50 Best TV Theme Songs of All Time

Consequence Staff

October 3, 2023 at 11:30 AM·37 min read

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The post 50 Best TV Theme Songs of All Time appeared first on Consequence.

Time to light the lights, get yourself a gun, and go where everybody knows your name: Musically, the most important part of any series is the TV theme song, so this week, Consequence will explore just why that is with TV Theme Song Week, celebrating this proud tradition with features, interviews, and lists. We’ve also launched our “I Never Skip Intro” merch collection, to honor those who know how to appreciate a classic theme; get yours at the Consequence Shop now.

Bruce Miller, the original composer of the theme song for Frasier, recently told Consequence that in his eyes, the TV theme song is like the overture of a Broadway musical: “Can you imagine walking into some big theater in New York and all of a sudden, a curtain opens, and these people walk on, and the lights don’t even dim?”

While we’re currently living in an era when TV theme songs feel like an endangered species, Miller’s right when he says a great theme song adds so much to a series. It’s not just the opportunity to get a catchy tune stuck in the viewer’s head — a great theme song can give a show its identity, communicating everything a new viewer needs to know about what’s to come while welcoming the returning fan back to a safe and familiar place, one where you might be “dead and out of this world” or where “everybody knows your name.”

Even when the memory of a show might fade, the power of music means that by hearing just a few notes, thoughts of comedy or drama or adventure or terror immediately come to mind. None of the songs listed below are all that long, but through clever composition and repetition, they’ve become immortal — an immortality found within the collective subconscious, if nothing else.

— Liz Shannon Miller
Senior Entertainment Editor

50. Unbreakable Kimmy Schmidt (2015-2019)

“Unbreakable”
Created by: Jeff Richmond

The Unbreakable Kimmy Schmidt’s news-story-turned-autotuned-viral-pop-song theme is not just an absurd way to lay out the show’s premise, it’s genuinely catchy. Even just a few listens are enough to plant the opening “Unbreakable/ They alive, damnit!” in your head for weeks to come, mirroring the show’s chipper, absurdist tone perfectly. It may be bizarre, but it’s strangely wonderful — a perfect compliment to the bold, unbreakable Kimmy Schmidt. — Paolo Ragusa

49. Mister Rogers’ Neighborhood (1968-2001)

“Won’t You Be My Neighbor?”
Created by: Johnny Costa, Fred Rogers

From 1968 to 2001, generations of children were greeted by the immortal words of Mr. Fred Rogers: “Won’t you be my neighbor?” It was the opening line to PBS’ iconic children’s edutainment show Mister Rogers’ Neighborhood, a gentle invitation into a friendly pal’s home for a nice time filled with puppets and kindness. The tune is simple, but surprisingly sophisticated: Rogers’ unassuming vocals underneath Johnny Costa’s soft, loungey piano backing. It’s the aural equivalent of a fuzzy red cardigan wrapping around you as you get ready to spend a nice, cozy morning with a friend. Fred Rogers never talked down to his child audience, and neither does this song. — Clint Worthington

48. That ’70s Show (1998-2006)

“In the Street”
Created by: Alex Chilton, Chris Bell, Todd Griffin, Cheap Trick

While many theme songs provide some needed exposition, the theme from That 70’s Show is decidedly simple: we’re hangin’ out, we’re doin’ the same old things, and we’re all alright. That’s this retro sitcom in a nutshell, and the theme’s delightful nod to stoner rock and the slacker culture of the ’70s makes you want to head down to the basement and let the time pass you by. — P. Ragusa

47. Where in the World is Carmen Sandiego? (1991-1995)

“Where in the World is Carmen Sandiego?”
Created by: Rockapella

It seems like every generation has their moment with a cappella. For those currently starring down 40 on the other side of the pitch pipe, that moment was the kids game show Where in the World Is Carmen Sandiego?. The original successful video game adaptation, the PBS program saw a trio of middle school “gumshoes” answering geography and natural science questions to track down international master criminal Carmen Sandiego and her goons. There to help deliver clues and the theme music was vocal quartet Rockapella, beatboxing their way into kids’ ears and hearts. It’s just sticky enough to give that “Oh, a cappella can be kinda fun!” vibe, with a perfect cadence on the title. Plus, it packs so-stupid-they’re-great puns like, “Well they never Arkansas her steal the Mekong from the jungle,” and, “She put the Miss in misdemeanor when she stole the beans from Lima.” — Ben Kaye

46. The Brady Bunch (1969-1974)

“The Brady Bunch”
Created by: Sherwood Schwartz, Frank De Vol, Peppermint Trolley Company

Will our children’s children still be able to sing, “It’s the story, of a lovely lady!” unprompted, when this classic blended family comedy comes up? That’s the future’s job to answer. But our children likely will, as the cheerful tune does a tidy job of not just setting the tone but explaining the premise of this classic blended family comedy. (Okay, it’s not that complicated a premise, but at least you go into the show knowing whose biological parents are whose.) What makes this one so effective as an identity for the series is that there’s no hint of strife in the melody — just pure sunshiny days vibes. — L.S. Miller

