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TV Guide

TV Guide is an American digital media company that provides television program listings information as well as entertainment and television-related news.

The company sold its print magazine division, TV Guide Magazine LLC, in 2008.

Prototype
The prototype of what would become TV Guide Magazine was developed by Lee Wagner (1910–1993), who was the circulation director of MacFadden Publications in New York City in the 1930s – and later, by the time of the predecessor publication's creation, for Cowles Media Company – distributing magazines focusing on movie celebrities.

In 1948, Wagner printed New York City area listings magazine The TeleVision Guide, which was first released on local newsstands on June 14 of that year. Silent film star Gloria Swanson, who then starred in the short-lived variety series The Gloria Swanson Hour, appeared on the cover of the first issue. Wagner later began publishing regional editions of The TeleVision Guide for New England and the Baltimore–Washington area. Five years later, he sold the editions to Walter Annenberg, who folded it into his publishing and broadcasting company Triangle Publications, but remained as a consultant for the magazine until 1963.

Annenberg/Triangle era
The national TV Guide's first issue was released on April 3, 1953, accumulating a total circulation of 1,560,000 copies that were sold in the ten U.S. cities where it was distributed. The inaugural cover featured a photograph of Lucille Ball's newborn son Desi Arnaz Jr., with a downscaled inset photo of Ball placed in the top corner under the issue's headline: "Lucy's $50,000,000 baby". The magazine was published in digest size, which remained its printed format for 52 years. From its first issue until the July 2–8, 1954, issue, listings within each edition of TV Guide began on Friday and ended on Thursday; the July 9–16, 1954, issue began on a Friday and ended on the following Friday. Then, beginning with the July 17–23, 1954, issue, the listings in each week's issue changed to start on Saturday and end on Friday, which remained the listings format for all local editions until April 2004. The formation of TV Guide as a national publication resulted from Triangle Publications' purchase of numerous regional television listing publications such as TV Forecast (which was circulated in the Chicago area and, upon its first publication on May 9, 1948, was the first continuously published television listings magazine), TV Digest (which was distributed in Philadelphia and Pittsburgh, and was originally distributed under the title, the Local Televiser, when it was first released on November 7, 1948), and the New York-based Television Guide (which had its title abbreviated to TV Guide on March 18, 1950). Each of the cities that had their own local TV listings magazine folded into TV Guide were among the initial cities where the magazine conducted its national launch.

The launch as a national magazine with local listings in April 1953 became an almost instant success. However, the circulation decreased over subsequent weeks, even as the magazine's distribution expanded to five additional cities (Pittsburgh, Rochester, Detroit, Cleveland and San Francisco) throughout the summer of 1953. By mid-August of that year, sales of the magazine had dropped 200,000 copies below that of the first issue. TV Guide's fortunes began to turn around with the September 4–10, 1953, issue – the magazine's first "Fall Preview" issue – when circulation hit 1,746,327 copies; circulation levels increased steadily over time, to the point where TV Guide eventually became the most read and circulated magazine in the United States by the 1960s. The initial cost of each issue was 15¢ per copy (equivalent to $ in . The price per issue has gradually risen over the years, selling for $4.99 per copy as of 2024). In addition to subscriptions, TV Guide was sold at the checkout counters of grocery stores nationwide. Until the 1980s, the feature pieces included in each issue were promoted in a television commercial. Under Triangle, TV Guide continued to grow not only in circulation, but also in recognition as the authority on television programming with articles – the majority of which typically appear in the color section – from both staff and contributing writers.

Over the decades, the shape of the TV Guide logo has changed to reflect the modernization of the television screen, eventually adopting a widescreen appearance in September 2003, and then to its current flatscreen appearance in September 2016 (different versions of the logo – the only cosmetic difference being the utilization of different typefaces – are currently used respectively for the magazine and the separately owned, CBS-managed digital properties). At first, the logo had various colored backgrounds (usually black, white, blue or green) until the familiar red background became the standard in the 1960s with occasional customizations being utilized for special editions.

The magazine was first based in a small office in downtown Philadelphia, before moving to more spacious national headquarters in Radnor, Pennsylvania, in the late 1950s. The new facility had a large lighted TV Guide logo at the building's entrance. It housed management, editors, production personnel and subscription processors as well as a vast computer system holding data on every television show and movie available for listing in the popular weekly publication. Printing of the national color section of TV Guide – which incorporates television-related stories, and select feature columns such as program reviews – took place at Triangle's Gravure Division plant – which was known for performing some of the highest quality printing in the industry, with almost always perfect registration – located adjacent to the company's landmark Inquirer Building on North Broad Street in Philadelphia. The color section was then sent to regional printers to be wrapped around the local listing sections.

In addition to TV Guide and its flagship newspaper The Philadelphia Inquirer, Triangle Publications also owned the Philadelphia Daily News; ten radio and six television stations (WFIL AM-FM-TV in Philadelphia, WNHC AM-FM-TV in New Haven, Connecticut, KFRE AM-FM-TV in Fresno, California, WNBF AM-FM-TV in Binghamton, New York, WFBG AM-FM-TV in Altoona, Pennsylvania and WLYH-TV in Lancaster–Lebanon, Pennsylvania), as well as The Daily Racing Form; The Morning Telegraph; Seventeen; and various cable television interests. (It was under Triangle's ownership of WFIL-TV that American Bandstand came to popularity, which, in turn, led to host Dick Clark ascending to become a major television personality.) Triangle Publications sold its Philadelphia newspapers to Knight Newspapers in 1969, its radio and television stations during the early 1970s to Capital Cities Communications (the television stations that are now known as KFSN-TV and WPVI-TV were subsequently acquired by ABC through its 1986 merger with Capital Cities) and various other interests, retaining only TV Guide, Seventeen and The Daily Racing Form.

For the magazine's first 52 years of publication, listings information was displayed in a "log" format, a mainly text-based list of programs organized by both start time and channel, which was the sole method – eventually, primary once prime time grids were incorporated, and later secondary for the final two years of its inclusion of local listings – of displaying program information in TV Guide until the switch to national listings in 2005. This allowed for the display of full titles for each program as well as the inclusion of synopses for movies and most programs. Most listing entries in the log included program genres (and for national news programs, anchors) after the program's title, while its running time (which was mentioned only if a program lasted a minimum of one hour – later 35 minutes – in length) was listed (in hours and minutes) in the synopses.

Channel numbers were set in a tiny round icon (known as a "bullet") at the beginning of the listing. This bullet was soon modified to be the shape of a TV screen, similar to the shape of the TV Guide logo. In most editions, stations serving a particular edition's immediate local coverage area were denoted with a white numeral for its channel number set inside a black TV-shaped bullet. Stations serving neighboring communities outside the immediate area, but which could also be viewed in the primary local area, were denoted with a black numeral inside a white TV-shaped bullet outlined in black (for example, in the San Francisco edition, stations based in San Francisco or Oakland had their channel numbers listed as white-on-black TV-shaped bullets, while stations serving neighboring Sacramento or Salinas/Monterey (but could still be viewed in parts of San Francisco or Oakland, including their suburbs, as fringe reception) had their channel numbers listed as black-on-white icons). A particular listing could begin with as many as three or more channel bullets depending upon the number of stations in the immediate and surrounding areas broadcasting the same program at that particular time (usually different affiliates of the same network, based in the primary city as well as in neighboring areas). See the subsection "Listings section", in the "Editions" section below, for a detailed explanation.

Originally, the majority of programs listed in the log each issue featured brief synopses, except for local and national newscasts, and programs airing on certain stations in various timeslots. As other broadcast television stations and cable channels were added, due to set space requirements for the local listings section, detailed synopses were gradually restricted to series and specials – usually those airing in evening "prime time" timeslots – as well as movies airing on broadcast television, while shorter synopses were used for programs seen on broadcast stations outside of the edition's home market and select cable channels; and only the title along with basic supplementary information (such as genre and/or program length) for most other broadcast and cable programs. In addition, black-and-white ads for programs scheduled to air on broadcast stations – and later, cable channels – during prime time (with local airtimes, and for broadcast stations, information for network-affiliated stations featured in the edition which were scheduled to air the advertised show) were included within the listings. Ads for major network programs were generally produced by the networks themselves (and often, the networks would run a full-page or even a double-truck ad for an entire night of programming, or for a major movie or special, or for the season premiere of a Saturday morning cartoon lineup); ads for locally produced programs, including local newscasts, were produced by individual stations (network affiliates as well as independent stations). Such locally provided ads almost always used the distinctive logos used by particular stations (for example, the "Circle 7" logo used for many years primarily by stations either owned by, or affiliated with, ABC). (Black-and-white ads for general products, services and special offers, similar to those seen in other national magazines, were also placed in the listings section.)

