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The Ugly Duckling
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For other uses, see The Ugly Duckling (disambiguation).
"The Ugly Duckling"
Illustration by Vilhelm Pedersen, Andersen‘s first illustrator
Author
Hans Christian Andersen
Original title
"Den grimme ælling"
Country
Denmark
Language
Danish
Genre(s)
Literary fairy tale
Published in
New Fairy Tales. First Book. First Collection. 1844.
Publication type
Fairy tale collection
Publisher
C.A. Reitzel
Media type
Print
Publication date
11 November 1843
Preceded by
"The Sweethearts"
"The Ugly Duckling" (Danish: Den grimme ælling) is a literary fairy tale by Danish poet and author Hans Christian Andersen (1805–1875). The story tells of a homely little bird born in a barnyard who suffers abuse from the others around him until, much to his delight (and to the surprise of others), he matures into a beautiful swan, the most beautiful bird of all. The story is beloved around the world as a tale about personal transformation for the better.[1] “The Ugly Duckling” was first published 11 November 1843, with three other tales by Andersen in Copenhagen, Denmark to great critical acclaim. The tale has been adapted to various media including opera, musical, and animated film. The tale is completely Andersen's invention and owes no debt to fairy tales or folklore.
Contents
1 Plot summary
2 Composition and publication history
3 Commentaries and criticism
4 Adaptations
5 See also
6 References
7 External links
Plot summary[edit]
When the story begins, a mother duck's eggs hatch. One of the little birds is perceived by the other birds and animals on the farm as a homely little creature and suffers much verbal and physical abuse from them. He wanders sadly from the barnyard and lives with wild ducks and geese until hunters slaughter the flocks. He finds a home with an old woman.
The duckling sees a flock of migrating wild swans. He is delighted and excited, but he cannot join them, for he is too young and cannot fly. Winter arrives. A farmer finds and carries the freezing little duckling home, but the foundling is frightened by the farmer’s noisy children and flees the house. He spends a miserable winter alone in the outdoors, mostly hiding in a cave on the lake that partly freezes over. When spring arrives, a flock of swans descends on the lake.
The ugly duckling, now having fully grown and matured, is unable to endure a life of solitude and hardship any more and decides to throw himself at the flock of swans deciding that it is better to be killed by such beautiful birds than to live a life of ugliness and misery. He is shocked when the swans welcome and accept him, only to realize by looking at his reflection in the water that he has grown into one of them. The flock takes to the air, and the now beautiful swan spreads his gorgeous large wings and takes flight with the rest of his new kind family.
Composition and publication history[edit]
Andersen first conceived the story in 1842 while enjoying the beauty of nature during his stay at the country estate of Bregentved, and lavished a year's worth of attention upon it. He initially considered "The Young Swans" as the tale's title but, not wanting to spoil the element of surprise in the protagonist’s transformation, discarded it for "The Ugly Duckling". He later confessed that the story was "a reflection of my own life", and, when the critic Georg Brandes questioned Andersen about whether he would write his autobiography, the poet claimed that it had already been written — "The Ugly Duckling".[2]
“The Ugly Duckling” was first published in Copenhagen, Denmark 11 November 1843 in New Fairy Tales. First Book. First Collection. 1844. (Nye Eventyr. Første Bind. Første Samling. 1844.). For the first time the phrase "told for children" was not part of the title—an omission Andersen scholar Jackie Wullschlager believes exhibited a new confidence on Andersen's part: "These [tales] were the most mature and perfectly constructed tales he had written, and though some of them at once became, and have remained, favorites of children, Andersen here melds together the childlike and the profound with exceptional artistry." The first edition of 850 was sold out by December 18, and Reitzel planned another 850.[3]
The tale was fourth and last in the volume that included (in contents order), "The Angel" ("Englen"), "The Nightingale" ("Nattergalen"), and "The Sweethearts; or, The Top and the Ball" ("Kjærestefolkene [Toppen og bolden]").[4] The volume sold out almost immediately and Andersen wrote on December 18, 1843: “The book is selling like hot cakes. All the papers are praising it, everyone is reading it! No books of mine are appreciated in the way these fairy tales are!”[1] Andersen promoted the tale by reading it aloud at social gatherings. The tale was republished 18 December 1849 in Fairy Tales. 1850. (Eventyr. 1850.) and again 15 December 1862 in Fairy Tales and Stories. First Volume. 1862. (Eventyr og Historier. Første Bind. 1862.)[5] The tale has since been translated into various languages and published around the world and has become the most famous story by Andersen.
Commentaries and criticism[edit]
A pair of young swans (or cygnets)
In reviewing Hans Christian Andersen: A New Life by biographer Jens Andersen, British journalist Anne Chisholm writes “Andersen himself was a tall, ugly boy with a big nose and big feet, and when he grew up with a beautiful singing voice and a passion for the theater he was cruelly teased and mocked by other children". The ugly duckling is the child of a swan whose egg accidentally rolled into a duck's nest.[6]
Speculation suggests that Andersen was the illegitimate son of Prince Christian Frederik (later King Christian VIII of Denmark), and found this out some time before he wrote the book, and then that being a swan in the story was a metaphor not just for inner beauty and talent but also for secret royal lineage.[7]
Bruno Bettelheim observes in The Uses of Enchantment that the Ugly Duckling is not confronted with the tasks, tests, or trials of the typical fairy tale hero. “No need to accomplish anything is expressed in “The Ugly Duckling”. Things are simply fated and unfold accordingly, whether or not the hero takes some action.” In conjunction with Bettelheim’s assessment, Maria Tatar notes in ’’The Annotated Hans Christian Andersen’’ that Andersen suggests that the Ugly Duckling‘s superiority resides in the fact that he is of a breed different from the barnyard rabble, and that dignity and worth, moral and aesthetic superiority are determined by nature rather than accomplishment.[1]
According to Carole Rosen, the story was inspired in part by Andersen's friend Jenny Lind.[8]
Adaptations[edit]
Disney's 1931 version
Disney's 1939 version
"The Ugly Duckling" became one of Andersen's best loved tales and was reprinted around the world. The tale was adapted to a variety of media. Films based on the tale include two Silly Symphonies animated shorts produced by Walt Disney called The Ugly Duckling. The first was produced in 1931 in black and white, and a remake in 1939 in Technicolor. The latter film won the 1939 Academy Award for Best Short Subject (Cartoons),[9] and was the last Silly Symphony to be made. The main difference between the Andersen story and the Disney version is that, in the latter, the little bird's ordeal lasts for only a few minutes, not for months. In 1936, the Fleischer brothers adapted the story for their animated short "The Little Stranger", reversing the story by having an odd chick born into a family of ducks. In 1956 the Soviet animation studio Soyuzmultfilm produced its own 19 minutes version of The Ugly Duckling.[10] The anime Princess Tutu is about a duck that turns into a swan-like ballerina. In 2006, the Danish animation studio A. Film produced a spin-off CG feature called The Ugly Duckling and Me!, and later produced a children's CG television series Ugly Duckling Junior which featured the same characters as the movie. The 1954 Tom and Jerry cartoon Downhearted Duckling is also based on the famous story.
