If you ask me about “The O.C.,” I will, with unabashed enthusiasm, explain to you that it’s one of the most important television shows ever to air. There’s a number of reasons I hold this opinion, but a relatively important one is that the soapy and dramatic lives of Orange County residents Ryan Atwood, Seth Cohen, Marissa Cooper and Summer Roberts are soundtracked with astonishing precision. Each song fits each scene perfectly, both consciously and subconsciously imitating the emotion of what’s playing out.
I stressed over which episodes would best capture what I’m trying to explain, and decided to just start with the last one I watched. As per usual, the beginning of the tenth episode of season two found the ever–infuriating Marissa spiking her OJ before school while jamming out to some cool rock song. Her stepfather (and Seth’s grandfather) Caleb catches her and immediately turns the music off because he disapproves of Marissa’s rebellious behavior, but not before the first few lyrics of “10 AM” by the Black Keys escape through the stereo. Yes, those Black Keys, the ones that became monstrously cool in 2010, were in an episode of “The O.C.” in early 2005. EARLY 2005.And that kind of insane trend–setting, which applies to other bands like Death Cab for Cutie, The Killers and Rooney, is only the first layer of what makes “The O.C,”’s soundtrack so impressive.
Cut to a scene with Marissa and soon–to–be–lesbian–lover Alex (played by a then–unknown Olivia Wilde) driving in a top–down Jeep on some California highway with their pretty hair flying in the wind. Cue Rilo Kiley’s upbeat and summery “Portions for Foxes,” that matches the fun carelessness that the scene initially conveys, but whose lyrics about a misguided crush fit the situation even more perfectly than the melody matches the scenery. Marissa and Alex’s pending relationship isn’t going to lead anywhere good, and it’s implied that they both know that, but they don’t care; they like each other. Which is exactly what Rilo Kiley is singing about.
This episode also finds rising sexual tension between Seth and Summer as Seth has to draw Summer for a comic book he and her then–boyfriend Zach are creating together (let’s not get into the ridiculousness of this plot line). Seth pretends to have not finished drawing Summer, but in actuality he’s got a whole book full of drawings of her from the summer he spent away in Oregon. Summer discovers this sketchbook and Elliott Smith’s angsty “Pretty (Ugly Before)” accompanies Summer’s discovery that she’s always been Seth’s favorite thing to draw. I could spend days talking about how each indie rock song that soundtracks the milestones of Seth and Summer’s relationship seems to have been handcrafted to narrate their romance, but I’ll try to sum it up best by talking about when Seth sees Summer’s boobs for the first time in season one, episode 19 “Heartbreak.” Because, remember, first and foremost this is a show about 16–year–olds, and Seth seeing Summer’s ta–tas merits nothing other than the Super Furry Animals’ lead singer crooning “Hello Sunshine” at exactly the moment she whips her shirt off and tells him he’s about to get lucky.
Two episodes later, we find that Seth’s other love interest, Anna Stern, is leaving to go back to Pittsburgh. It’s necessary that she goes because Seth and Summer are in love forever and ever, but Anna was an important character to help Seth see that he’s cooler than he gives himself credit for. Nada Surf’s cover of ‘80s hit “If You Leave” blasts as Seth runs to the airport to tell Anna not to leave because of him. Anna kindly rejects his plea, explaining that she’s not leaving because of him, but one day in the future they might be perfect for each other. She walks through the security gate, and Seth, in a classic panicked state, responds by imploring “What am I gonna do without you? Who am I gonna play Jenga with? You’re so wise with your sage wisdom. What am I gonna do without that?” through the crowd. Anna turns around as Nada Surf’s “ahhahahhhs” swell and very wisely responds “Confidence, Cohen” before walking away. The song continues as the scene winds down, as the lead singer pleads “If you leave / Don’t look back.” If Anna was real, she couldn’t have asked for a better good bye song.
And even beyond the songs that are chosen to soundtrack the episodes, there exists the basic theme music that plays for every scene that takes place in the kitchen. The light “da da da” sounds alert the audience to the bagels and/or Chinese food that are about to be consumed as the Cohen family discusses whichever soapy issue is currently affecting their lives. Kirsten and Sandy might be berating their son Seth about juggling his two lady loves, Anna and Summer, during the first season, or they might be bothering Ryan about college applications in the third season. But each kitchen scene is accompanied by the same general theme and elicits a feeling of comfort among viewers because the Cohen kitchen, along with its recurring soundtrack, are a staple of the show.
The use of Jeff Buckley’s “Hallelujah” in the first season finale is what cements the show’s status as a soundtrack phenomenon. “Hallelujah” is one of the most popular songs of all time, and using it on a soundtrack often seems cheesy, ill–placed or like a cheap ploy to get people to like something that’s not that great. But here, played while Ryan Atwood watches the coastline of Orange County fade away as he returns to his poor neighborhood in Chino, and Seth Cohen impulsively sails his boat off to God–knows–where to escape the loneliness of his best friend leaving him, the song perfectly fits the weight of what’s happening. Their lives are returning to the sad state they were in at the start of the season, and all the familial bonding that occurred throughout the first season seems to be headed for an early grave. The final episode of the first season is as dramatic and heart–wrenching for any fan of the show as “Hallelujah” is for anybody who’s ever heard the song. The song’s use doesn’t feel cheap here; it feels earned. And damn it if I don’t cry every time I watch it.
The soundtrack of “The O.C.” is anything but just a soundtrack, it’s a journey, it’s an adventure and the show is only a shell of itself without it.
