Based on the 1999 young adult novel by Stephen Chbosky, the 2012 film directed by Chbosky follows teen Charlie’s (Logan Lerman) life. The reclusive 15-year-old starts high school and meets seniors Sam (Emma Watson) and Patrick (Ezra Miller). Behind the scenes, Charlie struggles to cope with his troublesome past and tries to come to terms with his friend’s suicide. Through his letters to an unknown friend, we watch as Charlie grows and learns to accept himself and his friends.

The soundtrack equally matches the teen angst in the film. With songs from The Smiths and Sonic Youth, the theme of self-growth is set as it creates a sense of relatability and nostalgia. 

is the epitome of being a teenager. Here are some of the best musical moments from the soundtrack.

Charlie receives a mixtape from his sister Candace (Nina Dobrev) which was originally created by her boyfriend Derek (Nicholas Braun). He becomes enamored with indie music, which ultimately allows him to connect with Sam and Patrick. As music is a fundamental part of the movie, mixtapes become a metaphor for connection and character development as Charlie forms new bonds with his peers. Being a wallflower, as deemed by Patrick, he struggles to open up partially due to losing his friend to suicide.

After spotting Charlie at school, Patrick quickly seeks him out. Being drawn to his elusive and reserved persona, he and his step-sister Sam quickly befriend him. After hanging out for the first time, as they drive home, the track plays. The title alludes to the angst and rebellious spirit the two possess, and Charlie soon comes to have.

“Come On Eileen” - Dexys Midnight Runners

Chbosky believes “Come On Eileen” is one of the best songs to dance to, making it ever so fitting for this memorable scene. Playing at a school dance, Sam and Patrick take the floor and perform their signature dance routine to the track. Not only does the scene showcase the stepsibling’s deep bond, but it also showcases Charlie coming out of his shell and embracing the energy his friends put into the world.

Charlie and his friends go to a party at Bob’s (Adam Hagenbuch) house. After accidentally eating a weed brownie, he asks Sam for a milkshake. He opens up to her and tells her about his deceased best friend- a story he had never told anyone in the past. “Tugboat” by Galaxie 500 plays in the background. The scene tugs at your heart, so it’s no surprise the song was chosen.

Charlie is welcomed into the island of misfit toys, aka Sam and Patrick’s friend group. In this scene, “Here” plays, and Patrick bestows the title of being a wallflower on Charlie. While having multiple meanings that are up for interpretation, the unstructured narration of the song fits the complexities of friendship yet emphasizes the importance of Charlie finally feeling like he has a place to be accepted.

 this song might come to mind. Sam, Patrick, and Charlie are driving, and the famous Bowie track comes on. Being the first time Charlie had heard the song, Patrick and Sam decided that they needed to drive through a tunnel to get the full effect. Sam stands on the back of the car with her arms stretched, and Charlie famously reflects that he once again feels infinite. Initially, the tune was going to be “Landslide” by Fleetwood Mac, but “Heroes” was selected, as writer/director Chbosky thought it was more bombastic. For me, it is unimaginable to think of any other song being used for this sequence.

Charlie takes on the task of creating a mixtape for Sam including the song “All Out of Love.” The track plays over a montage of Charlie’s growing friendship with the island of misfit toys and his dynamic with his beloved English teacher, Mr. Anderson (Paul Rudd). Mr. Anderson later says, “We accept the love we think we deserve” to Charlie, and this song is a pivotal moment in the movie.

This time, Charlie intended to take drugs, taking a tab of LSD (acid) at a party. He remembers repressed details of his tumultuous relationship with his Aunt Helen (Melanie Lynskey). This scene is unlike any other. When he passes out in a snowbank, there is a glimpse into his hidden battle with PTSD, which is rarely shown in the film. His history with mental illness is alluded to when it’s discovered he went to a mental hospital. But this scene is an open expression of trauma and the journey he will embark on to cope with it.

