title: WandaVision

text: DeMarco used Vision's introduction in "" (2015), which was primarily created by Lola VFX, as the definitive version of the character when approaching his visual effects for "WandaVision". Close-ups of the character in "Infinity War" were also referenced. Bettany wore prosthetics over his ears to portray the character in the films, but these were replaced with CGI in post-production and were not actually needed. For the series, Bettany asked not to wear the prosthetics so he could hear better on set and be more comfortable. He instead wore a bald cap and face makeup to match Vision's color, with the blue color used for Vision in the black-and-white episodes suggested by Lola VFX supervisor Trent Claus based on his knowledge of the makeup used for "I Love Lucy". The series' second visual effects supervisor, Sarah Elm, focused on Vision's effects and came to know what parts of Bettany's face needed to be kept and replaced to match the character's look in the films while retaining Bettany's performance. Multiple vendors worked on Vision for the series, and they were allowed to use their own methodologies for the character as long as the end result was consistent. They generally used complex 3D and digital makeup techniques to create the character, with sections of Bettany's face replaced with CGI on a shot-by-shot basis; the actor's eyes, nose, and mouth were usually the only elements retained. Vision's skin needed to move to match with Bettany's performance, and sometimes specular highlights from the makeup were kept for the digital version, but it was not intended to look like actual skin with makeup on it and does not have pores or wrinkles. Digital contact lenses were applied over Bettany's eyes to create the "complex digital radial graphics" that Vision's eyes have, though these were not added for the first three episodes to give Vision a more "wholesome" look during those sitcom periods. The visual effects artists also had to manually fix the backgrounds around Vision's head since he has a narrower head than Bettany and has no ears. MARZ, SSVFX, and Lola VFX were the primary vendors for Vision's face in the sitcom reality, while Digital Domain created a full digital version of the character for the final episode which they shared with other vendors for use in earlier episodes. They also created a full model for White Vision.


title: WandaVision

text: Rodeo FX spent nine months developing the visual effects for the Hex boundary and worked on 348 shots across most of the series' episodes. DeMarco said the Hex was meant to look like it was made of the "cathodic lines of old tube TVs and pixelization and a lot of cool RGB chromatic aberration effects", with photography that had "the language of television" also referenced for the design. Rodeo tried using point cloud technology to create the effect, but this only worked well for dark backgrounds. The boundary is initially clear and difficult to see, but turns red once Maximoff emerges from the boundary in "On a Very Special Episode..." to reflect her anger and reinforce that it is a hard barrier. Rodeo was also responsible for the sequence where Vision attempts to leave the Hex in "All-New Halloween Spooktacular!" and begins to disintegrate, and the scene where Rambeau enters the Hex and gains superpowers in "Breaking the Fourth Wall". ILM handled the creation of the Hex and Vision in "Previously On", and also the effect of them disappearing in "The Series Finale". Cantina Creative designed and animated graphics for different monitors and devices such as S.W.O.R.D.'s holographic table.


title: WandaVision

text: In January 2020, Christophe Beck announced that he would compose the score for the series, after previously scoring "Ant-Man" (2015) and "Ant-Man and the Wasp". Beck paid homage to the sitcoms in each time period through his instrumentation, compositional style, and period-specific recording and mixing techniques. Earlier episodes feature small orchestral ensembles, with later episodes having more of a rock-pop style, and the music becoming more pervasive as the series progresses. Beck had hoped to match the spotting of each sitcom era as well, but found that this would not always work due to modern audiences expecting more music than older sitcoms would have included. Michael Paraskevas and Alex Kovacs co-composed the series' music, with Kovacs hired due to his experience with older orchestration techniques and jazz music which Beck found helpful when writing for the series' early episodes. Beck was more comfortable once the episodes required music inspired by the 1980s and 1990s. To connect the music for the different sitcom eras, as well as the more traditional music for outside the sitcom reality, Beck composed several themes that are used in the different styles, which was possible since he knew where the series and characters were going from the beginning. Beck was most excited for the opportunity to write a definitive theme for Maximoff that is heard during the series' end credits, which he hoped other composers would reprise for the character's future MCU appearances. Beck also wrote a love theme for Maximoff and Vision that he said would convey feelings of love, tragedy, and sadness, which he compared to the romance music he composed for the series "Buffy the Vampire Slayer".


title: WandaVision

text: In December 2020, Robert Lopez and Kristen Anderson-Lopez were announced to have written theme songs for some of the series' episodes. They were approached for the series in mid-2019 by Shakman, who was friends with Lopez at college, and they had previously worked with Beck on the music for Disney's "Frozen" franchise. To help sell the series to the couple, Shakman referenced the Adult Swim short "Too Many Cooks", which the couple were aware of and called one of their favorite sketches. The couple were inspired by the theme songs from past sitcoms as well as the music from "James Bond" films, composer Burt Bacharach, and jazz pianist and composer Dave Brubeck. To tie their themes together, Lopez and Anderson-Lopez created a four-note motif that worked in each of the theme song styles. The motif consists of an octave, followed by a tritone, which is also known as "the devil's interval"; this was their way of saying musically that the series was a "big bright-colored swing while also being really unsettling". Lopez described the motif as "kind of like the "WandaVision" call-out, easily identifiable in some way in each song" that was incorporated in different ways each time. The pair used their knowledge of sitcoms from watching them as they grew up, and found the 1990s to be the most challenging era to write a theme song for due to them both being at college during that decade when they did not have a television, while the 1980s was their favorite. Anderson-Lopez added that it was challenging to ensure the themes were not "parodying any one show" but "would evoke all of the iconic songs from an entire decade and be their own thing". She also felt it was their job with the theme songs to establish the tone, place, and time of the episodes in lieu of title cards providing such information. The couple sang on many of the theme songs, something they normally do not do for the final versions of their songs, which Anderson-Lopez attributed in part to the pandemic. They were joined by a group of backup singers for some of the songs.


title: WandaVision

text: Beck chose to align the style and instrumentation of some of the episodes' music to the theme songs of those episodes, and tried to include motifs from the songs in the background score wherever possible. His music was recorded with a 75-player orchestra in Vienna, and he completed work on the series in February 2021. Soundtrack albums for each episode, including Beck's score and the theme songs by Lopez and Anderson-Lopez, were released digitally by Marvel Music and Hollywood Records from January 22 to March 12, 2021, one week after each episode premiered. One of the theme songs, "Agatha All Along", went viral after appearing in "Breaking the Fourth Wall", peaking at number one on iTunes' Soundtrack chart, reaching fifth on iTunes' Top 100 singles chart, and debuted on "Billboard" Digital Song Sales chart at number 36. It also earned the Primetime Emmy Award for Outstanding Original Music and Lyrics and was nominated for the Grammy Award for Best Song Written for Visual Media.


title: WandaVision

text: Disney's marketing team conceived its campaign for the series roughly a year-and-a-half before its release. At the 2019 D23, Olsen confirmed that the series would mix elements of classic sitcoms with the MCU, which was shown in a teaser that combined footage of Maximoff and Vision from previous MCU films with images from old sitcoms "The Dick Van Dyke Show" and "Father Knows Best". The series was promoted as part of "Expanding the Universe", a Marvel Studios special that debuted on Disney+ on November 12, 2019. In December, Feige debuted the first image from the series at Comic Con Experience. Vinnie Mancuso of "Collider" said it was "very ", highlighting the "old-school black and white" coloring. A commercial for the series and fellow Marvel Studios Disney+ series "The Falcon and the Winter Soldier" and "Loki" was shown during Super Bowl LIV. "Inverse" Dais Johnston found visual references to past sitcoms in the commercial, including "The Dick Van Dyke Show", "Leave It to Beaver", "Bewitched", "The Brady Bunch", "Roseanne", and "Full House". They thought the series would be a "must-see" for Marvel fans as well as "anyone looking for a hit of nostalgia: the era-spanning framework means anyone can relive the shows of their childhood". Julia Alexander of "The Verge" said the footage "wasn't much" but offered "enough glimpses to tease fans". Haleigh Foutch at "Collider" felt of all the Super Bowl commercials, Marvel's "stole the whole show". She was most excited by the "utterly strange and unpredictable looking" "WandaVision" footage.


title: WandaVision

text: The series' official trailer was released on September 20, 2020, during the 72nd Primetime Emmy Awards. The trailer received 55.7 million online views within 24 hours, including 36.1 million on YouTube, 4.9 million on Facebook, and 10.1 million on Instagram, which was believed to be the highest number ever for a streaming television series trailer. "WandaVision" also had over 302,600 social mentions, trending on Twitter immediately after a teaser aired during the Emmy Awards ahead of the full trailer's release, and ultimately trending fourth on Twitter. The trailer was the number two trending video on YouTube. Ethan Anderton from "/Film" said the footage in the trailer looked like "one of the most trippy Marvel projects to date". He also noted more lighthearted aspects of the trailer such as Vision wearing a Halloween costume of the character's comic book design. Matt Patches at "Polygon" called the trailer "a hoot, full of bright colors and odd behavior", adding that it still left much of the series a mystery. "Comic Book Resources" Noah Dominguez said the trailer "offers quite a bit in terms of content" with "a vivid look at some of the visual tricks on display". Charles Pulliam-Moore of "io9" called the trailer's use of "Twilight Time" by The Platters "the most haunting" of all of its strange features, and felt the trailer's editing created "the effect of rapidly flipping through television channels in search of something good to watch". "The Hollywood Reporter" Richard Newby described the trailer as "jam-packed with information" and felt that it "gives fans quite a lot to look forward to, as well as some mysteries to ponder over leading up to the premiere". After actors from past "Spider-Man" films were revealed to be appearing in "Spider-Man: No Way Home", Graeme McMillan of "The Hollywood Reporter" saw the series' official trailer "in a new light", suggesting the different versions of Maximoff and Vision that appear in the series were because of Maximoff "breaking down walls between different realities", which could set up "Doctor Strange in the Multiverse of Madness" and "Spider-Man: No Way Home".


title: WandaVision

text: In early December, six posters for the series were released daily, each depicting a decade from the 1950s through the 2000s. Pulliam-Moore noted that with each new poster, "different elements shift and morph, both reflecting the passage of time and "WandaVision" plot developments". The release of the posters was followed by a new trailer that debuted at Disney's Investors Day presentation. Anderton noted for "/Film" that the trailer featured more non-sitcom-inspired footage than previously seen, with "a lot to soak in". Chaim Gartenberg at "The Verge" called the new trailer "mind-bending", while Tom Reimann of "Collider" described it as "delightfully weird" and drew comparisons to the "House of M" comic book storyline. Tony Sokol at "Den of Geek" highlighted the trailer's use of The Monkees' song "Daydream Believer", believing the title and lyrics reflected Maximoff's mental state well even though the music becomes "barely recognizable under increasing layers of psychedelic weirdness". The trailer received 9 million views on YouTube. The first two episodes of the series "", released on January 8, 2021, explore Maximoff and Vision using footage from their MCU film appearances.


