title: Widow's peak

text: Ely Guv Hintonith and M. Michael Cohen hypothesized the widow's peak hairline to be an anomaly that results from a lower-than-usual point of intersection of the bilateral periorbital fields of hair-growth suppression on the forehead. This can occur because the periorbital fields of hair-growth suppression are smaller than usual, or because they are more widely spaced. Wide spacing also explains the association between ocular hypertelorism – that is, the eyes being abnormally far apart – and widow's peak; this was suggested by findings in an unusual case of ocular hypertelorism in which surrounding scalp-hair growth was suppressed by an ectopic (displaced) eye. In some cases, Widow's peaks are a symptom of Donnai-Barrow syndrome, a rare genetic disorder caused by mutations in the LRP2 gene. Other genetic syndromes occasionally associated with widow's peaks include Waardenburg syndrome and Aarskog syndrome.


title: Widow's peak

text: Widow's peaks are slightly more common among males, although in recent studies the difference has been found to not be statistically significant. Studies among the Isoko ethnic group in Nigeria found that 15.45% of males had a widow's peak present as compared to 16.36% of females.


title: Widow's peak

text: People with natural widow's peaks include singers Alex Turner, Lauren Jauregui, Jack White, Harry Styles, Kourtney Kardashian, Kat Bjelland, Rebecca Black, and Zayn Malik, six-time world Snooker champion, Ray Reardon (nickname Dracula), professional tennis player Taylor Fritz, actors Chris Hemsworth, Keanu Reeves, Kit Harington, Leonardo DiCaprio, John Travolta, Grace Kelly, Blake Lively, Fran Drescher, Rita Hayworth, Marilyn Monroe, Andy García, Colin Farrell, James Roday,


title: Widow's peak

text: A number of fictional people have a widow's peak. In film, this trait is often associated with a villain or antagonist; Count Dracula is an example. Eddie Munster – from the television program "The Munsters" – also had this distinctive hairline. Another villain depicted as having widow's peak hair is The Joker from Batman comic books and films. Namor, the Sub-Mariner has long held the feature. Vegeta from the Dragon Ball franchise is known for his widow's peak. Hannibal Lecter is repeatedly described as having one in the novels that feature his story. The original illustrations of Sherlock Holmes present the famed detective with a prominent widow's peak, as do all of Spider-Man co-creator Steve Ditko's drawings of Peter Parker, and a sketch of James Bond personally commissioned by author Ian Fleming. Pulp fiction hero Doc Savage also had this hair trait. Oberyn Martell from George R. R. Martin's A Song of Ice and Fire novels is described as having a prominent widow's peak.


title: Widow's peak

text: Additionally, widow's peaks are shown to poll well for politicians. According to research by Shawn Rosenberg of the University of California-Irvine, "widow’s peaks (though more so on female candidates) were a clear positive. It was associated with being seen as more competent and with greater integrity".


title: El Mariachi

text: El Mariachi is a 1992 Spanish language American independent neo-Western film and the first part of the saga that came to be known as Robert Rodriguez's "Mexico Trilogy". It marked the feature-length debut of Rodriguez as writer and director. The Spanish language film was shot with a mainly amateur cast in the northern Mexican border town of Ciudad Acuña, Coahuila, Mexico across from Del Rio, Texas, the home town of leading actor Carlos Gallardo as the title character. The US$7,225 production was originally intended for the Mexican home-video market, but executives at Columbia Pictures liked the film and bought the American distribution rights. Columbia eventually spent $200,000 to transfer the print to film, to remix the sound, and on other post-production work, then spent millions more on marketing and distribution.


title: El Mariachi

text: The success of Rodriguez's directorial debut led him to create two sequels ("Desperado" and "Once Upon a Time in Mexico") with Antonio Banderas taking over from Gallardo for the character, though Gallardo co-produced both films and had a minor role in "Desperado".


title: El Mariachi

text: In 2011, "El Mariachi" was selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant". The film is also recognized by Guinness World Records as the lowest-budgeted film ever to gross $1 million at the box office.


title: El Mariachi

text: After breaking out of jail in a small Mexican town, a ruthless criminal, nicknamed Azul, ventures off with a guitar case full of weapons and vows revenge on the local drug lord, Moco, who had him arrested in the first place. Meanwhile, a young musician arrives in town carrying his own guitar case which contains his signature guitar. He hopes to find work in the town in order to pursue his dream of becoming a mariachi like his father.


title: El Mariachi

text: From the confines of his heavily guarded villa on the outskirts of town, Moco sends a large group of hitmen to kill Azul. They are told to look for a man who is wearing black and carrying a guitar case, but because the Mariachi also matches this description, the hitmen mistake him for Azul and start pursuing him. Only Moco, however, knows Azul's actual face. The Mariachi is then forced to kill four of the attackers in self-defense after being chased through the streets. As the Mariachi seeks refuge in a bar owned by a beautiful woman named Dominó, he quickly falls in love with her. Unfortunately, Moco is not only financing the bar, but also has his own romantic interest in Dominó.


title: El Mariachi

text: When Azul visits the bar for a beer and information about Moco, he accidentally leaves with the Mariachi's guitar case. Moco's thugs capture Azul on the street but release him when they learn that the case he is carrying contains only a guitar. A short time later, the Mariachi is captured and taken to Moco, who identifies him as the wrong man and sets him free.


title: El Mariachi

text: Meanwhile, Azul, who has no directions to Moco's home, takes Dominó with him and orders her to take him to Moco's, or Moco will kill the mariachi. Dominó agrees to save the Mariachi's life. When they arrive at Moco's gated compound, Azul pretends to take Dominó hostage in order to gain entry. Moco soon realizes that Dominó has fallen for the Mariachi and, in a fit of rage, shoots both her and Azul. Suddenly, the Mariachi arrives to find the woman he loves gunned down. Moco then shoots the Mariachi's left hand, rendering him useless as a guitar player, and proceeds to taunt and laugh at the Mariachi. Overcome with grief and rage, the Mariachi picks up Azul's gun with his right hand and kills Moco, avenging Dominó's death. Moco's surviving henchmen, seeing their leader dead, walk off carelessly and leave Moco's body and the wounded Mariachi behind.


title: El Mariachi

text: The Mariachi leaves the town on Dominó's motorbike, taking her pit bull and her letter-opener as mementos of her. His dreams to become a mariachi have been shattered, and his only protection for his future are Azul's former weapons, which he takes along in the guitar case. He rides off into the sunset.


title: El Mariachi

text: The film was shot in numerous locations in Ciudad Acuña, Coahuila, located in Northeastern Mexico adjacent to Del Rio, Texas. The film used 16 mm film and was shot in 14 days. Rodriguez had a $7,000 budget, almost half of which he raised by participating in experimental clinical drug testing while living in Austin, Texas. The opening scenes, featuring a shootout in a jail, were filmed at the local Acuña jail situated on the outskirts of the town. The female warden and the male guard were the real-life warden and guard; Rodriguez thought it was convenient because it saved him the cost of hiring actors and renting clothing. The intro bar scene was shot inside the Corona Club and exterior street scenes were shot on Hidalgo Street. The shootout was filmed outside at "Boy's Town", the local red-light district.


title: El Mariachi

text: Not everyone in Acuña was pleased with the filming. Local journalists Ramiro Gómez and Jesús López Viejo were especially critical of the filming, and to win them over, Rodriguez gave them small parts in the film. Due to the high body count of the film, Rodriguez increasingly had difficulties finding adult men to play thugs, as dead characters obviously could not return; for that reason, when the Mariachi meets Moco's gang at the end of the film, the gang consists mainly of teenagers.


title: El Mariachi

text: On the "El Mariachi" DVD, Rodriguez devotes both a DVD commentary and an "Extras" section to explaining the tricks of filming a feature-length film with just $7,000. Rodriguez heavily stresses the need for cost cutting, "because if you start to spend, you cannot stop anymore." This is why he cut costs at every possible opportunity. He did not use a slate; the actors, instead, signaled the number of scene and number of take with their fingers. He did not use a dolly, and instead held the camera while being pushed around in a wheelchair. He did not use synchronised sound; rather, he shot the film silent, then recorded on-set audio so it could be synced in post-production. Professional lighting was replaced by two 200-watt clip-on desk lamps. No film crew was hired; actors not in the scenes helped out instead. Rodriguez believed in filming scenes sequentially in one long take with a single camera; every few seconds, he froze the action, so he could change the camera angle and make it appear that he used multiple cameras simultaneously. Bloopers were kept in to save film: Rodriguez is visible on a bus with the Mariachi; the Mariachi bumps his weapon into a street pole; he fails to throw his guitar case on a balcony; and Dominó twitches her face when she is already dead. Rodriguez spared expense by shooting on 16 mm film as opposed to 35 mm, and transferred the film to video for editing, avoiding the costs of cutting on film. In the end, he used only 24 rolls of film and only spent $7,225 of the $9,000 he had planned.


