document_title: Astrodome

question_text: who hit the first home run in the houston astrodome

text: Astrodome

text: History[edit]

text: Conception[edit]

text: Major League Baseball expanded to Houston in 1960 when the National League agreed to add two teams. The Houston Colt .45s (renamed the Astros in 1965) were to begin play in 1962, along with their expansion brethren New York Mets. Roy Hofheinz, a former mayor of Houston, and his group were granted the franchise after they promised to build a covered stadium. It was thought a covered stadium was a must for a major league team to be viable in Houston due to the area's subtropical climate and hot summers. Game-time temperatures are usually above 97 °F (36 °C) in July and August, with high humidity and a likelihood of rain. Hofheinz claimed inspiration for what became the Astrodome when he was on a tour of Rome, where he learned that the builders of the ancient Colosseum installed giant velaria to shield spectators from the Roman sun.

text: The Astrodome was conceived by Hofheinz as early as 1952, when he and his daughter Dede were rained out once too often at Buffalo Stadium, home of Houston's minor league baseball team, the Houston Buffs. Hofheinz abandoned his interest in the world's first air-conditioned shopping mall, The Galleria, and set his sights on bringing major league baseball to Houston.[7]

text: Design and construction[edit]

text: The Astrodome was designed by architects Hermon Lloyd & W. B. Morgan, and Wilson, Morris, Crain and Anderson (Morris Architects). Structural engineering and structural design was performed by Walter P Moore Engineers and Consultants of Houston. It was constructed by H. A. Lott, Inc. for Harris County, Texas. It stands 18 stories tall, covering 9.5 acres (3.8 ha). The dome is 710 feet (220 m) in diameter and the ceiling is 208 feet (63 m) above the playing surface, which itself sits 25 feet (7.6 m) below street level.[8]

text: The scoreboard, eventually known as the "Astrolite", was designed by Fair Play Scoreboards of Des Moines, Iowa.[9] Having designed the scoreboard for Dodger Stadium several years prior, team owner Roy Hofheinz was not impressed with the initial proposal for a much more generic type of scoreboard. Project designer Jack Foster teamed up with a creative professional based in Kansas City to create the first animated scoreboard. Its reported cost was $2.1 million.[9]

text: The Dome was completed in November 1964, six months ahead of schedule.[10] Many engineering changes were required during construction, including the modest flattening of the supposed "hemispherical roof" to cope with environmentally induced structural deformation and the use of a new paving process called "lime stabilization" to cope with changes in the chemistry of the soil. The air conditioning system was designed by Houston mechanical engineers Israel A. Naman and Jack Boyd Buckley of I. A. Naman + Associates.

text: The multi-purpose stadium, designed to facilitate both football and baseball, is nearly circular and uses movable lower seating areas. It also ushered in the era of other fully domed stadiums, such as the Pontiac Silverdome near Detroit and the Mercedes-Benz Superdome in New Orleans, as well as the now-demolished Hubert H. Humphrey Metrodome (now rebuilt as U.S. Bank Stadium) in Minneapolis, Kingdome in Seattle, and RCA Dome in Indianapolis.

text: To test what effect the enclosed air-conditioned environment might have on the delivery of breaking balls, Satchel Paige, in full Astros uniform, threw the first pitches at the Astrodome on February 7, 1965.[11][12] He later concluded that it was a "pitcher's paradise", as the lack of wind allowed for sensitive pitches to maneuver more easily.

text: Hofheinz had an opulent apartment in the Dome, which was removed when the facility was remodeled in 1988.[13]

text: Opening and reception[edit]

text: On Opening Day, April 9, 1965, a sold-out crowd of 47,879 watched an exhibition game between the Houston Astros and the New York Yankees. President Lyndon B. Johnson and his wife Lady Bird were in attendance, as well as Texas Governor John Connally and Houston Mayor Louie Welch. Governor Connally tossed out the first ball for the first game ever played indoors. Dick "Turk" Farrell of the Astros threw the first pitch. Mickey Mantle had both the first hit (a single) and the first home run in the Astrodome. The Astros beat the Yankees that night, 2-1.[14]

text: President Johnson stopped at the Astrodome that evening en route to his home in Johnson City and paid his respects to baseball and Astros president Roy Hofheinz, a campaign manager for Johnson in the 1940s, just as the second inning got underway. He and Lady Bird watched the opening night game from behind the glass in Judge Hofheinz' private box high in right field just to the right of the giant scoreboard. LBJ ate hors d'œuvres and chicken and ice cream while watching the game.[14] "Roy, I want to congratulate you; it shows so much imagination", he was heard to say. Later, he called the stadium "massive" and "beautiful." Although the president's visit overshadowed all others, dignitaries swarmed through the "Eighth Wonder of the World" during the three days of the exhibition series and for opening night against the Phillies.[15][16]

text: The first artist to play the Astrodome was Judy Garland on December 17, 1965, where she was paid $43,000 for the one show. The Supremes were her opening act and tickets were priced $1.00 to $7.50. The dome seated 48,000, with another 12,000 seats added for this show. Garland appeared on stage at 10 p.m. and sang for 40 minutes, with her set of songs including: "He's Got The Whole World In His Hands"; "Just In Time"; "My Kind Of Town, Houston Is"/"Houston"; "As Long As He Needs Me"; "Joey, Joey, Joey"; "Do It Again"; "What Now My Love?"; "By Myself"; "Rock-A-Bye Your Baby"; "San Francisco"; "Chicago"; and "Over The Rainbow." Mort Lindsey conducted.[17]

text: June 15, 1976 "The Rainout"[edit]

text: Ironically, the Astrodome suffered a rainout on June 15, 1976. The Astros' scheduled game against the Pittsburgh Pirates was called when massive flooding in the Houston area prevented all but a few fans from reaching the stadium. Both teams had arrived early for practice, but the umpires were several hours late. At 5pm that day, with only a handful of fans on hand and already several hours behind, the umpires and teams agreed to call the game off. Tables were brought onto the field and the teams ate dinner together.[18] Although the Astros still had a home series with Pittsburgh in August, this game was made up in Pittsburgh in July.

text: Recent history[edit]

text: In 1989, four cylindrical pedestrian ramp columns were constructed outside the Dome for accessibility. This enabled the Astrodome to comply with the Americans with Disabilities Act of 1990.

text: The 1992 Republican National Convention was held at the Astrodome in August of that year. The Astros accommodated the convention by taking a month-long road trip.

text: On August 19, 1995, a scheduled preseason game between the Oilers and the San Diego Chargers had to be canceled due to the dilapidated condition of the playing field. Oilers owner Bud Adams demanded a new stadium, but the city of Houston refused to fund it. After years of threats, Adams moved the team to Tennessee after the 1996 season.[19] Around that time the Astros also threatened to leave the city unless a new ballpark was built.[19] The retractable-roofed Enron Field (now known as Minute Maid Park) opened for the 2000 season in downtown Houston.

text: One of the largest crowds in the Astrodome's history, more than 66,746 fans, came on Sunday, February 26, 1995, to see Tejano superstar Selena and her band Los Dinos perform for a sell-out crowd during the Houston Livestock Show and Rodeo.[20] Selena y Los Dinos performed two consecutive times before at the Astrodome, breaking previous attendance records each time. This was Selena's last televised concert before she was fatally shot on March 31, 1995 by her fan club president.

text: The Astrodome was joined by a new neighbor in 2002, the retractable-roofed Reliant Stadium (now known as NRG Stadium), which was built to house Houston's new NFL franchise, the Houston Texans. The Houston Livestock Show and Rodeo moved to the new venue in 2003, leaving the Astrodome without any major tenants. The last concert at the Astrodome was George Strait & the Ace in the Hole Band during the 2002 Houston Livestock Show and Rodeo, before a record crowd of 68,266; the performance was recorded in For the Last Time: Live from the Astrodome.[21]

text: Hurricane Katrina[edit]

text: On August 31, 2005, in the wake of Hurricane Katrina, the Harris County Department of Homeland Security and Emergency Management and the State of Louisiana came to an agreement to allow at least 25,000 evacuees from New Orleans, especially those that were sheltered in the Louisiana Superdome, to move to the Astrodome until they could return home. The evacuation began on September 1, 2005. All scheduled events for the final four months of 2005 at the Astrodome were cancelled.[22] Overflow refugees were held in the surrounding Reliant Park complex. There was a full field hospital inside the Reliant Arena, which cared for the entire Katrina evacuee community.

text: The entire Reliant Park complex was scheduled to be emptied of hurricane evacuees by September 17, 2005. Originally, the Astrodome was planned to be used to house evacuees until December. However, the surrounding parking lots were needed for the first Houston Texans home game. Arrangements were made to help Katrina evacuees find apartments both in Houston and elsewhere in the United States. By September 16, 2005, the last of the hurricane evacuees living in the Astrodome had been moved out either to the neighboring Reliant Arena or to permanent housing north of Houston.[23] As of September 20, 2005, the remaining Katrina evacuees were relocated to Arkansas due to Hurricane Rita.[24]

text: Closure[edit]

text: In 2008, the facility was cited for numerous code violations. Since then, only maintenance workers and security guards have been allowed to enter the stadium while it is brought up to code.[25] The city council rejected demolition plans on environmental grounds, over concerns that demolition of the Dome might damage the dense development that today closely surrounds it.[26]

text: Refurbishment plans[edit]

text: Houston's plan to host the 2012 Summer Olympics included renovating the Astrodome for use as a main stadium.[27] Houston became one of the USOC's bid finalists, but the organization chose New York City as its candidate city and the Games were ultimately awarded to London by the IOC.

text: Plans to convert the Astrodome into a luxury hotel were rejected.[28] A proposal to convert the Astrodome into a movie production studio was also considered but rejected.[29] Regardless of the type of renovation, all renovation plans must deal with the problem of occupancy code violations that have basically shuttered the Astrodome for the near future.[30]

text: In June 2013, a comprehensive plan was unveiled that would have seen the aging structure undergo an almost $200 million renovation into a multi-purpose event/convention facility. The measure would have to have been approved first through a bond election in Harris County for the publicly funded project to go forward or else, officials warned, the iconic structure would be demolished.[31] Voters ended up rejecting the measure on November 5, 2013.[32]

text: 2013 referendum and aftermath[edit]

text: On November 5, 2013, voters in Houston turned down a $213 million referendum to renovate and convert the Astrodome into a state-of-the-art convention center and exhibition space known as "New Dome Experience".[33] Until a final disposition is made, Harris County commissioners will not approve demolition of the stadium. "The building's still there. There's no formal plan or authorization to demolish the building, and until somebody brings such a plan to fruition, there's a chance," according to Willie Loston, executive director of the Harris County Sports and Convention Corporation. "The proposal was rejected by the voters. We're back to where we were. Square one," according to Steve Radack, Harris County commissioner.[34]

text: Three exterior pedestrian ramp towers were demolished on December 8, 2013. Around that time, the ramp bridges were disconnected from the main structure and the surrounding grass berms were lowered. The ticket booths were also removed along with the interior seats. The demolition was planned prior to the referendum.[35][36]

text: Astrodome Indoor City Park[edit]

text: After the failed bond election of 2013, the county went back to the drawing board and in August 2014 the County Commissioners Court announced a new plan to save and rejuvenate the Astrodome. The new concept centered around leaving the Dome's roof intact and converting the Astrodome's vast central space into a covered semi-climate-controlled city park that could have flexible uses for both public recreation and gatherings such as festivals and concerts. The remainder of the complex would have been redeveloped over time using a combination of public and private funds and include elements such as an educational exploration area to encourage students to learn about the sciences and engineering and possibly meeting, exhibition, and restaurant areas that would not only serve the general public, but could also add value to the Houston Texans' Game Day Experiences and be used by the Rodeo. A key element of this proposal centered around the ability for the county to proceed with the initial phases of the project using existing funds without having to seek voter approval for an expensive bond referendum.[37] However, this plan failed as well.

