Closing theme
During the end credits of American Dad's first season, what was it that could be seen?
American Dad!
American Dad! Closing credits Mrs Fox Dad's Root Beer Opening credits
American_Dad!-Closing_theme Closing_credits-Marginalization_for_television_promotion Mrs_Fox-Abstract Dad's_Root_Beer-Advertising Opening_credits-History
The final frame of the introduction was changed for seasons beyond the first season. At the end of the credits in the first season, all that could be seen was a big "American Dad!" logo in front of the American flag. In all subsequent scenes, this logo was shrunk to fit the names to the series creators on the same screen. Following each episode's ending credits is a live action video of a security guard representing the Underdog Productions logo. In the logo, the security guard always breaks the fourth wall, waving and typically stating "Bye, have a beautiful time", into the camcorder. There are, however, different versions of this logo where his comments are different from the above.
On American television, the time the viewers spent watching the closing credit roll was often considered an opportunity to promote other shows on the network. Typically, this was accomplished by lowering the volume of or muting the closing music while an announcer on voice-over pitched another program – each announcer would often remind the viewer to "stay tuned" for the following show. Examples included Ernie Anderson on ABC, Alan Kalter on USA Network until 1996, and Phil Tonken on WOR-TV (now WWOR-TV) in New York City. To help avoid cacophony with the theme song, most American television series produced since 1970 had few, if any, vocals in the closing music. As technology advanced, however, networks decided to replace the voice-overs with full-blown visual promos. In the U.S., networks now run a split-screened version of the show's credits to allow for running a promo (known in some circles as "generic credits", "split-screen credits", "squeezed credits" or "credit crunch"). NBC started this practice in the fall of 1994 with a strategy called "NBC 2000," which was designed to keep viewers from channel-surfing. At that time, the credits were displayed on the right side of the screen, using a typeface on all shows that differs from the one used in the actual closing credits of each individual program (hence the common nickname "generic credits"), with "promo-tainment" (vintage scenes, trivia questions, etc.) on the left side or, for shows like "Friends" or "Frasier", a tag sequence. Shortly after its adoption, the network shifted from "promo-tainment" to just airing promos for other NBC programming. All five major commercial broadcast networks (ABC, NBC, CBS, Fox and The CW) use this format; in mid-2004, Fox was the first major network to shift its credits to the lower one-quarter of the screen, and by the end of that year, ABC and NBC followed suit. In 2005, CBS, The WB, UPN (and, when it launched the following year, The CW) began shifting credits to the lower quarter of the screen. By the early 2000s, the use of "generic credits" began to spread to cable; most channels owned by the MTV Networks unit of Viacom (including MTV, VH1, Nickelodeon and Comedy Central), Lifetime and Lifetime Movie Network (though in June 2011, it was abandoned on their movies and scripted drama series, in favor of showing the original studio credits on the lower half of the screen), BBC America and (on certain syndicated programs and films) ABC Family began using this type of format. Since 2009, premium television service Showtime also uses generic closing credits on its original series, and is the only premium channel to use this format. Some of the aforementioned cable channels, particularly the Nickelodeon channels (except Nick Jr.) and until recently ABC Family have removed tag scenes or blooper reels originally featured during the show's end credits, replacing them with marginalized credits to air promos for other network programming. On some shows, the credits are reduced to either a rapid-fire crawl, or quick-flashing cards; in some cases, each credit would appear on-screen for less than one second (a prime example is at the end of each episode of "Survivor", in which there is a rapid credit-crawl to fit in all of the contestant's closing speech). Sometimes a promo would run shorter of the normal time it would take to run the credits at normal speed. Thus, the credits even "sped-up" near the end in order to show all the credits before the promo ended (a prime example of this is NBC's showing of "Titanic", in which there were so many credits to be shown in so little time that credits switched almost every frame, making it impossible for anyone to read, even with a slow motion capability – and "The Biggest Loser", particularly during the season finale episodes). Starting with the 2004 season, ABC air their closing credits of its sitcoms at the bottom of the screen, during the closing scene in a format that keeps in-line with the network's generic credits look. These credits, however, air without the dark-colored bar that airs during their other prime-time programs, except for promotional consideration tags that appear near the end of the