title: GNK Dinamo Zagreb

text: On 16 April 2020, during the COVID-19 pandemic, Bjelica announced that he is leaving the club after consultations with the board through mutual agreement.


title: GNK Dinamo Zagreb

text: After Bjelica's departure and the short stint of Igor Jovićević, the club announced that Zoran Mamić will be appointed as the new manager.


title: GNK Dinamo Zagreb

text: After an unsuccessful 2020–21 UEFA Champions League qualifying campaign, Dinamo qualified for the 2020–21 UEFA Europa League, after beating the Estonian club Flora Tallinn 3–1 in the play-off round. Dinamo got drawn in the Group K together with Feyenoord, CSKA Moscow and Wolfsberg. They started their group stage campaign with two goalless draws against Feyenoord and CSKA Moscow. In the third match of the group stage, Dinamo got their first win with a 1–0 win against Wolfsberg. Afterwards, Dinamo went onto a four-game winning streak after beating Wolfsberg with 3–0, Feyenoord with 2–0 and CSKA Moscow with 3–1, thus reaching the 2020–21 UEFA Europa League Round of 32 undefeated and with only one goal conceded, making them the club with the least goals conceded in the 2020–21 UEFA Europa League group stage.


title: GNK Dinamo Zagreb

text: As of the 34th minute in their last match in the group stage against CSKA Moscow, Dinamo Zagreb made history by not conceding a single goal for 526 minutes, a record previously held by Manchester United, which is the longest time span without a goal conceded in all of the football competitions held by UEFA, including the UEFA Champions League and the UEFA Europa League.


title: GNK Dinamo Zagreb

text: In the Round of 32, Dinamo got drawn with Krasnodar, who reached the Round of 32 after being 3rd placed in the 2020–21 UEFA Champions League group stage. In the first leg, Dinamo managed to beat Krasnodar away with the score of 3–2, while in the second leg, Dinamo beat Krasnodar with the score of 1–0, thus remaining undefeated in eight games of the 2020–21 UEFA Europa League. Dinamo were then drawn to play Tottenham Hotspur in the Round of 16. Due to COVID-19 travel restrictions, Dinamo and Tottenham were forced to reverse the order of ties and thus Dinamo played the first leg away, in which they lost 2–0. In the second leg, however, Mislav Oršić's hat-trick, of which the last goal came in extra time to complete the comeback, sent Dinamo to the quarter-finals after winning 3–2 on aggregate.


title: GNK Dinamo Zagreb

text: On 15 March, Mamić resigned from the position as club manager and sports director after the verdict of the Osijek Municipal Court was confirmed by the Supreme Court of Croatia. Mamić and three others (including his older brother Zdravko) were charged with tax evasion worth 12.2 million HRK and for siphoning off 116 million HRK from transfers of players from Dinamo. Assistant coach Damir Krznar was named Mamić's replacement the same day. Despite this, Dinamo's journey in Europa League ended in the quarter-finals with a 1–3 on aggregate score defeat against Villarreal.


title: GNK Dinamo Zagreb

text: Dinamo Zagreb's tally of 23 Prva HNL titles is the highest in Croatian football. They were runners-up in the league four times, and only on four occasions have they concluded a season of Prva HNL finishing out of the top two places in the final standings. The team is also the most successful Croatian Cup competitor, appearing so far in 23 of the Cup's 29 staged finals, 16 of which they have won. In addition, the club also holds the record for most Croatian Supercup titles, appearing in eleven matches and winning seven times. Furthermore, the team managed to achieve the double twelve times, being both the Prva HNL champions and the Croatian Cup winners from 1996 to 1998, again from 2007 to 2009, from 2011 to 2012, 2015 to 2018 and most recently in season 2020–21.


title: GNK Dinamo Zagreb

text: During the time Dinamo competed in the Yugoslav football league system, they were Yugoslav First League champions four times. The team had won 7 Yugoslav Cup editions. Overall the club won 63 official domestic titles and one competitive international tournament.


title: GNK Dinamo Zagreb

text: The club also claims the titles won during the HŠK Građanski period. The league title in 2014–15 is in bold because it is the only unbeaten season in the Croatian First Football League history.


title: GNK Dinamo Zagreb

text: GNK Dinamo played their first European Cup match against Czechoslovak side Dukla Prague in 1958. In the 1960s Dinamo experienced their most successful period in both domestic and European football which saw them win four Yugoslav Cups but failing to clinch a single championship title, finishing runners-up five times between 1960 and 1969. On the European stage, the club had two successful campaigns in the Inter-Cities Fairs Cup, reaching the finals on two occasions. In the 1963 final Dinamo lost to Valencia, but in 1967 they beat England's Leeds United. This was the only European silverware won by a Yugoslav club until Red Star Belgrade won the 1990–91 European Cup 24 years later. Dinamo played semifinal of UEFA Cup Winners' Cup in 1960–61 and two quarterfinals in 1964–65 and 1969–70. They reached UEFA Europa League quarterfinal in 2020–21 and round of 16 in 2018–19. Dinamo also won the Balkans Cup in 1976.


title: GNK Dinamo Zagreb

text: Dinamo Zagreb is a registered corporate personhood, more precisely a nonprofit organization that, unlike the football clubs organized as limited companies, does not issue shares, and, consistently with the Croatian law for citizens' associations, does not pay income tax. Consequently, the club is obliged to issue publicly assessible memberships. Each legally capable member of Dinamo has an equal say in its democratic processes; for example, the elections for the representatives in the chairmanship of the club.


title: GNK Dinamo Zagreb

text: After posting a club-record loss of €15.2m in the 2017 calendar year, improved results under new coach Nenad Bjelica and successful player transactions led to a turnaround in club finances, managing a €9.8m profit in 2018. Total turnover for 2018 was €58.6m, of which approximately 63% was from player sales and 25% was UEFA prize money. In terms of expenses, player expenses (wages) were approximately €25m and player amortization was €5.1m. Some of the sales include Filip Benković €14m, Borna Sosa €6m and Ante Ćorić €6m. The highest paid players are currently Mario Gavranović and Kévin Théophile-Catherine, who earn in the vicinity of €800k per year. Previously, Dinamo had Hillal Soudani on €1.5m.


title: GNK Dinamo Zagreb

text: The members of an initiative "Zajedno za Dinamo" ["Together for Dinamo"], composed of Dinamo Zagreb's supporters, have been claiming that the club was silently privatised by its executive president Zdravko Mamić, and that it functions as an evidently unlawful "public limited citizens' association". Subsequently, the tax exemption granted to the club by the constitutional law came under heavy criticism, particularly in the light of the club's lucrative transfers arranged at the start of the 2000s. Jutarnji list journalist Romana Eibl asserted that during this period the club had as much as 1.36 billion kuna of untaxed revenue, partly from selling its players for exorbitant prices, while approximately 360 million kuna were received from the public funds. The former director of the club Damir Vrbanović argued that the transfers do not offer a long-term source of revenue for the club, and that the club is therefore justified in remaining a nonprofit organization.


title: GNK Dinamo Zagreb

text: In spite of all criticism, Mamić is genuinely praised for being unprecedented in arranging some of the club's most profitable transfers of the Croatian players to top European clubs. These include the transfers of Boško Balaban to Aston Villa for €7.8 million in 2001; Eduardo to Arsenal for €13.5 million and Vedran Ćorluka to Manchester City for €13 million in 2007; Luka Modrić to Tottenham Hotspur for €21 million in 2008; Dejan Lovren to Lyon for €8 million; Mario Mandžukić to Wolfsburg for €7 million in 2010; and Mateo Kovačić to Internazionale for €11 million in 2013.


title: GNK Dinamo Zagreb

text: Dinamo Zagreb's home stadium is Stadion Maksimir. The stadium is situated in the northeastern part of Zagreb, opposite the city's largest urban park, Maksimir, which also lends its name to the eponymous neighbourhood. It was officially opened on 5 May 1912 and has been noticeably upgraded several times thereafter, most recently in 2011. The stadium was initially used by HAŠK, and the club became its tenant only in 1948, after the stadium was rebuilt. Before moving to Maksimir, the club played its home matches at the former Građanski Zagreb's stadium Stadion Koturaška. It is there that the club played its first official match on 23 June 1945. Its first match at the Stadion Maksimir was played on 19 September 1948 in front of a crowd of 40,000 spectators.


title: GNK Dinamo Zagreb

text: The design of Stadion Maksimir initially included a single grandstand in a shape of a horseshoe that faced the other, much smaller stand to the north. The north stand was altered from the ground up in 1998, when it was replaced by a 10,965 all-seater stand, and also a building with 15,000 square meters of office space covered in a glazed façade. The north stand's capacity is nowadays reduced to 9,460 seats. As for the original grandstand, it is now replaced by three separate stands, although their present-day design came about after a long and toilsome process of numerous renovations, which have started almost immediately after the stadium was rebuilt in 1948. Some of the best Croatian architects at the time, such as Vladimir Turina, Eugen Erlich and Franjo Neidhardt, worked on this project. Prior to Croatian secession from Yugoslavia, the restructuring of the stadium was never completed as thoroughly as it was planned, mostly because of an array of bureaucratic obstacles. Lastly, it was put in order for the 1987 Summer Universiade, but even then the final appearance of the stadium was less satisfactory than what was to be expected.


title: GNK Dinamo Zagreb

text: Some progress was finally made in 1997 when seats were installed on both the east and south stands. Shortly before the 1999 Summer Military World Games, the west and also the largest stand of the stadium was renovated. It comprised 12,600 seats, and a VIP section with 718 seats that also included a presidential lodge. By this time, the total maintenance expenses for Stadion Maksimir have climbed up to 362.4 million kuna. In 2006, the then-mayor of Zagreb Milan Bandić announced a project worth €150 million that would see Stadion Maksimir once again completely rebuilt. By 2010, the taxpayers have vested another 288 million kuna on maintenance and restoration of the stadium, but no significant improvements were made. The arranged reconstruction of Stadion Maksimir soon became an enormous financial problem for the city, and for a brief period of time Bandić was planning to call a referendum in which the citizens of Zagreb would decide whether to continue with investments into Stadion Maksimir, or rather to build a brand new Stadion Kajzerica. The referendum was never held and both projects were ultimately abandoned in 2012. Nevertheless, some crucial work was done between 2011 and 2013, when the club replaced all of the seats from the four existing stands, installed the under-soil heating, ameliorated the interior of the stadium, and made some aesthetic adjustments, among others, to the colour of the stands and of the tartan track surrounding the pitch. Currently, Stadion Maksimir is listed as a 35,123 all-seater.


