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Reality Programming Lessons for Twenty-First Century Trial Lawyering
Penn State Dickinson Law Dickinson Law IDEAS Faculty Scholarly Works Faculty Scholarship Fall 2001 Reality Programming Lessons for Twenty-First Century Trial Lawyering Gary S. Gildin [email protected] Follow this and additional works at: https://ideas.dickinsonlaw.psu.edu/fac-works Recommended Citation Gary S. Gildin, Reality Programming Lessons for Twenty-First Century Trial Lawyering, 31 Stetson L. Rev. 61 (2001). This Article is brought to you for free and open access by the Faculty Scholarship at Dickinson Law IDEAS. It has been accepted for inclusion in Faculty Scholarly Works by an authorized administrator of Dickinson Law IDEAS. For more information, please contact [email protected]. REALITY PROGRAMMING LESSONS FOR TWENTY-FIRST CENTURY TRIAL LAWYERING Gary S. Gildin* I. WHY SHO ULD WE CARE ABOUT THE ARRIVAL OF THE TWENTY-FIRST CENTURY? When I told my cousin-in-law Gary Ruben, a lawyer in Chicago, that I had agreed to write an article for a Symposium on trial advocacy in the twenty-first century, he responded incredulously, "We are supposed to be doing something different than trying to make a jury understand what happened and be persuaded by our version of the events?" Well, Gary, in one sense you are absolutely correct to be skeptical because the objectives of trial advocacy that you described have remained immutable, regardless of the century. However, two interrelated changes are occurring as we enter the new millennium that must affect the way trial lawyers present their cases to the jury - the evolution in the demographics of the jury pool and the revolution in technology that has transformed how our new breed of juror receives and is presented out-of-court informa- tion. -
IATA CLEARING HOUSE PAGE 1 of 21 2021-09-08 14:22 EST Member List Report
IATA CLEARING HOUSE PAGE 1 OF 21 2021-09-08 14:22 EST Member List Report AGREEMENT : Standard PERIOD: P01 September 2021 MEMBER CODE MEMBER NAME ZONE STATUS CATEGORY XB-B72 "INTERAVIA" LIMITED LIABILITY COMPANY B Live Associate Member FV-195 "ROSSIYA AIRLINES" JSC D Live IATA Airline 2I-681 21 AIR LLC C Live ACH XD-A39 617436 BC LTD DBA FREIGHTLINK EXPRESS C Live ACH 4O-837 ABC AEROLINEAS S.A. DE C.V. B Suspended Non-IATA Airline M3-549 ABSA - AEROLINHAS BRASILEIRAS S.A. C Live ACH XB-B11 ACCELYA AMERICA B Live Associate Member XB-B81 ACCELYA FRANCE S.A.S D Live Associate Member XB-B05 ACCELYA MIDDLE EAST FZE B Live Associate Member XB-B40 ACCELYA SOLUTIONS AMERICAS INC B Live Associate Member XB-B52 ACCELYA SOLUTIONS INDIA LTD. D Live Associate Member XB-B28 ACCELYA SOLUTIONS UK LIMITED A Live Associate Member XB-B70 ACCELYA UK LIMITED A Live Associate Member XB-B86 ACCELYA WORLD, S.L.U D Live Associate Member 9B-450 ACCESRAIL AND PARTNER RAILWAYS D Live Associate Member XB-280 ACCOUNTING CENTRE OF CHINA AVIATION B Live Associate Member XB-M30 ACNA D Live Associate Member XB-B31 ADB SAFEGATE AIRPORT SYSTEMS UK LTD. A Live Associate Member JP-165 ADRIA AIRWAYS D.O.O. D Suspended Non-IATA Airline A3-390 AEGEAN AIRLINES S.A. D Live IATA Airline KH-687 AEKO KULA LLC C Live ACH EI-053 AER LINGUS LIMITED B Live IATA Airline XB-B74 AERCAP HOLDINGS NV B Live Associate Member 7T-144 AERO EXPRESS DEL ECUADOR - TRANS AM B Live Non-IATA Airline XB-B13 AERO INDUSTRIAL SALES COMPANY B Live Associate Member P5-845 AERO REPUBLICA S.A. -
Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
TV Channel Distribution in Europe: Table of Contents