45. Malcolm in the Middle (2000-2006)

“Boss of Me”
Created by: They Might Be Giants

A show digging dark humor out from the grave of turn-of-the-millenium lower-middle-class suburban family life called for a theme as unhinged as its aesthetic. When you need a track like that, you turn to They Might Be Giants, who delivered a perfect match with “Boss of Me.” There’s the lackadaisical daydreaming of the intro, the ska-punk slam-dance of the hook, and that blissful resignation that “life is unfair” right at the end. It’s like they’d soundtracked exactly what was going on in Malcom’s head as he dejectedly watched his family blunder through societal norms. The song was also a standalone hit, cracking the Top 30 on the Australian and UK singles charts and taking home a Grammy for Best Song Written for Visual Media. Seems life is fair every now and then. — B. Kaye

44. Welcome Back, Kotter (1975-1979)

“Welcome Back”
Created by: John Sebastian

Welcome Back, Kotter centers on Gabe Kotter (played by Gabe Kaplan), who returns to his old high school to teach a class of misfit students comprised of Vinnie Barbarino (John Travolta) and other “Sweathogs.” The theme song’s laidback nature contrasts with the hijinks that Mr. Kotter has to put up with, but its lyrics tell the story perfectly: “Welcome back/ Your dreams were your ticket out/ Welcome back/ To that same old place that you laughed about.” The song was written and performed by John Sebastian of The Lovin’ Spoonful, and reached No. 1 on the Billboard Hot 100 chart in May 1976, thanks to the enormous popularity of the TV series.— Spencer Kaufman

43. Rugrats (1991-2004)

“Main Title”
Created by: Mark Mothersbaugh

As the frontman of Devo, Mark Mothersbaugh has a unique take on mood and melody, and he deployed those same skills for the Rugrats theme to wildly different effect. For toddlers experiencing the world for the first time, Mothersbaugh crafted a melody that is wonderful in the most literal sense of the word: full of wonder, inspiring awe; curiosity and imagination made physical sound. The drum roll and twinkling keys start normally enough, but they are soon joined by textured squeaks and a keyboard belching the word “bum.” The Rugrats theme is actually just as bonkers as anything from Devo, and the thing it does is no less rare, capturing the chaos and excitement of our earliest adventures. — Wren Graves

42. It’s Garry Shandling’s Show (1986-1990)

“This Is the Theme to Garry’s Show”
Created by: Bill Lynch, Garry Shandling, Alan Zwiebel

Garry Shandling’s pre-Larry Sanders Show series was an arguably even more post-modern comedy, as It’s Garry Shandling’s Show featured Garry frequently breaking the fourth wall to speak directly to the audience about the action on screen. Thus, the show deserved an equally post-modern theme song, something “This Is the Theme to Garry’s Show” easily delivered. As Vulture wrote in 2019, it was written in the literal span of an elevator ride, with Shandling improving the opening line: “This is the theme to Garry’s show, the theme to Garry’s show/ Garry called me up and asked if I would write a theme song.” Co-creator Alan Zweibel followed suit with the next line, and the result was later performed by musician Bill Lynch, to get stuck in your head for the rest of time. — L.S. Miller

41. The O.C. (2003-2007)

“California”
Created by: Phantom Planet

As both an East Coaster and an awkward, Jewish comic nerd, I hated The O.C. Not only could I not relate to the sun-soaked drama of upper-class California, but Adam Brody gave my brand a bad name that stuck for most of my late teens. But while I couldn’t watch the schlock on screen, I couldn’t deny that theme — gol-ly does it slap. Having already been featured on The Simpsons and (somewhat redundantly) the movie Orange County, Phantom Planet’s The Guest cut was a syncing success even before WB tagged it onto The O.C. Having it tied to the pop culture phenomenon turned it into a smash while helping define the sound of wistful disenchantment that subsumed early-2000s teenagers. — B. Kaye

40. Sesame Street (1969-present)

“Can You Tell Me How to Get to Sesame Street?”
Created by: Joe Raposo, Jon Stone, Bruce Hart

The ranking of this list is weighted for aesthetics, but if you only looked at the music that had the biggest impact on the most people, the clear winner would be Sesame Street; Kids whose media diet included “Can You Tell Me How to Get to Sesame Street?” did significantly better in elementary school than kids who did not. Part of Sesame Street’s innovation came in learning through song, but for all the classics throughout the years, perhaps none are so easily recognizable as the theme. Joe Raposo composed “Can You Tell Me How to Get to Sesame Street?” for the first episode, and the tune isn’t just the oldest, it’s among the best, framing learning as an act of pure joy. — W. Graves

