Part of Wonder Woman's core is Greek mythology. The movie starts with Amazonian Olympics.

Zimmer has tactically and skillfully shifted Rupert Gregson-William's theme into an action theme, and inserted his Truth theme (track 17) into the centre of Wonder Woman. 1984 represents a successful dilution of Rupert Gregson-Williams from centre into a compartment.

With Truth (track 17), and the Greek mythological context, Zimmer now tangles with Vangelis. Zimmer's Truth could be grouped together with Vangelis' Alexander themes (tracks Titans and Across the Mountains were dedicated to 2004 Athens Olympics) as a combo listening experience. This is pretty incredible, because usually Vangelis is a standalone, hardly any other composer could come up anything that mesh well with his works.

Lastly, Zimmer's WW84 stands out among his works in that usually, Zimmer's score is marred by subdued, messy underscore, couples with momentary brilliance, for example Gladiator. WW84 is the opposite. It does not have breathtaking, brilliant moments, but the score is very good throughout. Notice that it is hard to say it is "great or excellent" as opposed to very good, it is exactly because the score is missing the Zimmer's trademark moments of brilliance.