TV Channel Distribution in Europe: Table of Contents This report covers 238 international channels/networks across 152 major operators in 34 EMEA countries. From the total, 67 channels (28%) transmit in high definition (HD). The report shows the reader which international channels are carried by which operator – and which tier or package the channel appears on. The report allows for easy comparison between operators, revealing the gaps and showing the different tiers on different operators that a channel appears on. Published in September 2012, this 168-page electronically-delivered report comes in two parts: A 128-page PDF giving an executive summary, comparison tables and country-by-country detail. A 40-page excel workbook allowing you to manipulate the data between countries and by channel. Countries and operators covered: Country Operator Albania Digitalb DTT; Digitalb Satellite; Tring TV DTT; Tring TV Satellite Austria A1/Telekom Austria; Austriasat; Liwest; Salzburg; UPC; Sky Belgium Belgacom; Numericable; Telenet; VOO; Telesat; TV Vlaanderen Bulgaria Blizoo; Bulsatcom; Satellite BG; Vivacom Croatia Bnet Cable; Bnet Satellite Total TV; Digi TV; Max TV/T-HT Czech Rep CS Link; Digi TV; freeSAT (formerly UPC Direct); O2; Skylink; UPC Cable Denmark Boxer; Canal Digital; Stofa; TDC; Viasat; You See Estonia Elion nutitv; Starman; ZUUMtv; Viasat Finland Canal Digital; DNA Welho; Elisa; Plus TV; Sonera; Viasat Satellite France Bouygues Telecom; CanalSat; Numericable; Orange DSL & fiber; SFR; TNT Sat Germany Deutsche Telekom; HD+; Kabel -
Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD by Steve Sternberg
April 2021 #105 ________________________________________________________________________________________ _______ Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD By Steve Sternberg Last year’s upfront season was different from any I’ve been involved in during my 40 years in the business. Because of the COVID-19 pandemic, there were no live network presentations to the industry, and for the first time since I’ve been evaluating television programming, I did not watch any of the fall pilots before the shows aired. Many new and returning series experienced production delays, resulting in staggered premieres, shortened seasons, and unexpected cancellations. The big San Diego and New York comic-cons were canceled. There was virtually no pre-season buzz for new broadcast or cable series. Stuck at home with fewer new episodes of scripted series than ever to watch on ad-supported TV, people turned to streaming services in large numbers. Netflix, which had plenty of shows in the pipeline, surged in terms of both viewers and new subscribers. Disney+, boosted by season 2 of The Mandalorian and new Marvel series, WandaVision and Falcon and the Winter Soldier, was able to experience tremendous growth. A Sternberg Report Sponsored Message The Sternberg Report ©2021 ________________________________________________________________________________________ _______ Amazon Prime Video, and Hulu also managed to substantially grow their subscriber bases. Warner Bros. announcing it would release all of its movies in 2021 simultaneously in theaters and on HBO Max (led by Wonder Woman 1984 and Godzilla vs. Kong), helped add subscribers to that streaming platform as well – as did its successful original series, The Flight Attendant. CBS All Access, rebranded as Paramount+, also enjoyed growth. -
Telefonaktiebolaget Lm Ericsson (Publ) / Creative Broadcast Services Holdings (2) Limited