“Counting Backwards” - Throwing Muses

Charlie is in love with Sam even from his first encounter with her. He dates Mary Elizabeth (Mae Whitman) as a distraction. During a party game, he is told to kiss the prettiest girl at the party. Instead of kissing his girlfriend, he kisses Sam. While “Counting Backwards” plays, Mary Elizabeth tells Charlie she is over the betrayal and has moved on. The tension between him and Sam is undeniable at this point and foreshadows their later romantic relationship.

“Pearly-Dewdrops' Drops” - Cocteau Twins

Like many Cocteau Twins songs, “Perly Dew Drops Drop” has a melancholy yet ethereal sound. This vibe perfectly fits one of the movie's final scenes. The track plays after the last day of school as Sam and Patrick gear up for graduation. Charlie is happy yet jealous, knowing he can’t move on with them. It’s the perfect sentiment to wrap up the film and illustrate Charlie’s coming of age and personal growth.

The Perks of Being a Wallflower soundtrack

The Best Music Moments from The Perks of Being a Wallflower

is a gripping and unsettling film that maintains a dark sense of humor. It follows the story of Oliver Quick (Barry Keoghan), a university student who forges a friendship with the charming Felix Catton (Jacob Elordi). Burdened by family troubles, Oliver seeks refuge with Felix and his eclectic family in their countryside estate, Saltburn. As Oliver’s ambition and lust for power grow, a sinister chain of events threatens to unravel the Catton family. Director Emerald Fennell skillfully incorporates a compelling soundtrack that amplifies the film’s themes and emotional undercurrents.

Early in the film, Oliver sits alone in a bar, visibly out of place, when Felix approaches and invites him to join him for a drink. The brief yet pivotal interaction foreshadows Oliver’s growing influence over Felix’s life. The indie hit “No Cars Go” by Arcade Fire softly plays in the background, subtly anchoring the scene in its 2006 setting.

As Oliver becomes more comfortable at Saltburn, he seamlessly integrates into the Catton family dynamic. A montage shows him lounging in the sprawling countryside, basking in the sunlight outside the family’s grand estate, and reveling in the company of others. MGMT’s “Time to Pretend,” with its upbeat electronic sound, perfectly captures the feeling of summer bliss while alluding to Oliver’s desire to belong, even if it means pretending to fit in. Released in 2007, the song’s playful, dreamlike quality adds a layer of irony to Oliver’s assimilation into Felix’s privileged life.

Felix’s American cousin, Farleigh Start (Archie Madekwe), is suspicious of Oliver from the beginning. The song choice is anything but random—its lyrics, especially the line "I love you, you pay my rent," mirror Oliver’s growing dependence on the Catton family without contributing anything in return. Tension grows as Oliver’s discomfort rises, delivering the reaction Farleigh hoped for.

As Oliver and Felix set off on a road trip, the upbeat and unmistakable riff of The Killers’ “Mr. Brightside” plays in the background. The pair laugh and enjoy the carefree moment, but underneath the surface, the stakes are rising. Little does Oliver know that Felix is taking him to his family home. The problem? Oliver told him that his family life was toxic, but in reality, he fabricated the story to gain Felix’s sympathy. “Mr. Brightside” serves as a significant turning point as Oliver’s carefully constructed lies unravel.

“Perfect (Exceeder)” - Mason & Princess Superstar

Perfect (Exceeder) - Mason & Princess Superstar

Before their fallout, Felix planned an elaborate birthday party for Oliver. It is too late to cancel; the celebration continues, and everyone is dressed in incredible costumes that fit the theme of 

. Contrasting to the song title, this night isn’t perfect. The energetic EDM song is utilized to show how it is human nature to put up a perfect facade despite internal conflict. The party serves as a contrast to the underlying tensions in the estate.

As the story takes a darker turn, Oliver once again finds himself isolated and agitated. Mirroring his solitude from earlier in the film, he is consumed by his desperation for Felix’s companionship. He follows Felix into the maze, seemingly to mend their friendship. The song “Loneliness” ends along with the scene. Later, Felix is found dead within the labyrinth, leaving the audience to piece together the horrifying events that transpired.

