According to SZA, the making of
SOS involved several "palate cleanser" sessions, in which she would quickly write tracks like "Snooze" within an hour to refresh her mind in preparation for her more demanding projects. Romance is a frequent subject across
SOS tracks, and SZA often discusses it with an idealized, melancholic, or vicious tone. Aside from love, other topics and themes that the album covers include hate, self-worth, and revenge. In 2022, SZA told
Glamour that
SOS would explore the feelings of heartbreak and "being pissed": "This is my villain era, and I'm very comfortable with that. It is in the way I say no[...] It's in the fucked up things that I don't apologize for." In "Snooze", SZA sings that her dedication to the song's subject is so great that she will go to risky extremes to prove her love. Lyrics from the chorus ("I can't lose when I'm with you/ How can I snooze and miss the moment?") indicate that SZA cannot fathom a life without their romantic relationship and will take every possible chance to be with them. Dispersed throughout
SOS are pop culture references to several films, with tracks named after
Kill Bill (2003) and
Gone Girl (2014) as well as mentions of characters from the
Star Wars and
Despicable Me franchises. "Snooze" in particular references the crime drama film
Scarface (1983) and the character
Elvira Hancock, who marries
the criminal protagonist and is portrayed with a
bob haircut. The relevant lyrics read: "In a
drop-top ride with you, I feel like
Scarface (
Scarface)/ Like that white bitch with the bob, I'll be your main one", implying that SZA wants to be
partners in crime, or extremely close, with her lover. Then, her degree of yearning is revealed to be one-sided, much to her dismay. "Snooze" demonstrates, as Larisha Paul writes for
Rolling Stone, that "in both lust and love", vulnerability in SZA's music "prevails with limitless devotion." Despite promising to kill, steal, or start a fire for her lover, SZA feels as though they are failing to return the same amount of attention and effort to make their romance work. The bridge shows how the argument between them takes place: ("How you frontin' on me and I'm the main one tryin'?/ How you blame it on me and you the main one lyin'? How you threatenin' to leave and I'm the main one cryin'?") ==Release==