Aliens, Megamind, Scooby-Doo 2: Monsters Unleashed, The Rookie, The Simpsons, Happy Gilmore, Encino Man, Scrooged, Moonlighting, Back to the Beach, Full Metal Jacket, The Chipmunk Adventure, Splash, Heaven Help Us, Fast Times at Ridgemont High, More American Graffiti Heard in: Hawaii Five-O, Flight, Covert Affairs, Big Love, Dexter, CSI: NY, The Departed, Layer Cake, The Fan, Casino, The War, Goodfellas, Air America, Adventures in Babysitting, Knight Rider, Gimme Shelter (duh) Heard in: Just Go With It, Glee, The Simpsons, Capitalism: A Love Story, Over Her Dead Body, The Office, Cheaper by the Dozen, Jackass: The Movie, Friends, The Bachelor, Detroit Rock City, That ‘70s Show, The General’s Daughter, Natural Born Killers, The Doors, Salo or the 120 Days of Sodom But mostly adolescent longing or facing Important Truths about oneself.
Indicates: As you can see above, any number of things. Heard in: Chasing Mavericks, End of Watch, Fringe, Burlesque, CSI: NY, Lord of War, Cold Case, Swept Away, Roswell, Starship Troopers, Daria, Angus, Gilmore Girls, Alias, Desperate Housewives. We’ve perused the Academy of the Ubiquitous and come up with several pop songs that we’d be just fine never hearing again as cinematic and television scene-and-mood setters. There’s certainly a case to be made there (and they make it convincingly in their supercut, which you’ll find after the jump), but it’s also one hell of a competitive race - film directors and music supervisors can be might lazy, letting an obvious music cue with its own built-in subtext do their narrative heavy lifting for them. Last week, the good folks over at Vulture made a bold statement: that Mazzy Star’s languid, moody “Fade Into You” is, in fact, the most overused song in film and television.
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