text: Astrodome Revitalization Project[edit]

text: After the failed plans of past years, the Astrodome Revitalization Project was proposed in September 2016. This plan would turn the dome into a massive underground parking garage. Specifically, the first step would raise the dome floor and use the space underneath that as parking, leaving the floor above for other uses. On September 27, 2016, the Harris County Commissioners approved the first part of the plan. This marked a major turning point for the dome as some feared if the plan wasn't approved the building would be demolished.[38][39][40] On January 27, 2017, the Texas Historical Commission voted unanimously to designate the dome a State Antiquities Landmark.[41] Under the designation, the Astrodome may no longer be removed, altered, damaged, salvaged, or excavated without a permit from the commission.[6]

text: Notable events[edit]

text: Baseball[edit]

text:
The first home run in the Astrodome was hit by Mickey Mantle off of pitcher Turk Farrell on April 9, 1965 in an exhibition game between the Astros and Yankees.[42] The first official home run was hit by Dick Allen of the Philadelphia Phillies in a game on April 12 of that year – a 2–0 Astros loss.[43]
Lindsey Nelson, an announcer for the visiting New York Mets, broadcast a game on April 28, 1965 while perched in a gondola suspended from the roof above second base.[44]
At the beginning of the 1980 play off series between the Astros and the Phillies, KILT AM radio announced that the Astros number one fan "Astroman" would live on top of the Domed stadium and would not come down until the Astros won the World Series. Over the next 10 days Astroman, played by KILT salesman Denver Griffith, lived on top of the Astrodome in a six-man tent. On top of the Astrodome was also a telephone hot line back to KILT radio where Griffith as Astroman would give interviews throughout the day. Astroman was completely cut off and could only get food and drink by lowering a rope with a basket the 18 stories from the top of the Astrodome to the center of the playing field. At one point Griffith got so desperate for food and drink that his mother had to intervene and interrupt an Oilers practice so that the needed supplies could be delivered. Every night a local TV station would sign off with a shot of Astroman on top of the Astrodome waving to a circling news chopper.
The 1986 NLCS ended with what at the time was the longest post-season game in history. The Astros lost a 16-inning Game 6 to the eventual World Series champion New York Mets, 7-6. (The record was surpassed at the new Minute Maid Park during the 2005 NLDS when the Astros won an 18-inning game against the Atlanta Braves. The contest featured Roger Clemens in relief for only the second time in his career.)
On October 3, 1999, the Astros played their final regular season game at the Astrodome, clinching the NL Central Division title with a 9–4 win over the Dodgers. The final Astros game in the stadium occurred 6 days later when the Braves eliminated the Astros in Game 4 of the Division Series.

text: Basketball[edit]

text:
The Game of the Century between the University of Houston Cougars and the UCLA Bruins took place at the Astrodome in 1968 before a crowd of 52,963—the record for the largest attendance ever at a basketball game until 2003. The first National Collegiate Athletic Association regular season game broadcast nationwide in prime time, the Game of the Century established college basketball as a sports commodity on television, and paved the way for the modern "March Madness" television coverage. The Cougars, coached by Guy V. Lewis, defeated coach John Wooden's Bruins, led by Lew Alcindor, 71-69 behind a 39-point scoring effort from Elvin Hayes.
The Astrodome hosted the 1989 NBA All-Star Game. Attendance was 44,735 and Karl Malone won MVP honors.

text: Tennis[edit]

text: The Battle of the Sexes tennis match occurred on September 20, 1973, aired on ABC with Billie Jean King defeating the late Bobby Riggs in three straight sets. While more of a publicity stunt than a serious match, it made national headlines and stands as a milestone in the progress of women's sports. Scenes were filmed here in the 2017 film Battle Of The Sexes which starred Emma Stone & Steve Carell, who respectively played these players.

text: Boxing & WWE[edit]

text:
Three-time World Heavyweight Boxing Champion Muhammad Ali fought Cleveland Williams in the Astrodome in November 1966.
On April 1, 2001, the WWE (then known as the WWF) hosted WrestleMania X-Seven, which set an all-time record attendance for the Astrodome of 67,925.

text: Concerts[edit]

text:
Elvis Presley gave six performances there between February and March 1970, setting an attendance record with 200,000 over the six shows. He performed there again on March 3, 1974, setting a single day attendance record.
September 4, 1992; Co-headlining tour of Metallica and Guns N' Roses with special guest Faith No More. News footage of this concert can be found on YouTube at https://www.youtube.com/watch?v=4CsH-TnpBdI. Additionally, MTV filmed an episode of Live n' Loud during the show. Footage from that can also be seen here: https://www.youtube.com/watch?v=Uw3NU8J_zal

text: Motorsports[edit]

text: The Astrodome held several motorsports events throughout its lifetime. The AMA Grand National Championship held events starting in 1968 and running for 18 years, utilizing the Short Track and TT Steeplechase track configurations in their visits. The AMA Supercross Championship held its first ever indoor Supercross at the Astrodome in 1974, won by Jim Pomeroy. In the mid-1980s the Mickey Thompson Entertainment Group held several Stadium Off-Road Racing Series events, showcasing such drivers as Ivan Stewart, Robby Gordon, and Walker Evans. Beginning in the early 1980s, both TNT Motorsports and the United States Hot Rod Association held events showcasing mud bogging, truck and tractor pulling, and monster trucks in the Astrodome. After a buy-out of TNT Motorsports, the USHRA continued holding events that would later transform into the current Monster Jam events.

text: With the opening of NRG Stadium in late 2002, the events held in early 2002 by AMA Supercross and Monster Jam would be their last in the Astrodome before moving next door for 2003, where they continue to hold events every year.

text:
KTRK-TV Channel 13 Eyewitness News anchorman Dave Ward was injured during a motocross exhibition race (which also included Channel 13 sports anchor Bob Allen, as well as other local media figures) in the Astrodome in the early 1970s.
Evel Knievel jumped 13 cars two nights in a row, drawing over 100,000 spectators to the Astrodome in January 1971, and though there was talk of him making an actual jump over the stadium itself sometime in the future, it never happened.
The Astro Spiral car jump was performed January 12, 1972, by Chick Galiano of J.M. Productions' Hell Drivers. This stunt was later performed in the 1974 James Bond film The Man With The Golden Gun.

text: In popular culture[edit]

text:
Robert Altman's 1970 comedy film Brewster McCloud is set at the Astrodome: the eponymous hero is an eccentric young man who lives at the stadium.
The 1972 special Road Company was videotaped here, which starred Dom DeLuise, Bob Hynes and Sheila MacRae.
The Astrodome was the setting for the filming of an exhibition game with the fictional Houston Toros in the 1977 movie The Bad News Bears in Breaking Training.
The made-for-TV movie Murder at the World Series was filmed here, about a fictional 1977 World Series between the Astros vs. Oakland Athletics.
In 2001, U2 filmed the music video for "Stuck in a Moment You Can't Get Out Of" inside the Astrodome.
In 2004, the Astrodome was the setting of the 1988 5A Football State Championship in the movie Friday Night Lights, between the Permian Panthers and the Carter High Cowboys.

text: Awards and recognitions[edit]

text:
On June 19, 2013, the Astrodome was named to the National Trust for Historic Preservation's annual list of America's 11 Most Endangered Historic Places as well as to its National Treasures portfolio.[45]
The Astrodome was added to the National Register of Historic Places in January 2014.[46]
The dome celebrated its 50th anniversary on April 9, 2015. A time capsule buried under the site at the time of construction was located. However, it was not extricated to celebrate the occasion, based on concerns about the cost and potential to compromise the structure of a retaining wall. This was also one of the very few times that the Astrodome has been open for the public since 2006.[47]

text: Features[edit]

text: Scoreboard[edit]

text: The Astrodome was well-renowned for a four-story scoreboard called the "Astrolite", composed of thousands of light bulbs that featured numerous animations. After every Astros home run, the scoreboard featured a minute-long animated celebration of pistols, bulls, and fireworks. The scoreboard remained intact until 1988 when Houston Oilers (now Tennessee Titans) owner Bud Adams suggested the removal of the scoreboard to accommodate increased capacity demands for football, baseball and the Houston Livestock Show and Rodeo. Harris County spent $67 million of public funds on renovations.[48] Approximately 15,000 new seats resembling the 1970s rainbow uniform pattern were installed to bring seating capacity to almost 60,000 for football. On September 5, 1988, a final celebration commemorating the scoreboard occurred prior to expansion renovations.

text: Playing surface[edit]

text: Originally, the stadium's surface was a Tifway 419 Bermuda grass, specifically bred for indoor use. The dome's ceiling contained thousands of semitransparent panes made of Lucite.[49] Players quickly complained that glare coming off of the panes made it hard for them to track fly balls; to solve the problem, two sections of panes were painted white in April.[49][50] However, within a few months, the grass died from lack of sunlight.[51] For most of the 1965 season, the Astros played on green-painted dirt and dead grass. The clear panels also added a problem when combined with the natural grass. The grass tended to hold, then release moisture, often resulting in rain within the structure, causing games to be delayed while the grounds crews cleaned up the playing surface.

text: The solution was to install a new type of artificial grass on the field, ChemGrass, which became known as AstroTurf. Because the supply of AstroTurf was still low, only a limited amount was available at the start of the 1966 season. There was not enough for the entire outfield, so the first phase covered only the traditional grass portion of the infield and foul territory,[52] at a cost of $2 per square foot. It was installed in time to test out during exhibition games against the Dodgers in March.[53][54][55] The outfield remained painted dirt until after the All-Star Game. The team was sent on an extended road trip before the break, and on July 19, the installation of the outfield portion of AstroTurf was completed for a game with the Phillies, thus covering the entire field with AstroTurf.[56][57] Groundskeepers dressed as astronauts kept the turf clean with vacuum cleaners between innings. The infield dirt remained in the traditional design, with a large dirt arc, similar to natural grass fields.

