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This story contains spoilers for the seventh episode of 'WandaVision.'

If you are a fan of the Disney+ Marvel series “WandaVision,” there are five words that have been stuck in your head for the past week: “It was Agatha all along.”

The 62-second earworm appears in Episode 7, “Breaking the Fourth Wall,” and its purpose is simple: It explains what Wanda and Vision’s nosy neighbor, Agnes (Kathryn Hahn), has been up to this entire time. It has also taken on a life of its own, having spawned numerous trap, rock and rap remixes in the days since the episode debuted Feb 19.

“None of us knew this was going to be the song,” said composer Robert Lopez, 46, who created the songs for the series with his wife of 17 years, Oscar and Grammy-winning lyricist Kristen Anderson-Lopez, 48. “We woke up that morning to find that it was all over the internet, and it was like, ‘This is awesome.’”

It isn’t the first time the songwriting power couple has created an infectious earworm, having written tunes such as the Oscar- and Grammy-winning song “Let It Go” for the Disney animated movie “Frozen” and the Oscar-winning ballad “Remember Me” for the Pixar animated film “Coco.” They’ve won a pile of Oscars, Emmys, Tonys and Grammys between them. (Lopez, who co-conceived and co-wrote the hit musicals “Avenue Q” and “The Book of Mormon,” is in rarefied air as the only double EGOT — someone who has won an Emmy, Grammy, Oscar and Tony, twice over.)

But it is a minute-long riff on “The Munsters” theme that has burned itself into the brains of the collective internet over the past week.

 
“It’s got an ‘Addams Family’ twist with an electric harpsichord,” Anderson-Lopez said. “It’s super-duper cool and feels like something you’d find in a haunted house.”

Sung by Hahn and a chorus of male backup singers (including Lopez), it delivers the dramatic revelation that Agnes is the powerful witch Agatha Harkness — and that it is she, not Wanda (Elizabeth Olsen), who is behind all the oddities happening in sleepy little Westview. (Having killed a dog, she reveals, was among her dastardly deeds.)

When the song debuted on Spotify and iTunes on Tuesday, it leaped to the No. 1 slot on the iTunes soundtrack charts. (The trap remix created by hip-hop artist Leland Philpot is “the most glorious thing,” Anderson-Lopez said.) 
 
In a phone interview from Connecticut on Wednesday, Anderson-Lopez and Lopez shared how the track came together, their trick for getting their own songs out of their own heads and why Hahn’s character is “perfidious” rather than “hideous.” These are edited excerpts from the conversation.

Q: Did you have any idea “Agatha All Along” was going to blow up like this?

ROBERT LOPEZ: No, not at all. We were sort of sad that we were winding down and we didn’t know if we’d have any hits come out of this thing. But my goodness.

Q: What part of the song came to you first?

LOPEZ: We have a theme — the “WandaVision” motif — that’s in every single song. So that was how we began with “Agatha.”

KRISTEN ANDERSON-LOPEZ: But, in a way, “Agatha All Along” was there all along. We’ve been spoon-feeding a tritone that’s called the devil’s interval — the&nbsp; 'duh-duh-duh'&nbsp;— throughout the series. And then ultimately, when the big reveal happens with the 'DUH! DUH! DUH!', everyone had been hearing it steadily, so it felt like an old friend.

Q: Where did you look for inspiration for the song?

LOPEZ: We started with a different idea for a version of the song more along the lines of “That Girl.”

ANDERSON-LOPEZ: But it just wasn’t right; it just wasn’t churning my blood the way that I wanted it to. So then we thought: It’s a show about witches, right? So let’s embrace it. What other shows are about witches and Goth figures? “The Addams Family,” “The Munsters,” the “Monster Mash” — all these Halloween-y kind of songs that have this grinding, growling bari sax.

LOPEZ: We also have an electric harpsichord, which is what they use in “The Addams Family.” That’s the thing going dit-dit-dit-dit-dit-dit — the repeated chorus.

