RTL Today - Show Tunes

Ttoday we’re checking into one of the most uncomfortable luxury hotels on television, The White Lotus. The White Lotus first aired in 2021, created by Mike White. On paper, it looks simple, it’s just wealthy guests arriving at an expensive resort expecting a perfect holiday. What they get instead is tension and drama, usually while holding a drink by the pool. The show is a satire of privilege, and from the very beginning, the music makes that clear. The theme was composed by Cristobal Tapia de Veer, and it was never meant to sound welcoming. Mike White didn’t want a glossy, relaxing theme that matched the visuals, but rather a slightly unhinged tune that would immediately unsettle the audience. The instruction was basically: the hotel looks beautiful, but something ain’t right.

It’s under ten seconds long, but you know exactly where you are by the first note Welcome back to Showtunes, the podcast that zooms in on the theme songs you can recognise in under a second. This week we’re pulling up a booth at MacLaren’s to revisit How I Met Your Mother , a sitcom that mixed long-running love stories with barstool philosophy and one very fast, very catchy intro. Before Ted finishes the sentence, we’re diving into why Hey Beautiful by The Solids became inseparable from the show itself.

Big Star never got their flowers at the time — but thanks to That ’70s Show, ‘In The Street’ became one of the most-heard songs they ever released Welcome to Showtunes, the podcast where we rewind to the theme songs that instantly take you back. This episode heads straight to the basement of That ’70s Show, a sitcom built on hanging out, classic rock, and Red Foreman’s legendary threats. Before the circle starts spinning, we’re diving into the story behind one of the most recognisable TV intros of the late ’90s.

Unlike most crime show themes, Tuyo by Rodrigo Amarante isn’t tense or dangerous, it’s actually quite charming and oddly romantic. Narcos was created by Chris Brancato, Carlo Bernard, and Doug Miro, and it set out to tell the story of the rise and fall of Pablo Escobar and the Medellin Cartel. Light viewing for a weeknight, obviously. And, while the show as we have seen it isn’t entirely accurate, parts of it are, and true or false as it may be, it makes damn good television.

Today we’re talking about a show that made the devil charming and easy to root for. Ladies and gentlemen, Being Evil Has A Price from Lucifer. The TV show Lucifer was developed by Tom Kapinos and first aired in 2016 on Fox before being rescued by Netflix two years later, which feels quite on brand for a show about redemption. The general vibe of the show is what if Satan got bored of hell, moved to Los Angeles, and opened a nightclub. And over time it built a huge fanbase, helped massively by the fact that it’s the brilliant Tom Ellis in centre stage. And no, I don’t care if you get bored of me saying how lovely he is, he’s a damn national treasure.

Today we’re turning our attention to one of the most iconic and longest running British soaps: EastEnders. Set in the fictional London borough of Walford, EastEnders follows the lives of the residents of Albert Square, a tight knit East End community full of drama, secrets, and the occasional laugh down the local pub, The Queen Vic. From the Mitchells and the Beales to the Slaters and the Brannings, generations of families have faced love and loss, and had a fair few shouting matches throughout.

Today we’re going a little retro with one of the most heartwarming shows in television history, The Golden Girls. The Golden Girls ran from 1985 to 1992 on NBC TV and followed four older women living together in Miami: Dorothy, Blanche, Rose, and Sophia. Now Dororthy was known for her wit, Blanche for her flirtatiousness, Rose for being sweet, and then Sophia for being outspoken. And their little gang would navigate the world of dating and ageing and was one of the first shows to portray older women as independent and really, just funny. But enough about that, now onto the music. You probably started humming it as soon as I said The Golden Girls. But for those with dodgier memories, we are talking about Thank you for being a friend.

Today we’re honouring the absolute classic, The Flintstones. Let’s set the scene. It’s 1960, you’re sat on your leather sofa and not sure what to watch with your kids, and then a strike of luck. The Flintstones, an American cartoon sitcom airs for the first time during prime hour, and it’s perfect for your children as well as yourself. And it goes on for another 6 years, coming to an end in 1966. Produced by Hanna Barbera, it became one of the most successful shows of all time.