credits. In other words, the credits are superimposed over the closing scene's action in the same manner as the original studio credits. Most daytime soap operas used closing credits for many years. Most of the shows aired during the week (e.g., Monday through Thursday) would list just the main people involved with the production and a few of the principal actors and actresses. However, given the large number of people involved with the production of each serial, a full cast and crew credit crawl could last three minutes or longer. Because of this, an expanded credit roll would often air at least once a week, such as on the Friday show, with the closing theme often an expanded version of the show's opening music. Starting in 1999, soap operas began eliminating the full-screen crawl in favor of the one-third screen credits/promo combination. While NBC, ABC and CBS soaps all use the upper portion of the screen to show advertisements for primetime programming, ABC soaps showed previews for the next episode until 2008 and intermittently since then (the network's lone remaining soap, "General Hospital", currently runs an episode preview during the end credits). In comparison, daytime soaps rerun on SOAPnet until the channel shut down in 2013 continued to use full-screen credits. Around Christmas time, ABC soaps formerly aired holiday-themed credits, which do not feature network promotions; "One Life to Live", in particular, scrolled the credits over a shot of a lighted Christmas tree (this practice ended around 2011). CBS soaps also air holiday-themed credits that also do not feature network promotions; most of their airings are "classic" airings from previous years, and the credits usually include a fully decorated Christmas tree, a fire burning in the fireplace in the background, etc., complete with random Christmas music and ending with the cast breaking the fourth wall with a holiday greeting (since the late 2000s, the latter element has been typically played as a separate epilogue before the credit sequence, while all of the other mentioned elements have been dropped). Daytime game shows worked in much the same vein as soap operas. A shorter version might list one or two people involved with the production, along with such plugs as for prizes and wardrobe providers. At least once a week, a full-length credit roll would air over the extended main theme (along with camera shots of such things as the contestant talking with the host and/or celebrities). By the mid-1990s, "The Price Is Right" was the lone daytime game show remaining, and it would eventually switch to marginalized credits, starting in the fall of 1999. Game shows that have the full closing credits that do not scroll up include "Go", "The New $25,000 Pyramid", both the Dick Clark and John Davidson versions of "The $100,000 Pyramid", the original versions of "Beat the Clock", "To Tell the Truth", "Password", "What's My Line? ", the Bill Cullen version of "The Price is Right" and the original Mike Adamle version of "American Gladiators" from the second half of the first season to the end of the series run. The original "Match Game" had the credits scrolling up at the bottom of the screen; the 1970s version of "Match Game" had the credits scrolling up bottom-to-top during "Match Game '73" and right-to-left starting with "Match Game '74" and including "Match Game PM" and the syndicated version from 1979–1982. Goodson-Todman's "Double Dare" placed the credits on the main game board. Sometimes on that show, the camera zoomed into the game board before the credits began. On the original daytime "Wheel of Fortune" in the 1970s and 1980s as well as the first few seasons of the nighttime Wheel, the credits always began with a list of sponsors over a shot of the Wheel. Some cable channels have used credits to blur the lines between the end of one show and the beginning of the following program. TNT and TBS had formerly run the program's end credits in small (sometimes illegible) type at the bottom of the screen while another episode of the same program began at about three-quarters height. Similarly on networks like E! and formerly Style Network, the program-to-program transition is seamless; to do this, the networks have moved the closing credits for their programs to air within the first minute of a show, usually on the bottom 1/3 of the screen in small, translucent type. For E!, the closing credits for the program being seen at that moment is seen at the start of that program; for other networks that use this practice, whether they use a double-box or generic credit format, the closing credits for the preceding program is seen during the opening of the next program. A few networks such as Nick at Nite, Comedy Central, Logo and TV Land have even moved the production company cards (displayed in a small box) in their network-generated credits (in the case of Nick at Nite from 2010 to 2011, this was done only when the generic closing credits are shown at the beginning of an episode of a show during back-to-back airings of most series, while a promo/generic credit combo followed by the production company credits are shown at the end of the last episode of a show's back-to-back block; this