The tale has seen various musical adaptations. In 1914, the Russian composer Sergei Prokofiev composed a work for voice and piano based on Nina Meshcherskaya's adaptation of the tale and, in 1932, arranged the work for voice and orchestra. This was transcribed by Lev Konov in 1996, and his opera was a great success in Russia. Other musical versions include the song “The Ugly Duckling” composed by Frank Loesser and sung by Danny Kaye for the 1952 Charles Vidor musical film Hans Christian Andersen, and Honk!, a musical based on the tale which was produced in Britain and won an Olivier Award. The tale was adapted to a musical by Gail Deschamps and Paul Hamilton with a planned United States tour 2002-2003. In 1998, the musical played the Piccolo Spoleto for seventeen days.[11]
In 1999, Jerry Pinkney adapted the story as a children's picture book.[12]
In 2009, the Dance Theatre of Bradenton, Florida, presented the ballet version of the popular tale (Allison Norton: The Ugly Duckling).
In 2010, Garri Bardin directed a feature-length stop-motion musical of the story set to Tchaikovsky's ballet music.
In 2012, a musical adaptation of the story, with ten original songs, was released by JJ’s Tunes & Tales. The album, titled “The Ugly Duckling: Story with Songs” contains both songs and spoken narration, and was released independently on CD Baby and iTunes. Examples of song titles include: Hatching of the Eggs; A Better Place; Song of the Swans; What’s the Matter with You; It’s a Big, Big World; Pretty Good Place to Live.
GivingTales – in 2015 a storytelling app for children was created in aid of Unicef. The Ugly Duckling read by Stephen Fry is included in this collection of fairy tales along with other stories.
See also[edit]
List of works by Hans Christian Andersen
References[edit]
^ Jump up to: a b c Tatar, Maria (2008). The Annotated Hans Christian Andersen. W.. Norton & Company. pp. 99&ndash, 118.
Jump up ^ Bredsdorff, Elias (1975). Hans Christian Andersen: The Story of his Life and Work 1805-75. Phaidon. ISBN 0-7148-1636-1.
Jump up ^ Wullschlager, Jackie (2002, 2005). Hans Christian Andersen: The Life of a Storyteller. University of Chicago Press. Check date values in: |date= (help)
Jump up ^ "Hans Christian Andersen - FAQ: Books by Hans Christian Andersen". Hans Christian Andersen Center.
Jump up ^ "Hans Christian Andersen: The Ugly Duckling". Hans Christian Andersen Center.
Jump up ^ Chisholm, Anne (2006-06-05). "The tale of an ugly duckling". The Daily Telegraph.
Jump up ^ Philip, Neil (2005-01-08). "The Little Prince". The Times.
Jump up ^ Rosen, Carole (2004). "Lind, Jenny (1820–1887)". In Matthew, H. C. G.; Harrison, Brian. Oxford Dictionary of National Biography. Oxford University Press. ISBN 978-0198614111. Retrieved April 1, 2014. [Lind] inspired at least partly two of his best-known children's stories, The Ugly Duckling and The Emperor's Nightingale [sic]...
Jump up ^ "The 1939 Silly Symphony". The Internet Animation Database.
Jump up ^ The Ugly Duckling at Animator.ru
Jump up ^ "GMT: The Ugly Duckling".
Jump up ^ "The ugly duckling". worldcat.org. Online Computer Library Center. Retrieved January 12, 2017.
External links[edit]
Wikisource has original text related to this article:
The Ugly Duckling
Danish Wikisource has original text related to this article:
Den grimme Ælling
Wikimedia Commons has media related to The Ugly Duckling.
The Ugly Duckling English translation by Jean Hersholt
SurLaLune's Annotated The Ugly Duckling
The Ugly Duckling in full length.
The Ugly Duckling public domain audiobook at LibriVox
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Other
Honk! (1993 musical)
Ugly Duckling (2009 play)
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Jumping the broom
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the custom and phrase. For the 2008 film, see Noah's Arc: Jumping the Broom. For the 2011 film, see Jumping the Broom.
"Marrying over the Broomstick", 1822 illustration of a "broomstick-wedding" by James Catnach.[1]
Jumping the broom is a phrase and custom relating to a wedding ceremony where the couple jumps over a broom. It has been suggested that the custom is based on an 18th-century idiomatic expression for "sham marriage", "marriage of doubtful validity"; it was popularized in the context of the introduction of civil marriage in Britain with the Marriage Act 1836.
There have also been suggestions that the expression may derive from an actual custom of jumping over a "broomstick" (where "broom" refers to the plant common broom rather than the household implement) associated with the gypsies (Romani) of the United Kingdom.[2] especially those in Wales.[3]
The custom of a marrying couple literally jumping over a broom is now most widespread among African Americans, popularized in the 1970s by the novel and miniseries Roots but originating in the mid 19th century as a practice in antebellum slavery in the United States.[4]
Contents
[hide]
1 As an expression for "irregular marriage"
2 British Romani customs
3 African American custom
4 In popular culture
5 References
6 Further reading
7 External links
As an expression for "irregular marriage"[edit]
References to "broomstick marriages" emerged in England in the mid-to-late 18th century, always to describe a wedding ceremony of doubtful validity. The earliest use of the phrase is in the 1764 English edition of a French work: the French text, describing an elopement, refers to the runaway couple hastily making un mariage sur la croix de l'épée (literally ‘marriage on the cross of the sword’), an expression the English translator freely renders as ‘performed the marriage ceremony by leaping over a broomstick’.[5]
A 1774 usage in the Westminster Magazine also describes an elopement. A man who had taken his under-age bride off to France discovered it was as hard to arrange a legal marriage there as in England, but declined a suggestion that a French sexton might simply read the marriage service through before the couple as "He had no inclination for a Broomstick-marriage".[6] In 1789 the rumoured clandestine marriage between the Prince Regent and Maria Fitzherbert is similarly referred to in a satirical song in The Times: "Their way to consummation was by hopping o’er a broom, sir".[7]
Despite these allusions, research by the legal historian Professor R. Probert of Warwick University has failed to find any proof of an actual contemporary practice of jumping over a broomstick as a sign of informal union. Probert also points out that the word broomstick was used in the mid-18th century in several contexts to mean ‘something ersatz, or lacking the authority its true equivalent might possess.’ She therefore argues that because the expression broomstick marriage, meaning 'sham marriage', was in circulation, folk etymology led to a belief that people must actually have once signified irregular marriage by jumping over a broom.[5]. Tyler D. Parry, Associate Professor of African American Studies, contests the claim that no literal jump was used in Britain, arguing that enslaved people of African descent and British migrants engaged in numerous cultural exchanges during the 18th and 19th centuries. He shows numerous correlations between the ceremonies of slaves and those of the rural British, contending it is not simply coincidental that two groups, separated by an ocean, utilized similar matrimonial forms revolving around the broomstick. If British practitioners never used a physical leap, Parry wonders how enslaved people in the US South learned of the custom.[8]