39. Crazy Ex-Girlfriend (2015-2019)

“Crazy Ex-Girlfriend Theme Song”
Created by: Rachel Bloom, Adam Schlesinger

Andrew Lloyd Webber could never. “Crazy Ex-Girlfriend Theme Song” introduced television audiences not only to the character Rebecca Bunch, but also to a one-of-a-kind talent — though Rachel Bloom had hardly come out of nowhere. In 2010, the comedian, songwriter, and YouTuber was nominated for a Hugo Award, the prestigious science fiction prize, for her song “Fuck Me, Ray Bradbury.” But Crazy Ex-Girlfriend remains her masterpiece, a three-season downwards spiral followed by a season of hard healing, often set to jaunty showtunes from pop genius Adam Schlesinger. It used a different theme every season, but the greatest was the first: a classic exposition number, summarizing the moment a high-powered lawyer snapped and moved to West Covina, CA to stalk her ex-boyfriend. From the West End to Broadway, there haven’t been many songs over the last 20 years that are simultaneously this funny and this nuanced, shockingly dark and irresistibly catchy. — W. Graves

38. The Greatest American Hero (1981-1983)

“Theme from The Greatest American Hero (Believe It or Not)”
Created by: Joey Scarbury

“Theme from The Greatest American Hero (Believe It or Not)” may be a… lengthy title for a theme song, but of all the songs on this list, this one’s a genuine banger on its own merits. While The Greatest American Hero might not be as well-remembered as other series on this list (all three seasons streaming now on Peacock!), its theme is so good that it was a Billboard Top 40 hit for 18 weeks in 1981. Composed by the legendary Mike Post, with lyrics by Stephen Geyer, Joey Scarbury sings the crap of this jaunty, off-kilter tune about the joys of unexpected superpowers. “I never thought I could feel so free,” indeed. — L.S. Miller

37. Laverne & Shirley (1976-1983)

“Making Our Dreams Come True”
Created by: Charles Fox, Normal Gimbel, Cyndi Grecco

“One, two, three, four, five, six, seven, eight! Schlemiel, schlimazel! Hassenpfeffer Incorporated!” Maybe the platonic ideal of the sunny ‘70s sitcom ditty, Laverne & Shirley’s infectious theme tune — courtesy of writers Charles Fox and Normal Gimbel, and performed by the radiant Cyndi Grecco — captured the irrepressible energy of the spunky duo. What’s more, it was a working-class anthem that fit the women’s lib optimism of the time: Two young women, single and liberated in the city of Milwaukee, making their way through the world with nothing but each other. They were doing it their way, and making their dreams come true, and the Laverne & Shirley theme made us feel like we could do the same. — C. Worthington

36. Orange Is the New Black (2013-2019)

“You’ve Got Time”
Created by: Regina Spektor

Orange Is the New Black creator Jenji Kohan went directly to Regina Spektor for this guitar-powered jam that’s amazingly in sync with the tone of the Netflix dramedy. The lyrics of “You’ve Got Time” begin by comparing the inmates of Litchfield Penitentiary to animals, before bringing the audience into what it really means to be behind bars: “The light was off but now it’s on/ Searching underground for a bit of sun.” It’s an approach that matches the show’s own deeply felt humanism; Spektor received her first Grammy nomination for the composition, in the Best Song Written for Visual Media category, and it holds up beautifully as an encapsulation of everything that makes Orange so memorable. — L.S. Miller

35. Scooby-Doo: Where Are You? (1969-1970)

“Scooby-Doo, Where Are You?”
Created by: David Mook, Ben Raleigh, Larry Marks

Ask anyone of any age to sing the theme song for Scooby-Doo: Where Are You? and, more likely than not, they’ll be able to flawlessly belt out the full thing on their first try. A true product of its time, the pop-friendly rock track excels thanks to its energetic instrumentation and raw sing-along potential. It’s been remixed, covered, referenced, and repurposed countless times since its original debut in 1969, but no matter what direction modern reinterpretations take the tune, it’s always instantly recognizable. Now good luck getting it out of your head. — J. Krueger

34. Star Trek: Deep Space Nine (1993-1999)

“Main Title”
Created by: Dennis McCarthy

There’s no denying that over the decades, there have been several Star Trek themes which stand out for their orchestral beauty. (And one flat-out turd, but enough about Enterprise.) Of them all, though, Dennis McCarthy’s original composition for Star Trek: Deep Space Nine remains a thing of beauty, not just as a Trek theme, but as a piece of music. Its echoing trumpet speaks of a far-off lonely frontier, while the swelling orchestra promises that adventure and discovery lurk there. It’s a longer tune than most, coming in at nearly two minutes, but it’s absolutely unskippable. — L.S. Miller

33. What We Do in the Shadows (2019-present)

“You’re Dead”
Created by: Norma Tanega

Originally used in the film of the same name, Norma Tanega’s “You’re Dead” accomplishes for What We Do in the Shadows what all great theme songs should: establish the show’s tone (in this case, irreverent and satirical), keep the viewer engaged throughout the opening credits (done and done), and become viscerally intertwined with the identity of the series (checkarooni). With its appropriately deadpan, morbid lyrics, there isn’t a more perfect match for our favorite vampire mockumentary. — Jonah Krueger