title: El Mariachi

text: Rodriguez gave insight into his low budget approach to simulate machine gun fire. The problem was that when using real guns, as opposed to the specially designed blank firing firearms used in most films, the blanks would jam the weapon after being fired once. To solve this, Rodriguez filmed the firing of one blank from different angles, dubbed canned machine gun sounds over it, and had the actors drop bullet shells to the ground to make it look like as if multiple rounds had been shot. In addition, he occasionally used water guns instead of real guns to save money. The squibs used in shootout scenes were simply condoms filled with fake blood and fixed over weightlifting belts.


title: El Mariachi

text: Several aspects of the film were improvised. The tortoise that crawls in front of the Mariachi was not planned, but was kept in anyways. Similarly, there is a scene in which the Mariachi buys a coconut, but Rodriguez forgot to show him paying for the fruit; instead of driving back to the place to shoot additional scenes, Rodriguez decided to build in a voice-over in which the Mariachi asserts that the coconuts were for free. Improvisation was also useful to cover up continuity mistakes: at the end of the movie, the Mariachi has his left hand shot, but Rodriguez forgot to bring the metal glove to cover up the actor's hand; he solved it by packing his hand with black duct tape.


title: El Mariachi

text: In the DVD commentary, Rodriguez describes the acting of Peter Marquardt who portrayed gangster boss Moco. As the language of the film was Spanish, which Marquardt did not master, he had to learn his lines without understanding what he was saying. The running gag, in which Moco lights up his match using the moustache of his henchman Bigotón, was described by Rodriguez as a means to start and end the film: the end scene is a parody of this scene. When Moco was hit in the chest in the final shooting, Marquardt's blood squib exploded with such force that he actually crumpled to the ground in pain.


title: El Mariachi

text: Originally, the film was meant to be sold on the Latino video market as funding for another bigger and better project that Rodriguez was contemplating. However, after being rejected from various Latino straight-to-video distributors, Rodriguez decided to send his film (it was in the format of a trailer at the time) to bigger distribution companies where it started to get attention.


title: El Mariachi

text: When the sequel "Desperado" was produced, Antonio Banderas replaced Gallardo as the actor for the main character of the series. The filmmakers re-shot the final showdown from "El Mariachi" as a flashback sequence for Banderas' character in "Desperado".


title: El Mariachi

text: For the scene in which the Mariachi delivers a song in front of Dominó, Rodriguez hired Juan Francisco Suarez Vidaurri, a local entertainer. Recording the song with little more than a microphone held next to the musician, Rodriguez pitched the voice to match the voice of Mariachi actor Carlos Gallardo.


title: El Mariachi

text: The story of the film's production inspired Rodriguez to write the book "Rebel Without a Crew: Or How a 23-Year-Old Filmmaker with $7,000 Became a Hollywood Player".


title: El Mariachi

text: Sony's AXN channel confirmed that it would air TV series adaptation called "El Mariachi". The series premiered on March 20, 2014.


title: El Mariachi

text: The film received universal critical acclaim. Review aggregator website Rotten Tomatoes shows a 91% score based on 75 reviews, and an average rating of 6.9/10. The site's consensus states: "Made on a shoestring budget, "El Mariachi" story is not new. However, the movie has so much energy that it's thoroughly enjoyable." Metacritic reports a 73 out of 100 rating based on 9 critics, indicating "generally favorable reviews".


title: El Mariachi

text: "El Mariachi" won multiple international awards, including the Independent Spirit Award for Best First Feature (beating out MTV Movie Award for Best Movie winner "Menace II Society"). Writer/producer/director Rodriguez went on to gain international fame; he was interviewed on such shows as "Sábado Gigante" and proceeded thereafter to secure Hollywood-backing for films such as "The Faculty" and "Sin City". In December 2011, "El Mariachi" was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Citing it as the film that "helped usher in the independent movie boom of the early 1990s", the Registry gave special mention to director Robert Rodriguez and his ability to merge two separate genres of films—"the narcotraficante film, a Mexican police genre, and the transnational warrior-action film, itself rooted in Hollywood Westerns"—successfully "despite the constraints of a shoestring budget."


title: 2 Hearts (film)

text: 2 Hearts is a 2020 American romantic drama film directed by Lance Hool and starring Jacob Elordi, Adan Canto, Tiera Skovbye and Radha Mitchell. It is based on the true story of Leslie and Jorge Bacardi and Christopher Gregory. The film was theatrically released in the United States on October 16, 2020, receiving generally negative reviews from critics.


title: 2 Hearts (film)

text: Chris, one of the two main characters in the film, is shown standing on a beach, when suddenly the film fast forwards and shows him being wheeled into an operating room. The film rewinds to an earlier decade to the story of Jorge, who is playing soccer when he falls unconscious and also undergoes an operation. The doctor tells his parent that he will probably not live to the age of 20 and should not exert himself. At university, Chris bumps into Samantha (Sam) twice and starts helping her with her "safety buddies" program. An already 30-year-old Jorge meets Leslie, a flight attendant on his flight. He is the son of the Cuban owner of the Bolivar rum brand. While spending time with Jorge in Hawaii, Leslie asks him about his cough and scar and he tells her about his condition off-screen. Jorge proposes to Leslie. Chris, before taking his driving test, fills out a form at the DMV indicating he is willing to be a donor. He tells Sam that she must go on a date with him if he passes the test and they have their first date that night. Sam meets Chris' family during Easter break. Jorge and Leslie get married, without his parents, who apparently disapprove of their son marrying an American woman.


title: 2 Hearts (film)

text: While hanging out with Sam and his two best friends in the dorm, Chris suddenly falls and loses consciousness, and the film shows him being wheeled into the operating room as in the opening scene. Later, a doctor comes into his room, where Sam and Chris' parents and brother are present. When Chris wakes up, he tells Sam he wants to ask her something and the film subsequently shows their marriage. At this point, Chris, the narrator, mentions that years earlier Jorge and Leslie lived a life similar to that of him and Sam but that there were some painful differences. Leslie is shown crying next to a baby crib while Sam is shown to be pregnant. A doctor tells Jorge and Leslie that they can't have children. Chris and Sam go to pregnancy training together, while Jorge's cough gets worse. Jorge is shown with an oxygen generator, while Chris and Sam are shown with their baby. A doctor tells Jorge and Leslie that he has scheduled a lung transplant for Jorge, who is shown being wheeled to his operation in the transplant clinic.


title: 2 Hearts (film)

text: Chris is promoted to lieutenant firefighter and arrives home to share the news with Sam and their son. As the narrator, he says that this is not what actually happened, and the film returns to him being wheeled into the operating room and the doctor coming in to meet him. The next morning, the doctor informs Chris' family that Chris is braindead and that they have found suitable recipients in need of heart, lungs, liver, pancreas, kidneys and eyes, which Chris can donate. Here, the film shows the receivers of the organs getting a phone call. Chris' family is met by Chris' friends who are holding a candle wake in front of the hospital. Jorge comes to after the transplant and asks, "Who is in here breathing for me?" Leslie answers, "An angel, that is all we know." The film proceeds to show Chris' funeral. Jorge insists on knowing who his donor was, and sends a letter of gratitude to Chris' parents, and they send a letter back. Sam and Chris' parents meet with Jorge and Leslie. The final scene shows Chris on the beach as in the opening scene, looking towards Jorge and Leslie's yacht with Sam and his parents on it.


title: 2 Hearts (film)

text: Freestyle Releasing acquired distribution rights to the film in June 2020. The film was originally scheduled to be released on September 11, 2020, but due to the COVID-19 pandemic was pushed to October 16, 2020.


title: 2 Hearts (film)

text: In its opening weekend, "2 Hearts" grossed $565,000 from 1,683 theaters. It then made $313,010 in its second weekend.


title: 2 Hearts (film)

text: On review aggregator Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The website's critics consensus reads: "Its picturesque setting is as agreeable as its noble intentions, but this treacly melodrama proves "2 Hearts" aren't necessarily better than one." On Metacritic, it has a weighted average score of 29 out of 100, based on six critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: Vogue Williams

text: Vogue Williams (born 2 October 1985) is an Irish model and media personality, known for participating in "Dancing with the Stars" and "Stepping Out" and for winning the 2015 series of "".


title: Vogue Williams

text: Williams was born on 2 October 1985 in Portmarnock, a suburb of Dublin. Her parents, Sandra and former car salesman Freddie, separated when she was seven, and her father died in 2010. She was the youngest of three siblings, after brother Frederick and sister Amber; she also has two half-siblings.


title: Vogue Williams

text: Williams attended the all-girls Santa Sabina Dominican College in Sutton. After securing her Leaving Certificate, at the insistence of her property-developer stepfather Neil Wilson (who is best-known for establishing the IT company Datalex), she enrolled for and subsequently completed a degree in construction design and management at Robert Gordon University in Aberdeen. As part of her degree programme, Williams worked on building sites in London for six months. She returned to Dublin to undertake further studies in quantity surveying at the Dublin Institute of Technology.


