document_title: Premier League records and statistics

question_text: who has scored the most own goals in the premier league

text: Premier League records and statistics

text: League records[edit]

text: Titles[edit]

text:
Most titles: 13, Manchester United[1]
Most consecutive title wins: 3, Manchester United twice (1998–99, 1999–2000, 2000–01 and 2006–07, 2007–08, 2008–09)[1]
Biggest title-winning margin: 18 points, 1999–2000; Manchester United (91 points) over Arsenal (73 points)[2]
Smallest title-winning margin: 0 points and 8 goal difference – 2011–12; Manchester City (+64) over Manchester United (+56). Both finished on 89 points, but Manchester City won the title with a superior goal difference, the only time that goal difference has determined the Premier League.[3]

text: Wins[edit]

text:
Most wins in a season (38 games): 30, Chelsea (2016–17)[4]
Fewest wins in a season (38 games): 1, Derby County (2007–08)[5]
Fewest home wins in a season (19 games): 1, joint record:[5]

Sunderland (2005–06)
Derby County (2007–08)

Most home wins in a season (19 games): 18, joint record:[6]

Chelsea (2005–06)
Manchester United (2010–11)
Manchester City (2011–12)[7]

Most away wins in a season (19 games): 15, Chelsea (2004–05)[8]
Fewest away wins in a season (19/21 games): 0, joint record:[5][9][10]

Leeds United (1992–93)
Coventry City (1999–2000)
Wolverhampton Wanderers (2003–04)
Norwich City (2004–05)
Derby County (2007–08)
Hull City (2009–10)

Most consecutive wins: 14, Arsenal (between 10 February 2002 and 24 August 2002)[5][11][12]
Most consecutive wins in a season (38 games): 13, joint record:[13]

Arsenal (2001–02)
Chelsea (2016–17)

Most consecutive games without a win: 32, Derby County (2007–08)[5]
Most consecutive games without a win from beginning of season: 16, Queens Park Rangers (between 18 August 2012 and 8 December 2012)[14]
Most consecutive home wins: 20, Manchester City (between 5 March 2011 and 21 March 2012)[15]
Most consecutive away wins: 11, Chelsea (between 6 April 2008 and 7 December 2008)[16]

text: Losses[edit]

text:
Fewest losses in a season (38 games): 0, Arsenal (2003–04)[17]
Longest unbeaten run: 49 games, Arsenal (7 May 2003 – 24 October 2004)[18]
Most losses in total: 336, Everton[19]
Fewest home losses in a season (19 games): 0, joint record:

Manchester United (1995–96, 1999–2000, 2010–11)[20][21][22]
Arsenal (1998–99, 2003–04, 2007–08) [23][24][25]
Chelsea (2004–05, 2005–06, 2006–07, 2007–08, 2014–15)[25][26][27][28][29]
Liverpool (2008–09)[30]
Manchester City (2011–12)[7]
Tottenham Hotspur (2016–17)

Most consecutive losses over more than one season (38 games): 20, Sunderland (2002–03, 2005–06)[31]
Fewest away losses in a season (19 games): 0, Arsenal (2001–02, 2003–04)[24][32]
Most consecutive home games undefeated: 86, Chelsea (20 March 2004 – 26 October 2008)[33]
Most consecutive away games undefeated: 27, Arsenal (5 April 2003 – 25 September 2004)[34]

text: Draws[edit]

text:
Most draws in a season (42 games): 18 – joint record:

Manchester City (1993–94)[35]
Sheffield United (1993–94)[35]
Southampton (1994–95)[35]

Most draws in a season (38 games): 17 – joint record:

Newcastle United (2003–04)[35]
Aston Villa (2006–07 & 2011–12)[35]
Sunderland (2014–15)[35]

Most home draws in a season: 10 – joint record:

Sheffield Wednesday (1996–97)[35]
Leicester City (1997–98 & 2003–04)[35]
Manchester United (2016–17)[35]

Most away draws in a season: 10, Newcastle United (2003–04)[35]
Fewest draws in a season: 3, Chelsea (1997–98 & 2016–17)[35]
Fewest home draws in a season: 0 – joint record:

Manchester City (2008–09)[35]
Manchester United (2012–13)[35]
Chelsea (2016–17)[35]

Fewest away draws in a season: 1 – joint record:

Bolton Wanderers (1995–96)[35]
Queens Park Rangers (1995–96 & 2014–15)[35]
Barnsley (1997–98)[35]
Chelsea (1997–98)[35]
Bradford City (1999–2000)[35]
Everton (2000–01)[35]
Ipswich Town (2000–01)[35]
Portsmouth (2005–06 & 2007–08)[35]
Burnley (2009–10)[35]
Liverpool (2011–12)[35]
Newcastle United (2013–14)[35]
Queens Park Rangers (2014–15)[35]

Most consecutive draws: 7 – joint record:

Norwich City (1993–94)[35]
Southampton (1994–95)[35]
Manchester City (2009–10)[35]

Most draws in total: 277, Everton[19]

text: Attendances[edit]

text:
Highest attendance, single game: 80,827, Tottenham Hotspur v. Liverpool (at Wembley Stadium, 22 October 2017)[36]
Lowest attendance, single game: 3,039, Wimbledon v. Everton (at Selhurst Park, 26 January 1993)[37][38]

text: Goals[edit]

text:
Most goals scored in a season: 103, Chelsea (2009–10)[39]
Fewest goals scored in a season: 20, Derby County (2007–08)[40]
Most goals conceded in a season (42 games): 100, Swindon Town (1993–94)[41]
Most goals conceded in a season (38 games): 89, Derby County (2007–08)[42]
Fewest goals conceded in a season: 15, Chelsea (2004–05)[43]
Best goal difference in a season: 71, Chelsea (2009–10)[43]
Most goals scored in a season by a relegated team: 55, Blackpool (2010–11)[44]
Most goals scored at home in a season: 68, Chelsea (2009–10)[43]
Fewest goals scored at home in a season: 10, Manchester City (2006–07)[45]
Most goals conceded at home in a season (21 games): 45, Swindon Town (1993–94)[46]
Most goals conceded at home in a season (19 games): 43

Derby County (2007–08)[46]
Wolverhampton Wanderers (2011–12)[46]

Fewest goals conceded at home in a season (21 games or 19 games): 4, Manchester United (1994–95)[46]
Most goals scored away in a season: 48, Liverpool (2013–14)[46]
Fewest goals scored away in a season: 8

Middlesbrough (1995–96)[46]
Southampton (1998–99)[46]
Sheffield United (2006–07)[46]
Derby County (2007–08)[46]

Most goals conceded away in a season (21 games): 59, Ipswich Town (1994–95)[46]
Most goals conceded away in a season (19 games): 55, Wigan Athletic (2009–10)[46]
Fewest goals conceded away in a season: 9, Chelsea (2004–05)[46]
Fewest failures to score in a match in a season: 0 (scored in every game), Arsenal (2001–02)[47]
Most goals scored in total: 1,856, Manchester United[19]
Most goals conceded in total: 1,231, Tottenham Hotspur[19]
Largest goal deficit overcome to win: 3

Leeds United 4–3 Derby County (8 November 1997)[48]
West Ham United 3–4 Wimbledon (9 September 1998)[49]
Tottenham Hotspur 3–5 Manchester United (29 September 2001)[50]
Wolverhampton Wanderers 4–3 Leicester City (25 October 2003)[51]

Largest goal deficit overcome to draw: 4, Newcastle United 4–4 Arsenal (5 February 2011)[52]

text: Points[edit]

text:
Most points in a season: 95, Chelsea (2004–05)[53]
Fewest points in a season: 11, Derby County (2007–08)[54]
Most points in a season without winning the league: 89, Manchester United (2011–12)[55]
Fewest points in a season while winning the league: 75, Manchester United (1996–97)[56]
Most points in a season while being relegated:

42 games: 49, Crystal Palace (1992–93)[57]
38 games: 42, West Ham United (2002–03)[57]

Fewest points in a season while surviving relegation: 34, West Bromwich Albion (2004–05)[58]

text: Player records[edit]

text: Appearances[edit]

text:
Most Premier League appearances: 633, Gareth Barry (2 May 1998 to 25 September 2017)[59]
Oldest player: John Burridge, 43 years and 162 days (for Manchester City v. Queens Park Rangers, 14 May 1995)[60]
Youngest player: Matthew Briggs, 16 years and 65 days (for Fulham v. Middlesbrough, 13 May 2007)[61]
Most consecutive Premier League appearances: 310, Brad Friedel (14 August 2004 until 7 October 2012)[62]
Most seasons appeared in: 22, Ryan Giggs (every season from 1992–93 to 2013–14)[63]

text: Goals[edit]

text:
First Premier League goal: Brian Deane (for Sheffield United v. Manchester United, 15 August 1992)[64]
Most Premier League goals: Alan Shearer (260)[65]

text:
Most goals scored away from home: Wayne Rooney (91)[citation needed]
Most Premier League goals at one club: Wayne Rooney (183, for Manchester United)[66]
Oldest goalscorer: Teddy Sheringham, 40 years and 268 days (for West Ham United v. Portsmouth, 26 December 2006)[67]
Youngest goalscorer: James Vaughan, 16 years and 271 days (for Everton v. Crystal Palace, 10 April 2005)[68]

text:
Most consecutive Premier League matches scored in: 11, Jamie Vardy (for Leicester City, 29 August to 28 November 2015)[69]
Most seasons scored in: 21, Ryan Giggs (every season from 1992–93 to 2012–13)[70]

text:
Rank
Name
Goals
Games
Goals per game
Playing position
First goal
Last goal

1
 Alan Shearer
260
441
0.59
Forward
1992–93
2005–06

2
 Wayne Rooney
202
469
0.43
Forward
2002–03
2017–18

3
 Andy Cole
187
414
0.45
Forward
1993–94
2006–07

4
 Frank Lampard
177
609
0.29
Midfield
1997–98
2014–15

5
 Thierry Henry
175
258
0.68
Forward
1999–2000
2011–12

6
 Robbie Fowler
163
379
0.43
Forward
1993–94
2006–07

7
 Jermain Defoe
159
474
0.33
Forward
2001–02
2017–18

8
 Michael Owen
150
326
0.46
Forward
1996–97
2012–13

9
 Les Ferdinand
149
351
0.42
Forward
1992–93
2004–05

10
 Teddy Sheringham
146
418
0.35
Forward
1992–93
2006–07

text:
Most goals in a season (42 games): 34, joint record:[72]

Andrew Cole (Newcastle United, 1993–94)
Alan Shearer (Blackburn Rovers, 1994–95)

text:
Most goals in a season (38 games): 31, joint record:[73]

Alan Shearer (Blackburn Rovers, 1995–96)
Cristiano Ronaldo (Manchester United, 2007–08)
Luis Suárez (Liverpool, 2013–14)

Most Premier League goals in a calendar year: 36, Alan Shearer (Blackburn Rovers, 1995)[74]
Number of teams scored against in a season: 17, joint record:

20-team league: [75]

Ian Wright (Arsenal, 1996–97)
Robin van Persie (Arsenal, 2011–12)

22-team league:

Andrew Cole (Newcastle United, 1993–94)
Alan Shearer (Blackburn Rovers, 1994–95)

Most goals in a debut season: 30, Kevin Phillips (Sunderland, 1999–2000)[76]
Most Premier League hat-tricks in a season: 5, Alan Shearer (38 games) (Blackburn Rovers, 1995–96)[77]
Most Premier League hat-tricks: 11, Alan Shearer[78]
Most goals in a game: 5, joint record:[79]

Andrew Cole (for Manchester United v. Ipswich Town, 4 March 1995) W 9–0
Alan Shearer (for Newcastle United v. Sheffield Wednesday, 19 September 1999) W 8–0
Jermain Defoe (for Tottenham Hotspur v. Wigan Athletic, 22 November 2009) W 9–1
Dimitar Berbatov (for Manchester United v. Blackburn Rovers, 27 November 2010) W 7–1
Sergio Agüero (for Manchester City v. Newcastle United, 3 October 2015) W 6–1

text:
Most goals in one half: 5, Jermain Defoe (for Tottenham Hotspur v. Wigan Athletic, 22 November 2009) W 9–1[80]
Fastest goal: 10 seconds, Ledley King (for Tottenham Hotspur v. Bradford City, 9 December 2000)[81]
Most goals scored by a substitute in a game: 4, Ole Gunnar Solskjær (for Manchester United v. Nottingham Forest, 6 February 1999)[82]
Most consecutive away league matches scored in: 9, Robin van Persie (for Arsenal, 1 January 2011 to 22 May 2011)[83]
Most consecutive seasons to score at least 30 Goals: 3 (1993–1996), Alan Shearer (all for Blackburn Rovers) [84]
Most consecutive seasons to score at least 25 Goals: 4 (1993–1997), Alan Shearer (1993–1996 for Blackburn Rovers, 1996–1997 for Newcastle United)[85]
Most consecutive seasons to score at least 20 Goals: 5 (2001–2006), Thierry Henry (all for Arsenal)[85]
Most consecutive seasons to score at least 10 Goals: 11 (2004–2015), Wayne Rooney (all for Manchester United)[86]
Most consecutive seasons to score at least 1 Goal: 21 (1992–2013), Ryan Giggs (all for Manchester United)[70]
Fastest Premier League hat-trick: Sadio Mané, 2 minutes 56 seconds (for Southampton v. Aston Villa, 16 May 2015)[87]
Highest number of different clubs to score for: 7:

Craig Bellamy (for Coventry City, Newcastle United, Blackburn Rovers, Liverpool, West Ham United, Manchester City, Cardiff City)[88]

Most own goals: 10, Richard Dunne[89]
Most own goals in a season: 4, Martin Škrtel (2013–14)[90]
Most Hat-tricks against a single club: 3, Luis Suárez (for Liverpool v. Norwich City)[91]
Most Goals in a calendar month: 10 (December 2013), Luis Suárez (for Liverpool)[92]

text: Assists[edit]

text:
Rank
Player
Assists

Most assists (career)

1
 Ryan Giggs
162

2
 Cesc Fàbregas
107

3
 Frank Lampard
102

4
 Wayne Rooney
101

5
 Dennis Bergkamp
94

6
 Steven Gerrard
92

7
 David Beckham
80

8
 Teddy Sheringham
76

9
 James Milner
75

10
 Thierry Henry
74

text:
Most Premier League assists in a season: 20, Thierry Henry (Arsenal, 2002–03)[94]
Most consecutive Premier League matches assisted in: 7, Mesut Özil (for Arsenal, 26 September to 21 November 2015)[95]
Most assists in a single Premier League match: 4, joint record:[96]

Dennis Bergkamp (for Arsenal v. Leicester City, 20 February 1999)
José Antonio Reyes (for Arsenal v. Middlesbrough, 14 January 2006)
Cesc Fàbregas (for Arsenal v. Blackburn Rovers, 4 October 2009)
Emmanuel Adebayor (for Tottenham Hotspur v. Newcastle United, 11 February 2012)
Santi Cazorla (for Arsenal v. Wigan Athletic, 14 May 2013)
Dušan Tadić (for Southampton v. Sunderland, 18 October 2014)[97]

text: Goalkeepers[edit]

text:
Rank
Player
Clean
sheets

Most clean sheets (career)

