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Flix (TV network)

Flix (stylized as FLiX) is an American premium cable and satellite television network owned by Showtime Networks, a subsidiary of Paramount Global operated through its Paramount Media Networks division. Its programming consists solely of theatrically released motion pictures released from the 1970s to the present day, interspersed with some films from the 1950s and 1960s.

It is the only premium television service in the United States that does not operate any multiplex channels that provide additional programming alongside the main service. Although Flix is typically offered as part of the Showtime multiplex, the channel's carriage varies depending on both the cable provider and market, therefore it may not be available alongside Showtime and The Movie Channel's multiplex services in all areas. Although one or both of the channels have traditionally been carried alongside the Showtime multiplex on cable and satellite providers,, Flix as well as The Movie Channel are not presently carried by any of the over-the-top subscription television services – Hulu Live TV, Sling TV, YouTube TV and DirecTV Now – that carry most or all of the eight Showtime multiplex channels.

In recent years, Flix has lost carriage with the growth of streaming alternatives including its parent company's Paramount+, and has generally been depreciated by Paramount in current retransmission consent negotiations with cable and streaming providers.

History
The network launched on August 1, 1992, as a single-channel "mini-pay" service. Flix originally featured movies from the 1960s to the 1980s, although it would gradually begin to scatter some 1990s film titles onto the network's schedule over time. At its launch, Flix had been one of the last premium channels to restrict the broadcast of R-rated films to the nighttime hours. A notable aspect of Flix during its early days was that the channel did not solely advertise the channel's own prime time lineup, but also ran a schedule of programs that were slated to air that evening on the other major U.S. premium channels – including HBO, Cinemax and Encore as well as sister networks Showtime and The Movie Channel – during breaks between daytime movies (since 2002, Showtime has been the only other premium service that the network has provided prime time listings during its prime time lineup segment).

Three years prior to the channel's launch, in 1989, Tele-Communications Inc. made a failed bid to acquire a 50% ownership stake in Showtime from Viacom. There was some debate as to whether Viacom or TCI originally conceived the idea for Encore, another (one-time) "mini-pay" service that was originally similar in format to Flix, which also focused on films from the 1960s to the 1980s until a format change in 1999 in which that channel added more recent films to its schedule. Viacom executives insisted that TCI lifted part of the idea for Encore from the company's Showtime Networks division. John Sie, the president of Encore at the time, said in a 1991 interview with Multichannel News that TCI brought up the concept of the Encore network as a way to revitalize Showtime, either by launching a new tertiary service from scratch or by overhauling the format of Showtime's existing sister network The Movie Channel.

On June 14, 2005, Viacom decided to separate itself into two companies (only six years after the company's acquisition of CBS), both of which would be controlled by Viacom parent National Amusements, amid stagnation of the company's stock price. The original Viacom was restructured as CBS Corporation and acquired Showtime Networks along with CBS' broadcasting assets, Paramount Television (now the separate arms CBS Television Studios for network and cable production, and CBS Television Distribution for production of first-run syndicated programs and off-network series distribution), advertising firm Viacom Outdoor (renamed CBS Outdoor), Simon & Schuster and Paramount Parks (which was later sold); the new Viacom kept Paramount Pictures, the MTV Networks and BET Networks cable divisions, and Famous Music (the latter was sold off in 2007).

In 2007, Flix began to broadcast certain R-rated movies during daytime timeslots. That same year, Flix began to air movies released in 2000, including such titles as Reindeer Games and Pitch Black; other films released during the 2000s have been added to the network's schedule since then.

On August 13, 2019, National Amusements officially announced that CBS and Viacom would re-merge into a new entity known as ViacomCBS, to be headed by Viacom CEO Bob Bakish as the new company's president and CEO, while National Amusements CEO Shari Redstone would serve as chairperson. On October 29, 2019, National Amusements approved the re-merger deal; it closed on December 4, 2019. As part of the new structure, the Showtime Networks unit and its assets—Showtime, The Movie Channel and Flix—became part of the Premium Content Group division of Paramount Media Networks, along with BET and temporarily Pop TV (which was transferred to the Youth & Entertainment Group division the following month), to be overseen by SNI CEO David Nevins.

Flix On Demand
Flix On Demand is the channel's subscription video-on-demand service; it is available to subscribers who receive the channel along with the other Showtime multiplex channels, though a few cable systems carry it as a free service that does not require a subscription as an inducement for customers to subscribe to the full Showtime suite of channels. Launched in 2005, Flix On Demand offers classic movies released between the 1950s and the 1990s, which are divided by category based on the decade of their release: 1950s and 1960s, 1970s, 1980s and 1990s.

Movie library
, Flix – through Showtime – maintains exclusive first-run film licensing agreements with Amblin Partners, IFC Films, A24, and Bleecker Street.

Flix also shows sub-runs – runs of films that have already received broadcast or syndicated television airings – of theatrical films distributed by Sony Pictures Releasing (all divisions, and including content from Revolution Studios and Morgan Creek Productions), Warner Bros. Pictures (including content from New Line Cinema), Universal Pictures (including content from subsidiaries Focus Features, Illumination Entertainment, and DreamWorks Animation), Open Road Films, Screen Media, Oscilloscope, Summit Entertainment (for films released prior to 2013), Paramount Pictures (for films released prior to 2017, and including content from MTV Films and Nickelodeon Movies), Metro-Goldwyn-Mayer (including content from subsidiaries United Artists and Orion Pictures), Lionsgate (sub-run rights with the latter two studios are for films released prior to 2009), and Walt Disney Studios Motion Pictures (including content from Pixar Animation Studios, Walt Disney Animation Studios, Disney, Marvel Studios/Entertainment, Lucasfilm, and 20th Century Studios).

Many lesser-known film titles (particularly those released as independent films) that have either not received a theatrical release or were released on DVD or home video are also commonly broadcast on Flix. The window between a film's initial release in theaters and its initial screening on Showtime, The Movie Channel and Flix is wider than the grace period leading to a film's initial broadcast on HBO, Cinemax or Starz. Films that Showtime has pay cable rights to will usually also run on Flix and The Movie Channel during the period of its term of licensing.

Network slogans

 * 1992–1997: "Movies You Grew Up With"
 * 1997–2007: "Cool Classics. For the Movie Generation"
 * 1997–2007: "For the Movie Generation"
 * 2007–present: "Cool Classics."

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

title: Flix (TV network)


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Seaview

Seaview or Sea View may refer to:

Places

 * Clifton Beach, Karachi, also known as Sea View, a beach in Pakistan
 * Sea View, Dorset, a suburb in England
 * Seaview, Isle of Wight, a small village in England
 * Seaview, Lower Hutt, an industrial suburb of Lower Hutt, New Zealand
 * Seaview, New Brunswick, a small Canadian coastal community
 * Seaview, Eastern Cape, South Africa
 * Seaview, Hawaii, United States
 * Seaview, Virginia, United States
 * Seaview, Washington, United States
 * Seaview, Seattle, Washington, United States

Television and film

 * USOS Seaview or S.S.R.N. Seaview, the fictitious submarine from Voyage to the Bottom of the Sea (USOS in the film, S.S.R.N. in the television series)
 * Seaview (TV series), a British children's TV series from the 1980s
 * Seaview (film), a 2008 Irish documentary film

Other uses

 * The Catlin Seaview Survey
 * Seaview (football ground), football stadium in north Belfast, Northern Ireland, home of Crusaders F.C.
 * Seaview (Galloway, New Jersey), a golf club in Absecon, New Jersey, United States
 * Seaview (novel), by Toby Olson
 * Seaview SVII, an underwater camera
 * Seaview Asylum, in Hokitika, New Zealand
 * Seaview Hospital, in Staten Island, New York, United States
 * Seaview Terrace, a mansion in Newport, Rhode Island, United States
 * Sea View Yacht Club, Isle of Wight, England

title: Seaview


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The Movie Channel

The Movie Channel (TMC) is an American premium television network owned by Showtime Networks, a subsidiary of Paramount Global operated through its Paramount Media Networks division. The network's programming mainly features first-run theatrically released and independently produced motion pictures, and during promotional breaks between films, special behind-the-scenes features and movie trivia.

Originally operated and sold as a standalone service (launching as Star Channel in April 1973), at present, The Movie Channel is receivable to pay television subscribers primarily as part of the multiplex tier of parent network Showtime. The channel, along with its parent network Showtime and sister network Flix, is headquartered at Paramount Plaza on the northern end of New York City's Broadway district.

