This Is Us
This Is Us is an American family drama television series created by Dan Fogelman that premiered on NBC on September 20, 2016, and concluded after six seasons on May 24, 2022.[1][2] The series chronicles the Pearson family across multiple decades, intertwining past and present timelines to explore how small moments profoundly impact their lives, focusing on patriarch Jack Pearson, matriarch Rebecca Pearson, and their adult triplets—Kevin, Kate, and Randall—known as the "Big Three."[1][2] The show delves into key themes such as love, loss, grief, race, and mental health through nonlinear storytelling, featuring emotional flashbacks to the characters' childhoods and flash-forwards to future events.[2] It stars Milo Ventimiglia as Jack, Mandy Moore as Rebecca, Sterling K. Brown as Randall, Chrissy Metz as Kate, and Justin Hartley as Kevin, with supporting performances by Susan Kelechi Watson, Chris Sullivan, and Ron Cephas Jones that earned widespread acclaim.[2] Critically praised for its heartfelt narrative and ensemble acting, This Is Us holds a 94% approval rating on Rotten Tomatoes based on 138 reviews.[3] The series received significant recognition, including four Primetime Emmy Awards: Sterling K. Brown for Outstanding Lead Actor in a Drama Series in 2017, and guest acting wins for Ron Cephas Jones in 2018 and 2020, and Gerald McRaney in 2017.[4][5] Brown also won a Golden Globe Award for Best Actor in a Television Series – Drama in 2018.[6] Over its run, This Is Us garnered 39 Emmy nominations and became a cultural phenomenon for its exploration of universal family experiences.[7]Overview
Premise
This Is Us is an American family drama television series that chronicles the multigenerational story of the Pearson family, centering on parents Jack and Rebecca Pearson and their three children—Kevin, Kate, and Randall—who are known as the "Big Three." The narrative begins with the triplets' birth on August 31, 1980, when Jack and Rebecca, expecting triplets, lose one child during delivery but decide to adopt an abandoned newborn boy at the hospital, naming him Randall and raising him alongside biological twins Kevin and Kate.[8][9] The series interweaves multiple timelines, including flashbacks to the 1980s and 1990s that depict pivotal family moments, such as Jack's sudden death in 1998 from cardiac arrest following a house fire, and the present-day (late 2010s to early 2020s) lives of the adult Big Three as they navigate personal challenges and relationships.[10][11] Rebecca, widowed after Jack's passing, later faces her own health struggles with Alzheimer's disease, diagnosed in early-onset stages during the 2020s timeline. The story also includes flash-forwards to future events, such as family gatherings amid Rebecca's declining health, hinting at ongoing emotional legacies.[12][13] Throughout, the Pearsons' interconnected lives highlight themes of love, loss, and resilience, with the shared birthday serving as a recurring motif that ties their experiences together. Supporting figures include Randall's wife Beth and their daughters, who form a stable family unit amid his search for identity; Kevin's turbulent acting career marked by fame and self-doubt; and Kate's ongoing battles with weight issues and grief over her father's death. The overarching arc spans from the triplets' birth through their adulthood and into the family's future, emphasizing enduring bonds across generations without resolving every conflict in a single timeline.[9][2]Narrative structure and themes
The series employs a non-linear narrative structure that interweaves parallel timelines to gradually reveal the Pearson family's backstory and evolution. These include flashbacks to the 1980s and 1990s depicting the young family led by Jack and Rebecca Pearson, present-day sequences from 2016 onward focusing on the adult children, and flash-forwards to the 2030s offering glimpses of an aging Rebecca and her adult grandchildren.[14][15] This approach, as described by creator Dan Fogelman, forms a "mosaic of moments" that connects past events to contemporary struggles, enhancing the viewer's understanding of character motivations without a strictly chronological progression.[16] Episodes typically advance present-day plots while incorporating flashbacks to pivotal past events, often converging around shared milestones such as the characters' birthdays or Super Bowl Sunday. This structure allows for simultaneous exploration of multiple family members' arcs, with each installment balancing forward momentum in the current timeline against revelations from earlier decades.[17] For instance, the pilot episode uses this format to introduce the triplets' intertwined lives across time periods, setting the template for the series' operational aesthetics of surprise and emotional layering.[18] Central themes revolve around family legacy and the intergenerational impact of parental choices, as seen in how Jack and Rebecca's decisions shape their children's paths. Grief and loss form a core motif, particularly in processing Jack's death and its lingering effects on the family, which fosters a nuanced portrayal of emotional recovery across timelines.[15] Identity and adoption are explored through Randall Pearson's search for his biological roots, highlighting themes of racial heritage and belonging within a predominantly white family.[14] Kate's arc addresses body image and self-acceptance, underscoring the personal toll of societal expectations and familial support.[17] Stylistic elements amplify these themes through emotional montages set to music, which juxtapose joyful and poignant moments to heighten affective resonance. Voiceover narration by adult characters often reflects on past events, bridging timelines and providing introspective commentary on family bonds.[15] Metaphorical objects, such as Jack's toolbox, symbolize enduring life lessons and paternal guidance passed down through generations, reinforcing the motif of legacy without overt exposition.[19]Cast and characters
Main cast
The main cast of This Is Us centers on the Pearson family, portraying their interconnected lives across multiple timelines through a core ensemble of actors who embody the parents and the "Big Three" siblings, along with key extended family members.[20] Milo Ventimiglia as Jack PearsonJack Pearson is the heroic patriarch of the Pearson family, a recovering alcoholic Vietnam War veteran who serves as the emotional anchor for his wife and children, often depicted in flashbacks highlighting his unwavering support and sacrifices, though he dies young. Ventimiglia's portrayal emphasizes Jack's role as an idealized yet flawed father figure, drawing from his previous work in series like Gilmore Girls and Heroes.[20] Mandy Moore as Rebecca Pearson
Rebecca Pearson is the devoted matriarch, an aspiring singer in her youth who navigates the challenges of raising her family, including remarrying Miguel after Jack's death and later confronting her own health decline, all while balancing her musical dreams with parenting responsibilities. Moore's performance captures Rebecca's resilience and warmth, building on her established career as both an actress in films like A Walk to Remember and a musician.[20] Sterling K. Brown as adult Randall Pearson (with Niles Fitch as teen Randall and Lonnie Chavis as young Randall)
