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Published Nov 13, 2026, 9:01 AM EST
Lloyd 'Happy Trails' Farley: the man, the myth, the legend. What can be said about this amazing - and humble - man that hasn't been said before? Or, more accurately, what can be said in public? Born in Calgary, Alberta, Canada, Lloyd is a master of puns and a humorist, who has authored one pun book to date - Pun and Grimeish Mint - and is working on a second. His time with Collider has allowed Lloyd's passion for writing to explode, with nearly 1,000 articles to his name that have been published on the site, with his favorite articles being the ones that allow for his sense of humor to shine. Lloyd also holds fast to the belief that all of life's problems can be answered by The Simpsons, Star Wars, and/or The Lion King. You can read more about Lloyd on his website, or follow his Facebook page and join the Llama Llegion. Happy trails!
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There's something magical that happens when the theme song for a TV series fits perfectly. The Rembrandt's "I'll Be There For You" is intrinsically linked to Friends, with its upbeat ode to close friendships. The theme to The Brady Bunch sums up the premise of the show in a catchy, never-leave-your-head tune. Nerf Herder's theme for Buffy the Vampire Slayer marries modern rock with gothic horror, an ideal match for a show that does much the same.
But there's a whole wealth of classic rock songs that would do the same thing, yet they remain unused. The CSI franchise famously used songs from The Who, the 1987-1990 military drama Tour of Duty used the Rolling Stones classic "Paint It, Black," and that's pretty much where it ends. It's a shame, and to prove it, here are 10 classic rock songs that simply belong in certain TV shows, where they are a much better fit than what they have already.
10 "Fight the Good Fight" by Triumph for 'The Good Fight'
The 2017-2022 legal drama The Good Fight saw Diane Lockhart (Christine Baranski) and her goddaughter Maia (Rose Leslie) forced out of their legal firm one year after the events of The Good Wife, due to a financial scam that ruins the reputation of the latter while draining the savings of the former. They are starting again from scratch, joining a law firm that has made a name for itself by tackling police brutality cases. As the series progresses, storylines see them taking on such issues as the MeToo movement, online harassment, and the alt-right. They are, legitimately, "fighting the good fight," and there is no better way to stress that from the start than with Triumph's 1981 hit "Fight the Good Fight," a song about resilience and persistence in the face of life's difficulties. Thematically and nominally, it works.
9 "Jailbreak" by AC/DC for 'Prison Break'
Prison Break is about a man trying to escape prison. AC/DC's "Jailbreak" is about a man trying to escape prison. How no one saw to bring the two together is just shy of incomprehensible. In fairness, Prison Break's Lincoln Burrows (Dominic Purcell) is on death row for a crime he didn't commit, while Bon Scott's friend most certainly did commit a crime, murdering a man who was messing with his bae. And while both did escape, Lincoln did so successfully, with the show becoming less Prison Break-y and more big government conspiracy, while Bon's poor friend got a bullet in the back, just as he thought he was free. Just stick with the stuff in between, and you're gold.
8 "California Girls" by David Lee Roth for 'Baywatch'
Full confession: the opening theme song to Baywatch, "I'm Always Here" by Jimi Jamison, is already a pretty good 90s rocker, with lyrics ("I'll be ready... I won't let you out of my sight") that fit perfectly with the premise of ever-vigilant lifeguards on Malibu Beach. But the ending theme, "Current of Love" by David Hasselhoff? Um, no. So, for the upcoming reboot, we here at Collider have a suggestion. Keep "I'm Always Here" — you don't mess with what works — and ditch the Hoff mess. In its place, use the Beach Boys classic "California Girls." Not their version, mind you, but David Lee Roth's 1984 cover. Let's face it: we all know why Baywatch was so popular, and it wasn't for its riveting storylines. So surrender to the fact that at least half of the audience is in it for women — California girls — in red bikinis, running in slow motion across the beach, and own it by using Roth's cover over the end credits, with its lascivious edge more in tune than the Beach Boys' rather innocent original.
7 "She Drives Me Crazy" by the Fine Young Cannibals for 'I Love Lucy'
I Love Lucy stands as one of television's greatest, most iconic sitcoms, coming in at No. 2 on Collider's list of the 10 Best Shows in Network TV History. It centered around Lucy Ricardo (Lucille Ball), a middle-class homemaker in New York, and her husband Ricky (Desi Arnaz), the head bandleader at the Tropicana nightclub. The series took full advantage of Ball's uncanny comedic talent, with the plans she makes to be a part of show business always falling apart in spectacular fashion. She drove Ricky crazy, but he loved her all the same. If only there was a song that spoke to such a situation (that isn't "Weird Al" Yankovic's "Ricky"). Oh wait, there is: 1988's "She Drives Me Crazy" by Fine Young Cannibals. Of course, the 31 years between the premiere of I Love Lucy and the release of the song would have made such a connection difficult. But the song's description of a man trapped in a dichotomous dilemma of being driven nuts by his partner, yet unable to walk away because his love for her is all-consuming, is tailor-made for the series.
