Live forKISS OF THE SPIDER WOMAN—Original Motion Picture Soundtrack
released October 3 by Lakeshore Records - Songs by Kander & Ebb Performed by Jennifer Lopez & Tonatiuh. Soundtrack album Available October 3 | Film Directed By Bill Condon Opens In Theaters October 10 - Preorder The Album Here.
The film, which made its world premiere at the 2025 Sundance Film Festival, where it received rave reviews from critics and audiences was directed by Oscar winner Bill Condon who created a stunning new adaptation of Manuel Puig’s 1976 novel and the Tony Award-winning Broadway production. The album will be available on CD November 21 and on vinyl December 19. Both can be preordered here:
ABOUT THE SOUNDTRACK
Lakeshore Records will release KISS OF THE SPIDER WOMAN Original Motion Picture Soundtrack with songs written by legendary songwriting duo Kander and Ebb and masterfully produced by Grammy-nominated music producer and supervisor Matt Sullivan (West Side Story, Dreamgirls). Songs are performed by global superstar and Golden Globe®, SAG®, and Grammy® nominated icon Jennifer Lopez (Hustlers, Out of Sight, Selena), and Tonatiuh (Vida, Carry On).
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Platoon announces the release of the Apple Original Film ALL OF YOU Original Motion Picture Soundtrack with music by Ian Hultquist & Sofia degli Alessandra. ALL OF YOU premieres globally on Apple TV+ today, and the digital soundtrack is available now on Apple Music, Spotify, and other digital platforms. For ALL OF YOU, Ian and Sofia crafted a score that reflects the film’s sweet yet heartbreaking tone and its multidimensional characters. Because the story spans years, the composers aimed for music that feels both timeless and unobtrusive, supporting the drama on screen while staying deeply connected to Simon (Brett Goldstein) and Laura (Imogen Poots). Drawing on the film’s slight futuristic perspective, they built a palette that blends traditional and unusual instruments, including the GuitarViol (a guitar-cello hybrid), the Terra touch-synth, vocal drones, and a Stylus synth, alongside felt piano and strings to create a sound that is both intimate and expansive.
Commenting on the score, Ian and Sofia say, “Getting to create the sonic tapestry for the sweet, yet heartbreaking film All of You and its multidimensional characters was a wonderful challenge that we were thrilled to take on. It was important that the music help support the dramatic moments on screen as well as feel deeply connected to both Simon (Brett Goldstein) and Laura (Imogen Poots). Their story spans across years, so the music had to feel timeless and unobtrusive. Since the film has a slight futuristic perspective, we thought it would be interesting for the film’s score to include a musical palette made up of both traditional and slightly unusual instruments, which we then tried to blend together. The score features a GuitarViol, which is a mix of a guitar with a cello, a Synth called the Terra, which is played by touch, Vocal-drones and a Stylus synth, amongst other electronic elements. Felt Piano and Strings are also used to round out the sound of the film. We’re thrilled to have had a chance to work on this film with Will Bridges and the rest of the team, and look forward to audiences everywhere to have the chance to finally see this moving film.”
ABOUT ALL OF YOU: Best friends since college, Simon (Emmy Award winner Brett Goldstein) and Laura (Imogen Poots) drift apart when she takes a test that finds her soulmate despite years of unspoken feelings between them. Over the years, as their paths cross and diverge, neither can deny the feeling that they’ve missed out on a life together. Faced with the uncertainty of changing the course of their lives, are Simon and Laura willing to risk everything to experience the love that had been between them all along, or should they accept their fate? “All of You” explores whether one person can ever be your everything in this humorous and heart-wrenching romantic drama co-written by Goldstein and Emmy Award winner William Bridges (“Black Mirror”), who also directs. Hailing from MRC, the film is produced by Ryder Picture Company’s Aaron Ryder and Andrew Swett, and Bridges and Goldstein also produce. Link to the soundtrack:
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Kronos Records offers two new world premiere soundtracks, for the first time in any format: Albert Glasser´s CAPTAIN JOHN SMITH AND POCAHONTAS and Ronald Stein´s NOT OF THIS EARTH. Both CDs are limited to 300 copies! Release date September 2025.