Q:Who does what when you’re writing a song?

LOPEZ: It changes with every song. Sometimes we’ll write it together in the same room, sometimes one of us will write the whole thing and the other one will take credit. In this case, Kristen wrote the full lyrics and gave them to me on a sheet of paper, and then I went to town with music.

ANDERSON-LOPEZ: I would wake up in the morning, and sometimes I’d be so excited to write the songs that I would write them in the shower. Get out, get a towel, scribble them on a piece of paper with drips, blurring ink — and Bobby would compose them by 10 a.m., and we’d record them after lunch, and then get notes at like 5 p.m.

Q:“Perfidious” is quite the lyric! Where did that come from?

ANDERSON-LOPEZ: We knew we didn’t want to say "hideous," because Agatha is still hot. So I looked at a rhyming dictionary and was like: “'Perfidious!' It’s so great! It’s so perfect!”

LOPEZ: We always have an SAT word in the lyrics somewhere because people appreciate learning a word. And if they already know it, they appreciate being able to brag that they know it.

ANDERSON-LOPEZ: Right! “Frozen fractals …” [from “Let It Go”]

Q: Your neighbors were not fans of one of your last hits, “Let It Go.” Has reaction been more favorable this time around?

ANDERSON-LOPEZ: It’s still early — they’ve had less than a week. But I’m starting to feel the trickles on Twitter. I’m getting messages saying, “Thank you so much for ‘Agatha All Along,’ now please remove it from my head!” and “It’s been five days, now take it back, please!”

Q: Do the songs you write get stuck in your head, too?

LOPEZ: Of course! You wake up in the middle of the night with it pounding in your ears. But having a song that gets in people’s heads is such an honor for us. It means what we created somehow magically connected across space and time and landed in another person’s neurons. It’s what was in our heads, and now it’s in their heads, and that’s something we now all share.

ANDERSON-LOPEZ:I woke up at 3 a.m. this morning with “She’s insidious / So perfidious” just going on a loop in my head. And so I replaced it with: “Don’t worry, / Ooh, ooh ooh ooh oo-ooh ooh oo-ooh, / be happy.”

LOPEZ: That’s how you get it out of your system …

ANDERSON-LOPEZ: … replace it with another thing that’s been stuck in your head before.

This story contains spoilers for the seventh episode of 'WandaVision.' If you are a fan of the Disney+ Marvel series “WandaVision,” there are five words that have been stuck in your head for the past week: “It was Agatha all along.

