document_title: The Mamas & the Papas

question_text: when did the mamas & papas break up

question_tokens: when did the mamas & papas break up

text: The Mamas & the Papas

text: Background and formation[edit]

text: The group was formed by husband and wife John and Michelle Phillips, formerly of the New Journeymen, and Denny Doherty, formerly of the Mugwumps. Both of these earlier acts were folk groups active from 1964 to 1965. The last member to join was Cass Elliot, Doherty's bandmate in the Mugwumps, who had to overcome John Phillips' concern that her voice was too low for his arrangements, that her physical appearance would be an obstacle to the band's success, and that her temperament was incompatible with his.[4] The group considered calling itself the Magic Cyrcle before switching to the Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".[5][6]

text: The quartet spent the period from early spring to midsummer 1965 in the Virgin Islands "to rehearse and just put everything together", as John Phillips later recalled.[7] Phillips acknowledged that he was reluctant to abandon folk music.[8] Others, including Doherty and guitarist Eric Hord, have said he hung on to it "like death".[9] Roger McGuinn's more measured view is that "It was hard for John to break out of folk music, because I think he was real good at it, conservative, and successful, too."[10] Phillips also acknowledged that it was Doherty and Elliot who awakened him to the potential of contemporary pop, as epitomized by the Beatles. While previously, the New Journeymen had played acoustic folk, with banjo; and the Mugwumps played something closer to folk rock, with bass and drums.[11][12] Their rehearsals in the Virgin Islands were "the first time that we tried playing electric".[13][14]

text: The band then traveled from New York to Los Angeles for an audition with Lou Adler, co-owner of Dunhill Records. The audition was arranged by Barry McGuire, who had befriended Cass Elliot and John Phillips independently over the previous two years, and who had recently signed with Dunhill himself.[15][16] It led to "a deal in which they would record two albums a year for the next five years", with a royalty of 5 percent on 90 percent of retail sales.[17][18] Dunhill also tied the band to management and publishing deals, commonly known as a "triple hat" relationship.[19][20] Cass Elliot's membership was not formalized until the paperwork was signed, with Adler, Michelle Phillips, and Doherty overruling John Phillips.[21]

text: Career[edit]

text: 1965: Beginnings and debut[edit]

text: The Mamas and the Papas made their inaugural recording singing backing vocals on McGuire's album This Precious Time, although they had already released a single of their own by the time the album appeared in December 1965.[22] This single was "Go Where You Wanna Go", which was given a limited release in November but failed to chart.[23] There are few copies of this single extant and the follow-up, "California Dreamin'", has the same B-side, suggesting that "Go Where You Wanna Go" had been withdrawn.[24][25] "California Dreamin'" was released in December, supported by a full-page ad in Billboard on the 18th of that month.[26] It peaked at number four in the United States and number twenty-three in the United Kingdom. "Go Where You Wanna Go" was subsequently covered by the 5th Dimension, who included it on their album Up, Up and Away and it became a Top 20 pop hit for them.

text: The quartet's debut album, If You Can Believe Your Eyes and Ears, followed in February 1966 and became its only number-one on the Billboard 200. The third and final single from the album, "Monday, Monday",[2] was released in March 1966. It became the band's only number-one hit in the US, reached number three in the UK, and was the first number-one on Spain's new Los 40 Principales. "Monday, Monday" won the Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 1967. It was also nominated for Best Performance by a Vocal Group, Best Contemporary Song, and Record of the Year.

text: 1966: The Mamas & the Papas[edit]

text: Their second album, The Mamas & the Papas, is sometimes referred to as Cass, John, Michelle, Dennie, whose names appear thus above the band's name on the cover, including the unexplained misspelling of Doherty's first name. Recording was reportedly interrupted when Michelle Phillips became indiscreet about her affair with Gene Clark of the Byrds.[27][28] A liaison the previous year between Michelle Phillips and Denny Doherty had been forgiven by her husband John Phillips; Doherty and John Phillips had reconciled and written "I Saw Her Again" about the episode.[29][30] They later disagreed about how much Doherty contributed to the song.[31][32] But after Michelle's affair with Clark, John Phillips was determined to fire her.[33] After consulting their attorney and record label, he, Elliot, and Doherty served Michelle Phillips with a letter expelling her from the group on June 28, 1966.[27]

text:
Jill Gibson was hired to replace Michelle. Gibson was a visual artist and singer-songwriter who had recorded with Jan and Dean.[34] After being introduced to the band by its producer, Lou Adler, she was soon taking part in concerts (at Forest Hills, New York,
Denver, Colorado, and Phoenix, Arizona)[35] television appearances (Hollywood Palace on ABC), and recording sessions[36] While Gibson was a quick study and well-regarded, the three original members concluded that she lacked her predecessor's "stage charisma and grittier edge", and Michelle Phillips was reinstated on August 23, 1966.[37][38] "Jill Gibson, so nearly a full-time Mama, left and was paid a lump sum from the group's funds."[39]

text: The Mamas & the Papas peaked at number four in the US, continuing the band's success, but only made number twenty-four in the UK. "I Saw Her Again" was released as a single in June 1966 and reached number five in the US and number eleven in the UK. There is a false start to the final chorus of the song at 2'42". While mixing the record, Bones Howe inadvertently punched in the coda vocals too early. He then rewound the tape and inserted the vocals in their proper position. On playback, the mistaken early entry could still be heard, making it sound as though Doherty repeated the first three words, singing "I saw her ... I saw her again last night". Lou Adler liked the effect, and told Howe to leave it in the final mix.[40] "That has to be a mistake: nobody's that clever," Paul McCartney told the group.[41] The device was imitated by John Sebastian in the Lovin' Spoonful song, "Darlin' Be Home Soon" (1966), and by Kenny Loggins in the song "I'm Alright" (1980). "Words of Love" was the second single from the album, appearing in November 1966. In the US it was released as a double A-side with "Dancing in the Street" and reached number five ("Dancing in the Street," which had been a hit two years earlier for Martha and the Vandellas, struggled to number seventy-three). In the UK it was backed with "I Can't Wait" and peaked at number forty-seven.

text: With Michelle Phillips reinstated, the group embarked on a small tour on the East coast to promote the record in the fall of 1966, playing a series of precarious and reportedly bizarre shows. At a September 1966 concert at Fordham University in New York City, the band was noted by Gus Duffy and Jim Mason of their co-headlining band, Webster's New Word, as being clearly "high, drunk, or tripping. When they got on stage, it was clear that these people shouldn't be on stage ... They tumbled onto the stage, shambled around, and just got nowhere.[42]

text: 1967: The Mamas & the Papas Deliver[edit]

text: After completing their brief East coast tour, the group started work immediately on its third album, The Mamas & The Papas Deliver, which was recorded in the autumn of 1966. The first single from the album, "Look Through My Window", was released in September 1966 (before the last single from The Mamas and the Papas). It reached number twenty-four in the US, but did not chart in the UK. The second single, "Dedicated to the One I Love" (February 1967), did much better, peaking at number two in both the US and the UK. That success helped the album, also released in February 1967, reach number two in the US and number four in the UK. The third single, "Creeque Alley" (April 1967), chronicled the band's early history. It peaked at number five in the US and number nine in the UK.

text: The strain on the group was apparent when they performed indifferently at the first Monterey International Pop Festival in June 1967, as can be heard on Historic Performances Recorded at the Monterey International Pop Festival (1970). The band was badly under-rehearsed – partly because John and Michelle Phillips and Lou Adler were preoccupied with organizing the festival, partly because Doherty arrived at the last minute from another sojourn in the Virgin Islands,[43][44][45] and partly, it is said, because he was drinking heavily in the aftermath of his affair with Michelle Phillips.[46] They rallied for their performance before 18,000 people at the Hollywood Bowl in August (with Jimi Hendrix as the opener), which both John and Michelle Phillips would remember as the apex of the band's career: "There would never be anything quite like it again."[47][48]

text: Deliver was followed in October 1967 by the non-album single "Glad to Be Unhappy", which reached number twenty-six in the US. "Dancing Bear" from the group's second album was released as a single in November. It peaked at number fifty-one in the US. Neither of these singles charted in the UK.

text: 1968: The Papas & the Mamas[edit]

text: The Mamas and the Papas cut their first three albums at United Western Recorders in Hollywood,[49] while the group's subsequent releases were recorded at the eight-track studio John and Michelle Phillips built at their home in Bel Air – this at a time when four-track recording was still the norm.[50][51] John Phillips said, "I got the idea to transform the attic into my own recording studio, so I could stay high all the time and never have to worry about studio time. I began assembling the state-of-the-art equipment and ran the cost up to about a hundred grand."[52]

text: While this gave him the autonomy he craved, it also removed the external discipline that may have been beneficial to a man who described himself as an "obsessive perfectionist".[24] Doherty, Elliot, and Adler all found the arrangement uncongenial, with Elliot later complaining to Rolling Stone (October 26, 1968): "We spent one whole month on one song, just the vocals for 'The Love of Ivy' took one whole month. I did my [debut solo] album in three weeks, a total of ten days in the studio. Live with the band, not prerecorded tracks sitting there with earphones."[53] The recording sessions for the fourth album eventually stalled completely, and in September 1967 John Phillips called a press conference to announce that The Mamas and the Papas were taking a break, which they confirmed on the Ed Sullivan Show on the 24th of that month.[54][55][56]

text: The plan was to give concerts at the Royal Albert Hall in London and the Olympia in Paris, before taking time out on Majorca to "get the muse going again", as John Phillips put it.[57][58] When they docked at Southampton on October 5, Elliot was arrested on a charge of having stolen two blankets and a hotel key worth ten guineas (US$28) when in England the previous February. Elliot was transferred to London, strip-searched, and spent a night in custody, before the case was dismissed in the West London Magistrates' Court the next day.[59] The hotel was actually less interested in the blankets than in an unpaid bill; it transpired that Elliot had entrusted the money to her companion, Pic Dawson (1943–1986),[60][61] who neglected to settle the account.[62] The police, in turn, were less interested in the blankets or the bill than in Dawson, who was suspected of international drug trafficking and was "the sole subject" of their questioning.[63]

