document_title: Hope Logan

question_text: who are hopes parents on bold and the beautiful

text: Hope Logan

text: Casting[edit]

text: Between the years of 2002 and 2009, the character was played by child actresses, and appeared as a young girl around 5 years old by 2007. On December 4, 2009, it was announced that Hope was to be dramatically aged and portrayed by Kim Matula. Matula signed on as a contract character. Matula began taping The Bold and the Beautiful on November 19, 2009 and made her first appearance on January 11, 2010. On November 5, 2014, it was announced that after five years with the series, Matula would be departing the series.[1] Matula taped her final scene on November 6[2] and made her final appearance on December 12.[3][4] In March 2015, Soap Opera Digest reported news that Matula would make a return to the series, in a guest appearance as Hope.  She is set to report to set on March 4, 2015, she aired on April 17 and 20, 2015.[5] In February 2016, Matula was reported to make a guest return to the soap; she appeared on March 16, 2016.[6]

text: In November 2017, Soap Opera Digest announced that actress Annika Noelle had been cast in the role of Hope; she made her first appearance on January 8, 2018.[7][8]

text: Characterization[edit]

text: The young adult character of Hope was first described as "A polar opposite of what her mother Brooke once was, Hope makes no secret of her more traditional and reserved views on sex and marriage".[9] Matula has described Hope as "Unlucky in love".[10] Speaking about the character's dramatic aging and her storyline, head writer Bradley Bell stated: "Aging the character of ‘Hope’ to a teenager allows us to bring the next generation of ‘Logans’ to the forefront, as well as play a broader range of the ‘Forrester’ vs. ‘Logan’ story. ‘Hope’s’ presence at Forrester Creations, as well as in ‘Brooke’ and ‘Ridge’s’ home, sparks an intense competition between ‘Hope’ and her step-sister ‘Steffy’ as well as creates new conflict between long-time rivals ‘Brooke’ and ‘Taylor’ as each woman is determined to protect her own daughter."[11]

text: Storylines[edit]

text: Hope's conception[edit]

text: Hope was conceived during an affair between Brooke Logan (Katherine Kelly Lang) and Deacon Sharpe (Sean Kanan). At the time, Deacon was married to Hope's half-sister, Bridget Forrester. Hope was born at the Big Bear Cabin. Deacon signed over his paternal rights in 2007 to Ridge Forrester when RJ and Hope were taken from Brooke when she was proven to be an unfit mother by Social Services, reported by Stephanie Forrester (Susan Flannery). Nick Marone (Jack Wagner) was also a father figure for Hope when he was married to Brooke.

text: After the character was dramatically aged (SORASed), Hope is almost raped by a photographer by the name of Graham Derros. Nick and Aggie Jones save her from being raped. At high school (approaching graduation soon), she met a boy Oliver Jones, a DJ. He is Hope's first serious boyfriend. Instantly, the assertive Steffy takes interest in Oliver and wants to lure him away from Hope. She completes a series of events in order to humiliate Hope. At a fashion show for Forrester, she tampers with a sign taking the letters 'p' and 'e' out of Hope's name to create a sign that reads "Ho Logan". Then, at Hope's graduation party (with a mask theme), her mother has sex with Oliver, thinking it's her husband Ridge; this is revealed by a video which Steffy put together (however, it was later revealed the video was tampered by Justin Barber, who worked for Spencer Publications — who are against Forrester Creations). Despite unresolved feelings and never getting a chance with Oliver again, Hope forgives her mother. Meeting Liam Cooper, who was soon revealed to be the son of Bill Spencer, Jr., their relationship grows despite Oliver trying to win back Hope by making her jealous, by being in a relationship with Amber Moore. Their relationship later faces hardship when Amber falls pregnant after supposedly raping Liam, and Liam is thought to be the father during the whole pregnancy. Hope, unable to deal with the idea of Liam being with another woman and having a child, decides she must move on. The baby, when born, is revealed to not be Liam's.

text: Liam and Hope get engaged; however, she wanted to use this as a way to promote her fashion line, so their wedding was planned for months ahead. Unhappy with Hope wanting to wait to consummate their relationship after marriage, Liam becomes closer to Steffy after he saved her from drowning. Hope focuses more on her work than Liam. Neglected, he kisses Steffy. After witnessing the kiss, Hope takes off her engagement ring and leaves it at Liam's house. Heartbroken, Liam takes the ring and proposes to Steffy, who accepts. Liam and Steffy travel to Aspen, where they are married. Hope later begins flirtation with her step-brother, Thomas Forrester. They share a kiss despite Hope's unresolved feelings for Liam. While on holiday in Mexico, Thomas proposes to Hope and she briefly acknowledges that she might not be ready at the time, but someday her answer may be different and something may happen for them; she then kisses Thomas and says 'I feel safe with you'. Liam and Steffy are staying at the same resort, and once Liam finds out, he goes after Thomas and Hope on a dirt-bike chase. Steffy gets injured after she fell off her bike trying to get to Liam.