title: Vogue Williams

text: Williams' public career began on 11 November 2010, in an Irish reality TV series "Fade Street", loosely analogous to "The Hills", which followed the lives of four Irish girls in Dublin. The episodes included Vogue's work at "Stellar Magazine", her acting studies and her interest in DJing. On 15 April 2012, Williams began her stint in the twelfth series of "Dancing with the Stars" in Australia, partnered with Christopher Page; they were the third couple to be eliminated from the competition on 6 May 2012. In 2013, Williams and Brian McFadden took part in the ITV celebrity dancing competition "Stepping Out", finishing in second place.


title: Vogue Williams

text: On 4 February 2015, Williams was confirmed to be participating in the ITV reality series "" which started airing on 20 February 2015. She won the show on 3 April 2015, beating Kelly Holmes and Mike Tindall. In December 2015, Williams appeared alongside Brian McFadden in a celebrity episode of "Catchphrase". On 21 June 2016, she was a guest panellist on an episode of "Loose Women". On 30–31 October 2016 she was a guest on "Celebrity Haunted Hotel" on W.


title: Vogue Williams

text: Williams presented her own four-part series called "Vogue Williams – On the Edge", in which she investigated issues affecting the lives of fellow "millennials", for example drugs, social anxiety, gender dysmorphia and obsessiveness around 'the body beautiful'. She was to take part in the fourth series of "The Jump" on Channel 4 in February 2017, but pulled out due to injury sustained whilst training. She was replaced by Amy Willerton.


title: Vogue Williams

text: On 4 June 2017, in the wake of terrorist attacks in Manchester and London, Williams wrote an opinion piece for the "Sunday World" entitled "Internment camps are grim necessity", which called for the establishment of internment camps for the detention without trial of "3,000 [Muslim] extremists living in the UK". She acknowledged that internment in Northern Ireland didn't work but that terrorists today could not be negotiated with. Donald Clarke of the "Irish Times" criticised her views as "illogical, totalitarian and profoundly sinister" and compared them to Breitbart and UKIP. He pointed out that internment in Northern Ireland drove Irish Republicans away from negotiation. He also criticised some response to her column as "predictably patronising, borderline sexist". Williams later said she had made a mistake and apologised for her stance, saying she had written it when she was frightened and angry and that her advocacy of internment was misguided. She also said she had received death threats.


title: Vogue Williams

text: In March 2020, Williams became the new host of "Sunday Breakfast" on Heart FM. In September 2021, she became the presenter on the Virgin Media One talent show "The Big Deal". In November 2021, she was announced as the host of a new virtual reality show called "Send Nudes", about peoples' decisions to have plastic surgery.


title: Vogue Williams

text: In May 2011, she began dating former Westlife singer Brian McFadden. Their engagement was announced on 12 January 2012 and they were married on 2 September 2012 in Florence, Italy. In June 2015, Williams purchased an apartment in Howth, near Dublin. On 7 July 2015, Williams and McFadden announced that they were separating after three years of marriage. The couple divorced in 2017.


title: Vogue Williams

text: Williams got engaged to reality TV star Spencer Matthews in January 2018; Williams and Matthews married on 9 June 2018. The couple have a son born in 2018, a daughter born in 2020 and a son born in 2022.


title: The Graham Norton Show

text: The Graham Norton Show is a British comedy chat show presented by Graham Norton. It was initially broadcast on BBC Two, from 22 February 2007, before moving to BBC One in October 2009. It currently airs on Friday evenings, with Norton succeeding "Friday Night with Jonathan Ross" in BBC One's prestigious late-Friday-evening slot in 2010.


title: The Graham Norton Show

text: A show characterised by his opening monologue, adult humour, and innuendo-laden dialogue and flamboyant presentation, Norton has received a number of awards, including the British Academy Television Award for Best Entertainment Performance three times (2011, 2012 and 2018).


title: The Graham Norton Show

text: The show mirrors "So" and "V" with strong adult humour along with Norton's monologue at the beginning of the show and often a musical guest to play out over the credits. Although the rude objects in "Graham's drawer" did not survive, the phone calls and hidden camera surprises have. These surprises are sometimes centred on the guests, such as Sarah Beeny's dating website, a TARDIS on the South Bank when David Tennant appeared and a wine-tasting group drinking Gérard Depardieu's wine whilst he was on the show. Some of the surprises, such as the wine-tasting, have been arranged through ideas submitted by viewers, stating where they will be when the show is recorded.


title: The Graham Norton Show

text: At the end of the show, after any band or artist performance, an extra five minute section of the show was recorded, known as the "Cooldown". This section was seen in an extended weekend repeat, called "Graham Norton Uncut", and was also made available as a downloadable podcast. As well as showing the "Cooldown", it also included previously unseen parts from the original episode. This section often involved the audience, such as guessing an audience member's partner or playing mass charades.


title: The Graham Norton Show

text: After Norton's short monologue, he always introduced two guests. If there was a third guest, they were usually introduced later in the show. If the two guests are connected in some way (for example, Dustin Hoffman and his wife), they were the only ones introduced at the start. If musical guests were involved in the show, one of several things happened. Some performers, such as Enrique Iglesias, were on stage from the very beginning. Others, such as Gareth Gates came on stage about 5 to 7 minutes before their performance for a short interview. Also, some musical guests only performed during the end credits and participated in the Cooldown section of the programme. However, all bands performed during the credits and were interviewed in the Cooldown segment.


title: The Graham Norton Show

text: Once the show moved to BBC One, it moved to Monday nights and the guest list increased to three or occasionally four people with an accompanying reduction in Norton's signature pieces. A typical show consisted of one big celebrity name, a comedian sitting in the aforementioned "comedy chair" and a well-known musical personality who would all be introduced after the monologue. Sometimes, three guests are introduced at the top of the show with the musical guest brought in about 10 to 15 minutes before the end of the show.


title: The Graham Norton Show

text: Unlike the BBC Two show, the BBC One show does not end with the musical performance, but with a new audience participation segment called "That's All We've Got Time For", where audience members sit in the famous red chair and begin to tell a humorous story. Norton and his guests listen to the stories and if Norton gets bored, he – or occasionally a guest – pulls the lever and the chair falls backwards, dumping the speaker from it. The red chair segment was inspired by comedian Ronnie Corbett's long-winded armchair monologues.


title: The Graham Norton Show

text: After the end of "Friday Night with Jonathan Ross", it was announced that "The Graham Norton Show" would be taking over the coveted Friday night slot. The show premiered on 22 October 2010.


title: The Graham Norton Show

text: The first series began at 10 pm on 22 February 2007 on BBC Two and was originally slated to end on 24 May 2007 after 13 episodes. However, the series proved such a hit that it was extended for an additional six episodes. A 12-week second series began on 11 October 2007 and culminated with a Boxing Day special and a New Year's compilation from previous episodes.


title: The Graham Norton Show

text: The show made its North American premiere on BBC America on 2 June 2007, one week after what was supposed to be the final episode of Series 1 (before its extension).


title: The Graham Norton Show

text: Series 2 premiered on BBC America on 20 October 2007. Unlike the previous series, each episode premiered in the United States only nine days after its initial UK broadcast. However, the final three episodes were broadcast in reverse order (with Episode 12 being shown on BBC America a few days earlier than on BBC Two. The same thing occurred in Series 4 with the Christmas special airing on BBC America 10 days before the BBC Two broadcast.


title: The Graham Norton Show

text: Series 3 began its run on 17 April 2008. For series 3, the "Cooldown" segment had been dropped and the show was just the full uncut 45-minute version.


title: The Graham Norton Show

text: The show continued to be broadcast in a 30-minute version on Thursdays at 10:00 pm with "Graham Norton Uncut", the uncut version, shown on Sundays at 11:00 pm in a 45-minute version. However, BBC Two in Wales sometimes would broadcast the Thursday edition later than the rest of the BBC Two regions, usually after "Newsnight" at 11.20 pm because they would usually have local programmes in the 10 pm slot. BBC Two Northern Ireland did the same and during series three, they broadcast Thursday's show on Friday nights at 10 pm on BBC Two Northern Ireland because of local programming on Thursdays.


title: The Graham Norton Show

text: Series 4 began its run on 3 October 2008 at 10:00 pm on BBC Two (however, both BBC Two Wales and BBC Two Northern Ireland broadcast the show at a later time due to their regional programming). The Sunday uncut editions have been kept, with the first uncut edition broadcast on BBC Two late on Sunday night.


title: The Graham Norton Show

text: Since its sixth series, "The Graham Norton Show" has aired on BBC One. As of January 2022, there have been 29 series of the show.


title: The Graham Norton Show

text: In late January 2017, it was confirmed that Norton had signed a new three-year deal with the BBC which, along with his BBC Radio 2 show, Eurovision commentary duties and other projects for the BBC, would also keep "The Graham Norton Show" on BBC One until at least 2020. Norton said: "I think we've just done a deal for another three years, which, right now, feels like a long time."


title: The Graham Norton Show

text: "The Graham Norton Show" had been produced from the ITV Studios on London's Southbank since it began in 2007. Norton had used the London Studios since 1998 for his first talk show on Channel 4, "So Graham Norton". The show produced its final episode from The London Studios on Thursday 15 February 2018 which aired on BBC One on Friday 16 February 2018. At the end of the final show, a photograph was taken of all the crew on the sofa along with Norton with a caption reading "Love, thanks and goodbye to The London Studios". The production of the show moved to Studio TC1 at BBC Television Centre in West London, operated by BBC Studioworks. The first edition to be recorded at Television Centre was on Thursday 5 April 2018, which aired on BBC One on Friday 6 April 2018.


