Alexander Grodzinski

Five Jays Music presents THE BIONIC WOMAN: 50TH ANNIVERSARY, featuring music composed and conducted by Joe Harnell for the 1970s cult television show, THE BIONIC WOMAN. The series was created and developed by Kenneth Johnson (THE BIONIC MAN, THE INCREDIBLE HULK, V - The Original Mini-Series), starring Lindsay Wagner, Richard Anderson, Martin E. Brooks, Ford Rainey, Martha Scott, and Jennifer Darling. THE BIONIC WOMAN: 50TH ANNIVERSARY also includes the original main title, end credit themes and two first season episode scores by composer Jerry Fielding, well known for his work on films such as THE WILD BUNCH, THE MECHANIC, THE OUTLAW JOSEY WALES, as well as his scores for television, such as KOLCHAK: THE NIGHT STALKER. Also, we were fortunate enough to discover what is known as "tracking cues", material that the composers recorded specifically as a music library for the series, as well as, in some cases, "musical effects" which depict Jamie Summers in various bionic actions, a true treat for long-time fans of the series. Joe Harnell's music is featured on Disc 1 and includes music from the episodes 'Sister Jaime' and 'Jaime And The King'. Disc 2 features music composed by Jerry Fielding for the first season episodes 'Welcome Home, Jaime, Part 2' and 'Claws'. Born in The Bronx, New York, Joe Harnell was the son of a vaudeville performer. His professional career began early at age 14 playing piano with his father’s jazz and klezmer (traditional Ashkenazi Jewish music) groups. Upon completion of a music scholarship at the University of Miami, he entered military service in 1943, joining the United States Army Air Forces where he frequently performed as a member of Glenn Miller’s Army Air Force Band. During the 1950s, Harnell was as a “pianist for hire” for several major artists including Judy Garland, Marlene Dietrich, and Peggy Lee, with whom he became her full-time accompanist. He joined ASCAP in 1959, scoring pop hits with “Cinderella Twist” and “Funny Bunny.” His arrangement of “Fly Me to the Moon” in 1963 became a major hit, winning a Grammy Award for “Best Pop Instrumental Performance.” As in-house pianist on THE DINAH SHORE CHEVY SHOW, Harnell would frequently appear on-screen during sing-along segments. After a turn as Musical Director for THE MIKE DOUGLAS SHOW, Harnell relocated to Hollywood for new opportunities. He soon teamed up with writer/producer Kenneth Johnson on several memorable TV projects including THE BIONIC WOMAN, THE INCREDIBLE HULK, CLIFFHANGERS!, the original V mini-series, HOT PURSUIT and the pilot for ALIEN NATION (1989). Harnell also composed music for the soap opera SANTA BARBARA. Jerry Fielding was born on June 17, 1922, in Pittsburgh. As a child, he studied trombone, clarinet, sax and piano. Given a music scholarship for gifted instrumentalists, he attended the Carnegie Institute for a short time, before an illness forced him to be bedridden for two years. Recovering from his illness, he took a job working in the pit band at Pittsburgh’s Stanley Theater. He studied composition and arranging with conductor Max Adkins, who also taught Henry Mancini and Billy Strayhorn. Under Adkins’ guidance, Jerry wrote arrangements for the Stanley Theater band. Adkins introduced Jerry to guitarist/swing band leader Alvino Ray. At the age of 17, Jerry left Pittsburgh for Los Angeles to join Ray’s band as an arranger. When Alvino Ray’s band was drafted in the army, Jerry found work with Kay Kyser’s band, becoming the chief arranger in 1945. He went on to arrange for the big bands of Claude Thornhill, Jimmie Lunceford, Tommy Dorsey, Charlie Barnet, and Les Brown. Fielding also wrote extensively for radio and was eventually named musical director of THE JACK PAAR SHOW. By 1952, Fielding helmed his own jazz orchestra, which was the house band on Groucho Marx's popular television game show, YOU BET YOUR LIFE. Called to testify in front of the House Un-American Activities Committee, Fielding took the Fifth Amendment, refusing to divulge the names of any colleagues who might be suspected of 'Communism', knowing that pleading the Fifth would damage his thriving radio and television career, which it did. Fielding was blacklisted by the national television and radio networks and sought refuge in Las Vegas, where he served as musical director for acts including Abbott & Costello and Debbie Reynolds. Fielding returned to Hollywood in 1962 and at the recommendation of blacklisted screenwriter Dalton Trumbo, he was hired to write his first feature score for Otto Preminger's political thriller ADVISE AND CONSENT. In 1966, he teamed with Sam Peckinpah for NOON WINE, inaugurating an often-contentious creative partnership that won Fielding Academy Award nominations for THE WILD BUNCH and STRAW DOGS. Clint Eastwood was also well served by Fielding's scores to THE ENFORCER and THE GAUNTLET. The composer responded to their hard-edged urban milieu with full-on jazz compositions that featured some of the best jazz players in the business. In 1976, Fielding received his third and final Oscar nomination for Eastwood's THE OUTLAW JOSEY WALES. Five Jays Music presents THE BIONIC WOMAN: 50TH ANNIVERSARY, featuring 2 CDs featuring music composed by Joe Harnell and Jerry Fielding for the classic television show. The music has been mastered by James Nelson at Digital Outland. THE BIONIC WOMAN: 50TH ANNIVERSARY is a limited edition release. This will start shipping the week of September 28,2026 CD 1: MUSIC BY JOE HARNELL 1. The Bionic Woman - Main Title (Unused Version) (1:23) SISTER JAIME 2. Busted Nun (1:33) 3. Episode Titles / Going To See Mother Superior (3:39) 4. Bionic Hoe / Bad Guys At The Convent (3:28) 5. Searching The Winery / Jaime’s Plan (6:46) 6. Nuns In Action (4:40) 7. Bionic Angel (2:43) 8. The Bionic Woman – Bumper (Unused Version) (0:09) JAIME AND THE KING 9. The King And The Prince (4:45) 10. Bionic Sword Fight / A Farewell Kiss (5:47) 11. The Bionic Woman – End Credits (Unused Version) (0:31) TRACKING CUES 12. Jaime’s Theme – Long Version (6:39) 13. Dramatic Jaime (1:19) 14. Pretty Jaime (0:36) 15. Fembot Attacks Jaime (4:36) 16. Jaime Follows Fembot (1:15) 17. Sister Jaime In Jeopardy (1:30) 18. Jaime In Danger (1:28) 19. Jaime In Dreamland (7:44) 20. Jaime’s Slo-Mo Chase (1:57) 21. Bigfoot And Jaime (1:43) 22. Chasing Jaime (3:39) BONUS TRACK 23. Super Jaime – Album Version (2:50) Total Time 71:37 CD 2: MUSIC BY JERRY FIELDING 1. The Bionic Woman – Main Title 76 (1:23) WELCOME HOME JAIME, PART 2 2. Episode Titles / Carlton Harris (5:05) 3. “Where Is Your Head, Donald?” (2:36) 4. Trapping The Bad Guys / Back To School (9:25) 5. The Bionic Woman – Bumper 76 (0:07) CLAWS 6. Neil The Lion (1:57) 7. Titles / Neil’s Nighttime Stroll (5:25) 8. Chasing Neil / Cougar Strikes (4:48) 9. Pursuit Of Neil / Jaime And Neil (10:31) 10. A Very Happy Ending (1:08) 11. The Bionic Woman – End Credits 76 (0:30) ALTERNATE TAKES 12. Chasing Neil (Alternate) (0:52) 13. Back Home (Alternate) (0:12) 14. Back Home (Alternate 2) (0:09) 15. Library Track – Bongomania (1:44) 16. Back To School (Alternate) (1:21) BONUS TRACKS 17. Bionic Woman Theme (Solo Piano Version) (2:02) Performed by Joohyun Park 18. Music Effects (0:25) 19. Jumping Effects (1:13) 20. The Bionic Woman - Main Title (1:22) Performed by The Meridian Studio Orchestra Total Time 53:05 Dragon’s Domain Records presents THE TEKWAR TRILOGY, featuring music composed by David Michael Frank (ABOVE THE LAW, THE STAIRCASE, THE MOLE) for the TEKWAR series of films that led into the TEKWAR series, created by William Shatner and Ron Goulart, starring William Shatner and Greg Evigan. Born from a series of futuristic crime novels conceived by William Shatner and developed in collaboration with science-fiction author Ron Goulart, TEKWAR made the visual leap to television in 1994 as an ambitious cycle of feature-length movies. The battery began with TEKWAR, followed in rapid succession by TEKWAR: TEKLORDS, TEKWAR: TEKLAB, and TEKWAR: TEKJUSTICE, all four airing within the first five months of that year. Produced as a Canadian-American venture by Atlantis Films in association with Universal Television, the films represented a substantial attempt to build a continuing science-fiction franchise