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Hurry Up Tomorrow: The Weeknd Album, Movie, Song, and Ending Explained

Hurry Up Tomorrow is The Weeknd’s 2025 album, companion psychological thriller, and title track. Here is how the versions, trilogy, themes, ending, and final-project claims fit together.
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Hurry Up Tomorrow is both The Weeknd’s sixth studio album and a companion 2025 psychological-thriller film—not one conventional soundtrack release. The album arrived on January 31, 2025; the film followed in U.S. theaters on May 16, 2025. The title also belongs to the album’s closing song and, more broadly, to a multimedia project built around fame, insomnia, addiction, mortality, performance, and the possible end of The Weeknd persona.

The album is officially framed as the final chapter of the loose trilogy that began with After Hours and continued with Dawn FM. Tesfaye has also described it as probably his last hurrah as The Weeknd, but that is not the same as a confirmed permanent retirement from the name or from music.

Quick answer: Listen to the 22-track album first if you want the project’s central ideas and musical vocabulary. Watch the film afterward if you enjoy surreal, psychologically fragmented cinema and do not require every symbol to have one literal explanation. The film is a fictionalized psychological thriller inspired partly by Tesfaye’s real-life voice-loss incident, not a documentary, a literal biopic, or simply a feature-length music video.

What is Hurry Up Tomorrow?

The name refers to four connected but distinct things:

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Use What it is Date or status
Hurry Up Tomorrow (album) The Weeknd’s sixth studio album, released through XO and Republic Records January 31, 2025
Hurry Up Tomorrow (film) A psychological thriller directed by Trey Edward Shults and starring Abel Tesfaye, Jenna Ortega, and Barry Keoghan U.S. theatrical release: May 16, 2025
“Hurry Up Tomorrow” (song) The title track and final song on the standard digital album Track 22
The multimedia project The album, film, music videos, performances, physical editions, and related visual concepts considered together Released project

The album and movie share characters, ideas, imagery, and music, but they are not interchangeable. Lionsgate and Universal describe the movie as inspired by the album and featuring Weeknd music. It has its own narrative, screenplay, performances, and Daniel Lopatin-associated score; the album should therefore not be casually labeled the film’s official soundtrack. Universal’s album announcement is a useful primary-source explanation of the connection.

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The album at a glance

Artist The Weeknd, also known as Abel Tesfaye
Album number Sixth studio album
Label XO / Republic Records
Standard digital edition 22 tracks, listed by Apple Music at 1 hour 24 minutes
Trilogy position Third chapter after After Hours and Dawn FM
Major collaborators Justice, Anitta, Playboi Carti, Travis Scott, Future, and Lana Del Rey
Major chart result No. 1 in the United States, Canada, and the United Kingdom

The standard album is a large, cinematic record rather than a narrowly defined R&B project. It combines synth-pop and new wave, contemporary R&B, electronic production, gospel and choral textures, Brazilian funk, rap features, spoken or skit-like passages, and oversized ballads. That variety is part of its appeal—and also explains why some reviews found the 22-song, 84-minute structure excessive.

Apple Music presents the album as a narrative about the destructive power of fame. Critics have similarly focused on its scale, transitions, and recurring connection to Tesfaye’s physical and psychological exhaustion. Apple Music’s album listing provides the standard sequence, duration, and catalog information.

The release history: why some pages say January 24

  1. May 8, 2023: Tesfaye said the project he was working on was probably his last “as The Weeknd.” The statement was about the persona and artistic era, not a formal announcement that he would never make music again. W Magazine’s interview records the original wording and context.
  2. September 7, 2024: The album title and cover were unveiled around Tesfaye’s São Paulo concert.
  3. January 24, 2025: This was the originally announced album date. A Rose Bowl concert was also planned for that day.
  4. January 13–14, 2025: The album was postponed and the Rose Bowl event canceled in response to the Los Angeles wildfires.
  5. January 31, 2025: The standard album was released through XO and Republic.
  6. February 11, 2025: Apple Music lists a separate 27-track “Video Album” edition.
  7. May 16, 2025: The companion film opened theatrically in the United States.

That postponement is why pre-release articles often retain January 24 while current album metadata gives January 31 as the actual standard release date. The delay and canceled concert are documented in Universal Music’s release announcement.