title: The Graham Norton Show

text: Series 27, which began on 10 April 2020, adopted a slightly different format due to the continuing global coronavirus pandemic. Initially airing in an earlier timeslot of 9:00 pm and its running time reduced to 30 minutes, the programme was presented by Norton from his own home chatting to guests via video link. After four episodes, the show returned to its 10:35 pm timeslot.


title: The Graham Norton Show

text: Series 28, which began on 2 October 2020, saw the programme return to the studio, albeit with some layout changes to allow Norton and the studio guests to observe social distancing. Each guest has their own chair positioned 2 metres apart from each other with Norton sat in the middle of the semi-circular layout. Guests who are based abroad continue to join in remotely via video link and a reduced capacity audience, wearing face coverings, were allowed to attend the recordings. From the sixth episode onwards, the studio audience was replaced by a virtual audience, due to the UK entering a new national lockdown.


title: The Graham Norton Show

text: Series 30, which began on 30 September 2022, sees the return of the big red sofa with all guests sitting closer together, however the larger screen remains to beam in virtual guests.


title: The Graham Norton Show

text: Across Scandinavia, "The Graham Norton Show" is frequently shown on cable and satellite channels BBC Brit, formerly known as BBC Entertainment. Episodes are usually shown a week after their original UK airing on BBC One, while reruns from past seasons are shown overnight or during the day. Swedish state television SVT streams the show with a delay of several weeks on its VOD service SVT Play.


title: The Graham Norton Show

text: In Greece, the show is broadcast on Cosmote Series HD which is a pay channel available on Cosmote TV. The episodes are shown in English with Greek subtitles and are broadcast a few days after the UK.


title: The Graham Norton Show

text: In Latin America, Poland and several countries in continental Europe, "The Graham Norton Show" is aired on satellite channel BBC Entertainment. Episodes are usually shown a week after their original UK airing on BBC One, while re-runs from past series are shown over-night or during daytime.


title: The Graham Norton Show

text: In the United States, the show began airing on Saturday nights in June 2007. Starting 11 April 2013, cable/satellite network BBC America aired new episodes on Thursdays. From 2014 to 2015, it then aired every Saturday night on BBC America, normally eight days after the BBC. In November 2015, The Weinstein Company bought the series rights in the United States and took a break while negotiating a new contract with BBC America. On 18 January 2016, BBC America aired the 2015 New Year's Eve episode. On 21 January 2016, the network announced that the programme would be returning on Monday, 25 January 2016, with new episodes now airing three days after the BBC airing. In 2017, the series moved back to its original Saturday time slot. In 2018, the show moved to a Friday night time slot, which airs new episodes a week after the BBC airing.


title: The Graham Norton Show

text: In Ireland, the show is broadcast on TV3 and its sister channel 3e one day after the BBC broadcast on Saturdays. In January 2015, UTV Ireland aired the show every Sunday night. TV3 Group continued to air "Best of" Specials recorded prior to 2015. This arrangement changed in January 2017 when the TV3 Group bought UTV Ireland and changed it to "be3". TV3 then moved The Graham Norton Show back to their main channel, where it airs every Saturday, 24 hours after UK transmission, usually at around 10.pm. In August 2018, TV3 rebranded to become Virgin Media One, with The Graham Norton Show remaining on the channel.


title: The Graham Norton Show

text: In Australia, the series is broadcast on Network Ten on Friday nights, airing one week after the original broadcast in the UK. Additionally, for Pay TV viewers (Foxtel and Austar), it airs on UKTV at 9.30pm Mondays, with repeats on Tuesdays and Saturdays. It previously aired on ABC2 on Thursdays from 2007 to 2012.


title: The Graham Norton Show

text: In New Zealand, the show was originally broadcast on UKTV. Since the start of Series 11 on 4 May 2012, the show has been broadcast on TV3 on Friday nights.


title: The Graham Norton Show

text: In India, Pakistan, Bangladesh, Sri Lanka, Nepal, Bhutan and Maldives "The Graham Norton Show" airs Saturday nights on Comedy Central a week after the BBC broadcast.


title: Dart (programming language)

text: Dart is a programming language designed for client development, such as for the web and mobile apps. It is developed by Google and can also be used to build server and desktop applications.


title: Dart (programming language)

text: It is an object-oriented, class-based, garbage-collected language with C-style syntax. It can compile to either machine code or JavaScript, and supports interfaces, mixins, abstract classes, reified generics and type inference.


title: Dart (programming language)

text: Dart was unveiled at the GOTO conference in Aarhus, Denmark, October 10–12, 2011. The project was founded by Lars Bak and Kasper Lund. Dart 1.0 was released on November 14, 2013.


title: Dart (programming language)

text: Dart initially had a mixed reception and the Dart initiative has been criticized by some for fragmenting the web, due to the original plans to include a Dart VM in Chrome. Those plans were dropped in 2015 with the 1.9 release of Dart to focus instead on compiling Dart to JavaScript.


title: Dart (programming language)

text: Dart 2.6 introduced a new extension, dart2native, which extends native compilation to the Linux, macOS, and Windows desktop platforms. Earlier developers could create new tools using only Android or iOS devices. With this extension it also becomes possible to compose a program into self-contained executables. According to company representatives, it's no longer necessary to have the Dart SDK installed, as the self-contained executables can now start running in a few seconds. The new extension is also integrated with the Flutter toolkit, making it possible to use the compiler on small services (for example, backend support).


title: Dart (programming language)

text: Ecma International has formed technical committee TC52 to work on standardizing Dart, and inasmuch as Dart can be compiled to standard JavaScript, it works effectively in any modern browser. EI approved the first version of the Dart language specification in July 2014 at its 107th General Assembly, and a second edition in December 2014. The latest specification is available here.


title: Dart (programming language)

text: To achieve concurrency, Dart uses isolates, independent workers that do not share memory, but use message passing, similarly to Erlang processes (also see actor model). Every Dart program uses at least one isolate, which is the main isolate. Since Dart 2, the Dart web platform no longer supports isolates, and suggests developers use Web Workers instead.


title: Dart (programming language)

text: Google has introduced Flutter for native mobile app development on Android, iOS and Windows. Flutter is a mobile app SDK, complete with framework, widgets, and tools, that gives developers a way to build and deploy mobile apps, written in Dart. Flutter works with Firebase and other databases like sqflite provided by flutter at pub.dev and other mobile app SDKs, and is open source.


title: Dart (programming language)

text: The Dart SDK contains two Dart-to-JavaScript compilers. During development, dartdevc supports quick refresh cycles. For the final version of an app, dart2js produces deployable JavaScript.


title: Dart (programming language)

text: The first compiler to generate JavaScript from Dart code was dartc, but it was deprecated. The second Dart-to-JavaScript compiler was Frog. It was written in Dart, but never implemented the full semantics of the language. The third Dart-to-JavaScript compiler was dart2js. An evolution of earlier compilers, dart2js is written in Dart and intended to implement the full Dart language specification and semantics.


title: Dart (programming language)

text: On March 28, 2013, the Dart team posted an update on their blog addressing Dart code compiled to JavaScript with the dart2js compiler, stating that it now runs faster than handwritten JavaScript on Chrome's V8 JavaScript engine for the DeltaBlue benchmark.


title: Dart (programming language)

text: On November 18, 2011, Google released Dart Editor, an open-source program based on Eclipse components, for macOS, Windows, and Linux-based operating systems. The editor supports syntax highlighting, code completion, JavaScript compiling, running web and server Dart applications, and debugging.


title: Dart (programming language)

text: On April 18, 2015, Google announced that the Dart Editor would be retired in favor of the JetBrains integrated development environment (IDE), which is now the recommended IDE for the language. The Dart plugin is available for IntelliJ IDEA, PyCharm, PhpStorm and WebStorm. This plugin supports many features such as syntax highlighting, code completion, analysis, refactoring, debugging, and more. Other plugins are available for editors like Sublime Text, Atom, Emacs, Vim and Visual Studio Code.


title: Dart (programming language)

text: In 2013, the Chromium team began work on an open source, Chrome App-based development environment with a reusable library of GUI widgets, codenamed Spark. The project was later renamed as Chrome Dev Editor. It was built in Dart, and contained Spark which is powered by Polymer.


title: Dart (programming language)

text: In June 2015, Google transferred the CDE project to GitHub as a free software project and ceased active investment in CDE. As of April 2019 Chrome Dev Editor is no longer in active development.


title: Dart (programming language)

text: The Dart team created DartPad at the start of 2015, to provide an easier way to start using Dart. It is a fully online editor from which users can experiment with Dart application programming interfaces (APIs), and run Dart code. It provides syntax highlighting, code analysis, code completion, documentation, and HTML and CSS editing.


title: Dart (programming language)

text: In 2013, John McCutchan announced that he had created a performant interface to single instruction, multiple data (SIMD) instruction sets for Dart.