text: Later, at a party hosted by the band to celebrate Elliot's acquittal, John Phillips interrupted Elliot as she was telling Mick Jagger about her arrest and trial: "Mick, she's got it all wrong, that's not how it was at all." Elliot "screamed" at Phillips "before storming out of the room".[64][65] Elliot was ready to quit, the Royal Albert Hall and Olympia dates were cancelled, and the four went their separate ways; John and Michelle Phillips to Morocco, Doherty back to the United States, and Elliot either back to the United States (according to John Phillips) or to a rendezvous in Paris with Pic Dawson (according to Michelle Phillips).[65][66] In an interview with Melody Maker, Elliot unilaterally announced that The Mamas and the Papas had disbanded: "We thought this trip would give the group some stimulation, but this has not been so."[67]

text: In fact, Phillips and Elliot did patch things up sufficiently to complete The Papas & The Mamas, which was released in May 1968. It was relatively successful in both the UK and US, although it was their first not to go gold or reach the top ten in America. "12:30 (Young Girls Are Coming to the Canyon)" had been released as a single in August 1967;[2] it peaked at number twenty in the US, but failed to chart in the UK. After the second single, "Safe in My Garden" (May 1968), made it only to number fifty-three, Dunhill released Elliot's solo feature from the album, a remake of "Dream a Little Dream of Me", as a single credited to "Mama Cass with the Mamas and the Papas" in June 1968 – against John Phillips' wishes.[68] It reached number twelve in the US and became the band's first single to chart in the UK after five failures, peaking at number eleven. It was the only Mamas and Papas single to chart higher in the UK than in the US. The fourth and final single from The Papas and the Mamas was "For the Love of Ivy" (July 1968), which peaked at number eighty-one in the US and did not chart in the UK. For the second time, Dunhill returned to their earlier work for a single. In this case it was "Do You Wanna Dance" from the debut album, released as a single in October 1968. It failed to chart in the UK and reached number seventy-six in the US.[69]

text: 1968–1969: Break-up and People Like Us[edit]

text: The success of "Dream a Little Dream of Me" confirmed Elliot's desire to embark on a solo career, and by the end of 1968 it appeared that the group had split. Its chart performance had become increasingly erratic, with three of its last four singles failing on both sides of the Atlantic. As John Phillips recalled, "Times had changed. The Beatles showed the way. Music itself was heading toward a technological and compositional complexity that would leave many of us behind. It was tough to keep up."[70] The group "made it official" at the beginning of 1969: "Dunhill released us from our contracts and we were history, though we still owed the label another album."[71] Elliot (billed as Mama Cass) had released her solo debut Dream a Little Dream in 1968, Phillips released John Phillips (John, the Wolf King of L.A.) in 1970, and Denny Doherty followed with Watcha Gonna Do? in 1971.

text: Dunhill maintained momentum by releasing The Best of the Mamas and the Papas: Farewell to the First Golden Era in 1967, Golden Era Vol. 2 in 1968, 16 of Their Greatest Hits in 1969, and the Monterey live album in 1970. It was also determined to get the promised last LP, for which it had given the band an extension until September 1971.[72] It warned that each member of the group would be sued for $250,000 if they did not deliver (about $1.4 million apiece in 2010 values).[73][74] There was suit and counter suit but these were settled out of court and it was reported that the band would record under John Phillips's own label, Warlock Records, distributed by Dunhill.[75] Phillips wrote another collection of songs, which was arranged, rehearsed, and recorded in fits and starts over about a year, depending on the availability of the other group members: "It was rare we were all together. Most tracks were dubbed, one vocal at a time."[76]

text: The Mamas and the Papas' last album of new material, People Like Us, was released in November 1971. The only single, "Step Out" (January 1972), reached number eighty-one in the US. The album peaked at number eighty-four on the Billboard 200, making it the only Mamas and Papas LP not to reach the top twenty in the US. Neither single nor album charted in the UK. Contractual obligations fulfilled, the band's split was now final.

text: Aftermath[edit]

text: Cass Elliot[edit]

text: Cass Elliot had a successful solo career, touring the U.S. and Europe; appearing frequently on television, including in two specials (The Mama Cass Television Program on ABC in January 1969 and Don't Call Me Mama Anymore on CBS in September 1973); and producing hits such as "Make Your Own Kind of Music" and "It's Getting Better". That said, she never surpassed her two Dunhill albums, Dream a Little Dream (1968) and Bubblegum, Lemonade, and ... Something for Mama (1969). None of the three albums she recorded for RCA – Cass Elliot (1972), The Road Is No Place for a Lady (1972), and Don't Call Me Mama Anymore (1973) – produced a charting single.

text: Elliot died of heart failure in London on July 29, 1974, after completing a two-week engagement at the Palladium. The shows were mostly sold out and prompted standing ovations. Her former bandmates and Lou Adler attended her funeral in Los Angeles. Elliot was survived by her only child, Owen Vanessa Elliot (b. 1967).

text: John Phillips[edit]

text: John Phillips' country-influenced solo album, John Phillips (John, the Wolf King of L.A.), was not a commercial success, despite featuring the single "Mississippi", which reached number thirty-two in the US. Nevertheless, it continues to enjoy critical favor. Rolling Stone gave it four stars when it was reissued in 2006, calling it "a genuine lost treasure".[77] Denny Doherty said that if the Mamas and the Papas had recorded the album, it might have been their best.[78] Phillips wrote songs for the soundtrack to Brewster McCloud (Robert Altman, 1970)[79] and original music for the soundtracks to Myra Breckinridge (Michael Sarne,1970)[80] and The Man Who Fell to Earth (Nicolas Roeg, 1976).[81] He also wrote the ill-fated stage musical Man on the Moon (1975) and songs with and for other artists, including most of the tracks on the album Romance Is on the Rise (1974) by his then wife Geneviève Waïte, which he also produced;[82] and he co-wrote "Kokomo" (1988), which was a number-one hit for the Beach Boys.

text: Phillips was lost to heroin addiction through much of the 1970s, a period that culminated in his arrest and conviction in 1980 on a charge of conspiring to distribute narcotics, for which he spent a month in jail in 1981.[83][84][85] In later years he performed with the New Mamas and the Papas (see below) and appeared in revival shows and television specials. He told his side of the Mamas and Papas' story in the memoir Papa John (1986),[86] and in the PBS television documentary, Straight Shooter: The True Story of John Phillips and the Mamas and the Papas (1988).[87] John Phillips died of heart failure in Los Angeles on March 18, 2001.[88]

text: Two albums were released immediately after his death: Pay Pack and Follow (April 2001), which included material recorded in London and New York with members of the Rolling Stones in 1976 and 1977;[89][90] and Phillips 66 (August 2001), an album of new material and reworkings that "takes its title from the age Phillips would have been when the album was originally slated for its release".[91] A later archival series on Varèse Sarabande included a reissue of John Phillips (John, the Wolf King of L.A.) with bonus tracks (2006); the sessions he recorded for Columbia with the Crusaders in 1972 and 1973, released as Jack of Diamonds (2007);[92] his preferred mix of the Rolling Stones sessions, released with other material as Pussycat (2008);[93] and his demos for Man on the Moon, released as Andy Warhol Presents Man on the Moon: The John Phillips Space Musical (2009).[94]

text: Phillips had five children:

text:
businessman Jeffrey Phillips (b. 1957) and actor and singer Laura Mackenzie Phillips (b. 1959) by his first wife Susan Adams Phillips;
singer Chynna Gilliam Phillips (b. 1968) of the band Wilson Phillips by his second wife Michelle Gilliam Phillips;
songwriter Tamerlane Orlando Phillips (b. 1971) and actor and model Bijou Phillips (b. 1980) by his third wife Geneviève Waïte.

tag: ul

text: In 2009, Mackenzie Phillips wrote in her memoir, High on Arrival, that she had been in a long-term sexual relationship with her late father.[95][96]

text: Denny Doherty[edit]

text: Denny Doherty's solo career faltered after the appearance of Whatcha Gonna Do? in 1971. The follow-up, Waiting for a Song (1974), was not released in the US, although a 2001 reissue by Varèse Sarabande gained wider distribution and the album is now available as a digital download. It features Michelle Phillips and Cass Elliot as backing vocalists, the latter in what proved to be her last recorded performances. A single from the album, "You'll Never Know", made the adult contemporary charts. Doherty then turned to the stage, making a disastrous start in John Phillips' Man on the Moon (1975). In 1977, he returned to his birthplace, Halifax, Nova Scotia, and started playing legitimate roles, including Shakespeare, at the Neptune Theatre under the tutelage of John Neville.[97][98] This led to television work, beginning with a variety program,  Denny's Sho*, which ran for one season in 1978. He went on to host and voice parts in the children's program, Theodore Tugboat, and to act in various series, including twenty-two episodes of the drama Pit Pony.[99] Doherty also performed with the New Mamas and the Papas (see below). An alcoholic through the 1960s and 1970s, Doherty recovered in the early 1980s and stayed sober for the remainder of his life.[100][101]In 1996, he was inducted into the Canadian Music Hall of Fame.[97]

text: Doherty answered John Phillips' PBS documentary with the autobiographical stage musical Dream a Little Dream (the Nearly True Story of the Mamas and the Papas), which he wrote with Paul Ledoux and performed sporadically, starting in Halifax in 1997,[102] and eventually reaching the off-Broadway Village Theater in New York in 2003.[103] The original cast recording – featuring Doherty and supporting band – was released by Lewlacow in 1999.[104]

text: Doherty died of an abdominal aortic aneurysm at his home in Mississauga, Ontario, on January 19, 2007.[105] He was survived by his three children, Jessica Woods, Emberly Doherty, and John Doherty. A documentary by Paul Ledoux, Here I Am: Denny Doherty and the Mamas and the Papas, premiered at Halifax's Atlantic Film Festival in September 2009 and screened on the Bravo cable network as part of the Great Canadian Biographies series in February 2010.[106][107]

text: Michelle Phillips[edit]

text: While Michelle Phillips' only solo album, Victim of Romance (1977), made little impact, she went on to build a successful career as an actress. Her film credits include The Last Movie (1971), Dillinger (1973), Valentino (1977), Bloodline (1979), The Man with Bogart's Face (1980), American Anthem (1986), Let It Ride (1989), and Joshua Tree (1993). Her television credits include Hotel, Knots Landing, Beverly Hills, 90210, and many others.[108]

text: Phillips published a memoir, California Dreamin', in 1986,[109] the same year John Phillips published his. Reading the two books together was, according to one reviewer, "like reading the transcripts in a divorce trial."[110] As the co-writer and owner of the copyright to California Dreamin', Phillips was an important contributor to the 2005 PBS television documentary California Dreamin': The Songs of the Mamas and the Papas.[111]