There are later examples of the term broomstick marriage being used in Britain, always with a similar implication that the ceremony so performed did not create a legally binding union. This meaning survived into the early nineteenth century: during a case heard in London in 1824 regarding the legal validity of a marriage ceremony consisting of nothing more than the groom placing a ring on the bride's finger before witnesses, a court official commented that the ceremony "amounted to nothing more than a broomstick marriage, which the parties had it in their power to dissolve at will."[9]
A decade later, the Marriage Act 1836, which introduced civil marriage, was contemptuously referred to as the ‘Broomstick Marriage Act’ by those who felt that a marriage outside the Anglican church did not deserve legal recognition.[10] Some also began to use the phrase to refer to non-marital unions: a man interviewed in Mayhew's London Labour and the London Poor admitted: "I never had a wife, but I have had two or three broomstick matches, though they never turned out happy."[11]
Tinkers were said to have a similar custom of marriage called "jumping the budget", with the bride and groom jumping over a string or other symbolic obstacle.[12]
Charles Dickens' novel, Great Expectations (first published in serial form in the publication All the Year Round from 1 December 1860 to August 1861), contains a reference in chapter 48 to a couple having been married "over the broomstick." The ceremony is not portrayed, but the reference indicates that the readers would have recognized this as referring to an informal, not a legally valid, agreement.[13]
It has often been assumed that, in England, jumping over the broom (or sometimes walking over a broom), always indicated an irregular or non-church union (as in the expressions "Married over the besom", "living over the brush"),[14] but there are examples of the phrase being used in the context of legal weddings, both religious and civil.[15]
Other sources have stepping over a broom as a test of chastity, while putting out a broom was also said to be a sign "that the housewife’s place is vacant" and a way, therefore, of advertising for a wife.[16]
In America the phrase could be used as slang describing the act of getting married legally, rather than as specifying an informal union not recognised by church or state.[17]
British Romani customs[edit]
In Wales, Romani couples would get married by eloping, when they would "jump the broom," or over a branch of flowering common broom or a besom made of broom.[3] Welsh Kale and English Romanichal Gypsies and Romanichal populations in Scotland practised the ritual into the 1900s.[3]
According to Alan Dundes (1996), the custom originated among Romani people in Wales (Welsh Kale) and England (Romanichal).[18]
C.W. Sullivan III (1997) in a reply to Dundes argued that the custom originated among the Welsh people themselves,[19] known as priodas coes ysgub ("besom wedding"),[20] Sullivan's source is the Welsh folklorist Gwenith Gwynn (a.k.a. W. Rhys Jones),[20] who assumed that the custom had once existed on the basis of conversations with elderly Welsh people during the 1920s, none of whom had ever seen such a practice. One had claimed that: "It must have disappeared before I was born, and I am seventy-three". Gwynn's dating of the custom to the 18th century rested on the assumption that it must have disappeared before these elderly interviewees were born, and on his misreading of the baptism register of the parish of Llansantffraid Glyn Ceiriog.[21]
Local variations of the custom were developed in different parts of England and Wales. Instead of placing the broom on the ground, and jumping together, the broom was placed in an angle by the doorway. The groom jumped first, followed by the bride.[22] In southwest England, in Wales, and in the border areas between Scotland and England, "[while some] couples ... agreed to marry verbally, without exchanging legal contracts[,] .... [o]thers jumped over broomsticks placed across their thresholds to officialize their union and create new households", indicating that contractless weddings and jumping the broomstick were different kinds of marriage.[23]
African American custom[edit]
A 2011 wedding in California
In some African-American communities, marrying couples will end their ceremony by jumping over a broomstick, either together or separately. This practice is well attested for as a marriage ceremony for slaves in the Southern United States in the 1840s and 1850s who were often not permitted to wed legally. Its revival in 20th century African American culture is due to the novel and miniseries Roots (1976, 1977).[24]
Dundes (1996) notes the unusual development of how "a custom which slaves were forced to observe by their white masters has been revived a century later by African Americans as a treasured tradition".[25]
There have been occasional speculations to the effect that the custom may have origins in West Africa, but there is no direct evidence for this, although Dundes points to a custom of Ghana where brooms were waved above the heads of newlyweds and their parents.[26] Among southern Africans, who were largely not a part of the Atlantic slave trade, it represented the wife's commitment or willingness to clean the courtyard of the new home she had joined.[26]. Tyler D. Parry argues the Ghanaian connection is a weak case for its origins, especially considering the ritual used by slaves bears far more similarities to the custom in the British Isles. Parry argues that, despite the racial animus that characterized the US South in the nineteenth century, poor white southerners (many of them descendants of people who used irregular forms of matrimony in Britain) and enslaved people exchanged their cultures between one another at far greater rates than commonly acknowledged.[27] Enslaved people who mentioned
Slave-owners were faced with a dilemma regarding committed relationships between slaves. While some family stability might be desirable as helping to keep slaves tractable and pacified, anything approaching a legal marriage was not. Marriage gave a couple rights over each other which conflicted with the slave-owners’ claims.[28] Most marriages between enslaved blacks were not legally recognized during American slavery,[29] as in law marriage was held to be a civil contract, and civil contracts required the consent of free persons.[30] In the absence of any legal recognition, the slave community developed its own methods of distinguishing between committed and casual unions.[31] The ceremonial jumping of the broom served as an open declaration of settling down in a marriage relationship. Jumping the broom was always done before witnesses as a public ceremonial announcement that a couple chose to become as close to married as was then allowed.[32]
Jumping the broom fell out of practice when blacks were free to marry legally.[33] The practice did survive in some communities, and the phrase "jumping the broom" was synonymous with "getting married," even if the couple did not literally jump a broom.[34] However, despite its smaller scale continuity in certain rural areas of the United States (among both black and white communities), it made a resurgence among African Americans after the publication of Alex Haley's Roots[24] Danita Rountree Green describes the African American custom as it stood in the early 1990s in her book Broom Jumping: A Celebration of Love (1992).
In popular culture[edit]
American singer-songwriter Brenda Lee released the rockabilly song "Let's Jump the Broomstick" on Decca Records in 1959. Via its association with Wales and the popular association of the broom with witches, the custom has also been adopted by some Wiccans.[35]
A film titled Jumping the Broom, directed by Salim Akil, and starring Paula Patton & Laz Alonso was released on 6 May 2011.
In a 2013 episode of Grey's Anatomy, Miranda Bailey and Ben Warren jump over a broom at the conclusion of their wedding ceremony.
