#broadcast 15.4

[catalogue-of-lux-feli]

you-- you dont know what an enderpearl is??? what kind of crazy modified world are you from

If you see a tall black creature with purple eyes, be sure to make eye contact with it! they give you enderpearls if you ask nicely. they get hurt by water though.

LuxF: huh alright LuxF: i'll try to remember that LuxF: but uh. i dunno? LuxF: i guess it's 'modified' by humans but LuxF: i don't think my home world is uh LuxF: 'modified' in the way you mean? LuxF: if I had to guess

[muzaktomyears]

The BBC's Audience Research Report on the Magical Mystery Tour film

THE BEATLES

present their own film Magical Mystery Tour

Tuesday, 26th December 1967 8.35-9.25 pm, BBC

Size of audience (based on results of the Survey of Listening and Viewing).

It is estimated that the audience for this broadcast was 25.7% of the population of the United Kingdom. Programmes on BBC 2 and ITV at the time were seen by 1.1% and 15.4% (averages)

2. Reaction of audience (based on questionnaires completed by a sample of the audience. This sample, 368 in number, is the 18% of the BBC 1 Viewing Panel who saw all or most of the broadcast).

The reactions of this sample of the audience were distributed as follows: -

A+     A      B      C      C-

%     %      %     %     %

6       6      14    23     51

giving a REACTION INDEX of 23.

3. There was, it seemed, very little ‘magic’ about this particular mystery tour, most reporting viewers, in fact, finding it virtually incomprehensible. There was no theme or story line, they complained, the programme appearing to consist of confused, disconnected shots of the weirdest things and suggesting a nightmare rather than a mystery tour. Indeed, three quarters of the sample could hardly find a good word to say for the programme, considering [it] ‘stupid, pretentious rubbish’ which was, no doubt, intended to be very clever and ‘way out’ but which was, they thought, a complete jumble with neither shape nor meaning and, certainly, no entertainment value whatsoever. The following are just a few of the many outraged comments:

‘The biggest waste of public money since the Ground Nut Scheme.’

‘Positively the worst programme I can remember seeing on any TV channel.’

‘A load of RUBBISH. We have made better home movies ourselves.’

‘I could not understand the thing at all – was this a “take-on” by the Beatles?’

‘I found it unspeakably tiresome and not the least bit funny – but perhaps this is “sick” humour, in which case I am emphatically not “with it”.’

4. The small minority who did enjoy the programme hailed it as something completely ‘different’, the tour idea providing a framework for a ‘zany’ but fascinating piece of television in which anything could – and did – happen and making a most refreshing departure from the usual run of programmes. A schoolboy had this to say: ‘It was one of the best Christmas programmes we have had for a long time. The idea was clever as well as original. It was very funny in parts. A marvellous programme in black and white – in colour, it would be indescribable’. Even those who usually admired the Beatles, however, often confessed themselves bitterly disappointed in the film – it was just not good enough to throw together a seemingly haphazard collection of pictures, shove in a few songs and call it ‘a magical mystery tour’, they said, and a programme like this could do the Beatles’ reputation nothing but harm. The songs were, for some, the only redeeming feature – however poor their film-making, these boys could certainly write good songs (Continued)

[lboogie1906]

Derek Ricardo Harper (October 13, 1961) is a former basketball player. A second-team All-American at the University of Illinois, he was the 11th overall pick of the 1983 NBA draft and spent 16 seasons as a point guard in the NBA with the Mavericks, Knicks, Magic, and Lakers. He is regarded as one of the best players to never have been selected for an All-Star game.

Harper played three seasons for the Fighting Illini and coach Lou Henson having his best season in 1982–1983 when he led the Fighting Illini in scoring with 15.4 points per game. Harper was named First-Team All-Big Ten and Second-Team All-American in 1983 and was Honorable Mention All-Big Ten in both 1981 and 1982. Harper averaged 4.7 assists per game for his collegiate career and led the Big Ten in assists in the 1981–1982 season. Harper was elected to the “Illini Men’s Basketball All-Century Team” in 2004.

Harper lives in Dallas with his family. His daughter Dana Harper was a contestant on season 11 of The Voice. He is now a game analyst for the Dallas Mavericks on their locally broadcast games. Beginning in the fall of 2005, he was the weekend sports anchor at KTXA serving the Dallas-Fort Worth Metroplex until the station ended its newscasts. The Dallas Mavericks retired Harper’s #12 jersey during halftime of a game between the New York Knicks and Dallas Mavericks on Sunday, January 7, 2018. #africanhistory365 #africanexcellence

[usafphantom2]

Fundraising campaign began in Norway to buy Bayraktar drones to Ukraine

Fernando Valduga By Fernando Valduga 07/21/2022 - 12:30 PM in Military, UAV - UAV, War Zones

TB2 Bayraktar drone donated by the Turkish company Baykar, after fundraising made by Lithuania.

After a successful campaign in Lithuania and Poland to buy Bayraktar drones for Ukraine, a similar online fundraising project began in Norway to buy drones manufactured in Turkey to help Kiev in its war against Russia.