text: The New Mamas and the Papas[edit]

text: The New Mamas and the Papas were a by-product of John Phillips' desire to "round out the picture of reform" as he awaited sentencing on narcotics charges in 1980.[112] He invited his children Jeffrey and Mackenzie, both living in Los Angeles, and Denny Doherty, who was living in Canada, to join him at the Fair Oaks Hospital in Summit, New Jersey, where he was undergoing rehabilitation. The children arrived around Thanksgiving and Doherty around Christmas. The idea of reviving the group was born at this time, with Phillips and Doherty in their original roles, Mackenzie Phillips taking Michelle Phillips' part and Elaine "Spanky" McFarlane of Spanky and Our Gang taking the part of Cass Elliot.[113] Little progress was made until after Phillips had been sentenced and served his time in jail. The quartet began rehearsing in earnest and recording demos in the summer of 1981. Their first performances were in March 1982, when they were praised for their "verve and expertise", the "impressive precision" of the harmonies, and the "feeling ... of genuine celebration" on stage.[114]

text: The group toured the United States, including residencies in Las Vegas and Atlantic City, but lost $150,000 in their first eighteen months. Phillips called a halt in August 1983 and the New Mamas and the Papas did not perform again until February 1985.[115] They then resumed touring, with concerts in Europe, East Asia, and South America, as well as in Canada and the United States; at their height, they were playing up to 280 nights a year.[116] John Phillips stayed off heroin, but remained addicted to alcohol, cocaine, and pills, as did his daughter. This affected the group's performance, as they were occasionally booed off stage.[117]

text: Doherty quit in 1987 and was replaced by Scott McKenzie (1939–2012). In 1991, Mackenzie Phillips was replaced by Laurie Beebe Lewis,[118] a former vocalist with the Buckinghams who had earlier (1986–1987) temped with the band when Mackenzie Phillips was pregnant. John Phillips dropped out after a liver transplant in 1992 and Doherty returned. Lewis and McFarlane left in 1993, to be replaced by Lisa Brescia and Deb Lyons. The band continued to perform with varying line-ups, including Barry McGuire (1997–1998) and the recovering Phillips, until 1998, by which time, according to one critic, "the jingle singers who sang those fabulous Cass, Michelle, John, and Denny parts were an aural cartoon".[119] In 1998 the lineup was Phillips, Scott McKenzie, Chrissy Faith, David Baker and Janelle Sadler. After Phillips and McKenzie retired permanently from touring, another singer, Mark Williamson, was brought in.

text: Phillips wanted the New Mamas and the Papas to make an album, "but I just couldn't bring myself to commit to it".[120][121] Varèse Sarabande released the 1981 demos with other material as Many Mamas, Many Papas in 2010. Beyond that, the band is represented on record only by live albums of uncertain provenance, including The Mamas and the Papas Reunion Live (1987) featuring the Phillips-Doherty-Phillips-McFarlane line-up and released by Teichiku in Japan;[104] and Dreamin' Live (2005) on a label called Legacy (not the Columbia-Sony imprint), which features John and Mackenzie Phillips, Spanky McFarlane, and (probably) Scott McKenzie.[122]

text: Members[edit]

text:
John Phillips – Vocals, guitar (1982–1992, 1995–1998)
Denny Doherty – Vocals (1982–1987, 1992–1995)
Scott McKenzie – Vocals, guitar (1987–1998)
Mackenzie Phillips – Vocals (1982–1986, 1987–1991)
Spanky McFarlane – Vocals (1982–1993)
Laurie Beebe Lewis – Vocals (1986–1987) (Interim 1988–1990) (1991–1993)
Lisa Brescia – Vocals (1993–1998)
Deb Lyons – Vocals (1993–1998)
Barry McGuire – Vocals (1997–1998)
Chrissy Faith – Vocals (1998–2000)
David Baker – Vocals (1998–2000)
Janelle Sadler – Vocals (1998–2000)
Mark Williamson – Vocals (1998–2000)

text: Later recognition[edit]

text: In 1986, John and Michelle Phillips were featured in the music video for the Beach Boys' second recording of "California Dreamin'", which appeared on the album Made in U.S.A. Denny Doherty was unavailable. The Mamas and the Papas' own version of "California Dreamin'" was reissued in the UK and peaked at number nine in 1997. The song received a Grammy Hall of Fame Award in 2001.

text: The Mamas and the Papas were inducted into the Rock and Roll Hall of Fame in 1998, the Vocal Group Hall of Fame in 2000, and the Hit Parade Hall of Fame in 2009. Cass Elliot and Michelle Phillips, as "the Mamas", were ranked number twenty-one on the VH1 network's list of the 100 Greatest Women of Rock.

text: In a review by Matthew Greenwald, he stated, "One of the best anthologies of the Mamas & the Papas, A Gathering of Flowers was put together immediately after the group's demise, and gives the listener an excellent overview of one of the most revolutionary and appealing groups to emerge from the folk-rock era. Although it may seem slim at first, with only 20 tracks spread out over two LPs, there is much more to be found. In between most cuts there are not only rehearsals and outtakes, but also interview snippets from John Phillips and Cass Elliot. These interviews create an aural documentary of the group in between great cuts such as "California Dreamin'", "Monday, Monday", "I Saw Her Again", and others. Excellent liner notes by Andy Wickham and a generous collection of rare photos top this collection off in grand style."  This anthology was never produced on CD but was available on vinyl and cassette tape for many years.  Some companies are offering a CDR ripped version of this engaging look into the history of the Mamas & the Papas, normally including the source material to preserve copyrights.

text: The band finally received a box set when the four-CD Complete Anthology was released in the UK in September 2004 and in the US in January 2005. It contains the five studio albums, the live album from Monterey, selections from their solo work, and rarities including their first sessions with Barry McGuire, all in "uniformly excellent" sound.[123] A blogger on BBC Music called it "a treasure chest of pop gold".[124]

text: In addition to the three documentaries (Straight Shooter, California Dreamin' and Here I Am), Doherty's musical, and the memoirs by John, Michelle, and Mackenzie Phillips, the group is the subject of Doug Hall's The Mamas and the Papas: California Dreamin' (2000)[125] and Matthew Greenwald's Go Where You Wanna Go: The Oral History of the Mamas and the Papas (2002).[126] Cass Elliot is the subject of Jon Johnson's Make Your Own Kind of Music: A Career Retrospective of Cass Elliot (1987)[127] and Eddi Fiegel's Dream a Little Dream of Me: The Life of Mama Cass Elliot (2005).[128] John Phillips' estate has authorized Chris Campion to write a biography of the group's leader, provisionally called Wolfking.[129][130][131]

text: Fox acquired the rights to make a film about the Mamas and the Papas in 2000.[132] It was reported in 2007 that "The right script is in the process of being written."[133] Peter Fitzpatrick's stage musical, Flowerchildren: The Mamas and Papas Story, was produced by Magnormos in Melbourne, Australia, in 2011 and revived in 2013.[134][135]

text: Discography[edit]

text:
If You Can Believe Your Eyes and Ears (1966)
The Mamas & the Papas (1966)
The Mamas & The Papas Deliver (1967)
The Papas & the Mamas (1968)
People Like Us (1971)


document_title: Captain America: The Winter Soldier

question_text: where does captain america winter soldier take place

root

text: Captain America: The Winter Soldier

text: Plot[edit]

text: Two years after the Battle of New York,[N 1] Steve Rogers works in Washington, D.C. for the espionage agency S.H.I.E.L.D. under Director Nick Fury, while adjusting to contemporary society. Rogers and Agent Natasha Romanoff are sent with S.H.I.E.L.D.'s counter-terrorism S.T.R.I.K.E. team, led by Agent Rumlow, to free hostages aboard a S.H.I.E.L.D. vessel from Georges Batroc and his mercenaries. Mid-mission, Rogers discovers Romanoff has another agenda: to extract data from the ship's computers for Fury. Rogers returns to the Triskelion, S.H.I.E.L.D.'s headquarters, to confront Fury and is briefed about Project Insight: three Helicarriers linked to spy satellites, designed to preemptively eliminate threats. Unable to decrypt the data recovered by Romanoff, Fury becomes suspicious about Insight and asks senior S.H.I.E.L.D. official Alexander Pierce to delay the project.

tag: p

text: On his way to rendezvous with Maria Hill, Fury is ambushed by assailants led by a mysterious assassin called the Winter Soldier. Fury escapes to Rogers' apartment, and warns Rogers that S.H.I.E.L.D. is compromised. Fury is gunned down by the Winter Soldier, before handing Rogers a flash drive containing data from the ship. Fury is pronounced dead during surgery, and Hill recovers the body. The next day, Pierce summons Rogers to the Triskelion. When Rogers withholds Fury's information, Pierce brands him a fugitive. Hunted by S.T.R.I.K.E., Rogers meets with Romanoff. Using data in the flash drive, they discover a secret S.H.I.E.L.D. bunker in New Jersey, where they activate a supercomputer containing the preserved consciousness of Arnim Zola. Zola reveals that ever since S.H.I.E.L.D. was founded after World War II, Hydra has secretly operated within its ranks, sowing global chaos with the objective of making humanity surrender its freedom in exchange for security. The pair narrowly escape death when a S.H.I.E.L.D. missile destroys the bunker, and realize that Pierce is Hydra's leader within S.H.I.E.L.D.

text: Rogers and Romanoff enlist the help of former USAF pararescueman Sam Wilson, whom Rogers befriended, and acquire his powered "Falcon" wingpack. Deducing that S.H.I.E.L.D. agent Jasper Sitwell is a Hydra mole, they force him to divulge that Zola developed a data-mining algorithm that can identify individuals becoming threats to Hydra. The Insight Helicarriers will sweep the globe, using satellite-guided guns to eliminate these individuals. Rogers, Romanoff, and Wilson are ambushed by the Winter Soldier, who kills Sitwell. During the fight, Rogers recognizes the Winter Soldier as Bucky Barnes, his childhood best friend who supposedly fell to his death on a mission, but actually was captured and experimented upon after WWII. Hill manages to extract the trio to a safehouse where Fury, who had faked his death, is waiting with plans to sabotage the Helicarriers by replacing their controller chips.