text: In 1973, the Astros installed an all-AstroTurf infield, except for dirt cutouts around the bases. This "sliding pit" configuration was introduced by Cincinnati with the opening of Riverfront Stadium on June 30, 1970. It was then installed in the new stadiums in Philadelphia in 1971, and Kansas City in 1973. The artificial turf fields of Pittsburgh, St. Louis, and San Francisco, all installed in 1970, were traditionally configured like the Astrodome and later changed to sliding pits. San Francisco converted in 1971, Pittsburgh in 1973, and St. Louis in 1978. Rogers Centre in Toronto was the last park in the majors that had sliding pits; it opened in 1989 and switched to a traditional dirt skin infield in 2016.

text: Throughout its history, the Astrodome was known as a pitcher's park. The power alleys were never shorter than 370 feet (113 m) from the plate; on at least two occasions they were as far as 390 feet (119 m). Over time, it gave up fewer home runs than any other park in the National League.[7] The Astrodome's reputation as a pitcher's park continued even in the mid-1980s, when the fences were moved in closer than the Metrodome, which was long reckoned as a hitter's park.

text: Seating capacity[edit]

text:
Baseball

Years
Capacity

1965

42,217

1966–1967

46,000

1968–1974

44,500

1975–1981

45,101

1982–1989

47,690

1990–1999

54,816

Football

Years
Capacity

1965–1983

50,000

1984–1986
50,495[58]

1987–1989
50,594[59]

1990–1991

62,439

1992–1994
62,021[60]

1995–2006
59,969[61]


document_title: Star Trek: Discovery

question_text: when does the next star trek episode come out

root

text: Star Trek: Discovery

text: Premise[edit]

text: Set roughly ten years before the events of Star Trek: The Original Series,[1] the show sees the united Klingon houses in a war with the United Federation of Planets that involves the crew of the USS Discovery.[2][3]

tag: p

text: Cast and characters[edit]

text:
Sonequa Martin-Green as Michael Burnham:
A Science Specialist on USS Discovery. Burnham was First Officer of the USS Shenzhou, where she was referred to as "Number One" to honor the character of the same name portrayed by Majel Barrett in the original Star Trek pilot "The Cage".[4][5][6] Burnham is a human who was raised following Vulcan culture and traditions by Sarek.[4][7] Unlike the protagonists of previous Star Trek series, she was not made a starship captain, in order "to see a character from a different perspective on the starship—one who has different dynamic relationships with a captain, with subordinates, it gave us richer context".[1] Fuller deliberately gave the character a traditionally male name, which he had done with the female leads of his previous series.[8]
Doug Jones as Saru:
First Officer of the USS Discovery, Saru was previously Science Officer of the USS Shenzhou.[9] Saru is the first Kelpien to enter Starfleet. Kelpiens, a new species created for Discovery, were hunted as prey on their home planet and thus evolved the ability to sense the coming of death, giving them a reputation for cowardice.[10] Jones based Saru's walk on that of a supermodel,[7] out of necessity thanks to the boots he had to wear to portray the character's hooved feet, forcing Jones to walk on the balls of his feet.[11] The producers compared Saru to the characters Spock and Data from previous series.[10]
Shazad Latif as Voq / Ash Tyler:
A Klingon who undergoes surgery to pose as the human Tyler, chief of security for the USS Discovery.[12][13] Tyler believes he was held as a prisoner of war by the Klingons. Latif was originally cast in the role of Kol.[14][13] Voq was initially credited as being portrayed by Javid Iqbal, an invented actor named for Latif's father, to hide the connection between the characters.[12] Latif described his character as "a very complex and painful and deep character",[13] and noted that "there's a chemistry, a relationship" with Burnham.[15] Latif's accent for Voq is Arabic-inspired, and he tried to maintain "a kind of pharyngealness" to Tyler's American accent.[12]
Anthony Rapp as Paul Stamets:
Chief engineer aboard the USS Discovery and science officer specializing in astromycology (the study of fungi in space) whose research led to development of an experimental organic propulsion system on the Discovery.[9][16][17] The character is inspired by a real-life mycologist of the same name.[18] He is the first openly gay character in a Star Trek series, and the showrunners "wanted to roll out that character's sexuality the way people would roll out their sexuality in life." Rapp noted that Hikaru Sulu was portrayed as gay in the film Star Trek Beyond, calling that "a nice nod. But in this case, we actually get to see me with my partner in conversation, in our living quarters, you get to see our relationship over time, treated as any other relationship would be treated".[19]
Mary Wiseman as Sylvia Tilly:
A cadet in her final year at Starfleet Academy, assigned to the Discovery.[20][21] She works under Stamets aboard the Discovery, where she becomes roommates with Burnham.[21] The character was included to represent people "at the very bottom of this ladder" of the Starfleet hierarchy. She is "the most optimistic ... has the biggest heart", and showrunner Aaron Harberts described her as "sort of the soul of our show."[22]
Jason Isaacs as Gabriel Lorca:
Captain of the Discovery,[23] a "brilliant military tactician".[24] Isaacs described the character as "probably more f—ked up than any of" the previously seen Star Trek captains.[7] He plays the character with a slight southern U.S. accent, and had initially wanted to ad-lib a catchphrase for the character feeling that all Star Trek captains should have one, coming up with "git'r done" which the writers turned down due to it being widely used and trademarked by Larry the Cable Guy.[25]

tag: ul

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original release date

1
"The Vulcan Hello"
David Semel
Story by : Bryan Fuller & Alex Kurtzman
Teleplay by : Akiva Goldsman & Bryan Fuller
September 24, 2017 (2017-09-24)[a]

2
"Battle at the Binary Stars"
Adam Kane
Story by : Bryan Fuller
Teleplay by : Gretchen J. Berg & Aaron Harberts
September 24, 2017 (2017-09-24)

3
"Context Is for Kings"
Akiva Goldsman
Story by : Bryan Fuller & Gretchen J. Berg & Aaron Harberts
Teleplay by : Gretchen J. Berg & Aaron Harberts & Craig Sweeny
October 1, 2017 (2017-10-01)

4
"The Butcher's Knife Cares Not for the Lamb's Cry"
Olatunde Osunsanmi
Jesse Alexander & Aron Eli Coleite
October 8, 2017 (2017-10-08)

5
"Choose Your Pain"
Lee Rose
Story by : Gretchen J. Berg & Aaron Harberts & Kemp Powers
Teleplay by : Kemp Powers
October 15, 2017 (2017-10-15)

6
"Lethe"
Douglas Aarniokoski
Joe Menosky & Ted Sullivan
October 22, 2017 (2017-10-22)

7
"Magic to Make the Sanest Man Go Mad"
David M. Barrett
Aron Eli Coleite & Jesse Alexander
October 29, 2017 (2017-10-29)

8
"Si Vis Pacem, Para Bellum"
John S. Scott
Kirsten Beyer
November 5, 2017 (2017-11-05)

9
"Into the Forest I Go"
Chris Byrne
Bo Yeon Kim & Erika Lippoldt
November 12, 2017 (2017-11-12)

10
"Despite Yourself"
Jonathan Frakes
Sean Cochran
January 7, 2018 (2018-01-07)

11
"The Wolf Inside"
TJ Scott
Lisa Randolph
January 14, 2018 (2018-01-14)

12
"Vaulting Ambition"
Hanelle M. Culpepper
Jordon Nardino
January 21, 2018 (2018-01-21)

13
"What's Past is Prologue"[28]
TBA
TBA
January 28, 2018 (2018-01-28)

14
"The War Without, The War Within"[28]
TBA
TBA
February 4, 2018 (2018-02-04)

15
"Will You Take My Hand?"[28]
TBA
TBA
February 11, 2018 (2018-02-11)

tag: table

text: Jump up ^ The first episode had a special premiere on CBS alongside its release on CBS All Access.[26][27]

tag: ol

text: Production[edit]

text: Development[edit]

text: On November 2, 2015, CBS announced a new Star Trek television series to premiere in January 2017, "on the heels" of the original series' 50th anniversary in 2016. It is the first Star Trek series since Star Trek: Enterprise concluded in 2005, and the first show to be developed specifically for the CBS All Access on demand service. Alex Kurtzman, co-writer of the films Star Trek and Star Trek Into Darkness, and Heather Kadin were set as executive producers on the series, which is "not related" to the 2016 film Star Trek Beyond.[29][30] The January 2017 date was the earliest that CBS could release a new Star Trek series after an agreement the company made when it split with Viacom in 2005.[31] Showtime, Netflix, and Amazon Video all offered "a lot of money" for the rights to release the series,[32] but after heavily investing in the new All Access service, CBS believed that a returning Star Trek could be "the franchise that really puts All Access on the map" and could earn more money in the long run.[31][32]

text: In January 2016, CBS president Glenn Geller revealed that he and the CBS network were not involved in the production of the series, saying, "It really is for All Access. While the network will be broadcasting the pilot, I actually can't answer any creative questions about it."[33] The next month, Bryan Fuller, who began his career writing for the series Star Trek: Deep Space Nine and Star Trek: Voyager, was announced as the new series' showrunner and co-creator alongside Kurtzman.[34][35] Nicholas Meyer, writer and director of Star Trek II: The Wrath of Khan and Star Trek VI: The Undiscovered Country, also joined the series as a writer and consulting producer.[36] In March, Rod Roddenberry, the son of Star Trek creator Gene Roddenberry, and Trevor Roth of Roddenberry Entertainment also joined the series, as executive producers.[37] Fuller said that working with people previously involved with Star Trek was "really about making sure that we maintain authenticity", and said that Meyer—who is widely considered to have made the best Star Trek film in The Wrath of Khan—brings "a clarity and a cleanliness to the storytelling. An ability to ground science-fiction in a relatable way, and also making sure that we're telling character stories."[38] Fuller had publicly called for Star Trek to return to television for years, particularly because of its impact on minority groups, as he explained, "I couldn't stop thinking about how many black people were inspired by seeing Nichelle Nichols on the bridge of a ship. I couldn't stop thinking about how many Asian people were inspired by seeing George Takei and feeling that gave them hope for their place in the future. I wanted to be part of that representation for a new era."[39] When Fuller first met with CBS about the series, the company did not have a plan for what the new show would be.[40] He proposed an anthology series with each season being a standalone, serialized show set in a different era, beginning with a prequel to the original series, then stories set during the original series, during Star Trek: The Next Generation, and then "beyond to a time in Trek that's never been seen before". Fuller compared this to what American Horror Story did for horror, and described the proposal as a platform for "a universe of Trek shows". CBS instead suggested a single serialized show to see how that performed first, and he began further developing the concept of a prequel to the original series.[39]