In the classic 1977 TV mini-series Roots, Kunta Kinte/"Toby" (played by John Amos as adult Kunta Kinte - Levar Burton played the teenager Kunta Kinte) had a marriage ceremony where he and Belle (played by Madge Sinclair) jumped the broom.
In the 2016 film The Birth of a Nation, a couple getting betrothed is seen jumping a broom.
In an episode of The_Originals_(season_2) (Episode 13 "The Devil is Damned") the custom is described as being necessary when a priest is not available and the wedding "couldn't wait."
References[edit]
Jump up ^ "Cathnach's illustrated twopenny-sheets of the 1820s carried charming drawings of broomstick weddings" R. B. Outhwaite, Clandestine Marriage in England, 1500-1850, A&C Black, 1995, p. 140.
Jump up ^ Dundes, Alan: "Jumping the Broom: On the Origin and Meaning of an African American Wedding Custom" page 327. The Journal of American Folklore, 1996 https://www.jstor.org/stable/541535 "evidence showing the wedding custom was practised by gypsies in England, Scotland" Donald F. Joyce "Rooted in the chants of slaves, Blacks in the humanities, 1985-1997: a selected annotated bibliography" Greenwood Publishing Group, 1999 p56
^ Jump up to: a b c Thompson, T. W. "British Gipsy Marriage and Divorce Rites", quoted in The Times, Issue 54004, 21 September 1928; p.11. A paper read at the 1928 jubilee congress of the Folk Lore Society in London refers to this: "In Wales there was preserved until recently a marriage ritual of which the central feature was the jumping of the bride and bridegroom over a branch of flowering broom or over a besom made of broom."
Jump up ^ Norman Kolpas, Katie Kolpas "Practically Useless Information on Weddings" Thomas Nelson Inc, 2005 p30
^ Jump up to: a b Probert, R. Marriage Law and Practice in the Long Eighteenth Century: A Reassessment (Cambridge: Cambridge University Press, 2009)
Jump up ^ (1774) 2 Westminster Magazine, p. 16
Jump up ^ The Times, Tuesday, 8 September 1789; pg. 4; Issue 1251; col A
Jump up ^ Parry, Tyler D. (May 2015). "Married in Slavery Time: Jumping the Broom in Atlantic Perspective". Journal of Southern History. 81 (2): 273–312.
Jump up ^ The Times, 13 August 1824, p.3
Jump up ^ Jackson’s Oxford Journal 12 September 1840, p. 1; Saint Valentine: or, Thoughts on the evil of Love in Mercantile Community: The Galanti Show (1843) 13 Bentley’s Miscellany 151
Jump up ^ Volume I, Pg. 389-91. Quoted in Thomas, Donald, The Victorian Underworld John Murray, 1998. Pg. 62
Jump up ^ Chesney, Kellow. The Victorian Underworld Penguin, 1970. Pg. 92
Jump up ^ "They both led tramping lives, and this woman in Gerrard-street here, had been married very young, over the broomstick (as we say), to a tramping man,..." DICKENS, C. Great Expectations (1860-1861), Chap. 48
Jump up ^ Dundes, Alan (Summer 1996). "'Jumping the Broom': On the Origin and Meaning of an African American Wedding Custom". The Journal of American Folklore. 109 (433): 327. doi:10.2307/541535.
Jump up ^ See Dudley Heath, ‘In Coster-Land’ (1894) 125 English Illustrated Magazine 517, referring to ‘a newly-made and happy couple on their way from Bethnal Green, where, at the Red Church, they have for the sum of seven-pence halfpenny gone through the ceremony of "jumping the broomstick"’
Jump up ^ J.G. Whitehead, M. Terry, B. Aitken, ‘Scraps of English Folklore, XII’ (1926) 37 Folklore 76; Sheila Stewart, Lifting the Latch: A Life on the Land (Charlbury: Day Books, 2003)
Jump up ^ In a short story published in 1896 a character remarks of two lovers who are keen to wed, "Young ‘n’ old has be’n lookin’ constant fer these two ter jump the broomstick ‘n’ give ‘em weddin’ cake, ‘n’ chicken pie." New York Times. 29 March 1896. Missing or empty |title= (help)
Jump up ^ Dundes, Alan. "'Jumping the Broom': On the Origin and Meaning of an African American Wedding Custom", The Journal of American Folklore, 1996, p.327.
Jump up ^ Sullivan, C. W. (1 January 1997). ""Jumping the Broom": A Further Consideration of the Origins of an African American Wedding Custom". The Journal of American Folklore. 110 (436): 203–204. doi:10.2307/541813. JSTOR 541813 – via JSTOR.
^ Jump up to: a b Gwynn, Gwenith (W. Rhys Jones). "'Besom Wedding' in the Ceiriog Valley", Folklore, Vol. 39, No. 2, 30 June 1928, pp.149-166.
Jump up ^ Probert, R. (2005) Chinese Whispers and Welsh Weddings, 20 Continuity and Change 211-228
Jump up ^ Jones, T. Gwynn. Welsh Folklore, 1930.
Jump up ^ Evans, Tanya, Women, Marriage and the Family, in Barker, Hannah, & Elaine Chalus, eds., Women's History: Britain, 1700–1850: An Introduction (Oxon/London: Routledge, 2005 (ISBN 0-415-29177-1)), p. 60 & n. 19 (n. omitted) (author Evans postdoctoral research fellow, Ctr. for Contemp. Brit. Hist., Institute for Historical Research, London, editor Barker sr. lecturer history, Univ. of Manchester, & editor Chalus sr. lecturer history, Bath Spa Univ. Coll.), citing, at p. 60 n. 19, Gillis, J., Married But Not Churched: Plebeian Sexual Relations and Marital Nonconformity in Eighteenth-Century Britain, in Eighteenth-Century Life, vol. 9 (1985), pp. 32–34, & Leneman, Leah, Promises, Promises Marriage Litigation in Scotland, 1698–1830 (Edinburgh: no publisher, 2003), pp. x–xi.
^ Jump up to: a b Parry, Tyler (2011). "An Irregular Union: Exploring the Welsh Connection to a Popular African American Wedding Ritual" in Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television and Digital Media edited by Audrey L. Becker and Kristin Noone. Jefferson, NC: McFarland and Company, Inc. pp. 109–110, 123–124.
Jump up ^ Dundes(1996:324-328).
^ Jump up to: a b Dundes, Alan. "'Jumping the Broom': On the Origin and Meaning of an African American Wedding Custom", The Journal of American Folklore, 1996, p.326
Jump up ^ Parry, Tyler D. (2016). "The Holy Land of Matrimony: The Complex LEgacy of the Bromstick Wedding in American History". American Studies. 55 (1): 81–106.
Jump up ^ The Times: 3. 3 February 1824. Missing or empty |title= (help) The sort of difficulties which might arise were raised by an anti-slavery correspondent in 1824 in The Times discussing Jamaican slaves. He asked what changes a recent increase in church marriages among them had actually achieved: "Do they legally prevent a master from separating husband and wife, at his pleasure, by sale or transfer? Do they legally bind the husband to the wife, and the wife to the husband? Do they give to the husband the right and the means of redress against the violator of his conjugal peace?"