“Murder On The Dancefloor” - Sophie Ellis-Bextor

Murder on the Dancefloor - Sophie Ellis-Bextor

or not, anyone with access to the internet has heard of this infamous scene. Shortly after confessing his involvement in all the tragedies that fell on Saltburn to a dying Elspeth Catton (Rosamund Pike), he finally seizes the power he desires. With the house now his, he celebrates by dancing naked through its halls to the tune of Sophie Ellis-Bextor’s early 2000s hit “Murder on the Dancefloor.” The track’s playful yet sinister tone perfectly captures Oliver’s descent into madness as he turns the once-grand estate into his stage for triumph.

The Best Music Moments from Saltburn

Based on Bryan Lee O’Malley’s graphic novel series, Scott Pilgrim vs. The World adaptation director Edgar Wright perfectly captures the nerdy essence of the original material. Known for its blend of indie rock, video game aesthetics, and comic book illustrations, the movie is also a musical experience. The main character, Scott Pilgrim (Michael Cera), is in a band, and this is a central point in the movie.

The plot follows Scott as he navigates young adulthood, particularly in the romance department. He meets the eccentric Ramona Flowers (Mary Elizabeth Winstead), and his world is instantly changed. To be with her, he must defeat her seven deadly exes.

Here’s a look at some of the best music moments that make the film unforgettable.

Since spotting Ramona, Scott has been dead set on finding her again and goes to a party as part of his search. As this song plays, he sees her leaning against a wall. This perceived coolness draws him further to her, and he starts babbling, creating a dreamlike scene.

After an amazing first date, Ramona invites Scott inside for some tea. We watch as their relationship blossoms while the track plays. Scott is naive to the trouble he must go through for them to get closer. We relish in the moment before the chaos bubbles over.

Scott breaks up with Knives Chau (Ellen Wong) after she confesses her love for him. The seventeen-year-old thought of him as her whole world, and the large age gap in their relationship left her in a spiral. She suddenly feels inspired and decides to become precisely like Ramona to capture his attention again.

Scott’s band plays "Threshold" during the music battle against Ramona’s evil exes, the Katayanagi Twins. One of his many battles with Ramona’s exes is just as suspenseful. The moment ends with him winning, getting a level up, and getting closer to winning Ramona.

Envy Adams (Brie Larson), Scott’s ex, sings this iconic song with her band Clash at Demonhead. Trying to show Scott she’s better than Ramona and that he should be back with her, she perfectly channels her rage into this musical moment.

The Best Music Moments from Scott Pilgrim vs. The World

A soundtrack can make or break a TV show. Music can accompany the deep emotions depicted in a show- from sadness to joy. Additionally, they draw us in and keep us hooked. Season two of 

, a coming-of-age drama based on Jenny Han’s beloved novels, has a stellar playlist with something for everyone. The series follows protagonist Isabel “Belly” Conklin (Lola Tung), who spends every summer at Cousins Beach with her family and family friends- including brothers Conrad (Christopher Briney) and Jeremiah Fisher (Gavin Casalegno).

Contrary to the prior season, it isn’t fully set in the summer and deviates from the first season's storyline. Susannah Fisher (Rachel Blanchard), Conrad and Jeremiah’s mother, has passed away after a long battle with cancer. A time jump occurred between the two seasons. Belly and Conrad enter a short-lived relationship that ends when he breaks her heart at prom. Again, the dynamic of the love triangle shifts and unfolds correspondingly with the drama of season two.

The show's second season is a testament to how music can enhance a story's emotional depth and resonance. Exploring the series’ themes of love, loss, and personal growth, Han artfully picks tracks that seamlessly fit in.

Season two starts with a kick as “See You Again” by Kali Uchis and Tyler, The Creator plays. Belly dreams of being in Cousins Beach and reminisces about her wonderful summers there. 