32. DuckTales (1987-1990)

“DuckTales”
Created by: Mark Mueller, Jeff Pescetto

When he first composed the title theme for Disney’s animated adventure series DuckTales, composer Mark Mueller was paid a mere $1,250 for the job. Now, 35 years after it aired, it’s still one of the memorable cartoon themes in history, a catchy call to adventure featuring plenty of “woo-hoo”s and lyrics that rhyme “Duckburg” with “duck blur.” It’s spawned plenty of stylistic covers, and the show’s global syndication means you can find the show’s theme translated into just about any language. The theme is so iconic, Disney dared not change a lick of it when they rebooted the show in 2017 — and even got its all-star voice cast to sing along to it. — C. Worthington

31. Gilligan’s Island (1964-1967)

“The Ballad of Gilligan’s Isle”
Created by: George Wyle, Sherwood Schwartz, The Wellingtons, The Eligibles

Recorded originally by The Wellingtons before being redone by The Eligibles, the theme song of Gilligan’s Island has cemented its place in the pantheon of the great television theme songs. By incorporating sea shanty themes in this track starting with Season 2, the premise-driven approach lets you know exactly what to expect from the series; even if you’ve never seen an episode before, you can jump in at any random point and this opening ditty will catch you right up. Catchy, light-hearted, and playful, it feels like you already know all of the characters by the time the song has wrapped up, thanks to its detailed lyrics and unforgettable melody. — Aidan Sharp-Moses

30. Law & Order (1990-present)

“Theme of Law & Order”
Created by: Mike Post

As soon as it begins, you know it’s time to get serious. The Law & Order theme and its iconic opening timpani hits have been cemented in pop culture, and its moody, stylized aura perfectly prepares you for what the procedural is about to bring. As far as themes for cop shows go, Law & Order’s opening song is both influential and totally unique, with an almost disorienting groove, touches of acoustic guitar, and an overall air of mystery. — P. Ragusa

29. Curb Your Enthusiasm (2000-present)

“Frolic”
Created by: Luciano Michelini

Seinfeld’s bass lines might be more iconic, but Curb Your Enthusiasm’s silly, wordless theme might distill the nature of Larry David even more successfully. Written by Italian film composer Luciano Michelini, “Frolic” is a little bit aloof but fully confident; somewhat wandering and clueless, but would never admit to it. It’s the sound of someone willing to lay down their life to uphold (or tear down, depending on what’s most advantageous) society’s unwritten contracts. The ditty is so effective at communicating Davidism as a philosophy that David might as well have it play whenever he walks into a room. — J. Krueger

28. WandaVision (2021)

“WandaVision!”
Created by: Kristen Anderson-Lopez, Robert Lopez

As Wanda (Elizabeth Olsen) moved through television history, her opening credits changed with her. From visuals nodding to The Brady Bunch all the way through to winks at The Office and Modern Family, the Marvel limited series changed it up with each iteration — but Episode 2’s unreasonably catchy late-’60s amalgamation of Bewitched and I Dream of Jeannie just about steals the show. Written by the musical team behind Frozen, Kristen Anderson-Lopez and her husband Robert, the stellar theme tunes worked their way into the hearts of viewers right alongside the tale of our Scarlet Witch, her boys, and the love of her life. — Mary Siroky

27. SpongeBob SquarePants (1999-present)

“SpongeBob SquarePants Theme Song”
Created by: Mark Harrison, Blaise Smith, Patrick Pinney

No opening line gets children from a certain generation as unreasonably excited as, “Are you ready, kids!?” Like the Pavlovian dogs we are, we’ll instantly replay with, “AYE, AYE, CAPTAIN!” That’s the power of the SpongeBob SquarePants theme, a power held by only a handful of other theme songs. Just ask Slipknot frontman (and recent Consequence cover star) Corey Taylor, who regularly works the tune into his solo sets to rapturous applause. It’s more than merely iconic; it’s eternal, forever fixed in pop culture’s collective memory. In fact, leading scientists believe we’ll see the heat death of the universe before we see the discontinuation of the SpongeBob SquarePants theme song. — J. Krueger

26. Three’s Company (1977-1984)

“Come and Knock on Our Door”
Created by: Joe Raposo, Ray Charles, Julia Rinker

If nothing else, there’s a true genius to the first line of a theme song being, “Come and knock on our door/ We’ll be waiting for you.” Directly addressing your viewers as invited guests — what a wonderful way to welcome viewers to your TV show! Written by Joe Raposo, a composer who makes at least one other appearance on this list, the Three’s Company theme doesn’t include any lyrics about a straight man pretending to be gay in 1977 so he can share an apartment with two women (despite there being a lot of good rhymes for “gay”). However that’s a lot to ask for a short tune, and the theme remains memorable despite that. — L.S. Miller