title: GNK Dinamo Zagreb

text: Although the club had a good deal of followers since it was founded, its first organized group of supporters emerged only in 1986 under the name of "Bad Blue Boys" (often abbreviated "BBB"). On the BBB's official website it is stated that the name of the group was inspired by the 1983 film "Bad Boys". After its founding, the group aroused great interest in Zagreb and its branches started appearing in all parts and neighbourhoods of the city. They also started being noted throughout Yugoslavia for their self-organized departures to the visiting matches of Dinamo Zagreb, desiring to voice their support for the club, and also for the City of Zagreb and Croatia. During the team's home matches, the BBB traditionally situate themselves on the north stand of Stadion Maksimir. The BBB and the rest of the club's supporters view Hajduk Split's supporters as their most notable rivals, or more specifically the former's ultras group, Torcida Split.


title: GNK Dinamo Zagreb

text: The BBB are often accused of hooliganism, which has already resulted in both UEFA and the Croatian Football Federation disciplinary bodies issuing financial punishments to Dinamo Zagreb on several occasions for the group's flagrantly unlawful and violent conduct. This ill-suited behaviour includes property damage, fights with repressive apparati (both on and outside the stadiums), and flare throwing. In spite of all this, the BBB have been praised for their constant and exceptional support during Dinamo Zagreb's matches as well as their humanitarian work.


title: GNK Dinamo Zagreb

text: Dinamo's biggest rivals are Hajduk Split, and the matches between the two teams are referred to as "Eternal Derby" or "Croatian Derby." Matches between the two clubs are recognized as the most anticipated event of Croatian club football, which attracts the greatest number of spectators and most media attention of all the football matches in Croatia. There is also a rivalry with HNK Rijeka and NK Osijek.


title: GNK Dinamo Zagreb

text: In Yugoslav times, major rivalries also included Serbian clubs Red Star Belgrade and Partizan. Despite spending most of their recent history playing in the same division as Dinamo, and being from same city, NK Zagreb and NK Lokomotiva are not considered major rivals by the fans.


title: GNK Dinamo Zagreb

text: Club supporters Bad Blue Boys have friendly relations with supporters of HNK Šibenik in Croatia, while international fans friendships include Dynamo Kiev, Dinamo Tbilisi, Rapid Wien, AS Roma, KF Shkupi, Celtic Glasgow and Panathinaikos FC.


title: GNK Dinamo Zagreb

text: The following is a list of former Dinamo players which have made significant contributions to the club while playing for its first team. The list is sorted in alphabetical order and in accordance with the specified inclusion criteria. Players that were named in the club's "Best 11" squad are excluded from the list.


title: GNK Dinamo Zagreb

text: In 2016, the best squad in history of Dinamo was chosen by a group of experts, along with the club's fans, chose 11 of Dinamo Zagreb's former and current players to fit in an ideal squad in 4–4–2. Shown in brackets is a period in which the players played for the first team of the club.


title: GNK Dinamo Zagreb

text: The following are lists of top players in terms of the number of appearances and goals for Dinamo Zagreb, as of 14 May 2022. The numbers include both official and unofficial games.


title: Steven Moffat

text: Steven William Moffat (; born 18 November 1961) is a Scottish television writer, television producer and screenwriter. He is best known for his work as showrunner, writer and executive producer of the science fiction television series "Doctor Who" and the contemporary crime drama television series "Sherlock", based on Sir Arthur Conan Doyle's Sherlock Holmes stories. In the 2015 Birthday Honours, Moffat was appointed Officer of the Order of the British Empire (OBE) for his services to drama.


title: Steven Moffat

text: Born in Paisley, Scotland, Moffat, the son of a teacher, was formerly a teacher himself. His first television work was the teen drama series "Press Gang". His first sitcom, "Joking Apart", was inspired by the breakdown of his first marriage. Later in the 1990s, he wrote "Chalk", inspired by his own experience as an English teacher. Moffat, a lifelong fan of "Doctor Who", wrote the comedic sketch episode "" for the Comic Relief charity telethon, which aired in early 1999. His early-2000s sitcom "Coupling" was based upon the development of his relationship with television producer Sue Vertue.


title: Steven Moffat

text: In March 2004, Moffat was announced as one of the writers for the revived "Doctor Who" TV series. He wrote six episodes under executive producer Russell T Davies, which aired from 2005 to 2008. Moffat's scripts during this era won him three Hugo Awards, a BAFTA Craft Award, and a BAFTA Cymru Award. Between episodes, he wrote and produced the modern-day drama series "Jekyll", based on the novella "Strange Case of Dr Jekyll and Mr Hyde". In May 2008, it was announced that Moffat would succeed Davies as showrunner, lead writer and executive producer of "Doctor Who". Around the same time, he dropped his contract with film director Steven Spielberg for a film trilogy based on artist Hergé's character Tintin. Part of the lone script he wrote was used in Spielberg's film "The Adventures of Tintin", eventually released in 2011.


title: Steven Moffat

text: Production on "Sherlock"s unaired pilot episode began in January 2009, while series 5 of "Doctor Who"—Moffat's first series as executive producer—began production the following July. Moffat won another Hugo for his writing as a "Doctor Who" showrunner, while his work as a "Sherlock" showrunner won him a BAFTA Craft Award and two Primetime Emmy Awards. In January 2016, Moffat announced he would be stepping down from running "Doctor Who" after six series. "Sherlock"s fourth and most recent series aired in January 2017. Moffat's last "Doctor Who" episode, "Twice Upon a Time", aired at Christmas in 2017. In March 2019, Moffat began production on "Dracula", based on Bram Stoker's novel, which was commissioned by BBC One and Netflix and was first broadcast on BBC One in January 2020.


title: Steven Moffat

text: Moffat was born in Paisley, Scotland, where he attended Camphill High School. He studied at the University of Glasgow, where he was involved with the student television station Glasgow University Student Television. After gaining a Master of Arts degree in English from Glasgow, he worked as a teacher for three and a half years at Cowdenknowes High School, Greenock. In the 1980s he wrote a play entitled "War Zones" (performed at the 1985 Glasgow Mayfest and the Edinburgh Festival Fringe) and a musical called "Knifer". He is an atheist.


title: Steven Moffat

text: Moffat's father Bill was a head teacher at Thorn Primary School in Johnstone, Renfrewshire; when the school was used for Harry Secombe's "Highway" in the late 1980s, Bill mentioned to the producers that he had an idea for a television series about a school newspaper. The producers asked for a sample script, to which Bill agreed on the condition his son Steven write it. Producer Sandra Hastie said that it was "the best ever first script" that she had read. The resulting series was titled "Press Gang", starring Julia Sawalha and Dexter Fletcher, and it ran for five series on ITV between 1989 and 1993, with Moffat writing all forty-three episodes. The programme won a BAFTA award in its second series.


title: Steven Moffat

text: During production of the second series of "Press Gang", Moffat was experiencing an unhappy personal life as a result of the break-up of his first marriage. The producer was secretly phoning his friends at home to check on his state. His wife's new lover was represented in the episode "The Big Finish?" by the character Brian Magboy (Simon Schatzberger), a name inspired by Brian: Maggie's boy. Moffat brought in the character so that all sorts of unfortunate things would happen to him, such as having a typewriter dropped on his foot.


title: Steven Moffat

text: By 1990, Moffat had written two series of "Press Gang", but the programme's high cost along with organisational changes at backers Central Independent Television cast its future in doubt. As Moffat wondered what to do next and worried about his future employment, Bob Spiers, "Press Gang"s primary director, suggested that he meet with producer Andre Ptaszynski to discuss writing a sitcom. Inspired by his experience working in education, Moffat's initial proposal was a programme similar to what became "Chalk", a sitcom set in a school that eventually aired in 1997. During the pitch meeting at the Groucho Club, Ptaszynski realised that Moffat was talking passionately about his impending divorce and suggested that he write about that instead of a school sitcom. Taking Ptaszynski's advice, Moffat's new idea was about "a sitcom writer whose wife leaves him". Moffat wrote two series of "Joking Apart", which was directed by Spiers and starred Robert Bathurst and Fiona Gillies. The show won the Bronze Rose of Montreux and was entered for the Emmys.


title: Steven Moffat

text: He wrote three episodes of "Murder Most Horrid", an anthology series of comedic tales starring Dawn French. The first ("Overkill", directed by Spiers) was identified by the BBC as a "highlight" of the series. His other two episodes were "Dying Live" (dir. Dewi Humphreys) and "Elvis, Jesus and Zack" (dir. Tony Dow).


title: Steven Moffat

text: Moffat has been a fan of "Doctor Who" since childhood. In 1995, he contributed a segment to Paul Cornell's "Virgin New Adventures" novel "Human Nature". His first solo "Doctor Who" work was a short story, "Continuity Errors", published in the 1996 Virgin Books anthology "Decalog 3: Consequences".


title: Steven Moffat

text: Between marriages, Moffat claims that he "shagged [his] way round television studios like a mechanical digger." According to an interview with "The New York Times", Moffat met television producer Sue Vertue at the Edinburgh Television Festival in 1996. Vertue had been working for Tiger Aspect, a production company run by Peter Bennett-Jones. Bennett-Jones and his friend and former colleague Andre Ptaszynski, who had worked with Moffat on "Joking Apart", told Moffat and Vertue that each fancied the other. A relationship blossomed and they left their respective production companies to join Hartswood Films, run by Beryl Vertue, Sue's mother. The couple have two children together: Joshua and Louis Oliver.


title: Steven Moffat

text: Before Moffat left Pola Jones for Hartswood, Ptaszynski produced "Chalk", the series that the writer had pitched to him at the beginning of the decade. Set in a comprehensive school and starring David Bamber as manic deputy head Eric Slatt and Nicola Walker as Suzy Travis, the show was based on Moffat's three years as an English teacher. The studio audience responded so positively to the first series when it was taped that the BBC commissioned a second series before the first had aired. However, it was met less enthusiastically by critics upon transmission in February 1997, who had taken exception to the BBC's publicity department comparing the show to the highly respected "Fawlty Towers". In an interview in the early 2000s, Moffat refuses to even name the series, joking that he might get attacked in the street.


title: Steven Moffat

text: After production wrapped on "Chalk" in 1997, Moffat announced to the cast that he was marrying Vertue.


