Every Doctor Who Title Sequence Ranked Worst To Best

From the TARDIS to the Daleks to the sonic screwdriver

Doctor Who has many iconic elements which are recognisable to even those who aren't

diehard fans of the franchise. Amongst those elements is the opening title sequence

Over the past 62 years, the title sequence has been through many changes and adaptations

both visually and audibly, whilst also remaining consistent enough to maintain its iconic status

Some changes have been minor, while others have showcased major progression in special effects

and elevated the show to a whole new level. So let's take a look at each variation

plus a few additions from elsewhere in the Who-niverse, and determine which is the worst and which is the best

I'm Ellie for Who Culture, and here is every Doctor Who title sequence

ranked from worst to best. Before we get into the main title sequences of the Who-niverse

let's take a look at some openings within the wider Doctor Who franchise that deserve some recognition

Kicking things off with Totally Doctor Who. Kids in the UK during the airing of Series 2 and 3 were treated to a fun behind-the-scenes

slash chat show on CBBC, which explored each new episode of the show

Hosted by Barney Harwood, Liz Parker for Series 1, and Kirsten O'Brien in Series 2

this was peak Doctor Who childhood in the mid-2000s, and the energetic comic book-style

animation of the opening title sequence perfectly highlights that naughties hype and nostalgia

for the show. This was the perfect intro for a more junior-centric behind-the-scenes show

full of bright colours and recognisable characters. Sticking with behind-the-scenes shows, next we

have Doctor Who Confidential. Airing on BBC3 after every episode of Doctor Who between 2005 and 2011

this show gave a great insight into the inner workings of the production. The opening titles

were simple yet effective. Opting for a blue variation of the Time Vortex filtered over various

clips from the upcoming episode and a more upbeat, bouncy version of the Doctor Who theme tune

It seems fitting that a show focused on pulling back the curtain on the behind-the-scenes magic

should have a more toned-down and to-the-point opening sequence. Finally, we have The Science of Doctor Who, an hour-long science lesson hosted by Professor

Brian Cox as part of the 50th anniversary celebrations. Focusing on the science behind

theories of time travel, black holes, and planets outside of our solar system, it's only fitting that

the opening title sequence combines science fiction with real science, as the TARDIS flies

through the time vortex whilst being seemingly chased by scientific equations. In over 60 years

of Doctor Who, it's actually surprising that we haven't seen something like this in the main show

itself. And speaking of the main show, let's take a trip into the main Who-niverse

Number 16, The Eleventh Doctor, 2012-2013. Following the departure of the Ponds, the second half of Matt Smith's final series saw the arrival of an entirely new version of the title sequence

The series 7B sequence forgoes the standard time vortex structure, as seen in the other openers from the revival era

and opts instead for a rather dizzying, fast-paced explosion of bright flashes and a lot of red

While beginning with the TARDIS flying through space, rather than follow its journey

we quickly lose track of it before being swept away into a series of spinning nebula imagery

that moves too fast to focus on properly. The TARDIS does then return at the close of the

sequence, where the doors open to reveal the opening frame of the episode. Now, this is one

of the smoothest transitions from titles to episode the show has seen, but it isn't enough

to redeem the mediocrity of what comes beforehand. While the return of the Doctor's face appearing

mid-sequence is certainly a welcome addition and a great nod to the openers of the classic era

it does bear wondering why it was decided to reimagine the opening so close to the end of Matt Smith's run

not to mention doing it midway through a series. It just feels a little bit unnecessary

Number 15, The Third Doctor, 1970-1973 The first title sequence for John Pertwee's Third Doctor was fairly similar to those of the previous two incarnations

but with one glaring difference. Color. 1970s Spearhead from Space saw Doctor Who burst into the realm of colourised television

and this new age of vibrancy opened up a whole world of creative avenues for the show to go down

While not necessarily a bad thing, it does seem as though the title sequence was perhaps an example

of the creatives getting overexcited with this new freedom and trying to show off every colour they possibly could all at once