1
 Petr Čech
194

2
 David James
169

3
 Mark Schwarzer
152

4
 David Seaman
142

5
 Nigel Martyn
138

6
 Pepe Reina
134

 Edwin van der Sar

8
 Tim Howard
132

 Brad Friedel

10
 Peter Schmeichel
129

text:
Most clean sheets in one season: 21, joint record:

Petr Čech (for Chelsea, 2004–05)[98]
Edwin van der Sar (for Manchester United, 2008–09)[99]

Longest consecutive run without conceding a goal: 14 games (1,311 minutes), Edwin van der Sar (for Manchester United, 2008–09)[100]
Goalscoring goalkeepers (excluding own goals):

Peter Schmeichel (Everton 3–2 Aston Villa, 20 October 2001)[101]
Brad Friedel (Charlton Athletic 3–2 Blackburn Rovers, 21 February 2004)[102]
Paul Robinson (Tottenham Hotspur 3–1 Watford, 17 March 2007)[103]
Tim Howard (Everton 1–2 Bolton Wanderers, 4 January 2012)[104]
Asmir Begović (Stoke City 1–1 Southampton, 2 November 2013)[105]

text: Disciplinary[edit]

text:
Most red cards: 8, joint record:[59]

Duncan Ferguson
Patrick Vieira
Richard Dunne

Most yellow cards for a player: 103, Gareth Barry[71]
Most yellow cards for a single team in one game: 9 (Tottenham Hotspur v. Chelsea, 2 May 2016)[106]
Fouling record: 782, Kevin Davies (since 2000–01, the first season for which reliable records are available)[107]
Longest ban: 12 matches, Joey Barton. After being dismissed for violent conduct, Barton was found guilty of two further separate counts of violent conduct after his dismissal vs Manchester City, 23 May 2012[108]

text: Youngest players to score[edit]

text: This is a list of the top 10 youngest players to score a goal in the Premier League.[109]

text:
Player
Date
Team
Age
Opposition

1
James Vaughan
10-Apr-2005
Everton
16 years 274 days
Crystal Palace

2
James Milner
26-Dec-2002
Leeds United
16 years 360 days
Sunderland

3
Wayne Rooney
19-Oct-2002
Everton
16 years 364 days
Arsenal

4
Cesc Fabregas
25-Aug-2004
Arsenal
17 years 113 days
Blackburn Rovers

5
Michael Owen
06-May-1997
Liverpool
17 years 148 days
Wimbledon

6
Andy Turner
05-Sep-1992
Tottenham
17 years 166 days
Everton

7
Federico Macheda
05-Apr-2009
Manchester United
17 years 226 days
Aston Villa

8
Raheem Sterling
20-Oct-2012
Liverpool
17 years 312 days
Reading

9
Mikael Forssell
20-Feb-1999
Chelsea
17 years 335 days
Nottingham Forest

10
Danny Cadamarteri
20-Sep-1997
Everton
17 years 338 days
Barnsley

text: Match records[edit]

text: Scorelines[edit]

text:
Biggest home win: 9–0, Manchester United v. Ipswich Town (4 March 1995)[110]
Biggest away win: 1–8, Nottingham Forest v. Manchester United (6 February 1999)[110]
Biggest aggregate win: 12–1, joint record:

Blackburn Rovers 7–0 Nottingham Forest (18 November 1995) & Nottingham Forest 1–5 Blackburn Rovers (13 April 1996)
Tottenham Hotspur 9–1 Wigan Athletic (22 November 2009) & Wigan Athletic 0–3 Tottenham Hotspur (21 February 2010)

Biggest loss by reigning champions: 1–6, joint record:[111]

Manchester United 1–6 Manchester City (23 October 2011), after Manchester United had won the 2010–11 competition
Leicester City 1–6 Tottenham Hotspur (18 May 2017), after Leicester City had won the 2015–16 competition

Highest scoring: 7–4, Portsmouth v. Reading (29 September 2007)[112]
Highest scoring draw: 5–5, West Bromwich Albion v. Manchester United (19 May 2013)[113]
Highest scoring in the first half: 7 goals, joint record:

Blackburn Rovers 3–4 Leeds United (14 September 1997 — final score; 3–4)[114]
Bradford City 4–3 Derby County (21 April 2000 — final score; 4–4)[115]
Reading 3–4 Manchester United (1 December 2012 — final score; 3–4)[116]

Most individual goal scorers in one game: 9, joint record:

Tottenham Hotspur 4–5 Arsenal (13 November 2004)[117]
Portsmouth 7–4 Reading (29 September 2007)[118]

Most individual goal scorers in one game for the same team: 7, joint record:

Chelsea 8–0 Aston Villa (23 December 2012)[119]
Manchester City 7–0 Norwich City (2 November 2013)[120]
Southampton 8–0 Sunderland (18 October 2014)[121]

text: All-time Premier League table[edit]

text: The all-time Premier League table is a cumulative record of all match results, points and goals of every team that has played in the Premier League since its inception in 1992. The table that follows is accurate as of the start of the 2017–18 season. Teams in bold are part of the 2017–18 Premier League. Numbers in bold are the record (highest either positive or negative) numbers in each column.[122]

text:
Pos.
Club
Seasons
Pld
Win
Draw
Loss
GF
GA
GD
Pts
1st
2nd
3rd
4th
Relegated
Avg
Pts
Best
Pos.