text: After the World Security Council members arrive for the Helicarriers' launch, Rogers broadcasts Hydra's plot to everyone at the Triskelion. Romanoff, disguised as one of the Council members, disarms Pierce. Fury arrives and forces Pierce to unlock S.H.I.E.L.D.'s database so that Romanoff can leak classified information, exposing Hydra to the public. Following a struggle, Fury kills Pierce. Meanwhile, Rogers and Wilson storm two Helicarriers and replace the controller chips, but the Winter Soldier destroys Wilson's suit and fights Rogers on the third. Rogers fends him off and replaces the final chip, allowing Hill to take control and have the vessels destroy each other. Rogers refuses to fight the Winter Soldier in an attempt to reach his friend, but as the ship collides with the Triskelion, Rogers is thrown out into the Potomac River. The Winter Soldier rescues the unconscious Rogers before disappearing into the woods. With S.H.I.E.L.D. in disarray, Romanoff appears before a Senate subcommittee and Fury, under the cover of his apparent death, heads to Eastern Europe in pursuit of Hydra's remaining cells. Rogers and Wilson decide to find the Winter Soldier, while Rumlow, who was a double agent for Hydra, is hospitalized following the Triskelion's destruction.

text: In a mid-credits scene, Baron Wolfgang von Strucker, at a Hydra lab, proclaims that the "age of miracles" has begun as scientists examine an energy-filled scepter[N 2] and two test subjects: one with superhuman speed, the other with telekinetic powers. In a post-credits scene, the Winter Soldier visits a Bucky memorial at the Smithsonian Institution.

text: Cast[edit]

text:
Chris Evans as Steve Rogers / Captain America:
A World War II veteran who was enhanced to the peak of human physicality by an experimental serum, frozen in suspended animation, and is now struggling to adjust to the modern world.[6] Describing his character's adjustment to the modern world, Evans said, "It's not so much about his shock with [technology]... It's more about the societal differences. He's gone from the '40s to today; he comes from a world where people were a little more trusting, the threats not as deep. Now, it's harder to tell who's right and wrong. Actions you take to protect people from threats could compromise liberties and privacy. That's tough for Steve to swallow."[7] Evans trained in parkour, Brazilian jiu-jitsu, karate, boxing, kickboxing, and gymnastics, as the Russo brothers believed that bringing Rogers into the modern day also meant that he had studied and mastered modern fighting styles and techniques. The filmmakers also looked to make the character's shield, which has traditionally been used for defense, a more offensive weapon.[8]
Scarlett Johansson as Natasha Romanoff / Black Widow:
A highly trained spy working for S.H.I.E.L.D., who partners with Rogers.[9] Screenwriter Christopher Markus said that Black Widow was a "great contrast" to Captain America, describing her as "incredibly modern, not very reverent, and just very straightforward whereas Steve is, you know a man from the 40s. He's not a boy scout, but he is reserved and has a moral center, whereas her moral center moves."[10] The Russos added, "She's a character who lies for a living. That's what she does. He's a character who tells the truth. Give them a problem and they'll have different ways of approaching it. She's pushing him to modernize, and he's pushing her to add a certain level of integrity to her life."[11] When asked about Romanoff's relationship with Rogers, Johansson responded, "By a series of unfortunate encounters, they will be in a situation in which their friendship becomes more intimate. They share many similarities because they live on the defensive without relying on anyone. Also, the two have been working for the government throughout their professional careers. With their friendship they begin to question what they want and what is their true identity."[12]
Sebastian Stan as Bucky Barnes / Winter Soldier:
Steve Rogers' best friend, who has re-emerged as an enhanced brainwashed assassin after being thought killed in action during World War II.[8][13] About the character, Feige said, "Winter Soldier has been methodically, almost robotically, following orders for 70 years."[14] Stan said despite his nine-picture deal with Marvel Studios including his appearance in The First Avenger, he was not sure about an imminent return for Bucky,[15] and only heard the sequel was named after the Winter Soldier through a friend attending San Diego Comic-Con.[16] The actor endured five months of physical training to prepare for the role and did historical research stating, "I dove into the whole Cold War thing. I looked at the KGB. I looked at all kinds of spy movies, and all kinds of documentaries about that time, and what it was about. I grabbed anything from that time period. Anything about brainwashing."[17] Stan also practiced daily with the knife used by the Winter Soldier.[18] Regarding Bucky's transition into the Winter Soldier, Stan said, "You know, the truth of the situation is although he looks very different and there's different things about him, it still comes from the same person. I think you'll get to see that no matter what. I think part of my goal here was to make sure that you see an extension of that version but just a different color of that same version in a way. I think he's still the same guy; he's cut from the same cloth."[19] Stan stated he felt the character's introduction in The Winter Soldier was "a preview of the guy," with more to the character being explored in the film's sequel Captain America: Civil War.[20]
Anthony Mackie as Sam Wilson / Falcon:
A former pararescueman trained by the military in aerial combat using a specially designed wing pack.[8] About the role, Mackie said "[Wilson is] a really smart guy who went through major military training and becomes a tactical leader."[21] Remarking, "He's the first African-American superhero. It makes me feel all the work I've done has been paying off. I have a son, nephews and nieces, and I love the idea that they can dress up as the Falcon on Halloween. They now have someone they can idolize. That's a huge honor for me."[22] Marvel, who cast Mackie because of his "energy and sense of fun,"[11] did not let him read a script before signing on.[23] Mackie spent five months doing two-a-day workouts and eating an 11,000 calorie per day diet to get into shape for the role.[24] Commenting on Rogers' relationship with Wilson, Evans said, "Meeting Mackie's character, he used to serve, now he works at the VA counseling guys who come home with PTSD — they connect on that level. I think they're both wounded warriors who don't bleed on other people. Cap has no one to bleed on. I think Mackie knows how to handle people like that. … Sometimes when things are bad, trusting a stranger is the way to go."[25]
Cobie Smulders as Maria Hill:
A high-ranking S.H.I.E.L.D. agent who works closely with Nick Fury.[26] Smulders said she performed some of her own stunts in the film, explaining, "I try to do my own stunts whenever I can. You're only allowed to do certain stunts. There is an amazing team of stunt people that do most of the work in this film. But, I studied a lot of tae kwon do. I also did a lot of training just with weapons because I'm not very comfortable around guns. I had to get comfortable because that's my character's thing... I like to get really physical so I feel empowered when I am on set and even though you don't see it on screen, maybe I am taking people out that you don't see off camera."[27]
Frank Grillo as Brock Rumlow:
Commander of S.H.I.E.L.D.'s counter-terrorism S.T.R.I.K.E. team.[28] About the character, Grillo said, "He is a bad-ass guy. [He] pretty much beats the shit out of everyone in the movie and that's really it."[29] Regarding Rumlow's alter ego, Grillo said, "Very early on the Russos said, 'Look, this is an origin film for this character. We're gonna discover who this is and this is a big movie with a lot of moving parts, but we're gonna discover you in this film and, you know, here's the information about who Brock Rumlow turns into and blah, blah, blah.' And so we've had multiple discussions about what comes after that, that thing. So, you know, it's obvious Rumlow is covered in rubble and burned to crisp at the end, but you see he's still there. They don't do that for no reason."[30]
Emily VanCamp as Sharon Carter / Agent 13:
A S.H.I.E.L.D. agent assigned to guard Rogers without his knowledge.[8][31] About the character, VanCamp said, "I play Agent 13 / Sharon Carter which everyone knows but we don't really touch on that in this film. We're just sort of introducing her. When we first see her we realize she's living next to Captain America... they sort of have a little thing going on and as we all know in the comic books they had a love affair off and on for years. They had a very complicated relationship. It's almost as if they are planting the seeds now. Sort of leaving room to go wherever they want to go with it."[29] Regarding her casting, Joe Russo said, "We wanted someone that Cap would have an immediate interest in. It had to be a strong-willed person, and we felt that Emily's work on Revenge was a great test tube for what this character could be. She's obviously very credible with physicality, she holds the screen really well, and she even looks like the character from the books."[32]
Hayley Atwell as Peggy Carter:
A retired officer with the Strategic Scientific Reserve and a co-founder of S.H.I.E.L.D., who is a former love interest of Steve Rogers.[33] On receiving the script, Atwell realized the character "would be 96, and I would be up to the eyeballs in prosthetics."[34] The visual effects team was not satisfied with the initial make-up used to make Atwell look older, and eventually resorted to aging her through CGI methods.[35]
Robert Redford as Alexander Pierce:
A senior leader within S.H.I.E.L.D.,[33] a member of the World Security Council and an old comrade of Nick Fury.[36] Redford was cast in part as an homage to his roles in 1970s thrillers such as Three Days of the Condor,[37] and for what the directors described as "an acting legend playing a villainous role" akin to Henry Fonda in Once Upon a Time in the West.[38] As to what attracted him to the film, Redford said it interested him by being different from his usual work,[39] and that he "wanted to experience this new form of filmmaking that's taken over where you have kind of cartoon characters brought to life through high technology."[40]
Samuel L. Jackson as Nick Fury:
The director of S.H.I.E.L.D.[41] Regarding Fury's questionable code of ethics, Jackson said, "Almost everything that comes out of Nick Fury's mouth is a lie in some sense. He has to ask, is he even lying to himself, too? He has a very good idea of what's going on but his paranoia keeps him from believing some of it."[7] Jackson added, "You see Nick Fury the office guy, him going about the day-to-day work of S.H.I.E.L.D. and the politics as opposed to that other stuff. It's great to have him dealing with Captain America in terms of being able to speak to him soldier to soldier and try to explain to him how the world has changed in another way while he was frozen in time. Some of the people who used to be our enemies are now our allies – him trying to figure out, 'Well, how do we trust those guys?' or 'How do we trust the guys that you didn't trust who don't trust you?' And explaining to him that the black and white of good guys/bad guys has now turned into this gray area."[36] McFeely said, "Fury represents an obstacle for Steve in some ways. They don't always agree on how S.H.I.E.L.D. ought to be used."[11] The writers gave Fury a more prominent role in The Winter Soldier, since within a plot featuring S.H.I.E.L.D. being dismantled, Fury would "take the brunt of it". They also intended on having a character that had so far been depicted as a self-assured man in charge being depicted as vulnerable, to enhance the sense of danger of the Hydra conspiracy.[38]

