document_title: Free throw

question_text: when do you get 3 free throws in basketball

text: Free throw

text: Description[edit]

text: Free throws can normally be shot at a high percentage by good players. In the NBA, most players make 70–80% of their attempts. The league's best shooters (such as Steve Nash, Rick Barry, Ray Allen, José Calderón, Stephen Curry, Reggie Miller, Kevin Durant, and Dirk Nowitzki) can make roughly 90% of their attempts over a season, while notoriously poor shooters (e.g. Dwight Howard, DeAndre Jordan, Wilt Chamberlain, Andre Drummond, Andris Biedrins, Chris Dudley, Ben Wallace, Shaquille O'Neal, and Dennis Rodman) may struggle to make 50% of them. During a foul shot, a player's foot must be completely behind the foul line. If a player lines up with part of his or her foot on the line, a violation is called and the shot doesn't count. Foul shots are worth one point.

text: When free throws are awarded[edit]

text: There are many situations when free throws can be awarded.

text: The first and most common is when a player is fouled while in the act of shooting. If the player misses the shot during the foul, the player receives either two or three free throws depending on whether the shot was taken in front of or behind the three-point line. If, despite the foul, the player still makes the attempted shot, the number of free throws is reduced to one, and the basket counts. This is known as a three-point or four-point play, depending on the value of the made basket.

text: The second is when the fouling team is in the team bonus (or foul penalty) situation. This happens when, in a single period, a team commits a set number of fouls whether or not in the act of shooting. In FIBA, (W)NBA and NCAA women's play, the limit is four fouls per quarter; in the NBA, starting with the fifth foul (4th in overtime), or the second in the final 2 minutes if the team has less than 5 fouls (4 in OT), the opposing team gets two free throws. In the WNBA, the fouled player shoots two free throws starting with the opponent's fifth foul (4th in overtime), or second team foul in the final minute if that team has committed under 5 fouls in a period (4 in overtime). In FIBA and NCAA women's basketball, the fouled player also shoots two free throws starting with the opponent's fifth foul in a period, considering that team fouls accrue from the fourth period on, as all overtimes are extensions of it for purposes of accrued team fouls. In NCAA men's basketball, beginning with the seventh foul of the half, one free throw is awarded; if the player makes the free throw, another is given. This is called shooting a "one-and-one". Starting with the tenth foul of the half, two free throws are awarded. In addition, overtime is considered an extension of the second half for purposes of accumulated team fouls. Free throws are not awarded for offensive fouls (most often charging fouls), even if the team fouled is in the bonus. The number of fouls that triggers a penalty is higher in college men's basketball because the game is divided into two 20-minute halves, as opposed to quarters of 12 minutes in the NBA or 10 minutes in the WNBA, college women's basketball, or FIBA play (note that the college women's game was played in 20-minute halves before 2015–16). As in professional play, a foul in the act of shooting is a two- or three-shot foul, depending on the value of the shot attempt, with one free throw being awarded if the shot is good.

text: If a player is injured upon being fouled and cannot shoot free throws, the offensive team may designate any player from the bench to shoot in the place of the injured player in college; in the NBA, the opposing team designates the player to shoot, and the injured player can't return, unless the foul committed was a flagrant-2, in which case the player's own team also gets to pick the replacement shooter. If a player fouled takes exception to the foul, and starts or participates in a fight, and gets ejected, he or she is not allowed to take his or her free throws, and the opposing team will choose a replacement shooter. In all other circumstances, the fouled player must shoot his or her own foul shots.

text: If a player, coach, or team staff (e.g. doctor, statistician) shows poor sportsmanship, which may include arguing with a referee, that person may get charged with a more serious foul called a technical foul. In the NBA, a technical foul results in one free throw attempt for the other team. In FIBA play, technical fouls result in two free throws in all situations. Under NCAA rules, technical fouls are divided into "Class A" (violent or serious unsportsmanlike conduct) and "Class B" (less egregious violations such as hanging on the rim or delay of game). Class A technicals result in two free throws, and Class B technicals result in one. At all levels, the opposing team may choose any player who is currently on the court to shoot the free throws, and is then awarded possession of the ball after the free throws. Since there is no opportunity for a rebound, these free throws are shot with no players on the lane.

text: Finally, if a referee deems a foul extremely aggressive, or that it did not show an attempt to play the ball, the referee can call an even more severe foul, known as an unsportsmanlike foul in international play or a flagrant foul in the NBA and NCAA basketball. This foul is charged against the player (and depending on the severity of the offense, can even be ejected), and the opponent gets two free throws and possession of the ball afterwards. Unlike technical fouls, the player fouled must shoot the awarded free throws.

text: Fouls "away from the ball" (fouls that do not occur on the shooter or near the ball) are handled like the second case above in most situations. Many times defenders hold their opponent to prevent them from catching an in-bound pass or fight through screens and thus are called for fouls. These fouls are almost always treated as normal personal fouls. In the NBA, when there are only two minutes left on the clock of either half, off-ball fouls when the fouling team is over the limit are rewarded with one free throw and possession of the ball. It is therefore common for a losing team to deliberately single out its opponent's poor free throw shooters, regardless of their dominance in other aspects of the game (as in the cases of Ben Wallace and Shaquille O'Neal), as the targets of deliberate fouls until the two-minute mark, after which the losing team plays intense defense for the rest of the game (see Hack-a-Shaq). It is believed that this rule was instituted because of Wilt Chamberlain. Previously teams had been allowed to foul any player on the court regardless of whether that player had possession of the ball, with only two free throws awarded to the fouled player. This motivated teams to chase poor free throw shooters, such as Chamberlain, around the court in attempt to foul him in an effort to extend the game. To discourage this practice, the NBA changed the rule to award one free throw and possession of the ball to a player who is fouled away from the ball in the last two minutes of the fourth quarter. This rule does not apply in international or NCAA play and in fact plays a very vital strategic role in the NCAA Tournament.

text: Procedure[edit]

text: Free throws are organized in procession. The shooter takes his place behind the free throw line (5.8 m (19 ft) from the base line, 4.6 m (15 ft) from the basket). All other players must stand in their correct places until the ball leaves the shooter's hands: up to four people in the NCAA rules [1] and three people in the FIBA rules [2] from the defensive team and two people from the shooting team line up along the sides of the restricted area (keyhole, paint, lane). These players are usually the ones that rebound the ball. Three line up on each side. A defensive player always takes the place closest to the basket.

text: The remaining players must remain behind the three point line and the free throw line extended (an imaginary line extended from the free throw line in both directions to the sidelines).

text: Leaving their designated places before the ball leaves the shooter's hands, or interfering with the ball, are violations. In addition, the shooter must release the ball within five seconds (ten seconds in the United States) and must not step on or over the free throw line until the ball touches the hoop. Players are, however, permitted to jump while attempting the free throw, provided they do not leave the designated area at any point.[3] A violation by the shooter cancels the free throw; a violation by the defensive team results in a substitute free throw if the shooter missed; a violation by the offensive team or a shot that completely misses the hoop results in the loss of possession to the defensive team (only if it is on the last free throw).

text: Under FIBA rules, if the shooter does not commit a violation, and the ball goes in the basket, the attempt is successful, regardless of violations committed by any non-shooter.

text:
Lane violation

Offensive players (excluding shooter)
Both teams' players
Defensive players
Shooter

Made
Free throw is not counted (Not the last free throw)
Turnover (Last free throw)
Free throw is counted
Free throw is counted, and another is taken
Turnover (FIBA)

Missed
Free throw is not counted (Not the last free throw)
Turnover (Last free throw)
Jump ball (NBA, some leagues)
Possession arrow (FIBA)
Free throw is retaken
Turnover (FIBA)

text: Free throws awarded (NBA)[edit]

text:
Foul

Technical
One free throw

Personal

Offensive
Loss of possession3

Loose ball

Defensive

Clear path
Two free throws and possession

Flagrant
Two free throws and possession

No penalty1
Loss of possession3

Penalty1
Two free throws

Shooting

Non-shooting

Shot made
One free throw

Shot missed

No penalty1
Inbounds pass2

Penalty1

Two-point attempt
Two free throws

Three-point attempt
Three free throws

Not last two minutes of game:
Two free throws

Last two minutes of game

Not away from play:
Two free throws

Away from play:
One free throw and possession

text:
1 Penalty applies to fouls in excess of four in a regulation period or in excess of three in an overtime period. If a team has not committed its foul quota by the two minute mark of a period, it shall be allowed one foul before the penalty applies. Offensive fouls do not count toward this total.
2 Defensive fouls committed during an inbounds pass prior to the ball being released result in two free throws regardless of the penalty situation.
3 In the NBA, a team must have five players on the court at all times. If a team is down to five players because of injuries and players with six fouls, and a player commits his sixth foul, he remains in the game and a technical foul is charged. The technical foul penalty of one free throw and the ball applies.

