We’re told to make excellent first impressions. It takes only a few seconds for someone to decide if they are attracted to a member of the opposite sex. We’re told not to judge a book by its cover, but often that’s what makes us pick up the book. We need something to draw is in, something to make us want to dive into this world, whatever it may be. It’s a little bit shallow, yes, but it’s oftentimes a deal breaker.
It’s no different with TV credit sequences. They kick start the show and, if they’re exceptionally good, will give you a flavour of what the show is about. Even if it’s relatively simple, it can still tell you something about what you’re about to watch.
HBO are the main proponents of a good opening sequence. Point to any HBO show and try not to be blown away by their opening credits sequence. Even Sex and the City’s opening credits provide a great introduction, showing you Carrie Bradshaw’s New York, an altogether removed one full of glamour but also a lot of imperfections. The Wire makes an excellent job of replacing their opening titles each season to capture the essence of that season. Urban decay is prominent throughout all 5 openings but, with each season focusing on a different aspect of Baltimore life, Season 3 throws in some politics whilst Season 2 chucks you into the life of a blue collar worker. Then you have the more visually striking side of things; the likes of Carnivale, True Blood or Deadwood showing you the everyday surrounding the series, be that gold prospecting or travelling caravans. To pick a recent example, the opening to Game of Thrones is perfect. Visually stunning, it sees the camera fly over a game board in the shape of Westeros, as the cities evolve and the pieces move into place, evoking the tension and drama of the show itself.
But HBO don’t hold a monopoly; just think of Dexter, perhaps one of the best opening sequences of the 21st Century, even if the show itself is declining in quality. We’re aware that Dexter is a serial killer also trying to live a normal life, so here we see him cooking his breakfast, flossing his teeth and putting on a t-shirt, getting ready for the day but with a sense of malice to it. He tightens the floss and shoe laces like he’s preparing cheese wire to strangle someone, and the spurting of the blood orange is… well… pretty obvious really.
As much as I loathe the opening to Homeland, it does what it needs to do well. It’s messy, disorganised; just a jumble of ideas. But then you realise that what we are seeing in this credits sequence is Carrie’s mind. Doubting her own ideas, while juggling everything else going on, this is the jumble we see; a mess of everything going through her head from her beloved jazz to news broadcasts.
A good title sequence does the job of hooking you in. Think Mad Men and, beyond the sharp suits, ridiculous alcohol consumption and Alison Brie, the first thing that springs to mind is that opening sequence. Mirroring the style and class, but also the quick fall many characters face, it sucks you in and lets you know what exactly it is you’re in for. First impressions really are everything. At least in the land of TV.