Today we're shining a spotlight on one of the most popular shows of recent years: The Big Bang theory. Our main characters are Leanord Hofstadter and Sheldon Cooper, two genius physicists, who live and work together in California. And though their talents for the natural world are immense, it doesn’t seem to help them interact with other people, and especially not when talking to women. Apparently, the melody and lyrics to the song came to Barenaked Ladies singer Ed Robertson mid shower. (image: RTL archive)

Seinfeld is often called the show about nothing, but don’t let that fool you. It’s a sitcom that defined the 90s with its quirky characters and sharp observational comedy. Created by Larry David and Jerry Seinfeld, the show aired from 1989 to 1998 and ran for 9 seasons. Jerry Seinfeld, playing a fictionalised version of himself, delivers jokes about everyday life that feel so relatable you almost forget you’re watching a scripted show. Almost.

Grab a blanket, get a cup of tea and practice the Queen’s English, because today we are talking about Downtown Abbey. The show ran from 2010 to 2015 and has established a cult fandom like few others. And the theme tune is inseparable from the show. John Lunn’s score won two Emmy Awards for Outstanding music composition for a series, in 2012 and 2013 so it’s safe to say the tune did pretty well. But what makes it so special, you ask?

Today we’re checking out Princeton-Plainsboro Teaching Hospital, with House M.D. House is a twist on the classic medical drama TV shows, which aired from 2004 to 2012. Hugh Laurie playing the cynical, inappropriate and stubborn lead who, for all of his flaws, knows his medical stuff. The show is pretty unconventional in comparison to other medical soaps because each episode focuses on one case, and they’re always seemingly impossible. And though House is addicted to pain medication and very fickle minded, he leads a team of diagnosticians (who rarely solve the cases themselves).

Today we’re going all the way back to chalkboards and detentions, with Tim Loane’s very own, Teachers. Channel 4’s series Teachers aired from 2001 to 2004 and follows the lives of a group of teachers, who are quite often drunk, sorely unmotivated and very self-interested.

“Neighbours… everybody needs good neighbours.” we’re taking a trip down under to talk about one of the most iconic, instantly recognisable theme tunes in soap opera history - the theme to Neighbours. Yes, that warm, catchy tune that’s so good, you may have watched twice a day.

Full House is a classic late eighties, early nineties sitcom, it's also got a classic theme track. It centers around Danny Tanner, a recently widowed dad trying to raise his three young daughters in San Francisco. Overwhelmed but determined, he brings in his brother in law Jesse, a rock musician with a rebellious streak, and his childhood best friend Joey, a goofy comedian to help raise the girls. This unconventional trio navigate the throes of bringing up children, friendship, and growing up. Over the course of eight seasons, the opening verse was trimmed here, a line skipped there, but the chorus never faltered. And when Fuller House came along, the spinoff, the song was polished up by Carly Rae Jepsen & Butch Walker, giving it a fresh sound for a new generation, but the soul remained the sam

Today we’re popping over to Scranton, Pennsylvania for one of the most instantly recognisable tunes ever: The Office (US Ed. - cough, cough). The Office, for those who somehow haven't seen it, is a mockumentary about a paper company in Scranton, which ran from 2005 to 2013. It is an awkward, heartfelt show, lasting 9 seasons, which launched the careers of people like John Krasinski and Mindy Kaling.

Today we are shining the spotlight on one of the most beloved shows out there. It is the iconic “howcatchem” detective show: Columbo. But before we get into the music, let’s take a step back and paint a little picture. So, Columbo , for those of you who are unfamiliar, is a classic American detective series from the '70s, starring Peter Falk as the rumpled, cigarchomping Lieutenant Columbo. He’s not your usual flashy TV cop. He wears the same beige raincoat every episode, drives a battered old Peugeot, and constantly plays the fool. But don’t fall for it because he’s quick and witty underneath it all.

We're taking a trip back to the early 90s, with the tune belonging to none other than Saved by the Bell. The theme tune was composed by Scott Gale, an american musician, who came up with the main lyric “It’s alright cause I’m saved by the bell” two minutes after rejecting the offer to write the song for NBC.

Prepare yourself to be humming just the one tune for the rest of the day, "Scooby-Dooby-Doo, Where Are You?" Now this theme, written by David Mook and Ben Raleigh, is a brief but unforgettable tune. Its bouncy guitar riff accompanied with the iconic sound of 60’s vocals, sets the quirky and spooky scene for a mystery solving, potentially troublesome gang, that it introduces. Mook and Raleigh were heavily influenced by surf rock bands such as the Beach Boys and the Ventures, and incorporated elements of the genre into the song.