We have red, we have orange, we have yellow, we have green, we have pink

You get the picture. The visuals and sequence itself, however, remains relatively unchanged

save for the replacement of Patrick Troughton's face with John Pertwee's and the introduction of a new style for the logo

While the explosions of colour were no doubt breathtaking for viewers at the time

the overall sequence doesn't stand out as anything particularly unique compared to others

14. The Seventh Doctor, 1987-1989 Right off the bat, the Seventh Doctor's title sequence gets brownie points for its purple colour scheme

Can you tell what my favourite colour is? But unfortunately, the rest of the sequence is a little forgettable in comparison to the majority of the others

One element that absolutely fits with the cheeky charm of the Seventh Doctor is the image of Sylvester McCoy winking at the viewer

And it must also be commended for attempting something different, with the TARDIS caught in some sort of bubble and the reimagining of the logo to lean more into the 80s 3D tech hype

While the technology used was undoubtedly impressive for the time, the entire sequence does feel a little slow-paced compared to those that came before

And it's hard not to see the computer-generated space rocks as anything other than three pieces of scrunched-up paper flying through the air

A perfectly fine title sequence, but not one destined to be remembered forevermore

13. The 13th Doctor, 2018-2022 The arrival of Jodie Whittaker and Chris Chibnall saw major changes to the modern era of Doctor Who

The first female Doctor, a new showrunner, changes in production, and a new composer

Sagan Akinola took over from Morigold, becoming only the second composer in 13 years of New Who

His version of the theme tune feels far more reminiscent of the Delia Derbyshire original, and this was no accident

During the creation process, Akinola experimented with sections from Derbyshire's original arrangement

before incorporating them back into his own version, claiming Derbyshire to be a huge inspiration for his creative process as a composer for Doctor Who

Not only was the new theme tune an homage to the classic era, so too were the visuals of this new title sequence

This kaleidoscopic effect feels very much like what the first Pertwee sequence would have looked like if they had the technology and budget of 2018 back in the 1970s While more minimalist than the previous sequences of the modern era

this version certainly highlights the high production values of the Chibnall era

and showcases some stunning VFX. I mean, that star field looks particularly mesmerising

While perhaps not the most memorable of title sequences, this one should certainly be commended for its incorporation of elements from the past

and for taking a more abstract approach following many years of a fairly tried and tested format

12. The Eighth Doctor, 1996 The 1996 TV movie does an excellent job of bridging the gap between classic and modern Who

and this is evident right from its opening. To begin with, the movie features a cold open

something commonplace in the revival era but extremely rare for classic Who

before moving into the title sequence. The visuals combine both elements from what came before, such as the return of the Pertwee era logo

while also introducing elements which would be refined and reused in the future

like the credits flying up through the time vortex. The most notable difference with the TV movie opening, though, is the theme music itself

With the prospect of revitalising the franchise and venturing into the United States

the theme was given the Hollywood treatment, which meant goodbye to the classic electronically produced arrangement

and hello to a fully orchestrated version from American composer John Debney

This really helped shift the tone of the show from a wacky British sci-fi show

to a potential global franchise, and is something that has become commonplace in the revival era

While the American reboot ultimately failed, there are so many elements in this opening title sequence

that would go on to influence the successful 2005 revival, and most importantly, pave the way for Morrie Gold's Doctor Who career

Number 11, The Sarah Jane Adventures, 2007-2011 The Sarah Jane Adventures was peak television for British kids in the mid-2000s

and yes, I am absolutely speaking from experience here. Following the success of the 2005 revival

the introduction of a more adult-focused spin-off in Torchwood, and the overwhelmingly positive response to classic companion Sarah Jane Smith

returning in Series 2's school reunion, it made perfect sense to create a second, more child-friendly spin-off

led by a fan-favourite character now familiar to both classic viewers and new

In keeping with the main show, the title sequence for The Sarah Jane Adventures follows a very similar format

carrying over the journeying through the Time Vortex style of the first four series of Doctor Who's modern era

