document_title: Once More, with Feeling (Buffy the Vampire Slayer)

question_text: who plays the demon in once more with feeling

text: Background[edit]

text: Throughout the series Buffy Summers (Sarah Michelle Gellar), in her role as the Vampire Slayer, is assisted by her close friends, who refer to themselves as the "Scooby Gang". These include Xander Harris (Nicholas Brendon), a young man without particular strengths or talents, but devoted to Buffy and her calling, and Willow Rosenberg (Alyson Hannigan), a young woman who has grown from a shy but gifted student into a strong woman and powerful user of magic. They are mentored by Buffy's "Watcher", Rupert Giles (Anthony Stewart Head), a paternal figure since the first season, when Buffy moved to Sunnydale after her parents' divorce. Xander is engaged to Anya Jenkins (Emma Caulfield), a former vengeance demon who has become human. They have struggled with disclosing their engagement to the rest of the group and individually doubt their impending marriage.[2]

text: Buffy died at the end of the fifth season ("The Gift"), sacrificing herself in place of her younger sister Dawn (Michelle Trachtenberg) in order to save the world. In the first episode of the sixth season, Willow, believing Buffy to be in Hell, used magic to bring her back from the grave. Buffy was in fact at peace, in what she thinks was heaven, but she has kept this a secret from her friends. Since her resurrection, Buffy has been lost and without inspiration to perform her duties as a Slayer. Willow is romantically involved with Tara Maclay (Amber Benson), a powerful but ethical witch. Tara has previously expressed concern at Willow's use of her emergent magical powers for trivial or personal matters. In the preceding episode ("All the Way"), Willow cast a spell to make Tara forget an argument about her abuse of magic. In the same episode, Dawn, who has been stealing from stores, including Anya's magic shop, lies to Buffy and goes on a clandestine and almost deadly date. Left to take care of Dawn after the death of their mother Joyce Summers (Kristine Sutherland) in the fifth season ("The Body"), Buffy has come to depend more heavily on Giles. Following Dawn's date, Buffy asks Giles to shoulder responsibility for disciplining her, much to his discomfort.[2][4]

text: Buffy's former nemesis is Spike (James Marsters), a vampire. In the fourth season The Initiative, a secret military organization whose mission is to evaluate and eliminate demonic beings, rendered Spike harmless by implanting a microchip in his head that causes him intense pain when he attacks humans. However, the chip does not affect him when he harms demons and he now often fights on Buffy's side, after at first fighting just for the pleasure of brawling. His motivations changed when, in the fifth season, Spike realized he had fallen in love with Buffy. She initially rejected him, but just before her death they had begun to form a friendship of sorts. She has been confiding in him; prior to this episode, he is the only one to whom Buffy has revealed that she was in heaven.[2]

text: Throughout Buffy the Vampire Slayer, music serves as a narrative tool, integral to character development and action. The mood is set by music, characters discuss it, and writers use it to emphasize differences between generations. In an essay on the use of music in the series, Jacqueline Bach writes that in conjunction with the sixth season themes of growing up, "Once More, with Feeling" gives music a central role instead of keeping it in the background.[5]

text: Plot[edit]

text: When Buffy is on patrol, she laments in song about how uninspired her life has become ("Going Through the Motions"). The next morning at the Magic Box, the gang reveal that they also sang that evening. Led by Giles, the gang theorizes about the cause of the singing; they sense no immediate danger but agreeing that by working together they can overcome anything ("I've Got a Theory/Bunnies/If We're Together"). Buffy learns that the whole town is affected when she looks outside the shop to see a large group (led by series writer and producer David Fury) singing and dancing about how a dry-cleaning service got their stains out ("The Mustard").

text: Tara and Willow leave to "research" at home, but dally along the way while Tara muses about how much Willow has improved her life ("Under Your Spell"). The next morning, Xander and Anya perform a duet about their secret annoyances with each other and their respective doubts about their impending marriage ("I'll Never Tell"). They realize that the songs are bringing out hidden secrets, and later insist to Giles that something evil is to blame. As they argue, they walk past a woman (series writer and producer Marti Noxon) protesting a parking ticket ("The Parking Ticket"). That evening, Buffy visits Spike, who angrily tells Buffy to leave him alone if she will not love him ("Rest in Peace").

text: Dawn tells Tara she is glad that Tara and Willow have made up after their argument. Since Tara has no recollection of an argument, she suspects that Willow has used magic to alter her memory. She goes to the Magic Box to consult a book, leaving Dawn alone. Dawn starts to bemoan that no one seems to notice her ("Dawn's Lament"), but is soon seized by minions of Sweet (Hinton Battle), a zoot suit-wearing, tap-dancing, singing demon. They take Dawn to The Bronze, where her attempt to escape transforms into an interpretive dance with the minions ("Dawn's Ballet") before she meets Sweet. He tells Dawn that he has come to Sunnydale in response to her "invocation", and he will take her to his dimension to make her his bride ("What You Feel") when his visit is complete.

text: At the Magic Box, Giles recognizes that he must stand aside if Buffy is to face her responsibilities in caring for Dawn instead of relying on him ("Standing") and Tara finds a picture of the forget-me-not flower Willow used to cast a spell on her in a book of magic. Giles and Tara separately resolve to leave the people they love, respectively Buffy and Willow — Giles wants to leave Buffy for her own good, while Tara wants to leave Willow because she has become horrified by Willow’s magical manipulation of their relationship ("Under Your Spell / Standing—Reprise"). Captured by Spike outside the store, one of Sweet’s minions conveys a challenge from Sweet for Buffy to rescue Dawn from The Bronze. Giles forbids the gang to assist Buffy, so she goes alone, despite having no will to do so; eventually Giles and the Scoobies change their minds and leave to catch up. Although Spike initially thinks that things would be better for him if Buffy was dead, he also changes his mind and decides to help Buffy; Sweet opines that Buffy is drawn to danger ("Walk Through the Fire").

text: Meeting Sweet at The Bronze, Buffy offers a deal to Sweet: she will take the place of her sister if she can’t kill him. When asked by Sweet what she thinks about life, Buffy gives her pessimistic take on its meaning ("Something to Sing About"). When the others arrive, she divulges that Willow took her from heaven, and Willow reacts with horror at finding out what she’s done. Upon divulging this truth, Buffy gives up on singing and dances so frenetically that she begins to smoke — on the verge of combusting as Sweet’s other victims have been shown to do — until Spike stops her, telling her that the only way to go forward is to just keep living her life. Xander then reveals that he, not Dawn, called Sweet, hoping he would be shown a happy ending for his marriage plans. Sweet, after releasing Xander from the obligation to be Sweet's “bride”, tells the group how much fun they have been ("What You Feel—Reprise") and disappears. The Scoobies realize that their relationships have been changed irreversibly by the secrets revealed in their songs ("Where Do We Go from Here?"). Spike leaves The Bronze, but Buffy follows him out, and they kiss ("Coda").

text: Production and writing[edit]

text: Joss Whedon had wanted to make a musical episode since the start of the series. This was heightened during the fifth season when he hosted a Shakespeare reading at his house, to which the cast was invited. They began drinking and singing, demonstrating to Whedon that certain cast members had musical talents.[6][7] Whedon knew he would have to write an entire score, which would take weeks or months. During the first three seasons of Buffy, he was unable to take more than two weeks off at a time, and the constraints of writing and directing the show precluded him from putting forth the effort of preparing a musical. Whedon spoke to the show's producer, Gareth Davies, about his idea; they agreed that a musical episode would be written.[8]

text: Whedon spent six months writing the music for "Once More, with Feeling".[8] When he returned after the end of the fifth season, he presented Davies with a script and CD, complete with notated and orchestrated music, which Davies found "mind-boggling".[9] The actors were initially bewildered; in 2012, James Marsters commented that "it's obvious now that they were good songs but the thing was Joss and his wife Kai, they don't sing very well. And they don't play piano very well. The songs sounded really cheesy and horrible... We were saying, 'Joss, you're ruining our careers.'"[10]

text: Preparing for the episode was physically difficult for some of the cast members, most of whom had little experience singing and dancing. They spent three months in voice training.[8][note 1] Two choreographers worked with Whedon and the cast on dance sequences. Michelle Trachtenberg (Dawn), who is trained in ballet, requested a dance sequence in lieu of a significant singing part,[9] and Alyson Hannigan (Willow), according to Whedon, begged him not to give her many lines.[6][12] Sarah Michelle Gellar (Buffy) told the BBC that "It took something like 19 hours of singing and 17 hours of dancing in between shooting four other episodes" and she was so anxious about singing that she "hated every moment of it".[13] When Whedon suggested using a voice double for her, however, she said, "I basically started to cry and said, 'You mean someone else is going to do my big emotional turning point for the season?' In the end, it was an incredible experience and I'm glad I did it. And I never want to do it again."[14] Davies was so impressed with Hinton Battle's performance on Broadway in The Wiz that he asked Battle to play the demon Sweet. Battle, a three-time Tony-winner, wore prosthetic make-up for the first time to give him a demonic red face. Sweet was portrayed as "slick", smooth and stylish; in contrast, most demons on the series were designed to be crude and ugly.[9] The set for The Bronze was used frequently throughout the series, but stairs were built from the stage to maximize floor space for Battle's dance.[6]

text: Running eight minutes longer than any in the series,[note 2] the episode was also the most technical and complex. Whedon, who has stated this is one of his favorite Buffy episodes, used a widescreen letterbox format for filming (the only episode in the series to get this treatment),[12] different lighting to bring out the sets more vibrantly, and long takes for shooting—including a complicated shot with a full conversation, a song, and two choreographed dances that took 21 attempts to get right. These were designed to give viewers all the clues they needed to establish all the nuances of the relationships between characters.[6] Davies commented that the intricacies of filming this episode were "infinitely more complicated than a regular Buffy" episode,[9] and Whedon stated in the DVD commentary that he was ambitious to prove what television is capable of, saying "it just depends how much you care".[6] UPN, the television network that aired Buffy's last two seasons, promoted the episode by displaying Gellar's face on billboards with music notes over her eyes, and held a special premiere event. Network president Dean Valentine remarked he thought it was "one of the best episodes of television I ever saw in my life".[15]

text: Critics hailed the episode as successful in telling a complex story about all the characters in a unique way, while retaining the series' effective elements of writing and character development. Throughout the show—as in the rest of the series—the characters self-consciously address their own dialogue and actions. Anya describes her own duet "I'll Never Tell" as "a retro pastiche that's never gonna be a breakaway pop hit". With a characteristic dry demeanor, Giles explains that he overheard the information about Sunnydale residents spontaneously combusting as he was eavesdropping upon the police taking "witness arias".[16] In her opening number, "Going Through the Motions", Buffy sings that she feels as though she is playing a part: "nothing here is real, nothing here is right". The song introduces the character's emotional state but also removes the barrier between the actor and the audience, as Gellar the actor portrays Buffy, who feels she is merely playing the part of the Slayer. This hints to the audience that the episode's musical format is strange to the actors and characters.[7] According to Buffy essayist Richard Albright, the lack of polish among cast members' singing voices added to the authenticity of their breaking out into song for the first time in the series.[7][note 3] Whedon included self-conscious dialogue and references about the characters being in a musical and showed their reluctance toward song and dance, so that the audience would feel more comfortable with the improbability of such a thing happening on the show.[6]