text: Additionally, Toby Jones,[42] Maximiliano Hernández,[43] and Garry Shandling[44] reprise their roles from previous MCU films as Arnim Zola, Jasper Sitwell, and Senator Stern, respectively. Georges St-Pierre plays Georges Batroc, a mercenary and a master of the French form of kickboxing known as savate.[45][46] Callan Mulvey plays Jack Rollins, a member of S.H.I.E.L.D.'s S.T.R.I.K.E. unit.[47][48] Chin Han, Jenny Agutter (who previously appeared in The Avengers), Alan Dale, and Bernard White appear as members of the World Security Council.[49][50] Comedic actors Danny Pudi[50] and DC Pierson[51] have small roles as a S.H.I.E.L.D. technician and an Apple Store employee, respectively. Gary Sinise narrates a Captain America-themed Smithsonian Institution exhibit, and Stan Lee cameos as a security guard there.[50] Winter Soldier creator Ed Brubaker makes a cameo as a scientist working on the Winter Soldier.[52][53] Co-director Joe Russo cameos as a doctor,[51] and Christopher Markus and Stephen McFeely cameo as two S.H.I.E.L.D. interrogators. Thomas Kretschmann, Henry Goodman, Elizabeth Olsen and Aaron Taylor-Johnson appear, uncredited, as Baron Wolfgang von Strucker, Dr. List, the Scarlet Witch, and Quicksilver, respectively, in the mid-credits scene.[54][55][56]

text: Production[edit]

text: Development[edit]

text:
We hired our directors on Cap because they loved our explanation that we really want to make a '70s political thriller masquerading as a big superhero movie. Just like with the first film – we got Joe Johnston because we said, "We want to do a '40s World War II movie masquerading as a big superhero movie." I love that we're doing a sequel to a film that's a completely different genre than the first film. I think that's fun. And the comics do it all the time.

—Kevin Feige, producer of Captain America: The Winter Soldier[57]

tag: div

text: In April 2011, before Captain America: The First Avenger was released in theaters, screenwriters Christopher Markus & Stephen McFeely announced that Marvel had already hired the duo to work on the film's sequel.[58] In September 2011, Chris Evans said that a sequel may not be released until 2014.[6] In January 2012, Neal McDonough, who played Dum Dum Dugan in Captain America: The First Avenger, mentioned that a sequel would likely be filmed after the completion of Thor: The Dark World, which would likely have been before the end of 2012.[59] By March 2012, Marvel whittled down the possible directors for the sequel to three candidates: George Nolfi, F. Gary Gray, and brothers Anthony and Joseph Russo.[60] Walt Disney Studios announced the planned release of the sequel to Captain America: The First Avenger on April 4, 2014. Disney stated, "The second installment will pick-up where ... The Avengers leaves off, as Steve Rogers continues his affiliation with Nick Fury and S.H.I.E.L.D. and struggles to embrace his role in the modern world."[61] Markus later elaborated, "I think S.H.I.E.L.D. is the water [Rogers is] swimming in. It's definitely a Captain America movie. You know, if the first movie was a movie about the US Army, then this is a movie about S.H.I.E.L.D... You will learn about S.H.I.E.L.D. You will learn about where it came from and where it's going and some of the cool things they have."[11] In April, F. Gary Gray withdrew his name from consideration, choosing instead to direct the N.W.A biographical film Straight Outta Compton.[62]

text: Writing[edit]

text: McFeely said the writing process began in the middle of 2011, around the release of The First Avenger, with him and Markus "noodling on in hopes that there would be a second one and we did a lot of just throwing stuff at the wall and seeing what stuck".[63] The first few months of writing were a back and forth process with Marvel, but after an outline was finished, the story did not change much.[64] They opted to set the story in the present day, and, after "experimenting with flashback elements for more period World War II stuff",[65] decided to abandon the flashbacks as "it became unwieldy."[63] The film would be "Cap versus the world we all live in today",[66] while averting excessive comedy regarding the hero's time displacement, as Markus considered the Captain "the most adaptive man on the planet."[63] The tone would be more grounded in reality despite the advanced technology to contrast the fantasy elements from both the first Captain America and The Avengers.[66] Despite that, the comic book origins guaranteed that the film would not have verisimilitude.[38] This still proved a challenge in the reveal of Arnim Zola, that had to be extensively rewritten to convey how "this grounded espionage paranoid thriller suddenly screeches to a halt and you switch gears really quickly with this ghost in the machine" that introduces more science fiction elements.[67]

text: Markus and McFeely wanted to adapt Ed Brubaker's Winter Soldier storyline from the comics, which they described as "the tone of Cap’s modern franchise",[68] but it took the duo six months to convince themselves that they could do it.[16] In the meantime, while thinking how to progress from the war film tone of The First Avenger, the writers settled on the conspiracy genre for the screenplay, and cited Three Days of the Condor, The Parallax View, and Marathon Man as influences, feeling it better conveyed Captain America's trust issues and contrasting values in the new world he was living in,[16] with Markus saying, "If you put that 1940s man into present day geo-politics everything is going to seem like a conspiracy. It's just going to seem dirty and underhanded and shifty, and people won't be telling the truth."[68] Three Days of the Condor in particular was used as the main source of the script structure, following the idea that the protagonist is being chased by a threat they, along with the audience, only discover halfway through the film.[38]

text: The writers felt this approach was similar to how Stan Lee reinvented Captain America in the 1960s and 1970s, with "the Captain dealing with all sorts of the same things that the country [was] dealing with–Vietnam, Watergate and all that stuff–so he gets to have opinions on that", thus making the "guy who is ostensibly from the more black and white 1940s react to this ultimately grey world that we live in."[69] Marvel Studios president Kevin Feige described the film as a political thriller,[70] and as the duo struggled to figure out a third act, Feige suggested that S.H.I.E.L.D. be brought down and have Captain America fight the agency. The writers thought this was a great story point, for implementing "the physical manifestation of Cap changing the world."[71] Markus even noted how the 1970s comics had similar conspiracies.[68] The Hydra reveal made sure to include returning characters among the undercover villains, as well as references to the comics such as Arnim Zola being kept alive as a machine.[66] Feige later elaborated on the political thriller nature of the film saying,

text: In our attempt to make all of our films feel unique and feel different we found ourselves going back to things like [Three Days of the Condor]. Also the other political thrillers of the '70s: The Parallax View, All the President's Men. This was a time that Cap existed in the comics. He found himself in the swinging '60s followed by the Watergate Era followed by the Reagan Era followed by where we are today. In the comics it was a hell of a journey for Steve. And we couldn't take him through those years because in our cinematic universe he was asleep. But we wanted to force him to confront that kind of moral conundrum, something with that '70s flavor. And in our film that takes the form of S.H.I.E.L.D.[72]

text: Feige stated that Steve Rogers would be paired with other characters from The Avengers like Black Widow and Nick Fury, because unlike Tony Stark and Thor, who could return to their own supporting casts, Rogers had nowhere else to go, "and it just made sense that he was the one that stayed with what remains of the Avengers at the end of the film."[73] The writers considered including Hawkeye, but "he didn't have enough to do and suddenly it seemed like we were giving him short shrift", leading all of his parts to be fulfilled by Black Widow,[68] and Joe Russo added that Jeremy Renner's schedule could not be worked out for him to appear.[74] As to why the Red Skull from The First Avenger did not appear in The Winter Soldier, Joe Russo explained, "I know we have a guy in a computer, but the tone we were chasing was sort of that conspiracy thriller. And we wanted to try and ground the movie as much as we could. And Red Skull, he's a fantastical character and didn't necessarily fit for Cap 2 and especially because it was about the fall of S.H.I.E.L.D. Certainly Hydra exists and that's his legacy, but there's something interesting about the fact that his legacy outlived the skull. And they're still dealing with the demons of it, but not necessarily him."[75] Chris McKenna, who worked with the Russo brothers on the sitcom Community, contributed to the script by writing jokes for the film.[76]

text: Pre-production[edit]

text:
It's hard to make a political film that's not topical. That's what makes a political thriller different from just a thriller. And that's what adds to the characters' paranoia and the audience's experience of that paranoia. But we're also very pop-culture-obsessed and we love topicality, so we kept pushing to [have] scenes that, fortunately or unfortunately, played out [during the time that Edward] Snowden outed the NSA. That stuff was already in the zeitgeist. We were all reading the articles that were coming out questioning drone strikes, pre-emptive strikes, civil liberties — [Barack] Obama talking about who they would kill... We wanted to put all of that into the film because it would be a contrast to [Captain America]'s greatest-generation [way of thinking].

—Anthony Russo, co-director of Captain America: The Winter Soldier[77]

text: By June 2012, the Russo brothers entered negotiations to direct the sequel,[78] and Samuel L. Jackson was confirmed to return as S.H.I.E.L.D. leader Nick Fury.[41] Feige sought out the Russos after watching the genre-parodying season 2 finale of Community which they directed,[79][80] and for the additional ideas they brought to the initial story pitch.[81] Joe Russo detailed that since the intent was for a political thriller, "all the great political thrillers have very current issues in them that reflect the anxiety of the audience." Thus the brothers opted to include references to drone warfare, targeted killing and global surveillance. Joe even noted how during principal photography, the issues became more topical due to the disclosure of several National Security Agency surveillance-related documents.[82] At the 2012 San Diego Comic-Con International, it was announced that the official title for the sequel was Captain America: The Winter Soldier, and that the Russo brothers would direct the film.[83] After signing on to direct, the Russo brothers met with Ed Brubaker to learn more about where the Winter Soldier character came from, his thinking and the themes behind the character.[84] In July 2012, Anthony Mackie entered negotiations to star as Falcon alongside Chris Evans in the sequel.[13] Sebastian Stan was also confirmed to be reprising his role as James Barnes.[13] By August 2012, Anna Kendrick, Felicity Jones, and Imogen Poots were being considered front-runners for a leading role in the film.[85]

text: In September 2012, Chris Evans stated that filming would begin in March 2013.[86] Evans also stated that Rogers' adjustment to the modern world, which was originally set to be included in The Avengers, would be better suited for Captain America: The Winter Soldier.[87] At the end of the month, The Greater Cleveland Film Commission announced that Captain America: The Winter Soldier would film in Cleveland, Ohio after the production was approved for a $9.5 million tax credit.[88] Producer Nate Moore said that after also serving as a location in The Avengers, Cleveland's government was helpful in providing large locations for filming, which "provided production value which we probably could not have built in a backlot." McFeely joked that while writing ambitious action scenes "I did not realize a great American metropolis would say 'Sure, shut down three miles of freeway and go to town'."[18] Portions of the film were also scheduled to be shot in California and Washington, D.C.[88][89]