text: Fuller announced in June 2016 that the first season would consist of 13 episodes,[40] though he would prefer to produce 10 episodes a season.[6] A month later, Fuller announced the series' title to be Star Trek: Discovery,[41] and revealed that it would be set in the "Prime Timeline" (which includes the previous Star Trek series, but not the modern reboot films) to keep the concurrent series and films separate, so "we don't have to track anything [happening in the films] and they don't have to track what we're doing".[42][6] Also in July, CBS Studios International licensed the series to Netflix for release outside the United States and Canada,[35] a "blockbuster" deal that paid for the show's entire budget (around US$6–7 million per episode).[43][44] During pre-production on the series, Fuller and CBS continued to disagree on the direction of the show, which was starting to overrun its per-episode budget, and was falling behind schedule due to Fuller supervising all aspects of the series as well as another new show, American Gods. This caused frustration among CBS executives who felt Fuller should be focused on having Discovery ready for release by the January 2017 premiere date.[39] By August 2016, Fuller had hired Gretchen J. Berg and Aaron Harberts, who he had worked with on Pushing Daisies, to serve as co-showrunners with him.[6][44] A month later, he and Kurtzman asked CBS to delay the series' release so they could meet the high expectations for it, and the studio pushed the series premiere back to May 2017."[45] At the end of October, CBS asked Fuller to step down as showrunner,[39] and announced a restructuring of the production: Berg and Harberts were made sole showrunners, working from a broad story arc and overall mythology established by Fuller; Kurtzman and Fuller would continue as executive producers, but with Fuller moving his attention fully to American Gods; and Akiva Goldsman would join the series in a supporting producer role, similar to the role he held on Fringe alongside Kurtzman. CBS reiterated that they were "extremely happy with [Fuller's] creative direction" for the series,[44] though some elements of the series that came directly from Fuller were dropped, including some designs and "more heavily allegorical and complex story" points.[39] Fuller later confirmed that he was no longer involved with the series, but expressed interest in returning for future seasons.[46]

text: With production set to finally begin in January, "a lot of careful deliberation [was] continuing to go into making Discovery special, from the choice of directors, to set design, to the special effects."[47] Ted Sullivan also joined the series to serve as supervising writing producer.[48][49] At CBS's 2017 upfront presentation, CBS Interactive president Marc DeBevoise confirmed a "fall" release date for the series, and announced that the episode order for the first season had been expanded to 15 episodes.[50][51] In June, CBS announced a new premiere date of September 24, 2017, with the season airing through November 2017, and then beginning again in January 2018. This break gave more time to complete post-production on the second half of the season.[26] Also that month, Kurtzman said that he and Fuller had discussed future seasons before the latter's departure, and promised that "what's there in terms of story and certainly in terms of set-up, character, big ideas, the big movement of the season, that's all stuff that Bryan and I talked about" and would not be altered.[52] Goldsman said in August that the producers wanted "a hybridized [anthology] approach. I don't think we're looking for an endless, continuing nine or 10 year story. We're looking at arcs which will have characters that we know and characters that we don't know."[8] Kurtzman added that the success of Discovery could lead to other new Star Trek series that could potentially use the anthology format.[53] By the end of August, Berg and Harberts had developed a "road map" for a second season, and "the beginnings of one" for a third. It was also revealed that an average episode of the first season had ultimately cost US$8–8.5 million each, making it one of the most expensive television series ever and exceeding the original Netflix deal, though CBS still considered the series to be paid for already due to the number of new All Access subscribers that the show was expected to draw.[54] After the series' premiere, Kurtzman said that the producers wanted to avoid announcing release dates and having to delay those for any future seasons, due to the external pressure that caused with the first season, but that he hoped a second season would be available in early 2019.[55] The second season was officially ordered a month later in October 2017.[56]

text: Writing[edit]

text:
"The defining factor of Roddenberry's vision is the optimistic view of the future ... Once you lose that, you lose the essence of what Star Trek is. That being said... Star Trek has always been a mirror to the time it reflected and [the topical question now] is how do you preserve and protect what Starfleet is in the weight of a challenge like war and the things that have to be done in war."

—Executive producer Alex Kurtzman on the balance between classic Star Trek and new elements in Discovery[57]

tag: div

text: The series' writers are based in Los Angeles,[58] and include "fans who all have very different relationships to Trek," which Kurtzman said is "a healthy thing and it's a good thing".[52] Fuller wanted to differentiate the series from the previous 700+ episodes of Star Trek by taking advantage of the streaming format of All Access and telling a single story arc across the entire first season. He and Kurtzman developed this story from "so many elements of Star Trek", taking certain episodes of the original series and using their "DNA" to find "the spirit of what Star Trek offers, both in terms of high-concept science fiction storytelling and really wonderful metaphors for the human condition".[40] Berg said that the series' writers "are so in love with" The Original Series, The Next Generation, and the family aspect of those series, while Harberts added that Meyer's Star Trek films were an especial influence on Discovery because "his storytelling is complex and intellectual and yet there's a lot of room for character voices".[59]

text: The titular ship was named after Discovery One from 2001: A Space Odyssey, NASA's Space Shuttle Discovery, and "the sense of discovery ... what [that] means to Star Trek audiences who have been promised a future by Gene Roddenberry where we come together as a planet and seek new worlds and new alien races to explore and understand and collaborate with".[60] Fuller saw the series as a bridge between Enterprise and the original series—which are set around 150 years apart—but set much closer to the latter to allow the series to "play with all the iconography of those ships and those uniforms".[61] In May 2017, Sullivan described the series as "a genuine prequel" to the original series,[62] with Goldsman later adding that there were many classic Star Trek elements that fans among the writers wished to include in the series, but couldn't because they were included in the original series as something being discovered by Starfleet for the first time then.[63] The choice to feature a single serialized story throughout the first season was inspired by the general change in television to tell more realistic and serialized stories rather than the "new destination-based adventure each week" format mostly used in previous Star Trek series. Fuller had been one of several writers during the 1990s pushing for Deep Space Nine and Voyager to move towards this style.[64] Also inspired by modern, "peak television" series such as Game of Thrones was a willingness to kill off major characters for dramatic reasons, though the writers wanted to avoid doing so gratuitously or for "shock value".[65]

text: Fuller said the series could "push the content envelope since it won't be constrained by broadcast standards", but "it's still Star Trek. It will probably be slightly more graphic content ... I imagine we're going to shoot scenes a couple of ways and see what feels more authentic in the editing room."[1] Harberts ultimately described the series as a "hard PG-13", saying the series could include "some violent things or [a] tiny bit of language" but they still wanted the show to be for families and to "honor what the franchise is."[66] On using time travel in the series, a plot device used in at least two episodes of every previous live-action Star Trek season, Fuller said that it had not yet been used for any episode by the end of August 2016, and, "You never know when you want to pull out that device but I am not anticipating an over-reliance on time travel to tell this season's stories."[6] The series' writers also chose to ignore Gene Roddenberry's longstanding rule that Starfleet crew members not have any significant conflict with one another or be depicted negatively (a rule that Roddenberry himself did not always strictly follow). Harberts explained, "We're trying to do stories that are complicated, with characters with strong points of view and strong passions. People have to make mistakes—mistakes are still going to be made in the future. We're still going to argue in the future ... the thing we're taking from Roddenberry is how we solve those conflicts."[64] Because of the show's position as a prequel to the original series, the producers felt it was more important for Discovery to build towards Roddenberry's ideals, and to show that "you can't simply be accepting and tolerant without working for it, and so this show is about that struggle."[63]

text: Casting[edit]

text: By June 2016, Fuller had met with several actors, and said that "we want to carry on what Star Trek does best, which is being progressive. So it's fascinating to look at all of these roles through a colorblind prism and a gender-blind prism".[40] A month later, Kadin clarified that the series would feature minority, female, and LGBTQ characters.[67] In August, Fuller said the series would feature "about seven" lead characters,[68] and would star a lieutenant commander, rather than a starship captain like previous Star Trek series, to be played by a non-white actress. He said the series would also include more alien characters than other Star Trek series, and would feature at least one openly gay character. Fuller, who is gay himself, had been determined to see this happen since receiving hate mail while working on Voyager when a character on that show was rumored to be coming out as gay.[1] By this time, Fuller had discussed the series' casting with Mae Jemison, the first black woman in space (who made a cameo appearance in an episode of The Next Generation).[1][69]

text: Fuller anticipated casting announcements in October 2016,[6] but none had been made by the end of that month. The majority of the series main characters were believed to have been cast by then, but no actress had been cast for the series' lead role. This was a source of "some internal stress" at CBS.[44] Several African American and Latina actresses were being looked at for the role, with CBS "not seeking a huge star and [preferring] a fresh face for the part."[70] In October, the cast was believed to include "a female admiral, a male Klingon captain, a male admiral, a male adviser and a British male doctor", with one of those male leads played by an openly gay actor.[71] The next month, Doug Jones and Anthony Rapp were revealed to be cast, as Science Officers Saru and Stamets, respectively.[9] The former is a Kelpien, an alien race created for the series,[10] while the latter is the first Star Trek character to be conceived and announced as gay.[9] Sonequa Martin-Green was cast in the lead role in December,[72] which was officially confirmed in April 2017, with the character's name revealed to be Michael Burnham.[5] Also in December, Shazad Latif was cast as the Klingon Kol.[73] In March 2017, Jason Isaacs was cast as Captain Lorca of the USS Discovery,[23] and Mary Wiseman joined as Tilly, a cadet.[20] At the end of April, Latif was revealed to have been recast to the role of Starfleet Lieutenant Tyler.[14] In the series, this role is shown to be an undercover persona used by the Klingon Voq, who was initially credited as being portrayed by the invented actor Javid Iqbal to hide the fact that Latif was portraying both Voq and Tyler.[12]

text: Design[edit]

text: Mark Worthington and Todd Cherniawsky served as initial production designers for the series;[74] Gersha Phillips and Suttirat Anne Larlarb designed the costumes;[3][75] veteran Star Trek designer John Eaves designed starships, along with Scott Schneider;[76][77] and Glenn Hetrick and Neville Page of Alchemy Studios provided prosthetics, props, and armor.[3][78] Page previously served as the concept and creature designer on the three "Kelvin Timeline" Star Trek films.[79] The series also employed seven art directors, over nine illustrators, more than thirty-five set designers, and over four hundred and fifty painters, carpenters, sculptors, model makers, welders, set dressers, and prop builders.[77]

text: Fuller said on the general approach to design on the show, "we're producing the show in 2016. We have to update the style of the effects, the style of the sets, the style of the makeup ... all of the other series have been produced [at a time that] isn't as sophisticated as we are now with what we can do production-wise, we're going to be reestablishing an entire look for the series" and for Star Trek moving forward.[1] Fuller had wanted the series' uniforms to reflect the primary colors of the original series, but this was discarded after his departure.[39] However, Fuller's designs for the Klingons, which he "really, really wanted" to redesign, were retained.[8][2] 3D Systems' "cutting edge" 3D printing techniques were widely used in the making of the series.[3][79] For the prosthetics, Page and Hetrick took detailed laser scans of the actors so they could simulate make-up and prosthetics in a virtual environment before creating the practical version.[80] Fabric for the Starfleet uniforms seen in the series were custom-dyed in Switzerland; the costumes were cut and assembled in Toronto by Phillips and her department. The main uniforms seen in the series are a navy blue specifically mixed for the show, with gold or silver embellishments depending on the division of the officer. Medical officers wear a "hospital white" variant, also custom-dyed in Switzerland, while the captain's uniform is the standard navy blue but with additional gold piping on the shoulders.[81] Starfleet insignia badges were molded from silicon bronze, and then polished and plated by a jeweler to create custom colors for the series, based on the division of the officer wearing the uniform: gold for command, silver for sciences and medical, and copper for operations. Props such as tricorders and hand scanners, communicators, and phasers were produced with 3D printing and heavily inspired by their designs in the original Star Trek series.[81]