title: Steven Moffat

text: In late 1998, Moffat was approached by Vertue, a producer of Comic Relief, to write a comedic sketch based on the "Doctor Who" TV series to be aired across Comic Relief's 1999 telethon in several parts on BBC One. The sketch, "", was written from December 1998 to February 1999, recorded in February, and broadcast in March.


title: Steven Moffat

text: When Vertue asked Moffat for a sitcom, he decided to base it around the evolution of their own relationship. "Coupling", produced by Vertue, was first broadcast on BBC Two in 2000. Moffat's first son Joshua was born around 2000, and his second son Louis was born around 2002. Though he had no ambition to be a father, he instantly loved his sons when they were delivered. "Coupling" ran for four series totalling 28 episodes until 2004, all written by Moffat. He also wrote the original, unbroadcast pilot episode for the U.S. version, also titled "Coupling", although this was less successful and was cancelled after four episodes on the NBC network. Moffat blamed its failure on an unprecedented level of network interference.


title: Steven Moffat

text: In December 2003, Moffat received an email offering him to write for "Doctor Who", following the announcement of the revival of the series in September. His involvement with the series was announced in March 2004. He wrote six episodes under executive producer Russell T Davies for the 2005 through 2008 series, which were produced from December 2004 to March 2008. Moffat won the Hugo Award for Best Dramatic Presentation, Short Form for the two-part story "The Empty Child" and "The Doctor Dances" (both 2005), as well as the episodes "The Girl in the Fireplace" (2006) and "Blink" (2007). "Blink" also gained him the BAFTA Craft Award for Best Writer, and a BAFTA Cymru Award for Best Screenwriter.


title: Steven Moffat

text: Between "Doctor Who" episodes, Moffat wrote and produced "Jekyll", a modern-day drama series based on the Robert Louis Stevenson novella "Strange Case of Dr Jekyll and Mr Hyde", meaning he nearly missed out on writing for the 2007 series of "Doctor Who". Written late in the series' run, he quickly based "Blink" on his previously-written "Doctor Who" short story from 2005, "What I Did on My Christmas Holidays by Sally Sparrow", as "a desperate way to keep a toehold" in the 2007 series. "Jekyll" aired on BBC One from June 2007.


title: Steven Moffat

text: In March 2008, Davies said that he often rewrote scripts from other writers, but did not "touch a word" of Moffat's episodes.


title: Steven Moffat

text: In October 2007, Reuters reported that Moffat would be scripting a trilogy of films based on Belgian artist Hergé's character Tintin for directors Steven Spielberg and Peter Jackson.


title: Steven Moffat

text: In May 2008, the BBC announced that Moffat would be succeeding Davies as lead writer and executive producer of "Doctor Who" for the show's fifth series, to be broadcast in 2010, although Davies had initiated discussions with Moffat regarding this as far back as July 2007. He had intended to complete work on the "Tintin" trilogy before resuming work on "Doctor Who", but delays caused by the intervening 2007–2008 Writers Guild of America strike meant he could only submit part of a script for the first film. Moffat told "The Guardian" in 2012 that Spielberg was "lovely" about his decision to walk away from his three-film "Tintin" contract to return to "Doctor Who". The script for the first film in the trilogy, "The Adventures of Tintin" (released in 2011), was completed by Edgar Wright and Joe Cornish, with a part of Moffat's script used in the film.


title: Steven Moffat

text: During their journeys from London to Cardiff for "Doctor Who", Moffat and writer Mark Gatiss conceived a contemporary update of author Sir Arthur Conan Doyle's Sherlock Holmes stories called "Sherlock". Vertue advised them to work on the project rather than spend years discussing it. A 60-minute pilot, written by Moffat, was filmed in January 2009. The pilot was not aired but a three-episode series of 90-minute television films produced by Hartswood was commissioned.


title: Steven Moffat

text: Production on Moffat's time in charge of "Doctor Who" began in July 2009. As executive producer and lead writer, he was significantly involved in casting both Matt Smith as the Eleventh Doctor and Peter Capaldi as the Twelfth Doctor. As "Doctor Who" showrunner, Moffat won another Hugo Award for Best Dramatic Presentation, Short Form for writing the two-part story "The Pandorica Opens" and "The Big Bang" (both 2010). As showrunner for "Sherlock" , he won a BAFTA Craft Award for Best Writer for "A Scandal in Belgravia" (2012), a Primetime Emmy Award for Outstanding Writing for a Miniseries, Movie or a Dramatic Special for "His Last Vow" (2014), and a Primetime Emmy Award for Outstanding Television Movie for executive producing "The Abominable Bride" (2016).


title: Steven Moffat

text: In June 2015, Moffat was appointed an Officer of the Order of the British Empire for his services to drama. In January 2016, Moffat announced he was stepping down as "Doctor Who" lead writer and executive producer after the 2017 series, his sixth series as showrunner, with Chris Chibnall succeeding him at the start of the eleventh series for broadcast in 2018. The fourth and most recent series of "Sherlock" finished production around August 2016, and aired in January 2017. "Twice Upon a Time"—the 2017 "Doctor Who" Christmas special, and Moffat's last episode as lead writer and showrunner—finished production in July 2017 and broadcast on Christmas that year.


title: Steven Moffat

text: In October 2018, BBC One and Netflix officially commissioned "Dracula", a TV series written and created by Moffat and Gatiss based on Bram Stoker's 1897 novel "Dracula". In March 2019, Moffat revealed that the first night of production was about to start. The series began airing New Year's Day 2020, and was broadcast over three consecutive days. The three episodes were released on Netflix on 4 January 2020.


title: Steven Moffat

text: On 13 February 2020, Chichester Festival Theatre announced that the play "The Unfriend", written by Moffat, will have its world premiere as part of the 2020 Festival Theatre season in the Minerva Theatre. However due to the COVID-19 pandemic the play has been postponed until 2022. It will be directed by Mark Gatiss and feature Amanda Abbington, Frances Barber and Reece Shearsmith.


title: Question mark

text: The question mark (also known as interrogation point, query, or eroteme in journalism) is a punctuation mark that indicates an interrogative clause or phrase in many languages.


title: Question mark

text: In the fifth century, Syriac Bible manuscripts used question markers, according to a 2011 theory by manuscript specialist Chip Coakley: he believes the "zagwa elaya" ("upper pair"), a vertical double dot over a word at the start of a sentence, indicates that the sentence is a question.


title: Question mark

text: From around 783, in "Godescalc Evangelistary", a mark described as "a lightning flash, striking from right to left" is attested. This mark is later called a . According to some paleographers, it may have indicated intonation, perhaps associated with early musical notation like neumes. Another theory, is that the "lightning flash" was originally a tilde or titlo, as in , one of many wavy or more or less slanted marks used in medieval texts for denoting things such as abbreviations, which would later become various diacritics or ligatures.


title: Question mark

text: From the 10th century, the pitch-defining element (if it ever existed) seems to have been gradually forgotten, so that the "lightning flash" sign (with the stroke sometimes slightly curved) is often seen indifferently at the end of clauses, whether they embody a question or not.


title: Question mark

text: In the early 13th century, when the growth of communities of scholars (universities) in Paris and other major cities led to an expansion and streamlining of the book-production trade, punctuation was rationalized by assigning the "lightning flash" specifically to interrogatives; by this time the stroke was more sharply curved and can easily be recognized as the modern question mark. See for example "" (1496) printed by Aldo Manuzio in Venice.


title: Question mark

text: In 1598, the English term "point of interrogation" is attested in an Italian–English dictionary by John Florio.


title: Question mark

text: The mark which you are to notice in this lesson is of this shape ?You see it is made by placing a little crooked mark over a period. [...] The name of this mark is the "Question Mark", because it is always put after a question. Sometimes it is called by a longer and harder name. The long and hard name is the "Interroga'tion Point".


title: Question mark

text: In English, the question mark typically occurs at the end of a sentence, where it replaces the full stop (period). However, the question mark may also occur at the end of a clause or phrase, where it replaces the comma :


title: Question mark

text: This is quite common in Spanish, where the use of bracketing question marks explicitly indicates the scope of interrogation.


title: Question mark

text: In Spanish, since the second edition of the "Ortografía" of the in 1754, interrogatives require both opening and closing question marks. An interrogative sentence, clause, or phrase begins with an inverted question mark and ends with the question mark , as in:


title: Question mark

text: Question marks must always be matched, but to mark uncertainty rather than actual interrogation omitting the opening one is allowed, although discouraged:


title: Question mark

text: The omission of the opening mark is common in informal writing, but is considered an error. The one exception is when the question mark is matched with an exclamation mark, as in:


title: Question mark

text: (The order may also be reversed, opening with a question mark and closing with an exclamation mark.) Nonetheless, even here the recommends matching punctuation:


title: Question mark

text: Galician also uses the inverted opening question mark, though usually only in long sentences or in cases that would otherwise be ambiguous. Basque only uses the terminal question mark.


title: Question mark

text: In Armenian, the question mark is a diacritic that takes the form of an open circle and is placed over the last vowel of the question word. It is defined in Unicode at .


title: Question mark

text: The Greek question mark () looks like . It appeared around the same time as the Latin one, in the 8th century. It was adopted by Church Slavonic and eventually settled on a form essentially similar to the Latin semicolon. In Unicode, it is separately encoded as , but the similarity is so great that the code point is normalised to , making the marks identical in practice. In Greek, the question mark is used even for indirect questions.


title: Question mark

text: In Arabic and other languages that use Arabic script such as Persian, Urdu and Uyghur (Arabic form), which are written from right to left, the question mark is mirrored right-to-left from the Latin question mark. In Unicode, two encodings are available: and . (Some browsers may display the character in the previous sentence as a forward question mark due to font or text directionality issues). In addition, the Thaana script in Dhivehi uses the mirrored question mark: މަރުހަބާ؟


title: Question mark

text: Hebrew and Yiddish are also written right-to-left, but they use a question mark that appears on the page in the same orientation as the left-to-right question mark.


title: Question mark

text: The question mark is also used in modern writing in Chinese and, to a lesser extent, Japanese. Usually it is written as fullwidth form in Chinese and Japanese, in Unicode: .


title: Question mark

text: Chinese and Japanese also have a spoken indicator of questions, 吗 (ma) and か (ka) respectively, which essentially function as a verbal question mark. Because of this, in Japanese use of the question mark is optional with か. Thus the same sentence could be written both いいですか？('May I?') or いいですか。(Still 'May I?'), but usually, the question mark is used.


