{"id":730697,"date":"2026-05-31T20:30:24","date_gmt":"2026-05-31T17:30:24","guid":{"rendered":"https:\/\/buradabiliyorum.com\/en\/going-weirder-for-the-score-of-netflixs-beef-season-2-could-earn-finneas-his-first-emmy\/"},"modified":"2026-05-31T20:30:24","modified_gmt":"2026-05-31T17:30:24","slug":"going-weirder-for-the-score-of-netflixs-beef-season-2-could-earn-finneas-his-first-emmy","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/going-weirder-for-the-score-of-netflixs-beef-season-2-could-earn-finneas-his-first-emmy\/","title":{"rendered":"Going \u201cWeirder\u201d for the Score of Netflix\u2019s \u2018Beef\u2019 Season 2 Could Earn Finneas His First Emmy"},"content":{"rendered":"
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\n\tIn a word, the score for the long-awaited second season of Netflix\u2019s chaotic comedy-drama Beef<\/em> is inescapable.<\/p>\n

\n\tFrom the opening moments of episode one, the music is the first thing viewers hear \u2014 the dominant sound ushering in the show\u2019s establishing shots and dialogue for the next 10 minutes of the series<\/a> before it finally reaches a notable halt.\u00a0<\/p>\n

\n\t\u201cIt wasn\u2019t until I was on the mixing stage for episode one, which was pretty near the end of the whole process of scoring the show, that I realized it,\u201d says mononymous singer-songwriter Finneas. \u201cWe were watching episode one, and I was like, \u2018Oh my God.\u2019 There\u2019s so much music in this series, and it\u2019s used so prominently. Sometimes a score really is a background character.\u201d\u00a0<\/p>\n

\n\tLike any good character, Finneas\u2019 score contains multitudes. The 10-minute track, \u201cCold Open,\u201d weaves between tranquility and the anxiousness of being on pins and needles, while \u201cMusic for Hospitals\u201d is a bit more sinister and winding, like spelunking in a dark cave. \u201cVicious Thoughts,\u201d by contrast, is pretty \u2014 and almost startling.\u00a0<\/p>\n

\n\tThere\u2019s a lot of music. The 32-song soundtrack is an hour and a half, and, according to Finneas, there\u2019s plenty more that got left out. But it\u2019s hard to give an exact descript<\/a>or for the lyricless, synthy score he put together for the show. It\u2019s tense but whimsical, at some points almost fitting for a tech news<\/a> podcast.<\/p>\n

\n\t\u201cI agree with the ambiguity that you feel,\u201d Finneas admits. \u201cWhether you love something or you don\u2019t is your personal opinion \u2014 whether it\u2019s good or not, that\u2019s subjective. But I think that originality is fairly objective. And I think that Sonny\u2019s [Beef<\/em> creator Lee Sung Jin] shows are very original. And with that uniqueness, ultimately, the music kept getting weirder and more and more different from our references.\u201d<\/p>\n

\n\tThose references were firmly planted in 2010s millennial nostalgia, which is reflected in the characters, particularly Oscar Isaac\u2019s Josh Martin, the general<\/a> manager of an exclusive California country club and a mediocre synth player who\u2019s a huge fan of the English pop band Hot Chip. It shows in the needle drops, too, with Finneas ending his pieces in such a way that they seamlessly flow into tracks like indie rock band Yeah\u202fYeah Yeahs\u2019 \u201cHeads Will Roll\u201d and satirical lyricist Father John Misty\u2019s \u201cReal Love Baby.\u201d\u00a0<\/p>\n

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\t\t\t\t\tOscar Isaac\u2019s character Josh Martin (second from left) performs with the band Hot Chip in episode five.<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Netflix<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\t\u201cSonny had written those into the screenplays, which I appreciated and loved, so that gave me an idea of the referential era of this show being these cool things from the 2010s,\u201d Finneas explains.<\/p>\n