This story contains spoilers for the seventh episode of 'WandaVision.' If you are a fan of the Disney+ Marvel series “WandaVision,” there are five words that have been stuck in your head for the past week: “It was Agatha all along.” The 62-second earworm appears in Episode 7, “Breaking the Fourth Wall,” and its purpose is simple: It explains what Wanda and Vision’s nosy neighbor, Agnes (Kathryn Hahn), has been up to this entire time. It has also taken on a life of its own, having spawned numerous trap, rock and rap remixes in the days since the episode debuted Feb 19. “None of us knew this was going to be the song,” said composer Robert Lopez, 46, who created the songs for the series with his wife of 17 years, Oscar and Grammy-winning lyricist Kristen Anderson-Lopez, 48. “We woke up that morning to find that it was all over the internet, and it was like, ‘This is awesome.’” It isn’t the first time the songwriting power couple has created an infectious earworm, having written tunes such as the Oscar- and Grammy-winning song “Let It Go” for the Disney animated movie “Frozen” and the Oscar-winning ballad “Remember Me” for the Pixar animated film “Coco.” They’ve won a pile of Oscars, Emmys, Tonys and Grammys between them. (Lopez, who co-conceived and co-wrote the hit musicals “Avenue Q” and “The Book of Mormon,” is in rarefied air as the only double EGOT — someone who has won an Emmy, Grammy, Oscar and Tony, twice over.) But it is a minute-long riff on “The Munsters” theme that has burned itself into the brains of the collective internet over the past week. “It’s got an ‘Addams Family’ twist with an electric harpsichord,” Anderson-Lopez said. “It’s super-duper cool and feels like something you’d find in a haunted house.” Sung by Hahn and a chorus of male backup singers (including Lopez), it delivers the dramatic revelation that Agnes is the powerful witch Agatha Harkness — and that it is she, not Wanda (Elizabeth Olsen), who is behind all the oddities happening in sleepy little Westview. (Having killed a dog, she reveals, was among her dastardly deeds.) When the song debuted on Spotify and iTunes on Tuesday, it leaped to the No. 1 slot on the iTunes soundtrack charts. (The trap remix created by hip-hop artist Leland Philpot is “the most glorious thing,” Anderson-Lopez said.) In a phone interview from Connecticut on Wednesday, Anderson-Lopez and Lopez shared how the track came together, their trick for getting their own songs out of their own heads and why Hahn’s character is “perfidious” rather than “hideous.” These are edited excerpts from the conversation. Q: Did you have any idea “Agatha All Along” was going to blow up like this? ROBERT LOPEZ: No, not at all. We were sort of sad that we were winding down and we didn’t know if we’d have any hits come out of this thing. But my goodness. Q: What part of the song came to you first? LOPEZ: We have a theme — the “WandaVision” motif — that’s in every single song. So that was how we began with “Agatha.” KRISTEN ANDERSON-LOPEZ: But, in a way, “Agatha All Along” was there all along. We’ve been spoon-feeding a tritone that’s called the devil’s interval — the 'duh-duh-duh' — throughout the series. And then ultimately, when the big reveal happens with the 'DUH! DUH! DUH!', everyone had been hearing it steadily, so it felt like an old friend. Q: Where did you look for inspiration for the song? LOPEZ: We started with a different idea for a version of the song more along the lines of “That Girl.” ANDERSON-LOPEZ: But it just wasn’t right; it just wasn’t churning my blood the way that I wanted it to. So then we thought: It’s a show about witches, right? So let’s embrace it. What other shows are about witches and Goth figures? “The Addams Family,” “The Munsters,” the “Monster Mash” — all these Halloween-y kind of songs that have this grinding, growling bari sax. LOPEZ: We also have an electric harpsichord, which is what they use in “The Addams Family.” That’s the thing going dit-dit-dit-dit-dit-dit — the repeated chorus. Q:Who does what when you’re writing a song? LOPEZ: It changes with every song. Sometimes we’ll write it together in the same room, sometimes one of us will write the whole thing and the other one will take credit. In this case, Kristen wrote the full lyrics and gave them to me on a sheet of paper, and then I went to town with music. ANDERSON-LOPEZ: I would wake up in the morning, and sometimes I’d be so excited to write the songs that I would write them in the shower. Get out, get a towel, scribble them on a piece of paper with drips, blurring ink — and Bobby would compose them by 10 a.m., and we’d record them after lunch, and then get notes at like 5 p.m. Q:“Perfidious” is quite the lyric! Where did that come from? ANDERSON-LOPEZ: We knew we didn’t want to say "hideous," because Agatha is still hot. So I looked at a rhyming dictionary and was like: “'Perfidious!' It’s so great! It’s so perfect!” LOPEZ: We always have an SAT word in the lyrics somewhere because people appreciate learning a word. And if they already know it, they appreciate being able to brag that they know it. ANDERSON-LOPEZ: Right! “Frozen fractals …” [from “Let It Go”] Q: Your neighbors were not fans of one of your last hits, “Let It Go.” Has reaction been more favorable this time around? ANDERSON-LOPEZ: It’s still early — they’ve had less than a week. But I’m starting to feel the trickles on Twitter. I’m getting messages saying, “Thank you so much for ‘Agatha All Along,’ now please remove it from my head!” and “It’s been five days, now take it back, please!” Q: Do the songs you write get stuck in your head, too? LOPEZ: Of course! You wake up in the middle of the night with it pounding in your ears. But having a song that gets in people’s heads is such an honor for us. It means what we created somehow magically connected across space and time and landed in another person’s neurons. It’s what was in our heads, and now it’s in their heads, and that’s something we now all share. ANDERSON-LOPEZ:I woke up at 3 a.m. this morning with “She’s insidious / So perfidious” just going on a loop in my head. And so I replaced it with: “Don’t worry, / Ooh, ooh ooh ooh oo-ooh ooh oo-ooh, / be happy.” LOPEZ: That’s how you get it out of your system … ANDERSON-LOPEZ: … replace it with another thing that’s been stuck in your head before.