text: Historical[edit]

text: Prior to the 1954–55 season, the NBA established the rule that a backcourt foul would result in a "three to make two" situation (up to three attempts to make two free throws) if the violating team was over the team foul limit.[6] By 1979, the rule had been extended to the penalty situation for flagrant fouls, fouls made in the act of shooting (resulting in a miss), and fouls due to the swinging of the elbows.[7] Prior to the 1981–82 season, this rule, as well as the related "two to make one" rule were abolished.[6]

text: In 1956, in response to reports that Wilt Chamberlain was able to dunk free throws, the NCAA established a rule requiring that free throw shooters keep both feet behind the free throw line during an attempt.[8] The NBA later adopted this rule.[9]

text: Strategy[edit]

text: As mentioned earlier, some players are notoriously bad free throw shooters. Historical examples of star players who were poor shooters include Wilt Chamberlain, Ben Wallace, and Shaquille O'Neal.[10] This allows a strategy where a team intentionally fouls this player, hoping that they will miss one or both shots and the defending team will re-gain possession of the ball. This strategy was dubbed Hack-a-Shaq when famously used on Shaquille O'Neal. Dwight Howard, DeAndre Jordan and Andre Drummond[11] has been subjected to this strategy as well,[12] as have other players.

text: It can be advantageous for a trailing team to intentionally foul late in a close game. While this allows the leading team to shoot free throws and increase their lead, it also stops the clock, similar to a time out in football (in basketball, a time out may only be called by a team with possession of the ball). As well, it allows the trailing team the chance to take possession if the second free throw is missed, and if it is made awards possession outright to the trailing team. Therefore, many teams substitute players with high free throw percentages when they are leading late in games to combat this strategy. It is seen as a last resort strategy with little chance of success, but if it is not employed the leading team may run out the clock and end the game.

text: As well, a defensive team leading by three may foul an offensive team intentionally late in the game, if the game clock is no greater than a couple of seconds. In such circumstances, the opposing team would most likely not have enough time for multiple possessions. Down three points, the opposing team's obvious strategy would be to attempt a three-pointer to try to send the game into overtime; however, the leading team may attempt to foul the trailing team before a shot is attempted, as this would lead to only two free throws which is not enough to tie the game. If the trailing team is placed into the situation of shooting two free throws, they must attempt to intentionally miss the second free throw in the hopes of securing the offensive rebound (which is harder than normal with free throws, as the defending team is automatically given position) and scoring before the game clock expires – if the first free throw is made, a two-pointer would tie the game, and a three-pointer would win the game; if the first free throw is missed, only a three-pointer would tie the game. Theoretically, adopting this strategy makes a leading team four times more likely to win the game than allowing the trailing team to attempt a three-pointer.[13]

text: Technique[edit]

text: Majority of adult professional players shoot free throws in the overhand style, despite both theoretical and practical demonstrations that the underhand style (aka "granny-style") usually produces better average results.[14][15] Famously, in the NBA, Rick Barry retired in 1980 while ranked first in NBA history at the time with his 0.900 free throw percentage.[16] There were only a few professional players who have utilized this technique, while the vast majority of them resisted adopting the technique for the fear of ridicule or for other similar reasons unrelated to performance.[14][15]


document_title: The X Factor (UK series 14)

question_text: where is the x factor final 2017 filmed

question_tokens: where is the x factor final 2017 filmed

root

text: The X Factor (UK series 14)

text: Judges and presenters[edit]

text: In December 2016, Louis Walsh confirmed he would continue to judge the series through 2018, stating he had signed through "the next two years".[6] That same month, both Sharon Osbourne and Nicole Scherzinger cast doubt on their return, with Osbourne citing her dual-work on The Talk, and Scherzinger stating: "I can't confirm that I'm going to [be back] but I think if I did return it would have to be with this panel because I'm really close with this panel. [...] I've really enjoyed myself and we're really close."[7][8] On 13 April 2017, Cowell announced his intentions to retain the same judging panel for the fourteenth series.[9] In June 2017, it was announced that the judging panel would remain the same as the previous series.[2]

tag: p

text: Dermot O'Leary returned for his tenth series as presenter. On 23 June 2017, it was announced that Britain's Got Talent judge Alesha Dixon would appear as a guest judge for the first day of Manchester auditions, due to Scherzinger having a "previous diary commitment".[10] Five days later, on 28 June, it was announced that Dixon would once again appear as a guest judge, this time for Osbourne, who was unavailable due to a long-standing back injury.[11] Cowell arrived late to 4 July 2017, auditions in London, due to an illness.[12] On 29 October 2017, Dixon reappeared as a guest judge on the Sunday live show, this time filling in for Cowell, who was absent recovering from an injury during the weekend.

text: Selection process[edit]

text: On 4 July, it was reported that there would be major changes to the show this year. Auditions are taking place in Thorpe Park, bootcamp would take place in front of an audience and there would be six weeks of live shows instead of the usual ten. Additionally, acts would be sent home on both Saturday and Sunday, as "tedious" Saturday nights received lower viewing figures than Sunday.[13]

text: Auditions[edit]

text: The minimum age to audition this year was 14 after being reduced down from 16 the previous year.[14] Contestants needed a "yes" from at least three of the four judges to progress to Bootcamp.

text: Mobile auditions[edit]

text: The mobile auditions began on 11 May 2017, in Belfast and concluded on 23 May 2017, in Yeovil.[citation needed]

text:
Summary of mobile auditions

Location
Date(s)
Venue

Belfast
11 May 2017
Victoria Square Shopping Centre

Bangor
12 May 2017
Deninol Shopping Centre

Southampton
13 May 2017
West Quay Shopping Centre

Douglas
14 May 2017
The Strand Shopping Centre

Swansea
Bambuu Nightclub

Blackpool
16 May 2017
Houndshill Shopping Centre

Bournemouth
Obscura Cafe

Bristol
Cabot Circus

Carlisle
17 May 2017
The Lanes Shopping Centre

Brighton
Churchill Square Shopping Centre

Truro
The Boat

Newport
19 May 2017
Quay Arts Centre

Wigan
The Grand Arcade Shopping Centre

Plymouth
Plymouth Pavilions

Margate
20 May 2017
Westwood Cross

21 May 2017

Stoke on Trent
22 May 2017
Victoria Hall

Exeter
Princesshay Centre

Thurrock
23 May 2017
Lakeside Shopping Centre

Yeovil
Quedam Centre

tag: table

text: Judges' auditions[edit]

text: The auditions began on 20 June 2017, in Liverpool and concluded on 10 July 2017, in Surrey.[citation needed]

text:
Summary of judges' auditions

City
Date(s)
Venue
Changes to judging line-up

Liverpool
20–21 June 2017
Titanic Hotel
N/A

Manchester
24 June 2017
Old Trafford Cricket Ground
Alesha Dixon (in lieu of Nicole Scherzinger)

25 June 2017
N/A

Edinburgh
28 June 2017
Assembly Rooms
Alesha Dixon (in lieu of Sharon Osbourne)

London
4–6 July 2017
Tobacco Dock
N/A

Surrey
9–10 July 2017
Thorpe Park

text: Bootcamp[edit]

text: Bootcamp was filmed live at The SSE Arena, Wembley in front of a studio audience.[15] Following the filming of bootcamp and prior to the filming of the six-chair challenge, the judges' categories were revealed. Cowell was given the Groups, Scherzinger was given the Overs, Osbourne was given the Girls and Walsh was given the Boys.[16] There are three different stages to Bootcamp.

text: Six-chair challenge[edit]

text: The six-chair challenge took place over the course of two days, from 26 to 28 July 2017, at The SSE Arena, Wembley.[17] Unlike previous years, where all four judges sat together, each judge was secluded on their own while their respective category performed. The three remaining judges sat together and gave their own critiques of the performance, before allowing the category's judge to make the final decision.[16][18] It was broadcast over three episodes; Osbourne choosing in the first, Cowell and Scherzinger choosing in the second, with later portions of her decisions shown, alongside Walsh's, in the third.[19]

text: Judges' houses[edit]

text: The judges' categories were announced in July 2017,[16] with additional details of the judges' houses announced in October 2017.[20][21][22] Anthony Russell withdrew after the pre-recorded sections of the show and was replaced by Sam Black who was knocked out of the competition at the Bootcamp stage. Black was in Walsh's Boys category.[23] In a statement, Walsh stated, "Anthony has been fantastic across the series, a great singer and performer who we are really sad to see go. I had to think for a long time who could take the place. Sam had a great reaction from the British public when his Audition aired. So I re-watched it and realised we missed a trick not putting him through at Boot Camp. He has that retro 60s style viewers will love. He's really likeable and talented and I can't wait to hear more."[24] At the end of judges' houses, it was announced that the public could vote for a wildcard from each category bringing the total amount of contestants for the live shows to 16.[25]

text:
Summary of judges' houses

Judge
Category
Location
Assistants
Contestants eliminated
Wildcards

Cowell
Groups
Southern France
Cheryl
Lemonade, New Girl Band
Jack and Joel

Osbourne
Girls
San Francisco
Jack and Kelly Osbourne
Deanna Mussington, Georgina Panton
Alisah Bonaobra

