From 70’s sitcoms with explanatory jams to modern prestige classics with experimental scores, from Sanford and Son to Succession, from Match Game to Game of Thrones.

We apologize in Ahead for all the TV theme songs we’re about to put right back into your heads. Or should we perhaps accept your thanks as a preventive measure?

Despite regular attempts to consolidate them or eliminate them entirely, theme songs are a crucial part of the television experience. The best get you in the mood to watch any episode of your favorite and can be just as entertaining on their own as any big joke, monologue, or action sequence. So we decided to pick the top 100 theme songs of all time — technically 101, since there are two as inextricably linked as peanut butter and jelly — and tried to rank them by size.

How did we figure this out, aside from just arguing about it via Slack, Zoom, Ham Radio, etc.?

First, we’ve compiled a massive list of great songs from across the long history of television. We then pared that down by looking for diversity in terms of music style, show style and era. (Honestly, the entire 100 could have been shows from the ’70s. Sorry about that The White Shadow, What’s happening??and many more that didn’t make the final list.) Some were written specifically for this show, while others were pre-existing songs that were given new life through their association with a specific series.

Then we considered two main factors: 1) How great is it as a song? 2) In terms of mood and/or a premise explanation, how well does it prepare you for the show to follow? Sometimes one factor outweighed the other and many bitter battles were fought. (There are still hurt feelings about which sitcoms in ABC’s TGIF family got the nod and which didn’t.) Ultimately, as with any attempt to quantify art, a lot of gut feelings were involved: In itself, Theme Song A is an objectively better piece of music than Theme Song B, but Theme Song B fits his show much better.

This list – with many of the blurbs owing to the richness of the story of the theme songs in the book The Greatest Hits of TV by Jon Burlingame – is our attempt to explain why we picked these 100 over some or all of your favorites.

Enjoy and get buzzing.

Lumpkin and his husband Boccuzzi had built up a collection of black artists including Henry Taylor, Rashid Johnson and Jordan Casteel. When Concordia College asked Lumpkin and Boccuzzi to host an exhibition of works from the collection, they asked Sargent to organize the exhibition with their collections manager, Matt Wycoff. Around the same time, Sargent helped put together a book documenting the collection.

The market for black contemporary artists had taken off and the show was perfectly timed. In May 2018, Sean Combs bought Kerry James Marshall’s Past times for $21.1 million, breaking the record price for a living black artist. The excitement spilled over into the primary market. New works by Mark Bradford, the black abstract painter who represented the US at the 2017 Venice Biennale, have sold for up to $5 million.

As the Lumpkin show toured the country in February 2020, led by Sargent, the critical establishment began reporting more regularly on black artists, but often in ways that unsettled Sargent. The praise seemed too effusive to him now. Or, as Sargent put it, “It’s all these white critics who lie because they don’t want to be racist about how great black art is.

“All The shows are great?” holds the Everyone what seemed like a minute. “All from them. All from them? I’m sorry you called this shit terrible seven years ago because I read your review. Now are you praising it?”

Something inevitable, the galleries saw the value of having someone like Sargent on staff who not only writes about black artists but brings them into the gallery. He was already approached by some when he landed on the radar of Andrew Fabricant, who joined Gagosian as COO in 2018 and is seen by many as the successor to the 77-year-old retailer king.

“When I first met Antwaun, I could just see the star power,” says Fabricant. “I mean, the guy is tireless. He has enormous charm, he has incredible skills. He’s got his connections with artists, he’s got connections with the fashion world… Not just the creative side – there’s art dealers, there’s the whole logistical side of what we do. This is unique to my experience at Gagosian, which has not historically been the warmest or muggiest place to work.”

Eventually, he was introduced to the gallery’s founder, who began selling posters on the street in Westwood Village in the mid-1970s and is now $1 billion in sales a year. They agreed on a partnership where Sargent would put together a group show, and the names on the list were mostly artists the gallery kingpin had never heard of.

