The Art of Opening Credits

In the world of modern television, opening credits have become an unexpectedly complex art form. No longer thrown together by the show's editors, many are outsourced to specialist companies who painstakingly piece together each and every image and effect, before sourcing/commissioning the perfect music to complement their beautifully crafted visual feast.

For a relatively small slip of time, the opening credits of a television show have become increasingly important; instead of merely listing actors' names and the program title, that initial space now attempts to communicate moods, themes, even clues to the seasonal (or series) narrative. It is, in the truest sense, an "introduction" to the program.

Many of today's opening credits are beautiful, hypnotic attempts to lure in and grab a hold of viewers on a kind of instinctive, even subconscious, level; an opportunity to preset the viewers' minds, creating the right kind of frame for the program they're about to experience.

In celebration, here are a dozen of my favorite opening credits currently on television (although loving the credits doesn't always make me a fan of the show). Only television shows still in production are included (to narrow the field).*

*Interestingly, shows on cable television generally have a larger budget and greater artistic freedom, so programs on those networks are more likely to make this list, but there are also programs on more traditional networks offering memorable opening sequences.

My response to these examples is also more emotional and instinctive than technical. I've tried to write my reaction as a viewer who's just sat down to relax, and engage.

In no particular order:

Outlander
Firstly, the music. Oh, the music. Such an incredibly appropriate selection. Also, the inference of magic, with all the light and shadow, suggestions of dawn and dusk. We never get to meet anyone's gaze, a very deliberate choice, but we see parts of people's bodies in motion. (Not to mention, guns, knives, historic costumes and props that place the story in a particular period.) Disjointed, but beautifully composed. Even in shadowy shots that hint at a certain uneasiness and the possibility of future violence, there is still light. Overall, a sensual, dreamy atmosphere prevails. 

True Detective
This opening sequence won a Creative Arts Emmy. I actually find it unexpectedly sleek, given the gritty style of the show itself; at first I thought it was almost too slick a pairing for the program, but despite that hint of disparate visualization, there's no denying a moody, minimalist atmosphere is successfully created. The projection and layering make the characters' bodies part of the location. It's almost like our heroes (antiheroes?) are embedded in the setting itself, and since you get that kind of dragged down feel from the narrative as well, it's a very clever presentation of certain themes.

True Blood
Some of my absolute favorite opening credits from recent years. (Show's finished, I know, but am making an exception!) Blunt, sexual, religious, violent, blood and more blood, death and decomposition. Swamps and heat and night and darkness... Utterly perfect for a vampire show set in the south. (Not to mention the choice of film stock.) This clip is a making-of featurette that follows the team behind the title sequence. I think focusing on themes rather than characters was key. Gritty, messy, and extreme, this visual injection is simultaneously seductive and distasteful.

Halt and Catch Fire
I like the red-to-pink-to-red here, as if the mood of the piece is in constant transition, opening credits flickering between passive and aggressive, i.e. threatening and non-threatening, which is the feel I get from the show; as if conversational scenes are prone to switching from chatty to confrontational, and back again. I like how the characters' profiles are literally consumed by shades of tech, as if computer science is obscuring my take on them, and I appreciate the movement forward, toward a goal. Quite simple, stylistically, but to me, thematically spot-on.

The 100
Season two of this show offers a revamped opening sequence. Not what I expected, but the visuals totally work contextually. The show is violent, and emotional, and doesn't back away from investigating shades of gray in the human psyche, but location also plays a very important part in the story, so mapping out the external journey of the characters in this dystopian environment is a solid choice. Obviously there are clues and references embedded here, but it feels like information is flooding you, reflecting the pace of the season. (And the slightly primal, slightly adrenalizing soundtrack is an apt fit.)

Penny Dreadful
A program that feeds on dark and dramatic texts, so cadavers and scorpions were kind of a given... But I like the angles/slant of this opening sequence; everything is leaning, and surrounded by darkness. Even the credits barely make it out of the shadows. White, yes, but not a bold presence onscreen, more struggling to be seen, even. Most of the characters are glancing away, and they all seem troubled. Everyone, and everything, is destined for imminent disaster. That's the feeling the audience can't shake (and the visual of the blood-filled tea cup certainly stays with you).

