For some reason, I’ve always been really interested in TV show’s opening credit sequences. So after I recently finished ordering my the 101 TV Shows I Love the Most (which turned into 102 because I realize I’d forgotten Seinfeld, and would have been 103 if I’d remembered Pride and Prejudice before I’d finished), I found myself thinking about those 101+ opening title sequences, and which the most awesome.
(When I told my friend Rod about this he suggested it might amount to evidence of my occasional suspicion that maybe I’m a little bit on the autism spectrum).
Last time I outlined some general thoughts about opening credit sequences, trying to fit all the ones from my favorite shows into a series of categories that I had come up with. This time I’m going to actually countdown my actual favorite sequences from my the shows I love the most. See those thoughts on categories here and actual list of shows starting here.
Before we get to the list of my favorite title sequences, here are some honorable mentions. They are included not because they are the next best ones necessarily, but because there is something interesting about each that I think is worth mentioning.
Cagney & Lacey
This was one of those “prestige drama” shows that aired in the 80s, in this case about two female police officers who were partnered together. Sharon Gless and Tyne Daly played the two title characters for most of the show’s run, and between them proceeded to win the Lead Actress in a Drama Series Emmy for six consecutive years. An interesting aspect of the opening titles for this show (which was otherwise a bread and butter “catchy theme with a montage of clips from the show” type of opening) was that the order of billing of the two lead actresses would actually rotate from episode to episode. One week Daly would be top-billed, the next it was Gless. I think this the first time that my young teen TV viewing brain had ever seen such a thing.
Another interesting bit of a trivia with these credits has to do with Sidney Clute, who had a supporting role as Detective LaGuardia in the first four years of the show. The actor actually died early in the production of the fifth season. The character’s absence was explained, but to honor the actor, the producers simply didn’t take his credit (which included his image) out of the opening title sequence. I remember noticing that–I didn’t know they had given an explanation for where the character went, I thought he just randomly stopped appearing, and I thought it was super-weird that he kept being credited, even after other characters left the show and had their credits removed.
The Dick Van Dyke Show
Speaking of credits which changed from episode to episode, I always thought an interesting example was The Dick Van Dyke Show from the 60s. The credit sequence was a specially done shot of Rob Petrie arriving home to greet his family and friends while the main cast’s names were read out by an announcer. As Rob gos to say hello to his friends he trips over the ottoman in one of Van Dyke’s famous pratfalls. But the producers also filmed another version of the same sequence, in which Rob narrowly avoids tripping, and they alternated between these sequences from episode to episode. The effect would be that viewers wouldn’t know whether Rob was going to trip over the ottoman or not, which I thought was a funny idea. Later they made a third version of the sequence, in which Rob tries to void tripping but gets caught by it a little bit anyway. Anyway, it was a fun idea.
Fawlty Towers
Most episodes of Fawlty Towers ran its credits over a shot of the outside of the eponymous hotel, done in such a way that its dilapidated sign was prominent. In each shot the sign was slightly different, with the first season showing it with different letters falling off, and the next with the letters rearranged into obnoxious anagrams (“Fatty Owls”, “Flowery Twats” and so on). In one episode, it shows that it’s a local paperboy who is behind the mischief.
WandaVision
I haven’t mentioned before this that one factor that comes into play with thinking about opening title sequences is that a lot of shows, particularly those of the modern, streaming variety, essentially put their main title sequences at the end of the episode, akin to many big blockbuster films. This has been true of pretty much all of the Marvel shows, for instance, with the partial exception of WandaVision. This is because WandaVision is about Wanda Maximoff doing some crazy subconscious magic stuff to trap a whole neighborhood into a series of fantasies inspired by various old TV shows throughout the history of television. Viewers don’t know exactly what is going on for much of the show’s run, and one of the things the producers did to heighten the surreal mystery was to open the first half or so episodes with tailor-made credit sequences that looked a lot like the old classic shows that were being referenced (basically The Dick Van Dyke Show, Bewitched, The Brady Bunch, Family Ties, and Malcolm in the Middle).