title: Question mark

text: French usage should include a narrow non-breaking space before the question mark. (For example, ""), whereas in the English language orthography no space is allowed in front of the question mark (e.g. "What would you like to drink?").


title: Question mark

text: The rhetorical question mark or percontation point (see Irony punctuation) was invented by Henry Denham in the 1580s and was used at the end of a rhetorical question; however, it became obsolete in the 17th century. It was the reverse of an ordinary question mark, so that instead of the main opening pointing back into the sentence, it opened away from it. This character can be represented using the reversed question mark found at Unicode as U+2E2E.


title: Question mark

text: Bracketed question marks can be used for rhetorical questions, for example , in informal contexts such as closed captioning.


title: Question mark

text: The question mark can also be used as a meta-sign to signal uncertainty regarding what precedes it. It is usually put between brackets: . The uncertainty may concern either a superficial level (such as unsure spelling), or a deeper truth (real meaning).


title: Question mark

text: In typography, some other variants and combinations are available: "⁇," "⁈," and "⁉," are usually used for chess annotation symbols; the interrobang, "‽," is used to combine the functions of the question mark and the exclamation mark, superposing these two marks.


title: Question mark

text: In computing, the question mark character is represented by ASCII code 63 (0x3F hexadecimal), and is located at Unicode code-point . The full-width (double-byte) equivalent (？), is located at code-point .


title: Question mark

text: In shell and scripting languages, the question mark is often utilized as a wildcard character: a symbol that can be used to substitute for any other character or characters in a string. In particular, filename globbing uses "?" as a substitute for any one character, as opposed to the asterisk, "*", which matches zero or more characters in a string. The inverted question mark (¿) corresponds to Unicode code-point , and can be accessed from the keyboard in Microsoft Windows on the default US layout by holding down the Alt and typing either 1 6 8 (ANSI) or 0 1 9 1 (Unicode) on the numeric keypad. In GNOME applications on Linux operating systems, it can be entered by typing the hexadecimal Unicode character (minus leading zeros) while holding down both Ctrl and Shift, I J mm.e.: Ctrl Shift B F. In recent XFree86 and X.Org incarnations of the X Window System, it can be accessed as a compose sequence of two straight question marks, i.e. pressing Compose ? ? yields <samp>¿</samp>. In classic Mac OS and Mac OS X (macOS), the key combination Option Shift ? produces an inverted question mark.


title: Question mark

text: The question mark is used in ASCII renderings of the International Phonetic Alphabet, such as SAMPA, in place of the glottal stop symbol, , (which resembles "?" without the dot), and corresponds to Unicode code point .


title: Question mark

text: In computer programming, the symbol "?" has a special meaning in many programming languages. In C-descended languages, codice_1 is part of the operator, which is used to evaluate simple boolean conditions. In C# 2.0, the codice_1 modifier is used to handle nullable data types and codice_3 is the null coalescing operator. In the POSIX syntax for regular expressions, such as that used in Perl and Python, codice_1 stands for "zero or one instance of the previous subexpression", i.e. an optional element. It can also make a quantifier like codice_5, codice_6 or codice_7 match as few characters as possible, making it lazy, e.g. codice_8 will match the substring codice_9 in codice_10 instead of matching codice_10. In certain implementations of the BASIC programming language, the codice_1 character may be used as a shorthand for the "print" function; in others (notably the BBC BASIC family), codice_1 is used to address a single-byte memory location. In OCaml, the question mark precedes the label for an optional parameter. In Scheme, as a convention, symbol names ending in codice_1 are used for predicates, such as codice_15, codice_16, and codice_17. Similarly, in Ruby, method names ending in codice_1 are used for predicates. In Swift a type followed by codice_1 denotes an option type; codice_1 is also used in "optional chaining", where if an option value is nil, it ignores the following operations. Similarly, in Kotlin, a type followed by codice_1 is nullable and functions similar to option chaining are supported. In APL, codice_1 generates random numbers or a random subset of indices. In Rust, a codice_1 suffix on a function or method call indicates error handling. In SPARQL, the question mark is used to introduce variable names, such as codice_24. In MUMPS, it is the pattern match operator.


title: Question mark

text: In many Web browsers and other computer programs, when converting text between encodings, it may not be possible to map some characters into the target character set. In this situation it is common to replace each unmappable character with a question mark <samp>?</samp>, inverted question mark <samp>¿</samp>, or the Unicode replacement character, usually rendered as a white question mark in a black diamond: . This commonly occurs for apostrophes and quotation marks when they are written with software that uses its own proprietary non-standard code for these characters, such as Microsoft Office's "smart quotes".


title: Question mark

text: The generic URL syntax allows for a query string to be appended to a resource location in a Web address so that additional information can be passed to a script; the query mark, codice_1, is used to indicate the start of a query string. A query string is usually made up of a number of different field/value pairs, each separated by the ampersand symbol, codice_26, as seen in this URL:


title: Question mark

text: Here, a script on the page <samp>search.php</samp> on the server <samp>www.example.com</samp> is to provide a response to the query string containing the pairs <samp>query=</samp>testing and <samp>database=</samp>English.


title: Question mark

text: In algebraic chess notation, some chess punctuation conventions include: "?" denotes a bad move, "??" a blunder, "?!" a dubious move, and "!?" an interesting move.


title: Question mark

text: In mathematics, "?" commonly denotes Minkowski's question mark function. In equations, it can mean "questioned" as opposed to "defined".


title: Question mark

text: In linear logic, the question mark denotes one of the exponential modalities that control weakening and contraction.


title: Question mark

text: A question mark is used in English medical notes to suggest a possible diagnosis. It facilitates the recording of a doctor's impressions regarding a patient's symptoms and signs. For example, for a patient presenting with left lower abdominal pain, a differential diagnosis might include "?diverticulitis" (read as "query diverticulitis").


title: Semiconductor industry

text: The semiconductor industry is the aggregate of companies engaged in the design and fabrication of semiconductors and semiconductor devices, such as transistors and integrated circuits. It formed around 1960, once the fabrication of semiconductor devices became a viable business. The industry's annual semiconductor sales revenue has since grown to over , as of 2018. The semiconductor industry is in turn the driving force behind the wider electronics industry, with annual power electronics sales of £135billion () as of 2011, annual consumer electronics sales expected to reach by 2020, tech industry sales expected to reach in 2019, and e-commerce with over in 2017. In 2019, 32.4% of the semiconductor market segment was for networks and communications devices.


title: Semiconductor industry

text: In 2021, the sales of semiconductors reached a record $555.9 billion, up 26.2 percent with sales in China reaching $192.5 billion, according to the Semiconductor Industry Association. A record 1.15 trillion semiconductor units were shipped in the calendar year. The semiconductors is projected to reach $ 726.73 billion by 2027.


title: Semiconductor industry

text: The global semiconductor industry is dominated by companies from the United States, Taiwan, South Korea, Japan and the Netherlands.


title: Semiconductor industry

text: Unique features of the industry include continuous growth but in a cyclical pattern with high volatility. While the current 20 year annual average growth of the semiconductor industry is on the order of 13%, this has been accompanied by equally above-average market volatility, which can lead to significant if not dramatic cyclical swings. This has required the need for high degrees of flexibility and innovation in order to constantly adjust to the rapid pace of change in the market as many products embedding semiconductor devices often have a very short life cycle.


title: Semiconductor industry

text: At the same time, the rate of constant price-performance improvement in the semiconductor industry is staggering. As a consequence, changes in the semiconductor market not only occur extremely rapidly but also anticipate changes in industries evolving at a slower pace. The semiconductor industry is widely recognized as a key driver and technology enabler for the whole electronics value chain.


title: Semiconductor industry

text: The industry is based on the foundry model, which consists of semiconductor fabrication plants (foundries) and integrated circuit design operations, each belonging to separate companies or subsidiaries. Some companies, known as integrated device manufacturers, both design and manufacture semiconductors. The foundry model has resulted in consolidation among foundries. As of 2021, only three firms are able to manufacture the most advanced semiconductors: TSMC of Taiwan, Samsung of South Korea, and Intel of the United States. Part of this is due to the high capital costs of building foundries. TSMC's latest factory, capable of fabricating 3 nm process semiconductors and completed in 2020, cost $19.5 billion.


title: Semiconductor industry

text: Intel is considering outsourcing some production to TSMC. It currently can only produce 10 nm semiconductors, while TSMC and Samsung can both produce 5 nm. GlobalFoundries, an American-headquartered firm, uses a 12 nm process for its most advanced chips due to the rapidly increasing development costs of smaller process nodes.


title: Semiconductor industry

text: Manufacturers headquartered in the following places are the sales leaders in the pure-play foundry, IDM (integrated device manufacturing), fabless manufacturing and (outsourced semiconductor assembly and testing) sectors of the industry.


title: Semiconductor industry

text: Note that manufacturers headquartered in the United States have fabrication plants across the world, including over 50% in the Americas, 39% in the Asia-Pacific region (including 9% in Japan), and 9% in Europe.


title: Internet Protocol television

text: Internet Protocol television (IPTV) is the delivery of television content over Internet Protocol (IP) networks. This is in contrast to delivery through traditional terrestrial, satellite, and cable television formats. Unlike downloaded media, IPTV offers the ability to stream the source media continuously. As a result, a client media player can begin playing the content (such as a TV channel) almost immediately. This is known as streaming media.


title: Internet Protocol television

text: Although IPTV uses the Internet protocol it is not limited to television streamed from the Internet (Internet television). IPTV is widely deployed in subscriber-based telecommunications networks with high-speed access channels into end-user premises via set-top boxes or other customer-premises equipment. IPTV is also used for media delivery around corporate and private networks. IPTV in the telecommunications arena is notable for its ongoing standardisation process (e.g., European Telecommunications Standards Institute).


title: Internet Protocol television

text: IPTV services may be classified into live television and live media, with or without related interactivity; time shifting of media, e.g., catch-up TV (replays a TV show that was broadcast hours or days ago), start-over TV (replays the current TV show from its beginning); and video on demand (VOD) which involves browsing and viewing items of a media catalogue.


title: Internet Protocol television

text: Historically, many different definitions of IPTV have appeared, including elementary streams over IP networks, MPEG transport streams over IP networks and a number of proprietary systems. One official definition approved by the International Telecommunication Union focus group on IPTV (ITU-T FG IPTV) is:


title: Internet Protocol television

text: IPTV is defined as multimedia services such as television/video/audio/text/graphics/data delivered over IP based networks managed to provide the required level of quality of service and experience, security, interactivity and reliability.