“The art world kind of realized that the situation had been really one-sided for a long time, and African-American, black artists, whatever, were kind of kept out of the game,” Gagosian told me in October. “And so my gallery, like many galleries, has been thinking about diversity. But I realized that these are some incredibly innovative and fresh artists. Antwaun didn’t get me to look at an artist where I was like, ‘Oh my goodness. Why do you find this interesting? That’s ugh. I can not.’ Most of the time it’s the other way around.”

For his Gagosian debut, Sargent proposed something far more ambitious than his previous program: Social Works, a group show of Black artists exploring performance- and installation-based practices that incorporate an aspect of community organization. Adjaye made a 60 ton freestanding sculpture (his first). Linda Goode Bryant installed a fully functional urban farm, the produce of which was bagged and pinned to the walls. Theater Gates A song for Frankie (2017–2021) contained 5,000 records from the archives of legendary Chicago house pioneer Frankie Knuckles, which were blown up for the show’s run.

And someone had to sell everything. Historically, curators have remained on the institutional side, occasionally doing one-off work for galleries, and the idea of ​​a curator-dealer is a relatively new phenomenon. It was pretty easy for Sargent.

“Most of these artists that he brings in have a steady client base and a list of people who want those things — it’s not rocket science,” says Fabricant. “But he got into it pretty quickly. And he enjoys it not only for the interaction but also for the money.” Gagosian sees this as a natural extension for Sargent: “I wouldn’t call him a salesman or an art dealer.”

Sargent won’t disclose his salary or commission, even if the money is great, way better than $150 a piece for a Vice story. Certainly there are those who roll their eyes when Sargent curates and earns commissions. But, said Sargent, shows the effect of this trait and to sell Black artists in a commercial gallery are a crucial element of his ambition as a person of color in a position of power supporting black artists. Not every art institution shares this goal.

“Doing these shows and having esteemed curators or black curators come and do shows in your galleries and there are no works for sale – brother, that’s expensive public relationshe said. “It’s actually disrespectful to everyone involved. We’re not asking for anything special. We’re just asking for the damn opportunity to enter competitions and I think that was the reason for my decision to join the gallery because they gave me.” a real opportunity to compete and you can see what I made of it. And that’s the only thing. It doesn’t have to be like, “We fix our da-da-da…”. crap all that. We’ve lived in this country, we know what it is. Give us the opportunity to do this compete.”

At first On Thursday in October, a few days before the start of the Frieze art fair in London, Gagosian opened his first exhibition with Tyler Mitchell at his Mayfair spaces on Davies Street. Mitchell, 27, first gained widespread recognition for his editorial work for Fashion (and vanity fair), and the opening was scheduled for September in the heart of London Fashion Week, but the death of Queen Elizabeth had delayed the gallery. The show was a gamble – the first exhibition of an artist in the gallery, a photo show in a painting-crazy art market, etc. Now it had to compete with the madness of an international art fair.

I met Mitchell walking through Mayfair on his way to the show and as we approached I saw a series of diptych photos showing through the window. Unlike most of Gagosian’s other galleries, this gallery has floor-to-ceiling windows to show the majority of the show to the public, with the lights staying on until midnight. The work marked a major breakthrough for Mitchell; They draw on his history of celebrity photography, but turn his lens on young men and women to present a sort of utopian vision of American Blackness.

Behind the gallery, through an unobtrusive partition, is an office, and when I opened it I saw Sargent seated at his desk. He was wearing a brown Burberry suit – “That’s it British, Honey” – and a shirt by Grace Wales Bonner, the London-based designer and artist who exhibited at Social Works II in London. Despite being at his friend Madonna’s Marylebone mansion until five in the morning – “Oh my god, she’s got Frida Kahlo and Picasso and what kind of guy we represent that does the big breasted women, oh John Curr…‘ he didn’t seem tired in the least.