1
Manchester United
25
962
604
209
149
1856
847
1009
2021
13
5
3
1

80.84
1

2
Arsenal
25
962
525
247
190
1698
911
787
1822
3
6
5
7

72.88
1

3
Chelsea
25
962
516
241
205
1645
925
720
1789
5
4
4
2

71.56
1

4
Liverpool
25
962
478
243
241
1601
986
615
1677

3
5
6

67.08
2

5
Tottenham Hotspur
25
962
400
247
315
1406
1231
175
1447

1
1
2

57.88
2

6
Everton
25
962
349
277
336
1259
1207
52
1324

1

52.96
4

7
Aston Villa
24
924
316
275
333
1117
1186
−69
1223

1

1
1
50.96
2

8
Newcastle United
22
844
322
217
305
1168
1140
28
1183

2
2
1
2
53.77
2

9
Manchester City
20
772
327
190
255
1173
925
248
1171
2
2
2
1
2
58.55
1

10
West Ham United
21
806
265
209
332
964
1146
−182
1004

2
47.81
5

11
Blackburn Rovers
18
696
262
184
250
927
907
20
970
1
1

1
2
53.89
1

12
Southampton
18
696
222
187
287
855
966
−111
853

1
47.39
6

13
Leeds United
12
468
189
125
154
641
573
68
692

1
2
1
57.67
3

14
Middlesbrough
15
574
165
169
240
648
794
−146
661[123]

4
44.01
7

15
Sunderland
16
608
153
159
296
612
904
−292
618

4
38.63
7

16
Fulham
13
494
150
136
208
570
697
−127
586

1
45.08
7

17
Bolton Wanderers
13
494
149
128
217
575
745
−170
575

3
44.23
6

18
Leicester City
11
422
130
118
174
516
610
−94
508
1

3
46.18
1

19
West Bromwich Albion
11
418
106
115
197
444
640
−196
433

3
39.36
8

20
Stoke City
9
342
109
97
136
363
457
−94
424

47.11
9

21
Coventry City
9
354
99
112
143
387
490
−103
409

1
45.40
11

22
Sheffield Wednesday
8
316
101
89
126
409
453
−44
392

1
49.00
7

23
Wimbledon
8
316
99
94
123
384
472
−88
391

1
48.88
6

24
Charlton Athletic
8
304
93
82
129
342
442
−100
361

2
45.13
7

25
Norwich City
8
316
89
92
135
365
510
−145
359

1

4
44.88
3

26
Crystal Palace
8
312
86
78
148
329
456
−127
336

4
42.00
10

27
Wigan Athletic
8
304
85
76
143
316
482
−166
331

1
41.38
10

28
Queens Park Rangers
7
278
81
65
132
339
431
−92
308

3
44.00
5

29
Birmingham City
7
266
73
82
111
273
360
−87
301

3
43.00
9

30
Portsmouth
7
266
79
65
122
292
380
−88
293[124]

1
41.90
8

31
Swansea City
6
228
74
57
97
278
327
−49
279

46.50
8

32
Derby County
7
266
68
70
128
271
420
−149
274

2
39.10
8

33
Nottingham Forest
5
198
60
59
79
229
287
−58
239

1

3
47.80
3

34
Ipswich Town
5
202
57
53
92
219
312
−93
224

2
44.80
5

35
Hull City
5
190
41
48
101
181
323
−142
171

3
34.20
16

36
Watford
4
152
34
35
83
144
254
−110
137

2
34.25
13

37
Wolverhampton Wanderers
4
152
32
40
80
156
281
−125
136

2
34.00
15

38
Sheffield United
3
122
32
36
54
128
168
−40
132

2
44.00
14

39
Reading
3
114
32
23
59
136
186
−50
119

2
39.67
8

40
Burnley
3
114
26
25
63
109
190
−81
103

2
34.33
16

41
Oldham Athletic
2
84
22
23
39
105
142
−37
89

1
44.50
19

42
Bournemouth
2
76
23
19
34
100
134
−34
88

44.00
9

43
Bradford City
2
76
14
20
42
68
138
−70
62

1
31.00
17

44
Blackpool
1
38
10
9
19
55
78
−23
39

1
39.00
19

45
Barnsley
1
38
10
5
23
37
82
−45
35

1
35.00
19

46
Cardiff City
1
38
7
9
22
32
74
−42
30

1
30.00
20

47
Swindon Town
1
42
5
15
22
47
100
−53
30

1
30.00
22

48
Brighton & Hove Albion
0
0
0
0
0
0
0
0
0

00.00

49
Huddersfield Town
0
0
0
0
0
0
0
0
0

00.00

text: League or status at 2017–18:

text:
2017–18 Premier League

2017–18 EFL Championship

2017–18 Football League One

2017–18 Football League Two

Defunct: by a 2007 agreement, neither Milton Keynes Dons nor AFC Wimbledon regards itself as custodian of Wimbledon F.C.'s statistics.[125][126]

text: Managers[edit]

text:
Most Premier League winner's medals: 13, Sir Alex Ferguson (Manchester United) – 1993, 1994, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2011, 2013
Winner of Premier League Manager of the Month Award: 27, Sir Alex Ferguson
Most consecutive Premier League Manager of the Month Awards: 3, Antonio Conte[127]
Most promotions to the Premier League: 4, Steve Bruce (Birmingham City in 2001–02 and 2006–07 and Hull City in 2012–13 and 2015–16)[128]
Most relegations from the Premier League: 3, Dave Bassett (Sheffield United in 1993–94, Nottingham Forest in 1996–97, and Leicester City in 2001–02)[129]
Longest-serving manager: Sir Alex Ferguson, 21 years (Manchester United, 1 July 1992 to 30 June 2013)[130]
Shortest-serving manager (excluding caretakers): Les Reed, 41 days (Charlton Athletic, 14 November 2006 to 24 December 2006)[131]


document_title: Star Trek: Discovery

question_text: when does episode 2 of star trek discovery come on

root

text: Star Trek: Discovery

text: Premise[edit]

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

tag: p

text: Cast and characters[edit]

text:
Sonequa Martin-Green as Michael Burnham:
A Science Specialist on USS Discovery. Burnham was First Officer of the USS Shenzhou, where she was referred to as "Number One" to honor the character of the same name portrayed by Majel Barrett in the original Star Trek pilot "The Cage".[4][5][6] Burnham is a human who was raised following Vulcan culture and traditions by Sarek.[4][7] Unlike the protagonists of previous Star Trek series, she was not made a starship captain, in order "to see a character from a different perspective on the starship—one who has different dynamic relationships with a captain, with subordinates, it gave us richer context".[1] Fuller deliberately gave the character a traditionally male name, which he had done with the female leads of his previous series.[8]

Doug Jones as Saru:
First Officer of the USS Discovery, Saru was previously Science Officer of the USS Shenzhou.[9] Saru is the first Kelpien to enter Starfleet. Kelpiens, a new species created for Discovery, were hunted as prey on their home planet and thus evolved the ability to sense the coming of death, giving them a reputation for cowardice.[10] Jones based Saru's walk on that of a supermodel,[7] out of necessity thanks to the boots he had to wear to portray the character's hooved feet, forcing Jones to walk on the balls of his feet.[11] The producers compared Saru to the characters Spock and Data from previous series.[10]

Shazad Latif as 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]

tag: ul

text: Episodes[edit]

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

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

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

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

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

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

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

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

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

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

10
"Despite Yourself"[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)

tag: table

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

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". 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]


document_title: List of This Is Us characters

question_text: where does randal live in this is us

question_tokens: where does randal live in this is us

text: List of This Is Us characters

text: Main characters[edit]

text: Family tree[edit]

text: The characters in green have regular roles on the show. Dotted lines indicate a parental relationship through adoption, and dashed lines indicate either divorced, or widowed (or similarly separated), characters.

text:
Jack Pearson

Rebecca Pearson

Miguel Rivas

William Hill

Laurel

Sophie

Kevin Pearson

Kate Pearson

Toby Damon

Randall Pearson

Beth Pearson

Tess Pearson

Annie Pearson

Déjà

text: Jack Pearson[edit]

text: Jack Pearson (August 31, 1944 – January 26, 1998),[2][3] portrayed by Milo Ventimiglia, was Rebecca's first husband (until he died), and the father of Kevin, Kate, and Randall.[4] Jack had a brother named Nick.[5]

text: Jack had a rough childhood because of his abusive, alcoholic father Stanley Pearson, causing them to have a strained relationship. (Stanley did not know that Jack was married, so when Jack found out that he and Rebecca were expecting triplets, he went to his father asking for money, citing gambling debts, rather than telling him that he intended to buy a house for his family.[6] When Stanley was in the nursing home dying, he met Rebecca and his granddaughter Kate for the first time. Jack was camping with Kevin and Randall when Rebecca contacted him about his father dying, but Jack refused to see him.)[5]

text: Jack was drafted into the Army at age 25; he served in the Vietnam War as a mechanic.[7][8] He served along with his brother Nick, who died in the war.[5][9] (After Jack took Randall to Washington, D.C. on a college tour to Howard University, he took Randall to the Vietnam Veterans Memorial, and told him about being drafted and how the war affected him; this may have been the first time that Jack shared about his Vietnam experiences to a member of the Pearson family—including Rebecca.)[8][10]

text: After serving in the war, and working as a manual laborer, Jack became a construction foreman. When he wanted to buy the house for his family, he approached his boss and got a raise to $17,000 a year (equivalent to more than $49,000 in 2016), making him the highest paid foreman at the company.[6] He dreamed of opening his own firm, "Big Three Homes", but put his dreams on hold in order to provide a steady income for his children by getting a desk job.[11] However, he later decided to start the business, though the Big Three were about to start college.[12]

text: Two of the triplets (the third triplet was stillborn) and Randall (who was left at a fire station) were all born on Jack's 36th birthday.[4] Jack always wanted to find out who Randall's biological father was, and never knew that Rebecca had found him.[13]

text: Jack struggled with alcoholism while the children were young, but he stopped drinking to focus more on his family.[14] (Sometimes he'd vent his anger on a punching bag to avoid drinking after a tough day.)[15] However, he relapsed into alcoholism when he had a drink after a disagreement and argument with his wife, who wanted to go on tour with a band with a member she'd once dated.[16] His drinking continued for some time until he decided to deal with the problem by attending AA meetings.[15] His sobriety and AA work continued for at least 6 months.[8]

text: Jack died when his children were 17,[2] and Kate keeps his ashes with her.[17][18] On the night of the Super Bowl, Jack, Rebecca, Kate, and Randall go to bed for the night (Kevin was at a party with his girlfriend Sophie). [19] Previously, a smoke alarm was shown to be missing batteries, and thus be inoperable.[12] An old slow cooker given years previous by a neighbor was shown to have a faulty switch, which sparked and flamed, setting a towel and the house ablaze.