NOTE TO OUR CUSTOMERS IN U.S.A. Kindly Notice that like most European carriers, Maltapost are currently not shipping to the United States until the issue with the tariffs on EU goods ordered by the current U.S. administration is sorted out. There are other options like FedEx but the cost is so high that we are not even offering the option. So, in the meantime, since these releases are very limited, our U.S. customers are encouraged to either email us and reserve their orders or to order these titles from one of our U.S. distributors. Alternatively, as already given the option in your order confirmation we can refund your order and you order from our U.S. distributors, since we do not have a clear idea of when things will go back to normal. All other customers worldwide can Order as always. SHIPPING STARTS TODAY! W W W . K R O N O S R E C O R D S , C O M
Fans can now board THE ARK with the release of the hit tv series’ original soundtrack: Digital Release Features Music from Season 1 & 2’s Scores. THE ARK will soon be able to journey across interplanetary dimensions through the music of their favorite sci-fi show. The original soundtrack, featuring songs from all 24 episodes across both seasons, will be available for purchase. Composed by Fred Coury (ALMOST PARADISE, THE NIGHT SHIFT), the album includes 42 tracks and has been released by Lakeshore Records on October 10, 2025. Dean Devlin, executive producer and co-showrunner of THE ARK, states, “Music is an integral part of every story we tell on screen—whether it’s a film on the big screen or a series on your TV. Fred Coury’s work brought our story to life. His talent, combined with his deep understanding of both the material and the world we created in ‘The Ark’, helped shape not only the mood of the series but also the rhythm of its plot. His compositions blended seamlessly into the narrative, and now our fans can experience his music beyond the series—whether in the car, on a train, at dinner, or anywhere they choose.”
Airing on SYFY and available to stream on the ElectricNOW app, “The Ark” takes place 100 years in the future when planetary colonization missions have begun as a necessity to help secure the survival of the human race. The first of these missions on a spacecraft known as Ark One encounters a catastrophic event, causing massive destruction and loss of life. With more than a year left to go before reaching their target planet, a lack of life-sustaining supplies and loss of leadership, the remaining crew must become the best versions of themselves to stay on course and survive. The series stars Christie Burke, Richard Fleeshman, Reece Ritchie, Stacey Read, and Ryan Adams.
The third season of “The Ark” is slated to run on SYFY in 2026.
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Hollywood Records releases the original soundtrack from Marvel Animation’s MARVEL ZOMBIES, available now on Spotify, Apple Music, Amazon Music, YouTube Music and other digital platforms. The soundtrack features an original score by five-time Emmy® Award-winning, Oscar® and GRAMMY®-nominated composer Laura Karpman (CAPTAIN AMERICA: BRAVE NEW WORLD), and GRAMMY®-winning composer Nora Kroll-Rosenbaum (REGARDING SUSAN SONTAG). Notes Karpman and Kroll-Rosenbaum: “We loved writing the music for ‘Marvel Zombies’ The soundtrack is a scare fest from start to finish, featuring some of the wildest music we've ever written for the MCU. With driving electronics and large orchestra, courtesy of Vienna Synchron Stage, we quote some of your favorite themes from the movies, but they are always altered to fit the undead. Enjoy our wacky take on MARVEL ZOMBIES!” Synopsis: After the Avengers are overtaken by a zombie plague, a desperate group of survivors discover the key to bringing an end to the super-powered undead, racing across a dystopian landscape and risking life and limb to save their world.
Directed by Bryan Andrews, the original animated series airing now on Disney+ features a voice cast including Awkwafina, David Harbour, Simu Liu, Elizabeth Olsen, Randall Park, Florence Pugh, Paul Rudd, Wyatt Russell, Hailee Steinfeld, Tessa Thompson, Dominique Thorne, Iman Vellani, and Todd Williams.
Watch the series trailer: HERE
Hulu and Hollywood Records have released CHAD POWERS (Original Soundtrack), featuring a bold and dynamic score by Emmy-nominated composer Natalie Holt (Loki). The album launches alongside the premiere of Hulu’s new offbeat sports comedy CHAD POWERS, starring Glen Powell, with the first two episodes streaming September 30 and new episodes dropping weekly. ABOUT CHAD POWERS:Eight years after an unforgivable mistake nukes his promising college football career, hotshot quarterback Russ Holliday tries to resurrect his dreams by disguising himself as Chad Powers - a talented oddball who walks on to the struggling South Georgia Catfish.