“The people are rooolling through,” he said, clipping his hat on his head two minutes into the opening. Added to this was Amy Sherald, the artist who painted the portrait of Michelle Obama, whose new work is now selling for up to $3.6 million. There was Lynette Yiadom-Boakye, whose paintings have sold for more than $1.95 million at auction, chatting with fellow British artist Anthea Hamilton. From Los Angeles came rising star Lauren Halsey, as well as Alvaro Barrington, the painter exhibiting with Sadie Coles’ London HQ, and Vienna-born London dealer Thaddaeus Ropac. Bonner stopped by, as did Simone Rochas, a fashion designer from Ireland, and Edward Enninful, the editor of British Fashion. Anna Wintour had a private tour of Mitchell the day before.

In the video posted by Farhan Akhtar, his younger daughter Akira Akhtar and her band can be seen singing the hit song Do not worry by Tori Kelly. Posting the video on his official Instagram account, the delighted dad wrote: “You’ve come a long way @akiraakhtar… keep going… the world is your oyster. @shannondonaldmusic big hug (you know why). the amazing band on stage last night @chaituontheroll @viviandsouza @rahulwadhwani29 @linfomation.”

Shibani Dandekar reacted!

Farhan Akhtar’s family

The legendary Bruce Lee was a Hong Kong-born actor and martial arts artist. Lee is one of the reasons why the martial art is well known and famous in the United States. Lee also starred in America’s first-ever martial arts film, Enter the Dragon. Unfortunately, Lee died while making a film called The Game of Death.

During his short time in the country, Lee taught martial arts to famous personalities. Actors such as Huggo Chairres, Steve McQueen, James Coburn and basketball player Kareem Abdul-Jabbar were some of his students. However, when it came to carrying Lee’s legacy forward, Jackie Chan was the chosen one. However, the martial arts legend refused to do so.

Why did Jackie Chan refuse to fight like Bruce Lee?

Bruce Lee was one of the most respected figures in the Hong Kong film industry. In 1973, Lee’s death left the industry with an essential task of finding an actor who might fit in the legendary star’s footsteps.

A rising star and another martial arts expert, Jackie Chan was one of the leading names to compensate for Lee’s constant absences. It also meant that Chan had to act and fight like Lee. However, the kung fu master said so in his book Never Grow Up “No one could ever surpass” Lee’s legacy.

Although Chan tried to emulate Lee, he soon found that their fighting styles were wildly different. In his autobiography, Chan mentioned that while Lee used ground kicks in combat, he preferred higher kicks on the other side. Before making his first breakthrough film – Snake in the Eagle’s Shadow, Lee approached the film’s producer and proposed “A completely different way” to shoot the movie.

Later, Chan managed to write his own story and today he is one of the most successful actors and martial artists like Lee.

When Lee and Chan worked together

Jackie Chan began his career as a stuntman in films. He also collaborated on the legendary films Bruce Lee’s Fist of Fury and Enter the Dragon.

Chan once confessed that Lee was a huge influence on his career and he learned many things from the martial arts expert. During the filming of Fist of Fury, Chan was one of Lee’s many opponents that he had to fight.

Watch this story: The five most influential female mixed martial artists of all time

During filming, Chan accidentally punched Lee in the face. After the shot, the Hong Kong film legend rushed to apologize to the then-young Lee.

Graphic from Owensboro Times

Local artist Matthew Shelton paints for himself.

“I’ve always maintained the attitude that this is just something I do for myself,” he said. “If people want to go on the journey with me, that’s cool. If not, that’s ok too.”

People join and are amazed by the pieces he exhibits locally including at Fetta, Sassafras, The Spot and Niko’s Bakery.

After moving from Hopkinsville, Shelton decided he wanted to make a name for himself in the art scene.

“Honestly, I’m not very impressed with the local art scene,” he said. “There are a few artists that I absolutely adore. However, I don’t think too many people take a real risk and really push something other than what they think will sell.”

It’s the combination of risk-taking and a desire to “do the polar opposite of what everyone else is doing” that Shelton appeals to. And that’s what makes his art, created in his Neon NoseBleeds Studio, unique.

“I honestly don’t know what to call it,” Shelton said. “My friends jokingly say I’m the king of local freak style.”