Early history (1973–1979)
The Movie Channel traces its history to the development of Gridtronics, a pay television service which delivered videotaped feature films to cable systems throughout the United States. The concept was originally developed in the late 1960s by Alfred Stern and Gordon Fuqua, both executives at multiple system operator Television Communications Corporation (TVC) at the time, as part of a multi-channel service that was designed to include channels focusing on the arts, instructional programming and medical programs. The video-to-cable movie delivery concept was presented by Fuqua and Stern at the 1969 National Cable Television Association Convention. Over the course of the next several years, the two men subsequently discussed carriage agreements with other cable providers to distribute Gridtronics and engaged in discussions with various film studios to provide film content for the service. Following the creation of Dimension Pictures, TVC was purchased by Kinney National Company, the parent company of Dimension, in 1971, and gave the service the financial funding and content that it needed to launch.

Kinney National Company's successor, Warner Communications, launched the Gridtronics service on April 1, 1973. Included among its initial offerings was the Warner Star Channel (later renamed Star Channel), a service developed as a vehicle to promote the Warner Bros. film library (notably excluding the pre-1950 film library that was owned by United Artists at the time). The channel was initially offered on systems operated by Warner Cable Communications (later Time Warner Cable), and was eventually made available on Warner-Amex's experimental QUBE interactive service when the company launched it in 1977. Cable providers sometimes experienced technical problems trying to transmit the delivered tapes to viewers, especially when the tapes jammed during playback.

National expansion as The Movie Channel (1979–1983)
On January 1, 1979, Star Channel became a nationally distributed service after it was uplinked to satellite, becoming the third premium service to be distributed nationally through such a transmission method (after HBO, which was uplinked to satellite in September 1975, and Showtime, which was uplinked in March 1978). In April of that year, it began to share channel and transponder space with Warner Cable's newly launched children's network, Nickelodeon (an outgrowth of the company's former QUBE channel C-3 programming service, which had Pinwheel as its flagship program); this resulted in the latter service switching to an encrypted signal during the regularly scheduled network transition at 10:00 p.m. Eastern and Pacific Time on weekdays and 8:00 p.m. on weekends; Star Channel originally signed off at 4:00 am. Eastern and Pacific, three hours before the transponder space reverted to use by Nickelodeon. The channels were originally uplinked from a facility located next to WIVB-TV in Buffalo, NY; both later moved to Hauppauge, NY by 1981 (after a planned expansion to the Buffalo facility was scrapped following an inability to reach a long-term lease deal with WIVB's ownership).

On September 14 of that year, American Express reached an agreement with Warner Communications to buy 50% of Warner Cable Corporation for $175 million in cash and short-term notes. Through the formation of the joint venture, which was incorporated in December 1979, Star Channel and Nickelodeon were folded into Warner-Amex Satellite Entertainment (later Warner-Amex Cable Communications), a company which handled the operations of the group's cable channels (Warner Cable was folded into a separate jointly owned unit, the Warner Cable Corporation). Warner-Amex executive John A. Schneider served as the company's president; other Warner-Amex staff that manned Star/The Movie Channel's initial management team included executive vice president John Lack, programming chief Robert Pittman, and Fred Seibert, who was in charge of developing on-air promotions.

On December 1, 1979, the network was relaunched as The Movie Channel; the first feature film to be broadcast on the relaunched service was the 1953 comedy Roman Holiday. On January 1, 1980, TMC discontinued its time-lease arrangement with Nickelodeon (then a sister network under the Warner, and later Viacom umbrellas) and became a 24-hour standalone service. At that point, TMC became the first premium channel to air R-rated films during the daytime hours (HBO continues to not air any R-rated films on its primary channel before 8:00 pm. Eastern and Pacific Time, except occasionally for films aired as part of its Sunday late-afternoon rebroadcast of the preceding Saturday's prime time movie premiere; TMC sister network Showtime, Cinemax, and now-defunct rival Spotlight did not run R-rated films during the daytime hours at the time, the former two surviving services would not schedule them before prime time until the late 1980s/early 1990s while another now-defunct rival Home Theater Network never ran any R-rated films by mode of that service's family-oriented format).

In 1981, The Movie Channel became one of the first television channels to broadcast movies in stereophonic audio; from that point until 1988, films presented in stereo were verbally and visually denoted in prime time lineup bumpers shown during promotional breaks within its daytime schedule – with titles for films available in stereo accompanied by the now-standard headphone symbol – and, until 1985, in a custom version of its feature presentation opening sequence (thereafter, films transmitted in the format were denoted along with the film rating during the latter open). As the standard for television broadcasts in stereo was a few years away, cable operators had to simulcast the multichannel audio feed through cable radio decoders using FM receivers. Interstitial segments that aired during breaks between films for much of the 1980s included Behind the Scenes (featuring biographies and interviews with actors appearing in films set to air on the network or being released theatrically), The Heart of Hollywood (borrowing its name from the slogan that TMC used concurrently during the segment's run from September 1985 to May 1988, and featuring more in-depth interviews with film stars), Reel Shorts (a showcase of live action and animated short films, which continued to air during extended breaks until 1991, by then under the "Film Shorts" moniker) and Reel Hits (featuring music videos for songs featured in films of that period and their accompanying soundtracks).

Operational merger with Showtime (1983–1985)
For much of its early years, The Movie Channel struggled in a race for subscribers in a pay television industry that pitted it against as many as seven cable-originated competitors, and even some over-the-air subscription services transmitted over independent stations in many U.S. cities such as ONTV and SelecTV. In addition to the launch of Cinemax as then-HBO parent Time Inc.'s movie-focused competitor to TMC in August 1980, the competition grew when Warner-Amex and Rainbow Media jointly launched the film and arts-focused Bravo (now a general entertainment basic cable channel, with a reality television focus) in September 1980; Walt Disney Productions threw itself into the fray when it announced plans in early 1982 to launch family-oriented The Disney Channel, a service which made its debut in April 1983 (it is now a basic cable channel, focusing mainly on children's programming).

In August 1982, MCA Inc. (then-owner of Universal Pictures), Gulf and Western Industries (then-owner of Paramount Pictures) and Warner Communications reached an agreement to jointly acquire TMC, under which the three companies would acquire a combined controlling 75% interest in the service (with each holding a 25% ownership stake) from Warner-Amex Satellite Entertainment. The proposal was guided by the motive of the studios wanting to increase their revenue share for licensing movie rights to premium television services; there were also concerns by the major studios that HBO's dominance of that market and its pre-buying of pay cable rights to films prior to their theatrical release would result in an undue balance of negotiating power over them by HBO, resulting in a lower than suitable licensing fee rate that would be paid to the distributors for individual titles. The three companies officially announced their agreement in principle to acquire interests in The Movie Channel on November 11, 1982. Subsequently, in late December of that year, the U.S. Department of Justice (which had blocked a similar attempt by MCA, Gulf+Western, 20th Century Fox and Columbia Pictures to create a competing pay service, Premiere, in an antitrust case ruling less than two years earlier in January 1981) launched a routine preliminary inquiry into the proposed partnership.

On January 7, 1983, Viacom International added itself as a partner and drafted an amendment to the proposal to consolidate The Movie Channel with the company's own competing premium service, Showtime (which Viacom had wholly acquired in August 1982, after buying out Group W Cable's 50% interest in Showtime for $75 million). Under the revised proposal, the four studios would each own a 22.58% stake in the two networks, with American Express owning a 9.68% minority interest. In addition, the consortium would appoint a management team separate from those employed by the two channels – which would continue to operate as separate services – to operate the joint venture. However, the deal ran into regulatory hurdles since Warner, Universal and Paramount received 50% of their respective total revenue from film releases and licensing fees from premium services; furthermore, Showtime and TMC combined would control about 30% of the pay cable marketplace, creating an oligopoly with HBO (which, in conjunction with Cinemax, controlled 60% of the market).

After a four-month investigation resulted in the Department of Justice filing a civil antitrust lawsuit against the five parties to block the Showtime-TMC merger on June 10, 1983, the Department asked Warner and American Express to restructure the deal during hearings for the case. The Department's decision – citing concerns, including some expressed by HBO management, that combining the assets of Showtime and TMC would stifle competition in the sale of their programming and that of other pay cable services to cable providers – was despite the fact that, under the original proposal, MCA, Gulf+Western, and Warner had each agreed to continue licensing films released by their respective movie studios to competing pay television networks. The partners involved in the merger would also set standard prices for films that were acquired for broadcast on The Movie Channel and Showtime, either those produced by the studio partners or by unassociated film studios. To address the Justice Department's concerns over the deal, the four partners submitted another revised proposal for consideration on July 19, that included guarantees of conduct agreeing that Paramount, Universal and Warner Bros. would not receive higher residual licensing payments for films acquired by Showtime and TMC than that paid by other studios, and that all four partners would not permit the two channels in the venture to pay lower fees for films produced by the three studio partners than that paid by smaller pay television services for the same films.