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Full 22-track standard album tracklist

  1. “Wake Me Up”
  2. “Cry For Me”
  3. “I Can’t Fucking Sing”
  4. “São Paulo”
  5. “Until We’re Skin & Bones”
  6. “Baptized in Fear”
  7. “Open Hearts”
  8. “Opening Night”
  9. “Reflections Laughing”
  10. “Enjoy the Show”
  11. “Given Up on Me”
  12. “I Can’t Wait to Get There”
  13. “Timeless”
  14. “Niagara Falls”
  15. “Take Me Back to LA”
  16. “Big Sleep”
  17. “Give Me Mercy”
  18. “Drive”
  19. “The Abyss”
  20. “Red Terror”
  21. “Without a Warning”
  22. “Hurry Up Tomorrow”

Important practical detail: this is the standard streaming sequence, not a universal sequence for every edition.

Why do some versions have 22, 27, 9, or 11 tracks?

Different numbers generally indicate different catalog entries or formats, not necessarily an unauthorized copy:

  • 22 tracks: the standard digital album, listed at 1 hour 24 minutes.
  • 27 tracks: a separate Apple Music “Video Album” listing, dated February 11, 2025, and listed at 1 hour 45 minutes. It should not be presented as the standard 27-track album.
  • 9 tracks: Apple Music also exposes a separate 38-minute entry dated January 31, 2025. The accessible catalog metadata does not clearly explain its relationship to the main release, so it is best treated as a market or catalog-version anomaly unless verified directly in the reader’s country.
  • 11 tracks: the official vinyl-credit page presents a substantially different physical sequence.

The vinyl sequence is:

  • Side A: “Without a Warning,” “Cry For Me,” “São Paulo,” “Society,” “Take Me Back To LA”
  • Side B: “The Abyss,” “Open Hearts,” “Timeless,” “Give Me Mercy,” “Runaway,” “Red Terror”

It includes “Society” and “Runaway,” while omitting many of the digital album’s songs and interludes. For exact songwriting, production, mixing, mastering, sample, and recording information, use The Weeknd’s official credits page rather than assuming that streaming and physical credits are identical.

Who appears on the album?

The most prominent guest appearances are:

  • Justice on “Wake Me Up”;
  • Anitta on “São Paulo”;
  • Playboi Carti on “Timeless”;
  • Travis Scott on “Reflections Laughing”;
  • Future on “Enjoy the Show” and “Given Up on Me”;
  • Lana Del Rey on “The Abyss.”

The production is similarly extensive, with major contributions from Mike Dean, Max Martin, Oscar Holter, Metro Boomin, Pharrell Williams, Cirkut, Oneohtrix Point Never, Ilya, DaHeala, Teddy Fantum, and others. The complete official credit list is the best source for distinguishing producers from songwriters, vocal guests, mixers, and sample-related credits.

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What does the album mean?

Hurry Up Tomorrow is preoccupied with the cost of sustaining a public identity. Its narrator is surrounded by adoration yet repeatedly sounds isolated, physically depleted, spiritually uncertain, and unable to escape the habits that helped create the persona’s power.

The central themes include:

  • The physical cost of performance: Singing is treated as labor that can fail the body. The fear of losing the voice becomes a fear of losing the self that the audience came to see.
  • Insomnia and disorientation: The album’s title suggests a desperate desire to reach the next day, while its sequencing often feels suspended between waking life, memory, hallucination, and dream.
  • Addiction and self-destruction: Drugs, compulsive behavior, sex, fame, and emotional avoidance appear less as glamorous accessories than as mechanisms of entrapment.
  • Fame as a trap: Public love does not necessarily produce private safety. The audience wants the performance to continue even when the person performing is collapsing.
  • Abel versus The Weeknd: The record repeatedly tests whether Tesfaye can separate the man from the character, and whether killing the character would amount to freedom, death, or both.
  • Faith and forgiveness: Religious language, guilt, mercy, mortality, and the wish for release give the closing stretch a spiritual dimension.
  • Rebirth: The project does not simply celebrate the end of an era. It asks whether a new artistic identity can exist after the old one is stripped away.

The connection to the September 2022 SoFi Stadium incident is documented context: Tesfaye lost his voice shortly after beginning a Los Angeles performance and left the stage. That event became a creative reference point for the album and film. It is reasonable to read the project through that experience, but it would be too strong to claim that every song maps directly onto a confirmed event in his biography. Pitchfork’s album analysis discusses the voice-loss incident and the record’s larger fame narrative.

“Hurry Up Tomorrow”: the closing song

As track 22, “Hurry Up Tomorrow” functions like the album’s apparent emotional resolution. Its expansive, ballad-like scale contrasts with the more fractured and aggressive material that precedes it. The song turns toward mortality, faith, exhaustion, and release: the narrator wants an ending, but also seems to be asking for enough time to change.