Scherzinger
Overs
South Africa
Stormzy
Slavko Kalezić, Berget Lewis
Talia Dean

Walsh
Boys
Istanbul
Mika
Aidan Martin, Jack Mason
Leon Mallett

text: Finalists[edit]

text: Key:

text:
Category (mentor)
Acts

Boys (Walsh)
Sam Black
Lloyd Macey
Leon Mallett
Spencer Sutherland

Girls (Osbourne)
Alisah Bonaobra
Grace Davies
Holly Tandy
Rai-Elle Williams

Overs (Scherzinger)
Talia Dean
Tracyleanne Jefford
Matt Linnen
Kevin Davy White

Groups (Cowell)
The Cutkelvins
Jack and Joel
Rak-Su
Sean and Conor Price

text: Live shows[edit]

text: The finalists for the live shows were announced during the episode broadcast on 22 October 2017. However, at the end of the episode, it was announced by Dermot O'Leary that there would be a wildcard vote for each category. The winners of the wildcard vote were revealed on 28 October at the start of the first live show.[26]

text: For the first time since series six, a major overhaul of the set layout was made as live shows debuted in a new filming location, LH2 Studios in London. Numerous other changes were introduced for this series' live shows. This included contestant and musical guest performances on both Saturday and Sunday shows, and the removal of the sing-offs, deadlocks and judges' votes on the Sunday show. Each show, two of the categories would sing and immediately after the performances, the public vote would open for a short amount of time. At the end of each show, the contestant with the fewest votes is automatically eliminated from the competition. In addition, the contestant with the highest votes for that night would also be announced.[27] The two acts who won their respective public vote would then sing against each other in a new element of the show called the prize fight. After another public vote, the winner of the prize fight would win a special weekly prize.[28] For the first time ever the live final will broadcast from the Excel Centre, London and not Wembley Arena as part of the show's drastic changes this series.[29]

text: Musical guests[edit]

text: Liam Payne performed on the first live show, while Stormzy performed on the second live show.[30] Tokio Myers performed on the third live show, while Rita Ora performed on the fourth.[31] Harry Styles performed on the fifth live show and Paloma Faith performed on the sixth.[32] Matt Terry performed on the seventh live show and Fergie performed on the eighth.[33] James Arthur performed on the first semi final and Ed Sheeran performed on the second.[34] PrettyMuch[35] and Louis Tomlinson[36] performed on Saturday's final, while P!NK, Sam Smith,[37] CNCO and Little Mix[38] performed during the Sunday final.

text: Results summary[edit]

text:
–
Contestant received the fewest public votes and was immediately eliminated

     –
Contestant received the most public votes

text:
Weekly results per contestant[39]

Contestant
Week 1
Week 2
Week 3
Week 4
Week 5
Week 6

Saturday
Sunday
Saturday
Sunday
Saturday
Sunday
Saturday
Sunday
Saturday
Sunday
Saturday
Sunday

Rak-Su
N/A
1st
22.2%
1st
32.3%
N/A
2nd
25.7%
N/A
1st
36.7%
N/A
1st
26.1%
1st
27.3%
1st
41.7%
Winner
51.7%1

Grace Davies
1st
21.9%
N/A
N/A
2nd
18.5%
N/A
2nd
20.1%
N/A
1st
26.1%
4th
17.2%
2nd
26.0%
2nd
35.4%
Runner-up
40.1%1

Kevin Davy White
N/A
4th
11.1%
N/A
1st
21.9%
1st
25.8%
N/A
N/A
3rd
21.4%
2nd
19.5%
3rd
18.9%
3rd
22.9%
Eliminated
(week 6)

Lloyd Macey
3rd
15.0%
N/A
3rd
14.4%
N/A
N/A
1st
26.4%
2nd
22.8%
N/A
3rd
19.2%
4th
18.2%
Eliminated
(week 5)

The Cutkelvins
N/A
2nd
17.3%
2nd
15.1%
N/A
4th
13.5%
N/A
3rd
18.9%
N/A
5th
10.1%
5th
9.6%
Eliminated
(week 5)

Matt Linnen
N/A
3rd
11.9%
N/A
5th
13.6%
3rd
14.1%
N/A
N/A
2nd
22.5%
6th
7.9%
Eliminated
(week 5)

Holly Tandy
2nd
15.9%
N/A
N/A
3rd
15.4%
N/A
3rd
19.7%
N/A
4th
16.1%
Eliminated
(week 4)

Rai-Elle Williams
5th
11.5%
N/A
N/A
4th
14.3%
N/A
4th
14.4%
N/A
5th
13.9%
Eliminated
(week 4)

Sean and Conor Price
N/A
5th
10.6%
5th
10.6%
N/A
5th
11.2%
N/A
4th
15.4%
Eliminated
(week 4)

Sam Black
7th
8.5%
N/A
4th
12.5%
N/A
N/A
5th
11.1%
5th
6.2%
Eliminated
(week 4)

Alisah Bonaobra
4th
11.8%
N/A
N/A
6th
9.5%
N/A
6th
8.3%
Eliminated
(week 3)

Jack and Joel
N/A
7th
9.2%
6th
8.6%
N/A
6th
9.7%
Eliminated
(week 3)

Tracyleanne Jefford
N/A
6th
10.3%
N/A
7th
6.8%
Eliminated
(week 2)

Leon Mallett
6th
9.3%
N/A
7th
6.5%
Eliminated
(week 2)

Talia Dean
N/A
8th
7.4%
Eliminated
(week 1)

Spencer Sutherland
8th
6.1%
Eliminated
(week 1)

Prize fight
Winner
Grace Davies
53.5% to win
Kevin Davy White
53.6% to win
Lloyd Macey
64.3% to win
Rak-Su
61.5% to win
No prize fight

Runner-up
Rak-Su
46.5% to win
Rak-Su
46.4% to win
Kevin Davy White
35.7% to win
Grace Davies
38.5% to win

Eliminated
Spencer Sutherland
6.1%
to save
Talia Dean
7.4%
to save
Leon Mallett
6.5%
to save
Tracyleanne Jefford
6.8%
to save
Jack and Joel
9.7%
to save
Alisah Bonaobra
8.3%
to save
Sam Black
6.2%
to save
Rai-Elle Williams
13.9%
to save
Matt Linnen
7.9%
to save
The Cutkelvins
9.6%
to save
Kevin Davy White
22.9%
to win
Grace Davies
40.1%
to win

Sean and Conor Price
15.4%
to save
Holly Tandy
16.1%
to save
Lloyd Macey
18.2%
to save

Reference(s)
[40]
[41]
[42]
[43]
[44]
[45]
[46]
[47]
[48]
[49]
[50]
[51]

text: ^1 The voting percentages in week 6 for Sunday do not add up to 100%, owing to the freezing of votes. Kevin Davy White received 8.2% of the final vote.[39]

tag: ul

text: Live show details[edit]

text: Week 1 (28/29 October)[edit]

text:
Theme: "Express Yourself"[52]
Prize: Trip to New York, meet and greet with Pink at Madison Square Garden[28]
Musical guests:

Saturday: Liam Payne ("Bedroom Floor")
Sunday: Stormzy & Labrinth (“Blinded by Your Grace, Pt. 2”)

text: The wildcards were revealed at the start of Saturday's show.[53]

text: Cowell missed the Saturday and Sunday show, due to recovery from falling down the stairs the morning before.[54] Alesha Dixon filled in as a guest judge on Sunday.[55]

text:
Contestants' performances on the first and second live shows

28 October

Act
Order
Song[52]
Result

Rai-Elle Williams
1
"Doo Wop (That Thing)" / "Lost Ones" / "No"
Safe

Spencer Sutherland
2
"Who You Are"
Eliminated

Holly Tandy
3
"Hollow"
Safe

Leon Mallett
4
"Stay"
Safe

Alisah Bonaobra
5
"This Is My Now”
Safe

Sam Black
6
"Faith"
Safe

Grace Davies
7
"Too Young" (original song)
Won public vote

Lloyd Macey
8
"City of Stars"
Safe

29 October

The Cutkelvins
1
"What About Us"
Safe

Kevin Davy White
2
"Stay"
Safe

Talia Dean
3
“What Makes You Beautiful”
Eliminated

Jack and Joel
4
“New Rules”
Safe

Matt Linnen
5
"Scars to Your Beautiful"
Safe

Sean and Conor Price
6
"Strong"
Safe

Tracyleanne Jefford
7
"Written in the Water"
Safe

Rak-Su
8
"Mamacita" (original song)
Won public vote

Prize fight details

Grace Davies
1
“Too Young”
Winner

Rak-Su
2
"Mamacita"
Runners-up

text: Week 2 (4/5 November)[edit]

text:
Theme: "Viva Latino"[56]
Prize: Recording session with a Grammy awarded producer
Musical guests:

Saturday: Tokio Myers ("Angel")
Sunday: Rita Ora ("Anywhere")

text:
Contestants' performances on the third and fourth live shows

4 November

Act
Order
Song[56]
Result

Jack and Joel
1
"Havana"/"Hasta el Amanecer"
Safe

Leon Mallett
2
"Get Lucky"
Eliminated

Sean and Conor Price
3
"Cheap Thrills"
Safe

Lloyd Macey
4
"Hero"
Safe

The Cutkelvins
5
"Reggaetón Lento (Bailemos)"
Safe

Rak-Su
6
"Dimelo" (original song)
Won public vote

Sam Black
7
"La Bamba"/"Twist and Shout"
Safe

5 November

Grace Davies
1
"Ciao Adios"
Safe

Tracyleanne Jefford
2
"Ain't Your Mama"
Eliminated

Rai-Elle Williams
3
"Bailando"
Safe

Holly Tandy
4
"Despacito"
Safe

Kevin Davy White
5
"Smooth"
Won public vote

Alisah Bonaobra
6
"Let's Get Loud"
Safe

Matt Linnen
7
"Livin' la Vida Loca"
Safe

Prize fight details

Rak-Su
1
"Dimelo"
Runners-up

Kevin Davy White
2
"Smooth"
Winner

text: Week 3 (11/12 November)[edit]

text:
Theme: "George Michael"[57]
Prize: Open for Little Mix at Manchester Arena on 21 November 2017
Musical guests:[32]