title: Dart (programming language)

text: Instances of these types are immutable and in optimized code are mapped directly to SIMD registers. Operations expressed in Dart typically are compiled into one instruction with no overhead. This is similar to C and C++ intrinsics. Benchmarks for 4×4 matrix multiplication, 3D vertex transformation, and Mandelbrot set visualization show near 400% speedup compared to scalar code written in Dart.


title: Dart (programming language)

text: The method cascade syntax, which provides a syntactic shortcut for invoking several methods one after another on the same object, is adopted from Smalltalk.


title: Dart (programming language)

text: Dart makes use of isolates as a concurrency and security unit when structuring applications. The Isolate concept builds upon the Actor model, which is most famously implemented in Erlang.


title: Dart (programming language)

text: The Mirror API for performing controlled and secure reflection was first proposed in a paper by Gilad Bracha (who was a member of the Dart team) and David Ungar and originally implemented in Self.


title: Color television

text: Color television or Colour television is a television transmission technology that includes color information for the picture, so the video image can be displayed in color on the television set. It improves on the monochrome or black-and-white television technology, which displays the image in shades of gray (grayscale). Television broadcasting stations and networks in most parts of the world upgraded from black-and-white to color transmission between the 1960s and the 1980s. The invention of color television standards was an important part of the history and technology of television.


title: Color television

text: Transmission of color images using mechanical scanners had been conceived as early as the 1880s. A demonstration of mechanically scanned color television was given by John Logie Baird in 1928, but its limitations were apparent even then. Development of electronic scanning and display made a practical system possible. Monochrome transmission standards were developed prior to World War II, but civilian electronics development was frozen during much of the war. In August 1944, Baird gave the world's first demonstration of a practical fully electronic color television display. In the United States, competing color standards were developed, finally resulting in the NTSC color standard that was compatible with the prior monochrome system. Although the NTSC color standard was proclaimed in 1953 and limited programming soon became available, it was not until the early 1970s that color television in North America outsold black-and-white/monochrome units. Color broadcasting in Europe did not standardize on the PAL or SECAM formats until the 1960s.


title: Color television

text: Broadcasters began to upgrade from analog color television technology to higher resolution digital television ; the exact year varies by country. The changeover is complete in many countries, but analog television remains in use elsewhere.


title: Color television

text: The human eye's detection system in the retina consists primarily of two types of light detectors: rod cells that capture light, dark, and shapes/figures, and the cone cells that detect color. A typical retina contains 120 million rods and 4.5 million to 6 million cones, which are divided into three types, each one with a characteristic profile of excitability by different wavelengths of the spectrum of visible light. This means that the eye has far more resolution in brightness, or "luminance", than in color. However, post-processing of the optic nerve and other portions of the human visual system combine the information from the rods and cones to re-create what appears to be a high-resolution color image.


title: Color television

text: The eye has limited bandwidth to the rest of the visual system, estimated at just under 8 Mbit/s. This manifests itself in a number of ways, but the most important in terms of producing moving images is the way that a series of still images displayed in quick succession will appear to be continuous smooth motion. This illusion starts to work at about 16 frame/s, and common motion pictures use 24 frame/s. Television, using power from the electrical grid, historically tuned its rate in order to avoid interference with the alternating current being supplied – in North America, some Central and South American countries, Taiwan, Korea, part of Japan, the Philippines, and a few other countries, this was 60 video fields per second to match the 60 Hz power, while in most other countries it was 50 fields per second to match the 50 Hz power. The NTSC color system changed from the black-and-white 60-fields-per-second standard to 59.94 fields per second to make the color circuitry simpler; the 1950s TV sets had matured enough that the power frequency/field rate mismatch was no longer important. Modern TV sets can display multiple field rates (50, 59.94, or 60, in either interlaced or progressive scan) while accepting power at various frequencies (often the operating range is specified as 48–62 Hz).


title: Color television

text: In its most basic form, a color broadcast can be created by broadcasting three monochrome images, one each in the three colors of red, green, and blue (RGB). When displayed together or in rapid succession, these images will blend together to produce a full-color image as seen by the viewer. To do so without making the images flicker, the refresh time of all three images put together would have to be above the critical limit, and generally the same as a single black and white image. This would require three times the number of images to be sent in the same time, and thus greatly increase the amount of radio bandwidth required to send the complete signal and thus similarly increase the required radio spectrum. Early plans for color television in the United States included a move from very high frequency (VHF) to ultra high frequency (UHF) to open up additional spectrum.


title: Color television

text: One of the great technical challenges of introducing color broadcast television was the desire to conserve bandwidth. In the United States, after considerable research, the National Television Systems Committee approved an all-electronic system developed by RCA that encoded the color information separately from the brightness information and greatly reduced the resolution of the color information in order to conserve bandwidth. The brightness image remained compatible with existing black-and-white television sets at slightly reduced resolution, while color-capable televisions could decode the extra information in the signal and produce a limited-resolution color display. The higher resolution black-and-white and lower resolution color images combine in the eye to produce a seemingly high-resolution color image. The NTSC standard represented a major technical achievement.


title: Color television

text: Experiments with facsimile image transmission systems that used radio broadcasts to transmit images date to the 19th century. It was not until the 20th century that advances in electronics and light detectors made what we know as television practical. A key problem was the need to convert a 2D image into a "1D" radio signal; some form of image scanning was needed to make this work. Early systems generally used a device known as a "Nipkow disk", which was a spinning disk with a series of holes punched in it that caused a spot to scan across and down the image. A single photodetector behind the disk captured the image brightness at any given spot, which was converted into a radio signal and broadcast. A similar disk was used at the receiver side, with a light source behind the disk instead of a detector.


title: Color television

text: A number of such mechanical television systems were being used experimentally in the 1920s. The best-known was John Logie Baird's, which was actually used for regular public broadcasting in Britain for several years. Indeed, Baird's system was demonstrated to members of the Royal Institution in London in 1926 in what is generally recognized as the first demonstration of a true, working television system. In spite of these early successes, all mechanical television systems shared a number of serious problems. Being mechanically driven, perfect synchronization of the sending and receiving discs was not easy to ensure, and irregularities could result in major image distortion. Another problem was that the image was scanned within a small, roughly rectangular area of the disk's surface, so that larger, higher-resolution displays required increasingly unwieldy disks and smaller holes that produced increasingly dim images. Rotating drums bearing small mirrors set at progressively greater angles proved more practical than Nipkow discs for high-resolution mechanical scanning, allowing images of 240 lines and more to be produced, but such delicate, high-precision optical components were not commercially practical for home receivers.


title: Color television

text: It was clear to a number of developers that a completely electronic scanning system would be superior, and that the scanning could be achieved in a vacuum tube via electrostatic or magnetic means. Converting this concept into a usable system took years of development and several independent advances. The two key advances were Philo Farnsworth's electronic scanning system, and Vladimir Zworykin's Iconoscope camera. The Iconoscope, based on Kálmán Tihanyi's early patents, superseded the Farnsworth-system. With these systems, the BBC began regularly scheduled black-and-white television broadcasts in 1936, but these were shut down again with the start of World War II in 1939. In this time thousands of television sets had been sold. The receivers developed for this program, notably those from Pye Ltd., played a key role in the development of radar.


title: Color television

text: By 22 March 1935, 180-line black-and-white television programs were being broadcast from the Paul Nipkow TV station in Berlin. In 1936, under the guidance of the Minister of Public Enlightenment and Propaganda, Joseph Goebbels, direct transmissions from fifteen mobile units at the Olympic Games in Berlin were transmitted to selected small television houses () in Berlin and Hamburg.


title: Color television

text: In 1941, the first NTSC meetings produced a single standard for US broadcasts. US television broadcasts began in earnest in the immediate post-war era, and by 1950 there were 6 million televisions in the United States.


title: Color television

text: The basic idea of using three monochrome images to produce a color image had been experimented with almost as soon as black-and-white televisions had first been built.


title: Color television

text: Among the earliest published proposals for television was one by Maurice Le Blanc in 1880 for a color system, including the first mentions in television literature of line and frame scanning, although he gave no practical details. Polish inventor Jan Szczepanik patented a color television system in 1897, using a selenium photoelectric cell at the transmitter and an electromagnet controlling an oscillating mirror and a moving prism at the receiver. But his system contained no means of analyzing the spectrum of colors at the transmitting end, and could not have worked as he described it. An Armenian inventor, Hovannes Adamian, also experimented with color television as early as 1907. The first color television project is claimed by him, and was patented in Germany on March 31, 1908, patent number 197183, then in Britain, on April 1, 1908, patent number 7219, in France (patent number 390326) and in Russia in 1910 (patent number 17912).


title: Color television

text: Shortly after his practical demonstration of black and white television, on July 3, 1928, Baird demonstrated the world's first color transmission. This used scanning discs at the transmitting and receiving ends with three spirals of apertures, each spiral with filters of a different primary color; and three light sources, controlled by the signal, at the receiving end, with a commutator to alternate their illumination. The demonstration was of a young girl wearing different colored hats. The girl, Noele Gordon, later became a TV actress in the soap opera "Crossroads". Baird also made the world's first color over-the-air broadcast on February 4, 1938, sending a mechanically scanned 120-line image from Baird's Crystal Palace studios to a projection screen at London's Dominion Theatre.