A regular feature of the listings section was "Close-Up", usually a half-page segment, which provided expanded reviews of select programs airing each day (various editions of "Close-Up" were eventually used for different types of programs, from premieres of new series to shows airing on cable). Over time, other regular and recurring features (most of them television-related) were included alongside the listings including "Insider" (a television news and interview section in the lead pages of the color section); "Cheers and Jeers" (a critique page about various aspects of television programming); "Hits and Misses" (featuring brief reviews of select programs in the coming week, rated on a score from 0 to 10); "Guidelines" (a half-page daily section featuring highlights of five or six programs of interest); horoscopes; recaps of the previous week's storylines on network daytime soap operas; a page reviewing new home video (and later, DVD) releases; dedicated pages that respectively listed select sporting events, children's programs and "four-star" movies being broadcast during that week; and crossword puzzles. Although its issues usually focus on different television-related stories week to week, TV Guide also incorporates recurring issues that appear a few times each year, most notably the "Fall Preview" (an issue featured since the magazine's inaugural year in 1953, which features reviews of new series premiering during the fall television season), "Returning Favorites" (first published in 1996, featuring previews of series renewed from the previous television season returning for the upcoming fall schedule), "Winter Preview" (first published in 1994 and later known as the "(year) TV Preview" from 2006 to 2009, featuring previews of midseason series) and "The Best Children's Shows on TV" (first published in 1989 and later renamed the "Parents' Guide to Children's Television" in 1990, and finally as the "Parent's Guide to Kids' TV" in 1993, featuring stories and reviews on family-oriented programs).

Icons used for other means than identifying listed stations were first added to the magazine around 1956, using the words "SPECIAL" and "COLOR", each set in capital letters inside a rectangular bar, to denote television specials and programs broadcast in color, respectively. TV Guide modified all icons incorporated into the local listings section in May 1969, changing the font for the TV-shaped bullets identifying local stations from Futura to the standard Helvetica and using similarly TV-shaped bullets marked with the abbreviation "C" to denote color programs (replacing the bar/text icons that had been previously used). As color programming became more ubiquitous, in August 1972, the magazine opted to identify programs originating in black and white (marked under the abbreviation "BW") within the listings section. In September 1981, listings began to identify programs presented with closed or open captions or with on-screen sign language interpretation.

Being an era when program episodes tended to be faithfully recurring from week to week, TV Guide listings would make note of alterations from the routine or a change in status: "[Gunsmoke is pre-empted]"; "(last episode of the series)", "Debut: ", "Special". Until the 1970s, double-feature or triple-feature movie presentations by a station would be listed at the starting time of the first feature: "MOVIE--Double Feature", then list the movies with numeric bullets in front of each title and synopsis; subsequent to 1970, the magazine listed each movie in its own time entry.

A day's listings continued well past midnight until the last station signed off following prime time programs of the calendar day before, possibly as late as 4:00 a.m. The next day's listings could begin as early as 5:00 a.m., or earlier.

Addition of cable listings
The advent of cable television would pose challenges to TV Guide. Cable channels began to be listed in the magazine in 1980 or 1981, depending on the edition; the channels listed also differed with the corresponding edition. Regional and national superstations available on cable systems in the designated market of many editions were the only cable channels listed initially as well as, in certain markets, over-the-air subscription services transmitted over local independent stations (such as ONTV); local subscription television services were often listed as "STV Programming" or "Subscription Television" for the channel carrying the service, with the service listed separately or, in some editions, not at all. Cable-originated channels – such as HBO, CNN (both of which the magazine originally promoted mainly in full-page advertisements), the CBN Cable Network (now Freeform), the Alpha Repertory Television Service (ARTS, later succeeded by A&E through its 1984 merger with The Entertainment Channel) and Nickelodeon – were added gradually between the winter of late 1981 and the first half of 1982, depending on the edition.

To save page space, TV Guide incorporated a grid (a rowed display of listings for programs scheduled to air during the evening hours each night, primarily organized by channel) into the listings between 1979 and 1981, which was slotted at a random page within each day's afternoon listings. The grid originated as a single-page feature that provided a summary of programs airing during prime time (from 7:00 to 10:00 p.m. or 8:00 to 11:00 p.m. depending on the start of prime time within a given time zone) on the stations mentioned in the corresponding edition; by 1983, it was expanded to a two-page section – which began to take up roughly three-quarters of the two adjoining pages on which it was placed – that included programs airing during the early access and late fringe periods (from 5:00 to 11:00 p.m. or 6:00 p.m. to 12:00 a.m. local time), with the beginning and end of the magazine-defined prime time daypart (between 7:30 and 11:00 p.m. or between 6:30 and 10:00 p.m. local time on Monday through Saturdays, and between 7:00 and 11:00 p.m. or between 6:00 and 10:00 p.m. local time on Sundays) delineated by a thicker border. Channels listed in the grid were organized by broadcast stations, basic cable channels, and premium channels.

In 1983, depending on the edition, a new feature was added, the "Pay-TV Movie Guide" (renamed the "Premium Channels Movie Guide" in 1997), initially preceded the listings before being moved to the pages immediately following the Friday listings in January 1989, resulting in the national section – which had been cordoned into two sections, both preceding and following the local section – being consolidated into the first half of the pages comprising each issue. Preceding this addition, some editions carried The "Movie Guide", which also preceded the listings, provided summaries of films scheduled to air over the next one to two weeks on the cable channels included in both the log and grid listings (excluding those featured exclusively in the grids) as well as a first-page summary of the films scheduled to premiere that week (arranged by channel and sub-categorized by title). As the years went on, more cable channels were added into the listings of each edition. To help offset this, the May 11–17, 1985, issue introduced a smaller Helvetica font for the log, along with some other cosmetic changes; in particular, a show's length began to be listed after the show's title instead of at the end of its synopsis. That issue also saw advertising for local stations featured in the corresponding edition be restricted to certain special events, with most program promotions being restricted to those for national broadcast and cable networks.

News Corporation and Gemstar eras
On August 7, 1988, Triangle Publications was sold to the News America Corporation arm of News Corporation for $3 billion, one of the largest media acquisitions of the time and the most expensive publication transaction at the time. The November 3–9, 1990, issue saw the addition of VCR Plus+ codes in some of the magazine's regional editions, for users with devices incorporating the technology – which was developed by eventual TV Guide parent Gemstar International Group Ltd. – to input into their VCRs to automatically record television programs. (Two-digit PlusCodes corresponding to the channel airing the program that a user wished to record were listed after each channel in the channel directory page; one- to eight-digit codes for individual programs were listed in the log listings section following the title of each program.) The PlusCodes expanded to all local editions beginning with the September 14–20, 1991, issue. The September 12–18, 1992, issue saw the addition of bullet icons identifying colorized versions of older feature films.

On March 7, 1996, TV Guide launched the iGuide, originally developed by the News Corporation-MCI joint venture Delphi Internet Service Corp. as a web portal, which featured more comprehensive television listings data than those offered by the magazine (with information running two weeks in advance of the present date), as well as news content, TV Guide editorial content and a search feature called CineBooks, which allowed users to access detailed information on about 30,000 film titles. Later that year, content from the print publication was added to iGuide as well as content from News Corporation's other media properties. On January 13, 1997, shortly before MCI bowed out of the venture, iGuide was relaunched as the TV Guide Entertainment Network (TVGEN), which was renamed TV Guide Online in 2002. The refocused site covered television, music, movies and sports (with content concerning the latter sourced from Fox Sports), along with wire news and features from Reuters, Daily Variety and The New York Post, free e-mail updates for registered users, and a chat room that was developed to accommodate 5,000 users simultaneously.