Where it differs most obviously is with the inclusion of random letters and numbers

alongside the Time Vortex. Now, while this certainly looks cool, one does have to question its relevance to the show itself

At a guess, they perhaps link to Sarah Jane's job as an investigative journalist

But compared to other title sequences in the franchise, the themes here are a little less obvious

Now, from series three onwards, the title sequence was reduced to make room for a pre-title sequence

which featured Clyde Langer giving a brief overview of who Sarah Jane is

what she does, and who her companions are, alongside clips from the relevant series

Now, there's a debate as to whether this counts as part of the title sequence or not

but, regardless of its status, it was a fun addition to the CBBC programme

and may or may not be ingrained in the memories of many a child of the time

10. The Twelfth Doctor 2014-2017 If you've ever questioned whether it's worth posting your fan edits online

look no further than YouTube creator Billy Hanshaw to help you decide that it absolutely

is worth it. His fan-made title sequence for The Twelfth Doctor was noticed by Stephen

Moffat, who then hired him to design the real thing for Peter Capaldi's run as the Doctor

Now, what stands out most about this particular sequence is the choice to put more focus on the

time travel elements of the show, as opposed to all the previous sequences, which tend to focus

more on space imagery. Now, while space and nebula imagery is certainly visually appealing

especially in terms of scope and colours, and is used in this sequence, the imagery of clockwork

mechanisms and the TARDIS literally travelling through the middle of time itself was a breath

of fresh air for this famous title sequence, especially following the underwhelming effort

from Series 7B. The one element from its predecessor that was carried over to great effect was the

return of the Doctor's face appearing, and Capaldi's attack eyebrow stare fits perfectly

into the fold. Morigold's theme is tweaked slightly for this new incarnation, but nothing

majorly significant. Perhaps the greatest disservice to both Gold and Hanshaw is the

unfortunate sinking issues that seem to occur throughout the run, whereby the music and visuals

seemed to shift out of sync from week to week, which definitely caused some frustration among viewers

Despite this hiccup, though, this sequence absolutely deserves praise for its unique approach

and daring to explore a different avenue within the show's themes. Well done, Billy Hanshaw

Before we move on, though, let's also take a moment to highlight the silent title card in Series 9, Sleep No More

which replaced the usual title sequence to keep him fitting with the found footage style

of the episode. This was a great addition to the episode, and it enhanced the themes

without suddenly interrupting the atmosphere with the upbeat theme tune. Honestly, it's a shame that things like this aren't done more often

Number 9. Torchwood 2006-2011 With Torchwood being the Doctor Who spin-off to focus on more adult themes and storylines

it stands to reason that the title sequence would follow suit. This is one of the quickest title sequences of the franchise

and strips away all the flamboyance of the main show in favour of a more mature, serious approach

With its black and red colour scheme and no-nonsense displaying of the cast names

it's clear from the offset that this is a show for the parents, not the kids

Like the Sarah Jane Adventures, the first two series of Torchwood also opened each episode with a pre-title sequence

featuring a speech from Captain Jack Harkness about what Torchwood is, alongside clips from the various episodes

This also served to highlight that this was a more mature show once again

with mention of Torchwood arming the human race against the future, including multiple clips of gunfire and displaying creatures much scarier than any scene in Doctor Who

We get it. This isn't for kids. Torchwood's third series, Children of Earth, went even more minimalist

opting to forego the opening title sequence altogether in favour of a simple title card which changed the day number with each episode

Like the Sleep No More title card, this was the right choice for this particular story

The tone and themes of Children of Earth would have felt less intense

if each episode had began with a brief interlude to highlight that it's a work of fiction

Where Children of Earth thrives is in the gut relatability and pure terror the situation evokes Nothing should break that hold Miracle Day could be mistaken for a medical drama based on its title sequence alone

and yet with context, this does actually fit very well with the theme of the fourth series

