document_title: Star Trek: Discovery

question_text: where is the enterprise in star trek discovery

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]

text: Cast and characters[edit]

text:
Sonequa Martin-Green as Michael Burnham:
First officer of the USS Shenzhou, 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". She was initially pitched to CBS as only being called Number One in the series.[4][5][6] Burnham is a human who was raised following Vulcan culture and traditions by Sarek,[4][7] and was not made a starship captain, like the protagonists of previous Star Trek series, "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:
A Science Officer serving as a Lieutenant Commander aboard the Discovery,[9] and 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. They have 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 Ash Tyler:
A Starfleet lieutenant and former prisoner of war. Latif was originally cast in the role of Kol.[12][13] Latif noted that Tyler's PTSD would be explored in the show as he attempts to return to his Starfleet life, calling Tyler "a very complex and painful and deep character."[13] The character explores these issues with different characters, including Lorca due to their shared military background, and Burnham with whom "there's a chemistry, a relationship".[14]

Anthony Rapp as Paul Stamets:
A science officer specializing in astromycology (the study of fungi in space).[9][15] The character is inspired by a real-life mycologist of the same name.[16] 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".[17]

Mary Wiseman as Sylvia Tilly:
A cadet in her final year at Starfleet Academy, assigned to the Discovery.[18][19] She works under Stamets aboard the Discovery, where she becomes roommates with Burnham.[19] 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."[20]

Jason Isaacs as Gabriel Lorca:
Captain of the Discovery,[21] a "brilliant military tactician".[22] Isaacs described the character as "probably more f-d 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 copyrighted by Larry the Cable Guy.[23]

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"[26]
TBA
TBA
October 29, 2017 (2017-10-29)

8
"Si Vis Pacem, Para Bellum"[27]
TBA
TBA
November 5, 2017 (2017-11-05)

9
"Into the Forest I Go"[26]
TBA
TBA
November 12, 2017 (2017-11-12)

text: Jump up ^ The first episode had a special premiere on CBS alongside its release on CBS All Access.[24][25]

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.[28][29] 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.[30] Showtime, Netflix, and Amazon Video all offered "a lot of money" for the rights to release the series,[31] 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.[30][31]

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."[32] 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.[33][34] 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.[35] 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.[36] 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."[37] 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."[38] When Fuller first met with CBS about the series, the company did not have a plan for what the new show would be.[39] 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". However, CBS told Fuller to just start with a single serialized show and see how that performs first, and he began further developing the concept of a prequel to the original series.[38]

text: Fuller announced in June 2016 that the first season would consist of 13 episodes,[39] though he would prefer to produce 10 episodes a season moving forward.[6] A month later, Fuller announced the series' title to be Star Trek: Discovery,[40] 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".[41][6] Also in July, CBS Studios International licensed the series to Netflix for release outside the United States and Canada,[34] a "blockbuster" deal that paid for the show's entire budget (around US$6–7 million per episode).[42][43] 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.[38] 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][43] 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."[44] At the end of October, CBS asked Fuller to step down as showrunner,[38] 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,[43] though some elements of the series that came directly from Fuller were dropped, including some designs and "more heavily allegorical and complex story" points.[38] Fuller later confirmed that he was no longer involved with the series, but expressed interest in returning for future seasons.[45]

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."[46] Ted Sullivan also joined the series to serve as supervising writing producer.[47][48] 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.[49][50] 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.[24] 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.[51] 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.[52] 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.[53] 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.[54] The second season was officially ordered a month later in October 2017.[55]

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[56]

tag: div

text: The series' writers are based in Los Angeles,[57] and include "fans who all have very different relationships to Trek," which Kurtzman said is "a healthy thing and it's a good thing".[51] 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".[39] 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".[58]

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".[59] 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".[60] In May 2017, Sullivan described the series as "a genuine prequel" to the original series,[61] 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.[62] The choice to feature a single serlialized 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.[63] 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".[64]

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."[65] 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."[63] 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."[62]

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".[39] A month later, Kadin clarified that the series would feature minority, female, and LGBTQ characters.[66] In August, Fuller said the series would feature "about seven" lead characters,[67] 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][68]

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.[43] 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."[69] 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.[70] 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,[71] 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.[72] In March 2017, Jason Isaacs was cast as Captain Lorca of the USS Discovery,[21] and Mary Wiseman joined as Tilly, a cadet.[18] At the end of April, Latif was revealed to have been recast to the role of Starfleet Lieutenant Tyler.[12]

text: Design[edit]

text: Mark Worthington and Todd Cherniawsky served as initial production designers for the series;[73] Gersha Phillips and Suttirat Anne Larlarb designed the costumes;[3][74] veteran Star Trek designer John Eaves designed starships, along with Scott Schneider;[75][76] and Glenn Hetrick and Neville Page of Alchemy Studios provided prosthetics, props, and armor.[3][77] Page previously served as the concept and creature designer on the three "Kelvin Timeline" Star Trek films.[78] 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.[76]

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.[38] 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][78] 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.[79] 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.[80] 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.[80]

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".[41] McQuarrie's designs were based on the concepts created by Ken Adam to feature a vessel with a flattened secondary hull.[81][82] 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."[83] The design for the Discovery went through several revisions and refinements before the final version was approved in December 2016.[84] The sickbay on the Discovery was inspired by that of the Enterprise from the original series.[85] Other Federation starships created for the show include the USS Shenzhou and the USS Europa.[86][87] Sets for the Discovery's interiors were described as a "tangle of corridors and rooms",[53] 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.[76]

text: Filming[edit]

text: Star Trek: Discovery is filmed at Pinewood Toronto Studios,[88] with Vincenzo Natali serving as producing director for the series.[39] Some of the series' sets took over six weeks to create,[86] and new sets were being built up until the end of production of the season.[89] Discovery took advantage of multiple soundstages at the studio, including the largest soundstage in North America.[53] 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!'"[89]

text: For the visual scope of the series, Kurtzman felt that the show had to "justify being on a premium cable service".[90] 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.[58] 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."[91] 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."[56] 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.[89] The lighting could also be controlled to create completely different situations, such as the lighting of a Starfleet red alert.[76] Harberts said that the cinematographers wanted the series to have a "Rembrandt texture".[89]

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."[39] Pixomondo is the primary visual effects vendor for the series,[87] with Spin VFX also working on the show.[92] Kurtzman noted that the series utilizes multiple CG environments which take several months to properly render.[56] 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.[93]

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.[66] 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".[94] In July 2017, Jeff Russo was announced as composer for the series.[7] Russo recorded the series' score with a 60-piece orchestra.[90] The show's main theme incorporates elements from the original Star Trek theme.[62]