text: Themes[edit]

text:
It is part of the fascination of "Once More, with Feeling", that we can, if we wish, choose to select our relationship with the text and dwell on a happy ending—or we can share the struggle of the characters.
Rhonda Wilcox, 2005[17]

tag: div

text: The dynamic nature of the characters was a unique element of writing in the series at the time. Once they were established in the twelve episodes of the first season, characters began to change and relationships were developed in the second. This continued through the series to the point of unpredictability that sometimes became unsettling to fans.[18] Buffy essayist Marguerite Krause asserts that the monsters and demons faced by the Scoobies are thin symbolism for the show's true focus: relationships and how to maintain or ruin them.[19] Common among most of these relationships—romantic, platonic, and familial—is, according to Krause, a "failure to communicate, lack of trust, [and the] inability to envision or create a viable future".[20] Miscommunication is worsened or sustained through multiple episodes and seasons, leading to overwhelming misunderstanding and critical turning points for the characters, some of whom do not recover.[21]

text: "Once More, with Feeling" propelled the story arc for season six by allowing characters to confess previously taboo issues to themselves and each other.[22] Whedon commented that he was "obsessive about progressing a plot in a song, about saying things we haven't said", comparing the musical theater format to the fourth-season episode "Hush", in which characters begin communicating when they stop talking.[6] According to Buffy essayist Zoe-Jane Playdon, earlier episodes' "false saccharine behaviour" impedes the characters so crucially that it summons a demon to force them to be honest.[23] The consequences in the episode of concealing truth, spontaneous combustion, is an allusion to Bleak House by Charles Dickens—of whom Whedon is a fan—where characters also face immolation for being deceitful.[24] For Buffy, however, truth is slow in coming, as she continues to lie to the Scoobies, claiming to forget what she sang about in the graveyard during "Going Through the Motions". Buffy continues her charade in the chorus number "If We're Together", beginning the song by persuading others to join in one by one, as if each is convinced that she is still invested and in charge, and their strength as a group is infallible. Although she asks in verse "Apocalypse / We've all been there / The same old trips / Why should we care?", all the Scoobies join her, including Giles despite his suspicions that Buffy is no longer interested in her life.[6][25]

text: Secrets reveal themselves steadily throughout the episode. Xander fears that his future marriage will turn him into an argumentative drunk like his father. He attempts to avoid his fears through the song "I'll Never Tell", singing "'coz there's nothing to tell", after summoning Sweet to Sunnydale to show him that he and Anya will be happy. Amid the various annoyances Xander and Anya express through this song, some verses are clear-sighted observations of behavior, such as Anya's accusation that Xander—once in love with Buffy—uses Buffy as a mother figure to hide behind.[26] Anya also avoids the truth by burying herself in wedding plans without thinking critically about what being married will entail; instead she considers Xander an accessory to her desired lifestyle.[27] Of all the characters, Anya is the most preoccupied with the style of singing and songs, demanding to know if Spike sang "a breakaway pop hit, or a book number", and asking Dawn if the pterodactyl she facetiously says she gave birth to also broke into song. Anya and Xander's duet is the only song in the episode to address the audience directly. During the long single-shot scene when she and Xander talk over each other insisting to Giles that evil must be at play, Anya refers to the audience, saying "It was like we were being watched ... Like there was a wall missing ... in our apartment ... Like there were only three walls and not a fourth wall." Albright asserts that Anya's constant preoccupation with her and others' performances indicates that she has serious doubts about her future supporting role as Xander's wife.[7]

text: Giles' truth, according to Whedon, is that he realizes he must not "fight my kid's battles or my kid will never grow up",[9] which he sings in "Standing" while he throws knives at Buffy as part of her training. Whedon remarked that this touch "is the kind of complete turnaround that is a staple of the Buffy universe".[6] Tara's heartfelt love song also has an ironic subtext; although she appears to mean that she is fulfilled by her relationship with Willow, the lyrics include multiple allusions to Willow working her manipulative will over Tara, overlaid with Tara's euphoric singing about her pleasure in their union.[7] In Sex and the Slayer, Lorna Jowett calls the song between Willow and Tara the transformational event in their relationship, from Tara's subservient bearing towards Willow, into a relationship of equals.[28] Two Buffy essayists note that Willow and Giles sing together at the start of the episode, but later Tara and Giles share a duet to express the diminished part each plays in their respective relationships.[29]

text: Although "Once More, with Feeling" allows all the characters to confess truthfully, with the exception of Willow, it does not resolve the behavior that demanded confession in the first place. At the end of the episode, Buffy kisses Spike, initiating a romance that she hides from her friends. Their relationship lasts until the end of the series, marked for a time by Buffy's loathing of him because he has no soul. Her relationship with Spike, however, allows her to feel lust and attraction, which she yearns for after being pulled back from a heavenly dimension.[30] In The Psychology of Joss Whedon, Mikhail Lubyansky writes that, although Buffy's first step toward re-engaging with her life is telling the Scoobies the truth in the song "Something to Sing About", she does not find meaning again until the end of the season.[31] In his essay "A Kantian Analysis of Moral Judgment in Buffy the Vampire Slayer", Scott Stroud explains that Buffy, as the central character throughout the series, is torn between her desires and her duty, in a Kantian illustration of free will vs. predeterminism, symbolized by her responsibility as a Slayer and her adolescent impulses. In earlier seasons, this takes the form of simpler pleasures such as dating and socializing, interspersed with defeating evil forces. It reaches a climax in the ultimate sacrifice when Buffy offers to die to save the world. However, "Once More, with Feeling", according to Stroud, is the turning point at which she begins to face her responsibility to the community, her friends and her family. Not only does she continue her Slaying despite a lack of inspiration, but for the rest of the season she works at a humiliating job to provide for her sister and friends.[32]

text: Music and style[edit]

text: "Once More, with Feeling" was Joss Whedon's first attempt at writing music, which he had always wanted to do. He learned how to play guitar to write several songs. Christophe Beck, a regular composer for the series, filled in the overture and coda and composed "Dawn's Ballet". Whedon is a fan of Stephen Sondheim, and used him as the inspiration for much of the music, particularly with the episode's ambiguous ending.[16] Cast member James Marsters (Spike) said, "Some of Joss' music is surprisingly complicated. Maybe it's a Beatles thing. He doesn't know enough to know what he can't do and he's smashing rules."[14]

text: The episode's musical style varies significantly. Buffy's opening number, "Going Through the Motions", was influenced heavily by the Disney song "Part of Your World" sung by Ariel in The Little Mermaid. Whedon wanted to use a similar opening in which the heroine explains her yearning. While singing her song, Buffy fights three vampires and a demon who themselves break into a choreographed dance; Whedon wanted this to be fun but not distracting. The song ends with chord influences from Stephen Schwartz's Pippin and a visual tribute to Disney: as Buffy stakes a vampire, it turns to dust that swirls around her face.[6][33]

text: Whedon chose the most complicated scene, with the most dancers and choreography in the classic style of musical theater, to accompany an 18-second song ("The Mustard") "to get it out of the way" for more personal numbers later in the episode.[6] Stephanie Zacharek of Salon.com considers this "brilliant because it frees even people who hate musicals to settle into the story without getting hung up on the genre's conventions".[34] The musical styles span from a jaunty 1950s sitcom arrangement of the Buffy theme in the opening credits—the only episode in the series to begin without the normal version of the theme song and full cast roll, signifying a genre shift[7]—to Anya's hard-rock version of "Bunnies". Whedon assigned Emma Caulfield the rock-opera format because Caulfield often sang in such a way to him on the set.[6] Spike's "Rest in Peace" is also a rock song, which Whedon wrote after completing the episode's first song, Tara's "Under Your Spell", a contemporary pop song with radio-play potential. Xander and Anya's duet—the most fun to shoot but difficult to write, according to Whedon[6]—is inspired by Fred Astaire-Ginger Rogers comedies as evidenced by the silken pajama costumes and art deco apartment setting.[35] Musically, the song uses influences from Ira Gershwin, a Charleston rhythm, and jazz-like chord slides.[36] Giles' "Standing" is a ballad to Buffy that she does not hear, unlike the songs revealing truths elsewhere in the episode.[37] Whedon shot the scene so that Giles moves in real time while Buffy works out in slow motion, to accentuate Giles' distance from her. Buffy's not hearing his song was intentional; Whedon explained, "You can sing to someone in musicals and they can never know how you feel or how much you love them, even if they're standing right in front of you".[6]

text: "Under Your Spell" received attention from Buffy studies writers because it presents a frank and unflinching expression of lesbian romance. Buffy the Vampire Slayer was the first show in U.S. television history to portray a long-term lesbian relationship among the core cast of characters.[38] Previous televised depictions of lesbian relations were primarily limited to single "coming out" or "lesbian kiss" episodes, showing lesbian-identified characters as affectionate but not erotic.[note 4] Tara and Willow demonstrate throughout the series, and specifically in "Once More, with Feeling", that they are "intensely sexual", according to Buffy essayist Justine Larbalestier. Near the end of Tara's song, she sings, "Lost in ecstasy / Spread beneath my Willow tree / You make me / Com — plete", as Tara levitates off the bed while Willow tacitly performs cunnilingus on her.[39] Lorna Jowett called the song "the most erotic scene" of the series.[40] Whedon admitted on the DVD commentary for the episode that the song is "pornography" and "probably the dirtiest lyric I've ever written, but also very, very beautiful".[6]

text: Buffy essayist Ian Shuttleworth writes that Amber Benson (Tara) has "the sweetest singing voice of all the lead players", referring to "Under Your Spell" as "heavenly and salacious"; author Nikki Stafford concurs, writing that Benson "has the most stunning voice, showing a surprising range".[12] Whedon acknowledged that the "lyrical, heavenly quality" of Benson's voice led him to assign her the episode's love song.[9] Alyson Hannigan (Willow) was unwilling to sing much and her performance is "apprehensive", according to Shuttleworth. He considers this an example of Tara's quieter strength coming out in front of Willow's showy demonstrations of powerful magic.[41] Buffy studies scholar Rhonda Wilcox interprets Willow's diminished role representing the show's silence about Willow's descent into addiction and darkness through the rest of the season.[42] Benson remarked that Tara's story arc is significant within the episode, starting out with ecstasy but soon recognizing the illusory circumstances surrounding her bliss and that "life can't be perfect all the time".[9]

text: The most complicated song, "Walk Through the Fire", leads all the characters to the climax from different locations for different reasons, reminiscent of the "Tonight Quintet" from West Side Story.[43] When they all sing the chorus at once to the line "We will walk through the fire / And let it — burn", two fire trucks race behind the Scoobies as they proceed to the Bronze. Whedon called the shot the "single greatest thing we ever did".[6] Each of the singers in this song, which "marries soft rock to the function of a dirge", connects musically to earlier songs while foreshadowing Buffy's next number and the final chorus, providing an ominous anxiety.[44]

text: Buffy's numbers are the most complex, changing key and tempo when she begins to reveal the secrets she swore she never would.[12] This appears specifically in "Something to Sing About", which starts with uptempo platitudes: "We'll sing a happy song / And you can sing along: / Where there's life, there's hope / Every day's a gift / Wishes can come true / Whistle while you work ..." While singing, she kills Sweet's minions with a pool cue. Whedon attempted to make the song tuneful yet chaotic to express the main point of the episode.[6] It transitions suddenly into her desire to be like normal girls, then changes again, slowing the tempo as she challenges Sweet not to give her a song, but "something to sing about".[45] Musicologist Amy Bauer categorizes the tempo shifts as "rock ballad to punk polka to hymn" that indicates Buffy's turmoil. The key and tempo slow again, as Buffy finally reveals "I live in hell / 'Cause I've been expelled from heaven / I think I was in heaven" with the chord changing from B minor to B diminished, each time she repeats "heaven".[46] When replying to her, Spike has the same shift from minor to diminished each time he repeats the word "living."