Randall Pearson, the adopted Black son of Jack and Rebecca, grapples with identity issues stemming from his adoption, pursues a career in social services, and builds a family life with his wife Beth, becoming a devoted father and husband. Brown's nuanced depiction of Randall's emotional depth earned critical acclaim, including Emmy recognition, complementing his roles in projects like American Crime Story; Fitch and Chavis portray Randall in teen and early flashbacks.[20] Chrissy Metz as Kate Pearson (with Hannah Zeile as teen Kate and Mackenzie Hancsicsak as young Kate)
Kate Pearson, one of the "Big Three" triplets, contends with struggles related to obesity, profound grief over her father's death, and complex romantic relationships, including her marriage to Toby and eventual motherhood, all while remaining a fiercely loyal sibling. Metz's empathetic portrayal highlights Kate's journey toward self-acceptance, informed by her own advocacy work and prior appearances in films like Breakthrough; Zeile and Hancsicsak portray Kate in teen and early flashbacks.[20] Justin Hartley as adult Kevin Pearson (with Logan Shroyer as teen Kevin and Parker Bates as young Kevin)
Kevin Pearson, Kate's twin and the other biological child of Jack and Rebecca, is an aspiring actor who battles addiction, navigates the pitfalls of sudden fame from a sitcom role, and experiences tumultuous romantic entanglements throughout his life. Hartley's performance conveys Kevin's vulnerability and search for purpose, drawing from his soap opera background in The Young and the Restless and Smallville; Shroyer and Bates play the teenage and young versions.[20] Susan Kelechi Watson as Beth Pearson
Beth Pearson is Randall's steadfast wife, a former dancer who later returns to a career in dance education, raising their three daughters while providing emotional stability and strength to her family amid various challenges. Watson's grounded portrayal underscores Beth's role as a pillar of support, with previous credits including Third Watch and A Beautiful Day in the Neighborhood.[20][21]
Recurring and guest stars
Miguel Rivas, portrayed by Jon Huertas, is Rebecca Pearson's second husband and the stepfather to her children Kevin, Kate, and Randall, while also serving as the late Jack Pearson's best friend. His character provides emotional stability for the family in the later seasons and offers moments of comic relief amid the Pearson clan's turmoil.[22][23] Toby Damon, played by Chris Sullivan, is Kate Pearson's husband and the father of their son Jack Damon, as well as their daughter Hailey. Toby's arc delves into his battles with clinical depression from a young age and subsequent job loss in later years, which strain his marriage and highlight themes of mental health within the family.[24][25][26] Sophie Inman (née Canning), Kevin Pearson's high school sweetheart and intermittent romantic partner, is portrayed by Alexandra Breckenridge. She appears in various timelines, embodying Kevin's pattern of unresolved relationships and contributing to subplots exploring his personal growth and past regrets.[27] Lyric Ross as Deja PearsonDeja Pearson is the adopted daughter of Randall and Beth, initially introduced as a foster child who struggles with trust issues stemming from her abusive upbringing and unstable family background with her biological mother; she eventually integrates into the Pearson family, navigates teen romance, and pursues a career in medicine in adulthood. Ross's performance captures Deja's resilience and growth.[20] William Hill, Randall Pearson's biological father, is played by Ron Cephas Jones (d. 2023). A jazz musician grappling with heroin addiction, William features prominently in flashbacks depicting his abandonment of infant Randall and in present-day scenes of their poignant reunion, enriching Randall's storyline on identity and heritage.[28][29] Among the notable guest stars, Peter Onorati portrays Stanley Pearson, Jack's abusive and alcoholic father, whose volatile presence in flashbacks underscores Jack's drive to be a better parent and shapes family trauma subplots. Gerald McRaney recurs as Dr. Nathan Katowski, the obstetrician who delivers the Pearson triplets and later offers sage advice on grief and resilience. Jennifer Morrison guest stars as Cassidy Sharp, a Marine veteran and Kevin's brief fiancée, whose PTSD struggles intersect with Kevin's recovery journey and expand themes of post-service life. Iantha Richardson appears as the adult version of Tess Pearson, Randall and Beth's elder daughter, illustrating the next generation's navigation of identity and family expectations in future timelines.[30][31][32][33] Recurring characters further deepen the ensemble's cultural and relational layers; Phylicia Rashad plays Carol Clarke, Beth Pearson's strict mother, whose interactions reveal intergenerational dynamics in Black family life and influence Beth's career choices. Katey Sagal portrays Lanie Schulz, Kevin's pragmatic Hollywood agent, who navigates his professional setbacks and adds insight into the entertainment industry's relational pressures. These roles collectively broaden the Pearson narrative beyond the core family, emphasizing support networks and subplot evolution.[34][35]
Production
Development and conception
This Is Us was created by Dan Fogelman, who drew inspiration from his own family experiences and the diverse lives of his peers as he approached his late thirties. In the spring of 2015, while under a development deal with 20th Century Fox Television, Fogelman adapted an unfinished 80-page feature film script titled "36," which centered on siblings born on the same day. Initially conceived as a movie about sextuplets navigating parenthood, the concept evolved into a television series to allow for deeper exploration of interconnected lives and emotional depth. Fogelman pitched the idea emphasizing a blended comedy-drama tone that captured authentic human connections, stating, "There is a form of storytelling—a tone—that lives in between the laugh and the [heavy] emotion."[36][37] The pilot episode was written by Fogelman in collaboration with Isaac Aptaker and Elizabeth Berger, incorporating a time-jump reveal to introduce the multi-timeline structure and build mystery around family secrets. Directed by John Requa and Glenn Ficarra, the script was revised from its film origins by streamlining characters—such as eliminating a London-based sister—and focusing on a core group of individuals sharing a birthday, shifting from strangers to a central family unit. This narrative approach was designed from the outset to emphasize long-arc storytelling, including pivotal reveals like the death of patriarch Jack Pearson, which Fogelman planned as a foundational element to drive emotional authenticity across seasons.[38][36][39] NBC ordered the pilot in September 2015, and following a strong test screening, greenlit the series straight-to-order in May 2016 with an initial full-season commitment of 18 episodes to enable thorough character development. The network's decision was influenced by the pilot's resonance, with NBC Entertainment President Jennifer Salke noting, "You’d have to be in a coma to not respond to this show." In pre-production, Fogelman assembled a 10-writer room led by himself, prioritizing diversity to reflect the series' themes and ensure genuine emotional narratives; the team included veterans like Tyler Bensinger and emerging voices like Jas Waters. Budget approvals supported the multi-timeline format, facilitating sets for various eras and allowing the planned six-season arc to unfold without a predetermined endpoint, as Fogelman explained, "suddenly I didn’t need an ending." In January 2017, ahead of the season one finale, NBC renewed the series for two additional seasons of 18 episodes each, providing rare upfront stability for expansive storytelling.[40][41][42][36][43][44]Casting process
