TV Intros

As requested by Ben Masters on Facebook, I am following up on my TV themes post and have a look at the visual aspect of TV intros. I don’t know about you, but if an intro is well done, I’m already getting into the mood for a show I want to watch. If the music and visuals match, the better the effect. So when I think about intros without primarily listening to the songs, the shows that have had a lasting effect on me with their introductions are definitely Charlie’s Angels, Bewitched and (you probably guessed it) Perry Mason. Like many other fans (so I’m sure), I’ve always wanted to know what was in that silly script that brought out Raymond Burr’s handsome dimple smile.

Charlie’s Angels, like Hart to Hart or Babylon 5 used narration to add to their pictorial introductions, explaining the background or premise of the show. While Lionel Stander introduced his screen bosses with scenes from the Hart to Hart pilot and only slight textual changes in the five years the show was on TV, Babylon 5 used a different introduction every season. Merging scenes from the show with the voices of lead characters, the season intros offered an outlook on the individual seasons, as well as a quick summary of what you needed to know to follow the plot of this complex show. And since I’m speaking of the 90s, who could forget ER, Home Improvement, Touched by an Angel, The X-Files or Chicago Hope – all equipped with visual intros that made clear what to expect from these specific program. Friends and Mad About You, two sitcom flagships of the era, also put us right into a quirky, urban mood, something Sex and the City would perfect in 1998 by making Manhattan a visual main character.

Looking at the evolution of these TV intros, in the 1980s, Cagney and Lacey and Scarecrow and Mrs. King already used their urban setting (New York City and Washington DC), as well as scenes from episodes to give the audience an idea of the content and nature of each show. The Golden Girls and Who’s the Boss did the same while The Cosby Show, Growing Pains, Roseanne or Valerie primarily introduced us to the type of family we were about to visit for half an hour every week. In the 70s, the intros of Happy Days, M*A*S*H, The Mary Tyler Moore Show or Family set the tone for very different shows while the 60s had already distinguished themselves from the often sponsor-laden intros of the 1950s. As the first era to introduce color TV, the 60s loved to use colorful effects and a contemporary style of music that showed a development away from family-friendly entertainment to more adult-oriented shows. While Hazel still proved to be traditional and rather quiet in the early 60s, Ironside‘s intro made clear the show was going to be filled with action, not unlike Adam-12.

In the new millennium, The West Wing tackled the unthinkable and turned politics into popular TV, the show’s intro already setting the mood and quality of a show that had a good run of seven seasons. The original CSI uses a similar pattern, creating a symbiosis of music and images, teasing the audience without giving too much away while the intro to the re-imagined Battlestar Galactica did not only set the tone for a dark-edged series, but also treated its audience to a glimpse into each new episode. Whether you enjoy the classic style of merging video material with a catchy tune like Trapper John M.D. did in in the late 70s and early 80s, prefer graphics as used in Cheers or are fond of the genuine way The Closer interlaced its credits with an already commencing episode – TV show intros are a like a good business card. Selling your product without being obtrusive while making a lasting impression on your audience.

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The 2000s

The 2000s

The new millennium started with a scare that influenced pop culture as much as everyday life. 9/11 in 2001 and the beginning of a lasting financial crisis in 2008 – the 21st century’s first decade did not live up the promise of a pampered life. But like in most crises, pop culture, fashion and the media took the turn towards entertainment. Reality shows seemed to increase by the minute, an interest in the clothes and trends of the 1980s was reborn with a vengeance, long retired musical acts from the 1990s celebrated their revivals and tabloids ran scandals and mayhem about an endlessly growing teenage starlet generation. Comebacks now referred to returning artists who had taken a break from their work for sometimes less than a year and everyone who knew how to submit an application to a song contest was labeled a star. New rules applied, enforced by social networks, youtube and the ever-growing internet media. Andy Warhol’s famous prediction that in the future everyone would claim fifteen minutes of fame seemed to turn into reality.

Apart from scripted reality, TV also offered a whole new set of new shows such as CSI (and its respective spin offs), Grey’s Anatomy, How I Met Your Mother, NCIS or Lie To Me. The credo was to present established genres from a new angle with characters who are skilled, a tad odd but also likeable. There’s no such thing as too screwed up as long as the characters excel at work and find a way to communicate with their peers. Slowly but thoroughly the nerd turned into a new hero and women were allowed to be just as silly, pitiful or sorry as men. The Gilmore Girls met the voice of an entire generation of young women and The O.C. brought soapy material back to prime time. Fantasy and science fiction was still on the rise, offering a variety of shows with strong female leads such as the re-imagined Battlestar Galactica, Dark Angel or Pushing Daisies. Brothers & Sisters, Monk, Castle and The Good Wife used more traditional ways of presenting their genuine leads, nicely blending school-book storytelling with a fresh set of ideas. Veronica Mars, The Closer or Rizzoli & Isles offered a new insight into women of the new century, a lot less grim and sexed-up than some of their predecessors but every bit as empowered.