text: The episode nears the end with "Where Do We Go from Here?", as the Scoobies stand dazed and disoriented, facing different directions. As they sing "Understand we'll go hand in hand / But we'll walk alone in fear", they line up, hold hands, then fling each other's hands away in a piece of what Whedon calls "literal choreography".[6] Each of the eight characters in this line wears a color in the visible spectrum, a conscious decision by the costume designer. The couples in the group wear opposite colors (Giles in green and Buffy in red, Anya in blue and Xander in orange, Tara in yellow and Willow in purple), and Rhonda Wilcox interprets the color-coding and choreography to represent the "tension between the individual and the group".[47] The characters as a chorus sing "The curtains close on a kiss, God knows / We can tell the end is near", moments before Buffy runs out to kiss Spike and the show closes with actual curtains. As Spike and Buffy kiss, a swell of music accompanies them, similar to the ending of Gone with the Wind. Lyrics sung moments before, however, forecast the uncertainty of the relationship between Spike and Buffy, as well as their contrasting reasons for initiating any romance; Spike wants to feel love from Buffy, while she simply wants to feel.[42]

text: Reception[edit]

text: When the episode was originally broadcast in the United States on UPN on November 6, 2001, it received a Nielsen rating of 3.4 and a share of 5. This placed the episode in sixth place in its timeslot, and 88th among broadcast television for the week of November 5–11, 2001. It was the most watched program on UPN that night, and the third most watched program that week, trailing episodes of Star Trek: Enterprise and WWF SmackDown.[48] This was a decrease from the 3.7 rating received by the previous episode a week prior.[49]

text: "Once More, with Feeling" received widespread critical acclaim from media and critics when it aired, during overseas syndication, and in reminiscences of the best episodes of Buffy after the series ended. Although Salon.com writer Stephanie Zacharek states "(t)he songs were only half-memorable at best, and the singing ability of the show's regular cast ranged only from the fairly good to the not so great", she also asserts that it works "beautifully", paces itself gracefully, and is "clever and affecting".[34] Zacharek's unenthusiastic assessments of the music and cast's singing abilities were not shared by other writers. Debi Enker in Australia's The Age writes, "Giles (Anthony Stewart Head) and Tara (Amber Benson) are terrific, Xander (Nicholas Brendon) and Dawn (Michelle Trachtenberg) struggle valiantly, and Willow (Alyson Hannigan) barely sings a note".[50] Tony Johnston in The Sunday Herald Sun writes that Gellar "struggles on some of her higher notes, but her dance routines are superb, Michelle Trachtenberg's Dawn reveals sensual dance moves way beyond her tender years, and James Marsters' Spike evokes a sort of Billy Idol yell to disguise his lack of vocal proficiency [...] The rest of the cast mix and match like ready-made Broadway troupers." Johnston counts "I'll Never Tell" as one of the episode's "standout moments".[13] Connie Ogle in The Miami Herald calls the songs "better and far more clever than most of the ones you'll hear on Broadway these days".[51]

text: Writers agree that the episode was risky and could have failed spectacularly. Jonathan Bernstein in the British newspaper The Observer writes "What could have been, at best, an eccentric diversion and, at worst, a shuddering embarrassment, succeeded on every level [...] It provided a startling demonstration that creator Joss Whedon has a facility with lyrics and melody equal to the one he's demonstrated for the past six seasons with dialogue, character and plot twists. Rather than adopt the 'Hey, wouldn't it be wacky if we suddenly burst into song?' approach practised by Ally McBeal, the Buffy musical was entirely organic to the series' labyrinthine progression." [52] Johnston in the Sunday Herald Sun says, "There is just so much to this marvellously cheeky episode that suggests the show can take any route it pleases and pull it off",[13] while Debi Enker in The Age comments, "Whedon demonstrates yet again what Buffy aficionados have known and appreciated for years: that his wit, playfulness and readiness to take a risk make his television efforts rise way above the pack."[50] Steve Murray in The Atlanta Journal-Constitution characterizes the episode as "scary in a brand-new way", saying "Once More, with Feeling" is "as impressive as Whedon's milestone episodes 'Hush' and 'The Body'"; the episode is "often hilarious", according to Murray, and acts as "(b)oth spoof and homage, [parodying] the hokiness of musicals while also capturing the guilty pleasure and surges of feeling the genre inspires".[53]

text: Writing in the Toronto Star, Vinay Menon calls "Once More, with Feeling" "dazzling" and writes of "Joss Whedon's inimitable genius"; he goes on to say "(f)or a show that already violates conventions and morphs between genres, its allegorical narrative zigging and zagging seamlessly across chatty comedy, drama and over-the-top horror, 'Once More, with Feeling' is a towering achievement [...] The show may be anchored by existential weightiness, it may be painted with broad, supernatural brushstrokes, but in the end, this coming-of-age story, filled with angst and alienation, is more real than any other so-called teen drama [...] So let's add another line of gushing praise: 'Once More, with Feeling' is rhapsodic, original, deeply affecting, and ultimately, transcendental. Quite simply, television at its best."[54]

text: The episode was nominated for an Emmy Award for Outstanding Musical Direction, but the National Academy of Television Arts and Sciences (NATAS) neglected to include the title on the ballots for Emmy nominations in 2002. NATAS attempted to remedy this by mailing a postcard informing its voters that it should be included, but the episode did not win. NATAS' oversight, according to the Washington Post, was "another example of the lack of industry respect afforded one of television's most consistently clever shows".[55] Ogle in The Miami Herald vigorously protests this omission, writing, "[T]he most astonishing, entertaining hour (hour plus, actually) of TV in the past year slips by virtually unnoticed. Nothing here is real; nothing here is right. Buffy the Vampire Slayer's musical episode, 'Once More, with Feeling', registers a paltry outstanding music direction nomination. Nice for the musical directors. A stake through the aspirations of writer/director Joss Whedon, the beating creative heart of Buffy, the only TV writer brave and clever enough to use horror as one great big wonderful metaphor for growing up [...] 'Once More, with Feeling' is TV of a different sort, something that comes along once in a lifetime and should not be buried but celebrated and rewarded."[51] The episode was also nominated for a Best Dramatic Presentation Hugo Award and a Best Script Nebula Award, both given for excellence in science fiction and fantasy writing.[56][57] In 2009 TV Guide ranked the episode #14 on its list of "TV's Top 100 Episodes of All Time".[58] For its 65th anniversary, TV Guide picked it as the fifth best episode of the 21st century.[59]

text: Soundtrack[edit]

text: An album including all 14 songs in the episode, with Christophe Beck's scores for three other Buffy episodes, was released by Rounder Records in September 2002 as season seven premiered. John Virant, president and chief executive of Rounder Records, told the Los Angeles Times, "I remember watching the episode when it aired last October, and after it was over, I said to my wife, 'That's the best hour of TV I've ever seen. Someone should put that [soundtrack] out.' I inquired at Fox, just following up, and they said, 'Well, we tried, it didn't happen. If you want to take a run at it, feel free.'"[60] AllMusic gives the album five out of five stars, stating that the music is "every bit as fun as the episode itself", praising the voices of Benson, Marsters and Head. Reviewer Melinda Hill states it is "a must-have for Buffy fans, but it wouldn't be out of place in anyone's collection".[61]

text:
Chart (2002)

Peak

Australian ARIA Albums Chart[62]

97

U.S. Billboard 200[63]

49

U.S. Billboard Top Soundtracks[63]

3

text: DVD releases[edit]

text: In addition to featuring on the sixth season box set, "Once More, with Feeling" was individually released on DVD in Region 2 format on April 14, 2003,[64] the only episode to be individually released.[65] In Region 1, the episode was released on the sixth season box set on May 25, 2004, over a year later than the Region 2 release.[66]

text: Influence on television[edit]

text: Since the musical episode of Buffy aired, several other series have worked musical format into episodes, including Scrubs, ("My Musical") in 2007,[67] an episode of Grey's Anatomy entitled "Song Beneath the Song" in 2011[68] and Batman: The Brave and the Bold, ("Mayhem of the Music Meister!") in 2009. The musical television episode was declared a genre, a gimmick, according to Mary Williams at Salon.com, for series that had run out of interesting story lines and characters. Both Williams and Margaret Lyons at New York magazine, however, declared "Once More, with Feeling" the "gold standard" for musical episodes.[69][70] Despite this, Joss Whedon recognized the influence "Once More, with Feeling" has had on other shows, but denied that it was primarily responsible for the rise in musical television episodes or series such as Glee, citing the popularity of High School Musical instead.[71]

text: Public showings[edit]

text: Buffy the Vampire Slayer developed an enthusiastic fan following while it aired. Following its series finale, fans continued their appreciation in theater showings of "Once More, with Feeling" where attendees are encouraged to dress like the show's characters, sing along to the musical numbers, and otherwise interact in the style of The Rocky Horror Picture Show.[72] Clinton McClung, a New York-based film programmer, got the idea for a sing-along from audience-participation showings of The Sound of Music in 2003. The next year, he began putting on sing-alongs to "Once More, with Feeling" in Boston's Coolidge Corner Theater, which became so popular that it went on the road. Audience members received props to use during key scenes, as well as directions (for example, to yell "Shut up, Dawn!" at Buffy's younger sister), and a live cast performed the episode alongside the screen.[73]

text: Buffy sing-alongs received growing media attention as they spread. At the 2007 Los Angeles Film Festival, a special screening and sing-along was held that featured both Marti Noxon and Joss Whedon giving brief speeches to the audience.[74] In October 2007, after a dispute with the Screen Actors Guild over unpaid residuals, 20th Century Fox pulled the licensing for public screenings of "Once More, with Feeling", effectively ending official Buffy sing-alongs. Whedon called the cancellation "hugely depressing" and attempted to influence the studio to allow future showings.[75]


document_title: Deposition (phase transition)

question_text: when a substance goes directly from a solid state to a gaseous form the process is known as

root

text: Deposition (phase transition)

text: This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this article by introducing more precise citations. (April 2011) (Learn how and when to remove this template message)

tag: table

text: Deposition is a thermodynamic process, a phase transition in which gas transforms into solid without passing through the liquid phase. The reverse of deposition is sublimation and hence sometimes deposition is called desublimation.