Reuniting with Loki creator Michael Waldron, NatalieHolt brings her signature musical storytelling to the fictional world of college football, crafting a triumphant, '90s-inspired soundscape that captures the heart, humor, and absurdity of the series. From brass-heavy stadium anthems to energetic marching band performances, many of which were played live on set, Holt’s score is an essential part of the show’s identity, blending retro synth textures with soaring orchestral themes. STREAM THE SOUNDTRACK: SPOTIFY | APPLE MUSIC | AMAZON MUSIC
PRE-ORDER: Waxwork Records presentsTRICK ‘R TREATOriginal Motion Picture Soundtrack by Douglas Pipes. Directed by Michael Dougherty (KRAMPUS, GODZILLA KING OF THE MONSTERS), TRICK ‘R TREAT has become a modern cult-classic and traditional October viewing alongside classic horror films such as John Carpenter’s HALLOWEEN. Starring AnnaPaquin, Brian Cox, and Dylan Baker, TRICK ‘R TREAT has won over fans and critics alike with its maliciously whimsical approach of breaking down Halloween traditions in one of the most impressive and beloved horror films to date. The expanded double LP features over an hour of music that has been mastered for vinyl and supervised by the composer. Featuring album artwork by Francesco Francavilla (Afterlife With Archie, The Black Beetle).Francavilla has worked as an in-house artist for bothMarvel and DC Comics and has created the full LP packaging artwork with approval from director Michael Dougherty, himself. *This item is a pre-order with an estimated shipping date of December, 2025* See more details here:
Milan Records releases ELEANOR THE GREAT(Original Motion Picture Soundtrack) featuring music written by award-winning composer DUSTIN O’HALLORAN for Scarlett Johansson’s directorial debut. Starring June Squibb as Eleanor, a 94-year-old woman who, in the wake of a devastating loss, shares a story that takes on a dangerous life of its own, the film required a soundscape as introspective and emotionally nuanced as its narrative. A longtime admirer of O’Halloran’s solo piano work, Johansson immediately approached the composer for the film, the duo working in close collaboration during the filming process to craft a sonic throughline to the deeply human story. The resulting score features delicately lyrical solo piano movements punctuated by stirring orchestral suites that perfectly capture the film’s exploration of grief, identity and the need for human connection. Following its worldwide premiere at the Cannes Film Festival, Eleanor the Great is now available in theaters from Sony Pictures Classics.
Of the score, composer DUSTIN O’HALLORAN says, “It was such a pleasure working on Scarlett’s first directorial film. From our first meetings we knew we both wanted this to capture the heart of the story without an overpowering score. There are so many layers of emotion in the film, including June Squibb’s inspiring performance, that I was able to draw on, and I tried to create something that would move the characters in the most empathic way. Many of the piano performances were simply me recording while watching the picture, playing and improvising with it to create a feeling that the viewer was inside the performance. It’s rare to have the opportunity to create a score like this, and I’m grateful for the trust Scarlett gave me.”
“The first time I ever heard Dustin’s piano solos, I said to myself that if I ever had the opportunity to direct a film, I would want him to do the composition for it,” adds director SCARLETT JOHANSSON. “It was literally a dream come true for me to hear that Dustin wanted to compose our score, and I told him that verbatim. As I was putting the director’s cut together, I laid in some temporary tracks. Most of them were piano pieces by classical composers such as Chopin, Debussy, Satie. I didn’t realize that Dustin had composed some of his own albums as love letters to these very composers, so the references were all second nature to him, they lived inside him already. The entire way through from start to finish, it felt like Dustin, and I were thinking and creating with the same creative brain and same creative heart.”
ABOUT ELEANOR THE GREAT: In Eleanor The Great, June Squibb brings to vivid life the witty and proudly troublesome 94-year-old Eleanor Morgenstein, who after a devastating loss, tells a tale that takes on a dangerous life of its own. Scarlett Johansson’s directorial debut is a comically poignant exploration of how the stories we hear become the stories we tell.