title: WandaVision

text: Including the aforementioned trailers, the series' marketing campaign across outdoor, digital, television, and magazine advertisements yielded 2.14 billion impressions. Analytics firm RelishMix determined the social reach for the series within its "social media universe" was 263,000, which was "lightyears ahead of most streaming shows". The various trailers, ads, and interviews posted to YouTube garnered the most awareness and engagement for "WandaVision", with RelishMix noting that content posted to Marvel, Disney, and Disney+'s official channels was then reposted on fan channels. Leading up to the premiere, advertisements, "special-look stunt interstitials, co-branded takeovers, on-air graphic integrations, in-show integrations, and custom talent content" appeared on the various channels and assets of Walt Disney Television, ESPN, and Hulu, while billboards were seen in major cities such as New York and Los Angeles. Talent and influencers were sent a "TV-dinner box that had a custom TV tray, utensil set, coasters, drinking glasses, and a [custom] journal designed to look like a vintage "TV Guide"". A "never-before-done 'reality bending' grid that updates on its own" was created for the series' Instagram account, with Disney's marketing team uploading each post in a specific order while the account was private and then archiving them. Once the account became public, the different posts were un-archived and re-archived to show a different grid of images for each episode. Custom emojis on Twitter updated each week as "WandaVision" progressed through the decades.


title: WandaVision

text: In January 2021, Marvel announced their "Marvel Must Haves" program, which revealed new toys, games, books, apparel, home decor, and other merchandise related to each episode of "WandaVision" each Monday from January 18 to March 8, 2021. Additional "Must Haves" merchandise was revealed on May 10, 2021. From late February 2021 until the series concluded in early March, Marvel partnered with chef Justin Warner to release recipes for food featured in, or inspired by, each episode. In June 2021, Hyundai Motor Company released a commercial featuring Olsen as Maximoff promoting "WandaVision" and the Hyundai Tucson. The commercial was produced by Marvel alongside similar commercials for "The Falcon and the Winter Soldier", "Loki", and "What If...?", and was meant to tell an "in-world" story set within the narrative of the series.


title: WandaVision

text: "WandaVision" premiered on Disney+ on January 15, 2021, with its first two episodes. The other seven episodes were released weekly until March 5. Marvel Studios originally planned to release the first three episodes at once, but decided against this because the final episode would not have been completed in time for that release schedule. They also considered releasing the entire series at once, but chose weekly releases after seeing the success that the Disney+ "Star Wars" series "The Mandalorian" had with that approach. The episodes were subsequently structured with the weekly release in mind, with Feige explaining that they wanted viewers to try to "guess what happens next, to have a week speculating or rewatching and building that anticipation." He felt binge-watching the series after all the episodes were released would be an "equally fun experience".


title: WandaVision

text: According to Shakman, the series was able to premiere so soon after filming ended because post-production work had already begun during the series' COVID-19 production shutdown. Schaeffer felt the series was "suited to [being released during] this moment in time", amidst the pandemic, because it is a "reflection of a lot of the anxiety that we're feeling, and a lot of the pathos and chaos of [2020], so it feels very right to me". "Esquire" Matt Miller felt "WandaVision" had incredible timing with its release since much of the audience was "collectively escaping to nostalgia to cope with a pandemic and the general chaos of the real world". He also felt "WandaVision" was "commenting on the very nature and purpose of consuming comic book entertainment". The series was originally set for release in early 2021, before being moved forward to a December 2020 release in February 2020. It was then moved back to the early 2021 slot in November 2020. It is the first series in, and the start of, Phase Four of the MCU.


title: WandaVision

text: "WandaVision" was Disney+'s most-watched series premiere on its opening weekend, ahead of the second season of "The Mandalorian", until Disney+ announced that it had been surpassed by the series premiere of "The Falcon and the Winter Soldier" in March 2021. When compared to other streaming series in each week of its release, "WandaVision" did not have the highest number of minutes viewed using Nielsen Media Research's measurements. Scott Mendelson of "Forbes" felt that this could be attributed to "WandaVision" weekly release schedule, and opined that Disney accepted this in exchange for the continued discussions and coverage that the weekly release had given to event series such as "Game of Thrones" and "The Mandalorian". According to analytics provider TVision, who count U.S. viewers on connected televisions who have watched at least two minutes within a session of watching content for at least five minutes, "WandaVision" was the most viewed title of January 2021 across all major U.S. streaming and advertising video on demand services. The series had an 8,127 indexed audience size, which was 81 times more views than the average series measured by the service.


title: WandaVision

text: The review aggregator website Rotten Tomatoes reported a 91% approval rating with an average rating of 7.80/10, based on 412 reviews. The site's critical consensus reads, "Part loving homage to TV history, part off-kilter mystery, "WandaVision" is a wonderfully weird and strikingly bold step into the small screen for the MCU—and a perfect showcase for Elizabeth Olsen and Paul Bettany." Metacritic, which uses a weighted average, assigned a score of 77 out of 100 based on 43 critics, indicating "generally favorable reviews".


title: WandaVision

text: The first three episodes were given to critics to review the series ahead of its premiere, and "TVLine" Rebecca Iannucci gave them an "A", praising "WandaVision" for deviating from the expectations of an MCU story. Daniel Fienberg of "The Hollywood Reporter" said it was "creatively courageous" for an action-focused franchise to make a "postmodern exploration of sitcom conventions" that its core fans may not enjoy. Shirley Li at "The Atlantic" praised the series' small stakes and focus on Maximoff's grief and trauma, giving the character a chance to process loss in a way that superhero films generally do not allow. Caroline Framke, writing for "Variety", was more critical of the series, believing it would be too confusing for casual fans and stating that it was not as good at being a sitcom as the series it was copying. She preferred when it focused on its underlying mysteries. Dominic Patten of "Deadline Hollywood" was also critical, describing it as a "baby boomer punchline in search of a joke" and believing that Marvel Television's Netflix series and ABC's "Agents of S.H.I.E.L.D." were better.


title: WandaVision

text: Many critics praised the recreation of sitcom styles and tropes. Iannucci felt "WandaVision" was able to perfectly encapsulate the sitcoms it was replicating, and this helped make its mystery elements compelling during the first three episodes. Richard Roeper of the "Chicago Sun-Times" described the series as a "painstakingly crafted, impressively spot-on tribute to the evolution of the American sitcom", and gave it 3.5 stars out of 4, while Melanie McFarland at "Salon" said the creative team had recreated the sitcoms with "admirable precision", and especially praised Shakman's work. She did question whether the unique style of the first three episodes would be maintained until the end of the series, but felt it was going to be worth watching it all either way. Li and "Slant Magazine" Niv M. Sultan both felt it was likely that the series would move towards a more traditional MCU format, but still praised the sitcom elements in the early episodes. Roxana Hadadi at "RogerEbert.com" was less positive about the sitcom elements and the way they had "sidelined" Maximoff and Vision. Hadadi questioned what role the sitcom recreations played in the story and character development, which was not clear in the first three episodes. Michael Phillips, writing for the "Chicago Tribune", was critical of the sitcom tropes themselves, such as "canned and deadly" laugh tracks, as well as the episodes' pacing, though he went on to enjoy episodes four through seven more because he felt those sitcom elements were a better fit for the cast.


title: WandaVision

text: Reviewing the full series for "Polygon", Joshua Rivera criticized its ending for setting up future MCU projects rather than resolving its own story. He said the series' biggest success was not being interested in heroism or justifying Maximoff's actions, but felt it had undermined its exploration of Maximoff's grief by not exploring Rambeau's grief as well. "Rolling Stone" Alan Sepinwall and "Entertainment Weekly" Chancellor Agard also expressed concern with the series' focus on setting up other MCU stories in its finale, but both felt that this did not take away from the series' success. Agard enjoyed the series' lower-stakes goals of exploring grief and developing Maximoff into a fully fleshed-out character in a way that previous MCU films had never done. He gave the full series a "B+". Sepinwall praised the series for its use of "narrative form to serve emotional function" and expressed hope that Marvel Studios would continue to experiment with its MCU projects in a similar way. Zaki Hasan at the "San Francisco Chronicle" felt "WandaVision" worked as both an installment in the MCU franchise and also as an "introspective tale", with an ending that was "honest with its audience [and] true to itself". He also felt that it was a story suited to serialized television, with the central mysteries giving way to "meditations on love and loss" across its episodes. Matt Purslow from "IGN" gave the series an 8 out of 10 and praised it as a bold change for the MCU that was unlike any other mainstream television series. He felt the series' biggest flaw was the fact that its emotional stakes were kept a mystery for so long, but with hindsight he praised the structure of the series' episodes which had no formula and made "each installment feel like a genuinely new adventure".


title: WandaVision

text: The performances of Olsen, Bettany, Hahn, and Parris were all praised by critics, and the roles of Dennings and Park as comic relief were also appreciated. Sam Barsanti of "The A.V. Club" said the series' greatest strength was the way it took established MCU characters and put them into a new kind of story for the franchise. Olsen received particular praise, with Iannucci describing the series as an opportunity for the actress to showcase her acting skills, and Feinberg calling it a better "acting vehicle" than Olsen's roles in the MCU films. Framke praised the way Olsen balanced her existing portrayal of Maximoff with the series' sitcom influences, and felt the series would not work without a "nuanced actor like Olsen tethering it to some kind of reality". Purslow highlighted Olsen's "chameleon-like ability" to replicate the performances of actresses from the different sitcom eras while also providing the required "heft" for the character's more dramatic scenes. Discussing the series for "The Ringer", Alison Herman praised it for focusing on Olsen as Maximoff and exploring themes of grief, motherhood, and the history of gender in media without being marketed as a female-focused superhero series. She described "WandaVision" as a "piece of mass entertainment that's centered on women and adds depth as a result, but doesn't demand up front to be read as such".


