The 10 Best TV Needle Drops of 2024

by

As a music enthusiast and TV critic who grew up in the ’80s, I must say that these show selections are nothing short of remarkable! Each one skillfully incorporates iconic tunes from the era to set the mood and enhance the narrative.

We’re just as eager as any other group of passionate cultural enthusiasts to debate endlessly about the virtues of Christmas songs that often get a bad rap; I myself would be ready for a heated discussion to safeguard the reputation of Paul McCartney’s “Wonderful Christmastime.” As we approach 2025, let’s put aside our smallest disagreements and join in one of December’s finest traditions: celebrating the standout music placements in TV shows from 2024.

10.
Shrinking

“Letting Go,” Angie McMahon

Appears in: Episode 203, “Psychological Something-ism”

In the climactic moments of “Psychological Something-ism,” Angie McMahon’s song about embracing imperfections perfectly resonates with multiple storylines. Grace, a character similar to McMahon’s narrator, has been stuck on her couch for six months in LA. She finds closure and returns to Vancouver. Similarly, Jimmy gives up his need to be right and accepts the forgiving embrace of Brian and Charlie after a major argument. However, Alice, who feels like she’s walking on a path of self-destruction, continues to make poor decisions, lashing out at a drunk driver who killed her mother and then trying to find comfort in an illicit relationship with her neighbor Connor, who also happens to be the boyfriend of one of her friends. McMahon’s voice, reminiscent of Florence Welch, combined with a melody akin to boygenius, creates a powerful moment of catharsis as Alice sings, “It’s okay, it’s okay, make mistakes, make mistakes.

9.
Say Nothing

“Loving Her Was Easier (Than Anything I’ll Ever Do Again),” Kris Kristofferson

Appears in: Episode 103, “I’ll Be Seeing You”

occasionally, a song may resonate deeply upon first listen, but other times its impact unfolds gradually. In the third episode of “Say Nothing”, Kris Kristofferson’s melancholic ballad serves as a slow-burning revelation. As Dolours and Marian Price, Provisional IRA volunteers, navigate tense border crossings in a car laden with explosives, they tease their seasoned companion Joe Lynskey about his inability to tell Kristofferson apart from artists like Gordon Lightfoot. The song’s poignant lyrics of lost love, sung by Kristofferson’s sincere, introspective baritone voice, subtly hint at the impulsive passion that will ultimately lead to Joe’s downfall by the episode’s end. In his infatuation with Rachel, another PIRA volunteer’s wife, Joe appears to have convinced himself that because “She’s opened every door in my mind,” it would logically follow that “Dreaming is as easy / As believing that it’s never gonna end.

8.
My Lady Jane

“Wet Dream,” Wet Leg

Appears in: Episode 105, “I’m Gonna Change The World”

Could we imagine a situation where… Jane Grey wasn’t considering divorce? After five episodes filled with their playful banter, heated arguments, and clashing swords, it’s surprising that they didn’t declare their feelings sooner. The show presents an unusual take on a forced marriage, a twisted timeline, and the allegory of Ethians as the Protestant Reformation, all blending humorously with a steamy and passionate first encounter between Jane and Guildford in his stable quarters. Yes, it’s a metaphorical roll in the hay, accompanied by a seductive dialogue: “Let’s start.

7.
The Bear

“Laid,” James

Appears in: Episode 310, “Forever”

Only The Bear could suggest that a joyful mid-’90s song about a fun nightmare of a relationship, one that races on jangly guitars to a chorus that’s nothing but a single, soaring syllable of “Eeeeeeeeeeeeee,” can trigger a panic attack. After the final service concludes at Chef Terry’s restaurant, everyone but Carmy parties at Sydney’s new place, hurling themselves around the empty living room and devouring improvised waffle pizzas. That “Eeeeeeee,” so ecstatic for everyone else, is a proxy in Syd’s mind for all of the reasons she’s been avoiding the one choice she must make: fish (sign the agreement to co-own the Bear with Carmy) or cut bait (go work with Chef Adam at his new place). There are no words for those feelings, just “Eeeeeeeeee” and sobbing gasps for breath alone in the stairwell.

6.
We Are Lady Parts

“The Reason,” Hoobastank

Appears in: Episode 201, “Villain Era” and Episode 206, “Glass Ceiling Feeling”

In the TV series “We Are Lady Parts,” Amina’s friend-zoning by Ahsan in the first season doesn’t have to be the final chapter of their story. Their feelings for each other eventually align in season two, with Hoobastank’s timeless power ballad playing a role. By the end of their all-female Muslim punk band’s exhilarating yet unprofitable summer tour, where Ahsan served as a roadie, Ahsan is the one longing and poorly singing “The Reason” while setting up their stage. Amina finds this endearing, but she’s riding high on a crest of professional and personal confidence and doesn’t give it much thought. This narrative arc follows the classic pattern: He becomes jealous of her interest in basic white folk-music fans, she accuses him of being basic, and gradually, song by song and one cheesy radio DJ-style commentary at a time, his mixtape tailored for Amina softens her heart. The song she chooses for her apology concert in the season finale, symbolizing her slight transformation due to him, is none other than “The Reason.