for television at a time when such sprawling, effects-driven productions remained a formidable undertaking for the small screen. The first of the four films, TEKWAR, features former police officer Jake Cardigan (Evigan), who awakens after years of cryogenic imprisonment, having been framed for murder and trafficking Tek, a highly addictive virtual-reality narcotic. Released under mysterious circumstances, he is recruited by Walter Bascom (Shatner) to investigate the powerful Tek lords while seeking to clear his own name. The second installment, TEKLORDS, continues Cardigan’s battle against the Tek trade as imprisoned drug lord Sonny Hokori (Von Flores) maintains control of his criminal empire while a sinister computer virus threatens both digital systems and human lives. The crisis becomes deeply personal when Cardigan’s former wife is placed in the crosshairs. The penultimate film of the quadrilogy, TEKLAB, follows Cardigan and his partner-in-grime Sid Gomez (Eugene Clark) to London, where the theft of the legendary sword Excalibur draws them into an international conspiracy involving political intrigue, murder, and a struggle over the restoration of the British monarchy. The concluding TEKJUSTICE was not scored by Frank and is not represented on this album. For the TEKWAR films, composer David Michael Frank amassed an eclectic ensemble that balanced traditional acoustic instruments with the most advanced electronic musical toys on the market at the time. The band was built around a triad of keyboardists, each helming an array of synthesizers, alongside one electric guitarist, one electric bassist, an EVI (Electronic Valve Instrument), an EWI (Electronic Wind Instrument), and two percussionists playing traditional acoustic and electronic instruments. David Michael Frank was born and raised in Baltimore, Maryland where he studied classical piano and composition at the Peabody Conservatory of Music. After graduating from Northwestern University, Frank moved to New York, where he became Broadway’s youngest conductor. After six years in New York, he relocated to California to pursue a career in film composition, where he’s scored numerous films of various types and over 200 episodes of television over more than forty years in media composition. Dragon’s Domain Records presents the premiere release of THE TEKWAR TRILOGY, featuring music composed by David Michael Frank, mastered by James Nelson at Digital Outland, featuring liner notes written by author and composer Brian Satterwhite, with the participation of the composer. THE TEKWAR TRILOGY is a limited edition release. THE TEKWAR TRILOGY is expected to begin shipping the week of September 28, 2026. TEKWAR 01. Main Title (3:09) 02. Resurrection (1:54) 03. The Empty House (5:08) 04. Cops In Space (3:43) 05. Is Beth Really Dead? (3:00) 06. Escape From The Lab (5:20) 07. Final Battle (2:59) TEKLORDS 08. Killer Fantasy Girl (1:53) 09. Keeper of Secrets (3:35) 10. Hospital Bedside with Kate (2:26) 11. Race Against the Clock (3:27) 12. Hakori's Hideaway (3:52) 13. The Reanimation of Tora (4:34) 14. Fight For The Antidote (2:23) 15. Kate and Jake (2:53) TEKLAB 16. Excalibur (3:13) 17. Rachel Tudor (2:29) 18. Escaping the Monarchists (4:41) 19. Jake Frees Mark Tudor (2:27) 20. Fencing With a Fake (4:55) 21. Terror at the Tower (4:18) 22. Tristan and his Guinevere (1:41) Total Time: 74:59 Dragon’s Domain Records presents SUPER SPACE MOVIES THEMES, a compilation of music from classic science-fiction films from the 1950's, with many rare selections. SUPER SPACE MOVIE THEMES includes music from King of the Rocket Men, Flying Disc Men From Mars, Captain Video: Master of the Stratosphere, The Man From Planet X, Two Lost Worlds, Radar Men from the Moon, Red Planet Mars, Zombies of the Stratosphere, Abbott and Costello Go To Mars, Flight To The Moon, The Magnetic Monster, Gog, Killers From Space, The Rocket Man, Stranger From Venus, Tobor The Great, The Beast With a Million Eyes, Creature With The Atomic Brain, The Phantom From 10,000 Leagues, The Quatermass Xperiment, Fire Maidens From Outer Space, Forbidden Planet, The Gamma People, Indestructible Man, Jungle Hell, Supersonic Saucer, Warning From Space, X The Unknown, The Incredible Shrinking Man, The Invisible Boy, Monster From Green Hell, The Night The World Exploded, Quatermass 2 (Enemy From Space), Road To The Stars, The Robot Vs. The Aztec Mummy, Super Giant, 20 Million Miles To Earth, The 27Th Day, The Brain Eaters, The Day The Sky Exploded, The Flame Barrier, From The Earth To The Moon, Space Master X-7, The Strange World Of Planet X (Cosmic Monsters), The Atomic Submarine And First Man In Space. SUPER SPACE MOVIE THEMES features music composed by Stanley Wilson, Mischa Bakaleinikoff, Charles Koff, Alex Alexander, Mahlon Merrick, Joseph Gershenson, Yurly Levitan, Blaine Sanford, Harry Sukman, Manuel Compinsky, Lionel Newman, Eric Spear, Howard Jackson, John Bickford, Ronald Stein, James Bernard, Trevor Duncan, Louis and Bebe Barron, George Melachrino, Albert Glasser, Nicholas Carras, Jack Beaver, Seitaro Omori, Les Baxter, Ross DiMaggio, S.A. Shatiryan, Antonio Diaz Conde, Chumei Watanabe, Tom Johnson, Carlo Rustichelli, Gerald Fried, Louis Forbes, Joseph Zimanich, Robert Sharples, Alexander Laszlo and Buxton Orr. SUPER SPACE MOVIE THEMES has been mastered by James Nelson at Digital Outland, produced by Starlog Magazine’s David Hirsch and James Nelson. SUPER SPACE MOVIE THEMES is a limited edition release and is expected to begin shipping the week of September 28th, 2026. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. 01. Main Title (From KING OF THE ROCKET MEN) (1949) (1:07) Composed by Stanley Wilson 02. Main Title (From FLYING DISC MEN FROM MARS) (1950) (0:58) Composed by Stanley Wilson 03. Main Title (From CAPTAIN VIDEO: MASTER OF THE STRATOSPHERE) (1951) (0:51) Mischa Bakaleinikoff, Musical Director 04. Main Title (From THE MAN FROM PLANET X) (1951) (1:17) Composed by Charles Koff 05. Main Title (From TWO LOST WORLDS) (1951) (1:23) Composed by Alex Alexander 06. Main Title (From RADAR MEN FROM THE MOON) (1952) (1:15) Composed by Stanley Wilson 07. Main Title (From RED PLANET MARS) (1952) (1:04) Composed by Mahlon Merrick 08. Main Title (From ZOMBIES OF THE STRATOSPHERE) (1952) (1:06) Composed by Stanley Wilson 09. Main Title (From ABBOTT AND COSTELLO GO TO MARS) (1953) (1:18) Joseph Gershenson, Musical Director 10. Titles Suite (From FLIGHT TO THE MOON) (POLYOT NA LUNO) (1953) (1:56) Composed by Yurly Levitan 11. End Title (From THE MAGNETIC MONSTER) (1953) (2:02) Composed by Blaine Sanford 12. Main Title (From GOG) (1954) (1:59) Composed by Harry Sukman 13. Titles Suite (From KILLERS FROM SPACE) (1954) (1:15) Composed by Manuel Compinsky 14. Main Title (From THE ROCKET MAN) (1954) (1:09) Lionel Newman, Musical Director 15. Main Title (From STRANGER FROM VENUS) (1954) (0:29) Composed by Eric Spear 16. Republic Logo & Main Title (From TOBOR THE GREAT) (1954) (1:32) \ Composed by Howard Jackson 17. Titles Suite (From THE BEAST WITH A MILLION EYES) (1955) (1:49) Composed by John Bickford 18. Main Title (From CREATURE WITH THE ATOM BRAIN) (1955) (0:51) Mischa Bakaleinikoff, Musical Director 19. Main Title (From THE PHANTOM FROM 10,000 LEAGUES) (1955) (1:07) Composed by Ronald Stein 20. Opening (From THE QUATERMASS XPERIMENT) (1955) (1:09) Composed by James Bernard 21. Main Title (From FIRE MAIDENS FROM OUTER SPACE) (1956) (1:16) Composed by Trevor Duncan 22. Main Titles & Overture (From FORBIDDEN PLANET) (1956) (2:20) Composed by Louis and Bebe Barron 23. Main Title (From THE GAMMA PEOPLE) (1956) (1:28) |Composed by George Melachrino 24. Main Title (From INDESTRUCTIBLE MAN) (1956) (1:01) Composed by Albert Glasser 25. Main Title (From JUNGLE HELL) (1956) (1:41) Composed by Nicholas Carras 26. Main Title (From SUPERSONIC SAUCER) (1956) (0:58) Composed by Jack Beaver 27. Main Title (From WARNING FROM SPACE) (1956) (1:48) Composed by Seitaro Omori 28. Main Title (From X THE UNKNOWN) (1956) (1:12) Composed by James Bernard 29. Main Title (From THE INCREDIBLE SHRINKING MAN) (1957) (1:54) Joseph Gershenson, Musical Director 30. MGM Logo & Main Title (From THE INVISIBLE BOY) (1957) (1:23) Composed by Les Baxter 31. Titles Suite (From MONSTER FROM