title: WandaVision

text: After the first three episodes, Iannucci questioned if the series would have been better suited releasing its episodes all at once as opposed to weekly. William Hughes of "The A.V. Club" agreed, believing that the slowly-revealed "mystery-box" format was "in direct opposition to the MCU ethos, which can tolerate a mystery for exactly as long as it takes its antsiest audience member to start to squirm. To withhold information—to withhold anything—is counter to what turned these films into a pop culture institution, and that necessity to provide gives "WandaVision" the sense of a show being pulled in even more directions than its already bifurcated premise might suggest." Hughes also felt that the less subtle mystery clues, such as changes in cinematography style, were distracting from the "legitimately wonderful work [that the series'] leads are doing in their homage to classic comedy styles". Miles Surrey, writing for "The Ringer", disagreed with Hughes, thinking the series understood the expectations of the audience by explaining the mysteries that the audience was likely already deducing in the fourth episode. Surrey added that "WandaVision" "isn't really trying to hide what it's about, but that works to the show's advantage. The series is getting better—and way creepier—the more it draws the curtain... [paving] the way for Marvel to make a concerted effort to dabble with horror; at least by the MCU's standards."


title: WandaVision

text: The series' mystery elements and use of red herrings led to many theories that were widely discussed. These red herrings included the character "Dottie", and elements of the sets and visual effects. Recurring imagery such as hexagons was also identified and analyzed. The casting of Peters as "Pietro Maximoff" was particularly discussed, with many fans believing that his role was related to the multiverse and indicated a crossover with the "X-Men" film series; speculation also arose that additional members of the X-Men would appear in the series. The fact that this was not the case led Carlos Morales of "IGN" to describe the casting as unnecessary and a "hollow move, because it simultaneously dilutes what should be an important character beat into an 'I know him!' cameo, while also opening up a well of speculation that doesn't really go anywhere." Schaeffer defended the casting, explaining that it was not meant to feel like a prank and instead was done as part of the series' larger exploration of Maximoff's grief. She added that using another actor was "not going to have the same thrill, and craziness, and questions, and be as disorienting". "Screen Rant" Daniel Gillespie agreed, and called the casting a smart move that helped spark discussion of the series which might not have happened with another actor. Adam B. Vary from "Variety" felt the casting was a good joke, but pointed out that it only worked if the viewer knew Peters had previously portrayed Peter Maximoff in the "X-Men" films. This is where Vary felt the series "got itself into some trouble" since "all kinds of multiverse shenanigans seemed to be at play, and the serious (and seriously online) fandom took that and sprinted with it".


title: WandaVision

text: Other theories that fans and commentators speculated about include an aerospace engineer mentioned by Rambeau turning out to be an existing Marvel Comics character such as Reed Richards of the Fantastic Four; Benedict Cumberbatch reprising his role as Stephen Strange; and the Marvel Comics character Mephisto being the series' secret villain. These theories did not pan out, though it was later revealed that there were early plans for Cumberbatch to appear in the series. Schaeffer felt the series never presented the expectations that any of this speculation would be part of the series, and believed that it delivered on the expectations and promises it did make. "Collider" Carly Lane agreed with this sentiment, believing the series never strayed from the story it set out to tell, adding that "WandaVision" weekly release allowed viewers to create "expectation over what hoped the show would satisfy, rather than focusing on what it actually gave us". Lane concluded that there was nothing inherently wrong with fan theories, but equating a rewarding experience to how many theories come true "overlooks all of the places where the story has already succeeded".


title: WandaVision

text: Trauma therapist Erin Qualey felt "WandaVision" was a positive representation of complex mental health issues in media, stating the exploration of Maximoff's grief in the series made her "quickly become one of the most relatable characters on television" in the COVID-19 era, in which many were living with similar traumas. Qualey added, "By exploring how the process of admitting weakness can become an inherent strength, Wanda's story marks a refreshing, if temporary, departure from the usual comic book formula", and enjoyed that the series was exploring a person's internal struggles that people could relate to, rather than relying on a catastrophic event or fighting villains for spectacle. Speaking to a moment in the eighth episode when Vision likens grief to love persevering, Qualey said it was fantastic that Marvel "took an earnest pause to convey this sentiment".


title: WandaVision

text: Candace Davison of "PureWow" initially dismissed the series and its replication of sitcom tropes as a "cheesy superhero show", but ultimately found it to be a "powerful allegory for living through loss and extreme trauma, and in some ways, it mirrors how we're all coping with [COVID-19] pandemic life." Davison had seen the series as a "gimmicky play on shows from different decades", but by its end she was discussing how Maximoff's sitcom reality was a way of coping with her trauma. She compared this to the comedy series "The Office" being the most-streamed series of 2020 when audiences were looking for comfort and escapism. Gayle Sequeira at "Film Companion" also discussed how the sitcom nostalgia was not just a gimmick, noting that the series shows Maximoff's parents using sitcoms as a coping mechanism for their family in war-torn Sokovia, and Maximoff then uses the same strategy herself during traumatic moments of her adult life. Sequeira also discussed how the series examines this coping mechanism, stating, "The show does champion entertainment as a safe and welcoming space for those looking for an escape, but it also acts as a cautionary tale for those who employ it as an unhealthy coping mechanism... The show's release during a global pandemic, a time when people are turning to entertainment as a means of coping more than ever, drives home the point."


title: WandaVision

text: At "io9", Charles Pulliam-Moore called the series a "quirky character study" for Vision since the series has allowed him to "inhabit his identities as a hero, a goofball, and a loving husband" wrapped in the construct of an American sitcom. Pulliam-Moore was particularly fascinated by Vision becoming a father, given he "toils at a job he doesn't understand, checks when things go bump in the night, and does his best to take care of chores around the house before [Maximoff] can get to them with her magic", all to ensure Maximoff stays happy in their charade. He also felt the series was being purposeful with its exploration of romance and intimacy, which he felt was "largely missing" from superhero films.


title: WandaVision

text: "WandaVision" was nominated for eight Primetime Emmy Awards and fifteen Primetime Creative Arts Emmy Awards (winning three Creative Arts Emmys), as well as one American Film Institute Award (won), one Annie Award, one Art Directors Guild Award (won), four Critics' Choice Television Awards, one Directors Guild of America Award, two Golden Globe Awards, one Grammy Award, one Hugo Award, one Nebula Award (won), four People's Choice Awards, one Producers Guild of America Award, four TCA Awards, three Visual Effects Society Awards, and one Writers Guild of America Award, among others.


title: WandaVision

text: Bettany and Hahn were widely considered to be the front-runners to win Outstanding Lead Actor and Outstanding Supporting Actress in a Limited or Anthology Series or Movie, respectively, at the Emmys, with their losses deemed a surprise, along with the series only receiving wins at the Creative Arts Emmys. The series is one of 117 television series that received the ReFrame Stamp for the years 2020 to 2021. The stamp is awarded by the gender equity coalition ReFrame as a "mark of distinction for projects that ... hire female-identifying people in four out of eight critical areas of production" to show progress in gender-balanced television production.


title: WandaVision

text: In February 2021, the documentary series "Marvel Studios: Assembled" was announced. The series' first special, "Assembled: The Making of WandaVision", explores the making of the series, with Schaeffer, Shakman, Olsen, Bettany, Rupp, Hahn, Parris, Park, Dennings, Peters, and others discussing the classic sitcoms that inspired the series, how the crew emulated the production processes of early sitcoms, and the experience of filming in front of a live studio audience. The special was released on Disney+ on March 12, 2021.


title: WandaVision

text: In January 2021, Schaeffer said she was unable to talk about any potential plans for a second season, but said the series would feel "very complete". Shakman said there were no plans "at all" for a second season and one would only be made if a specific story came about that would warrant it. Feige did not rule out a second season being made, but said one was not planned and pointed to "Doctor Strange in the Multiverse of Madness" instead as the continuation of the story set up in "WandaVision", with the story also continuing in other places; Parris will star as Rambeau in the film "The Marvels" (2023), the sequel to "Captain Marvel", which is being written by "WandaVision" writer Megan McDonnell. In June 2021, Olsen referred to "WandaVision" as a limited series.


title: WandaVision

text: By October 2021, a "dark comedy" spin-off series was in development, with Hahn returning to reprise her role as Agatha Harkness along with Schaeffer returning as writer and executive producer. Hahn's involvement was part of a larger deal she signed with Marvel Studios to reprise the role in additional series and films. Marvel Studios officially announced the series a month later. Ford also reprises her role as Sarah Proctor / "Dottie Jones". In November 2022, Joe Locke, Aubrey Plaza, Ali Ahn, Maria Dizzia, and Sasheer Zamata joined the series in undisclosed roles, and Schaeffer was revealed to also be directing episodes of the series. "Agatha: Coven of Chaos" will premiere in late 2023.


title: WandaVision

text: By October 2022, a second spin-off series centered on Bettany's The Vision was in development, titled "Vision Quest", with Bettany starring along with Schaeffer set as head writer.


title: Bee Gees

text: were a musical group formed in 1958 by brothers Barry, Robin, and Maurice Gibb. The trio were especially successful in popular music in the late 1960s and early 1970s, and later as prominent performers in the disco music era in the mid-to-late 1970s. The group sang recognisable three-part tight harmonies; Robin's clear vibrato lead vocals were a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the mid-to-late 1970s and 1980s. The group wrote all of their own original material, as well as writing and producing several major hits for other artists and have been regarded as one of the most important and influential acts in pop music history. They have been referred to in the media as The Disco Kings, Britain's First Family of Harmony, and The Kings of Dance Music.


title: Bee Gees

text: Born on the Isle of Man to English parents, the Gibb brothers lived in Chorlton, Manchester, England, until the late 1950s. There, in 1955, they formed the skiffle/rock and roll group the Rattlesnakes. The family then moved to Redcliffe, in the Moreton Bay Region, Queensland, Australia, later to Cribb Island. After achieving their first chart success in Australia as the Bee Gees with "Spicks and Specks" (their twelfth single), they returned to the UK in January 1967, when producer Robert Stigwood began promoting them to a worldwide audience. The Bee Gees' "Saturday Night Fever" soundtrack (1977) was the turning point of their career, with both the film and soundtrack having a cultural impact throughout the world, enhancing the disco scene's mainstream appeal. They won five Grammy Awards for "Saturday Night Fever", including Album of the Year.


title: Bee Gees

text: The Bee Gees have sold over 120 million records worldwide (with estimates as high as over 225 million records sold worldwide), making them among the best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997; the Hall's citation says, "Only Elvis Presley, the Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees." With nine number-one hits on the "Billboard" Hot 100, the Bee Gees are the third-most successful band in "Billboard" charts history behind only the Beatles and the Supremes.


title: Bee Gees

text: Following Maurice's sudden death in January 2003 at the age of 53, Barry and Robin retired the group's name after 45 years of activity. In 2009, Robin announced that he and Barry had agreed that the Bee Gees would re-form and perform again. Robin died in May 2012, aged 62, after a prolonged period of failing health, leaving Barry as the only surviving member of the group.