text: Liam confesses his love for Hope and tells Hope he plans to leave Steffy. But Bill pays off a MRI tech to switch Steffy's scans with another patient, leading Liam to believe that if Steffy gets upset in any way, a blood clot could explode, causing her to have a stroke and die. Upon receiving such information, Liam decides to stay with his wife while she recovers, leaving Hope devastated. Katie, who is suspicious of her daughter-in-law's sudden health revelations, decides to do her own research. She takes the MRI scans to her own doctor, who reveals the scans are that of someone who has a blood clot, but was not Steffy. Katie then confronts Bill and promises that she will tell Liam the truth. Bill, feeling threatened, locks Katie up in a tower to keep her from ruining his plans. Bill then goes to see Steffy and Liam and reveals that Steffy's blood clot had dissolved itself. Liam, relieved and happy for Steffy, has no idea what's going on until Katie arrives. Having freed herself from the tower, she tells Liam that Bill and Steffy had been trying to keep him away from Hope.

text: Liam, feeling gutted and betrayed, immediately leaves to find Hope. He finds her on the rooftop where he proposed to her and tells her that he loves her and that he wants to be with her to give their initial relationship a true chance without manipulations. When they later confront Bill with what they know and what they want from him, Bill refuses to give in, reminding Liam that Steffy is his wife and that he doesn't support his attempt to reunite with Hope. Liam, however, does not take that as an answer, making up his mind that his marriage to Steffy is over. Despite her pleading that they can get through this rough patch, Liam ends his relationship with Steffy and chooses to be with Hope. After she leaves, Liam goes outside where Hope is and reveals his left hand, which has no wedding ring on it. Brooke, worried that Steffy may try to pull a scheme to keep Liam, arranges for a wedding for Hope and Liam in her home, convinced that her son Rick would seduce Steffy into signing the annulment papers. Steffy refuses, and demands a full, legal divorce. Fearing again that Steffy would somehow scheme Liam into staying with her, Brooke insists that Hope spend the night with Liam, to 'take the power away' from Steffy by giving Liam her virginity. The night did not go as well as Hope had wished, and she ended up traumatized. Brooke showed up early the next morning to see how the night went and found Hope in tears, and immediately took her to a sex therapist to 'please Liam' so that she wouldn't lose him to Steffy.

text: The therapist gives Hope a trial dose of anti-anxiety pills and cautions her about sex with Liam further, but Brooke insists that Hope should be with Liam which confuses Hope even more to the point where she gets another prescription illegally from Amber. She begins acting abnormal, and eventually Liam finds out after a couple of incidents that nearly caused physical injury. The first was when Hope passed out in the pool at the Forrester House. The second was when Liam and Hope were in Aspen as well as Steffy, and she collided with her whilst they were skiing. After Liam finds out about the therapy sections, the medication and the accident with Steffy, he is stunned and confronts Hope, questioning their future. Liam takes Steffy up to Spencer cabin, where she decides to go ahead and sign the annulment papers, but Liam tears them up because he refused to hurt Steffy more and shares a passionate kiss with her. Once the divorce became final, Liam and Hope went to Italy at Brooke's insistence to remarry, although Ridge refused to design Hope's wedding gown out of respect for his other daughter. Bill tried to shanghai the wedding by bringing in Deacon Sharpe, which caused Hope to be late to the wedding and Liam to think that she had once again walked out on him. He turned to Steffy for comfort and asked her to leave with him and marry him again. Hope went to Liam's hotel suite, however, and Steffy hid in the bathroom while Hope told Liam what happened. Steffy insisted that Liam go ahead and marry Hope, so the wedding went off without a hitch. Once back in the States, Hope saw a video of Steffy and Liam professing their love for each other and falling into bed together on Hope's wedding day and refused to sign papers making their marriage legal in the US, wanting another wedding. Liam agrees, and Hope plans another wedding at the Forrester home.

text: On the day of their re-do wedding, however, Liam arrives drunk, on the back of Steffy's motorcycle with dyed hair and a tattoo after a night out with Steffy. Outraged by Liam's continued reliance on Steffy, Hope calls off the wedding and her relationship with Liam. She then forms a close friendship with Thomas Forrester, but insists he is not available so steers clear. While Hope is apart from Liam, she tells him she's too good for him and told him to go on with his life. He turns again to Steffy for comfort and the two fall in love, deciding to recommit to each other. Finding out that Liam and Hope had been lied to by Rick about what went on the night before their wedding, Hope once again tries to win over Liam but by that time, he had fallen for Steffy. Once again, to try to stop Steffy from keeping Liam, Brooke sets up a commitment ceremony on Liam's property without his knowledge as Liam, coming home after telling Rick that he thinks his future with Hope is over and calls Steffy, and has the priest from Italy pressure Liam into taking vows again with Hope. Steffy, however, found out she was pregnant several days earlier and waited to tell Liam about it until after he made his choice on which woman he wanted to be with. Finding out that Brooke had practically bulldozed Liam into a ceremony, she went running to Liam's house to find him and tell him she was pregnant. After finding out that Steffy was pregnant with his child, Liam eventually ended things with Hope, explaining that the ceremony was not his choice. Devastated, Hope found solace in Oliver, who finally somehow admitted he still had feelings for her, particularly by showing her the Chinese symbol for "hope" he got tattooed on his leg for her. Hope is touched, and they continue to reconnect.