The casting process for This Is Us began in early 2015, with creator Dan Fogelman playing a pivotal role in selecting the ensemble to capture the show's emotional depth and familial authenticity. Fogelman targeted Milo Ventimiglia for the role of Jack Pearson, drawn to his "everyman appeal" and ability to convey blue-collar resilience, as demonstrated in his audition featuring a motorcycle entrance and scenes from the pilot script. Ventimiglia's casting influenced the overall family dynamic, with Fogelman stating, "That’s him. Let’s base the family off that." Similarly, Mandy Moore was chosen as Rebecca Pearson after a chemistry read with Ventimiglia and a monologue that showcased her vocal talents and dramatic range, prompting Fogelman to declare, "It was so powerful… it was over."[45] For the "Big Three" siblings, the process emphasized actors who could embody complex emotional arcs. Sterling K. Brown was cast as Randall Pearson shortly after his intense performance in American Crime Story, with Fogelman noting his immediate fit based on prior work in Whiskey Tango Foxtrot, saying, "We never really read anybody else." Brown's audition included the confrontation with William and a soccer scene, highlighting his depth for the character's identity struggles. Chrissy Metz secured Kate Pearson following a compelling read with Justin Hartley, where her advocacy for body positivity aligned with the role's themes of self-acceptance; Fogelman called her selection "the highlight." Justin Hartley was selected as Kevin Pearson after a grueling search, impressing with his unique delivery of the Challenger explosion monologue, leveraging his soap opera background from The Young and the Restless to bring vulnerability to the part.[45] Supporting roles were filled through targeted auditions prioritizing chemistry and representation. Jon Huertas landed Miguel after chemistry reads that revealed his charm and energy akin to Ventimiglia's, leading Fogelman to refine the character's backstory for better integration. Susan Kelechi Watson was cast as Beth Pearson via an open call from New York, excelling in a monologue and pairing seamlessly with Brown, whom Fogelman described as making them seem "married in real life." For guest star William Hill, Ron Cephas Jones was chosen from a New York tape submission recommended by casting director Tiffany Little Canfield, with Fogelman affirming, "It was so obviously him," without needing an in-person audition.[45] A key challenge was casting child and teen actors for flashbacks to ensure physical and emotional matches with the adults, requiring extensive auditions without direct chemistry reads between age groups. Niles Fitch was selected as teen Randall after impressing in prior auditions for other projects, effectively mirroring Brown's mannerisms and intensity to portray the character's adolescent turmoil. Casting director Little Canfield highlighted the difficulty in finding young performers who could sustain the show's nuanced emotional demands while resembling their adult counterparts.[46] Diversity was intentional from the outset, particularly for Randall's family, with Fogelman assembling a multi-ethnic cast to reflect authentic American experiences underrepresented in media. This included prioritizing Black actors like Brown, Watson, and Fitch for Randall's storyline, informed by Fogelman's vision of a relatable, diverse suburban family drawn from his own background. The process involved building a diverse writers' room to guide authentic portrayals, ensuring the Black Pearson family's narratives avoided stereotypes and emphasized universal humanity.[43][45]Filming locations and production design
The NBC drama This Is Us was primarily filmed in and around Los Angeles, California, despite its story being set in Pittsburgh, Pennsylvania, and other East Coast locales. Exteriors for the Pearson family home were shot at a Craftsman-style house in the Eagle Rock neighborhood of Los Angeles, chosen for its classic suburban architecture that evoked mid-20th-century American family life. Interiors, including the Pearson kitchen and living spaces, were constructed on soundstages at Paramount Studios in Hollywood, allowing for controlled replication of period-specific details across multiple timelines. For scenes depicting Randall Pearson's life in Pittsburgh, production used Los Angeles locations with architecture resembling Pennsylvania's urban and suburban styles, such as row houses and bridges, to maintain visual authenticity without extensive travel.[47][48][49] Production designer Gary Frutkoff led the visual aesthetic, collaborating with set decorator Beth Wooke to create cohesive environments that supported the show's multi-era narrative. Cinematographer Yasu Tanida contributed to the intimate, character-driven look through subjective lighting and close-ups that emphasized emotional depth, often using natural light sources and detuned anamorphic lenses for a soft, organic feel. Frutkoff described the team's role as "biographers," where sets like bedrooms revealed character traits, ensuring designs reflected evolving family dynamics across decades.[50][51][52] To distinguish timelines, sets incorporated era-appropriate details: 1980s and 1990s interiors featured wood-paneled walls, linoleum floors, rotary phones, and bulky furniture to capture blue-collar domesticity, while vintage cars like a 1970s Ford Granada were sourced for exterior shots. Present-day scenes adopted modern suburban elements, such as open-concept kitchens with stainless steel appliances and neutral palettes in Randall's Philadelphia home, contrasting the warmer, cluttered tones of the past. Flash-forward sequences employed subtle desaturation and cooler color grading to convey emotional weight, with minimalistic sets underscoring themes of loss and reflection. These choices ensured visual continuity, allowing seamless transitions between past, present, and future without disorienting viewers.[53][54][55] Key sequences highlighted practical filmmaking techniques. The Season 2 house fire, central to Jack Pearson's storyline, was filmed using real flames in the Eagle Rock exterior house and practical effects on a controlled set, creating intense realism that challenged actors physically over multiple nights. Super Bowl episodes, like Season 2's "Super Bowl Sunday," utilized Paramount soundstages for family interiors but incorporated on-location footage from San Diego's Qualcomm Stadium to authentically depict the 1998 game atmosphere. In Seasons 5 and 6, COVID-19 protocols delayed production starts and limited crew sizes, leading to more contained shoots at the Pearson family cabin in the Los Angeles-area Angeles National Forest, with enhanced safety measures like rapid testing and partitioned sets.[56][57][58] Episodes typically required 8 days of principal photography, balancing the show's nonlinear structure with efficient scheduling on soundstages and limited exteriors. Green screens were occasionally used for flash-forwards to composite aged actor appearances via digital makeup enhancements, though heavy reliance on prosthetics and lighting minimized VFX needs. These logistics supported the series' emphasis on emotional intimacy over spectacle, aligning physical production with its thematic focus on family across time.[59][60][61]Commitment to diversity