Available Everywhere September 26 From Milan Records – PREORDER NOW AVAILABLE EVERYWHERE NOW FROM MILAN RECORDS – LISTEN NOW THE DIRECTORIAL DEBUT FROM SCARLETT JOHANSSON DEBUTS IN THEATERS
FROM SONY PICTURES CLASSICS – WATCH THE TRAILER:
Out Today: Album Lead Single “Memories” – LISTEN HERE
Music Box Records is grateful for this collaboration with the legendary Philippe Sarde, releasing his new score for Diane Kurys biopic about Yves Montand and Simone Signoret, MOI QUI T'AIMAIS. Our release coincides with the French theatrical release of the film, October 1st. For those who are looking for the CD version, we have licensed those rights to Music Box Records! THE STORY: The tumultuous love story between two cinema stars at the height of their glory: Yves Montand and Simone Signoret. THE SCORE: “When I read the script for this film, I thought Diane Kurys had written a film that retraces my entire professional life, since it brings together many of the directors I’ve worked for. That’s why the project moves and touches me particularly. The music had to express a simple emotion. Because Diane likes things that convey emotions simply, without complexity. From the script stage, I worked on her instructions. I was wary of all the pitfalls of easy music that has nothing to do with simple music. I initially wondered if there should be a connection with the score of the films mentioned, like those by Sautet, for example, but Diane didn’t want to, and she was right. For the score, I favored the piano. What’s simpler and more complicated at the same time than a piano? What’s more moving than a piano?” – Philippe Sarde MMS25018 MOI QUI T’AIMAIS (C’est Si Bon) (Original Motion Picture Soundtrack)
Music Composed by PHILIPPE SARDE
Release date: October 1, 2025
Lakeshore Records is set to release the second single taken from the currently airing TASK —Original Series Soundtrack with an original score composed by Dan Deacon. Titled, “He Was Here,” the vivid electronic track utilizes strings and synths that showcase shifting dynamics reflecting the themes of the dramatic detective series. The HBO Original Series created by Brad Ingelsby and starring Mark Ruffalo and Tom Pelphrey, airs new episodes on HBO and streams on HBO Max. The full Album is available digitally on October 17. Presave the full album:
(See previous details in my September-October 2025 Soundtrax)
Little Twig Records announces the release of HBO’s PRIME MINISTER Original Motion Picture Soundtrack with music by Sofia degli Alessandri (RED, WHITE, & ROYAL BLUE, ALL OF YOU, DICKINSON), available today. The digital soundtrack is available at Spotify, Apple Music, and other digital platforms. The documentary from Magnolia Pictures, HBO Documentaries, CNN Films and Madison Wells is available to stream now on HBO Max. About PRIME MINISTER: Chronicling Jacinda Ardern's tenure as New Zealand PM, navigating crises while redefining global leadership through her empathetic yet resolute approach.
Alessandri approached the score for PRIME MINISTER with the intention of capturing the contrasting worlds Jacinda Ardern moved between, the public demands of political leadership and the quiet, often unseen moments of motherhood. To reflect this, she wove together two distinct musical palettes: one rooted in classical instrumentation, with performances by the London Contemporary Orchestra, and another built from ambient textures, analog synths, layered vocals, and the expressive tones of the Guitarviol. Rather than serving as a backdrop, Sofia’s score becomes an emotional guide through the film, echoing its personal lens and enhancing the nuance of Ardern’s story.
Commenting on the score, Sofia says, “The first time I watched a rough cut of what was to become the documentary PRIME MINISTER, I got incredibly emotional. Seeing a fearless woman like Jacinda Ardern, as both a politician and mother, leading her country with kindness and compassion was not something I was accustomed to seeing. To handle being a person in power, and a new mother at that, during years full of considerable and unprecedented world events while remaining so eloquent and elegant set a new benchmark for what politicians could be. As someone who became a mother during the years documented in this film and having lived through some similar experiences to hers in the film, hit me really hard in the most relatable of ways. I knew that the score I composed for PRIME MINISTER would have to encompass these two very distinct, yet interconnected, parts of Jacinda’s life - her political persona and her personal life. Filmed over the course of a handful of years, the documentary works linearly through Jacinda’s premiership but it’s done in a way that’s somewhat unconventional for documentaries - there aren't dozens of talking heads, discussing her triumphs and lows, but rather, the documentary is almost entirely narrated by the subject herself and her own voice-overs from an oral journal she kept during her years as Prime Minister. Likewise, the footage is a mix of personal home videos, filmed by her husband Clarke, and videos from news agencies. Musically, this meant the music would have to be more than just an ambient bed- it would have to make sure to shift, capturing the moments in the film more precisely and honestly.
When it was time to compose the score, I attempted to convey this duality in Jacinda’s world by having a slightly more traditional palette for the political and world event sections of the film, which included woodwinds, brass and strings, the latter performed by the London Contemporary Orchestra (LCO). To contrast this, the home/personal life moments depicted called for a musical palette that was more textural and ambient, using instruments such as analog/digital synthesizers to create textures and arpeggios, voice to add an interesting layer of texture that tied directly into Jacinda, a Guitarviol (a hybrid instrument akin to a cello + guitar) to create warmth and dynamics, and strings performed in a more ethereal and unconventional way. With the score, I hoped to help elevate and support the film while further amplifying Jacinda’s humanity.”