Saturday: Harry Styles ("Kiwi")
Sunday: Paloma Faith ("Guilty")

text:
Contestants' performances on the fifth and sixth live shows

11 November

Act
Order
Song[57]
Result

Rak-Su
1
"Faith"
Safe

Matt Linnen
2
"Careless Whisper"
Safe

Jack and Joel
3
"The Edge of Heaven"
Eliminated

The Cutkelvins
4
"Killer/ Papa Was a Rollin' Stone"
Safe

Sean and Conor Price
5
"Freedom! '90"
Safe

Kevin Davy White
6
"Fastlove, Pt. 1"
Won public vote

12 November

Alisah Bonaobra
1
"Praying for Time"
Eliminated

Sam Black
2
"I'm Your Man"
Safe

Grace Davies
3
"I Can’t Make You Love Me"
Safe

Rai-Elle Williams
4
"They Won't Go When I Go"
Safe

Lloyd Macey
5
"A Different Corner"
Won public vote

Holly Tandy
6
"One More Try"
Safe

Prize fight details

Kevin Davy White
1
"Fastlove, Pt. 1"
Runner-up

Lloyd Macey
2
"A Different Corner"
Winner

text: Week 4 (18/19 November)[edit]

text:
Theme: "Crazy in Love"[58]
Prize: Record own song with Ali Tamposi
Musical guests:[33]

Saturday: Matt Terry ("The Thing About Love")
Sunday: Fergie ("Save It Til Morning")

text:
Contestants' performances on the seventh and eighth live shows

18 November

Act
Order
Song[58]
Result

Sam Black
1
"Oops"
Eliminated

Sean and Conor Price
2
"Issues"
Eliminated

The Cutkelvins
3
"Saved Me From Myself" (original song)
Safe

Lloyd Macey
4
"From This Moment On"
Safe

Rak-Su
5
"Mona Lisa" (original song)
Won public vote

19 November

Rai-Elle Williams
1
"Mr. Big Stuff"
Eliminated

Kevin Davy White
2
"I Will Always Love You"
Safe

Matt Linnen
3
"Fallin'"
Safe

Holly Tandy
4
"Love Me Harder"
Eliminated

Grace Davies
5
"Hesitate" (original song)
Won public vote

Prize fight details

Rak-Su
1
"Mona Lisa"
Winner

Grace Davies
2
"Hesitate"
Runner-up

text: Week 5: Semi-final (25/26 November)[edit]

text: O'Leary confirmed that there wouldn't be a Prize fight from this week onwards and all the categories would perform on the same night for first time this series.[59]

text:
Theme: "Cool Britannia”;[60]
Musical guest: James Arthur ("Naked")[34]

text:
Contestants' performances on the ninth live show

Act
Order
Song
Result

The Cutkelvins
1
"Nothing Like You" (original song)
Safe

Matt Linnen
2
"Gimme Shelter"
Eliminated

Grace Davies
3
"Life on Mars?"
Safe

Rak-Su
4
"Flowers"
Safe

Lloyd Macey
5
"Don't Let the Sun Go Down on Me"
Safe

Kevin Davy White
6
"Come Together"
Safe

text:
Theme: “Get Me to the Final"[61]
Musical guest: Ed Sheeran ("Perfect")[34]

text:
Contestants' performances on the tenth live show

Act
Order
Song
Result

Lloyd Macey
1
"Fix You"
Eliminated

Rak-Su
2
"I'm Feeling You" (original song)
Safe

The Cutkelvins
3
"Show Me Love"
Eliminated

Kevin Davy White
4
"Voodoo Child (Slight Return)"
Safe

Grace Davies
5
"Wolves" (original song)
Safe

text: Week 6: Final (2/3 December)[edit]

text: It was revealed on 2 December that the winners' single this year would be the contestants' duet.[62]

text:
Theme: "No theme";[63] "Celebrity duets/Winner's single"[62]
Musical guests: Pete Tong & Heritage Orchestra featuring Becky Hill ("Sing It Back"/ "You've Got the Love") (with Grace Davies, Rak-Su & Kevin Davy White),[64] PrettyMuch ("No More")[35] and Louis Tomlinson ("Miss You")[36]

text:
Contestants' performances on the eleventh live show

Act
Order
First song[63]
Order
Second song[62]
Result

Kevin Davy White
1
"Whole Lotta Love"
4
"Fastlove, Pt. 1" (with Tokio Myers)
Eliminated

Grace Davies
2
"Live and Let Die"
5
"Roots" (Original song) (with Paloma Faith)
Safe

Rak-Su
3
"Mamacita" (Original song)
6
"Dimelo" (Original song) (with Naughty Boy & Wyclef Jean)
Safe

text: Kevin Davy White received the fewest public votes and was automatically eliminated.[50]

text:
Theme: "Song to win", "Song of the Series"[65]
Musical guests: Little Mix & CNCO ("Power"/"Reggaetón Lento (Remix)"),[38] Pink ("Beautiful Trauma"/"What About Us"), and Sam Smith ("One Last Song")[37]

text:
Contestants' performances on the final live show

Act
Order
First song[65]
Order
Second song[65]
Result

Grace Davies
1
"Nothing But Words" (Original song)
3
"Too Young" (Original song)
Runner-up

Rak-Su
2
"Touché" (Original song)
4
"Mona Lisa" (Original song)
Winner

text: Winner's single[edit]

text: All proceeds from the winner's single are in aid of children’s hospice charities, Together for Short Lives and Shooting Star Chase. Simco Limited will donate 100% of its profits from the sale of each download and in respect of all audio streaming of the single, and the Chancellor has also agreed to donate the VAT, in each case to be shared equally by the charities. This donation will be at least 20p plus VAT for each download sold in the UK. FremantleMedia, ITV and all performers featuring on the single have also agreed to forgo any master royalties due to them in connection with downloads and all audio streaming of the single.[62]

text: Reception[edit]

text: Ratings[edit]

text:
Episode
Air date
Official rating
(millions)[66],1
Official rating
(millions inc. HD)[66],2
Official rating
(millions inc. HD & +1)[66],3
Weekly rank[66],4

Auditions 1
000000002018-09-02-00002 September
5.76
7.38
7.92
5

Auditions 2
000000002018-09-03-00003 September
5.73
7.46
8.04
4

Auditions 3
000000002018-09-09-00009 September
5.15
6.60
7.23
11

Auditions 4
000000002018-09-10-000010 September
5.52
7.10
7.57
6

Auditions 5
000000002018-09-16-000016 September
5.78
7.57
7.87
8

Auditions 6
000000002018-09-17-000017 September
5.40
7.07
7.50
12

Auditions 7
000000002018-09-23-000023 September
4.53
5.99
6.48
21

Auditions 8
000000002018-09-24-000024 September
5.42
7.09
7.39
12

Bootcamp 1
000000002018-09-30-000030 September
4.92
6.41
6.83
16

Bootcamp 2
000000002018-10-01-00001 October
4.67
6.11
6.34
24

Bootcamp 3
000000002018-10-07-00007 October
4.58
5.83
6.18
25

Six-chair challenge 1
000000002018-10-08-00008 October
5.34
6.97
7.36
11

Six-chair challenge 2
000000002018-10-14-000014 October
5.10
6.67
7.05
13

Six-chair challenge 3
000000002018-10-15-000015 October
4.54
6.27
6.66
25

Judges' houses 1
000000002018-10-21-000021 October
5.29
6.95
7.25
12

Judges' houses 2
000000002018-10-22-000022 October
4.42
5.58
6.26
26

Live show 1
000000002018-10-28-000028 October
4.77
6.45
6.63
21

Live show 2
000000002018-10-29-000029 October
3.77
5.27
5.58
27

Live show 3
000000002018-11-04-00004 November
4.40
5.83
6.08
24

Live show 4
000000002018-11-05-00005 November
3.37
4.61
5.03
36

Live show 5
000000002018-11-11-000011 November
3.96
5.46
5.71
22

Live show 6
000000002018-11-12-000012 November
3.68
4.97
5.38
26

Live show 7
000000002018-11-18-000018 November
3.97
5.33
5.47
28

Live show 8
000000002018-11-19-000019 November
3.83
5.17
5.34
29

Live show 9
000000002018-11-25-000025 November
3.60
4.93
5.18
36

Live show 10
000000002018-11-26-000026 November
3.66
5.13
5.31
33

Live final 1
000000002018-12-02-00002 December
3.61
4.89
5.28
34

Live final 2
000000002018-12-03-00003 December
4.17
5.56
5.83
30


document_title: Star Trek: Discovery

question_text: when does star trek discovery come out netflix

text: Star Trek: Discovery

text: Premise[edit]

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

text: Cast and characters[edit]

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

Doug Jones as Saru:
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:
A science officer specializing in astromycology (the study of fungi in space) and starship propulsion systems.[9][15] The character is inspired by a real-life mycologist of the same name.[16] He is the first openly gay character in a Star Trek series, and the showrunners "wanted to roll out that character's sexuality the way people would roll out their sexuality in life." Rapp noted that Hikaru Sulu was portrayed as gay in the film Star Trek Beyond, calling that "a nice nod. But in this case, we actually get to see me with my partner in conversation, in our living quarters, you get to see our relationship over time, treated as any other relationship would be treated".[17]