is now the common parlance since 2012 as the credits are now superimposed over the final scene of the episode for certain programs). Often, the network-to-local transition between the end of the network primetime schedule and late local news on broadcast networks will feature the network show credits on the bottom of the screen, while the local news teaser sequence, station identification, news opening, and then the top story will take place. Once the credits end, the local news broadcast zooms in to fill the screen, creating a seamless hand-off. Despite some objections by television production unions, some programs, such as those that air on Discovery Networks and the U.S. version of the National Geographic Channel only air the credits during a program's premiere broadcast, referring viewers to a website to view the credits in subsequent broadcasts. Some networks, such as GSN, have even begun cutting off the credits before they finish, most likely to allow more time for commercials, though GSN has begun to squeeze the production company closing credits to the bottom third of the screen and show the entire credits during that time; Spike (only on its original programming and certain syndicated shows), Oxygen and Hallmark Channel also squeeze the production company credits to the lower third of the screen. Some cable channels mix use of generic and the actual production company credits depending on the show, ABC Family currently airs generic credits on most acquired programs where most episodes have no tag scene, while acquired programs where most episodes do feature one, the tag scene and/or production company credits are aired full-screen, and since June 2010, the channel's original series have the closing credits overlaid on the final scene of the episode (though these were separated in airings of their original programs via its website and VOD service until 2012). Until CBS opted not to continue maintaining rights to the Hallmark Hall of Fame series in 2011, the original credits were aired; the ending promo would be shown first, then the original closing credits. When the Hallmark Hall of Fame moved to ABC in 2011 starting with the telecast of "Have a Little Faith", with the advent of ABC using generic credits on some television specials, the network began using marginalized closing credits being played concurrently with the ending promo; as a result, original closing credits are no longer seen on original airings, and must be first seen on the DVD release or the Hallmark Channel rebroadcast. 
Mrs Marcia Jones (previously Fox) is a minor character, played by the actress Pamela Cundell, in "Dad's Army", a situation comedy depicting life in wartime England that ran between 1968 and 1977 on BBC TV. In the first episode in which she appears she is seen queueing for meat at Jones the Butchers. (Lance Pettit, Museum of Broadcast Communications) Like many of Jones's customers, on producing her ration book she receives an extra sausage, much to the chagrin of another shopper, the actress Olive Mercer (herself later to join the cast as the wife of Mr Yeatman, the verger). In return, Jones receives an enormous wink that sets the tone for much of what was to follow as the role develops. Marcia (later on, Mildred) Fox is an ebullient woman, whom we assume loses her husband early on during the war. By The Big Parade, transmitted exactly a year later she is referred to as a widow. What followed was a long running saga in which Corporal Jones wooed Mrs Fox, often with hilarious consequences. Whenever he seems to be making progress a setback occurs: for example the arrival of American servicemen turns the heads of the Walmington women. Victoria Wood points out that part of the success of "Dad's Army" came from its juxtaposition of comedic situations such as the rivalry between various ladies of the town to play Lady Godiva and the exploration of far deeper, more complex emotions between older people. As the series drew to an end co- creators David Croft and Jimmy Perry debated whether to marry off Jones and his "Merry Widow". This finally came to pass in the last episode of the series, much to the delight of a massive television audience. Cundell, now in her eighties, still makes appearances at fan forums and, occasionally on local TV and radio programmes. Mollie Sugden played the role in the radio series. 
The company's signs on the Edens Expressway (I-94) and one near Lake Shore Drive asked "Have you had it lately?" became fixtures on the Chicago landscape. The product's jingle was a simple line sung several times, to a conga beat, with the "kick" coming on "Beer":In the mid-1950s, Dad's sponsored on a regional basis the syndicated TV adventure series Sheena, Queen of the Jungle. During the 1970s, Chicago-based television advertising for Dad's featured a different jingle sung by an ensemble with the following lyrics:"If it foams up to meet you""It's gotta be Dad's, it's gotta be Dad's""If it foams up to treat you""It's gotta be Dad's, it's gotta be Dad's""So ask for Dad's, it's good old-fashioned""With the taste of yesteryear""If you don't ask for Dad's""All you're gonna get is,""All you're gonna get is,""All you're gonna get is," "...root beer!"
