document_title: The Greatest Showman

question_text: the greatest showman who does zac efron play

text: The Greatest Showman

text: Plot[edit]

text: P. T. Barnum and his troupe perform a show at the circus ("The Greatest Show"). In a flashback to Barnum's childhood where he and his father Philo, a tailor, work for the Hallett family, he becomes infatuated with their daughter, Charity. Though Charity is being sent to finishing school, Barnum reassures her they will not be separated. The two keep in touch through letters until they meet again in adulthood ("A Million Dreams"), eventually marrying and raising two daughters, Caroline and Helen, in New York City ("A Million Dreams" reprise). They live a humble life; though Charity is happy, Barnum dreams of more.

text: Barnum loses his job as a clerk at a shipping company after the company goes bankrupt. Taking a risky bet, he takes out a large loan from a bank, deceiving the bank into accepting his former employer's lost ships as collateral. He uses this loan to buy Barnum's American Museum in downtown Manhattan, an attraction showcasing various wax models. Initially, sales are slow; on the suggestion of his children to showcase something "alive", Barnum searches for "freaks" to serve as performers for his museum ("Come Alive"). This attracts a large audience despite protests and poor reviews, prompting Barnum to rename his venture "Barnum's Circus".

text: Searching for ways to further his reputation amongst the upper class, Barnum meets playwright Phillip Carlyle and convinces him to join his venture ("The Other Side"). Carlyle is enchanted with Anne Wheeler, an African-American trapeze artist, but he hides his feelings. During a trip Carlyle arranged for Barnum and his troupe to meet Queen Victoria, Barnum meets Jenny Lind, a famed Swedish singer, whom he convinces to perform in America, with him serving as her manager. Lind's first American performance is a rousing success ("Never Enough"). While Barnum gains favor with the aristocratic patrons, he begins to distance himself from his original troupe, refusing to socialize with them. Dejected, they decide to stand against their local harassers ("This Is Me").

text: Carlyle and Wheeler attend the theatre together one night, only to run into Carlyle's parents, who insult Wheeler's lowly status, causing her to leave. Carlyle chases her and tries to convince her that they can be together, but she rejects him despite her feelings towards him ("Rewrite the Stars"). As Barnum takes Lind on a US tour, Charity feels isolated from her husband as she stays home with their daughters ("Tightrope"). While on tour, Lind begins falling in love with Barnum, but when he refuses her advances, she calls off the tour and kisses him at the end of her last show, which is photographed by the press ("Never Enough" reprise). Barnum returns home to find his circus on fire, caused by a fight between the protesters and the troupe. Carlyle, who had tried to save Anne not knowing she had already escaped, is rescued by Barnum amid the chaos but suffers severe burns. Most of the sets and props are destroyed. Word of Lind's cancellation and Barnum's public intimacy also reaches New York, resulting in his mansion being foreclosed upon and Charity taking Caroline and Helen to her parents' home.

text: Depressed, Barnum retreats to a local pub, where his troupe find him there and explain that their own mothers were ashamed of them, and how unimpressed they are with him for giving up on them too, thinking that maybe he is a fraud, which causes him to realize the circus was for his friends and family rather than for himself. Meanwhile, the injured Carlyle wakes in a hospital with Wheeler by his side and they share a kiss ("From Now On").

text: Barnum leaves and finds his estranged wife, and they decide to mend their relationship. Faced with the financial difficulty of rebuilding the circus, the recovering Carlyle steps in, offering to use his earnings from his share of the circus's profits to rebuild it under the condition of becoming partners, which Barnum happily accepts. As rebuilding the circus in its original location would be too expensive, Barnum rebuilds it as an open-air tent circus by the docks. The revamped circus is a huge success, and Barnum gives full control of the show to Carlyle so he can focus on his family ("The Greatest Show" reprise).

text: Cast[edit]

text:
Hugh Jackman as P. T. Barnum, an ambitious showman and entrepreneur.

Ellis Rubin as Young P. T. Barnum

Ziv Zaifman provides Young P. T. Barnum's singing voice.

Zac Efron as Phillip Carlyle, a playwright who becomes Barnum's partner. His character is partly based on James Anthony Bailey.
Michelle Williams as Charity Hallett-Barnum, the wife of P.T. Barnum.

Skylar Dunn as Young Charity

Rebecca Ferguson as Jenny Lind, a famous Swedish singer known as the "Swedish Nightingale".

Loren Allred provides Lind's singing voice.[8][9]

Zendaya as Anne Wheeler, an acrobat, trapeze artist, W.D.'s younger sister and Phillip Carlyle's love interest. Her character is partly based on Ruth Louisa McCaddon.
Keala Settle as Lettie Lutz, a bearded lady. She is a composite character partly based on Josephine Clofullia and Annie Jones.
Yahya Abdul-Mateen II as W. D. Wheeler, an acrobat and Anne's brother.
Natasha Liu Bordizzo as Deng Yan, a Chinese blade-specialist.
Paul Sparks as James Gordon Bennett, the founder, editor and publisher of the New York Herald.
Sam Humphrey as Charles Stratton, a dwarf performer who is also known by his stage name, General Tom Thumb.

James Babson provides Stratton's speaking and singing voice.

Austyn Johnson as Caroline Barnum, one of Barnum's daughters.
Cameron Seely as Helen Barnum, one of Barnum's daughters.
Eric Anderson as Mr. O'Malley, a former thief whom Barnum employs at his circus.
Daniel Everidge as The Lord of Leeds, The Huge Man.
Timothy Hughes as Strong Man
Jeremy Hudson as The Elephant-skinned Man
Caoife Coleman and Mishay Petronelli as the Albino Twins
Shannon Holtzapffel as Prince Constantine, The Tattooed Man.
Luciano Acuna Jr. as Fedor Jeftichew, The Dog Boy.
Danial Son and Yusaku Komori as Chang and Eng Bunker, The "Siamese Twins"
Jonathan Redavid as Frank Lentini, The Three-Legged Man.
Nick Jantz as Jeff Harris, The Juggler
Damian Young as Mr. Winthrop
Tina Benko as Mrs. Winthrop
Gayle Rankin as Queen Victoria.
Will Swenson as Philo Barnum, a tailor and the father of P. T. Barnum.
Fredric Lehne as Benjamin Hallett, father of Charity and abusive father-in-law of Barnum.
Kathryn Meisle as Hannah Hallett, mother of Charity and mother-in-law of Barnum.

text: Production[edit]

text: The project was first announced in 2009, with Jackman already set for the title role.[10] In August 2011, Michael Gracey was chosen to direct.[11] In 2013, Fox hired lyricists Pasek and Paul to write the songs.[12]

text: On June 15, 2016, Zac Efron began negotiations to star in the film,[13] and in July 2016, Michelle Williams was cast.[14][15][16][17] The film was choreographed by Ashley Wallen.[18]

text: Filming[edit]

text: Rehearsals on the film began in October 2016 in New York City, and principal photography began on November 22, 2016.[19][20]

text: Post-production[edit]

text: In December 2017, it was reported that James Mangold, who had worked with Jackman on several projects (including 2017's Logan), had been brought in to serve as an executive producer during the film's post-production. In an interview, director Michael Gracey noted, "There were eight producers on this film, and it was amazing having one of them be a filmmaker."[21]

text: Music[edit]

text: Musical numbers[edit]

text: Benj Pasek and Justin Paul wrote nine songs.[22]

text:
"The Greatest Show" – Hugh Jackman, Keala Settle, Zac Efron, Zendaya
"A Million Dreams" – Ziv Zaifman, Jackman, Michelle Williams
"A Million Dreams" (Reprise) – Austyn Johnson, Cameron Seely, Jackman
"Come Alive" – Jackman, Settle, Daniel Everidge, Zendaya
"The Other Side" – Jackman & Efron
"Never Enough" – Loren Allred
"This Is Me" – Settle
"Rewrite the Stars" – Efron & Zendaya
"Tightrope" – Williams
"Never Enough" (Reprise) – Allred
"From Now On" – Jackman

tag: ol

text: Soundtrack[edit]

text: The soundtrack album is produced by Greg Wells, Justin Paul, and Benj Pasek, featuring eleven tracks performed by the cast. In the United Kingdom it became only the second album in 30 years to achieve 11 consecutive weeks at number 1.[23] The Greatest Showman now draws level with Adele's 21 for the longest unbroken run at the UK summit in the last 30 years. The cast album is now at 465,000 combined units, according to the Official Charts Company, made up of 197,000 physical copies, 107,000 downloads and 35% streaming.[24]

text: Release[edit]

text: The Greatest Showman held its premiere on December 8, 2017, aboard the RMS Queen Mary 2, while it was docked in New York City. The film was then released in the United States on December 20, 2017.[25][26] Like Disney's live-action Beauty and the Beast, a sing-along version of the film was released in the United Kingdom on February 23, 2018.[27] The film had a limited IMAX release on February 2.

text: Marketing[edit]

text: On June 28, 2017, 20th Century Fox released the first international trailer to promote the film. On November 13, 2017, the second trailer was released.[28]

text: On December 17, 2017, Fox televised a live performance of "Come Alive" from Warner Bros. Studios during its live musical special A Christmas Story Live! (which was based on fellow Pasek and Paul work A Christmas Story: The Musical). The number featured the film's stars and a cast of 150 dancers.[29][30]

text: Home media[edit]

text: In the United States, the film was released via digital download on March 20, 2018, and was released on Blu-ray, DVD and 4K Ultra HD on April 10, 2018.[31] In the United Kingdom, the film was released first on digital download on April 27, 2018, while Blu-ray, 4K Ultra HD and DVD copies went on sale on May 14. These versions include the sing-along version, two hours of behind-the-scenes footage and music machine jukebox features.[32]

text: Reception[edit]

text: Box office[edit]

text: As of May 22, 2018[update], The Greatest Showman has grossed $174 million in the United States and Canada, and $258.6 million in other territories, for a worldwide total of $432.6 million, against a production budget of $84 million.[3] It is the fourth- and fifth-highest grossing musical ever in North America and globally, respectively, and Deadline Hollywood estimated the film should turn a profit between $50–100 million.[33]