tag: p

text: One example of deposition is the process by which, in sub-freezing air, water vapor changes directly to ice without first becoming a liquid. This is how snow forms in clouds, as well as how frost and hoar frost form on the ground or other surfaces. Another example is when frost forms on a leaf. For deposition to occur, thermal energy must be removed from a gas. When the leaf becomes cold enough, water vapor in the air surrounding the leaf loses enough thermal energy to change into a solid. Even though the air temperature may be below the dew point, the water vapor may not be able to condense spontaneously if there is no way to remove the latent heat. When the leaf is introduced, the supercooled water vapor immediately begins to condense, but by this point is already past the freezing point. This causes the water vapor to change directly into a solid.

text: Another example is the soot that is deposited on the walls of chimneys. Soot molecules rise from the fire in a hot and gaseous state. When they come into contact with the walls they cool, and change to the solid state, without formation of the liquid state. The process is made use of industrially in combustion chemical vapor deposition.

text: There is an industrial coatings process, known as evaporative deposition, whereby a solid material is heated to the gaseous state in a low-pressure chamber, the gas molecules travel across the chamber space and then condense to the solid state on a target surface, forming a smooth and thin layer on the target surface. Again, the molecules do not go through an intermediate liquid state when going from the gas to the solid. See also physical vapor deposition, which is a class of processes used to deposit thin films of various materials onto various surfaces.

text: Deposition releases energy and is an exothermic phase change.


document_title: List of James Bond films

question_text: when was the last james bond movie made

question_tokens: when was the last james bond movie made

text: List of James Bond films

text: Plots[edit]

text: Dr. No (1962)[edit]

text: Strangways, the British Intelligence (SIS) Station Chief in Jamaica, is killed. In response, British agent James Bond—also known as 007—is sent to Jamaica to investigate the circumstances. During his investigation Bond meets Quarrel, a Cayman fisherman, who had been working with Strangways around the nearby islands to collect mineral samples. One of the islands was Crab Key, home to the reclusive Dr. No.

text: Bond visits the island, where he meets a local shell diver, Honey Ryder. The three are attacked by No's men, who kill Quarrel using a flame-throwing armoured tractor; Bond and Honey are taken prisoner. Dr. No informs them he is a member of SPECTRE, the SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion, and he plans to disrupt the Project Mercury space launch from Cape Canaveral with his atomic-powered radio beam. Bond and Honey escape from the island, killing No and blowing up his lair in the process.

text: From Russia with Love (1963)[edit]

text: SPECTRE's expert planner Kronsteen devises a plot to steal a Lektor cryptographic device from the Soviets and sell it back to them while exacting revenge on Bond for killing their agent Dr. No; ex-SMERSH operative Rosa Klebb is in charge of the mission. She recruits Donald Grant as an assassin and Tatiana Romanova, a cipher clerk at the Soviet consulate in Istanbul, as the unwitting bait.

text: Bond travels to Turkey and meets with Ali Kerim Bey, the MI6 officer in Turkey. Between them, they obtain the Lektor, and the three escape with the device on the Orient Express. However, they are followed by Grant, who kills Kerim Bey and a Soviet security officer. Grant pretends to be another British agent and meets Bond. Over dinner Grant drugs Romanova, then overcomes Bond. Bond tricks Grant into opening Bond's attaché case in the manner that detonates its tear gas booby trap, allowing Bond to attack and kill him. Bond and Romanova escape with the Lektor to Venice. Rosa Klebb, disguised as a hotel maid, attempts to steal the Lektor and kill Bond, but ends up being shot by Romanova.

text: Goldfinger (1964)[edit]

text: Bond is ordered to observe bullion dealer Auric Goldfinger. He suspects Goldfinger of cheating at cards and foils his scheme by distracting his female accomplice, who is later killed by Goldfinger's Korean manservant and henchman Oddjob after Bond seduces her. Bond is then instructed to investigate Goldfinger's gold smuggling operation and he tails the dealer to Switzerland. Bond is captured when he reconnoitres Goldfinger's plant and is drugged unconscious; Goldfinger then transports Bond to his Kentucky stud farm where he holds Bond captive. Bond escapes briefly to witness Goldfinger's meeting with US mafiosi, observing secretly as Goldfinger presents to the gangsters his plans to rob Fort Knox by using materials they have smuggled to him.

text: Bond is recaptured after hearing the details of the operation, but he subsequently seduces Pussy Galore, Goldfinger's private pilot and convinces her to inform the American authorities. Goldfinger's private army break into Fort Knox and access the vault, where Bond fights and kills Oddjob, while American troops battle with Goldfinger's army outside. Bond's plane is hijacked by Goldfinger, but Bond struggles with him, and shoots out a window, creating an explosive decompression, killing Goldfinger.[14]

text: Thunderball (1965)[edit]

text: Bond investigates the hijacking of an Avro Vulcan loaded with two atomic bombs, which had been taken by SPECTRE. The organisation demands a ransom for the return of the bombs. Bond follows a lead to the Bahamas, where he meets up with his CIA counterpart and friend Felix Leiter. The pair suspect a rich playboy, Emilio Largo, and search the area around his yacht and then the area where they think the yacht may have travelled. After finding the plane—but without the nuclear devices on board—the two agents arrange for Largo's yacht to be tracked and ambushed once the bombs are being moved by Largo.

text: Casino Royale (1967)[edit]

text: Bond is brought out of retirement to deal with SMERSH and is promoted to the head of MI6 on the death of M. He recruits baccarat player Evelyn Tremble to beat SMERSH agent Le Chiffre. Having embezzled SMERSH's money, Le Chiffre is desperate for money to cover up his theft. Tremble stops Le Chiffre's cheating and beats him in a game of baccarat. Tremble is captured, tortured and killed. Bond establishes that the casino is located atop a giant underground headquarters run by the evil Dr. Noah; he and Moneypenny travel there to investigate. Dr. Noah turns out to be Sir James's nephew Jimmy Bond, who plans to use biological warfare to make all women beautiful and kill all tall men, leaving him as the "big man" who gets all the girls. The casino is then overrun by secret agents and a battle ensues, but the building explodes, killing all inside.

text: You Only Live Twice (1967)[edit]

text: 007 is sent to Japan to investigate the hijacking of an American spacecraft by an unidentified spacecraft. Upon his arrival, Bond is contacted by Aki, assistant to the Japanese secret service leader Tiger Tanaka. Bond established that the mastermind behind the hijacking is Ernst Stavro Blofeld and SPECTRE, in conjunction with Osato, a local industrialist. Bond follows the trail to Blofeld's island headquarters.

text: Tanaka's ninja troops attack the island, while Bond manages to distract Blofeld and create a diversion which allows him to open the hatch, letting in the ninjas. During the battle, Osato is killed by Blofeld, who activates the base's self-destruct system and escapes. Bond, Kissy, Tanaka, and the surviving ninjas escape through the cave tunnel before it explodes, and are rescued by submarine.

text: On Her Majesty's Secret Service (1969)[edit]

text: While searching for Ernst Stavro Blofeld, the head of SPECTRE, Bond saves Tracy di Vicenzo on the beach from committing suicide by drowning, and later meets her again in a casino. Bond then receives information from Marc-Ange Draco, the head of the European crime syndicate Unione Corse and Tracy's father, about Blofeld's Swiss solicitor. Bond breaks into the solicitors office and establishes Blofeld is corresponding with the London College of Arms. Posing as an emissary of the college, Bond meets Blofeld, who has established a clinical allergy-research institute atop Piz Gloria in the Swiss Alps. Bond soon establishes that Blofeld is brainwashing his patients to distribute bacteriological warfare agents throughout various parts of the world.

text: Bond escapes from the clinic after Blofeld identifies him as the British agent. Bond arranges a raid on the clinic using men from Draco's organisation. The raid is a success, although Blofeld escapes. Bond marries Tracy, but she is murdered shortly afterwards by Irma Bunt, Blofeld's partner.

text: Diamonds Are Forever (1971)[edit]

text: Bond is tasked with investigating a major diamond smuggling ring which begins in Africa and runs through Holland and the UK to the United States. Disguised as professional smuggler and murderer Peter Franks, Bond travels to Amsterdam to meet contact Tiffany Case: he is given the diamonds and travels on to the US, where he is met by Felix Leiter. Bond moves through the chain, which leads to the Whyte House, a casino-hotel owned by the reclusive billionaire Willard Whyte.

text: Bond follows the diamonds to a pick-up by Bert Saxby, Whyte's head of security, and then onto a research laboratory owned by Whyte, where he finds that a satellite is being built by a laser refraction specialist, Professor Dr. Metz. Suspecting Whyte, Bond tries to confront him, but instead meets Blofeld, who captures the agent and explains to him that the satellite can blow up nuclear missiles. Blofeld admits that he intends to auction it to the highest bidder. Bond escapes and frees the captive Whyte and they establish that Blofeld is using an offshore oil rig as his base. Bond attacks the rig, stopping Blofeld's operation and dispersing his organisation.

text: Live and Let Die (1973)[edit]

text: James Bond is sent to investigate the murder of three British MI6 agents, all of whom have been killed within 24 hours. He discovers the victims were all separately investigating the operations of Dr. Kananga, the dictator of a small Caribbean island, San Monique. He also establishes that Kananga also acts as Mr. Big, a ruthless and cunning gangster.

text: Upon visiting San Monique, Bond determines that Kananga is producing two tons of heroin and is protecting the poppy fields by exploiting locals' fear of voodoo and the occult. Through his alter ego, Mr. Big, Kananga plans to distribute the heroin free of charge at his Fillet of Soul restaurants, which will increase the number of addicts. Bond is captured by Kananga, but he escapes, killing Kananga and destroying the poppy crop.