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, will be streamed weekly on All Access through November 12. The second chapter will begin streaming January 2018.[24][25][95]

text: CBS Studios International licensed the series to Bell Media for broadcast in Canada, and to Netflix for another 188 countries.[34] 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.[34] Subsequent episodes will be released through Space, Z, and CraveTV,[34] with Space airing each episode 30 minutes before it's streamed on All Access.[96][97] In the other countries, Netflix will release each episode of the series for streaming within 24 hours of its U.S. debut.[34] 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.[34]

text: Marketing[edit]

text: The first full trailer for the series was released in May 2017.[98] 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."[99] 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."[100] 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."[101] 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.[102]

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.[103][104] 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.[105] 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.[106]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported an 83% approval rating for the first season, with an average rating of 7.13/10 based on 51 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."[107] Metacritic, which uses a weighted average, assigned a score of 72 out of 100 based on 20 critics, indicating "generally favorable reviews".[108]

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.[109] 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.[110]

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.[111] 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.[112]

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 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."[113]

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 is set for release 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.[113]

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.[114] 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."[115]

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."[113]

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.[116]


document_title: Torah ark

question_text: what does aron hakodesh refer to in english

root

text: Torah ark

text: Origin of the names[edit]

text: Aron Kodesh comes from Hebrew אָרוֹן קׄדֶש ʼārōn qōdeš (i.e. aron kodesh), Holy Ark. This name is a reference to the ’ārōn haqqōdeš, the Hebrew name for the Ark of the Covenant which was stored in the Holy of Holies in the inner sanctuary of both the ancient Tabernacle and the Temple in Jerusalem. Similarly, Hekhál, also written hechal, echal or heichal — and sometimes also Echal Kodesh (mainly among Balkan Sephardim) comes from Hebrew הֵיכָל [hēkhāl] ‘palace’, was used in the same time period to refer to the inner sanctuary. The hekhal contained the Menorah, Altar of Incense, and Table of the Showbread.

tag: p

text: Placement[edit]

text: The ark is often placed on the wall of the sanctuary which is facing Jerusalem, however it is sometimes placed on the north wall or another wall for architectural reasons. In those cases where the ark does not show the direction to Jerusalem, traditional Judaism instructs the worshiper to face the true direction towards Jerusalem in prayers such as the Amidah.

text: In some ancient synagogues, such as the fifth-century synagogue in Susia, the Torah scroll was not placed inside the synagogue at all, but in a room adjacent to it, signifying that the sacredness of the synagogue does not come from the ark but from its being a house of prayer. The Torah was brought into the synagogue for reading purposes.

text: Gallery[edit]

text:
Beth Jakov synagogue in Macedonia

Kotel, Jerusalem

Safed, Israel

Cedar, Jerusalem stone, and bronze Torah ark for Lincoln Square Synagogue, New York City (2013), by the artist David Ascalon.

Novi Sad, Serbia

Kraków, Poland

Włodawa Synagogue, Włodawa, Poland

Pfaffenhoffen, Alsace

Ark based on a Chinese Buddhist design used by the Kaifeng Jews of China

Ark decorated for Shavuot, Encino, California, United States

Esnoga, Amsterdam, Netherlands

Abuhav synagogue, Israel

Ark inside the Synagogue in Győr, Hungary.

tag: ul


document_title: Pac-12 Football Championship Game

question_text: where is the pac 12 football championship played

text: Pac-12 Football Championship Game

text: History[edit]

text: In 2011, the Pacific-10 Conference added Colorado and Utah, bringing the membership total to 12 teams and becoming the Pacific-12. Consequently, the conference split into two six-team divisions and created an annual conference championship game.

text: In the first season of the newly expanded Pac-12 in 2011, USC finished first in the South Division with a 7-2 conference record but was ineligible to play in postseason games due to NCAA sanctions. UCLA (5-4) represented the South Division in the Pac-12 Championship Game as its second-place team.[5]

text: Broadcast rights to the game are held by ESPN and Fox Sports on a 12-year deal that began in 2012, where the rights alternate between the two networks on a year-by-year cycle. Fox broadcast the inaugural game in 2011.[6][7]

text: Team selection criteria[edit]

text: Division standings are based on each team's overall conference record. In the event that two teams finish in a tie for first place, the championship game berth goes to the winner of the season's head-to-head contest between the two teams. If three or more teams are tied, the following tiebreakers are used to determine the division champion:[8]

text: The following procedures will only be used to eliminate all but two teams, at which point the two-team tie-breaking procedure (head-to-head result) will be applied.

text:
Head-to-head (best record in games among the tied teams).
Record in games played within the division.
Record against the next highest placed team in the division (based on record in all Conference games, both divisional and cross-divisional), proceeding through the division.
Record in common Conference games.
Highest ranking in the SportSource Analytics poll entering the final weekend of the regular season.

text: Results[edit]

text: The North Division representative has won every edition of the Pac-12 Championship Game since its inception in 2011. Rankings are from the AP Poll at time of the matchup.

text: Results by year[edit]

text:
Year
North Division
South Division
Site
Date
Attendance
MVP

2011
8 Oregon Ducks
49
UCLA Bruins
31
Autzen Stadium • Eugene, OR
December 2, 2011
59,376
RB LaMichael James, Oregon

2012
8 Stanford Cardinal
27
17 UCLA Bruins
24
Stanford Stadium • Stanford, CA
November 30, 2012
31,622
QB Kevin Hogan, Stanford

2013
7 Stanford Cardinal
38
11 Arizona State Sun Devils
14
Sun Devil Stadium • Tempe, AZ
December 7, 2013
69,535
RB Tyler Gaffney, Stanford

2014
3 Oregon Ducks
51
8 Arizona Wildcats
13
Levi's Stadium • Santa Clara, CA
December 5, 2014
45,618
QB Marcus Mariota, Oregon

2015
7 Stanford Cardinal
41
24 USC Trojans
22
December 5, 2015[9]
58,476
RB Christian McCaffrey, Stanford

2016
4 Washington Huskies
41
9 Colorado Buffaloes
10
December 2, 2016[10]
47,118
DB Taylor Rapp, Washington

2017
TBD
-
TBD
-
December 1, 2017[11]
-
TBD

tag: table

text: Results by team[edit]

text:
Appearances
School
Wins
Losses
Pct.
Year(s) Won

3
Stanford
3
0
1.000
2012, 2013, 2015

2
Oregon
2
0
1.000
2011, 2014

2
UCLA
0
2
.000

1
Washington
1
0
1.000
2016

1
Arizona
0
1
.000

1
Arizona State
0
1
.000

1
Colorado
0
1
.000

1
USC
0
1
.000

text: California, Oregon State, Utah and Washington State have yet to make an appearance in the Pac-12 Championship Game.

text: Site selection criteria[edit]

text: During its first three years, the site of the Pac-12 Championship Game was the home stadium of the division champion with the superior overall conference record. In the event that the two division champions were tied, the head-to-head record would be used as the tiebreaker. If the two teams did not meet during the season, a BCS component was to be used.