text: In the United States and Canada, The Greatest Showman was released alongside Jumanji: Welcome to the Jungle, and was projected to gross around $21 million from 3,006 theaters over its first six days.[34][35] It took in $2 million on its first day and $2 million on its second. Over the three day weekend, it grossed $9 million (for a six-day total of $19 million), finishing fourth at the box office, behind Star Wars: The Last Jedi, Jumanji: Welcome to the Jungle and Pitch Perfect 3.[36] In its second weekend, the film grossed $15.5 million, again finishing 4th at the box office.[37] The weekend-to-weekend increase of 76.3% marked the largest ever for a film playing in over 3,000 theaters, and the fourth biggest ever.[38][39] In its third week, the film dropped 11% to $14 million.[40]

text: The film made $13 million in its fourth weekend and $11 million in its fifth, finishing 4th and 5th at the box office, respectively.[41] The film continued to hold well in its sixth week of release, grossing $9.5 million and returning to 4th place,[42] and again finished fourth in its seventh week, this time grossing $7.8 million (a drop of just 18%).[43] It is the 13th highest-grossing film to never top the American box office.[44]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 56% based on 207 reviews, and an average rating of 6/10. The website's critical consensus reads, "The Greatest Showman tries hard to dazzle the audience with a Barnum-style sense of wonder – but at the expense of its complex subject's far more intriguing real-life story."[45] On Metacritic, the film has a weighted average score of 48 out of 100, based on 43 critics, indicating "mixed or average reviews".[46] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while it earned a 70% "definite recommend" from comScore.[36]

text: Owen Gleiberman of Variety gave the film a positive review, writing, "The Greatest Showman is a concoction, the kind of film where all the pieces click into place, yet at an hour and 45 minutes it flies by, and the link it draws between P.T. Barnum and the spirit of today is more than hype."[47] Richard Roeper of the Chicago Sun-Times gave the film 3/4 stars, saying, "With all that corn and cheese and old-timey sentiment, The Greatest Showman ends up scoring some very timely social arguments. P.T. Barnum himself would have approved the dramatic sleight of hand."[48] Steve Persall of Tampa Bay Times gave the film an 'A', and said, "The Greatest Showman is the feel-good movie the holiday season needs,"[49] while William Bibbiani of IGN gave The Greatest Showman a score of 7.9/10, and called the film, "wildly entertaining."[50]

text: Britton Peele of The Dallas Morning News said, "The story is interesting and the beats are well-acted, but it's the musical numbers that make The Greatest Showman."[51] Jackie K Cooper of HuffPost gave the film a score of 10/10 and wrote, "You will be overwhelmed by the music and magic that explode on the screen. The film has a message that should resonate with today's world concerning acceptance and courage."[52] Hugh Armitage of Digital Spy said, "The Greatest Showman is a broad and solid crowd-pleaser. An undemanding spectacle for all the family."[53] Alan Jones of Radio Times called it "A joyously uplifting potpourii of visual resplendence, stylish choreography and solid gold magic, one engineered to approximate the lavish spectacle the movie musical once offered."[54]

text: Sheila O'Malley of RogerEbert.com gave it 3.5/4, stating "The Greatest Showman is an unabashed piece of pure entertainment punctuated by memorable songs."[55] Douglas Davidson of CLTure called the film, "An undeniable spectacle with a infectious soundtrack, a movie that dazzles and delights."[56] James Berardinelli of ReelViews gave the film a 3/4 score, and said, "The film has show-stopping well-choreographed numbers with catchy tunes,"[57] and Calvin Wilson of St. Louis Post-Dispatch called the film "highly enjoyable."[58]

text: Carl Kozlowski of Pasadena Weekly gave the film an 'A', calling it "Groundbreaking & grandly innovative."[59] Sean P. Means of The Salt Lake Tribune gave The Greatest Showman 3.5/4 stars, stating, "A strong cast give emotional power to this romanticized, tune-filled biography."[60] Manuela Lazic of Little White Lies gave it 4/5, saying, "The Greatest Showman deserves to become a Christmas classic. The film's severe romanticism and ridiculous but affecting enthusiasm make it irresistibly life-affirming."[61] Pete Hammond of Deadline Hollywood gave the film 4 out of 5 stars and called it, "A fantasia of song and dance, a joyous exercise in pure entertainment that is made for the holiday crowd."[62]

text: Conversely, Mick LaSalle of the San Francisco Chronicle gave the film a negative review, criticizing the songs and characters and saying "There's idiotic, and there's magnificent, but The Greatest Showman is that special thing that happens sometimes. It's magnificently idiotic. It's an awful mess, but it's flashy. The temptation is to cover your face and watch it through your fingers, because it's so earnest and embarrassing and misguided – and yet it's well-made."[63] In a negative review for The Hollywood Reporter, David Rooney wrote "This ersatz portrait of American big-top tent impresario P.T. Barnum is all smoke and mirrors, no substance. It hammers pedestrian themes of family, friendship and inclusivity while neglecting the fundaments of character and story."[64]

text: Writing for Rolling Stone, Peter Travers gave the film 1.5 out of 4 stars, saying, "How do you cast a virtuoso Hugh Jackman as P.T. Barnum, spare no expense in production values, add a score by Oscar and Tony winners Benj Pasek and Justin Paul and still end up with the shrill blast of nothing that is The Greatest Showman? Ask first-time director Michael Gracey, who cut his teeth on commercials and music videos without ever mastering the crucial knack of building snippets of musical comedy and drama into a satisfying whole."[65] Justin Chang of the Los Angeles Times wrote that the film's failures "are rooted in something deeper: a dispiriting lack of faith in the audience's intelligence, and a dawning awareness of its own aesthetic hypocrisy. You've rarely seen a more straight-laced musical about the joys of letting your freak flag fly."[66]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref(s)

AARP's Movies for Grownups Awards
February 5, 2018
Best Grownup Love Story
The Greatest Showman
Won
[67][68]

Academy Awards
March 4, 2018
Best Original Song
"This Is Me" – Benj Pasek and Justin Paul
Nominated
[69][70]

Casting Society of America
January 18, 2018
Big Budget – Comedy
Bernard Telsey, Tiffany Little Canfield, Rori Bergman and Patrick Goodwin
Won
[71]

Costume Designers Guild
February 20, 2018
Excellence in Period Film
Ellen Mirojnick
Nominated
[72]

Critics' Choice Movie Awards
January 11, 2018
Best Song
"This Is Me" – Benj Pasek and Justin Paul
Nominated
[73]

Dorian Awards
February 24, 2018
Campy Flick of the Year
The Greatest Showman
Nominated
[74]
[75]

Empire Awards
March 18, 2018
Best Costume Design
The Greatest Showman
Nominated
[76]
[77]

Best Make-up And Hairstyling
The Greatest Showman
Nominated

Georgia Film Critics Association
January 12, 2018
Best Original Song
"This Is Me" – Benj Pasek and Justin Paul
Nominated
[78]

Golden Globe Awards
January 7, 2018
Best Actor in a Motion Picture – Musical or Comedy
Hugh Jackman
Nominated
[79]

Best Motion Picture – Musical or Comedy
The Greatest Showman
Nominated

Best Original Song – Motion Picture
"This Is Me" – Benj Pasek and Justin Paul
Won

Golden Reel Awards
February 18, 2018
Outstanding Achievement in Sound Editing – Musical
Jen Monnar, Jim Harrison, Jeff Carson, Peter Myles and Sheri Ozeki
Won
[80]

Guild of Music Supervisors Awards
February 8, 2018
Best Music Supervision for Film: Budgeted Over 25 Million Dollars
Benj Pasek and Justin Paul
Nominated
[81]

Best Song/Recording Created for a Film
"This Is Me" – Benj Pasek and Justin Paul
Nominated

Heartland Film Festival
December 31, 2017
Truly Moving Picture Award
Michael Gracey
Won
[82]

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Makeup
Nicki Ledermann, Tania Ribalow and Sunday Englis
Nominated
[83]

Saturn Awards
June 2018
Best Action or Adventure Film
The Greatest Showman
Pending
[84]

Best Costume Design
Ellen Mirojnick
Pending

Best Music
John Debney and Joseph Trapanese
Pending


document_title: Jessica Jones (season 1)

question_text: who did jessica jones kill in season 1

question_tokens: who did jessica jones kill in season 1

root

text: Jessica Jones (season 1)

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

1
1
"AKA Ladies Night"
S. J. Clarkson
Melissa Rosenberg
November 20, 2015 (2015-11-20)

Jessica Jones, an alcoholic private investigator "gifted" with superhuman strength and flight, delivers a subpoena to strip club owner Gregory Spheeris for lawyer Jeri Hogarth (who is having an affair with her assistant Pam behind the back of her wife Wendy Ross-Hogarth), exposing her abilities to him in the process. While not working, Jones spies on Luke Cage, a bar owner who sees her looking into his bar and offers her free alcohol as a "Ladies Night" promotion, leading to the two sleeping together. She leaves upset after seeing a photo of a woman in his bathroom. Jones is approached by Barbara and Bob Shlottman after their daughter Hope began acting differently and disappeared. Jones discovers that Hope is with Kilgrave, a man with mind control abilities who once controlled Jones, leaving her with PTSD, and whom she believed was dead. Jones wants to flee, but is convinced by her friend and foster-sister Trish Walker to help Hope. Jones finds her, but Kilgrave's hold is still over Hope, and she murders her parents.

2
2
"AKA Crush Syndrome"
S. J. Clarkson
Micah Schraft
November 20, 2015 (2015-11-20)

Jones is investigated by Detective Oscar Clemons, who discovers photos she took of Cage. Jones lies to Cage that she had been hired by the husband of a woman who Cage had slept with. Cage, having not known that the woman was married, confronts the woman about it, and when she goes to her husband, he attacks Cage with a group. Jones helps fight off the men, and learns that Cage is gifted with unbreakable skin. Hogarth agrees to represent Shlottman if Jones can prove that Kilgrave exists. Jones remembers leaving Kilgrave to die after he was hit by a bus, and now tracks down the ambulance driver who had picked him up. The driver had donated both his kidneys to Kilgrave, and is now on dialysis. Jones finds the operating doctor who anonymously donated the dialysis machine. He agrees to testify for Shlottman, and reveals that he operated on Kilgrave without anesthesia since that would have blocked Kilgrave's abilities. When Hogarth meets with Shlottman, the latter reveals that Jones was once under Kilgrave's control as well.

