In the second golden era of television, composing memorable original scores might seem like a lucrative gig. Ramin Djawadi
’s (a Hans Zimmer
protégé) Game of Thrones
score has become a concert experience that is touring the world under the slogan “music is coming.” The score for Stranger Things
, created by Austin synth band S U R V I V E, was popular enough to debut at no. 3 on Billboard’s Alternative Album chart and inspire a performance at the Ace Hotel in downtown Los Angeles staged by Goldenvoice
. Bear McCreary has created a cottage industry as the “composer king of Comic-Con
,” landing jobs composing for The Walking Dead
and Agents of S.H.I.E.L.D.
Blake Neely has cornered the market on The CW’s D.C. universe of series, scoring Arrow
, The Flash
, and Legends of Tomorrow.
All these high-profile composers working on some of the most well-respected TV shows of the era have something in common: they’re all men. Women composers simply aren’t getting the same opportunities, even though they have the same training, the same capacity to create, and the same passion for writing music.