edit the time with this format [00:00.00]. include two digit for the minute. do not add line, only edit the time

[0:03]
Right off the bat, Hans Zimmer’s music perfectly describes who Max Dillon is.
[0:09]
A single clarinet carries his leitmotif, reflecting how isolated he is from the people around him.
[0:15]
While it may sound lonely, it also sounds gentle and polite — letting us know that despite his solitude, Max is a kind person.
[0:26]
Meanwhile, the subtle voices in the background are a clever representation of the social anxiety Max experiences.
[0:34]
This is a man who struggles to get even an ounce of respect from anyone.
[0:40]
And if you listen to the lyrics, they really do a good job of illustrating just how paranoid he is about what other people think of him.
[0:48]
Additionally, the music here totally lacks any strength or gravitas — which not only shows us how powerless Max feels — but also serves as a great contrast to what his theme ends up evolving into.
[1:00]
The voices intensify as we learn the true extent of Max’s lifelong social depravation.
[1:06]
The poor guy has entire conversations with himself where he fantasizes that people give him positive attention.
[1:12]
And as usual, this aspect of the character is mimicked in the music, allowing us to truly sympathize with him.
[1:18]
We then get a hint of what is to come, as the track suddenly begins to sound menacing.
[1:25]
This isn’t the sound we’ve come to associate with the shy and gentle, Max Dillon.
[1:31]
This is something… different.
[1:36]
We then return to Max’s theme, as the people around him continue to push him to his limits.
[1:43]
The busier instrumentation adds a sense of eerie anticipation to the song. We’re definitely building towards something.
[1:51]
An off-putting violin only worsens this feeling of unease.
[1:56]
Whatever is about to happen… it’s nothing good.
[2:03]
However, Max’s innocent motif persists in the background, informing us that it’s not too late for him.
[2:12]
There’s still time to avoid his fate. All it would take is for people to finally acknowledge him.
[2:21]
But as we all know, that’s not what happens now is it?
[2:27]
The sinister theme from earlier returns in horrifying fashion, like nails on an electric chalkboard.
[2:37]
With such visceral noises, Zimmer makes it super easy for the audience to grasp just how badly Max was electrocuted.
[3:01]
The voices then return. But where they were once voices of insecurity and doubt…
[3:07]
They now sound sound empowered, and confident.
[3:13]
The song then becomes operatic, showing us just how drastically Max has changed.
[3:19]
The intense choir communicates the concept that — unlike before — this is a man with POWER.
[3:28]
And in doing so, Zimmer effectively tells the audience that Max Dillon is gone…
[3:36]
Now there is only…
[3:40]
⚡ E L E C T R O ⚡
[3:46]
Do I even need to explain why this is a masterpiece? ??
[3:53]
Probably not, but imma do it anyway :P
[3:58]
The most obvious thing is how every instrument used in this part is electric, lacking any organic sounds whatsoever, and perfectly representing Electro’s powers.
[4:16]
I also love how it pulses like a corrupted heartbeat, really letting you feel the energy surging through his veins.
[4:25]
And finally, the music’s aggressive tone brilliantly encapsulates all of the pent up anger that Electro is releasing. His journey is complete.
[4:36]
Hans Zimmer and the Magnificent Six, managed to tell Electro’s story from beginning to end with music. Their work here easily deserves all of the praise it’s gotten, and more.