Strings performed by the London Contemporary Orchestra (LCO), Recorded at Baltic Studios, London; Orchestration by Ananda Chatterjee; Score Mix by Ian Hultquist. Released digitally on Little Twig Records on October 3rd, 2025. Link to the soundtrack.
Watch the Trailer:
MovieScore Media proudly presents a new talented composer on the European film music scene: Portuguese composer Cláudia Correia. Please check out her entertaining orchestral score for the family adventure comedy Campamento Garra de Oso (Bear Claw Camp). CAMPAMENTO GARRA DE OSO: Original score from the 2025 family adventure comedy feature film directed by Sílvia Quer, starring Elisabet Casanovas, Anabel Alonso and Edu Soto, produced by A Film About Quiet Jazz and released by Filmax (Spain).Score by Cláudia Correia.
THE STORY: Two 9-year-olds, adventurous Maia and timid Jan, race against time to save their summer camp from a quirky developer. With help from Fritz, a talking skunk, they search for a legendary bear in the valley. THE SCORE: “Composing the score for my first feature film has been an unforgettable experience – I could not have asked for a more inspiring start to my journey in cinema. The story speaks directly to the inner child in all of us, carrying messages about friendship, imagination, and our connection to nature. With such themes and richly drawn characters, I aimed to create a score as emotionally resonant and purely beautiful as the film. Translating this world into orchestral music was an extraordinary opportunity, and I poured all my soul into it. I am deeply grateful to have worked closely with director Silvia Quer, producer Oriol Marcos, and executive producer Tiffany Ruoz, whose vision and support were essential in shaping the score. This film will always remain a treasured beginning.” – Cláudia Correia
THE COMPOSER: Cláudia Correia is a Portuguese composer and pianist whose work thrives on the beauty of contrasts and hybrid musical languages. Classically trained from an early age, she began her journey at the piano before expanding her practice into jazz and other contemporary styles. Her scores span film, television, and interactive media, often combining orchestral writing with electronic textures, improvisation, and experimental sound worlds. Whether composing for live orchestra, creating immersive sound design, or developing adaptive music systems for games, Cláudia seeks to dissolve boundaries. Campamento Garra de Oso is her first feature film score.CORREIA
Release date: October 3, 2025
Also from MovieScore Media is JOE BABY, the Original score from the 2024 action thriller feature film directed by Steven Brand, starring Willa Fitzgerald, Ron Perlman and Harvey Keitel, produced by Latigo Films and released by ITN Distribution (USA). Stephen Edwards has composed the soundtrack. THE STORY: A money collector for a private investigator is hired to track down 10 million dollars stolen in a dodgy real estate deal, opening a complex can of worms. THE SCORE: “When director Steven Brand approached me about writing the music for Joe Baby, I was excited because he made a really compelling film and he really was committed to making the score be an integral character in the film. Recording sessions with musicians were super collaborative – we were fortunate to have him present so he could explain scenes and motivations of the characters to the musicians as we recorded. What resulted was a score that supported the visuals and story arc that we’re all proud of.” – Stephen Edwards
MMS25026 JOE BABY (Original Motion Picture Soundtrack)
Music Composed by STEPHEN EDWARDS, release date: October 10, 2025.
Watch the film’s trailer:
Lakeshore Records Releases HOTEL COSTIERA—Prime Video Original Series Soundtrack, Music by Anton Sanko.