Shelton said his style changes monthly and he doesn’t stick with one style for too long.

“I do a variety of mediums: photography, canvas painting, murals, sculpture, and also body painting – for the brave,” he said.

Shelton has been into art since childhood and says he started sketching for classmates and selling them for money or candy. As an autodidact, he began with traditional areas of art. But after 25 years that didn’t satisfy him, so 6 years ago he got serious about developing his own style.

“It deserves a market for the underground arts and things that appeal to people who can’t find what they’re looking for anywhere else,” he said. “Not everyone wants a landscape or a tepid, lifeless celebrity portrait on their walls. Some people want something fancy and unnerving and full of emotion. I am here to fill that need.”

Shelton does not do commissioned work and rarely plans for the final product. His pieces are interpreted through the viewer’s own understanding and perspective.

“I’m just the channel, not the definer,” he said.

Shelton continues to fulfill his need for personal growth and happiness through painting.

“I’ve always had a strict, ‘If you like it, that’s great. If not, that’s okay too. “Attitude,” he said. “I’ve found that when I start looking at art and expression as work, I resent it. I’d rather not lose my love for it by having a few bucks to spare.”

Shelton’s work can be seen on Instagram and Facebook, where he can also be contacted.

One man spent over $1,000 to build a tomb with a bag of Flamin’ Hot Cheetos inside for “future civilizations to find.”

TikToker and meme artist @sunday.nobody stunned his followers when he undertook the arduous effort of crafting a concrete sarcophagus. The 3,000 pound tomb was designed to hold the only thing future civilizations might be interested in: Flamin’ Hot Cheetos.

The creator welded rebar and molded concrete to make the base of the tomb. The process alone took weeks. Next, he used a laser printer to engrave the ingredients for Flamin’ Hot Cheetos onto the grave’s surface.

In order to preserve the bag of Flamin’ Hot Cheetos inside for future generations, he cast it in resin. He also used wires to hang the resin block in the tomb so it would not suffer “seismic damage” in the event of an earthquake.

Before hermetically sealing the tomb, he used a laser to disinfect the inside of bacteria. Then he buried the grave in a huge hole.

“Historical artifact buried down here. 10,000 years do not open. Funeral year 2022” read the commemorative plaque at the grave site.

The artist spent $400 on concrete, $100 on rebar, $300 on wood, $180 on epoxy, $170 on rental equipment, and about $100 on other necessities. In total it cost @sunday.nobody about $1,100 and a lot of time.

The art project has over 10.9 million views on TikTok.

“That’s perhaps the best way to describe our generation,” said one user.

“I’m so mad I won’t be here for the update in 10,000 years,” someone wrote.

“My husband is starting a religion in the future,” commented another.

“I wonder if old people used to prank us like that?” replied a TikToker.

“The commitment to this project is amazing,” added one person.

The post-meme artist is building a £3,000 concrete tomb to hold a bag of Cheetos for “future civilizations,” first appeared on In The Know.

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The Sharjah Art Foundation recognized outstanding films in the categories of Experimental, Narrative and Documentary at the recently concluded awards ceremony Sharjah Film Platform 5 (SFP5) at an awards ceremony in the Heritage Area, Heart of Sharjah.

The foundation also announced the winner of this year’s Pitching Forum, an open screenplay competition for feature films offering a UAE-based screenwriter the opportunity to win $54,400 (Dh 200,000) to turn their feature-length Arabic-language screenplay into a film.

For the latest headlines, follow our Google News channel online or via the app.

The fifth edition of the Sharjah Film Platform brought together more than 30 regional and international films from emerging and award-winning filmmakers. The annual film festival included lectures and master classes, as well as musical performances, which were introduced into the festival’s program.

For this year’s Sharjah Film Platform Awards, an external jury of filmmakers, critics and producers shortlisted the films and selected three winning entries per category: Feature Film, Short Mention and Honorable Mention.

Fernando Portabales’ Copacabana Papers (2021) won Best Experimental Feature Film.