The series This Is Us demonstrated a strong commitment to on-screen diversity by authentically portraying complex Black family dynamics through the character of Randall Pearson, played by Sterling K. Brown, who navigates themes of transracial adoption, therapy for racial identity issues, and cultural heritage exploration, such as his search for his biological father and reflections on systemic racism.[62][63] This representation was praised for depicting a multidimensional Black family rarely seen on television, emphasizing emotional depth over clichés.[64] Body diversity was highlighted through Kate Pearson's storyline, portrayed by Chrissy Metz, which unapologetically addressed weight struggles, self-acceptance, and societal pressures without reducing her to a trope, positioning Metz as a trailblazer for plus-size representation in leading roles.[65] LGBTQ+ elements were incorporated into subplots, including the coming-out arc of his niece Tess, who grapples with her queer identity and family support, contributing to the show's recognition for inclusive queer narratives.[66] Behind the scenes, creator Dan Fogelman prioritized a diverse writers' room to ensure authentic storytelling, intentionally hiring writers from varied ethnic and gender backgrounds to reflect the show's audience and avoid superficial diversity.[43] By Season 3, the room included notable voices of color like Kay Oyegun, a Nigerian-American writer who directed episodes centering Black characters, such as those delving into Randall's heritage and family tensions.[67][68] The production also employed consultants for sensitive topics, collaborating with the Alzheimer's Association to accurately depict Rebecca Pearson's dementia progression and its family impact, which helped reduce stigma around the disease.[69] Specific initiatives included Fogelman's emphasis on meaningful representation over tokenism, as he publicly discussed crafting stories that humanize marginalized experiences without stereotypes, such as expanding Beth Pearson's role—played by Susan Kelechi Watson—from supportive spouse to a professional dancer pursuing her ambitions in response to early fan and critic feedback seeking deeper character development.[63][70] The show received the 2018 GLAAD Media Award for Outstanding Drama Series, acknowledging its fair and inclusive portrayal of LGBTQ+ lives.[71] These efforts yielded measurable impact, with the diverse cast earning multiple Emmy nominations, including Sterling K. Brown's 2017 win for Outstanding Lead Actor in a Drama Series and subsequent nods that highlighted industry progress in recognizing performers of color.[72] Actors like Brown and Watson gained heightened visibility, boosting their careers—Brown through high-profile projects emphasizing Black masculinity, and Watson via expanded opportunities in film and theater that built on Beth's empowered portrayal.[64][73] This contributed to broader shifts in television, where shows like This Is Us modeled inclusive practices influencing casting and writing norms.[74]Music
Original score
The original score for This Is Us was composed by Siddhartha Khosla, a college friend of series creator Dan Fogelman, who scored all six seasons beginning with the pilot episode.[75] Khosla crafted the main theme, titled "Opening Theme (This Is Us)," featuring piano and subtle acoustic elements to evoke a nostalgic, timeless quality that bridges the show's multiple timelines.[76] This theme, performed live by Khosla at events like the ASCAP Screen Music Awards, underscores the series' emotional core with its simple, ethereal arrangement.[77] Khosla's score adopts a minimalist style, blending organic instrumentation such as acoustic guitar, piano, and percussion with influences from his Indian heritage, including tanpura and harmonium, to create atmospheric depth without overpowering dialogue.[78] Recurring motifs enhance key emotional beats, like uplifting string swells for family reunions and somber piano lines for moments of grief, used sparingly to complement the narrative's focus on diegetic music while proving essential in montage sequences, such as the Season 1 finale depicting Jack Pearson's death.[75] Flashback cues often incorporate warm, 1980s-inspired tones through vibraphone and violin effects to convey familial intimacy, while future-oriented scenes employ dissonant elements like bowed percussion for uncertainty and tension.[78] In collaboration with Fogelman, Khosla synchronized the score to the show's nonlinear timeline shifts, evolving motifs like Randall Pearson's theme from anxious piano in early episodes to sweeping orchestral builds in later arcs.[75] Production began with Khosla's handmade recordings in a home setup for the initial seasons, emphasizing personal touches like table taps for rhythm, but expanded to live orchestra sessions in Los Angeles, including a 55-piece ensemble at the Fox Lot's Newman Scoring Stage for Season 5.[79] Adjustments for emotional peaks were refined iteratively, as seen in the intensified, anthemic cues for the series finale episode "The Train," featuring tracks like "For Joyce (The Train)" that layer strings and piano to heighten the family's farewell sequences.[80] Official releases of Khosla's score include This Is Us (Original Score), a 2018 album with 23 tracks from the early seasons released by Lakeshore Records, and This Is Us: Seasons 5 & 6 (Original Score), a 2022 compilation with another 23 tracks covering the final two seasons, also by Lakeshore Records.[76][81]Soundtrack releases
The soundtrack of This Is Us heavily relies on licensed music, particularly hits from the 1970s and 1990s, to evoke nostalgia and underscore the show's themes of family, memory, and emotional resonance. Music supervisor Jennifer Pyken selected recognizable tracks to complement the narrative, blending them with original covers performed by the cast to deepen character backstories. For instance, Paul Simon's "You Can Call Me Al" (1986) plays in the pilot episode, capturing the Pearson family's chaotic yet joyful dynamic during a birthday celebration.[82] Key licensed songs highlight pivotal moments, such as Sufjan Stevens' "Death With Dignity" (2015) during Jack Pearson's funeral in season 2, episode 18, where its haunting lyrics amplify the family's grief and reflection on loss. The show also features recurring artists like The Avett Brothers and Bob Dylan to add emotional depth; for example, Dylan's "Forever Young" (1973) appears in flashbacks of Jack and Rebecca's early relationship, symbolizing parental hopes and enduring love. These selections prioritize songs that mirror the characters' inner lives without overpowering the dialogue.