text: The Man with the Golden Gun (1974)[edit]

text: After receiving a golden bullet with James Bond's code "007" etched into its surface M relieves Bond of a mission locating a British scientist, Gibson, who has invented the "Solex agitator", a device to harness solar power, thereby solving the energy crisis. The bullet signifies Bond is a target of assassin Francisco Scaramanga and Bond sets out unofficially to find him. From a spent golden bullet, Bond tracks Scaramanga to Macau, where he sees Scaramanga's mistress collecting golden bullets at a casino. Bond follows her to Hong Kong, where he witnesses the murder of Gibson and the theft of the Solex agitator. Bond is subsequently assigned to retrieve the agitator and assassinate Scaramanga.

text: Bond meets with Hai Fat, a wealthy Thai entrepreneur suspected of arranging Gibson's murder, and is captured, but subsequently escapes. He tracks Scaramanga to an island in Red Chinese waters, where the two men fight a duel: Bond kills the assassin.

text: The Spy Who Loved Me (1977)[edit]

text: Bond is tasked with investigating the disappearance of British and Soviet ballistic missile submarines and the subsequent offer to sell a submarine tracking system. Bond works alongside Major Anya Amasova of the KGB. The pair track the plans across Egypt and identify the person responsible for the thefts as shipping tycoon, scientist and anarchist Karl Stromberg.

text: Bond and Amasova follow a suspicious tanker owned by Stromberg and establish it is responsible for the missing submarines; the submarine in which they are travelling is also captured by Stromberg. Stromberg plans to destroy Moscow and New York, triggering nuclear war: he planned to then establish a new civilisation. Bond escapes, freeing the submariners captured from the other submarines and follows Stromberg to his headquarters, where he shoots the tycoon and a torpedo destroys the base.

text: Moonraker (1979)[edit]

text: A Drax Industries Moonraker space shuttle on loan is hijacked and Bond is ordered to investigate. Bond meets the owner of the company, Hugo Drax and one of Drax's scientists, Dr. Holly Goodhead. Bond follows the trail to Venice, where he establishes that Drax is manufacturing a nerve gas deadly to humans, but harmless to animals. Bond again meets Goodhead and finds out that she is a CIA agent.

text: Bond travels to the Amazon looking for Drax's research facility, where he is captured. He and Goodhead pose as pilots on one of six space shuttles being sent by Drax to a hidden space station. There Bond finds out that Drax plans to destroy all human life by launching fifty globes containing the toxin into the Earth's atmosphere. Bond and Goodhead disable the radar jammer hiding the station from Earth and the US sends a platoon of Marines in a military space shuttle. During the battle, Bond kills Drax and his station is destroyed.

text: For Your Eyes Only (1981)[edit]

text: After a British spy boat sinks, a marine archaeologist, Sir Timothy Havelock, is tasked to retrieve its Automatic Targeting Attack Communicator (ATAC) communication system before the Russians do. After Havelock is murdered by Gonzales, a Cuban hit-man, Bond is ordered to find out who hired Gonzales. While investigating, Bond is captured, but Gonzales is subsequently killed by Havelock's daughter Melina, and she and Bond escape. Bond identifies one of those present with Gonzales as Emile Leopold Locque and so follows a lead to Italy and meets his contact, Luigi Ferrara, and a well-connected Greek businessman and intelligence informant, Aris Kristatos. Kristatos tells Bond that Locque is employed by Milos Columbo, Kristatos' former organised crime partner.

text: After Ferrara is murdered—and the evidence points to Columbo—Bond is captured by men working for Columbo. Columbo then explains that Locque was actually hired by Kristatos, who is working for the KGB to retrieve the ATAC. Bond and Melina recover the ATAC but are captured by Kristatos. They escape and follow Kristatos to Greece, where he is killed and the ATAC is destroyed by Bond.

text: Octopussy (1983)[edit]

text: Bond investigates the murder of 009, killed in East Berlin while dressed as a circus clown and carrying a fake Fabergé egg. An identical egg appears at auction and Bond establishes the buyer, exiled Afghan prince, Kamal Khan is working with Orlov, a renegade Soviet general, who is seeking to expand Soviet borders into Europe. Bond meets Octopussy, a wealthy woman who leads the Octopus cult. Bond finds out that Orlov has been supplying Khan with priceless Soviet treasures, replacing them with replicas, while Khan has been smuggling the real versions into the West, via Octopussy's circus troupe.

text: Bond infiltrates the circus, and finds that Orlov replaced the Soviet treasures with a nuclear warhead, primed to explode at a US Air Force base in West Germany. The explosion would trigger Europe into seeking disarmament, in the belief that the bomb was an American one that was detonated by accident, leaving the West's borders open to Soviet invasion. Bond deactivates the warhead and then he returns to India, joining an assault on Khan's palace.

text: Never Say Never Again (1983)[edit]

text: Bond investigates the hijacking of two cruise missiles with live nuclear warheads which had been taken by SPECTRE. He meets Domino Petachi, the pilot's sister, and her lover, Maximillian Largo, a SPECTRE agent. Following them to France, Bond informs Domino of her brother's death and subsequently finds his MI6 colleague killed by Fatima Blush, another SPECTRE agent: Bond kills her. Bond and Felix Leiter then attempt to board Largo's motor yacht, the Flying Saucer, in search of the missing nuclear warheads. Bond becomes trapped and is taken, with Domino, to Palmyra, Largo's base of operations in North Africa, but Bond subsequently escapes with Domino. The two agents ambush Largo while he is placing one of the bombs.

text: A View to a Kill (1985)[edit]

text: Bond investigates millionaire industrialist Max Zorin, who is trying to corner the world market in microchips. He establishes that Zorin was previously trained and financed by the KGB, but has now gone rogue. Zorin unveils to a group of investors his plan to destroy Silicon Valley which will give him a monopoly in the manufacturing of microchips.

text: Bond uncovers Zorin's plan is to detonate explosives beneath the lakes along the Hayward and San Andreas faults, which will cause them to flood. A larger bomb is also on site in the mine to destroy a "geological lock" that prevents the two faults from moving at the same time. Bond destroys the bomb, and subsequently kills Zorin.

text: The Living Daylights (1987)[edit]

text: Bond aids the defection of KGB officer General Georgi Koskov, by wounding a female KGB sniper, Kara Milovy, a cellist. During his debriefing Koskov alleges KGB's old policy of Smert Spionam, meaning Death to Spies, has been revived by General Leonid Pushkin, the new head of the KGB. Koskov is subsequently abducted from the safe-house and Bond is ordered to kill Pushkin.

text: Bond tracks down Milovy and establishes she is Koskov's girlfriend and that the defection was staged. He subsequently finds out that Koskov is a friend of the arms dealer Brad Whitaker. After meeting Pushkin and faking his assassination by Bond, Bond investigates a scheme by Koskov and Whitaker to embezzle KGB funds and use them to purchase diamonds, which they then use to purchase drugs. After Koskov purchases the drugs, Bond destroys them. Koskov is subsequently arrested by Pushkin, while Bond kills Whitaker.

text: Licence to Kill (1989)[edit]

text: Bond aids Felix Leiter in the capture of drugs lord Franz Sanchez; Sanchez escapes and maims Leiter, killing his wife. Bond swears revenge, but is ordered to return to duty by M. Bond refuses, and M revokes his licence to kill, causing Bond to become a rogue agent; although officially stripped of his status, he is unofficially given help by Q.

text: Bond journeys to Sanchez's home in the Republic of Isthmus and is taken onto Sanchez's staff, where he manages to raise Sanchez's suspicions against a number of his employees. When Bond is taken to Sanchez's main base and drugs refinery, he is recognised by one of Sanchez's men and captured. He escapes, destroying the refinery in the process, and pursues Sanchez, killing him.

text: GoldenEye (1995)[edit]

text: In 1986 Bond and Alec Trevelyan—agent 006—infiltrate an illicit Soviet chemical weapons facility and plant explosive charges. Trevelyan is shot, but Bond escapes from the facility as it explodes. Nine years later, Bond witnesses the theft by criminal organisation Janus of a prototype Eurocopter Tiger helicopter that can withstand an electromagnetic pulse. Janus uses the helicopter to steal the control disk for the dual GoldenEye satellite weapons, using the GoldenEye to destroy the complex with an electromagnetic pulse; there are two survivors of the attack, a programmer, Natalya Simonova, and Boris Grishenko.

text: Bond investigates the attack and travels to Russia where he locates Simonova and learns that Trevelyan, who had faked his own death, was the head of Janus. Simonova tracks computer traffic to Cuba and she and Bond travel there and locate Trevelyan, who reveals his plan to steal money from the Bank of England before erasing all of its financial records with the GoldenEye, concealing the theft and destroying Britain's economy. Bond and Simonova destroy the satellite facility, killing Trevelyan and Grishenko in the process.

text: Tomorrow Never Dies (1997)[edit]

text: Bond investigates the sinking of a British warship in Chinese waters, the theft of one of the ship's cruise missiles—and the shooting down of a Chinese fighter plane. He uncovers a link to media mogul Elliot Carver which suggests that Carver had purchased a GPS encoder on the black market.

text: Bond encounters Chinese agent Wai Lin, who is also investigating the matter and the two agree to work together. They discover that Carver had used the GPS encoder to push the British ship off course and into Chinese waters to incite a war for ratings. With the British fleet on their way to China, Bond and Wai Lin find Carver's stealth ship, board it and prevent the firing of a British cruise missile at Beijing. They blow a hole in the ship, exposing it to radar, leading to its sinking averting war between Britain and China.

text: The World Is Not Enough (1999)[edit]

text: Bond recovers money for Sir Robert King, a British oil tycoon and friend of M, but the money is booby-trapped and kills King shortly afterwards. Bond traces the money to Renard, a KGB agent-turned-terrorist, who had previously kidnapped King's daughter Elektra. MI6 believes that Renard is targeting Elektra King a second time and Bond is assigned to protect her: the pair are subsequently attacked.

text: Bond visits Valentin Zukovsky and is informed that Elektra's head of security, Davidov, is in league with Renard: Bond kills Davidov and follows the trail to a Russian ICBM base in Kazakhstan. Posing as a Russian nuclear scientist, Bond meets American nuclear physicist Christmas Jones. The two witness Renard stealing the GPS locator card and a half quantity of weapons-grade plutonium from a bomb and set off an explosion, from which Bond and Jones escape. Elektra kidnaps M after she thinks Bond had been killed and Bond establishes that Elektra intends to create a nuclear explosion in a submarine in Istanbul to increase the value of her own oil pipeline. Bond frees M, kills Elektra and then disarms the bomb on the submarine where he kills Renard.

text: Die Another Day (2002)[edit]

text: Bond investigates North Korean Colonel Tan-Sun Moon, who is illegally trading African conflict diamonds for weapons. Moon is apparently killed and Bond is captured and tortured for 14 months, after which he is exchanged for Zao, Moon's assistant. Despite being suspended on his return, he decides to complete his mission and tracks down Zao to a gene therapy clinic, where patients can have their appearances altered through DNA restructuring. Zao escapes, but the trail leads to British billionaire Gustav Graves.