text: After three years of the home-hosting model, the Pac-12 announced a three-year deal to host the game at the neutral site of Levi's Stadium in Santa Clara, California.[12] In 2017, the Pac-12 announced it would keep the game at Levi's Stadium through 2019 with an option for 2020.[13]


document_title: Gurren Lagann

question_text: when does the gurren lagann movie take place

text: Gurren Lagann

text: Plot[edit]

text: Story[edit]

text: Gurren Lagann takes place in a future where Earth is ruled by the Spiral King, Lordgenome, who forces mankind to live in isolated subterranean villages. These villages have no contact with the surface world or other villages and are under constant threat of earthquakes. Selected villagers called diggers are conscripted to expand their homes deeper underground. Simon, a meek young digger ostracized by his peers, finds solace in his best friend and older brother figure, an eccentric delinquent named Kamina. Kamina encourages Simon to join his gang, Team Gurren, to help him achieve his dream of visiting the surface world. One day, Simon unearths a drill-shaped key called a Core Drill, followed by a small mecha resembling a face called a Gunmen.[10][11] Shortly thereafter, a huge Gunmen crashes through the ceiling and begins attacking the village, followed by a girl named Yoko, who attempts to repel the Gunmen. Simon uses his Core Drill to activate the smaller Gunmen (which Kamina names Lagann), and it is used to destroy the larger Gunmen and break through to the surface world.

text: Simon and Kamina learn from Yoko that humans on the surface are attacked each day by Gunmen piloted by beastmen, humanoid creatures who serve as Lordgenome's army. Kamina hijacks a Gunmen and names him Gurren, combining him with Lagann to form the mecha Gurren Lagann. Their actions inspire other humans to steal their own Gunmen and join Team Gurren, which makes Kamina rename it Team Dai-Gurren. Eventually Team Dai-Gurren captures an enemy Gunmen fortress to use as their base of operations, though Kamina is killed in the preceding battle by one of Lordgenome's four generals. Rossiu, a boy from another village, takes over the job of piloting Gurren, but Kamina's death causes Simon to sink into depression until he meets Nia, Lordgenome's daughter. Team Dai-Gurren is initially distrustful of her but allows her to join when it becomes apparent that she was abandoned by her father, like many who came before her. Nia helps Simon come to terms with Kamina's death, and the rest of Team Dai-Gurren prompt him to take up the role as the team's leader, leading them and other humans, who captured other Gunmen and Gunmen fortresses, to Lordgenome's palace. As the palace itself turns out to be a gigantic Gunmen called the Lazengann and launches armies of other Gunmen, the human forces hold them off while Simon, Nia, and Rossiu pilot Gurren Lagann against Lordgenome, who fights them in a similar Gunmen. When both Gunmen are damaged, he himself fights Simon in Lagann with his bare hands. Lordgenome emerges victorious, until Simon uses his Core Drill to defeat him once and for all.

text: Over the next seven years, mankind prospers on the surface world with Simon and the members of Team Dai-Gurren serving as the world's government. As soon as the world's population reaches one million people, an alien race called the Anti-Spirals emerges and uses Nia to announce the Moon's collision with Earth, which will wipe out all life on the planet and prevent them from evolving to such an extent that they will risk destroying the universe in a cataclysmic event called the Spiral Nemesis. With guidance from Lordgenome resurrected as a bio-computer, who was once part of an intergalactic group of warriors who fought the Anti-Spirals and had hidden mankind underground to protect them from the Anti-Spirals, and with help from Viral, an old enemy of Simon who pilots Gurren, Simon, Gurren Lagann and Team Dai-Gurren prevent the Moon's collision, revealing it to be Lordgenome's flagship that was reprogrammed by the Anti-Spirals. Using it, they retrieve the real Moon from the pocket dimension where the Anti-Spirals had hidden it and go to the Anti-Spiral homeworld, where after significant loss, they rescue Nia, and after a battle that spans the universe, Simon in Lagann finally destroys the Anti-Spirals. This, however, causes Nia to fade away and die as her own existence is tied to that of the Anti-Spirals. Simon, finding his life in battle over, hands his Core Drill over to Gimmy and spends the rest of his life wandering the planet as a nameless vagrant.

text: In the epilogue, twenty years have passed since the team’s victory over the Anti-Spirals. With many of Team Dai-Gurren retired, it is up to the new generations of pilots to prevent the Spiral Nemesis and ensure the safety of the universe. Other races across the galaxy, freed from the Anti-Spirals, contacts Earth. President Rossiu of Kamina City joins forces with them and during the twenty years, he created the Galactic Spiral Peace Conference. Yoko, now as Miss Yomako, becomes the principal of the small school she was at during her seven years absence from the team. One of her students becomes a representative the galaxy in the Grapearl Squadron. Gimmy, along with Darry and Simon’s Core Drill, become the new pilots of Gurren Lagann. Viral becomes the captain of the Super Galaxy Dai-Gurren and an emissary for Earth. Nia’s grave and the wedding ring are placed next to Kamina’s grave. Simon, still living as Simon the Digger, watches over them as many Grapearls are seen flying over Kamina City.

text: Main characters[edit]

text: Production[edit]

text: Gurren Lagann was first announced in July 2006 with Aniplex and Konami assisting Gainax in its making. Konami director Koichi Natsume suggested possibilities of the series getting multiple sequels.[12] The series was directed by Hiroyuki Imaishi who was a fan of the mecha genre, having previously done animation work for Neon Genesis Evangelion, and ever since he started working he had wanted to work in a mecha series.[13] After working on Re: Cutey Honey with Kazuki Nakashima, Imaishi appointed him as the writer, believing him to be the best choice. Imaishi was surprised with how much material Nakashima could condense into 27 episodes. Imaishi had finished writing the main storyline long before the reaching the end which facilitated the staff in making the episodes.[13] According to Gainax president Hiroyuki Yamaga the series was in planning phases for a long time. Producer Yasuhiro Takeda used the time to research how would the characters live underground although this aspect is briefly used. Once the series started production, the team did not have much time to research materials.[14]

text: In contrast to other popular series, Imaishi decided to include drills as the robot's main weapons despite its impact on the suspension of disbelief.[13] Imaishi also wanted the series to only have robots. The robots were made organic so that they would be easier to animate.[14] Nevertheless, animating episode 15 was challenging to the staff due to the amount of shots it required. Its animator Sushio called himself the "super animator" for his work.[15] Deciding the design of the Gurren Lagann was complicated since it was the basis for the other mechas appearing in the story.[15]

text: In the making of the series, the team wanted to focus more on the underground life and Simon's imprisonment but their ideas could not be used.[15] In the eighth episode Kamina dies in order to provide Simon character development and make him become the main character.[13] Simon's development kept on going until the final arc when staff planned ideas to make him surpass Kamina. The ending was written to finalize Simon's growth and not leave signs of a sequel. The finale had the pre-planned tragic event of Nia's death which left several staff members saddened. While the staff acknowledged how people were not satisfied with the sad conclusion, they noted that there were still issues that made her survival difficult for the characters.[16] Once the series ended, Yamaga had the idea of releasing a film that retells the events of the series to expand the audience.[14]