GREEN HELL) (1957) (2:08) Composed by Albert Glasser 32. Main Title (From THE NIGHT THE WORLD EXPLODED) (1957) (0:46) Composed by Ross DiMaggio 33. Main Title (From QUATERMASS 2) (1957) (1:06) Composed by James Bernard 34. Main Title (From ROAD TO THE STARS) (1957) (0:55) Composed by Sergey Shatiryan 35. Main Title (From THE ROBOT VS. THE AZTEC MUMMY) (1957) (1:33) Composed by Antonio Diaz Conde 36. Titles Suite (From SUPER GIANT (SÛPÂ JAIANTSU) (1957) (2:41) Composed by Chumei Watanabe 37. Main Title (From 20 MILLION MILES TO EARTH) (1957) (1:07) Composed by Mischa Bakaleinikoff 38. Main Title (From THE 27TH DAY) (1957) (0:52) Mischa Bakaleinikoff, Musical Director 39. Main Title (From THE BRAIN EATERS) (1958) (1:33) Composed by Tom Johnson 40. Main Title (From THE DAY THE SKY EXPLODED) (1958) (0:51) Composed by Carlo Rustichelli 41. Main Title (From THE FLAME BARRIER) (1958) (1:24) Composed by Gerald Fried 42. Main Title (From FROM THE EARTH TO THE MOON) (1958) (1:28) Composed by Louis Forbes 43. Main Title (From SPACE MASTER X-7) (1958) (0:54) Joseph Zimanich, Musical Director 44. Opening (From THE STRANGE WORLD OF PLANET X) (1958) (1:56) Composed by Robert Sharples 45. Opening Credits (From THE ATOMIC SUBMARINE) (1959) (1:50) Composed by Alexander Laszlo 46. Main Title (From FIRST MAN INTO SPACE) (1959) (1:25) Composed by Buxton Orr 47. Main Title (From PLAN 9 FROM OUTER SPACE) (1959) (2:10) Composed by Trevor Duncan 48. Opening (From TEENAGERS FROM OUTER SPACE) (1959) (3:04) Tom Graeff, Music Coordinator Total Time: 70:18 Dragon’s Domain Records presents THE SHIRLEY WALKER COLLECTION, VOLUME 1, a compilation of two scores from legendary film and television composer Shirley Walker’s extensive filmography. Airing on television in 1995, THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE was directed by Max Tash, written by Brian Levant, Rick Copp and David A. Goodman, starring Daniel Riordan, Liz Vassey, Ron Perlman, Gia Carides, Duane Davis, Gregory Smith, Nichelle Nichols, Rick Copp, Lloyd Berry, David Mylrea, Sarah Strange, Bill Croft, Ken Kirzinger and Michael Donovan. In much the same vein as GALAXY QUEST, colorful visuals and a playful tone abound, affectionately celebrating the traditions of the space-hero characters of 1950s sci-fi TV in this campy television pilot film... Captain Zoom (Riordan) is the fictional intergalactic hero of a popular 1953 DuMont Network television program. He’s portrayed with all the cheerful bravado and humor one frequently associates with the heroes of our childhood — an affectionate homage to earlier science-fiction entertainment. The costume design, bright colors and exaggerated gadgets recall the spirit of the 1966 BATMAN television series but on the scale of the classic space serials FLASH GORDON and BUCK ROGERS. At the same time, the narrative emphasizes themes of friendship, belief in oneself and the power of imagination. The musical score by Shirley Walker for THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE adds energy and emotional warmth to the adventure while also playing up the campy, exaggerated acting. Walker brings a lively orchestral-sounding approach to the project. She blends bold, heroic themes with playful musical gestures that match the film’s light family-adventure tone. Brass fanfares accompany Captain Zoom’s triumphant moments, while lighter motifs support the film’s child-like sense of wonder. Presented on television across two nights in 1997, ASTEROID was directed by Bradford May, written by Robbyn Burger and Scott Sturgeon, starring Michael Biehn, Annabella Sciorra, Zach Charles, Don Franklin, Carlos Gomez, Michael Weatherly, Jensen Daggett, Anne-Marie Johnson, Frank McRae, Anthony Zerbe and Dennis Arndt as the President. ASTEROID follows astronomer Dr. Lily McKee (Sciorra) who works at the National Observatory in Boulder, Colorado, monitoring near-Earth objects. During a routine survey of the sky, she detects the Fletcher comet whose trajectory indicates a potential approach near Earth on the Fourth of July. She later realizes that the comet has drawn several asteroids out of their orbits in the asteroid belt, but two in particular — Helios and Eros — are on a collision course with Earth and large enough to cause catastrophic damage. Helios is projected to hit with a force 1,000x greater than the Hiroshima A-bomb, but the far larger Eros is more dangerous, with the potential of wiping out all life on the planet. Military and government agencies soon become involved as the danger grows. FEMA Director Jack Wallach (Biehn) is tasked with coordinating evacuation efforts and responding to the crisis. Wallach becomes a central figure in the unfolding drama as authorities attempt to calculate the asteroid’s path and protect the population. The film shifts between scenes of scientific investigation, government deliberation, and the personal stories of individuals caught in the looming disaster. As Eros nears Earth, scientists explore possible ways to divert or destroy it... Shirley Walker’s score for ASTEROID plays a significant role in shaping the film’s dramatic tone, combining a powerful electronic feel with suspenseful textures that underscore the approaching danger from space. Low brass and percussion create a sense of impending catastrophe, while urgent rhythmic passages accompany scenes of scientific discovery and emergency response. Shirley Walker (April 10, 1945 – November 30, 2006) was an influential American film and television composer and conductor, recognized as a pioneer for women in Hollywood. She was one of the first female composers to gain solo score credit on a major film. Walker won two Emmy Awards, and the ASCAP Shirley Walker Award was established in her honor in 2014. Walker's film career began in 1979 with APOCALYPSE NOW, where she played synthesizers and later orchestrated scores for films like THE BLACK STALLION. She excelled as an orchestrator, conductor and composer, working with notable figures like Danny Elfman and Hans Zimmer. Walker scored various productions, including WILLARD and the first three FINAL DESTINATION films, and TV series like FALCON CREST and THE FLASH. While working with Danny Elfman, she mentored Hans Zimmer and orchestrated several of his film scores. Walker was a prominent composer for several animated series in the DC Animated Universe, including BATMAN: THE ANIMATED SERIES, SUPERMAN: THE ANIMATED SERIES, THE NEW BATMAN ADVENTURES and BATMAN BEYOND. She worked closely with Danny Elfman, served as the conductor for the film BATMAN, and composed much of the music for BATMAN: THE ANIMATED SERIES, creating a recognizable musical tone for the franchise. Her themes continued to be used in JUSTICE LEAGUE and JUSTICE LEAGUE UNLIMITED. Dragon’s Domain Records presents THE SHIRLEY WALKER COLLECTION: VOLUME 1, featuring the premiere release of music composed by Shirley Walker for THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE and ASTEROID, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by Scott Davis. THE SHIRLEY WALKER COLLECTION: VOLUME 1 is a limited edition release. THE SHIRLEY WALKER COLLECTION: VOLUME 1 is available for pre-order at www.buysoundtrax.com. Starts shipping the week of September 28, 2026 THE ADVENTURES OF CAPTAIN ZOOM IN OUTER SPACE 01. Main Title / The Planet Pangea (4:49) 02. Baley’s Universe Scan (0:49) 03. Captain Zoom TV Theme #1 (1:37) 04. Tyra’s Dream (2:42) 05. Captain Zoom TV Theme #2 (1:26) 06. Zoom Transported To Pangea (3:22) 07. Nessie The Sea Monster (2:33) 08. Sex In Space (3:13) 09. Zoom And Tyra Escape (4:19) 10. Which Star Is Earth? (1:29) 11. Sagan’s Prophecy (2:57) 12. Vesper’s Fake Trance (1:57) 13. Vox Returns Defeated / Spaceship Crash (2:03) 14. Where Are You Sleeping (1:54) 15. We Can’t Give Up (1:42) 16. Clay People (4:34) 17. Temple Of Reya (5:49) 18. Vesper’s End (1:57) 19. Vox’s Death (4:15) 20. Written In The Stars (Finale) (2:42) ASTEROID 21. Opening Titles / Helicopter Rescue (2:13) 22. Helios And Eros (2:45) 23. 1,000 Hiroshima Bombs (1:15) 24. Laser Attack (2:37) 25. Lily And Max (1:27) 26. Impact Aftermath (1:42) 27. Kansas City Evacuation (3:10) 28. Goodbye Dallas (1:52) 29. Survivors / Reunions (2:47) ` 30. Another 4000 Years (2:15) Total Time - 79:30