text: Graves unveils a mirror satellite, "Icarus", which is able to focus solar energy on a small area and provide year-round sunshine for crop development. Bond discovers Moon has also undergone the gene therapy and has assumed the identity of Graves. Bond then exposes Moon's plan: to use the Icarus to cut a path through the Korean Demilitarized Zone with concentrated sunlight, allowing North Korean troops to invade South Korea and reunite the countries through force. Bond disables the Icarus controls, kills Moon and stops the invasion.

text: Casino Royale (2006)[edit]

text: A reboot of the series, with Bond winning his 00 status in the pre-credits sequence. Bond is instructed to investigate the funding of terrorism. He tracks down and kills a bomb-maker and takes his mobile phone. Searching through the phone, Bond discovers a text message which he traces to Alex Dimitrios, and then on to financer Le Chiffre. Le Chiffre's investments involve short-selling stock in successful companies and then engineering terrorist attacks to sink their share prices. Bond foils Le Chiffre's plan to destroy the prototype Skyfleet airliner, which forces Le Chiffre to set up a high-stakes poker tournament at the Casino Royale to recoup his fortune. Bond is instructed to beat Le Chiffre and is aided by a member of HM Treasury, Vesper Lynd.

text: Bond beats Le Chiffre at the poker table, but Lynd is kidnapped by Le Chiffre after the game, as is Bond, who is captured whilst pursuing them; Lynd is ransomed for the money and Bond is tortured. Le Chiffre is subsequently killed by Mr. White, a liaison between Le Chiffre and a number of his clients. Bond learns that his poker winnings were never repaid to the Treasury, which Lynd was supposed to have done, and Bond establishes that she was a double agent. Bond pursues her and is attacked by members of White's organisation: he survives, but White takes the money and Lynd sacrifices herself in exchange for Bond's life, as he later finds out from M. Bond subsequently finds and captures White.

text: Quantum of Solace (2008)[edit]

text: Along with M, Bond interrogates Mr. White regarding his organisation, Quantum. M's bodyguard, Mitchell, a double agent, attacks M, enabling White to escape. Bond traces the organisation to Haiti and a connection to environmentalist Dominic Greene.

text: Bond uncovers a plot between Greene and an exiled Bolivian General, Medrano, to put Medrano in power in Bolivia while Quantum are given a monopoly to run the water supply to the country. Bond ascertains Quantum are damming Bolivia's supply of fresh water to force the price up. Bond attacks the hotel where Greene and Medrano are finalising their plans and leaves Greene stranded in the desert with only a tin of engine oil to drink. Bond then finds Vesper Lynd's former lover and member of Quantum, Yusef Kabira.

text: Skyfall (2012)[edit]

text: After an operation in Istanbul ends in disaster, Bond is missing and presumed to be dead. In the aftermath, questions are raised over M's ability to run the Secret Service, and she becomes the subject of a government review over her handling of the situation. The Service itself is attacked, prompting Bond's return to London. His presence assists MI6's investigation in uncovering a lead, and Bond is sent to Shanghai and Macau in pursuit of a mercenary named Patrice. There, he establishes a connection to Raoul Silva, a former MI6 agent who was captured and tortured by Chinese agents. Blaming M for his imprisonment, he sets in motion a plan to ruin her reputation before murdering her. Bond saves M and attempts to lure Silva into a trap, and while he is successful in repelling Silva's assault, M is mortally wounded. Bond returns to active duty under the command of the new M, Gareth Mallory.

text: Spectre (2015)[edit]

text: In the aftermath of Raoul Silva's attack on MI6, a cryptic message sets in motion events that will see James Bond come face-to-face with the sinister organisation known as SPECTRE. As Gareth Mallory, the newly appointed M, continues fighting political pressures that threaten the future of MI6, Bond follows a trail from Mexico to Austria and Morocco as he is drawn into a confrontation with an enemy from his past; one who holds a dangerous secret that will force him to question the value of everything he has fought to protect.[15][16][17]

text: Box office and budget[edit]

text: The Eon-produced films have a combined gross of nearly $7 billion, and constitute the fourth-highest-grossing film series, behind Star Wars, Harry Potter films and the Marvel Cinematic Universe.[6]

text:
Title
Year
Bond actor
Director
Box office
Budget
Salary of Bond actor
Box office
Budget
Salary of Bond actor

Actual $ (millions)[18][19][20]
Adjusted 2005 $ (millions)[19]

Dr. No
1962
Connery, SeanSean Connery
Young, TerenceTerence Young
59.5
1.1
0.1[b]
448.8
7.0
0.6

From Russia with Love
1963
Connery, SeanSean Connery
Young, TerenceTerence Young
78.9
2.0
0.3
543.8
12.6
1.6

Goldfinger
1964
Connery, SeanSean Connery
Hamilton, GuyGuy Hamilton
124.9
3.0
0.5
820.4
18.6
3.2

Thunderball
1965
Connery, SeanSean Connery
Young, TerenceTerence Young
141.2
6.8
0.8
848.1
41.9
4.7

Casino Royale[N]
19671 !1967
Niven, DavidDavid Niven

Hughes, KenKen Hughes
John Huston
Joseph McGrath
Robert Parrish
Val Guest
Richard Talmadge

44.4[21]
12[21]
n/a
260[22]
70[22]
n/a

You Only Live Twice
19672 !1967
Connery, SeanSean Connery
Gilbert, LewisLewis Gilbert
101.0
10.3
0.8 + 25% net merchandise royalty
514.2
59.9
4.4 excluding profit participation

On Her Majesty's Secret Service
1969
Lazenby, GeorgeGeorge Lazenby
Hunt, Peter R.Peter R. Hunt
64.6
7.0
0.1
291.5
37.3
0.6

Diamonds Are Forever
1971
Connery, SeanSean Connery
Hamilton, GuyGuy Hamilton
116.0
7.2
1.2 + 12.5% of gross (14.5) [c]
442.5
34.7
5.8 excluding profit participation

Live and Let Die
1973
Moore, RogerRoger Moore
Hamilton, GuyGuy Hamilton
126.4
7.0
0.18
460.3
30.8
0.7

man with !The Man with the Golden Gun
1974
Moore, RogerRoger Moore
Hamilton, GuyGuy Hamilton
98.5
7.0
0.24 + 2.5%
334.0
27.7
0..8 excluding profit participation

spy who !The Spy Who Loved Me
1977
Moore, RogerRoger Moore
Gilbert, LewisLewis Gilbert
185.4
14.0
0.3 + 3.75%
533.0
45.1
0..9 excluding profit participation

Moonraker
1979
Moore, RogerRoger Moore
Gilbert, LewisLewis Gilbert
210.3
34.0
n/a
535.0
91.5
n/a

For Your Eyes Only
1981
Moore, RogerRoger Moore
Glen, JohnJohn Glen
194.9
28.0
n/a
449.4
60.2
n/a

Octopussy
1983
Moore, RogerRoger Moore
Glen, JohnJohn Glen
183.7
27.5
4.0
373.8
53.9
7.8

Never Say Never Again[N]
1983
Connery, SeanSean Connery
Kershner, IrvinIrvin Kershner
160[21]
36[21]
n/a
314[22]
71[22]
n/a

view !A View to a Kill
1985
Moore, RogerRoger Moore
Glen, JohnJohn Glen
152.4
30.0
5.0
275.2
54.5
9.1

living !The Living Daylights
1987
Dalton, TimothyTimothy Dalton
Glen, JohnJohn Glen
191.2
40.0
3.0
313.5
68.8
5.2

Licence to Kill
1989
Dalton, TimothyTimothy Dalton
Glen, JohnJohn Glen
156.2
36.0
5.0
250.9
56.7
7.9

GoldenEye
1995
Brosnan, PiercePierce Brosnan
Campbell, MartinMartin Campbell
351.9
60.0
4.0
518.5
76.9
5.1

Tomorrow Never Dies
1997
Brosnan, PiercePierce Brosnan
Spottiswoode, RogerRoger Spottiswoode
338.9
110.0
8.2
463.2
133.9
10.0

world !The World Is Not Enough
1999
Brosnan, PiercePierce Brosnan
Apted, MichaelMichael Apted
361.8
135.0
12.4
439.5
158.3
13.5

Die Another Day
2002
Brosnan, PiercePierce Brosnan
Tamahori, LeeLee Tamahori
431.9
142.0
16.5
465.4
154.2
17.9

Casino Royale
2006
Craig, DanielDaniel Craig
Campbell, MartinMartin Campbell
594.2
150.0
3.4
581.5
145.3
3.3

Quantum of Solace
2008
Craig, DanielDaniel Craig
Forster, MarcMarc Forster
576.0
200.0
8.9
514.2
181.4
8.1

Skyfall
2012
Craig, DanielDaniel Craig
Mendes, SamSam Mendes
1108.6[23]
150.0[24][25]–200.0[23]
17.0[26]
943.5[22]
127.7–170.2[22]
14.5[22]

Spectre
2015
Craig, DanielDaniel Craig
Mendes, SamSam Mendes
880.7[27]
245.0–250.0[d]
39[35]
725.5[22]
201.8–205.9[22]
n/a

Total
Eon-produced film series
6,829.1
1,453–1,508

12,086
1,881–1,927

All films
7,033.5
1,501–1,556

13,283
2,162–2,208

text: 1 2 Films not produced by Eon

tag: ul

text: Reception and accolades[edit]

text: The Bond films have been nominated for a number of awards throughout their fifty-year history, with most films winning an award; these include successes at the British Academy Film Awards, Golden Globe Awards and Academy Awards. In addition, in 1982 Albert R. Broccoli received the Irving G. Thalberg Memorial Award.[36]

text:
Film
Year
Actor
Rotten Tomatoes
Metacritic
CinemaScore
Awards

Dr. No
1962
Connery, SeanSean Connery
96% (51 reviews)[37]

Winner, Golden Globe Award for New Star of the Year – Actress at the 21st Golden Globe Awards[38]

From Russia with Love
1963
Connery, SeanSean Connery
96% (52 reviews)[39]

Winner, BAFTA Award for British Cinematography: Colour at the 17th British Academy Film Awards[40]
Nominated, Golden Globe Award for Best Original Song at the 22nd Golden Globe Awards[41]

Goldfinger
1964
Connery, SeanSean Connery
96% (57 reviews)[42]

Winner, Academy Award for Best Sound Effects at the 37th Academy Awards[43]
Nominated, BAFTA Award for Best British Art Direction: Colour at the 18th British Academy Film Awards[44]

Thunderball
1965
Connery, SeanSean Connery
86% (43 reviews)[45]

Winner, Academy Award for Best Visual Effects at the 38th Academy Awards[46]
Nominated, BAFTA Award for Best British Art Direction: Colour at the 19th British Academy Film Awards[47]