text: Influences[edit]

text: In an interview, the writer Kazuki Nakashima cites Ken Ishikawa, co-creator of Getter Robo, as one of Gurren Lagann's influences.[17] Gurren Lagann occasionally pays homage to Ishikawa's Getter Robo, particularly towards the end of the series, where the scale becomes absurd, with the robots steadily becoming bigger and bigger, much like Getter Robo more specifically, the manga version of Getter Robo Go. The final enemy also bears a striking resemblance to La Gooth of Records of Nothingness, another work by Ishikawa.[18] Nakashima, however, wanted to conclude the story of Gurren Lagann in a more reasonable fashion than what Ishikawa usually does in his works.[17] According to Jason Green from Anime News Network, the anime was influenced by previous Gainax anime, particularly in the character development of the protagonist Simon, who goes through three stages in his character development during the three arcs of the series. Each of these stages in his development were influenced by protagonists from several previous Gainax anime: Shinji Ikari from the Neon Genesis Evangelion franchise, Noriko Takaya from Gunbuster, and Ken Kubo from Otaku no Video.[19] The animation on the show pays special tribute to the animation and character designs of Yoshinori Kanada.

text: Conflicts[edit]

text: Takami Akai, the producer of the series and a co-founder of Gainax, announced that he would resign his position effective episode five, which aired on April 29, 2007, over comments that he made regarding posts on the Japanese textboard 2channel. Akai and another Gainax employee, Keiko Mimori, made disparaging remarks about comments criticizing the animation style of the fourth episode of Gurren Lagann, which was completely directed by guest and friend Osamu Kobayashi. With regard to reading the fan criticisms, Akai stated that it was "like putting [his] face next to an anus and breathing deeply." Fans later became aware of his comments, and he announced his departure from the company he helped found.[20]

text: As a result of the series airing at a child-friendly time slot, the staff members had problems with episode 6. Although that episode had a subplot involving peeking into the women's bath, the television stations believed it was suitable when reading the script. After seeing the finished episode, the station said that it could not be aired, and a revised version of the episode was produced.[15]

text: Media[edit]

text: Anime series[edit]

text: Produced by the animation studio Gainax and directed by Hiroyuki Imaishi, Gurren Lagann aired in Japan on TXN stations between April 1 and September 30, 2007. The anime has 27 episodes plus two specials, the first being the uncensored version of the sixth episode, and the second is episode 5.5, a bonus that came with the Nintendo DS game.

text: The English version had been previously licensed by ADV Films, but was later acquired by Bandai Entertainment. A subtitle-only version was released in three volumes in July 2008, and an official English dub with the first two volumes released on November 18, 2008 called "Gurren Lagann Set 01".[citation needed] The show premiered on the Sci Fi Channel on July 28, 2008 as part of Sci Fi's Ani-Monday anime block, airing two episodes each week (and three the final week).[3] The European distribution branch of Bandai, Beez Entertainment, distributed the series in the UK and Europe but has gone out of print since January, 2012.[21] In 2013, Anime Limited announced that they have the distribution license for Gurren Lagann on DVD and Blu-ray in the UK. In 2014, they released a limited Blu-ray Ultimate Edition on October 20, 2014, featuring the entire series, both film adaptations and the complete Parallel Works series, as well as a hardcover artbook. A standard edition Blu-ray containing the complete series was also released on the same day with the DVD release following later that year.[22] The English version also aired on Animax across its English-language networks in Southeast Asia and South Asia starting on May 22, 2009. It was broadcast in Italy on Rai 4 between September 24, 2009 and April 1, 2010. Aniplex of America re-released the series in a limited edition DVD box set on May 9, 2013. A Blu-ray Disc box set, which includes both the television series and the two film adaptations, was released on June 26, 2013.[23] Adult Swim began airing the series in English as part of the Toonami block on August 16, 2014.

text: Music[edit]

text: Taku Iwasaki composed the show's main background music. Four theme songs are used for the episodes; one opening theme and three ending themes. The opening theme is "Sorairo Days" (空色デイズ, Sorairo Deizu, lit. "Sky-Blue Days") by Shoko Nakagawa. Starting from episode 17, the second verse and chorus was used, as compared to the first verse and chorus used in the previous episodes. For episodes 1 through 15 the ending theme is "Underground" by High Voltage. "Happily Ever After" by Shoko Nakagawa was used in episode 16. "Minna no Peace" (みんなのピース, Minna no Pīsu, "Everyone's Peace") by Afromania was used for episodes 17 to 27.

text: Tengen Toppa Gurren Lagann Character Song was released on July 25, 2007, by Aniplex, including image songs by the main voice cast, with songs sung by Tetsuya Kakihara (Simon), Katsuyuki Konishi (Kamina), and Marina Inoue (Yoko), the latter of which is a playable song in Dance Dance Revolution SuperNOVA 2. In addition, several music compilation albums have been released, most consisting of background music.

text: Manga[edit]

text: The Tengen Toppa Gurren Lagann manga, illustrated by Kotaro Mori, started serialization in the June 2007 issue of MediaWorks' magazine Dengeki Comic Gao!. The manga ended serialization in Dengeki Comic Gao! with the April 2008 issue when the magazine was discontinued, but continued serialization in ASCII Media Works' manga magazine Dengeki Daioh with the June 2008 issue and continued until the July 2013 issue. Ten tankōbon volumes were published between September 27, 2007 and June 27, 2013 in Japan under ASCII Media Works' Dengeki Comics imprint. Bandai Entertainment licensed the manga and released an English translation of the first six volumes in North America.[24] The manga follows the same basic story as the anime, although there are some changes to the order of events, and the addition of character backstories that had been cut from the anime, such as the relationship between Dayakka and Kiyoh.

text: A spin-off manga entitled Tengen Toppa Gurren Lagann: Gurren Gakuen-hen (天元突破グレンラガン −紅蓮学園篇−) was serialized in Comp Ace between August 26, 2008 and January 26, 2009; a single tankōbon volume was released on March 26, 2009. The manga takes the characters from the original story and puts them in a school in a parallel world. In the manga, Simon attends Dai-Gurren Academy (ダイグレン学園, Dai Guren Gakuen) with his friend Kamina, and childhood friend Yoko. Simon, who lives in a run down apartment building, wishes for a normal life, and meets the mysterious Nia one day when she trips down the stairs. She immediately takes a liking to Simon and declares him her husband. Kamina finds another "aniki" in Nia, who shares his hot-blooded style. She enrolls in Dai-Gurren Academy, and all three must deal with the threat of students from Teppelin Academy, who wish to bring Nia back to her father, the principal. Another spin-off manga titled Tengen Toppa Gurren Lagann 4-koma Kingdom: Yoko no Oheso-hen (天元突破グレンラガン4コマKINGDOM ヨーコのおヘソ編, Tengen Toppa Gurren Lagann 4-panel Kingdom: Yoko's Belly Button Chapter) was published by Futabasha in 2008 as a compilation of various short stories.

