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The second episode of It: Welcome to Derry, released early for Halloween on Max, has made a strong impression thanks to an opening credits sequence that’s already being hailed as one of the most creative in recent TV history. Designed as a descent into psychological horror, this animated sequence sets the disturbing tone for the Stephen King prequel series, blending visual storytelling with a haunting atmosphere that immediately grips viewers’ attention.
A chilling postcard from hell
Directed by Andy Muschietti and produced with his sister Barbara, the credits sequence pulls viewers into the fictional town of Derry in the 1960s. What begins as idyllic imagery—postcard-style views of small-town life—quickly gives way to scenes of horror and decay: death in the streets, historical calamities, and grim nods to the ever-present Pennywise.
Andy Muschietti himself describes the sequence as “a descent into dread,” and the phrase fits. Moments referencing the Bradley Gang shootout of the 1930s and the Ironworks Easter explosion of 1908 blend with signs of nuclear anxieties and rising violence. These aren’t throwaway images. They feel deliberate, woven into the mythology of Derry, a place cursed over generations.
Julien’s take: I love when a series intro doesn’t just look pretty, but actually feeds into the story’s DNA. This one doesn’t just set the tone—it whispers, “Something terrible is coming,” and suddenly you’re bracing yourself for it. To read Pluribus finale shocks fans as season 2 faces long wait
Contrasts that unsettle the soul
The visuals wouldn’t be nearly as haunting without the soundtrack: a deceptively sweet 1956 tune called “A Smile and A Ribbon” by Patience and Prudence. Its grainy, hopeful melody runs completely counter to the mounting dread on screen.
Muschietti explained the choice in an interview: “The song is about faking a state of mind, faking a feeling.” That idea—of smiling through horror—is at the heart of It. Derry has always been a place where evil lurks beneath the surface, behind cheerful façades, and the song becomes a metaphor for the city itself.
It reminded me of how Jordan Peele used “I Got 5 On It” in Us or how Kubrick gave new meaning to “Singin’ in the Rain” in A Clockwork Orange. When sound and image clash like this, it sticks with you long after the music fades.
Crafted with precision and obsession
Filmograph, the studio behind the sequence, is no newcomer to title design. Their past work includes Stranger Things and Spider-Man: No Way Home, but according to its makers, this might be their most accomplished project yet.
Aaron Becker, director at Filmograph, revealed HBO gave them the rare opportunity to finish their computer-generated animation on actual film, purposely adding grain and analog flaws. That extra texture adds authenticity—the sequence feels like a twisted reel unearthed from the archives of a haunted town. To read Taylor Swift opens up in final Eras Tour docuseries episode
Key creative choices pushed the envelope:
- Vintage tourist postcards inspired the look, turning Derry into a cursed destination.
- Grain and occasional sound distortions from the original song enhance the 1960s texture.
- Dozens of hidden references reward repeat viewings—like a horrifying Easter egg hunt.
Seth Kleinberg, also from Filmograph, noted the intro is “designed to be studied,” and it shows. Viewers are encouraged to pause, rewind, and spot the symbols lurking beneath the surface.
Small artistic battles and pixel-level choices
One particular moment, too graphic even by horror standards, had to be reigned in—a child’s eyes popping out of their skull. Muschietti asked the team to dial it back. It’s a reminder that this kind of sequence isn’t just about style; it requires real storytelling decisions, balancing art, suggestion, and restraint.
Julien’s take: That detail says a lot. The intro isn’t shock for shock’s sake—it’s carefully calibrated. Even in horror, what you hold back can be more disturbing than what you show.
A title sequence that earns its place in history
Critics have already grouped Welcome to Derry’s opener with the best ever crafted for television, alongside Game of Thrones, The Sopranos, and Westworld. It’s a high bar, but deserved. The emotions it stirs come less from jump scares and more from atmosphere, contradiction, and fear that quietly creeps into your bones.
As a final touch, the Filmograph team even shared their all-time favorites: David Fincher’s Se7en, Hitchcock’s North by Northwest, and of course, The Sopranos. Ambitious company, but Welcome to Derry seems ready to join their ranks.
Julien’s take: The real success of this sequence is that it doesn’t just say “here’s where you are,” it makes you feel where you’re going. And in Derry, that’s never somewhere good.