REDACTED TELEFONAKTIEBOLAGET LM ERICSSON (PUBL) / CREATIVE BROADCAST SERVICES HOLDINGS (2) LIMITED INITIAL SUBMISSION TO THE COMPETITION COMMISSION REBUTTAL OF OFT’S REFERENCE DECISION 21 October 2013 PPC/AMZL/VZK 518512481 3 REDACTED TABLE OF CONTENTS 1. SUMMARY 1 A. The facts 1 B. The OFT’s Decision 4 2. TRANSACTION BACKGROUND 7 A. Ericsson / Technicolor 7 B. Creative Broadcast Services / Red Bee Media 7 C. Deal background 7 D. Industry context 7 E. Deal rationale 8 F. The counterfactual 8 3. PRODUCT MARKET DEFINITION 10 A. The facts 10 Demand-side factors 10 Supply-side factors 13 Resources needed for linear playout 14 Resources are broadly the same across all channels 15 Resources for reactivity and intervention 17 How to plug the gaps for a new contract 18 Conclusions 21 B. The OFT’s Decision 22 Reactivity and intervention 23 Quality, service and regulatory requirements 29 Scale and risk 30 Conclusions on OFT approach 32 4. GEOGRAPHIC MARKET DEFINITION 33 A. The facts 33 B. The OFT’s Decision 33 5. HORIZONTAL UNILATERAL EFFECTS 35 A. The facts 35 The competitive dynamics of the market 35 Active competitors in the UK linear playout market 36 Any specific concerns regarding the BBC and ITV are unfounded 41 Parties are not uniquely close competitors 42 Barriers to entry and expansion are surmountable 43 In-house supply is a significant competitive constraint 43 Customers have significant buyer power 46 Conclusions 47 B. The OFT’s Decision 47 Market shares 47 Tender data for “Level One” in isolation 49 New entry/expansion would be “timely, -
DISCOVER NEW WORLDS with SUNRISE TV TV Channel List for Printing
DISCOVER NEW WORLDS WITH SUNRISE TV TV channel list for printing Need assistance? Hotline Mon.- Fri., 10:00 a.m.–10:00 p.m. Sat. - Sun. 10:00 a.m.–10:00 p.m. 0800 707 707 Hotline from abroad (free with Sunrise Mobile) +41 58 777 01 01 Sunrise Shops Sunrise Shops Sunrise Communications AG Thurgauerstrasse 101B / PO box 8050 Zürich 03 | 2021 Last updated English Welcome to Sunrise TV This overview will help you find your favourite channels quickly and easily. The table of contents on page 4 of this PDF document shows you which pages of the document are relevant to you – depending on which of the Sunrise TV packages (TV start, TV comfort, and TV neo) and which additional premium packages you have subscribed to. You can click in the table of contents to go to the pages with the desired station lists – sorted by station name or alphabetically – or you can print off the pages that are relevant to you. 2 How to print off these instructions Key If you have opened this PDF document with Adobe Acrobat: Comeback TV lets you watch TV shows up to seven days after they were broadcast (30 hours with TV start). ComeBack TV also enables Go to Acrobat Reader’s symbol list and click on the menu you to restart, pause, fast forward, and rewind programmes. commands “File > Print”. If you have opened the PDF document through your HD is short for High Definition and denotes high-resolution TV and Internet browser (Chrome, Firefox, Edge, Safari...): video. Go to the symbol list or to the top of the window (varies by browser) and click on the print icon or the menu commands Get the new Sunrise TV app and have Sunrise TV by your side at all “File > Print” respectively. -
Behind the Mask: My Autobiography
Contents 1. List of Illustrations 2. Prologue 3. Introduction 4. 1 King for a Day 5. 2 Destiny’s Child 6. 3 Paris 7. 4 Vested Interests 8. 5 School of Hard Knocks 9. 6 Rolling with the Punches 10. 7 Finding Klitschko 11. 8 The Dark 12. 9 Into the Light 13. 10 Fat Chance 14. 11 Wild Ambition 15. 12 Drawing Power 16. 13 Family Values 17. 14 A New Dawn 18. 