According to the jury, “it’s a film that has it all; With its chaotic style, fast-paced editing and immense archive of pop culture, fashion, film and music references, this film challenges the concept of freedom through the journey of a provocative artist whose means of expression were to invent a groundbreaking nightlife in Buenos Aires for a community that defies all social constructs.”

Yasmine Benabdallah’s How to Reverse a Spell: The Promise of an Archive (2022) won Best Experimental Short Film.

The jury celebrated this “desktop film” as it “uses the computer screen itself as a form of reflection on the search and navigation of lost public archives in Morocco”.

In addition, the jury said that “the disappearance of these files raises relevant questions that apply not only to Morocco but also to other countries in the region.”

INCIPINECE (2021) by Yaroslav Bulavin received an Honorable Mention (Experimental).

The jury chose this “haunting and mesmerizing film” about water, made without the use of computer effects. According to the jury, “the film served as a necessary reminder of the fragile state of the planet’s natural ecosystem”.

The award for the best feature film went to “A Second Life, GADHA” (2022) by Anis Lassoued.

The jury found the film both touching and thought-provoking. It is very well written and beautifully directed, and the jury was deeply touched by the actors’ performance.”

The best narrative short film was “Hello” (2022) by Catherine Mazoyer. The film captivated the judges with its “beautiful and thought-provoking story that escapes a heavy tone. It also tackles the theme of fear of rejection with lighthearted dialogue and an original narrative.”

Navid Nikkahah Azad’s The Recess (2021) received an Honorable Mention (story). Regarding the film, the judges appreciated the way it “tackles the image of gender oppression.”

They were also impressed by how “the director presented the main character in a sensitive and realistic way that convinced every viewer to live in the character’s world, as well as the unique dialogue between the girls, which presented an outstanding example of the artistry of the short film.” “

Veins of the Amazon (2021) by Alvaro Sarmiento, Diego Sarmiento and Terje Toomistu won Best Documentary.

The jury described it as a “brilliantly conceived and executed film that documents the life of the indigenous people along the Amazon”. In addition to the quality of the work, “the documentary reorients us and centers the world with people and their lives on a moving ship and its riversides.”

The award for Best Short Documentary went to Hassan Ayman Abodoma’s 20 Pounds a Month (2019).

The film impressed the judges because “it portrayed a great humanity and consciousness that transports viewers to a domestic and class reality on the brink of extinction.”

According to the jury, “The short film impacts deeply in its depiction of intimacy and expectation through thoughtful direction and portrayal of a spirited character and vitality.”

Samaher Alqadi’s As I want (2021) received Honorable Mention (Documentary). The jury praised the “bold, unflinching and multi-layered film that conveys the inseparable intertwining of personal and political points of view on the street and in the home”.

The jury recognized the director’s “creation of an effective work of art under prolonged conditions of brutality and great uncertainty, making it a deeply powerful and touching film”.

A jury of filmmakers and industry experts also chose the winner of this year’s Pitching Forum. Sameeha bint Saeed Alavi was awarded the cash prize to support the production of her full-length Arabic language screenplay entitled Nabil.

The Pitching Forum, supported by Sharjah Media City (Shams), is part of the SFP Industry Hub, created to inspire film industry professionals and enable the development of filmmakers’ work by connecting them with film industry professionals.

In addition to The Pitching Forum, the Script Lab, a professional screenwriting course, is also part of the Industry Hub. the latest addition,

The Film Circulation Initiative, in partnership with the Network of Alternative Arab Screens (NAAS), enables the distribution of short and feature-length films through the NAAS platform and network.