Snow Files of the Week: "Fries and Faith/Discreet Distance" aus "The X-Files", Episode "Talitha Cumi" (1996). Noch ein Staffelfinale, dieses Mal Staffel 3. Der Wunderheiler Jeremiah Smith hat in dieser Folge seinen ersten Auftritt und mehr Details über die Beziehung zwischen Mulders Mutter und dem "Raucher" werden enthüllt. Der Cliffhanger der Folge ist ein Treffen zwischen Mulder, Scully und Smith, zu dem plötzlich auch der ausserirdische Kopfgeldjäger stößt. Für die Staffelfinale der einzelnen Staffeln hat sich Mark musikalisch noch mal mehr ins Zeug gelegt, so auch hier. Seine düsteren, brodelnden Ambient-Klanglandschaften treffen auf seine tollen Piano-Themen und sphärische Chor-Passagen. Diese beiden Stücke stammen vom zweiten Box-Set mit X-Files-Musik von LLL. Es ist auf 3.000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

LLLCD 1692 Music by Hugo Friedhofer, Miklós Rózsa, Gail Kubik and Heinz Roemheld Limited edition of 1000 units La-La Land Records and Paramount Pictures present a remastered limited edition CD release of music from four brilliant scores to four classic, big-screen Paramount Pictures film noirs - 1951’s ACE IN THE HOLE, marking the film’s 75th Anniversary, 1944’s DOUBLE INDEMNITY, 1955’s THE DESPERATE HOURS and 1950’s UNION STATION. Two landmark Billy Wilder films are represented on this remastered presentation - ACE IN THE HOLE featuring composer Hugo Friedhofer’s blistering masterwork of clever scoring touches and DOUBLE INDEMNITY showcasing Miklós Rózsa’s expert musical chronicling of that film’s sensuous, dangerous duplicity. THE DESPERATE HOURS crackles with composer Gail Kubik’s purposefully unpredictable musical maneuvering and UNION STATION’s striking underscore is the impressive work of composer Heinz Roemheld. Produced by Dan Goldwasser and Lukas Kendall, restored by Chris Malone and mastered by Doug Schwartz, this limited edition CD release of 1000 units includes exclusive, in-depth liner notes by writer John Takis and art direction by Goldwasser, featuring a reversible front cover. TRACK LISTING: ACE IN THE HOLE (1951) / HUGO FRIEDHOFER 1. Prelude 2:48 2. Sand Trickle 1:23 3. The Dirty Work Begins 2:10 4. Platinum Blonde 1:22 5. Pneumonia 1:10 6. Grand Finale 2:32 7. Tatum’s Death and End Title / End Cast 4:02 TOTAL SCORE TIME 15:27 THE DESPERATE HOURS (1955) / GAIL KUBIK 8. Paramount Seal / Prelude 1:42 9. Kobish Toccata (Unused) 2:06 10. Open Conflict (Unused) 0:52 11. Retribution 2:44 12. Last Chance (Unused) 1:43 TOTAL SCORE TIME 9:07 UNION STATION (1950) / HEINZ ROEMHELD 13. Prelude 1:15 14. The Stockyard 3:05 15. Trapped / End Title 2:53 TOTAL SCORE TIME 7:13 DOUBLE INDEMNITY (1944) / MIKLÓS RÓZSA 16. Prelude (Film Version) / First Scene 4:51 17. The Meeting 2:35 18. In the Cab 0:52 19. The Anklet 0:56 20. Inner Struggle 1:18 21. The Conspiracy (Partial) 0:57 22. The Policy 1:49 23. The Market 1:05 24. Reading His Mail 0:29 25. Preparation / The Murder (Partial) 3:07 26. Railroad Tracks 3:10 27. Relief 1:22 28. The Hallway 2:16 29. The Daughter 0:57 30. Warnings 3:02 31. The Appointment 1:25 32. Punishment / So Long, Keyes / Finale 8:04 TOTAL SCORE TIME 38:15 BONUS TRACKS 33. Double Indemnity: Prelude (Stereo Re-Recording) 1:24 34. Ace In the Hole: Prelude (Film Version) 2:32 TOTAL BONUS TIME 3:56 TOTAL DISC TIME 73:58