After the revised proposal was rejected on July 28, Warner Communications and American Express restructured the purchase to include only Viacom as a partner, bowing Gulf+Western and MCA out of the proposed partnership. The changes – which Justice Department officials acknowledged would "prevent any anti-competitive effect from arising" following the merger, by allowing other premium services to enter the market should the venture significantly raise licensing fee prices for films – led the Justice Department to drop its challenge to the merger agreement on August 12; the department formally approved the deal the following day on August 13. When the deal was completed on September 6, 1983, the operations of The Movie Channel and Showtime were folded into a new holding company, Showtime/The Movie Channel, Inc., which was majority owned by Viacom (controlling 50% of the venture's common stock as well as investing $40 million in cash), with Warner Communications (which owned 31%) and Warner-Amex (which owned the remaining 19% interest) as minority partners (the operational arrangement between The Movie Channel and Showtime is of a similar relationship to that between rival pay service Starz and its progenitor Starz Encore; as with Starz Encore to Starz, TMC operates as a secondary service to Showtime even though its launch, under the Star Channel brand, predates that of its parent network – Showtime launched on July 1, 1976 – by three years).

The Showtime-TMC joint venture also benefited The Movie Channel by allowing for the group to expand the channel's distribution. On December 12, 1983, the Times-Mirror Company announced that it would sell the subscriber base and transponder rights assigned to competing premium service Spotlight to Showtime-The Movie Channel, Inc. for an undisclosed price. Under the agreement, the four cable providers that backed the Spotlight venture – Times Mirror Cable, Storer Cable, Cox Cable and Tele-Communications Inc. (TCI) – would offer Spotlight subscribers who subscribe to any of the systems an option to subscribe to either Showtime or The Movie Channel as a replacement, with those dissatisfied with Showtime/TMC's program offerings following a two-month sampling period during February and March permitted to exchange it for another premium channel at no charge. After Spotlight ceased operations on February 1, 1984, Spotlight subscribers who subscribed to any of the participating systems began to automatically receive The Movie Channel in markets where a provider was already carrying Showtime. (In select Spotlight markets, Showtime was added to the provider as a replacement instead if neither service had been carried prior.) Showtime-The Movie Channel President Michael Weinblatt estimated that approximately 100,000 subscribers of the four partner systems already received either Showtime or TMC, and that the absorption of Spotlight would increase the total number of paid subscribers to both channels by at least 650,000 to about eight million subscribers nationwide.

Transfer to Viacom (1985–2005)
On August 10, 1985, after Time Inc. and cable provider Tele-Communications Inc. (TCI) jointly submitted a bid to buy the company for $900 million and the assumption of $500 million in debt as well as an earlier offer by American Express the previous month to buy out Warner's share of the company (under a clause in the agreement that allowed either company the option of buying out their partner's stake in Warner-Amex), Warner Communications exercised an option to acquire American Express' 50% share of Warner-Amex Cable Communications for $450 million. Among the options, barring that it chose to sell Viacom a 50% interest in the company for $450 million, the deal originally excluded Warner-Amex's 19% interest in Showtime-The Movie Channel, Inc.; that interest would have reverted to Warner, which intended to operate Warner-Amex as a wholly owned subsidiary.

Two weeks later on August 26, Viacom acquired Warner Communications and Warner-Amex's combined 50% ownership interest in Showtime/The Movie Channel, Inc. as well as full ownership of Warner-Amex and the public shareholder interests in MTV Networks for $671.7 million. This gave Viacom exclusive ownership of both premium channels through its $500 million cash payment and acquisition of 1.625 million shares for Warner's 31% stake in Showtime/The Movie Channel, and Warner-Amex's 19% interest in the unit and its 60% interest in MTV Networks (Viacom had owned Showtime alone or jointly with other companies – previously in ventures with TelePrompTer Corporation, and later briefly, its successor Group W Cable – from the time it launched in July 1976). The buyout, part of an option given by Warner in its purchase of American Express' interest in MTV, was exercised in part to finance much of the buyout of Showtime/The Movie Channel without borrowing any money. The subsidiary would eventually be renamed Showtime Networks, Inc. in 1988. Ironically, four years after the company sold its interests in Showtime and The Movie Channel, Warner Communications would acquire competitors HBO and Cinemax, when the company merged with Time Inc. in 1989 to form Time Warner.

In May 1986, TMC began incorporating regular on-air hosts to present the channel's afternoon and evening film presentations, and provide backstory on the production of those scheduled to be shown; the channel began using hosts on a regular basis after employing celebrity guest presenters to host special showcase stunts in the fall of 1985 (The Movie Channel would continue to feature guest hosts, such as Ron Howard, Daphne Zuniga, Shirley Jones and Frank Zappa, for programming stunts through much of the late 1980s after it hired full-time presenters). Hosts appearing on the channel between the late 1980s and the mid-1990s included Robert Osborne (then also working as a columnist for The Hollywood Reporter, and who also hosted the channel's Heart of Hollywood behind-the-scenes and interview interstitials), Michelle Russell, Lauren Graham and Joe Bob Briggs (the pseudonym of actor and film critic John Irving Bloom, and host of the popular Saturday evening B-movie showcase Joe Bob's Drive-In Theater).

Format evolution and carriage issues
The Movie Channel underwent a significant rebranding on May 1, 1988, which in addition to introducing a new "eye and profile" logo designed by Noel Frankel of Fred/Alan, Inc., also saw the introduction of a revamped programming schedule designed to cater to movie fans, maintaining a block scheduling structure for its entire film lineup that was organized by genre or film selection; among the blocks included were the "TMC Classic", a weekday morning and Sunday overnight block of films from the 1930s to the 1960s; "Dramarama", a weekday late-morning block of drama films; "The Laffternoon Movie", a weekday late-afternoon block of comedy films; and two action film-focused blocks (the "Action Attraction", which aired Monday through Fridays in the mid-afternoon, and the weekly prime time showcase "Friday Night Action").

The most distinct block was the "Weekend Multiplex", featuring a set lineup of different movies aired in a scheduling format inspired by movie theaters, comprising a main daytime block on Saturdays and Sundays, seven individual prime time blocks on Friday through Sunday evenings (encompassing three per night between 7:00 p.m. and 1:00 am. Eastern and Pacific Time) and themed editions of the existing "VCR Overnight" block (including the "All Night Drive-In" – a spin-off of "Joe Bob's Drive-In Theater" – on Fridays, film marathons on Saturdays and the Sunday edition of "TMC Classics"). The centerpiece of the "Weekend Multiplex" was the "TMC Top Attraction", a film making its premiere on the channel that was scheduled at different, progressively earlier time slots each evening throughout the weekend. With the exception of "Joe Bob's Drive-In Theater" (which remained on Saturday nights until it was discontinued in February 1996) and the "VCR Overnight" block (which was reduced to Wednesday overnights only in 1997), most of these blocks were discontinued in May 1991.

With the scheduling revamp, TMC greatly increased the number of films it aired on a monthly basis, from about 40 to more than 100 titles per month, with the addition of older films to the slate (which were presented without colorization, in direct contrast to Cinemax, which at the time had aired remastered color versions of some classic films on its schedule). In addition, TMC began incorporating trailers for current and upcoming feature films released initially for theatrical exhibition, which aired during promotional breaks between films until 1997. It also began airing a 15-second daily entertainment news interstitial focusing on the film industry, The Movie Channel News, featuring stories read by a continuity announcer – which varied depending on the segment – over a segment title graphic; the segment would be discontinued in May 1991.

Although extended promotional breaks were shown in a somewhat limited form beforehand, partially as a result of the changes that occurred in 1988, breaks between individual feature presentations on the channel sometimes ran as long as 20 minutes, and even up to 25 minutes in rare cases, depending on the scheduled airtime of the next film (which was denoted on a minute-based countdown ticker graphic that persisted within breaks from May 1988 to August 1997; Showtime would implement a similar countdown graphic for the next scheduled program as part of a branding update in January 1990, which that network would discontinue following its August 1997 rebrand). The Movie Channel temporarily truncated the length of its promotional breaks to five minutes or less in an on-air strategical test during February and March 1993, dispensing of fixed start times at the top and bottom of the hour – at which most of TMC's weekday daytime film telecasts had been scheduled, along with some films aired in other dayparts, since the 1988 format revamp – in favor of airtimes set at top-of-the-hour, bottom-of-the-hour and random five-minute intervals regardless of daypart. After results from the test measured an increase in audience retention for other films with the strategy, the channel instituted the limited break lengths on a regular basis in August of that year; TMC abandoned the break limits in 1997. The break limits imposed by the channel resulted in TMC reducing the number of internally produced interstitial segments that it aired during promotional breaks, with interstitials airing over the next four years consisting mainly of trailers and shorter-length behind-the-scenes segments for upcoming and current films produced by their originating studios.

