Our latest episode of Soundtracking is with composer Paul Saunderson, who has scored the BBC documentary Earth, which is available to watch now on the BBC iPlayer. Hosted by the wonderful Chris Packham, the show explores some of the most significant moments in our planet's history, from asteroid bombardments to extreme changes in climate to the collision of continents, using groundbreaking science and effects. The fact there are informed recreations of seismic events in the past affords Paul plenty of scope to push the sonic envelope - almost as if he were scoring a science fiction film rather than a traditional documentary. The results are magnificent.

What a joy to welcome Ludwig Göransson back for a fourth time to reflect upon the incredible music he provided to Christopher Nolan for Oppenheimer. And in person, too!

In a change to our billed interview with Ludwig Göransson, we're putting out Edith's chat with Kathryn Ferguson. Kathryn directed the Sinéad O'Connor documentary, Nothing Compares, which very specifically concentrates on the tumultuous period in her life between 1987 and 1993, during which she became a global sensation, but also the victim of a character assassination in the media, having spoken out against abuse in the Catholic church. In a cruel twist of fate, Kathryn and Edith spoke just three days before Sinéad passed away, but - with Kathryn's blessing - we thought it timely that we share the story of the beautiful, powerful and illuminating film.

Recorded before the SAG strike began, our latest guest on Soundtracking is the legend that is Christopher Nolan. Criminally, it's the first opportunity Edith has had to speak to him on the podcast, so it was an absolute joy to welcome him on to discuss Oppenheimer, which sees him reunited with our good friend, Ludwig Göransson.

In an interview recorded before the actors strike began, Greta Gerwig returns to Soundtracking for a third time, to discuss the music of her extraordinary take on Barbie, which is witty, funny, smart and cerebral. Among the many points for discussion are Mark Ronson's involvement, who has a key hand to play in both the score and frankly incredible soundtrack.

Our guests today are Cécile Tournesac and Eddie Hamilton, who are respectively the music editor and editor of Mission Impossible: Dead Reckoning (Part I), directed by our old friend Christopher McQuaurrie, and scored by our even older friend, Lorne Balfe.

We love James Mangold, so it is a joy to welcome him back to Soundtracking to discuss the final instalment of the Indy saga, and, of course, the unsurpassable John Williams.

As promised, we have a bonus episode of Soundtracking for you this week, as the brilliant Charlie Brooker joins me to discuss the inimitable Black Mirror. All 6 episodes of the new season are available to watch on Netflix now, and do not disappoint. Music is a central part of the show, from the needle drops to the composers he's employed, including friends of the show Daniel Pemberton, Max Richter & Clint Mansell.

Bit of a legend alert for you now, as we welcome the genius that is Wes Anderson to Soundtracking. Wes's latest offering is quite difficult to describe in a few words. But suffice to say it is laugh-out-loud funny in parts, incredibly moving in others, features a terrific ensemble cast, and once again sees him work with composer Alexandre Desplat and our Jarvis Cocker.

We are celebrating the 50th anniversary of The Wicker Man this week in the company of Lesley Mackie and Gary Carpenter. Lesley appeared as Daisy, while Gary was the film's associate music director, who helped assemble the band Magnet, who performed the songs composed by Paul Giovanni.