Additional changes to the listings took place with the September 14–20, 1996 edition of the print publication. Starting with that issue, program titles switched from being displayed in all-uppercase to being shown in a mixed case, Franklin Gothic typeface, film titles – which had previously been displayed within the film description – began appearing before a film's synopsis in an italicized format (replacing the generic "MOVIE" header that had been used to identify films since the magazine's inception), and children's programs that were compliant with the Children's Television Act of 1990 began to be designated by a circular "E/I" icon. In addition, infomercials (which had been designated under the boilerplate title "COMMERCIAL PROGRAM[S]" until 1994, and "INFORMERCIAL[S]" thereafter) ceased being listed in the magazine during time periods in which stations aired them. (Time-brokered programs continued to be listed in the magazine, but were primarily restricted to religious programming.) Replacing the text identifiers that had been included within the film synopses, theatrically released films also began to be identified by a black-and-white boxed "M" symbol, accompanied depending on the film by its star rating (a formula, on a scale of one [for "poor"] to four [for "excellent"], based on a consensus of reviews from leading film critics, the quality of the film's cast and director, and the film's box office revenue and award wins). Movie icons also were appropriated to identify direct-to-video (marked as "M→V") or made-for-TV (marked as "M→T") releases, which were not assigned star ratings. Beginning with the January 25–31, 1997, issue, the log listings began incorporating content ratings for programs assigned through the newly implemented TV Parental Guidelines system (the system's content ratings were subsequently added upon their introduction in October 1998).

News Corporation sold TV Guide to the United Video Satellite Group, parent company of Prevue Networks, on June 11, 1998, for $800 million and 60 million shares of stock worth an additional $1.2 billion (this followed an earlier merger attempt between the two companies in 1996 that eventually fell apart). Following the sale, reports suggested that TV Guide would remove program listings from the magazine, shifting them entirely to its new sister cable network Prevue Channel, which would be rebranded as a result of United Video's purchase of TV Guide Magazine; News Corporation executives later stated that listings information would remain part of the magazine. That year, United Video acquired TVSM Inc. (publishers of competing listings guides Total TV and The Cable Guide) in a $75 million all-cash acquisition; as a result, TV Guide merged with Total TV, and began printing a version of the magazine in the latter magazine's full-size format (while retaining the original digest size version) effective with the July 11, 1998, issue.

Because most cable systems published their own listing magazine reflecting their channel lineup, and now had a separate guide channel or an electronic program guide that can be activated by remote and provide the same information in a more detailed manner – with additional competition coming in the late 1990s from websites that also specialize in providing detailed television program information (such as TVGuide.com, then jointly operated with TV Guide Magazine, and Zap2It), a printed listing of programming in a separate magazine became less valuable. The sheer amount and diversity of cable television programming made it hard for TV Guide to provide listings of the extensive array of programming that came directly over the cable system. TV Guide also could not match the ability of the cable box to store personalized listings. Nevertheless, beginning with the September 12–18, 1998, issue, the magazine added several new channels to many of its editions, including those that had previously been mentioned only in a foreword on the channel lineup page as well as those that were available mainly on digital cable and satellite; although most of these newly added channels were placed within the prime time grids, only a few (such as Animal Planet and MSNBC) were also incorporated into the log listings.

Features in the magazine were also revamped with the additions of "The Robins Report" (a review column by writer J. Max Robins), "Family Page" (featuring reviews of family-oriented programs) and picks of select classic films airing that week, as well as the removal of the "Guidelines" feature in the listings section in favor of the new highlight page "Don't Miss" (listing choice programs selected by the magazine's staff for the coming week) in the national color section. Listings for movies within the log also began identifying made-for-TV and direct-to-video films, as well as quality ratings on a scale of one to four stars (signifying movies that have received "poor" to "excellent" reviews).

In 1999, the magazine began hosting the TV Guide Awards, an awards show (which was telecast on Fox) honoring television programs and actors, with the winners being chosen by TV Guide subscribers through a nominee ballot inserted in the magazine. The telecast was discontinued after the 2001 event. The July 17–23, 1999, edition saw the evening grids scaled down to the designated prime time hours, 8:00 to 11:00 p.m. (or 7:00 to 10:00 p.m.) Monday through Saturdays and 7:00 to 11:00 p.m. (or 6:00 to 10:00 p.m.) on Sundays, to complement the descriptive log listings for those time periods; this also allowed the grids to be contained to a single page in certain editions that provided listings for more than 20 cable channels.

On October 5, 1999, Gemstar International Group Ltd., the maker of the VCR Plus+ device and schedule system (whose channel and program codes for VCRs using the system for timed recordings were incorporated into the magazine's listings in 1988), and which incidentally was partially owned by News Corporation, purchased United Video Satellite Group. The two companies were previously involved in a legal battle over the intellectual property rights for their respective interactive program guide systems, VCR Plus+ and TV Guide On Screen, that began in 1994. That month, TV Guide debuted a 16-page insert into editions in 22 markets with large Hispanic populations titled TV Guide en Español, which provided programming information from national Spanish language networks (such as Univision and Telemundo) as well as special sections with reviews of the week's notable programs. The magazine discontinued the insert in March 2000 due to difficulties resulting from confusion by advertisers over its marketing as "the first weekly Spanish-language magazine", despite its structure as an insert within the main TV Guide publication.

To commemorate the 50th anniversary of TV Guide as a national magazine, in 2002, the magazine published six special issues:
 * "TV We'll Always Remember" (April 6–12): Our Favorite Stars Share Fifty Years of Memories, Moments and Magic"
 * "50 Greatest Shows of All Time" (May 4–10): The Ultimate List of the 50 Best TV Series. (Just Try to Guess What's No. 1!)"
 * Note: This was the only one to be presented on television itself (in the form of a two-hour special) and referenced in the book TV Guide: Fifty Years of Television, considering the magazine's purpose to present weekly listings of regularly scheduled series.
 * "Our 50 Greatest Covers of All Time (June 15–21): Fabulous Photos of Your Favorite Shows and Stars Plus: Amazing Behind-the-Scenes Stories"
 * "50 Worst Shows of All Time (July 20–26): Not Just Bad! Really Awful – And We Love Them That Way!"
 * "50 Greatest Cartoon Characters of All Time (August 3–9): Funny! Clever! Drawn to perfection! They're the tops in toons!"
 * "50 Sexiest Stars of All Time (September 28–October 4): Charisma, Curves, Confidence, Charm! Could We Be Having Any More Fun?"

By 2003, the number of cable channels that were only listed in the grids expanded, with the addition of channels such as BBC America, Soapnet and the National Geographic Channel (some editions also featured a limited number of broadcast stations – either in-market, out-of-market or both – exclusively in the grids). Conversely, sister cable network TV Guide Channel (whose listings were added to the magazine after the Gemstar purchase) was relegated from the log listings to the grids in most editions. From its inception until 2003, TV Guide had offered listings for the entire week, 24 hours a day. Numerous changes to the local listings took place beginning with the June 21, 2003 issue – in just a few select markets, when the 5:00 a.m. to 5:00 p.m. Monday through Friday listings were condensed down to four grids: these ran from 5:00 to 8:00 a.m., 8:00 to 11:00 a.m., 11:00 a.m. to 2:00 p.m., and 2:00 to 5:00 p.m. If programming differed from one weekday to the next, the generic descriptor "Various Programs" was listed. The weekday grid maintained day-to-day listings for certain cable channels (primarily movie channels as well as a limited number of basic cable channels such as Lifetime, The History Channel and USA Network), which were organized separately from the other channels. These changes became permanent in all TV Guide editions beginning with the September 13, 2003, "Fall Preview" issue.

Other changes were made to the magazine beginning with the June 21 issue in select markets and the 2003 "Fall Preview" issue elsewhere. A half-page daily prime time highlights section featuring the evening's notable shows, movies and sports events – similar to the former "Guidelines" feature – was re-added to the listings section; a full-page "Weekday Highlights" page was also added featuring guest and topical information for the week's daytime talk and morning shows as well as picks for movies airing during the day on broadcast and cable channels. In addition, while log listings continued in use for prime time listings, program synopses were added to the grids and log, as well as a "NEW" indicator for first-run episodes, replacing the "(Repeat)" indicator in the log's synopses. The "Premium Channels Movie Guide" was also restructured as "The Big Movie Guide", with film listings being expanded to include those airing on all broadcast networks and cable channels featured in each edition (as well as some that were not listed in a particular local edition), as well as movies that were available on pay-per-view (page references to the films included in this section were also incorporated into the prime time grids and log listings). Beginning in January 2004, the midnight to 5:00 a.m. listings (as well as the Saturday and Sunday 5:00 to 8:00 a.m. listings) ceased to include any broadcast stations outside of the edition's home market, leaving only program information for stations within the home market and for cable channels.