Jump up ^ Taylor, Orville W. (1958). "Jumping the Broomstick:Slave Marriage and Morality in Arkansas". The Arkansas Historical Quarterly. Taylor quotes from an 1882 ruling by Justice James Eakin of the Arkansas Supreme Court: 'There were no valid marriages amongst that class [the slaves], in the slave states of America before their general emancipation...'
Jump up ^ "A Slave's Marriage Valid: Its Legality Defined". New York Times. 20 July 1876. A New York court upheld the retrospective validity of a marriage between Anthony Jones and Patsy Minor, even though at the time and place it had been contracted such marriages between slaves were not legally recognized. Both Jones and Minor had been slaves in Virginia when, with consent of their respective masters, they declared an intention to live together as man and wife. Jones later died intestate in New York, leaving an estate valued at $15,000; a court ruled in favour of the claims of his widow and surviving son.
Jump up ^ "A Slave's Marriage Valid: Its Legality Defined". New York Times. 20 July 1876. 'It appears by the evidence that Anthony Jones and Patsy Minor were named according to the custom among slaves, and that the distinction was recognized among slaves, and by their masters, between such lawful and illicit intercourse, and those who cohabited without such marriage were regarded as disreputable.'
Jump up ^ In 'The Story of My Life' (1897) a white author, Mary Ashton Rice Livermore, described a broomstick wedding she attended at a Virginia plantation c. 1842. The preacher (a fellow slave) encouraged the marrying couple to see the broomstick-jumping as a serious expression of their mutual commitment, although he was well aware of the legal limitations of the ceremony. [1]
Jump up ^ Parry, Tyler (2011). "An Irregular Union: Exploring the Welsh Connection to a Popular African-American Wedding Ritual" in Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television, and Digital Media edited by Audrey L. Becker and Kristin Noone. Jefferson, NC: McFarland and Company, Inc. p. 123.
Jump up ^ Parry, Tyler D. (2016). "The Holy Land of Matrimony: The Complex Legacy of the Broomstick Wedding in American History". American Studies. 55 (1): 81–106.
Jump up ^ Jumping the Broom: Besom Weddings Parry, Tyler (2011). "An Irregular Union: Exploring the Welsh Connection to a Popular African American Wedding Ritual" in Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Television and Digital Media edited by Audrey L. Becker and Kristin Noone. Jefferson, NC: McFarland and Company, Inc. pp. 124–125. Martin Heath, Jumping the broomstick (bbc.co.uk, 2004).
Further reading[edit]
Anyiam, Thony C. (2007). Jumping the Broom in Style. Authorhouse. ISBN 1-4259-8638-2.
Taylor, Orville W. (1958). "'Jumping the Broomstick': Slave Marriage and Morality in Arkansas". Arkansas Historical Quarterly. 17 (3): 217–231. JSTOR 40018908.
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Lost in Space (2018 TV series)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Lost in Space
Series logotype
Genre
Science fiction
Adventure
Family drama
Created by
Irwin Allen
Developed by
Matt Sazama
Burk Sharpless
Starring
Molly Parker
Toby Stephens
Maxwell Jenkins
Taylor Russell
Mina Sundwall
Ignacio Serricchio
Parker Posey
Composer(s)
Christopher Lennertz
John Williams (original theme)
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
10 (list of episodes)
Production
Executive producer(s)
Zack Estrin
Kevin Burns
Jon Jashni
Matt Sazama
Burk Sharpless
Neil Marshall
Marc Helwig
Location(s)
Vancouver, British Columbia
Cinematography
Sam McCurdy
Running time
47–65 minutes
Production company(s)
Sazama Sharpless Productions
Applebox Entertainment
Synthesis Entertainment
Clickety-Clack Productions
Legendary Television
Distributor
Netflix
Release
Original network
Netflix
Picture format
4K (Ultra HD)
Original release
April 13, 2018 (2018-04-13) – present
Chronology
Related shows
Lost in Space (1965 TV series)
Lost in Space (1998 film)
External links
Website
Lost in Space is an American science fiction television series based on a re-imagining of the 1965 series of the same name (itself a re-imagining of the 1812 novel The Swiss Family Robinson), following the adventures of a family of pioneering space colonists whose ship veers off-course. It is written by Matt Sazama and Burk Sharpless and consists of ten episodes produced by Legendary Television, Synthesis Entertainment, Clickety-Clack Productions, and Applebox Entertainment, with Zack Estrin serving as showrunner. Netflix released the series on April 13, 2018.[1] In May 2018, the series was renewed for a second season.[2]
Contents
[hide]
1 Premise
2 Cast
2.1 Main
3 Episodes
4 Production
4.1 Development
4.2 Filming
5 Release
6 Reception
7 References
8 External links
Premise[edit]
In the year 2048 the Robinson family is selected for the 24th mission of the Resolute, an interstellar spacecraft which will carry selected families to colonize a new world. The Resolute was built after a celestial object, dubbed "The Christmas Star" by the media, crashed into Earth a few years earlier, threatening humanity's survival on Earth. Before they reach their destination, an alien robot breaches the Resolute's hull. Some of the families are forced to evacuate the mothership in their short range Jupiter spacecraft. The Robinsons and other colonists crash land on a nearby habitable planet where they battle the strange new environment and their own personal demons as they attempt to find a way back to the Resolute.[1]
Cast[edit]
Main[edit]
Molly Parker as Maureen Robinson, a fearless and brilliant aerospace engineer taking her family on the mission to colonize Alpha Centauri for a new life on a better world. She is a mission commander. She is married to John Robinson and is the mother of three children.[3]
Toby Stephens as John Robinson, a former U.S. Navy SEAL, and husband to Maureen. He is the biological father of Maureen's two youngest children.[4]
Maxwell Jenkins as Will Robinson, the 11-year-old son and youngest child of Maureen and John Robinson.[5]
Taylor Russell as Judy Robinson, Maureen's 18-year-old biracial daughter and eldest child. She is a mission doctor, having received accelerated medical training.[6][7]
Mina Sundwall as Penny Robinson, the 15-year old daughter and middle Robinson child.[7][8]
Ignacio Serricchio as Don West, a mechanic who also smuggles luxury goods. He has a chicken named Debbie, which he claims to be lucky.[9]
Parker Posey as Dr. Smith. She is a criminal and a sociopath who uses other people's identities to claim their belongings. Dr. Smith, whose real name is June Harris, stole her sister Jessica's identity and place on the colony ship. There she impersonates a Dr. Zachary Smith, to take his seat on an evacuating Jupiter ship. After landing on the planet, Dr. Smith attempts to sabotage the Jupiters' chances of being rescued by the Resolute while manipulating and gaslighting the survivors to avoid prosecution for her crimes.[10] The theft of the doctor's identity is a reference to the corresponding Dr. Smith character of the original TV series.[11]
Brian Steele as the Robot,[12] an alien mechanoid being that Will encounters on the planet that his family crash lands on. The robot has a different form from the ones on the previous series and movie.[13]
Episodes[edit]
This section's plot summaries may be too long or excessively detailed. Please help improve them by removing unnecessary details and making them more concise. (May 2018) (Learn how and when to remove this template message)
No.