3
3
"AKA It's Called Whiskey"
David Petrarca
Story by : Liz Friedman
Teleplay by : Liz Friedman & Scott Reynolds
November 20, 2015 (2015-11-20)

Jones and Cage bond over their mutual powers, while Jones also tracks down a surgical grade anesthetic to subdue Kilgrave with. Hogarth, now divorcing her wife and unwilling to risk herself and her reputation despite the doctor's testimony, organizes for Walker to interview Shlottman about Kilgrave live on her radio talk show. Walker asks that anyone who believes they have been approached or controlled by Kilgrave contact Hogarth, and then publicly insults Kilgrave on air. Angered, Kilgrave sends police sergeant Will Simpson to kill Walker, with Jones having to use the anesthetic on Walker to convince Simpson that he has carried out his orders. Jones follows Simpson back to Kilgrave, who orders Simpson to walk off a balcony. Jones again convinces Simpson that he has carried out this order by knocking him out and taking him to the street below, telling him as he wakes that she caught him. Searching through the house that Kilgrave was occupying, Jones discovers a room full of photographs of her.

4
4
"AKA 99 Friends"
David Petrarca
Hilly Hicks, Jr.
November 20, 2015 (2015-11-20)

Jones accepts a case from jewelry designer Audrey Eastman who seeks evidence of her husband cheating. Jones tracks Eastman's husband to a rendezvous with his girlfriend only to discover a trap set by Eastman, who blames gifted people for the death of her mother during "the incident" and who learned of Jones' powers from Spheeris. Angered as she recalls the death of her own parents, Jones convinces the Eastmans to leave her alone with a show of her power and a bluff over the number of other gifted in the city. Hogarth and Jones process a large number of people claiming to have been controlled by Kilgrave, forming a support group for those legitimately affected by him. Simpson attempts to apologize to a frightened Walker over his action while under Kilgrave's control; they eventually bond over the experience. Jones uses surveillance footage provided by Simpson and clues offered by the Kilgrave support group to learn that the photographer spying on her for Kilgrave is her drug addicted neighbor Malcolm Ducasse.

5
5
"AKA The Sandwich Saved Me"
Stephen Surjik
Dana Baratta
November 20, 2015 (2015-11-20)

Jones recalls her brief time as a superhero as she debates whether to save Ducasse or to use him as a means of locating Kilgrave. Walker and Simpson begin a romantic relationship with Jones grudgingly allowing him to assist in a plot to capture Kilgrave. Simpson supplies ex-special operations skills and contacts, including access to a hermetically sealed room in which Kilgrave could be kept once the effects of the anesthetic wear off. They follow Ducasse to his daily meeting with Kilgrave where photographs of Jones are exchanged for drugs, which Kilgrave had forced Ducasse to become addicted to so he would obey Kilgrave even after his powers wore off, after around 12 hours of no contact. Simpson shoots Kilgrave with the anesthetic; Jones refuses to let him kill Kilgrave so he can be used to prove Shlottman innocent. Jones gets Kilgrave to Walker and the getaway car, but they are attacked by hired bodyguards who escape with the unconscious Kilgrave. Jones then resolves to help Ducasse overcome his addiction.

6
6
"AKA You're a Winner!"
Stephen Surjik
Edward Ricourt
November 20, 2015 (2015-11-20)

Kilgrave uses his powers to win a poker game, and spends his winnings to purchase Jones's childhood home. After paying a fellow inmate to beat her, Shlottman confesses to Jones that she is pregnant with Kilgrave's child and has been trying to miscarry. Jones gives her an abortion pill; Hogarth secretly takes the fetal remains. Cage hires Jones to help find the brother of someone, who has evidence on the death of Cage's wife Reva Connors. Connors had left Cage instructions to find a box she had hidden, but it was not there when he looked. Jones recalls Kilgrave having Connors lead them to the box, with Jones digging it up before killing Connors. Jones and Cage find the missing brother, and are given the file of the bus driver that accidentally hit Kilgrave (and who Cage believes hit Connors). Seeing that the driver had been drunk, Cage seeks revenge. Jones intervenes and confesses that Kilgrave forced her to kill Connors. Cage leaves, unable to forgive her for hiding the truth and instigating an intimate relationship with him.

7
7
"AKA Top Shelf Perverts"
Simon Cellan Jones
Jenna Reback & Micah Schraft
November 20, 2015 (2015-11-20)

A drunk Jones, having been asked by Hogarth to convince her wife to sign divorce papers, accosts Ross-Hogarth in a subway and almost kills her. Ross-Hogarth refuses to sign the papers. Ducasse helps Jones back to her apartment, where they find her neighbor Ruben, dead. Knowingly blaming Kilgrave, Jones devises a desperate plan: get herself imprisoned in a supermax prison so when Kilgrave inevitably comes for her, his abilities will be caught on camera. Walker and Simpson have their own plan, with Simpson following Kilgrave's security detail, though he does not tell Walker when he finds them at Jones's old house. Ducasse disposes of Ruben's body, though Jones finds him. Enacting her plan, Jones goes to a police station with Ruben's severed head and confesses to his murder. Her processing is interrupted when Kilgrave takes control of the station and declares his love for Jones, as she was the first person to resist him. He invites her "home", and Simpson later watches as Jones voluntarily enters the house with Kilgrave.

8
8
"AKA WWJD?"
Simon Cellan Jones
Scott Reynolds
November 20, 2015 (2015-11-20)

Jones spends several days living with Kilgrave. Though he takes her phone so she cannot record him, she secretly gets Simpson's when she catches him sneaking into the house to plant a bomb. Not willing to let Kilgrave die until Shlottman is free, Jones tells Kilgrave about the bomb. Kilgrave, in an effort to prove that his nature was forced upon him, shows Jones a pendrive (which Connors had hidden in the box) containing footage of his parents experimenting on him as a child, and him eventually stopping them by his command. Jones shows Kilgrave that he can do good with his powers by convincing him to save several people. She visits Walker and asks whether she should stay with Kilgrave and try to use his abilities to change the world for good. When Jones, knowing that Kilgrave will harm some of his "servants" if she does not return, goes back to Kilgrave, she instead uses a distraction to incapacitate him, and flies away with him. Then, Simpson is seriously injured by his own bomb, which Kilgrave left for him.

9
9
"AKA Sin Bin"
John Dahl
Jamie King & Dana Baratta
November 20, 2015 (2015-11-20)

Walker races Simpson to the hospital, where he insists on seeing a Dr. Kozlov from his days as an Army sergeant. Kozlov gives him some pills, and his injuries heal miraculously. Jones imprisons Kilgrave in the hermetically sealed room, where she plans to torture him until he reveals his abilities on camera. Hogarth warns her that this would forfeit their case in court, and that the D.A. has offered a 20 year plea deal to Shlottman if she pleads guilty. Jones convinces Shlottman to not take the deal, and devises a new plan. From the footage of Kilgrave's experiments, Jones discovers the names of his parents, Louise and Albert Thompson, and from photographs realizes that his mother is a member of the support group. Jones confronts her and Albert, and convinces them to face their son. Jones also forces Clemons to act as a witness. In the cell, Kilgrave is remorseful, but Louise attempts to kill him to stop him from hurting anyone again, and he makes her kill herself. Jones saves Albert from a similar fate, but Kilgrave escapes.

10
10
"AKA 1,000 Cuts"
Rosemary Rodriguez
Dana Baratta & Micah Schraft
November 20, 2015 (2015-11-20)

Kilgrave forces Hogarth to take him to a doctor; she goes to Ross-Hogarth, hoping Kilgrave will force her to sign their divorce papers, but Kilgrave orders Ross-Hogarth to kill Hogarth with a thousand cuts. Pam arrives, and kills Ross-Hogarth to stop her. Thompson reveals that Kilgrave's abilities are a virus that he releases, and that a vaccine could be created from Jones's blood as Jones appears to have become immune to Kilgrave's influence. Simpson, under the influence of Kozlov's drugs (that enhance combat performance and numb pain) arrives at the cell, where Clemons is guarding the evidence needed to imprison Kilgrave. Set on killing Kilgrave instead, Simpson kills Clemons and destroys the evidence. He finds Walker with Thompson, who is unsuccessful in creating the vaccine, but she sends Simpson away when she sees how unstable he is, managing to take some of his pills from him in the process. Kilgrave gets Shlottman released from prison and trades her for his father; Shlottman kills herself, freeing Jones to kill Kilgrave.

11
11
"AKA I've Got the Blues"
Uta Briesewitz
Scott Reynolds & Liz Friedman
November 20, 2015 (2015-11-20)

Jones remembers waking up after a car accident as the sole surviving member of her family, and being adopted by the Walkers in a publicity stunt by Trish's abusive adoptive mother, to help bolster Trish's fame as child television star 'Patsy!' Jones discovered her abilities soon after. Now, Jones covers up Shlottman's death and Kilgrave's involvement in it, and begins searching morgues for Thompson's body as a lead. Affected by an increasing lack of sleep, Jones is injured in an accident, but does manage to find Clemons' body and deduces that Simpson killed him rather than Kilgrave. She agrees to meet with Simpson, and he attacks her in her apartment, overpowering the injured Jones. Walker arrives and uses Simpson's pills to help Jones defeat him. Not used to the pills, Walker requires medical attention. As she recovers in the hospital, Kozlov retrieves the unconscious Simpson from Jones's apartment, and Kilgrave warns Jones that he has found Cage; Jones finds Cage herself, in time to see his bar explode with him inside.

12
12
"AKA Take a Bloody Number"
Billy Gierhart
Hilly Hicks, Jr.
November 20, 2015 (2015-11-20)

Cage survives the explosion, and reveals to Jones that he was ordered by Kilgrave to destroy his bar. Walker learns that Kozlov works for "IGH", a company that also paid for Jones's medical bills after her childhood car accident, and potentially played a part in her gaining abilities. After Cage recounts the events leading up to the explosion, in which he followed Jones to confront Kilgrave, they realize that Kilgrave is keeping Thompson alive to try and boost his abilities, and may be testing his increasing hold over people. While they investigate, Cage forgives Jones for her role in Connors' death, and the two begin to grow close again. They find a nightclub where Kilgrave tested his enhanced powers, and are confronted by him there. He reveals that he has been controlling Cage the whole time, having made him forgive Jones to earn her trust, and now unleashes Cage on Jones, escaping while they fight. Police soon arrive and are overpowered by Cage, but Jones manages to shoot him in the head with one of their shotguns at point blank range.