The magazine's format was changed beginning with the April 11, 2004, issue to start the week's listings in each issue on Sunday (the day in which television listings magazines supplemented in newspapers traditionally began each week's listings information), rather than Saturday. In July 2004, the overnight listings were removed entirely, replaced by a grid that ran from 11:00 p.m. to 2:00 a.m. that included only the broadcast stations in each edition's home market and a handful of cable channels. It also listed a small selection of late-night movies airing on certain channels. The time period of the listings in the daytime grids also shifted from starting at 5:00 a.m. and ending at 5:00 p.m. to running from 7:00 a.m. to 7:00 p.m. By this point, the log listings were restricted to programs airing from 7:00 to 11:00 p.m. In early 2005, more channels were added to the prime time and late-night grids.

Format overhaul and conversion to national listings
On July 26, 2005, Gemstar-TV Guide announced that TV Guide would abandon its longtime digest size format and begin printing as a larger full-size national magazine that would offer more stories and fewer program listings. All 140 local editions were eliminated, being replaced by two editions covering the time zones within the contiguous United States: one for the Eastern and Central time zones, and one for the Pacific and Mountain time zones (which had existed separately from the local editions prior to the change, although their distribution was primarily limited to hotels). The change in format was attributed to the increase in the internet, cable television channels (like TV Guide Network), electronic program guides and digital video recorders as the sources of choice for viewers' program listings. The new version of TV Guide went on sale on October 17, 2005, and featured Extreme Makeover: Home Edition host Ty Pennington on the cover. The listings format, now consisting entirely of grids, also changed to start the listings in each week's issue on Monday rather than Sunday. As a result of the elimination of the local editions, broadcast stations were replaced by broadcast network schedules with the description "Local Programming" being used to denote time periods in which syndicated, locally produced or paid programs would air instead of network shows.

In September 2006, TV Guide launched a redesigned website, with expanded original editorial and user-generated content not included in the print magazine. On December 22, 2006, TV Guide introduced the magazine's first ever two-week edition. The edition, which featured Rachael Ray on the cover, was issued for the period from December 25, 2006 to January 7, 2007. In early 2008, the Monday through Friday daytime and daily late night grids were eliminated from the listings section, and the television highlights section was compressed into a six-page review of the week, rather than the previous two pages for each night. By 2007, TV Guide's circulation had decreased to less than three million copies from a peak of almost 20 million in 1970.

With the $2.8 billion acquisition of Gemstar-TV Guide by Macrovision on May 2, 2008, that company, which purchased the former mostly to take advantage of their lucrative and profitable VCR Plus and electronic program guide patents, stated it wanted to sell both the magazine and TV Guide Network, along with the company's horse racing channel TVG Network to other parties.

TV Guide Talk
On May 18, 2005, TV Guide Talk, a weekly podcast that was available to download for free, was launched. The podcast was headlined by TV Guide reporter/personality Michael Ausiello, and was co-hosted by his colleagues at the magazine, Matt Webb Mitovich, Angel Cohn, Daniel Manu and Maitland McDonagh. Each episode featured commentary from TV Guide staff on the week's entertainment news stories, television programs, and film releases, as well as occasional interviews with actors, producers, and executives. On April 4, 2008 (following Ausiello's move to Entertainment Weekly), it was announced that the podcast would be ending, and the final episode (Episode No. 139) was released on April 10, 2008.

TV Guide Talk podcasts were released every Friday afternoon and averaged an hour in length. They featured the participants discussing and commenting on the past week in television and the entertainment industry in general. The beginning of each podcast was devoted to in-depth discussion on the week's biggest new story in the entertainment industry, whether it be a television program or something outside the scope of television show or movie (such as the Academy Awards or the Emmys). The middle part was devoted to discussion and commentary on individual shows. The podcast emphasized programs that tend to have a large online following even if that following is not necessarily reflected in the programs' Nielsen rating. Examples include American Idol, Heroes, Lost, Survivor, Gilmore Girls, Veronica Mars, and Project Runway (the latter three being examples a low-rated shows which nevertheless have sizable online followings). Each podcast also ended with a weekly review of that weekend's new theatrical releases.

OpenGate Capital era
On October 13, 2008, Macrovision sold the money-losing magazine (which was reportedly posting revenue losses of $20 million per year by that point) to Beverly Hills-based equity fund OpenGate Capital for $1, and a $9.5 million loan at 3% interest. As part of the sale, however, Macrovision retained ownership of the companion website – which was then sold to equity firm One Equity Partners for $300 million – which severed all editorial connections between the magazine and website, including the end of critic Matt Roush's presence on TVGuide.com. The editorial content of the magazine was launched on a new site, TVGuideMagazine.com, which did not feature TV Guide's listings in any form. TVGuideMagazine.com was later shut down on June 1, 2010; TV Guide Magazine and TVGuide.com then entered into a deal to restore content from the magazine to the latter website, which Lionsgate Entertainment had bought along with the TV Guide Network in January 2009.

CBS Interactive/CNET era
In March 2013, CBS Corporation acquired One Equity Partners' stake of their TV Guide assets. The CBS acquisition was finalized later that month for $100 million. On May 31, 2013, CBS bought Lionsgate's share of TV Guide Digital, which includes the website and mobile apps. On January 31, 2014, OpenGate Capital and CBS Interactive announced a deal to cross-promote TV Guide Magazine with TVGuide.com and CBS Interactive's other internet properties (including TV.com, Metacritic and CNET).

Sales to Red Ventures and Fandom Inc.
In 2020, Red Ventures acquired the assets of CNET Media Group, including TV Guide, from ViacomCBS.

On October 3, 2022, Red Ventures sold TV Guide and other entertainment websites to Fandom Inc.

TV Guide Channel/Network
In June 1998, the TV Guide brand and magazine were acquired by United Video Satellite Group, the parent company of the Prevue Channel – a channel first launched in 1981 as the Electronic Program Guide network, that was carried by cable and some satellite television providers and was originally formatted to feature a scrolling program guide, short segments featuring previews of upcoming programs, and promos and short-form film trailers for programs airing on various channels. Its new owners promptly rebranded Prevue as the TV Guide Channel on February 1, 1999. With the rebranding, some of the hourly segments featured on the channel at that point were renamed after features in the magazine, including TV Guide Close-Up, TV Guide Sportsview (which was formatted more similarly to the listings section's sports guide than the color column of that name) and TV Guide Insider. After Gemstar's acquisition of TV Guide, the channel began to shift toward airing full-length programs featuring celebrity gossip and movie-focused talk shows alongside the program listings. The channel was rebranded as the TV Guide Network in 2007.

Following the respective sales of TV Guide's magazine and cable channel by Macrovision to OpenGate Capital and Lionsgate, the magazine and TV Guide Network became operationally separate, although the two properties still collaborated on content for TVGuide.com. After CBS Corporation bought stakes in TV Guide's properties in March 2013, TV Guide Network was rebranded under the abbreviated name TVGN that April to de-emphasize its ties to TV Guide Magazine, as part of a transition into a general entertainment format while the channel gradually decommissioned its scrolling listings grid. The network was relaunched as Pop on January 14, 2015, with its programming focus shifting towards shows about pop culture and its fandom.

TV Insider
TV Insider is a website promoted internally as an online "guide to...TV" published by TV Guide's parent holding company TVGM Holdings, LLC, which launched in January 2015. The website features reviews and interviews from critics and columnists (such as Matt Roush) who write for the print magazine. TV Insider launched an identically titled print magazine dedicated to streaming services in February 2023, but the magazine ceased publication in April 2024, with some of the content incorporated into an expanded section of the regular TV Guide magazine.

TV Weekly
TV Weekly is a weekly magazine that offers television listings for viewers in the local markets, featuring the local channels and regional cable networks alongside the major network and cable outlets. The settings are similar to TV Guide's national listings.