Game Of Thrones
The great thing about the opening sequence for this series is that it puts aside character intrigues and focuses on what fuels the entire narrative... The power to rule. After all, this is a game of thrones, and the beautifully crafted, unfolding three-dimensional "map" is an intricate reflection of the players in this gruesome, high stakes game. The aerial image is empowering for viewers, as we zoom in and out of various locations. What fans love the most, though, is the way the opening sequence changes each screening to reflect the content of the episode you're about to watch. So engaging.

The Leftovers
A stunning example of a beautifully communicated premise. You feel like you're inside a cathedral, looking up, seeing a fresco representation of the characters' suffering as loved ones are torn from them, into the light. The experience feels religious, but somehow blasphemous, and very tragic. The way it's filmed is also slightly disorienting; you feel like you're moving through the air with no real control, seeing other people's stories/suffering from uncomfortable angles. The camera also pans out rather than in, and there's a disconcerting fluidity/inference of depth to the artwork.

Teen Wolf
Aimed at a teen audience, this sequence employs motifs popular in supernatural cinema and television to create a dark celebration of youthful beauty, sensuality, and isolation, while highlighting a simmering potential for violence. Interestingly, it could be argued the male characters are more overtly sexualized than the female leads, which is against type. I also like the use of water/chalk/dirt (or oil?). Simple, but visually effective. Likewise, the understated, hurried music suits. The opening sequence differs a little each season, but each offering stays stylistically similar.

Banshee
I love the Banshee opening credits because in a field of blurry, low-lit offerings, the stark bluntness of this sequence stands out. (The way the letters alternate in size is also a nice touch.) Fans know the spinning lock combination during each season has a certain meaning (but no spoilers here, I promise). The photo evidence is clearly delineated, falling in and out of focus, some pieces degrading, some receiving more screen time than others. You know all the images are clues and pieces that you have to decipher, but it's going to take you time, and it feels a tad Memento... 

Intruders
It kind of surprises me how much I've enjoyed this show. The story just gets under your skin. The opening title captures the eeriness that makes this program addictive viewing, what with the flood of creepy, disconcerting symbolism. (I won't lie, I'm a sucker for a good close-up eye-shot, and that opening graphic is one of the best.) "An unhealthy metamorphosis" is the feel I take away from this viewing experience, and a focus on the fragility of life. My final impression? "We are grey and fragile, something unsettling is happening, and the storm is coming."

American Horror Story: Freak Show
Each season of this program has a different opening sequence to match the changing theme of the narrative, but this one is my favorite, because instead of being overtly scary, the stream of animated characters appears beautifully macabre more than anything else. (I get a bit of a Jan Svankmajer vibe.) The carnival freak show has long been a metaphor for society's fascination with the perceived grotesque, and this opening title feels like a twisted celebration of said legacy; the supposedly "deformed" become uniquely riveting, presenting as powerful and darkly enchanting entities.

Outlander vs. Intruders

I decided to talk about these two new programs at the same time, since narratively-speaking, both deal with displacement, albeit in entirely different ways.

The first show, Outlander, follows the adventures of a woman from the 1940's thrown back in time to the Scottish highlands of the 1700s. The second series, Intruders, follows a secret society in the present day who defeat death by jumping into the bodies of unwilling victims.

Outlander is an interesting experiment, in terms of trying to market what is, at heart, a romance, to a broader audience. The problem was always going to be selling the show, based on a book series, beyond its primarily female readership. 

There's a stigma attached to romance, but by comparing it to Game of Thrones, and upping the graphic sex and violence, Starz is making a serious play for a larger market. The science fiction aspect (ie time travel) has also been highlighted over the romantic elements.



I think it has a mixed success rate. The pilot was shaky, but by the third episode I'm enjoying the story. Rather than Game of Thrones level intrigue, think an intelligent soapie set in the past - it doesn't have the scope of GoT, but I'm enjoying the relatively straightforward narrative. Most of all, I like the characterisation.

The lead actress is probably the weakest link, but that impression was more from the pilot. By later episodes she's relaxed into the role. I think the problem is the 1940's scenes remind me of Poirot, and it's hard to come off well when compared to that level of masterful television production.