title: Internet Protocol television

text: Another definition of IPTV, relating to the telecommunications industry, is the one given by Alliance for Telecommunications Industry Solutions (ATIS) IPTV Exploratory Group in 2005:


title: Internet Protocol television

text: IPTV is defined as the secure and reliable delivery to subscribers of entertainment video and related services. These services may include, for example, Live TV, Video On Demand (VOD) and Interactive TV (iTV). These services are delivered across an access agnostic, packet switched network that employs the IP protocol to transport the audio, video and control signals. In contrast to video over the public Internet, with IPTV deployments, network security and performance are tightly managed to ensure a superior entertainment experience, resulting in a compelling business environment for content providers, advertisers and customers alike.


title: Internet Protocol television

text: Up until the early 1990s, it was not thought possible that a television programme could be squeezed into the limited telecommunication bandwidth of a copper telephone cable to provide a video-on-demand (VOD) television service of acceptable quality, as the required bandwidth of a digital television signal was around 200Mbps, which was 2,000 times greater than the bandwidth of a speech signal over a copper telephone wire. VOD services were only made possible as a result of two major technological developments: motion-compensated DCT video compression and asymmetric digital subscriber line (ADSL) data transmission. Motion-compensated DCT algorithms for video coding standards include the H.26x formats from 1988 onwards and the MPEG formats from 1991 onwards. Motion-compensated DCT video compression significantly reduced the amount of bandwidth required for a television signal, while at the same time ADSL increased the bandwidth of data that could be sent over a copper telephone wire. ADSL increased the bandwidth of a telephone line from around 100kbps to 2Mbps, while DCT compression reduced the required bandwidth of a digital television signal from around 200Mbps down to about 2Mbps. The combination of DCT and ADSL technologies made it possible to practically implement VOD services at around 2Mbps bandwidth in the 1990s.


title: Internet Protocol television

text: The term IPTV first appeared in 1995 with the founding of Precept Software by Judith Estrin and Bill Carrico. Precept developed an Internet video product named "IP/TV". IP/TV was an Mbone compatible Windows and Unix-based application that transmitted single and multi-source audio and video traffic, ranging from low to DVD quality, using both unicast and IP multicast Real-time Transport Protocol (RTP) and Real time control protocol (RTCP). The software was written primarily by Steve Casner, Karl Auerbach, and Cha Chee Kuan. Precept was acquired by Cisco Systems in 1998. Cisco retains the IP/TV trademark.


title: Internet Protocol television

text: Telecommunications company US West (later Qwest) launched an IPTV service called TeleChoice in Phoenix, Arizona in 1998 using VDSL technology, becoming the first company in the United States to provide digital television over telephone lines. The service was shut down in 2008.


title: Internet Protocol television

text: Internet radio company AudioNet started the first continuous live webcasts with content from WFAA-TV in January 1998 and KCTU-LP on 10 January 1998.


title: Internet Protocol television

text: Kingston Communications, a regional telecommunications operator in the UK, launched Kingston Interactive Television (KIT), an IPTV over digital subscriber line (DSL) service in September 1999. The operator added additional VoD service in October 2001 with Yes TV, a VoD content provider. Kingston was one of the first companies in the world to introduce IPTV and IP VoD over ADSL as a commercial service. The service became the reference for various changes to UK Government regulations and policy on IPTV. In 2006, the KIT service was discontinued, subscribers having declined from a peak of 10,000 to 4,000.


title: Internet Protocol television

text: In 1999, NBTel (now known as Bell Aliant) was the first to commercially deploy Internet protocol television over DSL in Canada using the Alcatel 7350 DSLAM and middleware created by iMagic TV (owned by NBTel's parent company Bruncor). The service was marketed under the brand VibeVision in New Brunswick, and later expanded into Nova Scotia in early 2000 after the formation of Aliant. iMagic TV was later sold to Alcatel.


title: Internet Protocol television

text: In 2002, Sasktel was the second in Canada to commercially deploy IPTV over DSL, using the Lucent Stinger DSL platform.


title: Internet Protocol television

text: In 2005, SureWest Communications was the first North American company to offer high-definition television (HDTV) channels over an IPTV service.


title: Internet Protocol television

text: In 2005, Bredbandsbolaget launched its IPTV service as the first service provider in Sweden. As of January 2009, they are not the biggest provider any longer; TeliaSonera, who launched their service later, now has more customers.


title: Internet Protocol television

text: In 2008, Pakistan Telecommunication Company Limited (PTCL) launched IPTV under the brand name of PTCL Smart TV in Pakistan. This service is available in 150 major cities of the country offering 140 live channels.


title: Internet Protocol television

text: In 2010, CenturyLink – after acquiring Embarq (2009) and Qwest (2010) – entered five U.S. markets with an IPTV service called Prism. This was after successful test marketing in Florida. Later in 2010, Bell Canada (a major division, if not the largest division of BCE) announced it would begin offering residential and business/commercial customers in Montreal, Quebec and Toronto, Ontario IPTV over a number of different modalities, including fiber-to-the-home, fiber-to-the-node and DSL. This flavor of IPTV would be packaged with other services and branded as "Bell Fibe," providing Canadian customers with everything from local analog trunk connectivity (POTS), to DSL and fiber Internet to TV service via IPTV. Bell further announced in the September 13th (2010) press release it would begin deploying fiber optic ethernet to homes in Montreal and Toronto. Bell has since continued to install fiber optic ethernet to homes (fiber-to-the-home) across Ontario and Quebec, Bell Canada's two largest customer territories (otherwise known as the 401 corridor). Bell was very successful with the deployment of the Bell Fibe product offering. Many customers in Ontario and Quebec switched from legacy (coaxial) cable companies to Bell's Fibe product because of Bell's marketing around IPTV and their at home wireless PVR offering. Bell's wireless PVR would permit customers to place a TV anywhere they wanted - as long as they had a power outlet. Bell Fibe TV commercials would show young families watching TV outside on the couch with large 70+ inch LCDs and their Bell Fibe wireless PVR.


title: Internet Protocol television

text: In Brazil, since at least 2012, Vivo has been offering the service Vivo TV Fibra in 200+ cities where it has FTTH coverage (4Q 2020 data) . Since at least 2018, Oi has also been offering IPTV under its FTTH service "Oi Fibra". Also, several regional FTTH providers also offer IPTV along with FTTH internet services.


title: Internet Protocol television

text: In 2016, Korean Central Television (KCTV) introduced the set-top box called Manbang, reportedly providing video-on-demand services in North Korea via quasi-internet protocol television (IPTV). Manbang allows viewers to watch five different TV channels in real-time, and find political information regarding the Supreme Leader and Juche ideology, and read articles from state-run news organizations.


title: Internet Protocol television

text: The global IPTV market was expected to grow from 28 million subscribers at US$12 billion revenue in 2009 to 83 million and US$38 billion in 2013. Europe and Asia are the leading territories in terms of the overall number of subscribers. But in terms of service revenues, Europe and North America generate a larger share of global revenue, due to very low average revenue per user (ARPU) in China and India, the fastest growing (and ultimately, the biggest markets) is Asia.


title: Internet Protocol television

text: Services also launched in Bosnia and Herzegovina, Bulgaria, Pakistan, Canada, Croatia, Lithuania, Moldova, Montenegro, Morocco, North Macedonia, Poland, Mongolia, Romania, Serbia, Slovenia, the Netherlands, Georgia, Greece, Denmark, Finland, Estonia, Czech Republic, Slovakia, Hungary, Norway, Sweden, Iceland, Latvia, Turkey, Colombia, Chile and Uzbekistan. The United Kingdom launched IPTV early and after a slow initial growth, in February 2009 BT announced that it had reached 398,000 subscribers to its BT Vision service. Claro has launched their own IPTV service called "Claro TV". This service is available in several countries in which they operate, such as Dominican Republic, El Salvador, Guatemala, Honduras, Nicaragua. IPTV is just beginning to grow in Central and Eastern Europe and Latin America, and now it is growing in South Asian countries such as Sri Lanka, Nepal Pakistan and India. but significant plans exist in countries such as Russia. Kazakhstan introduced its own IPTV services by the national provider Kazakhtelecom JSC and content integrator Alacast under the "iD TV" brand in two major cities Astana and Almaty in 2009 and is about to go nationwide starting 2010. Australian ISP iiNet launched Australia's first IPTV with fetchtv.


title: Internet Protocol television

text: In India, IPTV was launched by MTNL, BSNL and Jio in New Delhi, Mumbai and Punjab. APSFL is another IPTV provider in the state of Andhra Pradesh.


title: Internet Protocol television

text: In Nepal, IPTV was first launched by NEW IT VENTURE CORPORATION called Net TV Nepal, the service can be accessed through its app, web app and Set top boxes provided by local ISPs, another IPTV was started by Nepal Telecom called WOW Time in 2016 which can be accessed through its app.


title: Internet Protocol television

text: In Sri Lanka, IPTV was launched by Sri Lanka Telecom (operated by SLT VisionCom) in 2008, under the brand name of PEO TV. This service is available in whole country. Dialog TV has been available through the service since 2018.


title: Internet Protocol television

text: In Pakistan, IPTV was launched by PTCL in 2008, under the brand name of PTCL Smart TV. This service is available in 150 major cities of the country.


title: Internet Protocol television

text: In the Philippines, PLDT offers Cignal IPTV services as an add-on in certain ADSL and fiber optic plans.


title: Internet Protocol television

text: In Malaysia, various companies have attempted to launch IPTV services since 2005. Failed PayTV provider MiTV attempted to use an IPTV-over-UHF service but the service failed to take off. HyppTV was supposed to use an IPTV-based system, but not true IPTV as it does not provide a set-top box and requires users to view channels using a computer. True IPTV providers available in the country at the moment are Fine TV and DETV. In Q2 2010, Telekom Malaysia launched IPTV services through their fibre to the home product Unifi in select areas. In April 2010, Astro began testing IPTV services on TIME dotCom Berhad's high-speed fibre to the home optical fibre network. In December 2010, Astro began trials with customers in high-rise condominium buildings around the Mont Kiara area. In April 2011, Astro commercially launched its IPTV services under the tag line "The One and Only Line You'll Ever Need", a triple play offering in conjunction with TIME dotCom Berhad that provides all the Astro programming via IPTV, together with voice telephone services and broadband Internet access all through the same fibre optic connection into the customer's home. In 2020, Astro launched "Plug-and-Play", which uses Unicast technology for streaming TV.