13
13
"AKA Smile"
Michael Rymer
Story by : Jamie King & Scott Reynolds
Teleplay by : Scott Reynolds & Melissa Rosenberg
November 20, 2015 (2015-11-20)

With Cage unconscious and requiring medical attention, nurse Claire Temple—who has previous experience treating gifted individuals—agrees to look after him while Jones tracks down Kilgrave, who is unsatisfied with Thompson's efforts to increase his abilities so far. Thompson has been using the fetal remains that Hogarth kept, and believes that a full dose of his extracted drug could now make Kilgrave powerful enough to control Jones. Using Cage's phone, Jones tracks Kilgrave to the apartment of a wealthy couple, whom he has enslaved, in time to see Thompson die. Cage awakens, and decides to leave. Jones confronts Kilgrave at the couple's yacht, where he takes Walker hostage. When Jones allows this, Kilgrave believes that he finally has control over her again. However, when he tells her to say "I love you", Jones says it to Walker instead, and snaps Kilgrave's neck. Jones is arrested for the murder, but Hogarth secures her release, leaving her to get calls from people around the city who have heard of her heroics and seek her assistance.

tag: table

text: Cast and characters[edit]

text: Main[edit]

text:
Krysten Ritter as Jessica Jones[2]
Mike Colter as Luke Cage[3]
Rachael Taylor as Patricia "Trish" Walker[4]
Wil Traval as Will Simpson[5][6]
Erin Moriarty as Hope Shlottman[5][6]
Eka Darville as Malcolm Ducasse[5]
Carrie-Anne Moss as Jeri Hogarth[7][8]
David Tennant as Kilgrave[9]

tag: ul

text: Recurring[edit]

text:
Susie Abromeit as Pam[10]
Robin Weigert as Wendy Ross-Hogarth[11]
Nichole Yannetty as Nicole[12]
Kieran Mulcare as Ruben[13]
Clarke Peters as Oscar Clemons[6]
Colby Minifie as Robyn[13]
Danielle Ferland as Clair[14]
Gillian Glasco as Emma[14]
Ryan Farrell as Jackson[14]
Paul Pryce as Donald[14]
Lisa Emery as Louise Thompson[15]
Michael Siberry as Albert Thompson[15]

text: Notable guests[edit]

text:
Royce Johnson as Brett Mahoney[6]
Rosario Dawson as Claire Temple[16]

text: Production[edit]

text: Development[edit]

text: In October 2013, Marvel and Disney announced that Marvel Television and ABC Studios would provide Netflix with live action series centered around Daredevil, Jessica Jones, Iron Fist, and Luke Cage, leading up to a miniseries based on the Defenders.[17] Melissa Rosenberg was brought on to showrun the Jessica Jones series,[18][19] to be reconfigured as a "page one do-over" from an original project she had developed in December 2010 for ABC.[20][21] In December 2014, the official title was revealed to be Marvel's A.K.A. Jessica Jones,[22] but that was shortened to Marvel's Jessica Jones in June 2015.[23] The season consists of 13 hour-long episodes.[24]

tag: p

text: Writing[edit]

text: The writers for the season worked in Los Angeles, with one member of the writing team on set in New York for filming.[25] Actress Carrie-Anne Moss talked about how the scripts developed through the production of the season, explaining that the dialogue usually did not change much while filming, but scenes were altered to accommodate the filming locations when necessary.[26] Rosenberg stated that, since Jones is a private investigator, there would be some procedural elements to the show, "but that's not our focus. There are cases. In particular, there is a large case that carries over the season." Elaborating on this, Marvel Television head Jeph Loeb said that the "fun about being a private detective is that the line between what's legal and what's not legal gets very blurred....her drive is not always necessarily to solve the case, as much as it is to go, 'Okay, can I pay the rent? How am I going to get through this day?'" He also added that inspiration for the season came from "the noir films from the '40s" and "film[s] like Chinatown."[21]

text: Describing the tone of the season, Loeb said, "When we first started talking about Daredevil, we promised that we were telling a story that was first a crime drama and then a superhero show. This is more of a psychological thriller. This speaks to when you think about what happened to Jessica and what sort of destroyed her life and how she tried to put it together, and then to have to confront the person who deconstructed her world, that's a very powerful, emotional place to start from."[27] On approaching rape and trauma in the season, Rosenberg wanted to avoid actually showing rape, which she called "lazy storytelling" and often a way to "spice up" male characters, and preferred to just make the trauma a part of the characters' everyday lives rather than an "issue" for the season to tackle.[28] When asked about the adult nature of the season, including the use of sex, Rosenberg explained that Marvel would only not allow showing nudity and the use of the word 'fuck' in the season.[29] Regarding all of the social issues the season covered, such as "issues of choice, interracial relationships, domestic violence, [and] issues of consent" while also exploring "feminism and being a woman in this world", Rosenberg said, "It was never our intention going in [to hit a social issue], and I think the minute you intend to do that, you're stepping up on a soap box. If you're digging into the dark side of the human psyche and all the different experiences we go through, and as women we go through, you're going to find those things. If you treat them honestly and with respect, you're also going to hit social issues."[30]

text: Casting[edit]

text: The main cast for the season includes Krysten Ritter as Jessica Jones,[2] Mike Colter as Luke Cage,[3] Rachael Taylor as Patricia "Trish" Walker,[4] Wil Traval as Will Simpson,[5][6] Erin Moriarty as Hope Shlottman,[5][6] Eka Darville as Malcolm Ducasse,[5] Carrie-Anne Moss as Jeri Hogarth,[7][8] and David Tennant as Kilgrave.[9]

text: Appearing in recurring roles for the season are Susie Abromeit as Pam,[10] Colby Minifie and Kieran Mulcare as Robyn and Ruben,[13] Nichole Yannetty as Nicole,[12] Clarke Peters as Oscar Clemons,[6] Michael Siberry and Lisa Emery as Albert and Louise Thompson,[15] and Robin Weigert as Wendy Ross-Hogarth.[11] Danielle Ferland, Gillian Glasco, Ryan Farrell, and Paul Pryce also recur as victims of Kilgrave who join a support group established by Jones,[14] while Rosario Dawson and Royce Johnson reprise their roles of Claire Temple and Brett Mahoney, respectively, from Daredevil.[6][16]

text: Design[edit]

text: Stephanie Maslansky returned as the costume designer for Jessica Jones from Daredevil,[31] and was assisted on the first episode by Jenn Rogien, who crafted Jessica Jones' leather jacket, faded jeans, and boots costume.[32] On Jones's costume, Maslansky said she "considers her clothing to be an armor and a shield and something that helps her maintain a distance from other people and privacy. It keeps her from having to deal with the rest of humanity in a certain sort of way." At least 10 versions of Jones's jacket were made, which started as an Acne Studios leather motorcycle jacket that had any "bells and whistles and any additional superfluous design details" removed. 20 pairs of jeans were used, with both sets of clothing being aged and distressed.[32]

text: Because Jones's costume does not evolve much throughout the season, Maslansky used flashbacks to show how her costume had evolved to the present day: for 'pre-Kilgrave' Jessica Jones, Maslansky gave the character "more pulled together" clothes, albeit "still kind of edgy" clothes that did not change who she was as a character, but were just "different". For instance, in a flashback to Jones working in a corporate environment, she does not wear a suit, instead "wear[s] her jeans and find[s] a really cool jacket, maybe a vintage thing, maybe something that she borrowed from Trish". For a flashback where Jones wears a large sandwich costume, a "variety" of costumes were ordered online, with the chosen suit then distressed to "look dirty and old"; "a mere shadow of its former sandwich self," becoming "more of a hoagie than a sandwich." In another flashback, Jones imagines escaping Kilgrave's control. The bright yellow dress the character wears in the dream sequence was chosen for its juxtaposition to the character's real situation, with Maslansky calling it "so beautiful and so free and so light".[33]

text: For Kilgrave, Maslansky used many suits created by designer Paul Smith, rather than custom-making them as she originally planned, as Smith "was all about purple" in the previous fashion season. On the suits, Maslansky added that the designers "wanted to find a place where we could utilize clothing in shades of purple, but not go so over the top that it would look silly and that he would stop feeling ominous or menacing."[32] Expanding on this, Maslansky called purple a traditionally "fairly friendly color, and he's anything but friendly. So I had to find ways to make him be ominous and frightening and terrifying. I found that I needed the right proportion of shades of purple to other shades that were similar: navy, black, maroon."[33] Maslansky felt Luke Cage was also someone "who wears his clothing like an armor," with his wardrobe consisting of T-shirts, jeans, leather jackets or an army jacket.[32] For a character like Trish Walker, who does not have the same kind of "statement costume" as Jones, Maslansky tried to create a certain character style. Maslansky said that Walker's uniform is fashion, so "even when she was hanging around the house, she was wearing a pair of rag & bone jeans with a Chloé top, and this was her version of a T-shirt and jeans." Maslansky added that Robin was "a blast to dress" because of her "quirky" personality, yet she was still able to "put herself together aesthetically." For Malcolm, as his story progressively became brighter throughout the season, so did his wardrobe, becoming "a little brighter and a little more hopeful."[33]

text: Filming[edit]

text: In February 2014, Marvel announced that Jessica Jones would be filmed in New York City.[24] In April, Marvel Comics' editor-in-chief Joe Quesada stated that the show would be filming in areas of Brooklyn and Long Island City that still look like the old Hell's Kitchen, in addition to sound stage work.[34] The season went into production in February 2015 in The Bronx at Lehman College with the working title Violet,[35][36][37] and aimed to film each episode over nine days, on average.[38] Filming concluded in mid-late August.[29][39] Other filming locations in New York City used included: the East Village's Horseshoe Bar for Luke's Bar; the 33rd Street PATH station and a PATH train; the 101st Street area for the exterior of Jessica's apartment (with the interior apartment settings created on a sound stage); Douglaston, Queens for Jessica's childhood home; the Angel Orensanz Center for Jessica and Luke's fight in "AKA Take a Bloody Number"; Williamsburgh Savings Bank Tower and Pier 88 for locations in "AKA Smile";[40] the Meatpacking District; Nolita; near the 39th Street entrance to the Lincoln Tunnel; Tribeca; Bryant Park; Union Square; Gramercy; Greenpoint, Brooklyn near the Newtown Creek Wastewater Treatment Plant; Long Island City, including the Allied Extruder Factory for the weed growing facility, with exteriors shots taken from near Calvary Cemetery; the Queensboro Bridge on the Queens side; the Manhattan Bridge; the Brooklyn Navy Yard; Bethesda Terrace and Fountain in Central Park; and Industry City.[41]

