Phoebe Bridgers has quietly expanded her creative footprint: she appears in the new A24 film Primetime and has contributed an original song to its soundtrack, a move that bridges her music career with a growing presence on screen. The film, directed by Lance Oppenheim and centered on the controversy around the TV series To Catch a Predator, opened in theaters on September 25.
Robert Pattinson takes the role of journalist Chris Hansen in the drama, which casts Bridgers alongside actors including Merritt Wever and Skyler Gisondo. Bridgers’ part marks her first credited acting role within a film’s ensemble, though she previously appeared briefly as herself in Jane Schoenbrun’s I Saw the TV Glow.
More than a cameo: Bridgers wrote and recorded a new track titled “On Video” specifically for the movie. The song—shaped in part by composer Ari Balouzian’s score—serves as the film’s end-credits theme and underscores the movie’s tonal mix of true-crime spectacle and cultural critique.
The collaboration matters because it ties a contemporary indie musician’s voice directly to a film interrogating media ethics and public spectacle. For fans, the track also offers an immediate crossover: those who follow Bridgers’ music now have a filmic anchor to her latest work; viewers who discover the film may encounter her music for the first time.
- Film: Primetime (A24), directed by Lance Oppenheim
- Subject: The real-world aftermath and cultural impact of To Catch a Predator
- Key cast: Robert Pattinson, Phoebe Bridgers, Merritt Wever, Skyler Gisondo
- Song: “On Video” — original end-credits theme by Phoebe Bridgers
- Composer influence: Ari Balouzian’s score informed Bridgers’ contribution
- Music context: Bridgers recently released her third solo album, Lost Weekend, and is currently touring
Where this fits in Bridgers’ year
Bridgers’ new film role and soundtrack contribution arrive amid the rollout for her third solo album, Lost Weekend, her first LP since 2020’s Punisher. The record’s release and the accompanying headline tour have already kept her in the public eye, and she has occasionally used tour stops to surprise audiences: at a Brooklyn show that coincided with the film’s release, Bridgers reunited briefly with Lucy Dacus and Julien Baker for a surprise Boygenius mini-set, performing “Not Strong Enough” and “Cool About It.”
That moment hinted at the broader cultural ripple Bridgers now navigates—an artist balancing new music, live performance, and a visible role in a topical film. For industry observers, it suggests the increasing tendency for musicians to shape a project’s soundtrack as an extension of their artistic identity.
What to expect
If you’re heading to see Primetime, listen for “On Video” during the credits; the song was written to complement the film’s score rather than to stand apart as a conventional single. Fans of Bridgers’ songwriting should find familiar tonal registers—intimate vocals, a spare melodic sense—applied to the film’s darker subject matter.
For listeners who haven’t followed Bridgers’ recent output, the film provides a direct entry point: the track ties into her current touring cycle and the themes explored on Lost Weekend, offering a compact way to sample her latest work.
Ultimately, Bridgers’ presence in Primetime is notable less as a celebrity cameo and more as a cross-disciplinary creative choice—one that aligns a modern indie artist with a film interrogating the ethics of televised entrapment and the appetite for scandal that fuels such programming.
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Hello, I’m Atlas. I explore the latest musical releases for you and guide you to your next sonic favorites.