\n\tThe producer revisited season one of Beef <\/em>for musical references, too, but ultimately leaned in to giving the series \u201ca different flavor,\u201d as season two isn\u2019t a continuation of the 2023 debut storyline but rather has its own unique conflict anchored by Isaac and Carey Mulligan, a husband and wife whose marital issues are exploited by a younger couple, played by Charles Melton and Cailee Spaeny, whose relationship has its own share of turmoil.<\/p>\n

\n\tBeef<\/em> isn\u2019t Finneas\u2019 first time scoring \u2014 he also composed the soundtracks for The Fallout<\/em>, Vengeance<\/em> and Disclaimer<\/em> \u2014 though it\u2019s certainly his biggest small-screen gig. He likens getting used to composing to adjusting to a jacuzzi\u2019s temperature.\u00a0<\/p>\n

\n\t\u201cIt\u2019s like, \u2018Whoa, it\u2019s a little hot in here, maybe I have to get out.\u2019 And then you stay in for a bit, and you\u2019re like, \u2018I\u2019m never getting out of this jacuzzi, I\u2019m gonna be in here till I die.\u2019 The thing that\u2019s really satisfying about it is that you start to narrow the bull\u2019s-eye and it gets into focus. By the time I was ripping through episodes seven and eight, I\u2019d amassed all these tools, versus episodes one through four, where I was still looking for stuff to grab onto.\u201d<\/p>\n

\n\tIn addition to the score, Finneas has a more front-facing impact on the series as well. First, \u201cWhat Was I Made For,\u201d the Oscar-winning melancholy track he co-wrote with sister Billie Eilish for the Barbie<\/em> soundtrack, plays from the speakers of Melton\u2019s meathead character, Austin, in episode two as he lounges around the apartment he and his girlfriend, Ashley (Spaeny), share.<\/p>\n

\n\t\u201cIt cracked Sonny and I up that Charles Melton\u2019s character is having that kind of day,\u201d Finneas says. \u201cThe kind of day you clearly must be having if that\u2019s the song that plays when you\u2019re lying on the couch.\u201d<\/p>\n

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\t\t\t\t\tCharles Melton stars as Austin in the Netflix series.<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Netflix<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tFinneas also has a cameo in episode seven, playing a douchebag version of himself who bumps his own music that he wrote with Eilish as he hits the gym.\u00a0<\/p>\n

\n\t\u201cI relish it,\u201d Finneas says of his less-than-positive portrayal. \u201cI would so much rather play a bad version of myself than the best possible version. That\u2019s almost more embarrassing. I wouldn\u2019t listen to \u2018Bad Guy\u2019 in the gym when I\u2019m working out. I don\u2019t think I\u2019d get pumped up off of something I made. But that version of myself who\u2019s a narcissist totally would. It cracked me up.\u201d\u00a0<\/p>\n

\n\tAs for what he learned from scoring Beef<\/em>, figuring out how to work with \u201cmomentum in scenes,\u201d was the biggest takeaway, says the musician.<\/p>\n

\n\t\u201cWhen we got to episode eight, I told Sonny, \u2018If you wrote another eight episodes of these characters, I could do it faster than I did these eight since I know where I am now,\u2019\u202f\u201d Finneas says. \u201cBut that\u2019s the magic: being confused and stumbling around in the dark.\u201d\u00a0<\/p>\n

\n\tThis story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe<\/a>.<\/em><\/p>\n<\/div>\n

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In a word, the score for the long-awaited second season of Netflix\u2019s chaotic comedy-drama Beef is inescapable. From the opening moments of episode one, the music is the first thing viewers hear \u2014 the dominant sound ushering in the show\u2019s establishing shots and dialogue for the next 10 minutes of the series before it finally…<\/p>\n","protected":false},"author":1,"featured_media":730698,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2026\/05\/BEEF_n_S2_E7_00_14_09_08-H-2026.jpg?w=1296&h=730&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[5519,72639,22333,162523,74488,1377],"class_list":["post-730697","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-awards","tag-beef","tag-emmy-awards","tag-emmys-2026","tag-finneas","tag-netflix"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/730697","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=730697"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/730697\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/730698"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=730697"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=730697"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=730697"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}