title: Internet Protocol television

text: In Turkey, TTNET launched IPTV services under the name IPtivibu in 2010. It was available in pilot areas in the cities of Istanbul, İzmir and Ankara. As of 2011, IPTV service is launched as a large-scale commercial service and widely available across the country under the trademark "Tivibu EV". Superonline plans to provide IPTV under the different name "WebTV" in 2011. Türk Telekom started building the fibre optic substructure for IPTV in late 2007.


title: Internet Protocol television

text: IPTV has been widely used since around 2002 to distribute television and audio-visual (AV) media around businesses and commercial sites, whether as live TV channels or Video on Demand (VOD). Examples of types of commercial users include airports, schools, offices, hotels, and sports stadiums, to name just a few.


title: Internet Protocol television

text: Depending on the network architecture of the service provider, there are two main types of video server architecture that can be considered for IPTV deployment: centralised and distributed.


title: Internet Protocol television

text: The centralised architecture model is a relatively simple and easy to manage solution. Because all media content is stored in centralised servers, it does not require a comprehensive content distribution system. Centralised architecture is generally good for a network that provides relatively small VOD service deployment, has adequate core and edge bandwidth or has an efficient content delivery network (CDN).


title: Internet Protocol television

text: A distributed architecture has bandwidth usage advantages and inherent system management features that are essential for managing a larger server network. Distributed architecture requires intelligent and sophisticated content distribution technologies to augment effective delivery of multimedia contents over the service provider's network.


title: Internet Protocol television

text: In many cases, the residential gateway that provides connectivity with the Internet access network is not located close to the IPTV set-top box. This scenario becomes very common as service providers start to offer service packages with multiple set-top boxes per subscriber.


title: Internet Protocol television

text: Networking technologies that take advantage of existing home wiring (such as power lines, phone lines or coaxial cables) or of wireless hardware have become common solutions for this problem, although fragmentation in the wired home networking market has limited somewhat the growth in this market.


title: Internet Protocol television

text: In December 2008, ITU-T adopted Recommendation G.hn (also known as G.9960), which is a next-generation home networking standard that specifies a common PHY/MAC that can operate over any home wiring (power lines, phone lines or coaxial cables).


title: Internet Protocol television

text: Groups such as the Multimedia over Coax Alliance, HomePlug Powerline Alliance, Home Phoneline Networking Alliance, and Quasar Alliance (Plastic Optical Fibre) each advocate their own technologies.


title: Internet Protocol television

text: There is a growing standardisation effort on the use of the 3GPP IP Multimedia Subsystem (IMS) as an architecture for supporting IPTV services in telecommunications carrier networks. Both ITU-T and ETSI are working on so-called "IMS-based IPTV" standards (see e.g. ETSI TS 182 027). Carriers will be able to offer both voice and IPTV services over the same core infrastructure and the implementation of services combining conventional TV services with telephony features (e.g. caller ID on the TV screen) will become straightforward.


title: Internet Protocol television

text: IPTV supports both live TV as well as stored video-on-demand. Playback requires a device connected to either a fixed or wireless IP network in the form of a standalone personal computer, smartphone, touch screen tablet, game console, connected TV or set-top box. Content is compressed by Video and audio codecs and then encapsulated in MPEG transport stream or Real-time Transport Protocol or other packets. IP multicasting allows for live data to be sent to multiple receivers using a single multicast group address.


title: Internet Protocol television

text: Local IPTV, as used by businesses for audio visual AV distribution on their company networks is typically based on a mixture of:


title: Internet Protocol television

text: Although IPTV and conventional satellite TV distribution have been seen as complementary technologies, they are likely to be increasingly used together in hybrid IPTV networks. IPTV is largely neutral to the transmission medium, and IP traffic is already routinely carried by satellite for Internet backbone trunking and corporate VSAT networks.


title: Internet Protocol television

text: The copper twisted pair cabling that forms the last mile of the telephone and broadband network in many countries is not able to provide a sizeable proportion of the population with an IPTV service that matches even existing terrestrial or satellite digital TV distribution. For a competitive multi-channel TV service, a connection speed of 20 Mbit/s is likely to be required, but unavailable to most potential customers. The increasing popularity of high-definition television increases connection speed requirements or limits IPTV service quality and connection eligibility even further.


title: Internet Protocol television

text: However, satellites are capable of delivering in excess of 100 Gbit/s via multi-spot beam technologies, making satellite a clear emerging technology for implementing IPTV networks. Satellite distribution can be included in an IPTV network architecture in several ways. The simplest to implement is an IPTV-direct to home (DTH) architecture, in which hybrid DVB-broadband set-top boxes in subscriber homes integrate satellite and IP reception to give additional bandwidth with return channel capabilities. In such a system, many live TV channels may be multicast via satellite and supplemented with stored video-on-demand transmission via the broadband connection. Arqiva’s Satellite Media Solutions Division suggests "IPTV works best in a hybrid format. For example, you would use broadband to receive some content and satellite to receive other, such as live channels".


title: Internet Protocol television

text: Hybrid IPTV refers to the combination of traditional broadcast TV services and video delivered over either managed IP networks or the public Internet. It is an increasing trend in both the consumer and pay TV markets.


title: Internet Protocol television

text: The growth of Hybrid IPTV is driven by two major factors. Since the emergence of online video aggregation sites, like YouTube and Vimeo in the mid-2000s, traditional pay TV operators have come under increasing pressure to provide their subscribers with a means of viewing Internet-based video on their televisions. At the same time, specialist IP-based operators have looked for ways to offer analogue and digital terrestrial services to their operations, without adding either additional cost or complexity to their transmission operations. Bandwidth is a valuable asset for operators, so many have looked for alternative ways to deliver these new services without investing in additional network infrastructures.


title: Internet Protocol television

text: A hybrid set-top allows content from a range of sources, including terrestrial broadcast, satellite, and cable, to be brought together with video delivered over the Internet via an Ethernet connection on the device. This enables television viewers to access a greater variety of content on their TV sets, without the need for a separate box for each service. Hybrid IPTV set-top boxes may also enable users to access a range of advanced interactive services, such as VOD, catch-up TV, as well as Internet applications, including video telephony, surveillance, gaming, shopping, e-government accessed via a television set.


title: Internet Protocol television

text: From a pay-TV operator's perspective, a hybrid IPTV set-top box gives them greater long-term flexibility to deploy new services and applications as and when consumers require, most often without the need to upgrade equipment or for a technician to visit and reconfigure or swap out the device. This reduces the cost of launching new services, increases speed to market and limits disruption for consumers.


title: Internet Protocol television

text: The Hybrid Broadcast Broadband TV (HbbTV) consortium of industry companies the establishment of an open European standard for hybrid set-top boxes for the reception of broadcast and broadband digital TV and multimedia applications with a single user interface. These trends led to the development of Hybrid Broadcast Broadband TV set-top boxes that included both a broadcast tuner and an Internet connection – usually via an Ethernet port. The first commercially available hybrid IPTV set-top box was developed by Advanced Digital Broadcast, a developer of digital television hardware and software, in 2005. The platform was developed for Spanish pay TV operator Telefonica, and used as part of its Movistar TV service, launched to subscribers at the end of 2005.


title: Internet Protocol television

text: An alternative approach is the IPTV version of the Headend in the Sky cable TV solution. Here, multiple TV channels are distributed via satellite to the ISP or IPTV provider's point of presence (POP) for IP-encapsulated distribution to individual subscribers as required by each subscriber. This can provide a huge selection of channels to subscribers without overburdening incoming Internet to the POP, and enables an IPTV service to be offered to small or remote operators outside the reach of terrestrial high-speed WAN connection. An example is a network combining fibre and satellite distribution via an SES New Skies satellite of 95 channels to Latin America and the Caribbean, operated by IPTV Americas.


title: Internet Protocol television

text: The Internet protocol-based platform offers significant advantages, including the ability to integrate television with other IP-based services like high-speed Internet access and VoIP.


title: Internet Protocol television

text: A switched IP network also allows for the delivery of significantly more content and functionality. In a typical TV or satellite network, using broadcast video technology, all the content constantly flows downstream to each customer, and the customer switches the content at the set-top box. The customer can select from as many choices as the telecomms, cable or satellite company can stuff into the "pipe" flowing into the home. A switched IP network works differently. Content remains in the network, and only the content the customer selects is sent into the customer's home. That frees up bandwidth, and the customer's choice is less restricted by the size of the "pipe" into the home.


title: Internet Protocol television

text: An IP-based platform also allows significant opportunities to make the TV viewing experience more interactive and personalised. The provider may, for example, include an interactive programme guide that allows viewers to search for content by title or actor's name, or a picture-in-picture functionality that allows them to channel surf without leaving the programme they're watching. Viewers may be able to look up a player's stats while watching a sports game or control the camera angle. They also may be able to access photos or music from their PC on their television, use a wireless phone to schedule a recording of their favourite show, or even adjust parental controls so their child can watch a documentary for a school report, while they're away from home.


title: Internet Protocol television

text: A feedback channel from the viewer to the provider is required for this interactivity. Terrestrial, satellite, and some cable networks for television do not feature a feedback channel and thus don't allow interactivity. However, interactivity with those networks can be possible by combining TV networks with data networks such as the Internet or a mobile communication network.


title: Internet Protocol television

text: IPTV technology is used for video on demand (VoD), which permits a customer to browse an online programme or film catalogue, to watch trailers and to then select a program. The playout of the selected item starts nearly instantaneously on the customer's TV or PC.


title: Internet Protocol television

text: Technically, when the customer selects the program, a point-to-point unicast connection is set up between the customer's decoder (set-top box or PC) and the delivering streaming server. The signalling for the trick mode functionality (pause, slow-motion, wind/rewind etc.) may be communicated using, for instance, RTSP.


title: Internet Protocol television

text: In an attempt to avoid content piracy, the VoD content is usually encrypted and digital rights management may be applied. A film that is chosen, for example, may be playable for 24 hours following payment, after which time it becomes unavailable.