These weren’t the actual titles for the show, but they did appear at the start of their episodes (the real credits were at the end), so it is an interesting twist on this whole idea.
Detectorists
Detectorists is an example of that “no credits at all, just a logo” version of things, and it is my favorite example of this. Almost every episode begins with some sequence from the story while we hear the series theme sung by Johnny Flynn playing. What makes it different from shows like Seinfeld or Everybody Loves Raymond is that the sequences don’t include any dialogue–they are just series of images or a little scenes which showcases the characters or the world they live in. It almost feels like each episode is creating a totally unique title sequence that just happens to slot smoothly into each episode right the start. I think it’s a nice approach to opening the show, and the fact that it’s one of my all-time favorite theme songs is also a big plus.
Doctor Who
This is my favorite TV show and originally I thought I’d include it on my list of the best just a matter of course. But the more I thought about it, the more I realized that what really impresses me is just how thoroughly and regularly the series changes the title sequence. This is, indeed, a show that thrives on change, and the biggest changes are, amongst fans, events. A new Doctor, a new companion, a new incarnation of the Master…fans hear that these are happening and look forward to them something akin to hunger.
A new title sequence is not as big a deal, but it’s up there. Depending on how you count, there have been something approaching 20 main title sequences for the show since it debuted in 1963, and all of them have used variations on the same theme, written by Ron Grainer, with most (but not all) versions built off an arrangement originally made by Delia Derbyshire. It is one of the most iconic TV themes of all time.
But what I realized as I thought about this list was that it’s the fact that there are so many different versions of the opening titles that I really like, even though no single one of them really stands out to me quite as high as the shows I’m about to list. Some of the ones I’m most fond of include the original 11th Doctor’s (which reflects the chaos of Matt Smith’s Doctor with the time vortex literally being on fire), the starfield with the neon-tubing logo of the 80s (such a cool science fiction vibe), and the mysterious gears of the 12th Doctor era (with the arresting image of Peter Capaldi’s “attack eyebrows” emerging from the void). But right up there with the best is the original sequence, used in the show’s first four years or so, where a strange mist (in reality waves of electronic feedback) signified mystery, danger and wonder.
So, with that behind us, let us proceed to my actual list of sequences. Although, I have to say that the opinions I am about to share I feel could change in a day–right now I can say that the twelve on my list beat out the likes of Battlestar Galactica, Castle, Chuck, Community, Daredevil, Doc Martin, Firefly, Foyle’s War, Gravity Falls, Hill Street Blues, Little House on the Prairie, Mr. Bean, The Mysterious Benedict Society, Mystery Science Theatre 3000, Newhart, Northern Exposure, The Office, The Prisoner, Sherlock, Shetland, St. Elsewhere, Taxi, Ted Lasso, The Twilight Zone, and The West Wing, but in the future…who know?
12. The Muppet Show
(1976-1981)
Credit Style: A Song Which Explains the Show
After a season where things were a bit simpler, The Muppet Show ran out most of its run with a sequence featuring a whole bunch of Muppets singing, dancing, and playing music in a way that really gave the illusion you were watching the introduction of a big-production musical variety program as it was being filmed in front of a live audience. I mean, you obviously knew that it wasn’t, but there was something about Kermit, Fozzie, Rowlf the Dog, Animal, Gonzo and the rest that gave the incredible illusion of something that I can only call humanity, and this was present right there in the opening titles.
From episode to episode, there would be a few variations to keep things lively–it’d always kick off with Kermit announcing whoever the special guest star was that night, there might be a little bit with hecklers Statler and Waldorf from their box seat, and generally the sequence would end with Gonzo attempting to play the final note on the trumpet, only for a telephone to ring instead, or a balloon to blow out of it, or something.
The Muppet Show was hugely enjoyable, and the “opening number” that we saw in the titles was always a great way to kick off that enjoyment.
11. Justice League
(2001-2004)
Credit Style: An abstract or surreal look at the characters
This list, of course, is based on my opinions and tastes, but I feel like this entry might be the most obvious example of this. There have been a lot of fun animated superhero title sequences (Batman: The Animated Series, X-Men: The Animated Series, and Avengers: Earth’s Mightiest Heroes are all popular, for instance), but for my money, far and away the most awesome is the Justice League.
