We just finished watching the sixth episode of Hulu’s eight-part mini-series, and 11.22.63 has hit the gas when it comes to showing the unsettling and devastating consequences of messing with time. However, if you’re an astute watcher, this latest episode may have taken you off guard for a reason seemingly unconnected to its nail-biting plot. Yes, those opening credits did change this episode, and yes, they’ve been changing ever since Episode One. Mild spoilers ahead.

It’s amazing how opening credits can be used to convey the meaning and tone of a show. In this regard, few opening credit sequences have been more masterfully constructed than the one used in Stephen King and J.J. Abrams’ time travel drama. The premise of the show is deceptively simple: Jake Epping (James Franco) discovers a way to go back in time and vows to prevent the assassination of John F. Kennedy. However, like all good time travel epics, there are high stakes, huge consequences, and potentially world-ending implications. What largely sets 11.22.63 apart from other time traveling narratives is how painfully human the show’s protagonist is. Jake is just a guy: a smart guy, sure, but nowhere near as all-knowing as our time travel idols, like Back to the Future’s Doc, Doctor Who’s Doctor, and even Harry Potter’s Dumbledore. Jake doesn’t know what he’s doing, and a large portion of the series is devoted to Jake slowly figuring things out.

The opening credits reflect Franco’s uncertain and plan-obsessed character, with bits of red string connecting everything from newspaper clippings to a gun. It watches like an in-motion version of a crime scene investigation, but there’s a catch. As Jake changes history itself with each passing episode, the opening credits change. Some of those changes directly foreshadow plot points of their corresponding episode. For example, in Episode Two, the shot of the gun in a suitcase looks like it’s sitting in front of a fire. In all of the other opening credit sequences, that suitcase isn’t framed by any sort of remarkable lighting, and, coincidentally (or not), a house fire is a major plot point in the show’s second episode.

This is just one example of the ever-changing and confusing vortex that is 11.22.63’s opening credits. Like all things related to time travel, I could talk for hours, discussing the implications of each shifting scene. However, in the interest of time and not writing a 20,000 word article, I’m going to break down some of the major changes I’ve noticed for each episode before exploring one major in-universe reveal.

EPISODE ONE: “THE RABBIT HOLE”

For the sake of clarity, I’m going to refer to Episode One’s credits as the Original Credits. Also, the clock in the Original Credits is set at 11:55.

EPISODE TWO: “THE KILL FLOOR”

There are three major changes on this one:

There is now a Jack-O-Lantern in the steps of the diner

The aforementioned suitcase is framed by fire

The clock is set at 12

EPISODE 3: “OTHER VOICES, OTHER ROOMS”

I only counted four changes from the Original Credits, but there are six changes from Episode Two’s credits. The Jack-O-Lantern and the fire framing are now gone:

A yellow man figurine stands the road in front of first shot of car

Record changes

The model of the car driving on the highway has changed

The clock is set at 12:05

EPISODE FOUR: “THE EYES OF TEXAS”

Not too many changes from the Original credits in this one:

A yellow man figurine stands the road in front of first shot of car

There is a different record playing

The suitcase is filled with tape reels this time instead of a gun

The clock is set at 12:10

EPISODE FIVE: “THE TRUTH”

The suitcase holds a gun again this time, but other than that, there are even fewer changes in this one than in Episode Four’s opening credits. It’s quiet…too quiet:

A yellow man figurine stands the road in front of first shot of car

The yellow man is closer

The clock is set at 12:15

EPISODE SIX: “HAPPY BIRTHDAY, LEE HARVEY OSWALD”

One word, one David Bowie song: Ch-ch-ch-changes. A lot happened in this past episode of 11.22.63, and the credits MORE than reflect that:

The closer yellow man figurine stands the road in front of first shot of car

Those newspaper headlines now read “Walker Lives” and “Assassination Fails Gen. Walker Ok”

The close up photo is now of a woman, not a man (Is that Sadie Dunhill…?)

The clock is set at 12:20

Beside those Episode Six headline and photo changes, the biggest credit changes are by far the appearance of the yellow man figurine. If you have no idea what I’m talking about, here’s a cheat sheet. Here are the opening credits intro for Episodes One through Three. You can see the yellow man figurine appearing in the left hand corner of Episode Three’s intro:

But this guy is clearly not content with keeping to the outskirts. In the opening credits intro for Episodes Four through Six, he gets even closer to JFK’s fateful 1961 Lincoln convertible limousine:

For fans familiar with the King novel this miniseries was based on, the appearance and approach of this yellow figurine is bad news for Jake. Likely, this figure represents the Yellow Card Man, one of the guardians of the portal. As the series gets closer to its Episode Eight conclusion, the Yellow Card Man seems to get closer. Who knows where he’ll be next week, and who knows what that means for Jake?

So next time you tune into 11.22.63, take a minute to comb through the episode’s opening credits. There’s a chance they’ll be able to help you guess that week’s big twist before any of your friends.

[Where to stream 11.22.63]