Meet the songwriters behind the 'WandaVision' hit 'Agatha All Along'

Fifteen-year-old prodigy Coco Gauff set up an Australian Open blockbuster with defending champion Naomi Osaka on Wednesday, as Novak Djokovic strode towards his eighth title in Melbourne.

Fifteen-year-old prodigy Coco Gauff set up an Australian Open blockbuster with defending champion Naomi Osaka on Wednesday, as Novak Djokovic strode towards his eighth title in Melbourne. American teenager Gauff, showing a tenacity which is becoming her trademark, clawed her way back from a set down to beat the experienced Sorana Cirstea 4-6, 6-3, 7-5. Gauff, who screamed and pumped her fists as she completed her victory, said he "will win" had got her through the tough second-round match at a windswept Melbourne Park. "My parents always told me you can always come back - no matter what the score is," said Gauff, who beat seven-time Grand Slam champion, Venus Williams, in round one. Gauff also beat Williams on her Grand Slam debut last year at Wimbledon, and in another quirk, she faced Osaka in the US Open third round, going down meekly in straight sets. Japan's Osaka, 22, beat China's Zheng Saisai 6-2, 6-4 but briefly lost her cool mid-match, hurling and kicking her racquet when she gave up a break in the second set. Also Read: Gauff, 15, stuns Venus Williams in Australian Open first round [ Coco Gauff (Courtesy: Reuters) ] "I was thinking that I really don't want to play the third set this time," explained Osaka, who is defending a Grand Slam title for the second time. Former world number one Caroline Wozniacki, playing her final tournament before retiring, lived to fight again as she came from behind in both sets for a 7-5, 7-5 win over Dayana Yastremska of Ukraine. And Australia's world number one Ashleigh Barty raced through 6-1, 6-4 against Polona Hercog, buoying hopes of a first home winner since 1978. "It was very different end to end, I think the wind was a massive factor particularly with the new ball," she said. 'Tough conditions' Djokovic also weathered the breeze - which follows heavy rain on Monday, and smog from bushfires last week - to beat Japanese wildcard Tatsuma Ito 6-1, 6-4, 6-2 in 95 minutes. "They were tough conditions, pretty windy and it was hard to know where the balls were going. My serve helped a lot to get me out of trouble," said the Serb. Greece's Stefanos Tsitsipas was handed a slice of fortune when Philipp Kohlschreiber withdrew injured from what looked like a testing match, giving the sixth seed a bye into the third round. In other results, Petra Kvitova, last year's runner-up, came through 7-5, 7-5 against Paula Badosa of Spain, and China's Zhang Shuai ousted American Caty McNally 6-2, 6-4. Among eight first-round matches held over from Tuesday, after rain wiped out half of Monday's schedule, Spain's Carla Suarez Navarro, also retiring this year, upset Belarusian 11th seed Aryna Sabalenka in straight sets. Later in Melbourne, Serena Williams plays her second-round match against Slovenia's Tamara Zidansek, with Margaret Court's record of 24 Grand Slam titles in her sight, and Roger Federer faces Serbia's Filip Krajinovic.