text: Jack saved Kate and Randall from the fire by guiding them to his and Rebecca's bedroom. He then hoisted them down from the first story roof. Kate was worried about her dog, so Jack went back inside and got the dog and other family pictures. Jack was hospitalized for smoke inhalation, which caused stress on his heart and eventually caused fatal cardiac arrest.[20]

text: Rebecca Pearson[edit]

text: Rebecca Pearson née Malone (born 1950 or 1951), portrayed by Mandy Moore, is Jack's widow, Miguel Rivas' second wife (after Jack died), and the mother of Kevin, Kate, and Randall.[4]

text: She strives to be a better mother to her children,[21] and has issues with Jack's alcoholism.[14] She has always known that William is Randall's father, but kept them apart as she was afraid that he would try to take Randall back.[13]

text: Rebecca always wanted to be a singer, but gave up on her dreams in order to focus on her family.[22] In the mid 1990s, she had a chance to become a singer again by joining a band with her ex-boyfriend. Jack was upset after finding out about their history, which caused a rift between Rebecca and Jack.[16]

text: When the house caught fire and Jack suffered smoke inhalation, at the hospital, since Jack appeared to be fine, Rebecca was making reservations for hotel rooms—unaware that Jack was coding and staff was rushing to him. After making reservations, Rebecca got a candy bar for her and Jack. Rebecca turned around and the doctor explained the cause of Jack's cardiac arrest. In shock, Rebecca took a bite of the candy bar, refusing to believe Jack was dead. She goes to his room to tell him what the doctor said, only to see him lifeless. She immediately shuts down upon seeing him dead. She then drives to Miguel's and tells him the news, then goes in to talk to Kate and Randall. [3]

text: Since she was out of Jack's room when he died, Rebecca got the Pearsons to the funeral early, because she wanted to be present when the urn with Jack's ashes was brought out. After Jack's funeral, Dr. K let Rebecca know that she had always been strong. This encouragement gave her the strength to let Kevin and Randall know that neither of them needed to be "the man of the house", since they were teenagers and should be dating, and to tell Kate not to blame herself for Jack's death because Jack made his own decisions. She also got the courage to drive across a bridge she had feared, while taking the "Big Three" to a Bruce Springsteen concert that Jack had previously obtained tickets for the night of the funeral.[9]

text: At least 10 years after Jack's death, Rebecca posted pictures of Tess, her first grandchild, on Facebook, then got a message from Jack's best friend, Miguel Rivas.[23] Rebecca later married Miguel.[14]

text: Kevin Pearson[edit]

text: Kevin Pearson (born August 31, 1980), portrayed by Justin Hartley (current day), Logan Shroyer (age 15—17), and Parker Bates (ages 8—10), is Jack and Rebecca's son, and Kate and Randall's brother.[4] He is "Number One" of the "Big Three", being the first of the surviving triplets to be born.[4]

text: Shortly before his tenth birthday, Kevin became attracted to Kate's best friend, Sophie, whom he married when they were older. Kevin and Sophie decided that she would stay in New York and he would move to California to pursue acting, believing that their marriage could handle the distance. Kevin and Sophie later divorced, 12 years prior to season 1, due to the distance and Kevin cheating on her.[18][24]

text: Kevin has always struggled with worrying about what people think of him, which caused him to have a strained relationship with Randall as they grew up.[14] Kevin was visibly envious of Randall, who had always excelled in everything and received more attention from their parents, but he didn't realize that Randall has longed for the same attention from him. In high school he played football, as a quarterback, wearing number twelve one year and number one the next[22][25] (His number one jersey was on display with Kevin's trophies when he visited the high school at age 37, for an alumni celebration.)[25] His goal of a football career ended when his knee was injured from a tackle during a game.[25]

text: Kevin was an actor in Los Angeles, starring as the lead on a long-running sitcom called The Manny, a sitcom in the tradition of Who's the Boss and The Nanny. He abruptly quit that show on his 36th birthday, criticizing the script quality, the producer's reluctance to add nuance to the show, and the audience.[4] After quitting his job, Kevin decided to move to New York to pursue a career as a serious stage actor on Broadway.[26] Upon arriving in New York, he got hired as the lead role, David, in Back of an Egg, opposite a cynical actress named Olivia Maine (who thought Kevin did not have the ability, but that Kevin was hired because his being "The Manny" would sell tickets).[26]

text: When Kevin had trouble connecting with the emotions needed for his role, he began spending time with Olivia, who tried to get him to connect with his feelings.[11] Kevin and Olivia briefly dated, but broke up after she brought her ex-boyfriend to the Pearson family cabin.[13] After his breakup with Olivia, Kevin began dating the writer of the play, Sloane Sandburg, attending Hanukkah with her family and inviting her to the Christmas Eve party at Randall's house.[27]

text: Sloane took over as the lead of the play when Olivia disappeared and the play was at risk. Kevin decided to self-fund the performance, in order to save it.[6] After Kevin and Sloane broke up, he reconnected with Sophie and began a relationship with her again.[18][28]

text: Director Ron Howard saw Kevin's play and had him cast in a war movie.[28] Kevin had trouble with his lines when he could not focus after, when Kate (visiting the set) talked with costar Sylvester Stallone about her dad, Stallone talked to Kevin about his dad. Kevin also reinjured his knee (an old football injury) during an explosion on the set.[29]

text: As a result of the injury, Kevin became addicted to pain medication and alcohol, and allowed his relationship with Sophie to deteriorate by telling her that he saw a future with her as a nightmare, although he failed to specify that this was due to his alcoholism and drug addition.[30] One day after a brief visit with Randall, Kevin was speeding down a road, unaware that Tess was hiding in the back seat; Kevin was pulled over and charged with DUI, and Randall and Beth became angry with Kevin for endangering Tess.[8] The judge ordered Kevin to go to rehab.[2]

text: As part of Kevin's ongoing efforts to rehabilitate, he was determined to make amends with everyone. He settled things with his mom (who was hurt during the rehab family session, tearfully revealing that Kevin was the first to leave after Jack's death.)[6] Kevin found out from Miguel that the thought of his being in love with Rebecca never crossed his mind while Jack was alive, and Miguel reassured him that he loved Rebecca now and was not going anywhere.[12] When Kevin attempted to make things right with Sophie, she told him to not say anything and to just leave her with the memories of how he was at 10, or 17, or when their marriage was good.[31] Kevin reconciled with Randall by helping him fix up the apartment building William lived in, and the two shared with each other how odd it felt that they could outlive their dad.[31] On Super Bowl Sunday, about 20 years after Jack's death, Kevin visited the memorial tree with some of his dad's ashes, to talk with him, vowing to make him proud.[3] (Kevin was at a party with Sophie when the house caught fire.)[31][3]