Unlike the simplicity of the first series opener, this one feels very dramatic

which is no doubt a result of the American co-production of this final series of the show

Nevertheless, it serves well in building up the tension of the series and maintains the more serious tone that Torchwood holds within the Who-niverse

Number 8, The 11th Doctor, 2010-2012 The shift from RTD1 to the Stephen Moffat era

was likely the first experience of major change for many viewers of modern Doctor Who

As such, there was a fine line to be trodden in order to make sure that those viewers left feeling uneasy by the changes

wouldn't abandon ship. The new title sequence did this very well. While the visuals were distinctly different

the overall motion and concept of the sequence wasn't too far removed from the previous offering

and therefore kept an air of familiarity amongst those changes. The cloud-like variation of the time vortex worked really well with the more whimsical fairy tale vibes of the 11th Doctor's era

as did the tweaks made by Murray Gold on the theme music itself. The stone-like effect on the text, while maybe not intentional

also feels very fitting for an era so focused on the Weeping Angels. and the formation of the TARDIS shape using the DW initials was a stroke of creative genius

It's genuinely surprising that this had never been done before. This sequence remained consistent across Series 5 and 6

with the addition of Arthur Darville to the credits in the latter. Come the first half of Series 7, however, and things took a turn, and not for the better

Each week, the Doctor Who title was covered in a cheesy-looking texture

to fit with the theme of the episode, from dinosaur scales to the Statue of Liberty

But the most outrageous change for Series 7A was the use of what looked like an early 2010s Instagram filter over the entire sequence

which seemed to get darker and darker with each passing week. I mean, what were they thinking

A strong start with Series 5 and 6, but a real mixed bag heading into Series 7

A mixed bag that only got worse. Number 7, The Fourth, Fifth and Sixth Doctors, 1980 to 1986

Heading into the 1980s, the Doctor Who title sequence got the full disco treatment

John Nathan Turner commissioned a reimagining of the sequence, which saw Delia Derbyshire's arrangement replaced by a new rendition by Peter Howell

and a complete redesign for the visual elements. Taking heavy influence from the success of Star Wars

gone were the bright, trippy vibes of the 70s, and in came a more simplistic approach featuring star fields and lens flares

The diamond logo was also replaced with a new neon tube-like design

which quite literally screams 1980s in neon lights. In keeping with those that came before, however

the new sequence still featured the faces of the Doctors appearing on screen

created by the stars aligning to form the image. Although whoever chose the image for poor Tom Baker

deserves to be sat on by the Absorbalov. What is that? While the sequence remained almost identical for the Tom Baker and Peter Davison version

it received an upgrade for Colin Baker's run. While the overall contents of the sequence remained the same

Much more vibrancy was added. The star field became much fuller and injected with much more

colour, as did the neon logo. As for Colin Baker's image, animation was used to transition from a

slight smile to a big cheesy grin. For the Sixth Doctor's final season, the Peter Howell theme was

again replaced, this time with a version arranged by Dominic Glynn, which, dare I say, sounds even

more 80s than the previous one. Very much a sequence of its time, but when that time is the

era of 1980s disco, that's one heck of a fun time indeed. Number 6, Class, 2016. Oh, Class

The potential was there, but the interest was not. Unlike the previous spin-offs, Class fell

victim to being released online, rather than being broadcast on live TV, which instantly hindered its

chances of being a hit. Now, while streaming is commonplace now, back in 2016, the idea of BBC3

being switched to an online-only service was greatly criticised by viewers. As such, Class

didn't perform as well as it was hoped, and was cancelled after just one series. Now, while the

external issues might suggest that Class wasn't a good show, the characters and storylines were

certainly interesting, ending on a gripping cliffhanger no less, and the title sequence

was a surprisingly solid banger. While Torchwood opted for the more refined, mature style to fit