text: By October, Emilia Clarke, Jessica Brown Findlay, Teresa Palmer, Imogen Poots, and Alison Brie were being considered for Rogers' love interest in the film,[9] and Scarlett Johansson was brought back to reprise her role as Black Widow.[9] Later in the month, Frank Grillo was testing for the role of the villain Crossbones in the film,[90] and by the end of the month, Grillo closed a deal to portray the character and Cobie Smulders signed on to reprise her role as Maria Hill from The Avengers.[26]

text: In January 2013, Hayley Atwell, who played Peggy Carter in Captain America: The First Avenger, said that she would not appear in the sequel.[91] However Stanley Tucci, who played Dr. Abraham Erskine in the previous film, later said that Atwell would reappear in a flashback scene.[92] Also in January, Marvel Studios announced that the film would be released in 3D, and Anthony Mackie said filming would begin on April 1, 2013.[93][94] Later that month, Toby Jones, who portrayed Arnim Zola in the first film, said that he would reprise the role in the sequel.[42] By the end of the month, stages were being built for a shoot at Raleigh Manhattan Beach Studios in Los Angeles.[95]

text: In February 2013, Emily VanCamp entered negotiations to play a female lead in the film.[96] By March 2013, Maximiliano Hernández was signed to reprise his role as S.H.I.E.L.D. agent Jasper Sitwell from Thor and The Avengers and Robert Redford entered in talks to join the cast, as a high-ranking member of S.H.I.E.L.D,[43][97] which he later confirmed.[39] Toward the end of March, UFC fighter Georges St-Pierre was cast as a character based on the comics' Batroc the Leaper in the film.[45]

text: Captain America's uniform was altered from the ones seen in previous films, with a Kevlar-based ballistic component that would protect Captain America but at the same time function like a military uniform.[8] Joe Russo said, "We wanted to use his Super Soldier outfit from the [Steve Rogers: Super Soldier series] as a way to represent, thematically, his place in the world of S.H.I.E.L.D. and the difference between working for S.H.I.E.L.D. and being Captain America."[98] For the Falcon costume, the filmmakers were interested in adding more of a tactical design than was represented in the comic books, by including real-world webbing, straps and gear and stripping away the more comic book elements.[8]

text: Filming[edit]

text: Principal photography began on April 1, 2013, at the Raleigh Manhattan Beach Studios in Los Angeles, under the working title Freezer Burn.[99] Scenes taking place on the Lemurian Star were filmed on the Sea Launch Commander, docked in Long Beach, California.[18] In early May, Dominic Cooper confirmed he would return as Howard Stark.[100] On May 14, 2013, production moved to Washington, D.C. with filming taking place at the National Mall and the Theodore Roosevelt Bridge.[101] The following day, Garry Shandling was spotted on set reprising his Iron Man 2 role of Senator Stern.[44] Other filming locations in Washington, D.C. included the Willard Hotel and Dupont Circle.[102]

text: Filming in Cleveland began on May 17 and was scheduled to last until mid-June with locations scheduled on the West Shoreway, the Southerly Wastewater Treatment Plant in Cuyahoga Heights and the Lakeview Cemetery Dam.[103] Cleveland was chosen as a stand-in for Washington, D.C, with the city's East 6th Street doubling as 7th and D Streets in Southwest D.C.[104] Other locations in Cleveland included the Federal Reserve Bank of Cleveland, the Cleveland Public Library, Cleveland State University, the Cleveland Arcade, Tower City Center, the Cleveland Museum of Art, and the Western Reserve Historical Society.[104][105][106][107][108] Interior shots were also filmed inside private homes and the Pilgrim Congregational Church in Tremont.[109] Filming in Cleveland concluded on June 27, 2013.[110]

text: Trent Opaloch, best known for his work on District 9 and Elysium, was brought in as the director of photography. Opaloch stated that while attempting to emulate the 1970s thrillers that served as inspiration for the writers and directors, the staging and lighting tried to bring realism through "classic framing and naturalistic lighting", and the filming was done with hand-held cameras. To achieve this, Opaloch used Arri Alexa Plus 4:3 cameras with Panavision anamorphic lenses and Codex Digital recorders.[111] Stunt work aimed for realistic action, prioritizing practical effects. The fight scenes were staged for months, with a choreography that aimed to highlight Captain America's superhuman qualities, and "move away from impressionistic action into specificity": the raid on the S.H.I.E.L.D. vessel had stealthiness as the Captain knocked out enemies to avert detection, and the freeway fight with Winter Soldier was more "last minute" to highlight the characters' struggle to survive.[18]

text: In contrast to the quick editing and moving cameras of modern action films, The Winter Soldier aimed to feature longer action scenes that felt more visceral and dangerous.[38] The Russos mentioned the bank robbing scene of Heat as a major influence, which they described as "the most intense eight minutes of filmmaking I've seen in a movie theater",[18] and action scenes directed by Brian De Palma, such as the vault heist in Mission: Impossible, where "very likable characters are put in impossible situations that the audience is put on the edge on how they'd escape". Examples of these types of scenes include the ambushes on Nick Fury in the street and Captain America in the elevator.[38]

text: Post-production[edit]

text: Additional photography was filmed in December 2013 and January 2014,[112] in order for the Russos to accurately show the state of each character after the defeat of S.H.I.E.L.D., having read the script of Avengers: Age of Ultron to guide their choices.[38] Joss Whedon, director of The Avengers and Avengers: Age of Ultron, wrote and directed the mid-credits scene,[113] which featured Quicksilver, the Scarlet Witch,[55] and Baron Wolfgang von Strucker.[54] The title sequences were created by design firm Sarofsky, who had worked with the Russos since Community. Sarofsky collaborated with comic book artist David W. Mack on the sequences.[114]

text: Anthony Mackie said the Russo brothers relied on minimal use of computer-generated imagery, stating, "The Russos, what they did that was so great was, they wanted to stay with live action, which is a dying art form. If they can build it, they built it. If we could do it, we did it. They wanted to do as little CGI as possible. That's why the movie looks so great."[115] Nevertheless, six special effects companies are involved in creating the visual effects of the film, including Industrial Light & Magic (ILM), Scanline VFX, Lola VFX, Luma Pictures, Whiskytree and The Embassy, with previsualization completed by Proof.[35] The film contained 2,500 visual effects shots, with 900 worked on by ILM.[116] The film featured extensive use of digital doubles. Russell Earl, ILM visual effects supervisor, said, "The character that we did the most work on was Falcon. We knew we were going to do CG wings. We also did some shots with wires and some with stunt doubles and head replacement. And we needed a very good digital double."[116]

text: Lola VFX, who worked on the pre-serum Steve Rogers scenes in this film and Captain America: The First Avenger, also worked on shots featuring an elderly Peggy Carter. This involved digitally transposing the facial features of an elderly actress onto the face of actress Hayley Atwell who had performed her lines with no make-up and only a few tracking markers.[35]

text: The Helicarriers in the film were completely digital. Earl said, "In [The Avengers] it was more like an aircraft carrier, now it’s an aircraft carrier with the addition of battle ship-sized guns. We were all over the carriers [with the virtual camera]. We were on the decks; we were flying next to them. We had a lot of close ups and different angles. And we didn’t just have one; we had three. On top of that, we had to destroy them all." This CGI environment was also used in close ups. Earl said, "The challenge was to get in all of the detail to make it feel like it is a real, working ship. We created details down to the railings and all the human-scale stuff. ... For the shots in which we were destroying them, we had to have the internals as well – the hallways, the storage areas."[116] Many of the shots of Washington, D.C. were digitally created due to numerous flight restrictions in the city which necessitated that locations be recreated by computer.[116] However, aerial footage of the city was filmed and used for live action plate photography for shots involving the Triskelion, which is located on Theodore Roosevelt Island on the Potomac River.[35]

text: 350 different versions of the film were made, to accommodate for the different formats it would be released in domestically, while also accounting for international localization and formats. The versions had to be completed in 17 days, versus a normal turnaround time of three to four weeks for contemporary films, to make its theatrical release date.[117] One of the various changes for localization was the contents of Captain America's notebook list seen at the beginning of the film. The first five items were different depending on where the film was released, while the final five items were the same across all prints.[118] Marvel held online polls allowing fans to select the items featured in each country's release.[119]

text: Music[edit]

text: In June 2013, Henry Jackman announced that he would compose the film's score.[120] About the score Jackman said, "...it's 50% production and all the tricks I've learnt from spending years in the record industry but then it's also got the kind of injection of symphonic, thematic, heroic music that all kind of merges into one musical, and hopefully coherent piece".[121] A soundtrack album was released by Hollywood Records on April 1, 2014.[122]

text: Release[edit]

text: Captain America: The Winter Soldier was released in 32 markets on March 26, 2014[123][124] and in North America on April 4, 2014, in 2D, 3D and IMAX 3D.[61][93] The film debuted on 668 IMAX screens worldwide, a record for films releasing in April.[125] The world premiere took place on March 13, 2014 at the El Capitan Theatre in Hollywood, California.[126] The Paris premiere occurred on March 17 at Le Grand Rex,[127] the London premiere took place on March 20 at Westfield London,[128] the Beijing premiere took place on March 24[129] and the Cleveland premiere took place on April 1.[130] Chris Evans and Scarlett Johansson auctioned off passes to one of the premieres for charity.[131]

text: Marketing[edit]

text: In July 2013, Marvel Studios released a teaser poster depicting a damaged and discolored Captain America shield.[132] The Los Angeles Times said, "the image suggests that [Captain America] might see some serious battle in the sequel" while Rolling Stone said, "the image hints at darker themes in the sequel".[133][134] Later that month, Marvel Studios head and producer Kevin Feige, directors Joe and Anthony Russo, and cast members Chris Evans, Scarlett Johansson, Samuel L. Jackson, Sebastian Stan, Anthony Mackie, Cobie Smulders, Emily VanCamp, and Frank Grillo held a panel at 2013 San Diego Comic-Con International and presented footage from the film.[135] In addition, Marvel had booths depicting a Smithsonian-type exhibit showing Captain America and the Howling Commandos from Captain America: The First Avenger.[136] At the end of the month, audiences were shown a glimpse of the film along with some of Marvel's other Phase Two slate of films at Disney XD's Disney Fandom event.[137]