[83] Cast members contribute through integrated musical performances, tying into their roles. Mandy Moore, as Rebecca Pearson, covers Little Feat's "Willin'" (1972) in a season 1 episode, portraying Rebecca's unfulfilled dreams as a singer during a road trip with Jack. In season 3, episode 7, Moore performs the original song "Invisible Ink," written by her then-fiancé Taylor Goldsmith, as Rebecca auditions for a band, revealing her lingering aspirations and vulnerability in her marriage. Sterling K. Brown, playing Randall Pearson, features in musical cameos linked to his father William's jazz heritage, such as the season 1 episode "Memphis" where William (Ron Cephas Jones) shares a soulful rendition of the original song "We Can Always Come Back to This," influencing Randall's emotional journey.[84][85] Official soundtrack releases include This Is Us (Music from the Series), a 2017 compilation album with 20 tracks curated by creator Dan Fogelman, Pyken, and composer Siddhartha Khosla, featuring highlights like "Death With Dignity," "You Can Call Me Al," and Moore's "Willin'." Released on September 15, 2017, by Island Records, it coincides with the season 1 DVD and season 2 premiere. A follow-up, This Is Us - Season 2 (Music from the Series), arrived in 2018 with 17 tracks, including additional licensed hits and covers. No comprehensive series-wide soundtrack exists, but seasonal compilations and episode-specific playlists are available on platforms like Spotify and Apple Music, aggregating over 80 songs across all six seasons.[86][82][87]Release
Broadcast history
This Is Us premiered on NBC on September 20, 2016, and concluded after six seasons on May 24, 2022, with a total of 106 episodes.[9] The series initially aired on Tuesdays at 9:00 p.m. Eastern/8:00 p.m. Central, a slot it maintained for most of its run, though there were brief considerations for a move to Thursdays in fall 2017 that were ultimately reversed to preserve the Tuesday placement.[88][89] Season premieres followed this pattern, with Season 1 starting September 20, 2016; Season 2 on September 26, 2017; Season 3 on September 25, 2018; Season 4 on September 24, 2019; Season 5 on October 27, 2020 (as a two-hour event); and Season 6 on January 4, 2022.[90] Season 1 consisted of 18 episodes, a full-season order issued shortly after the pilot's airing, with subsequent seasons 2 through 4 also featuring 18 episodes each. Season 5 was shortened to 16 episodes due to COVID-19 production disruptions, while Season 6 aired its planned 18 episodes as the series finale.[91] In January 2017, NBC renewed the series for two additional seasons, enabling creators to plan a multi-year arc toward a definitive endpoint. As a cornerstone of NBC's drama programming, This Is Us anchored the network's Tuesday lineup post its debut success, with later renewals in May 2019 extending it through Season 6 to facilitate a conclusive narrative.[92][93] Broadcast highlights included the Season 2 episode "Super Bowl Sunday," which aired immediately following the Super Bowl on February 4, 2018, integrating the event into the storyline without mid-season interruptions in early years, though pandemic-related delays affected later scheduling.[94] Holiday-themed episodes, such as those centered on Thanksgiving or Christmas, were woven into the regular Tuesday slots to maintain narrative continuity.[95]Home video and streaming
The home video releases of This Is Us began with individual season sets distributed by 20th Century Fox Home Entertainment, starting with Season 1 on DVD on September 12, 2017.[96] Subsequent seasons followed in a similar format, with Season 5 released on DVD by Universal Pictures Home Entertainment on November 16, 2021, and Season 6 on October 4, 2022.[97] A complete series box set encompassing all six seasons became available on DVD through major retailers like Walmart and Amazon in late 2022, also under Universal Pictures Home Entertainment.[98] These physical releases typically include bonus features such as deleted scenes, cast interviews, and behind-the-scenes featurettes, as seen in international editions and select U.S. sets.[99] Streaming availability expanded post-broadcast, with all seasons added to Hulu in 2019 and remaining accessible as of November 2025.[100] The series was also available on Peacock, NBCUniversal's streaming service, from 2020 onward, though it was removed by mid-2025.[101] Netflix licensed all six seasons starting January 8, 2024, which led to a surge in viewership, including 929 million minutes streamed across Netflix and Hulu during the week of January 15, 2024, according to Nielsen data, sparking renewed interest and social media trends.[2][102] However, the series left Netflix on July 8, 2025, with no exclusive streaming deals announced for NBCUniversal properties thereafter.[103] Internationally, home media releases include region-specific DVDs for Europe and Asia, such as PAL Region 2 editions with subtitles in local languages like French for European markets and availability through retailers in Singapore.[104][105] Digital purchases and rentals of episodes or seasons are offered globally on platforms including Apple iTunes and Amazon Prime Video.[106] As of 2025, no 4K UHD physical or streaming releases have been issued, with high-definition (HD) remaining the standard format across all home video and digital platforms.[107]International adaptations
The American television series This Is Us has been adapted into several international versions, with producers localizing the core premise of interconnected family stories spanning multiple timelines and generations while retaining key elements like the shared birthday motif among siblings.[108] These remakes have primarily emerged in Europe, where the format's emotional depth resonates with local audiences, though adaptations often adjust cultural references, family structures, and societal norms to fit regional contexts.[109] The first international adaptation was the Turkish series Bir Aile Hikayesi (translated as A Family Story or Better Together), which premiered on FOX Turkey in March 2019 and ran for one season of 13 episodes until June 2019.[110] Produced by Medyapım, the show stars Songül Öden and Birkan Sokullu as the central couple, Cem and Reyhan, who give birth to triplets on the same day as two other characters, mirroring the original's structure of four lives intersecting on a significant birthday.[111] It incorporates Turkish cultural elements, such as emphasis on extended family support and traditional gender roles within a modern urban setting in Istanbul, while exploring themes of parenthood, loss, and resilience.[112] The series concluded after its initial run due to moderate ratings, but it marked the format's debut outside the U.S.[113] In France, Je te promets (I Promise You) aired on TF1 starting in January 2021, spanning two seasons and 32 episodes through 2023.[114] Adapted by writers Brigitte Bémol and Julien Simonet under the direction of Arnaud Sélignac, the series follows the Gallo family, with Hugo Becker and Camille Lou portraying the parents Paul and Florence, whose triplets—Maud, Michaël, and Manon—are born on Paul's birthday, alongside another character's parallel story.[115] Localizations include French suburban settings, references to contemporary social issues like work-life balance and immigration, and a focus on emotional introspection typical of Gallic storytelling, while preserving the nonlinear narrative and birthday convergence.[116] The adaptation received attention for its casting of diverse actors reflecting France's multicultural demographics and aired to solid viewership on the major network.