Coco crunch for Osaka as Djokovic bowls over wildcard

Crowd-pleaser Coco Gauff came through a tough battle with qualifier Timea Babos 6-2, 4-6, 6-4 on Thursday to set up a third-round clash at the US&nbsp;Open against top seed and defending champion Naomi Osaka.

The 15-year-old American phenom was forced to dig deep to become the youngest player since Anna Kournikova in 1996 to reach the third round of the women's singles at Flushing Meadows.

"I was tested a lot. I think we both were just testing each other," Gauff said. "It’s just that type of match where anyone could have won."

Gauff rode into this year's tournament with enormous expectations after a dream run at Wimbledon where she beat five-times champion Venus Williams on her way to the fourth round.

On Thursday, the two players were evenly matched for most of the contest, with Gauff maintaining a slightly tighter performance and committing 34 unforced errors compared to 42 from Hungarian Babos.

It was another comeback for Gauff, who worked her way back from a one-set deficit in her first-round match, and the young upstart showed off her fighting instincts after failing to fend off a critical breakpoint late in the second set.

"I thought that the first set, I definitely was in control. In the second set, she raised her level and I wasn't able to finish the set," Gauff said.

A fired up Gauff prevailed after a 12-stroke rally late in the third set to set up a breakpoint opportunity, pumping her fists wildly and shouting in the excitement in front of a packed crowd that was firmly on her side.

"I couldn’t even see any empty seats!" Gauff said of the crowd, which included retired NBA star Kobe Bryant.

"I don’t even know how to really thank you guys. I’m super honoured to be American and play in New York City."

Gauff will face off against 21-year-old Osaka, who also holds the Australian Open title, in the third round of the tournament on Saturday in a clash that may provide a glimpse at the future of the women's game.

"Obviously she's an amazing player," said Gauff. "She's defending champion. She's won two slams. She's number one. She's only 21.

"We're both pretty young. But I'm a little bit newer to the game. So I'm just curious to see how my game matches up against her."

Crowd-pleaser Coco Gauff came through a tough battle with qualifier Timea Babos 6-2, 4-6, 6-4 on Thursday to set up a third-round clash at the US Open against top seed and defending champion Naomi Osaka.

Crowd-pleaser Coco Gauff came through a tough battle with qualifier Timea Babos 6-2, 4-6, 6-4 on Thursday to set up a third-round clash at the US Open against top seed and defending champion Naomi Osaka. The 15-year-old American phenom was forced to dig deep to become the youngest player since Anna Kournikova in 1996 to reach the third round of the women's singles at Flushing Meadows. "I was tested a lot. I think we both were just testing each other," Gauff said. "It’s just that type of match where anyone could have won." Gauff rode into this year's tournament with enormous expectations after a dream run at Wimbledon where she beat five-times champion Venus Williams on her way to the fourth round. On Thursday, the two players were evenly matched for most of the contest, with Gauff maintaining a slightly tighter performance and committing 34 unforced errors compared to 42 from Hungarian Babos. It was another comeback for Gauff, who worked her way back from a one-set deficit in her first-round match, and the young upstart showed off her fighting instincts after failing to fend off a critical breakpoint late in the second set. "I thought that the first set, I definitely was in control. In the second set, she raised her level and I wasn't able to finish the set," Gauff said. A fired up Gauff prevailed after a 12-stroke rally late in the third set to set up a breakpoint opportunity, pumping her fists wildly and shouting in the excitement in front of a packed crowd that was firmly on her side. "I couldn’t even see any empty seats!" Gauff said of the crowd, which included retired NBA star Kobe Bryant. "I don’t even know how to really thank you guys. I’m super honoured to be American and play in New York City." Gauff will face off against 21-year-old Osaka, who also holds the Australian Open title, in the third round of the tournament on Saturday in a clash that may provide a glimpse at the future of the women's game. "Obviously she's an amazing player," said Gauff. "She's defending champion. She's won two slams. She's number one. She's only 21. "We're both pretty young. But I'm a little bit newer to the game. So I'm just curious to see how my game matches up against her."