On March 1, 1994, The Movie Channel and Showtime in conjunction with rivals HBO and Cinemax implemented a cooperative content advisory system to provide to parents specific information about pay-cable programming content that may be unsuitable for their children; the development of the system—inspired by the advisory ratings featured in program guides distributed by the major premium cable services—was in response to concerns from parents and advocacy groups about violent content on television, allowing Showtime Networks and other premium services discretionary authority to assign individual ratings corresponding to the objectionable content depicted in specific programs (and categorized based on violence, profanity, sexuality or miscellaneous mature material). A revised system—centered around ten content codes of two to three letters in length—was implemented by TMC and the other participating premium services on June 10, 1994.

Although TMC was carried by most subscription television providers, there were some that did not have agreements to carry the channel, even if they already carried Showtime. As an example, now-defunct satellite provider PrimeStar never carried The Movie Channel; weeks after it announced a new carriage agreement with Viacom in January 1999 that would have resulted in the channel joining the provider's lineup, PrimeStar sold its assets to Hughes Communications (then-owners of competitor DirecTV, which would neither carry Viacom's premium and basic-tier services nor Time Warner's premium channels until its 1999 acquisition of United States Satellite Broadcasting). In May 1994, TCI dropped The Movie Channel from more than 30 of the cable provider's service markets. At the time, Viacom was in the midst of an antitrust lawsuit against TCI on accusations that the provider engaged in a "conspiracy to eliminate" Showtime and its sister channels (including TMC) and pressuring Viacom to settle its lawsuit through the negotiation of a carriage contract with the media company that expired in January 1993; Viacom reportedly stated that TCI threatened to hurt both Showtime and TMC unless Viacom agreed to purchase an ownership stake in Encore (now Starz Encore), a network which Viacom claimed to have first conceptually conceived four years earlier during negotiations between the two companies that, if they had been successful, would have resulted in TCI purchasing 50% of Showtime Networks. Representatives for the affected TCI systems said that the decision to remove The Movie Channel from their lineups was made at the local level and was not a directive by company management. Viacom and TCI settled the Showtime Networks distribution dispute in January 1995, preceding the former's $2.3-billion sale of its Viacom Cablevision systems to TCI affiliate company Intermedia Partners.

In August 1997, TMC underwent an extensive rebranding effort that resulted in the channel briefly premiering its own original movies (which were produced through Showtime's original programming division), along with increasing reliance on action and comedy films that Showtime had started to deemphasize as part of its shift toward more "high-minded" original made-for-cable films and series. The channel also added daily movie marathons, aired without a set schedule and with the number of titles varying day-to-day, that were set around a specific theme; a companion weekend-long programming stunt scheduled once a month, the Double Vision Weekend, built on the daily marathon format, comprising multiple themed mini-marathons scheduled over all three days of the event. Building on the slogan it adopted with the rebrand ("100% Pure Movies, 100% Pure Fun"), the 1994 Crystal Waters single "100% Pure Love" was sampled for use in network IDs and prime time schedule previews as well as a nightclub-themed "dream sequence" image promo (which quoted an April 1997 Wall Street Journal television review referring to its then-recent programming changes as having "transform[ed it] into the party girl of the Viacom family." ) In addition, TMC also started running movie and celebrity trivia segments during promotional breaks (originally known as TMC Fun Facts and later TMC Reel Stuff), along with incorporating trivia during promos for movies that were scheduled to air on the channel (the channel had previously aired trivia segments between 1988 and 1991). In October of that year, The Movie Channel launched a secondary service, The Movie Channel 2 (renamed The Movie Channel Xtra in March 2001), which is the only multiplex channel to be launched by the service.

In March 2001, The Movie Channel began premiering movies that did not previously receive a theatrical, home video or DVD release, under the umbrella brand "TMC First-Run Movies". It also began airing softcore pornographic films during late night time periods. The channel also debuted a series of two-minute sketches called The Pitch, starring character actor Sean Smith as a movie executive who listens as prospective playwrights pitch him ideas for films (the segment was tongue-in-cheek in nature as the pitches were for well-known existing feature films such as Cliffhanger and The Terminator).

Under CBS Corporation ownership (2005–2019)
On June 14, 2005, only five years after the company completed its $2.4-billion acquisition of the original CBS Corporation, Viacom announced that it would split its holdings into two separate media companies, citing concerns by management over stagnation of the principal company's stock price; both companies would be controlled by National Amusements, the Sumner Redstone-owned media and real estate holding company that had owned Viacom since 1976. When the split was completed on December 31, 2005, the original Viacom was restructured as the second CBS Corporation, which retained ownership of Showtime Networks; CBS' broadcast television and radio assets (including the CBS television network, UPN (which was replaced by The CW in September 2006) and the company's broadcast group, which became CBS Television Stations); Paramount Television (now the separate arms CBS Studios for network and pay-TV production, and CBS Media Ventures for production of first-run syndicated programs and off-network series distribution); advertising firm Viacom Outdoor (renamed CBS Outdoor); publishing firm Simon & Schuster; and amusement park operator Paramount Parks (which was later sold to Cedar Fair, L.P. on June 30, 2006). The newly incorporated spin-off company, which assumed the Viacom name, attained ownership of Paramount Pictures, the MTV Networks and BET Networks pay-TV divisions, and Famous Music (the latter of which was sold to Sony-ATV Music Publishing in May 2007).

On May 3, 2006, The Movie Channel adopted an overhauled on-air look including a new logo and slogan (Movies For Movie Lovers). Bumpers that introduced films were discontinued entirely (instead starting the film with the customary intermediate bumper providing rating and content information). The channel's website – which only featured a programming schedule with up to one month of data in advance – was also revamped with the addition of special features including an online store, a streaming video player and previews of films set to air on the channel (TMC still features movie trivia interstitials between films on the linear channels and on its video-on-demand service, though it directs viewers to the channel's website for answers to the trivia questions).

Re-merger with Viacom (2019–present)
On August 13, 2019, it was officially announced that CBS and Viacom would merge into a new entity known as ViacomCBS. Viacom CEO Bob Bakish would serve as president and CEO of the new company, while Ianniello would become chairman and CEO of CBS and oversee CBS-branded assets. Shari Redstone will also serve as chairwoman of ViacomCBS. On October 29, 2019, National Amusements approved the re-merger deal. It closed on December 4, 2019. As part of the new structure, Showtime, The Movie Channel and Flix became part of the Premium Content Group division of ViacomCBS Domestic Media Networks, along with BET and Pop TV, to be overseen by SNI CEO David Nevins. On February 16, 2022, ViacomCBS renamed itself to Paramount Global; the company's U.S. cable networks unit became Paramount Media Networks on the same day.

List of channels
Depending on the service provider, The Movie Channel provides up to four multiplex channels – two 24-hour multiplex channels, both of which are simulcast in both standard definition and high definition – as well as a subscription video-on-demand service (The Movie Channel On Demand). The Movie Channel and multiplex service The Movie Channel Xtra respectively broadcast on both Eastern and Pacific Time Zone schedules. The individual coastal feeds of each channel are usually packaged together, resulting in the difference in local airtimes for a particular movie telecast between two geographic locations being three hours at most. Most subscription providers, however, only offer the east and west coast feeds of TMC's main channel and one coastal feed of TMC Xtra applicable to a particular region (the Eastern Time Zone feed in areas from the Central Time Zone eastward or the Pacific feed in areas from the Mountain Time Zone westward); some providers only offer the coastal feeds of the primary channel and TMC Xtra applicable to their region.

Showtime and Flix, which are also owned by ViacomCBS, operate as separate services. Although The Movie Channel is frequently sold together in a package with Showtime, TMC subscribers do not necessarily have to subscribe to the other two services. Prior to the advent of digital cable, many providers often sold The Movie Channel separately from Showtime, continuing for about two decades after Viacom acquired both Warner Communications and Warner-Amex Satellite Entertainment's respective ownership interests of the two previously autonomous services in 1985. Showtime began offering all of its channels, including TMC, Flix and Sundance Channel (now AMC Networks-owned SundanceTV), in a single package by the early 2000s; this resulted in most providers (with the exception of Comcast, DirecTV and Dish Network) ceasing to sell or promote The Movie Channel separately from Showtime (Dish Network and DirecTV offer both TMC and TMC Xtra optionally as either a package with the remainder of the Showtime multiplex, or as part of a separate movie tier to subscribers that do not already have Showtime; both The Movie Channel and Starz Encore are the only U.S. premium channels to be offered to subscribers that do not subscribe to their co-owned premium services).

