What song would you go back and add to a previously existing soundtrack?

This week’s question is from reader Matthew Quinn:
Recently, while re-watching Friday Night Lights as well as listening to Julien Baker’s album, I’ve realized that the tone of her music matches the tone of the show. I think certain songs on the album would have been great on the soundtrack of Friday Night Lights if it had been released before or during the show’s run. So my question is this: What song, musician, or album released after a show or movie was released would you retroactively want to put on its soundtrack?
William Hughes
We all agree that the big lightsaber fight at the end of Star Wars: Episode I—The Phantom Menace is the best part, right? Sure, it’s a little over-choreographed, but as an expression of “three space-wizards fight each other with magical laser sticks,” it’s about as good as the franchise has ever done. In fact, the only thing that could make it better is if we changed the music, switching out John Williams’ admittedly epic “Duel Of The Fates,” for “Genesis,” the lead-off track from Justice’s Grammy-nominated debut album Cross. Because while “Fates” is great, Justice’s bombastic electronic funk sounds like it was tailor-made for improbable backflips and Ray Park’s slick staff-fighting moves. Don’t believe me? Cue them both up on YouTube, mute Star Wars, and dig into one of the best accidental EDM music videos ever shot.
Alex McCown
One of my favorite films of all time remains the big-screen adaptation of Who’s Afraid Of Virginia Woolf? The landmark play was turned into an equally searing film, with performances and direction that capture the crumbling state of a toxic relationship. I had the opportunity to see it again on Broadway a couple of years ago, and the dialogue has lost none of its electrifying power in the ensuing decades. As a result, I’ve often wondered about contemporary analogues to the film, and one thing keeps coming back to me whenever I consider spiritual successors to Edward Albee’s play: the 2002 album Control, by Seattle-based indie rock group Pedro The Lion. A concept record about a couple whose relationship slowly dissolves into infidelity and murder, it’s a brutal and harrowing emotional ride, and one that eerily echoes the themes and sentiments in Albee’s masterpiece. There are several tracks that would lend themselves perfectly to the film, not least of which the languid sad-fest opener, “Options,” and closer “Rejoice,” both of which would make for fitting music to play over the beginning and end of the film. Perhaps when another hungry young auteur takes a crack at creating a contemporary cinematic vision of the story, they can turn to the group’s raw and downbeat classic for inspiration.