After Susannah’s death, the Fishers and Conklin’s annual beach trip ended. Instead, we see Belly’s life at school in her hometown. Later in the episode, one of arguably the best mic drops of the entire season occurs. Following a fight at her brother Steven’s (Sean Kaufman) graduation party, he yells at Belly for driving the Fisher brothers away, and she drives home crying. “Driver’s License” by Olivia Rodrigo plays softly in the background. Not only does the song reflect her frustration over her fight with Steven, but it alludes to her breakup with Conrad. With lyrics like, “And all my friends are tired/Of hearing how much I miss you,” it’s impossible not to argue the song mirrors Belly’s life.

Episode two solidifies this frequent use of pop music, kicking off with One Direction's "Steal My Girl" during a flashback to when Belly visited Cousins Beach in the winter with Conrad. 

Episode one ends with Belly calling Jeremiah to plan a search for Conrad, but episode two reveals a flashback where Conrad surprises Belly by showing up at her house to whisk her away for Christmas. Little of their relationship is shown, so these flashbacks provide context into his disappearance. Their giddy excitement is infectious, and the song enhances the scene's nostalgic warmth as the song itself holds memories for the show’s key audience. During their search for Conrad, Jeremiah and Belly have evident tension. They stop at Rosie’s to eat pie while “Ode to a Conversation Stuck in Your Throat” by Del Water Gap pokes at the lack of conversation between the two. Contrastingly, the scene is a key moment in their growing relationship as it gives them a sense of normalcy after so much loss.

Fleetwood Mac's "Silver Springs" underscores a pivotal moment at Susannah's funeral reception. The haunting lyrics, "You'll never get away from the sound of a woman that loves you," take on new meaning as Belly confronts Conrad in a heated scene. Seeing another girl comforting Conrad triggers Belly's feelings of betrayal, leading to an intense argument in front of all the guests. The parallels between the song's backstory and Belly's situation with Conrad are striking, making this one of the most emotionally charged moments of the season. 

If you’re a fan of Fleetwood Mac, you may know that the song is about Stevie Nicks and Lindsey Buckingham’s breakup, making the scene all the more poignant. Later in the episode, Conrad and Jeremiah bond (yes, they found him). Conrad approaches Jeremiah and apologizes for his behavior. With all of the conflict derived from their love triangle, it’s a refreshing moment, and “Circles” by Mac Miller smoothly accompanies it.

Katy Perry's "Never Really Over" sets the tone for a competitive basketball shootout between Belly and Conrad on the boardwalk. The fast-paced tempo mirrors the adrenaline rush of the game, and the song hints at the unresolved tension between Belly and Conrad, echoing Jeremiah's later assertion that there will always be something between Belly and Conrad. The song title is a direct callout that their love for each other will never really be over. 

As the episode progresses, Guns N' Roses' "Sweet Child O' Mine" plays during a tender moment that shifts Belly's perception of Jeremiah. Jere holds her hand on The Tower of Terror in order to comfort her. It's clear that Belly's feelings for Jeremiah are growing, leaving viewers wondering where their relationship will go next. The constant switching of affection between the boys gives viewers whiplash.

Frank Ocean's cover of "Moon River" (originally sung by Audrey Hepburn) provides the backdrop for an intimate scene between Steven and Taylor, bringing them closer together after a season of emotional ups and downs. The sweet song and dance allow the pair to reconnect, setting the stage for their evolving relationship. After Belly caught them kissing last season and told them she was uncomfortable with it, their feelings for each other went on the back burner. The smooth melody of “Moon River” is the perfect song to build the romantic tension. 

Meanwhile, Niall Horan's "Heaven" plays as Jeremiah reflects on seeing Belly for the first time last summer and how he instantly fell in love with her. In the prior season, Belly’s reaction to seeing Conrad for the first time that summer was shown from her perspective. It leaves watchers wondering if, in season three, we will finally see his perspective.

Taylor Swift songs normally mark romantic scenes between Conrad and Belly. However, at the start of episode six, it shifts. Belly and Jeremiah are playing by the pool when she pushes him in. “Delicate” plays in the background, emphasizing the new era she’s in. As the song title suggests, their relationship is delicate but strengthens by the minute.