6 "Through the Fire and the Flames" by DragonForce for 'Game of Thrones'
How does a 2006 speed/power metal anthem fit in with the renowned fantasy drama Game of Thrones? Far, far better than you might expect. The epic feel of the seven-minute-long "Through the Fire and the Flames" by DragonForce matches the epic scope of the series, for one. Both hinge on themes of war and survival, with the song telling the tale of warriors riding out on a cold winter's morning, facing death and enduring pain as they fight through the land, closely mirroring the trials that befall those in Westeros. At a rapid-fire 200 BPM, the song stirs up adrenaline just as the show's big battle sequences do. And last but not least, there's a literal fit as well, with the House Targaryen words of "Fire and Blood," and Daenerys Targaryen (Emilia Clarke) rising from the actual fire and flame of the funeral pyre, an easy connection with the title of DragonForce's biggest hit.
5 "Got the Time" by Anthrax for '24'
A speed metal song for a show like Game of Thrones still might be a push, but for a show like 24, where urgency is a key part of the premise, it works like a hot damn, and Anthrax has just the one: "Got the Time." The cover of Joe Jackson's 1979 song is on Anthrax's 1990 album Persistence of Time, a title that suits the premise of the series accurately. That premise sees counter-terrorist federal agent Jack Bauer (Kiefer Sutherland) race against a real-time clock, 24 hours, to stop terrorist plots. 9, in fact, one for each season. The idea that time is working against you, trapping you in a mad, desperate rush, is a motif shared by both "Got the Time" and 24, and that thrash metal pacing is a reflection of the adrenalin-soaked, chaotic pace of Bauer's unenviable task.
4 "Who Are You" by The Who for 'Doctor Who'
Sure, it's already been used as the CSI: Crime Scene Investigation theme song, and there isn't really a strong argument that can be made for its inclusion, but we maintain that "Who Are You" by The Who should be in the long-running sci-fi series Doctor Who. There's just something absolutely delicious about the three-peat of the word "who" that generates the feeling of a missed opportunity. Plus, it would open the door for an Abbott and Costello-like moment:
"Who are you?"
"Yes."
"What?"
"No, Who."
"Who?"
"Yes, that's right. Doctor Who."
"How would I know?"
Now if only there was a way to bring in Cindy-Lou Who and the Whos down in Who-ville...
3 "Psycho Killer" by the Talking Heads for 'Dexter'
Like "Jailbreak"/Prison Break above, using the Talking Head's 1977 track for the 2006-2013 (and on) Showtime series Dexter seems like a no-brainer, yet it didn't happen. The series centers on Dexter Morgan (Michael C. Hall), a forensic technician for the Miami Metro Police Department by day, a vigilante serial killer by night, while the song's lyrics reflect the thoughts of a killer's mind... and it isn't unreasonable to associate the killer of Psycho Killer with Dexter Morgan. The steady rhythm is like Dexter's ritualistic daily habits, unchanging, while the layering of its, no pun intended, killer bassline and flashes of frenetic guitar give an emotional depiction of Dexter's inner conflict. The lyrics, meanwhile, coupled with David Byrne's staccato delivery of them, give voice to the killer's inner monologue, much like Dexter's "Dark Passenger," and to the disconnection from human emotion. Sigh... they should have at least taken a stab at it. Apologies for the sharp wit.
2 "Working for the Weekend" by Loverboy for 'The Office'
Michael Scott (Steve Carell) may have loved being at work, but the rest of the staff at the Scranton branch of Dunder Mifflin simply want to get through their workweek, escape unscathed from Michael's inanity, and start the weekend. That's why Loverboy's "Working for the Weekend" makes a perfect match for The Office. The series works as a brilliant satire of the 9-to-5 office job, targeting everyday routines, pointless bureaucracy (the assistant to the regional manager role being one), incompetent management, and coping with its soul-crushing monotony. A song like "Working for the Weekend" not only speaks to the average employee's mindset, but its high-energy would be a funny, ironic contrast to that mundane office work environment The Office so cleverly skewers.
1 "Spooky" by Classics IV for 'Wednesday'
We could get into how the eerie whistling and haunting saxophone of "Spooky" by Classics IV matches the dark, gothic atmosphere of Netflix's Wednesday. We could discuss how the vibe of the retro soul/soft rock tune, with its traces of psychedelia, fits in nicely with the music that already populates the series. But ultimately, the reason why "Spooky" belongs in Wednesday comes down to one single line:
"Love is kinda crazy with a spooky little girl like you."
And no one's spookier than Jenna Ortega's Wednesday Addams.
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