Mary Wiseman as Sylvia Tilly:
A cadet in her final year at Starfleet Academy, assigned to the Discovery.[18][19] She works under Stamets aboard the Discovery, where she becomes roommates with Burnham.[19] The character was included to represent people "at the very bottom of this ladder" of the Starfleet hierarchy. She is "the most optimistic ... has the biggest heart", and showrunner Aaron Harberts described her as "sort of the soul of our show."[20]

Jason Isaacs as Gabriel Lorca:
Captain of the Discovery,[21] a "brilliant military tactician".[22] Isaacs described the character as "probably more f-d up than any of" the previously seen Star Trek captains.[7] He plays the character with a slight southern U.S. accent, and had initially wanted to ad-lib a catchphrase for the character feeling that all Star Trek captains should have one, coming up with "git'r done" which the writers turned down due to it being widely used and copyrighted by Larry the Cable Guy.[23]

text: Episodes[edit]

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

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

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

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

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

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

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

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

8
"Si Vis Pacem, Para Bellum"[26]
TBA
TBA
November 5, 2017 (2017-11-05)

9
"Into the Forest I Go"[27]
TBA
TBA
November 12, 2017 (2017-11-12)

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

tag: ol

text: Production[edit]

text: Development[edit]

text: On November 2, 2015, CBS announced a new Star Trek television series to premiere in January 2017, "on the heels" of the original series' 50th anniversary in 2016. It is the first Star Trek series since Star Trek: Enterprise concluded in 2005, and the first show to be developed specifically for the CBS All Access on demand service. Alex Kurtzman, co-writer of the films Star Trek and Star Trek Into Darkness, and Heather Kadin were set as executive producers on the series, which is "not related" to the 2016 film Star Trek Beyond.[28][29] The January 2017 date was the earliest that CBS could release a new Star Trek series after an agreement the company made when it split with Viacom in 2005.[30] Showtime, Netflix, and Amazon Video all offered "a lot of money" for the rights to release the series,[31] but after heavily investing in the new All Access service, CBS believed that a returning Star Trek could be "the franchise that really puts All Access on the map" and could earn more money in the long run.[30][31]

text: In January 2016, CBS president Glenn Geller revealed that he and the CBS network were not involved in the production of the series, saying, "It really is for All Access. While the network will be broadcasting the pilot, I actually can't answer any creative questions about it."[32] The next month, Bryan Fuller, who began his career writing for the series Star Trek: Deep Space Nine and Star Trek: Voyager, was announced as the new series' showrunner and co-creator alongside Kurtzman.[33][34] Nicholas Meyer, writer and director of Star Trek II: The Wrath of Khan and Star Trek VI: The Undiscovered Country, also joined the series as a writer and consulting producer.[35] In March, Rod Roddenberry, the son of Star Trek creator Gene Roddenberry, and Trevor Roth of Roddenberry Entertainment also joined the series, as executive producers.[36] Fuller said that working with people previously involved with Star Trek was "really about making sure that we maintain authenticity", and said that Meyer—who is widely considered to have made the best Star Trek film in The Wrath of Khan—brings "a clarity and a cleanliness to the storytelling. An ability to ground science-fiction in a relatable way, and also making sure that we're telling character stories."[37] Fuller had publicly called for Star Trek to return to television for years, particularly because of its impact on minority groups, as he explained, "I couldn't stop thinking about how many black people were inspired by seeing Nichelle Nichols on the bridge of a ship. I couldn't stop thinking about how many Asian people were inspired by seeing George Takei and feeling that gave them hope for their place in the future. I wanted to be part of that representation for a new era."[38] When Fuller first met with CBS about the series, the company did not have a plan for what the new show would be.[39] He proposed an anthology series with each season being a standalone, serialized show set in a different era, beginning with a prequel to the original series, then stories set during the original series, during Star Trek: The Next Generation, and then "beyond to a time in Trek that's never been seen before". Fuller compared this to what American Horror Story did for horror, and described the proposal as a platform for "a universe of Trek shows". However, CBS told Fuller to just start with a single serialized show and see how that performs first, and he began further developing the concept of a prequel to the original series.[38]

text: Fuller announced in June 2016 that the first season would consist of 13 episodes,[39] though he would prefer to produce 10 episodes a season moving forward.[6] A month later, Fuller announced the series' title to be Star Trek: Discovery,[40] and revealed that it would be set in the "Prime Timeline" (which includes the previous Star Trek series, but not the modern reboot films) to keep the concurrent series and films separate, so "we don't have to track anything [happening in the films] and they don't have to track what we're doing".[41][6] Also in July, CBS Studios International licensed the series to Netflix for release outside the United States and Canada,[34] a "blockbuster" deal that paid for the show's entire budget (around US$6–7 million per episode).[42][43] During pre-production on the series, Fuller and CBS continued to disagree on the direction of the show, which was starting to overrun its per-episode budget, and was falling behind schedule due to Fuller supervising all aspects of the series as well as another new show, American Gods. This caused frustration among CBS executives who felt Fuller should be focused on having Discovery ready for release by the January 2017 premiere date.[38] By August 2016, Fuller had hired Gretchen J. Berg and Aaron Harberts, who he had worked with on Pushing Daisies, to serve as co-showrunners with him.[6][43] A month later, he and Kurtzman asked CBS to delay the series' release so they could meet the high expectations for it, and the studio pushed the series premiere back to May 2017."[44] At the end of October, CBS asked Fuller to step down as showrunner,[38] and announced a restructuring of the production: Berg and Harberts were made sole showrunners, working from a broad story arc and overall mythology established by Fuller; Kurtzman and Fuller would continue as executive producers, but with Fuller moving his attention fully to American Gods; and Akiva Goldsman would join the series in a supporting producer role, similar to the role he held on Fringe alongside Kurtzman. CBS reiterated that they were "extremely happy with [Fuller's] creative direction" for the series,[43] though some elements of the series that came directly from Fuller were dropped, including some designs and "more heavily allegorical and complex story" points.[38] Fuller later confirmed that he was no longer involved with the series, but expressed interest in returning for future seasons.[45]

text: With production set to finally begin in January, "a lot of careful deliberation [was] continuing to go into making Discovery special, from the choice of directors, to set design, to the special effects."[46] Ted Sullivan also joined the series to serve as supervising writing producer.[47][48] At CBS's 2017 upfront presentation, CBS Interactive president Marc DeBevoise confirmed a "fall" release date for the series, and announced that the episode order for the first season had been expanded to 15 episodes.[49][50] In June, CBS announced a new premiere date of September 24, 2017, with the season airing through November 2017, and then beginning again in January 2018. This break gave more time to complete post-production on the second half of the season.[24] Also that month, Kurtzman said that he and Fuller had discussed future seasons before the latter's departure, and promised that "what's there in terms of story and certainly in terms of set-up, character, big ideas, the big movement of the season, that's all stuff that Bryan and I talked about" and would not be altered.[51] Goldsman said in August that the producers wanted "a hybridized [anthology] approach. I don't think we're looking for an endless, continuing nine or 10 year story. We're looking at arcs which will have characters that we know and characters that we don't know."[8] Kurtzman added that the success of Discovery could lead to other new Star Trek series that could potentially use the anthology format.[52] By the end of August, Berg and Harberts had developed a "road map" for a second season, and "the beginnings of one" for a third. It was also revealed that an average episode of the first season had ultimately cost US$8–8.5 million each, making it one of the most expensive television series ever and exceeding the original Netflix deal, though CBS still considered the series to be paid for already due to the number of new All Access subscribers that the show was expected to draw.[53] After the series' premiere, Kurtzman said that the producers wanted to avoid announcing release dates and having to delay those for any future seasons, due to the external pressure that caused with the first season, but that he hoped a second season would be available in early 2019.[54] The second season was officially ordered a month later in October 2017.[55]

text: Writing[edit]