text: On the professional front, Hope steps down as spokeswoman for her line, Hope for the Future, and approves Rick's decision to hire Maya. During Steffy's pregnancy, she ignores warnings of riding her motorcycle which results in an accident, causing her to lose the baby and become infertile. Hope secretly expresses her happiness about the situation to her mother and aunt, saying it gives she and Liam another chance if the loss tears Liam's marriage to Steffy apart. After Steffy learns of her infertility, she tells Hope she is leaving for good and that Liam is now Hope's, not telling Hope or Liam the real issue. She and Liam go to Bear Cabin together to talk. While on a walk, she sees a naked stranger taking a shower. She takes a photo of him, only for him to turn around and see her. She runs away and he chases her. She then falls over and is knocked unconscious. The stranger then carries her to safety and when she wakes up he kisses her. The mysterious stranger turns out to be Wyatt Fuller. After doing some digging, she learns he is the son of Bill Spencer, Jr., therefore the half-brother of Liam. Wyatt and Hope get closer after Liam flies to Steffy, asking Steffy to take him back and restore the marriage. Steffy rejects him and Liam comes home and proposes to Hope, who accepts. Wyatt moves in with Liam, but when Liam catches him kissing Hope, he punches Wyatt, and after a fight between Bill and Wyatt, he moves out, but Hope later selects Quinn and Wyatt's jewelery business to accompany 'Hope for the Future'. When Liam finds out, he convinces Hope to try and break the contract. Hope asks Eric to do so but he doesn't agree, knowing that it is a personal reason for wanting to end the contract. So the contract stands, much to Liam's dismay, and the two fly to Mexico to get the Hope Diamond for the line, which makes problems for Liam.

text: Hope and Liam get engaged, but when Hope receives a tribute video Liam made for Steffy, it creates tension between them. Liam, thinking it was Wyatt that sent the video, later finds out it was actually Quinn, and Liam quickly informs Hope. Confronting them both, Hope finds out that Quinn did send the video, but Wyatt had no idea of it until the Hope Diamond reveal. Hope forgives them both. She later ends her engagement to Liam when she is feeling insecure about Liam's connection to Steffy. They soon reconcile, but Hope wants to wait before they get married. Aly Forrester, who has a crush on Liam, sends him a picture of Wyatt and Hope kissing at a photoshoot. Liam decides to confront Hope about her refusal to marry, demands that they do so and that she cut all professional and personal ties with Wyatt and Quinn Artisan Jewelers. Hope chooses Liam over Wyatt and Eric reluctantly agrees to break the contract. Wyatt tries desperately to change Hope's mind but she won't, confessing to her mother that if they had met before Liam, then they would have had a chance. On the day of the wedding, Hope gets a note to go see Liam, but she finds him with Steffy at the cabin. Knowing that Steffy is back from Paris, and guessing she would be back to fight for Liam, Hope rehires Quinn, and she and Wyatt go to Hawaii together. Liam follows soon after to explain to Hope that Steffy had informed him that she is now able to conceive again, and that it was Quinn who once again interfered with their relationship. He then asks her to marry him immediately. Hope declines and ends her relationship with him, finally choosing Wyatt over Liam. Their happiness is short-lived when it is revealed by Liam that Wyatt took the Hope diamond as a P.R stunt, before the real jewel thieves had intentions to steal it. It almost ends their relationship completely, but Hope decides to give Wyatt another chance, much to Liam's dismay. Hope then endures a pregnancy scare, and with Liam's persuasion, she dates both brothers, agreeing that she will choose who she wants to spend the rest of her life with at the end of it.

text: After finding out about Quinn's involvement in Ridge's disappearance and feared death, Hope chooses Liam and they become engaged. Quinn becomes outraged when Hope ends things with Wyatt, and threatens both Liam and Hope's lives. When Quinn tries to kill Liam once and for all, Wyatt and Deacon Sharpe save him. Wyatt declares his support for Liam and Hope's relationship. Because of this, Liam and Hope decide to rehire Wyatt at Forrester Creations. Wyatt inherits the Hope for the Future Diamond after Ricardo Montemayor dies. He gifts it to Hope, which causes friction between Liam and Hope, and the two brothers. When Liam demands Hope give it back to Wyatt, Hope refuses, and publicly declares at a press conference that she is keeping the diamond. Wyatt and Rick decide to take Hope and the diamond on a promotion tour, starting with a photo shoot in Paris. Hope asks Liam to come with her, or meet her there to marry her. But Liam, still angry, does not know if he will go. Hope tells him to meet her at 3pm the next day after the photo shoot if he wants to continue their relationship. Wyatt begs Hope not to marry Liam, though she insists that she and Liam belong together. Liam misses his deadline with Hope, who then leaves with Wyatt on the Spencer jet. Wyatt takes her to Bill's yacht in Monte Carlo, where he insists that Liam wasted all of his chances with Hope, but that he will always be there for her. Wyatt proposes to Hope using the HFTF diamond, and Hope accepts and marries Wyatt. She realizes Wyatt is the man she had wanted the whole time, and that a life with Liam was just a fantasy for her. Although Liam revealed that he was indeed at Paris at the time she left, she remained positive on making her commitment to Wyatt. However, about a month later, Hope gets an urgent call from Liam. She finds out that Quinn orchestrated her and Wyatt's marriage by pushing Ivy off the Seine causing Liam to miss his chance to be with Hope. After confronting Quinn for her role and Wyatt for defending his mother, though she also feel sympathy for him, she was determined to leave Wyatt to be with Liam again until she announced that she is pregnant with Wyatt's child. She explains that she doesn't want her child to grow up with multiple fathers and have a complicated relationship like she did. She ended things with Liam for good and wants to rekindle her marriage to Wyatt now with the baby on the way. This is all changed when she suffers a miscarriage, and tells Liam that she will always love him. Hope visits Brooke in Milan, Italy, and does not return to L.A. with Brooke.