15 Bigger than Boxing 19. Illustrations 20. Useful Mental Health Contacts 21. Professional Boxing Record 22. Index About the Author Tyson Fury is the undefeated lineal heavyweight champion of the world. Born and raised in Manchester, Fury weighed just 1lb at birth after being born three months premature. His father John named him after Mike Tyson. From Irish traveller heritage, the“Gypsy King” is undefeated in 28 professional fights, winning 27 with 19 knockouts, and drawing once. His most famous victory came in 2015, when he stunned longtime champion Wladimir Klitschko to win the WBA, IBF and WBO world heavyweight titles. He was forced to vacate the belts because of issues with drugs, alcohol and mental health, and did not fight again for more than two years. Most thought he was done with boxing forever. Until an amazing comeback fight with Deontay Wilder in December 2018. It was an instant classic, ending in a split decision tie. Outside of the ring, Tyson Fury is a mental health ambassador. He donated his million dollar purse from the Deontay Wilder fight to the homeless. This book is dedicated to the cause of mental health awareness. -
MCPS TV Fpvs
MCPS Broadcast Blanket Distribution - TV FPV Rates paid July 2014 Non Peak Non Peak Progs Progs P(ence) P(ence) Peak FPV Non Peak (covered (covered Manufact Period Rate (per Rate (per (per FPV (per by by Source/S urer Source Link (YYMMYYM weighted weighted weighted weighted blanket blanket Licensee Channel Name hort Code udc Number Type code M) second) second) minute) minute) licence) licence) AATW Ltd Channel AKA CHNAKA S1759 287294 208 qbc 13091312 0.015 0.009 Y Y BBC BBC 1 BBCTVD Z0003 5258 201 qdw 14011403 75.452 37.726 45.2712 22.6356 Y Y BBC BBC 2 BBC2 Z0004 316168 201 qdx 14011403 17.879 8.939 10.7274 5.3634 Y Y BBC BBC ALBA BBCALB Z0008 232662 201 qe2 14011403 6.48 3.24 3.888 1.944 Y Y BBC BBC HD BBCHD Z0010 232654 201 qe4 14011403 6.095 3.047 3.657 1.8282 Y Y BBC BBC Interactive BBCINT AN120 251209 201 qbk 14011403 6.854 4.1124 Y Y BBC BBC News BBC NE Z0007 127284 201 qe1 14011403 8.193 4.096 4.9158 2.4576 Y Y BBC BBC Parliament BBCPAR Z0009 316176 201 qe3 14011403 13.414 6.707 8.0484 4.0242 Y Y BBC BBC Side Agreement for S4C BBCS4C Z0222 316184 201 qip 14011403 7.747 4.6482 Y Y BBC BBC3 BBC3 Z0001 126187 201 qdu 14011403 15.677 7.838 9.4062 4.7028 Y Y BBC BBC4 BBC4 Z0002 158776 201 qdv 14011403 9.205 4.602 5.523 2.7612 Y Y BBC CBBC CBBC Z0005 165235 201 qdy 14011403 8.96 4.48 5.376 2.688 Y Y BBC Cbeebies CBEEBI Z0006 285496 201 qdz 14011403 12.457 6.228 7.4742 3.7368 Y Y BBC Worldwide BBC Entertainment Africa BBCENA Z0296 286601 201 qk2 14011403 5.556 2.778 3.3336 1.6668 N Y BBC Worldwide BBC Entertainment Nordic BBCENN Z0300 -
Annex 2: Providers Required to Respond (Red Indicates Those Who Did Not Respond Within the Required Timeframe)
Video on demand access services report 2016 Annex 2: Providers required to respond (red indicates those who did not respond within the required timeframe) Provider Service(s) AETN UK A&E Networks UK Channel 4 Television Corp All4 Amazon Instant Video Amazon Instant Video AMC Networks Programme AMC Channel Services Ltd AMC Networks International AMC/MGM/Extreme Sports Channels Broadcasting Ltd AXN Northern Europe Ltd ANIMAX (Germany) Arsenal Broadband Ltd Arsenal Player Tinizine Ltd Azoomee Barcroft TV (Barcroft Media) Barcroft TV Bay TV Liverpool Ltd Bay TV Liverpool BBC Worldwide Ltd BBC Worldwide British Film Institute BFI Player Blinkbox Entertainment Ltd BlinkBox British Sign Language Broadcasting BSL Zone Player Trust BT PLC BT TV (BT Vision, BT Sport) Cambridge TV Productions Ltd Cambridge TV Turner Broadcasting System Cartoon Network, Boomerang, Cartoonito, CNN, Europe Ltd Adult Swim, TNT, Boing, TCM Cinema CBS AMC Networks EMEA CBS Reality, CBS Drama, CBS Action, Channels Partnership CBS Europe CBS AMC Networks UK CBS Reality, CBS Drama, CBS Action, Channels Partnership Horror Channel Estuary TV CIC Ltd Channel 7 Chelsea Football Club Chelsea TV Online LocalBuzz Media Networks chizwickbuzz.net Chrominance Television Chrominance Television Cirkus Ltd Cirkus Classical TV Ltd Classical TV Paramount UK Partnership Comedy Central Community Channel Community Channel Curzon Cinemas Ltd Curzon Home Cinema Channel 5 Broadcasting Ltd Demand5 Digitaltheatre.com Ltd www.digitaltheatre.com Discovery Corporate Services Discovery Services Play -