Although one or both of the channels have traditionally been carried alongside the Showtime multiplex channels on traditional pay television providers,, The Movie Channel as well as Flix are not presently carried as live feeds on Paramount+'s premium tier (nor was it ever available on Showtime's defunct direct-to-consumer service and TV Everywhere platform Showtime Anytime, all of which only offer the Eastern and Pacific feeds of the main Showtime channel); the Paramount+ add-ons (and the predecessor Showtime aggregated OTT add-ons) sold through Apple TV Channels, Amazon Video Channels, The Roku Channel and YouTube Primetime Channels; or the Showtime add-ons sold through over-the-top subscription television services (including Hulu Live TV, Sling TV, DirecTV Stream, YouTube TV and Philo).

The Movie Channel HD
The Movie Channel HD is a high definition simulcast feed of The Movie Channel that broadcasts in the 1080i resolution format, and was launched on December 1, 2003. Most American subscription providers carry this simulcast.

The Movie Channel On Demand
The Movie Channel operates a subscription video-on-demand television service, The Movie Channel on Demand, which is available at no additional charge to new and existing subscribers of TMC. The service launched on December 1, 2003, with a subscriber base of two million homes. The Movie Channel On Demand offers program content available in standard or high definition categorized by four individual genres: action and adventure films, dramas, comedies and softcore pornographic films. It also offers special feature content consisting of film trivia and behind-the-scenes features including interviews. The Movie Channel on Demand's rotating program selection incorporates select new titles that are added each Friday, alongside existing program titles held over from the previous one to two weeks.

Movie library
, The Movie Channel – through Showtime – maintains exclusive first-run film licensing agreements with Amblin Partners (including releases produced in conjunction with DreamWorks Pictures and Participant), IFC Films, A24, and Bleecker Street.

The Movie Channel also shows sub-runs – runs of films that have already received broadcast or syndicated television airings – of theatrical films distributed by Sony Pictures (including content from Columbia Pictures, TriStar Pictures, Screen Gems, Revolution Studios and Morgan Creek Productions), Warner Bros. Pictures (including content from New Line Cinema), Universal Pictures (including content from subsidiary Focus Features), Open Road Films, Screen Media, Oscilloscope, Summit Entertainment (for films released prior to 2013), Paramount Pictures (for films released prior to 2017), Metro-Goldwyn-Mayer (including content from subsidiaries United Artists and Orion Pictures), Lionsgate (sub-run rights with the latter two studios are for films released prior to 2009), and Walt Disney Pictures (including content from Pixar, Walt Disney Animation Studios, Walt Disney Studios Motion Pictures and Marvel Studios).

Many lesser-known film titles (particularly those released as independent films) that have either not received a theatrical release or were released on DVD or home video are also commonly broadcast on TMC. The window between a film's initial release in theaters and its initial screening on Showtime, The Movie Channel and Flix is wider than the grace period leading to a film's initial broadcast on HBO, Cinemax or Starz. Films to which Showtime holds the pay-TV rights will usually also run on The Movie Channel and sister channel Flix during the period of its term of licensing.

Current

 * Splatterday: In May 2006, The Movie Channel introduced a weekly block called Splatterday on Saturday (also known as simply "Splatterday"). The block – which airs on the main channel each Saturday night starting at 9:00 p.m. Eastern and Pacific Time, with an encore presentation of the entire block airing the following Friday evening at 10:00 p.m. Eastern and Pacific on The Movie Channel Xtra – is a double feature of horror movies; the two films that air in that week's initial late evening block are rebroadcast on TMC's primary channel following the conclusion of the second film. From the block's debut until late 2008, the "Splatterday" lineup also included repeats of the now-defunct Showtime anthology series Masters of Horror, which is the only television series to have aired on The Movie Channel to date.
 * The Good Stuff: The Movie Channel introduced a weeknight block called "The Good Stuff" in May 2006, showcasing critically acclaimed theatrical and independent films as part of its late night schedule, usually airing around 12:00 a.m. Eastern and Pacific Time.

Former

 * Midnight Madness: Running from 1983 to 1988, the block originated as "The Saturday Special", a showcase of comedy and musical films that originally aired on Saturday late nights at 12:00 a.m. Eastern Time. The block, maintaining the same format and time slot, was renamed "Friday Movie Madness" upon its move to Fridays in May 1984, before being renamed "Midnight Madness" in September 1985.
 * Joe Bob's Drive-In Theater: Originally debuting in January 1984 as The Movie Channel's Drive-In Theater and airing on Fridays in late prime time, the weekly double feature showcase presented a mix of cult films, B movies and some exploitation films. In January 1986, the program was moved to Saturday nights with the appointment of a regular host, Joe Bob Briggs (the alter ego of actor and film critic John Bloom, who was asked by TMC management to portray his Texan redneck character – standardly donning cowboy attire and a ten-gallon hat – for a guest hosting role on the program, after gaining notice through his one-man comedic stage show An Evening with Joe Bob Briggs, later retitled Joe Bob Dead in Concert). Each of the features presented on the retitled Joe Bob's Drive-In Theater were bookended by taped wraparound segments that featured Bloom building upon the persona he cultivated in his syndicated newspaper column and stage show, and incorporated many recurring gags from Briggs' unique way of introducing movies (featuring a summary of the amount of violence and nudity included in the films being showcased [i.e. "three dead bodies, six naked breasts..."], with nouns suffixed with "-fu" often being used to refer to objects featured in fight scenes) to colorful tales that often dealt with romantic troubles and brushes with the law that involved him rushing to see a film at a local drive-in. He also read letters from viewers on the air, who often requested specific movies to be aired, some of which were ultimately chosen to be featured on the broadcast. As Briggs, Bloom also closed each edition with the signoff, "this is Joe Bob Briggs, reminding you that the drive-in will never die". Bloom's work as the Joe Bob character also extended to roles as host of The Movie Channel's Midnight Madness block during the second half of the 1980s, and for an extension of the "Drive-In Theater", the "All-Night Drive-In", which aired on Fridays from May 1988 to May 1991 as part of the "VCR Overnight" block. After Joe Bob's Drive-In Theater ended its ten-year run on TMC on February 24, 1996, Bloom would reprise the Joe Bob Briggs character as host of TNT's horror film block MonsterVision from 1997 to 2000.
 * Salute to the Academy Awards: The Movie Channel aired the "Salute to the Academy Awards" (a month-long block similar to the present-day 31 Days of Oscar annual lineup on Turner Classic Movies) from 1984 to 1997, which ran during the month proceeding the Academy Awards. It featured movies that have won or earned nominations for Academy Awards in various film and acting categories, with one Oscar-winning or Oscar-nominated film airing each evening.
 * Tuesday Film Festival: Running from 1985 to 1987, the "Tuesday Film Festival" block was a prime time showcase of critically acclaimed feature films that aired on Tuesday evenings at 8:00 p.m. Eastern and Pacific Time.
 * VCR Theater/VCR Overnite/TMC Overnight: The channel launched a weekly feature called "The Movie Channel's VCR Theater" in June 1986, which originally aired nightly at 3:00 a.m. Eastern and Pacific Time. The block was created in response to the rise in consumer ownership of VCRs (particularly among the channel's subscriber base) during the 1980s. The films featured were selected for the convenience of subscribers wanting to videotape a movie of particular interest while they are asleep to watch at a later time of their choosing (the overnight time slot was chosen because of the technical limitations with VCRs that prevented cable and satellite subscribers from watching one program and recording another simultaneously in the pre-digital video recorder era). The block was renamed "VCR Overnite" in 1988, at which point, it expanded to include three extended blocks: the "All-Night Drive-In" (a spin-off of "Joe Bob's Drive-In Theater") on Fridays, the "Movie Marathon" on Saturdays and "TMC Classics" on Sundays; these full-overnight weekend blocks were discontinued in 1991. The block was reduced to a weekly airing on early Wednesday mornings in 1997 as "TMC Overnight"; this iteration of the block lasted until 2004.
 * TMC Top Attraction: This block, which ran from May 1988 to May 1991, was based around a featured movie title making its TMC debut that was initially showcased each Friday night at 11:00 p.m. Eastern Time. The "Top Attraction" also included encore presentations of that week's premiere film that progressively aired two hours earlier from the prior prime time telecast on Saturday (at 9:00 p.m. Eastern Time) and Sunday evenings (at 7:00 p.m. Eastern Time).
 * The Movie Channel's Weekend [at the] Multiplex: Running from May 1988 to May 1991, the "Weekend Multiplex" was a weekend-long umbrella block that was primarily centered around several distinct themed film blocks during prime time on Friday through Sundays starting at 7:00 p.m. Eastern and Pacific Time. Joined alongside the Top Attraction and Joe Bob's Drive-In Theater as part of the lineup were the "TGIF Movie" (a Friday early evening showcase featuring lighter film fare), "Friday Night Action" (a weekly showcase of action films), "The Early Show" (featuring a different feature film on Saturday early evenings), the "Sunday Star Movie" (a prime time feature movie) and "Critics' Choice" (a Sunday late-evening showcase of critically acclaimed feature films). The lineup also encompassed a daytime lineup with films scheduled at less fixed airtimes – in contrast to the scheduling format adopted at the time of the May 1988 rebrand for its weekday daytime and daily nighttime programming – akin to the scheduling used by movie theaters and full late-night themed editions of "VCR Overnite".
 * The Movie Channel Challenge: Running each August from 1990 to 1997, "The Movie Channel Challenge" was a month-long summer programming stunt – inspired by the "no-repeat weekends" music playlist stunts used on many radio stations – that featured a lineup of approximately 420 movies, none of which were repeated during the course of that month. The festival was developed to address a consumer complaint common with premium services like The Movie Channel, in avoiding repeat showings of select films on multiple dates and time slots during the calendar month – effectively quadrupling the number of movies that most pay services typically aired in a given month (TMC's film lineup normally averages around 100 movies per month) – and to attract potential subscribers to and increase consumer awareness of TMC (at the time the festival began, The Movie Channel had approximately 2.5 million subscribers, one-third that of sister network Showtime, which had 8.5 million).  Individual marathon-style festivals consisting of a set of movies starring a particular actor or focusing on a certain film genre (similar to those later featured as part of the "TMC Marathons/Double Vision Weekends" blocks) would be aired at various points during the period.
 * Tuesday Night Terrors: In May 1991, The Movie Channel introduced Tuesday Night Terrors, a weekly block of horror films (similar in format to the present-day Splatterday on Saturday block) that aired on Tuesday nights at 10:00 p.m. Eastern and Pacific Time; the block was discontinued in August 1997.
 * The Movie Channel Marathons: In February 1996, TMC started airing movie marathons seven days a week, featuring three, or sometimes four, films that were tied to a specific subject (such as "Ouch" for crime dramas, or "The Eyes Have It" for films with the word "eyes" in their title such as Night Eyes 3) or actor (such as "Omar Goodness" for movies starring Omar Epps). These themed marathons were discontinued on March 2, 2006.
 * TMC Double Vision Weekends: In conjunction with the daily marathons, The Movie Channel ran a special extended marathon-style lineup, the "Double Vision Weekend", on a bi-monthly basis beginning in August 1997. These three-day long blocks featured three different movies starring a particular actor or actress within various mini-marathon block, with a new themed set of films airing after the conclusion of the previous block. The "Double Vision Weekend" lineup ran throughout the daytime and evening hours each day during the Friday through Sunday period in which it was scheduled, typically encompassing a larger portion of the schedule than that of the channel's standard "TMC Marathons" blocks (the daily marathon lineups ran during the afternoon and/or evening hours). The "Double Vision Weekend" blocks were discontinued in May 2006, along with the daily film marathons.