text: The design of the USS Discovery is based on an unused Ralph McQuarrie design for the USS Enterprise from the unproduced film Star Trek: Planet of the Titans, which Fuller had noted in July 2016 was "to a point that we can't legally comment on it until [our legal team] figures out some things".[42] McQuarrie's designs were based on the concepts created by Ken Adam to feature a vessel with a flattened secondary hull.[82][83] Fuller wanted "something distinct about what our Star Trek was going to look" like, and after seeing McQuarrie's design "saw sort of harder lines of a ship and started talking about race cars and Lamborghinis in the '70s and James Bond cars and started working on the designs, taking those inspirations and coming up with something completely unique to us."[84] The design for the Discovery went through several revisions and refinements before the final version was approved in December 2016.[85] The sickbay on the Discovery was inspired by that of the Enterprise from the original series.[86] Other Federation starships created for the show include the USS Shenzhou and the USS Europa.[87][88] Sets for the Discovery's interiors were described as a "tangle of corridors and rooms",[54] and were designed to match with the exterior design of the ship, so "the rooms [could believably] fit inside the house", but there was some artistic license taken in places. The graphics used for the Starfleet computer systems were designed to be believably more advanced than modern technology, but to also "honor the look and feel" of the designs used in previous series. The initial colors allowed for the graphics were mostly restricted to blues, with the intention of these becoming more colorful the closer the series gets to the time period of the original series.[77]

text: Filming[edit]

text: Star Trek: Discovery is filmed at Pinewood Toronto Studios,[89] with Vincenzo Natali serving as producing director for the series.[40] Some of the series' sets took over six weeks to create,[87] and new sets were being built up until the end of production of the season.[90] Discovery took advantage of multiple soundstages at the studio, including the largest soundstage in North America.[54] Some episodes for the show were filmed solely on existing sets, making them bottle episodes, though Harberts said the series would not do anything "as bottle-y as 'everyone is stuck in the mess hall!'"[90]

text: For the visual scope of the series, Kurtzman felt that the show had to "justify being on a premium cable service".[91] The showrunners were particularly inspired by Star Trek: The Motion Picture and its "wider scope", with Harberts explaining that the series is shot in a 2:1 aspect ratio which "just lends itself to a very lyrical way of telling the story." He added that some of the series' visuals were influenced by the modern Star Trek films from J. J. Abrams.[59] Some of these influences, per Goldsman, are "the ability to be creative cinematically...the intimate discourse, the humanistic storytelling with the giant canvas that is Star Trek. A more kinetic camera, a more dynamic way of existing, a much greater use of practical sets so when you’re running down a corridor, you’re running down a corridor. A sense of rhythm...there is a sense of litheness, a kind of fluidity in the characterizations."[92] The producers worked closely with pilot director David Semel to make the series look as cinematic as possible, including filming the bridge of Starfleet's ships in such a way as "not to shoot in a sort of proscenium box...to be able to get the camera into spaces where, you know, to shoot it in interesting ways, which is a combination of choreographing a scene to motivate the camera moving, and also lighting."[57] The cinematographers for the series wanted to emphasize on set sourcing, with lighting built in wherever it would naturally appear to help create a more realistic feel, and distance the series from the "stage" feel of the original series.[90] The lighting could also be controlled to create completely different situations, such as the lighting of a Starfleet red alert.[77] Harberts said that the cinematographers wanted the series to have a "Rembrandt texture".[90]

text: Visual effects[edit]

text: Visual effects producers were hired to begin work on the series during the initial writing period, with Fuller explaining that the series would require such things as "digital augmentation on certain alien species" and "the transporter beams". He said, "We're trying to cultivate distinct looks for all of those things that are unique to our version of Star Trek and carry through the themes we love seeing in fifty years of Star Trek, but doing a slightly different approach."[40] Pixomondo is the primary visual effects vendor for the series,[88] with Spin VFX also working on the show.[93] Kurtzman noted that the series utilizes multiple CG environments which take several months to properly render.[57] The shuttle bay of the Discovery is completely computer-generated, with actors performing in front of a green screen for scenes in that environment; using the digital set is more expensive than any other set created for the series, including the practically-built ones.[94]

text: Music[edit]

text: The first teaser for the series featured music composed by Fil Eisler, which he "threw together as an audition" within three weeks.[67] Before production on the series began, Charles Henri Avelange had also composed and recorded music for the series, which he described as "a showcase for CBS".[95] In July 2017, Jeff Russo was announced as composer for the series.[7] Russo recorded the series' score with a 60-piece orchestra.[91] The show's main theme incorporates elements from the original Star Trek theme.[63]

text: Release[edit]

text: The first episode of Star Trek: Discovery aired in a "preview broadcast" on CBS in the United States on September 24, as well as being made available with the second episode on CBS All Access. Subsequent first-run episodes, making up the first chapter of the season, were streamed weekly on All Access through November 12. The second chapter began streaming in January 2018.[26][27][96]

text: CBS Studios International licensed the series to Bell Media for broadcast in Canada, and to Netflix for another 188 countries.[35] In Canada, the premiere was simulcast with CBS on September 24, 2017, on both the CTV Television Network and on the specialty channel Space before being streamed on CraveTV; it was also broadcast in French on the specialty channel Z.[35] Subsequent episodes will be released through Space, Z, and CraveTV,[35] with Space airing each episode 30 minutes before it's streamed on All Access.[97][98] In the other countries, Netflix will release each episode of the series for streaming within 24 hours of its U.S. debut.[35] This agreement also saw Bell Media and Netflix acquire all previous Star Trek series to stream in their entirety, and to broadcast on Bell Media television channels.[35]

text: Marketing[edit]

text: The first full trailer for the series was released in May 2017.[99] Forbes's Merrill Barr noted that the trailer was a good sign for many who believed the series would never be released following the many production setbacks and delays, saying, "Having a legitimate trailer that can be watched over and over again brings signs of hope, particularly for fans that have been waiting over a year for this moment. Star Trek: Discovery is real, and now we have proof."[100] Chris Harnick of E! News described the trailer as "gorgeous" and "truly cinematic", and because of the appearances of Sarek and the Klingons in the footage, "this is the Star Trek you know and love."[101] Aja Romano at Vox called the trailer's visuals "sumptuous" and "modern, but still very much in keeping with the aesthetic of previous Trek series". She continued, "What gets short shrift in this trailer is the series' overarching plot ... In any case, seeing the Klingons in all their combative glory feels a bit like coming home for Trek fans."[102] Also in May, McFarlane Toys signed a toy license deal with CBS to produce "figures, role play weapons and accessories" for Discovery. CBS Consumer Products senior vice president Veronica Hart explained that McFarlane was chosen as the first licensee for the series because of its "commitment to quality and dedication to fans". The deal will also see the company "create merchandise from the entire Star Trek universe, ranging from the classic Star Trek: The Original Series to its popular movie franchise." The first merchandise produced under the deal are set for release in mid-2018.[103]

text: Reception[edit]

text: Ratings and viewership[edit]

text: According to Nielsen Media Research, the CBS broadcast of the first episode was watched by a "decent" audience of 9.5 million viewers.[104][105] The premiere of the series led to record subscriptions for All Access, with the service having its biggest day of signups, as well as its biggest week and month of signups thanks to the series.[106] According to "app analytics specialist" App Annie, the premiere of the series also caused the number of downloads of the All Access mobile app to more than double, with revenue from the app for CBS doubling compared to the average in-app revenue during the previous 30 days.[107]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported an 82% approval rating for the first season, with an average rating of 7.16/10 based on 57 reviews. The website's critical consensus reads, "Although it takes an episode to achieve liftoff, Star Trek: Discovery delivers a solid franchise installment for the next generation—boldly led by the charismatic Sonequa Martin-Green."[108] Metacritic, which uses a weighted average, assigned a score of 72 out of 100 based on 20 critics, indicating "generally favorable reviews".[109]

text: Accolades[edit]

text:
Year
Award
Category
Recipient
Result
Ref.

2018
TVLine's Performer of the Week
Performance in "The Wolf Inside"
Sonequa Martin-Green
Nominated
[110]

Costume Designers Guild Awards
Excellence in Sci-Fi / Fantasy Television
Gersha Phillips
Pending
[111]

Visual Effects Society Awards
Outstanding Visual Effects in a Photoreal Episode
Jason Michael Zimmerman, Aleksandra Kochoska, Ante Dekovic and Mahmoud Rahnama for "The Vulcan Hello"
Pending
[112]

Outstanding Compositing in a Photoreal Episode
Phil Prates, Rex Alerta, John Dinh and Karen Cheng
Pending

Empire Awards
Best TV Actor
Jason Isaacs
Pending
[113]

GLAAD Media Awards
Outstanding Drama Series
Star Trek: Discovery
Pending
[114]

text: Other media[edit]

text: After Trek[edit]

text: By July 2016, CBS was working on an aftershow companion series to Discovery similar in format to AMC's Talking Dead, a companion to The Walking Dead. The show would air live after each episode of Discovery, and would feature "guests, celebrity Trekkies, former Star Trek actors, along with cast members and crew" from Discovery.[115] The companion series was confirmed in 2017, with the title After Trek and host Matt Mira. It is produced by Embassy Row in association with Roddenberry Entertainment.[116]

text: Publishing[edit]

text: In September 2016, Discovery writer Kirsten Beyer announced that CBS was working with IDW and Simon & Schuster to produce more content revolving around the setting of the series, starting with at least one novel and a comic series tied to the television show. Beyer, the writer of many Star Trek: Voyager novels, explained that she would work with fellow Star Trek novelist David Mack and Star Trek comic writer Mike Johnson to ensure that all three media "are coming from the same place". The release of the books and comics was set to coincide with the series' premiere.[117] Mack described writing around the continuity of Discovery as "tricky to get right", as the time period "is light on detail and almost unique within the Star Trek continuity. That made it a challenge to represent that era faithfully while also staying true to the new elements being introduced" in the new series.[118]

text: In August 2017, Beyer explained the series' writers' intentions for the additional content, saying, "We want to be able to take the story opportunities that we're just frankly not going to have time to cover in the show, and go as deep into those into the various formats as we can. It's not that you have to read these stories to understand everything, but the story will be incredibly enhanced if you do." Regarding whether this content would be considered canonical, Beyer said that the stories of the comics and novels are briefed back to the show's writing staff so "the stories we created get integrated into their brains", but she also said, "Because of the collaborative nature of this process, we're able to go farther, take bigger risks. The danger is that, in the future, somebody will come upon with an amazing story idea that would be incompatible with what we've already established and just like always, the series is going to take priority. But the hope is that we can carve out these places that are safe and that we can continue to protect because as much as possible we want this to be one integrated universe...we're doing what we can to make sure these stories all fit together moving forward."[119]

text: Novels[edit]