[117] Italy's version, Noi (Us), debuted on Rai 1 in March 2022 and has aired two seasons to date, with 18 episodes in the first and additional installments in the second.[118] Directed by Luca Ribuoli and produced by Cattleya in collaboration with Rai Fiction, it centers on the Peirò family, led by Lino Guanciale and Aurora Ruffino as parents Pietro and Rebecca, whose three children—Claudio, Caterina, and Daniele—share a birthday with a fourth character, maintaining the original's ensemble focus on personal growth and familial bonds.[119] Filmed in Turin, Rome, Milan, and Naples, the series adapts Italian cultural nuances, such as regional family traditions and the influence of Catholicism on life milestones, while emphasizing themes of reconciliation and heritage in a post-economic crisis context.[120] Casting draws from Italy's diverse talent pool, including actors of Southern European descent, to reflect the nation's demographics.[121] The Netherlands produced Dit zijn wij (This Is Us), a one-season adaptation of eight episodes that aired on NPO 1 from October 2019 to November 2020.[122] Developed by NL Film (part of Endemol Shine Netherlands), the series follows a Dutch family navigating life's complexities across timelines, with the birthday motif linking the siblings' stories to another individual's, set against Amsterdam's urban backdrop.[123] It localizes elements like progressive family dynamics and work culture influenced by Dutch social policies, but received mixed reception for feeling too derivative of the original.[124] Discussions for pilots in other markets, such as South Korea, were reported in industry circles around 2018 but did not result in produced series.[125] Similarly, unconfirmed rumors of an Indian adaptation surfaced in 2020, tied to interest from local broadcasters, but no project advanced to production.[126] These adaptations highlight the format's global appeal, distributed internationally by 20th Century Fox Television Distribution (now Disney), though the original series itself has been broadcast in over 125 countries without further remakes confirmed as of 2025.[127]Episodes
Season summaries
The first season introduces the adult lives of the Pearson family's "Big Three" triplets—Kevin, an actor navigating fame and personal voids; Kate, who grapples with self-esteem and weight issues while seeking love; and Randall, a successful executive searching for his biological roots—interwoven with flashbacks to their birth on October 31, 1980, and the early family dynamics under parents Jack and Rebecca.[9][17] These timelines reveal Jack's role as a devoted father and Rebecca's ambitions as a musician, highlighting themes of identity, loss, and familial bonds from the outset.[128] The season culminates in the revelation of Jack's tragic death in a house fire on Super Bowl Sunday in 1998, triggered by a faulty slow cooker, leaving the family to confront grief in the present day.[10] Spanning 18 episodes from September 20, 2016, to March 14, 2017, it establishes the series' nonlinear structure and emotional depth. The second season delves into Jack's Vietnam War experiences, portraying his service, trauma, and bond with brother Nicky, while also examining his postwar battle with alcoholism that strains his marriage to Rebecca.[129] In the present, it covers pivotal events like Kate and Toby's wedding, Randall and Beth's adoption struggles, and Kevin's budding romance with Zoe, alongside collective family losses that test resilience.[130] New flash-forwards tease a somber gathering after Jack's funeral, hinting at future fractures among the siblings.[131] Airing 18 episodes from September 26, 2017, to March 13, 2018, the season expands the narrative's scope to explore intergenerational trauma and redemption.[9] Season three centers on Randall's deepened quest into his African American heritage, including meetings with extended family and reflections on his adoption, paralleled by Kate's high-risk pregnancy with Toby and their preparations for parenthood.[132] Kevin confronts his sobriety journey amid career setbacks and a trip to Vietnam that uncovers more about Jack's past, while flashbacks illuminate Rebecca's early singing career and the couple's pre-parenthood romance.[133] The siblings' individual growth intersects during family crises, emphasizing themes of legacy and self-discovery.[21] Comprising 18 episodes from September 25, 2018, to April 2, 2019, it balances emotional introspection with revelations about the Pearsons' foundational history.[9] The fourth season further explores Jack's military backstory through extended Vietnam sequences, revealing his heroism and regrets that echo in the present.[134] Key arcs include Randall's service as a city councilman and his struggles with anxiety and therapy, Kate and Toby's parenting challenges with their son Jack, and Kevin's search for lasting love amid professional pursuits.[135] The 18 episodes, broadcast from September 24, 2019, to March 24, 2020, reflect real-world disruptions while advancing the multigenerational saga.[9] Due to production delays from the COVID-19 pandemic, the fifth season features only 16 episodes, airing from October 27, 2020, to May 25, 2021, and draws parallels to the 2020 U.S. presidential election through Randall's political activism and family discussions on racial justice.[136] Beth pivots in her career, leaving her corporate job to open a hair salon that honors her heritage and empowers her community.[21] Additional flash-forwards provide glimpses into the siblings' later lives, building suspense around Rebecca's health and the Big Three's evolving roles.[137] The shorter run intensifies focus on healing from past conflicts, including the brothers' explosive argument over Jack's death.[138] The sixth and final season resolves major arcs across 18 episodes from January 4, 2022, to May 24, 2022, chronicling Rebecca's gradual cognitive decline from Alzheimer's disease and the family's efforts to care for her amid her fading memories.[139] It traces the Big Three's futures: Randall's rise as a Philadelphia city councilman, Kate's remarriage and blended family as a music therapist, and Kevin's fulfillment as a father and housing project founder for underserved communities.[140] The series finale ties together timelines in an emotional montage, emphasizing enduring love and the Pearsons' unbreakable connections from past to future.[141]Episode list
The series consists of 106 episodes across six seasons, listed below in broadcast order. The table includes the season number, overall episode number, episode number within the season, title, director, writer(s), original air date, and U.S. viewers in millions (live + same day Nielsen ratings).[142][143]| Season | Overall | Season ep. | Title | Directed by | Written by | Air date | U.S. viewers (millions) |
|---|---|---|---|---|---|---|---|
| 1 | 1 | 1 | Pilot | John Requa & Glenn Ficarra | Dan Fogelman | September 20, 2016 | 10.07 |
| 1 | 2 | 2 | The Big Three | Ken Olin | Dan Fogelman | September 27, 2016 | 8.75 |
| 1 | 3 | 3 | Kyle | John Requa & Glenn Ficarra | Dan Fogelman | October 11, 2016 | 9.87 |
| 1 | 4 | 4 | The Pool | John Requa & Glenn Ficarra | Dan Fogelman & Donald Todd | October 18, 2016 | 9.71 |
| 1 | 5 | 5 | The Game Plan | George Tillman Jr. | Joe Lawson | October 25, 2016 | 8.68 |
| 1 | 6 | 6 | Career Days | Craig Zisk | Bekah Brunstetter | November 1, 2016 | 8.48 |