Title
Directed by
Written by
Original release date
1
"Impact" Neil Marshall Matt Sazama & Burk Sharpless April 13, 2018 (2018-04-13)
The spacecraft Resolute, a large ferris wheel style ship, is carrying colonists, including the Robinson family, to Alpha Centauri. The Resolute is attacked and colonists escape in their “family home” Jupiter landing crafts but are hurled into a wormhole, crash-landing on an Earth-like planet. The Robinsons' craft, Jupiter 2, crashes into a glacial bed. The family evacuates with some supplies before their craft sinks in rapidly freezing water. Eldest Robinson child, Judy, a doctor, dives to the ship to retrieve power equipment. She becomes encased in ice, and with five hours of oxygen left in Judy's suit, John and son, Will, set out to collect magnesium that will melt the ice. Judy guides her sister, Penny, through a medical procedure to treat their injured mother, Maureen. Inside a cave, Will falls down a chasm, landing at the edge of a forest. John radios Will, saying he will return after saving Judy. Alone, Will finds a crashed alien ship and a dismembered robot that he helps to self-repair. In return, it saves Will as a forest fire nearly engulfs them. The family attempt to free Judy, but a sudden rainstorm hinders their progress. Will and the Robot arrive, and the Robot rescues Judy. In a flashback scene, a woman steals the identity of Dr. Zachary Smith and boards a Jupiter landing craft, along with Don West and Tam Roughneck.
2
"Diamonds In The Sky" Neil Marshall Matt Sazama & Burk Sharpless April 13, 2018 (2018-04-13)
Don West, Smith, and Debbie the chicken survive the Jupiter 18 landing. While looking for other survivors, they find Angela Goddard, who is barely alive. When a storm approaches, Don and Angela take cover while Smith heads out. Meanwhile, the robot melts more ice to allow the Robinsons to start the process of recovering the Jupiter 2. Maureen, John, Will and the robot hike to another Jupiter crash site and then later to the robot's ship. They leave Penny and Judy behind, instructing them how to carefully raise the ship out of the ice. Inside the alien ship, a holographic map of the planet is activated, showing John and Maureen they are in an unidentified galaxy. Outside, the robot touches the ship's hull, creating a mental connection to Will who learns what really happened on the Resolute. He decides to say nothing to his parents about the vision. When Penny sees the storm approaching and is unable to reach her parents to warn them, she raises the Jupiter 2 enough that the garage can be opened. She drives the ship's Chariot all-terrain vehicle to reach her family just in front of the storm. As they head back to Jupiter 2, they pass Don who sees them only to discover his flare gun is missing. The Robinsons see a flare and find Smith, who claims to be alone, returning with her to the Jupiter 2.
3
"Infestation" Tim Southam Zack Estrin April 13, 2018 (2018-04-13)
In a flashback, Dr. Smith is revealed to be June Harris, the older, ex-con sister of Jess Harris, a successful businesswoman. Jess offers June her entire estate as she is leaving Earth, but June drugs Jess and assumes her sister's identity. Aboard the Resolute, she bumps into her sister's lover and there is a struggle ending in him getting blown out an airlock. June is arrested but escapes during the robot's attack. In the present, Maureen explains they are trillions of light years from Earth. At night, the ice layer over Jupiter 2 cracks, endangering the ship. They rush to complete repairs, but the engines are losing fuel. When Will and the robot discover large eel-like creatures in the conduits, the robot locks Will, along with Smith, in the storeroom for safety. The glacier shifts, which forces the crew to make an emergency take-off after flushing the eels from the engines. They escape with just enough fuel to land near a forest region. Comms pick up radio communication from other Jupiter survivors and also from Resolute, who are searching for survivors. Somebody hacks the onboard 3D printer to make a gun. Will finds it, and hides the gun under his mattress, unaware Smith is watching.
4
"The Robinsons Were Here" Alice Troughton Katherine Collins April 13, 2018 (2018-04-13)
Stuck without fuel, the family initiates Jupiter 2’s colonization expansion protocol. Smith and Will discuss the robot, who does Will's bidding. Don West and Angela are rescued by the Watanabe family; Hiroki Watanabe reunites with John and Maureen at Jupiter 11 where Judy treats Angela. She tells Judy about the attack on Resolute. The Robinsons learn none of the other surviving families can fly due to the giant eels consuming fuel. John notices that one crash site is not a Jupiter ship. Maureen, John, and Don go there and discover the Resolute's comm dish. They realize the Resolute can't hear them. Maureen also discovers contraband whiskey that Don smuggled aboard. Judy confronts Will about the robot, and he reveals he knew it attacked the Resolute. They decide to hide the robot in a nearby cave, unaware Smith is following them. On the way, they're spotted by Vijay Dhar, the son of another survivor group. Penny blackmails him to say nothing about the robot, having found and keeping an item he dropped. While away, Maureen and John discuss their marital problems. The next morning, the kids return to Jupiter 2 before their parents arrive. Smith talks to the robot inside the cave, attempting to instill distrust in it about Will. When John and Maureen return home, the kids tell them that the robot wandered away.
5
"Transmission" Deborah Chow Kari Drake April 13, 2018 (2018-04-13)
The surviving colonists build a light tower to try to signal the Resolute. Maureen, noticing strange weather phenomena, conducts an experiment using a weather balloon. She discovers the sun is paired with a deadly black hole, and that the disturbances will only get worse until the planet is entirely unhabitable. Will ignores Penny and Judy's advice to tell their father about the Robot. Penny develops a crush on Vijay, flirting with him as they move supplies. Don confronts Dr. Smith about the stolen flare gun, though she claims she took it by mistake. In a flashback, Maureen and the kids discuss pros versus cons of going to Alpha Centauri. Judy and Don discuss his smuggling activities. He also reveals his suspicions about Dr. Smith's identity. Judy confronts Dr. Smith about this, but she lies and instead casts doubt on Don. When the colonists activate the light signal, Dr. Smith sneaks away and shuts off the perimeter fence, allowing a large reptilian creature to enter the camp and destroy the light tower. Smith tells John about the kids hiding the robot. When another creature shows up, Dr. Smith tells Will to call the robot. It does save the survivors, but only after Will tells it to defend itself against the creatures. It assumes its original multi-limb form to do this. The colonists witness all of this and recognize the robot from the attack on the Resolute.