text: Concerning inspirations on the season, Loeb revealed that "Chinatown... is one of the things that influenced Brian Michael Bendis and Michael Gaydos when they created the character. So those kind of beautiful, long, wide expansive shots, where people sort of come into frame and go back out of frame and someone's in the foreground and then someone is way in the background and they're having a conversation, that's the stuff that makes it interesting."[27] Director of Photography Manuel Billeter and episodic director S. J. Clarkson took inspiration from the comics in terms of their color palette, while looking to the works of Wong Kar-wai as reference to create "unconventional" compositions, with Billeter explaining, "There were a lot of foreground elements [and] headroom as well, and we never wanted to show an open frame. We wanted to create a sense of claustrophobia." Billeter shot the season with a Red Epic Dragon camera in 4K resolution, with 5K used for some visual effects shots, and with Panavision PVintage lenses; he focused mostly on static frames and "good composition", but did occasionally employ a camera dolly or steadicam. For lighting, Billeter noted that many New York street lamps had been changed from sodium-vapor lamps to LEDs, so he tried to recreate the "warm, dirty color of sodium vapor" for night exterior scenes.[38]

text: Production designer Loren Weeks described Marvel's Hell's Kitchen as having "a little more [East] Village quality."[40] To achieve the explosion at Luke's Bar, Weeks said, "We could not take out the windows [at Horseshoe Bar], which are [made up of] multiple small colored glass and metal frames. We didn't know frankly when we picked that location that we would have that explosion... What we did was build a fireproof box in the entrance and we had a cannon in there which blew out debris and smoke and some fire. And then we did a lighting effect on the inside and then the rest of the explosion was handled by visual effects." For the scenes on the PATH train and station, location manager Jason Farrar noted that production had exclusive use of the tracks and platform during the day when ridership was low to get their shots.[40]

text: Visual effects[edit]

text: Shade VFX created over 600 effects shots for the season, with "invisible" effects "the showpiece, helping to push forward the darker elements the series." Therefore, effects supervisor Karl Coyner and producer Julie Long worked closely with the crew on set to "execute stunts, set extensions, explosions, wetwork and fire sequences" while filming, rather than have Shade create those effects digitally.[42] An effect that Shade was required to create was tinting Kilgrave's skin purple "in a few key scenes" where he is using his powers, a nod to the comic iteration's purple-skinned appearance.[43]

text: Music[edit]

text: At the 2015 San Diego Comic-Con International, Sean Callery revealed he was composing music for Jessica Jones,[44] eventually stating that the music required for each episode ranged from 9 to 20 minutes, totaling approximately 415 minutes of music for the season.[45] A soundtrack album for the season was released by Marvel Music digitally on June 3, 2016.[46][47]

text: All music composed by Sean Callery, unless otherwise noted.[47][48]

text:
showTrack listing

No.
Title
Music
Length

1.
"Jessica Jones Main Title"

1:09

2.
"Then There's the Matter of You"

1:18

3.
"Fire Escape Night Shift"

4:16

4.
"Alias Investigations"

2:28

5.
"Fight at Luke's Bar"

2:21

6.
"Nurse Jessica"

2:13

7.
"Rescuing Hope from the Hotel Bed"

3:50

8.
"Kidnapping Kilgrave"

3:20

9.
"Sleepover at Luke's"

3:03

10.
"Jessica on the Move"

2:44

11.
"Cockroach"

3:09

12.
"Luke's Revenge on the Bus Driver"
Sean Callery & Jamie Forsyth
2:31

13.
"Elevator Massacre"

2:52

14.
"Looking for Kilgrave–Bus Accident Vision"

1:56

15.
"Hospital Cat and Mouse"

3:11

16.
"Gift from Trish"

2:55

17.
"Kilgrave Escapes His Glass Prison"

1:41

18.
"Tailing Malcolm"

2:22

19.
"Jessica Confesses to Luke"
Sean Callery & Jamie Forsyth
2:58

20.
"Restaurant Flashback"

1:48

21.
"Jones–Cage Match"
Sean Callery & Jamie Forsyth
2:58

22.
"Final Justice for the Purple Man"

2:33

23.
"Maybe It's Enough the World Thinks I'm a Hero"

2:17

Total length:
59:53

text: Marvel Cinematic Universe tie-ins[edit]

text: On existing in the MCU, specifically in the same world as the other Netflix series, Rosenberg said, "Jessica Jones is a very, very different show than Daredevil. We exist in a cinematic universe, [and] the mythology of the universe is connected, but they look very different, tonally they're very different… That was my one concern coming in: Am I going to have to fit into Daredevil or what's come before? And the answer is no."[49] On references or "easter eggs" in the season, Rosenberg explained that "A little is always there and in the writer's room we have some fanboys that know all this stuff and they're all geeking out with different stuff....a lot of references are to the [Alias comic]." She also said that nods to the larger MCU are in the season, with each episode having a "little something in it."[29]

text: Jeryn Hogarth is closely associated with Iron Fist in the comics, and also worked with Luke Cage as part of those characters' Heroes for Hire team.[8] Like Daredevil, the season makes references to the events of The Avengers and the Avengers (specifically Hulk and Captain America, though not by name).[50] Jessica also mentions Angela del Toro as another private investigator,[50] who in the comics is the hero White Tiger and has connections with K'un-Lun and Iron Fist.[6] Paul Tassi, writing for Forbes, was disappointed with how the season fit into the larger MCU, feeling the season seemed "removed from the world of The Avengers" and did not acknowledge Daredevil enough given that "it's supposed to be sharing at least this little corner of the Marvel Cinematic Universe with it."[51] Eric Francisco of Inverse countered that Jessica Jones's lack of overt connections to the MCU was "the show's chief advantage. Besides demonstrating how physically wide open the MCU's scope really is, Jessica Jones also proves the MCU's thematic durability."[52]

text: Release[edit]

text: The first season of Jessica Jones was released on November 20, 2015, on the streaming service Netflix, in all territories where it is available,[22][53] in Ultra HD 4K.[54] In January 2015, a month after Marvel announced a 2015 release for the season,[22] Sarandos had said that it was "too hard to say now" if the season would actually release in 2015, with Netflix's plan to release a Marvel series approximately a year apart from each other after Daredevil's April 2015 release.[55] However, Netflix soon confirmed that the season would indeed release in 2015,[56] announcing the November 20 release date in September.[53] The season was enhanced to be available in high dynamic range after its initial release by post-production vendor Deluxe.[57]

text: Marketing[edit]

text: In May 2015, Marvel announced plans to reprint Alias, the comic that the series is based on, with new covers from David Mack, the original cover artist on the comic who is also providing artwork for the series' opening credits. The reprints, which were all released digitally in June 2015, and up to issue 15 in two trade paperbacks in September, were intended to both celebrate the history of Jessica Jones, and introduce new audiences to the character ahead of the release of the season.[58] In late September through early October, Marvel and Netflix released short teasers for the season, which chronicled a day of Jones' life.[59][60] Also in early October, Marvel digitally released a 12-page one-shot comic by the original Alias creative team—Bendis, Gaydos, and Mack—set in the universe of the television series.[61] The one-shot was created as an exclusive for New York Comic Con, where a print version was distributed.[62] The comic sees Jessica Jones coming into contact with Daredevil character Turk Barrett, and includes a short sequence featuring Daredevil,[63] to celebrate "the connective tissue that will build between the series."[61] Also during New York Comic Con, Marvel set up a street marketing campaign, and screened "AKA Ladies Night" on October 10, while at the Marvel Booth fans could take their picture with the Alias Investigations desk, with Kilgrave's eyes appearing in the background of the final animation.[62][64] Marvel additionally partnered with Uber during the event to provide select riders with complimentary trips to or from the convention in custom designed SUVs.[65]

text: A full trailer was released at the end of October, with Meagan Damore of Comic Book Resources feeling that it helped establish the same tone as Daredevil and introduced "Marvel's creepiest villain yet" with Kilgrave. She also compared Jessica to some of the other female characters of the MCU—Black Widow, Melinda May, and Peggy Carter—feeling that Jessica stood out from the others because she does not have "a sense of togetherness" and was the most relatable because of her struggle with trauma, and that the season would have the amount of creative space required to explore the character that the other female characters were lacking.[66] A second trailer was released on November 10, 2015. Sarene Leeds of The Wall Street Journal felt that this trailer highlighted empowerment, compared to the first that "was about illustrating the fear behind Jones's past".[67] The season held its premiere in New York City on November 17.[68]

text: Home media[edit]

text: The season was released on DVD in Region 1 and Blu-ray in Region A on August 22, 2017,[69] in Region 2 and Region B on December 5, 2016,[70] and in Region 4 on December 7, 2016.[71]

text: Reception[edit]

text: Audience viewership[edit]

text: As Netflix does not reveal subscriber viewership numbers for any of their original series, Symphony Technology Group compiled data for the season based on a sample size of 15,000 people using software on their phones that measures television viewing by detecting a program's sound. According to Symphony, from September to December 2015, episodes of Jessica Jones averaged 4.8 million viewers during a 35-day viewing cycle. The data was presented by Alan Wurtzel, NBCUniversal president of research and media development, in a presentation aimed to provide "perspective" when stating "digital platforms are hurting the traditional TV business".[72] Netflix CCO Ted Sarandos responded to the data by saying that "the whole methodology and the measurement and the data itself doesn't reflect any sense of reality of anything that we keep track of."[73] A further study from Symphony, for the same time period, found Jessica Jones to be one of the four most watched series in the 18 to 24 demographic, ahead of any broadcast network series.[74] The marketing analytics firm Jumpshot determined the season was the fifth-most viewed Netflix season in the first 30 days after it premiered, garnering 26% of the viewers that the second season of Daredevil received, which was the most viewed season according to Jumpshot. Jumpshot, which "analyzes click-stream data from an online panel of more than 100 million consumers", looked at the viewing behavior and activity of the company's U.S. members, factoring in the relative number of U.S. Netflix viewers who watched at least one episode of the season.[75][76]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 92% approval rating with an average rating of 8.16/10 based on 63 reviews. The website's critical consensus reads, "Jessica Jones builds a multifaceted drama around its engaging antihero, delivering what might be Marvel's strongest TV franchise to date."[79] Metacritic, which uses a weighted average, assigned a score of 81 out of 100 based on 32 critics, indicating what the website considers to be "universal acclaim".[80]