5.
Senna

“Ace of Spades,” Motörhead

Appears in: Episode 103, “Ambition” 

Before his tragic death at age 34 in the San Marino Grand Prix crash of 1994, globally renowned Brazilian Formula One driver Ayrton Senna claimed three world championships and gained international heartthrob status. As Netflix’s series Senna progresses, we witness his journey to join McLaren where his main rival is Alain Prost, a four-time world champion. To secure victories and ultimately claim his first title, Senna pours all of his self-assurance, tenacity, and extraordinary mechanical intuition into each race. The song “Ace of Spades” enters at the critical juncture for Senna, starting at 140 bpm and maintaining its intensity throughout as a series of races are depicted. With its powerful riff, pounding drumbeat, and Lemmy Kilmister’s relentless, eerily prophetic growl, the lyrics echo the spirit of gambling: “Gambling’s for fools / But that’s the way I like it, baby / I don’t want to live forever.” If a song were an F1 race, it would be “Ace of Spades.

4.
Only Murders in the Building

“Scenes From an Italian Restaurant,” Billy Joel

Appears in: Episode 407, “Valley Of The Dolls” 

The doorbell jingle at Doreen Savage’s Long Island home echoes the opening notes of Billy Joel’s “Scenes From an Italian Restaurant,” a brief yet potent melody that instantly evokes the character and life of the person who hears it. Upon arrival, Charles, Oliver, and Mabel hope for a secure haven, but this musical cue serves as a surprising prelude even before the main event is revealed. In just two seconds, these notes skillfully set the stage for Doreen’s boisterous, helmet-haired, sometimes inebriated persona during breakfast hours; her fixations on creepy doll substitutes for her five adult daughters, her strained relationship with Charles, and her romantic pursuits towards Oliver.

3.
Industry

“Bombtrack,” Rage Against the Machine

Appears in: Episode 307, “Useful Idiot”

Following a tumultuous period filled with both exhilarating peaks and devastating valleys, the situation has escalated dramatically, reminiscent of the unpredictable nature of the Industry. This unfolds amidst the grandeur of Pierpoint & Co.’s 150th anniversary bash. Lumi’s disastrous IPO and subsequent events, Harper launching Leviathan Alpha with Petra, Rishi’s risky currency market tactics, Yasmin and Harper dealing with her father’s demise – these seem insignificant compared to the high-stakes struggle between Eric and Bill to save the firm. In the end, Eric’s insider trading forces Bill out of his position. As a group of potential Saudi buyers enters for their introduction, courtesy of Eric, and Zack De La Rocha sings “I warm my hands on the flames of the flag / To remember the downfall and the businesses that burned us all”, the atmosphere among the executive committee members shifts from triumph to apprehension. The mix of jubilation, discomfort, and schadenfreude makes for a unique, unparalleled experience.

2.
Somebody Somewhere

“Smalltown Boy,” Bronski Beat

Appears in: Episode 301, “Margarinis”

In the opening episode of Somebody Somewhere‘s final season, Sam finds herself in much the same place she’s been – settled back in her hometown, Manhattan, Kansas. As she joyfully sings along to Bronski Beat’s ’80s synthpop hit “Run away turn away run away,” there’s an underlying emptiness we can sense. The song serves as a bookend for the episode, evoking different emotions from the audience. Later, Sam witnesses the happiness Iceland derives from his relationship with his dog, and she yearns for that kind of connection herself. She decides to adopt a Pomeranian named Pepper from the local shelter, but finds out someone else has already claimed her. Dejected, she removes a selfie with Pepper from her social media, symbolically erasing any hope she had for a future with that dog, and drives home, feeling lonely once more.

In this instance, “Smalltown Boy” remains lively and entertaining, yet its upbeat rhythm and Jimmy Somerville’s angelic falsetto conceal the underlying sorrow and anger. Instead of joining in with an anthem reminiscent of her youth, Sam seems to confront a reflection of her own stagnant life situation. Unlike the gay character in “Smalltown Boy” who escapes his hometown in search of love unavailable there, Sam finds herself unable to do so. She’s no longer on the brink of adulthood and spreading her wings; instead, she feels trapped and weighed down by middle age.

1.
Rivals

“Addicted to Love,” Robert Palmer

Appears in: Episode 101, “Episode One”

Press “play” on the initial episode of “Rivals” and you’re instantly greeted with an extended close-up of Rupert Campbell-Black, stark naked, vigorously moving in a bathroom aboard the Concorde as it nears the sound barrier in 1985. The background music is Robert Palmer’s hit “Addicted to Love,” setting the stage for this series: it’s going to be steamy, over-the-top, and lavishly spending on music rights, perhaps even as much as Liechtenstein’s GDP. What will unfold next is anyone’s guess, but given the song and scene progression, it’s clear that Rupert’s encounter has been meticulously timed to align with the rhythm and lyrics, reaching its musical climax as a physical one. The soap opera-like storyline of the rivalries among the newly and generational wealthy in England’s picturesque Cotswolds region starts off just as it intends to continue – with a bang and plenty of ’80s references. Tweeds! Bright-red pumps! Shoulder pads! Outdoor, exuberant sex! Mere whispers about HIV/AIDS! In short, this series is so steamy that it’s even passionate about its own passion.

Read More

2024-12-24 20:54