LLLCD 1699 Music by Mark Isham Limited edition of 1000 units ORDER NOW and get your CD booklet autographed by composer Mark Isham at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records and Paramount Pictures present the world premiere limited edition CD release of renowned composer Mark Isham’s original motion picture scores to 1996’s big-screen legal drama NIGHT FALLS ON MANHATTAN, starring Andy Garcia and Richard Dreyfuss, and directed by Sydney Lumet, and 1999’s big-screen sports drama VARSITY BLUES, starring James Van Der Beek and Jon Voight, and directed by Brian Robbins. Acclaimed composer Mark Isham (POINT BREAK, THE HITCHER, ROMEO IS BLEEDING) has been a major, continuous and dynamic voice in film music for decades. His impact on the 1990s is undeniable and vividly demonstrated in this debut CD presentation of two of his exceptionally effective scores for two vastly different films - NIGHT FALLS ON MANHATTAN and VARSITY BLUES. In both films, Isham displays an uncanny knack for burrowing into the character and heart of each story. From the legal drama of NIGHT to the gridiron excitement of VARSITY, the composer expertly mines the human drama at the foundation of each tale - and even places his own signature in the music by incorporating solo trumpet, performed by Isham himself. Produced by Dan Goldwasser and mastered by Doug Schwartz, this limited edition CD release of 1000 units includes in-depth liner notes by author Jeff Bond, with new interview comments from the composer, and sharp art direction (featuring a reversible front cover) by Goldwasser. TRACK LISTING: NIGHT FALLS ON MANHATTAN 1. Opening Credits 2:13 2. Night Before Trial 0:45 3. Steam Room / Joey At Pier / Cemetery / Internal Affairs Questioning 4:48 4. Original Warrant / Joey’s Death 2:30 5. Phone Call* 1:49 6. Classroom / End Titles 3:44 TOTAL SCORE TIME 15:49 NIGHT FALLS ON MANHATTAN BONUS TRACK 7. Car Radio (Source) 4:42 VARSITY BLUES 8. Opening 2:02 9. Problems / Billy Bob Down / Love On Car* 1:51 10. Challenge / Miss 1:19 11. Billy Bob 0:40 12. Lance Is Down 2:21 13. Kiss (2 Ways) 0:45 14. Open The Door 0:55 15. Bus Driving Transition / I Do 2:11 16. I’ll Bury You 0:59 17. What If I Lose? 1:07 18. Wendell’s Victory* / Wendell Goes Down / Get Out There 2:41 19. Let’s Go / 24 Minutes / Kilmer Packs 3:09 20. The End 3:49 TOTAL SCORE TIME 23:49 VARSITY BLUES BONUS TRACKS 21. Lance Is Down (Alternate Take) 2:20 22. What If I Lose? (Alternate Take) 1:05 TOTAL BONUS TIME 3:25 TOTAL ALBUM TIME: 47:45 *not used in film This is a CD format release