About NOK 55 million (about $5.5 million) is expected to be raised as part of the campaign launched by Spleis and transferred to the aid fund of the Embassy of Ukraine. To date, more than 650 Norwegians have donated more than $30,000. The funds will be collected for another 79 days.

“Lithuania collected 1 Bayraktar in three days, Poland collected 3 Bayraktars and Ukraine collected 3 Bayraktars in a few days. Of course, Norway should do the same... Donate Bayraktar from the Norwegians to the people of Ukraine - show solidarity in the fight against Putin," said the fundraiser organizers.

Each citizen can donate about NOK 10, about 1 dollar, to be able to buy Bayraktar TB2. The first 1,000 sponsors donated more than NOK 250 (US$ 25). They will be able to name the unmanned combat aerial vehicle (UCAV).

More than US$ 3 million was raised from 150,000 Poles from June 28 to July 18. This represents 75% of the required amount of $5.5 million, the cost of a single Bayraktar unit. This initiative was launched by a well-known public figure, political scientist and journalist Slawomir Sierakowski on the crowdfunding platform Zrzutka.pl.

Previously, Lithuanians donated about $6 million to buy UCAV in a campaign launched by Internet broadcaster Laisves TV, of which about $1.6 million was used to buy equipment and missiles for the drone.

The funds raised by Lithuania and Poland were later used to provide other forms of assistance to Ukraine; since the Turkish drone manufacturer, Baykar, donated them to Ukraine free of charge. The company is also donating three more drones to the Ukrainian Army, after it learned of the fundraising initiative of the Ukrainian people Bayraktar, which aimed to raise about $15.4 million in a week

Tags: Military AviationBayraktar TB2DronesNorwayWar Zones - Russia/Ukraine

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Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in a specialized aviation magazine in Brazil and abroad. He uses Canon equipment during his photographic work in the world of aviation.

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[96thdayofrage]

One America News, the far-right network whose fortunes and viewership rose amid the triumph and tumult of the Trump administration, has flourished with support from a surprising source: AT&T Inc, the world's largest communications company.

A Reuters review of court records shows the role AT&T played in creating and funding OAN, a network that continues to spread conspiracy theories about the 2020 election and the COVID-19 pandemic.

OAN founder and chief executive Robert Herring Sr has testified that the inspiration to launch OAN in 2013 came from AT&T executives.

“They told us they wanted a conservative network,” Herring said during a 2019 deposition seen by Reuters. “They only had one, which was Fox News, and they had seven others on the other [leftwing] side. When they said that, I jumped to it and built one.”

Since then, AT&T has been a crucial source of funds flowing into OAN, providing tens of millions of dollars in revenue, court records show. Ninety percent of OAN’s revenue came from a contract with AT&T-owned television platforms, including satellite broadcaster DirecTV, according to 2020 sworn testimony by an OAN accountant.

Herring has testified he was offered $250 million for OAN in 2019. Without the DirecTV deal, the accountant said under oath, the network’s value “would be zero.”

Dallas-based AT&T, a mobile-phone and Internet provider, also owns entertainment giant Warner Media, which includes CNN and HBO. AT&T acquired DirecTV in 2015 and in August spun off the satellite service, retaining a 70% share in the new, independently managed company. AT&T’s total U.S. television subscriber base, including satellite and streaming services, fell from 26 million in 2015 to 15.4 million as of August.

AT&T spokesman Jim Greer declined to comment on the testimony about OAN’s revenue streams, citing confidentiality agreements. He said that DirecTV broadcasts “many news channels that offer viewpoints across the political spectrum.”

“We have always sought to provide a wide variety of content and programming that would be of interest to customers, and do not dictate or control programming on channels we carry,” Greer said. “Any suggestion otherwise is wrong.”

Although the contracts are confidential, in court filings Herring cited monthly fees included in one five-year deal with AT&T. According to an AT&T filing citing Herring’s numbers, those fees would total about $57 million. Greer said that figure is inaccurate, but declined to say how much AT&T has paid to air OAN, citing a non-disclosure agreement.

Herring and his adult sons own and operate OAN, a subsidiary of their closely held San Diego-based Herring Networks. Their AT&T deal includes Herring’s other network, a little-watched lifestyle channel, AWE. The Herrings declined interview requests.

Herring, who just turned 80, is a self-made businessman who amassed a fortune in the circuit board industry, then turned to television and boxing promotion. OAN’s influence rose in late 2015, when it began covering Trump rallies live, at a time when some of the media still saw the New York celebrity businessman as a longshot presidential contender. The network continues to shower Trump with attention and often provides a friendly platform for his Republican allies.

As president, Trump frequently urged supporters to watch OAN. In his final two years in office, Trump touted the network, known as @OANN online, to his 88 million Twitter followers at least 120 times.

“Hope everybody is watching @OANN right now,” Trump tweeted on December 1, citing a dubious report about a truck carrying more than 100,000 fake ballots. “Other media afraid to show.”

The state and federal court documents reviewed by Reuters detail a lucrative relationship for OAN with AT&T, even as the two occasionally tangled in court.