text: The early screening of the first episode at New York Comic Con was met by a very positive reaction from the crowd.[81] George Marston of Newsarama gave the first episode a 10 out of 10, saying the season "strikes a balance between self-aware noir and Marvel's first flirtations with psychological horror....not just another hit for Marvel and Netflix, but a landmark moment for female superheroes on TV."[82] Eric Goldman of IGN felt that "Jessica Jones starts out with a strong premiere episode that...easily goes further than anything in the MCU in terms of sexuality." He called Ritter "a commendably tough, sardonic" Jessica Jones and praised the supporting cast for the strong impressions they made,[81] later scoring the episode an 8.5 out of 10.[83] Evan Valentine of Collider gave the episode 5 stars out of 5, feeling that Tennant would "ascend to the same level as Tom Hiddleston's Loki and Vincent D'Onofrio's Wilson Fisk as one of the cornerstones of villainy in the MCU".[84] Katharine Trendacosta of io9 also had positive thoughts on "AKA Ladies Night", highlighting the episode's use of light and color, especially with purple, and the way it portrays New York as how it "actually looks—not overly bright and shiny and clean, but not suffering a never-ending power-outage either".[85] Abraham Riesman noted the episode's presentation of sexuality, which "was shockingly and refreshingly honest", compared to Marvel's other films and television series. He concluded by applauding the season's bringing up of the topics of rape and PTSD.[86]

text: Reviewing the first seven episodes of the season, Maureen Ryan of Variety gave positive thoughts on Jessica Jones, stating, "The show, which features an exceptional performance from Krysten Ritter and sure-handed guidance from executive producer Melissa Rosenberg, is not just a contender for the title Best Marvel-related TV property; in a supremely crowded TV scene, it is one of the year's most distinctive new dramas."[77] Jack Shepard of The Independent, also on the first seven episodes, felt the season "not only matches [Daredevil] but exceeds expectations." Shepard gave exceptional praise to Tennant's Kilgrave, feeling he was one of the best villains produced by Marvel, and possibly "the best on-screen comic book villain since Heath Ledger's Joker."[87] Forbes' Merrill Barr stated that after seeing the first seven episodes, "the answer is a resounding yes" if lightning could strike twice for Marvel Television, claiming, "In no uncertain terms, Jessica Jones is the best thing Marvel Television has ever produced. It contains all the hopeful anticipation of [Agents of ] S.H.I.E.L.D., all the feminist-overtones of Agent Carter and all the grittiness of Daredevil."[88]

text: Deadline Hollywood's Dominic Patten also had praise for the season, particularly Rosenberg's influence on it, the coverage of topics such as "PTSD, abuse, assault, shame, and death" and the cast, highlighting Tennant's Kilgrave as the actor's best role as well as the MCU's best villain.[89] Mary McNamara from the Los Angeles Times felt Jessica Jones "rewrote the definition of superhuman" and was "a marvel", lauding the season's "breathtaking" examination of recovery from a sexually, emotionally and physically abusive relationship.[78] Daniel Fienberg for The Hollywood Reporter was also positive, saying the season "looks and feels a bit like a cable anti-hero series—but it's really more of a post-hero story, making it fascinating and unique in a marketplace that doesn't lack for costumed do-gooders of all types." His one criticism was that "the show shares Jessica's monomaniacal fixation on [Kilgrave] and the result is a sort of narrative claustrophobia...Everything in these opening episodes ties back to Kilgrave and Kilgrave is such a twisted figure that it's hard for any light to get in."[90] Melissa Maerz of Entertainment Weekly was slightly more critical of the season, awarding it a "B". Though Maerz felt Ritter was a good choice for Jessica and enjoyed the cinematography, she felt the season "could've made for a gritty character drama if it weren't for the noir clichés (saxophone music, shadows through glass) and a procedural structure that's very CSI: Marvel. The show's biggest weakness is the same as Jessica's: It starts out with extraordinary potential, but somewhere along the way, it loses what make it special."[91]

text: Goldman, later reviewing the whole season, gave it a 9.3 out of 10. He commended all the actors, the relationship between Jessica and Trish, and the episode "Sin Bin", though was critical of the character Robyn. Additionally, Goldman also felt the season spent "too many scenes devoted to Jeri's marital strife" and that it hit its peak "a bit before the actual end of the season" similar to Daredevil, with most of the thrilling moments earlier in the season.[92]

text: Analysis[edit]

text: Libby Hill of the Los Angeles Times commented on how Jessica Jones exposed modern day sexism and misogyny through Kilgrave's use of the phrase "Smile", calling the season "the most innocuous and incisive cultural critique" from Marvel to date. Hill likened an early scene that shows Kilgrave asking Jones to smile, and her obliging, to "similar well-meaning scenarios [that] play out in the real world time and again each day" many in the form of gendered street harassment, that resonates with many women. Hill also added that "Kilgrave serves as an exaggerated representation of perceived consent," due to the response he gives later in the season to Jessica about never knowing if someone is doing what they want or what he tells them to do. She concludes that "Jessica Jones is revolutionary because in acknowledging casual misogyny and exaggerating its most destructive tendencies, it exposes the pervasive toxicity therein. It does all of this without making a show of its politics, instead resting easy on the knowledge that all too many women will relate to the subtleties of its premise."[93] Amy C. Chambers, writing for The Science and Entertainment Laboratory, noted how the season moved away from sexism even more so than the comics, by changing Kilgrave's abilities from phermone based, with a particular effect on women, to viral, with equal effect no matter gender, indicating that "powerlessness is not gendered."[15]

text: Kwame Opam at The Verge chose to examine rape and the nature of consent in the season. Comparing Jessica Jones to other television series that have depicted rape (Game of Thrones, Orange Is the New Black, and Outlander), Opam felt that "since rape is one of the show's core themes, we never need to see it... rape is a foundational part of the text, and its presence is constant. Even if it's invisible, it's always there." He also felt the season took the time to examine how rape happens and what it means, especially in terms of power and consent, concluding, "Jessica Jones moves the conversation about rape forward by treating it as a complex subject worth investigating, rather than as spice for a story...Maybe we don't need to see it anymore to grasp how violent it is. Maybe our energies are better spent thinking deeply about why it happens at all."[94] The Guardian's Lili Loofbourow also discussed the season's depiction of rape and consent, noting the complications that come with Kilgrave telling his victims how to feel rather than just how to act, and saying, "however exceptional Kilgrave's power seems, the moral quagmire it produces is all too common. It's the condition of the rape victim who had an orgasm during her assault. It's the condition of the soldier trained to kill when he suspects his targets are innocent. It's the condition of the battered woman who goes back to her abuser and stays "of her own free will". It's the condition of...any person, really, who agrees, whatever the context, to consent to forgo consent in the future." Loofbourow also discussed the character of Simpson, comparing his power-inducing red pill to the anti-feminist "red pillers", and noting that his taking of the pills "renders him not just dangerously delusional, but so utterly at odds with nature and reality of any kind that he will forget to breathe unless he counteracts the pill's effects."[95]

text: Accolades[edit]

text: Jessica Jones was included on multiple Best/Top TV Shows of 2015 lists, ranking on People's (1st, along with Daredevil),[96] Indiewire and The Star-Ledger's (2nd),[97][98] NPR's (3rd),[99] ScreenCrush's (4th),[100] Digital Spy's (5th),[101] Complex's (6th),[102] Vulture's (7th),[103] Slate Magazine's (9th),[104] and TV Guide's (11th).[105] It was also included on un-ranked lists from Maureen Ryan of Variety,[106] Mary McNamara of the Los Angeles Times,[107] The Week,[108] and Wired.[109] In December 2015, IGN named Jessica Jones the Netflix's best original series released to date,[110] and it was named one of the Best New Shows of 2015 by Ryan,[111] as well as the tenth best new show of 2015 by Entertainment Weekly's Jeff Jensen.[112] The Atlantic named "AKA WWJD?" one of the best television episodes of 2015.[113] Additionally, Jessica Jones was the second most trending television series search on Google for 2015.[114]

text:
Year
Award
Category
Recipient
Result
Ref.

2015
TVLine's Performer of the Week
Performance in "AKA You're a Winner!"
Krysten Ritter
Won
[115]

2016
People's Choice Awards
Favorite Sci-Fi/Fantasy TV Actor
David Tennant
Nominated
[116]

Critics' Choice Awards
Best Actress in a Drama Series
Krysten Ritter
Nominated
[117]

Dorian Awards
TV Performance of the Year – Actress
Krysten Ritter
Nominated
[118]

Empire Awards
Best TV Series
Jessica Jones
Nominated
[119]

Peabody Awards
Entertainment and Children's programs
Jessica Jones
Won
[120]

Nebula Awards
Ray Bradbury Award for Outstanding Dramatic Presentation
Scott Reynolds, Melissa Rosenberg, and Jamie King for "AKA Smile"
Nominated
[121]

Webby Awards
Special Achievement: Best Actress
Krysten Ritter
Won
[122]

Glamour Awards
International TV Actress
Krysten Ritter
Won
[123]

Saturn Awards
Best Supporting TV Actor
David Tennant
Nominated
[124]

Best TV Actress
Krysten Ritter
Nominated

Best New Media Television Series
Jessica Jones
Nominated

Television Critics Association
Outstanding New Program
Jessica Jones
Nominated
[125]

Hugo Awards
Best Dramatic Presentation – Short Form
"AKA Smile"
Won
[126]

Gotham Awards
Breakthrough Series – Long Form
Jessica Jones
Nominated
[127]


document_title: Money (That's What I Want)

question_text: who sang i want money back in the 80's

question_tokens: who sang i want money back in the 80 's

text: Money (That's What I Want)

text: Overview[edit]

text: The song was originally recorded by Barrett Strong and released on Tamla in August 1959.[1] Anna Records was operated by Gwen Gordy, Anna Gordy and Roquel "Billy" Davis. Gwen and Anna's brother Berry Gordy had just established his Tamla label (soon Motown would follow) and licensed the song to the Anna label in 1960, which was distributed nationwide by Chicago-based Chess Records in order to meet demand; the Tamla record was a resounding success in the Midwest. The song has Strong curtly insisting that money is what he needs, more than anything else. In the US, the single became Motown's first hit in June 1960, making it to number 2 on the Hot R&B Sides chart and number 23 on the Billboard Hot 100.[2] The song was listed as number 288 on Rolling Stone's "The 500 Greatest Songs of All Time". Greil Marcus has pointed out that "Money" was the only song that brought Strong's name near the top of the national music charts, "but that one time has kept him on the radio all his life."[3]

text: Piano and lead vocals were supplied by Barrett. Guitar on the track was played by Eugene Grew.[4]

text: Virtually all of the records issued were 45's; the 10-inch 78 format, issued by Anna, is described as "extremely rare".[5]

text: Writing credits dispute[edit]

text: Singer Barrett Strong claims that he co-wrote the song with Berry Gordy and Janie Bradford. His name was removed from the copyright registration three years after the song was written, restored in 1987 when the copyright was renewed, and then excised again the following year. Gordy has stated that Strong's name was only included because of a clerical error.[4]

text: Personnel[edit]

text:
Barrett Strong – piano and lead vocals[4]
Eugene Grew – guitar[4]

text: The Beatles version[edit]

text:
"Money (That's What I Want)"