25. The Muppet Show (1976-1981)

“The Muppet Show Theme”
Created by: Sam Pottle, Jim Henson

Perhaps the most sensational, inspirational, and celebrational entry on this list, Jim Henson and Sam Pottle’s “The Muppet Show Theme” is certainly the most muppetational. Despite being slightly altered between each of the variety show’s five seasons, this big-production number perfectly set the stage for the joyous, irreverent show that followed. Nearly 50 years later, the classic tune has retained so much charm and humor that it’s become as synonymous with Henson’s creations as frogs and pigs and… whatever Gonzo is. Plus, even coming from a pre-streaming era, it’s one of the first skip-proof themes, as you have to hang around to see what happens to Gonzo on that final note. — B. Kaye

24. The Mary Tyler Moore Show (1970-1977)

“Love Is All Around”
Created by: Sonny Curtis

It’s fun when a theme song answers its own questions, like “Who can turn the world on with a smile?” (Kinda strange that that lyric made the cut in 1970!) Of course, Sonny Curtis’s “Love Is All Around” isn’t just a song about a planet being horny for a lady — it’s one of the great psych-up tracks, telling its titular heroine that she might be a single gal in the big city, but she’s “gonna make it after all.” Which is advice that Mary Tyler Moore needed to hear, given all the misadventures she got into over the show’s seven seasons. — L.S. Miller

23. The Addams Family (1964-1966)

“Main Title”
Created by: Vic Mizzy

Apparently, it’s not hard to make a show about how goths are cool and funny, because The Munsters debuted at the same time as The Addams Family in 1964. Back then, Munsters topped Addams in the ratings, but where that show has been relegated to campy Rob Zombie remakes, those Addamses continue to fascinate audiences just as much as they did when Charles Addams published the first comic with the family in 1938. That’s at least in part because The Addams Family has the superior theme song; Vic Mizzy’s tune is timelessly kooky, like “Electric Slide” for people who paint their fingernails black. The lyrics are silly fun and the snaps go harder than just about any percussion you’ll find on this list. The Addamses are funny weirdos who don’t care that they’re weird, and their theme song nails that energy. — W. Graves

22. The X-Files (1993-2018)

“The X-Files”
Created by: Mark Snow

The long-running sci-fi drama owes an awful lot to composer Mark Snow for giving it its sonic identity. Snow’s score could be at times a little overwrought in the context of the actual series, but there’s no question that his opening theme encapsulated The X-Files as a whole, from the bold piano notes of danger to its haunting whistle, forever searching for the truth. (The theme’s signature echo effect was created by accident, when Snow leaned his elbow on his keyboard.) Even out of context, it’s a piece of music that communicates that whatever’s about to happen next… it’s gonna be spooky. — L.S. Miller

21. Batman: The Animated Series (1992-1995)

“Main Title”
Created by: Danny Elfman

As this groundbreaking animated adaptation of the Caped Crusader was directly inspired by Tim Burton’s Batman films, it’s only fitting that it would use one of composer Danny Elfman’s bold gothic themes for its opening titles. (Elfman originally turned down the opportunity to compose the theme, but changed his mind later — and we’re all better for it.) The low brass instrumentation captures the mysterious, dark aura of Gotham City, while also adding intensity to Batman’s pursuit of the bad guys — no lyrics are necessary to capture the audience’s attention. — Cielo Perez

20. The Twilight Zone (1959-1964)

“Main Title”
Created by: Marius Constant

How the iconic Twilight Zone theme came to be is a tale stranger and darker than some of the episodes. The great Bernard Herrmann wrote the first (less-than-great) theme, which CBS never quite loved. For the second theme, the network tried to dodge paying royalties and union rates (at the time the American Federation of Musicians had considerable clout), and built a library of cheap compositions from European musicians. Enter Romanian-born, Paris-starving Marius Constant. He was paid about $700 for several compositions, including the separate works “Milieu No. 2” and “Étrange No. 3,” which CBS spliced together for The Twilight Zone’s second season. Constant didn’t even hear about The Twilight Zone until years later, but today his greatness is universally acknowledged: four simple notes floating amid a fog of dissonance and disquiet. Both in content and in how that content came to be, it’s a masterpiece of the bizarre. — W. Graves

19. Mad Men (2007-2015)

“A Beautiful Mine”
Created by: RJD2

There’s an interesting backstory to the theme for Mad Men that goes far beyond the nostalgic animation it accompanied: Producer/DJ RJD2 created the sample as the basis for a different track, and Mad Men creator Matthew Weiner heard it on NPR one day and decided it would be the right fit for the opening. To Weiner’s credit, it’s hard to imagine the show without it now — it’s almost reminiscent of the John Williams-scored opening credits sequence to Spielberg’s Catch Me If You Can, perfectly nostalgic while also carrying the tension that made Mad Men so endlessly fascinating. — M. Siroky