The records include a reported offer by AT&T to acquire a 5% equity stake in OAN and AWE, though the two sides ultimately signed a different deal. The court filings also cite a promise by OAN to “cast a positive light” on AT&T during newscasts.

The confidential OAN financial records are drawn in part from testimony, including by Herring and the accountant, generated during a labor lawsuit brought against OAN by a former employee and unrelated to AT&T. When that case went to trial last year, the network’s lawyer told the jury that AT&T was keeping OAN afloat.

“If Herring Networks, for instance, was to lose or not be renewed on DirecTV, the company would go out of business tomorrow,” OAN lawyer Patrick Nellies told the court, a transcript shows.

Researchers who tracked the rise of conservative media pillars Rush Limbaugh and Fox News see similarities between those pioneers to One America News and other new rightwing networks, particularly during their formative years.

Kathleen Hall Jamieson, director of the Annenberg Public Policy Center at the University of Pennsylvania, said the births of Fox News and OAN share common threads: money and opportunity. She noted that the late Republican operative Roger Ailes had the foresight in the 1990s to recommend that Fox create a conservative news network.

[obvslybatgrl]

Funny how The CW has the highest percentage of LGBTQ+ series regulars for a broadcast network (15.4%) but none of their shows have ever won a GLAAD award.

[twoflipstwotwists]

A senior member of the International Olympic Committee has said he "can't be certain" the postponed Tokyo Olympics will open in just over six months because of the surging pandemic in Japan and elsewhere.

The comments by Canadian IOC member Richard Pound to British broadcaster the BBC came as Japanese Prime Minister Yoshihide Suga declared a state of emergency on Thursday for Tokyo and surrounding prefectures.

"I can't be certain because the ongoing elephant in the room would be the surges in the virus," Pound said speaking about the future of the Tokyo Games.

Japan's emergency order, which is largely voluntary, will be in force until the first week of February.

Tokyo reported a record of 2,447 new cases on Thursday, a 50 per cent increase from the previous day — which was also a record day. Japan has attributed over 3,500 deaths to COVID-19, relatively low for a country of 126 million.

It's crunch time for Tokyo. Organizers say the Olympics will take place, but they are not expected to reveal concrete plans until spring. That's about the same time the torch relay begins on March 25 with 10,000 runners crisscrossing the country for four months leading to the opening ceremony on July 23.

Pound also hinted athletes should be a high priority for a vaccine because they serve as "role models." Pound's comments seem to contradict IOC President Thomas Bach.

Bach said in a visit to Tokyo in November that athletes should be encouraged to get a vaccine, but would not be required to. He also indicated they should not be a priority. Bach said that nurses, doctors and health care workers should be first in line for a vaccine, ahead of healthy, young athletes.

"Athletes are important role models, and by taking the vaccine they can send a powerful message that vaccination is not only about personal health, but also about solidarity and consideration for the well being of others in their communities," Pound said.

Pound went further in a separate interview with British broadcaster Sky News. He said giving athletes priority might be "the most realistic way of going ahead."

"In Canada where we might have 300 or 400 athletes — to take 300 or 400 vaccines out of several million in order to have Canada represented at international even of this stature, character and level — I don't think there would be any kind of public outcry about that,"he said.

Vaccines could come slowly in Japan

Reports suggest that the vaccine rollout in Japan is likely to be slowed by the need for local clinical trials. Some vaccines might not be readily available until May, although Suga said some would be ready in February.

The Japanese public is becoming skeptical. A poll of 1,200 people last month by national broadcaster NHK showed 63 per cent favoured another postponement or cancellation.

The IOC has said the Olympics, first delayed by the coronavirus pandemic in 2020, will not be postponed again and would be cancelled this time.

The budget for the Tokyo Olympics is also soaring. The new official budget is $15.4 billion US, which is $2.8 billion above the previous budget. The new costs are from the delay.

Several audits by the Japanese government have said the costs are closer to at least $25 billion. The University of Oxford in a study published four months ago said these are the most expensive Summer Olympics on record. This was before the cost of the delay was added.

All but $6.7 billion of Olympic funding is public money.

[haloud]

im not in the business of defending tv executives. rich, out of touch fucks who only care about the bottom line and so actively work against creative, innovative content that isn’t focus-tested to the gills. but the attacks against the CW network over the ending of supernatural are just...

did the powers that be of supernatural not show us who they were over and over again for fifteen years? even as writers and showrunners entered and exited, queer characters were the butt of jokes or died like flies, the show displayed active contempt for its audience, and no matter how compellingly fans made their case, they never budged on the character of dean? why should we act like they would have had an eleventh hour change of heart cruelly dashed by shadowy executive figures? why let them off the hook and lionize or absolve them when they had FIFTEEN YEARS to give a mouthpiece where their money was--their queer fanbase?