Fighting Coco sets up Naomi Osaka showdown at US Open

The much-talked-about “Future Is Female” concert is back with its second annual run -- focusing on women film and TV composers. The concert scheduled for September 4 will happen at the Wiltern Theatre in Los Angeles.

The concert will be headlined by a number of composers from active media music including Germaine Franco (“Coco,” “Tag”), Tamar-kali (“Mudbound”), Ronit Kirchman (“The Sinner”), Cindy O’Connor (“Once Upon a Time”) and Heather McIntosh (“Compliance”).

The concert will also see new and upcoming composers like Mandy Hoffman, Tori Letzler, Emily Rice, Perrine Virgile-Piekarski, Tangelene Bolton, Aska Matsumiya and Jessie Weiss.

Organisers in a statement said, “While there has been a major rise in film music concerts both domestically and globally, very few feature the musical works of women composers.”

The inaugural “Future Is Female” concert took place in May 2017 in Los Angeles. It showcased 10 women composers and sold out swiftly,&nbsp;

Focusing on female film and TV composers, the show is scheduled for September 4

The much-talked-about “Future Is Female” concert is back with its second annual run -- focusing on women film and TV composers. The concert scheduled for September 4 will happen at the Wiltern Theatre in Los Angeles. The concert will be headlined by a number of composers from active media music including Germaine Franco (“Coco,” “Tag”), Tamar-kali (“Mudbound”), Ronit Kirchman (“The Sinner”), Cindy O’Connor (“Once Upon a Time”) and Heather McIntosh (“Compliance”). The concert will also see new and upcoming composers like Mandy Hoffman, Tori Letzler, Emily Rice, Perrine Virgile-Piekarski, Tangelene Bolton, Aska Matsumiya and Jessie Weiss. Organisers in a statement said, “While there has been a major rise in film music concerts both domestically and globally, very few feature the musical works of women composers.” The inaugural “Future Is Female” concert took place in May 2017 in Los Angeles. It showcased 10 women composers and sold out swiftly,

‘Coco’ composer Germaine Franco to headline ‘Future Is Female’ concert

Popular for&nbsp;series like, "House of Cards", "13 Reasons why", "Narcos", "Better call Soul", Netflix is planning to focus&nbsp;on original content this year as the video streaming giant has planned to produce over 500 original productions by the end of this year.

According to media reports, about 700 original content including movies and tv series will be produced this year with an investment of at least $8 billion.

The planned productions of this year will also include a lot of non-English content such as psychological thriller "Dark" from Germany and "Club de Cuervos" from Mexico. Ideas for 80 movies are also in the pipeline.

Media reports also quoted Ted Sarandos, the chief content officer for Netflix saying that Netflix spends 85% per cent of its spending on original content only. He was speaking at the "MoffettNathanson Media & Communications Summit 2018" in New York on Monday.

Netflix is also intending to focus further on original content more than adding content as original content will ensure secure a fanbase for the company a lot of other networks are also planning to launch their own streaming service.

Currently, in order to add content to Netflix, the company signs an agreement with the production company which eventually has an expiry date.

Disney is also planning to launch its own streaming service by 2019 which could shift the Disney fan base from Netflix to Disney's app.

Currently, the service has some 470 originals right now.

In their latest additions for May month, Netflix will add movies like "Amelie", "Hachi: A Dog's Tale", "Queens of Comedy: Season 1", "High School Musical 3" etc.

In original additions, "A Little Help with Carol Burnett", "Manhunt", "Busted", "Dear White People" are among other shows that viewers can stream.

Recently released Disney-Pixar movie Coco will also be added to Netflix this month.

Their popular thriller series "Stranger Things" has also been renewed for the third season this month and their "13 Reasons why"&nbsp;second season will&nbsp;premiere on May 18.