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

—Executive producer Alex Kurtzman on the balance between classic Star Trek and new elements in Discovery[56]

tag: div

text: The series' writers are based in Los Angeles,[57] and include "fans who all have very different relationships to Trek," which Kurtzman said is "a healthy thing and it's a good thing".[51] Fuller wanted to differentiate the series from the previous 700+ episodes of Star Trek by taking advantage of the streaming format of All Access and telling a single story arc across the entire first season. He and Kurtzman developed this story from "so many elements of Star Trek", taking certain episodes of the original series and using their "DNA" to find "the spirit of what Star Trek offers, both in terms of high-concept science fiction storytelling and really wonderful metaphors for the human condition".[39] Berg said that the series' writers "are so in love with" The Original Series, The Next Generation, and the family aspect of those series, while Harberts added that Meyer's Star Trek films were an especial influence on Discovery because "his storytelling is complex and intellectual and yet there's a lot of room for character voices".[58]

text: The titular ship was named after Discovery One from 2001: A Space Odyssey, NASA's Space Shuttle Discovery, and "the sense of discovery ... what [that] means to Star Trek audiences who have been promised a future by Gene Roddenberry where we come together as a planet and seek new worlds and new alien races to explore and understand and collaborate with".[59] Fuller saw the series as a bridge between Enterprise and the original series—which are set around 150 years apart—but set much closer to the latter to allow the series to "play with all the iconography of those ships and those uniforms".[60] In May 2017, Sullivan described the series as "a genuine prequel" to the original series,[61] with Goldsman later adding that there were many classic Star Trek elements that fans among the writers wished to include in the series, but couldn't because they were included in the original series as something being discovered by Starfleet for the first time then.[62] The choice to feature a single serlialized story throughout the first season was inspired by the general change in television to tell more realistic and serialized stories rather than the "new destination-based adventure each week" format mostly used in previous Star Trek series. Fuller had been one of several writers during the 1990s pushing for Deep Space Nine and Voyager to move towards this style.[63] Also inspired by modern, "peak television" series such as Game of Thrones was a willingness to kill off major characters for dramatic reasons, though the writers wanted to avoid doing so gratuitously or for "shock value".[64]

text: Fuller said the series could "push the content envelope since it won't be constrained by broadcast standards", but "it's still Star Trek. It will probably be slightly more graphic content ... I imagine we're going to shoot scenes a couple of ways and see what feels more authentic in the editing room."[1] Harberts ultimately described the series as a "hard PG-13", saying the series could include "some violent things or [a] tiny bit of language" but they still wanted the show to be for families and to "honor what the franchise is."[65] On using time travel in the series, a plot device used in at least two episodes of every previous live-action Star Trek season, Fuller said that it had not yet been used for any episode by the end of August 2016, and, "You never know when you want to pull out that device but I am not anticipating an over-reliance on time travel to tell this season's stories."[6] The series' writers also chose to ignore Gene Roddenberry's longstanding rule that Starfleet crew members not have any significant conflict with one another or be depicted negatively (a rule that Roddenberry himself did not always strictly follow). Harberts explained, "We're trying to do stories that are complicated, with characters with strong points of view and strong passions. People have to make mistakes—mistakes are still going to be made in the future. We're still going to argue in the future ... the thing we're taking from Roddenberry is how we solve those conflicts."[63] Because of the show's position as a prequel to the original series, the producers felt it was more important for Discovery to build towards Roddenberry's ideals, and to show that "you can't simply be accepting and tolerant without working for it, and so this show is about that struggle."[62]

text: Casting[edit]

text: By June 2016, Fuller had met with several actors, and said that "we want to carry on what Star Trek does best, which is being progressive. So it's fascinating to look at all of these roles through a colorblind prism and a gender-blind prism".[39] A month later, Kadin clarified that the series would feature minority, female, and LGBTQ characters.[66] In August, Fuller said the series would feature "about seven" lead characters,[67] and would star a lieutenant commander, rather than a starship captain like previous Star Trek series, to be played by a non-white actress. He said the series would also include more alien characters than other Star Trek series, and would feature at least one openly gay character. Fuller, who is gay himself, had been determined to see this happen since receiving hate mail while working on Voyager when a character on that show was rumored to be coming out as gay.[1] By this time, Fuller had discussed the series' casting with Mae Jemison, the first black woman in space (who made a cameo appearance in an episode of The Next Generation).[1][68]

text: Fuller anticipated casting announcements in October 2016,[6] but none had been made by the end of that month. The majority of the series main characters were believed to have been cast by then, but no actress had been cast for the series' lead role. This was a source of "some internal stress" at CBS.[43] Several African American and Latina actresses were being looked at for the role, with CBS "not seeking a huge star and [preferring] a fresh face for the part."[69] In October, the cast was believed to include "a female admiral, a male Klingon captain, a male admiral, a male adviser and a British male doctor", with one of those male leads played by an openly gay actor.[70] The next month, Doug Jones and Anthony Rapp were revealed to be cast, as Science Officers Saru and Stamets, respectively.[9] The former is a Kelpien, an alien race created for the series,[10] while the latter is the first Star Trek character to be conceived and announced as gay.[9] Sonequa Martin-Green was cast in the lead role in December,[71] which was officially confirmed in April 2017, with the character's name revealed to be Michael Burnham.[5] Also in December, Shazad Latif was cast as the Klingon Kol.[72] In March 2017, Jason Isaacs was cast as Captain Lorca of the USS Discovery,[21] and Mary Wiseman joined as Tilly, a cadet.[18] At the end of April, Latif was revealed to have been recast to the role of Starfleet Lieutenant Tyler.[12]

text: Design[edit]

text: Mark Worthington and Todd Cherniawsky served as initial production designers for the series;[73] Gersha Phillips and Suttirat Anne Larlarb designed the costumes;[3][74] veteran Star Trek designer John Eaves designed starships, along with Scott Schneider;[75][76] and Glenn Hetrick and Neville Page of Alchemy Studios provided prosthetics, props, and armor.[3][77] Page previously served as the concept and creature designer on the three "Kelvin Timeline" Star Trek films.[78] The series also employed seven art directors, over nine illustrators, more than thirty-five set designers, and over four hundred and fifty painters, carpenters, sculptors, model makers, welders, set dressers, and prop builders.[76]

text: Fuller said on the general approach to design on the show, "we're producing the show in 2016. We have to update the style of the effects, the style of the sets, the style of the makeup ... all of the other series have been produced [at a time that] isn't as sophisticated as we are now with what we can do production-wise, we're going to be reestablishing an entire look for the series" and for Star Trek moving forward.[1] Fuller had wanted the series' uniforms to reflect the primary colors of the original series, but this was discarded after his departure.[38] However, Fuller's designs for the Klingons, which he "really, really wanted" to redesign, were retained.[8][2] 3D Systems' "cutting edge" 3D printing techniques were widely used in the making of the series.[3][78] For the prosthetics, Page and Hetrick took detailed laser scans of the actors so they could simulate make-up and prosthetics in a virtual environment before creating the practical version.[79] Fabric for the Starfleet uniforms seen in the series were custom-dyed in Switzerland; the costumes were cut and assembled in Toronto by Phillips and her department. The main uniforms seen in the series are a navy blue specifically mixed for the show, with gold or silver embellishments depending on the division of the officer. Medical officers wear a "hospital white" variant, also custom-dyed in Switzerland, while the captain's uniform is the standard navy blue but with additional gold piping on the shoulders.[80] Starfleet insignia badges were molded from silicon bronze, and then polished and plated by a jeweler to create custom colors for the series, based on the division of the officer wearing the uniform: gold for command, silver for sciences and medical, and copper for operations. Props such as tricorders and hand scanners, communicators, and phasers were produced with 3D printing and heavily inspired by their designs in the original Star Trek series.[80]

text: The design of the USS Discovery is based on an unused Ralph McQuarrie design for the USS Enterprise from the unproduced film Star Trek: Planet of the Titans, which Fuller had noted in July 2016 was "to a point that we can't legally comment on it until [our legal team] figures out some things".[41] McQuarrie's designs were based on the concepts created by Ken Adam to feature a vessel with a flattened secondary hull.[81][82] Fuller wanted "something distinct about what our Star Trek was going to look" like, and after seeing McQuarrie's design "saw sort of harder lines of a ship and started talking about race cars and Lamborghinis in the '70s and James Bond cars and started working on the designs, taking those inspirations and coming up with something completely unique to us."[83] The design for the Discovery went through several revisions and refinements before the final version was approved in December 2016.[84] The sickbay on the Discovery was inspired by that of the Enterprise from the original series.[85] Other Federation starships created for the show include the USS Shenzhou and the USS Europa.[86][87] Sets for the Discovery's interiors were described as a "tangle of corridors and rooms",[53] and were designed to match with the exterior design of the ship, so "the rooms [could believably] fit inside the house", but there was some artistic license taken in places. The graphics used for the Starfleet computer systems were designed to be believably more advanced than modern technology, but to also "honor the look and feel" of the designs used in previous series. The initial colors allowed for the graphics were mostly restricted to blues, with the intention of these becoming more colorful the closer the series gets to the time period of the original series.[76]

text: Filming[edit]

text: Star Trek: Discovery is filmed at Pinewood Toronto Studios,[88] with Vincenzo Natali serving as producing director for the series.[39] Some of the series' sets took over six weeks to create,[86] and new sets were being built up until the end of production of the season.[89] Discovery took advantage of multiple soundstages at the studio, including the largest soundstage in North America.[53] Some episodes for the show were filmed solely on existing sets, making them bottle episodes, though Harberts said the series would not do anything "as bottle-y as 'everyone is stuck in the mess hall!'"[89]

text: For the visual scope of the series, Kurtzman felt that the show had to "justify being on a premium cable service".[90] The showrunners were particularly inspired by Star Trek: The Motion Picture and its "wider scope", with Harberts explaining that the series is shot in a 2:1 aspect ratio which "just lends itself to a very lyrical way of telling the story." He added that some of the series' visuals were influenced by the modern Star Trek films from J. J. Abrams.[58] Some of these influences, per Goldsman, are "the ability to be creative cinematically…the intimate discourse, the humanistic storytelling with the giant canvas that is Star Trek. A more kinetic camera, a more dynamic way of existing, a much greater use of practical sets so when you’re running down a corridor, you’re running down a corridor. A sense of rhythm…there is a sense of litheness, a kind of fluidity in the characterizations."[91] The producers worked closely with pilot director David Semel to make the series look as cinematic as possible, including filming the bridge of Starfleet's ships in such a way as "not to shoot in a sort of proscenium box…to be able to get the camera into spaces where, you know, to shoot it in interesting ways, which is a combination of choreographing a scene to motivate the camera moving, and also lighting."[56] The cinematographers for the series wanted to emphasize on set sourcing, with lighting built in wherever it would naturally appear to help create a more realistic feel, and distance the series from the "stage" feel of the original series.[89] The lighting could also be controlled to create completely different situations, such as the lighting of a Starfleet red alert.[76] Harberts said that the cinematographers wanted the series to have a "Rembrandt texture".[89]