(On a side note, I will say I think the pilot included some of the worst sex scenes I've ever seen. I get that cable wants to spice it up, but figure out how to do it well first!)

The move to the highlands/past couldn't happen fast enough, and the supporting cast is magnificent. Seriously, they're scene stealers. The sets are stunning, the lighting beautiful, the attention to historical detail impressive... I love all of these elements.

But at heart, Outlander is a romance, and the casting of the lead love interest is where the program gains strength (no pun intended). Sam Heugan is the perfect foil for actress Catriona Balfe. Fans of the book are happy, from what I've seen online. Having never read the novels I can't make a comparison, but I often forget that he's acting, which is basically the highest compliment.



Still, something about the lead character Claire rings empty - I don't feel her emotional turmoil as much I do the other characters. She is displaced, yes, but unfortunately, she also feels less real.

I think this is partly a combination of the actress's performance, and an occasionally clunky script that has her narrating inner turmoil more often than not, rather than communicating these emotions through well written scenes. (The explanatory voiceovers drive me crazy. Stop hitting the audience over the head with an emotive hammer!)

Maybe this kink will be worked out over time (almost punning), but at present I care more about what is happening to the housekeeper, and Jamie (or even the laird and the town healer), than I do about the lead's problems, and I'm pretty sure that's not the empathic reaction the show intended to evoke.

Maybe the displacement at the core is the problem? In 1945 the character was already displaced, adrift, so her struggles to return to that time don't feel... as a viewer, they don't feel important to me, somehow. And I think that may be a large part of the apathy I feel toward her plight.

Cinematically, the best scene so far was when Claire was describing the sensation of falling through time, likening it to a car accident at night, which was displayed in slow motion, with disorienting angles and beautiful lighting.

Incredibly sophisticated, reminding me for a moment of the Sherlock series, before returning to more traditional and formulaic filming styles. Hopefully in future they'll mix it up a little, because the Outlander team's obviously capable of stunning visuals that really communicate complex ideas. Most of all, it worked in sync with the voiceover (one of the only times the V.O. didn't jar.)

In summary, Outlander is interesting viewing, with a generally stellar cast and an eye for historic detail, but the script is not on par with Game of Thrones, and the lead not quite as easy to engage with as you'd hope. That said, the show is really enjoyable, and more entertaining than a lot of programs currently on television - already laying the groundwork for future storylines that look set to deliver drama/adventure/intrigue.

On the other hand we have Intruders, an odd little eight episode spooky outing that I quite like. It has some clunky script moments, but overall, I'm enjoying the weird atmosphere they're working to create.



Once again, the lead is the weak point. (What's that about?) John Simm is a great actor, but he's just not believable as the retired cop. Not at all, so that's a bit jarring (especially his faux American accent). Likewise, James Frain is a real talent, and he plays his part well, but I just wouldn't have cast him as the hitman. I guess it comes down to that old conundrum - do you cast people because they're amazing actors, regardless of the part, or do you cast less impressive talents more suited to the roles?

BBC America, as part of the BBC, is fine with backing these moody, strange, dramatic philosophical outings in recent years, and I've really enjoyed them. They can be jarring and occasionally unbelievable, but at the same time, they possess an intensity that's often smoothed out of more formulaic commercial offerings.

Intruders makes you feel disturbed. Even when you can see some plot points coming a mile away and are forced to watch associated scenes stretched out for minutes too long, the show still evokes a response. (And I won't lie - when the kid killed the cat, I nearly had a heart attack.)

I've only seen two episodes so far, but I'm looking forward to watching the story unravel. I love disjoined narrative, so I don't have an issue with not starting at the "beginning' of the tale, in a sense; I like to piece the plot together myself over time, but this kind of storytelling can alienate audience members with more traditional linear tastes.

I like that the show is washed out and cold; filmically, I mean. But even the characters are that way, too. Everyone feels isolated. Everyone is alone. Except, of course, those forced to carry other people inside them (but even they are alone, within the boundaries of a horror genre-style internal conflict). There are occasional borderline hammy gothic kind of lines, but they suit the mood.

