How ‘Pluribus,’ ‘Murderbot’ and ‘Spider-Noir’ Composers Found Innovative Ways to Score Emmy-Contending Shows

Television composers tasked with scoring long-form series that feature intricate narrative arcs are continually discovering innovative methods to express character depth and emotional complexity across dozens of episodes. This season, particularly noteworthy contributions have emerged from productions such as "Murderbot," "Pluribus," and "Spider-Noir," each demonstrating a unique musical strategy for handling sophisticated storytelling. According to industry observers, the appetite for such detailed scoring has significantly increased as streaming services pour resources into high-budget, multi-episode projects that necessitate sustained musical evolution throughout their runtimes.

For Apple TV's "Murderbot," composer Amanda Jones—whose previous collaboration with co-creator Paul Weitz included the film "Moving On"—disclosed that she "flooded" Weitz with musical demonstrations and conceptual proposals for half a year prior to any camera work. Following an introduction to Paul's brother and fellow writer, Chris Weitz, she was formally recruited for the endeavor. For the central character, played by Alexander Skarsgård and characterized as "this robotic entity with human-like traits," Jones opted for an analog synthesizer, specifically the Roland Juno 60, partly because "it generates the most extraordinary noises—something unmistakably mechanical yet possessing its own will." To supplement this, she integrated a Korean reed instrument called the saenghwang, which "achieves remarkably high-pitched frequencies" and reinforces the theme of an organic-synthetic hybrid. "As he demonstrates increasing humanity, or reveals signs of sentience, I would merge those musical layers," she explained. As the narrative unfolds, her 50-member orchestra assumes greater prominence. Jones found particular enjoyment in crafting the soundtrack for "Sanctuary Moon," the science-fiction soap opera that fascinates Murderbot. "I've long desired to create something like this," she remarked. "It's reminiscent of Bernard Herrmann's style, and it was liberating to compose in that manner spontaneously." She also matched music to Chris Weitz's lyrics for the "Sanctuary Moon" opening theme. Bernard Herrmann, the iconic composer famous for classic film scores including "Psycho" and "Vertigo," was celebrated for his signature string arrangements and pioneering orchestration methods, which Jones aimed to replicate in her composition.

A standout musical motif this year was the wordless vocal that accompanied the word "Pluribus," introducing the Apple TV series starring Rhea Seehorn as a survivor of an alien mind invasion that has affected every person on Earth. This piece was created by Dave Porter, the veteran composer for series creator Vince Gilligan, widely recognized for his contributions to "Breaking Bad" and "Better Call Saul." The dual-part harmony is performed by a solo vocalist, Kenya Hathaway. "She possesses a childlike quality, an innocence absent from many professional singers, along with a touch of soulfulness that introduced humanity and approachability that I adored," Porter stated. Given the story's global disaster premise, Porter utilized a 50-piece orchestra. However, he noted, "I've reduced that to about a third of its size, to ensure we don't overwhelm the narrative we're presenting"—which primarily centers on the isolated existence of Albuquerque author Carol (Seehorn) and her efforts to resist the "hive mind" now governing the planet. His orchestra consists exclusively of strings and low brass. Porter elaborated: "The Others aren't portrayed as antagonists. We aimed for a nuanced perspective, examining all aspects of their identity, both favorable and unfavorable." Additionally, a nine-voice choir was employed, with their sounds designed "to be as complex as feasible and frequently percussive. I also wanted it to seem effortless, particularly when referencing The Others, because everything comes naturally to them." Porter dedicated 18 months to the nine-episode series, highlighting the substantial time investment often required for such elaborate scoring endeavors. This painstaking method reflects a wider industry shift where composers enjoy greater creative liberty and extended production schedules to craft distinctive sound identities.