title: Bee Gees

text: Born on the Isle of Man during the late 1940s, the Gibb brothers moved to their father Hugh Gibb's hometown of Chorlton-cum-Hardy, Manchester, England, in 1955. They formed a skiffle/rock-and-roll group, the Rattlesnakes, which consisted of Barry on guitar and vocals, Robin and Maurice on vocals and friends Paul Frost on drums and Kenny Horrocks on tea-chest bass. In December 1957, the boys began to sing in harmony. The story is told that they were going to lip-sync to a record in the local Gaumont cinema (as other children had done on previous weeks), but as they were running to the theatre, the fragile shellac 78-RPM record broke. The brothers had to sing live, but received such a positive response from the audience that they decided to pursue a singing career. In May 1958, the Rattlesnakes disbanded when Frost and Horrocks left, so the Gibb brothers then formed Wee Johnny Hayes and the Blue Cats, with Barry as "Johnny Hayes".


title: Bee Gees

text: In August 1958, the Gibb family, including older sister Lesley and infant brother Andy (born in March 1958), emigrated to Australia and settled in Redcliffe, Queensland, just north-east of Brisbane. The young brothers began performing to raise pocket money. Speedway promoter and driver Bill Goode, who had hired the brothers to entertain the crowd at the Redcliffe Speedway in 1960, introduced them to Brisbane radio-presenter jockey Bill Gates. The crowd at the speedway would throw money onto the track for the boys, who generally performed during the interval of meetings (usually on the back of a truck that drove around the track) and, in a deal with Goode, any money they collected from the crowd they were allowed to keep. Gates named the group the "BGs" (later changed to "Bee Gees") after his, Goode's and Barry Gibb's initials. The name was not specifically a reference to "Brothers Gibb", despite popular belief.


title: Bee Gees

text: During the next few years, they began working regularly at resorts on the Queensland coast. Through his songwriting, Barry sparked the interest of Australian star Col Joye, who helped the brothers get a recording deal in 1963 with Festival Records subsidiary Leedon Records under the name "Bee Gees". The three released two or three singles a year, while Barry supplied additional songs to other Australian artists. In 1962 the Bee Gees were chosen as the supporting act for Chubby Checker's concert at the Sydney Stadium.


title: Bee Gees

text: From 1963 to 1966, the Gibb family lived at 171 Bunnerong Road, Maroubra, in Sydney. Just prior to his death, Robin Gibb recorded the song "Sydney" about the brothers' experience of living in that city. It was released on his posthumous album "50 St. Catherine's Drive". The house was demolished in 2016.


title: Bee Gees

text: A minor hit in 1965, "Wine and Women", led to the group's first LP, "The Bee Gees Sing and Play 14 Barry Gibb Songs". By 1966 Festival Records was, however, on the verge of dropping them from the Leedon roster because of their perceived lack of commercial success. At this time the brothers met the American-born songwriter, producer and entrepreneur Nat Kipner, who had just been appointed A&R manager of a new independent label, Spin Records. Kipner briefly took over as the group's manager and successfully negotiated their transfer to Spin in exchange for granting Festival the Australian distribution rights to the group's recordings. Through Kipner the Bee Gees met engineer-producer, Ossie Byrne, who produced (or co-produced with Kipner) many of the earlier Spin recordings, most of which were cut at his own small, self-built St Clair Studio in the Sydney suburb of Hurstville. Byrne gave the Gibb brothers virtually unlimited access to St Clair Studio over a period of several months in mid-1966. The group later acknowledged that this enabled them to greatly improve their skills as recording artists. During this productive time they recorded a large batch of original material—including the song that became their first major hit, "Spicks and Specks" (on which Byrne played the trumpet coda)—as well as cover versions of current hits by overseas acts such as the Beatles. They regularly collaborated with other local musicians, including members of beat band Steve & The Board, led by Steve Kipner, Nat's teenage son.


title: Bee Gees

text: Frustrated by their lack of success, the Gibbs began their return journey to England on 4 January 1967, with Ossie Byrne travelling with them. While at sea in January 1967, the Gibbs learned that "Go-Set", Australia's most popular and influential music newspaper, had declared "Spicks and Specks" the "Best Single of the Year".


title: Bee Gees

text: Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein, who managed the Beatles and directed NEMS, a British music store. Epstein passed the demo tapes to Robert Stigwood, who had recently joined NEMS. After an audition with Stigwood in February 1967, the Bee Gees signed a five-year contract whereby Polydor Records would release their records in the UK, and Atco Records would do so in the US. Work quickly began on the group's first international album, and Stigwood launched a promotional campaign to coincide with its release.


title: Bee Gees

text: Stigwood proclaimed that the Bee Gees were "The most significant new musical talent of 1967", thus initiating the comparison of the Bee Gees to the Beatles. Before recording the first album, the group expanded to include Colin Petersen and Vince Melouney. "New York Mining Disaster 1941", their second British single (their first-issued UK 45 rpm was "Spicks and Specks"), was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new single by the Beatles and started playing the song in heavy rotation. This helped the song climb into the top 20 in both the UK and US.


title: Bee Gees

text: No such chicanery was needed to boost the Bee Gees' next single, "To Love Somebody", into the US Top 20. Originally written for Otis Redding, "To Love Somebody", a soulful ballad sung by Barry, has since become a pop standard covered by many artists. Another single, "Holiday", released in the US, peaked at No. 16.


title: Bee Gees

text: The parent album, "Bee Gees 1st" (their first internationally), peaked at No. 7 in the US and No. 8 in the UK. Bill Shepherd was credited as the arranger. After recording that album, the group recorded their first BBC session at the Playhouse Theatre, Northumberland Avenue, in London, with Bill Bebb as the producer, and they performed three songs. That session is included on "BBC Sessions: 1967–1973" (2008). After the release of "Bee Gees' 1st", the group was first introduced in New York as "the English surprise". At that time, the band made their first British TV appearance on "Top of the Pops". Maurice recalled:


title: Bee Gees

text: In late 1967, they began recording their second album. On 21 December 1967, in a live broadcast from Liverpool Anglican Cathedral for a Christmas television special called "How On Earth?," they performed their own song, "Thank You For Christmas" which was written especially for the programme, as well as a medley of the traditional Christmas carols "Silent Night", "The First Noel" and "Mary's Boy Child" (the latter incorrectly noted as "Hark! The Herald Angels Sing" on tape boxes and subsequent release). The songs were all pre-recorded on 1 December 1967 and the group lip-synched their performance. The recordings were eventually released on the "Horizontal" reissue bonus disc in 2008. The folk group the Settlers and Radio 1 disc-jockey, Kenny Everett, also performed on the programme, which was presented by the Reverend Edward H. Patey, dean of the cathedral.


title: Bee Gees

text: January 1968 began with a promotional trip to the US. Los Angeles Police were on alert in anticipation of a Beatles-type reception, and special security arrangements were being put in place. In February, "Horizontal" repeated the success of their first album, featuring the group's first UK No. 1 single "Massachusetts" (a No. 11 US hit) and the No. 7 UK single "World". The sound of the album "Horizontal" had a more "rock" sound than their previous release, although ballads like "And the Sun Will Shine" and "Really and Sincerely" were also prominent. The "Horizontal" album reached No. 12 in the US and No. 16 in the UK.


title: Bee Gees

text: With the release of "Horizontal", they also embarked on a Scandinavian tour with concerts in Copenhagen. Around the same time, the Bee Gees turned down an offer to write and perform the soundtrack for the film "Wonderwall", according to director Joe Massot.


title: Bee Gees

text: On 27 February 1968, the band, backed by the 17-piece Massachusetts String Orchestra, began their first tour of Germany with two concerts at Hamburg Musikhalle. In March 1968, the band was supported by Procol Harum (who had a well-known hit "A Whiter Shade of Pale") on their German tour. As Robin's partner Molly Hullis recalls: "Germans were wilder than the fans in England at the heights of Beatlemania." The tour schedule took them to 11 venues in as many days with 18 concerts played, finishing with a brace of shows at the Stadthalle, Braunschweig.


title: Bee Gees

text: On 17 March, the band performed "Words" on "The Ed Sullivan Show". The other artists who performed on that night's show were Lucille Ball, George Hamilton and Fran Jeffries. On 27 March 1968, the band performed at the Royal Albert Hall in London.


title: Bee Gees

text: Two more singles followed in early 1968: the ballad "Words" (No. 8 UK, No. 15 US) and the double A-sided single "Jumbo" backed with "The Singer Sang His Song". "Jumbo" only reached No. 25 in the UK and No. 57 in the US. The Bee Gees felt "The Singer Sang His Song" was the stronger of the two sides, an opinion shared by listeners in the Netherlands who made it a No. 3 hit.


title: Bee Gees

text: Further Bee Gees chart singles followed: "I've Gotta Get a Message to You", their second UK No. 1 (No. 8 US), and "I Started a Joke" (No. 6 US), both culled from the band's third album "Idea". "Idea" reached No. 4 in the UK and was another top 20 album in the US (No. 17).


title: Bee Gees

text: After the tour and TV special to promote the album, Vince Melouney left the group, desiring to play more of a blues style music than the Gibbs were writing. Melouney did achieve one feat while with the Bee Gees: his composition "Such a Shame" (from "Idea") is the only song on any Bee Gees album not written by a Gibb brother.


title: Bee Gees

text: The band were due to begin a seven-week tour of the US on 2 August 1968, but on 27 July, Robin collapsed and fell unconscious. He was admitted to a London nursing home for nervous exhaustion, and the American tour was postponed. The band began recording their sixth album, which resulted in their spending a week recording at Atlantic Studios in New York. Robin, still feeling poorly, missed the New York sessions, but the rest of the band put away instrumental tracks and demos.


title: Bee Gees

text: The Bee Gees' performances in early 1969 on the "Top of the Pops" and "The Tom Jones Show" performing "I Started a Joke" and "First of May" as a medley was one of the last live performances of the group with Robin.


title: Bee Gees

text: Their next album, which was to have been a concept album called "Masterpeace", evolved into the double-album "Odessa". Most rock critics felt this was the best Bee Gees album of the 1960s with its progressive rock feel on the title track, the country-flavoured "Marley Purt Drive" and "Give Your Best", and ballads such as "Melody Fair" and "First of May" (the last of which became the only single from the album and a UK # 6 hit). Feeling the flipside, "Lamplight", should have been the A-side, Robin quit the group in mid-1969 and launched a solo career.


title: Bee Gees

text: The first of many Bee Gees compilations, "Best of Bee Gees", was released featuring the non-LP single "Words" plus the Australian hit "Spicks and Specks". The single "Tomorrow Tomorrow" was also released and was a moderate hit in the UK, where it reached No. 23, but it was only No. 54 in the US. The compilation reached the top 10 in both the UK and the US.