text: Visual effects[edit]

text: Visual effects producers were hired to begin work on the series during the initial writing period, with Fuller explaining that the series would require such things as "digital augmentation on certain alien species" and "the transporter beams". He said, "We're trying to cultivate distinct looks for all of those things that are unique to our version of Star Trek and carry through the themes we love seeing in fifty years of Star Trek, but doing a slightly different approach."[39] Pixomondo is the primary visual effects vendor for the series,[87] with Spin VFX also working on the show.[92] Kurtzman noted that the series utilizes multiple CG environments which take several months to properly render.[56] The shuttle bay of the Discovery is completely computer-generated, with actors performing in front of a green screen for scenes in that environment; using the digital set is more expensive than any other set created for the series, including the practically-built ones.[93]

text: Music[edit]

text: The first teaser for the series featured music composed by Fil Eisler, which he "threw together as an audition" within three weeks.[66] Before production on the series began, Charles Henri Avelange had also composed and recorded music for the series, which he described as "a showcase for CBS".[94] In July 2017, Jeff Russo was announced as composer for the series.[7] Russo recorded the series' score with a 60-piece orchestra.[90] The show's main theme incorporates elements from the original Star Trek theme.[62]

text: Release[edit]

text: The first episode of Star Trek: Discovery aired in a "preview broadcast" on CBS in the United States on September 24, as well as being made available with the second episode on CBS All Access. Subsequent first-run episodes, making up the first chapter of the season, will be streamed weekly on All Access through November 12. The second chapter will begin streaming January 2018.[24][25][95]

text: CBS Studios International licensed the series to Bell Media for broadcast in Canada, and to Netflix for another 188 countries.[34] In Canada, the premiere was simulcast with CBS on September 24, 2017, on both the CTV Television Network and on the specialty channel Space before being streamed on CraveTV; it was also broadcast in French on the specialty channel Z.[34] Subsequent episodes will be released through Space, Z, and CraveTV,[34] with Space airing each episode 30 minutes before it's streamed on All Access.[96][97] In the other countries, Netflix will release each episode of the series for streaming within 24 hours of its U.S. debut.[34] This agreement also saw Bell Media and Netflix acquire all previous Star Trek series to stream in their entirety, and to broadcast on Bell Media television channels.[34]

text: Marketing[edit]

text: The first full trailer for the series was released in May 2017.[98] Forbes's Merrill Barr noted that the trailer was a good sign for many who believed the series would never be released following the many production setbacks and delays, saying, "Having a legitimate trailer that can be watched over and over again brings signs of hope, particularly for fans that have been waiting over a year for this moment. Star Trek: Discovery is real, and now we have proof."[99] Chris Harnick of E! News described the trailer as "gorgeous" and "truly cinematic", and because of the appearances of Sarek and the Klingons in the footage, "this is the Star Trek you know and love."[100] Aja Romano at Vox called the trailer's visuals "sumptuous" and "modern, but still very much in keeping with the aesthetic of previous Trek series". She continued, "What gets short shrift in this trailer is the series' overarching plot ... In any case, seeing the Klingons in all their combative glory feels a bit like coming home for Trek fans."[101] Also in May, McFarlane Toys signed a toy license deal with CBS to produce "figures, role play weapons and accessories" for Discovery. CBS Consumer Products senior vice president Veronica Hart explained that McFarlane was chosen as the first licensee for the series because of its "commitment to quality and dedication to fans". The deal will also see the company "create merchandise from the entire Star Trek universe, ranging from the classic Star Trek: The Original Series to its popular movie franchise." The first merchandise produced under the deal are set for release in mid-2018.[102]

text: Reception[edit]

text: Ratings and viewership[edit]

text: According to Nielsen Media Research, the CBS broadcast of the first episode was watched by a "decent" audience of 9.5 million viewers.[103][104] The premiere of the series led to record subscriptions for All Access, with the service having its biggest day of signups, as well as its biggest week and month of signups thanks to the series.[105] According to "app analytics specialist" App Annie, the premiere of the series also caused the number of downloads of the All Access mobile app to more than double, with revenue from the app for CBS doubling compared to the average in-app revenue during the previous 30 days.[106]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported an 83% approval rating for the first season, with an average rating of 7.13/10 based on 51 reviews. The website's critical consensus reads, "Although it takes an episode to achieve liftoff, Star Trek: Discovery delivers a solid franchise installment for the next generation—boldly led by the charismatic Sonequa Martin-Green."[107] Metacritic, which uses a weighted average, assigned a score of 72 out of 100 based on 20 critics, indicating "generally favorable reviews".[108]

text: Other media[edit]

text: After Trek[edit]

text: By July 2016, CBS was working on an aftershow companion series to Discovery similar in format to AMC's Talking Dead, a companion to The Walking Dead. The show would air live after each episode of Discovery, and would feature "guests, celebrity Trekkies, former Star Trek actors, along with cast members and crew" from Discovery.[109] The companion series was confirmed in 2017, with the title After Trek and host Matt Mira. It is produced by Embassy Row in association with Roddenberry Entertainment.[110]

text: Publishing[edit]

text: In September 2016, Discovery writer Kirsten Beyer announced that CBS was working with IDW and Simon & Schuster to produce more content revolving around the setting of the series, starting with at least one novel and a comic series tied to the television show. Beyer, the writer of many Star Trek: Voyager novels, explained that she would work with fellow Star Trek novelist David Mack and Star Trek comic writer Mike Johnson to ensure that all three media "are coming from the same place". The release of the books and comics was set to coincide with the series' premiere.[111] Mack described writing around the continuity of Discovery as "tricky to get right", as the time period "is light on detail and almost unique within the Star Trek continuity. That made it a challenge to represent that era faithfully while also staying true to the new elements being introduced" in the new series.[112]

text: In August 2017, Beyer explained the series' writers' intentions for the additional content, saying, "We want to be able to take the story opportunities that we're just frankly not going to have time to cover in the show, and go as deep into those into the various formats as we can. It's not that you have to read these stories to understand everything, but the story will be incredibly enhanced if you do." Regarding whether this content would be considered canonical, Beyer said that the stories of the comics and novels are briefed back to the show's writing staff so "the stories we created get integrated into their brains", but she also said, "Because of the collaborative nature of this process, we're able to go farther, take bigger risks. The danger is that, in the future, somebody will come upon with an amazing story idea that would 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 is set for release on September 26, and follows Burnham as she serves aboard the Shenzhou. Fuller had asked for a book to be written based on that premise, and Mack had worked with the Discovery writers to stay "in the loop throughout the season with all the scripts and the story development. There were a few false starts, but eventually it allowed us to collaboratively create this story". Mack hinted that the USS Enterprise could also appear in the novel. The second Discovery novel is being written by Dayton Ward, is set 10 years before the show, and is intended to be released in early 2018.[113]

text: Comics[edit]

text: In July 2017, IDW announced the first tie-in comic series, also titled Star Trek: Discovery, to be written by Johnson and Beyer with art by Tony Shasteen, who previously worked with Johnson on the comic Star Trek: Boldly Go. IDW described the comic as "Klingon-centric", and set the first issue for release on October 25.[114] Johnson compared working with Beyer on the comic to his work on the Star Trek: Countdown comic, a tie-in to the 2009 Star Trek film that he wrote with Kurtzman and Roberto Orci, saying that her position as a staff writer on the Discovery show "means we have all the inside access that we need. So the story in the comic will really matter and not just feel like a one-off. It is actually able to expand the story you guys are going to see in the show itself."[115]

text: In August, it was clarified that the first comic would be a four-issue miniseries focused on T'Kuvma and his followers, and that IDW intended to create a series of comic miniseries based on different aspects of the series to create "targeted stories on some different subjects". Johnson stated that they were "building out the characters in the Klingon world with these comics, and we can't wait to show you." He added that discussions were being held regarding the subject of the next miniseries. IDW editor Sarah Gaydos said, "The access we're getting to the show to create these comics that are integral to fleshing out the backstories of the characters is unheard of, and I do a lot of licensed comics."[113]

text: Star Trek Timelines[edit]

text: In late 2017, "hours" of Discovery-based content will be added to the role playing video game Star Trek Timelines, including Michael Burnham and Saru as new crew members for the game and new ships from the show, both Federation and otherwise. A month long "Mega-Event" based on the series will also take place.[116]


document_title: List of Olympic medalists in curling

question_text: who won the gold medal in women's curling in the olympics

question_tokens: who won the gold medal in women 's curling in the olympics

text: List of Olympic medalists in curling

text: Medalists[edit]

text: Men[edit]

text:
Games
Gold
Silver
Bronze

1924 Chamonix
details
 Great Britain (GBR)1
William Jackson
Robin Welsh
Thomas Murray
Laurence Jackson
D. G. Astley
 Sweden (SWE)
Johan Petter Åhlén
Carl August Kronlund
Ture Ödlund
Carl Wilhelm Petersén
Carl Axel Pettersson
Erik Severin
Karl Wahlberg
Victor Wetterström
 France (FRA)
Henri Cournollet
Georges André
Armand Bénédic
Pierre Canivet
Robert Planque
Henri Aldebert