Wie auch schon das erste LOST THEMES bekommt nun auch LOST THEMES II eine neue Auflage zum 10-jährigen. Es gibt neues Artwork und einen Bonustrack. To celebrate the 10th anniversary of Lost Themes II, Sacred Bones is proud to present a new expanded art edition of John Carpenter's acclaimed second album of non-soundtrack compositions. Featuring newly commissioned artwork by Randy Ortiz, this anniversary edition pairs the original album with a bonus 7" containing "Real Xeno”, now available on vinyl outside its original, limited Sacred Bones Society release for the first time. The B-side features an exclusive etched design created especially for this edition. The Lost Themes series has grown into one of the defining chapters of Carpenter's career. Free from the constraints of the screen, these compositions have taken on lives of their own, expanding Carpenter's legacy beyond film scores. Released in 2016, Lost Themes II broadened the sonic world of its predecessor, pairing Carpenter's unmistakable gift for atmosphere and suspense with his trademark minimal synth, richer arrangements, and electric and acoustic guitars. A decade on, Lost Themes II remains a landmark in a series that has grown far beyond imagined soundtracks, standing as essential works in Carpenter's catalog and a testament to his musical vision and remarkable ability to create worlds that extend far beyond film. Track List: 1. Distant Dream 2. White Pulse 3. Persia Rising 4. Angel's Asylum 5. Hofner Dawn 6. Windy Death 7. Dark Blues 8. Virtual Survivor 9. Bela Lugosi 10. Last Sunrise 11. Utopian Façade 12. Real Xeno (Bonus Track)

Quartet Records proudly presents the premiere release of Robert Folk’s deliciously energetic and stylish score for YOU’RE DEAD, a 1999 British crime comedy directed by Andy Hurst that starred John Hurt, Rhys Ifans, Claire Skinner and David Schneider. A darkly comic tale of crime, greed and spectacularly bad decisions, YOU’RE DEAD offered composer Folk an ideal playground for a score that combines suspense, eccentricity and unabashed orchestral excitement. Best known for his memorable music for the POLICE ACADEMY series, TOY SOLDIERS, TREMORS, THE NEVERENDING STORY II and MILES FROM HOME, Folk has always brought a strong melodic personality and superb orchestral craftsmanship to his film work, and YOU’RE DEAD is no exception. Performed by the Munich Symphony Orchestra under the composer’s baton, Folk’s music moves effortlessly between suspenseful textures, mischievous character writing and vigorous action set pieces, with rhythmic energy and bold orchestral gestures driving the narrative forward. Beneath the score’s playful surface is the polished dramatic architecture that distinguishes Folk’s best work: memorable themes, carefully developed motifs and an instinctive understanding of how to balance melody, tension and cinematic spectacle. Previously unreleased, YOU’RE DEAD represents another fascinating entry in Robert Folk’s rich and varied filmography and a particularly enjoyable example of his late-1990s scoring style. This album has been carefully mastered by Chris Malone, and the booklet includes an in-depth essay by film music writer Daniel Schweiger. 1. Main title 3:03 2. Opening / Maitland’s Dead / Professor Corner Leaves 2:57 3. Matland’s Belongings / The Interrogation Begins / Badger transition 1:19 4. The Envelope / Broken Picture 1:5 5. Robbery continued 1:43 6. Rob the Bank, sah’b / What’s jo playing? 2:01 7. Photo montage / Hostages leave 1:24 8. Police Attack 2:25 9. Jo Saves Maitland / Eddie’s Proud 2:37 10. Jo confesses to Maitland / George murdered / Locked in with murderer 2:43 11. Ian is the murderer 2:44 12. Jo tells Maitland 2:32 13. Doctor Dies / Ian is dead 2:18 14. Badger enter room / Badger interrogates jo 5:51 15. Badger leaves cyclops / Where the fuck’s the manager? 1:48 16. Manager / Video monitor / Manager Madness 1:36 17. The chase / Maitland and manager / Jo saves Maitland 5:52 18. More chase / Cigarette theme / The Money Bag 2:41 Bonus track: 19. You’re Dead demo 6:04 Total Disc Time: 53:35

John Carpenter im Gespräch mit Claudio Simonetti von Goblin. Fand ich sehr interessant. Sie reden viel über Musik und ihre Herangehensweise an Filme.