text: In August 2013, Feige, Evans, Stan, and Mackie presented a clip of the film at Disney's D23 Expo.[138] In September 2013, Marvel announced that it is again partnering with Harley-Davidson, continuing their relationship from Captain America: The First Avenger, with Captain America riding the company's Softail Breakout motorcycle in the film.[139]

text: In October 2013, Marvel released the first trailer for Captain America: The Winter Soldier. The Hollywood Reporter said, "it looks like it'll live up to the 'political thriller' that's been promised for months now."[140] The Los Angeles Times said, "[the] trailer runs 2½ minutes and teases plenty of action, conspiracy and clever banter between Captain America and his S.H.I.E.L.D. colleagues, with a smattering of the previously released Comic-Con International and D23 footage."[141] The Los Angeles Times also noted that the day before the release of the trailer, the studio released "a teaser for a trailer."[142] The trailer received 23.5 million views in the 24 hours after its release.[143] In November 2013, Jed Whedon, the co-creator of the television series Agents of S.H.I.E.L.D., said that there are plans to reference events from the film into the show, stating, "Nick Fury is in [Captain America: The Winter Soldier], and S.H.I.E.L.D. makes an appearance, so we will definitely try to tee-up some stuff and probably play a little bit of the fallout from that film."[144]

text: In January 2014, Disney announced that in honor of the film, Captain America would be making appearances at Disneyland.[145] The meet and greet experience opened March 7, 2014 and is called Captain America: The Living Legend and Symbol of Courage, located at Innoventions in Tomorrowland.[146] Also in January, Marvel Comics released a prelude digital comic titled, Marvel's Captain America: The Winter Soldier Infinite Comic, written by Peter David, with art by Rock-He Kim.[147] The comic sees the return of the "Zodiac", the mysterious weapon first seen in the One-Shot Agent Carter, which has fallen into the wrong hands. Captain America, Black Widow, and Rumlow must track the weapon down and put it back in S.H.I.E.L.D. protection.[148]

text: The first televised advertisement for Captain America: The Winter Soldier aired during Super Bowl XLVIII on February 2, 2014. According to The Hollywood Reporter, Disney paid over $4 million per 30-second spot.[149] The Los Angeles Times said, "The clip promoting the April 4 release had a recognizably melancholy tone as Chris Evans' patriotic hero grapples with the moral ambiguities of the modern age."[150] Also in February, Gameloft announced that a mobile video game, titled Captain America: The Winter Soldier – The Official Game, would be released in conjunction with the release of the film in late March 2014 for iOS and Android platforms.[151] A few days later General Motors announced that Chevrolet partnered with Marvel Entertainment and provided a specially designed Corvette Stingray C7 for use by the Black Widow in the film. The vehicle debuted at the 2014 Chicago Auto Show, where fans received limited-edition Captain America comic books.[152] Evans was named the grand marshal of the 2014 Daytona 500 to promote the film's release.[153] Later in the month, a 30-second television spot received "a lot of attention on social media" for a line featured in the clip. The line, which was said by Captain America, suggests that Nick Fury would die in the film. The Hollywood Reporter noted that it all seemed "a bit too obvious", noting the fact that Jackson, who plays Fury, is reprising the role in Avengers: Age of Ultron, although pointing out that it could be in a postmortem flashback appearance.[154]

text: In March 2014, Marvel released the Captain America Experience app, that allowed fans to capture a pictures of themselves with Captain America, and let them share it on Instagram and Twitter using specific hashtags to unlock 10 early screenings of the film across the United States,[155] which took place on March 20.[156] On March 18, ABC aired a one-hour television special titled, Marvel Studios: Assembling a Universe, which included a sneak peek of Captain America: The Winter Soldier.[157] On April 1, 2014, Evans and Stan rang the opening bell of the New York Stock Exchange in honor of the film's theatrical release.[158] Jackson appeared in advertisements for Sky Broadband.[159]

text: Home media[edit]

text: Captain America: The Winter Soldier was released by Walt Disney Studios Home Entertainment for digital download on August 19, 2014 and on Blu-ray, Blu-ray 3D, and DVD on September 9, 2014. The physical media releases include behind-the-scenes featurettes, audio commentary, deleted scenes, and a blooper reel.[160]

text: The film was also collected in a 13-disc box set, titled "Marvel Cinematic Universe: Phase Two Collection", which includes all of the Phase Two films in the Marvel Cinematic Universe. It was released on December 8, 2015.[161]

text: Reception[edit]

text: Box office[edit]

text: Captain America: The Winter Soldier earned $259.8 million in North America and $454.5 million in other territories for a worldwide total of $714.3 million.[3] It became the seventh-highest-grossing film of 2014 worldwide.[162] Deadline Hollywood calculated the net profit for the film to be $166.2 million, when factoring together "production budgets, P&A, talent participations and other costs, with box office grosses, and ancillary revenues from VOD to DVD and TV," placing it ninth on their list of 2014's "Most Valuable Blockbusters".[163]

text: Captain America: The Winter Soldier made $10.2 million in Thursday night showings, more than double the midnight gross of its predecessor.[164] It set an April single-day[165] ($36.9 million)[166] and April opening-weekend record ($95.0 million), while its opening weekend was a 46% increase over its predecessor.[167] The film held the number one spot at the box office for three consecutive weekends,[168][169] before being overtaken by The Other Woman in its fourth weekend.[170] It achieved the largest total gross among films released in the month of April.[171] At the end of its theatrical run, the film became the fourth highest-grossing film of 2014 behind American Sniper, The Hunger Games: Mockingjay - Part 1, and Guardians of the Galaxy.[172]

text: Captain America: The Winter Soldier topped the box office on its opening weekend with $75.2 million from 32 overseas markets.[124] The film debuted at number one in many territories, including Australia, China, and Russia[173] and set a 3-day opening-weekend record in China among Disney films,[167] with $38.81 million.[173] It topped the box office outside North America on two consecutive weekends,[167] followed by two weeks in second, behind Rio 2.[174][175]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported an 89% approval rating with an average rating of 7.6/10 based on 274 reviews. The website's consensus reads, "Suspenseful and politically astute, Captain America: The Winter Soldier is a superior entry in the Avengers canon and is sure to thrill Marvel diehards."[176] Metacritic, which uses a weighted average, assigned a score of 70 out of 100 based on 47 critics, indicating "generally favorable reviews".[177] CinemaScore audiences gave Captain America: The Winter Soldier an "A" grade rating on an A+ to F scale.[178]

text: Todd McCarthy of The Hollywood Reporter said the film "takes the bold (for Marvel) step of reducing CGI spectacle to a relative minimum in favor of reviving the pleasures of hard-driving old-school action, surprising character development and intriguing suspense."[179] Scott Foundas of Variety said it is "chockfull of the breathless cliffhangers dictated by the genre, but equally rich in the quiet, tender character moments that made the first film unique among recent Marvel fare."[180] Richard Roeper of the Chicago Sun-Times said, "While not on a par with The Avengers or the first and third Iron Man movies, this is another rock-solid chapter in the big-screen story of Marvel."[181] Owen Gleiberman of Entertainment Weekly noted the topicality of the film, stating, "Captain America: The Winter Soldier is the first superhero film since the terrorist-inflected The Dark Knight that plugs you right into what's happening now."[182] Ty Burr of The Boston Globe said the film "delivers all the 3D CGI mayhem audiences have come to expect from the Marvel entertainment juggernaut, but there’s darkness and confusion just under its comic-book surface."[183] Joe Morgenstern of The Wall Street Journal said, "What makes The Winter Soldier so enjoyable, and what will make it so profitable, is its emotional bandwidth—all the vivid, nuanced life lived by its characters in between their frenzied escapades," and felt it fixed all the shortcomings of The First Avenger "and then some".[184]

text: Conversely, Kenneth Turan of the Los Angeles Times said, "[Captain America: The Winter Soldier] is everything a big budget superhero film should be – except inspired."[185] Manohla Dargis of The New York Times said, "Like many others of its type, [Captain America: The Winter Soldier] gets off to a kinetic start only to lose steam before blowing everything up."[186] Robbie Collin of The Daily Telegraph said, "You can't help but feel disappointment that a film with a relatively spicy premise becomes, in the end, so risk-averse."[187] Mick LaSalle of the San Francisco Chronicle said the film "has the usual overlong running time [for the comic book superhero genre], the halfhearted feints in the direction of human feeling and the obligatory action sequences that are big without being either exciting or particularly legible."[188] Joe Williams of the St. Louis Post Dispatch felt "On paper this sequel has some promising elements, but on screen it retreats from the very issues that it raises, and on a shelf next to Captain America: The First Avenger, The Winter Soldier is pale."[189] Jake Coyle of the Associated Press said the film's biggest misstep was the handling of Stan's Winter Soldier, and that it was "getting difficult to tell the Marvel movies apart".[190]

text: Accolades[edit]

text:
Year
Award / Film Festival
Category
Recipient(s)
Result
Ref(s)

2014
Golden Trailer Awards
Best Action
Captain America: The Winter Soldier
Nominated
[191]

Best Action TV Spot
Captain America: The Winter Soldier
Won

Best Music TV Spot
Captain America: The Winter Soldier
Nominated

Teen Choice Awards
Choice Movie: Sci-Fi/Fantasy
Captain America: The Winter Soldier
Nominated
[192]

Choice Movie Actor: Sci-Fi/Fantasy
Chris Evans
Nominated

Choice Movie Actress: Sci-Fi/Fantasy
Scarlett Johansson
Nominated

Choice Movie: Chemistry
Chris Evans and Anthony Mackie
Nominated

Choice Movie: Liplock
Chris Evans and Scarlett Johansson
Nominated

Choice Movie: Scene Stealer
Anthony Mackie
Nominated

Young Hollywood Awards
Super Superhero
Chris Evans
Nominated
[193]

Washington D.C. Film Critics Awards
The Joe Barber Award for Best Portrayal of Washington, D.C.
Captain America: The Winter Soldier
Won
[194]

2015
Critics' Choice Movie Awards
Best Action Movie
Captain America: The Winter Soldier
Nominated
[195]

Best Actor in an Action Movie
Chris Evans
Nominated

People's Choice Awards
Favorite Movie
Captain America: The Winter Soldier
Nominated
[196]