1928–1994
not included in the Olympic programme

1998 Nagano
details
 Switzerland (SUI)
Patrick Hürlimann
Patrik Lörtscher
Daniel Müller
Diego Perren
Dominic Andres
 Canada (CAN)
Mike Harris
Richard Hart
Collin Mitchell
George Karrys
Paul Savage
 Norway (NOR)
Eigil Ramsfjell
Jan Thoresen
Stig-Arne Gunnestad
Tore Torvbråten
Anthon Grimsmo

2002 Salt Lake City
details
 Norway (NOR)
Pål Trulsen
Lars Vågberg
Flemming Davanger
Bent Ånund Ramsfjell
Torger Nergård
 Canada (CAN)
Kevin Martin
Don Walchuk
Carter Rycroft
Don Bartlett
Ken Tralnberg
 Switzerland (SUI)
Andreas Schwaller
Christof Schwaller
Markus Eggler
Damian Grichting
Marco Ramstein

2006 Turin
details
 Canada (CAN)
Brad Gushue
Mark Nichols
Russ Howard
Jamie Korab
Mike Adam
 Finland (FIN)
Markku Uusipaavalniemi
Wille Mäkelä
Kalle Kiiskinen
Teemu Salo
Jani Sullanmaa
 United States (USA)
Pete Fenson
Shawn Rojeski
Joseph Polo
John Shuster
Scott Baird

2010 Vancouver
details
 Canada (CAN)
Kevin Martin
John Morris
Marc Kennedy
Ben Hebert
Adam Enright
 Norway (NOR)
Thomas Ulsrud
Torger Nergård
Christoffer Svae
Håvard Vad Petersson
Thomas Løvold
 Switzerland (SUI)
Ralph Stöckli
Jan Hauser
Markus Eggler
Simon Strübin
Toni Müller

2014 Sochi
details
 Canada (CAN)
Brad Jacobs
Ryan Fry
E. J. Harnden
Ryan Harnden
Caleb Flaxey
 Great Britain (GBR)
David Murdoch
Greg Drummond
Scott Andrews
Michael Goodfellow
Tom Brewster
 Sweden (SWE)
Niklas Edin
Sebastian Kraupp
Fredrik Lindberg
Viktor Kjäll
Oskar Eriksson

2018 Pyeongchang
details
 United States (USA)
John Shuster
Tyler George
Matt Hamilton
John Landsteiner
Joe Polo
 Sweden (SWE)
Niklas Edin
Oskar Eriksson
Rasmus Wranå
Christoffer Sundgren
Henrik Leek
 Switzerland (SUI)
Benoît Schwarz
Claudio Pätz
Peter de Cruz
Valentin Tanner
Dominik Märki

text: Medals:

text:
[show]Rank
Nation
Gold
Silver
Bronze
Total

1
 Canada
3
2
0
5

2
 Norway
1
1
1
3

3
 Great Britain
1
1
0
2

4
  Switzerland
1
0
3
4

5
 United States
1
0
1
2

6
 Sweden
0
2
1
3

7
 Finland
0
1
0
1

8
 France
0
0
1
1

Total
7
7
7
21

text: Women[edit]

text:
Games
Gold
Silver
Bronze

1998 Nagano
details
 Canada (CAN)
Sandra Schmirler
Jan Betker
Joan McCusker
Marcia Gudereit
Atina Ford
 Denmark (DEN)
Helena Blach Lavrsen
Margit Pörtner
Dorthe Holm
Trine Qvist
Jane Bidstrup
 Sweden (SWE)
Elisabet Gustafson
Katarina Nyberg
Louise Marmont
Elisabeth Persson
Margaretha Lindahl

2002 Salt Lake City
details
 Great Britain (GBR)
Rhona Martin
Deborah Knox
Fiona MacDonald
Janice Rankin
Margaret Morton
 Switzerland (SUI)
Luzia Ebnöther
Mirjam Ott
Tanya Frei
Laurence Bidaud
Nadia Röthlisberger
 Canada (CAN)
Kelley Law
Julie Skinner
Georgina Wheatcroft
Diane Nelson
Cheryl Noble

2006 Turin
details
 Sweden (SWE)
Anette Norberg
Eva Lund
Cathrine Lindahl
Anna Svärd
Ulrika Bergman
 Switzerland (SUI)
Mirjam Ott
Binia Beeli
Valeria Spälty
Michèle Moser
Manuela Kormann
 Canada (CAN)
Shannon Kleibrink
Amy Nixon
Glenys Bakker
Christine Keshen
Sandra Jenkins

2010 Vancouver
details
 Sweden (SWE)
Anette Norberg
Eva Lund
Cathrine Lindahl
Anna Le Moine
Kajsa Bergström
 Canada (CAN)
Cheryl Bernard
Susan O'Connor
Carolyn Darbyshire
Cori Bartel
Kristie Moore
 China (CHN)
Wang Bingyu
Liu Yin
Yue Qingshuang
Zhou Yan
Liu Jinli

2014 Sochi
details
 Canada (CAN)
Jennifer Jones
Kaitlyn Lawes
Jill Officer
Dawn McEwen
Kirsten Wall
 Sweden (SWE)
Margaretha Sigfridsson
Maria Prytz
Christina Bertrup
Maria Wennerström
Agnes Knochenhauer
 Great Britain (GBR)
Eve Muirhead
Anna Sloan
Vicki Adams
Claire Hamilton
Lauren Gray

2018 Pyeongchang
details
 Sweden (SWE)
Anna Hasselborg
Sara McManus
Agnes Knochenhauer
Sofia Mabergs
Jennie Wåhlin
 South Korea (KOR)
Kim Eun-jung
Kim Kyeong-ae
Kim Seon-yeong
Kim Yeong-mi
Kim Cho-hi
 Japan (JPN)
Satsuki Fujisawa
Chinami Yoshida
Yumi Suzuki
Yurika Yoshida
Mari Motohashi

text: Medals:

text:
[show]Rank
Nation
Gold
Silver
Bronze
Total

1
 Sweden
3
1
1
5

2
 Canada
2
1
2
5

3
 Great Britain
1
0
1
2

4
  Switzerland
0
2
0
2

5
 Denmark
0
1
0
1

 South Korea
0
1
0
1

7
 China
0
0
1
1

 Japan
0
0
1
1

Total
6
6
6
18

text: Mixed doubles[edit]

text:
Games
Gold
Silver
Bronze

2018 Pyeongchang
details
 Canada (CAN)
Kaitlyn Lawes
John Morris
 Switzerland (SUI)
Jenny Perret
Martin Rios
 Norway (NOR)
Kristin Skaslien
Magnus Nedregotten

text: Medals:

text:
[show]Rank
Nation
Gold
Silver
Bronze
Total

1
 Canada
1
0
0
1

2
  Switzerland
0
1
0
1

3
 Norway
0
0
1
1

Total
1
1
1
3

text: Notes[edit]

text: ^ The members of the 1924 British team vary depending on the source. William Jackson, Robin Welsh, Thomas Murray and Laurence Jackson are listed as the medallists by the British Olympic Association and International Society of Olympic Historians.[11][12] The Herald reports that those four are the only British curlers that played, and they received gold medals and certificates.[3] However, the IOC database omits Laurence Jackson and includes T. Aikman, D. G. Astley, W. Brown, R. Cousin and J. McLeod.[13] According to The Herald, the IOC believes that those five also received medals.[3] The World Curling Federation's list agrees with the BOA, but also lists John T. Robertson Aikman [incorrectly] as an alternate.[14]

text: Athlete medal leaders[edit]

text:
Athlete
Nation
Olympics
Gold
Silver
Bronze
Total

Morris, JohnJohn Morris
 Canada (CAN)
2010, 2018
2
0
0
2

Norberg, AnetteAnette Norberg
 Sweden (SWE)
2006, 2010
2
0
0
2

Lawes, KaitlynKaitlyn Lawes
 Canada (CAN)
2014, 2018
2
0
0
2

Lund, EvaEva Lund
 Sweden (SWE)
2006, 2010
2
0
0
2

Lindahl, CathrineCathrine Lindahl
 Sweden (SWE)
2006, 2010
2
0
0
2

Le Moine, AnnaAnna Le Moine
 Sweden (SWE)
2006, 2010
2
0
0
2

Knochenhauer, AgnesAgnes Knochenhauer
 Sweden (SWE)
2014, 2018
1
1
0
2

Martin, KevinKevin Martin
 Canada (CAN)
2002, 2010
1
1
0
2

Nergård, TorgerTorger Nergård
 Norway (NOR)
2002, 2010
1
1
0
2

Shuster, JohnJohn Shuster
 United States (USA)
2006, 2018
1
0
1
2

Polo, JoeJoe Polo
 United States (USA)
2006, 2018
1
0
1
2

Ott, MirjamMirjam Ott
 Switzerland (SUI)
2002, 2006
0
2
0
2

Edin, NiklasNiklas Edin
 Sweden (SWE)
2014, 2018
0
1
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Eriksson, OskarOskar Eriksson
 Sweden (SWE)
2014, 2018
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