title: Color television

text: Mechanically scanned color television was also demonstrated by Bell Laboratories in June 1929 using three complete systems of photoelectric cells, amplifiers, glow-tubes, and color filters, with a series of mirrors to superimpose the red, green, and blue images into one full-color image.


title: Color television

text: As was the case with black-and-white television, an electronic means of scanning would be superior to the mechanical systems like Baird's. The obvious solution on the broadcast end would be to use three conventional Iconoscopes with colored filters in front of them to produce an RGB signal. Using three separate tubes each looking at the same scene would produce slight differences in parallax between the frames, so in practice a single lens was used with a mirror or prism system to separate the colors for the separate tubes. Each tube captured a complete frame and the signal was converted into radio in a fashion essentially identical to the existing black-and-white systems.


title: Color television

text: The problem with this approach was there was no simple way to recombine them on the receiver end. If each image was sent at the same time on different frequencies, the images would have to be "stacked" somehow on the display, in real time. The simplest way to do this would be to reverse the system used in the camera: arrange three separate black-and-white displays behind colored filters and then optically combine their images using mirrors or prisms onto a suitable screen, like frosted glass. RCA built just such a system in order to present the first electronically scanned color television demonstration on February 5, 1940, privately shown to members of the US Federal Communications Commission at the RCA plant in Camden, New Jersey. This system, however, suffered from the twin problems of costing at least three times as much as a conventional black-and-white set, as well as having very dim pictures, the result of the fairly low illumination given off by tubes of the era. Projection systems of this sort would become common decades later, however, with improvements in technology.


title: Color television

text: Another solution would be to use a single screen, but break it up into a pattern of closely spaced colored phosphors instead of an even coating of white. Three receivers would be used, each sending its output to a separate electron gun, aimed at its colored phosphor. However, this solution was not practical. The electron guns used in monochrome televisions had limited resolution, and if one wanted to retain the resolution of existing monochrome displays, the guns would have to focus on individual dots three times smaller. This was beyond the state of the art of the technology at the time.


title: Color television

text: Instead, a number of hybrid solutions were developed that combined a conventional monochrome display with a colored disk or mirror. In these systems the three colored images were sent one after each other, in either complete frames in the "field-sequential color system", or for each line in the "line-sequential" system. In both cases a colored filter was rotated in front of the display in sync with the broadcast. Since three separate images were being sent in sequence, if they used existing monochrome radio signaling standards they would have an effective refresh rate of only 20 fields, or 10 frames, a second, well into the region where flicker would become visible. In order to avoid this, these systems increased the frame rate considerably, making the signal incompatible with existing monochrome standards.


title: Color television

text: The first practical example of this sort of system was again pioneered by John Logie Baird. In 1940 he publicly demonstrated a color television combining a traditional black-and-white display with a rotating colored disk. This device was very "deep", but was later improved with a mirror folding the light path into an entirely practical device resembling a large conventional console. However, Baird was not happy with the design, and as early as 1944 had commented to a British government committee that a fully electronic device would be better.


title: Color television

text: In 1939, Hungarian engineer Peter Carl Goldmark introduced an electro-mechanical system while at CBS, which contained an Iconoscope sensor. The CBS field-sequential color system was partly mechanical, with a disc made of red, blue, and green filters spinning inside the television camera at 1,200 rpm, and a similar disc spinning in synchronization in front of the cathode ray tube inside the receiver set. The system was first demonstrated to the Federal Communications Commission (FCC) on August 29, 1940, and shown to the press on September 4.


title: Color television

text: CBS began experimental color field tests using film as early as August 28, 1940, and live cameras by November 12. NBC (owned by RCA) made its first field test of color television on February 20, 1941. CBS began daily color field tests on June 1, 1941. These color systems were not compatible with existing black-and-white television sets, and as no color television sets were available to the public at this time, viewing of the color field tests was restricted to RCA and CBS engineers and the invited press. The War Production Board halted the manufacture of television and radio equipment for civilian use from April 22, 1942, to August 20, 1945, limiting any opportunity to introduce color television to the general public.


title: Color television

text: As early as 1940, Baird had started work on a fully electronic system he called the "Telechrome". Early Telechrome devices used two electron guns aimed at either side of a phosphor plate. The phosphor was patterned so the electrons from the guns only fell on one side of the patterning or the other. Using cyan and magenta phosphors, a reasonable limited-color image could be obtained. Baird's demonstration on August 16, 1944, was the first example of a practical color television system. Work on the Telechrome continued and plans were made to introduce a three-gun version for full color. However, Baird's untimely death in 1946 ended the development of the Telechrome system.


title: Color television

text: Similar concepts were common through the 1940s and 1950s, differing primarily in the way they re-combined the colors generated by the three guns. The Geer tube was similar to Baird's concept, but used small pyramids with the phosphors deposited on their outside faces, instead of Baird's 3D patterning on a flat surface. The Penetron used three layers of phosphor on top of each other and increased the power of the beam to reach the upper layers when drawing those colors. The Chromatron used a set of focusing wires to select the colored phosphors arranged in vertical stripes on the tube.


title: Color television

text: In the immediate post-war era, the Federal Communications Commission (FCC) was inundated with requests to set up new television stations. Worrying about congestion of the limited number of channels available, the FCC put a moratorium on all new licenses in 1948 while considering the problem. A solution was immediately forthcoming; rapid development of radio receiver electronics during the war had opened a wide band of higher frequencies to practical use, and the FCC set aside a large section of these new UHF bands for television broadcast. At the time, black-and-white television broadcasting was still in its infancy in the U.S., and the FCC started to look at ways of using this newly available bandwidth for color broadcasts. Since no existing television would be able to tune in these stations, they were free to pick an incompatible system and allow the older VHF channels to die off over time.


title: Color television

text: The FCC called for technical demonstrations of color systems in 1948, and the Joint Technical Advisory Committee (JTAC) was formed to study them. CBS displayed improved versions of its original design, now using a single 6 MHz channel (like the existing black-and-white signals) at 144 fields per second and 405 lines of resolution. Color Television Inc. (CTI) demonstrated its line-sequential system, while Philco demonstrated a dot-sequential system based on its beam-index tube-based "Apple" tube technology. Of the entrants, the CBS system was by far the best-developed, and won head-to-head testing every time.


title: Color television

text: While the meetings were taking place it was widely known within the industry that RCA was working on a dot-sequential system that was compatible with existing black-and-white broadcasts, but RCA declined to demonstrate it during the first series of meetings. Just before the JTAC presented its findings, on August 25, 1949, RCA broke its silence and introduced its system as well. The JTAC still recommended the CBS system, and after the resolution of an ensuing RCA lawsuit, color broadcasts using the CBS system started on June 25, 1951. By this point the market had changed dramatically; when color was first being considered in 1948 there were fewer than a million television sets in the U.S., but by 1951 there were well over 10 million. The idea that the VHF band could be allowed to "die" was no longer practical.


title: Color television

text: During its campaign for FCC approval, CBS gave the first demonstrations of color television to the general public, showing an hour of color programs daily Mondays through Saturdays, beginning January 12, 1950, and running for the remainder of the month, over WOIC in Washington, D.C., where the programs could be viewed on eight 16-inch color receivers in a public building. Due to high public demand, the broadcasts were resumed February 13–21, with several evening programs added. CBS initiated a limited schedule of color broadcasts from its New York station WCBS-TV Mondays to Saturdays beginning November 14, 1950, making ten color receivers available for the viewing public. All were broadcast using the single color camera that CBS owned. The New York broadcasts were extended by coaxial cable to Philadelphia's WCAU-TV beginning December 13, and to Chicago on January 10, making them the first network color broadcasts.


title: Color television

text: After a series of hearings beginning in September 1949, the FCC found the RCA and CTI systems fraught with technical problems, inaccurate color reproduction, and expensive equipment, and so formally approved the CBS system as the U.S. color broadcasting standard on October 11, 1950. An unsuccessful lawsuit by RCA delayed the first commercial network broadcast in color until June 25, 1951, when a musical variety special titled simply "Premiere" was shown over a network of five East Coast CBS affiliates. Viewing was again restricted: the program could not be seen on black-and-white sets, and "Variety" estimated that only thirty prototype color receivers were available in the New York area. Regular color broadcasts began that same week with the daytime series "The World Is Yours" and "Modern Homemakers".


title: Color television

text: While the CBS color broadcasting schedule gradually expanded to twelve hours per week (but never into prime time), and the color network expanded to eleven affiliates as far west as Chicago, its commercial success was doomed by the lack of color receivers necessary to watch the programs, the refusal of television manufacturers to create adapter mechanisms for their existing black-and-white sets, and the unwillingness of advertisers to sponsor broadcasts seen by almost no one. CBS had bought a television manufacturer in April, and in September 1951, production began on the only CBS-Columbia color television model, with the first color sets reaching retail stores on September 28. However, it was too little, too late. Only 200 sets had been shipped, and only 100 sold, when CBS discontinued its color television system on October 20, 1951, ostensibly by request of the National Production Authority for the duration of the Korean War, and bought back all the CBS color sets it could to prevent lawsuits by disappointed customers. RCA chairman David Sarnoff later charged that the NPA's order had come "out of a situation artificially created by one company to solve its own perplexing problems" because CBS had been unsuccessful in its color venture.