Casino Royale
1967
Niven, DavidDavid Niven
29% (34 reviews)[48]

Nominated, Academy Award for Best Original Song at the 40th Academy Awards[49]
Nominated, BAFTA Award for Best British Costume Direction: Colour at the 21st British Academy Film Awards[50]

You Only Live Twice
1967
Connery, SeanSean Connery
72% (43 reviews)[51]

Nominated, BAFTA Award for Best British Art Direction: Colour at the 21st British Academy Film Awards[50]

On Her Majesty's Secret Service
1969
Lazenby, GeorgeGeorge Lazenby
82% (45 reviews)[52]

Nominated, Golden Globe Award for New Star of the Year – Actor at the 27th Golden Globe Awards[53]

Diamonds Are Forever
1971
Connery, SeanSean Connery
67% (43 reviews)[54]

Nominated, Academy Award for Best Sound Mixing at the 44th Academy Awards[55]

Live and Let Die
1973
Moore, RogerRoger Moore
66% (44 reviews)[56]

Nominated, Academy Award for Best Original Song at the 46th Academy Awards[57]

man with !The Man with the Golden Gun
1974
Moore, RogerRoger Moore
45% (44 reviews)[58]

spy who !The Spy Who Loved Me
1977
Moore, RogerRoger Moore
79% (47 reviews)[59]

Nominated, Academy Awards for Best Original Score, Best Original Song and Best Production Design at the 50th Academy Awards[60]
Nominated, BAFTA Award for Best Production Design at the 31st British Academy Film Awards[61]
Nominated, Anthony Asquith Award at the 31st British Academy Film Awards[61]
Nominated, Golden Globe Award for Best Original Song at the 35th Golden Globe Awards[62]
Nominated, Golden Globe Award for Best Original Score at the 35th Golden Globe Awards[62]

Moonraker
1979
Moore, RogerRoger Moore
60% (45 reviews)[63]

Nominated, Academy Award for Best Visual Effects at the 52nd Academy Awards[64]

For Your Eyes Only
1981
Moore, RogerRoger Moore
74% (46 reviews)[65]

Nominated, Academy Award for Best Original Song at the 54th Academy Awards[8]
Nominated, Golden Globe Award for Best Original Song at the 39th Golden Globe Awards[66]

Octopussy
1983
Moore, RogerRoger Moore
42% (43 reviews)[67]

Never Say Never Again
1983
Connery, SeanSean Connery
63% (46 reviews)[68]

view !A View to a Kill
1985
Moore, RogerRoger Moore
36% (55 reviews)[69]

Nominated, Golden Globe Award for Best Original Song at the 43rd Golden Globe Awards[70]

living !The Living Daylights
1987
Dalton, TimothyTimothy Dalton
70% (50 reviews)[71]

Licence to Kill
1989
Dalton, TimothyTimothy Dalton
77% (52 reviews)[72]

B+[73]

GoldenEye
1995
Brosnan, PiercePierce Brosnan
78% (72 reviews)[74]
65 (18 reviews)[75]
A-[73]
Nominated, BAFTA Award for Best Sound at the 49th British Academy Film Awards[76]
Nominated, BAFTA Award for Best Special Visual Effects at the 49th British Academy Film Awards[77]

Tomorrow Never Dies
1997
Brosnan, PiercePierce Brosnan
57% (82 reviews)[78]
52 (38 reviews)[79]
A-[73]
Nominated, Golden Globe Award for Best Original Song at the 55th Golden Globe Awards[80]

world !The World Is Not Enough
1999
Brosnan, PiercePierce Brosnan
51% (136 reviews)[81]
57 (38 reviews)[82]

Die Another Day
2002
Brosnan, PiercePierce Brosnan
58% (215 reviews)[83]
56 (43 reviews)[84]
A-[73]
Nominated, Golden Globe Award for Best Original Score at the 60th Golden Globe Awards[85]

Casino Royale
2006
Craig, DanielDaniel Craig
95% (246 reviews)[86]
80 (46 reviews)[87]
A-[73]
Nominated, Alexander Korda Award for Best British Film at the 60th British Academy Film Awards[88]
Nominated, BAFTA Award for Best Actor in a Leading Role at the 60th British Academy Film Awards[89]
Nominated, BAFTA Award for Best Special Visual Effects at the 60th British Academy Film Awards[89]
Nominated, BAFTA Award for Best Adapted Screenplay at the 60th British Academy Film Awards[89]
Nominated, BAFTA Award for Best Production Design at the 60th British Academy Film Awards[89]
Nominated, BAFTA Award for Best Sound at the 60th British Academy Film Awards[89]
Nominated, BAFTA Award for Best Editing at the 60th British Academy Film Awards[90]
Nominated, BAFTA Award for Best Cinematography at the 60th British Academy Film Awards[90]
Nominated, Anthony Asquith Award for achievement in Film Music at the 60th British Academy Film Awards[90]

Quantum of Solace
2008
Craig, DanielDaniel Craig
65% (280 reviews)[91]
58 (48 reviews)[92]
B-[73]
Nominated, BAFTA Award for Best Sound at the 62nd British Academy Film Awards[93]
Nominated, BAFTA Award for Best Special Visual Effects at the 62nd British Academy Film Awards[93]

Skyfall
2012
Craig, DanielDaniel Craig
93% (347 reviews)[94]
81 (49 reviews)[95]
A[73]
Winner, Academy Award for Best Sound Editing at the 85th Academy Awards[96]
Winner, Academy Award for Best Original Song at the 85th Academy Awards[96]
Winner, Best Cinematography Award at the Los Angeles Film Critics Association awards[97]
Winner, Golden Globe Award for Best Original Song at the 70th Golden Globe Awards[98]
Winner, BAFTA Award for Outstanding British Film at the 66th British Academy Film Awards[99]
Winner, BAFTA Award for Best Film Music at the 66th British Academy Film Awards[99]
Nominated, Academy Award for Best Sound Mixing at the 85th Academy Awards[96]
Nominated, Academy Award for Best Cinematography at the 85th Academy Awards[96]
Nominated, Academy Award for Best Original Score at the 85th Academy Awards[96]

Spectre
2015
Craig, DanielDaniel Craig
65% (307 reviews)[100]
60 (48 reviews)[101]
A-[102]
Winner, Academy Award for Best Original Song at the 88th Academy Awards


document_title: Epcot

question_text: what does the t in disney's epcot mean

question_tokens: what does the t in disney 's epcot mean

text: Epcot

text: Dedication[edit]

text: The theme park opened on October 1, 1982.[1] The dedication plaque near the entrance states:

text: To all who come to this place of joy, hope and friendship, welcome.

text: Epcot Center is inspired by Walt Disney's creative genius. Here, human achievements are celebrated through imagination, the wonders of enterprise, and concepts of a future that promises new and exciting benefits for all.

text: History[edit]

text: The park's name, EPCOT, is an acronym for Experimental Prototype Community of Tomorrow, a utopian city of the future planned by Walt Disney, often interchanging "city" and "community." In Walt Disney's words: "EPCOT will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed but will always be introducing and testing, and demonstrating new materials and new systems. And EPCOT will always be a showcase to the world of the ingenuity and imagination of American free enterprise."[8] His original vision was for a model community which would have been home to twenty thousand residents and a test bed for city planning as well as organization. It was to have been built in the shape of a circle with businesses and commercial areas at its center with community buildings, schools, and recreational complexes around it while residential neighborhoods would line the perimeter. This radial plan concept is strongly influenced by British planner Ebenezer Howard and his Garden Cities of To-morrow. Transportation would have been provided by monorails and PeopleMovers (like that in Magic Kingdom's Tomorrowland). Automobile traffic would be kept underground, leaving pedestrians safe above ground. The original model of EPCOT can still be seen by passengers riding the Tomorrowland Transit Authority attraction in the Magic Kingdom park; when the PeopleMover enters the showhouse for Stitch's Great Escape!, the remaining portion of the model is visible on the left (when facing forward) behind glass. Walt Disney was not able to obtain funding and permission to start work on his Florida property until he agreed to first build Magic Kingdom. He died nearly five years before Magic Kingdom opened.

text: After Disney's death, Walt Disney Productions decided that it did not want to be in the business of running a city without Walt's guidance. The model community of Celebration, Florida has been mentioned as a realization of Disney's original vision, but Celebration is based on concepts of new urbanism which is radically different from Disney's modernist and futurist visions. However, the idea of EPCOT was instrumental in prompting the state of Florida to create the Reedy Creek Improvement District (RCID) and the cities of Bay Lake and Reedy Creek (now Lake Buena Vista), a legislative mechanism allowing Disney to exercise governmental powers over Walt Disney World. Control over the RCID is vested in the landowners of the district, and the promise of an actual city in the district would have meant that the powers of the RCID would have been distributed among the landowners in EPCOT. Because the idea of EPCOT was never implemented, Disney remained almost the sole landowner in the district allowing it to maintain control of the RCID and the cities of Bay Lake and Lake Buena Vista; Disney further cemented this control by deannexing Celebration from the RCID.

text: The original plans for the park showed indecision over the park's purpose. Some Imagineers wanted it to represent the cutting edge of technology, while others wanted it to showcase international cultures and customs. At one point, a model of the futuristic park was pushed together against a model of a World's Fair international theme, and the two were combined. The park was originally named EPCOT Center to reflect the ideals and values of the city. It was constructed for an estimated $800 million to $1.4 billion and took three years to build, at the time the largest construction project on Earth.[9] The parking lot serving the park is 141 acres (57 ha) (including bus area) and can accommodate 11,211 vehicles (grass areas hold additional 500+ vehicles). Before it opened on October 1, 1982, Walt Disney World Ambassador Genie Field introduced E. Cardon Walker, Disney's chairman and CEO, who dedicated EPCOT Center. Walker also presented a family with lifetime passes for the two Walt Disney World theme parks. His remarks were followed by Florida Governor Bob Graham and William Ellinghaus, president of AT&T.

text: As part of the opening-day ceremony, dancers and band members performed We've Just Begun to Dream. The Sherman Brothers wrote a song especially for the occasion entitled "The World Showcase March". During the finale, doves and many sets of balloons were released. Performing groups representing countries from all over the world performed in World Showcase. Water was gathered from major rivers across the globe and emptied into the park's fountain of nations ceremonial containers to mark the opening. Located at the front of the park is a plaque bearing Walker's opening-day dedication.

text: In November 2016, it was announced at the Destination D fan event that Epcot would be receiving “a major transformation” that would help transition the park into being “more Disney, timeless, relevant, family-friendly” while keeping the original vision alive. No further details were mentioned.[10] In July 2017, The Walt Disney Company announced that Epcot would undergo a multi-year, redesign and expansion plan that would introduce Guardians of the Galaxy and Ratatouille attractions to Future World and World Showcase, as well as maintaining the original vision and spirit for the park.[11]

text: Areas[edit]

text: Epcot is divided into two main themed areas: Future World and World Showcase. The World Showcase usually opens two hours after park opening and remains open later than the Future World section of the park. Most major attractions in Future World remain open until the park's closing time. A secondary park gate is located between the France and United Kingdom pavilions of World Showcase and is known as the International Gateway. The International Gateway is directly accessible to guests arriving from the nearby Epcot Area Resorts and Disney's Hollywood Studios.