TV Guide Crosswords
TV Guide Crosswords was a spin-off publication, first published in the late 1980s, based on the crossword puzzle feature in the penultimate page of each issue. The puzzles featured in TV Guide and the standalone magazine featured answers related to television programs, films, actors, entertainment history and other entertainment-related trivia. In addition to the regular magazine, TV Guide Crosswords also published special editions as well as books.

Parents' Guide to Children's Entertainment
TV Guide's Parents' Guide to Children's Entertainment was a quarterly spin-off publication which was first released on newsstands on May 27, 1993. The magazine featured reviews on television shows, home videos, music, books and toys marketed to children ages 2 to 12, as well as behind-the-scenes features centering on children's television shows and films. To limit confusion among readers, the Parents' Guide issues were printed as a standard-size magazine instead of the digest scale then applied by the parent TV Guide Magazine. The magazine ceased publication following the Spring 1996 issue, with some content covered by the spin-off magazine continuing to be featured in TV Guide's annual "Parents' Guide to Kids TV" issue.

ReMIND Magazine
ReMIND Magazine is a monthly publication dedicated to popular culture nostalgia, specifically in relation to the 1950s–1990s. ReMIND, like TV Guide Magazine, is published by NTVB Media, and its issues contain themed features, puzzles, and trivia quizzes.

TV Guide Interactive
TV Guide Interactive is the former name of an interactive electronic program guide software system incorporated into digital set-top boxes provided by cable providers. The program listings grid rendered by the software was similar to the late-2000s look of the listings of TV Guide Network/TVGN. Macrovision/Rovi later renamed the product as i-Guide after the spin-off of the TV Guide publications.

TV Guide On Screen
A separate IPG system, TV Guide On Screen, was a brand name for Guide Plus+, a build of software featured in products such as televisions, DVD and digital video recorders, and other digital television devices providing on-screen program listings. First marketed in the mid-1990s, it was originally owned by Gemstar-TV Guide International before being acquired by the Rovi Corporation on December 7, 2007, in a $2.8 billion cash and stock deal. From November 2012 to April 2013, Rovi gradually discontinued broadcast transmission of the Guide Plus+ service.

Other usage of the TV Guide name

 * A Canadian edition of TV Guide, which followed the same format as the U.S. magazine but published editorial content directed from Canada, was launched in 1977 (prior to this, beginning in 1953, the U.S. edition was published in Canada with appropriate localized television listings). It continued as a print publication until November 2006 (with only special editions being printed thereafter), after which it was replaced by the website tvguide.ca, which operated until December 2012, when it was incorporated into the entertainment and lifestyle website The Loop by Sympatico. The Canadian publication's owner Transcontinental Media discontinued TV Guide's online editorial content on July 2, 2014, ceasing the Canadian edition's existence after 61 years. Its listings department, which distributes programming schedules to newspapers and The Loop owner Bell Canada's pay television services (Bell Satellite TV, Bell Aliant TV and Bell Fibe TV) remains operational. In 2017, the U.S. edition of TV Guide was distributed in Canada for a time.
 * The term "TV guide" has partly become a genericized trademark to describe other television listings appearing on the internet and in newspapers. Read/Write Web published "Your Guide to Online TV Guides: 10 Services Compared." Techcrunch in 2006 offered "Overview: The End of Paper TV Guides".
 * TV Guides is also the name of an interactive video and sound installation produced in 1995 with assistance from the Canada Council, and was presented at SIGGRAPH 1999.

National television listings magazines using the TV Guide name (verbatim or translated into the magazine's language of origin) are also published in other countries, but none of these are believed to be affiliated with the North American publication:
 * In Australia, during the 1970s, a version of TV Guide was published under license by Southdown Press. In 1980, that version merged with competitor publication TV Week, which uses a very similar logo to that used by TV Guide.
 * New Zealand has a digest-sized paper called TV Guide, which is not associated with the United States or Canadian publications., it had the largest circulation of any national magazine, and is published by Fairfax Media.
 * In Mexico, a digest-sized publication called TV Guía was founded in 1952 by the Amador brothers (Editorial Televisión, S.A.), who sold it in the eighties to Editorial Televisa. It is unrelated to the U.S. publication.
 * In Italy, a digest-size Guida TV has been published since September 1976 by Mondadori.

title: TV Guide


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Ahrweiler (district)

Ahrweiler is a district in the north of Rhineland-Palatinate, Germany. It is bounded by (from the north and clockwise) the districts of Euskirchen, Rhein-Sieg and the city of Bonn in the state of North Rhine-Westphalia, and the districts of Neuwied, Mayen-Koblenz and Vulkaneifel.

History
The region was conquered by the Romans under Julius Caesar about 50 BC. Some hundred years later the Roman fort of Rigomagus (Gaulish for "king's field") was founded, later to become the city of Remagen. The Vinxtbach, a narrow brook and an affluent of the Rhine, was defined as the borderline between the Roman provinces of Germania superior and Germania inferior. There was originally a Roman villa here; the German suffix, "weiler", is from the Latin term "villare", meaning "land attached to a Roman villa, farm". Portions of a Roman aqueduct have also been found nearby.

Many towns were first mentioned in the 9th century, among them Sinzig and the eponymous village of Ahrweiler (since 1969 a part of Bad Neuenahr-Ahrweiler). The name of Ahrweiler was first noted in the Land Register of the Abbey of Prüm, which during the ninth century, owned almost all of the property in the town.

In 1180, the Holy Roman Emperor Barbarossa chose Sinzig as a place to meet the envoys of France and Flanders. Another significant place was the Abbey of Maria Laach on the Laacher See, a lake in the southeast of the district.

From 1100 to 1246, the district was ruled by the Grafen (Counts) von Are (Ahr), and then by their relatives, the Grafen von Hochstaden. These families were mainly responsible for the development of Ahrweiler, which then was, together with Bonn, Andernach and Nürburg, one of the capitals of the Archbishopric of Cologne. Defensive walls, ramparts and towers were built around the town, and these constructions remain mostly unimpaired.. In the early years of the Holy Roman Empire there was a county of Ahr, but it was annexed by the Bishop of Cologne in 1246. Afterwards Remagen became the most important town of the region. The parish church, St. Laurentius (St. Laurence) de:St. Laurentius (Ahrweiler), was originally built in 1269.

Since the Middle Ages, the town has been roughly divided by the four City Gates. In each division there was a commons, which originally belonged to the town's citizens. These were later put in the care of the protective Social Communities, who protected the interests of the inhabitants. These Social Communities (Hutengemeinschaften) continue to exist. They are: Hutengemeinschaft Adenbachhut Ahrweiler; Hutengemeinschaft "St. Barbara" Ahrhut Ahrweiler; Hutengemeinschaft "St. Katharina" Niederhut Ahrweiler; Hutengemeinschaft "St. Ursula" Oberhut Ahrweiler e.V..

During a disastrous period in the Thirty Years War in the 17th century, the town was besieged, plundered and set on fire by the French. But the darkest day in Ahrweiler's history was on May 1, 1689, when the town was razed to the ground, and only ten houses were left standing among the ruins.

The districts of Ahrweiler and Adenau were established in 1816, just after Prussia occupied the Rhineland. The district of Adenau was merged with Ahrweiler in 1932.

The Ahrweiler City Gate and many other historical buildings were partially destroyed at the end of World War II during the contested advances of the Allies. The battle of the Rhine bridge of Remagen, otherwise known as the Ludendorff Bridge, in 1945, is a well-known event in local history, also due to the U.S. movie The Bridge at Remagen (1969).

Jewish history
In Jewish texts, the town was called Aroil'ra (ארוילרא). From the 13th century and on, there was a considerable Jewish community in Ahrweiler. In the 14th century, the Jews of the town traded in salt and wine. During that period, the Jewish community of the town suffered from the Black Death Jewish persecutions. In 1900, 65 Jews lived in the town (1% of the total population), and 319 in 1933.

Although much of the town resisted early National Socialism, and the town leaders had refused Adolf Hitler a chance to address the community in 1932, they were not able to escape the reach of the Nazis entirely. Ahrweiler had a small Jewish community before the Nazis came to power, but they were all taken away and relocated, some to concentration camps, after 1933. No member of this community ever returned to Ahrweiler, and today, the town's old synagogue that was desecrated during 1938 Kristallnacht, is used for art displays.