title: Bee Gees

text: While Robin pursued his solo career, Barry, Maurice and Petersen continued on as the Bee Gees recording their next album, "Cucumber Castle". The band made their debut performance without Robin at Talk of the Town. They had recruited their sister, Lesley, into the group at this time. To accompany the album, they also filmed a TV special with Frankie Howerd and cameos from several other contemporary pop and rock stars, which aired on the BBC in December 1970. Petersen played drums on the tracks recorded for the album but was fired from the group after filming began (he went on to form the Humpy Bong with Jonathan Kelly). His parts were edited out of the final cut of the film and Pentangle drummer Terry Cox was recruited to complete the recording of songs for the album.


title: Bee Gees

text: After the album was released in early 1970, it seemed that the Bee Gees were finished. The leadoff single, "Don't Forget to Remember", was a big hit in the UK, reaching No. 2, but only reached No. 73 in the US. The next two singles, "I.O.I.O." and "If I Only Had My Mind on Something Else", barely scraped the charts. On 1 December 1969, Barry and Maurice parted ways professionally.


title: Bee Gees

text: Maurice started to record his first solo album, "The Loner", which was not released. Meanwhile, he released the single "Railroad" and starred in the West End musical "Sing a Rude Song". In February 1970, Barry recorded a solo album which never saw official release either, although "I'll Kiss Your Memory" was released as a single backed by "This Time" without much interest. Meanwhile, Robin saw success in Europe and Australia with his No. 2 hit "Saved by the Bell" and the album "Robin's Reign".


title: Bee Gees

text: In mid 1970, according to Barry, "Robin rang me in Spain where I was on holiday [saying] 'let's do it again'". By 21 August 1970, after they had reunited, Barry announced that the Bee Gees "are there and they will never, ever part again". Maurice said, "We just discussed it and re-formed. We want to apologise publicly to Robin for the things that have been said." Earlier, in June 1970, Robin and Maurice recorded a dozen songs before Barry joined and included two songs that were on their reunion album. Around the same time, Barry and Robin were about to publish the book "On the Other Hand". They also recruited Geoff Bridgford as the group's official drummer. Bridgford had previously worked with the Groove and Tin Tin and played drums on Maurice's unreleased first solo album.


title: Bee Gees

text: In 1970, "2 Years On" was released in October in the US and November in the UK. The lead single "Lonely Days" reached No. 3 in the United States, promoted by appearances on "The Johnny Cash Show", Johnny Carson's "Tonight Show", "The Andy Williams Show", "The Dick Cavett Show" and "The Ed Sullivan Show".


title: Bee Gees

text: Their ninth album, "Trafalgar", was released in late 1971. The single "How Can You Mend a Broken Heart" was their first to hit No. 1 on the US charts, while "Israel" reached No. 22 in the Netherlands. "How Can You Mend a Broken Heart" also brought the Bee Gees their first Grammy Award nomination for Best Pop Performance by a Duo or Group with Vocals. Later that year, the group's songs were included in the soundtrack for the film "Melody".


title: Bee Gees

text: In 1972, they hit No. 16 in the US with the non-album single "My World", backed by Maurice's composition "On Time". Another 1972 single, "Run to Me" from the LP "To Whom It May Concern", returned them to the UK top 10 for the first time in three years. Bridgford left the group partway through recording, and the band chose not to hire a new member to replace him. The resulting three-piece lineup of Barry, Robin and Maurice would remain unbroken for the remainder of the band's active years. On 24 November 1972, the band headlined the "Woodstock of the West" Festival at the Los Angeles Coliseum (which was a West Coast answer to Woodstock in New York), which also featured Sly and the Family Stone, Stevie Wonder and the Eagles. Also in 1972, the group sang "Hey Jude" with Wilson Pickett.


title: Bee Gees

text: By 1973, however, the Bee Gees were in a rut. The album "Life in a Tin Can", released on Robert Stigwood's newly formed RSO Records, and its lead-off single, "Saw a New Morning", sold poorly with the single peaking at No. 94. This was followed by an unreleased album (known as "A Kick in the Head Is Worth Eight in the Pants"). A second compilation album, "Best of Bee Gees, Volume 2", was released in 1973, although it did not repeat the success of Volume 1. On 6 April 1973 episode of "The Midnight Special" they performed "Money (That's What I Want)" with Jerry Lee Lewis. Also in 1973, they were invited by Chuck Berry to perform two songs with him onstage at "The Midnight Special": "Johnny B. Goode" and "Reelin' and Rockin'".


title: Bee Gees

text: After a tour of the United States in early 1974 and a Canadian tour later in the year, the group ended up playing small clubs. As Barry joked, "We ended up in, have you ever heard of Batley's the variety club in (West Yorkshire) England?".


title: Bee Gees

text: On the advice of Ahmet Ertegun, head of their US label Atlantic Records, Stigwood arranged for the group to record with soul music producer Arif Mardin. The resulting LP, "Mr. Natural", included fewer ballads and foreshadowed the R&B direction of the rest of their career. When it, too, failed to attract much interest, Mardin encouraged them to work within the soul music style. The brothers attempted to assemble a live stage band that could replicate their studio sound. Lead guitarist Alan Kendall had come on board in 1971 but did not have much to do until "Mr. Natural". For that album, they added drummer Dennis Bryon, and they later added ex-Strawbs keyboard player Blue Weaver, completing the Bee Gees band that lasted through the late '70s. Maurice, who had previously performed on piano, guitar, harpsichord, electric piano, organ, mellotron and bass guitar, as well as mandolin and Moog synthesiser, by then confined himself to bass onstage.


title: Bee Gees

text: At Eric Clapton's suggestion, the brothers moved to Miami, Florida, early in 1975 to record at Criteria Studios. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood, and crafted more dance-oriented disco songs, including their second US No. 1, "Jive Talkin'", along with US No. 7 "Nights on Broadway". The band liked the resulting new sound. This time the public agreed by sending the LP "Main Course" up the charts. This album included the first Bee Gees songs wherein Barry used falsetto, something that became a trademark of the band. This was also the first Bee Gees album to have two US top-10 singles since 1968's "Idea". "Main Course" also became their first charting R&B album.


title: Bee Gees

text: On the Bee Gees' appearance on "The Midnight Special" in 1975, to promote "Main Course", they sang "To Love Somebody" with Helen Reddy. Around the same time, the Bee Gees recorded three Beatles covers—"Golden Slumbers/Carry That Weight", "She Came in Through the Bathroom Window" with Barry providing lead vocals, and "Sun King" with Maurice providing lead vocals, for the unsuccessful musical/documentary "All This and World War II".


title: Bee Gees

text: The next album, "Children of the World", released in September 1976, was filled with Barry's new-found falsetto and Weaver's synthesizer disco licks. The first single from the album was "You Should Be Dancing", which features percussion work by musician Stephen Stills. The song pushed the Bee Gees to a level of stardom they had not previously achieved in the US, though their new R&B/disco sound was not as popular with some diehard fans. The pop ballad "Love So Right" reached No. 3 in the US, and "Boogie Child" reached US No. 12 in January 1977. The album peaked at No. 8 in the US.


title: Bee Gees

text: Following a successful live album, "Here at Last... Bee Gees... Live", the Bee Gees agreed with Stigwood to participate in the creation of the "Saturday Night Fever" soundtrack. It was the turning point of their career. The cultural impact of both the film and the soundtrack was significant throughout the world, epitomizing the disco phenomenon on both sides of the Atlantic.


title: Bee Gees

text: The band's involvement in the film did not begin until post-production. As John Travolta asserted, "The Bee Gees weren't even involved in the movie in the beginning ... I was dancing to Stevie Wonder and Boz Scaggs." Producer Robert Stigwood commissioned the Bee Gees to create the songs for the film. The brothers wrote the songs "virtually in a single weekend" at Château d'Hérouville studio in France. Barry Gibb remembered the reaction when Stigwood and music supervisor Bill Oakes arrived and listened to the demos:


title: Bee Gees

text: Bill Oakes, who supervised the soundtrack, asserts that "Saturday Night Fever" did not begin the disco craze but rather prolonged it: "Disco had run its course. These days, "Fever" is credited with kicking off the whole disco thing—it really didn't. Truth is, it breathed new life into a genre that was actually dying."


title: Bee Gees

text: Three Bee Gees singles—"How Deep Is Your Love" (US No. 1, UK No. 3), "Stayin' Alive" (US No. 1, UK No. 4) and "Night Fever" (US No. 1, UK No. 1)—charted high in many countries around the world, launching the most popular period of the disco era. They also penned the song "If I Can't Have You", which became a US No. 1 hit for Yvonne Elliman, while the Bee Gees' own version was the B-side of "Stayin' Alive". Such was the popularity of "Saturday Night Fever" that two different versions of the song "More Than a Woman" received airplay, one by the Bee Gees, which was relegated to an album track, and another by Tavares, which was the hit.


title: Bee Gees

text: During a nine-month period beginning in the Christmas season of 1977, seven songs written by the brothers held the No. 1 position on the US charts for 27 of 37 consecutive weeks: three of their own releases, two for brother Andy Gibb, the Yvonne Elliman single, and "Grease", performed by Frankie Valli.


title: Bee Gees

text: Fuelled by the film's success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history to that point. With more than 40 million copies sold, "Saturday Night Fever" is among music's top five best selling soundtrack albums. , it is calculated as the fourth highest-selling album worldwide.


title: Bee Gees

text: In March 1978, the Bee Gees held the top two positions on the US charts with "Night Fever" and "Stayin' Alive", the first time this had happened since the Beatles. On the US "Billboard" Hot 100 chart for 25 March 1978, five songs written by the Gibbs were in the US top 10 at the same time: "Night Fever", "Stayin' Alive", "If I Can't Have You", "Emotion" and "Love Is Thicker Than Water". Such chart dominance had not been seen since April 1964, when the Beatles had all five of the top five American singles. Barry Gibb became the only songwriter to have four consecutive number-one hits in the US, breaking the John Lennon and Paul McCartney 1964 record. These songs were "Stayin' Alive", "Love Is Thicker Than Water", "Night Fever" and "If I Can't Have You".


title: Bee Gees

text: The Bee Gees won five Grammy Awards for "Saturday Night Fever" over two years: Album of the Year, Producer of the Year (with Albhy Galuten and Karl Richardson), two awards for Best Pop Performance by a Duo or Group with Vocals (one in 1978 for "How Deep Is Your Love" and one in 1979 for "Stayin' Alive"), and Best Vocal Arrangement for Two or More Voices for "Stayin' Alive".