Favorite Movie Actress
Scarlett Johansson
Nominated

Favorite Movie Duo
Chris Evans and Scarlett Johansson
Nominated

Favorite Action Movie
Captain America: The Winter Soldier
Nominated

Favorite Action Movie Actor
Chris Evans
Won

Favorite Action Movie Actress
Scarlett Johansson
Nominated

Academy Awards
Best Visual Effects
Dan DeLeeuw, Russell Earl, Bryan Grill and Dan Sudick
Nominated
[197]

Art Directors Guild Awards
Best Production Design for a Fantasy Film
Peter Wenham
Nominated

Saturn Awards
Best Comic-to-Film Motion Picture
Captain America: The Winter Soldier
Nominated
[198]

Best Director
Joe Russo and Anthony Russo
Nominated

Best Writing
Christopher Markus & Stephen McFeely
Nominated

Best Actor
Chris Evans
Nominated

Best Supporting Actor
Anthony Mackie
Nominated

Samuel L. Jackson
Nominated

Best Supporting Actress
Scarlett Johansson
Nominated

Best Music
Henry Jackman
Nominated

Best Editing
Jeffrey Ford and Matthew Schmidt
Nominated

Best Production Design
Peter Wenham
Nominated

Best Special Effects
Dan DeLeeuw, Russell Earl, Bryan Grill, and Dan Sudick
Nominated

Visual Effects Society Awards
Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture
Johan Thorngren, Greg Kegel, Quentin Marmier, Luis Calero for "Triskelion"
Nominated
[199]

Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture
Dan Pearson, Sheldon Serrao, Jose Burgos, Eric Jennings for "Helicarrier broadside and crash"
Nominated

Empire Awards
Best Thriller
Captain America: The Winter Soldier
Nominated
[200]

MTV Movie Awards
Best Fight
Chris Evans vs. Sebastian Stan
Nominated
[201]

Best Kiss
Scarlett Johansson and Chris Evans
Nominated

tag: table

text: Sequel[edit]

text: Captain America: Civil War was released on May 6, 2016, and again is directed by the Russo brothers.[202][203] Evans, Johansson, Stan, Mackie, VanCamp and Grillo reprise their roles from The Winter Soldier[204][205] and they are joined by Robert Downey, Jr. as Tony Stark / Iron Man, Paul Bettany as Vision, Jeremy Renner as Clint Barton / Hawkeye, Don Cheadle as James "Rhodey" Rhodes / War Machine, Elizabeth Olsen as Wanda Maximoff / Scarlet Witch, Paul Rudd as Scott Lang / Ant-Man, and William Hurt as Thaddeus "Thunderbolt" Ross,[206] all reprising roles from previous MCU films.


document_title: List of Basketball Wives episodes

question_text: when does basketball wives season 7 episode 6 start

text: List of Basketball Wives episodes

text: Series overview[edit]

text: Episodes[edit]

text: Season 1 (2010)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)

11"Series Premiere"April 11, 2010 (2010-04-11)1.58[3]
22"Episode 2"April 18, 2010 (2010-04-18)1.39[4]
33"Episode 3"April 25, 2010 (2010-04-25)1.28[5]
44"Episode 4"May 2, 2010 (2010-05-02)1.36[6]
55"Episode 5"May 9, 2010 (2010-05-09)1.23[7]
66"Episode 6"May 16, 2010 (2010-05-16)1.30[8]
77"Episode 7"May 23, 2010 (2010-05-23)1.24[9]
88"Season Finale"May 30, 2010 (2010-05-30)0.91[9]
99"The Reunion"June 20, 2010 (2010-06-20)1.04[10]

text: Season 2 (2010-2011)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)

101"Season Premiere"December 12, 2010 (2010-12-12)1.41[11]
112"Episode 2"December 19, 2010 (2010-12-19)1.14[11]
123"Episode 3"January 2, 2011 (2011-01-02)N/A
134"Episode 4"January 9, 2011 (2011-01-09)1.38[12]
145"Episode 5"January 16, 2011 (2011-01-16)1.24[13]
156"Episode 6"January 23, 2011 (2011-01-23)1.15[14]
167"Episode 7"January 30, 2011 (2011-01-30)1.10[15]
178"Episode 8"February 6, 2011 (2011-02-06)0.98[16]
189"Episode 9"February 20, 2011 (2011-02-20)1.05[17]
19–"Top 10 Flagrant Fouls"February 27, 2011 (2011-02-27)N/A
2010"Season Finale"March 6, 2011 (2011-03-06)2.28[18]
2111"Reunion: Part 1"March 13, 2011 (2011-03-13)1.35[19]
2212"Reunion: Part 2"March 14, 2011 (2011-03-14)1.89[20]

text: Season 3 (2011)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)

231"Season Premiere"May 30, 2011 (2011-05-30)1.82[21]
242"Episode 2"June 6, 2011 (2011-06-06)1.75[22]
253"Episode 3"June 13, 2011 (2011-06-13)1.85[23]
264"Episode 4"June 20, 2011 (2011-06-20)1.63[24]
275"Episode 5"June 27, 2011 (2011-06-27)1.73[25]
286"Episode 6"July 11, 2011 (2011-07-11)1.85[26]
297"Episode 7"July 18, 2011 (2011-07-18)2.03[27]
308"Episode 8"July 25, 2011 (2011-07-25)2.32[28]
319"Episode 9"August 1, 2011 (2011-08-01)2.01[29]
3210"Season Finale"August 8, 2011 (2011-08-08)2.59[30]
3311"Reunion: Part 1"August 15, 2011 (2011-08-15)2.57[31]
3412"Reunion: Part 2"August 22, 2011 (2011-08-22)2.87[32]

text: Season 4 (2012)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)

351"Season Premiere"February 20, 2012 (2012-02-20)2.50[33]
362"Episode 2"February 27, 2012 (2012-02-27)2.04[34]
373"Episode 3"March 5, 2012 (2012-03-05)1.92[35]
384"Episode 4"March 12, 2012 (2012-03-12)1.90[36]
395"Episode 5"March 19, 2012 (2012-03-19)1.78[37]
406"Episode 6"March 26, 2012 (2012-03-26)1.97[38]
417"Episode 7"April 2, 2012 (2012-04-02)1.72[39]
428"Episode 8"April 9, 2012 (2012-04-09)1.77[40]
439"Episode 9"April 16, 2012 (2012-04-16)2.02[41]
4410"Episode 10"April 23, 2012 (2012-04-23)1.87[42]
4511"Episode 11"April 30, 2012 (2012-04-30)1.75[43]
4612"Episode 12"May 7, 2012 (2012-05-07)1.73[44]
4713"Episode 13"May 14, 2012 (2012-05-14)2.02[45]
4814"Episode 14"May 21, 2012 (2012-05-21)1.93[46]
4915"Season Finale"May 28, 2012 (2012-05-28)1.77[47]
5016"Reunion: Part 1"June 4, 2012 (2012-06-04)2.23[48]
5117"Reunion: Part 2"June 12, 2012 (2012-06-12)2.21[49]

text: Season 5 (2013)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)

521"Season Premiere"August 19, 2013 (2013-08-19)2.39[50]
532"Episode 2"August 26, 2013 (2013-08-26)1.97[51]
543"Episode 3"September 2, 2013 (2013-09-02)1.71[52]
554"Episode 4"September 9, 2013 (2013-09-09)1.74[53]
565"Episode 5"September 16, 2013 (2013-09-16)1.97[54]
576"Episode 6"September 23, 2013 (2013-09-23)1.72[55]
587"Episode 7"September 30, 2013 (2013-09-30)1.81[56]
598"Episode 8"October 7, 2013 (2013-10-07)2.12[57]
609"Episode 9"October 14, 2013 (2013-10-14)1.92[58]
6110"Season Finale"October 21, 2013 (2013-10-21)2.23[59]

text: Season 6 (2017)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)
621"Season Premiere"April 17, 2017 (2017-04-17)2.61[60]
632"Episode 2"April 24, 2017 (2017-04-24)2.06[61]
643"Episode 3"May 1, 2017 (2017-05-01)2.01[62]
654"Episode 4"May 7, 2017 (2017-05-07)0.65[63]
665"Episode 5"May 8, 2017 (2017-05-08)1.88[64]
676"Episode 6"May 15, 2017 (2017-05-15)1.91[65]
687"Episode 7"May 22, 2017 (2017-05-22)1.98[66]
698"Episode 8"June 5, 2017 (2017-06-05)2.09[67]
709"Episode 9"June 12, 2017 (2017-06-12)1.81[68]
7110"Episode 10"June 19, 2017 (2017-06-19)2.06[69]
7211"Episode 11"June 26, 2017 (2017-06-26)1.94[70]
7312"Episode 12"July 10, 2017 (2017-07-10)2.25[71]
7413"Episode 13"July 17, 2017 (2017-07-17)2.19[72]
7514"Episode 14"July 24, 2017 (2017-07-24)2.05[73]
7615"Episode 15"July 31, 2017 (2017-07-31)1.92[74]
7716"Season Finale"August 7, 2017 (2017-08-07)2.18[75]
7817"The Reunion"August 14, 2017 (2017-08-14)2.18[76]

text: Season 7 (2018)[edit]

text:
No. inseries

No. inseason

Title

Original air date

U.S. viewers(million)

791"Season Premiere"May 14, 2018 (2018-05-14)1.86[77]
802"Episode 2"May 21, 2018 (2018-05-21)1.71[78]
813"Episode 3"May 28, 2018 (2018-05-28)1.59[79]
824"Episode 4"June 4, 2018 (2018-06-04)1.82[80]
835"Episode 5"June 11, 2018 (2018-06-11)1.96[81]
846"Episode 6"June 25, 2018 (2018-06-25)1.89[82]
857"Episode 7"July 2, 2018 (2018-07-02)1.86[83]
868"Episode 8"July 8, 2018 (2018-07-08)1.06[84]
879"Episode 9"July 16, 2018 (2018-07-16)1.67[85]
8810"Episode 10"July 30, 2018 (2018-07-30)1.59[86]
8911"Episode 11"August 5, 2018 (2018-08-05)0.94[87]
9012"Episode 12"August 12, 2018 (2018-08-12)0.90[88]
9113"Episode 13"August 19, 2018 (2018-08-19)0.92[89]
9214"Episode 14"August 26, 2018 (2018-08-26)1.07[90]
9315"Episode 15"September 2, 2018 (2018-09-02)TBD
9416"Episode 16"September 9, 2018 (2018-09-09)TBD