why attack the network where 15.4 percent of all series regulars were queer as of the GLAAD 2019-20 Where Are We on TV report? (https://www.glaad.org/whereweareontv19), the highest of ANY broadcast network in the US? why attack the network that frequently gives life to small, low- to mid-budget genre shows that couldn’t exist on any other network--like supernatural was in 2005--and, when they grow wings, let them out last swathes of mainstream shows that began the same year (the big bang theory, how i met your mother, the colbert report, etc)

i understand how hurt people are right now. what supernatural pulled at the end was bullshit, eclipsed only by the bullshit they pulled for over a decade as at every turn they failed to fight for this representation people so desperately wanted--or, frankly, failed to even try. i loved supernatural. when I was fifteen, it’s not hyperbolic to say discovering this show saved my life. the pain people are feeling right now is real, and i am so, so sorry that this final betrayal hit so hard and was so egregious

but the CW is not your enemy. it wasn’t MTV’s fault when Teen Wolf gleefully and repeatedly fucked over Sterek fans and engaged in some of the grossest baiting ive ever seen with Stiles. it wasn’t the BBC who failed fans with merthur; it wasn’t the BBC leaning over steven moffat’s shoulder when he set out to fuck with fans on Sherlock. Netflix and Dreamworks weren’t responsible for the fiasco that Voltron became.

and it isn’t CW executives now. it’s TV showrunners, producers, directors, and writers who don’t respect their audience, who actively disdain their audience, who care more about showing that disrespect and punishing their viewers than they do about good writing. you deserve better. you deserve better! we all deserve better! we always did!

grieve supernatural, grieve dean and castiel, however you need to. this hurts. this sucks. and then know that there are better shows out there, ones that give a fuck, ones that want to tell you stories--tell your stories. because no relic of the queerbaiting past can change the fact that we’re WINNING, assholes! queer content IS profitable, and more and more shows are recognizing that and acting accordingly.

and those other shows, maybe they aren’t supernatural, maybe they aren’t the show that captured your heart and mind for half your life, maybe they aren’t the show the community that saved your life is centered around...but maybe the next show like that is out there,or will be soon. and that next show? i wouldn’t be surprised if it’s on the CW.

[liigainenglish]

Liiga to hold playoffs via NHL 20

Liiga and broadcaster Telia have decided to delight hockey fans’ needs by organizing playoffs via NHL 20 games! The ePlayoffs will be held during April between all 10 qualifying teams, and will be played as best out of three series. The teams have had the opportunity to choose whoever they like as their player for the 1 vs 1 ePlayoffs games.

The players will participate from home, and the games will be available to watch on MTV streaming service, Telia TV extra, and CMore on Wednesdays and Saturdays at 18.00. Hosting the games will be six time Finnish champion Ari Vallin and Telia TV host Suvi Puukangas, and announcing the games is Jani Alkio. The finale on April 26th will be also televised on Sub at 16.00.

Schedule: 8.4. First round / qualifiers (HPK–KalPa, JYP–Ässät) 11.4. Quarterfinals * 15.4. Quarterfinals 18.4. Semifinals 22.4. Semifinals 25.4. Finals and bronze game 

* Kärpät–KalPa/JYP/Ässät, Lukko–HPK/KalPa/JYP, Tappara–HIFK, Ilves–KooKoo

Players: HIFK: Tuukka Ritokoski (radio host) HPK: Joni Tuulola (hockey player, Rockford Icehogs) Ilves: Sami Hintsanen (actor-musician) JYP: Harri Pesonen (hockey player, SCL Tigers) KalPa: Eetu Sopanen (former hockey player) KooKoo: Sasu Toikka (baseball player, Kouvola) Kärpät: Miikka Kolehmainen (team fan) Lukko: Teemu Laurell (chef) Tappara: Joona Luoto (hockey player, Manitoba Moose) Ässät: Iiro Vehmanen (hockey player, ValpEagle)

And just to note out, whoever wins the ePlayoffs, will not be named the actual 2019-20 season champion, it’s all for fun.

[theliberaltony]

via Politics – FiveThirtyEight

The average (non-FiveThirtyEight-reading) American’s main exposure to political campaigns probably comes from TV. Since the days of Dwight Eisenhower, television ads have been a central part of our elections; by 2016, campaigns and organizations were spending $2.4 billion to put a total of 3.3 million broadcast TV ads in front of Americans’ bloodshot eyes. These ads can stir up viewers’ emotions, educate low-information voters, manipulate attitudes on race and gender, and — however modestly — persuade voters and win elections.

In short, they are important enough that — along with national polls, state polls, endorsements and fundraising — FiveThirtyEight is now tracking television advertising data for the 2020 presidential election. Our newest elections tool, which uses data from Kantar Media’s Campaign Media Analysis Group, lets you watch every ad that a 2020 candidate has aired on national cable or in any broadcast media market in the country. For each ad, we also have data on how many times it played, the dates and states where it aired, and how much a campaign or group spent to broadcast it. You can also filter the ads to see only those paid for by a specific candidate, those that aired in a specific state1 or those that deal with a specific issue, such as health care or guns.