title: Color television

text: While the FCC was holding its JTAC meetings, development was taking place on a number of systems allowing true simultaneous color broadcasts, "dot-sequential color systems". Unlike the hybrid systems, dot-sequential televisions used a signal very similar to existing black-and-white broadcasts, with the intensity of every dot on the screen being sent in succession.


title: Color television

text: In 1938 Georges Valensi demonstrated an encoding scheme that would allow color broadcasts to be encoded so they could be picked up on existing black-and-white sets as well. In his system the output of the three camera tubes were re-combined to produce a single "luminance" value that was very similar to a monochrome signal and could be broadcast on the existing VHF frequencies. The color information was encoded in a separate "chrominance" signal, consisting of two separate signals, the original blue signal minus the luminance (B'–Y'), and red-luma (R'–Y'). These signals could then be broadcast separately on a different frequency; a monochrome set would tune in only the luminance signal on the VHF band, while color televisions would tune in both the luminance and chrominance on two different frequencies, and apply the reverse transforms to retrieve the original RGB signal. The downside to this approach is that it required a major boost in bandwidth use, something the FCC was interested in avoiding.


title: Color television

text: RCA used Valensi's concept as the basis of all of its developments, believing it to be the only proper solution to the broadcast problem. However, RCA's early sets using mirrors and other projection systems all suffered from image and color quality problems, and were easily bested by CBS's hybrid system. But solutions to these problems were in the pipeline, and RCA in particular was investing massive sums (later estimated at $100 million) to develop a usable dot-sequential tube. RCA was beaten to the punch by the Geer tube, which used three B&W tubes aimed at different faces of colored pyramids to produce a color image. All-electronic systems included the Chromatron, Penetron and beam-index tube that were being developed by various companies. While investigating all of these, RCA's teams quickly started focusing on the shadow mask system.


title: Color television

text: In July 1938 the shadow mask color television was patented by Werner Flechsig (1900–1981) in Germany, and was demonstrated at the International radio exhibition Berlin in 1939. Most CRT color televisions used today are based on this technology. His solution to the problem of focusing the electron guns on the tiny colored dots was one of brute-force; a metal sheet with holes punched in it allowed the beams to reach the screen only when they were properly aligned over the dots. Three separate guns were aimed at the holes from slightly different angles, and when their beams passed through the holes the angles caused them to separate again and hit the individual spots a short distance away on the back of the screen. The downside to this approach was that the mask cut off the vast majority of the beam energy, allowing it to hit the screen only 15% of the time, requiring a massive increase in beam power to produce acceptable image brightness.


title: Color television

text: The first publicly announced network demonstration of a program using a "compatible color" system was an episode of NBC's Kukla, Fran and Ollie on October 10, 1949, viewable in color only at the FCC. It did not receive FCC approval.


title: Color television

text: In spite of these problems in both the broadcast and display systems, RCA pressed ahead with development and was ready for a second assault on the standards by 1950.


title: Color television

text: The possibility of a compatible color broadcast system was so compelling that the NTSC decided to re-form, and held a second series of meetings starting in January 1950. Having only recently selected the CBS system, the FCC heavily opposed the NTSC's efforts. One of the FCC Commissioners, R. F. Jones, went so far as to assert that the engineers testifying in favor of a compatible system were "in a conspiracy against the public interest".


title: Color television

text: Unlike the FCC approach where a standard was simply selected from the existing candidates, the NTSC would produce a board that was considerably more pro-active in development.


title: Color television

text: Starting before CBS color even got on the air, the U.S. television industry, represented by the National Television System Committee, worked in 1950–1953 to develop a color system that was compatible with existing black-and-white sets and would pass FCC quality standards, with RCA developing the hardware elements. RCA first made publicly announced field tests of the dot sequential color system over its New York station WNBT in July 1951. When CBS testified before Congress in March 1953 that it had no further plans for its own color system, the National Production Authority dropped its ban on the manufacture of color television receivers, and the path was open for the NTSC to submit its petition for FCC approval in July 1953, which was granted on December 17. The first publicly announced network demonstration of a program using the NTSC "compatible color" system was an episode of NBC's "Kukla, Fran and Ollie" on August 30, 1953, although it was viewable in color only at the network's headquarters. The first network broadcast to go out over the air in NTSC color was a performance of the opera "Carmen" on October 31, 1953.


title: Color television

text: Color broadcasts from the United States were available to Canadian population centers near the border since the mid-1950s. At the time that NTSC color broadcasting was officially introduced into Canada in 1966, less than one percent of Canadian households had a color television set. Color television in Canada was launched on the Canadian Broadcasting Corporation's (CBC) English language TV service on September 1, 1966. Private television broadcaster CTV also started color broadcasts in early September 1966.


title: Color television

text: The CBC's French-language TV service, Radio-Canada, was broadcasting color programming for 15 hours a week in 1968. Full-time color transmissions started in 1974 on the CBC, with other private sector broadcasters in the country doing so by the end of the 1970s.


title: Color television

text: Cuba in 1958 became the second country in the world to introduce color television broadcasting, with Havana's Channel 12 using standards established by the NTSC Committee of United States Federal Communications Commission in 1940, and American technology patented by the American electronics company RCA, or Radio Corporation of America. But the color transmissions ended when broadcasting stations were seized in the Cuban Revolution in 1959, and did not return until 1975, using equipment acquired from Japan's NEC Corporation, and SECAM equipment from the Soviet Union, adapted for the American NTSC standard.


title: Color television

text: Guillermo González Camarena independently invented and developed a field-sequential tricolor disk system in Mexico in the late 1930s, for which he requested a patent in México on August 19, 1940, and in the United States in 1941. González Camarena produced his color television system in his Gon-Cam laboratory for the Mexican market and exported it to the Columbia College of Chicago, which regarded it as the best system in the world. Goldmark had actually applied for a patent for the same field-sequential tricolor system in the US on September 7, 1940, while González Camarena had made his Mexican filing 19 days before, on August 19.


title: Color television

text: On August 31, 1946, González Camarena sent his first color transmission from his lab in the offices of the Mexican League of Radio Experiments at Lucerna St. No. 1, in Mexico City. The video signal was transmitted at a frequency of 115 MHz and the audio in the 40-metre band. He obtained authorization to make the first publicly announced color broadcast in Mexico, on February 8, 1963, of the program "Paraíso Infantil" on Mexico City's XHGC-TV, using the NTSC system that had by now been adopted as the standard for color programming.


title: Color television

text: González Camarena also invented the "simplified Mexican color TV system" as a much simpler and cheaper alternative to the NTSC system. Due to its simplicity, NASA used a modified version of the system in its Voyager mission of 1979, to take pictures and video of Jupiter.


title: Color television

text: Although all-electronic color was introduced in the US in 1953, high prices and the scarcity of color programming greatly slowed its acceptance in the marketplace. The first national color broadcast (the 1954 Tournament of Roses Parade) occurred on January 1, 1954, but over the next dozen years most network broadcasts, and nearly all local programming, continued to be in black-and-white. In 1956, NBC's "The Perry Como Show" became the first live network television series to present a majority of episodes in color. CBS's "The Big Record", starring pop vocalist Patti Page, was the first television show broadcast in color for the entire 1957–1958 season; its production costs were greater than most movies were at the time not only because of all the stars featured on the hour-long extravaganza but the extremely high-intensity lighting and electronics required for the new RCA TK-41 cameras, which were the first practical color television cameras.


title: Color television

text: It was not until the mid-1960s that color sets started selling in large numbers, due in part to the color transition of 1965 in which it was announced that over half of all network prime-time programming would be broadcast in color that autumn. The first all-color prime-time season came just one year later.


title: Color television

text: NBC made the first coast-to-coast color broadcast when it telecast the Tournament of Roses Parade on January 1, 1954, with public demonstrations given across the United States on prototype color receivers by manufacturers RCA, General Electric, Philco, Raytheon, Hallicrafters, Hoffman, Pacific Mercury, and others. Two days earlier, Admiral had demonstrated to its distributors the prototype of Admiral's first color television set planned for consumer sale using the NTSC standards, priced at $1,175 (). It is not known when the later commercial version of this receiver was first sold. Production was extremely limited, and no advertisements for it were published in New York newspapers, nor those in Washington.


