As is usually the case in music discussions, it's a fool's game to try to reconcile opposite tastes.

Now, I WILL agree that Zimmer's score is the best part of Man of Steel. And Zimmer's work in Batman Begins is some of his best, IMO.

I have a feeling you and I have diametrically opposed ideas about music, because the Winter Soldier's sound cues - repeated, by the way, to great effect in Captain America: Civil War - are more effective to me than a Zimmer BWAAAAAAAA to convey dread.

Man of Steel has one or two cues that I actually don't mind. The piano cue when Clark returns home after finding the spaceship is actually quite lovely for the short time it's around.

And yet Interstellar's score is about 100 times more memorable than his score for Man of Steel IN MY OPINION OF COURSE. Strange how that worked out.

Hans Zimmer did a couple of great scores (his score for Days of Thunder is virtually the only reason to watch that stupendous turd of a movie, and Gladiator's score leavens Russell Crowe's self-importance just enough to make it watchable). But his career is also peppered with dozens of phoned-in scores with the same…

Henry Jackman's portfolio of scores is rather impressive. Look him up sometime. I would never characterize him as "cheap or undersuccessful."

Henry Jackman is quickly becoming one of my favorite score composers.

Fuck the Internet. Alan Silvestri's Avengers theme music is probably the best and most memorable superhero score this side of John Williams' Superman. And Henry Jackman's music in Captain America: The Winter Soldier is almost a cast member of itself in the way it establishes the stakes of the film.

Please add to the A.V. Club style guide:

No, look, I get why Mystery Girl had to be in this episode. Pearl went renegade because of Rose Quartz (and that's a story I really hope gets told at some point), so the allegory is apropos. And I can see the value in an object lesson - the quickness with which Pearl puts back on the persona of the Terrifying Renegade…

Wellllllllll… the problem is that, inevitably, all fashion is circular, which means at some point the big pads are coming back.

We were still landing on the moon in the 1970s, so that alone gives it a leg up on the '80s.

Smirking irony didn't come into vogue until the 1990s. I'm talking about just run of the mill helpful irony, which was outlawed by Reagan in his attempt to recreate a vision of the 1950s that didn't actually historically exist.

My god, the 1980s were the worst. This is what happens when you suspend irony by presidential fiat.

I dunno. Maybe I just need to rewatch it a few more times, but I really didn't feel like this was the BEST EPISODE EVAR!1!! at all. I love Pearl, and I love her character development, but I just don't feel that invested in her picking up random biker chicks, no matter how much they look like Rose Quartz.

Stay Coke!

He lived the way he wrote; an iamb's lament.

Don't tell that to Arthur C. Clarke (and not just because he's currently dead).

…or when they added the "800" to it.