A while ago I went to see the new Aaron Sorkin play, The Farnsworth Invention. Just the fact that it’s a play by television impresario Aaron Sorkin would be enough for me to mention it here, but it’s also about the invention of television and the history of why we watch the way we watch. In other words, the most interesting topic in the world.

As another show might put it, the facts are these: Philo T. Farnsworth, a scarcely-trained farmboy from Utah, transmitted the first moving image using the process we still use today (sort of). But he never quite got his television to work quite right, and his patent ended up embroiled in a dispute with GE/RCA/NBC and its leader, David Sarnoff. (Philo=Josh/Sam/Danny/Matt, Sarnoff=Jack Rudolph.) In the meantime, Sarnoff was busy laying the groundwork for regulating advertising and deciding what types of things would eventually be shown on television, once it eventually existed.

I know — good stuff, right? Or is that just me?

I found that I really enjoyed myself at the play, despite the things said in these reviews, which are all true. After a season of Studio 60, it may be that I am hardened to Sorkin’s ticks and pitfalls, and now accept them without question. Or it may be that I’m so engrossed in the topic that I don’t actually care that much about the “characters” or “structure.”

I’m leaning toward the latter explanation, because I was just watching a Modern Marvels on the History Channel about Wiring America and I realized I was just about excited that as I was about The Farnsworth Invention, in the exact same way.

I will say: Jimmi Simpson and Hank Azaria are killer. There’s a classic drunken, silly, romantic scene I rather enjoyed. And there was a truly amazing dramatization of the 1929 stock market crash. Make of that what you will.

The Nanny credits. [kml_flashembed movie="http://youtube.com/v/zaFl6Y-vByE" width="425" height="350" wmode="transparent" /]

This is the greatest in the “sing-a-summary-of-the-show” genre of credit sequences, which also includes The Beverly Hillbillies, Gilligan’s Island, Green Acres, and of course The Fresh Prince of Bel-Air. These types of credits are out of fashion now, but they’re always, always awesome.

After the great comments on my credits post of yesterday, I thought it would be interesting to talk about credit sequences of yore. In that post, I had tried to stick to shows currently on the air. But the greatness of the Freaks and Geeks credit sequence just can’t be denied. [kml_flashembed movie="http://youtube.com/v/CAoXs4Veuog" width="425" height="350" wmode="transparent" /]

I’m also quite fond of the original Veronica Mars credits, mostly for the awesome song. I didn’t even mind too much when they changed it for the third season, though I know that was a controversial move. Arrested Development, too, packed backstory and narration into a fun and funny little bit.

Before the aughts, credits were not nearly as diverse and creative as they are now. They were often too long, full of standard, cheesy montages, and mostly tedious. For fun, and to see what I mean, check out the credits to LA Law. A lot like Full House. And Perfect Strangers. And many, many other shows. Even ER — and, by the way, I was horrified to hear that they’d changed the theme song recently — doesn’t exactly rock the world of credit sequences.

Of course, I have a lot less personal experience with older shows, so I probably have no idea what I’m talking about. Older people, what am I missing? Was there a notoriously great/bad credit sequence that rocked/sucked in the 70s or 80s?

Though not groundbreaking compared to newer shows, I find that I’m kind of enjoying the Miami Vice credits. See if you agree. [kml_flashembed movie="http://youtube.com/v/U6BBXOCAww4" width="425" height="350" wmode="transparent" /]

This is an inauspicious way to return to blogging, but I just can’t help grinning every time I watch the credits to Chuck. [kml_flashembed movie="http://youtube.com/v/1azgd809aIY" width="425" height="350" wmode="transparent" /]

Even as the show itself declines in my esteem, the brilliant credit sequence only rises. It’s so… expensive. And elaborate. And catchy. Set to Cake’s “Short Skirt, Long Jacket,” which is a fun song to begin with, it animates its way into my heart despite everything that comes before or after.

It is by far the best credit sequence out there now. Some of my other favorites include House (old-fashioned imagery and a slightly spooky tune), 30 Rock (perfectly captures the zany tone, and the shot of Alec Baldwin makes me laugh every time), and The Wire (same song sung by a different person/group every season, it’s overly long like all HBO credits and the imagery is pretty standard, but it’s a great song).