Geography
The Rhine forms the eastern border of the district. The Ahr, a tributary of the Rhine, enters the district in the southeast and runs northeastwards to meet the Rhine within the borders of the district.

Ahrweiler is located in the northernmost part of the Eifel mountains. The mountains to the north of the Ahr are called the Ahr Hills; they are lower than the mountains of the High Eifel in the south of the district.

Walporzheim, one kilometre west of Ahrweiler, has some curious rock formations called the "Bunte Kuh" (Colorful Cow) and the "Kaiserstuhl" (Emperor's Chair).

The forests of the Eifel are the result of reforestations in the 19th century. The most common tree is the fir, which was originally not native to the region. The Ahr river and its smaller affluents serve as a habitat for rare animals, that are adapted to alluvial forests. Examples are the oriole, the nightingale and the endangered black kite. Some fens in the area were drained in the 20th century. The Rodder Maar, a lake in the eastern part of the district, was drained in the 1950s, and a coniferous forest was planted on the former water body; in 1998 the lake was restored, and rare animals begin to arrive there again. The geology of the lake is uncertain. In its circular shape it appears similar to volcanic maars that are found in the nearby Daum region, but there is no evidence of volcanism, and so it is not a "maar". In 2013 evidence that it is meteoritic in origin was presented.

Ahrweiler is also characterised by orchards and vineyards. The lower Ahr River is one of the northernmost wine regions of Germany, known for its red wines from Pinot noir (Spätburgunder) and Portugieser.

Ahrweiler is especially well known for its vineyards and wineries. Wine growing and trading has been going on in Ahrweiler for over 1,000 years. The town is the chief cultivator for the red wine known as "Ahrburgunder". Bachem, which lies one kilometre south of Ahrweiler, is also well known for its "Frühburgunder", a local name for Pinot Noir Précoce. Traditionally, in this small town more of this wine is produced than in any other place in the Ahr valley.

On the first Sunday in September there is a traditional and annual wine festival in Ahrweiler, for which a "Wine Queen," or "Burgundia", is elected. Within the district are also the wine festival on the first Sunday in July at Bachem and another one in nearby Walporzheim on the first Sunday in August. By the way, Walporzheim also has the oldest wine house in the Ahr, named St. Peters, which dates from 1246.

The Nürburgring, a famous Formula One circuit, is located in the district.

Coat of arms
The coat of arms was adopted in 1927. It displays:
 * Top left: the cross of Cologne
 * Top right: the heraldic eagle of the earldom of Ahr
 * Bottom left: the lion of Berg
 * Bottom right: the former coat of arms of the Prussian Rhine province

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Ahrweiler (district)


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Khoi (disambiguation)

Khoi may refer to:

Clothing

 * Khoyi, traditional cap of Gilgit-Baltistan, Pakistan

People

 * The Khoekhoe people
 * The Khoekhoe language

Places

 * Khoy, a city in Iran
 * Khoy County, an administrative subdivision of Iran

Radio

 * KHOI (FM), a radio station (89.1 FM) licensed to serve Story City, Iowa, United States

Animals

 * Koi, a type of ornamental domesticated fish commonly kept for decorative purposes in outdoor ponds

title: Khoi (disambiguation)


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Münster (region)

Münster is one of the five Regierungsbezirke of North Rhine-Westphalia, Germany, located in the north of the state, and named after the capital city of Münster. It includes the area which in medieval times was known as the Dreingau.

Regierungsbezirk Münster mostly covers rural areas of Münsterland famous for their castles, e.g. Castle Nordkirchen and Castle Ahaus. The region offers more than a hundred castles, all linked up by the cycle path 100 Schlösser Route.

The three southern municipalities are part of the Ruhrgebiet, a densely populated region with much industry. Besides this the area is mostly as green as the rest of Münsterland and historically a part of the landscape.

The history of the Regierungsbezirk dates back to 1815, when it was one of the original 25 Regierungsbezirke created as a subdivision of the provinces of Prussia. The last reorganization of the districts was made in 1975, when the number of districts was reduced from ten to five, and the number of district-free cities from six to three.

Climate
The climate is mainly maritime, influenced by the recently deteriorating Gulf Stream.

Temperatures above 30 °C during the summer were rare until the 1980s. Recently some summer months got more hot and dry or cool and wet with an increased abundance of extreme weather.

In winter time temperatures deep frost below -10 °C occurs especially in times of Berlin Phenomenon and is rare in years without. Long time average temperatures about 1 °C in January and February mean that frost is quite common.

Economy
The Gross domestic product (GDP) of the region was 88.1 billion € in 2018, accounting for 2.6% of German economic output. GDP per capita adjusted for purchasing power was 30,900 € or 102% of the EU27 average in the same year. The GDP per employee was 94% of the EU average.

Traffic
A popular way to explore the Münsterland is by bicycle. The mostly flat landscape with its architectural and cultural gems invites cycling, both ambitious on-road riding (e.g. the Münsterland Giro race) and relaxed tours on small rural roads and Pättkes (minor paths, some are even unpaved). Embedded in a 4,500 km long network of cycle paths are not only the most popular themed routes, but also many small and large delightful tours and round courses through the region. Some infrastructure for cyclists with Bed & Bike farms, navigation systems, and service-stations make Münsterland a fine cycling area.

The city of Münster itself is crammed with bikes and on a daily basis cyclists face traffic congestion, bike theft, parking problems and the like.

The road system is well-maintained and several highways offer fast access to nearly all areas.

In those areas where railroads haven't been closed down by the 1980s, frequent and fast service is offered. One streetcar system has survived in the city of Gelsenkirchen and many other towns and cities offer a fair bus network. Rural areas are connected by bus, too. The service is tied to demand and rather poor in very remote places.

The Münsterland can be explored by boat on some canals, e.g. the Dortmund–Ems Canal and Wesel–Datteln Canal. They connect the area to the harbours in Duisburg and Münster, the German coast and the rest of the German waterway system.

Landmarks

 * Ahaus Castle
 * Gerleve Abbey
 * Herten Castle
 * Horst Castle
 * Hülshoff Castle - birthplace of Annette von Droste-Hülshoff
 * Lembeck Castle
 * Münster Cathedral
 * Nordkirchen Castle - the most important castle, also called "Westphalian Versailles"
 * House of Rüschhaus
 * St. Lambertus Cathedral
 * Steinfurt Castle
 * Westerwinkel Castle
 * The Industrial Heritage Trail - big part of this collection of monuments originated by the Industrial Revolution is sited in the southern half of this area

title: Münster (region)


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Gaumont Film Company

The Gaumont Film Company, often shortened to Gaumont, is a French film studio headquartered in Neuilly-sur-Seine, France. Founded by the engineer-turned-inventor Léon Gaumont (1864–1946) in 1895, it is the oldest extant film company in the world, established before other studios such as Pathé (founded in 1896), Titanus (1904), Nordisk Film (1906), Universal, Paramount, and Nikkatsu (all founded in 1912).

Gaumont predominantly produces, co-produces, and distributes films, and in 2011, 95% of Gaumont's consolidated revenues came from the film division. The company is increasingly becoming a TV series producer with its American subsidiary Gaumont International Television as well as its existing French production features. Gaumont is run by Nicolas Seydoux (president), Sidonie Dumas (general director), and Christophe Riandee (deputy general director).

History
Originally dealing in photographic apparatus, the company began producing short films in 1897 to promote its make of camera-projector. Léon Gaumont's secretary Alice Guy-Blaché became the motion picture industry's first female director, and she went on to become the Head of Production of the Gaumont film studio from 1897 to 1907. From 1905 to 1914, its Cité Elgé studios (from the normal French pronunciation of the founder's initials L-G) in La Villette, France were the largest in the world. Gaumont began producing full-length feature films in 1908.

The company manufactured its own equipment and mass-produced films until 1907, when Louis Feuillade became the artistic director of Gaumont. When World War I broke out, he was replaced by Léonce Perret, who continued his career in the United States a few years later. In 1909 the company participated in the Paris Film Congress, a failed attempt by European producers to create a cartel similar to that of the MPPC in the United States.

Gaumont opened foreign offices and acquired the theatre chain Gaumont British, which later notably produced several films directed by Alfred Hitchcock such as The 39 Steps (1935) and The Lady Vanishes (1938). Along with its competitor Pathé Frères, Gaumont dominated the motion picture industry in Europe until the outbreak of World War I in 1914.