title: Bee Gees

text: During this era, Barry and Robin also wrote "Emotion" for an old friend, Australian vocalist Samantha Sang, who made it a top 10 hit, with the Bee Gees singing backing vocals. Barry also wrote the title song to the film version of the Broadway musical "Grease" for Frankie Valli to perform, which went to No. 1.


title: Bee Gees

text: The Bee Gees also co-starred with Peter Frampton in Robert Stigwood's film "Sgt. Pepper's Lonely Hearts Club Band" (1978), loosely inspired by the classic 1967 album by the Beatles. The movie had been heavily promoted prior to release and was expected to enjoy great commercial success. However, it was savaged by film critics as a disjointed mess and ignored by the public. Though some of its tracks charted, the soundtrack too was a high-profile flop. The single "Oh! Darling", credited to Robin Gibb, reached No. 15 in the US.


title: Bee Gees

text: The Bee Gees' follow-up to "Saturday Night Fever" was the "Spirits Having Flown" album. It yielded three more hits: "Too Much Heaven" (US No. 1, UK No. 3), "Tragedy" (US No. 1, UK No. 1), and "Love You Inside Out" (US No. 1, UK No. 13). This gave the act six consecutive No. 1 singles in the US within a year and a half, equalling the Beatles and surpassed only by Whitney Houston.


title: Bee Gees

text: In January 1979, the Bee Gees performed "Too Much Heaven" as their contribution to the Music for UNICEF Concert at the United Nations General Assembly. During the summer of 1979, the Bee Gees embarked on their largest concert tour covering the US and Canada. The Spirits Having Flown tour capitalised on Bee Gees fever that was sweeping the nation, with sold-out concerts in 38 cities. The Bee Gees produced a video for the title track "Too Much Heaven", directed by Miami-based filmmaker Martin Pitts and produced by Charles Allen. With this video, Pitts and Allen began a long association with the brothers.


title: Bee Gees

text: The Bee Gees even had a country hit in 1979 with "Rest Your Love on Me", the flip side of their pop hit "Too Much Heaven", which made the top 40 on the country charts. It was also a 1981 hit for Conway Twitty, topping the country music charts.


title: Bee Gees

text: The Bee Gees' overwhelming success rose and fell with the disco bubble. By the end of 1979, disco was rapidly declining in popularity, and the backlash against disco put the Bee Gees' American career in a tailspin. Encouraged by Steve Dahl's Disco Demolition Night Radio stations around the US began promoting "Bee Gee-Free Weekends". Following their remarkable run from 1975 to 1979, the act had only one more top 10 single in the US, and that did not come until the single "One" reached number 7 in 1989.


title: Bee Gees

text: Barry Gibb considered the success of the "Saturday Night Fever" soundtrack both a blessing and a curse:


title: Bee Gees

text: Robin co-produced Jimmy Ruffin's "Sunrise" released in May 1980, but the songs were started in 1979; the album contains songs written by the Gibb brothers, including the single "Hold On To My Love".


title: Bee Gees

text: In March 1980, Barry Gibb worked with Barbra Streisand on her album "Guilty". He co-produced, and wrote or co-wrote all nine of the album's tracks (four of them written with Robin, and the title track with both Robin and Maurice). Barry also appeared on the album's cover with Streisand and duetted with her on two tracks. The album reached No. 1 in both the US and the UK, as did the single "Woman in Love" (written by Barry and Robin), becoming Streisand's most successful single and album to date. Both of the Streisand/Gibb duets, "Guilty" and "What Kind of Fool", also reached the US Top 10.


title: Bee Gees

text: In 1981, the Bee Gees released the album "Living Eyes", their last full-length album release on RSO. This album was the first CD ever played in public, when it was played to viewers of the BBC show "Tomorrow's World". With the disco backlash still running strong, the album failed to make the UK or US Top 40—breaking their streak of Top 40 hits, which started in 1975 with "Jive Talkin'". Two singles from the album fared little better—"He's a Liar", which reached No. 30 in the US, and "Living Eyes", which reached No. 45.


title: Bee Gees

text: In 1982, Dionne Warwick enjoyed a UK No. 2 and US Adult Contemporary No. 1 hit with her comeback single, "Heartbreaker", taken from her eponymous album written largely by the Bee Gees and co-produced by Barry Gibb. The album reached No. 3 in the UK and the Top 30 in the US, where it was certified Gold.


title: Bee Gees

text: A year later, Dolly Parton and Kenny Rogers recorded the Bee Gees-penned track "Islands in the Stream", which became a US and Australian No. 1 hit and entered the Top 10 in the UK. Rogers' 1983 album, "Eyes That See in the Dark", was written entirely by the Bee Gees and co-produced by Barry. The album was a Top 10 hit in the US and was certified Double Platinum.


title: Bee Gees

text: The Bee Gees had greater success with the soundtrack to "Staying Alive" in 1983, the sequel to "Saturday Night Fever". The soundtrack was certified platinum in the US, and included their Top 30 hit "The Woman in You".


title: Bee Gees

text: Also in 1983, the band was sued by Chicago songwriter Ronald Selle, who claimed the brothers stole melodic material from one of his songs, "Let It End", and used it in "How Deep Is Your Love". At first, the Bee Gees lost the case; one juror said that a factor in the jury's decision was the Gibbs' failure to introduce expert testimony rebutting the plaintiff's expert testimony that it was "impossible" for the two songs to have been written independently. However, the verdict was overturned a few months later.


title: Bee Gees

text: In August 1983, Barry signed a solo deal with MCA Records and spent much of late 1983 and 1984 writing songs for this first solo effort, "Now Voyager". Robin released three solo albums in the 1980s, "How Old Are You?", "Secret Agent" and "Walls Have Eyes". Maurice released his second single to date, "Hold Her in Your Hand", the first one having been released in 1970.


title: Bee Gees

text: In 1985, Diana Ross released the album "Eaten Alive", written by the Bee Gees, with the title track co-written with Michael Jackson (who also performed on the track). The album was again co-produced by Barry Gibb, and the single "Chain Reaction" gave Ross a UK and Australian No. 1 hit.


title: Bee Gees

text: The Bee Gees released the album "E.S.P." in 1987, which sold over 2 million copies. It was their first album in six years, and their first for Warner Bros. Records. The single "You Win Again" went to No. 1 in numerous countries, including the UK, and made the Bee Gees the first group to score a UK No. 1 hit in each of three decades: the 1960s, 1970s, and 1980s. The single was a disappointment in the US, charting at No. 75, and the Bee Gees voiced their frustration over American radio stations not playing their new European hit single, an omission which the group felt led to poor sales of their current album in the US. The song won the Bee Gees the 1987 British Academy's Ivor Novello Award for Best Song Musically and Lyrically, and in February 1988 the band received a Brit Award nomination for Best British Group.


title: Bee Gees

text: On 10 March 1988, younger brother Andy Gibb died, aged 30, as a result of myocarditis, an inflammation of the heart muscle due to a recent viral infection. The Bee Gees later got together with Eric Clapton to create a group called 'the Bunburys' to raise money for English charities. The group recorded three songs for "The Bunbury Tails": "We're the Bunburys" (which eventually became the opening theme to the 1992 animated series "The Bunbury Tails"), "Bunbury Afternoon", and "Fight (No Matter How Long)". The last song reached No. 8 on the rock music chart and appeared on "The 1988 Summer Olympics Album". The Bee Gees' next album, "One" (1989), featured a song dedicated to Andy, "Wish You Were Here". The album also contained their first US Top 10 hit (No. 7) in a decade, "One" (an Adult Contemporary No. 1). After the album's release, the band embarked on its first world tour in 10 years.


title: Bee Gees

text: In the UK, Polydor issued a single-disc hits collection from "Tales" called "The Very Best of the Bee Gees", which contained their biggest UK hits. The album became one of their best-selling albums in that country, and was eventually certified Triple Platinum.


title: Bee Gees

text: Following their next album, "High Civilization" (1991), which contained the UK top five hit "Secret Love", the Bee Gees went on a European tour. After the tour, Barry Gibb began to battle a serious back problem, which required surgery. In addition, he had arthritis which, at one point, was so severe that it was doubtful that he would be able to play guitar for much longer. Also, in the early 1990s, Maurice Gibb finally sought treatment for his alcoholism, which he had battled for many years with the help of Alcoholics Anonymous.


title: Bee Gees

text: In 1993, the group returned to the Polydor label and released the album "Size Isn't Everything", which contained the UK top five hit "For Whom the Bell Tolls". Success still eluded them in the US, however, as the first single released, "Paying the Price of Love", only managed to reach No. 74 on the "Billboard" Hot 100, while the parent album stalled at No. 153.


title: Bee Gees

text: In 1997, they released the album "Still Waters", which has reached No. 2 in the UK (their highest album chart position there since 1979) and No. 11 in the US. The album's first single, "Alone", gave them another UK Top 5 hit and a top 30 hit in the US. "Still Waters" was the band's most successful US release of their post-RSO era.


title: Bee Gees

text: At the 1997 BRIT Awards held in Earls Court, London on 24 February, the Bee Gees received the award for Outstanding Contribution to Music. On 14 November 1997, the Bee Gees performed a live concert in Las Vegas called "One Night Only". The show included a performance of "Our Love (Don't Throw It All Away)" synchronised with a vocal by their deceased brother Andy and a cameo appearance by Celine Dion singing "Immortality". The "One Night Only" name grew out of the band's declaration that, due to Barry's health issues, the Las Vegas show was to be the final live performance of their career. After the immensely positive audience response to the Vegas concert, Barry decided to continue despite the pain, and the concert expanded into their last full-blown world tour of "One Night Only" concerts. The tour included playing to 56,000 people at London's Wembley Stadium on 5 September 1998 and concluded in the newly built Olympic Stadium in Sydney, Australia on 27 March 1999 to 72,000 people.


title: Bee Gees

text: In 1998, the group's soundtrack for "Saturday Night Fever" was incorporated into a stage production produced first in the West End and then on Broadway. They wrote three new songs for the adaptation. Also in 1998, the brothers released "Ellan Vannin" for Manx charities, recorded the previous year. Known as the unofficial national anthem of the Isle of Man, the brothers performed the song during their world tour to reflect their pride in the place of their birth.


title: Bee Gees

text: The Bee Gees closed the century with what turned out to be their last full-sized concert, known as "BG2K", on 31 December 1999.


title: Bee Gees

text: In 2001, the group released what turned out to be their final album of new material, "This Is Where I Came In". The album was another success, reaching the Top 10 in the UK (being certified Gold), and the Top 20 in the US. The title track was also a UK Top 20 hit single.