Love, death, secrets, mortality; these are not simple or light themes, so it makes sense that such a heavy, almost ominous energy permeates the series. And once again, displacement is a central theme. Even the innocents, the ones who haven't had their bodies invaded, even the ones who have no idea what is going on, seem just as displaced in their everyday lives (especially in terms of marriage and family). I kind of like that.

And of course, like many tv shows these days, the consequences of one choice drives the narrative. (Outlander is the same - one choice, and she falls through time).

Heavy.

Coming Up...

These twenty new tv shows are worth considering, although I'm not getting excited until at least the third episode mark (ie once they've survived the early cancellation round).

A couple of upcoming shows don't have easily accessible trailers yet, like iZombie (from the creator of Veronica Mars), Battle Creek (from the creator of Breaking Bad), and Messengers (since the CW gave us The 100, I'm looking on the network's scifi efforts favourably). So, not ignoring, just reluctant to comment without seeing at least thirty seconds of footage - regardless of the production team's pedigree or how good the series seems conceptually.

In no particular order:

1. Extant

Plot: An astronaut returns to Earth after a thirteen month solo mission to discover she's pregnant. Also, her husband made them a robot child while she was away... 
My reaction: Movie quality Spielberg entertainment. Conspiracies, complex family themes, probably aliens, all beautifully presented (editing, sound, brilliant actors, etc). CAN'T WAIT.
Cast: Mega-top notch. Halle Berry, Camryn Manheim, and Goran Visnjic, for starters.

2. Madam Secretary
Plot: Former CIA analyst becomes the Secretary of State, at the President's request.
My reaction: She's too... I don't know. Something in this trailer isn't clicking. I want to love it. Maybe the pilot will sell it better?
Cast: Glad to see Tea Leoni in a small screen leading role.

3. State of Affairs

Plot: CIA agent, who dated the president's son before his death, becomes said president's daily briefer.
My reaction: I'm in. I like Katherine Heigl and believe she deserves better than rom-coms. Story-wise, I can take some overly-dramatic/unrealistic moments in the name of good drama. 
Cast: Aside from Heigl, the wonderful Alfre Woodard. And Parker from Buffy! (Adam Kaufman's great).

4. The Leftovers
Plot: Two percent of the world's population mysteriously disappears, and those left aren't handling it well.

My reaction: Come on, it's HBO. That's enough of a reason to give this one a shot; in recent years the network's been hitting it out of the park. 
Cast: Includes Liv Tyler, and that blonde guy who's appeared in many relatively low grade teen shows (Secret Circle, 90210, Twisted, 10 Things I Hate About You). Glad to see he's graduated.

5. Scorpion

Plot: A bunch of geniuses start a company and end up, you know, sort of almost saving the world a lot.
My reaction: Still on the fence here. Could be fun, I love clever characters, but still, might go wrong. Requires cerebral writers, so let's hope the plots hold up.
Cast: The trailer just finished and I've already forgotten them. That's not a good sign, is it?

6. Gotham
Plot:  Focuses on the city of Gotham when Batman was still just a kid. 
My reaction: Oh, so very many fan boys and fan girls waiting for this one. I'm not really into Batman, but I'll see it so I can have a conversation with DC comic-loving friends.
Cast: Donal Logue and Ben McKenzie. Both solid talents.

7. The Flash
Plot: Scientist struck by lightning discovers he can now move superhumanly quickly. (I can't believe I just made The Flash sound so boring!).
My reaction: Superhero shows are fun and they obviously tap into something in the modern psyche (I mean, the number of youtube views on this trailer alone is wild).
Cast: Mostly young and pretty (because hello, this is the CW).

8. Manhattan
Plot: Scientists in New Mexico rush to build the first atomic bomb.
My reaction: Strange that a show about atomic bomb testing somehow seems so poetic and kind of beautiful. Heard some good things, can't wait to view.
Cast: I saw Olivia Williams (most under-rated modern actress) in a promo shot. Not sure how many episodes she's in, but those are the ones I'll be watching!

