Unsurprisingly, the holidays are a particularly busy time in the realm of film trailers. For its brief window of opportunity before Omicron begins to dig into box office profits, Spiderman: No Way Home has returned blockbuster revenue to heights not seen since 2019. It’s a somewhat surprising affirmation of the theatrical release: for all the hand-wringing about balancing exclusivity between premium-tier streaming platforms (such as Disney Plus Premier Access) and other alternate methods of windowing, it does appear that—variants be damned—people have also just wanted to go to the movies. That being said, streaming television series with high production values are also clearly here to stay. Here are a few that caught our eye—and ear.

Everything Everywhere All at Once looks both admirably understated in its ostensible theme and wildly ambitious in its execution. The film stars Michelle Yeoh (Tomorrow Never Dies; Crouching Tiger, Hidden Dragon) and is co-written by Daniel Kwan and Daniel Scheinert (known simply as “Daniels”, and perhaps best recognized for 2016’s Swiss Army Man). A thematic mix of underpromising in its setting and premise and overdelivering in its execution and exploration is at least partly a key to its positive reception thus far. Specifically, the way the audio is edited in this trailer lends much to this overall impression.

While we do try to cover most every major trailer release week by week as they premiere, there will always be a few that escape notice. As we approach the holidays, here are a few write-ups about music and sound in trailer releases worth catching up on or looking forward to.

Starring the ageless Halle Berry, Patrick Wilson, and John Bradley, Moonfall’s concept is decidedly different, as far as disaster movies go: as one might guess from the title, the moon has been knocked out of orbit, and is now on a crash course with Earth. The how and why of it, however, remains an intriguing mystery that promises to lend the film a bit of depth.

We last covered Morbius in January 2020; while it’s perhaps obvious why there was a delay of nearly two years, the wait is almost over. Whereas in a previous trailer the musical conceit was a play on Beethoven’s über-popular “Für Elise”, this time we get a trailerized cover version of The Doors’ “People Are Strange” (1967, from Strange Days). The lyrics are on point—“people are strange, when you’re a stranger”—and while there’s an element of obviousness to it, it’s clever enough of a turn on the meaning of the original tune, and the vocals are partly obscured by orchestral atmospherics anyway.

While we have seen biopics covering the lives of famed musicians, politicians, athletes, and so on, relatively rarely do we see the ambition and hard work of those around the stars. King Richard, promisingly, seeks to challenge the trend, focusing on the life of famed tennis stars Venus and Serena Williams’ father—Richard.

Pixar’s next foray in essence imagines the movie that Andy, the boy from Toy Story (1995), may have seen to inspire him to want a Buzz Lightyear toy in the first place. It’s a clever way to expand and extend the Toy Story franchise, not unlike what films such as Solo have done for Star Wars; the interest is unapologetically steeped in nostalgia, while also being used as a base for something new.

Aaron Sorkin’s latest covers some of the inside story behind the classic sitcom I Love Lucy. It presents a short and tumultuous period around September 1952, offering a behind-the-scenes view regarding Lucille Ball and Desi Arnaz’ relationship, both as business partners as well as in marriage. Their daughter, Lucie Arnaz, had extensive input on both script and casting.

Directed by Peter Jackson (best known for the Lord of the Rings trilogy, among others), The Beatles: Get Back is not unlike Ahmir “Questlove” Thompson’s Summer of Soul, in the sense that it takes forgotten or otherwise never-before-released footage from 1969 and offers nothing short of a deep and intimate look at its musical subject matter. In this case, obviously, it’s the Beatles—and not just that, but with a focus on a pivotal 21 days in January 1969, in the midst of the sessions that would become the albums Abbey Road and Let It Be.

The return of The Matrix was always going to be a much-vaunted event, not least due to Keanu Reeves’ upward trajectory since (see: John Wick, from which Reeves retains the hair). The eighteen years since the last instalment has seen an immense increase in the amount of time with which we live our lives and depend on digital spaces. Moreover, the series and those around it has been a cultural touchstone, for better or worse: since the original trilogy, the Wachowskis have specifically said “the Matrix is a ‘trans metaphor’”; meanwhile, the term “take the red pill” has been co-opted as a dog whistle by the alt-right.

The recent surge of film adaptations of musicals—such as In the Heights or the upcoming reimagining of West Side Story—continues unabated with Dear Evan Hansen. Having premiered on stage in 2015, the coming-of-age story won six Tony Awards; the plot follows Hansen, a teenager suffering from social anxiety and seeing a therapist, who writes letters to himself as a part of healing. Original writer Steven Levenson returns for the adaptation, while Stephen Chbosky directs.

Directed by Michael Showalter (The Big Sick), The Eyes of Tammy Faye is a dramatization of the larger-than-life televangelist Tammy Faye Bakker. The trailer has a two-part structure, mirroring to some extent Tammy Faye’s life trajectory from initial success to more complicated times.

The more things change, the more they stay the same: Finding comfort in the familiar and mundane is no doubt a pillar of Netflix’s viewing and retention strategy, and just as it held on to The Office and Friends for as long as it could, it knows it has a tried and true hit on deck in Seinfeld.

The film Spencer is directed by Pablo Larraín and with an original score by Radiohead’s Jonny Greenwood (who is no stranger to film scores at this point), although this teaser trailer’s music was likely handled by others. The teaser for Spencer—and of course, the film itself—recounts Princess Diana’s latter days, arriving right around the anniversary of her passing on August 31st 1997.

One can always count on studio A24 to deliver films of a particularly artistic bent, and this is doubly true for their latest, Lamb. Accordingly, the trailer for this Valdimar Jóhannsson-directed, Icelandic supernatural thriller presents more than a couple of twists in its musical direction.

While original Ghostbuster actor Harold Ramis (who played Egon Spengler) passed away in 2014, he nevertheless appears to play a big role in this latest instalment of the franchise. In keeping with this new turn in the plot, with kids in command, Afterlife sounds remarkably different from the get-go in this new trailer, at least appearing to diverge somewhat from its comedic roots.

Best known as an actor for her role in the remake of A Star is Born, Stefani Germanotta (a.k.a. Lady Gaga) is set to strike filmic gold again with House of Gucci. Based on the novel by Sara Gay Foden, House of Gucci recounts the dramatic story of the titular Italian fashion house. As might be expected, especially for Lady Gaga’s musical pedigree, the way Blondie’s hit single “Heart of Glass” (from the 1978 album “Parallel Lines”) is edited to the trailer is a significant factor for its success. As one YouTube commenter said, “whoever edited this trailer with the music and specific scenes… got me into watching a film about Gucci.”

The latest from J. J. Abrams is a four-part docu-series premiering on Showtime, focusing on a fairly perennial topic in American media: Our fascination with whether or not the power of government, corporations, and the military have colluded to shield evidence of extraterrestrial phenomena from the public eye. Though the trailer never directly references the X-Files, the show is one of the tangible influences underlying this preview (and probably the series UFO as well).