title: Bee Gees

text: The last concert of the Bee Gees as a trio was at the "Love and Hope Ball" in 2002. Maurice Gibb died unexpectedly on 12 January 2003, at age 53, from a heart attack while awaiting emergency surgery to repair a strangulated intestine. Initially, his surviving brothers announced that they intended to carry on the name "Bee Gees" in his memory, but as time passed they decided to retire the group's name, leaving it to represent the three brothers together.


title: Bee Gees

text: The same week that Maurice died, Robin's solo album "Magnet" was released. On 23 February 2003, the Bee Gees received the Grammy Legend Award, they also became the first recipients of that award in the 21st century. Barry and Robin accepted as well as Maurice's son, Adam, in a tearful ceremony.


title: Bee Gees

text: In late 2004, Robin embarked on a solo tour of Germany, Russia and Asia. During January 2005, Barry, Robin and several legendary rock artists recorded "Grief Never Grows Old", the official tsunami relief record for the Disasters Emergency Committee. Later that year, Barry reunited with Barbra Streisand for her top-selling album "Guilty Pleasures", released as "Guilty Too" in the UK as a sequel album to the previous "Guilty". Also in 2004, Barry recorded his song "I Cannot Give You My Love" with Cliff Richard, which became a UK top 20 hit single.


title: Bee Gees

text: In February 2006, Barry and Robin reunited on stage for a Miami charity concert to benefit the Diabetes Research Institute. It was their first public performance together since Maurice's death. The pair also played at the 30th annual Prince's Trust Concert in the UK on 20 May 2006.


title: Bee Gees

text: Barry and Robin performed on the BBC's "Strictly Come Dancing" on 31 October 2009 and appeared on ABC-TV's "Dancing with the Stars" on 17 November 2009. On 15 March 2010, Barry and Robin inducted the Swedish group ABBA into the Rock and Roll Hall of Fame. On 26 May 2010, the two made a surprise appearance on the ninth-season finale of "American Idol".


title: Bee Gees

text: On 20 November 2011 it was announced that Robin Gibb, at 61 years old, had been diagnosed with liver cancer, a condition he had become aware of several months earlier. He had become noticeably thinner in previous months and had to cancel several appearances due to severe abdominal pain. Robin joined British military trio the Soldiers for the Coming Home charity concert on 13 February 2012 at the London Palladium, in support of injured servicemen. It was his first public appearance for almost five months and, as it turned out, his final one. On 14 April 2012, it was reported that Robin had contracted pneumonia in a Chelsea hospital and was in a coma. Although he came out of his coma on 20 April 2012, his condition deteriorated rapidly and he died on 20 May 2012 of liver and kidney failure.


title: Bee Gees

text: In September and October 2013, Barry performed his first solo tour "in honour of his brothers and a lifetime of music". In addition to the Rhino collection, "The Studio Albums: 1967–1968", Warner Bros. released a box set in 2014 called "The Warner Bros Years: 1987–1991" that included the studio albums "E.S.P.", "One" and "High Civilization" as well as extended mixes and B-sides. It also included the band's entire 1989 concert in Melbourne, Australia, available only on video as "All for One" prior to this release. The documentary "The Joy of the Bee Gees" was aired on BBC Four on 19 December 2014.


title: Bee Gees

text: On 23 March 2015, 13STAR Records released a box set "1974–1979" which included the studio albums "Mr. Natural", "Main Course", "Children of the World" and "Spirits Having Flown". A fifth disc called "The Miami Years" includes all the tracks from "Saturday Night Fever" as well as B-sides. No unreleased tracks from the era were included.


title: Bee Gees

text: After a hiatus from performing, Barry Gibb returned to solo and guest singing performances. He occasionally appears with his son, Steve Gibb. In 2016, he released "In the Now", his first solo effort since 1984's "Now Voyager". It was the first release of new Bee Gees-related music since the posthumous release of Robin Gibb's "50 St. Catherine's Drive". Also in 2016, Capitol Records signed a new distribution deal with Barry and the estates of his brothers for the Bee Gees catalogue, bringing their music back to Universal.


title: Bee Gees

text: An as-yet-untitled biopic about the Bee Gees is in development at Paramount, with Kenneth Branagh directing and Barry Gibb serving as an executive producer.


title: Bee Gees

text: The Bee Gees were influenced by the Beatles, the Everly Brothers, the Mills Brothers, Elvis Presley, the Rolling Stones, Roy Orbison, the Beach Boys and Stevie Wonder. On the 2014 documentary "The Joy of the Bee Gees", Barry said that the Bee Gees were also influenced by the Hollies and Otis Redding. Maurice noted that Neil Sedaka was an early influence, and later the group was "very influenced" by Linda Creed songs for the Stylistics.


title: Bee Gees

text: In his 1980 "Playboy" magazine interview, John Lennon praised the Bee Gees, "Try to tell the kids in the seventies who were screaming to the Bee Gees that their music was just the Beatles redone. There is nothing wrong with the Bee Gees. They do a damn good job. There was nothing else going on then."


title: Bee Gees

text: In a 2007 interview with Duane Hitchings, who co-wrote Rod Stewart's 1978 disco song "Da Ya Think I'm Sexy?", he noted that the song was:


title: Bee Gees

text: Kevin Parker of Tame Impala has said that listening to the Bee Gees after taking mushrooms inspired him to change the sound of the music he was making on his album "Currents".


title: Bee Gees

text: The English indie rock band the Cribs was also influenced by the Bee Gees. Cribs member Ryan Jarman said: "It must have had quite a big influence on us – pop melodies is something we always revert to. I always want to get back to pop melodies and I'm sure that's due to that Bee Gees phase we went through."


title: Bee Gees

text: Following Robin's death on 20 May 2012, Beyoncé remarked: "The Bee Gees were an early inspiration for me, Kelly Rowland and Michelle. We loved their songwriting and beautiful harmonies. Recording their classic song, 'Emotion' was a special time for Destiny's Child. Sadly we lost Robin Gibb this week. My heart goes out to his brother Barry and the rest of his family."


title: Bee Gees

text: Singer Jordin Sparks remarked that her favourite Bee Gees songs are "Too Much Heaven", "Emotion" (although performed by Samantha Sang with Barry on the background vocals using his falsetto), and "Stayin' Alive".


title: Bee Gees

text: Carrie Underwood said, about discovering the Bee Gees during her childhood, "My parents listened to the Bee Gees quite a bit when I was little, so I was definitely exposed to them at an early age. They just had a sound that was all their own, obviously, [it was] never duplicated."


title: Bee Gees

text: At one point, in 1978, the Gibb brothers were responsible for writing and/or performing nine of the songs in the "Billboard" Hot 100. In all, the Gibbs placed 13 singles onto the Hot 100 in 1978, with 12 making the Top 40. The Gibb brothers are fellows of the British Academy of Songwriters, Composers and Authors (BASCA). At least 2,500 artists have recorded their songs.


title: Bee Gees

text: Singer-songwriter Gavin DeGraw spoke about the Bee Gees' influence with their own music as well as their songwriting:


title: Bee Gees

text: In 2009, as part of the Q150 celebrations, the Bee Gees were announced as one of the Q150 Icons of Queensland for their role as "Influential Artists".


title: Bee Gees

text: In 1978, following the success of "Saturday Night Fever", and the single "Night Fever" in particular, Reubin Askew, the governor of the US state of Florida, named the Bee Gees honorary citizens of the state, since they resided in Miami at the time. In 1979, the Bee Gees got their star on the Hollywood Walk of Fame. They were the subjects of "This Is Your Life" in 1991 when they were surprised by Michael Aspel while being interviewed by disc jockey Steve Wright (DJ) on his Radio 1 programme at BBC Broadcasting House.


title: Bee Gees

text: The Bee Gees were inducted in 1994 into the Songwriters Hall of Fame, as well as Florida's Artists Hall of Fame in 1995 and the ARIA Hall of Fame in 1997. Also in 1997, the group were inducted into the Rock and Roll Hall of Fame; the presenter of the award to "Britain's First Family of Harmony" was Brian Wilson, historical leader of the Beach Boys, another "family act" featuring three harmonising brothers. In 2001, they were inducted into the Vocal Group Hall of Fame. After Maurice's death, the Bee Gees were also inducted into the Dance Music Hall of Fame in 2001, London's Walk of Fame in 2006 and Musically Speaking Hall Of Fame in 2008. On 15 May 2007, the Bee Gees were named BMI Icons at the 55th annual BMI Pop Awards. Collectively, Barry, Maurice and Robin Gibb have earned 109 BMI Pop, Country and Latin Awards.


title: Bee Gees

text: In the 2002 New Year's Honours, announced on 31 December 2001, all three brothers were appointed as Commanders of the Order of the British Empire (CBE). By the time of the investiture ceremony at Buckingham Palace on 27 May 2004 Maurice had died, and he was represented at the ceremony by his son Adam. On 10 July 2009, the Isle of Man's capital bestowed the Freedom of the Borough of Douglas honour on Barry and Robin, as well as posthumously on Maurice. On 20 November 2009, the Douglas Borough Council released a limited edition commemorative DVD to mark their naming as Freemen of the Borough.


title: Bee Gees

text: On 14 February 2013, Barry Gibb unveiled a statue of the Bee Gees as well as unveiling "Bee Gees Way" (a walkway filled with photos and videos of the Bee Gees) in honour of the Bee Gees in Redcliffe, Queensland, Australia. On 27 June 2018, Barry Gibb, the last surviving member of the Bee Gees, was knighted by Prince Charles after being named on the Queen's New Year's Honours List. The statue of the Bee Gees in Douglas, Isle of Man, was installed in 2021.


title: Bee Gees

text: In 2022, the last surviving member of the group, Barry Gibb, was made an Honorary Companion of the Order of Australia which is Australia's highest national honour.


title: Bee Gees

text: The Bee Gees have sold over 220 million records worldwide, making them one of the best selling artists of all time. The group are to date the most successful family and sibling band of all time, the most successful musical trio of all time, and the most successful musical act with ties to Australia.


title: Bee Gees

text: The Queensland Music Awards (previously known as Q Song Awards) are annual awards celebrating Queensland, Australia's brightest emerging artists and established legends. They commenced in 2006.


title: Bee Gees

text: Soundtracks "Saturday Night Fever" (1977) and "Staying Alive" (1983) are not official Bee Gees albums, but contain some previously unreleased tracks. Apart from live and compilation, all their official albums are included on this list. "A Kick in the Head Is Worth Eight in the Pants" has not been included on the list because it appeared only on numerous bootlegs and was not officially released.


title: Attack on Titan (TV series)

text: Set in a post-apocalyptic world where the remains of humanity live behind walls protecting them from giant humanoid Titans, "Attack on Titan" follows protagonist Eren Jaeger, along with friends Mikasa Ackerman and Armin Arlert. When a Colossal Titan breaches the wall of their hometown, Titans destroy the city and eat Eren's mother. Vowing vengeance, Eren joins the elite Survey Corps, a group of soldiers who fight against Titans. "Attack on Titan" chronicles Eren's journey with the Survey Corps as they fight against the Titans while investigating their origin and history.