After World War I, Gaumont suffered economic losses owing to increased competition from American Hollywood productions. In 1925, the studio's output decreased to only three films. In addition, Gaumont was unable to keep pace with the cost of technological changes (e.g., the advent of sound movies). Struck by mounting debts in the early 1930s and the effects of the Great Depression, Gaumont declared bankruptcy in 1935. In 1937, the studio ceased production and operated only as a theater and distribution company. The company was purchased by the French corporation Havas in 1938, was renamed Société Nouvelle des Etablissements Gaumont, and reopened its film production studio. During the later years of World War II, Gaumont was affected by the financial ruin of France's economy as well as the physical destruction of its facilities. The company ceased production until 1947. However, the global interest in French New Wave films in the 1950s, as well as the permissiveness within French films (e.g., nudity), allowed French productions to successfully compete against an American cinema that was still burdened by conservative moral codes. The period was to see the return to prominence of Gaumont Studios. On 2 February 2000, Philippe Binant, technical manager of Digital Cinema Project at Gaumont, realized the first digital cinema projection in Europe with the Texas Instruments prototype projector. From 1993 to early 2004, Gaumount and Disney had a partnership for producing films for theater distribution. In 2001, Gaumont spun off the cinema division into a joint venture with Pathé since known as Les Cinémas Gaumont Pathé. Gaumont owned a 34% stake in the entity, which controls a large cinema network in France, Switzerland, and the Netherlands. As of 2011, this stake was worth €214 million. In 2004, Gaumont continued its development with Pathé to set up another joint venture, Gaumont-Pathé Archives. Gaumont owns 57.5% of this entity, which contains newsreels, documentaries, and silent movies from the 20th and 21st centuries. From early 2004 to 2007, the company had a partnership with Sony for producing films and for theater and DVD distribution worldwide. And for many years, Gaumont's home video division was a joint venture with Sony Pictures. Currently, Gaumont distributes its films through Paramount Home Media Distribution on video in France. At the end of 2007, Gaumont took over the French animation studio Alphanim for €25 million and renamed it Gaumont Alphanim. As of 2013, it is known as Gaumont Animation.

On 16 December 2010, Gaumont acquired a 37.48% stake in the share capital of the Légende company and its subsidiaries for €6.6 million. Légende is a full-length film and television series production and distribution company managed by Alain Goldman. As of 2011, the Légende stake is worth €6.3 million. 2011 was the year that Gaumont opened its Gaumont International Television division in Los Angeles. In 2011, Gaumont co-produced and co-distributed The Intouchables, which became France's highest-grossing movie of all time. The international release of The Intouchables was equally successful, trumping previous international blockbusters such as Harry Potter and Transporters in Germany. Intouchables is the highest-grossing foreign-language movie (any language other than English) beating the previous record of $275 million by the Japanese Spirited Away. The film was a major catalyst for Gaumont's boosting fourth-quarter 2011 cinema sales to €47.9 million, up 651% year on year. The film's success turned a half-year 2011 loss to a record annual €26 million profit. The Intouchables currently has a box office of $361 million.

In 2012, Gaumont acquired the production company Nouvelles Éditions de Films (NEF) for €3.1 million. The company was previously run and created by cinema legend Louis Malle. As part of the acquisition, Gaumont now owns the entire Malle collection, including Ascenseur pour l'échafaud, Atlantic City, and Au Revoir les Enfants. In February 2012, Gaumount restarted its television division which had been defunct for about ten years. On 2 May 2016 according to Deadline Hollywood, Gaumont teamed with Lionsgate, and seven other international companies to launch the Globalgate Entertainment consortium. Globalgate will produce and distribute local-language films in markets around the world. Lionsgate said it had partnered with international entertainment executives Paul Presburger, William Pfeiffer and Clifford Werber to launch Globalgate. In 2019, Gaumont was replaced by TF1 Studio as Globalgate's new French member. On 1 March 2017, Gaumont sold its 34% stake in Les Cinémas Gaumont Pathé to Pathé for $400 million in order to focus on production.

In January 2018 it was announced that the company's first office, in Cologne, Germany, would open in July 2018. The office will focus on development and production of premiere drama programming, according to film producer and new manager Sabine de Mardt.

Production
Gaumont currently has 938 films in its catalogue, most of which are in French; however there are some exceptions such as Luc Besson's The Fifth Element (1997). Among the most notable films produced by Gaumont are the serials Judex (1916) and Fantômas (1913); the comic Onésime series, starring Ernest Bourbon; and the comic Bébé series, starring five-year-old René Dary. The two biggest films to which Gaumont owns the rights are Jean-Marie Poiré's Les Visiteurs, with a box-office of $98 million, and the 2011 blockbuster Intouchables by Olivier Nakache and Éric Toledano, with a box office of $427 million.

Abel Gance, a director and the early animator Emile Cohl worked for the studio at one time or another. The company has also produced television shows, including seven animated series: Highlander: The Animated Series, Space Goofs, The Magician, Dragon Flyz, F Is for Family, and Sky Dancers (the second and third are based on their respective toy lines), and the very popular Oggy and the Cockroaches. The company also began production in its American unit Gaumont International Television on two series: Hannibal and Hemlock Grove. The studio has been described as a mini-major studio.

Corporate structure
Ciné Par is a majority shareholder with 69.92% of the voting rights: this entity is controlled by CEO Nicolas Seydoux. The other private shareholders are First Eagle Investment Management, Bolloré, and Groupe Industriel Marcel Dassault. The company has a free float of 416,784 shares, which represents 9.75% of the capital and 5.99% of the voting rights.

Financial information
In the first half of 2012, Gaumont recorded a profit of €7.7 million, which reversed the €0.6 million loss from the first half of 2011. The profit was driven by a 49% increase in revenue, which reached €50.1 million. The company cited the continued effects of Intouchables, which increased International revenues by 153%. Gaumont's current market capitalization is €164 million.

Logo
Léon Gaumont selected the ox-eye daisy as the company logo to pay homage to his mother, whose first name was Marguerite (Daisy). Throughout the decades the logo has been redesigned several times, but the daisy has always remained present, even though its significance has been largely forgotten.

title: Gaumont Film Company


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Iconostasis

In Eastern Christianity, an iconostasis is a wall of icons and religious paintings, separating the nave from the sanctuary in a church. Iconostasis also refers to a portable icon stand that can be placed anywhere within a church. The iconostasis evolved from the Byzantine templon, a process complete by the 15th century.

A direct comparison for the function of the main iconostasis can be made to the layout of the great Temple in Jerusalem. That Temple was designed with three parts. The holiest and inner-most portion was that where the Ark of the Covenant was kept. This portion, the Holy of Holies, was separated from the second larger part of the building's interior by a curtain, the "veil of the temple". Only the High Priest was allowed to enter the Holy of Holies. The third part was the entrance court.

This architectural tradition for the two main parts can be seen carried forward in Christian churches and is still most demonstratively present in Eastern Orthodox churches where the iconostasis divides the altar, the Holy of Holies where the Eucharist is performed – the manifestation of the New Covenant – from the larger portion of the church accessible to the faithful. In the Eastern Orthodox tradition, usually only men can enter the altar portion behind the iconostasis. However, one will see women serving behind the iconostasis at female monasteries.

The word "iconostasis" comes from the Greek εἰκονοστάσι(-ον) (eikonostási(-on), still in common use in Greece and Cyprus), which means "icon stand".

Location
The nave is the main body of the church where most of the worshippers stand, and the sanctuary is the area around the altar, east of the nave. The sanctuary is usually one to three steps higher than the nave. The iconostasis does not sit directly on the edge of the sanctuary but is usually set a few feet back from the edge of the top step. This forms a walkway in front of the iconostasis for the clergy, called a soleas. In the very center of the soleas is an extension (or thrust), often rounded, called the ambon, on which the deacon will stand to give litanies during the services.

The iconostasis, though often tall, rarely touches the ceiling. Acoustically, this permits the ekphoneses (liturgical exclamations) of the clergy to be heard clearly by the faithful. In small, modern churches the iconostasis may be completely absent: in such cases it is replaced by a few small icons on analogia (lecterns), forming a virtual divide.

