From here, all digital life as we know it will begin, if it’s a successful bonding.Īll around it, the blackness of nothing. Digital sperm race toward a CPU processor. Halt and Catch Fire begins with this struggle, this attempt at creation. Life begins from a single spark, whether we’re talking about the start of the universe, a human life, or activity in a microchip. The panels of Alias jump off the page at us, represented in live action form, and Jessica Jones lures us with an invitation to join her. We’re not just looking at painted frames here, but an actual story developing. We’ve seen this style of opening sequence before, in shows like Luther and Human Target, but Jessica Jones outshines them all. And all of this comes alongside an original score by Sean Callery (known for having composed the score for 24), which begins jazzy but quickly turns to dark places, laden with innuendo. Illustrator David Mack, who created the covers for the Alias comics, gives the backgrounds their feel here-blurry brushstrokes of bright purple, orange and blue laid over the video images, as a nod to the look of the source material. In the gray area where surveillance meets voyeurism, we see neighbors fighting and deals being made, scenes inspired by Alfred Hitchcock’s Rear Window and the urban paintings of Edward Hopper. Here, we watch the neighborhood as Jessica does: glancing through windows, peering out of cars and staring down alleys. #GENERALS RISE OF THE REDS LETTERBOX SERIES#Superhero-turned-private-investigator Jessica Jones casts her eyes upon the streets of Hell’s Kitchen in the opening of Netflix’s TV show, based on the Marvel comic series Alias by Brian Michael Bendis. “The Crypt Keeper is likable but he’s also sly and treacherous-if you turned your back on him, he’d just plunge a knife into you,” as Yagher says in an interview in Tales of the Crypt: The Official Archives Including the Complete History of DC Comics and the Hit Television SeriesĪdd a quirky and macabre theme song by-who else?-Danny Elfman, and all these elements together combine to form one of the most memorable openings ever. This is where we meet the “star” of the show: the Crypt Keeper, a decaying undead puppet brought to life by animatronics expert and puppetmaster Kevin Yagher, creator of Chucky, the infamous doll from Child’s Play. Then, finally, came the crypt itself, which was actually a full-sized set that the producers could manipulate and film normally. Next was the computer-generated descent down the hidden stairwell. First was the tiny house, whose interiors were filmed with a 65mm snorkel camera with motion control. Built by Boss Film-the effects studio of Richard Edlund, who had worked as a cameraman on Star Wars and in special effects on Die Hard-the set was divided into three parts. So they decided to do exactly that, creating a tabletop Victorian mansion with a first-person perspective of what it might be like to walk through a haunted house. For example, Breaking Bad is extraordinary. Finally, this list doesn’t take into account the quality of the show, just its title sequence. We ruled out talk shows and soap operas, as well as TV movies and miniseries. We’re talking about recurring intro sequences, specifically-the show can’t just offer floating titles over an opening scene that changes, as in Mr. We’ve assembled the 75 best right here, ranked on a weighted scale according to production value, innovation, creativity, cultural impact, use of song (original or existing) and, most importantly, how well the intro represents or serves the series. Sadly, over nearly a century of television, most opening scenes have been unmemorable. Whatever the focus of the show, the opening sequence braces the audience for the type of story ahead. Get ready to laugh at that crazy Urkel on Family Matters, or to marvel at the mysteries of outer space on Star Trek, or to fear for the survivors of the zombie apocalypse on The Walking Dead. Whether a few iconic seconds or a complicated two-minute scene, a show’s intro tells audiences what they’re in for. The title sequence of a television show sets the tone for the entire series.
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