Showtime After Hours
A signature feature of Showtime was a late-night block known as Showtime After Hours, which featured softcore pornographic films and original series. Showtime did not have set start or end times for the block, as they varied depending on the mainstream feature films – and original series on certain nights – that aired prior to and following it, and also depended on the number of programs and programs in particular that were scheduled to air within the block. Programs that aired under the Showtime After Hours banner carried either a TV-MA or R rating (usually the former), primarily for strong sexual content and nudity. The block had often been the subject of both scrutiny in the media and a source of humor in popular culture, with references to Showtime's late night programming being featured in various films and television shows.

Branding
Over the years, TMC has used a myriad of unique, and sometimes bizarre logos and promotional concepts. The channel's original logo under the "Movie Channel" name incorporated a star outline made up of film strips with folded sides, indirectly referencing its previous identity as Star Channel. In 1981, the text for the network's name changed from the Broadway typeface to a stylized all-uppercase font (with a slightly enlarged letter "M") augmented to the left and underside of the star. Beginning in 1983, the network alternately used a script logo (which varied slightly in style, depending on the promo or network ID it was displayed in), sometimes more often than its "star" logo. Promos using the "script" logo were aired on the network up until the 1988 rebrand, although they were used less frequently from the summer of 1985 as the "star" logo was phased back to universal use within TMC's on-air imaging. Between 1985 and 1988, TMC began airing somewhat clever graphics for their time such as a "tour of Hollywood" introduction for its film presentations, which closed with a shot of the Hollywood skyline with a faint heart outline in the middle of the sky.

On May 1, 1988, The Movie Channel debuted its "eye and profile" logo, which used various designs incorporating facial expressions, with the channel's name rendered in Helvetica Extended on tilted black bars at the top and bottom of the logo; some viewers have commented on online blogs and video websites such as YouTube that this logo, due to the eyes being prominently displayed, had frightened them as young children (this logo was replicated somewhat when WGN America used a logo featuring a set of female eyes rimmed with green mascara from 2008 to 2009). The channel ran different and unique feature presentation opens and network IDs during the nine-year period it was in use (among which included intros in which the logo changed facial expressions at the draw of a curtain, set to a bouncy keyboard tune; a grayscale version of the logo – which then winked – rotating to face the screen in front of a gray background accompanied by a steady drumbeat; and a live-action/partially computer-animated sequence set to Indiana Jones-style adventure music in which the logo shoots lasers from its eyes to escape from the newspaper it is printed on – which is set afire as kindling in a fireplace – and embarks on a calamity-filled journey through a family's living room, seen from its point of view, as it heads toward the safety of a TV set it rappels into on a cable hooked up to a wall outlet above the fireplace's mantle).

TMC adopted a very slick on-air look that predominantly used CGI graphics, with the debut of a new logo in August 1997, a 3D computer-animated green sphere with a tilted and lowercase "tmc" imprinted on it, usually shown either to the right of the channel's full name or above the name (also rendered in lowercase type). Jeff Bottoms (who has since become The Movie Channel's longest-serving promo announcer, and also does promotions for sister channel Showtime) promoted upcoming programs between films with humorous and tongue-in-cheek voiceovers. During the late 1990s and early 2000s, The Movie Channel started running a wide variety of network promotions from those akin to a movie trailer to typical promos that feature behind-the-scenes trivia relating to the film. The latter technique continued to be used by the channel – often in a more hybrid way – until the fall of 2015, when the Showtime Networks services began deemphasizing the use of voiceovers in on-air promotions, at which point film promotions shown during breaks switched to using trailers accompanied by the channel's standard title/timeslot card.

An extensively modified logo was introduced on March 5, 2001, featuring a one-dimensional circle with a lowercase "tmc" in Knockout type on it, surrounded with two lines on the corners framing the circle; the "movie" in the channel's name was rendered in bold. The Movie Channel's current logo was introduced on May 3, 2006, featuring three colored crescent-like sections in a circle framing the channel's name, rendered in the same Helvetica typeface variant used in the 1988–1997 logo. Online film reviewers were incorporated into promos for films to provide backstory on the movie at this point. On April 1, 2010, The Movie Channel and TMC Xtra began displaying digital on-screen graphic logos of the respective channels during its programming; the bug seen is an alternate version of the channel's logo with "The Movie Channel" name oriented in vertically stacked text.

Network slogans

 * 1979–1983: "All Movies, 24 Hours a Day" (alternately "All Movies, Only Movies, 24 Hours a Day"; used as an alternate slogan from 1983 to 1988)
 * 1980–1982: "We're Taking the Movies to America"
 * 1981–1983: "You've Got The Movie Channel, The Movies You Want to See, 24 Hours a Day"
 * 1982–1983: "We Do Movies Better Because Movies Are All We Do"
 * 1983–1984: "Anytime You Gotta Have A Movie" (commercial slogan)
 * 1984–1988: "The Heart of Hollywood"
 * 1988–1990: "A Whole Channel Devoted to Movies"
 * 1990–1993: "A Movie Anytime You Want One"
 * 1993–1997: "You're Never More Than Five Minutes Away from a Movie [on The Movie Channel]"
 * 1997–2001: "100% Pure Movies, 100% Pure Fun"
 * 2001–2006: "The Stuff Movies Are Made of"
 * 2006–present: "Movies for Movie Lovers"
 * 2014: "Nobody has it Better than on The Movie Channel" (secondary slogan)

title: The Movie Channel


text:
Bottom crawler

A bottom crawler is an underwater exploration and recovery vehicle. It is designed to sink to the bottom of a body of water, where it moves about using traction against the bottom with wheels or tracks. It is usually tethered to a surface ship by cables providing power, control, video, and lifting capabilities, but this is not essential.

Such devices have been proposed for use in recovering deep seabed minerals, such as manganese nodules.