text: Video games[edit]

text: An online video game was developed by Konami called Tengen Toppa Gurren Lagann Chōzetsu Hakkutsu ONLINE (天元突破グレンラガン 超絶発掘ONLINE, literally "Tengen Toppa Gurren Lagann: Superior Excavation Online"). Beta testing had ended on April 16, 2007. The player takes up the role of a driller and drills for treasures in first person view. There is a shop to purchase drills—the shopkeeper is an original character named Asaki. The player can also collect digital trading cards. The game was canceled at the closed beta stage, as installing the game crashed Windows indefinitely. Konami even had to send out 500GB external hard drives to beta users so that they could back up files while reinstalling their operating systems.[25][26]

text: A game for the Nintendo DS was released October 25, 2007, not only featuring the characters from the series, but also containing a special episode set in the early stages of the story as a pre-order bonus. In June 2010, Gainax re-acquired the video game rights to the series from Konami, which allowed Banpresto to include it in the latest installment of its storied Super Robot Wars franchise, 2nd Super Robot Wars Z: Destruction Chapter, released in April 2011.

text: A Pachislot game based on the anime teased by Konami was later released in February 2016.[27][28]

text: Anime films[edit]

text: An animated film entitled Gurren Lagann the Movie: Childhood's End (劇場版 天元突破グレンラガン 紅蓮篇, Gekijōban Tengen Toppa Gurren Lagann Gurren-hen, Tengen Toppa Gurren Lagann The Movie: The Crimson Lotus Chapter), once again directed by Hiroyuki Imaishi, and written by Kazuki Nakashima, was produced by Gainax and released on September 6, 2008 in Japanese theaters and the DVD was released on April 22, 2009.[29][30][31] The film is a compilation of the events of the first arc of the series (episodes one through fifteen) with around 20 minutes of newly animated scenes. In conjunction with the release of the film, Gainax has released a series of music videos entitled Gurren Lagann Parallel Works, which contains alternative stories of Gurren Lagann set to songs from the original soundtrack.[32] The film had its first official English release at the Viz Pictures cinema in San Francisco, California on September 8, 2009.

text: A second film, Gurren Lagann The Movie: The Lights in the Sky are Stars (劇場版 天元突破グレンラガン 螺巌篇, Gekijōban Tengen Toppa Guren Lagann Lagann-hen, Tengen Toppa Gurren Lagann the Movie: The Spiral Stone Chapter) was released in Japanese theaters on April 25, 2009.[9] It focuses on the second half of the series, contributing more new animation than the first film. The Japanese DVD for The Lights in the Sky are Stars was released on January 27, 2010. For both films, Shoko Nakagawa sang the theme songs: "Tsuzuku Sekai" (続く世界, "The World Goes On") for Childhood's End and "Namida no Tane, Egao no Hana" (涙の種、笑顔の花, "Seed of Tears, Flower of Smiles") for The Lights in the Sky are Stars. Taku Iwasaki returned to compose the films' scores.

text: Aniplex of America distributed both films on DVD in regular and special editions. Childhood's End was released on July 1, 2010 while The Lights in the Sky are Stars was released on July 30, 2010.[33] Aniplex of America released the films on Blu-ray Disc as part of the Gurren Lagann Blu-ray box set on June 26, 2013.[23] Aniplex of America re-released the films in a separate Blu-ray Disc set on July 15, 2014.[34]

text: Reception[edit]

text: Western critical reception[edit]

text: Gurren Lagann received widespread critical acclaim since its release. Anime News Network gave Gurren Lagann a full 'A' rating, with reviewer Theron Martin describing it as "one of the liveliest series of the decade" and concluding that "Gainax's paean to boisterous, macho mecha action delivers in triumphant fashion."[35] Anime News Network also gave the dubbed version of the first volume an 'A' rating.[36] IGN gave the series a score of 9.7 out of 10, with reviewer Ramsey Isler describing it as "an inspiring story" and concluding that "overall it succeeds at being a great tale of the indomitable spirit of determined people."[37] Anime World Order also gave the series a positive review, noting that it has become one of the most popular mecha anime on the internet, which reviewer Clarissa Graffeo ascribes to its crossover appeal among various audiences who do not usually watch giant robot anime, by combining aspects from a number of different anime genres, including elements of the Super Robot, Real Robot, Shōnen, Shōjo, Seinen and Josei genres.[38]

text: THEM Anime Reviews gave the anime a score of 4 out of 5 stars, with reviewer Tim Jones describing it as "Almost five-star material," and stating that it is "chuck full of action, comedy, drama, adventure, and sci-fi elements, managing to even entertain a person who couldn't care less about mecha in the process."[39] UK Anime Network gave the first third of the series a score of 8/10, with reviewer Ross Liversidge noting that from episode 7 onwards, "the show's newfound edge makes it far more gripping," and concludes that it is a "high quality release" and "a fun, punchy series that stands out from the crowd."[40] On the review website Mania.com, reviewer Chris Beveridge gave the first two-thirds of the series a full 'A' grade. He described the first third as "chaotic, magical and engaging,"[41] and then described the second third as captivating "with non-standard storytelling ideas for an anime series" and concluded that it was "fun, exciting, unpredictable and filled with the usual positive messages but done without any serious preaching."[42] Japanator named Gurren Lagann the fourth best anime of the 2000s, calling it "a flawless execution of storytelling".[43] WatchMojo.com named Gurren Lagann the second best anime of the 2000s[44] and the fifth best anime of all time.[45]

text: Awards[edit]

text: The Gurren Lagann anime series received an Excellence Prize at the 2007 Japan Media Arts Festival.[7] Its director Hiroyuki Imaishi received an individual award for "Personal Best" at the 12th Animation Kobe Festival that same year for his work on the series.[6]

text: In 2008, during the 7th annual Tokyo Anime Awards held at the Tokyo International Anime Fair, Gurren Lagann won the "Best Television Production" award. In addition, the "Best Character Design" award was given to the character designer Atsushi Nishigori for his work on the anime.[5]

text: Popular culture[edit]

text: Influences from and references to Gurren Lagann can be found in several areas of recent popular culture, ranging from Japanese anime and video games, to American comics and animation, to politics in Europe. During a political debate over whether the British Union Flag should be updated by incorporating the Welsh Dragon, The Daily Telegraph newspaper held a contest for readers to submit their designs and have other readers vote for the winning design. On December 11, 2007, a Gurren Lagann-based design submitted from Norway won The Daily Telegraph's contest, winning by a wide margin of 55% of the votes.[46][47] Gurren Lagann has had an influence on the Transformers franchise, with the creators of Transformers Animated citing it as an inspiration. The art director and lead character designer Derrick Wyatt stated that, while he "hadn't seen Gurren Lagann until after" they "had finished most of the first season of TFA," he confirmed that the creators have "definitely been inspired" by it ever since, particularly during the second and third seasons of Transformers Animated.[48] In League of Legends, Rumble's "Super Galaxy Rumble" skin, as well as many of the quotes with the skin, is based on the anime.