Determining the suitable musical direction for the eight-part Peacock thriller "All Her Fault" posed a considerable hurdle, composer Jeff Beal—renowned for his work on "House of Cards"—acknowledged. Still, he stated he "couldn't put the book down" and deemed the writing and performances, especially those of star Sarah Snook portraying a mother whose child is kidnapped, and Sophia Lillis as the nanny suspect, to be outstanding. "Music played a crucial role due to the emotions involved. The story operates on one level as an excellent genre thriller and on another as this peculiar emotional journey of marriage, trust, and betrayal," Beal told Variety. "I lost my mother shortly before beginning this series, so I reflected extensively on the profound bond between a child and a mother." Beal's score predominantly features strings and piano. "I simply adore how strings can evoke creepiness, or overflow with passion and strange elegance," he said. "A boy soprano also lingers over the main title," which functions as the theme for Milo, the missing child. "He is arguably the most significant character because his absence propels the narrative forward." Percussion and select electronic components—"more abrasive sounds," he described—also emerge for the Chicago detective (Michael Pena) investigating the case. Overall, "It focused less on character themes and more on themes of dislocation that occasionally resonate between the characters. And you have no way of anticipating how twisted the secret will become, or how spiritually betraying it is." Beal's method illustrates how composers frequently draw from personal experiences to imbue their work with authentic emotional depth, a practice that has grown more prevalent in the industry as creators pursue genuineness in storytelling.

Quebec composer Cristobal Tapia de Veer, celebrated for his work on "The White Lotus," discussed "Lord of the Flies" with director Mark Munden years before the Netflix miniseries commenced production. It was de Veer who suggested the extensive incorporation of classical compositions by Benjamin Britten and Olivier Messiaen to evoke the English-school background of the boy choristers who endure a plane crash on a Pacific island. By the time Munden entered post-production, de Veer was available to contribute original music. The initial episode contains "synthetic abstract noises to provide glimpses of the impending horrors," he said. "However, for the later episodes, the classical elements gradually fade and the music becomes increasingly chaotic. Depicting how the boys discover their own primitive and violent nature was my responsibility," de Veer reported. "So I began employing distorted sounds from instruments like the bass clarinet and cello in ways that would represent the transformation these boys undergo." Surprisingly, he utilized only "seven or eight" musicians and three singers for all his music. The vocal elements include "yelling, screaming, and even crying. They become quite hellish and can be moving, but also, I think, vulnerable," he said. By the third episode, de Veer noted, "I incorporate these choirs over an unapologetically electronic beat, with drums that are more tribal, expressive, and dynamic, because we've reached a peak of intense madness in the jungle." He devoted three months to writing the score, showcasing the concentrated creative effort needed to match the escalating psychological tension of the series. This minimalist yet potent approach has drawn parallels to de Veer's earlier work, which frequently merges organic and electronic elements to disquieting effect.

The most recent Spider-Man iteration is "Spider-Noir," featuring Nicolas Cage as a 1930s private investigator formerly known as The Spider, possessing all the classic superpowers. "The difficulty with this show," said composer Kris Bowers, "lies in making it feel contemporary while simultaneously honoring the noir sound that inspired the writing and cinematography." He collaborated with longtime colleague Michael Dean Parsons, with whom he worked on "Bridgerton," "Secret Invasion," and other projects; the two shared composing responsibilities throughout the eight Amazon Prime episodes, producing approximately four and a half hours of music in total. "Kris and I conducted an exhaustive examination of scores from that period," said Parsons, drawing on that tradition—notably films like "Double Indemnity"—but then updating it for "a completely novel approach," incorporating electronic elements and even electric guitar. All main characters possess their own themes: Ben Reilly (Cage), his journalist friend Robbie Robertson (Lamorne Morris), crime kingpin Silvermane (Brendan Gleeson), femme fatale Cat Hardy (Li Jun Li), villain Sandman (Jack Huston), and others. Bowers and Parsons also employed a 50-piece orchestra, though all the jazz piano in the score was performed by Bowers, a seasoned jazz musician. The percussion was largely "found sound," consisting of unusual noises—such as camera and newspaper-business sounds for Robertson's character—that were altered and manipulated in their studios, Parsons noted. This inventive approach underscores how modern composers blend traditional orchestral techniques with innovative sound design to craft immersive sonic landscapes, a trend that has gained momentum in recent years as audiences demand more original and memorable scores.