The Musical Landscape of "School Spirits"

"School Spirits," a supernatural mystery series on Paramount+, has emerged as a notable example of musical ambition in streaming television. The show, which follows a group of ghosts trapped in purgatory within their high school, utilizes its premise—characters tethered to different decades—to create a diverse soundtrack that spans various musical eras. This approach not only enhances the narrative but also establishes a distinct musical identity for the series.

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Whitney Pilzer, the music supervisor for "School Spirits," plays a crucial role in shaping the series' soundtrack. From the outset, she was involved in the creative process, collaborating closely with showrunners Nate and Megan. Pilzer noted that they shared a passion for music, which set the tone for the show's ambitious musical direction. “They were very upfront that they love music,” she explained, highlighting the importance of music in the storytelling.

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Pilzer's work begins long before the final episodes air. She organizes extensive bins of pre-cleared music categorized by budget, allowing editors to select appropriate tracks as rough cuts are developed. Budget constraints often necessitate strategic negotiations with labels and publishers to secure the desired songs. Pilzer described the process as a “huge puzzle,” where creative choices must align with financial realities. For example, the team had to work around the high costs of certain tracks, such as K.Flay's cover of “Brain Stew,” to ensure they could include it in the show.

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The series has featured standout musical moments, such as a psychedelic dance number in Season 3, Episode 4, set to Sufjan Stevens' "Chicago." This choice resonated with the show's creators, as it reflected their own coming-of-age experiences. Pilzer emphasized the significance of using music to enhance character arcs, stating, “Music shapes the world of our characters rather than just underscoring their emotions.”

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The inclusion of recurring artists like Lizzy McAlpine, Ethel Cain, and Djo across multiple seasons is a deliberate choice aimed at world-building. Pilzer noted that these artists' voices have become integral to the show's fabric, making the music a character in its own right. McAlpine's involvement, particularly her performance of a Joan Baez-inspired arrangement of "House of the Rising Sun," exemplifies this commitment to integrating music deeply into the narrative.

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Pilzer expressed her satisfaction with the show's musical direction, stating, “It’s a very cool experience” to see a song placement positively impact an artist's career. She also acknowledged the challenges of working within budget constraints, humorously recounting a conversation with cast member Miles Elliot about the costs associated with using major artist songs.

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While the series has received praise for its musical choices, some critics may argue that the reliance on contemporary artists could alienate viewers who prefer classic tracks. However, Pilzer maintains that the music is carefully selected to enhance the storytelling rather than serve as mere background.

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• “It’s so impossible to predict,” — Whitney Pilzer, Music Supervisor

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• “Music shapes the world of our characters rather than just underscoring their emotions.” — Whitney Pilzer, Music Supervisor

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• “She was so pro. It was very impressive,” — Whitney Pilzer on Lizzy McAlpine

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In conclusion, "School Spirits" exemplifies how a thoughtfully curated soundtrack can elevate a television series, making music an essential component of its storytelling and character development.

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