The insistent arpeggiated bassline, soaring synth leads, and jet-engine-like whooshes don’t just suggest flight - they are flight. Premiering in 1984 on CBS, Airwolf was the ultimate 80s TV cocktail: Cold War espionage, high-tech military gear, a brooding antihero in Jan-Michael Vincent’s Stringfellow Hawke, and most crucially - a helicopter so souped-up it made KITT from Knight Rider look like a rental car.

We’re traveling through space, time, and sound to celebrate the Doctor Who theme - a true sci-fi classic that rewrote the rules of TV music. The story of this theme is almost as out there as the show itself. While it was composed by Ron Grainer, the true architect of its iconic sound was Delia Derbyshire, a pioneering woman in electronic music. Working at the BBC Radiophonic Workshop, she created the theme using oscillators, spliced tape, and no synthesizers – NONE. Remember, this was years before commercial synths were a thing.

If you’re a fan of early 2000s TV, chances are you know it: “I’m No Superman” by Lazlo Bane. Short, catchy, and packed with personality - it’s as if the song idled up to the reception and said: ‘how about this?’ - insanely hummable it’s the perfect intro for a show that walked the tightrope between absurd comedy and gut-punching emotional moments.

The chances are, you know most of the lines off by heart and you’ve rapped those lyrics more times than you can count Before The Fresh Prince of Bel-Air even aired in 1990, Will Smith was already making waves in music - part of the hip-hop duo DJ Jazzy Jeff & The Fresh Prince. Their clean, feel-good party tracks like “Parents Just Don’t Understand” made them a household name, even earning the first-ever Grammy for Best Rap Performance in 1989.

When Twin Peaks first aired in 1990, it was like nothing else on television. Today, we're taking a walk into the misty pines and uncanny shadows of the Pacific Northwest as we explore the hauntingly beautiful theme from Twin Peaks - a track that has remained one of television’s most evocative and iconic musical moments. Co-created by filmmaker David Lynch (RIP) and writer Mark Frost (also of Hill Street Blues fame), the show brought surrealism, small-town secrets, and a mystery that bordered on metaphysical right into the world’s living rooms.

Who hasn't tried to slide across the bumper or jump in the car window?... Right? RIGHT? First aired in 1979, The Dukes of Hazzard was a wild mix of action, comedy, and rural Americana, following Bo and Luke Duke - two fun-loving cousins running afoul of the corrupt Boss Hogg while outwitting the law in their iconic Dodge Charger, the General Lee. But the theme song? That’s what stuck in your head long after the credits rolled. (image RTL.de archiv)

Jan Hammer’s Miami Vice Theme, a track so influential it didn’t just define a show-it defined an era. And encouraged designer stubble. It did. The Miami Vice theme wasn’t your standard orchestral TV tune of the early '80s. Created by Czech-born composer Jan Hammer, the track broke the mold of the time by using synthesizers, electric drums, and a pulsing, moody atmosphere that was evident throughout the show's stylized crime drama aesthetic - where slo-mos and conveniently stacked fruit carts or cardboard boxes were on every corner.

Gothic horror soap mashup theme track has one helluva bite Jace Everett’s Bad Things is hot, sticky and sweaty. Much like the setting of the HBO TV show it soundtracks. Brilliant in its seedy, sexy undercurrent, this was a theme that nearly never was.

If you arrived here and have not said ‘the words’, there’s nothing more we can do for you. Thundercats is amazing. You knew it then. You know it now. The theme is equally as iconic. This staple from the 80’s/90’s is every bit as iconic as remember. And then some. Thank you Bernie Hoffer. Thank you.

You may need to revisit that magic hour between returning home from school, doing some homework and then arsing about on your bike or climbing some trees.. ....better still ask your folks about this one. Bewitched, a sitcom that aired from 1964 to 1972, starred Elizabeth Montgomery as Samantha, a suburban witch trying to live a normal mortal life and Dick York as Darrin Stephens. The show blended domestic comedy with supernatural hi-jinks - and the theme music is unmistakable and unforgettable.