with its target audience, Class offered up a fun, catchy sequence to better suit the teen

young adult viewers. Rather than an original composition for the theme, this sequence introduced

a first for the Hooniverse, opting to use an existing song, Alex Clare's Up All Night, a song

with lyrics no less, over its opening title sequence. This could have easily been a disaster

but paired with the flashy, colourful visuals, fit perfectly with the vibes of the show. Visually

this sequence has enough similarities to identify it as a part of the Hooniverse

such as the time vortex-like patterns and nebula imagery popping up here and there

but also steps away from the norm by including flashes of not just one character's face

but all the main players. It's very reminiscent of many other teen, young adult TV shows of the time

And honestly, it's a real shame that Class wasn't given the chance to tell more stories

Number five, The First Doctor, 1963 to 1967. The one that started it all

Doctor Who was a revolutionary concept for the BBC back in the 1960s

Nothing like this had ever been done before, and so it was the perfect production to push

boundaries and explore the possibilities of science fiction. And this was certainly true of Bernard Lodge's original title sequence, which explored techniques

that, although simple by today's standards, were groundbreaking and otherworldly for the time

The pulsating waves were created by using a technique called the Howl Round effect, which

was achieved by pointing the camera at its own feedback on a monitor. Simple, but extremely

effective. Delia Derbyshire's original arrangement of the famous theme was also revolutionary for the

time. Rather than using traditional instruments to create the theme, Derbyshire recorded countless

electrical sounds, adjusted their pitch, and spliced them together to form a piece of music

In an age before synthesizers and computers could be used to create music, this was a painstaking

task, and an absolute triumph for Derbyshire. If only she'd known then how famous her work

could be over 60 years later. Now, the idea of having the image of the Doctor appear in

the sequence was explored for this first version, but was ultimately deemed too scary by producer

Verity Lambert. Of course, it wouldn't be long before that idea was revisited, but it's crazy

to think that a simple image of a man face would be considered too scary My my how times have changed Though it may be simple in comparison to those that followed it cannot be understated how groundbreaking this sequence was for television

at the time. So vital, in fact, that when it came time to celebrate Doctor Who's 50th anniversary

this was the sequence chosen to open the day of the Doctor. 4. The Third and Fourth Doctors – 1973-1980

John Pertwee's final season saw the first major changes for the Doctor Who title sequence

Still in the hands of Bernard Lodge, the new sequence introduced perhaps the most

recognizable element of the Doctor Who titles, something still used today, the Time Vortex

Gone were the wavy blobs of the HowlRound effect in favour of a tunnel-like visual that really

elevates the feeling of travelling through a portal to another world. Although a little cheesy

by today's standards, the image of the third Doctor panning out to a full body shot as it

travels down the tunnel also adds to the sense that this is a man who travels through these

space portals. The theme music remained unchanged, but audiences were treated to one of the greatest

logos the show has ever seen. In comparison to the more simple designs of the previous years

the iconic diamond logo gave a real sense that the show was upgrading as its popularity grew

The shape and tint of blue gives a sense that this could somehow be part of the TARDIS and

feels the most connected to the show itself. And speaking of the TARDIS, when Tom Baker arrived in

1974, the title sequence saw some tweaks made. Now, while the general concept remained very

similar, the TARDIS was incorporated into the sequence for the first time. It almost appears

to be travelling up the time vortex towards the audience, before cutting to a much more flattering

image of the fourth Doctor than what would appear in his next title sequence. While some of the

elements introduced here were dropped for a while, it's clear that these particular titles were highly

influential on the modern era of Doctor Who, and they still hold up very well today

3. The 14th and 15th Doctors, 2023-2025 With the 60th anniversary marking the grand return of Russell T. Davis as showrunner

David Tennant and Catherine Tate, and music maestro Murray Gold, there was plenty of excitement and plenty of curiosity about what everything would look like