| 1 | 7 | 7 | The Best Washing Machine in the World | Silas Howard | K.J. Steinberg | November 15, 2016 | 9.50 |
| 1 | 8 | 8 | Pilgrim Rick | Sarah Pia Anderson | Isaac Aptaker & Elizabeth Berger | November 22, 2016 | 9.00 |
| 1 | 9 | 9 | The Trip | Uta Briesewitz | Vera Herbert | November 29, 2016 | 10.53 |
| 1 | 10 | 10 | Last Christmas | Helen Hunt | Donald Todd | December 6, 2016 | 10.95 |
| 1 | 11 | 11 | The Right Thing to Do | Timothy Busfield | Aurin Squire | January 10, 2017 | 10.48 |
| 1 | 12 | 12 | The Big Day | Ken Olin | Dan Fogelman & Laura Kenar | January 17, 2017 | 9.59 |
| 1 | 13 | 13 | Three Sentences | Chris Koch | Joe Lawson & Bekah Brunstetter | January 24, 2017 | 9.63 |
| 1 | 14 | 14 | I Call Marriage | George Tillman Jr. | Kay Oyegun | February 7, 2017 | 9.57 |
| 1 | 15 | 15 | Jack Pearson's Son | Ken Olin | Isaac Aptaker & Elizabeth Berger | February 14, 2017 | 9.03 |
| 1 | 16 | 16 | Memphis | John Requa & Glenn Ficarra | Dan Fogelman | February 21, 2017 | 9.35 |
| 1 | 17 | 17 | What Now? | Wendey Stanzler | K.J. Steinberg & Vera Herbert | March 7, 2017 | 11.15 |
| 1 | 18 | 18 | Moonshadow | Ken Olin | Dan Fogelman & Isaac Aptaker & Elizabeth Berger | March 14, 2017 | 12.84 |
| 2 | 19 | 1 | A Father's Advice | Ken Olin | Dan Fogelman | September 26, 2017 | 12.94 |
| 2 | 20 | 2 | A Manny-Splendored Thing | John Fortenberry | Dan Fogelman & Bekah Brunstetter | October 3, 2017 | 11.06 |
| 2 | 21 | 3 | Déjà Vu | John Requa & Glenn Ficarra | Isaac Aptaker & Elizabeth Berger | October 10, 2017 | 11.02 |
| 2 | 22 | 4 | Still There | Ken Olin | Vera Herbert | October 17, 2017 | 10.65 |
| 2 | 23 | 5 | Brothers | John Requa & Glenn Ficarra | Tyler Bensinger | October 24, 2017 | 10.60 |
| 2 | 24 | 6 | The 20's | Regina King | Don Roos | October 31, 2017 | 8.43 |
| 2 | 25 | 7 | The Most Disappointed Man | Chris Koch | Kay Oyegun | November 7, 2017 | 9.89 |
| 2 | 26 | 8 | Number One | Ken Olin | K.J. Steinberg | November 14, 2017 | 10.05 |
| 2 | 27 | 9 | Number Two | Ken Olin | K.J. Steinberg & Shukree Hassan Tilghman | November 21, 2017 | 9.34 |
| 2 | 28 | 10 | Number Three | Ken Olin | Shukree Hassan Tilghman | November 28, 2017 | 10.94 |
| 2 | 29 | 11 | The Fifth Wheel | Chris Koch | Vera Herbert | January 9, 2018 | 9.65 |
| 2 | 30 | 12 | Clooney | Zetna Fuentes | Bekah Brunstetter | January 16, 2018 | 9.82 |
| 2 | 31 | 13 | That'll Be the Day | Uta Briesewitz | Kay Oyegun & Don Roos | January 23, 2018 | 9.37 |
| 2 | 32 | 14 | Super Bowl Sunday | John Requa & Glenn Ficarra | Dan Fogelman | February 4, 2018 | 26.97 |
| 2 | 33 | 15 | The Car | Ken Olin | Isaac Aptaker & Elizabeth Berger | February 6, 2018 | 10.13 |
| 2 | 34 | 16 | Vegas, Baby | Joanna Kerns | Laura Kenar | February 27, 2018 | 9.74 |
| 2 | 35 | 17 | This Big, Amazing, Beautiful Life | Rebecca Asher | Kay Oyegun | March 6, 2018 | 8.90 |
| 2 | 36 | 18 | The Wedding | Ken Olin | Isaac Aptaker & Elizabeth Berger | March 13, 2018 | 10.94 |
| 3 | 37 | 1 | Nine Bucks | Ken Olin | Dan Fogelman & Isaac Aptaker & Elizabeth Berger | September 25, 2018 | 10.54 |
| 3 | 38 | 2 | A Philadelphia Story | Chris Koch | Kay Oyegun | October 2, 2018 | 8.87 |
| 3 | 39 | 3 | Katie Girls | Rebecca Asher | Julia Brownell | October 9, 2018 | 8.91 |
| 3 | 40 | 4 | Vietnam | Ken Olin | Dan Fogelman & Tim O'Brien | October 16, 2018 | 8.92 |
| 3 | 41 | 5 | Toby | Chris Koch | A.J. Steinberg | October 23, 2018 | 8.53 |
| 3 | 42 | 6 | Kamsahamnida | John Fortenberry | Vera Herbert | October 30, 2018 | 8.88 |
| 3 | 43 | 7 | Sometimes | Ken Olin | Bekah Brunstetter | November 13, 2018 | 8.47 |
| 3 | 44 | 8 | Six Thanksgivings | Catherine Hardwicke | Kevin Falls | November 20, 2018 | 7.91 |
| 3 | 45 | 9 | The Beginning Is the End Is the Beginning | Ken Olin | Shukree Hassan Tilghman | November 27, 2018 | 8.98 |
| 3 | 46 | 10 | The Last Seven Weeks | Roxann Dawson | Laura Kenar | January 15, 2019 | 7.74 |
| 3 | 47 | 11 | Songbird Road (Part 1) | Chris Koch | Kevin Falls & Tim O'Brien | January 22, 2019 | 8.22 |
| 3 | 48 | 12 | Songbird Road (Part 2) | Ken Olin | Julia Brownell | February 12, 2019 | 7.40 |
| 3 | 49 | 13 | Our Little Island Girl | Anne Fletcher | Eboni Freeman | February 19, 2019 | 9.63 |
| 3 | 50 | 14 | The Graduates | Sarah Boyd | K.J. Steinberg & Danielle Bauman | March 5, 2019 | 7.82 |
| 3 | 51 | 15 | The Waiting Room | Kevin Hooks | Bekah Brunstetter | March 12, 2019 | 7.74 |
| 3 | 52 | 16 | Don't Take My Sunshine Away | George Tillman Jr. | Vera Herbert | March 19, 2019 | 7.64 |
| 3 | 53 | 17 | R & B | Kevin Hooks | Kay Oyegun | March 26, 2019 | 7.63 |
| 3 | 54 | 18 | Her | Ken Olin | Isaac Aptaker & Elizabeth Berger | April 2, 2019 | 8.22 |
| 4 | 55 | 1 | Strangers | Ken Olin | Dan Fogelman | September 24, 2019 | 7.77 |
| 4 | 56 | 2 | The Pool: Part Two | Chris Koch | Isaac Aptaker & Elizabeth Berger | October 1, 2019 | 6.68 |
| 4 | 57 | 3 | Unhinged | Anne Fletcher | Vera Herbert | October 8, 2019 | 6.43 |
| 4 | 58 | 4 | Flip a Coin | Chris Koch | Julia Brownell | October 15, 2019 | 6.72 |
| 4 | 59 | 5 | Storybook Love | Milo Ventimiglia | Casey Johnson & David Windsor | October 22, 2019 | 6.49 |
| 4 | 60 | 6 | The Club | Jessica Yu | Kevin Falls | October 29, 2019 | 6.47 |
| 4 | 61 | 7 | The Dinner and the Date | Ken Olin | Kay Oyegun | November 5, 2019 | 6.32 |
| 4 | 62 | 8 | Sorry | Rebecca Asher | Elan Mastai | November 12, 2019 | 6.18 |
| 4 | 63 | 9 | So Long, Marianne | Ken Olin | K.J. Steinberg | November 19, 2019 | 6.57 |
| 4 | 64 | 10 | Light and Shadows | Yasu Tanida | Eboni Freeman | January 14, 2020 | 5.84 |
| 4 | 65 | 11 | A Hell of a Week: Part One | Kevin Hooks | Jon Dorsey | January 21, 2020 | 6.03 |
| 4 | 66 | 12 | A Hell of a Week: Part Two | Kevin Hooks | Danielle Bauman | January 28, 2020 | 5.85 |
| 4 | 67 | 13 | A Hell of a Week: Part Three | Justin Hartley | Laura Kenar | February 11, 2020 | 6.00 |
| 4 | 68 | 14 | The Cabin | Catherine Hardwicke | Isaac Aptaker & Elizabeth Berger | February 18, 2020 | 6.47 |
| 4 | 69 | 15 | Clouds | Sarah Boyd | Kevin Falls & Jonny Gomez | February 25, 2020 | 6.33 |
| 4 | 70 | 16 | New York, New York, New York | Ken Olin | Julia Brownell | March 10, 2020 | 6.75 |
| 4 | 71 | 17 | After the Fire | Roxann Dawson | Vera Herbert & Kay Oyegun | March 17, 2020 | 6.92 |
| 4 | 72 | 18 | Strangers: Part Two | Ken Olin | Dan Fogelman | March 24, 2020 | 7.94 |
| 5 | 73 | 1 | Forty: Part One | Ken Olin | Dan Fogelman & Kay Oyegun & Jake Schnesel | October 27, 2020 | 7.10 |
| 5 | 74 | 2 | Forty: Part Two | Ken Olin | Dan Fogelman & Kay Oyegun & Jake Schnesel | October 27, 2020 | 7.10 |
| 5 | 75 | 3 | Changes | Anne Fletcher | Kevin Falls | November 10, 2020 | 5.51 |
| 5 | 76 | 4 | Honestly | Ken Olin | Elan Mastai | November 17, 2020 | 6.57 |
| 5 | 77 | 5 | A Long Road Home | Anne Fletcher | K.J. Steinberg | January 5, 2021 | 5.69 |
| 5 | 78 | 6 | Birth Mother | Kay Oyegun | Eboni Freeman & Kay Oyegun | January 12, 2021 | 5.75 |
| 5 | 79 | 7 | There | Kevin Rodney Sullivan | Isaac Aptaker & Elizabeth Berger | February 9, 2021 | 5.38 |
| 5 | 80 | 8 | In the Room | Ken Olin | Vera Herbert | February 16, 2021 | 5.40 |
| 5 | 81 | 9 | The Ride | Jon Huertas | Julia Brownell | February 23, 2021 | 5.32 |
| 5 | 82 | 10 | I've Got This | Ken Olin | Casey Johnson | March 16, 2021 | 4.81 |
| 5 | 83 | 11 | One Small Step... | Yasu Tanida | Laura Kenar | March 23, 2021 | 4.77 |