We're tipping our straw hats to one of television’s most instantly recognizable - and oddly comforting - theme tunes: Little House on the Prairie. Ahh, that opening melody - you know the one. The prairie stretches wide, the sun is golden, and little Laura Ingalls is tumbling down the hill like a tiny force of nature. First aired in 1974, the show became a staple of family television throughout the ‘70s and early ‘80s. Based on the beloved books by Laura Ingalls Wilder, it told the story of the Ingalls family’s life on the American frontier. But before the moral lessons and tear-jerking moments wrapped into each week’s episodes, there was that sweeping, melodic, hopeful theme that somehow managed to wrap you in nostalgia, even if you didn’t grow up anywhere near a prairie - or even in the 70s or 80s, come to think of it.

Welcome to Show Tunes - the podcast where the only thing more addictive than television… is its music “This is not meth… this is music” Today we’re diving into a theme tune that’s equal parts desert dust, menace, and meth lab chic. That’s right - Breaking Bad. We’ve been away a short while…again, due to lives little bumps in the road, but are hoping you are keen to get into this one. Gas masks and Y-fronts are entirely optional.

Today, we’re snapping our fingers to one of the catchiest, quirkiest, and most instantly recognizable theme songs in television history - The Addams Family And really, what a tune it is! The Addams Family theme was written in 1964 by Vic Mizzy, a composer with a talent for, how should we say…. writing ear worms.

Today, we’re shining the spotlight on one of the most beloved and instantly recognizable theme tunes in British television history If you are of a certain vintage, let’s say above the age of 27, it’s fair to assume you’ve watched a fair number of Only Fools And Horses episodes before they became memes, you’ll have seen the sex dolls, the bar fall, the batman and robin run, the chandelier, the Dave / Rodney paradox, the mop handle.. you’ll know the phrases Mange Tout, Mange Tout, During The War, Cushty, and of course the iconic ‘This Time Next Year…’. You’ll know the characters too, so entrenched are they in UK TV culture and if you’ve yet to experience the utter belly laughs and often really emotional storylines in one of the most enduring series ever made, then you are in for a treat.

This week we're taking a petticoat-ed look back at an '80s classic. I know, I know, believe me, we feel old too. The understated yet instantly recognizable theme song for Murder, She Wrote, composed by John Addison, is not to be confused with any of the tunes you may hear while waiting patiently for you go on a ride at a rather famous theme park. The series debuted in September of 1984 running for twelve seasons and 264 episodes on CBS plus four TV movies all starring Angela Lansbury as "Jessica Fletcher", a mystery writer and amateur detective living in the fictional town of Cabot Cove, Maine. Murder, She Wrote went on to become one of the most successful and longest-running shows in the history of television, averaging over 25 million viewers in its prime. The Murder, She Wrote theme is notable for its simplicity, it gets right in there and sets up a comfy chair, kicks off its shoes and nestles in for the night. The slightly jazzy, yet orchestral nature of the piece conveys both the sophistication of the protagonist and the mystery at the heart of the show. (image: RTL DE Archive)

If you have a problem, and you can afford it, we've got a great podcast episode.... Today, we’re going to talk about a tune that’s burned into the brain of anyone who grew up in the 80s or even heard about this iconic show through pop culture. You know the one. That heartbeat-thumping, action-packed, and undeniably memorable theme from The A-Team! So, if you love it when a plan comes together, or need to drink laced milk before a flight, let’s break down why the A-Team theme is still one of the most unforgettable TV themes of all time. (image RTL.de + Archiv)

What. A. Tune. Phantom Planet - California Today, we’re diving into a song that defined a generation, launched a cultural phenomenon, and might just be the anthem of your teen years… or, if you’re like me, your adult years too. We're talking about California the theme from The O.C.! Now, before you grumble about this being an easy pick, please remember that this song was so catchy, it really should have come with a health warning and practically became the fifth main character on the show.