Intrada presents an expanded edition of Robert Rodriguez's Spy Kids (2001). Across Rodriquez's body of work his name appears as writer, director, producer, cinematographer, editor and composer, among others. Since his mind is working in all those places, he enjoys starting the scoring process as early as possible. The musical journey for Spy Kids was more unconventional, yet the result was a cohesive score that brought the film’s crazy world to vivid life. Rodriguez needed a song for the main antagonist and wanted something in the realm of Danny Elfman’s style, so he reached out to Elfman himself. Unfortunately, Elfman could only write one song due to his schedule—“Floop’s Song (Cruel World)." Next, Hans Zimmer and Harry Gregson-Williams screened and loved the film, but ultimately Zimmer could not take on the project. Gregson-Williams was available, however, and came up with some cues and ideas based on a guitar tune he wrote. This became known as the “Cortez Family” theme. Then Gregson-Williams had to leave the project, so Rodriquez himself took over some of the scoring duties. A few months later, Gavin Greenaway and Heitor Pereira adapted Rodriguez's melodies. By then Elfman was free and able to compose additional music for the film, including the score's prominent action theme. With all these hands involved, Rodriguez needed one composer to come in and orchestrate, conduct and expand on the Elfman material as well as provide additional scoring to tie everything together. Enter composer John Debney who masterfully assembled everything into a coherent work in just two weeks. For this new release done with the generous cooperation of Paramount Pictures, CD producer Stéphane Humez scoured through all the recordings and pulled together a 2-CD set featuring all the music. CD 1 is the complete score as it appears in the film. Disc 2 features a wealth of alternates, including the Gregson-Williams scoring that was largely updated after he left the project. The disc concludes with Robert Rodriguez's Sketchbook, a suite of demos of his original themes. The album was mastered by Maxime Marion with liner notes by Kaya Savas. Spy Kids follows siblings Carmen and Juni Cortez, who discover that their seemingly ordinary parents are actually retired secret agents. When their parents are kidnapped by an evil scientist, the children must become spies themselves, using high-tech gadgets and their own courage to rescue their mom and dad. What follows is an energetic colorful adventure that launched a franchise. DISC ONE – THE SCORE 01. Cortez Family (1:43) 02. My Parents Are Spies (2:10) 03. Spy Wedding (2:13) 04. Secrets & Jungle Gym (2:27) 05. Juni At School (1:04) 06. Floop's Castle (1:18) 07. Sky Kids Demonstration (2:00) 08. You're Taking A Mission (1:29) 09. Parents On Mission (1:17) 10. Kids Escape House (4:34) 11. Pod Chase (1:41) 12. Life In The Sub (1:38) 13. The Safehouse (2:13) 14. Mom & Dad At Floop's (2:30) 15. Floop's Dinner (1:48) 16. Spy Kids Getting Dressed (1:16) 17. The Good Spy Book (1:16) 18. The Third Brain (1:21) 19. Buddy Pack Escape (1:41) 20. Oye Como Spy (3:07) 21. Floop's Song (Cruel World) (Performed by Alan Cumming) (1:00) 22. San Diablo (1:20) 23. Spy Go Round (3:30) 24. Third Brain Story (2:00) 25. Depressed Floop (2:10) 26. Sneaking Around Machete's (2:18) 27. The Spy Plane (1:33) 28. Spy Plane Crash (0:58) 29. Fooglies & Robot Army Parades (2:53) 30. Minion Transforms Dad (2:00) 31. Juni & Floop (1:30) 32. Spy Kids Final Confrontation (8:33) 33. A Family Again (1:44) 34. Spy Kids (Save The World) (Performed by Fonda) (2:22) TOTAL DISC ONE TIME: 72:35 DISC TWO – THE EXTRAS 01. Cortez Family (Alternate) (1:47) 02. My Parents Are Spies (Alternate) (2:57) 03. Secrets & Jungle Gym (Alternate) (1:39) 04. Floop's Castle (Alternate) (1:16) 05. Spy Kids Demonstration (Alternate) (1:06) 06. You're Taking A Mission (Alternate) (0:52) 07. Parents On Mission (Alternate Version 1) (2:32) 08. Pod Chase (Alternate) (1:26) 09. Life In The Sub (Alternate) (0:51) 10. Mom & Dad At Floop's (Alternate) (1:27) 11. The Third Brain (Alternate) (1:57) 12. Buddy Pack Escape (Alternate) (2:09) 13. Oye Como Spy (Alternate) (3:07) 14. Floop's Song (Cruel World) (Instrumental) (1:00) 15. San Diablo (Alternate) (0:44) 16. Third Brain Story (Alternate) (2:15) 17. Depressed Floop (Alternate) (1:03) 18. Sneaking Around Machete's (Alternate) (0:53) 19. The Spy Plane (Alternate) (1:48) 20. Fooglies & Robot Army Parades (Alternate) (2:34) 21. Minion Transforms Dad (Alternate) (2:01) 22. Spy Kids Final Confrontation (Alternate) (7:37) 23. Parents On Mission (Alternate Version 2) (1:19) ROBERT RODRIGUEZ'S SKETCHBOOK 24. Spy Kids Theme (Demo) (1:36) 25. Parents’ Theme (Piano Demo) (0:53) 26. Robot Kids Theme (Demo) (0:21) 27. Parents’ Theme (Piano & Guitar Demo) (1:55) 28. Oye Como Spy (Demo) (2:03) 29. Parents’ Theme (All Mixed Up) (0:23) TOTAL DISC TWO TIME 51:30 TOTAL ALBUM TIME 124:05

Kommt am 1.9. von Intrada:

Harsh Realm habe ich auch nicht gesehen, als das bei uns lief. Kenne die Serie nur auf englisch, weil ich mir eben auch da die DVD-Box aus England geholt habe. Ist allerdings schon lange her, seit ich sie gesehen habe. Ich weiß nur noch, dass Lance Henriksen in der ersten Folge auch dabei ist. Und dass Terry O'Quinn aus MillenniuM (und später natürlich noch bekannt als Locke aus Lost) den Antagonisten General Santiago spielt.

Natürlich spielt die Popularität auch eine Rolle. MillenniuM war ja nie auch nur annährend so groß wie Akte X. In älteren Interviews hat Carter eher erzählt, dass damals noch bei 20th Century Fox einfach niemand mehr Interesse hat an MillenniuM. Geschweige denn da nochmal einen Film oder vielleicht auch so eine Mini-Serie zu machen. Und mittlerweile ist der Zug einfach abgefahren. Lance Henriksen ist 86 Jahre alt, Mark Snow lebt nicht mehr und Carter bekommt eben außerhalb von Akte X kaum noch was zustande. Ja, The Lone Gunmen habe ich damals auf RTL gesehen. Da lief es aber auch nur einmal und dann nie wieder. Irgendwann habe ich mir die englische DVD-Box davon geholt. Denn diese Serie gibt es hierzulande nicht mal auf DVD. Genau wie Carters vierte Serie Harsh Realm. Die lief wohl auch nur mal nachts auf Vox oder so, aber eine Heimkinoauswertung gab es bei uns nicht. Beide Serien waren allerdings auch keine großen Quotenhits. The Lone Gunmen lief quotenmäßig gut an, brach dann aber rasch ein. Und Harsh Realm lief so schlecht, dass nur neun Folgen produziert wurden, aber die Serie bereits nach der zweiten Folge von Fox aus dem Programm genommen wurde. Genau, in dem Bericht über Star Trek TNG meinte einer der Verantwortlichen auch, dass die Kosten und die Manpower für so eine Restauration so hoch sind, dass man davon besser was Neues produziert. Mittlerweile hat die KI ja weitere Möglichkeiten eröffnet. Auf YouTube gibt es ja schon die Vorspänne von DS9 und Voyager in 4k, von einer KI gerechnet. Sieht zumindest nicht so verkehrt aus. Ist dann eben kein echtes 4k, weil es nicht neu abgetastet wurde, aber in Zukunft könnte das durchaus Praxis werden. Spart man eben auch das Abtasten alter Filmrollen.

Ich habe beide Serien, Akte X und MillenniuM, tatsächlich mehrmals gesehen Obwohl ich in den 90ern kein Fan von Akte X war. Ich habe es nur sporadisch mal geschaut. Ganz anders bei MillenniuM. Das hat mich sofort gepackt, als das 1996 dann auf Sat1 lief. Und im Zuge dessen habe ich mir mal bewusst Akte X angesehen und wurde dann auch da zum Fan. Geholfen haben die Veröffentlichungen gesamter Staffeln, damals noch auf VHS. Das kam ja auch erst so Mitte der 90er auf und war vorher undenkbar, dass es komplette Staffeln einer Serie zu kaufen gibt. Aber von Akte X gab es dann Staffelboxen auf VHS und Ende der 90er dann auf DVD. So konnte ich mir die Serie chronologisch anschauen. Zuletzt habe ich sie komplett gesehen, als sie dann eben auf Blu-ray veröffentlicht wurde. MillenniuM ist heute leider ziemlich vergessen. Liegt wohl auch daran, dass es die Serie nicht mehr zu kaufen gibt (nur noch gebraucht, die DVD-Boxen werden schon lange nicht mehr produziert) und auch im Stream ist sie nicht zu finden. Nicht mal eine Blu-ray-Veröffentlichung gibt es. In einem Artikel, den ich vor vielen Jahren mal gelesen habe, hieß es sinngemäß, dass es viele Serien aus den 90ern wohl nie auf Blu-ray geben wird, weil die Restauration einfach zu teuer ist. Konkret ging es da um Star Trek - The Next Generation. Das wurde damals ja liebevoll restauriert und auf Blu-ray in HD veröffentlicht. Aber die Verkaufszahlen waren wohl nicht zufriedenstellend. Daher gibt es bis heute die anderen Trek-Serien dieser Zeit, also DS9 und Voyager, nicht auf Blu-ray. Denn für die HD-Abtastung müsste man von jeder Folge das Negativ im Archiv finden und es müssten alle Effekte überarbeitet werden, da diese damals nur in SD produziert wurden. Bei MillenniuM gibt es jetzt nicht so viele Effektaufnahmen, aber doch ein paar. Laut aktuellen Aussagen von Carter liegt es aber bei MillenniuM eher an den Musiklizenzen. Da kommen einige Songs in der Serie vor und das ist Disney wohl zu teuer, die alle neu für Streaming zu lizenzieren. Was aber irgendwie auch eigenartig ist, denn bei Akte X gibt es ebenfalls viele Songs und da war es ja scheinbar kein Problem, davon Blu-rays zu machen und die Serie in den Stream zu stellen. Laut Carter betrifft das auch das Akte-X-Spin-off The Lone Gunmen. Auch da soll es an den Musiklizenzen scheitern, dass die Serie nicht in den Stream kommt.

