> Since we might be heading out into the 2019 scores, I'm anticipating that Wallfisch's score for Shazam! will be covered in the next entry.

I'm not. Getting this project to the finish line means that guys who spent only a few years at RC in the TBTF era and then went off to do very different things aren't being covered. If Wallfisch was, say, there in the MV or RC eras it might've been a different story.

This has a lot less to do with Shazam!, which is great in my view, and more to do with then feeling obligated to cover all his other works since moving to the U.S. Slippery slope and whatnot.

It's similar to the underlying logic that led me to stop exploring most of Klaus Badelt's works once he left Hollywood. It's there, and some of it might be good, but it feels less essential to the larger story. You'll note Solomon Kane got a similar kind of 'here's what happened after' kind of coda as Cure for Wellness did.

Maybe the only intriguing wrinkle is that Wallfisch seems to be one of the few people in this musical lineage who doesn't mind scoring a lot of horror films. John Powell and Lorne Balfe have both expressed disinterest in the genre, though for very different reasons. In fact, Wallfisch's relationships with both of his primary collaborators - David Sandberg and Andy Muschietti - are the result of horror films he did for New Line that were released in 2016 (Within and Lights Out).