"Making your way in the world today takes everything you've got.." If you’ve ever found yourself humming “Where Everybody Knows Your Name”, you’ll know just how special this song is to a bunch of people, on both sides of the Atlantic. So, we’re going to unpack not only the song but sip on the little bit of magic behind its creation and why it should remain on the list of best TV themes ever--- for, well….ever. (image: NBC archive)

The track wasn’t just a catchy hit in 1996 — there's more going on here than just a tune that gets stuck in your head. Alright, let’s dive in. The song we're talking about is "I Don't Want to Wait" by Paula Cole, and it's tied so perfectly to Dawson’s Creek that it’s hard to imagine the show without it. Try, go one, picture Dawson’s massive forehead and curtains hairstyle with any other song. It may be fun, but it is not right, is it? First, let’s consider the way Dawson’s Creek changed the game for teen dramas. It wasn’t just about the high school love triangles or the angst of growing up; it was about showing the complexities of relationships, the messiness of emotions, and the blurry lines between adulthood and adolescence. (image: RTL.DE archive)

Fountains, Umbrellas, Handclaps and double-takes it is of course, Friends.... ....because, if we’re being honest, we could have kicked things off with this one but opted against it, as we felt it was too on the nose to begin a series with. The theme song to Friends, “I’ll Be There for You” by the LA alternative duo, The Rembrandts, is widely considered one of the best TV show themes ever made, and for good reason. Aside from the fact that you can probably rattle off the lyrics verbatim, I’ll Be There For You really captures the heart of the show: lively, memorable, and full of that sense of friendship and togetherness that can only really be found on TV and/or prison.

Today we're taking a sun-soaked trip down memory lane to explore the theme song of one of the most iconic shows of the '90s......... Baywatch. Premiering in 1989, the show quickly became a global sensation. It’s known for its beautiful beach setting, the heroism of the lifeguards, and launched the careers of its main cast members. But no matter where you were in the world, if you heard that theme song, and the opening drum roll, you knew exactly what you were in for. The theme song itself is called I’m Always Here, written and performed by Jimi Jamison, a rock singer best known for his work with the band Survivor – yep THAT Survivor – Eye Of The Tiger, Burning Heart etc. (image: RTL Archives)

Today, we’re diving into one of the most iconic TV theme songs of all time: the opening theme to Malcolm in the Middle. You know the one— it’s upbeat, catchy, rebellious, and practically impossible to forget. You can already hear it in your head right now, can't you? This barnstorming theme, composed by the legendary alt-rock duo They Might Be Giants, isn’t just another TV intro – it is doorway to the late 90s, early noughties. Boiled down to just 30 seconds there’s not an inch of fat to be found in Boss Of Me. In fact, the song is so unforgettable that many folks will instantly sing along, even if they weren’t necessarily fans of the show, even years after the show’s last episode aired in 2006. (image: RTL Netherlands)

The final Show Tunes of 2024 is a proper classic The theme to Game of Thrones is one that you could easily guess in a pub quiz, even if there’s a rabble spouting of nonsense at the table next to you, and if you’re likely to wince when someone says ‘Winter is coming’ in a faux Northern accent. That is to say that the theme is one of most recognizable and iconic television scores ever created - and its creation is as intricate and thoughtful as the show itself. Ramin Djawadi, the composer, had the unenviable task of capturing the grand scale of George R.R. Martin's world and translating it into a musical piece that would strike right at the hearts and souls of viewers who’d already take to the material on a deep emotional level.

The Thunderbirds theme, composed by Barry Gray, is one of the most iconic pieces of television music ever... ...instantly recognizable for its bold, heroic orchestration. First airing in 1965, the British sci-fi series created by Gerry and Sylvia Anderson became a beloved classic, with its blend of puppetry, futuristic technology, and action-packed plots. Gray's composition, featuring sweeping brass fanfares and cinematic orchestration, perfectly captured the high-stakes world of the show, adding excitement and grandeur to its thrilling rescues and advanced machines. The theme’s lasting cultural impact is undeniable, becoming a symbol of British pop culture. Inspired by Hollywood blockbusters and military marches, Gray’s music conveyed a sense of bravery, adventure, and urgency, making it a perfect fit for the global, elite organization of International Rescue. Over the years, the theme has been performed by orchestras, remixed, and parodied, cementing its place in the collective consciousness. Nearly six decades later, Thunderbirdsand its theme continue to be celebrated for their imagination and influence—though we can all agree, Thunderbird 2 was the best!