title: Attack on Titan (TV series)

text: Since its debut in 2013, "Attack on Titan" has received widespread critical acclaim and has notably sustained a broad, active, and international fan base. Critics and audiences have praised the show for its story line, animation, action sequences, characters, voice acting (both original and dubbed), soundtrack, and dark themes.


title: Attack on Titan (TV series)

text: In the first season, the protagonist, Eren Jeager, witnesses his mother dying after being eaten by the series' main antagonists, the Titans. This becomes Eren's motivation to develop his combat skills in order to fight the Titans. Later on, Eren is eaten by a Titan himself but discovers that he can transform into a Titan, control it, and fight like he would as a human. Eren learns how to use his newfound powers to combat the Titans and continues his training as more titans continue to flood into his homeland.


title: Attack on Titan (TV series)

text: In its second season, the main cast of characters, who have joined the Survey Corps, are thrown into action after Titans breach the walls without any apparent trace of how they entered. Along the way, they discover the true nature of the Titans.


title: Attack on Titan (TV series)

text: In its two-part third season, the Survey Corps are hunted as Eren and another member are wanted. Later, they defend their hometown in a series of battles against the strongest Titans. Afterwards, reeling from the devastating battles, the Survey Corps members uncover the truth about their world and humanity in general.


title: Attack on Titan (TV series)

text: Its fourth season, split into three parts, takes place four years after Eren and his compatriots learned the truth about their situation. A new cast of characters, part of the enemy's elite Warrior Unit, is pitted into war against the Survey Corps as each side seeks to protect their home and ideals. At the same time, Eren has concocted a devasting plan to take care of his homeland's enemies.


title: Attack on Titan (TV series)

text: Produced by IG Port's Wit Studio and directed by Tetsurō Araki, "Attack on Titan" was broadcast on MBS TV from April 7, 2013 to September 29, 2013, and later aired on Tokyo MX, FBS, TOS, HTB, TV Aichi and BS11. The anime had some production issues with needing more animators with Wit Studios' character designer, Kyoji Asano tweeting and looking for active animators to work on the anime.


title: Attack on Titan (TV series)

text: Both Funimation and Crunchyroll have streamed the series with subtitles on their respective websites. Funimation has also licensed the anime for home video release in 2014. Episode 1 of the English version premiered at Anime Boston, with other episodes put on Funimation's subscription services. On television of the series has broadcast weekly on Adult Swim's Toonami block on May 3, 2014, starting at 11:30 p.m. EST. In Australia, the anime aired on SBS 2 on Tuesdays, in Japanese with English subtitles, with the first episode having aired on September 30. The first season was acquired for distribution in the UK by Manga Entertainment. Madman Entertainment acquired the show for distribution in Australia and New Zealand, and streamed the series on Madman Screening Room.


title: Attack on Titan (TV series)

text: The final episode was also aired in Japanese theaters. The anime was compiled into two animated theatrical films with new voice acting from the same cast. The first film covers the first 13 episodes and was released on November 22, 2014, while the second film adapts the remaining episodes and adds new opening and ending footage. It was released on June 27, 2015. A rebroadcast of the first season was aired from January 9, 2016 on NHK's BS Premium channel. The compilation films were also broadcast in January 2017 on MBS.


title: Attack on Titan (TV series)

text: A second season of the anime series was announced on the opening day of the first theatrical film, which was originally set to be released in 2016. It was then confirmed in the January 2017 issue of the "Bessatsu Shōnen Magazine" that the second season would premiere in April 2017. Masashi Koizuka directed the second season, with Araki acting as chief director. It ran for 12 episodes from April 1, 2017, to June 17, 2017, on MBS and other television networks. A third compilation film recapping the events of the anime series' second season titled was released on January 13, 2018.


title: Attack on Titan (TV series)

text: The season premiere was simulcast on Funimation, Crunchyroll, and the former's VRV channel at 10:30 AM EST. Funimation and Crunchyroll streamed the entire second season on their respective websites, while Adult Swim's Toonami aired a dubbed version. It was also announced that the second season of "Attack on Titan" would premiere on Toonami on April 29. It was subsequently announced on April 3 that the second season would premiere one week earlier, on April 22 instead. Madman Entertainment streamed the season in Australia and New Zealand on AnimeLab. Season 2 home media release was handled by Sony Pictures in the UK.


title: Attack on Titan (TV series)

text: On June 17, 2017, a third season was announced at the close of the second season's final episode, with a release date slated for July 23, 2018. A trailer for the third season was released on April 27, 2018. The series' third season aired in Japan on NHK General TV on July 23, 2018, with its first part running to October 15, 2018. Part 2 of the series' third season aired from April 29 to July 1, 2019. Hajime Isayama, the original manga's author and illustrator, works closely with the animators to ensure faithfulness to the story and gives suggestions, as well. In 2018, it was revealed that Isayama regretted doing a certain part of the manga in a certain way, so he personally requested the animation studio to make some changes in the anime. The studio honored this wish, resulting in the first part of Season 3 being a little different from the corresponding manga chapters. A fourth compilation film, , recaps all three seasons and was released on July 17, 2020.


title: Attack on Titan (TV series)

text: Funimation announced that they would air the worldwide premiere of the first episode at Anime Expo on July 8, 2018. They also announced that the first episode would air in theaters in the US and Canada alongside "Attack on Titan: Roar of Awakening" on July 10, 2018. Adult Swim aired the English version of the third season, starting from August 18, 2018 to July 27, 2019. On July 4, 2020, Funimation announced that they licensed the compilation film for UK, Ireland, and North America release.


title: Attack on Titan (TV series)

text: Upon the airing of the final episode of the third season on July 1, 2019, it was announced that the fourth and final season of the anime series was scheduled for release in Fall 2020 on NHK General. Netflix Singapore as well as other various Southeast Asian countries announced to start regional streaming from December 10 and 11. On September 23, 2020, NHK listed the final season on their broadcasting schedule as airing on December 7, 2020. On May 29, 2020, the final season was confirmed to have switched production studios to MAPPA. Yuichiro Hayashi and Jun Shishido replaced Tetsurō Araki and Masashi Koizuka as directors, scriptwriter Hiroshi Seko took over the series composition from Yasuko Kobayashi, and Tomohiro Kishi replaced Kyōji Asano as character designer. Kohta Yamamoto joined Hiroyuki Sawano to compose the music. The first part, which consists of 16 episodes, aired on NHK General TV until March 29, 2021. The second part, which consists of 12 episodes, aired from January 10 to April 4, 2022 at 12:05 a.m. JST.


title: Attack on Titan (TV series)

text: In the first season, for the first thirteen episodes, the opening theme is by Linked Horizon, and the ending theme is by Yōko Hikasa. For episodes 14–25, the opening theme is by Linked Horizon, and the ending theme is "great escape" by Cinema Staff. Both "Guren no Yumiya" and "Jiyū no Tsubasa" were released as part of the single "Jiyū e no Shingeki" on July 10, 2013, which sold over 100 thousand copies in its first week of sales.


title: Attack on Titan (TV series)

text: The series' soundtrack was composed by Hiroyuki Sawano, and the first CD was released on June 28, 2013, by Pony Canyon. The first CD contains 16 tracks, including 6 vocal tracks performed by Aimee Blackschleger, CASG (Caramel Apple Sound Gadget), Cyua, Mika Kobayashi and mpi. The second CD containing the other half of the soundtrack was released on October 16, 2013, as a bonus offered with the fourth Blu-ray and DVD limited edition volumes of the anime.


title: Attack on Titan (TV series)

text: Sawano returned to compose the soundtrack for the second season, with the 2-CD soundtrack released on June 7, 2017, by Pony Canyon. In addition to music composed for Season 2, the soundtrack also featured any and all tracks composed for other media in-between seasons one and two, such as compilation films and OVAs.


title: Attack on Titan (TV series)

text: The opening theme song is "Red Swan" by Yoshiki featuring Hyde, while the ending theme is by Linked Horizon. The second opening theme is by Linked Horizon, and the second ending theme is "Name of Love" by Cinema Staff.


title: Attack on Titan (TV series)

text: Sawano once again returned as composer. The soundtrack was released on June 26, 2019. As with the second season's soundtrack, music featured in compilation films and OVAs released between season two and three was included in the soundtrack. Vocals were provided by David Whitaker, Eliana, Gemie, Laco, mpi, and yosh.


title: Attack on Titan (TV series)

text: For Part 1, the opening theme song is performed by Shinsei Kamattechan, and the ending theme song is performed by Yūko Andō. For Part 2, the opening theme song is "The Rumbling" performed by SiM, and the ending theme song is performed by Ai Higuchi.


title: Attack on Titan (TV series)

text: The soundtrack was composed by Kohta Yamamoto (on tracks 1–20), and Hiroyuki Sawano (on tracks 21–23), and was released on June 23, 2021 by Pony Canyon. It was released digitally on several sites including Apple Music and Spotify. It contains 23 tracks, with two vocal tracks featuring performances by cumi and Hannah Grace.


title: Attack on Titan (TV series)

text: For the first compilation film, "Attack on Titan – Part 1: Crimson Bow and Arrow," the ending themes were "YAMANAIAME" (lit. "Unstoppable Rain") by Hiroyuki Sawano feat. Mika Kobayashi, Mica Caldito & mpi and by Linked Horizon. For the second compilation film, "Attack on Titan – Part 2: Wings of Freedom," the ending themes was "theDOGS" by Hiroyuki Sawano feat. mpi. The film's theme song was by Linked Horizon.


title: Attack on Titan (TV series)

text: The anime series has been successful in Japan, with average sales of 52,067 across 9 volumes, with a total of 468,603 . It was the number one selling TV anime of 2013 in Japan and is currently the eighth best selling anime of 2010's. It has also been very successful in the U.S. with sales of at least 200,000. It was also the number one streaming anime from Funimation in 2014 and the number one fan favorite Funimation home video released of 2014. The anime adaptation won multiple prizes during the 3rd "Newtype" Anime Awards, including Best Director, Best Script, Best Soundtrack, Best Theme Song, Top Female Character and Title of the Year. It received the award for Best TV Animation at the 2013 Animation Kobe Awards. It received the award for Animation of the Year at the 2014 Tokyo Anime Award, along with, Best Director, Best Screenplay and Best Music. It won the 2013 Digital Contents of the Year Award at Japan's 19th annual Association of Media in Digital (AMD) Awards.