document_title: List of Thomas & Friends voice actors

question_text: who is the narrator on thomas and friends

text: List of Thomas & Friends voice actors

text: Cast

text: Voices

text:
Actor/Actress
Region
Role(s)
Notes

Joseph May
US
Thomas
"The Adventure Begins" onwards

John Hasler
UK

US/UK
Rheneas (series 20 onwards)[1]

David Bedella
Victor, Carlos, The Mayor of Sodor and the Cuban man

Jamie Campbell Bower
Skiff

Jonathan Broadbent
Bill, Ben and The First Slip Coach

Nathan Clarke
Alfie

Olivia Colman
Marion

Jules de Jongh
US
Emily, Mavis (Season 13–16), Lady Hatt, The Duchess of Boxford, Stephen Hatt ("Diesel's Special Delivery"), Bridget Hatt, Bridget Hatt's Friends, Some Children, Little Boy in White and Light Blue Stripes Shirt and Red Shorts, The School Children, Teacher, The Laundry Lady, Little Girl in the Red Dress, The Ginger Haired Boy ("Pouty James"), The Blonde Haired Boy (Season 15 and Season 18), and The Blonde Haired Girl

US/UK
Emily ("4-D: Bubbling Boilers" and the singing voice for "The Great Race" only), Caitlin ("Engine of the Future" only), and Alicia Botti

Jonathan Forbes
Connor

Teresa Gallagher
UK
Emily, Lady Hatt (Season 13, "Day of the Diesels" and Season 15), Mavis (Season 13–16), The Duchess of Boxford, Stephen Hatt ("Diesel's Special Delivery"), Bridget Hatt, Bridget Hatt's friends, the teacher, the laundry lady, little boy in light white and light blue stripes shirt and red shorts, some children, the school children, little girl in the red dress, the blonde-hair girl, the blonde-hair boy and Albert's wife

US
A blond-haired girl

A blonde-haired boy
"Very Important Sheep" only

UK/US
Belle, Frieda, Gina, Mavis, Annie, Clarabel, Judy, The Duchess of Boxford ("Percy's Lucky Day" only), Lady Hatt ("The Afternoon Tea Express" only and Season 21 onwards), the teacher (Season 18 only), the ginger-hair boy, the shouting little boy, the lady with the big hat, some passengers, the Knapford Station speaker ("The Adventure Begins"), some children ("The Adventure Begins" onwards), the school children ("Lost Property"), Stephen Hatt, Bridget Hatt, the lady in the blue dress, the barrow fan ("Reds vs. Blues" and "Useful Railway"), Albert's wife ("Thomas the Babysitter" and "Unscheduled Stops"), the lady in the spring green dress, the female puppet show entertainer, little girl in the turquoise dress with pink flowers, the lady in the white dress and gray vest, the lady in the white shirt, light brown skirt and hat, the lady in the grayish white shirt, blackish gray skirt, and white pearl necklace, the chubby little boy in dark green shirt and dark gray shorts and the lady in the yellow dress and hat

Bob Golding
Stephen, Sidney (series 17 onwards), Ivan, some dock workers ("Tale of the Brave") and a railway inspector ("Lost Property")

Mike Grady
Sir Robert Norramby

Rasmus Hardiker
Philip and some Troublesome Trucks ("The Fastest Red Engine on Sodor" only)

UK
Monty

William Hope
US
Edward, Toby, Stephen Hatt ("Thomas and the Runaway Kite" only), Whiff, Bash, Rocky, Farmer McColl, the Duke of Boxford, the blond-haired boy ("Merry Misty Island" and "The Way She Does It" only), the Maithwaite stationmaster ("Double Trouble" and "Wonky Whistle" only), the man in the gray shirt and black pants ("Race to the Rescue"), the Dock Manager and the Wellsworth Station worker

UK/US
Iron Bert (series 16 onwards), a railway inspector, a steamworks worker ("Wonky Whistle"), 2 farmhands ("Wonky Whistle"), a workman ("Toad and the Whale"), Passenger, and Farmer McColl ("Philip's Number" only)

Togo Igawa
Hiro

Rufus Jones
Flying Scotsman

Ashna Kapur
UK
The blond-haired girl
"Very Important Sheep" only

Steven Kynman
Porter, Jack and the dock manager ("Tale of the Brave" only)

US
Charlie
"The Great Race" onwards

Butch
Series 17 onwards

UK/US
Duck, Ryan (series 20 onwards), Dart (Season 17 onwards), Paxton ("Blue Mountain Mystery" onwards), Peter Sam, "The Third Slip Coach", a workman (Journey Beyond Sodor), a railway inspector (Season 17) and the bird watcher ("Who's Geoffrey?")

Michael Legge
Luke

Oliver McCue
UK
The blond-haired boy
"Very Important Sheep" only

Ian McCue
UK/US
The Blue Sea Serpent

David Menkin
Porter (US; series 17 onwards/UK; "Pouty James" and "Cranky at the End of the Line" only) and Stanley ("The Truth About Toby" only)

US
Jack

Joe Mills
UK/US
Douglas, Oliver, Toad, the Welsh bird watcher ("Thomas and the Emergency Cable"), and a Knapford Station yard workman ("Toad and the Whale")

Lucy Montgomery
Lexi, Hannah and Carly

Tracy-Ann Oberman[2]
Daisy
Series 20 onwards

Maggie Ollerenshaw
Henrietta

Rebecca O'Mara
Caitlin and the Second Slip Coach

Nigel Pilkington
UK
Percy (Series 19 onwards; excluding "Sodor's Legend of the Lost Treasure"), and Trevor

UK/US
A passenger

Rob Rackstraw
James (US; "The Adventure Begins" onwards/UK; "Tit for Tat" onwards), Donald (Season 20 onwards), Raul, Axel, Étienne, Flynn (Season 19 onwards), Bradford, The Great Railway Show announcer, some passengers, the man in the blue shirt and light brown hat, The Bird Watcher ("The Railcar and the Coaches"), Fergus Duncan, The Welsh Bird Watcher ("Mike's Whistle"), The Thin Clergyman ("Tit for Tat"), and The Red Sea Serpent

UK
Toby
Season 19 onwards

US
Monty

Christopher Ragland[3]
Percy (Season 19 onwards) and Trevor

US/UK
The Troublesome Trucks ("The Adventure Begins" onwards)