These also have been considered since the late 1960s for use in offshore oil exploration and production in extremely deep water, but practical devices have used other technologies from the sea surface, such as moored barges and tension leg platforms.

title: Bottom crawler


text:
Talk:Elbe Crossing 1

This is (dubiously) translated from the German-language article. Someone might want to take another shot at it. -- Jmabel 03:29, 15 May 2004 (UTC)

Moved from Pages needing translation into English

 * Elbe crossing 1 and Elbe crossing 2, originally in German, noted 2 May 2004, basically complete 15 May 2004
 * We just need an accurate translation of the word "eckstiele" in Elbe crossing 1, the rest is basically OK. Cat 10:51, 4 Jun 2004 (UTC)
 * I'd guess that's just "corner parts" (from ecke and teil), but the articles still read very poorly in English. It's not a matter of individual words... -- Jmabel 05:45, Jun 5, 2004 (UTC)
 * No, that's not it. "Eck" is corner indeed, but "stiel(e)" is not something derived from "teil", and as far as I can tell, neither it has to do with "Stiel" in the sense of "stick". Looks like a technical, construction term to me. Moreover, I think (but you might disagree) that since the translation is completed, we should not worry about fluency here, but perhaps just move it on to cleanup and wikification. An article, once translated, even if poorly, will improve in fluency over time. Cat 12:47, 5 Jun 2004 (UTC)

(end of moved discussion)

title: Talk:Elbe Crossing 1


text:
Brain Cell Repulsion

Brain Cell Repulsion is a mail art project begun by Ryosuke Cohen in June 1985. The project is a networked art project where individual artists contribute stamps, stickers, drawings or other images. These are sent through the mail to Cohen, who assembles and prints them as part of each cell. He prints 150 copies (30 x 42 cm) with a small silkscreen system called a Cyclostyle (now out of production). Each participant is mailed a Brain Cell print along with a documentation list of contributors worldwide.

Cohen keeps a copy for himself. Some of the remaining Brain Cell prints from each edition are assembled into sets of 30 consecutive editions. These set are sent to artists and Mail Art shows around the world.

Cohen also uses Brain Cell prints in the Fractal Portrait Project (another long running art series by Cohen) and as additions to Mail Art Add and Pass pages.

New Brain Cell editions are published every eight to ten days. More than nine hundred editions have been published.

Cohen described the origin of the project's name in 1985: "Well, I'll title my work 'Brain Cell', because the structure of a brain through a microscope looks like the diagram of the Mail Art network. Thousands of Neurons clung and piled up together are just like the Mail Art network, I believe."

Brain Cell is an art experiment in the vein of networked mail art, where a network expands from A, copied, forwarded and even returned to the originator. This produces a series of cybernetic cells, which can interact in a non-linear order. Brain Cell enlisted over 6,000 contributors from 80 nations between 1985 and 2002.

title: Brain Cell Repulsion


text:
Tansy

Tansy (Tanacetum vulgare) is a perennial, herbaceous flowering plant in the genus Tanacetum in the aster family, native to temperate Europe and Asia. It has been introduced to other parts of the world, including North America, and in some areas has become invasive. It is also known as common tansy, bitter buttons, cow bitter, or golden buttons. The Latin word vulgare means "common".

Description

Tansy is a flowering herbaceous plant with finely divided compound leaves and yellow, button-like flowers. It has a stout, somewhat reddish, erect stem, usually smooth, 50–150 cm tall, and branching near the top. The leaves are alternate, 10–15 cm long and are pinnately lobed, divided almost to the center into about seven pairs of segments, or lobes, which are again divided into smaller lobes having saw-toothed edges, giving the leaf a somewhat fern-like appearance. The roundish, flat-topped, button-like, yellow flower heads are produced in terminal clusters from mid-to-late summer. The scent is similar to that of camphor with hints of rosemary. The leaves and flowers are toxic if consumed in large quantities; the volatile oil contains toxic compounds including thujone, which can cause convulsions and liver and brain damage. Some insects, notably the tansy beetle Chrysolina graminis, have resistance to the toxins and subsist almost exclusively on the plant.

History and distribution
Tansy is native to Eurasia; it is found in almost all parts of mainland Europe, as well as Britain and Ireland. It is absent from Siberia and from some of the Mediterranean islands. The ancient Greeks may have been the first to cultivate it as a medicinal herb. In the sixteenth century it was considered to be "necessary for a garden" in England.

History of uses
Tansy has a long history of use. The first historical records of its cultivation for medicinal purposes involved the ancient Greeks. In the 8th century AD it was grown in the herb gardens of Charlemagne and by Benedictine monks of the Swiss monastery of Saint Gall. Tansy was used to treat intestinal worms, rheumatism, digestive problems, fevers, sores, and to bring out measles.

During the Middle Ages and later, high doses were used to induce abortions. On the other hand, tansy was also used to help women conceive and to prevent miscarriages. In the 15th century, Christians began serving tansy with Lenten meals to commemorate the Passover bitter herbs eaten by the Israelites. Tansy was thought to have the added Lenten benefits of controlling flatulence brought on by days of eating fish and pulses and of preventing the intestinal worms believed to be caused by eating fish during Lent.

Tansy was used as a face wash and was reported to lighten and purify the skin. In the 19th century, Irish folklore suggested that bathing in a solution of tansy and salts would cure joint pain.

Insect repellent
Tansy has also been used as insect repellent and in embalming. It was packed into coffins, wrapped in funeral winding sheets, and tansy wreaths were sometimes placed on the dead. Henry Dunster, the first president of Harvard University, was buried wearing a tansy wreath in a coffin packed with tansy; when the cemetery was moved in 1846 the tansy had maintained its shape and fragrance, helping to identify the president's remains. By the 19th century, tansy was used so much at New England funerals that people began to disdain it for its morbid association with death.

During the American colonial period, meat was frequently rubbed with or packed in tansy leaves to repel insects and delay spoilage. Tansy was frequently worn at that time in shoes to prevent malaria and other fevers; it has been shown, however, that some mosquito species, including Culex pipiens, take nectar from tansy flowers.

Tansy can be used as in companion planting and for biological pest control. It is planted alongside potatoes to repel the Colorado potato beetle, with one study finding tansy reduced the beetle population by 60 to 100 percent.

In England tansy is placed on window sills to repel flies; sprigs are placed in bed linen to drive away pests, and it has been used as an ant repellent.

In the 1940s, distilled tansy oil mixed with fleabane, pennyroyal and diluted alcohol was a well-known mosquito repellent; collectors were paid five cents a pound for tansy in full bloom. Research has found that tansy extracts do indeed repel mosquitoes, but not as effectively as products containing DEET. In 2008, researchers in Sweden investigated the use of tansy to repel ticks, showing a 64–72 percent repellency for each oil constituent.

Toxicity
Many tansy species contain a volatile oil which can cause contact dermatitis in sensitive individuals. If taken internally, toxic metabolites are produced as the oil is broken down in the liver and digestive tract. It is highly toxic to internal parasites, and for centuries tansy tea has been prescribed by herbalists to expel worms. Tansy is an effective insecticide and is highly toxic to arthropods. Because it contains thujone, the U.S. FDA limits the use of tansy to alcoholic beverages, and the final product must be thujone-free. Tanacetum annuum is often confused with common tansy (Tanacetum vulgare) but the former produces an essential oil that is completely different chemically as it contains no thujone and high amounts of chamazulene making the oil dark blue in color, giving rise to its common name of Blue Tansy Oil. Despite claims by some unethical resellers of essential oils who adulterate the very expensive Blue Tansy (Tanacetum annuum) oil with the much cheaper oil from Tanacetum vulgare, the oil from Tanacetum vulgare is never blue in color as it contains no chamazulene. For this reason a high thujone oil from Tanacetum vulgare should never be referred to as "Blue Tansy" oil and any such blue oil containing significant thujone is an adulterated product.

The active components of the volatile oil include 1,8-cineole, trans-thujone, camphor and myrtenol, with the quantities and proportions of each varying seasonally and from plant to plant.

1,8-Cineole is a toxin believed to defend the plant leaves against attacks by herbivores.

Culinary uses
Tansy was formerly used as a flavouring for puddings and omelettes, but is now almost unknown, except in Cork, where it is used in a sauce to accompany drisheens. The herbalist John Gerard (c. 1545–1612) noted that tansy was well known as “pleasant in taste”, and he recommends tansy sweetmeats as “an especial thing against the gout, if every day for a certain space a reasonable quantitie thereof be eaten fasting.” In Yorkshire, tansy and caraway seeds were traditionally used in biscuits served at funerals.

During the Restoration, a "tansy" was a sweet omelette flavoured with tansy juice. In the BBC documentary "The Supersizers go ... Restoration", Allegra McEvedy described the flavour as "fruity, sharpness to it and then there's a sort of explosion of cool heat a bit like peppermint." However, the programme's presenter Sue Perkins experienced tansy toxicity.