The iconostasis typically has three openings or sets of doors: the Beautiful Gates or Holy Doors in the center, and the North and South Doors to either side. The Beautiful Gates are sometimes called the Royal Doors, but that name more properly belongs to the central doors connecting the narthex, or porch, to the nave. They remain shut whenever a service is not being held. Modern custom as to when they should be opened during services varies depending upon jurisdiction and local custom.

The North and South Doors are often called Deacons' Doors because the deacons use them frequently. Icons of sainted deacons are often depicted on these doors (particularly St. Stephen the Protomartyr and St. Ephrem the Syrian). Alternatively, they may be called Angels' Doors, and the Archangels Michael and Gabriel are often depicted there. The South Door is typically the "entrance" door, and Michael is depicted there because he is the "Defender"; the North Door is the "exit", and Gabriel is depicted here because he is the "Messenger" of God. (In the Greek and Antiochian liturgical tradition, the Archangel Michael is usually stationed on the north (i.e. "exit") door, and Gabriel on the south (i.e. "entrance") door, and that it is far more common in modern times to see the Archangels than the Deacons on these doors). These doors may also be casually referred to as the "side doors".

There are some exceptions where both the side doors depict Archangel Michael. The most notable exception is of the church of Saint George (Aghios Georgios) inside the Ecumenical Patriarchate of Constantinople (in today's Istanbul).

In many monastery churches and chapels (though often not in the katholikon, the monastery's main church) one may find iconostases with only two doors: the Holy Doors and the North Door. These churches are used for simpler monastic observances when only a hieromonk would be serving alone.

Placement of icons

A number of guidelines or rubrics govern which icons are on which parts of the iconostasis, although there is some room for variation. In its fullest Slavic development, it comprised five tiers of icons:
 * 1) The bottom tier is sometimes called Sovereign. On the right side of the Beautiful Gates (from the nave facing forward) is an icon of Christ (often Pantokrator), which symbolizes his Second Coming and on the left side is an icon of the Theotokos (Virgin Mary), symbolizing Christ's Incarnation, and entrance into this world. Therefore, all things take place between Christ's first and second coming. Other icons on this tier beside those on the doors themselves usually include depictions of the patron saint or feast day to which the church is dedicated, St. John the Baptist, St. Nicholas, one or more of the Four Evangelists etc. Above this are two interchangeable tiers: the Deisis and the Twelve Great Feasts:
 * 2) In the center of the Deisis is a large icon of Christ Enthroned. To the left and right are icons of John the Baptist and the Theotokos in attitudes of supplication. They are often flanked by icons of the Archangels Michael and Gabriel, then Sts. Peter and Paul, and then any other important Church Fathers that may be desired for inclusion as space allows.
 * 3) The Feasts tier contains icons of the twelve Great Feasts of the liturgical year. Above this, the top two tiers are also interchangeable with each other:
 * 4) The Old Testament Prophets and Patriarchs—the latter including the 12 sons of Jacob—often to either side of an icon of Our Lady of the Sign; and
 * 5) the Twelve Apostles, often to either side of and icon depicting either Christ at the Second Coming or the Holy Trinity.

It is also not uncommon to find an icon of the Mystical Supper, which depicts the Last Supper, and by extension the Communion of Saints in the Kingdom of God, somewhere above the Beautiful Gates.

The Sovereign (bottom) tier is found in all iconostases, but other tiers are somewhat optional. In general, preference is given to the Deisis or the Feasts tiers if only some of them can be included, and only the largest and most elaborate iconostases have all five tiers.

Many modern iconostases in the Greek tradition only include the bottom ("Sovereign") tier, and on occasion a second tier of smaller icons, usually depicting either the Great Feasts or the Apostles (with an icon of the Mystical Supper, or occasionally the Hospitality of Abraham) above the Beautiful Gates.

When the Iconostasis does not reach all the way to the ceiling, it is often surmounted by a central cross, centered directly above the Beautiful Gates. If the cross bears an iconographic depiction of Christ Crucified, it is often flanked by icons of the Theotokos and St. John the Evangelist standing at the foot of the cross.

Rubrics

There are rules regarding who may enter or leave the sanctuary (altar), and by which door. Neither the Beautiful Gates (Holy/Royal Doors – central doors) nor the space between them and the altar table may be used by laity under any circumstances, although infants are either carried into the altar through them in the "churching" rite if they are boys, or if they are girls, the infant is simply presented at the doors. Bishops may enter through the Beautiful Gates at any time; priests and deacons may do so only at specific times during the services when the gates are open (but during Bright Week they always enter and exit through them). All others enter the sanctuary through the side doors.

In a convent, only the abbess and elder nuns are permitted to enter the sanctuary (altar), and they may only enter through the side doors. The abbess may enter at any time, but the other nuns need a blessing to enter. Male members of the laity who are usually allowed to enter the sanctuary include those involved in the running of the particular church, i.e., cantors and choristers, altar servers/acolytes, church keepers and vestrymen, etc.

In the Romanian tradition, on the day of the consecration of the altar in the church, the laity, including women, were permitted to enter and venerate the altar until the beginning of the Vespers of Consecration. These guidelines were developed over the course of many centuries, with both theologically symbolic and practical reasons for them.

Theological implications
The iconostasis does not really "separate" the nave from the Holy of Holies; rather, it brings them together. The iconostasis is the link between heaven (the Holy of Holies) and the nave (the Holy Place). Therefore, everything is symbolic upon the iconostasis. The icons of Christ, the Theotokos, and various saints and feasts are there because Christ, the Theotokos, the saints etc., are said to lead and guide followers into the Holy of Holies. Therefore, the personages on the icons upon the iconostasis guide followers into heaven, and therefore the iconostasis is said to connect not separate. The icons upon the iconostasis also are windows and bridges into heaven (although all icons, no matter where, are windows and bridges into heaven). Therefore, in a sense the iconostasis represents Christ, who is the connection, the door, between both realms. The perfect explanation for the iconostasis, and its uniting purpose, is seen in Hebrews 10:19–20, "Therefore, brethren, since we have confidence to enter the sanctuary by the blood of Jesus, by the new and living way which he opened for us through the curtain, that is through his flesh.".

Evolution

Archaeological evidence from the St. John of Stoudios monastery in Constantinople suggests that the iconostasis evolved from the early templon. A basilica dedicated to John the Baptist was built in 463 AD. In it the chancel barrier surrounded the altar in a π shape, with one large door facing the nave and two smaller doors on the other sides. Twelve piers held chancel slabs of about 1.6 meters in length. The height of the slabs is not known. The chancel barrier was not merely a low parapet (a short wall); remains of colonnettes have been found, suggesting that the barrier carried an architrave on top of the columns.

In early churches, including the Hagia Sophia ("Great Church") in Constantinople, the altar, at least in large churches, was under a ciborium ("ciborion": κιβώριον in Greek), usually a structure with four columns and a domed canopy. This had curtains on rods on all four sides, which were closed for sections of the liturgy, as is still performed in the Coptic and Armenian churches, a comparison with the biblical Veil of the Temple was intended. The small domed structures, usually with red curtains, that are often shown near the writing saint in early Evangelist portraits, especially in the East, represent a ciborium, as do the structures surrounding many manuscript portraits of medieval rulers. As the iconostasis grew, the ciborium declined, although some late examples, by now invisible to the congregation, were produced.

The templon gradually replaced all other forms of chancel barriers in Byzantine churches in the 6th, 7th, and 8th centuries, except in Cappadocia. The invention of the solid icon screen is ascribed to Saint Basil the Great.

As late as the 10th century, a simple wooden chancel barrier separated the apse from the nave in the rock-cut churches in Derinkuyu, although by the late 11th century, the templon had become standard. This may have been because of the veneration and imitation of the Great Church Hagia Sophia in Constantinople, though the columnar form of chancel barrier does predate Hagia Sophia.

The rood screens or pulpita that most large European Roman Catholic churches and cathedrals had acquired by late medieval times occupied a similar position between chancel and nave but served a different function. The choir was usually east of the screen. Many survive, often most completely in Scandinavia, and more were built in the Gothic Revival, particularly in Anglican churches in England. In wooden examples, painted panels were typically waist-high, with a wooden tracery section above allowing a view through, and then a large carved beam supporting a rood cross crucifix, often life-size, above that. Larger churches had stone screens, which might impede virtually all view by the congregation.

title: Iconostasis