Despite the hit our productivity might take if we get sucked into a political-ad-watching black hole, we’re excited about this data’s potential to help us understand the 2020 campaign from yet another angle. Which Democratic primary candidates are going all in on which early states? Now their television ad-buying patterns can give us another clue. What issues are driving the conversation of the campaign? These TV ads will show us not only what candidates are talking about, but also how they are talking about it — what stances they take, what framing they use, and so on.

The ads also tell us something in aggregate, like when individual candidates are making their move and how the campaign overall ebbs and flows.

So far, TV is telling a simple tale. Up until July, the airwaves were pretty quiet. Then philanthropist Tom Steyer jumped into the race. Saying he planned to spend $100 million of his own money on his campaign, he has aired at least 1,000 spots per week ever since, dwarfing the volume put out by other candidates. As of Sept. 26, Steyer had accounted for $12.0 million of the estimated $15.4 million that had been spent on TV ads in the presidential race.

Steyer has been focusing his ads on the first four states to vote in the Democratic primary: He’s aired 15,095 spots in Iowa, 4,588 spots in New Hampshire and Massachusetts (the Boston media market also covers much of New Hampshire), 6,943 spots in Nevada and 10,442 spots in South Carolina.2 And this campaign strategy appears to have paid off, as he does better in early-state polls than he does nationally. For example, according to Morning Consult’s latest weekly tracking poll of the Democratic primary, Steyer has 6 percent support across the four early states but just 1 percent support nationwide. And all seven of his qualifying polls for the October debate (those in which he got 2 percent support or higher) are from early states as well. Arguably, Steyer has his aggressive TV strategy to thank for making the debate stage.

The other candidates have not yet started seriously spending on TV. To date, most candidates have been committed more resources to Facebook and Google ads than to television ads (Pete Buttigieg, for example, has spent $5.3 million on digital vs. just $302,200 on TV). After Steyer, the active candidate who has spent the most on TV is Joe Biden, who has aired 882 spots for an estimated $384,220, almost all of it in Iowa.3

But that’s likely to change. In the 2016 cycle, campaign spending really started to ramp up in fall 2015; the same pattern could emerge this cycle too. Just this week, in fact, Elizabeth Warren announced plans for a $10+ million TV and digital ad blitz in the early states. So keep an eye on our tracker, which is updated every weekday, to see the television primary evolve in real time.

[tittalisting]

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[thesportish]

All four-day football broadcasts: hours and channels

All four-day football broadcasts: hours and channels

Strong games are on the program for the four days (15.4.-18.4.) of the top European championships. The TV broadcasts in detail. The action continues in the major championships, with very interesting matches over the four days of April 15-18in First League, Bundesliga, Series A, league and league 1 At the same time we have a big game even in the English Cup between Manchester City and Liverpool,…

[i-am-very-very-tired]

2ND UPDATE, 9:25 AM:

Will Smith has finally apologized to Chris Rock for slapping him during the live Oscar telecast on March 27, and now we have the final numbers for the 94th Academy Awards. Inching up a touch from the fast nationals of yesterday morning, the very dramatic and historic 2022 Oscars captured 16.6 million viewers and a rating among adults 18-49 of 3.8. While still the second least-watched and lowest-rated Academy Awards ever, Sunday’s Wanda Sykes, Amy Schumer and Regina Hall-hosted show is up nearly 60%  in audience and 73% in the key demo from the hostless 2021 Oscars.

According to Nielsen time slot breakdowns, the 2022 Oscars saw no significant surge in viewers after the King Richard star took a whack at comic Rock for a crack about Jada Pinkett Smith’s hair. There was jump of around 614,000 viewers in the 11 PM – 11:14 PM ET slot when Smith took the stage again for his tearful and somewhat apologetic Best Actor award acceptance speech. That saw the Oscars’ audience go to 17.4 million sets of eyeballs watching ABC and a 3.9 rating.

Yet even with all the attention on the Smith and Rock dust-up and aftermath, the actor’s long speech was actually the second highest slot of the more than 3 and a half hours long show’s night. Snaring an audience of 17.7 million and 4.0 rating, the sign language delivered Best Supporting Actor win by CODA’s  Troy Kotsur in the 9:15 PM – 9:29 PM ET period was the tops.

However, because this is 2022 not 1992, the ceremony really blew the roof off when it comes to social media.

No time slot specific metrics are available (which is weird), but overall the 94th Academy Awards looks to be far and away the “most social Oscars telecast on record,” says ABC. Apples to mushy apples, the 2022 Oscars saw a leap of 139% in social media activity over the 2021 Oscars — and, we’re talking about you Glenn Close and “Da Butt“, if you recall of not, a lot of people were tweeting about that Union Station set event. Overall, this year’s Oscars had a whooping 22.7 million total social interactions.

Now, it’s not Kim Kardashian being seen at a Shake Shack with Peter Davidson big (that’s a joke) on the social media scale, but it is surely a sign where Hollywood’s biggest night may want to center their efforts going forward.

A.K.A. – welcome to the TikTok-only 95th Academy Awards red carpet …UPDATED, March 28 10:29 AM: If only the Oscars themselves moved as fast as the numbers counters at ABC.