18. All in the Family (1971-1979)

“Those Were the Days”
Created by: Carroll O’Connor, Jean Stapleton, Lee Adams, Charles Strouse

The opening theme to All in the Family is a treat on so many levels. First off, it’s performed in character by the lead actors themselves, with Carroll O’Connor employing Archie Bunker’s thick New Yawk accent, and Jean Stapleton hilariously singing with Edith Bunker’s high-pitched screech. Lyrically, the song finds the politically incorrect Archie and the endearing Edith waxing nostalgic about the good ol’ days when “50 dollars paid the rent” and “freaks were in a circus tent.” The theme also plays a vital role in the show, as we see Archie and Edith lovingly perform the song together at the piano during the opening credits, proving that they actually adore one another despite their constant bickering. — S. Kaufman

17. Cowboy Bebop (1960-1966)

“Tank!”
Created by: Yoko Kanno

The music for Cowboy Bebop famously came before most of the writing, with Yoko Kanno and her band The Seatbelts serving as both feedback and inspiration for creator Shinichirō Watanabe. Kanno took cues from Ennio Morricone, opera, film noir, and rock, blending those sounds through her love of jazz. The theme song, “Tank!” starts with the funkiest bassline this side of Charles Mingus and layers on the kind of wild urgency that only horns can provide. “Tank!” isn’t just challenging, rich, and furiously exciting, it’s in the conversation for the single greatest jazz song of the last 40 years. — W. Graves

16. Breaking Bad (2008-2013)

“Breaking Bad Main Title Theme”
Created by: Dave Porter

Dave Porter’s extended version of the Breaking Bad theme is more than a minute long, but the version everyone knows is that 18-second burst we hear before every episode; six dangerous notes, plucked and bent on a single guitar in a minor key, surrounded by airy textures and that bongo in the distance. It’s a sound that feels as smoky as the tendrils of vapor that puff through the title sequence, and as tense as Walter White’s journey from put-upon chemistry teacher to self-made drug kingpin. (Of course, this one has made-up lyrics too, courtesy of Jimmy Fallon and Trace Adkins.) — C. Worthington

15. Succession (2018-2023)

“Succession (Main Title Theme)”
Created by: Nicholas Britell

Nicholas Britell is an incredible composer, and he created some unforgettable musical moments throughout Succession’s run. (“L to the OG,” anyone?) He set the tone with the main theme right out the gate — it’s melodramatic and haughty, as lush as it is overbearing. How is it possible for a piece of music to sneer at you with a wealthy sense of superiority? We’re still not sure, but Britell managed to find a way. What’s more, there’s no joy to be found in that main theme; rather, it’s more than a little foreboding and chilling, with an airtight legal threat baked in there somewhere. Sunday nights just aren’t the same without the sound of that first chord kicking in. —M. Siroky

14. M.A.S.H. (1972-1983)

“Suicide Is Painless (Instrumental)”
Created by: Johnny Mandel

If this list were ranked based purely on how famous they were, this track would be hard to beat. The instrumental version of “Suicide is Painless,” originally made for the M.A.S.H. movie, helps strike the tone of a war-torn Korea while bringing an air of familiarity to the intro: With Johnny Mandel providing those ever-recognizable guitar lines before turning it into a full-on orchestra, this theme keeps things simple and catchy while setting the stage perfectly for the ensuing madness surrounding its characters. Over 50 years after the show premiered, it is still hard to watch an episode without having this song lingering in your brain for hours afterward. — A. Sharp-Moses

13. Seinfeld (1989-1998)

“Main Title”
Created by: Jonathan Wolf

Out of context, Jonathan Wolff’s theme for Seinfeld could have gone down as an odd sendup of sitcom sonic tropes from the late-’80s and early-’90s. It’s almost annoyingly bouncy, and its instrumentations — particularly the dizzied up bass and mouth noises — are aggressively cheeky. What made it work wasn’t just being tied to one of the most successful sitcoms of all time, but how Wolff allowed it to sit within that show. The genius of this borderline obnoxious piece of music was that it could be broken apart and put back together around the beats of the show itself without ever seeming like anything but the “Seinfeld Theme.” Watch the cold open standup bits that start every episode and you’ll never hear the same version of the theme twice — but you’ll always know exactly what you’re hearing. — B. Kaye

12. Golden Girls (1985-1992)

“Thank You for Being a Friend”
Created by: Andrew Gold, Cynthia Fee

Decades later, The Golden Girls remains a happy place for us all, a warm embrace from your four grandmothers who will never disappoint you by saying something super-racist. And there’s almost something symbiotic about the connection between the show’s enduring good nature and its theme song, Cynthia Fee’s cover of Andrew Gold’s “Thank You for Being a Friend.” It’s a song that seems to define friendship at its core, right down to the final line of the full version: “And when we die and float away/ Into the night, the Milky Way/ You’ll hear me call as we ascend/ I’ll see you there, then once again.” — L.S. Miller

