- Using movie scores as the explicit throughline was a great, simple choice.
- I love that it opens with an “original”/non-IP sequence, and there’s an original musical theme (or if it’s from some existing movie score, I’m unfamiliar with it) that recurs and acts as connective tissue between some of the segments and comes back in a big way for the finale.
- Minimal-ish pyro is not a detriment at all. The fountains, water screens, projection mapping on buildings, and drones combine to make this feel like an appropriate nighttime spectacular even without major fireworks. There’s just enough to provide an accent and a boost for the finale, and that’s all the show needs.
- I loved hearing John Williams’ LOST WORLD and Fawkes the Phoenix themes pop up.
- Using a new version of the bombastic main title cue to FRANKENSTEIN for the Classic Monsters segment is great, and I hope it’s a little preview of what to expect from the soundscape of the Dark Universe land; we know Danny Elfman is composing some original stuff, but I really want to hear some of the classic scores, too.
- Incorporating the Minions in a meta way as the show’s technicians is a really clever touch.