The song’s position matters. After an album filled with performance anxiety, destructive impulses, and uncertainty about identity, the title track sounds less like a victory lap than a plea for transformation. It can be heard as a request to survive the night, to outlive the persona, or to reach a future in which the performer no longer has to be consumed by the performance.

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Pitchfork reported that the song interpolates “In Heaven (Lady in the Radiator Song)” from David Lynch’s Eraserhead. Do not turn that into a claim that Lynch co-wrote the Weeknd song: an earlier version of the coverage contained an incorrect songwriting attribution, which was corrected. The often-repeated claim that the album title comes from a song by the Nu’rons is also not explained in the accessible official album credits, so it should be treated as an unverified or separately sourced title-origin claim rather than established fact.

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What is the film about?

The film follows a musician named Abel who is suffering from insomnia and is pulled into an increasingly dangerous odyssey with Anima, an intensely devoted stranger. As the night develops, she begins to unravel the foundations of his identity, his relationships, and his dependence on the public image known as The Weeknd.

It is a psychological thriller with musical and surrealist elements, not a conventional biographical film. The character is called Abel and is played by Tesfaye, but the story should not be read as a literal account of the singer’s life.

Film detail Verified information
Director Trey Edward Shults
Writers Trey Edward Shults, Abel Tesfaye, and Reza Fahim
Distributor Lionsgate
Main cast Abel Tesfaye as Abel, Jenna Ortega as Anima, Barry Keoghan as Lee, and Paul L. Davis as Lavi
U.S. release May 16, 2025
Rating R for language throughout, drug use, bloody violence, and brief nudity
Genre Psychological thriller / thriller

The official synopsis describes an insomniac musician being drawn into an odyssey with a stranger who begins to unravel the core of his existence. See Lionsgate’s official film page for the studio’s synopsis, cast, credits, and retailer links.

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How the film was made—and why it is so symbolic

Shults has said the project began with Tesfaye wanting to explore one of the most vulnerable periods of his life: losing his voice before a massive audience. Rather than make a backstage drama or straightforward music-industry biography, the filmmakers built a psychological story around the emotional consequences of that moment.

The film draws on dream logic and psychological symbolism, with Shults discussing Jungian ideas and influences including Ingmar Bergman’s Persona. That background helps explain the film’s unstable boundaries between stage and private life, performer and person, memory and nightmare. It also explains why a literal plot summary cannot fully resolve what the images mean.

Shults’s creator-supported framework is useful but not an instruction manual for every scene:

  • Abel represents the self or vulnerable individual.
  • The Weeknd represents the public persona.
  • Lee can be read through the id/ego conflict and the machinery surrounding a star.
  • Anima represents a deeper, more emotionally exposed side of Abel.

Those descriptions support a way of reading the characters; they do not establish that every character is literally an independent psychological alter or that every image has one fixed answer. Shults has resisted reducing the film’s symbolism to a single definitive explanation. His discussion of the project appears in DiscussingFilm’s interview.

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Is the movie a biopic, music video, or soundtrack film?

It is none of those descriptions on its own.

  • Not a literal biopic: It uses Tesfaye’s name, music, and public history as raw material, but the plot is fictionalized.
  • Not simply a feature-length music video: It has a screenplay, characters, conflict, and a psychological framework separate from any one song.
  • Not just the album’s official soundtrack: The album and the film share music and concepts, but the film also has its own score and narrative sound design.
  • Best description: a fictionalized psychological thriller functioning as a companion piece to a conceptually linked album.

That distinction matters because expectations determine much of the viewing experience. Someone looking for a conventional thriller may find the movie under-explained, while someone approaching it as a visual extension of The Weeknd’s mythology may find the ambiguity purposeful.

Hurry Up Tomorrow ending explained: spoilers

Stop here if you want to watch the film unspoiled.

What happens literally?

  1. Abel prepares for and performs at a concert while dealing with insomnia, depression, a breakup, drug use, and pressure from Lee.
  2. He loses his voice onstage, turning the real-world incident that inspired the project into the film’s immediate crisis.
  3. Afterward, he meets Anima, a devoted fan, and spends time with her away from the concert.
  4. Anima’s devotion becomes controlling and violent rather than comforting.
  5. Abel enters a surreal nightmare involving tunnels, a younger version of himself, fire, and disorientation.
  6. Anima forces him to confront the emotional meaning of his songs and the destructive behavior he has been using to avoid himself.
  7. Lee arrives, and the confrontation becomes deadly.
  8. Abel is restrained, covered with gasoline, and forced to speak honestly.
  9. He sings “Hurry Up Tomorrow.”
  10. The hotel room burns. Abel emerges into a space that leads back toward the stage.