text: Future World[edit]

text: Future World consists of a variety of pavilions that explore innovative aspects and applications including technology and science, with each pavilion featuring self-contained attractions. Future World also serves as the park's main entrance and features the park's iconic landmark, Spaceship Earth, a large geodesic sphere structure which houses a themed attraction inside. Originally, each pavilion of Future World featured a unique circular logo which was featured on park signage and the attractions themselves. The logos, including that of Epcot itself, have been phased out over recent years, but some remnants are still scattered throughout the park; the pavilions are now instead identified by name and recognized by the main attraction(s) housed inside. The various pavilions and attractions located in Future World include the following:

text:
Spaceship Earth
Innoventions
Mission: Space
Test Track
The Seas with Nemo & Friends (Turtle Talk with Crush)
The Land (Soarin' Around the World, Living with the Land)
Imagination! (Journey into Imagination with Figment)
Wonders of Life/Festival Center (Seasonal operation)

text: Corporate sponsorships[edit]

text: Each pavilion was initially sponsored by a corporation which helped fund its construction and maintenance in return for the corporation's logos and some marketing elements appearing throughout the pavilion. For example, Universe of Energy was sponsored by Exxon from 1982 to 2004, and The Land was sponsored by Kraft from 1982 to 1993, then Nestlé from 1993 to 2009. Each pavilion contains a private "VIP area" for its sponsor with offices, lounges, and reception areas hidden away from regular park guests. While some pavilions still retain active sponsorships, in recent years several pavilions have lost sponsorships due to lack of interest from partner companies in renewing expiring agreements. After General Electric left Horizons in 1993, it closed for a couple of years, then reopened temporarily while neighboring attractions Universe of Energy and World of Motion were renovated. Horizons closed permanently on January 9, 1999, and was demolished in 2000 to make room for the opening of Mission: SPACE on October 9, 2003. Metlife sponsored Wonders of Life from 1989 to 2001, until that area was closed. However, the Wonders of Life pavilion is still mostly intact and is used for both the Flower and Garden Festival and the Food and Wine Festival. Current active sponsorships include the following:

text:
Test Track opened in the former World of Motion pavilion and is currently sponsored by Chevrolet.
Living with the Land is currently sponsored by Chiquita.
Individual small attractions and exhibits within or nearby the Innoventions pavilions are sponsored by various companies such as Club Cool presented by Coca-Cola.
Colortopia is currently sponsored by Glidden.

text: World Showcase[edit]

text: World Showcase is a large area reminiscent of a permanent world's fair containing 11 pavilions, each themed and dedicated to represent a specific country. The pavilions surround the World Showcase Lagoon, a large manmade lake located in the center of World Showcase with a perimeter of 1.2 miles (1.9 km). In clockwise order, the 11 pavilions are:

text:
Mexico
 Norway
 China
 Germany
 Italy
 United States of America
 Japan
 Morocco
 France
 United Kingdom
 Canada

text: Of the 11 pavilions, only Morocco and Norway were not present at the park's opening, as they were added in 1984 and 1988, respectively.[12] Each pavilion contains themed architecture, landscapes, streetscapes, attractions, shops and restaurants representing the respective country's culture and cuisine. In an effort to maintain the authenticity of the represented countries, the pavilions are primarily staffed by citizens of the respective countries as part of the Cultural Representative Program through Q1 visa agreements. Some pavilions also contain themed rides, shows, and live entertainment representative of the respective country. The only pavilion that is directly sponsored by the government of its respective country is Morocco; the remaining pavilions are primarily sponsored by private companies with affiliations to the represented countries.

text: Originally, the showcase was to include partnerships with the governments of the different countries. According to Disney's 1975 Annual Report, the Showcase would:

text: ...offer participating countries a permanent installation for such features as themed restaurants and shops, product exhibits, industrial displays, cultural presentations, a trade center, and even special facilities for business meetings.

text: Major sponsorships for each participating nation will be asked to provide the capital to cover the cost of designing, developing and constructing its attraction and/or ride and all exhibits, as well as the Pavilion itself. It will also have the responsibility for funding the housing for its employees in the International Village. Its land lease will cover the cost of maintaining the attraction for a minimum of ten years.

text: The Disney organization will be responsible for area development, including the construction of transportation systems and utilities. We will also build and operate the internal people moving system, the Courtyard of Nations and central theater facility.[12]

text: Proposed pavilions and unused locations[edit]

text: Pavilions for Brazil, Puerto Rico,[13] Russia, Switzerland, Costa Rica, Spain, Venezuela, United Arab Emirates, and Israel have occasionally been rumored as potential future pavilions but have never made it past the planning phases to date. The Israeli, Spanish, and an Equatorial Africa pavilion (blending elements of the cultures of countries such as Kenya and Zaire) were even announced as coming soon in 1982, but never took off. Instead, a small African themed refreshment shop known as the Outpost currently resides where Equatorial Africa was to be.[12] Israel, five African countries (Eritrea, Ethiopia, Kenya, Namibia, and South Africa), as well as eight other countries (Brazil, Chile, India, Indonesia, Saudi Arabia, Scotland, and Sweden), took part in the Millennium Village during the Millennium Celebration.

text: There are currently nine undeveloped spots for countries around the World Showcase—including the space occupied by the Outpost—in between the locations of the current countries. Two of the potential locations, on either side of the United Kingdom, are currently occupied by World ShowPlace. Two more lie on either side of the American Adventure, though this pavilion's use of reversed forced perspective may preclude the construction of additional buildings as they would ruin the illusion.[12]

text: Alcohol policy[edit]

text: Unlike Magic Kingdom, which up until 2012 did not serve alcohol and now only serves it in a few table service locations,[14][15] most stores and restaurants at Epcot, especially in the World Showcase, serve and/or sell a variety of alcoholic beverages including specialty drinks, craft beers, wines, and spirits reflective of the respective countries. The park also hosts the Epcot International Food & Wine Festival, an annual event featuring food and drink samplings from all over the world, along with live entertainment and special exhibits.

text: The World Showcase Adventure[edit]

text: Originally based on the Disney Channel animated series Kim Possible, the World Showcase Adventure is an interactive mobile attraction taking place in several pavilions throughout the World Showcase. The attraction is an electronic scavenger hunt that has guests using special "Kimmunicators" (in actuality, customized cell phones) to help teenage crime-fighters Kim Possible and Ron Stoppable solve a "crime" or disrupt an evil-doer's "plans for global domination." The "Kimmunicator" is able to trigger specific events within the pavilion grounds that provide clues to completing the adventure. Launched in January 2009 and presented by Verizon Wireless, the Adventure is included in park admission. It was succeeded by Agent P's World Showcase Adventure, based on Disney's Phineas and Ferb, on June 23, 2012.[16]

text: IllumiNations: Reflections of Earth[edit]

text: Illuminations: Reflections of Earth is an award-winning show taking place in the World Showcase Lagoon every night at the park's closing time (usually 9:00 pm).[17] It features fireworks, lasers, fire, and water fountains timed to a musical score over the World Showcase Lagoon. A large rotating globe with curved LED screens is the centerpiece of the show and is used to display images of people and places. The current version premiered as part of the park's Millennium Celebration in 2000. The show tells the story of Earth and is divided into three movements titled "Chaos," "Order," and "Meaning." The music has an African tribal sound to it, to emphasize the idea of humanity as a single unified tribe on this planet; the lagoon is surrounded by nineteen large torches signifying the first 19 centuries of the common era, and the show culminates in the globe opening like a lotus blossom to reveal a twentieth torch, representing the now-completed 20th century.

text: Annual events[edit]

text: Epcot hosts a number of special events during the year:

text:
The Epcot International Flower and Garden Festival, inaugurated in 1994, uses specially-themed floral displays throughout the park, including topiary sculptures of Disney characters. Guests can meet gardening experts and learn new ideas they can use in their own home gardens. The 18th annual event was scheduled for March 2 – May 15. Each event takes more than a full year to plan and more than 20,000 cast member hours.[18]
The Epcot International Food & Wine Festival, inaugurated in 1995, draws amateur and professional gourmets to sample delicacies from all around the world, including nations that do not have a permanent presence in World Showcase. Celebrity chefs are often on-hand to host the events. In 2008, the festival featured the Bocuse d'Or USA, the American semifinal of the biennial Bocuse d'Or cooking competition.[19]
The Epcot International Festival of the Arts inaugurated in 2017, is a festival showcasing visual, culinary, and performing arts. The first annual event took place on weekends from January 13 through February 20, 2017.[20][21]
Holidays Around the World is Epcot's annual holiday celebration. The World Showcase pavilions feature storytellers describing their nation's holiday traditions, and three nightly performances of the "Candlelight Processional" featuring an auditioned mass choir and a celebrity guest narrating the story of Christmas. During "Holidays Around the World", Illuminations: Reflections of Earth features a special extended ending.
On New Year's Eve, the park offers a variety of additional entertainment including live DJ dance areas throughout the park and a special New Year's Eve countdown edition of IllumiNations: Reflections of Earth.

text: Attendance[edit]

text:
2008
2009
2010
2011
2012
2013
2014
2015
2016
Worldwide rank

10,935,000[22]
10,990,000[23]
10,825,000[24]
10,826,000[25]
11,063,000[26]
11,229,000[27]
11,454,000[28]
11,798,000 [6]
11,712,000 [29]
6

text: The Official Album of Walt Disney World EPCOT Center[edit]

text: The Official Album of Walt Disney World EPCOT Center was the official album for EPCOT Center in 1983. It was originally released on LP and audio cassette and is no longer being produced.

text: Track listing[edit]

text:
"Main Entrance Medley (Instrumental)" – 3:29
"Golden Dream" – The American Adventure in the World Showcase – 3:27
"Energy (You Make the World Go 'Round)" – Universe of Energy – 1:48
"The Computer Song" – Epcot Computer Central – 2:32
"Magic Journeys" – Journey Into Imagination – 3:36
"Canada (You're A Lifetime Journey)" – Canada in the World Showcase – 3:22

tag: ol

text:
"Universe of Energy" – Universe of Energy – 2:14
"Listen to the Land" – The Land – 2:59
"One Little Spark" – Journey Into Imagination – 3:40
"It's Fun to Be Free" – World of Motion – 2:14
"Makin' Memories" – Journey Into Imagination – 3:26
"Kitchen Kabaret Medley" – The Land – 2:20

Boogie Woogy Bakery Boy
Meat Ditties
Veggie Veggie Fruit Fruit