It’s kind of a slow opening, actually, with a highly fanfare playing over images of each of the seven main characters being iconic, but I find it soaring and inspirational. The art style of the credits is completely different than the show itself, but each of the characters looks great in an “archetypical” sort of way–with the possible exception of Wonder Woman, who just feels like she should have been lit differently.
10. Stranger Things
(2016-present)
Credit Style: Exclusively or primarily just text
Maybe that sounds a big disingenuous because the Stranger Things titles definitely have a big graphic design thing going on, but it consistent entirely of close-ups of the letters in the words “Stranger Things,” written in a distinct font, slowly floating into position. The sequence is memorable because of the simplistic but incredibly cool opening theme music, but also because the style actually fits the show really well. At least in its earlier seasons, Stranger Things tended to be about deep supernatural mysteries which various groupings of characters would become aware of, slowly gathering together different pieces of the puzzle until toward the end of the story when they would begin to gather together and put the whole picture together. The opening titles of the show literally do exactly that–the different actors’ names are over different word fragments which in the end come together to form the series title. It’s thematically perfect.
9. Get Smart
(1965-1970)
Credit Style: A narrative sequence
Get Smart, a comedy about a super-spy that came out in the wake of James Bond’s popularity in the 1960s, had an absolutely hilarious opening sequence. In it, we see super-spy Agent #86, Maxwell Smart, walking down a corridor through a series of elaborate and over-complicated security doors to arrive at a pay phone, which then turns out to be an elevator. All of this is to a really catchy theme song by Irving Szathmary that perfectly captured the show’s over-the-top goofball espionage vibe.
As a bonus there was a follow-up sequence that ran over the ending credits, where Max would walk back down the hallway and then watch the doors shut. When one door seems to be failing, he walks forward to check it, only to have it shut abruptly and smack him in the nose.
8. Magnum PI
(1980-1988)
Credit Style: A catchy tune with a montage of clips from the show
I’ve said before that the ol’ montage of clips from the show itself, in one form or another, is probably the most common approach to the opening credits for most shows, especially in the era I grew up in. In a way, these types of credits were a dime-a-dozen, but out of all the ones from my list of favorite shows, the one that really stands out is Magnum PI. This is standard format stuff, but it’s an excellent example of that standard format. There’s a whole bunch of really fun clips that capture the show’s spirit–cool action and cars and helicopters, heavily featuring Tom Selleck’s signature charm a small but talented cast of supporting characters.
Pulling it all together is the theme music by Mike Post and Pete Carpenter, who were basically the kings of TV show theme songs in this era. It’s bombastic and pulse-pounding and smart, which is kind of like the show was in general. The cutting together of all the clips from the show is excellent, resulting in a great introduction to a reliably fun show.
7. M*A*S*H
(1972-1983)
Credit Style: A narrative sequence, Welcome to a storytelling environment
M*A*S*H, a series about beleaguered doctors and nurses serving near the front lines in the Korean War, was one of the most popular American programs in the 70s and early 80s, and it had one of the most iconic opening sequences. We see choppers arriving over some hills to the 4077th M*A*S*H unit, carrying several wounded soldiers. The hospital’s personnel rush in to attend to them, including the starring doctors Hawkeye and Trapper (later BJ), and then the patients are brought toward the hospital by jeep. All of this happens to the melancholy sounds of the show’s theme, Suicide is Painless by Johnny Mandel. It’s the perfect introduction to the show and the complex mix of tones that strove for–in one moment hilarious, in the next tragic.
The opening credits went through minor tweaks and changes through the series’ eleven seasons, but remained mostly the same. I have, however, a Mandela Effect where I have a clear memory as a young kid seeing a version of the titles which featured the actors’ faces. I didn’t really know the show at the time, but I realized that the older man who appeared was the Colonel in charge of the camp (Harry Morgan’s Sherman Potter). Since I figured this out, I feel like I saw this sequence more than once, and for years thought it was some alternate sequence the show went with for a short time which just got dropped in the syndicated version of the series (which is what I saw mostly when I was older). However, I have never seen anything to support the idea that this sequence ever existed, let alone was something the show used regularly. So…who knows?