title: Internet Protocol television

text: Another advantage is the opportunity for integration and convergence. This opportunity is amplified when using IMS-based solutions. Converged services implies interaction of existing services in a seamless manner to create new value-added services. One example is on-screen caller ID, getting caller ID on a TV, and the ability to handle the call (send it to voice mail, etc.). IP-based services help to provide consumers anytime and anywhere access to content over their televisions, PCs, and mobile device, and to integrate services and content to tie them together. Within businesses and institutions, IPTV eliminates the need to run a parallel infrastructure to deliver live and stored video services.


title: Internet Protocol television

text: IPTV is sensitive to packet loss and delays. An IPTV channel has a minimum bandwidth requirement. Some systems are able to adapt to lower available bandwidth by reducing picture quality.


title: Internet Protocol television

text: Although a few countries have very high-speed broadband-enabled populations, in other countries legacy networks struggle to provide 3–5 Mbit/s and so simultaneous use of IPTV, VOIP and Internet access may not be viable. The last-mile delivery for IPTV usually has a bandwidth restriction that only allows a small number of simultaneous TV channel streams – typically from one to three – to be delivered.


title: Internet Protocol television

text: The network delay inherent in the use of satellite Internet access is often held up as a reason why satellites cannot be successfully used for IPTV. In practice, however, delay is not an important factor for IPTV, since it is a service that does not require real-time transmission, as is the case with telephony or videoconferencing services. It is the delay of response to requests to change channel, display an EPG, etc. that most affects customers’ perceived quality of service.


title: Internet Protocol television

text: Existing video transmission systems of both analogue and digital formats already introduce known quantifiable delays. Existing DVB TV channels that simulcast by both terrestrial and satellite transmissions experience the same 0.25-second delay difference between the two services with no detrimental effect, and it goes unnoticed by viewers.


title: Internet Protocol television

text: Digital video is a sequence of digital images, called frames, each made up of pixels or picture elements. Three bytes are typically used to represent the colour of the high quality image.


title: Internet Protocol television

text: Movies use 24 frames per second, North America television uses approximately 30 frames per second where the Europe television frame rate is 25 frames per second. Each digital video has dimensions width and height; SDTV is pixels, HDTV uses up to pixels.


title: Internet Protocol television

text: There is no absolute answer for the bandwidth requirement for the IPTV service. Currently compressed HDTV content can be delivered at a data rate between 8 and 10 Mbit/s, but if the home of the consumer equipped with several HDTV outputs, this rate will be multiplied respectively.


title: Internet Protocol television

text: Due to limitations in bandwidth, an IPTV channel is delivered to the user one at a time, as opposed to the traditional multiplexed delivery. Changing a channel requires requesting the head-end server to provide a different broadcast stream, much like VOD (For VOD the stream is delivered using unicast, for the normal TV signal multicast is used). This could enable the service provider to accurately track each and every programme watched and the duration of watching for each viewer; broadcasters and advertisers could then understand their audience and programming better with accurate data and targeted advertising.


title: Internet Protocol television

text: In conjunction with regulatory differences between IPTV and cable TV, this tracking could pose a threat to privacy according to critics. For IP multicast scenarios, since a particular multicast group (TV channel) needs to be requested before it can be viewed, the same privacy concerns apply.


title: Internet Protocol television

text: Global sales of IPTV systems exceeded US$2 billion in 2007, although only a small number of companies supply most current IPTV system solutions. Some, such as Movistar TV, was formed by telecoms operators themselves, to minimize external costs, a tactic also used by PCCW of Hong Kong. Some major telecoms vendors are also active in this space, notably Accenture (Accenture Video Solution), Alcatel-Lucent (sometimes working with Movistar TV), Ericsson (notably since acquiring Tandberg Television), Huawei, NEC, PTCL Smart TV, Sri Lanka Telecom, Thomson, and ZTE, as are some IT houses, led by Microsoft. Miami-based AlphaOTT, Tokyo-based The New Media Group, Malaysian-based Select-TV, Oslo/Norway-based SnapTV, and California-based UTStarcom, Inc. also offer end-to-end networking infrastructure for IPTV-based services, and Hong Kong-based BNS Ltd. provides turnkey open platform IPTV technology solutions.


title: Internet Protocol television

text: Hospitality IPTV Ltd, having established many closed network IPTV systems, expanded in 2013 to OTT delivery platforms for markets in New Zealand, Australia, and the Asia Pacific region.


title: Internet Protocol television

text: Google Fiber offers an IPTV service in various US cities which includes up to 1 Gigabit-speed internet and over 290 channels depending on package via the fiber optic network being built out in Kansas City Kansas and Kansas City Missouri.


title: Internet Protocol television

text: Many of these IPTV solution vendors participated in the biennial Multiservice Switching Forum Interoperability 2008 (GMI) event which was coordinated by the MultiService Forum (MSF) at five sites worldwide from 20 to 31 October 2008. Test equipment vendors including Netrounds, Codenomicon, Empirix, Ixia, Mu Dynamics, and Spirent joined solution vendors such as the companies listed above in one of the largest IPTV proving grounds ever deployed.


title: Internet Protocol television

text: For residential users, IPTV is often provided in conjunction with VOD and may be bundled with Internet services such as Internet access and Voice over Internet Protocol (VoIP) telecommunications services. Commercial bundling of IPTV, VoIP and Internet access is sometimes referred to in marketing as "triple play" service. When these three are offered with cellular service, the combined service may be referred to as "quadruple play".


title: Internet Protocol television

text: Historically, broadcast television has been regulated differently from telecommunications. As IPTV allows TV and VoD to be transmitted over IP networks, new regulatory issues arise.


title: Internet Protocol television

text: Professor Eli M. Noam highlights in his report "TV or Not TV: Three Screens, One Regulation?" some of the key challenges with sector specific regulation that is becoming obsolete due to convergence in this field.


title: Scotty Pippen Jr.

text: Scotty Maurice Pippen Jr. (born November 10, 2000) is an American professional basketball player for the Los Angeles Lakers of the National Basketball Association (NBA), on a two-way contract with the South Bay Lakers of the NBA G League. He played college basketball for the Vanderbilt Commodores which led to a future contract with the South Bay Lakers. He is the son of former NBA player and Hall of Famer Scottie Pippen.


title: Scotty Pippen Jr.

text: Pippen was born in Portland, Oregon, while his father was playing for the Portland Trail Blazers. From his father's previous relationships, he has four older half siblings: Antron, Sierra, Taylor, and Tyler. Antron and Tyler Pippen are both deceased. His father's relationship with his mother led to three future younger full siblings: Preston, Justin, and Sophia. Pippen is Assyrian on his mother's side.


title: Scotty Pippen Jr.

text: From kindergarten to tenth grade, Scotty attended Pine Crest School in Florida where he gave his first post game interview as a sophomore. Then before his junior year, his family moved to the LA area and he transferred to Sierra Canyon School in Chatsworth, California which had a more competitive basketball team. At Sierra, he played alongside future NBA players such as Marvin Bagley III, Kenyon Martin Jr., and Cassius Stanley. As a senior, he averaged 16.3 points, 4.6 assists, and 3.6 rebounds per game and helped his team win the California Interscholastic Federation Open Division state title. Pippen competed for the Oakland Soldiers on the Amateur Athletic Union circuit. He committed to a future playing college basketball for Vanderbilt over offers from Washington State, San Francisco, Colorado State, UC Santa Barbara, and Hofstra.


title: Scotty Pippen Jr.

text: On November 20, 2019, Pippen scored a freshman season-high 21 points in a 90–72 win over Austin Peay. In his regular season finale on March 7, 2020, he scored 21 points for a second time in an 83–74 victory over South Carolina. As a freshman, Pippen averaged 12 points and 3.6 rebounds per game, earning Southeastern Conference (SEC) All-Freshman Team honors.


title: Scotty Pippen Jr.

text: The impending departures of future NBA players Aaron Nesmith and Saben Lee led to a future expectation of a leading role on the team, which came to fruition in his sophomore season. On December 27, 2020, Pippen scored 30 points in an 87–50 win over Alcorn State. On January 9, 2021, he recorded his first double-double, with 18 points and 12 assists in an 84–81 loss to Mississippi State. On January 27, 2021, Pippen scored 32 points in a 78–71 loss to Florida. As a sophomore, he averaged 20.8 points, 2.8 rebounds, and 4.9 assists per game. On April 10, 2021, Pippen declared for the 2021 NBA draft while maintaining his future college eligibility. He later withdrew from the draft returning to Vanderbilt for his junior season. On December 7, 2021, Pippen made a last second three-pointer to tie the game against Temple. As a junior, he averaged 20.4 points, 4.5 assists, 3.6 rebounds, and 1.9 steals per game. He was named to the First Team All-SEC as a junior. On April 18, 2022, Pippen declared for the 2022 NBA draft, forgoing his remaining future college eligibility.


title: Scotty Pippen Jr.

text: After going unselected in the 2022 NBA draft, Pippen signed a two-way contract with the Los Angeles Lakers on July 1, 2022, splitting time with their G League affiliate, the South Bay Lakers. Pippen joined the Lakers' 2022 NBA Summer League roster. In his Summer League debut, Pippen scored fourteen points, six rebounds, three assists, and a block in a 100–66 win over the Miami Heat.


title: Scotty Pippen Jr.

text: Pippen is the son of Hall of Fame basketball player Scottie Pippen who won six NBA championships during his 17-year career in the league and Larsa Pippen, a cast member on The Real Housewives of Miami.


title: Scotty Pippen Jr.

text: He is the cousin of Kavion Pippen who is an American professional basketball player for Real Valladolid Baloncesto of the LEB Oro. He played college basketball for the Southern Illinois Salukis.


title: Pronoun

text: In linguistics and grammar, a pronoun (abbreviated ) is a word or a group of words that one may substitute for a noun or noun phrase.


title: Pronoun

text: Pronouns have traditionally been regarded as one of the parts of speech, but some modern theorists would not consider them to form a single class, in view of the variety of functions they perform cross-linguistically. An example of a pronoun is "you", which can be either singular or plural. Subtypes include personal and possessive pronouns, reflexive and reciprocal pronouns, demonstrative pronouns, relative and interrogative pronouns, and indefinite pronouns.


title: Pronoun

text: The use of pronouns often involves anaphora, where the meaning of the pronoun is dependent on an antecedent. For example, in the sentence "That poor man looks as if he needs a new coat", the meaning of the pronoun "he" is dependent on its antecedent, "that poor man".


title: Pronoun

text: The name of the adjective that belongs with a "pronoun" is called a "pronominal". A pronominal is also a word or phrase that acts as a pronoun. For example, in "That's not the one I wanted", the phrase "the one" (containing the prop-word "one") is a pronominal.


