It's Series 2 and we open up with a banger in Hans Zimmer's critically acclaimed film score for 'Interstellar'. Join us as we try to figure out whether or not this score is generic, spectacular, or just another score that Hans Zimmer wasted a bunch of time/money on by hiring 1,000 ghostwriters.

On today's special midweek episode we take a look back at the 15 movie scores we reviewed in Series 1 and call each other out on any bullshit scorecards. This is the last call to defend our shitty opinions before Series 2 starts this coming Sunday.

Since Alex and Jay don't talk about Star Trek enough already in our episodes, we decided to dedicate a whole episode to it. For the second time. This is J.J. Abram's 'Star Trek (2009)', composed by the great Michael Giacchino.

On this week's episode of comPOSERS we go to space hell and back as we continue our long journey to find the perfect score. By the way, our journey does not end with 'Event Horizon'. Not even close.

WELCOME TO EARF! On this week's episode we have a close encounter with the criminally underrated score for Independence Day, composed by the once great David Arnold. Side note: Maybe if Roland Emmerich kept Dave Arnold around as his go-to composer, his films wouldn't be so shit these days.

On this special midweek episode of comPOSERS we sit in front of the telly watching cartoons until we go blind, just like the old days. This is the Saturday Morning Cartoon Spectacular, where we rank our favourite cartoon theme songs from a time when Saturday mornings meant something more than just a horrible hangover.

This week comPOSERS discusses the Danny Elfman score for 'Mars Attacks', a Tim Burton film that proves illegal aliens really are a threat to America.

On this week's episode we're in Middle Earth, wherever the hell that is, as we discuss the highly acclaimed score for 'The Fellowship of the Ring', composed by Toronto's very own Howard Shore.

On this special midweek episode of comPOSERS we listen live to the soundtrack of the new Aladdin film and compare it to the classic 1992 version with the hope that it retains a fraction of the quality. How does Will Smith's genie size-up against Robin Williams'? Hopefully the new version doesn't leave us feeling BLUE.

The film may be silent but we are certainly not on this week's episode of comPOSERS, as we discuss the critically acclaimed score for the equally praised film, "The Artist", composed by Ludovic Bource.