9. Halt and Catch Fire
Plot: It's the eighties and the computer revolution is happening, man. Or something like that.
My reaction: The energy of this one catches me. Maybe it's just a great trailer, but I don't think that's all it is. Can't wait to watch the pilot, I'm really curious.
Cast: Relative unknowns albeit with extremely cool bios.

10. Outlander
Plot: A married nurse from 1945 is thrown back in time to the 1700s (and also forced to marry).
My reaction: Interested to see if this will work because there's a whole heap of women-oriented time travel fiction out there, basically a (pretty much) untapped market cinematically.
Cast: Generally relative unknowns who look like they're doing a good, possibly great, job.

11. The Whispers
Plot: Imaginary friends turn out to be aliens getting kids to do bad stuff that will help the invisible invaders take over the world (well, I'm guessing that's the end game?).
My reaction: This idea is so fabulous I am angry at myself for a) not thinking of it first and b) not pitching it first. Definitely the kind of scifi I like. 
Cast: Total fan of Autumn Reeser (fantastic in Last Resort), but it kind of looks like she dies in the pilot?? Hopefully not! 

12. Legends
Plot: An undercover operative is having some identity issues. I sense multiple conspiracies! Good times.
My reaction: Glad to see Sean Bean starring in a series. Not only because he's a fantastic talent, but because, theoretically, it should make it harder to kill him off again. Right? RIGHT?
Cast: Ned Stark.

13. The Last Ship
Plot: A virus has wiped out most of the earth's population, but this lot look like they may have found the key to the cure.
My reaction: Michael Bay executive produces (which pretty much means nothing to me). I've listed the series because there are a number of great actors in the mix. Combined, they could probably make a commercial appear deep. Ocean deep. (Yes, I went there.)
Cast: Eric Dane, Rhona Mitra, Adam Baldwin? I want on that boat!

14. Forever

Plot: A kooky medical examiner who can't die works on cases with a widowed no-nonsense cop.

My reaction: Let's face it, Castle isn't going to last forever. This is in the Castle mould (albeit with a supernatural twist), but I think the ABC knows how to make this style of odd couple procedural work.

Cast: Ioan Gruffudd and Alana De La Garza. Solid leads.

15. Secrets and Lies
Plot: A guy who finds the body of a neighbour's kid while jogging becomes the lead suspect in the murder.
My reaction: This is a remake of an Aussie series, but it looks way better than the Down Under effort. I don't watch (that many) procedurals, but this looks fab.
Cast: Juliette Lewis and Ryane Phillippe face off. Both under-appreciated. Should be brilliant.

16. Gracepoint

Plot: A small town is shaken when a boy is murdered and (almost) everyone becomes a possible suspect.

My reaction: A remake of the British show, but in this case, I think the Brits probably did it better. 

Cast: At least they were smart enough to import David Tennant. 

17. Crossbones

Plot: The high sea adventures of legendary pilot Blackbeard in the 1700s.

My reaction: True, pirates aren't doing so well on the small screen of late, but when in doubt, it helps to cast one of the greatest actors alive today.

Cast: Hello, John Malkovich Being John Malk- no, wait, he's being Blackbeard. Whatever, I'm in.

18. Constantine

Plot: The Hellblazer character Constantine is brought to the small screen.

My reaction: I'm having visions of cancellation. Flashback to The Dresden Files, ie great source material made into a show that just isn't translating well to television.

Cast: No one I find inspiring, frankly. (Wondering why I've included this? A combination of optimism and peer pressure.)

19. The Knick

Plot: A hospital drama, but this one's set in the early 1900s at New York's Knickerbocker Hospital.

My reaction: Am guessing Steven Soderbergh finds medical advancement in the early 1900s extremely interesting, and this is probably very good, but I don't think my stomach could take it. 

Cast: Clive Owen, because when you're Steven Soderbergh, you aim high.

20. The Strain
Plot: A doctor at the New York Centre For Disease Control has to combat the spread of a virus whose symptoms look familiar... (Apparently these vampire types are NOT pretty.)
My reaction: No real trailer yet, so I'm breaking my own rules, but come on, Guillermo del Toro, people. 
Cast: Some creepy, very good actors like David Bradley and Nikolai Witschl.