Read more: Exhibition by renowned Iraqi-Kurdish artist Ismail Khayat opens at Sharjah Art Museum

In honor of the highly anticipated bug juice 2modern celebrities get makeovers as bug juice Characters with an AI software. Tim Burton’s horror comedy starring Michael Keaton as the ghoul bug juice Starring alongside Geena Davis, Catherine O’Hara, Alec Baldwin and a young Winona Ryder, it tells the story of a recently deceased couple who call upon the help of a troubled demon to remove the living family that has just moved into their home.

bug juice received both financial and critical success upon its release in 1988 and has become a whimsical classic. It won the Academy Award for Best Makeup and spawned video games, an animated series, and a critically acclaimed 2018 stage musical of the same name. Although the film’s success helped boost Burton’s credibility as a filmmaker, it led to him directing the big-budget film Batman in 1989, bug juice also cemented Burton’s signature imaginative visual style. Although there have been many attempts at a sequel over the years, it was widely believed that too much time had passed and that such a film would most likely never be made. However, in February 2022, over 30 years after the film’s initial release, a sequel was announced.

See also: Beetlejuice 2 is Winona Ryder’s perfect sequel to Stranger Things

A digital artist uses AI art software to imagine 34 modern day celebrities bug juice Characters. Because of his curiosity about what is to come bug juice Sequel, content author Jim Nightingale shares a series of photos created with Jasper Art, an AI image generator, on the design website Bootcamp. “To see what Beetlejuice might look like today, I decided to transform some of the most famous faces in the world into famous ghouls.” nightingale writes The result is stunning portraits featuring a range of celebrities including Harry Styles, Natalie Portman, Oprah Winfrey, the cast of stranger thingsElon Musk and many more decorated bug juice‘s trademark gothic visuals. The designs add an almost psychedelic look with vibrant colors and a softer digital modern edge.

Could Beetlejuice 2 feature any of these celebrities?

In the age of reboots, remakes and revivals of old classics, a new one bug juice A sequel seems to be in the works. It will be directed by Tim Burton, with cast favorites Keaton and Ryder reprising their roles. Burton fans are already speculating about what other famous faces they can hope to see in the film. While certain characters like Winfrey, Musk, and King Charles are unlikely, one could imagine some of these faces on screen bug juice World. Stars of the moment like Zendaya and Timothee Chalamet could be a coveted option, while chances are actress Helena Bonham Carter will star as a veteran of the Burton universe. Rumors of Johnny Depp, one of Burton’s most frequent collaborators, to appear, have persisted since his name was listed on a Google cast list for the film, although nothing has been officially confirmed of the actor’s involvement.

Since bug juice Director Burton has not commented on the project, it’s almost impossible to speculate about a possible cast when little is known about the film’s plot. Still, these images are a testament to those of the film enduring legacy that has managed to remain relevant and unique to this day. While some of these AI image suggestions might be a long shot in terms of casting, bug juice 2 will definitely attract some big names.

Next: Beetlejuice 2 can finally repeat Tim Burton’s classic success trick

Source: Bootcamp

Designed by IAPA in 2020, Xi’an Taibai Wushanju Art Hotel offers guests a peaceful living space on Taibai Mountain near Xi’an Ancient City.

The symbolic structure stretches 73 meters east to west and 120 meters north to south on the historical river, and evokes the design ideas of the Lifang urban planning system of China’s Tang and Song dynasties. Each building in the design was developed by reinterpreting these ideas. With a land area of ​​approximately 10,000 m² and a total construction area of ​​14,500 m², the complex consists of a 6,300 m² boutique hotel, a 4,500 m² living room and a 2,000 m² art exhibition hall.

Inspired by the Chinese proverb “reach the moon and advance as if there were no mountain,” Wushanju Art Hotel is a building brought to life with architectural ideals. At the same time, the emotional integration of aesthetics, poetry, humanities and philosophy creates a peaceful living space at the foot of Taibai Mountain, balancing art and life in oriental style.

The design aims to strike a proportional balance between less and more, light and heavy, and black and white. “Wushanju” reflects the naturalness of the Taibai Mountains, while expressing the concise, natural, simple and minimalist aspects of Eastern art.

The design was created using traditional “longitudinal, square, street, city” techniques according to China’s urban layout. These techniques ensured the connection of the 57 hotel rooms, book bar, tea room, art center and swimming pool parts of the building with the inner courtyard.