| 5 | 84 | 12 | Both Things Can Be True | Chris Koch | Danielle Bauman | April 6, 2021 | 4.64 |
| 5 | 85 | 13 | Brotherly Love | Kay Oyegun | Jon Dorsey | April 13, 2021 | 4.53 |
| 5 | 86 | 14 | The Music and the Mirror | Jessica Yu | Jonny Gomez | May 11, 2021 | 4.80 |
| 5 | 87 | 15 | Jerry 2.0 | Milo Ventimiglia | Elizabeth Berger & Isaac Aptaker | May 18, 2021 | 5.07 |
| 5 | 88 | 16 | The Adirondacks | Ken Olin | Dan Fogelman | May 25, 2021 | 5.86 |
| 6 | 89 | 1 | The Challenger | Ken Olin | Dan Fogelman | January 4, 2022 | 5.50 |
| 6 | 90 | 2 | One Giant Leap | Kay Oyegun | Kevin Falls | January 11, 2022 | 4.80 |
| 6 | 91 | 3 | Four Fathers | Jon Huertas | Casey Johnson & David Windsor | January 18, 2022 | 4.67 |
| 6 | 92 | 4 | Don't Let Me Keep You | Jessica Yu | Elan Mastai | January 25, 2022 | 4.55 |
| 6 | 93 | 5 | Heart and Soul | Chris Sullivan | Julia Brownell | February 1, 2022 | 4.62 |
| 6 | 94 | 6 | Our Little Island Girl: Part Two | Kevin Hooks | Eboni Freeman & Susan Kelechi Watson | February 22, 2022 | 4.32 |
| 6 | 95 | 7 | Taboo | Glenn Steelman | Laura Kenar | March 8, 2022 | 4.41 |
| 6 | 96 | 8 | The Guitar Man | Milo Ventimiglia | Kevin Falls & Jake Schnesel | March 15, 2022 | 4.46 |
| 6 | 97 | 9 | The Hill | Mandy Moore | Casey Johnson & David Windsor & Chrissy Metz | March 22, 2022 | 4.48 |
| 6 | 98 | 10 | Every Version of You | Justin Hartley | Kay Oyegun | March 29, 2022 | 4.37 |
| 6 | 99 | 11 | Saturday in the Park | Chris Koch | K.J. Steinberg | April 5, 2022 | 4.29 |
| 6 | 100 | 12 | Katoby | Ken Olin | Isaac Aptaker & Elizabeth Berger | April 12, 2022 | 4.39 |
| 6 | 101 | 13 | Day of the Wedding | James Takata | Jon Dorsey | April 19, 2022 | 4.33 |
| 6 | 102 | 14 | The Night Before the Wedding | Yasu Tanida | Danielle Bauman | April 26, 2022 | 4.62 |
| 6 | 103 | 15 | Miguel | Zetna Fuentes | Jonny Gomez | May 3, 2022 | 4.58 |
| 6 | 104 | 16 | Family Meeting | Chris Koch | Isaac Aptaker & Elizabeth Berger | May 10, 2022 | 4.97 |
| 6 | 105 | 17 | The Train | Ken Olin | Dan Fogelman | May 17, 2022 | 5.39 |
| 6 | 106 | 18 | Us | Ken Olin | Dan Fogelman | May 24, 2022 | 6.37 |
Reception
Critical response
This Is Us garnered widespread critical acclaim across its six seasons, earning an average Tomatometer score of 94% on Rotten Tomatoes from 138 reviews, reflecting praise for its emotional depth and family dynamics.[3] On Metacritic, the series holds a score of 76 out of 100 based on 38 critic reviews, categorized as generally favorable.[144] Reviewers frequently lauded the show's heartfelt storytelling and the strong ensemble chemistry, particularly in exploring intergenerational relationships, though it drew criticism for excessive melodrama and what some termed "sadness porn," where emotional manipulation overshadowed subtlety.[145][146] Comparisons were often drawn to Parenthood for its focus on relatable family struggles, positioning This Is Us as a modern successor in the ensemble family drama genre.[147] The first season, in particular, received high praise for its innovative non-linear structure that intertwined past and present narratives, with The New York Times describing it as a "skillful, shameless tear-jerker" that effectively balanced birth, death, and reunion in a single hour.[148] Sterling K. Brown's portrayal of Randall Pearson stood out as a highlight, earning acclaim for its nuance in depicting a Black man's experiences within a white adoptive family, with Marie Claire noting it as a standout performance from the outset.[149] Seasons 1 through 3 were especially celebrated for building mystery around the Pearson family's backstory, maintaining tension through reveals that critics found compelling and fresh.[150] In later seasons, particularly 4 through 6, opinions became more mixed as the series addressed contemporary social issues like race and the COVID-19 pandemic, with some reviewers faulting uneven handling that felt performative or unresolved.[151] Variety commended the series finale for its resolution of key arcs but critiqued the pacing in incorporating real-time events like the pandemic, which occasionally disrupted narrative flow.[152] Feminist critiques highlighted tropes in female characters, such as Kate's portrayal as the "tragic fat girl" reliant on male validation, arguing the show failed to fully unpack these stereotypes despite its progressive leanings. Overall consensus evolved to view the early seasons as the strongest for their mystery-driven engagement, with a perceived dip in later ones once major arcs resolved, leading to more straightforward but less gripping storytelling.[153]Ratings and viewership
The pilot episode of This Is Us drew 10.1 million live + same-day viewers and earned a 2.8 rating in the 18-49 demographic, marking it as NBC's strongest drama premiere in years.[154] During its debut season, the series averaged approximately 10 million live viewers per episode, with live +7-day metrics reaching 14.6 million viewers and a 4.6 rating in adults 18-49, establishing it as the top-rated new drama of the 2016-17 television season.[155][156] In season 2 (2017-18), This Is Us maintained strong performance, averaging 9.47 million live viewers and a 3.1 rating in the 18-49 demo, though it benefited from a significant boost during its post-Super Bowl episode, which attracted 27 million viewers and a 9.3 rating in adults 18-49.[157][158] The season ranked as NBC's #1 drama in total viewers and the #1 non-sports program on any network in the key demographic. Season 3 (2018-19) saw a slight decline to an average of 8.32 million live viewers and a 2.0 rating in 18-49, still placing it among the network's top performers.[159] Viewership continued to trend downward in later seasons amid increased streaming competition and shifts in audience habits. Season 4 (2019-20) averaged 6.91 million live viewers and a 1.5 rating in 18-49.[160] The COVID-19 pandemic further impacted live linear metrics in seasons 5 (2020-21) and 6 (2021-22), with averages of 5.58 million viewers and a 1.0 rating, and roughly 5.5 million viewers and a 1.0 rating, respectively, as delayed and on-demand viewing rose.[161][160] Despite the decline, the series remained a top-10 NBC show in total viewers throughout its run.[162] The series finale on May 24, 2022, delivered 6.4 million live + same-day viewers and a 1.3 rating in 18-49, the highest for season 6 and topping the premiere.[163] Including DVR and streaming, episodes often added 20-30% to initial tallies; for instance, season 3's live +7 average reached 13 million viewers with delayed playback.[164] Overall, This Is Us outperformed contemporaries like Chicago Med, which averaged around 8 million viewers in its early seasons compared to the Pearson family's higher benchmarks.[165] Cumulative U.S. viewership across all platforms exceeded hundreds of millions, bolstered by residuals on Hulu and Peacock.[166]| Season | Live Average Viewers (millions) | 18-49 Rating (live average) | Notes |
|---|---|---|---|
| 1 (2016-17) | ~10 | 3.0 | Highest-rated new series; L+7: 14.6M viewers, 4.6 demo[155] |
| 2 (2017-18) | 9.47 | 3.1 | Post-Super Bowl episode: 27M viewers[158] |
| 3 (2018-19) | 8.32 | 2.0 | L+7 added ~5M viewers per episode[164] |
| 4 (2019-20) | 6.91 | 1.5 | Pre-COVID stability |
| 5 (2020-21) | 5.58 | 1.0 | Pandemic-reduced live viewership |
| 6 (2021-22) | ~5.5 | 1.0 | Finale: 6.4M viewers[163] |