The worst credit sequence offenses are perpetrated by ABC. They’ve all but done away with credits, and the atrocities that the Lost “credit sequence” unleashed on the world with imitators like Heroes and Reaper can’t be underestimated. Ugly Betty is a cute concept but annoying after one or two viewings. Pushing Daisies, a show flawless in every other regard, has no credit sequence to speak of, only that silly animation. Grey’s Anatomy has all but given up on their doctors-getting-it-on credit sequence in favor of a Lost-ish GREY’S ANATOMY fading into white while a single sequence of notes plinks suggestively.

Then there are the credit sequences that are either brilliant or demented. I’m thinking primarily of the sequence for Weeds, which makes me want to stab my own eyes out. Stop singing that song! ENOUGH! How I Met Your Mother has a fun, brief song that I like most of the time — but once in a while it’s just too much and I can’t handle the chipper friendliness any more. And the less said about the absolutely embarrassing “You know you love me… X O X O” credit sequence for Gossip Girl, the better. Poor, poor Veronica.

Am I missing any brilliant sequences? What are your bests and worsts?

I feel guilty getting excited about a reality TV show in this tumultuous time for writers, but I can’t help it — Project Runway is just that good. And it premieres tonight!

Now is the time when I squeal like a little girl: It’s Joel McHale’s guest starring appearance on Pushing Daisies! There are so many things to love about Joel McHale. His impeccable comic timing. His willingness to embarrass himself. His ability to be self-deprecating but still really enjoy himself. I’m so proud he’s on “real” TV — and not only that, but the best new show of the season.

And Dirty Sexy Money is on tonight, too. I’m looking forward to it, but I’ve exceeded my daily allowance of exclamation points.

Mythbusters throws a wrench into your TiFauxing plans by extending to two hours, for some supersized myths. Luckily, Mythbusters re-airs frequently, so schedule your TiFaux carefully and you needn’t miss anything.

We interrupt your regularly scheduled programming: Has anyone ever watched anything on the National Geographic Channel? I’m not entirely sure we get it. But they have a slate of interesting-looking shows tonight. Topics include skinheads and people who dive into volcanoes for a living.

An abbreviated line-up. Busy busy busy!

Looks like it’s going to be a flashback episode of Heroes, which I know some people think is happening too late in the season, but I’m still curious what happened — even if it means delaying my Adam Monroe questions for another week. Chuck is hanging on to the list by a tiny, tiny thread. Make me care, Chuck. Make me care. And How I Met Your Mother — please allow me to stop hating Lily and Marshall. I’m begging you. Let’s just never speak of their 18% mortgage ever again, okay?

We interrupt your regularly scheduled programming: Billy Crystal gets the Kennedy Center Mark Twain award, whatever that is, on PBS tonight. Also, Heather spoke convincingly about the merits of Darkon, on IFC at 9:00.

I’ve been really good about keeping away from Grey’s Anatomy recently, but I have to admit that I’m curious what’s going on. I even miss it a little. Not enough to go through quitting all over again, though.

Luckily I have Ugly Betty (with Posh Spice), 30 Rock (with Al Gore), and The Office (with the usual humor) to keep my mind off the cravings.

We interrupt your regularly scheduled programming: If you missed last night’s awesome new Mythbusters, it’s replaying tonight at 10. I probably don’t have to tell you this, but there’s a very satisfying explosion.

In today’s episode of What’s Depriving Us of Our Shows Now, meet the Country Music Awards on ABC. No Pushing Daisies or Dirty Sexy Money for us. This couldn’t have been scheduled for a Thursday? Or, you know, not shown at all?

We interrupt your regularly scheduled programming: Only one more week until Project Runway debuts.

House gets a case at the CIA tonight. I realize this sounds a little silly, but this is a show that has already done House on a plane. So silly is just kind of where’s it’s at.

The devil’s hatred of Halloween — and a great scene of him smoking, noir-style, in an abandoned meat processing plant — were highlights of last week’s generally okay Reaper. Who doesn’t love Patton Oswalt? No one, that’s who. I hope it steps up from generally okay, because I’m beginning to spend too much time staring at Sam’s cute little freckly nose.

We interrupt your regularly scheduled programming: I dunno. Talk about Heroes some more?

Heroes had its eek moment last night — that second where things change so dramatically that you immediately reassess everything you’ve already learned in an attempt to predict what’s going to happen next. To preserve the tender feelings of those who haven’t gotten to it yet, I’ll put spoilers after the jump.