6. Only Murders in the Building
(2021 – present)
Credit Style: Welcome to a location
Only Murders in the Building is a clever comedy-whodunnit featuring Steve Martin, Martin Short and Selena Gomez as three residents of a New York City apartment building who start a true-crime podcast as they investigate real-life murders that take place in their building. Each of the four seasons (so far, hopefully) focuses around a different case.
The opening theme song is by series composer Siddhartha Khosla and gives off a blend of vibes–eerie mystery and jaunty fun. The song plays over an animated opening which takes us around the outside of the titular building, where we catch glimpses of our main characters through the windows. But for extra fun, each episode (or most episodes, anyway, I haven’t been paying strict attention) include little easter eggs in the title sequence that relate to the plot of that episode or to the plot of the overall season mystery. Cool stuff.
5. Star Trek: Strange New Worlds
(2022 – present)
Credit Style: Title Sequences which use other means to explain the show’s premise, Welcome to a location (sort of), Extended sequences fuelled by extensive graphic design
Ask any Star Trek fan for a list of their favorite opening title sequences and, well, most of them won’t put Strange New Worlds at the top. That just goes to prove I am not most fans.
For my money, Strange New Worlds is the best of the old and the new in Star Trek–modern day storytelling and characterization, but with the feeling of classic Trek coming though the fact that there is a lot more attention on telling solid and enjoyable self-contained episodes, and not just the next chapter of some fetch-quest that the characters are working on all season. This mix of vintage and modern comes through in the opening credits as well.
Thus you have Anson Mount delivering the famous “Space, the Final Frontier…” speech, you’ve got the ship flying around various stellar phenomena, and you’ve got a theme tune that takes a lot of cues from Alexander Courage’s original composition for when the franchise launched in the mid 60s. All of these elements are reminiscent of Star Trek from its start right up until the end of the Next Generation / Deep Space Nine / Voyager era.
But what makes it modern is exquisite way the aforementioned stellar phenomena are rendered. It’s just beautiful. I always find the way those shots mix with the music to be kind of hypnotic–I don’t even notice how insanely long the sequence is (nearly two minutes).
I’ve been disappointed by the modern Star Trek credit sequences, at least the live action ones. Both Discovery and Picard, also have graphics that are skilfully illustrated and displayed, but they each amount to a semi-random hodge-podge of thematic ideas and images just sort of flung onto the screen. The approach is a definite product of the streaming era, and the style of opening credits that I am most tired of. But with Strange New Worlds‘ version of this, there is thematic drive to it all, and a simple but lovely elegance that elevates it above its contemporaries.
4. The Expanse
(2015-2022)
Credit style: Songs which don’t specifically explain the show but more evoke a sense of the vibe or tone, Welcome to…not a location exactly but a storytelling environment, Extended sequences fuelled by extensive graphic design
OK, maybe it’s a bit of a stretch to describe the opening music of The Expanse as a “song which doesn’t specifically explain the show, but more evokes a sense of the vibe or tone.” There are words to the song, but they are not in English, but rather Norwegian (the show doesn’t have anything to do with Norway or Scandinavia in particular). And apparently, it’s not a very good Norwegian, which may or may not be on purpose, I’m not sure. It could be, which would fit with the way that English has evolved in the world of the show, at least by those who grew up in the asteroid belt.
Anyway, the opening credits to The Expanse play over a beautiful mix of high-speed graphics and other imagery which originally seem to represent the growth of technology and infrastructure on earth and the rest of the solar system which led to the state of affairs at the start of the show, and later reflect different developments which take the status quo further as the show proceeds. It’s all quite evocative and lovely, capturing well the idea of a world that is changing faster than anyone can keep up with it.
The music is by Clinton Shorter and is ethereal and almost mystical sounding, like something you’d get in a story set in Middle Earth. It’s a nice contrast to the bleak world of space that the show is mostly set in.