text: Kate Pearson[edit]

text: Kate Emily Pearson (born August 31, 1980), portrayed by Chrissy Metz (current day), Hannah Zeile (age 15—17), and Mackenzie Hancsicsak (ages 8—10), is Jack and Rebecca's daughter, and Kevin and Randall's sister.[4] She is "Number Two" of the "Big Three", being the second and last of the surviving triplets to be born.[4]

text: Kate is obese and has struggled with issues of self-esteem her entire life, which she greatly attributes to her strained relationship with her mother and the death of her father.[4][28] Her relationship with her mother led to depression, for which she later took Prozac. She discontinued taking this drug due to the side effect of weight gain.[27]

text: Kate lives in Los Angeles and was her brother, Kevin's, personal assistant.[32] When Kevin decided to move to New York, he fired her in order to allow her to build her own life, apart from him.[26] She is an ardent Pittsburgh Steelers fan and has a routine where she watches the games with her dad's ashes.[17] At nine years old, she had her appendix removed on Christmas Eve.[27]

text: Kate decided to join a weight-loss support group, where she met Toby. Despite saying that she was not going to get involved with a fat person, she fell for Toby.[4] When Toby decided to not continue with his diet, Kate broke up with him and decided to go to Randall's for Thanksgiving. During a turbulent plane ride to New Jersey, Kate had an epiphany and decided to have gastric bypass surgery.[33] After consulting with a doctor, she instead decided to enter a fat camp to attempt to lose the weight without surgery.[18] When Toby surprised Kate by showing up at Randall's house for Christmas, he told her that he can live without pizza and junk food, but that he cannot live without her.[27] Toby collapsed from a heart attack, and was taken to the hospital.

text: After Toby's heart surgery, Kate and Toby decided to get engaged.[6] Kate later found out she was pregnant.[34] Kate and Toby announced their pregnancy to Kevin, and planned to get married at city hall, but then considered a big wedding.[30] But Kate lost the baby in a miscarriage.[35] Despite some struggle in their relationship after the miscarriage, Toby eventually came through for Kate.[35] Kate struggled with eating junk food after the miscarriage, which Toby noticed when a trash bag broke.[2]

text: Kate had said that her father's death was her fault,[28] and has a fear of caring for dogs.[31] (Jack went back inside their burning house to save her dog, causing smoke inhalation which led to his death in the hospital. Afterwards, Kate wanted to give away the dog.)[3] She blames herself even though Rebecca told Kate after Jack's funeral not to blame herself, because Jack made his own decisions.[9] Every year on Super Bowl Sunday, Kate would watch the videotape Jack made of her singing for a Berklee College of Music audition.[3]

text: Randall Pearson[edit]

text: Randall Kenneth Pearson (born August 31, 1980), portrayed by Sterling K. Brown (current day), Niles Fitch (ages 15—17), and Lonnie Chavis (ages 8—10), is Jack and Rebecca's (adopted) son, and Kate and Kevin's brother.[4] He is "Number Three" of the "Big Three", being adopted after Kevin and Kate were born.[4] On his 36th birthday, he found his biological father, William, and invited him to his northern New Jersey home.[4]

text: Randall worked at selling commodity futures based on weather patterns, and was shown to be successful and affluent.[11] However, after a nervous breakdown and some time off, he felt that his firm did not appreciate or respect him, and quit.[16][28]

text: On the day that Randall was born, he was dropped off in front of a firehouse by his biological father, William, and then taken to the hospital, where he was adopted by Jack and Rebecca.[4] Jack and Rebecca originally named him Kyle (the name they had intended for their third child, who was stillborn). Taking William's advice, Rebecca decided to give him his own name, naming him after William's favorite poet, Dudley Randall, although she refused to let William see Randall.[4][32] This allowed them to honor both their stillborn son's memory and Randall, rather than essentially replacing one son with the other.

text: At age nine, Randall’s teacher informed Jack and Rebecca that Randall was a gifted child who was not being challenged enough at his current school. They decided to remove him from public school and send him to Hanes Academy.[11] In high school Randall played football, wearing number 36.[22]

text: Randall and Kevin had an estranged relationship and didn't reconnect until they were 36 years old. At some points, Kevin openly despised Randall.[14] At a high school football game, where they played on opposing teams, they got in a fight.[22] However, there were also some moments when they acted like brothers.[5] When they were teenagers, Kevin was there with Kate to comfort Randall when a woman claimed to be his birth mother as a scam to get money.[29] When they were 36, they got in a fight on the street in New York, but Kevin told onlookers they were brothers.[22] When Randall had his nervous breakdown, Kevin left the theater—when opening day was about to start—to comfort Randall.[16]

text: As an adult, Kevin was hurt that Randall didn't seem to care about his acting career.[22] They began to reconnect when Kevin needed Randall's advice, but Randall coldly told him he shouldn't care what he thinks. Eventually, Kevin moved to Randall's house in New Jersey, but they still had some work to do on building their relationship.[26] He loves Thanksgiving and has his family recreate a specific childhood Thanksgiving every year, including a 3.4 mile hike, watching Police Academy 3: Back in Training, and imitating a hotel owner known as "Pilgrim Rick".[33]

text: In season 2, Randall wanted to adopt a baby (to honor his father's legacy), but decided (with Beth's input) to foster an older child who may need help.[7][19] They fostered a 12-year old girl named Deja, whose mother Shauna was incarcerated. She showed signs of physical abuse, but Randall and Beth started to win her trust and get her to open up.[29][34][5] When the charges against Shauna were dropped, Deja went back home with her (over Randall's initial objections). Randall and Beth planned to try fostering again after some time.[8]

text: Beth Pearson[edit]

text: Beth Pearson, portrayed by Susan Kelechi Watson, is Randall's wife, whom he met in college and later married, circa 1999. The couple has two daughters, Annie and Tess.[14] Their marriage is based on honesty where they make an effort not to have secrets from one another. William revealed to Beth that he had met and communicated with Rebecca. This caused Beth to give Rebecca an ultimatum: to either tell Randall or she would. Growing up, Beth lived in a three-bedroom house with 14 other people.[22] After Randall quit his job, Beth took a job so Randall could be a stay-at-home dad.[19] But after a while, Beth thought Randall was in "outer space", and Beth thought working again would be good for Randall.[12]

text: When Annie's pet lizard "Mr. McGiggles" went missing during a Super Bowl Party, she accidentally stepped on him, killing him.[3]

text: Toby Damon[edit]

text: Toby Damon, portrayed by Chris Sullivan is Kate's fiancé[6] Toby was born in Palm Springs, California.[6] Toby began dating Kate after they met at a weight-loss support group.[4] Toby is confident with his own body although obese, and encourages Kate to have better self-esteem. He was previously married to a woman whom Kate views as beautiful and successful, but who treated him badly. Toby gained 90 pounds in the first year after his divorce.[26]

text: Refusing to take Kate's hesitance about the relationship lightly, Toby has continually come up with sweet gestures to win her over.[32] In the beginning, he felt that he had to compete with Kevin for Kate's attention.[32] Despite breaking his weight-loss goals, Toby decided dieting was not for him and went off his diet, resulting in Kate breaking up with him.[13] He surprised Kate by showing up at Randall's house for Christmas Eve, stating that he could live without pizza and junk food, but that he could not live without her.[27] On Christmas Eve, Toby collapsed and ended up in the hospital with an arrhythmia.[27]

text: After Toby's heart surgery, he and Kate decided to get engaged.[6] Kate became pregnant with Toby's child, but she miscarried; afterwards, despite an initial struggle in their relationship, Toby came through for her.[34][35] Kate, around the 20th anniversary of Jack's death, told Toby he strengthens her and Jack would have loved him.[3]