According to liquor historian A. J. Baime, in the 19th century Tennessee whiskey magnate Jack Daniel enjoyed drinking his own whiskey with sugar and crushed tansy leaf.

In the Belgian coastal province of West-Flanders small quantities of crushed dried tansy leaf were traditionally used as culinary herb to spice up pancakes and omelettes. There tansy is colloquially known as "pancake herb".

It can also be used as a substitute for sage.

Ethnomedical use
For many years, tansy has been used as a medicinal herb despite its toxicity. 19th-century Irish folklore suggests bathing in a solution of tansy and salt as a cure for joint pain. A bitter tea made with tansy flowers has been used for centuries as an anthelmintic to treat parasitic worm infestations, and tansy cakes were traditionally eaten during Lent because it was believed that eating fish during Lent caused intestinal worms. Various Tanacetum species are used ethnomedically to treat migraine, neuralgia and rheumatism and as anthelmintics. Traditionally, tansy was often used for its emmenagogue effects to bring on menstruation or end an unwanted pregnancy, and pregnant women are advised to not use this herb. Research published in 2011 identified 3,5-dicaffeoylquinic acid (3,5-DCQA) and axillarin in tansy as antiviral compounds that are active against herpes simplex virus.

Among Native Americans
The Cherokee use an infusion of the plant for backache, use the plant as a tonic, and wear it around the waist and in shoes to prevent miscarriages. The Cheyenne use an infusion of the pulverized leaves and blossoms for dizziness and weakness.

Other uses
Some traditional dyers use tansy to produce a golden-yellow color. The yellow flowers are dried for use in floral arrangements.

Tansy is also used as a companion plant, especially with cucurbits like cucumbers and squash, or with roses or various berries. It is thought to repel ants, cucumber beetles, Japanese beetles, squash bugs, and some kinds of flying insects, among others.

Dried tansy is used by some beekeepers as fuel in a bee smoker.

title: Tansy


text:
Atom (disambiguation)

An atom is a basic unit of matter consisting of a nucleus within a cloud of one or more electrons.

Atom(s) may also refer to:

Mathematics

 * Atom (time), a medieval unit of time
 * Atom (measure theory), a minimal measurable set
 * Atom (order theory)
 * Atomic formula, a single predicate in first-order logic
 * Atom, an urelement in set theory

Hardware

 * Intel Atom, a line of microprocessors
 * Atom (system on chip), an Intel system on chip platform for smartphones and tablets
 * Acorn Atom, an early 1980s home computer

Software

 * Atom (web standard), an XML-based web syndication format
 * Atom (programming language), a programming language for real-time embedded software
 * Atom (text editor), a deprecated programming text editor developed by GitHub
 * AtoM (archival software), an open source software for archival description and access
 * Atoms, a fundamental scalar data type in the Lisp programming language, see Lisp (programming language)
 * A synonym for symbol in some programming languages

Transport

 * Ariel Atom, a high performance sports car
 * Aston Martin Atom, a 1939 prototype car
 * ATOM (IFV), an infantry fighting vehicle jointly developed by Russia and France
 * Ozone Atom, a French paraglider design

Literature

 * Atom (Asimov book), 1991 nonfiction book by Isaac Asimov
 * Atom (Krauss book), 2001 nonfiction book by Lawrence M. Krauss
 * Atom (character), several fictional comic book superheroes from the DC Comics universe
 * Atom: The Beginning, Japanese manga series
 * Captain Atom, a Charlton Comics superhero
 * Atom, the narrator of The History and Adventures of an Atom satire by Tobias Smollett

Music

 * Atom™, an alias of the German musician Uwe Schmidt (born 1968)
 * Atom, an album by Moonbeam
 * A.T.O.M (A Twist of Modern), an album by Carbon/Silicon
 * "Atom", a song by British Sea Power
 * "Atom," a song by Cannibal Ox from The Cold Vein
 * Atomi, a Yugoslav rock band

People

 * Atom (martyr), a Christian martyr
 * Arthur Thomson (fanzines) or ATom (1927–1990), British science fiction artist and writer
 * Atom Araullo, a Filipino broadcast journalist
 * Atom Egoyan, a Canadian stage and film director, writer and producer
 * Maxwell Atoms (born 1974), American animator

Sports teams

 * Philadelphia Atoms, American soccer team (1973–1976)
 * Philadelphia Atoms SC, American soccer team (founded 2017)
 * Jersey City Atoms, a former American basketball team
 * Tri-City Atoms, various American minor league baseball teams from Washington
 * Pohang Atoms, a former name of the Pohang Steelers, Korean association football team
 * Atoms, the sports teams of Annandale High School in Virginia

Film and television

 * A.T.O.M. (TV series), a toy line or its associated animated series
 * Atom.com, a former on-line video producer, formerly AtomFilms
 * Atom TV, a television series featuring content from Atom.com
 * Springfield Atoms, the fictional football team from Springfield in The Simpsons
 * The Atom (1918 film), a 1918 silent film directed by Frank Borzage
 * "Atoms", a Series A episode of the television series QI (2003)

Other uses

 * Atom Bank, a digital finance company
 * Ancient Teachings of the Masters, a new religious movement
 * The Atom (sculpture), in Pendle, Lancashire, England
 * A British publisher owned by Little, Brown Book Group
 * An object lacking proper parts; see
 * Atoms (brand), a footwear brand

title: Atom (disambiguation)


text:
Quittapahilla Creek

The Quittapahilla Creek (nicknamed the "Quittie") is a 16.8 mi tributary of Swatara Creek in south-central Pennsylvania in the United States.

History
The original Lenape name for this waterway is Kuwektəpehəle, which means 'it flows out (ktəpehəle ) from the pines (kuwe )'.

By the late twentieth century, the creek had become polluted from steel mill waste. The decline of industry in the region, as well as federal, state, and local efforts, have led to an improvement in water quality. The stream is stocked annually with trout and it has become a popular destination for recreational fly fishing.

Geography
Quittapahilla Creek rises in eastern Lebanon County, flows west-southwest through Lebanon and Annville, and joins Swatara Creek northeast of Palmyra.

Tributaries

 * Killinger Creek
 * Bachman Run
 * Beck Creek
 * Snitz Creek
 * Brandywine Creek
 * Spang Creek

title: Quittapahilla Creek


text: User talk:68.146.12.85

title: User talk:68.146.12.85


text: User talk:62.171.198.4

title: User talk:62.171.198.4


text:
Azalia, Michigan

Azalia is an unincorporated community in Monroe County in the U.S. state of Michigan. The community is located within Milan Township. As an unincorporated community, Azalia has no legally defined boundaries or population statistics of its own but does have its own post office with the 48110 ZIP Code.

History
The community was first known as East Milan, or Reeves Station where a family named Reeves established the Star Bending Company. A post office opened on August 4, 1869 (or in 1866 by some accounts), largely through the efforts of Daniel T. Hazen, to avoid having to travel to West Milan (now Cone) to pick up mail. Steven Frink was the first postmaster, followed by Hazen in 1867, Joseph Meadows in 1872, John M. Lewis in 1877, and A.C. Reynolds in 1884. On September 1, 1887, the postmaster-general issued orders changing the name of the post office from "East Milan" to "Azalia", which was the name of the railroad station and also named Meadows as postmaster again.

The Toledo, Ann Arbor and Grand Trunk Railway (later the Toledo, Ann Arbor and North Michigan Railway and then the Ann Arbor Railroad), opened on June 8, 1878, with a station named "Azalia", named after one of the daughters of the president of the railroad, Azalia Ashley.

A Methodist Episcopal Church began holding classes in the early 1850s, building a church in 1870, which continues to the present as the Azalia United Methodist Church.

title: Azalia, Michigan


text:
Wikipedia:Articles for deletion/Kemasi

This page is an archive of the discussion surrounding the proposed deletion of the page entitled Kemasi.

This page is kept as an historic record.

The debate was cut short by the article being speedy deleted.

Obviously a dictionary entry for a foriegn language, but stuffed if I know for what language. Almost speedy deleted it. --Robert Merkel 03:43, 15 May 2004 (UTC)
 * Delete -- Cyrius|&#9998 05:05, May 15, 2004 (UTC)
 * From Deletion log archive/May 2004 (1):
 * 06:09, 15 May 2004 RickK deleted "Kemasi" (content was: ' :This page has been listed on Votes for deletion. Please see that page for justifications and discussion.<br> kema... ')
 * --Zigger 21:42, 2004 May 19 (UTC)

This page is now preserved as an archive of the debate and is no longer 'live'. Subsequent comments on the issue or the deletion should be placed on other relevant 'live' pages. Please do not edit this page.

title: Wikipedia:Articles for deletion/Kemasi


text: User talk:65.48.177.226

title: User talk:65.48.177.226