Single by The Beatles

from the album With the Beatles

A-side
"Please Mr. Postman" (Japan)

Released
November 22, 1963

Recorded
July 18, 1963

Length
2:47

Label
Parlophone

Songwriter(s)

Janie Bradford
Berry Gordy

Producer(s)
George Martin

Audio sample

file
help

text: Recording[edit]

text: The Beatles recorded "Money" in seven takes on July 18, 1963, with their usual lineup. A series of piano overdubs was later added by producer George Martin. The song was released in November 1963 as the final track on their second UK album, With the Beatles.[6]

text: According to George Harrison, the group discovered Strong's version in Brian Epstein's NEMS record store (though not a hit in the UK, it had been issued on London Records in 1960). They had previously performed it during their audition at Decca Records on January 1, 1962, with Pete Best still on drums at the time. They also recorded it six times for BBC radio. A live version, taped at a concert date in Stockholm, Sweden in October 1963, was included on Anthology 1.[6]

text: Personnel[edit]

text:
John Lennon – lead vocals, rhythm guitar, screaming, handclapping
Paul McCartney – bass, backing vocals, handclapping
George Harrison – lead guitar, backing vocals, handclapping
Ringo Starr – drums, handclapping
George Martin – double-tracked piano

text: The Flying Lizards version[edit]

text:
"Money"

Single by The Flying Lizards

from the album The Flying Lizards

B-side
"Money B"

Released
13 July 1979

Genre
New wave[7]

Length
2:31

Label
Virgin

Songwriter(s)

Janie Bradford
Berry Gordy

Producer(s)
David Cunningham

text: In July 1979 British band the Flying Lizards released a new wave version of the song, as a single and on their eponymous first album. An unexpected hit,[8] this version peaked at number 5 in the UK chart and at number 50 on the Billboard Hot 100. It also peaked at number 22 on the US dance charts.

text: Chart performance[edit]

text: Weekly charts[edit]

text:
Chart (1979–80)
Peak
position

Australia (Kent Music Report)[9]
11

Austria (Ö3 Austria Top 40)[10]
23

Belgium (Ultratop 50 Flanders)[11]
28

Canada Top Singles (RPM)[12]
7

France (IFOP)[13]
39

Netherlands (Dutch Top 40)[14]
33

Netherlands (Single Top 100)[15]
37

New Zealand (Recorded Music NZ)[16]
5

UK Singles (Official Charts Company)[17]
5

US Billboard Hot 100[18]
50

US Billboard Hot Dance Club Play[18]
22

US Cash Box[19]
34

text: Year-end charts[edit]

text:
Chart (1980)
Position

Australia (Kent Music Report)[20]
71

Canada (RPM Top Singles)[21]
59

New Zealand (Recorded Music NZ)[22]
32

text: Other versions[edit]

text: The song has been covered by many artists, with several of the versions appearing in a variety of charts. For example, the Kingsmen reached number 16 on the Billboard Hot 100 and number 6 in the US R&B charts in 1964,[23][24] Jennell Hawkins hit number 17 in the R&B charts with her recording in 1962.[25] Jr. Walker & the All Stars reached number 52 on the Hot 100 and number 35 on the R&B charts in 1966[26] and Bern Elliott and the Fenmen reached number 14 on the UK Singles Chart in November 1963.[27] It was included as the third track on Jerry Lee Lewis' 1964 UK-only release Live at the Star Club, Hamburg, a record often cited as the greatest rock and roll record ever recorded.[28][29]

text: The song was a staple for British beat bands, including the Searchers, the Undertakers, Kingsize Taylor and the Dominoes and the Rolling Stones.[30] It was also covered by Freddie and the Dreamers and John Lee Hooker.[31] The song was covered during live performances by the Doors and appears twice on their 2009 released album Live in New York, which covers four sets from January 1970.[32] It also appears on their live album Live in Vancouver 1970 and the bootleg album Boot Yer Butt: The Doors Bootlegs.[33][34]


document_title: Dorsalis pedis artery

question_text: where do you palpate the dorsalis pedis artery

text: Dorsalis pedis artery

text:
Dorsalis pedis artery

Anterior tibial artery, dorsalis pedis artery and the muscles and bones of the leg (anterior view).

Details

Source
anterior tibial artery

Branches
First dorsal metatarsal artery and Deep plantar artery

Supplies
dorsal surface of the foot

Identifiers

Latin
arteria dorsalis pedis

TA
A12.2.16.048

FMA
43915

Anatomical terminology
[edit on Wikidata]

text: In human anatomy, the dorsalis pedis artery (dorsal artery of foot), is a blood vessel of the lower limb that carries oxygenated blood to the dorsal surface of the foot. Its located 1/3 from medial malleolus . It arises at the anterior aspect of the ankle joint and is a continuation of the anterior tibial artery. It terminates at the proximal part of the first intermetatarsal space, where it divides into two branches, the first dorsal metatarsal artery and the deep plantar artery. The dorsalis pedis communicates with the plantar blood supply of the foot through the deep plantar artery.

text: Along its course, it is accompanied by a deep vein, the dorsalis pedis vein.

text: Palpation of the dorsalis pedis artery pulse[edit]

text: The dorsalis pedis artery pulse can be palpated readily lateral to the extensor hallucis longus tendon (or medially to the extensor digitorum longus tendon) on the dorsal surface of the foot, distal to the dorsal most prominence of the navicular bone which serves as a reliable landmark for palpation.[1] It is often examined, by physicians, when assessing whether a given patient has peripheral vascular disease. It is absent, unilaterally or bilaterally, in 2–3% of young healthy individuals.[2]


question_text: who sings always there from lady and the tramp 2

text: Plot[edit]

text: In 1911, just two days before the Fourth of July, Lady and Tramp have three well-mannered daughters, Annette, Danielle, and Colette, and a rambunctious son named Scamp. After chewing Jim Dear's favorite hat and causing a mess while chasing after a ball in the house, Scamp is chained to a dog house outside. His parents, Tramp and Lady, are distraught that their son cannot settle down and live in a home. Tramp tries to reason with Scamp, but loses his temper at his son's insistent desire to be wild. Scamp then sees a pack of stray dogs harassing the dogcatcher and becomes intrigued. Scamp manages to break free from the chain and runs off to find the pack. He finds a young member of the pack, Angel, and the two go to the junkyard with the pack, named the Junkyard Dogs. Just after Scamp leaves, Lady walks out to reconcile with her son but notices that he has disappeared. She alerts Tramp and the Darlings start a search party. Scamp attempts to join the Junkyard Dogs right away, but their leader, Buster, gives him the first test in the alley, where Scamp grabs and drops a tin can from a large, savage dog named Reggie who chases him. Scamp and Angel manage to evade Reggie and see him caught by the dogcatcher. They then head to a park where Sparky, one of the Junkyard Dogs, tells a colorful but untrue story about Tramp escaping from a group of dogcatchers. Buster, who was once good friends with Tramp, angrily reminds them that Tramp fell in love with Lady and became a house pet. Scamp is in awe that his father used to be a Junkyard Dog. After Scamp and Angel narrowly escape from being killed by a train and fall into a river, they realize that their friendship has blossomed into love.

text: Meanwhile, Scamp's parents, along with Jim Dear, Darling, Jock, and Trusty, search for him. Scamp and Angel happen upon them on their search. Angel, who was once a house pet herself, is disgusted that Scamp would choose living on the streets over a loving family. Later, while the family picnic, the Junkyard Dogs see them and Buster realizes that Scamp is Tramp's son and tells him to steal a chicken from his family's picnic. As the second and final test for Scamp to join the Junkyard Dogs, Buster orders Scamp to steal a chicken from his family's picnic. Scamp, determined to prove that he is a Junkyard Dog, steals the chicken and heads to an alley, where Tramp confronts and asks him to come home, but Scamp refuses and chooses to stay with Buster. Buster is pleased to see Tramp distraught and officially declares Scamp a Junkyard Dog by removing his collar. While Scamp celebrates his newfound freedom, Angel scolds him for not listening to his father, and reminds him that his family loves him. Scamp then reveals that Angel wants to be a house pet, and Buster exiles her from the pack. She leaves the Junkyard, angry at Scamp. Scamp searches for her, begging her to forgive him. Buster, still wishing revenge on Tramp, sets up a trap so that Scamp, with no collar, gets caught by the dog catcher. Realizing his terrible mistake, Scamp wishes that he was home with his family. Angel sees Scamp on his way to the pound and goes to alert Tramp.

text: Meanwhile, Scamp is placed in a cage with Reggie. Tramp, arriving just in time, manages to fight off Reggie and rescue his son. Before they head home, Scamp apologizes to his father for running away, and the two dogs reconcile. They head to the junkyard, where Scamp retrieves his collar and traps Buster under piles of junk. The gang members abandon him and go to find families. Angel accompanies Scamp and Tramp home, where the family decides to adopt her. While Jim gives Scamp a bath, the former Junkyard Dogs have found owners for themselves.

text: Cast and characters[edit]

text: Many of the original characters make a return, including Tony and Joe from Tony's.