In keeping with the diamond anniversary, it was only fitting for the iconic diamond logo to make

its return. With some minor 21st century VFX tweaking to add more dimension and definition

this logo is relatively unchanged from the original 1973 version. I mean, if it ain't broke

don't fix it, right? As for the title sequence itself, this is one of the most visually beautiful

sequences of the last 60 years. Now, more brownie points here for another purple colour scheme

which just feels like a perfect fit for the space imagery. It's clear that nostalgia does

play a part in the enjoyment of this sequence, but it's fun to point out the elements of past

sequences that have been reimagined for this version. The concept is very reminiscent of the

sequence of the RTD1 era, with the TARDIS travelling through the time vortex, but it also incorporates

the more cloudy, fiery visuals of the early 11th Doctor titles too. The music, now back in the hands

of Murray Gold, is a new arrangement, but also feels like a combination of the theme from both

RTD1 and the early Moffat era. Now moving into Shooty Gatwa's run as the 15th Doctor, the title

sequence remained virtually unchanged, save for the addition of a beautiful shot of the TARDIS

jumping from one portal to another through an asteroid field. It's remarkable how one tiny

adjustment can elevate something even higher, and this brief addition just puts the icing on the

cake for the most recent title sequence. 2. The Second Doctor, 1967-1969

Now, some might consider the placement of the Second Doctor's title sequence so high on the

list to be a rogue choice. There is a key reason for this decision. While the original title

sequence pushed boundaries and experimented with absurd ideas, the second sequence took all those

successes and improved upon them. The Howlround effect is still present, but more refined and

structured. Delia Derbyshire's theme is back, but with additional sounds to complement the more

layered visuals. The only major change saw the incorporation of an idea once abandoned

the image of the Doctor's face. Again, this wasn't an entirely new concept

but one adapted and re-explored in order to enhance what came before

There was a lot of pressure riding on Patrick Troughton's run as the second Doctor

The prospect of swapping out the main actor was a massive risk, and everything about the new run had to prove that this was still the same show

and that change was the key to longevity. Just like the character of the Doctor

if the core elements remain consistent across the incarnations, then no matter how many superficial changes are made

the show will always be recognized and revered by the fans. I think the second Doctor put it best

Life depends on change and renewal. Number 1. The 9th and 10th Doctors 2005-2010

Maybe nostalgia does play a part in the placement of the 9th and 10th Doctors title sequence

here at the top of this list. But it cannot be denied that this is one of the most energetic and adrenaline-pumping sequences

in the history of Doctor Who. The 2005 revival really was just that, a revival, taking everything that came before and ramping it up with refreshed energy and enthusiasm to revitalise Doctor Who back to its peak

Stepping into the 21st century, the VFX were unlike anything the show had seen before

The time vortex looked more vibrant and realistic than ever. The pace was much faster, adding to the feeling of new life and energy being pumped into the show

The TARDIS was back as the driving force of the sequence, and the new logo, though unbeknownst

to viewers at the time, linked nicely to the fiery orange redesign of regeneration that

would become a mainstay in the modern era. And then there's Murray Gold's new take on the theme

Taking clear inspiration from the 1996 movie version, Gold perfectly combines the full

power of the orchestra with the iconic electronic sounds to create the most powerful adaptation

of Delia Derbyshire's classic arrangement. Now, the theme went through some minor tweaks over the years

and it reached its absolute peak from Planet of the Dead onwards, where more emphasis was put on the strings to bring that extra dramatic beat

This sequence remained virtually unchanged throughout the entire RTD1 era, which only highlights its strength and popularity

They hit the nail on the head with this one, and have struggled to reach its heights in the years that have followed

Some have come close, but none have stolen the crown. And that concludes our list

please let me know your ranking in the comments down below. And if you like to watch the ranking videos

then why not check out every modern series ranked? Although we probably need to update that one now that season two has aired

Hmm. In the meantime, I've been Ellie for Who Culture, and in the words of Riversong herself

goodbye, sweeties