Mere minutes after fast-affiliate data for the 94th Academy Awards was out, the Disney-owned net that pays tens of millions a year to broadcast Hollywood’s biggest but stumbling night was out with the adjusted fast nationals.

Moving up a bit from the preliminary data, the 2022 Oscars now is estimated to have had 15.4 million viewers and snagged a rating of 2.9 among adults 18-49.Apples to apples with the same metrics, that’s a 56% increase in audience over last year and 68% in the important demo. However, even with what looks like big leaps over 2021, the 2022 Oscars are still the second-lowest in history.

ABC plans to update again Tuesday with final Live+Same Day National numbers and undoubtedly some streaming and other platforms tossed in too. We will, of course, update when we get the update.

PREVIOUSLY, 10:10 AM: Going into last night, the 94th Academy Awards’ notoriety seemed almost exclusively to be birthed from the decisions by organizers and the producers to cut the handing out of eight so-called below-the-line categories in an effort to move the show along at a quicker clip and increase on-air star power.

Almost overwhelming historic wins by CODA and actor Troy Kotsur, Power of the Dog director Jane Campion, and West Side Story’s Ariana DeBose, the enduring infamy of the 2022 Oscars will of course now be Will Smith’s maniacal slap of Chris Rock for insensitively mocking Jada Pinkett Smith’s hair and the Academy doing nothing to the subsequent Best Actor winner. And after all that, the ceremony produced by Will Packer and Shayla Cowan still went over three and a half hours on ABC and one hour off-camera for those neglected crafts awards.

Still, coming off the least-watched and lowest-rated Oscars ever from last year’s pandemic protocols hybrid affair, the real goal was to get the numbers up to help justify the Disney-owned network’s $100 million annual license fee it pays out to the long-struggling Academy of Motion Picture Arts and Sciences event.

In that sense, Sunday’s show hosted by Wanda Sykes, Amy Schumer and Regina Hall was a success, somewhat.

According to early numbers from Nielsen, the 8-11 p.m. ET portion of the Oscars pulled in 13.7 million viewers and snared a rating of 2.9 among adults 18-49. Those is the second-lowest Oscar results ever, only exceeded by the dismal data of last year.

Put in the best spin cycle possible, that’s a 39% increase in initial metrics over the the sets of eyeballs that watched hostless 93rd Academy Awards held on April 25, 2021. In terms of the still lucrative demography, the 2022 Oscars beat the 2021 Oscars by 53%.

Spun around, and taking the pandemic slightly out of the mix, the viewership for the 94th Academy Awards fell from that of the 92nd Academy Awards by significant double digits of over around 40%. To throw in a bit of context on how far the Oscars have fallen over the past 25 years, the 1998 Oscars, where Titanic won Best Picture, were watched by 55.3 million people. That’s the most ever for the nearly century-old show.

Having said that, those fast affiliates for this year’s Oscars are not adjusted for West Coast viewing and are certain to go up when more accurate fast nationals are released later today. Those numbers will include the last nearly 40 minutes of the show that aired after 11 p.m. ET, aka when things got violent, the Internet blew up and Smith gave a heartfelt but misconceived acceptance speech for his King Richard win.

The 2021 Oscars ended up with around 10.4 million viewers and a rating of 2.1 for its 8-11:10 p.m. ET show.

Check out the ratings for all the Oscar casts since 2001 below.

Beyond the 94th annual Academy Awards, Sunday primetime was pretty regular with 60 Minutes (1.4, 8.64M) topping both ratings and audience. The CBS news program rose in the demo but fell slightly in audience from the previous week. After 60 Minutes, CBS touted two new episodes of NCIS: Los Angeles (0.6, 5.43M/0.5, 4.92M)NBC showed a repeat of American Song Contest, followed by a new episode of Transplant (0.1, 0.93M) while Fox aired its typical animation domination slate. All of Fox’s titles were steady. Riverdale (0.1, 0.25M) on The CW matched the previous week exactly. March fizzled out with its finale, earning a 0.0 demo rating and airing to fewer than a 100,000 viewers. We will update with more Oscars metrics from ABC as they come in. In the meantime, check out the list of telecasts over the past two decades to get a wider context of the Oscar bloodbath over the 21st century:

2021: 10.4 million, Nomandland (No host) 2020: 23.6 million, Parasite (No host) 2019: 29.6 million, Green Book (No host) 2018: 26.5 million, The Shape of Water (Jimmy Kimmel) 2017: 32.9 million, Moonlight (Jimmy Kimmel) 2016: 34.4 million, Spotlight (Chris Rock) 2015: 37.3 million, Birdman (Neil Patrick Harris) 2014: 43.7 million, 12 Years a Slave (Ellen DeGeneres) 2013: 40.3 million, Argo (Seth MacFarlane) 2012: 39.3 million, The Artist (Billy Crystal) 2011: 37.9 million, The King’s Speech (Anne Hathaway/James Franco) 2010: 41.3 million, The Hurt Locker (Steve Martin/Alec Baldwin) 2009: 36.3 million, Slumdog Millionaire (Hugh Jackman) 2008: 32.0 million, No Country For Old Men (Jon Stewart) 2007: 40. 2 million, The Departed (Ellen DeGeneres) 2006: 38.9 million, Crash (Jon Stewart) 2005 42.1 million, Million Dollar Baby (Chris Rock) 2004: 43.5 million, The Lord Of The Rings: The Return of the King (Billy Crystal) 2003: 33.0 million, Chicago (Steve Martin) 2002: 41.8 million, A Beautiful Mind (Whoopi Goldberg) 2001: 42.9 million, Gladiator (Steve Martin)

[xtruss]

Tokyo Olympics Cost $15.4 Billion. What Else Could That Buy?