Miranda Raison
Millie and the Knapford Station speaker

Kerry Shale
UK
Thomas and Spencer
"Hero of the Rails", originally

US
Henry, Gordon, Dash, Scruff, Harold, Max, Kevin, Sir Topham Hatt ("Hero of the Rails" – Season 18), Sir Lowham Hatt, Mr. Percival, Farmer Trotter, The Maithwaite stationmaster ("Time For a Story" and "A Blooming Mess"), a railway inspector, the photographer (Season 16), the railroad coal inspector, the zoo keeper and some workmen

UK/US
Kevin ("Hasty Hannah" only), Diesel (US; series 19 onwards/UK; series 13 onwards), 'Arry, some groaning passengers ("Calm Down Caitlin") and the man on the bridge

John Schwab
Vinnie, Ulli and a Bridlington Diesel

US
Stanley
Series 20 onwards, excluding "Saving Time"[4]

Nicola Stapleton
UK/US
Rosie
Season 21 onwards

Tom Stourton
Duncan, Rex, Terence and The Fat Clergyman

Tim Whitnall
Timothy, Mike, Jerome, Oliver the Excavator, Reg, the deputy minister and some workmen

US
The man in the hat
"Spencer's VIP" only

UK
Max

Keith Wickham
Edward, Henry, Gordon, Whiff, Dash, Harold, The Thin Controller, the railway coal inspector, the man at the fire, the Wellsworth station worker, The Man in the Gray Shirt and Black Pants, the Fat Controller's assistant, some workmen, some passengers, Gator's driver, and steamworks workman

UK/US
Harvey, Glynn, Salty, Den, Norman, Stafford, Skarloey, Sir Handel, Arlesdale Bert, Bertie, Captain, Sir Topham Hatt/The Fat Controller (UK; "Hero of the Rails" onwards/US; "The Adventure Begins" onwards), Dowager Hatt, Sir Lowham Hatt, Lord Callan, the photographer ("Wild Water Rescue"), a railway inspector, the great composer, the Maron station speaker, the Wellsworth stationmaster, Thomas' guard, the grumpy passenger, Father Christmas, the groundsman, the postman, Gordon's driver ("The Adventure Begins"), James' guard ("The Adventure Begins"), a Knapford station worker ("The Adventure Begins"), some workmen, sometsignalmen, the dock manager ("Who's Geoffrey?" only), a Sodor search & rescue centre worker ("Toad and the Whale"), a policeman ("Sodor's Legend of the Lost Treasure"), a diver ("Sodor's Legend of the Lost Treasure"), The Man in the Hat, some passengers, Albert ("Thomas the Babysitter"), Mr. Bubbles, the man in the sea green shirt and glasses, the Welsh bird watcher ("Sidney Sings and Three Steam Engines Gruff"), one of Dowager Hatt's friends ("Best Engine Ever" and "Sidney Sings"), the museum manager, male puppet show entertainer, the man in the gray shirt and black pants, the Great Railway Show judge, the fat clergyman, the man in the blackish gray shirt and blackish gray pants, Willie the lazy farmer, the man in the black shirt and black pants, Franz, The Man in the Whitish Brown Shirt and Brown Pants, and The Station Announcer

Robert Wilfort
Samson and the Great Railway Show judge ("The Great Race")

Matt Wilkinson
UK
Spencer, Stanley, Charlie, Bash, Scruff, Rocky, Cranky, Butch (Season 16 onwards), Kevin, Stephen Hatt ("Thomas and the Runaway Kite"), Farmer McColl, the Duke of Boxford, the photographer (series 16), the Maithwaite stationmaster, Farmer Trotter, the Knapford stationmaster, the bird watcher ("Henry's Good Deeds"), the blond-haired boy ("Merry Misty Island"), the dock manager, a railway inspector, some dock workers, the island inspector, the Sodor search & rescue centre manager, the Blue Mountain Quarry workman, the zoo keeper and the man with the hat

UK/US
Diesel 10, Winston, Rusty, Merrick, Captain Joe and some workmen

Glenn Wrage
US
Spencer, Ferdinand, Cranky, the Sodor search & rescue centre manager, Sir Topham Hatt's Assistant, Gator's driver and a Steamworks worker

text: Former voices

text:
Actor/Actress
Region
Role(s)
Notes

Rupert Degas
UK
Butch
Series 15

UK/US
Dart and Flynn
"Day of the Diesels" – Season 16

Bertie
Season 15 and 16 only

Michael Brandon
US
Mr. Bubbles
Season 13–15

Diesel
Season 13–16

Martin Sherman
"King of the Railway" – Series 18

Thomas and Percy
"Hero of the Rails" – Season 18

Henry
Originally

The Bird Watcher
Henry's Good Deeds only

Some children
Time for a Story, Pop Goes Thomas and Toby and Bash only

Ben Small
Stanley
Season 15 only

Charlie
Season 16–18

UK
Thomas and Toby
"Hero of the Rails" – Season 18

Ferdinand
"Misty Island Rescue" – Season 16

UK/US
Rheneas
Season 16–18

Troublesome Truck

Flynn
Season 17 only

Owen
"Blue Mountain Mystery" – Season 18

text: Guest voices

text:
Actor/Actress
Role(s)
Notes

Clive Mantle
Gator
"Tale of the Brave" and Series 18 only

Sir John Hurt
Sailor John
"Sodor's Legend of the Lost Treasure" only

Eddie Redmayne
Ryan

Tina Desai
Ashima

Hugh Bonneville
Merlin

Darren Boyd
Theo

Jim Howick
Hurricane

Sophie Colquhoun
Frankie

Colin McFarlane
Bulgy and Beresford

text: Online videos

text:
Actor/Actress
Role(s)

Sabrina Frederick-Traub
Tracy

Matthew Richardson
Shane

text: Thomas and the Magic Railroad voices

text:
Actor/Actress
Role(s)
Notes

Eddie Glen
Thomas

John Bellis
Originally

Keith Scott
Diesel 10

Neil Crone
Gordon, Diesel 10 and Splatter

A tumbleweed
Uncredited

Troublesome Trucks
Originally had lines but removed

Kevin Frank

Henry, Dodge and Bertie

Harold
Originally had no lines

Britt Allcroft
Lady

Patrick Breen
Splatter and Dodge (Splodge)
Originally

Susan Roman
James

Michael Angelis
Originally

Percy

Linda Ballantyne

Colm Feore
Toby

Shelley-Elizabeth Skinner
Annie and Clarabel

text: Narrators

text: Current

text:
Actor
Region
Years
Peroid

John Hasler
UK
2018–present
Season 22–present

Joseph May
US

text: Former

text:
Actor
Region
Years
Period

Ringo Starr
UK/US
UK: 1984–86

US: 1989–90
Season 1 and 2

Michael Angelis
UK: 1991–2012

US: 2002–04
Season 3–16

Alec Baldwin
US: 1998–2003

2000
Season 5 and 6 / Thomas and the Magic Railroad

Mark Moraghan
2013–17
Season 17–21 / re-dubbed 5 episodes of Season 13–15 in the US