Susannah’s half-sister Julia (Kyra Sedgwick) inherits the house and plans to sell it. Understandably, the crew (Belly, Jeremiah, Conrad, Steven, and Taylor) is upset, and in protest, they throw a giant retro-themed party. Belly glides around on roller skates serving drinks while Sublime’s “Doin’ Time” plays. 

Miley Cyrus' "Party in the U.S.A." sparks a lively dance routine by Steven and Taylor inspired by a routine she and Belly had made as kids. The celebration adds a much-needed break from the heartbreak thus far in the season.

After the party, reality starts to settle in. Conrad has finals coming up and, after running away to Cousins Beach, hasn’t had the chance to study. "Free Fallin'" by Tom Petty brings Belly, Conrad, and Jeremiah together during a car singalong after spending a grueling night studying for his final. The song unites the trio, offering a brief respite from the tension between them. 

Later, Phoebe Bridgers and Maria Taylor's "Summer's End" plays during an emotional flashback of Susannah, adding to the melancholic atmosphere of the penultimate episode. The song underscores Laurel's struggle to write her memoir,

(also the name of the third novel in the book trilogy), and during the scene, Susannah encourages her to stop procrastinating writing it.

At the start of the episode, Taylor Swift's "Bigger Than the Whole Sky" perfectly encapsulates Conrad's heartbreak as he tries to take back his confession of love for Belly before isolating himself from her and Jeremiah despite Jeremiah being the one to prompt him to do so. Shortly after, Conrad discovers Jeremiah and Belly kissing, and the trio finds themselves sharing a motel room with only one bed to avoid a storm. 

As Lana Del Rey's "How to Disappear" plays in the background, the tension between them reaches its peak, leaving viewers on the edge of their seats. The two boys silently sit on the floor, unsure of what to do next. 

In the final moments of the season, Belly makes the unexpected choice to be with Jeremiah. As she breaks the news to Conrad, Taylor Swift and Bon Iver's "Exile" plays, capturing the scene's raw emotion. Conrad tries to mask his sadness, but the heartbreak is evident as he returns the infinity necklace to Belly and walks away alone. The season ends on a bittersweet note, leaving fans eagerly awaiting the next chapter in this love triangle.

The Summer I Turned Pretty Season Two soundtrack

The Best Music Moments from Season Two of The Summer I Turned Pretty

, directed by Sofia Coppola, is a profoundly intimate and poetic portrayal of Priscilla Presley’s (Cailee Spaeny) life. It explores her relationship with Elvis Presley (Jacob Elordi) and her evolution into an independent woman. One of the most captivating aspects of the film is its music. The film is centered around music; thus, it must have a compelling soundtrack fitting the emotions of Priscilla’s turbulent relationship with Elvis and their ultimate breakup.

As in many of Coppola’s films, the soundtrack is an essential storytelling tool (think 

, enhancing the emotional tone and drawing viewers deeper into the characters' inner worlds. In 

, music becomes a character of its own, subtly guiding the audience through the ups and downs of her journey.

"Venus" by Frankie Avalon plays in the background when Priscilla is approached by Terry West (Luke Humphrey) at a restaurant. He invites her to spend the weekend at Elvis Presley's house. The choice of this song, with its dreamy, romantic lyrics about a man seeking a woman, perfectly complements the sense of fantasy and allure that Priscilla feels as she's drawn into Elvis’s orbit and Elvis’s desire for company.

“Whole Lotta Shakin’ Going On” - Chris Palmaro and Dean Z

Whole Lotta Shakin' Going On - Chris Palmaro and Dean Z

When Priscilla first meets Elvi, he sits at the piano and plays "Whole Lotta Shakin’ Going On." This energetic, classic rock song captures Elvis’s charisma and confidence, immediately showing Priscilla the larger-than-life persona he embodies.

“Crimson and Clover” - Tommy James and The Shondells

Crimson and Clover - Tommy James and The Shondells

Elvis opens up to Priscilla about his deep grief over losing his mother. The song matches the vulnerability and complexity of the scene, where Elvis’s emotional wounds are laid bare. As they share a kiss for the first time, the music encapsulates the tension between his need for comfort and Priscilla’s growing realization of how her life will forever be intertwined with his personal struggles.