— By Stephen Wade | August 6, 2021

TOKYO (AP) — The official price tag for the Tokyo Olympics in $15.4 billion, which a University of Oxford study says is the most expensive on record. What else could those billions buy?

The ballpark figure for building a 300-bed hospital in Japan in $55 million. So you could put up almost 300 of these.

The average elementary school in Japan costs about $13 million. For that price, you get 1,200 schools.

A quick search finds a Boeing 747 is priced at roughly $400 million. Voila: 38 jumbo jets for the cost of the Tokyo Olympics.

The point is, Olympic Games are costly and may bump aside other priorities. In fact, several Japanese government audits say the real outlay for the Tokyo Games is even more than the official figure, perhaps twice as much. All but $6.7 billion comes from public money from Japanese taxpayers. According to the latest budget, the IOC’s contribution is $1.3 billion. It also chipped in several hundred million more after the pandemic.

Olympic costs have been dissected in a study by the University of Oxford, which found that all Games since 1960 have had cost overruns averaging 172%. Tokyo’s cost overrun is 111% or 244% depending on which cost figure you select.

“The IOC and host cities have no interest in tracking costs, because tracking tends to reveal cost overruns, which have increasingly become an embarrassment to the IOC and host cities,” Oxford author Bent Flyvberg said in an email. Flyvberg also pointed out that costs would be reduced if the IOC picked up more of the bills rather than opening organizers’ wallets.

Following costs is a tedious exercise, dotted with arguments about what are — and what are not — Olympic expenses. Flyvberg explained that numbers from different games can be “opaque and non-comparable” and require sorting and tracking.

“The problem is disentangling what is Olympics cost and what is just general infrastructure spending that would have happened anyways but was sped up for the Olympics.” Victor Matheson, who studies sports economics at College of the Holy Cross, wrote in an email.

For example: The 1964 Tokyo Games, he says, “were either one of the cheapest or one of the most expensive Games depending on how much of the preparation costs count as the Olympics.”

The 2008 Beijing Olympics, usually listed as costing more than $40 billion, and the 2014 Sochi Winter Olympics — priced at $51 billion — are often singled out incorrectly as the most expensive.

“The numbers for Beijing and Sochi likely include wider infrastructure costs: roads, rail, airports, hotels, etc. Our numbers do not,” Flyvberg wrote in an email.

The blur around costs — and who pays — allows the IOC to pitch the Olympics as a global party that brings the world together and promotes world peace. Everybody is seen to benefit, and the financial interests of the not-for-profit IOC are hidden behind national flags, pomp and ceremony, and heart-tugging stories about athletes winning gold and beating the pandemic.

Tokyo, of course, saw costs soar with the postponement. Officials say the delay added $2.8 billion to the final total. The postponement and a subsequent ban on fans also wiped out virtually all ticket sales income, which was budgeted at $800 million. That shortfall will have to be picked up by Japanese government entities — likely the Tokyo Metropolitan Government.

Tokyo organizers raised a record $3.3 billion from domestic sponsors, driven by giant Japanese advertising company Dentsu, Inc. But many sponsors complained openly in the runup to the Games that their investment was wasted without fans. Toyota, one of the IOC’s top 15 sponsors, pulled its Games-related advertising off television in Japan because of public discontent about holding the Olympics in the middle of a pandemic.

The big winner appears to be the Switzerland-based International Olympic Committee, which by holding the Olympics — even without fans — assured broadcast rights income of $3 billion to $4 billion. The IOC is essentially a sports and entertainment business, and almost 75% of its income is from selling broadcast rights with another 18% from sponsors.

The IOC was able to drive the Games forward, partly because the terms in the so-called Host City Agreement favor the IOC and not the Japanese hosts.

In an interview last week, President Thomas Bach said financial interests were not at the center of the IOC’s decision to postpone instead of cancel.

“We could have canceled the Games 15 months ago,” Bach said. “Financially, it would have been the easiest solution for the IOC. But we decided at the time not to cancel the Games, not to draw on the insurance we had at the time.”

The IOC has never said how much insurance coverage it has for such eventualities, nor what is covered.

So why did Tokyo want the Olympics? Why does any city? German sports economist Wolfgang Maennig said the Olympics offer little economic boost. So any value must be elsewhere. He has often likened the Olympics to throwing a big party for your friends and overspending, hoping they go away happy and remember you fondly.