ABOUT HOTEL COSTIERA
Daniel “DD” De Luca (Jesse Williams), a half-Italian ex-U.S. Marine turned fixer at a luxury hotel on the Amalfi Coast, solves the unusual problems of rich and eccentric guests — while secretly investigating the disappearance of Alice, the hotel owner’s daughter. Expect action, light comedy, and procedural-meets-personal mystery. Purchase / Stream
On the occasion of the presentation in the “Progressive Cinema” competition at the 2025 Rome Film Fest, 40 SECONDS by directed VincenzoAlfieri—distributed by Eagle Pictures—the film’s original soundtrack, composed by Alessandro Bencini, is being released. The original soundtrack of 40 SECONDS is available for streaming on all major platforms (Spotify, Apple Music, Amazon Music, Deezer) starting October 17, ahead of the film’s theatrical release on November 19. The OST by Alessandro Bencini (https://alessandro-bencini.com/)
40 SECONDS is inspired by the brutal murder of Willy Monteiro Duarte – a 21-year-old beaten to death with bare hands in 2020 in Colleferro while trying to defend a friend during a fight. In just forty seconds –the duration of a violent assault – Willy’s life was tragically cut short. The film powerfully reconstructs the 24 hours leading up to the murder, intertwining daily lives, underlying tensions, and toxic dynamics that ultimately erupt into tragedy. Rather than a mere crime chronicle, it is a poignant reflection on the banality of evil, the failure to listen, and the escalation of violence in a society marked by emptiness, pride, and a lack of empathy.
The film’s original soundtrack, distributed by Eagle Pictures, is described by its composer as follows: “For me, art must come from necessity—not only the need to express oneself, but above all, the need to give voice to beauty and truth. Telling Willy’s story is necessary, and I tried to express that reality through my music. Working with Vincenzo has been one of the most profound and rewarding experiences of my career, based entirely on emotion and on serving the story. We were drawn to the contrast between the classical sound—often associated with order and delicacy—and the disorder and, sadly, violence of the social reality depicted. There was no need to emphasize the narrative, because the truth of the story is already incredibly powerful. Instead, we aimed to create a musical retelling of the human story with an almost otherworldly perspective, above the facts and raw concreteness of the events. We needed to convey the inevitability of life—what the ancients called Fate. That’s also why the tracks are titled after characters and themes from classical tragedies.”
Link to the original soundtrack on Spotify.
Watch the film’s trailer:
Non-Film Music Works by Film Composers
Jim Stovall, bestselling author, The Ultimate Gift, president of Narrative Television Network,. comments on Mark McKenzie’s New Age piano album, CALM. Comments Stoval: “I believe CALM is the best work Mark McKenzie has done to date. It is the antidote to the division and conflict we are all facing in our hectic lives. Listen, enjoy, relax, and restore.” Jim Stovall, For You Grammy® Consideration, Best New Age Album.
Listen to CALM here:
PENSACOLA, the latest EP from Anishinaabe-fronted band Ribbon Skirt, is a moment suspended between reckoning and release. Framed as an epilogue to their critically acclaimed debut bite down, it captures the emotional residue left in the album’s wake - the lingering heat, the unsaid, the still-burning edge. Shaped by memory and motion, PENSACOLA weaves shoegaze textures, piercing vocal hooks, and blown-out production with stripped-back flashes of quiet intensity. Tracks like “Lucky8” and “Comma,” pulse with urgency and emotional sleight of hand, while “braids” and the title track lean into something more fragile, haunted by questions of survival, family ties, and spiritual reckoning. With just four tracks, ribbon skirt closes one chapter while offering a glimpse of the evolution still ahead. Ribbon Skirt is a Montreal-based post-punk band led by Anishinaabe musician Tashiina Buswa and guitarist Billy Riley. Their sound is raw and enveloping, channeling angular guitars, driving rhythms, and lyrical threads that explore memory, love, grief, and Buswa’s relationship to her Indigenous heritage.
'PENSACOLA' by Ribbon Skirt, from the EP PENSACOLA out on Mint on Oct 3, 2025.
Pour le Sport is proud to release the Original Soundtrack to Nathaniel Lezra’s powerful documentaryROADS OF FIRE today, October 1, coinciding with the film’s New York City premiere at IFC Center. The score, composed by Peter M. Murray, captures the raw intensity and quiet resilience at the heart of the film’s exploration of the global migration crisis. Known for his genre-defying fusion of classical and electronic elements, Murray delivers one of his most immersive and affecting works to date. Murray reflects, “There is a palpable urgency to Maria’s story and my main goal was to make sure the score communicates that to the audience — that the music embodied that criticality and convey the feeling of consistently working against the clock while the safety & future of your family hangs in limbo. I had the pleasure to work with an incredible team of collaborators on project this from Nat and Ben to all the incredible musicians who helped bring the music to life. In approaching the score I used the ticking of the clock, built here with a series of unique analog synths and percussion sounds, as a through line while we move back and forth between New York City and South America. I constructed a series of layered textures to create the tension of New York while using organic, traditional Andean instruments to feel the expanse of the South American and the road to get to the US.”