According to media reports, about 700 original content including movies and tv series will be produced this year with an investment of at least $8 billion

Popular for series like, "House of Cards", "13 Reasons why", "Narcos", "Better call Soul", Netflix is planning to focus on original content this year as the video streaming giant has planned to produce over 500 original productions by the end of this year. According to media reports, about 700 original content including movies and tv series will be produced this year with an investment of at least $8 billion. The planned productions of this year will also include a lot of non-English content such as psychological thriller "Dark" from Germany and "Club de Cuervos" from Mexico. Ideas for 80 movies are also in the pipeline. Media reports also quoted Ted Sarandos, the chief content officer for Netflix saying that Netflix spends 85% per cent of its spending on original content only. He was speaking at the "MoffettNathanson Media & Communications Summit 2018" in New York on Monday. Netflix is also intending to focus further on original content more than adding content as original content will ensure secure a fanbase for the company a lot of other networks are also planning to launch their own streaming service. Currently, in order to add content to Netflix, the company signs an agreement with the production company which eventually has an expiry date. Disney is also planning to launch its own streaming service by 2019 which could shift the Disney fan base from Netflix to Disney's app. Currently, the service has some 470 originals right now. In their latest additions for May month, Netflix will add movies like "Amelie", "Hachi: A Dog's Tale", "Queens of Comedy: Season 1", "High School Musical 3" etc. In original additions, "A Little Help with Carol Burnett", "Manhunt", "Busted", "Dear White People" are among other shows that viewers can stream. Recently released Disney-Pixar movie Coco will also be added to Netflix this month. Their popular thriller series "Stranger Things" has also been renewed for the third season this month and their "13 Reasons why" second season will premiere on May 18.

Netflix plans to produce over 500 original shows and movies by the end of 2018

A front-runner for 90th Academy Awards scheduled for March 4, Pixar&#39;s animated movie &quot;Coco&quot;&nbsp;has been receiving rave reviews both commercially and critically.&nbsp;

If getting nominated for Best Animated Feature Film was not enough, the film&#39;s theme song &quot;Remember Me&quot;&nbsp;is also up for Best Original Song category.

Now, to heighten the joy of those who enjoyed the film -- singers&nbsp;LaFourcade and Miguel who sang &ldquo;Remember Me&rdquo; together on the soundtrack along with&nbsp;Garcia Bernal, who voiced the character Hector in the movie and sings&nbsp;a Spanish version of the song -- will now be pairing for a live&nbsp;performance at the Oscars.&nbsp;

The song&nbsp;&ldquo;Remember Me&rdquo; was originally composed by Robert Lopez and Kristen Anderson-Lopez, the songwriting couple who won an Oscar for &ldquo;Let It Go&rdquo; from Disney&rsquo;s 2013 hit film &quot;Frozen&quot;.

Here&#39;s hoping that the Mexican-culture themed film wins it big at Oscars!

&nbsp;

The theme song 'Remember Me' from the animated movie is nominated for Best Original Song

A front-runner for 90th Academy Awards scheduled for March 4, Pixar's animated movie "Coco" has been receiving rave reviews both commercially and critically. If getting nominated for Best Animated Feature Film was not enough, the film's theme song "Remember Me" is also up for Best Original Song category. Now, to heighten the joy of those who enjoyed the film -- singers LaFourcade and Miguel who sang “Remember Me” together on the soundtrack along with Garcia Bernal, who voiced the character Hector in the movie and sings a Spanish version of the song -- will now be pairing for a live performance at the Oscars. The song “Remember Me” was originally composed by Robert Lopez and Kristen Anderson-Lopez, the songwriting couple who won an Oscar for “Let It Go” from Disney’s 2013 hit film "Frozen". Here's hoping that the Mexican-culture themed film wins it big at Oscars!

Oscars 2018: Natalia, Miguel, Gael Garcia to perform nominated song 'Remember Me' from 'Coco'

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