In Episode 10 of Show Tunes, Stephen Steps Lowe takes a deep dive into the iconic theme song of Buffy the Vampire Slayer. We look at how Joss Whedon envisioned the show's opening credits to blend the eerie atmosphere of horror with a lively rock 'n roll vibe, signaling that Buffy was far from a typical victim. Originally aiming for a somber instrumental intro, Whedon quickly realized the need for a more upbeat, rebellious sound that captured the show's quirky, youthful essence. After a failed attempt with a Hollywood composer, Alyson Hannigan suggested the band Nerf Herder, who composed and recorded the unforgettable theme in just a few hours. The track became a defining part of the show’s identity, capturing Buffy’s fight against darkness while balancing her high school life. The song's energetic riff became synonymous with the show, and its infectious melody resonated with fans, becoming an anthem of sorts. While the lyrics don't directly reference the show's plot or characters, they capture the spirit of Buffy’s dual life as a high school student and a vampire slayer. The theme’s success went beyond its initial run, even being released as a single and remaining a beloved part of Buffy fandom. Despite its cultural impact, the song's humble beginnings and rapid recording process show how a bit of indie spirit helped define a generation of fans.

In this episode of Show Tunes, Stephen Steps Lowe explores the iconic theme song for The Muppet Show ....composed by Jim Henson and Sam Pottle and written in 1976, the song became a key part of the show’s identity, setting the stage for the fun, eccentric world of the Muppets. Henson wanted the theme to be a joyful invitation, not just an introduction, which is reflected in the catchy and celebratory lyrics, "It's time to play the music, it's time to light the lights." The upbeat orchestration, with its brass, strings, and rhythm section, perfectly matched the whimsical antics of characters like Kermit, Miss Piggy, and Fozzie Bear. The theme song quickly became a symbol of the Muppets' charm, with its infectious tune becoming part of pop culture. It was covered, parodied, and featured in countless adaptations, from Muppet movies to theme park attractions. The song’s success is a testament to its universal appeal, making it an essential part of the Muppets’ legacy. With its playful, irreverent energy, the Muppet Show theme remains one of the most recognizable and beloved TV openings of all time.

The iconic theme song to The Prisoner (first hitting screens in 1967), is composed by Ron Grainer, and has been reckoned as one of the most memorable and d Ronald Erle Grainer (11 August 1922 – 21 February 1981) was an influential Australian composer, known for his work in the UK during the 1960s and 70s. He composed iconic theme music for TV shows like Doctor Who, Steptoe and Son, and Tales of the Unexpected, and also scored films such as The Omega Man (1971) and The Assassination Bureau (1969). Grainer's theme was chosen after two other composers, Robert Farnon and Wilfred Josephs, created themes that were rejected by series executive producer Patrick McGoohan.

It’s Movember as we record this, so there can be no better time than now to pull out our Hawaiian shirts, dust off the Ferrari and wax that Mustache… ....because this week, well this week, we are doing this: Magnum P.I.'s theme is one of those rare TV moments that perfectly captures the essence of the show it represents. It’s not just that it’s catchier than a dose of the seasonal flu, it’s downright iconic in its own right, immediately recognizable and full of energy.

Even if you have never seen the show, you know the tune, you know the names and you want to believe The iconic theme song for cult sci-fi show, The X-Files was composed by Mark Snow, an American composer best known for his work in television and film. Instantly recognizable for its eerie, atmospheric sound, it became synonymous with the show’s mysterious, supernatural tone.

The theme song for The Sopranos, Woke Up This Morning is written by the criminally underrated, Brixton band, Alabama 3. The track, for which, Alabama 3, rightly or wrongly, are perhaps best known, perfectly captures the essence of the series. Its blend of blues, rock, and electronic elements creates a gritty, atmospheric sound that mirrors the classic show’s exploration of the American mob life.

Unless this is all a fevered slip in the shower dream sequence we are uncovering one of the biggest and best themes ever: the iconic tune for Dallas. This is episode four of our run, where, assuming we don’t get cancelled, like some of the shows we will go on to mention, we are looking at some of the best gosh darned TV themes of all time. The theme for this unmissable slice of 80s prime time TV was composed by Jerrold Immel, capturing the show's supposed essence of drama and intrigue. Immel's composition features a distinctive blend of orchestral and contemporary elements. That’s a polite way of saying it is overblown and pompous. Not unlike some of the shoulder pads on offer, eh?