text:
Scott Wolf as Scamp (or "Whirlwind" by the way Tramp calls him), Lady and the Tramp's rambunctious son who bears a strong resemblance to Tramp. He starts out as a playful, frisky, yet stubborn and selfish puppy, but has a total change of heart for his family after seeing that Buster lied to him, and because of the fact that he suddenly realized he was not safe out there in the streets. Roger Bart provides his singing vocals. Andrew Collins served as the supervising animator for him.
Alyssa Milano as Angel, a Pomeranian mix Chihuahua who was once a pet and Scamp's love interest. She has a kind, yet spunky personality. At the end of the film, she is adopted by Jim Dear and Darling. She too bares a nickname for Scamp due to his inexperiences with the streets, calling him "tenderfoot", which is another reason why she has a crush on him. Susan Egan provides her singing voice. Andrew Collins served as the supervising animator for her.
Chazz Palminteri as Buster, a Rottweiler/Doberman Pinscher mix and the leader of the Junkyard Dogs. He used to be the protégé of Tramp and is angry that Tramp left to become a house pet with Lady. He thus changes his moto after Tramp left to "Buster's trouble, is Buster's trouble." Jess Harnell provides his singing voice.
Jeff Bennett as Tramp, a mutt and the father of Scamp, Annette, Danielle, and Colette. Tramp has become accustomed to living in a home during his time as a pet. He is portrayed as a loving, but firm and concerned father, and also has an important role in this film. Nevertheless, he still has a few "street smarts" to fall back on, due to his near-old age. Bennett also voices Jock and Trusty, a Scottish terrier and a bloodhound who are the neighbors and friends of Lady and Tramp and join Scamp's family in a search to find him; and the Dogcatcher, who, in a style reminiscent of Don Knotts's portrayal of Barney Fife on The Andy Griffith Show, chases after the Junkyard Dogs, determined to capture them.
Jodi Benson as Lady (or "Pidge", which Tramp always calls her because of her naiveté in the previous film), the mother of Annette, Scamp, Collette, and Danielle and Tramp's mate. Due to her now being a mother of four, most of her naivety from the first film has been replaced with a sense of responsibility. She views Scamp's behavior in a more understanding light than Tramp does. Lianne Hughes served as the supervising animator for her.
Bill Fagerbakke as Mooch, an Old English Sheepdog who is fairly dim-witted but enthusiastic. He is seen playing with children at the end of the film. Kevin Peaty served as the supervising animator for him.
Mickey Rooney as Sparky, an Irish Wolfhound who used to know Tramp, and tells a colorful but untrue tale of how Tramp came to leave the Junkyard Dogs. Kevin Peaty served as the supervising animator for him.
Cathy Moriarty as Ruby, an Afghan Hound who has a soft spot for puppies. Kevin Peaty served as the supervising animator for her.
Bronson Pinchot as Francois, a Boston Terrier with a French accent. Kevin Peaty served as the supervising animator for him.
Debi Derryberry and Kath Soucie as Annette, Danielle, and Colette, Scamp's well-behaved and polite sisters who greatly resemble their mother Lady but each have different colored collars on their necks. They are a little on the prissy side, and think only of themselves and show no respect for Scamp, until the middle of the film when they actually start to miss him. Danielle is white collared, and by far, like Scamp, the rowdiest as well as a little on the daft side, Collette is red collared, with long ears and a very snobbish personality, and Annette is blue collared, and quite bossy. Their actual names are not mentioned in the film, but in the end credits. While they are at odds with Scamp at times, they do love him, due to the fact that he is their brother.
Rob Paulsen as Otis, a stray dog in the dog pound.
Nick Jameson and Barbara Goodson as Jim Dear and Darling, the owners of Lady, Tramp, Annette, Scamp, Collette, and Danielle.
Andrew McDonough as Junior, Jim Dear and Darling's son and the owner of Lady, Tramp, Annette, Scamp, Collette, and Danielle.
Tress MacNeille as Aunt Sarah, the aunt of Junior and the owner of Si and Am. She shows no respect for Scamp, believing him to be a "monster".
Mary Kay Bergman and Tress MacNeille as Si and Am, Aunt Sarah's two Siamese cats. They have a much more minor appearance in this film than in the original.
Jim Cummings as Tony, the waiter of Tony's.
Michael Gough as Joe, Tony's assistant. Both he and Tony have only minor appearances in this film.
Frank Welker as Reggie, an extremely vicious and very large bulldog mix. He chases Scamp in a street, but gets caught by the dog catcher, who unexpectedly sends him flying to a tomato stand. Later, he is chained when he attempts to kill Scamp, who is in the pound, but is fought off by Tramp. Reggie can be noticed because of his short tail and chipped canine.
April Winchell as Mrs. Mahoney, a woman on the streets who wears a wig and carries around a dog in a purse. On two occasions involving dog chases, she gets knocked over and her wigs get knocked off at the same time which publicly humiliates her. Of the two rounds in which this happens, she actually ends up completely losing the wig she had on in the first dog chase. Her name is not mentioned in the film, but is in the end credits.
Scratchy, a mongrel dog who is plagued by fleas and fur loss.

text: Reception[edit]

text: Critical reception[edit]

text: The film garnered generally mixed reviews from Rotten Tomatoes. It received 11 critical reviews, from which only 5 voted for Fresh while 6 were for Rotten, giving it a total rating of 45% and an average rating of 5.8 out of 10 without a consensus.[3]

text: Accolades[edit]

text: The film received seven nominations and won one award. It received nominations from the International Animated Film Association (ASIFA) during the 29th Annie Awards in 2001,[4] from DVD Exclusive during the 2001 DVD Exclusive Awards, and the Academy of Science Fiction, Fantasy & Horror Films during the 28th Saturn Awards in 2002. It won the Video Premiere Award in the 2001 DVD Exclusive Awards for the Best Animated Character Performance (Scott Wolf as the speaking voice and Andrew Collins as the supervising animator of Scamp).[5][6]

text:
Year
Ceremony
Award
Result

2001
29th Annie Awards[7]
Outstanding Achievement in an Animated Home Video Production
Nominated

Outstanding Individual Achievement for Directing in an Animated Feature Production
Darrell Rooney
Jeannine Roussel
Nominated

Outstanding Individual Achievement for Voice Acting by a Female Performer in an Animated Feature Production
Jodi Benson (Lady)
Nominated

Outstanding Individual Achievement for Voice Acting by a Female Performer in an Animated Feature Production
Alyssa Milano (Angel)
Nominated

Video Premiere Award
DVD Exclusive Awards
[8]
Best Animated Video Premiere Movie
Jeannine Roussel
Nominated

Best Original Song (A World Without Fences)
Roger Bart (singer)
Melissa Manchester (writer)
Norman Gimbel (writer)
Nominated

Best Animated Character Performance
Scott Wolf (voice)
Andrew Collins (supervising animator)
Won

2002
28th Saturn Awards[9]
Best DVD Release
Nominated

text: Soundtrack[edit]

text:
Lady and the Tramp II: Scamp's Adventure

Soundtrack album by Various artists

Released
2001

Recorded
2000-2001

Genre
Pop, Classical

Label
Walt Disney

text:
Professional ratings

Review scores

Source
Rating

LetsSingIt
[10]

text: Lady and the Tramp II: Scamp's Adventure is the film's soundtrack, released through Walt Disney Records. The score for it was mainly composed by Melissa Manchester and Norman Gimbel.[11]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"Welcome Home"
Melissa Manchester and Norman Gimbel
Jodi Benson, Jeff Bennett, Jim Cummings, Debi Derryberry, Michael Gough, and Kath Soucie
9:44

2.
"World Without Fences"
Melissa Manchester and Norman Gimbel
Roger Bart
2:18

3.
"Junkyard Society Rag"
Melissa Manchester and Norman Gimbel
Jess Harnell, Bill Fagerbakke, Melissa Manchester, Cathy Moriarty, Mickey Rooney, and Bronson Pinchot
3:13

4.
"I Didn't Know That I Could Feel this Way"
Melissa Manchester and Norman Gimbel
Roger Bart and Susan Egan
2:13

5.
"Always There"
Melissa Manchester and Norman Gimbel
Roger Bart, Jeff Bennett, Jodi Benson and Susan Egan
2:19

6.
"Bella Notte (This is the Night)"
Sonny Burke and Peggy Lee
Joy Enriquez and Carlos Ponce
3:18

7.
"Epilogue"
Danny Troob
Danny Troob, Brian Besterman, Martin Erskine and Larry Hochman


document_title: Johnny Hardwick

question_text: who plays dale on king of the hill

question_tokens: who plays dale on king of the hill

text: Johnny Hardwick

text:
Johnny Hardwick

Hardwick at the Velveeta Room in Austin, January 2004

Born
John Michael Hardwick
(1958-09-21) September 21, 1958 (age 59)
Houston, Texas, U.S.

Occupation
Voice actor SAG, stand-up comedian, writer WGA

Years active
1997–present

Known for
Voice of Dale Gribble in King of the Hill

text: John Michael Hardwick (born December 21, 1958 in Houston, Texas) is an American stand-up comedian, and voice actor. He is best known as the voice of Dale Gribble in the animated American television show King of the Hill. He served as staff writer, story editor, and producer for the show as well.[1] He has four Prime Time Emmy nominations and in 1999 he won an Emmy Award for his work as a producer on King of the Hill.

text: Biography and career[edit]

text: A native of Austin, Texas,[1] Hardwick attended Texas Tech University in Lubbock, Texas. After graduation with a BS degree in Journalism, he worked for a decade as a bartender in live blues bars in Dallas and Austin, Texas including Nick's Uptown, Sixth Street Live, and The Greenville Bar & Grill. Starting in 1990 he then performed stand-up comedy for a number of years, appearing at such venues as the Dallas Improv and the Velveeta Room in Austin, Texas and appearing on shows like Evening at the Improv and Caroline's Comedy Hour. He was the first standup comedian to appear on The Jon Stewart Show. In 1995, Hardwick appeared at the Montreal Comedy Festival, where Brandon Tartikoff saw him and offered him a sitcom for NBC. However, after Hardwick proposed a comedy along the lines of Green Acres and Get a Life the network showed little interest in seriously pursuing the idea.[2]

text: After Hardwick signed with the Strauss-McGarr agency, he was continually booked doing stand-up comedy in both Austin and all over the United States. He was originally planned to be a regular in MTV's Austin Stories— but left to help create King of the Hill. While at the Laugh Factory in Los Angeles, Hardwick performed a comedy set about his father in Texas. After the show, he was approached by television writer and producer Greg Daniels and Beavis and Butthead's Mike Judge, who were helping to put together King of the Hill at the time. Daniels and Judge felt Hardwick's Texan humor was just what the show needed and offered him a job writing for the fledgling program. Hardwick moved from Austin to Silverlake, California to work for the show. Hardwick's first day working for King of the Hill was one day after NBC's option on his sitcom development deal expired (thus making it legal for Hardwick to pursue a sitcom with another network).[2]

text: The role of Dale Gribble was originally offered to Daniel Stern, but producers were unable to agree with Stern on a salary. Instead, Hardwick won the voice role, having no interest whatsoever in how much money was involved. Hardwick performed the role for the entire 13-year run of the successful show and appeared in every episode.