The relationships between the vertical and horizontal parts of the building are defined by a chessboard-like grid system that reflects the continuity of the traditional urban planning idea in a modern language; The design tells a story about the building’s interaction with people, natural elements, light and shadow.

The design envisages a circular taibai courtyard connecting the building, corridor and courtyard, functioning as the main body. The open space in the inner courtyard offers users a perfect place to enjoy the mountain view and tranquility from afar. At the same time, the choice of colours, textures, patterns and materials gives the building a unique charm and a strong sense of modernity and innovation.

The harmony created by the light and shadows falling into the building from the windows and the sunlight and shadows filtered by the trees on the walls continues and increases both inside and outside the building the depth of space. All these design elements transform the building into a peaceful space in accordance with Zen philosophy.

project info

architectural design: IAPA PTY
location: Xian, China
Year: 2020
Total construction area: 14,500 sqm
photography: Tan Xiao – Studio Ten

Gonzo has produced a number of memorable animes, perhaps one of the most notable being 2004 Gankutsuou: The Count of Monte Cristo. The series is instantly recognizable for its avant-garde visual style. Fusing classic Japanese ukiyo-e with 19th-century Western art styles and the innovative fashion designs of Anna Sui, Gankutsuou has cemented itself as an anime recognizable by every frame.

However, few series have attempted such a rich and varied visual design in this specific way. Has GankutsuouDid the graphics stand the test of time, or are they too extreme compared to the generally more linear graphics of anime today?

RELATED: Cyberpunk Edgerunners: How David’s fate may not be as obvious as portrayed

Gankutsuou is inspired by the Count of Monte Cristo

Gankutsuou takes inspiration from Alexander Dumas The Count of Monte Cristo. The anime mainly adapts the plot and carries many of the same thematic elements, despite being set in a highly decorative futuristic sci-fi world. Taking place in the year 5053, Gankutsuou follows former sailor Edmund Dantes after he escapes from prison to get revenge on those who betrayed him. Aided by a mysterious demon named Gankutsuou, Edmund forges a new identity as the Count of Monte Cristo in order to embed himself in high society and bring down his enemies one by one.

The series features intricately detailed patterns in its costume designs and backgrounds. As with many anime, the patterns are in Gankutsuou don’t move or take the form of the characters’ clothing, creating an interesting optical illusion as everything else is animated while the patterns remain stationary. Given that the series makes such heavy use of patterns in almost every aspect, it can be a bit confusing for new viewers at first.

The incredibly detailed 3D European architecture combined with the equally — if not more — detailed patterns evoke a lush, high-quality ambience that befits the story. The subtly colored outlines of the characters help to contrast with the variety of textures in their costumes and background. Even if the level of detail may be dense compared to current series, it is done on purpose.

RELATED: Viewers intrigued by Raven of the Inner Palace should check out The Story of Saiunkoku

Gankutsuou delivers design with purpose

It’s safe to say that not many series out there achieve the same level of avant-garde in their graphics, with perhaps the closest exception of 2007’s anime Mononoke. While Gankutsuou came out in the early ’80s, its unique visual direction shouldn’t be easily dismissed as outdated. It might be a stark contrast to the sleeker, more streamlined designs of most anime today, but the deliberate use of textures was just another form of technical innovation to serve the story. More series do not look Gankutsuou probably because the artistic direction would not fit or enhance the narrative. GankutsuouThe visuals of are immersive and contribute to the surreal sci-fi environment and 19th century high society that inspired the series.

There are a variety of reasons why an anime can stand out and be remembered forever, and visuals are often an important factor. Outstanding smooth animations combined with unique designs help make a series engaging and engaging Gankutsuou takes this to the extreme. It’s a style that can’t be easily copied and obviously stands out in today’s anime mix, but GankutsuouThe look of has stood the test of time. It may seem “too much” at first glance, but the execution of all its elements ensures that its multi-layered textures are never garish or sloppy. This revolutionary style may not be commonplace, but it remains interesting, iconic, and firmly grounded in the origins of the story.

All 24 episodes of Gankutsuou are available to stream on Crunchyroll.