text: In 2015, Brooke attempts to stop Deacon's wedding to Quinn by getting Hope to talk to him via a video message on her tablet. Hope tells Deacon that Quinn is evil, but he marries her anyway. In early 2016, Liam is kidnapped by Quinn, and Steffy calls Hope, thinking that she may have information on Liam's whereabouts. She tells Steffy that she hasn't heard from Liam.

text: Hope returns to Los Angeles in January 2018, with the guidance of Ridge, to surprise her mother. She makes her intentions known of returning to Forrester and potentially relaunching the Hope for the Future line. When Hope meets Sally Spectra, she finds out that Liam and Steffy’s marriage is in trouble and so she visits Liam to offer her support and friendship. Bill manipulates Liam to believe that Bill and Steffy are involved; Liam leaves Steffy and their daughter, Kelly, and proposes to Hope. The two almost marry, until Wyatt reveals that Bill set up the whole thing. Liam and Steffy give it another go, but Hope soon discovers she's pregnant, from the one night she and Liam spent together before their aborted wedding. Steffy catches Liam and Hope making out behind the scenes of the Hope for the Future fashion show and she breaks up with him; Steffy steps back and "gives" Hope to Liam. In August 2018, Hope and Liam wed in front of their friends, families, Steffy, and Taylor.


document_title: Navigation light

question_text: what side of a powered aircraft has green navigation lights

root

text: Navigation light

text: Marine navigation lights[edit]

text: In 1838 the United States passed an act requiring steamboats running between sunset and sunrise to carry one or more signal lights; color, visibility and location were not specified. In 1848 the United Kingdom passed regulations that required steam vessels to display red and green sidelights as well as a white masthead light. In 1849 the U.S. Congress extended the light requirements to sailing vessels. In 1889 the United States convened the first International Maritime Conference to consider regulations for preventing collisions. The resulting Washington Conference Rules were adopted by the U.S in 1890 and became effective internationally in 1897. Within these rules was the requirement for steamships to carry a second mast head light. The international 1948 Safety of Life at Sea Conference recommended a mandatory second masthead light solely for power driven vessels over 150 feet in length and a fixed sternlight for almost all vessels. The regulations have changed little since then.[1]

tag: p

text: The International Regulations for Preventing Collisions at Sea established in 1972 stipulates the requirements for the navigation lights required on a vessel.

text: Basic lighting[edit]

text: To avoid collisions, vessels mount navigation lights that permit other vessels to determine the type and relative angle of a vessel, and thus decide if there is a danger of collision. In general sailing vessels are required to carry a green light that shines from dead ahead to 2 points (22 1⁄2°) abaft[note 1] the beam on the starboard side (the right side from the perspective of someone on board facing forward), a red light from dead ahead to two points abaft the beam on the port side (left side) and a white light that shines from astern to two points abaft the beam on both sides. Power driven vessels, in addition to these lights, must carry either one or two (depending on length) white masthead lights that shine from ahead to two points abaft the beam on both sides. If two masthead lights are carried then the aft one must be higher than the forward one.[2] Hovercraft at all times and some boats operating in crowded areas may also carry a yellow flashing beacon for added visibility during day or night.

text: Lights of special significance[edit]

text: In addition to red, white and green running lights, a combination of red, white and green Mast Lights placed on a mast higher than all the running lights, and viewable from all directions, may be used to indicate the type of craft or the service it is performing. See "Quick Guide" in external links.

text:
Ships at anchor display one or two white anchor lights (depending on the vessel's length) that can be seen from all directions. If two lights are shown then the forward light is higher than the aft one.
Boats classed as "small" are not compelled to carry navigation lights and may make use of a handheld torch.

tag: ul

text: Aviation navigation lights[edit]

text: Aircraft external lights are any light fitted to the exterior of an aircraft.[3] They are usually used to increase visibility to others, and to signal actions such as entering an active runway or starting up an engine. Historically, incandescent bulbs have been used to provide light, however recently Light-emitting diodes have been used.

text: Aircraft navigation lights are placed in a way similar to that of marine vessels, with a red navigation light located on the left wingtip leading edge and a green light on the right wingtip leading edge. A white navigation light is as far aft as possible on the tail or each wing tip.[4] High-intensity strobe lights are located on the aircraft to aid in collision avoidance.[5] Anti-collision lights are flashing lights on the top and bottom of the fuselage, wingtips and tail tip. Their purpose is to alert others when something is happening that ground crew and other aircraft need to be aware of, such as running engines or entering active runways.

text: In civil aviation, pilots must keep navigation lights on from sunset to sunrise. High-intensity white strobe lights are part of the anti-collision light system, as well as the red rotating beacon.