What does the ending suggest?

The final movement is deliberately double-edged. On the literal level, Abel survives the burning room and returns toward performance. On the symbolic level, the stage can mean that the cycle has restarted: the private crisis has not permanently freed him from the public persona. Alternatively, the return can be read as a rebirth, with Abel moving toward the stage after confronting the identity that was consuming him.

The fire therefore need not be treated as a simple death scene. It can signify the destruction of an old self, the destruction of The Weeknd persona, or the failure of that persona to die because the audience still demands it. The film leaves those possibilities in tension rather than confirming one as canon.

What do Anima and Lee represent?

The most supported interpretation is that Anima and Lee externalize conflicting elements of Abel’s identity. Anima’s fixation forces emotional exposure; Lee is tied to pressure, control, and the mechanisms that keep the star functioning. Through that lens, the final confrontation is not only a physical struggle between three people. It is also a struggle among the vulnerable self, the public character, and the forces that sustain the character.

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There are broader fan theories that the entire film is a dream, hallucination, afterlife, or symbolic purgatory. Those readings may fit the film’s imagery, but they are not confirmed explanations. The safest distinction is:

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  • Shown by the film: Abel loses his voice, meets Anima, experiences violent and surreal events, sings the title track, survives the burning room, and approaches the stage again.
  • Supported by Shults’s discussion: the characters can be understood through self/persona and Jungian psychological ideas.
  • Interpretive or fan theory: the exact status of the world, the literal identity of every figure, and whether Abel has died or entered an afterlife.

Should you listen to the album before watching?

Yes, if your goal is to understand the project as a whole. The album establishes the recurring vocabulary of voice loss, fame, insomnia, addiction, guilt, and persona death. The film then turns some of those concerns into characters, threats, and visual motifs.

You do not need to hear the album first to follow the film’s basic events, but familiarity makes the film’s self-reference and emotional stakes easier to recognize. The movie is more likely to work for viewers who:

  • already know The Weeknd’s music and visual mythology;
  • enjoy surreal, nonlinear, psychologically fragmented films;
  • are interested in stories about artists and constructed identities;
  • are comfortable with unresolved symbolism;
  • want a visual companion rather than a conventional thriller.

It is less likely to satisfy viewers seeking a literal biopic, a clearly explained mystery, a traditional Jenna Ortega or Barry Keoghan vehicle, or a film that stands entirely apart from The Weeknd’s persona.

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Reception: the album did better with critics than the film

Album reception

The album received a generally favorable critical response. Metacritic lists 75 out of 100 from 11 critic reviews. The common trade-off is clear: reviewers praised the ambitious production, cinematic transitions, sonic variety, and thematic focus, while criticizing the length, repetition, and occasional feeling that the record explains its ideas too directly.

That makes the album’s central strength and weakness the same thing. Its 22-track scale allows Tesfaye to build an entire psychological world, but the record’s ambition can also feel self-conscious and overextended.

Film reviews and audience response

As of August 10, 2026, Rotten Tomatoes listed a 14% Tomatometer score and a 60% audience score. Those figures are snapshots and can change. The gap suggests that committed Weeknd fans have responded more warmly than many general critics, especially viewers willing to treat the film as part of an ongoing artistic mythology rather than as a self-contained thriller. Check the live Rotten Tomatoes page for the current numbers.

The film’s response should not be reduced to “critics hated it” or “fans loved it.” Its appeal depends heavily on whether a viewer accepts its fragmented structure and symbolic logic. A person expecting a conventional plot is likely to judge its ambiguity as a weakness; a viewer invested in the album and persona may see the same ambiguity as the point.

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Box office

The Numbers reports a domestic gross of $5,215,357, an international gross of $2,548,166, and a worldwide gross of $7,763,523. It lists a $15 million production budget and an opening weekend of $3,312,692 from 2,020 theaters.

That is a relatively limited theatrical result beside The Weeknd’s enormous music audience, but it does not by itself establish that the movie was profitable or unprofitable. Studio profit requires information about marketing, financing, distribution terms, theatrical splits, and later revenue, much of which is not public. Variety used the roughly $5.2 million domestic figure to place the film in the wider context of musicians struggling to convert music fame into theatrical movie audiences.

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Chart performance: a commercial album success

The album’s chart performance was considerably stronger than the film’s box office. It reached No. 1 on the U.S. Billboard 200, No. 1 on the Canadian Albums chart, became The Weeknd’s seventh Canadian No. 1 album, and reached No. 1 on the U.K. Official Albums Chart. The Canadian milestones are reported by Billboard Canada, while the U.K. result is documented by the Official Charts Company.