Weil eben auch in der gerafften Fassung diese Frankenstein-Geschichte zu kurz kommt. Nur, weil man ein bisschen mehr Blut sieht, wird das Ganze nicht spannender. Man erfährt so gut wie nichts über diese Frankenstein-Leute. Am Ende wird noch eine Verbindung zu dem Hellseher-Priester hergestellt, aber man weiß nicht, wer diese Leute sind. Daher wirken die einfach nur wie ein Mittel zum Zweck, weil eben „neues Leben erschaffen" und Krankheit heilen, was parallel zu der Stammzellen-Geschichte von Scully läuft. Aber der wirkliche Thrill dabei fehlt, weil sich diese Handlungsstränge, also die Frankenstein-Leute, die Heilung von Scullys Patienten und der Hellseher-Priester, gegenseitig das Wasser abgraben. Carter ging es eher um die Frage, was Glauben bedeutet. Daher auch der zweideutige Titel I WANT TO BELIEVE, in Anspielung auf Mulders Alien-Poster in seinem Büro. Nur dass es hier nicht um den Glauben an Aliens geht, sondern um den individuellen Glauben jeder Person und was das für sie bedeutet. Und daran entlang hangeln sich mehr oder weniger diese Handlungsstränge. Aber es ergibt eben kein wirklich spannendes Ganzes. Die Sache mit dem Priester und seinen Visionen hätte gut eine Folge der Serie abgegeben. Zumal auch schon in der Serie Scullys Glauben eine Rolle spielte, wie auch die Frage, ob diese Visionen tatsächlich von Gott kommen oder vom Teufel, da der Priester ein vorbestrafter Pädophiler ist. Es gab auch Stimmen, die meinten, dass das Ganze eher ein guter MillenniuM-Film gewesen wäre. Weil dort eben diese Themen mit Glauben und Visionen viel stärker eine Rolle spielen, sowie natürlich die Verbindung des Ganzen mit Serienmördern. Aber auch dafür hätte das Drehbuch spannender sein müssen. Da finde ich eher, dass die Folge „Daemonicus" aus der neunten Staffel der X-Akten eine bessere Crossover-Folge mit MillenniuM hätte sein können als die tatsächliche Crossover-Folge in der siebten Staffel, die nicht nur das Ende der Serie MillenniuM abschwächt, sondern die ganze Mythologie der Serie ad absurdum führt.

Bis zur sechsten Staffel läuft das alles eigentlich mehr oder weniger Hand in Hand. Dann sterben die Verschwörer, bis auf den Raucher, der sie verraten hat. Ab dann wird die Alien-Geschichte immer verworrener und unlogischer. Tatsächlich sah es damals danach aus, dass Staffel 7 die letzte hätte sein können. Daher werden da auch viele lose Enden aufgenommen, wie die Entführung von Mulders Schwester, und hastig mehr schlecht als recht beendet. Doch dann kam Staffel 8 und mit ihr Supersoldaten, aber auch zwei neue Agenten mit Doggett und Reyes, die ich wirklich sehr mochte. Die Geschichte um den Raucher wurde halt immer blöder. Ich habe aufgehört zu zählen, wie oft der schon gestorben und dann doch wieder aufgetaucht ist. Und in den beiden Nachklappstaffeln wird das alles nur noch schlimmer. Mittlerweile ist der Raucher der Vater von allem und jedem. Die Geschichte um William, dem Sohn von Mulder und Scully, ist blöde und aufgeblasen. Bezeichnenderweise sind die Folgen der Nachklappstaffeln, die von Carter sind, die schlechtesten. Also nicht nur die Alien-Plot-Folgen, sondern auch die Einzelfolgen, die er noch gemacht hat. In aktuellen Interviews erzählt er ja gerne, dass das Publikum diese vier „My Struggle"-Folgen, die die Staffeln 10 und 11 umrahmen, einfach nicht verstanden hat und er den großen Masterplan in der Hinterhand hatte, den er aber eben nicht mehr ausbreiten konnte. Und er hofft natürlich doch noch auf eine Weiterführung seines Masterplans und einen dritten X-Files-Film. Aber im Grunde ist aus diesen Vorhaben nie was geworden. Seit dem Ende von Akte X hat Carter ja leider nicht mehr wirklich viel auf die Beine gestellt. Ein Projekt, FENCEWALKER, welches nie veröffentlicht wurde. Ein Pilotfilm für eine Serie, die nie produziert wurde. Ein MillenniuM-Film, der nie kam. Ich bin ja erstaunt, dass er mit QUEENS FOR A DAY tatsächlich mal wieder einen Film fertiggestellt hat. Mal abwarten, wo der dann zu sehen sein wird.

Der Anfang ist allerdings auch in der Kinoversion so gewesen. Hat mich ebenfalls damals gestört. Die Serie endet damit, dass Mulder wegen Mordes zum Tode verurteilt wird. Scully und Skinner helfen Mulder, aus dem Gefängnis zu entkommen. Scully und Mulder fliehen zusammen, gejagt vom FBI und den Supersoldaten. Im Film ist dann plötzlich alles vergeben und vergessen. Und dass niemand vom FBI Mulder gefunden hat, der von Scully in einem abgelegenen Haus versteckt wird, ist ebenfalls schwer zu glauben. Es war im Grunde wie der Beginn der dritten Staffel von MillenniuM. Die zweite Staffel endet quasi mit der Apokalypse, also wie soll man da anknüpfen? Richtig, man erzählt, dass alles gar nicht so schlimm war und macht einfach weiter.