text: William Hill[edit]

text: William H. "Shakespeare" Hill (died 2017), portrayed by Ron Cephas Jones (recent days) and Jermel Nakia (as a young adult), was Randall's biological father.[32]

text: William was a recovering drug addict who was suffering from terminal stage-four stomach cancer in the present.[26] He grew up in Memphis,[18] and after his mother moved to Pittsburgh he stayed in Memphis to play in his cousin Ricky's band, where he played piano, wrote, and sang.[36] William left the band, with the intention of returning, to care for his dying mother. However, after meeting Randall's mother and becoming a drug addict, he never returned.[36] He got clean after he thought he saw a monkey on the streets, realizing that nothing good comes from a person being on the street at 3:30 am. (He also stayed clean for years after being told by a judge, who offered to help him after his first conviction, to picture the judge's face when he was tempted to do the wrong thing.)[30] William returned to Philadelphia to attend a Narcotics Anonymous meeting, hoping to find and reconnect with his former lover—a man named Jessie.[27]

text: William, who was bisexual, and Jesse never officially broke up. Jessie assumed William had died when he vanished one night—the night William moved in with Randall's family.[27]

text: After leaving Randall at the firehouse, he waited outside the hospital to see him being taken home by Jack and Rebecca. Rebecca realized that William was Randall's father, after seeing him getting onto the bus as she left the hospital. She eventually tracked him down,[14] a secret she kept from everyone, including Randall and Jack.[13]

text: William always wanted to have a relationship with his child,[13] but promised Rebecca he would stay away for Randall's benefit.[32] He accidentally revealed this secret to Beth one night when they got high together,[22] and Randall accidentally found out himself, when he found a letter and photo in William's apartment, from Rebecca, while looking for cassette tapes.[33] (William also told Randall about the second time William saw Rebecca; he took a cab to follow her home, hoping he could be in Randall's life, but when he was outside the house, he thought better of it.)[8]

text: William eventually succumbed to his cancer during a road trip back to Memphis with Randall.[36] Prior to his death he left a letter to Randall's girls, asking them to plan a fun memorial for him. He also sent Beth a postcard from Memphis, saying goodbye and calling her the daughter he never had.[28]

text: Miguel Rivas[edit]

text: Miguel Rivas, portrayed by Jon Huertas, was Jack's best friend and is Rebecca's second husband. Miguel was originally married to Shelly, before they divorced.[24] While it originally seemed that his marriage to Rebecca happened shortly after Jack's death, in season 2 it is clarified that the two did not get together until at least ten years after Jack's passing.[23][2] Miguel was initially disliked by Kevin, until Miguel told Kevin how much he is like his father.[16]

text: Miguel told Beth and Toby one day, when Kevin in rehab was meeting with "immediate family", that he felt like a real outsider compared to them and the Pearson family.[2] When Kevin got out of rehab and stayed with Rebecca, Miguel was protective of her after she was hurt by Kevin's arrest, and by Kevin criticizing her in his rehab session with the family.[12] Kevin asked Miguel if he was in love with Rebecca when Jack was alive; Miguel said that idea never occurred to him because everyone saw Jack and Rebecca as one entity rather than two separate individuals. But he stated that he loves Rebecca now, and is not going anywhere.[12]

text: Sophie[edit]

text: Sophie, portrayed by Alexandra Breckenridge (modern day), Amanda Leighton (ages 15-17), and Sophia Coto (age 10), was Kate's childhood best friend and Kevin's childhood love and his ex-wife. Kevin moved to New York and reconciled with her, after his relationships with Olivia and Sloane ended.[18][28] Their relationship initially survived the distance when Kevin was in his movie in L.A., but Kevin broke up with Sophie, admitting that he couldn't be the man that he wanted to be for her.[30] When Kevin got sober, he tried making amends to Sophie; she just wanted to remember Kevin when they were younger.[3]

text: Tess Pearson[edit]

text: Tess Pearson, portrayed by Eris Baker, is Randall and Beth's older daughter. She was promoted to series regular in season two.[37] She was named after the Tessana ceiling fan Randall was going to purchase when hearing about Beth going into labor.[23] Although not noticed acting out previously, she hid in her uncle Kevin's car (claiming she hates it at her house), when he was pulled over for speeding and charged with DUI;[8] she later claimed she was just unhappy that Deja, the foster child, had to go home.[2] Tess admitted one day (on the 20th anniversary of Jack's death) she had tried to prevent social workers from calling, worried that recent changes meant Randall wanted a "new life"; Randall reassured her that he would always be devoted to her.[3] Tess is shown in the future as an adult, working as a social worker, with an older Randall meeting her for dinner like they have done while Tess was younger.[3]

text: Annie Pearson[edit]

text: Annie Pearson, portrayed by Faithe Herman, is Randall and Beth's younger daughter. She was also promoted to series regular in season two.[37] On William's first night at Randall's family's house, when William wanted to step out, Annie convinced William that he might be happy if he stayed. [29]

text: Recurring characters[edit]

text: Introduced in season one[edit]

text: Gerald McRaney as Dr. Nathan Katowski (aka "Dr. K"): The obstetrician who delivered Kate and Kevin.

text: Janet Montgomery as Olivia Maine: a theatre actress, Kevin's former stage partner and ex-girlfriend.

text: Milana Vayntrub as Sloane Sandburg: Kevin's stage partner and ex-girlfriend.

text: Ryan Michelle Bathe as Yvette: A family friend of the Pearsons.

text: Denis O'Hare as Jessie: William's friend and former lover.[27][6]

text: Adam Bartley as Duke: The stable worker at the weight-loss camp Kate attended.

text: Jill Johnson as Laurie: A member of Toby and Kate's weight-loss support group.[4]

text: Peter Onorati as Stanley Pearson: Jack's father.

text: Hari Dhillon as Sanjay Jahiri: Randall's newer former coworker.

text: Caitlin Thompson as Madison: Member of Toby and Kate's support group.

text: Introduced in season two[edit]

text: Lyric Ross as Deja: Randall and Beth's foster child while her mother was incarcerated.[39]

text: Guest stars[edit]

text: The following is a supplementary list of guest stars, some recurring, who appear in lesser roles. The characters are listed, in alphabetical order by actor, by the season in which they first appeared.

text: Introduced in season one[edit]

text:
Susan Blakely as Anne: Dr. K, a widower, dates and marries Anne.[38][9]
Katie Couric as herself: Kevin had a recurring dream about an interview by Katie Couric going badly.[16]
Wynn Everett as Shelly: Shelly was Miguel's first wife until their divorce.[24]
Brad Garrett as Wes Manning: Wes was the television network president tasked with negotiating Kevin's exit from The Manny.[14]
Jami Gertz as Marin Rosenthal: Marin hired Kate to be an event coordinator.[11]
Ron Howard as himself: After Howard saw Kevin's play, he called Kevin to praise his performance and offered to send him a script for a new movie he was producing.[28]
Mario Lopez as himself: Lopez was hosting a talk show discussing Kevin's on-set meltdown.[4]
Seth Meyers as himself: Meyers saw Kevin and Randall fighting on a New York City sidewalk and approached the pair, recognizing Kevin as a showbiz colleague.[22]
Elizabeth Perkins as Janet Malone: Rebecca's overbearing mother.
Katey Sagal as Lanie Schulz: Kevin's Hollywood agent.[14]
Jimmi Simpson as Andy Fannan: Andy was a co-worker whom Randall talked out of committing suicide on Christmas Eve.[27]
Alan Thicke as himself: Thicke was guest-starring on The Manny when Kevin had his on-set meltdown.[4]

text: Introduced in season two[edit]