text: All aircraft built after 11 March 1996 must have an anti-collision light system (strobe lights or rotating beacon) turned on for all flight activities in poor visibility. The anti-collision system is recommended in good visibility, where only strobes and beacon are required. For example, just before pushback, the pilot must keep the beacon lights on to notify ground crews that the engines are about to start. These beacon lights stay on for the duration of the flight. While taxiing, the taxi lights are on. When coming onto the runway, the taxi lights go off and the landing lights and strobes go on. When passing 10,000 feet, the landing lights are no longer required, and the pilot can elect to turn them off. The same cycle in reverse order applies when landing. Landing lights are bright white, forward and downward facing lights on the front of an aircraft. Their purpose is to allow the pilot to see the landing area, and to allow ground crew to see the approaching aircraft.

text: Civilian commercial airliners also have other non-navigational lights. These include logo lights, which illuminate the company logo on the tail fin. These lights are optional to turn on, though most pilots switch them on at night to increase visibility from other aircraft. Modern airliners also have a wing light. These are positioned on the outer side just in front of the engine cowlings on the fuselage. These are not required to be on, but in some cases pilots turn these lights on for engine checks and also while passengers board the aircraft for better visibility of the ground near the aircraft.

text: Spacecraft navigation lights[edit]

text: In 2011, ORBITEC developed the first Light-emitting diode (LED) lighting system for use around spacecraft. Currently, Cygnus spacecraft, which are unmanned transport vessels designed for cargo transport to the International Space Station, utilize a navigational lighting system consisting of five flashing high power LED lights.[6] The Cygnus displays a flashing red light on the port side of the vessel, a flashing green on the starboard side of the vessel, two flashing white lights on the top and one flashing yellow on the bottom side of the fuselage.

text: The SpaceX Dragon cargo spacecraft also features a flashing strobe along with red and green lights.

text: Notes[edit]

text: Jump up ^ abaft: to the rear/closer to stern/'aft'

tag: ol


document_title: Sugar plantations in the Caribbean

question_text: where is sugar cane grown in the caribbean

text: Sugar plantations in the Caribbean

text: The sugar trade[edit]

text: Sugar was the most important crop throughout the Caribbean, although other crops such as coffee, indigo, and rice were also grown. Sugar cane was best grown on relatively flat land that was near the coast, where the soil was naturally yellow and fertile; mountainous parts of the islands were less likely to be used for cane cultivation.

text: In the mid-17th century, sugar cane was brought into what later became the British West Indies by the Dutch,[1][2][3] from Brazil. Upon landing in Barbados and other islands, they quickly urged local growers to change their main crops from cotton and tobacco to sugar cane. With depressed prices of cotton and tobacco, due mainly to stiff competition from the North American colonies, the farmers switched, leading to a boom in the Caribbean economies. Sugar was quickly snapped up by the British, who used it in cakes and to sweeten teas.

text: During the colonial period, the arrival of sugar culture deeply impacted the society and economy in the Caribbean. It not only dramatically increased the ratio of slaves to free men, but it increased the average size of slave plantations. Early sugar plantations made extensive use of slaves because sugar was considered a cash crop that exhibited economies of scale in cultivation; it was most efficiently grown on large plantations with many workers. As a result, black men and women were forcibly taken from Africa and made into slaves to work on the plantations. For example, before 1650 more than three-quarters of the islands' population was white. In 1680, the median size of a plantation in Barbados had increased to about 60 slaves. Over the decades, the sugar plantations became larger and larger. In 1832, the median-size plantation in Jamaica had about 150 slaves, and nearly one of every four bondsmen lived on units that had at least 250 slaves.[4]

text: For about 100 years, Barbados remained the richest of all the European colonies in the Caribbean. The colony's prosperity remained regionally unmatched until sugar cane production expanded in larger countries, such as Saint Domingue and Jamaica. As part of the mass sugar industry, sugar cane processing gave rise to related commodities such as rum, molasses, and falernum.

text: The West India Interest[5] was formed in the 1740s, when the British merchants joined with the West Indian sugar planters. The British and West Indies shared profits and needs. This organization was the first sugar-trading organization which had a large voice in Parliament.

text: In the 1740s, Jamaica and Saint Domingue (Haiti) became the world’s main sugar producers. They increased production in Saint Domingue by using an irrigation system that French engineers built. The engineers also built reservoirs, diversion dams, levees, aqueducts, and canals. In addition, they improved their mills and used varieties of cane and grasses.

text: After the end of slavery in Saint Domingue at the turn of the 19th century, with the Haitian Revolution, Cuba became the most substantial sugar plantation colony in the Caribbean, outperforming the British islands.

text: In the 19th century, sugar dominated Martinique, Grenada, Jamaica, Saint Croix, Barbados, Leeward Islands, Saint Domingue, Cuba, and many other islands that had been run by French, British, or Spanish owners. During the late 19th and 20th centuries, the sugar cane industry came to dominate Puerto Rico's economy, both under the colonial rule of Spain and under the United States.

text: After slavery, sugar plantations used a variety of forms of labour including workers imported from India under contracts of indenture (see coolie). In the 20th century, large-scale sugar production using wage labour continued in many parts of the region.