6
"Eulogy" Vincenzo Natali Ed McCardie April 13, 2018 (2018-04-13)
Maureen tells her family about the black hole but is afraid the other colonists might panic. John has a heated argument with the other survivors about the robot. In the end, despite an enraged Angela claiming it killed her husband, John convinces the community to allow the robot to stay and takes Will on a hike to discuss Will's responsibility for the robot's actions. He has Will fetch 27 large stones to build a memorial to the casualties. Don takes the community leader and Vijay's father, Victor Dhar, to his Jupiter which crashed in the desert where there are none of the eel-like creatures, and wants money for its fuel. Don also retrieves identification of the real Dr. Smith, later showing Judy. Maureen learns that Hiroki also knows the planet is dying. Penny tells Vijay about the black hole but swears him to secrecy, and they share a kiss. Back at camp, Dr. Smith makes the distraught Angela recount the horrifying details of the robot attack. The emotional Angela enters the hub with the gun Dr. Smith has taken from Will's bunk and arranged for her to find. When she shoots at the robot it goes into attack mode and accidentally injures John before Will gets it to stop. Distraught, Will takes the robot to a cliff and orders it to walk off. He then places a stone on the memorial for the robot.
7
"Pressurized" Tim Southam Vivian Lee April 13, 2018 (2018-04-13)
While driving back to Jupiter 2, Judy is about to tell Dr. Smith she knows the truth about her when Don stops her. When Will is confronted by his mother, he confirms the robot 3D-printed the gun and that he hid it. Anyone could've taken the gun, though. Dr. Smith refuses blame for Angela's attack, and suggests Victor Dhar might have taken the gun. John and Maureen's rover gets stuck in a tar pit. As they sink to the bottom, Maureen admits to doctoring Will's test results. To escape the vehicle, Maureen uses the helium weather balloon to create a shielded path to the surface. Meanwhile, Smith locates the destroyed robot, but cannot get it to reassemble. Don's group speeds through a dangerous geyser field but a tube shakes loose and when Evan fixes the problem, a geyser blast flips the tanker on top of him. Victor realizes that a rock has punctured the tanker and if they move it they'll lose most of the fuel. Despite this Don reluctantly sides with Judy and lifts the tanker, spilling the fuel, but Evan dies anyway. Back on Jupiter 2, Dr. Smith finally manages to reactivate the robot. When Victor returns home, Vijay tells him about the planet's coming demise. Victor decides to use what fuel they did retrieve to launch their own Jupiter 4.
8
"Trajectory" Stephen Surjik Katherine Collins & Kari Drake April 13, 2018 (2018-04-13)
Maureen can't talk Victor out of launching, but John sneaks aboard the Dhar's Jupiter 4 and triggers the emergency shut down. Later, he explains to the gathered colonists how the planet is about to become inhabitable. Penny breaks off with Vijay for him telling his father. Maureen has a plan on how to launch despite the limited fuel, stripping out non-essential modules, and relying on old-school manual piloting. Judy tells Maureen the truth about the real Dr. Smith aboard Don's Jupiter. Returning to Jupiter 2, Maureen confines Dr. Smith to a holding cell. Dr. Smith now claims she is really Jessica Harris, a physicist. Maureen tells John about Smith, and he tells her that Don believes the Jupiter 4 is still too heavy to take off. With life support also removed, the pilot now needs a spacesuit and will need to withstand extreme G-forces. They select John, but not even he can regain consciousness fast enough to make all the maneuvers alone. When the Resolute sends a message that due to Hawking radiation they must leave the planet's orbit within 24 hours, Don reluctantly agrees to help pilot the ship. With his assistance the test run is a success. As John and Don launch in the Jupiter 4, Dr. Smith tricks Will and escapes to knock out Maureen right when John needs her instructions. With everyone watching, the ship explodes mid-air and John and Don are presumed dead.
9
"Resurrection" Tim Southam Story by : Daniel McLellan
Teleplay by : Kari Drake April 13, 2018 (2018-04-13)
Will tries to signal his father using simple radio, convinced he survived the explosion. Dr. Smith drives herself and Maureen to the alien wreck, and tells Maureen she didn't know Maureen was needed for the ship launch, and when she knocked her out, the ship exploded. She does promise helping Maureen get her kids off the planet, if she in return helps Dr. Smith with the alien ship. Will discovers that the rocks he collected in the cave are petrified biomass that can fuel the Jupiter ships to reach the Resolute. While the colonists gather to harvest the biomass, Judy leaves to find Maureen. The colonists find enough biomass to power all the Jupiters, but they must sneak it out quietly to not wake winged predators roosting in the cave. When John manages to send a signal, Penny and others are trapped inside when the blind creatures wake up Throughout the episode, flashbacks reveal the Christmas Star not to be a meteor but an alien craft, and that its engine was used to build The Resolute. The robot's attack was an attempt to retrieve the stolen engine. The group trapped in the cave manage to narrowly escape. Judy uses GPS to track Smith and Maureen. She manages to disable Dr. Smith, but the robot reactivates and is revealed to obey the Doctor's commands.
10
"Danger, Will Robinson" David Nutter Matt Sazama & Burk Sharpless April 13, 2018 (2018-04-13)
John and Don survived the explosion and are clinging to ship wreckage in orbit, with only a few hours of oxygen left. Will is upset to learn the robot now serves Dr. Smith. John responds to Will, confirming that he and Don are still alive. Will tries to bond with the robot again but is rejected. Victor Dhar hails them from the Resolute, telling them it will leave in just over an hour. Maureen traps Dr Smith and the robot in order to search for John and Don. Just as they're about to retrieve them, Dr Smith and the robot escape. Maureen leads the robot into the garage, as an alien ship arrives to retrieve the engine. When the alien robot is about to kill Will, his robot remembers him and attacks the alien robot, saving Will. In the fight, both robots are flung out into space and the garage ramp is damaged. Will goes outside the hull to manually close the hatch. Afterwards, he loses his grip but is saved by his father, who was rescued by Dr. Smith. With everyone safely back on the Jupiter, Maureen is grateful to Dr. Smith, but still locks her up. Before they can dock with the Resolute, the alien engine aboard the Jupiter 2 sends it and the Robinsons to a different galaxy. Will recognizes its shape from the robot's sand drawing: Danger.