About ROADS OF FIRE: With unprecedented access to the global migration crisis, Roads of Fire weaves together three powerful, deeply personal narratives: a human smuggler guiding refugees through the treacherous Darién Gap, an asylum seeker rebuilding her life in New York City, and volunteers working on the frontlines of a mounting humanitarian emergency. The film offers an unflinching, intimate look at the human cost of forced migration, and the resilience of those navigating one of the greatest humanitarian crises of our time.
To learn more, visit their Website here.
Watch the Official Trailer:
From Maximelien Mathevon, two new documentary scores: LA CANCALAISE & LES VIEUX CRABES: “A replica of a working boat from the last century, La Cancalaise has been cherished for nearly 40 years by an association of enthusiasts. Among them are Yves and Harry, nicknamed the old crabs. During the six-month wintering period, along with their workshop companions, they voluntarily maintain this lady of wood and sails. A little tired, they hope that younger members will participate as often as possible in the collective effort and take over. Because this boat, beyond its presence, is a powerful symbol. That of the history of the bay's oyster fishermen and their families attached to the destiny of these bisquines. From the winter labors to the beautiful sailing of sunny days, the old crabs hope that La Cancalaise will continue its journey for a long time to come, through the generations."
“For LES VIEUX CRABES, this beautiful documentary directed by Marie Halopeau Le Corfec, I chose to work with ethereal textures and simple orchestration, incorporating a Celtic style. I primarily used saxophone, piano, harp, and strings. The last three tracks on the album are musical suites inspired by the atmosphere of the film.”
ORBIT is Mathevon’s fourth, and final, electronic music album composed this year. It draws its inspiration from a theme dear to him: space and celestial mechanics.
A Sundance Original Series - WASP WOMAN - MURDER OF A B-MOVIE QUEEN. The brand new true-crime documentary was released on Sundance Now and AMC+ Thursday, Oct. 2
The gripping documentary unveils the bizarre and tragic murder of the cult film actress Susan Cabot, who is best known for her role in the sci-fi horror film, THE WASP WOMAN. Director: Rubika Shah, Cast: Lona Bailey, Susan Cabot, Michael Carter. Score: Alexandra Hamilton-Ayres (Known for: SUPER NATURE, TISH, THE OIL MACHINE, LONG LIVE MY HAPPY HEAD, THE LOST). Alexandra Hamilton-Ayres is an award-winning film composer, multi-instrumentalist and performing artist. Her critically acclaimed work blends sound worlds with her love for the piano, orchestrated into a rich palette of electronica and classical music.
Hollywood Records and EA Music are proud to unveil the Battlefield 6 Main Theme,” the second track from the highly anticipated BATTLEFIELD 6 (Original Video Game Soundtrack), composed by renowned British composer HenryJackman (AMERICA: THE WINTER SOLDIER CAPTAIN, X-MEN: FIRST CLASS, JUMANJI). Battlefield 6 Main Theme sets the tone for Jackman’s bold, cinematic score reflecting the scale, chaos and adrenalin rush of EA’s Battlefield 6 – one of the most anticipated video game launches of the year. Battlefield 6 Main Theme” is available now on all major digital platforms. In addition to Jackman’s score, the soundtrack features the first new music in four years from rap-rock giants Limp Bizkit. Their track, “Making Love to Morgan Wallen” - hailed by Billboard as“deliciously weird” and “a classic Bizkit banger” – delivers a surprising pop-culture collision to the soundtrack.
Listen to “Making Love to Morgan Wallen” HERE. Battlefield 6 (Original Video Game Soundtrack) is set for release on October 10, 2025.
Composer Raphaël Gesqua offers “Surf One,” from the original Nintendo 3DS video game music soundtrack to RISING BOARD (2012). The game is by Odenis Studio (Olivier DENIS). Watch the music at “Surf One,” which is available on YouTube:
Randall D. Larson was for many years publisher of CinemaScore: The Film Music Journal, senior editor for Soundtrack Magazine, and a film music columnist for Cinefantastique magazine. A specialist on horror film music, he is the author of Musique Fantastique: 100+ Years of Fantasy, Science Fiction & Horror Film Music, and Music from the House of Hammer. He currently writes articles on film music and sf/horror cinema and has written liner notes on more than 300 soundtrack CDs. Follow Randall on Twitter at https://twitter.com/MusiqueFantast1 or BluSky via larsonrdl@gmail.com or larsonrdl@gmail.com