text: Current status[edit]

text: By the early 21st century, many Caribbean islands were no longer producing sugar. However, sugar is still produced in Barbados, Jamaica, and Cuba, among other countries.[citation needed]


document_title: FIFA Women's World Cup

question_text: who has won the womens world cup the most

text: FIFA Women's World Cup

text: History[edit]

text: In 1988 – 58 years after the first Men's FIFA World Cup tournament in 1930 and approximately 17 years after the FA ban on women's football was eliminated in 1971[1] — FIFA hosted an invitational in China as a test to see if a global women's World Cup was feasible. Twelve national teams took part in the competition – four from UEFA, three from AFC, two from CONCACAF and one each from CONMEBOL, CAF and OFC. The tournament saw European champion Norway defeat Sweden 1–0 in the final to win the tournament, while Brazil clinched third place by beating the hosts in a penalty shootout. The competition was deemed a success and on 30 June FIFA approved the establishment of an official World Cup, which was to take place in 1991 again in China.[2] Again, twelve teams competed, this time culminating in the United States beating Norway in the final 2-1.

text: In the 1999 edition, one of the most famous moments of the tournament was American defender Brandi Chastain's victory celebration after scoring the Cup-winning penalty kick against China. She took off her jersey and waved it over her head (as men frequently do), showing her muscular torso and sports bra as she celebrated. The 1999 final in the Rose Bowl in Pasadena, California had an attendance of 90,185, a world record for a women's sporting event.[3]

text: The 1999 and 2003 Women's World Cups were both held in the United States; in 2003 China was supposed to host it, but the tournament was moved because of SARS.[4] As compensation, China retained its automatic qualification to the 2003 tournament as host nation, and was automatically chosen to host the 2007 FIFA Women's World Cup. Germany hosted the 2011 FIFA Women's World Cup, as decided by vote in October 2007. In March 2011, FIFA awarded Canada the right to host the 2015 FIFA Women's World Cup. The 2015 edition saw the field expand from 16 to 24 teams.[5]

text: During the 2015 FIFA Women's World Cup, both Formiga of Brazil and Homare Sawa of Japan made a record of appearing in six World Cups,[6] a feat that had never been achieved before by either female or male players. Christie Rampone is the oldest player to ever play in a Women's World Cup match, at the age of 40 years.[7]

text: In March 2015, FIFA awarded France the right to host the 2019 FIFA Women's World Cup over South Korea.[8] The tournament will begin on 1 June 2019 and the final will be played on 30 June 2019[9]; both the opening and final matches will be played at Parc Olympique Lyonnais, a venue with a capacity of 58,000 in the Lyon suburb of Décines.

text: Format[edit]

text: Qualification[edit]

text: Qualifying tournaments are held within the six FIFA continental zones (Africa, Asia, North and Central America and Caribbean, South America, Oceania, Europe), and are organised by their respective confederations: Confederation of African Football (CAF), Asian Football Confederation (AFC), Confederation of North, Central America and Caribbean Association Football (CONCACAF), South American Football Confederation CONMEBOL, Oceania Football Confederation (OFC), and Union of European Football Associations UEFA). For each tournament, FIFA decides beforehand the number of berths awarded to each of the continental zones, based on the relative strength of the confederations' teams. The hosts of the World Cup receive an automatic berth in the finals. Since the 2015 FIFA Women's World Cup, the number of finalists increased from 16 to 24.[10]

text: Final tournament[edit]

text: The final tournament has featured between twelve and twenty-four national teams competing over about one month in the host nation(s). There are two stages: the group stage followed by the knockout stage.[11]

text: In the group stage, teams are drawn into groups of four teams each. Each group plays a round-robin tournament, in which each team is scheduled for three matches against other teams in the same group. The last round of matches of each group is scheduled at the same time to preserve fairness among all four teams. In the 2015 24-team format, the two teams finishing first and second in each group and the four best teams among those ranked third qualify for the round of 16, also called the knockout stage. Points are used to rank the teams within a group. Since 1994, three points have been awarded for a win, one for a draw and none for a loss (before, winners received two points).

text: The ranking of each team in each group is determined as follows:[11]

text:
Greatest number of points in group matches
Greatest goal difference in group matches
Greatest number of goals scored in group matches
If more than one team remain level after applying the above criteria, their ranking will be determined as follows:
Greatest number of points in head-to-head matches among those teams
Greatest goal difference in head-to-head matches among those teams
Greatest number of goals scored in head-to-head matches among those teams
If any of the teams above remain level after applying the above criteria, their ranking will be determined by the drawing of lots

text: The knockout stage is a single-elimination tournament in which teams play each other in one-off matches, with extra time and penalty shootouts used to decide the winner if necessary. It begins with the round of 16. This is followed by the quarter-finals, semi-finals, the third-place match (contested by the losing semi-finalists), and the final.[11]

text: Hosts and results[edit]

text:
#

Year

Host

Champions

Score

Runners-up

Third place

Score

Fourth place

Teams

1

1991

  China

United States

2–1

Norway

Sweden

4–0

Germany

12

2

1995

  Sweden

Norway

2–0

Germany

United States

2–0

China PR

12

3

1999

  United States

United States

0–0 (a.e.t.)(5–4 p)

China PR

Brazil

0–0[A](5–4 p)

Norway

16

4

2003

  United States

Germany

2–1 (a.g.g.e.t.)