Another TV trend was the publication of shows on DVD – contemporary ones, short-lived hits or vintage shows such as Perry Mason, The Donna Reed Show, Bewitched or I Love Lucy. As an addition to on-going re-runs on TV or Hulu, those retro shows attracted an audience already familiar with their favorite childhood stars, ranging from baby boomers to a generation that had fallen in love with the classics in the 1980s and 90s. The shows offered an alternative to the different values, aesthetics and storytelling of contemporary shows that were sometimes perceived as unsuitable for families or plain unoriginal.

At the movies, Pixar was still one the rise slowly pushing old-school animation out of the market with films such as Monster Inc. or Finding Nemo. Serial adaptations were popular such as Harry Potter, Lord of the Rings, Twilight or The Chronicles of Narnia, showing a preference for a blend of fantasy and improved special effects. Action movies, buddy films, comic book adaptations and science fiction sagas also met the audience’s increasing interest in fairytale worlds, video game aesthetics and escapism. The 2000s also brought on a growing interest in Meryl Streep’s diversity in films such as Mamma Mia!, Doubt or Julie & Julia. There was also room for Nancy Meyer’s love stories that featured a mature cast of stellar actors, such as It’s Complicated or Something’s Gotta Give, as well as for numerous other romantic comedies. All in all, the 2000s featured a diverse list of film titles, including The Inconvenient Truth, Lions for Lambs or The Visitor. Like in previous decades, popular successes were not the only contribution and it will be interesting to see where this new decade of the 2010s is headed.

Classy TV Ladies

So this is the odd Friday post after I was indisposed last week. Sorry about that! But this week I’m back and on a roll about something a dear friend of mine stirred up over breakfast only yesterday. Whatever happened to the warmhearted, caring and classy TV lady?! Mind you, I may jump decades a little in this entry, but I can’t help it. Where did my darling women go?! You know the bunch: Donna Stone, Samantha Stephens, Jennifer Hart, Elyse Keaton, Amanda King, Claire Huxtable,¬† JB Fletcher or Maggie Seaver?! All essentially different characters but obviously of undesired making these days. Or are they?!

When the topic arose yesterday morning, I found my friend raving about these shows: The Cosby Show, Family Ties and Growing Pains. All shows with strong working mother types. Granted, all comedy shows and not all too popular in style anymore – at least not production-wise, DVD sales however tell another (more successful) story. So the 1980s may be in vogue and families could be buying these childhood memories for their own kids these days, but isn’t it strange how appealing those stories and characters still are, especially to young women who seem to grow tired of being bombarded with a sexed-up stereotype of power Barbie?!

You see, I greatly enjoy Castle and The Good Wife, both shows with strong, likeable female leads. Brothers & Sisters also featured a motherly type of rare making in today’s shows and a bunch of crazy yet charming (adult) kids.¬† But these shows seem to be on the endangered species list. How many other popular programs can you name that make you feel like coming home to a family of respectable adults who really nurture their kids?! Donna Stone (The Donna Reed Show) and Samantha Stephens (Bewitched) really seem to be from another lifetime when you watch them doting on their families in the 1950s and 60s. But weren’t Maggie Seaver, Claire Huxtable and Elyse Keaton just the same only two, three decades later?! All working moms but always capable and affectionate towards their families despite their equally cherished careers?! And what about those female characters without children, like JB Fletcher,¬†Jennifer Hart or my all-time favorite Della Street?! How come they were so much less neurotic and snotty and able to smile even if they were up to their necks in hazard?!

I don’t know, maybe it’s just me but although I greatly enjoy some of what TV has to offer these days, including The Closer with its quirky female characters or Rizzoli & Isles with that team of unalike female leads, I cannot help but wonder why there are so few shows out there who pick up on that yearning for a more mature kind of female characters who are in touch with both, their professional qualities and their warmth. The West Wing did good in its own unique way without the sexual (yet highly entertaining) in-your-face attitude of Sex and the City, granted. But with all due respect for feminism and women’s lib, was Della Street that much less liberated by choosing to be a working girl and dressing adequately for success? Or did Claire Huxtable ever make a secret of loving her family but, at the same time, struggling to combine it with her dedication to her profession?! Hardly so, yet they both never came across as dodgy, moody or condescending. They were charming instead and had a respectful sense of humor about their situation, the men in their lives and the obstacles that came with both, something I greatly value when I now watch DVD reruns of the shows they were such pivotal parts of.

Call me a hopeless romantic or an idealist but I like to see the best of both worlds depicted on screen: female characters who get to prove their skills with implicitness in both their workplace and at home (husband and children included or not). I loved growing up with that image and it has always instilled a sense of tranquility in me that there is more to life than only the choice between Cagney or Lacey, Mary Tyler Moore or Sue Ann Nivens, mother or career woman. And I hope there will be a larger variety of shows which introduce independent yet sane and benign female characters again who make me feel like coming home.