11. Twin Peaks (1990-2017)

“Falling”
Created by: Angelo Badalamenti, Julee Cruise

It’s not much of an overstatement to say that without Angelo Badalamenti’s musical contributions, David Lynch’s wonderfully weird world of Twin Peaks would feel quite a bit different — likely a whole lot worse. Luckily, we need not entertain such upsetting hypotheticals, because Badalamenti’s dreamy score has not only become a staple of Twin Peaks, but it’s proven to be a plentiful well of inspiration for countless other artists (from Mount Eerie to Moby). The show’s title theme instantly transports you into the eerie, idiosyncratic vibe of the series’ titular setting: Play just the first few notes at any art school in the country, and it’ll be like an army of sleeper agents awakening to explain the genius of Badalamenti and Lynch’s artistic connection. — J. Krueger

10. Friends (1994-2004)

“I’ll Be There for You”
Created by: The Rembrandts

It’s almost unfair that “I’ll Be There For You” was a one-hit wonder from The Rembrandts — but then again, the theme from Friends became so ubiquitous that it’s still used as a ’90s nostalgia reference point today. The jangly guitars and harmony-laden vocals are joyous and catchy, even if the song’s lyrics refer to those moments in your 20s where “your job’s a joke, you’re broke/ Your love life’s D.O.A.” It’s a unique theme in that both the opening guitar riff and its title refrain are just as iconic as the other, and the message of dedication and commitment to your friends — despite everything — is genuinely sweet. After all, Friends was intended to highlight the time in which your friends are your family, and from the moment that opening sequence plays, it’s easy to feel like those six New Yorkers are your family too. — P. Ragusa

09. The Fresh Prince of Bel-Air (1990-1996)

“The Fresh Prince of Bel-Air”
Created by: DJ Jazzy Jeff, Will Smith

Normally, you might look down upon a theme song that explains the premise of its titular show so literally. “Leave something to the imagination!” you might cry. And yet, as soon as Will Smith starts spinning tales of his days on South Philly’s basketball courts, you’re smiling from ear to ear and rapping along. Maybe it’s the old-school hip-hop beat, maybe it’s Smith’s over-the-top, classic rap flow, but the bouncy tune is undeniably irresistible, simultaneously existing as a time capsule of the 1990s and a timeless little nugget of pop culture history. — J. Krueger

08. The Simpsons (1989-present)

“The Simpsons Theme”
Created by: Danny Elfman

The opening credits of The Simpsons change from episode to episode in a few key ways — Bart at the chalkboard, the family arriving on the couch. (If we wanted to, we could certainly create an entirely separate list just to round up some of the best opening credits gags — there’s a plethora of incredible moments to choose from). The consistency, though, lies in the song itself, upbeat and familiar in a way that’s allowed this part of the show to become just as intrinsic to the fabric of The Simpsons as Marge’s sky-high hair or a perfectly timed, “D’oh!” Upbeat and almost carnivalesque in its whimsy, this theme song was composed by none other than Danny Elfman, one of his more iconic compositions in a career rich with them. — M. Siroky

07. X-Men: The Animated Series (1992-1997)

“Main Title”
Created by: Rob Wasserman

X-Men: The Animated Series simply didn’t need to go as hard as it did. It was a Fox Kids Network series based on comic books; instead of playing down to its audience, however, it elevated the cartoon format with rich storytelling, complex subjects, and one of the most bombastically awesome theme songs in TV history. Composer Ron Wasserman kitchen-sinked this track to pulse-pounding results: charging drums, thrashing electric guitar, cinematic strings. Even that solo bell separating the movements just induces chills. There’s a certain subset of humans in whose chemistry these notes are so deeply embedded that when they showed up as sound cues in Marvel Cinematic Universe productions 30 years later, they triggered a chain reaction of implications. Songs powerful enough to cause a physical reaction are rare treasures — theme songs that can do it are freaking unicorns… or mutants. — B. Kaye

06. The Sopranos (1999-2007)

“Woke Up This Mornin'”
Created by: Alabama 3

Few lines from opening themes capture the essence of a show so thoroughly as “Woke up this morning/ Got myself a gun.” Paired with dark synth arpeggios, rumbling bass, and an explosive chorus, Alabama 3’s “Woke Up This Morning” manages to introduce both the darkness and levity of Tony Soprano and his mob-related waste management-related escapades.

Of course, it’s nice to be attached to one of the most celebrated shows of the modern era, but even stripped of its context, the song slaps. Perhaps that’s why it connects so viscerally even upon first viewing, as viewers can easily imagine Tony himself blasting the tune as he crosses the bridge from New Jersey to New York. All told, it’s no wonder “Woke Up This Morning” has become such a defining element of the show’s lasting legacy, inspiring conversation and memes years after the show’s conclusion. — J. Krueger

05. Doctor Who (1963-present)

“Main Title”
Created by: Ron Grainer, Delia Derbyshire

Some theme songs are on this list because of how they’ve endured throughout the decades, and some are here because they were game-changing right out of the gate. Both of these things are true for Doctor Who’s “Main Title,” originally written by Ron Grainer in 1963 but rendered as an electronic dreamscape by the BBC Radiophonic Workshop’s Delia Derbyshire. Considered “the mother of electronic music,” Derbyshire took Grainer’s theme and transformed it into an otherworldly tune by recording individual sounds to magnetic tape and then manipulating them using all sorts of technological witchcraft. (Again, this was 1963.)