The contrast is revealing rather than contradictory: a global music audience may stream or buy a new Weeknd album at scale without turning out in comparable numbers for an experimental, R-rated film in theaters.

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Where to listen and watch

Listening to the album

For the standard release, use the 22-track album listing rather than assuming that every result with the same title is the same edition. Apple Music’s standard listing is a convenient reference for the canonical digital sequence. If you specifically want the audiovisual catalog, Apple Music separately lists the 27-track Video Album. Check your country, edition, and explicit-content settings if the track count differs.

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Watching the film in the United States

Availability changes by country and date. In a U.S. snapshot checked on August 7, 2026, JustWatch listed Hurry Up Tomorrow for digital rental or purchase through Amazon Video, Apple TV Store, and Fandango At Home, with no free streaming option listed at that time. Check JustWatch for current U.S. availability, or use the retailer links on Lionsgate’s official page. Do not treat that snapshot as a permanent subscription-streaming promise.

Runtime discrepancy

Public listings do not agree on the film’s duration. Fandango and Rotten Tomatoes list approximately 1 hour 45 minutes, while The Numbers lists 116 minutes. Because the major databases conflict, the responsible description is to disclose both figures unless the final distributor metadata for the relevant market is available.

Is this really The Weeknd’s final album?

It is accurate to call Hurry Up Tomorrow the final chapter of the After Hours–Dawn FM–Hurry Up Tomorrow trilogy. It is also accurate to say that Tesfaye presented it as possibly his last major release under The Weeknd name.

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It is not established that he has permanently retired the name, ended his music career, or will never release another project. “The final album” is therefore shorthand for the end of a specific narrative era and perhaps the end of a persona—not proof of permanent retirement.

The project’s most interesting question is consequently not simply whether The Weeknd will make music again. It is whether future music would continue using the same character, mythology, and emotional machinery. Hurry Up Tomorrow dramatizes the possibility that the persona must die for Abel to continue, while also showing how difficult it is to leave a persona that made the artist famous.

Frequently Asked Questions

Is Hurry Up Tomorrow an album or a movie?

It is both. The Weeknd released the 22-track studio album on January 31, 2025, and the companion psychological-thriller film opened in U.S. theaters on May 16, 2025. The title also names the album’s closing song.

Is Hurry Up Tomorrow The Weeknd’s last album?

It is the final chapter of the trilogy following After Hours and Dawn FM, and Tesfaye described it as probably his last hurrah as The Weeknd. That does not confirm permanent retirement from the name or from music.

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Is the movie based on a true story?

It is fictionalized, not a documentary or literal biopic. The film draws on Tesfaye’s public persona and the real 2022 incident in which he lost his voice during a Los Angeles concert, then transforms that experience into a surreal psychological thriller.

Do I need to listen to the album before watching the film?

No, but it is recommended if you want the strongest understanding of the project. The album establishes the themes of fame, insomnia, addiction, voice loss, and persona death that the film turns into characters and visual situations.

Why do streaming services show different track counts?

The standard digital album has 22 tracks, while Apple Music separately lists a 27-track Video Album and a less clearly explained 9-track catalog entry. The official vinyl credits present an 11-track physical sequence with different songs and ordering. Market, format, and duplicate catalog records can all cause differences.

What does Anima represent in the film?

Shults has discussed Anima in psychological terms as a deeper, more emotionally exposed side of Abel. That is a creator-supported interpretation, not proof that every scene has one fixed meaning or that Anima is literally an alter ego.

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What happens at the end of the film?

After Abel is forced to confront his self-destructive behavior and sings “Hurry Up Tomorrow,” the hotel room burns. He emerges toward a space leading back to the stage. The ending can suggest rebirth, the destruction of the old persona, or the continuation of the cycle; the film does not definitively choose one explanation.

Where can I watch the film?

U.S. availability changes over time. A JustWatch snapshot from August 7, 2026 listed digital rental or purchase through Amazon Video, Apple TV Store, and Fandango At Home, with no free option listed then. Check the live JustWatch listing or Lionsgate’s official page for current availability in your country.

The Bottom Line

Hurry Up Tomorrow is best understood as a linked album-and-film project about the cost of being The Weeknd. The album is the more complete entry point: ambitious, varied, and thematically focused, though deliberately long. The film translates those concerns into a surreal story of voice loss, obsession, violence, and identity. Its ending does not plainly announce that Abel is dead or that The Weeknd is permanently retired; it leaves open the more unsettling possibility that destroying a persona and escaping it are not the same thing.

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