Up until the 1970s, closing credits for films usually listed only a reprise of the cast members with their roles identified, or even simply just said "The End," requiring opening credits to normally contain the details. For instance, the title sequence of the 1968 film "Oliver!" runs for about three-and-a-half minutes, and while not listing the complete cast, does list nearly all of its technical credits at the beginning of the film, all set against a background of what appear to be, but in fact are not, authentic 19th-century engravings of typical London life. The only credit at film's end is a listing of most of the cast, including cast members not listed at the beginning. These are set against a replay of some of the "'Consider Yourself" sequence. Some opening credits are presented over the opening sequences of a film, rather than in a separate title sequence. The opening credits for the 1993 film "The Fugitive" continued intermittently over several opening scenes, and did not finish until fifteen minutes into the film. The opening credits for the 1968 film "Once Upon a Time in the West" lasted for fourteen minutes. The first sound film to begin without any opening credits was Walt Disney's "Fantasia", released in 1940. In the film's general release, a title card and the credit "Color by Technicolor" were spliced onto the beginning of the film, but otherwise there were no credits, although closing credits were added to the 1990 re-release and are on the videocassette. This general release version has been the one most often seen by audiences. In the roadshow version of the film, unseen by most audiences until its DVD release, the title card is seen only at the halfway point of the film, as a cue that the intermission is about to begin. The intermission was omitted in the general release version. Orson Welles' "Citizen Kane" begins with only a title credit. This practice was extremely uncommon during that era. "West Side Story" (1961) begins with a shot of an ink sketch of the New York City skyline as it was when the film was made. As the background of the shot changes color several times, we hear an overture medley (not in the original show) of some of the film's songs. As the overture ends, the camera pulls back and we see the title of the film the rest of the credits are shown as graffiti at the end of the film. Most Disney films released between 1937 and 1981 had all the film-related information in the opening credits, while the closing consisted only of the credit "The End: A Walt Disney Production". However, "Mary Poppins" was the first Disney film to have longer closing credits, in which all the principal cast members (and the characters that they played) were listed. Most Soviet films presented all film-related information in the opening credits, rather than at the closing which consist of only a "THE END" (, "Konyets Fily-ma") title. A typical Soviet opening credits sequence starts with a film company's logo (such as Mosfilm or Lenfilm), the film's title, followed by the scenarist (the Soviet Union considered the scriptwriter the principal "auteur" of its films), followed by the director, usually on separate screens, then continuing with screens showing other credits, of varying number, and finally, the film's chief administrator-in-charge, the production director (, "Direktor kartiny"). Following this came the cast, usually in actor-and-role format for all principal and major featured players, and perhaps then a screen only naming, in an alphabetical cluster, some additional character players. The final credit screen identified the studio corresponding to the logo at the beginning, and the year of the film's production. It could also contain the frame with the technical information about the cinematographic film manufacturer (e.g., Svema). This basic method was also followed in most American films from the 1930s through the late 1980s, though, obviously, in American films there was no censoring of the director's name, except in cases of blacklisting. American films also tended to list the names of the actors before the names of the directors, screenwriters, and other principal crew members. Exceptions were made in the films of director Frank Capra, whose name was usually billed before the film's title. Director Victor Fleming's name was also billed before those of the actors in films such as "The Wizard of Oz", "Dr. Jekyll and Mr. Hyde" and "Joan of Arc". Capra, Fleming, and James Whale were three of the few directors who received the credit "A ("insert director's name here") Production" even though they did not produce their films. François Truffaut's 1966 film "Fahrenheit 451" uses spoken opening credits instead of written ones, in keeping with the film's story of a world without reading matter. 