Production[edit]
Development[edit]
In October 2014, it was announced that Legendary Television and Synthesis Entertainment were developing a new reboot of Lost in Space and had hired screenwriting duo Matt Sazama and Burk Sharpless to pen the pilot episodes.[14] In November 2015, Netflix landed the project.[15][16] On June 29, 2016, Netflix ordered a full 10 episode season of Lost in Space, with Zack Estrin as executive producer and showrunner. Sazama, Sharpless, Kevin Burns, Jon Jashni, Neil Marshall, and Marc Helwig also serve as executive producers.[17]
Toby Stephens, speaking about the distinction between the original series and the new show:
"It's a very clever, modern reworking of a great story. Lost in Space is Swiss Family Robinson in space, so it was a story that existed before Lost in Space. The fundamental story is that it's a family that is lost in a difficult, life-threatening situation and how it challenges them and brings them closer together. That is essentially what the story of this is, it's just the context is a lot more modern. It's a more modern take on the '60s version. If you look at it now, it's charming, but it seems so innocent. Whereas this is a version that is for our time. I'm hoping it will still have humour and humanity in it, but it has obviously gotta be for a modern audience."[18]
Filming[edit]
Production on the first season began in January 2017, in Vancouver, British Columbia, and concluded in June 2017.[19][20]
Release[edit]
The series was released on April 13, 2018, on Netflix.[1] On March 31, 2018, the pilot of the series was screened at Awesome Con in Washington, D.C., followed by a Q&A session with series executive producers and writers Matt Sazama and Burk Sharpless.[21]
Reception[edit]
The review aggregator website Rotten Tomatoes reported a 68% approval rating with an average rating of 5.26/10, based on 49 reviews. The website's critical consensus reads, "Lost in Space's production values are ambitious enough to attract sci-fi adventure fans, while the story's large heart adds an emotional anchor to all the deep space derring-do."[22] Metacritic, which uses a weighted average, assigned a normalized score of 58 out of 100 based on 27 critics, indicating "mixed or average reviews".[23]
David Griffin of IGN gave the first season a rating of 8.5/10 calling it "an excellent sci-fi adventure with a slight villain problem," giving particular praise to the Robinson family, while criticizing Parker Posey's Dr. Smith as an unsophisticated and one-dimensional character that lacks redeeming qualities.[24] In contrast, Jen Chaney of Vulture characterized Posey's performance as providing "understated, sly comedic touches".[25]
References[edit]
^ Jump up to: a b c Otterson, Joe (February 21, 2018). "Netflix Reveals Lost in Space Reboot Premiere Date, First Trailer". Variety. Retrieved February 21, 2018.
Jump up ^ Goldberg, Lesley (May 14, 2018). "'Lost in Space' Reboot Renewed for Season 2 at Netflix". The Hollywood Reporter. Retrieved May 14, 2018.
Jump up ^ Andreeva, Nellie (September 28, 2016). "Lost In Space: Molly Parker To Star In Netflix Series Remake". Deadline Hollywood. Retrieved October 8, 2017.
Jump up ^ "Transmission". Lost in Space (2018). Series 1. Episode 5. 13 April 2018. Event occurs at 00:18:46. Netflix. He came into the picture after I was born.
Jump up ^ Andreeva, Nellie (September 20, 2016). "Toby Stephens To Topline Lost in Space Netflix Remake, Maxwell Jenkins To Co-Star". Deadline.com. Retrieved October 8, 2017.
Jump up ^ https://www.usatoday.com/story/life/tv/2018/04/12/5-things-help-you-take-off-netflixs-new-lost-space/505788002/
^ Jump up to: a b Ausiello, Michael (September 16, 2016). "Lost in Space: Netflix Remake Casts Falling Skies Alum as Judy Robinson". TVLine. Retrieved September 16, 2016.
Jump up ^ Petski, Denise (December 15, 2016). "Lost In Space: Mina Sundwall To Play Penny Robinson In Netflix Remake". Deadline Hollywood. Retrieved December 16, 2016.
Jump up ^ Andreeva, Nellie (December 13, 2016). "Lost In Space: Ignacio Serricchio To Play Don West In Netflix Remake". Deadline Hollywood. Retrieved December 13, 2016.
Jump up ^ "What Dr. Smith Is Hiding On Netflix's Lost in Space". 14 April 2018.
Jump up ^ Petski, Denise (November 22, 2016). "Lost In Space: Parker Posey Joins Netflix Series Remake". Deadline Hollywood. Retrieved November 22, 2016.
Jump up ^ Debnath, Neela (April 17, 2018). "Lost in Space 2018 robot actor: Who plays the robot in Lost in Space 2018?". Daily Express. Retrieved April 26, 2018.
Jump up ^ Estrin, Zack (November 11, 2017). "Not quite 50 shades of grey, but... Testing metal colors for The Robot at #SpectralMotion. #LostInSpace #Netflix". Instagram. Retrieved October 8, 2017.
Jump up ^ Andreeva, Nellie (October 9, 2014). "Lost In Space Series Reboot In Works At Legendary TV With Dracula Writers". Deadline Hollywood. Retrieved October 8, 2017.
Jump up ^ Andreeva, Nellie (November 20, 2015). "Lost In Space TV Series Remake In Works At Netflix". Deadline Hollywood. Retrieved October 8, 2017.
Jump up ^ White, Brett; Ching, Albert (November 20, 2015). "Lost in Space Remake in Development at Netflix". Comic Book Resources. Retrieved October 8, 2017.
Jump up ^ Andreeva, Nellie (June 29, 2015). "Lost In Space Remake Picked Up To Series By Netflix". Deadline Hollywood. Retrieved October 8, 2017.
Jump up ^ Leane, Rob (April 3, 2017). "Lost In Space: Toby Stephens teases Netflix's 'modern' retelling". Den of Geek!. Retrieved October 8, 2017.
Jump up ^ Takeuchi, Craig (January 3, 2017). "Vancouver Screen Scene: Lost in Space, Van Helsing, and more". Inside Vancouver. Retrieved October 8, 2017.
Jump up ^ Bailey, Ian (March 30, 2017). "Vancouver's TV boom starts to fizzle as some shows move to California". The Globe and Mail. Retrieved October 8, 2017.
Jump up ^ Hildebrand, David (April 1, 2018). "Netflix gave a first look of their Lost in Space remake at Awesome Con". Adventures in Poor Taste. Retrieved April 2, 2018.
Jump up ^ "Lost in Space: Season 1 (2018)". Rotten Tomatoes. Retrieved April 13, 2018.
Jump up ^ "Lost in Space (2018): Season 1 Reviews". Metacritic. Retrieved April 13, 2018.
Jump up ^ "Netflix's Lost in Space: Season 1 (2018)". IGN. Retrieved April 13, 2018.
Jump up ^ http://www.vulture.com/2018/04/lost-in-space-review.html
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values: Lost in Space – Verschollen zwischen fremden Welten – German

values: Lost in Space (serie de televisión de 2018) – Spanish

values: گمشده در فضا (سریال تلویزیونی ۲۰۱۸) – Persian

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values: Perdus dans l'espace (série télévisée, 2018) – French

values: Կորածները տիեզերքում (հեռուստասերիալ, 2018) – Armenian

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values: Lost in Space (serie televisiva 2018) – Italian

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values: ロスト・イン・スペース (2018年のテレビドラマ) – Japanese

values: Lost in Space (série de 2018) – Portuguese

values: Затерянные в космосе (телесериал, 2018) – Russian

values: Matkalla avaruuteen (vuoden 2018 televisiosarja) – Finnish

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values: Загублені у космосі (серіал 2018) – Ukrainian

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