“After three decades of empirical research, economists agree that the Olympics do not generate any significant positive effect on national (or even regional) income, employment, tax income, tourism etc.,” Maennig, a 1988 Olympic gold medalist in rowing, wrote in a email.

He said any benefits were elsewhere and include home-field advantage and more medals for home athletes, new sporting facilities, enhanced international awareness and fast-track decision making around urban regeneration. Japan’s Olympic performance has been in line with that; it has won more gold medals and overall medals than ever before.

Much of the Olympic benefit goes to construction companies and contractors. Tokyo built eight new venues. The two most expensive were the National Stadium, which cost $1.43 billion, and the new aquatic center, priced at $520 million. The next two Olympic organizers — Paris in 2024 and Los Angeles in 2028 — say they are cutting back drastically on new construction.

Though Tokyo probably suffered short-term economic losses from the pandemic and absence of fans, any losses are relatively small for a country with a $5 trillion economy.

In another study of Olympic costs by Robert Baade and Victor Matheson, “Going for Gold: The Economics of the Olympics,” they point out that Olympic investment is risky and only a few reap the benefits.

“The goal should be that the costs of hosting are matched by benefits that are shared in a way to include ordinary citizens who fund the event through their tax dollars,” they wrote. “In the current arrangement, it is often far easier for the athletes to achieve gold than it is for the hosts.”

___

AP Sports Writer Stephen Wade has been covering the runup to the Tokyo Olympics in Japan since 2018. Follow him on Twitter https://twitter.com/StephenWadeAP. AP Tokyo reporters Mari Yamaguchi and Yuri Kageyama contributed to this report. More AP Olympics: https://apnews.com/hub/2020-tokyo-olympics and https://twitter.com/AP_Sports.

[fiveblog913]

Canon Lide 120 Drivers For Mac

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Need for speed underground 2 2004 mac. Canon Hong Kong Company Limited and its affiliate companies (“Canon”) make no guarantee of any kind with regard to the Content, expressly disclaims all warranties, expressed or implied (including, without limitation, implied warranties of merchantability, fitness for a particular purpose and non-infringement) and shall not be responsible for updating, correcting or supporting the Content.

Canon reserves all relevant title, ownership and intellectual property rights in the Content. You may download and use the Content solely for your personal, non-commercial use and at your own risks. Canon shall not be held liable for any damages whatsoever in connection with the Content, (including, without limitation, indirect, consequential, exemplary or incidental damages).

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Olympics will ban spectators after Japan declares state of emergency

New Post has been published on https://uspost.xyz/news/olympics-will-ban-spectators-after-japan-declares-state-of-emergency/

Olympics will ban spectators after Japan declares state of emergency

A man wearing a face mask stands behind the Olympic symbols of the five interlaced rings pictured near the National Stadium in Tokyo.

James Matsumoto, SOPA Images | LightRocket | Getty Images

Olympics organizers are banning all spectators from the games this year after Japan declared a state of emergency that’s meant to curb a wave of new Covid-19 infections.

It’s the latest setback for the Summer Olympics that have already been delayed for a year and racked up high costs for postponement. The state of emergency will begin Monday and run through Aug. 22, while the games are scheduled from July 23 to Aug. 8.

Organizers had already banned international spectators from attending and set a cap on domestic crowds at 50% of capacity, or up to 10,000 people.

There’s immense pressure to curb the spread of the virus at the games, protecting both athletes and neighboring regions. More than 11,000 competitors are expected to travel to Japan to compete, along with thousands of officials and staff also set to attend.

Nationwide, Japan has reported about 811,000 coronavirus cases and more than 14,800 deaths, according to data from the World Health Organization. However, the nation has faced a relatively slow rollout of vaccines. Only about a quarter of the population has had at least one COVID-19 shot, according to Reuters.

Adjusting to no fans

NBCUniversal, the parent company of CNBC, plans to show more than 7,000 hours of content from the Tokyo Olympics across its networks and streaming platforms. Now NBC will have to grapple with whether viewers notice the difference without spectators.

Sports properties around the world adjusted during the pandemic with no fans, and often used digital seats to display some form of attendance. U.S. pro leagues including the National Football League and Major League Baseball also incorporated artificial sound in broadcasts to mimic crowd noise.

It’s challenging to keep viewers engaged in sports broadcasts without spectators, so NBC could use the technology to enhance production. In 2014, the media giant and the International Olympic Committee agreed to a $7.75 billion media rights deal to extend their partnership. The current agreement runs through 2032.

Still, an Olympics without fans will destroy ticket revenue for the IOC. More than 6 million tickets were sold for 2016 Rio Games, bringing in roughly $1.2 billion, according to an IOC annual report.

Because of the delays, the games’ budget has already jumped to an estimated $15.4 billion, according to Reuters, and ticket revenue of about $815 million will likely fall to near zero.

Disclosure: CNBC parent NBCUniversal owns NBC Sports and NBC Olympics. NBC Olympics is the U.S. broadcast rights holder to all Summer and Winter Games through 2032.