"School for Good and Evil" Soundtrack Lyrics

"The School for Good and Evil (Soundtrack from the Netflix Film)" – Album Guide to Tracks and Key Scenes

Overview

What happens when a fairytale school needs a soundtrack that’s both ancient and new? The School for Good and Evil answers with “epic pop”: arrival → adaptation → rebellion → collapse, voiced by a modern orchestra spiked with medieval timbres and glossy, youth-leaning bangers. The score holds the mythic line; the songs wink at the present.

Composer Theodore Shapiro threads choir, strings, and baroque colors through big, contemporary programming. The palette feels timeless without being dusty — harpsichords and recorders alongside synth bass and drum programming. Around it, well-chosen needle-drops (Olivia Rodrigo, Billie Eilish, The Subways, 2WEI, Sam Ryder) flip scenes from earnest fantasy to pop-aware spectacle.

As an album, the 23-track set plays like a glossy fantasy feature in miniature — widescreen cues (“Family Duel & Sophie’s Dream Waltz,” “The Stymph,” “Good and Evil Orientation”), a darkly romantic center, and a pop end-credits bow with “Who Do You Think You Are.”

Genres & phases: orchestral fantasy & choral writing for myth and rules; “epic pop” hybrid for rivalry and training; pop/alt cuts for fashion, swagger, and climactic mayhem.

How It Was Made

Director Paul Feig and Shapiro set the score’s “epic pop” brief early — large orchestra and choir meeting baroque/medieval colors and modern programming. Recording spanned AIR Studios (London) and Sofia Session Studios, with mixing at Elbo Studios (Glendale). The album was released by Netflix Music on October 19, 2022, with Joseph Shirley producing the score album and an original single (“Who Do You Think You Are” by Kiana Ledé & Cautious Clay) arriving earlier in October.

Tracks & Scenes

“Family Duel & Sophie’s Dream Waltz” — Theodore Shapiro
Where it plays: Sweeping opener material and early motifs as the Storian frames destiny and Sophie dreams bigger than Gavaldon; non-diegetic score.
Why it matters: Establishes the fairy-tale grammar — elegant waltz lines over modern pulse.

“Prelude No. 1 in C Major, BWV 846” — J.S. Bach (Erica Goodman)
Where it plays: Early ball tableau under the Storian’s narration (≈00:04:00).
Why it matters: A prim, courtly reset before the schools’ chaos — classical poise as storybook frame.

“Rock & Roll Queen” — The Subways
Where it plays: Tedros crashes a public event (~00:29:00); guitars kick as bravado, not subtlety; non-diegetic.
Why it matters: Punk swagger telegraphs his capital-H Hero energy — cocky, combustible.

“Brutal” — Olivia Rodrigo
Where it plays: Morning bustle as Professor Dovey rousts the Evers and the upcoming Evers Ball is teased (~00:47:00); non-diegetic.
Why it matters: Teen snark meets fairy-tale prep — a perfect tonal gearshift.

“You Should See Me in a Crown” — Billie Eilish
Where it plays: Sophie arrives late, fully transformed, stalking the corridor toward Lady Lesso (~01:23:00).
Why it matters: Coronation by beat — the cue turns a character pivot into a runway strut.

“Toxic” — 2WEI
Where it plays: The big clash (≈01:54:00) as black magic detonates and Evers/Nevers collide; non-diegetic cover driving the melee.
Why it matters: A knowing pop classic rebuilt as battle anthem — sugar with steel teeth.

“Space Man” — Sam Ryder
Where it plays: Aftermath in Gavaldon (~02:15:00): a soft landing under reconciliations and a hug; non-diegetic.
Why it matters: A cosmic, hopeful breath before the storybook closes.

“Who Do You Think You Are” — Kiana Ledé & Cautious Clay
Where it plays: End credits (starts ≈02:17:00), followed by two additional credits cuts.
Why it matters: An original song that distills the film’s “choose your self” thesis.