Diamond Technical Account and Methodology
Diamond Technical Account and Methodology What is Diamond? Diamond is designed to answer two questions: - Does the workforce on UK productions, both on and off-screen, reflect the diversity of the UK population? - Are audiences seeing themselves reflected on-screen. With the support of production companies, Diamond collects diversity data directly from cast and crew working on TV programmes (actual data), as well as information about how those on-screen might be perceived by viewing audiences (perceived data). Diamond data collection Scope Diamond is collecting data from: UK original productions commissioned by BBC, ITV, Channel 4, C5/ViacomCBS and Sky. All genres (although we do not currently report on film, sport and news) A large number of on and off-screen TV production roles (see Appendix 2) Programmes broadcast across the following channels BBC One, BBC Two, BBC Scotland, CBBC, CBEEBIES, CITV, GMTV1, GMTV2, ITV Encore, ITV1, ITV2, ITV3, ITV4, ITVBe, 4seven, Channel4, E4, Film Four, More 4, 5 Star, Channel5, Challenge TV, Paramount Network, Pick TV, Real Lives, Sky Arts, Sky Atlantic, Sky One, Sky Two, Sky Witness1 Data about 6 diversity characteristics: gender, gender identity, age, ethnicity, disability and sexual orientation. Diamond is not collecting data about: Programmes which have not been commissioned by the five Diamond broadcasters People working across broadcasting more generally, outside of production (our data are not overall workforce statistics). People who are not making a significant contribution to a programme (for example part of a crowd scene) More information about what is and isn’t collected can be found in the guidance notes issued to producers. -
Configuration Manager User Guide © 2019 Quest Software Inc
Quest® Enterprise Reporter 3.2.1 Configuration Manager User Guide © 2019 Quest Software Inc. ALL RIGHTS RESERVED. This guide contains proprietary information protected by copyright. The software described in this guide is furnished under a software license or nondisclosure agreement. This software may be used or copied only in accordance with the terms of the applicable agreement. No part of this guide may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording for any purpose other than the purchaser’s personal use without the written permission of Quest Software Inc. The information in this document is provided in connection with Quest Software products. No license, express or implied, by estoppel or otherwise, to any intellectual property right is granted by this document or in connection with the sale of Quest Software products. EXCEPT AS SET FORTH IN THE TERMS AND CONDITIONS AS SPECIFIED IN THE LICENSE AGREEMENT FOR THIS PRODUCT, QUEST SOFTWARE ASSUMES NO LIABILITY WHATSOEVER AND DISCLAIMS ANY EXPRESS, IMPLIED OR STATUTORY WARRANTY RELATING TO ITS PRODUCTS INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTY OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT. IN NO EVENT SHALL QUEST SOFTWARE BE LIABLE FOR ANY DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE, SPECIAL OR INCIDENTAL DAMAGES (INCLUDING, WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS, BUSINESS INTERRUPTION OR LOSS OF INFORMATION) ARISING OUT OF THE USE OR INABILITY TO USE THIS DOCUMENT, EVEN IF QUEST SOFTWARE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. Quest Software makes no representations or warranties with respect to the accuracy or completeness of the contents of this document and reserves the right to make changes to specifications and product descriptions at any time without notice.