Despite its '80s setting, there are relatively few nostalgic pop songs in Wonder Woman 1984 sprinkled amid Hans Zimmer's score. That said, there are certainly still some iconic tunes in the movie to accompany the eighties production design and marketing campaign. It may not do for its chosen decade what Guardians of the Galaxy did for the '70s, and there is certainly a lack of needle-drop moments, but Wonder Woman 1984 does still feature a few classic hits.
After saving the world during World War I, Diana appears to have spent the interim decades split between performing acts of heroism and sorrowfully reminiscing on her lost love, Steve Trevor. In 1984, while working at the Smithsonian Institute in Washington DC, she and her colleague, Barbara Minerva. encounter a wish-granting artifact called the Dreamstone. After her granted wish brings back Steve, Diana realizes that the Dreamstone is not all it seem, and that she must save the world once again before it's consumed by the greed of oil tycoon Max Lord.
But though some fans speculated this new DCEU film would indulge in the sounds of the era with a slew of synth pop songs from the decade, the movie makes more frequent use of Hans Zimmer's orchestral music to underscore its powerful moments. Still, here are the tracks that made it into the film:
- "Welcome to the Pleasuredome" - Frankie Goes to Hollywood
- "M.E." - Gary Numan
- "Voi Che Sapete" - Wolfgang Amadeus Mozart
- "Adagio in D Minor" - John Murphy
- "I Won't Leave You" - Clinton Shorter
- "Cars" - Gary Numan
- "Rio" - Duran Duran
Warning: SPOILERS ahead for Wonder Woman 1984.
The first song that plays in what is becoming the highest-grossing film of the pandemic is "Welcome to the Pleasuredome." This track plays as Diana enters the Smithsonian gala, and continues while Barbra and Max Lord talk shop as the latter tries to access the Dreamstone. Later in the gala comes "M.E.," playing faintly in the background later during the gala as Diana is pestered by a colleague bragging about his access to the White House while she searches for Barbara and Lord (and just before she encounters Steve Trevor).
"Voi Che Sapete" by Wolfgang Amadeus Mozart plays as Diana takes Steve through D.C. and catches him up on all he's missed over the years, and while it originates in the 1700s, it is in fact a 1780s track. After a long stretch of the second act scored by Zimmer's themes, "Adagio in D Minor," originally composed for the 2007 Danny Boyle film Sunshine, finds its way into this among many other projects. Here, it appears in two forms (the orchestral mix and the regular track) as Diana makes the painful decision to renounce her wish and leave Steve in the past, and soon thereafter as she learns to fly.
Finally, "I Won't Leave You" plays during the penultimate scene as Diana walks through a snowy marketplace where she finds the man whose body had been inhabited by Steve Trevor's spirit for much of the film. "Cars" and "Rio" play over the credits; it wouldn't be much of an eighties-themed soundtrack without Duran Duran.
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