Sweden

United States

3–1

Canada

16

5

2007

  China

Germany

2–0

Brazil

United States

4–1

Norway

16

6

2011

  Germany

Japan

2–2 (a.e.t.)(3–1 p)

United States

Sweden

2–1

France

16

7

2015

  Canada

United States

5–2

Japan

England

1–0 (a.e.t.)

Germany

24

8

2019

  France

24

tag: table

text: A  No extra time was played.[12]

text: All-time performance[edit]

text:
#

Team

Titles

Runners-up

Third Place

Fourth Place

Total

1

 United States

3 (1991, 1999, 2015)

1 (2011)

3 (1995, 2003, 2007)

–
7

2

 Germany

2 (2003, 2007)

1 (1995)

–

2 (1991, 2015)
5

3

 Norway

1 (1995)

1 (1991)

–

2 (1999, 2007)
4

4

 Japan

1 (2011)

1 (2015)

–

–
2

5

 Sweden

–

1 (2003)

2 (1991, 2011)

–
3

6

 Brazil

–

1 (2007)

1 (1999)

–
2

7

 China PR

–

1 (1999)

–

1 (1995)
2

8

 England

–

–

1 (2015)

–
1

9

 Canada

–

–

–

1 (2003)
1

 France

–

–

–

1 (2011)
1

text: Overall team records[edit]

text: As per statistical convention in football, matches decided in extra time are counted as wins and losses, while matches decided by penalty shoot-outs are counted as draws. 3 points per win, 1 point per draw and 0 points per loss.

text:
Rank

Team

Part

Pld

W

D

L

GF

GA

GD

Points

1

 United States

7
43
33
6
4
112
35
+77
105

2

 Germany

7
39
26
5
8
111
37
+74
83

3

 Norway

7
35
22
3
10
86
45
+41
69

4

 Sweden

7
33
18
5
10
59
42
+17
59

5

 Brazil

7
30
18
4
8
59
35
+24
58

6

 China PR

6
29
15
6
8
52
29
+23
51

7

 Japan

7
29
13
3
13
36
54
-18
42

8

 England

4
19
10
4
5
30
25
+5
34

9

 Canada

6
23
6
5
12
30
49
-19
23

10

 France

3
14
6
3
5
22
16
+6
21

11

 Australia

6
22
5
5
12
29
44
-15
20

12

 Russia

2
8
4
0
4
16
14
+2
12

13

 Nigeria

7
22
3
3
16
18
56
-38
12

14

 North Korea

4
13
3
2
8
12
20
-8
11

15

 Italy

2
7
3
1
3
11
8
+3
10

16

 Denmark

4
14
3
1
10
19
26
-7
10

17

 Cameroon

1
4
2
0
2
9
4
+5
6

18

 Colombia

2
7
1
2
4
4
9
-5
5

19

 Netherlands

1
4
1
1
2
3
4
-1
4

20

 South Korea

2
7
1
1
5
5
19
-14
4

21

 Ghana

3
9
1
1
7
6
30
-24
4

22

  Switzerland

1
4
1
0
3
11
5
+6
3

23

 Thailand

1
3
1
0
2
3
10
-7
3

24

 Chinese Taipei

1
4
1
0
3
2
15
-13
3

25

 New Zealand

4
12
0
3
9
7
29
-22
3

26

 Mexico

3
9
0
3
6
6
30
-24
3

27

 Costa Rica

1
3
0
2
1
3
4
-1
2

28

 Spain

1
3
0
1
2
2
4
-2
1

29

 Equatorial Guinea

1
3
0
0
3
2
7
-5
0

30

 Ivory Coast

1
3
0
0
3
3
16
-13
0

31

 Ecuador

1
3
0
0
3
1
17
-16
0

32

 Argentina

2
6
0
0
6
2
33
-31
0

33

 Chile

-
-
-
-
-
-
-
-
-

text: Attendance[edit]

text:
Tournament

Matches

Attendance

Ref

Total

Average

Highest

1

 1991 China

26

510,000

18,344

65,000

[13]

2

 1995 Sweden

26

112,213

4,316

17,158

[13]

3

 1999 USA

32

1,214,209

37,944

90,185

[13]

4

 2003 USA

32

679,664

21,240

34,144

[13]

5

 2007 China

32

1,190,971

37,218

55,832

[13]

6

 2011 Germany

32

845,751

26,430

73,680

[13][14]

7

 2015 Canada

52

1,353,506

26,029

54,027

[15]

text: Notes:

text:
The 2003 Women's World Cup was originally scheduled for China but re-located in May 2003 to the United States after a SARS outbreak in China.
The 2015 FIFA Women's World Cup set a new attendance record for all previous FIFA competitions other than the men's FIFA World Cup.[15]

text: Broadcasting[edit]

text: As of  2017[update], the 2015 FIFA Women's World Cup Final was the most watched soccer match in American history with nearly 23 million viewers until this summer where even more people watched a friendly between Manchester United and Real Madrid,[16] more than the 2015 NBA Finals and Stanley Cup.[17] It was also the most watched Spanish-language broadcast in tournament history.[16] More than 750 million viewers were reported to have watched the tournament worldwide.[18]

text: Awards[edit]

text: At the end of each World Cup, awards are presented to select players and teams for accomplishments other than their final team positions in the tournament. There are currently seven awards:

text:
The Golden Ball for the best player, determined by a vote of media members (first awarded in 1991); the Silver Ball and the Bronze Ball are awarded to the players finishing second and third in the voting respectively.
The Golden Boot (also known as the Golden Shoe) for the top goalscorer (first awarded in 1991). The Silver Boot and the Bronze Boot have been awarded to the second and third top goalscorers respectively.
If two or more players finish the tournament with the same number of goals, tiebreakers are used in the following order:
Most assists.
Fewest minutes played.
The Golden Glove Award for the best goalkeeper, decided by the FIFA Technical Study Group. First awarded in 2007 as "Best Goalkeeper"; current award name adopted in 2011.
The Best Young Player Award for the best player no older than age 21 as of 1 January of the year of the final tournament, decided by the FIFA Technical Study Group (first awarded in 2011).
The FIFA Fair Play Award for the team with the best record of fair play, according to the points system and criteria established by the FIFA Fair Play Committee (first awarded in 1991).
The All-Star Team, consisting of the best players of the tournament as determined by the FIFA Technical Study Group (first selected in 1999).
The Dream Team, consisting of the best players of the tournament as chosen by users of fifa.com (first selected in 2015).

text: Another award is presented a week after the final match:

text: The Goal of the Tournament, consisting of the tournament's best goal, as chosen by users of fifa.com from a shortlist of 12 goals selected by FIFA's web administrators (first awarded in 2015).

text: One past award is no longer presented:

text: The Most Entertaining Team Award for the team that has entertained the public the most during the World Cup, determined by a poll of the general public (awarded in 2003 and 2007).

text: Player records[edit]

text: Most goals[edit]

text:
Rank

Name

World Cup

Total

 '91
 '95
 '99
 '03
 '07
 '11
 '15

1
 Marta

3
7
4
1
15

2
 Birgit Prinz

1
1
7
5
0

14

 Abby Wambach

3
6
4
1
14

4
 Michelle Akers
10
0
2

12

5
 Sun Wen
1
2
7
1

11

 Bettina Wiegmann
3
3
3
2

11

7
 Ann Kristin Aarønes

6
4

10

 Heidi Mohr
7
3

10

9
 Linda Medalen
6
2
1

9

 Hege Riise
1
5
3
0

9

 Christine Sinclair

3
3
1
2
9

text: Most tournaments[edit]

text:
#

Player

Appearances

1

 Formiga

6 (1995, 1999, 2003, 2007, 2011, 2015)

 Homare Sawa

6 (1995, 1999, 2003, 2007, 2011, 2015)

3

 Kristine Lilly

5 (1991, 1995, 1999, 2003, 2007)

 Bente Nordby

5 (1991*, 1995, 1999, 2003, 2007)

 Birgit Prinz

5 (1995, 1999, 2003, 2007, 2011)

 Karina LeBlanc

5 (1999*, 2003, 2007*, 2011, 2015*)

 Nadine Angerer

5 (1999*, 2003*, 2007, 2011, 2015)

 Christie Rampone

5 (1999, 2003, 2007, 2011, 2015)

text: *Did not play but was part of the squad.

text: Most matches[edit]

text:
#

Player

Matches

1

 Kristine Lilly

30

2

 Abby Wambach

25

3

 Formiga

24

 Julie Foudy

24

 Birgit Prinz

24

 Homare Sawa

24

7

 Joy Fawcett

23

 Mia Hamm

23

9

 Bente Nordby

22

 Hege Riise

22

 Bettina Wiegmann

22


document_title: Star Trek: Discovery

question_text: where does star trek discovery take place in the star trek timeline

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:
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 Ash Tyler:
Chief of Security of the USS Discovery, Lieutenant Tyler was previously held as a prisoner of war by the Klingons. 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:
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][15][16] The character is inspired by a real-life mycologist of the same name.[17] 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".[18]

Mary Wiseman as Sylvia Tilly:
A cadet in her final year at Starfleet Academy, assigned to the Discovery.[19][20] She works under Stamets aboard the Discovery, where she becomes roommates with Burnham.[20] 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."[21]

Jason Isaacs as Gabriel Lorca:
Captain of the Discovery,[22] a "brilliant military tactician".[23] 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 trademarked by Larry the Cable Guy.[24]

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"[27]
TBA
TBA
January 7, 2018 (2018-01-07)

11
"The Wolf Inside"[27]
TBA
TBA
January 14, 2018 (2018-01-14)

12
"Vaulting Ambition"[27]
TBA
TBA
January 21, 2018 (2018-01-21)

13
"What's Past is Prologue"[27]
TBA
TBA
January 28, 2018 (2018-01-28)

14
"The War Without, The War Within"[27]
TBA
TBA
February 4, 2018 (2018-02-04)

15
"Will You Take My Hand?"[27]
TBA
TBA
February 11, 2018 (2018-02-11)

text: Jump up ^ The first episode had a special premiere on CBS alongside its release on CBS All Access.[25][26]

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". 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.[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.[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.[25] 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 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.[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,[22] and Mary Wiseman joined as Tilly, a cadet.[19] 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, were streamed weekly on All Access through November 12. The second chapter will begin streaming January 2018.[25][26][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 7.14/10 based on 54 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 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."[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 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.[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]