As Priscilla wrestles with her feelings and decisions, she confesses to Elvis that she wants to stay with him longer before returning home. The song's gentle, introspective sound mirrors Priscilla’s internal conflict—her desire to be close to Elvis and the looming sense of responsibility and pressure that comes with staying in his world. Ultimately, she ends up living with him full-time after he convinces her parents to let them get married.

“A Woman Seen By A Man In Love” - Sons of Raphael

A Woman Seen By A Man In Love - Sons of Raphael

This intense scene is accompanied by "A Woman Seen By A Man In Love" when Priscilla discovers a girl’s note left for Elvis. The tension in the music heightens as Elvis’s temper flares, and he lashes out, furiously collecting Priscilla’s belongings. At this point, the chaotic nature of their relationship bubbles over. The clash between Priscilla’s growing awareness of Elvis’s infidelity and his possessive behavior is clear, and the music amplifies the emotions in the sequence.

“I Will Always Love You” - Dolly Parton

The film’s emotional finale is accompanied by Dolly Parton’s ballad "I Will Always Love You" as Priscilla bids farewell to the life she once knew. As she says goodbye to everyone and informs Elvis that she’s leaving him, the song's poignant lyrics about love, loss, and letting go perfectly encapsulate the bittersweet nature of the moment. She has finally had enough of the abuse and nonstop conflict and is ready to start a new chapter in her life.

The Best Music Moments from Priscilla

David Bowie is arguably one of the most influential artists of all time. From his unique fashion moments to groovy beats, Bowie’s music transcends the norm. Famously collaborating with artists such as Queen and Mick Jagger and starring in 

 his reach is unparalleled. His songs have been featured in endless movies and television shows. Here are a few of his most iconic syncs.

, directed by Taika Waititi, is a historical comedy based on World War II. German boy Jojo Betzler (Roman Griffin Davis) discovers his mother, Rosie (Scarlett Johansson), is hiding a young Jewish girl, Elsa Korr (Thomasin McKenzie), in their attic. Jojo struggles with his nationalism as he begins to befriend Elsa. The German version (“Helden”) of Bowie's classic "Heroes" is used as Jojo and his friend Elsa step outside after the war has ended. The song captures the spirit of Jojo’s character development and the triumph he and Elsa feel as they step outside.

, directed by Stephen Chbosky, is sentimental and nostalgic. The film unfolds following protagonist Charlie (Logan Lerman) and depicts his battle with post-traumatic stress disorder and the formation of friendships. In a car with his two best friends, Sam (Emma Watson) and Patrick (Ezra Miller), they drive through a tunnel as the perfect song, “Heroes,” comes on. Sam stands up through the sunroof and extends her arms as Charlie reflects that he feels infinite.

is one of the most critically acclaimed movies in the Marvel Universe. Space adventurer Peter Quill (Chris Pratt) is always found holding his famous mixtape. “Moonage Daydream” is the 4th track on his Awesome Mix Vol. 1. On the way to planet Knowhere with the Guardians, Peter is listening to the tune.

Guardians of the Galaxy: Awesome Mix Vol. 1

directed by Amy Heckerling, tells the story of rich teen Cher Horowitz’s (Alicia Silverstone) coming-of-age as she realizes that popularity isn’t everything. Well suited to the scene, “Fashion” plays as Cher uses her desktop to choose an outfit for school on her virtual wardrobe.

directed by the late Jim Henson, is the story of Sarah Williams’ (Jennifer Connelly) journey as she tries to solve a labyrinth and find her baby brother Toby. David Bowie plays the menacing Goblin King Jareth, and his music is found throughout the film. “Magic Dance” is a standout moment. Jareth and his fellow goblins dance around Toby in awe of him.