The result was something unlike the world had ever heard before, a sonically perfect accompaniment to the story of an alien who travels through time and space in a blue box; while it’s been rerecorded many times over the years, that distinctive “whoooWHOOOwhooo” endures. It’s one of science fiction’s most famous tunes, but Derbyshire was denied co-writing credit (and the ensuing royalties) by the BBC. Please remember her name when you hear it. — L.S. Miller

04. Mission: Impossible (1966-1973)

“Theme from Mission: Impossible”
Created by: Lalo Schifrin

Argentine composer Lalo Schifrin originally wanted to call this “Burning Fuse” and holy hell can you understand why. The theme to the original Mission: Impossible TV show starts off with woodwinds, but these aren’t your middle school orchestra’s tooting flutes: these motherfuckers flutter. Schifrin wrote the theme in 5/4 time, and for people who grew up on the standard 4/4 (everyone), that extra beat feels like waiting for a bomb to explode. We hear dun-dun and the briefest pause before the second daring dun-dun, and that little hesitation only ratchets up the tension. The fact that the notes — long-long, short-short — also happen to be Morse code for M-I only adds to the mind-blowing nature of the song, regardless of whether that was actually Schifrin’s intention.

The original version is rounded out with cool bongos, but the structure is so solid that it is easily adapted to electronic percussion, and no matter how many years pass it continues to feel modern and exciting. Even now, when I’m holding my kids and they drop something, I always hum “dun-dun (pause) dun-dun” as I lower them to the ground to retrieve it. Their grandchildren might one day hum the same tune; it’s not going anywhere. — W. Graves

03. The Jeffersons (1975-1985)

“Movin’ On Up”
Created by: Ja’Net DuBois, Jeff Barry

Perhaps the greatest “feel-good” TV theme song of all time, “Movin’ On Up” is an anthem for anyone who’s made it in this world. For The Jeffersons, it perfectly paints the picture of George and Louise Jefferson’s move from Queens to their “deluxe apartment in the sky” in Manhattan, thanks to the success of their dry-cleaning chain. Musically, the song is a soulful delight, co-written and sung by Ja’Net Dubois, who’s backed by a gospel choir, adding a church-like vibe to the tune. (Interestingly enough, Dubois was also an actress who starred as Willona Woods in Good Times, another great show of the 1970s.)

When you make that next leap upward in life and get another “piece of the pie,” do your best George Jefferson strut and sing “Movin’ On Up” at the top of your lungs. It feels good! — S. Kaufman

02. Game of Thrones (2011-2019)

“Main Title”
Created by: Ramin Djawadi

It’s hard to think of a TV fantasy series theme tune that’s more instantly iconic or recognizable than Ramin Djawadi’s galloping, cyclical fanfare for Game of Thrones — which makes it shocking to discover that it was overlooked by the Emmys during the show’s eight-season run. Djawadi was asked to avoid using flutes and solo vocals in the composition, and thus he took a very different approach: Driven by that repeating, four-note motif led by a single cello, the theme evokes a combined sense of adventure and danger.

And it’s the music as much as the sweeping camera which serves as an invisible hand, guiding us through each location we’ll visit in that particular episode, flying us through space and snow and air to the next battle, the next beast, the next betrayal. There’s a reason it became one of the most hummable tunes of the 2010s — unless, of course, you’re singing something else to the beat. — C. Worthington

01. Cheers (1982-1993)

“Where Everybody Knows Your Name”
Created by: Gary Portnoy, Judy Hart-Angelo

Fun fact: The original opening line of the Cheers theme song was “Singin’ the blues when the Red Sox lose/ It’s a crisis in your life” — an apt sentiment for the iconic Boston-set sitcom, yet one that’s not quite as universal as the final version: “Makin’ your way in the world today/ Takes everything you’ve got/ Takin’ a break from all your worries/ Sure would help a lot.”

The rewrite was a smart choice, because much like the themes for Three’s Company, Friends, and The Golden Girls, “Where Everybody Knows Your Name” derives so much of its power from directly engaging with the viewer on a relatable level; its lyrics are all written in the second person, as Gary Portnoy sings about finding a place where loneliness is an impossible thing. This is a song about an everyday neighborhood bar, yet Portnoy and Judy Hart-Angelo’s nostalgia-tinged melody makes it feel timeless and universal — by the end, that humble Boston bar doesn’t just feel like a real place, but one you desperately wish you could be. — L.S. Miller

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50 Best TV Theme Songs of All Time
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