text: The first tie-in to the show is Desperate Hours, a prequel set a year before Discovery and a year after "The Cage". Written by Mack, the novel was released on September 26, and follows Burnham as she serves aboard the Shenzhou. Fuller had asked for a book to be written based on that premise, and Mack had worked with the Discovery writers to stay "in the loop throughout the season with all the scripts and the story development. There were a few false starts, but eventually it allowed us to collaboratively create this story". Mack hinted that the USS Enterprise could also appear in the novel. The second Discovery novel is being written by Dayton Ward, is set 10 years before the show, and is intended to be released in early 2018.[119]

text: Comics[edit]

text: In July 2017, IDW announced the first tie-in comic series, also titled Star Trek: Discovery, to be written by Johnson and Beyer with art by Tony Shasteen, who previously worked with Johnson on the comic Star Trek: Boldly Go. IDW described the comic as "Klingon-centric", and set the first issue for release on October 25.[120] Johnson compared working with Beyer on the comic to his work on the Star Trek: Countdown comic, a tie-in to the 2009 Star Trek film that he wrote with Kurtzman and Roberto Orci, saying that her position as a staff writer on the Discovery show "means we have all the inside access that we need. So the story in the comic will really matter and not just feel like a one-off. It is actually able to expand the story you guys are going to see in the show itself."[121]

text: In August, it was clarified that the first comic would be a four-issue miniseries focused on T'Kuvma and his followers, and that IDW intended to create a series of comic miniseries based on different aspects of the series to create "targeted stories on some different subjects". Johnson stated that they were "building out the characters in the Klingon world with these comics, and we can't wait to show you." He added that discussions were being held regarding the subject of the next miniseries. IDW editor Sarah Gaydos said, "The access we're getting to the show to create these comics that are integral to fleshing out the backstories of the characters is unheard of, and I do a lot of licensed comics."[119]

text: Star Trek Timelines[edit]

text: In late 2017, "hours" of Discovery-based content will be added to the role playing video game Star Trek Timelines, including Michael Burnham and Saru as new crew members for the game and new ships from the show, both Federation and otherwise. A month long "Mega-Event" based on the series will also take place.[122]


document_title: 75th Golden Globe Awards

question_text: which movie wins 4 awards in 75th golden globe award

text: 75th Golden Globe Awards

text: Winners and nominees[edit]

text: The nominees for 75th Golden Globe Awards were announced on December 11, 2017.[7][12] Winners are listed first in boldface.[13]

text: Film[edit]

text:
Best Motion Picture

Drama
Musical or Comedy

Three Billboards Outside Ebbing, Missouri

Call Me by Your Name
Dunkirk
The Post
The Shape of Water

Lady Bird

The Disaster Artist
Get Out
The Greatest Showman
I, Tonya

Best Performance in a Motion Picture – Drama

Actor
Actress

Gary Oldman – Darkest Hour as Winston Churchill

Timothée Chalamet – Call Me by Your Name as Elio Perlman
Daniel Day-Lewis – Phantom Thread as Reynolds Woodcock
Tom Hanks – The Post as Ben Bradlee
Denzel Washington – Roman J. Israel, Esq. as Roman J. Israel

Frances McDormand – Three Billboards Outside Ebbing, Missouri as Mildred Hayes

Jessica Chastain – Molly's Game as Molly Bloom
Sally Hawkins – The Shape of Water as Elisa Esposito
Meryl Streep – The Post as Kay Graham
Michelle Williams – All the Money in the World as Gail Harris

Best Performance in a Motion Picture – Musical or Comedy

Actor
Actress

James Franco – The Disaster Artist as Tommy Wiseau

Steve Carell – Battle of the Sexes as Bobby Riggs
Ansel Elgort – Baby Driver as Baby / Miles
Hugh Jackman – The Greatest Showman as P. T. Barnum
Daniel Kaluuya – Get Out as Chris Washington

Saoirse Ronan – Lady Bird as Christine "Lady Bird" McPherson

Judi Dench – Victoria & Abdul as Queen Victoria
Helen Mirren – The Leisure Seeker as Ella Spencer
Margot Robbie – I, Tonya as Tonya Harding
Emma Stone – Battle of the Sexes as Billie Jean King

Best Supporting Performance in a Motion Picture – Drama, Musical or Comedy

Supporting Actor
Supporting Actress

Sam Rockwell – Three Billboards Outside Ebbing, Missouri as Officer Jason Dixon

Willem Dafoe – The Florida Project as Bobby Hicks
Armie Hammer – Call Me by Your Name as Oliver
Richard Jenkins – The Shape of Water as Giles
Christopher Plummer – All the Money in the World as J. Paul Getty

Allison Janney – I, Tonya as LaVona Golden

Mary J. Blige – Mudbound as Florence Jackson
Hong Chau – Downsizing as Ngoc Lan Tran
Laurie Metcalf – Lady Bird as Marion McPherson
Octavia Spencer – The Shape of Water as Zelda Fuller

Other

Best Director
Best Screenplay

Guillermo del Toro – The Shape of Water

Martin McDonagh – Three Billboards Outside Ebbing, Missouri
Christopher Nolan – Dunkirk
Ridley Scott – All the Money in the World
Steven Spielberg – The Post

Martin McDonagh – Three Billboards Outside Ebbing, Missouri

Guillermo del Toro & Vanessa Taylor – The Shape of Water
Greta Gerwig – Lady Bird
Liz Hannah & Josh Singer – The Post
Aaron Sorkin – Molly's Game

Best Original Score
Best Original Song

Alexandre Desplat – The Shape of Water

Carter Burwell – Three Billboards Outside Ebbing, Missouri
Jonny Greenwood – Phantom Thread
John Williams – The Post
Hans Zimmer – Dunkirk

"This Is Me" (Benj Pasek and Justin Paul) – The Greatest Showman

"Home" (Nick Jonas, Justin Tranter, and Nick Monson) – Ferdinand
"Mighty River" (Raphael Saadiq, Mary J. Blige, and Taura Stinson) – Mudbound
"Remember Me" (Kristen Anderson-Lopez and Robert Lopez) – Coco
"The Star" (Mariah Carey and Marc Shaiman) – The Star

Best Animated Feature Film
Best Foreign Language Film

Coco

The Boss Baby
The Breadwinner
Ferdinand
Loving Vincent

In the Fade (Germany/France)

A Fantastic Woman (Chile)
First They Killed My Father (Cambodia)
Loveless (Russia)
The Square (Sweden/Germany/France)

text: Films with multiple nominations[edit]

text: The following seventeen films received multiple nominations:

text:
Nominations
Films
Ref.

7
The Shape of Water
[14][15]

6
The Post
[16][17]

Three Billboards Outside Ebbing, Missouri
[18][19][20]

4
Lady Bird
[21][22][23]

3
All the Money in the World
[24][25][26][27]

Call Me by Your Name
[28][29][30]

Dunkirk
[31]

The Greatest Showman
[32]

I, Tonya
[33][34][35]

2
Battle of the Sexes
[36][37]

Coco

The Disaster Artist

Ferdinand

Get Out

Molly's Game

Mudbound

Phantom Thread

text: Films with multiple wins[edit]

text: The following films received multiple wins:

text:
Wins
Film
Ref.

4
Three Billboards Outside Ebbing, Missouri
[38]

2
The Shape of Water
[39][40]

Lady Bird
[41]

text: Television[edit]

text:
Best Series

Drama
Musical or Comedy

The Handmaid's Tale

The Crown
Game of Thrones
Stranger Things
This Is Us

The Marvelous Mrs. Maisel

Black-ish
Master of None
SMILF
Will & Grace

Best Performance in a Television Series – Drama

Actor
Actress

Sterling K. Brown – This Is Us as Randall Pearson

Jason Bateman – Ozark as Martin "Marty" Byrde
Freddie Highmore – The Good Doctor as Dr. Shaun Murphy
Bob Odenkirk – Better Call Saul as Jimmy McGill
Liev Schreiber – Ray Donovan as Ray Donovan

Elisabeth Moss – The Handmaid's Tale as June Osborne/Offred

Caitriona Balfe – Outlander as Claire Fraser
Claire Foy – The Crown as Queen Elizabeth II
Maggie Gyllenhaal – The Deuce as Eileen "Candy" Merrell
Katherine Langford – 13 Reasons Why as Hannah Baker

Best Performance in a Television Series – Musical or Comedy

Actor
Actress

Aziz Ansari – Master of None as Dev Shah

Anthony Anderson – Black-ish as Andre "Dre" Johnson Sr.
Kevin Bacon – I Love Dick as Dick
William H. Macy – Shameless as Frank Gallagher
Eric McCormack – Will & Grace as Will Truman

Rachel Brosnahan – The Marvelous Mrs. Maisel as Miriam "Midge" Maisel

Pamela Adlon – Better Things as Sam Fox
Alison Brie – GLOW as Ruth "Zoya the Destroya" Wilder
Issa Rae – Insecure as Issa Dee
Frankie Shaw – SMILF as Bridgette Bird

Best Performance in a Miniseries or Television Film

Actor
Actress

Ewan McGregor – Fargo as Emmit and Raymond "Ray" Stussy

Robert De Niro – The Wizard of Lies as Bernie Madoff
Jude Law – The Young Pope as Pope Pius XIII
Kyle MacLachlan – Twin Peaks as Dale Cooper
Geoffrey Rush – Genius as elder Albert Einstein

Nicole Kidman – Big Little Lies as Celeste Wright

Jessica Biel – The Sinner as Cora Tannetti
Jessica Lange – Feud: Bette and Joan as Joan Crawford
Susan Sarandon – Feud: Bette and Joan as Bette Davis
Reese Witherspoon – Big Little Lies as Madeline Martha Mackenzie

Best Supporting Performance in a Series, Miniseries or Television Film

Supporting Actor
Supporting Actress

Alexander Skarsgård – Big Little Lies as Perry Wright[42]

David Harbour – Stranger Things as Chief Jim Hopper
Alfred Molina – Feud: Bette and Joan as Robert Aldrich
Christian Slater – Mr. Robot as Mr. Robot/Edward Alderson
David Thewlis – Fargo as V.M. Varga

Laura Dern – Big Little Lies as Renata Klein

Ann Dowd – The Handmaid's Tale as Aunt Lydia
Chrissy Metz – This Is Us as Kate Pearson
Michelle Pfeiffer – The Wizard of Lies as Ruth Madoff
Shailene Woodley – Big Little Lies as Jane Chapman

Best Miniseries or Television Film

Big Little Lies

Fargo
Feud: Bette and Joan
The Sinner
Top of the Lake: China Girl

text: Programs with multiple nominations[edit]

text: The following fourteen programs received multiple nominations:

text:
Nominations
Program
Ref.

6
Big Little Lies
[43]

4
Feud: Bette and Joan
[44]

3
Fargo

The Handmaid's Tale

This Is Us

2
Black-ish

The Crown

The Marvelous Mrs. Maisel

Master of None

The Sinner

SMILF

Stranger Things

Will & Grace

13 Reasons Why

text: Programs with multiple wins[edit]

text: The following three programs received multiple wins:

text:
Wins
Program
Ref.