title: Pronoun

text: Pronoun is a category of words. A pro-form is a type of function word or expression that stands in for (expresses the same content as) another word, phrase, clause or sentence where the meaning is recoverable from the context. In English, pronouns mostly function as pro-forms, but there are pronouns that are not pro-forms and pro-forms that are not pronouns.


title: Pronoun

text: Examples [1 & 2] are pronouns and pro-forms. In [1], the pronoun "it" "stands in" for whatever was mentioned and is a good idea. In [2], the relative pronoun "who" stands in for "the people".


title: Pronoun

text: Examples [3 & 4] are pronouns but not pro-forms. In [3], the interrogative pronoun "who" does not stand in for anything. Similarly, in [4], "it" is a dummy pronoun, one that does not stand in for anything. No other word can function there with the same meaning; we do not say "the sky is raining" or "the weather is raining".


title: Pronoun

text: Finally, in [5 & 6], there are pro-forms that are not pronouns. In [5], "did so" is a verb phrase that stands in for "helped", inflected from "to help" stated earlier in the sentence. Similarly, in [6], "others" is a common noun, not a pronoun, but "the others" probably stands in for the names of other people involved (e.g., "Sho, Alana, and Ali"), all proper nouns.


title: Pronoun

text: Pronouns () are listed as one of eight parts of speech in "The Art of Grammar", a treatise on Greek grammar attributed to Dionysius Thrax and dating from the 2nd century BC. The pronoun is described there as "a part of speech substitutable for a noun and marked for a person." Pronouns continued to be regarded as a part of speech in Latin grammar (the Latin term being , from which the English name – through Middle French – ultimately derives), and thus in the European tradition generally.


title: Pronoun

text: Because of the many different syntactic roles that they play, pronouns are less likely to be a single word class in more modern approaches to grammar.


title: Pronoun

text: Linguists in particular have trouble classifying pronouns in a single category, and some do not agree that pronouns substitute nouns or noun categories. Certain types of pronouns are often identical or similar in form to determiners with related meaning; some English examples are given in the table.


title: Pronoun

text: This observation has led some linguists, such as Paul Postal, to regard pronouns as determiners that have had their following noun or noun phrase deleted. (Such patterning can even be claimed for certain personal pronouns; for example, "we" and "you" might be analyzed as determiners in phrases like "we Brits" and "you tennis players".) Other linguists have taken a similar view, uniting pronouns and determiners into a single class, sometimes called "determiner-pronoun", or regarding determiners as a subclass of pronouns or vice versa. The distinction may be considered to be one of subcategorization or valency, rather like the distinction between transitive and intransitive verbs – determiners take a noun phrase complement like transitive verbs do, while pronouns do not. This is consistent with the determiner phrase viewpoint, whereby a determiner, rather than the noun that follows it, is taken to be the head of the phrase. Cross-linguistically, it seems as though pronouns share 3 distinct categories: point of view, person, and number. The breadth of each subcategory however tends to differ among languages.


title: Pronoun

text: The use of pronouns often involves anaphora, where the meaning of the pronoun is dependent on another referential element. The referent of the pronoun is often the same as that of a preceding (or sometimes following) noun phrase, called the antecedent of the pronoun. The grammatical behavior of certain types of pronouns, and in particular their possible relationship with their antecedents, has been the focus of studies in binding, notably in the Chomskyan government and binding theory. In this binding context, reflexive and reciprocal pronouns in English (such as "himself" and "each other") are referred to as anaphors (in a specialized restricted sense) rather than as pronominal elements. Under binding theory, specific principles apply to different sets of pronouns.


title: Pronoun

text: In English, reflexive and reciprocal pronouns must adhere to Principle A: an anaphor (reflexive or reciprocal, such as "each other") must be bound in its governing category (roughly, the clause). Therefore, in syntactic structure it must be lower in structure (it must have an antecedent) and have a direct relationship with its referent. This is called a C-command relationship. For instance, we see that "John cut himself" is grammatical, but "Himself cut John" is not, despite having identical arguments, since "himself", the reflexive, must be lower in structure to John, its referent. Additionally, we see examples like "John said that Mary cut himself" are not grammatical because there is an intermediary noun, "Mary", that disallows the two referents from having a direct relationship.


title: Pronoun

text: On the other hand, personal pronouns (such as "him" or "them") must adhere to Principle B: a pronoun must be free (i.e., not bound) within its governing category (roughly, the clause). This means that although the pronouns can have a referent, they cannot have a direct relationship with the referent where the referent selects the pronoun. For instance, "John said Mary cut him" is grammatical because the two co-referents, "John" and "him" are separated structurally by "Mary". This is why a sentence like "John cut him" where "him" refers to "John" is ungrammatical.


title: Pronoun

text: The type of binding that applies to subsets of pronouns varies cross-linguistically. For instance, in German linguistics, pronouns can be split into two distinct categories — personal pronouns and d-pronouns. Although personal pronouns act identically to English personal pronouns (i.e. follow Principle B), d-pronouns follow yet another principle, Principle C, and function similarly to nouns in that they cannot have a direct relationship to an antecedent.


title: Pronoun

text: Some other types, such as indefinite pronouns, are usually used without antecedents. Relative pronouns are used without antecedents in free relative clauses. Even third-person personal pronouns are sometimes used without antecedents ("unprecursed") – this applies to special uses such as dummy pronouns and generic "they", as well as cases where the referent is implied by the context.


title: Pronoun

text: English personal pronouns have a number of different syntactic contexts (Subject, Object, Possessive, Reflexive) and many features:


title: Pronoun

text: English also has other pronoun types, including demonstrative, relative, indefinite, and interrogative pronouns:


title: Pronoun

text: Personal pronouns may be classified by person, number, gender and case. English has three persons (first, second and third) and two numbers (singular and plural); in the third person singular there are also distinct pronoun forms for male, female and neuter gender. Principal forms are shown in the adjacent table.


title: Pronoun

text: English personal pronouns have two cases, "subject" and "object". Subject pronouns are used in subject position (I like to eat chips, but she does not"). Object pronouns are used for the object of a verb or preposition ("John likes me but not her).


title: Pronoun

text: Possessive pronouns are used to indicate possession (in a broad sense). Some occur as independent noun phrases: "mine", "yours", "hers", "ours", "theirs". An example is: "Those clothes are mine." Others act as a determiner and must accompany a noun: "my", "your", "her", "our", "your", "their", as in: "I lost my wallet." ("His" and "its" can fall into either category, although "its" is nearly always found in the second.) Those of the second type have traditionally also been described as possessive adjectives, and in more modern terminology as possessive determiners. The term "possessive pronoun" is sometimes restricted to the first type. Both types replace possessive noun phrases. As an example, Their crusade to capture our attention" could replace The advertisers' crusade to capture our attention."


title: Pronoun

text: Reflexive pronouns are used when a person or thing acts on itself, for example, "John cut himself." In English they all end in "-self" or "-selves" and must refer to a noun phrase elsewhere in the same clause.


title: Pronoun

text: Reciprocal pronouns refer to a reciprocal relationship ("each other", "one another"). They must refer to a noun phrase in the same clause. An example in English is: "They do not like each other." In some languages, the same forms can be used as both reflexive and reciprocal pronouns.


title: Pronoun

text: Demonstrative pronouns (in English, "this", "that" and their plurals "these", "those") often distinguish their targets by pointing or some other indication of position; for example, "I'll take these." They may also be "anaphoric", depending on an earlier expression for context, for example, "A kid actor would try to be all sweet, and who needs that?"


title: Pronoun

text: Indefinite pronouns, the largest group of pronouns, refer to one or more unspecified persons or things. One group in English includes compounds of "some-", "any-", "every-" and "no-" with "-thing", "-one" and "-body", for example: "Anyone can do that." Another group, including "many", "more", "both", and "most", can appear alone or followed by "of". In addition,


title: Pronoun

text: Relative pronouns in English include "who", "whom", "whose", "what", "which" and "that". They rely on an antecedent, and refer back to people or things previously mentioned: "People who smoke should quit now." They are used in relative clauses. Relative pronouns can also be used as complementizers.


title: Pronoun

text: Relative pronouns can be used in an interrogative setting as interrogative pronouns. Interrogative pronouns ask which person or thing is meant. In reference to a person, one may use "who" (subject), "whom" (object) or "whose" (possessive); for example, "Who did that?" In colloquial speech, "whom" is generally replaced by "who". English non-personal interrogative pronouns ("which" and "what") have only one form.


title: Pronoun

text: In English and many other languages (e.g. French and Czech), the sets of relative and interrogative pronouns are nearly identical. Compare English: "Who is that?" (interrogative) and "I know the woman who came" (relative). In some other languages, interrogative pronouns and indefinite pronouns are frequently identical; for example, Standard Chinese means "what?" as well as "something" or "anything".


title: Pronoun

text: Though the personal pronouns described above are the current English pronouns, Early Modern English (as used by Shakespeare, for example) use a slightly different set of personal pronouns, shown in the table. The difference is entirely in the second person. Though one would rarely find these older forms used in recent literature, they are nevertheless considered part of Modern English.


title: Pronoun

text: In English, kin terms like "mother," "uncle," "cousin" are a distinct word class from pronouns; however many Australian Aboriginal languages have more elaborated systems of encoding kinship in language including special kin forms of pronouns. In Murrinh-patha, for example, when selecting a nonsingular exclusive pronoun to refer to a group, the speaker will assess whether or not the members of the group belong to a common class of gender or kinship. If all of the members of the referent group are male, the MASCULINE form will be selected; if at least one is female, the FEMININE is selected, but if all the members are in a sibling-like kinship relation, a third SIBLING form is selected. In Arabana-Wangkangurru, the speaker will use entirely different sets of pronouns depending on whether the speaker and the referent are or are not in a common moiety. See the following example:


title: Price elasticity of demand

text: A good's price elasticity of demand (formula_1, PED) is a measure of how sensitive the quantity demanded is to its price. When the price rises, quantity demanded falls for almost any good, but it falls more for some than for others. The price elasticity gives the percentage change in quantity demanded when there is a one percent increase in price, holding everything else constant. If the elasticity is −2, that means a one percent price rise leads to a two percent decline in quantity demanded. Other elasticities measure how the quantity demanded changes with other variables (e.g. the income elasticity of demand for consumer income changes).