3. Mission: Impossible
(1966-1973)
Credit Style: A catchy tune with a montage of clips from the show
The original Mission: Impossible TV show is a masterclass of style, a fact that is abundantly clear in its title sequence. A hand lights a fuse, and as the fuse burns across the screen we get a fast-paced montage of clips from this particular episode, before things move forward to introduce us to the main cast. All of this is set to one of the most incredible and well-known TV show theme songs of all time, by composer Lalo Schifrin.
Compared to modern fare, the whole thing is pretty simple, but it’s memorable, gets the point across and sets the tone, and for my money is one of the best credit sequences of all time.
Mission: Impossible had a 1980s revival that used a similar sequence, except that the selection of clips wasn’t taken from the individual episode you were watching, but were more taken from across the series like most TV shows. And of course the whole thing eventually turned into a highly lucrative film franchise–each movie has had its own variation of these credits in their main title sequences as well, which has the interesting result of allowing us to see a lot of different artists’ take on the same idea, over a long period of time.
2. Slow Horses
(2022 – present)
Credit Style: Songs which don’t specifically explain the show but more evoke a sense of the vibe or tone, An abstract or surreal look at the characters, Short punchy and often British mixes of abstract and literal imagery
Another espionage show with another of the best title sequences I have ever seen, Slow Horses is about Slough House, a dumping ground for all the losers and rejects from MI5 who haven’t quite failed badly enough to get fired. Gary Oldman plays Jackson Lamb, a brilliant strategic thinker whose past troubles led him to retreat to Slough House as a way to “serve out his time”. Of course, this being a TV show, Slough House often finds itself embroiled in issues of national security, usually because the other players in MI5 are using it as a place to take the blame if things go wrong.
The opening credits use the song “Strange Game” which was created for the series, and is co-written and performed by none other than Mick Jagger! The lyric are awesome:
Surrounded by losers, Misfits and boozers
Hanging by your fingernails
You made one mistake
You got burned at the stake
You’re finished, you’re foolish, you failedThere’s always a hope
On this slippery slope
Somewhere a ghost of a chance
To get back in that game
And burn off your shame
And dance with the big boys again
It’s absolutely the perspective of the show’s main characters.
While this groovy track is playing, we see slightly abstract images of the characters. Only a couple of them get their names in the credits, but the sequence takes time to show us all the main agents at Slough House for that season, each one looking somehow both cool and beleaguered, which again just fits the show precisely.
But it’s not my favorite title sequence from one of my favorite shows. What is? Well…
1. Pachinko
(2022 – present)
Credit Style: Songs which don’t specifically explain the show but more evoke a sense of the vibe or tone, Extended sequences fuelled by extensive graphic design
Yeah, there just isn’t anything else that tops the opening title sequence of Pachinko, for me. At least, the season 1 sequence.
The music for the sequence is “Let’s Live for Today” being sung by The Grass Roots, which plays in the background of a montage imagery that consists of actual historical footage, clips from the show itself with the actors in character, and images from the actor’s own real lives. All this is pretty cool, and fits well wth the ida of a series about different generations of Korean families and how they are impacted by the various historical and personal crises that they live through.
But what elevates the credits for Pachinko from cool to amazing is the fourth type of imagery that is used–the actors dancing on the pachinko parlor set that is one of the series locations. It doesn’t really serve as an introduction to the parlor as a setting (like what you et with Only Murders in the Building, above), but more uses its ambiance to accentuate the show’s idea of how life is chaotic, but in the midst of that there is family.
I know that Pachinko doesn’t have the world’s only cast-dancing opening title sequence (it’s not even the only one from 2022), but this one is so much fun that it easily is my favorite out of any of all the shows on my list. And if this countdown were for any show I’d ever seen, not just the 101 that I love the most, it might still come in as the number 1 best opening credit sequence ever.
I haven’t watched season 2 of Pachinko yet, but I have seen that they have revamped the credits for it, using a different song and a different color palette and different dance footage. It’s fine, but in my opinion nowhere near as good.