George Carlin
US
1991–96
Season 3 and 4 / re-dubbed Season 1 and 2

Michael Brandon
2003–12
Season 7–16 / re-dubbed 6 episodes from the 6th season

text: Guest

text:
Actor/Actress
Years
Period

Mara Wilson
2000
original script of Thomas and the Magic Railroad

Gwyneth Paltrow
2008
original script of The Great Discvoery

Pierce Brosnan
The Great Discovery / original cut of season 12

text: Timeline

text: Seasons

text:
Narrator(s)
Classic Series

1984–2003
New Series

2004–08
CGI Series

2010–present

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22

Ringo Starr

Michael Angelis

UK
UK
United Kingdom

US

George Carlin
US

US

Alec Baldwin

US

Michael Brandon

US
United States

Pierce Brosnan *

Mark Moraghan

US

John Hasler

UK

Joseph May

US

text: Specials

text:
Narrator(s)
Model era
CGI era

TatMR

2000
CAE!

2005
TGD

2008
HotR

2009
MIR

2010
DotD

2011
BMM

2012
KotR

2013
TotB

2014
TAB

2015
SLotLT

2015
TGR

2016
JBS

2017
BW! BA!

2018

Mara Wilson

Alec Baldwin

Michael Angelis

UK

United Kingdom

Michael Brandon

US

United States

Gwyneth Paltrow

Pierce Brosnan

Mark Moraghan

John Hasler

UK

Joseph May

US

text:
A light green cell indicates the narrator who officially narrated the series.
An orange cell indicates the narrator who re-narrated the series.
A red cell indicates the original narrator who narrated the series, including the movies.

text: * Pierce Brosnan narrated the original cut of Series 12, but withdrew from the series, and his narrations left unreleased.

text: Characters

text: CGI Series

text:
Characters
HiT Era
Mattel Era

13
14
15
16
17
18
19
20
21
22

Thomas
Ben Small (UK)

Martin Sherman (US)
John Hasler (UK)

Joseph May (US)

Edward
Keith Wickham (UK)

William Hope (US)

Henry
Keith Wickham (UK)

Kerry Shale (US)

Martin Sherman (original US voice)
Keith Wickham (UK)

Kerry Shale (US)

Gordon
Keith Wickham (UK)

Kerry Shale (US)

James
Keith Wickham (UK)
Rob Rackstraw

Kerry Shale (US)
Rob Rackstraw (US)

Percy
Keith Wickham (UK)

Martin Sherman (US)
Nigel Pilkington (UK)

Christopher Ragland (US)

Toby
Ben Small (UK)
Rob Rackstraw (UK)

William Hope (US)

Duck

Steven Kynman
Cameo

Donald

Rob Rackstraw

Douglas

Joe Mills

Oliver

Joe Mills

Bill and Ben

Jonathan Broadbent

Cameo

Emily
Teresa Gallagher (UK)

Jules de Jongh (US)

Diesel
Kerry Shale (UK)
Kerry Shale

Michael Brandon (US)
Martin Sherman (US)

Mavis
Teresa Gallagher (UK)
Teresa Gallagher
Cameo
Teresa Gallagher

Jules de Jongh (US)

'Arry

Kerry Shale
Kerry Shale

Cameo
Cameo
Kerry Shale

Iron Bert
William Hope

William Hope

Skarleoy

Keith Wickham

Cameo
Keith Wickham

Rheneas

Ben Small

John Hasler
Cameo

Sir Handel

Originally
Keith Wickham

Keith Wickham

Peter Sam

Steven Kynman

Steven Kynman

Rusty

Matt Wilkinson

Duncan

Tom Stourton

Tom Stourton

Annie and Clarabel
Non-speaking role
Cameo
Non-speaking role
Teresa Gallagher

Henrietta
Non-speaking role
Cameo
Maggie Ollerenshaw

Toad

Joe Mills

Bertie
Non-speaking role
Rupert Degas
Keith Wickham

Harold

Keith Wickham (UK)

Kerry Shale (US)
Non-speaking role
Keith Wickham (UK)

Kerry Shale (US)
Non-speaking role
Keith Wickham (UK)

Kerry Shale (US)

Cranky
Matt Wilkinson (UK)

Glenn Wrage (US)

Sir Topham Hatt
Keith Wickham (UK)
Keith Wickham

Kerry Shale (US)

text: Movies

text:
Characters
TatMR
HotR
MIR
DotD
BMM
KotR
TotB
TAB
SLotLT
TGR
JBS
BW! BA!

Thomas
Eddie Glen

John Bellis (originally)
Martin Sherman (US)

Ben Small (UK)

Kerry Shale (original UK voice)
Ben Small (UK)

Martin Sherman (US)
John Hasler (UK)

Joseph May (US)

Edward

Keith Wickham (UK)

William Hope (US)

Henry
Kevin Frank
Keith Wickham (UK)

Kerry Shale (US)

Gordon
Neil Crone
Keith Wickham (UK)

Kerry Shale (US)
Cameo
Keith Wickham (UK)

Kerry Shale (US)

James
Susan Roman

Michael Angelis (originally)
Keith Wickham (UK)
Rob Rackstraw

Kerry Shale (US)
Rob Rackstraw (US)

Percy
Linda Ballantyne

Michael Angelis (originally)
Keith Wickham (UK)

Martin Sherman (US)

Keith Wickham (UK)

Christopher Ragland (US)
Christopher Ragland (US speaking voice / UK singing voice)

Nigel Pilkington (UK)
Nigel Pilkington (UK)

Christopher Ragland (US)

Toby
Colm Feore
Ben Small (UK)

William Hope (US)

Rob Rackstraw (UK)

William Hope (US)
Cameo
Rob Rackstraw (UK)

William Hope (US)

Duck

Non-speaking role

Steven Kynman
Cameo

Donald and Douglas

Joe Mills

Oliver

Cameo

Bill and Ben

Jonathan Broadbent

Jonathan Broadbent

Emily

Teresa Gallagher (UK)

Jules de Jongh (US)

Teresa Gallagher (UK)

Jules de Jongh (US)
Jules de Jongh (US speaking voice / UK singing voice)

Teresa Gallagher (UK)
Teresa Gallagher (UK)

Jules de Jongh (US)

Diesel

Cameo
Kerry Shale (UK)

Cameo
Kerry Shale
Cameo

Michael Brandon (US)
Martin Sherman (US)

Annie and Clarabel
Shelley-Elizabeth Skinner

Teresa Gallagher

Sir Topham Hatt
Seen on posters
Keith Wickham (UK)
Keith Wickham

Kerry Shale (US)