, directed by Frank Coraci, is one of the most iconic rom-coms of its time. Robbie Hart (Adam Sandler) is a wedding singer and meets Julia Sullivan (Drew Barrymore) as she seeks out his work for her wedding. “China Girl” plays during the double date club scene. During the date, Robbie learns that Julia’s fiance, Glenn, is cheating on her.

is known for its iconic music. Featuring a plethora of the 70s best hits, it’s no surprise “I’m Waiting for the Man” by David Bowie made its way into the soundtrack. Instead of using the studio-produced version, a live version of the song from the album 

is used, which aids in setting the atmosphere as Stillwater arrives at a Cleveland hotel. Russell Hammond (Billy Crudup) speaks to William Miller’s (Patrick Fugit) mom on the phone as the song plays.

soundtrack perfectly encapsulates the tragedy shown in the film. David Sheff (Steve Carell) grapples with his son Nic’s (Timothée Chalamet) addiction to meth. David and Nic share a joint, leaning against the car while “Sound and Vision” plays in the background. The scene switches to David researching the effects of meth addiction while the song fades away.

(Some Of) The Best David Bowie Movie Music Moments

With so many television viewing options, a captivating soundtrack can elevate a series from entertaining to truly unforgettable. 

, a coming-of-age drama based on Jenny Han’s beloved novels, is a prime example of this phenomenon. The show is centered around Isabel “Belly” Conklin (Lola Tung), who spends every summer at Cousins Beach with her family and family friends- including brothers Conrad (Christopher Briney) and Jeremiah Fisher (Gavin Casalegno). This summer, Belly arrives mature and confident, leading to a shift in her dynamic with the boys. Harboring feelings for Conrad since she was twelve, she navigates the challenges of him becoming distant and Jeremiah, his playful brother, seeing her in a new light. Deeper emotional challenges unfold in season one, including family tensions and secrets, particularly surrounding Susannah Fisher’s (Rachel Blanchard) battle with cancer.

The show's first season is a testament to how music can enhance a story's emotional depth and resonance. Season one’s soundtrack explores the series’ themes of love, loss, and personal growth. From poignant melodies that underscore crucial moments, such as first kisses, to tracks that capture the essence of summer, music shapes the season into a musical and emotional journey.

The season begins with a burst of nostalgic energy as Electric Light Orchestra’s “Mr. Blue Sky” sets the tone in the opening montage. The clip shows Belly, her brother Steven (Sean Kaufman), Conrad, and Jeremiah’s adventures at their beach house in Cousins Beach. The sequence shows the development of the four as they grew up and spent their summers together. Humorously, the infamous “Belly Flop” is shown in the clip as the three boys throw Belly into the pool. 

Later in the episode, Taylor Swift’s romantic hit “Lover” plays the first time Belly lays eyes on Conrad that summer. The song mirrors her long-standing crush and admiration that only grows stronger when she sees him again. Despite her changes, the boys (especially her brother Steven) still see her as a kid. 

Previously uninvited every summer to the annual beach party, Belly decides to go this year. Cardi B’s energetic “Up” accompanies her journey to the beach, displaying her goal of showing everyone she is more grown up than they think.

Episode two, “Summer Dress,” continues the complexities of first love and fleeting connections. After meeting Cam (David Iacono) at the beach party, they start hanging out nonstop. Shortly in the episode, Wheatus’ “Teenage Dirtbag” plays as they share their first kiss. The song captures the awkwardness between them and amplifies Belly’s hidden desire to be with Conrad instead. The song choice is somewhat ironic as she is nowhere near close to being a teenage dirtbag. However, her sudden change in attitude and desire for adventure makes it resonate. 

Along with chasing after boys, Belly spends her summer preparing for the Cousins Beach debutante ball. The ball is something that she never wanted to participate in, but as Susannah doesn’t have a daughter, she wants to make her happy, so she agrees to attend. Belly, Susannah, and Belly’s mother, Laurel (Jackie Chung), embark on a shopping trip to find the perfect dress. “Ice Cream” by BLACKPINK ft. Selena Gomez plays in the background, amplifying the summer vibes.

