I’ve been catching up on Fringe, and I just watched the season 2 episode set in the 80s, which features a hilariously retro version of the show’s opening credits with blocky old-school CGI and a synth version of the theme. At first I was writing off the Fringe credits as rather generic, but this alternate version made me realize how much that opening had gotten under my skin, especially with the seemingly random imagery (the seahorse, the apple, etc.) beginning to pop up in the context of the show itself.
I think a cool credits sequence (complete with theme song) is essential for establishing the mood of the show, and I always appreciate when a show takes the time to put together something nifty to start the show with. I realize it’s sort of a last-minute, we-don’t-have-the-time-or-budget-to-do-this-right aspect for a lot of series, but it’s such an essential part of the show’s personality–you see it every week, after all–that I think it’s vital.
Also triggering this thread: people are raving about the forthcoming Game of Thrones opening, which is being called “Emmy-worthy” (Do they give Emmys for opening credits? I guess that makes sense, I never thought of it.)
The other great thing about the three different Fringe credit sequences is that each one uses the fringe science research that’s allegedly going on in that time-frame or universe. Nice attention to detail.
(Now I’m picturing a grainy, 19th-century opening Fringe credits sequence with PHRENOLOGY! ELECTRICAL POWER! EUGENICS! WOMEN VOTERS!)
I’m trying to think of some other “alternate” opening sequences–there are surprisingly few. Supernatural did the “Sitcom” opening sequence, which was hilarious, and Buffy did an alternate opening with the episode where Jonathan was magically the star of the show, though they wimped out on that one and just inserted lots of shots of him into the regular credits. It would have been way cooler to see a credits sequence that tried to convince people that Danny Strong was the star of the show.
Supposedly there was a point, early in the development of Monty Python’s Flying Circus, where they were having so much trouble agreeing on a title for the show that they were seriously talking about calling it something different every week. Which I guess is something The Brak Show followed through on decades later.
The Sopranos rules all, but I really, really, really dug Carnivale’s as well. The Wire also was great for how the pictures and song would change but stay basically the same from season to season.
Two post-westerns that had half of it down: Deadwood has a great tune with some uninspired imagery, while Firefly had great title design paired with a turgid theme song.
HBO’s credit sequences tend to rule, but honestly, Deadwood’s never did it for me. I mean, it’s fine, there’s nothing wrong with it, but it’s pretty generic. Just a bunch of western imagery. It doesn’t convey any of the themes or style of the show, other than the basic look and the fact that there are whores, gold, and westerny stuff. Compare this with the clever, distinctive credit sequence to Rome, or the quirky, witty credits to Six Feet Under, both of which convey a sense of what the shows are about beyond the subject matter.
When I first watched the Firefly opening my jaw dropped at how goofy the song was–it didn’t help that Star Trek: Enterprise had just struck out with their own stupid alt-country theme song–but after I got used to it I realized that it’s actually a really, really effective theme song. I mean, it’s a real theme song. It details everything that the show is about, and on another level, it arguably exists within the context of the show as a bit of world-building. And it’s lyrically clever too.
Before anyone beats me to it: Dexter’s credits are arguably the best thing about the show.
Doctor Who’s credit sequence and song are an all-time classic. Though I have to say, the current incarnation is one thing I find inferior to Russell T. Davies’ run on the show.
Of the various Star Treks, TNG’s is, I’d argue, the best, due to theme music. The original’s is iconic and fine for what it is, but that 60s go-go theme has never fit for me. DS9 and Voyager’s themes are pretty generic, and Enterprise is hate cancer.
Again, I thought so on first listen, but it’s musically fine once you get used to it. I mean, I’m not a huge country music fan to begin with, so it’s never going to light my ass on fire, but it’s fine within that tradition. As opposed to Enterprise, which is godawful new country soft rock satellite radio corporate easy listening devourer of souls.
No credits. No names. Just the score, the action, and that shot. To this day, Im pretty sure this is still the only time in TV history a show’s been able to skate with this kind of open.
As far as doing alternate takes on opening credits go, Psych wins this round. They’ve done Bollywood versions of the theme song. They’ve had Boys II Men do an R&B version. They’ve had Curt Smith from Tears for Fears (the main character’s favorite group) do an '80s synth pop version. Last season, there was an episode where the cast found themselves in the quirky little town of Dual Spires, an homage to Twin Peaks. The show came up with this Julee Cruise-led version:
ATreme. They’re their own thing now for me, independent of the show. Sometimes I’ll just watch the credits and stop. They also work really great at establishing the show’s tone and environment.
Ditto the Sopranos, The Wire, and Batman TAS (And the 60’s Batman show for that matter)
I’ve heard some people complain because they thought it spoiled the episodes, but no credits sequence got me more excited for a show than Moore’s BSG. Also, I’ll admit, I may have broken out the air guitar for the Buffy credits once or twice.