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“The Queen’s Gambit” and “The Mandalorian” were among the big winners Saturday as the Creative Arts Emmy Awards were handed out in downtown Los Angeles, kicking off the last lap of Emmy season.

This year’s Creative Arts ceremonies, held in a tent on the L.A. Live events deck in downtown Los Angeles, will be split into three events over two days, on Sept. 11 and Sept. 12.

The creative and technical achievement awards kicked off with a Saturday evening event centered around artisans categories including cinematography, costumes, hairstyling, production design, editing and sound mixing. The Sunday afternoon ceremony will feature categories like animated programming, reality/competition host, narrator, documentary filmmaking, and structured and unstructured reality program, while the Sunday evening ceremony will focus on the major categories, such as guest actor and actress, music and lyrics, short form series, TV movie, variety sketch series, variety special (live) and writing for a variety special.

Few elements of television can entice the viewer quite like a well-designed main title sequence, as proved by this year’s Emmy nominees for Best Main Title Design. Such sequences may be less and less present in the modern TV landscape, but they help set a mood for the series to come, evoking emotions that might not be as potent with a simple title card.

This year’s nominees are: “Between the World and Me” (HBO), “The Good Lord Bird” (Showtime), “Lovecraft Country” (HBO), “The Queen’s Gambit” (Netflix), “Raised by Wolves” (HBO Max) and “WandaVision” (Disney+). So which opener will win the Emmy for Best Main Title Design? Let’s look at each of them individually, and be sure to make your Emmy predictions.

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“Between the World and Me” — Creative...

Last year, one of TV’s most fascinating trilogies came to a close. Yes, “Deutschland 89” was the culmination of a three-season-long arc of Martin Rauch, going from an informant embedded within the West Germany security forces to eventually being caught up in the aftermath of the fall of the Berlin Wall. But the show’s opening credits have become a cornerstone for the series as well, morphing from the energetic opening for the eight episodes of “Deustchland 83” through two other installments that traversed continents amidst its various time jumps through the years of its titles.

It’s an evolution headed by title designer Saskia Marka, whose recent work has spanned some of the more fascinating TV work across multiple languages. Marka helped create the striking art deco-inspired opening title card sequence for the undersung Netflix Original “Babylon Berlin,” also adapting those for the series’ subsequent seasons.

“Deutschland 89” wastes no time grabbing your attention.