text:
Kate Burton as Barbara: Psychologist at Kevin's rehab who facilitates his meeting with the family.[40]
Garrett Morris as Lloyd: A resident living in William's old apartment building.[41]
Debra Jo Rupp as Linda: A social worker who worked with Randall and Beth Pearson when they fostered Deja.[42]
Sylvester Stallone as himself: Actor in a movie Kevin was cast in.[43]


document_title: Figure skating at the 1994 Winter Olympics – Ladies' singles

question_text: who won women's figure skating in 1994

question_tokens: who won women 's figure skating in 1994

text: Results[edit]

text:
Rank
Name
Nation
SP
FS
TFP

01 !
Oksana Baiul
 Ukraine
2
1
2.0

02 !
Nancy Kerrigan
 United States
1
2
2.5

03 !
Chen Lu
 China
4
3
5.0

4
Surya Bonaly
 France
3
4
5.5

5
Yuka Sato
 Japan
7
5
8.5

6
Tanja Szewczenko
 Germany
5
6
8.5

7
Katarina Witt
 Germany
6
8
11.0

8
Tonya Harding
 United States
10
7
12.0

9
Josée Chouinard
 Canada
8
9
13.0

10
Anna Rechnio
 Poland
9
12
16.5

11
Krisztina Czakó
 Hungary
12
11
17.0

12
Mila Kajas
 Finland
16
10
18.0

13
Lenka Kulovaná
 Czech Republic
11
14
19.5

14
Marie-Pierre Leray
 France
14
13
20.0

15
Charlene Von Saher
 Great Britain
13
16
22.5

16
Nathalie Krieg
 Switzerland
15
17
24.5

17
Laëtitia Hubert
 France
20
15
25.0

18
Rena Inoue
 Japan
18
18
27.0

19
Elena Liashenko
 Ukraine
17
19
27.5

20
Marta Andrade
 Spain
21
21
31.5

21
Lily Lyoonjung Lee
 South Korea
24
20
32.0

22
Lyudmyla Ivanova
 Ukraine
19
23
32.5

23
Liu Ying
 China
23
22
33.5

24
Tsvetelina Abrasheva
 Bulgaria
22
24
35.0

Free Skate Not Reached

25
Zhao Guona
 China
25

26
Susan Humphreys
 Canada
26

27
Irena Zemanová
 Czech Republic
27

text: Detailed Scores[edit]

text:
Age
16
Location
Lillehammer, Norway
Date
February 1994

Final Rank
1st (Gold)
Coach
Galina Zmievskaya
Choreographer
?

Routine
Short Program
Free Skate
Gala Exhibition

Music
Swan Lake
Showtune medley
The Swan

Runtime
2 min. 39 sec.
4 min. 01 sec.
2 min. 58 sec.

Jumps
Triple Lutz + Double Toeloop, Double Flip, Double Axel
Triple Lutz, Triple Flip, Triple Loop, Triple Salchow, Double Axel, Double Toeloop, Triple Toeloop, Double Axel + Double Toeloop
Triple Salchow, Single Axel

Judges

/

Required Elements or Technical Merit
5.7
5.8
5.4
5.7
5.7
5.6
5.7
5.6
5.5
5.6
5.8
5.9
5.8
5.8
5.8
5.8
5.5
5.7
/

Presentation
5.9
5.8
5.7
5.9
5.9
5.8
5.9
5.9
5.9
5.8
5.9
5.9
5.9
5.9
5.8
5.8
5.9
5.9
/

Ordinal
1
2
2
1
2
2
2
2
2
3
1
1
1
1
2
2
3
1
/

Rank
2nd
1st
/

text:
Age
24
Location
Lillehammer, Norway
Date
February 1994

Final Rank
2nd (Silver)
Coach
Evy Scotvold
Choreographer
Mary Scotvold

Routine
Short Program
Free Skate
Gala Exhibition

Music
Desperate Love
Neil Diamond Medley
With One Look

Runtime
2 min. 42 sec.
4 min. 18 sec.
?

Jumps
Triple Lutz + Double Toeloop, Double Axel, Double Flip
Double Flip, Triple Toeloop + Triple Toeloop, Triple Loop, Triple Salchow + Double Toeloop, Triple Lutz, Double Axel
Triple Flip, Single Axel, Triple Lutz(fall), Triple Toeloop

Judges

/

Required Elements or Technical Merit
5.6
5.8
5.6
5.8
5.8
5.9
5.8
5.8
5.9
5.8
5.8
5.8
5.7
5.7
5.8
5.8
5.7
5.8
/

Presentation
5.6
5.9
5.7
5.7
5.9
5.9
5.9
5.8
5.8
5.9
5.8
5.9
5.9
5.9
5.9
5.9
5.8
5.8
/

Ordinal
2
1
1
2
1
1
1
1
1
1
2
2
2
2
1
1
1
2
/

Rank
1st
2nd
/

text:
Age
17
Location
Lillehammer, Norway
Date
February 1994

Final Rank
3rd (Bronze)
Coach
Mingzhu Li
Choreographer
?

Routine
Short Program
Free Skate
Gala Exhibition

Music
Clair de Lune
Nausicaä of the Valley of the Wind (film)
?

Runtime
2 min. 40 sec.
4 min. 08 sec.
?

Jumps
Triple Lutz + Double Toeloop, Double Flip, Double Axel
Triple Lutz + Double Toeloop + SEQ, Double Axel, Triple Salchow, Triple Loop, Triple Lutz, Triple Toeloop, Triple Flip, Double Axel
?

Judges

/

Required Elements or Technical Merit
5.2
5.4
5.3
5.3
5.6
5.2
5.4
5.5
5.2
5.7
5.7
5.8
5.6
5.8
5.7
5.8
5.8
5.6
/

Presentation
5.4
5.7
5.4
5.6
5.7
5.7
5.7
5.8
5.6
5.8
5.7
5.7
5.7
5.8
5.8
5.7
5.7
5.7
/

Ordinal
8
4
4
4
4
4
4
4
6
2
4
3
3
3
3
3
2
4
/

Rank
4th
3rd
/

text: Referees[edit]

text:
Britta Lindgren
 Gerhardt Bubník (assistant referee)

text: Judges[edit]

text:
Wendy Utley
 Jan Olesinski
 Jarmila Portová
 Alfred Korytek
 Yang Jiasheng
 Margaret Ann Wier
 Noriko Shirota
 Audrey Williams
 Jan Hoffmann
 Monique Petis (substitute)

text:
hide

v
t
e

Olympic champions in figure skating – Ladies' singles

1908:  Madge Syers (GBR)
1920:  Magda Julin (SWE)
1924:  Herma Szabo (AUT)
1928:  Sonja Henie (NOR)
1932:  Sonja Henie (NOR)
1936:  Sonja Henie (NOR)
1948:  Barbara Ann Scott (CAN)
1952:  Jeannette Altwegg (GBR)
1956:  Tenley Albright (USA)
1960:  Carol Heiss (USA)
1964:  Sjoukje Dijkstra (NED)
1968:  Peggy Fleming (USA)
1972:  Trixi Schuba (AUT)
1976:  Dorothy Hamill (USA)
1980:  Anett Pötzsch (GDR)
1984:  Katarina Witt (GDR)
1988:  Katarina Witt (GDR)
1992:  Kristi Yamaguchi (USA)
1994:  Oksana Baiul (UKR)
1998:  Tara Lipinski (USA)
2002:  Sarah Hughes (USA)
2006:  Shizuka Arakawa (JPN)
2010:  Yuna Kim (KOR)
2014:  Adelina Sotnikova (RUS)
2018:  Alina Zagitova (OAR)

text: Figure skating at the 1994 Winter Olympics1994 in figure skating

text: Articles lacking sources from August 2012All articles lacking sources