It’s Belly’s birthday! Despite her best friend Taylor (Rain Spencer) coming to visit, she feels nothing but disappointment. Alessia Cara’s emotional track “You Let Me Down” plays as Conrad tells Belly he forgot her birthday and didn’t get her anything. The name of the song quite literally describes her feelings. 

As the group celebrates with an afternoon at the pool, Dayglow’s “Can I Call You Tonight” sets the carefree vibe. 

After that, Carly Rae Jepsen’s “Your Type” plays as Belly discovers that Conrad did remember her birthday, an unexpected twist that leaves her feeling both elated and conflicted. 

To add to the conflict in her life, she walks in on Taylor and her brother Steven kissing at a party she and Taylor later attend. Billie Eilish’s heartbreak anthem “Happier Than Ever” plays as she walks in on them. In an interview, Eilish described the song as a reflection of all the times she had been betrayed and mistreated. This perfectly encapsulates Belly’s feelings in the moment.

Things heat up emotionally and literally as Caveboy’s “Something Like Summer” accompanies Belly's rebellious day, throwing back margaritas. Initially, she and her friends were playing a drinking game, but determined to show everyone how adult she is, she completely overdoes it. 

The energy is palpable, yet simmering tension boils over when Taylor Swift’s “False God” plays during a near-kiss between Belly and Conrad. They sit at the edge of the dock, and just as they lean in, their moment is interrupted by a jealous Jeremiah, who sets off fireworks above them. Creator Jenny Han noted that this was one of her favorite musical placements in the show.

Jeremiah steals the show in this episode with his spontaneous, carefree nature. During a rehearsal for the debutante ball, he crashes the event and pulls the ladies onto the dance floor as Reyanna Maria’s “So Pretty” pulses in the background. The song's energy equally matches Jeremiah’s and serves as a poignant reminder of the personality difference between him and Conrad. 

After the almost kiss in episode four, Belly decides she can’t lead Cam on any longer. Bruno Mars's melancholy tune “Places We Won’t Walk” plays in the background while they break up. 

Determined to finally get things moving with Conrad, “Be Sweet” by Japanese Breakfast plays as she is psyching herself up to confess her feelings. 

Things don’t go well, so she meets up with Jeremiah, and they kiss in the pool. The producers love a literal song. “ARE WE STILL FRIENDS?” by Tyler, The Creator, plays during the kiss, showing their step beyond normal friendship.

The stakes are higher than ever as the season nears its end. When Conrad finally opens up to Belly and gives her the necklace he had gotten her for her birthday, Billie Eilish’s haunting “When the Party’s Over” plays, reflecting the end of an era for them. Lyric, “Call me friend but keep me closer,” plays as they look at each other, seemingly about to kiss. Instead, Belly turns around and walks away, saying he is too late as Belly shifts her attention to Jeremiah. 

Tyler, the Creator’s “WUSYANAME” echoes in scenes featuring Jeremiah as he prepares for a party following a volleyball tournament between him, Belly, and Taylor, capturing his uncertainty about his place in Belly’s heart. Tyler, The Creator, is frequently used in Jeremiah and Belly scenes as a marker of their growing relationship.

The season finale is a rollercoaster of emotions, perfectly scored with songs that match each moment’s intensity. As the debutante ball approaches, Taylor Swift’s “The Way I Loved You (Taylor’s Version)” plays during a critical moment when Jeremiah is nowhere to be found at the debutante ball. Conrad steps in to dance with Belly as her suitor. The song perfectly captures the tension between the brothers and Belly’s shifting affections. While she tries to push away Conrad, she ultimately loves him deep down. 

But the most significant emotional hit comes with Phoebe Bridgers’ “Funeral,” playing during the revelation of Susannah’s cancer diagnosis. As the reality of her illness sinks in, the song’s haunting lyrics and melody mirror the sadness and helplessness felt by Belly, Laurel, and Steven as they grapple with the news. The episode ends on a somber note as Susannah tells her sons that she’s unwilling to try experimental treatment, leaving everyone devastated.

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