4
Big Little Lies
[45][46]

2
The Handmaid's Tale
[47]

The Marvelous Mrs. Maisel
[48][49]

text: Ceremony[edit]

text: During a pre-show event the award for "Best Podcast" was announced. The event was streamed live on YouTube. In support of the #metoo and Time's Up movements, nearly the entire audience wore black.[50] Many of the acceptance speeches specifically mentioned these causes, including that of Oprah Winfrey.[51]

text: Presenters[edit]

text:
Gal Gadot[52] and Dwayne Johnson with Best Actress – Miniseries or Television Film
Viola Davis and Helen Mirren[53] with Best Supporting Actor – Motion Picture
Zac Efron[54] introduced The Greatest Showman
Jennifer Aniston[55] and Carol Burnett[56][57] with Best Actress – Television Series Musical or Comedy and Best Actress – Television Series Drama
Sarah Paulson[58] introduced The Post
Garrett Hedlund[58] and Kerry Washington[59] with Best Actor – Television Series Drama
Roseanne Barr[53] and John Goodman[53] with Best Television Series – Drama
Seth Rogen[59] introduced The Disaster Artist
Christina Hendricks[60][61] and Neil Patrick Harris[57] with Best Supporting Actor – Series, Miniseries or Television Film
Mariah Carey[62] and Common[62] with Best Original Score
Kelly Clarkson[63] and Keith Urban[62] with Best Original Song
Octavia Spencer introduced The Shape of Water
Emma Stone[53] and Shirley MacLaine[59] with Best Actor – Motion Picture Musical or Comedy
Sharon Stone[64][65] and J. K. Simmons[59] with Best Supporting Actress – Series, Miniseries or Television Film
Sebastian Stan and Allison Janney[66] introduced I, Tonya[67]
Amy Poehler[68] and Andy Samberg with Best Animated Feature Film
Kate Hudson[54] and Aaron Taylor-Johnson with Best Supporting Actress – Motion Picture
Catherine Zeta-Jones[59] and Kirk Douglas with Best Screenplay
Sarah Jessica Parker[59] with Best Foreign Language Film
Hugh Grant[69][70][71] introduced Dunkirk
Darren Criss,[57] Penélope Cruz,[72][73] Ricky Martin,[59] and Édgar Ramírez[59] with Best Actor – Miniseries or Television Film
Halle Berry[52][56] introduced Get Out
Emilia Clarke[53] and Kit Harington[53] with Best Television Series – Musical or Comedy and Best Actor – Television Series Musical or Comedy
Reese Witherspoon with the Cecil B. DeMille Lifetime Achievement Award
Natalie Portman and Ron Howard[58] with Best Director
Greta Gerwig[74][75] introduced Lady Bird
Emma Watson[76][77] and Robert Pattinson[54] with Best Miniseries or Television Film
Jessica Chastain[58] and Chris Hemsworth[78][79] with Best Actress – Motion Picture Comedy or Musical
Dakota Johnson introduced Call Me by Your Name
Salma Hayek introduced Three Billboards Outside Ebbing, Missouri
Alicia Vikander[80][81] and Michael Keaton with Best Motion Picture – Musical or Comedy
Geena Davis[58] and Susan Sarandon[58] with Best Actor – Motion Picture Drama
Isabelle Huppert[59] and Angelina Jolie[55] with Best Actress in a Motion Picture – Drama
Barbra Streisand with Best Motion Picture – Drama

text: Golden Globe Ambassador[edit]

text: Previously known as Miss or Mr. Golden Globe, the title was changed this ceremony to Golden Globe Ambassador to better reflect inclusiveness.[82] The inaugural ambassador was Simone Garcia Johnson, daughter of Dwayne Johnson and Dany Garcia.[83][84][85][86][87]

text: Time's Up movement[edit]

text: Due to the Weinstein effect, many attendees wore black in support of the Time's Up movement, and wore corresponding #MeToo pins.[88] Tarana Burke, who created the "Me too" movement in 2006, attended the awards as a guest of Michelle Williams.[89][90]

text: Activist guests[edit]

text: Activists attended the ceremony as guests, namely: Tarana Burke as a guest of Michelle Williams, Rosa Clemente as a guest of Susan Sarandon, Saru Jayaraman as a guest of Amy Poehler, Billie Jean King as a guest of Emma Stone, Marai Larasi as a guest of Emma Watson, Calina Lawrence as a guest of Shailene Woodley, Ai-jen Poo as a guest of Meryl Streep, and Mónica Ramírez as a guest of Laura Dern.[89][91]

text: Reception[edit]

text: Ratings[edit]

text: The ceremony averaged a Nielsen 5.0 ratings/18 share,[92] and was watched by 19.0 million viewers.[93] The ratings was a five percent decline from the previous ceremony's viewership of 20.02 million,[94] becoming the lowest since 2012.[95]

text: In Memoriam[edit]

text: No "In Memoriam" section was broadcast on television during the ceremony, so the HFPA included a slideshow on their website,[96][97] and they included the following names:[98]

text:
Jerry Lewis[99]
Glen Campbell[100]
Jeanne Moreau[101]
Martin Landau[102]
John G. Avildsen[103]
Roger Moore[104]
Jonathan Demme[105]
Christine Kaufmann[106]
Richard Hatch[107]
John Hurt[108]
Mike Connors[109]
Mary Tyler Moore[110]
Michèle Morgan[111]
William Peter Blatty[112]


document_title: For Whom the Bell Tolls

question_text: who wrote the poem for whom the bell tolls

text: For Whom the Bell Tolls

text: Background[edit]

text: Ernest Hemingway wrote For Whom the Bell Tolls in Havana, Cuba; Key West, Florida; and Sun Valley, Idaho in 1939.[2][3] In Cuba, he lived in the Hotel Ambos-Mundos where he worked on the manuscript.[4][5] The novel was finished in July 1940 at the InterContinental New York Barclay Hotel in New York City[6] and published in October.[7][8] It is based on Hemingway's experiences during the Spanish Civil War and features an American protagonist, named Robert Jordan, who fights with Spanish soldiers for the Republicans.[9] The characters in the novel include those who are purely fictional, those based on real people but fictionalized, and those who were actual figures in the war. Set in the Sierra de Guadarrama mountain range between Madrid and Segovia, the action takes place during four days and three nights. For Whom the Bell Tolls became a Book of the Month Club choice, sold half a million copies within months, was nominated for a Pulitzer Prize, and became a literary triumph for Hemingway.[9] Published on 21 October 1940, the first edition print run was 75,000 copies priced at $2.75.[10]

text: Title[edit]

text: The book's title is taken from the metaphysical poet John Donne's series of meditations and prayers on health, pain, and sickness (written while Donne was convalescing from a nearly fatal illness) published in 1624 as Devotions upon Emergent Occasions, specifically Meditation XVII. Hemingway quotes part of the meditation (using Donne's original spelling) in the book's epigraph, which in turn refers to the practice of funeral tolling:

text: The point made by the choice of this title and epigraph is that the Spanish Civil War of 1936-1939, a major topic of debate in Western intellectual and political circles, is not of importance only to Spaniards; it matters to everyone. Furthermore, the title and epigraph can be interpreted as a reference to the themes of death within the novel, particularly between the characters of Robert Jordan and Anselmo.

text: Plot summary[edit]

text: The novel graphically describes the brutality of the civil war in Spain during this time. It is told primarily through the thoughts and experiences of the protagonist, Robert Jordan. It draws on Hemingway's own experiences in the Spanish Civil War as a reporter for the North American Newspaper Alliance.[citation needed]

text: Jordan is an American who has lived in Spain during the pre-war period, and fights in the International Brigades for the Republic against Francisco Franco's fascist forces. An experienced dynamiter, he is ordered by a Soviet general to travel behind enemy lines and destroy a bridge with the aid of a band of local anti-fascist guerrillas, in order to prevent enemy troops from responding to an upcoming offensive. On his mission, Jordan meets the rebel Anselmo who brings him to the hidden guerrilla camp and initially acts as an intermediary between Jordan and the other guerrilla fighters.

text: In the camp, Jordan encounters María, a young Spanish woman whose life had been shattered by her parents' execution and her rape at the hands of the Falangists (part of the fascist coalition) at the outbreak of the war. His strong sense of duty clashes with both the unwillingness of the guerrilla leader Pablo to commit to an operation that would endanger himself and his band, and Jordan's own new-found lust for life which arises from his love for María. Pablo's wife, Pilar, usurps Pablo's leadership and pledges the allegiance of the guerrillas to Jordan's mission. However, when another band of anti-fascist guerrillas, led by El Sordo, is surrounded and killed, Pablo steals the dynamite detonators and exploder, hoping to prevent the demolition and thereby avoid fascist reprisals. Although he disposes of the detonators and exploder by throwing them down a gorge into the river, Pablo regrets abandoning his comrades and returns to assist in the operation.

text: However, the enemy, apprised of the coming offensive, has prepared to ambush it in force and it seems unlikely that the blown bridge will do much to prevent a rout. Regardless of this, Jordan understands that he must still demolish the bridge in an attempt to prevent Fascist reinforcements from overwhelming his allies. Lacking the detonation equipment stolen by Pablo, Jordan plans an alternative method to explode the dynamite by using hand grenades with wires attached so that their pins can be pulled from a distance. This improvised plan is considerably more dangerous because the men must increase their proximity to the explosion. While Pablo, Pilar, and other guerrilla members attack the posts at the two ends of the bridge, Jordan and Anselmo plant and detonate the dynamite, costing Anselmo his life when he is hit by a piece of shrapnel. While escaping, Jordan is maimed when a tank shoots his horse out from under him. Knowing he would only slow his comrades down, he bids goodbye to María and ensures that she escapes to safety with the surviving guerrillas. He refuses an offer from Agustín to shoot him and lies in agony, hoping to kill an enemy officer and delay their pursuit of his comrades before dying. The narrative ends right before Jordan launches his ambush.

text: Characters[edit]

text:
Robert Jordan – American university instructor of Spanish language and a specialist in demolitions and explosives.
Anselmo – Elderly guide to Robert Jordan.
Golz – Soviet officer who ordered the bridge's demolition.
Pablo – Leader of a group of anti-fascist guerrillas.
Rafael – Well-intentioned yet incompetent and lazy guerrilla, and a gypsy.
María – Robert Jordan's young lover.
Pilar – Pablo's wife. An aged but strong woman, she is the de facto leader of the guerrilla band.
Karkov – Soviet agent and journalist in Madrid, and a friend of Jordan's.
Agustín – Foul-mouthed, middle-aged guerrilla.
El Sordo – Leader of a fellow band of guerrillas.
Fernando – Middle-aged guerrilla.
Andrés and Eladio – Brothers and members of Pablo's band.
Primitivo – Young guerrilla in Pablo's band.
Joaquin – Enthusiastic teenaged communist, a member of Sordo's band.