Credits coda: “Here Comes Trouble” — Striking Vipers (≈02:20:00); “Ready For It” — Rayelle (≈02:23:00); and the in-world chorus “Evergirls Hymn” close the scroll.

Notes & Trivia

• The album spans 23 tracks (~73 minutes) and was issued by Netflix Music the day the film premiered.
• Recording/mixing took place at AIR Studios (London), Sofia Session Studios (Bulgaria), and Elbo Studios (Glendale).
• “Who Do You Think You Are” dropped as a single two weeks before release.
• Music supervision by Erica Weis kept the needle-drops pointed and contemporary.
• Shapiro calls the approach “epic pop” — big orchestra with pop instincts and period spice.

Music–Story Links

When Agatha and Sophie cross the gates, the score leans courtly — harpsichord figures and choral shine — but the pulse is modern, hinting they don’t fit the fairy-tale mold. Tedros’s swagger arrives as garage-rock (“Rock & Roll Queen”), establishing rivalry as a sound. Later, Sophie’s turn gets underscored by a crown-claiming beat — pop production as coronation — and the battle flips a pristine Britney hook into something weaponized. The last pages soften with “Space Man,” then the credits’ original song reframes choice as identity.

Reception & Quotes

Critics were split on the film and cool on parts of the score’s bombast; fans vibed with the playlist energy and the finale suite. According to trade reviews and soundtrack coverage, the album’s best trick is welding fairy-tale sweep to contemporary polish.

“Functional and symphonic, with modern gloss.” Variety / THR

“The muscular score can overwhelm the dialogue — by design.” The Boston Globe

“Driving percussion and soaring vocals… suspenseful, then triumphant.” ScreenRant

Interesting Facts

• Choirs galore: London Voices and a Bulgarian choir add bite to the Evil materials.
• Theme counterpoint: Good and Evil themes can collide in counterpoint during joint set-pieces.
• Timelines align: single on Oct 7; full album on Oct 19, day-and-date with the film.
• Classics cameo: Bach’s Prelude frames the storybook intro before the pop cuts arrive.
• Playlist lane: Netflix published an expanded “Music from and inspired by” playlist alongside the score album.

Technical Info

• Title: The School for Good and Evil (Soundtrack from the Netflix Film)
• Year: 2022
• Type: Film soundtrack — original score + original end-credits song
• Composer: Theodore Shapiro
• Music Supervisor: Erica Weis
• Label: Netflix Music
• Release dates: Single “Who Do You Think You Are” — Oct 7, 2022; Album — Oct 19, 2022
• Studios: AIR Studios (London); Sofia Session Studios (Sofia); Elbo Studios (Glendale)
• Notable placements (songs): “Rock & Roll Queen”; “brutal”; “you should see me in a crown”; “Toxic” (2WEI); “Space Man”; original “Who Do You Think You Are”
• Availability: Streaming (Spotify/Apple) and digital storefronts

Questions & Answers

Who composed the score?

Theodore Shapiro wrote the score, blending orchestra, choir, baroque/medieval color, and modern programming.

Is there an original song?

Yes. “Who Do You Think You Are” by Kiana Ledé & Cautious Clay plays over the end credits.

What popular songs appear in the film?

Standouts include The Subways’ “Rock & Roll Queen,” Olivia Rodrigo’s “brutal,” Billie Eilish’s “you should see me in a crown,” 2WEI’s “Toxic,” and Sam Ryder’s “Space Man.”

Where can I hear the album?

On major platforms under “The School for Good and Evil (Soundtrack from the Netflix Film)” — 23 tracks.

What’s the album’s sound?

“Epic pop” — big orchestral fantasy with pop sheen and choral muscle.

Canonical Entities & Relations

Sources: album pages and liner credits; soundtrack coverage and interviews; official playlists; “when each song plays” guides; trade reviews; trailer archive.

November, 26th 2025