text: Main themes[edit]

text: This section is written like a personal reflection or opinion essay that states a Wikipedia editor's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. (August 2012) (Learn how and when to remove this template message)

text: Death is a primary preoccupation of the novel. When Robert Jordan is assigned to blow up the bridge, he knows that he will not survive it. Pablo and El Sordo, leaders of the Republican guerrilla bands, see that inevitability also. Almost all of the main characters in the book contemplate their own deaths. Before the operation, Pilar reads Robert Jordan's palm, and after seeing it, refuses to comment on what she saw, foreshadowing his untimely demise.

text: Camaraderie and sacrifice in the face of death abound throughout the novel. Robert Jordan, Anselmo and others are ready to do "as all good men should" – that is, to make the ultimate sacrifice. The oft-repeated embracing gesture reinforces this sense of close companionship in the face of death. An incident involving the death of the character Joaquín's family serves as an example of this theme; having learned of this tragedy, Joaquín's comrades embrace and comfort him, saying they now are his family. Surrounding this love for one's comrades is the love for the Spanish soil. A love of place, of the senses, and of life itself is represented by the pine needle forest floor—both at the beginning and, poignantly, at the end of the novel—when Robert Jordan awaits his death feeling "his heart beating against the pine needle floor of the forest."

text: Suicide always looms as an alternative to suffering. Many of the characters, including Robert Jordan, would prefer death over capture and are prepared to kill themselves, be killed, or kill to avoid it. As the book ends, Robert Jordan, wounded and unable to travel with his companions, awaits a final ambush that will end his life. He prepares himself against the cruel outcomes of suicide to avoid capture, or inevitable torture for the extraction of information and death at the hands of the enemy. Still, he hopes to avoid suicide partly because his father, whom he views as a coward, committed suicide. Robert Jordan understands suicide but doesn't approve of it, and thinks that "you have to be awfully occupied with yourself to do a thing like that."[11]

text: The novel explores political ideology and the nature of bigotry. After noticing how he so easily employed the convenient catch-phrase "enemy of the people," Jordan moves swiftly into the subjects and opines, "To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence. Continence is the foe of heresy."[12] Later in the book, Robert Jordan explains the threat of fascism in his own country. "Robert Jordan, wiping out the stew bowl with bread, explained how the income tax and inheritance tax worked. 'But the big estates remain. Also, there are taxes on the land,' he said. 'But surely the big proprietors and the rich will make a revolution against such taxes. Such taxes appear to me to be revolutionary. They will revolt against the government when they see that they are threatened, exactly as the fascists have done here,' Primitivo said. 'It is possible.' 'Then you will have to fight in your country as we fight here.' 'Yes, we will have to fight.' 'But are there not many fascists in your country?' 'There are many who do not know they are fascists but will find it out when the time comes.'"[13] In the same conversation Robert Jordan is having with the others, he also realizes how there are populist policies right in America, namely homesteading which was widely used by American settlers to settle the West from 1863 onward:[14] "Robert Jordan explained the process of homesteading. He had never thought of it before as an agrarian reform. 'That is magnificent,' Primitivo said. 'Then you have a Communism in your country?' 'No. That is done under the Republic.'"[15]

text: Divination emerges as an alternative means of perception. Pilar, "Pablo's woman," is a reader of palms and more. When Robert Jordan questions her true abilities, she replies, "Because thou art a miracle of deafness.... It is not that thou art stupid. Thou art simply deaf. One who is deaf cannot hear music. Neither can he hear the radio. So he might say, never having heard them, that such things do not exist."[16]

text: Imagery[edit]

text: Hemingway frequently used images to produce the dense atmosphere of violence and death his books are renowned for; the main image of For Whom the Bell Tolls is the automatic weapon. As he had done in "A Farewell to Arms", Hemingway employs the fear of modern armament to destroy romantic conceptions of the ancient art of war: combat, sportsmanlike competition and the aspect of hunting. Heroism becomes butchery: the most powerful picture employed here is the shooting of María's parents against the wall of a slaughterhouse. Glory exists in the official dispatches only; here, the "disillusionment" theme of A Farewell to Arms is adapted.

text: The fascist planes are especially dreaded, and when they approach, all hope is lost. The efforts of the partisans seem to vanish and their commitment and their abilities become meaningless, especially the trench mortars that already wounded Lt. Henry ("he knew that they would die as soon as a mortar came up").[17] No longer would the best soldier win, but the one with the biggest gun. The soldiers using those weapons are simple brutes, they lack "all conception of dignity"[18] as Fernando remarked. Anselmo insisted, "We must teach them. We must take away their planes, their automatic weapons, their tanks, their artillery and teach them dignity."[18]

text: The novel also contains imagery of soil and earth.[19] This imagery appears rather famously at the start of chapter thirteen. Jordan and María have sex in a meadow in the forest. He feels "the earth move out and away from under them." Then afterwards he asks María, "Did thee feel the earth move?", to which she responds affirmatively. Variants of this phrase have become a cultural cliché,[20] often used humorously.[21]

text: Literary significance and critical reaction[edit]

text: Language[edit]

text: Since its publication, the prose style and dialogue in Hemingway's novel have been the source of controversy and some negative critical reaction. For example, Edmund Wilson, in a tepid review, noted the encumbrance of "a strange atmosphere of literary medievalism" in the relationship between Robert Jordan and Maria.[22] This stems in part from a distinctive feature of the novel, namely Hemingway's extensive use of archaisms, implied literal translations and false friends to convey the foreign (Spanish) tongue spoken by his characters. Thus, Hemingway uses the archaic "thou" (particularly in its oblique and possessive form) to highlight the differences in Spanish between the more formal and archaic, but popular "vos" (singular) and "vosotros" (plural) forms from the pronominal "tú" (familiar) and "Usted" (formal). Additionally, much of the dialogue in the novel is an implied direct translation from Spanish, producing an often strained English equivalent. For example, Hemingway uses the construction "what passes that",[23] which is an implied translation of the Spanish construction lo que pasa. This translation extends to the use of linguistic "false friends", such as "rare" (from raro) instead of "strange" and "syndicate" (from sindicato) instead of trade union.[24] In another odd stylistic variance, Hemingway referenced foul language (used with some frequency by different characters in the novel) with "unprintable" and "obscenity" and substitutes "muck" for fuck in the dialogue and thoughts of the characters, although foul language is used freely in Spanish even when its equivalent is censored in English (e.g. joder, me cago). The Spanish expression of exasperation me cago en la leche repeatedly recurs throughout the novel, translated by Hemingway as "I obscenity in the milk."

text: Narrative style[edit]

text: The book is written in the third person limited omniscient narrative mode. The action and dialogue are punctuated by extensive thought sequences told from the viewpoint of Robert Jordan. The novel also contains thought sequences of other characters, including Pilar and Anselmo. The thought sequences are more extensive than in Hemingway's earlier fiction, notably A Farewell to Arms, and are an important narrative device to explore the principal themes of the novel.

text: Pulitzer Prize controversy[edit]

text: In 1941 the Pulitzer Prize committee for letters unanimously recommended For Whom the Bell Tolls be awarded the prize for that year. The Pulitzer Board agreed. However, Nicholas Murray Butler, president of Columbia University at that time, overrode both because he found the book offensive, and instead no award was given for letters that year.[25]

text: Allusions/references to actual events[edit]

text: The novel takes place in late May 1937 during the second year of the Spanish Civil War.[26] References made to Valladolid, Segovia, El Escorial and Madrid suggest the novel takes place within the build-up to the Republican attempt to relieve the siege of Madrid.

text: The earlier battle of Guadalajara and the general chaos and disorder (and, more generally, the doomed cause of Republican Spain) serve as a backdrop to the novel: Robert Jordan notes, for instance, that he follows the Communists because of their superior discipline, an allusion to the split and infighting between anarchist and communist factions on the Republican side.

text: The famous and pivotal scene described in Chapter 10, in which Pilar describes the execution of various fascist figures in her village is drawn from events that took place in Ronda in 1936. Although Hemingway later claimed (in a 1954 letter to Bernard Berenson) to have completely fabricated the scene, he in fact drew upon the events at Ronda, embellishing the event by imagining an execution line leading up to the cliff face.[27] In Ronda, some 500 people, allegedly fascist sympathisers, were thrown into the surrounding gorge by a mob from a house that faced onto the cliffside.[citation needed]

text: A number of actual figures that played a role in the Spanish Civil War are also referenced in the book, including:

text:
Andreu Nin, one of the founders of the Workers' Party of Marxist Unification (POUM), the party mocked by Karkov in Chapter 18.
Mikhail Koltsov, soviet journalist was the Karkov character in the story
Indalecio Prieto, one of the leaders of the Republicans, is also mentioned in Chapter 18.
General José Miaja, in charge of the defense of Madrid in October 1936, and General Vicente Rojo, together with Prieto, are mentioned in Chapter 35
Dolores Ibárruri, better known as La Pasionaria, is extensively described in Chapter 32.
Robert Hale Merriman, leader of the American Volunteers in the International Brigades, and his wife Marion, were well known to Hemingway and served possibly as a model for Hemingway's own hero.[citation needed]
André Marty, a leading French Communist and political officer in the International Brigades, makes a brief but significant appearance in Chapter 42. Hemingway depicts Marty as a vicious intriguer whose paranoia interferes with Republican objectives in the war.

text: Adaptations and in popular culture[edit]

text:
A film adaptation of Hemingway's novel, directed by Sam Wood, was released in 1943 starring Gary Cooper and Ingrid Bergman. It was nominated for nine Academy Awards, including Best Picture, Best Actor and Best Actress; however, only the Greek actress Katina Paxinou won an Oscar for her portrayal of Pilar.
In 1959, a television adaptation, directed by John Frankenheimer, was broadcast in two parts on CBS's Playhouse 90, starring Jason Robards and Maria Schell as Robert Jordan and Maria, with Nehemiah Persoff as Pablo, Maureen Stapleton as Pilar, and Eli Wallach as the gypsy Rafael.
In 1965, the BBC produced another adaptation, as a four-part serial (miniseries in American English).
In 1978, the Takarazuka Revue adapted the novel as a musical drama, produced by Star Troupe and starring Ran Ootori as Robert Jordan and Kurara Haruka as Maria. Cosmos Troupe revived the show in 2010.
Metallica's second album Ride the Lightning (1984), features a song entitled "For Whom the Bell Tolls," which can be seen as a lyrical adaptation of a particular scene from the book (chapter 27).
In 1988, the film of 1943 was rereleased with the inclusion of scenes cut from the original release.
The 2012 film Hemingway and Gellhorn depicts Hemingway's time in Spain during Spanish Civil War when he was completing work on For Whom the Bell Tolls, and his relationship with the American novelist, travel writer and war correspondent Martha Gellhorn,[28] who he credited with having inspired him to write the novel, and to whom he dedicated it.[29]
In October 2014 the novel was dramatised in a two part series on BBC Radio 4.
J. Cole's fourth album 4 Your Eyez Only (2016), features a song titled "For Whom The Bell Tolls".
In 2014, power metal band Sabaton, made a cover of the song originally created by Metallica.