title: Color television

text: A color model from Admiral C1617A became available in the Chicago area on January 4, 1954 and appeared in various stores throughout the country, including those in Maryland on January 6, 1954, San Francisco, January 14, 1954, Indianapolis on January 17, 1954, Pittsburgh on January 25, 1954, and Oakland on January 26, 1954, among other cities thereafter. A color model from Westinghouse H840CK15 ($1,295, or ) became available in the New York area on February 28, 1954; Only 30 sets were sold in its first month. a less expensive color model from RCA (CT-100) reached dealers in April 1954. Television's first prime time network color series was "The Marriage", a situation comedy broadcast live by NBC in the summer of 1954. NBC's anthology series "Ford Theatre" became the first network color-filmed series that October; however, due to the high cost of the first fifteen color episodes, Ford ordered that two black-and-white episodes be filmed for every color episode. The first series to be filmed entirely in color was NBC's "Norby", a sitcom that lasted 13 weeks, from January to April 1955, and was replaced by repeats of "Ford Theatre"s color episodes.


title: Color television

text: Early color telecasts could be preserved only on the black-and-white kinescope process introduced in 1947. It was not until September 1956 that NBC began using color film to time-delay and preserve some of its live color telecasts. Ampex introduced a color videotape recorder in 1958, which NBC used to tape "An Evening with Fred Astaire", the oldest surviving network color videotape. This system was also used to unveil a demonstration of color television for the press. On May 22, 1958, President Dwight D. Eisenhower visited the WRC-TV NBC studios in Washington, D.C., and gave a speech touting the new technology's merits. His speech was recorded in color, and a copy of this videotape was given to the Library of Congress for posterity.


title: Color television

text: The syndicated "The Cisco Kid" had been filmed in color since 1949 in anticipation of color broadcasting. Several other syndicated shows had episodes filmed in color during the 1950s, including "The Lone Ranger", "My Friend Flicka", and "Adventures of Superman". The first was carried by some stations equipped for color telecasts well before NBC began its regular weekly color dramas in 1959, beginning with the Western series "Bonanza".


title: Color television

text: NBC was at the forefront of color programming because its parent company RCA manufactured the most successful line of color sets in the 1950s and, at the end of August 1956, announced that in comparison with 1955–56 (when only three of its regularly scheduled programs were broadcast in color) the 1956–57 season would feature 17 series in color. By 1959 RCA was the only remaining major manufacturer of color sets. CBS and ABC, which were not affiliated with set manufacturers and were not eager to promote their competitor's product, dragged their feet into color. CBS broadcast color specials and sometimes aired its big weekly variety shows in color, but it offered no regularly scheduled color programming until the fall of 1965. At least one CBS show, "The Lucy Show", was filmed in color beginning in 1963, but continued to be telecast in black and white through the end of the 1964–65 season. ABC delayed its first color programs until 1962, but these were initially only broadcasts of the cartoon shows "The Flintstones", "The Jetsons" and "Beany and Cecil". The DuMont network, although it did have a television-manufacturing parent company, was in financial decline by 1954 and was dissolved two years later.


title: Color television

text: The relatively small amount of network color programming, combined with the high cost of color television sets, meant that as late as 1964 only 3.1 percent of television households in the US had a color set. However, by the mid-1960s, the subject of color programming turned into a ratings war. A 1965 American Research Bureau (ARB) study that proposed an emerging trend in color television set sales convinced NBC that a full shift to color would gain a ratings advantage over its two competitors. As a result, NBC provided the catalyst for rapid color expansion by announcing that its prime time schedule for fall 1965 would be almost entirely in color. ABC and CBS followed suit and over half of their combined prime-time programming also moved to color that season, but they were still reluctant to telecast all their programming in color due to production costs. All three broadcast networks were airing full color prime time schedules by the 1966–67 broadcast season, and ABC aired its last new black-and-white daytime programming in December 1967. Public broadcasting networks like NET, however, did not use color for a majority of their programming until 1968. The number of color television sets sold in the US did not exceed black-and-white sales until 1972, which was also the first year that more than fifty percent of television households in the US had a color set. This was also the year that "in color" notices before color television programs ended, due to the rise in color television set sales, and color programming having become the norm.


title: Color television

text: In a display of foresight, Disney had filmed many of its earlier shows in color so they were able to be repeated on NBC, and since most of Disney's feature-length films were also made in color, they could now also be telecast in that format. To emphasize the new feature, the series was re-dubbed "Walt Disney's Wonderful World of Color", which premiered in September 1961, and retained that moniker until 1969.


title: Color television

text: By the mid-1970s, the only stations broadcasting in black-and-white were a few high-numbered UHF stations in small markets, and a handful of low-power repeater stations in even smaller markets such as vacation spots. By 1979, even the last of these had converted to color and by the early 1980s, B&W sets had been pushed into niche markets, notably low-power uses, small portable sets, or use as video monitor screens in lower-cost consumer equipment. These black-and-white displays were still compatible with color signals and remained usable through the 1990s and the first decade of the 21st Century for uses that did not require a full color display. The digital television transition in the United States in 2009 rendered the remaining black-and-white television sets obsolete; all digital television receivers are capable of displaying full color.


title: Color television

text: Color broadcasting in Hawaii started on May 5, 1957. One of the last television stations in North America to convert to color, WQEX (now WINP-TV) in Pittsburgh, started broadcasting in color on October 16, 1986, after its black-and-white transmitter, which dated from the 1950s, broke down in February 1985 and the parts required to fix it were no longer available. The owner of WQEX, PBS member station WQED, used some of its pledge money to buy a color transmitter.


title: Color television

text: Early color sets were either floor-standing console models or tabletop versions nearly as bulky and heavy, so in practice, they remained firmly anchored in one place. The introduction of GE's relatively compact and lightweight Porta-Color set in the spring of 1966 made watching color television a more flexible and convenient proposition. In 1972, sales of color sets finally surpassed sales of black-and-white sets. Also in 1972, the last holdout among daytime network programs converted to color, resulting in the first completely all-color network season.


title: Color television

text: The first two color television broadcasts in Europe were made by early tests in France (SECAM) between 1963 and 1966, then officially launched in October 1967 and by the UK's BBC2 beginning on 1 July 1967 and West Germany's Das Erste and ZDF in August, both using the PAL system. They were followed by the Netherlands in September (PAL). On 1 October 1968, the first scheduled television program in color was broadcast in Switzerland. Denmark, Norway, Sweden, Finland, Austria, East Germany, Czechoslovakia, and Hungary all started regular color broadcasts around 1969–1970. Ireland's national TV station RTÉ began using color in 1968 for recorded programs; the first outside broadcast made in color for RTÉ Television was when Ireland hosted the Eurovision Song Contest in Dublin in 1971. The PAL system spread through most of Western Europe.


title: Color television

text: More European countries introduced color television using the PAL system in the 1970s and early 1980s; examples include Belgium (1971), Bulgaria (1971, but not fully implemented until 1972), SFR Yugoslavia (1971), Spain (1972, but not fully implemented until 1977), Iceland (1973, but not fully implemented until 1976), Portugal (1975, but not fully implemented until 1980), Albania (1981), Turkey (1981) and Romania (1983, but not fully implemented until 1985–1991). In Italy there were debates to adopt a national color television system, the "ISA", developed by Indesit, but that idea was scrapped. As a result, and after a test during the 1972 Summer Olympics, Italy was one of the last European countries to officially adopt the PAL system in the 1976–1977 season.


title: Color television

text: France, Luxembourg, and most of the Eastern Bloc along with their overseas territories opted for SECAM. SECAM was a popular choice in countries with much hilly terrain, and countries with a very large installed base of older monochrome equipment, which could cope much better with the greater ruggedness of the SECAM signal. However, for many countries the decision was more down to politics than technical merit.


title: Color television

text: A drawback of SECAM for production is that, unlike PAL or NTSC, certain post-production operations of encoded SECAM signals are not really possible without a significant drop in quality. As an example, a simple fade to black is trivial in NTSC and PAL: one merely reduces the signal level until it is zero. However, in SECAM the color difference signals, which are frequency modulated, need first to be decoded to e.g. RGB, then the fade-to-black is applied, and finally the resulting signal is re-encoded into SECAM. Because of this, much SECAM video editing was actually done using PAL equipment, then the resultant signal was converted to SECAM. Another drawback of SECAM is that comb filtering, allowing better color separation, is of limited use in SECAM receivers. This was not, however, much of a drawback in the early days of SECAM as such filters were not readily available in high-end TV sets before the 1990s.


title: Color television

text: The first regular color broadcasts in SECAM were started on October 1, 1967, on France's Second Channel (ORTF 2e chaîne).


title: Color television

text: In France and the UK color broadcasts were made on 625-line UHF frequencies, the VHF band being used for black and white, 405 lines in UK or 819 lines in France, until the beginning of the 1980s. Countries elsewhere that were already broadcasting 625-line monochrome on VHF and UHF, simply transmitted color programs on the same channels.


title: Color television

text: Some British television programs, particularly those made by or for ITC Entertainment, were shot on color film before the introduction of color television to the UK, for the purpose of sales to US networks. The first British show to be made in color was the drama series "The Adventures of Sir Lancelot" (1956–57), which was initially made in black and white but later shot in color for sale to the NBC network in the United States. Other British color television programs made before the introduction of color television in the UK include "Stingray" (1964–1965), which was the first British TV show to be filmed entirely in color, "Thunderbirds" (1965–1966), "The Baron" (1966–1967), "The Saint" (from 1966 to 1969), "The Avengers" (from 1967 to 1969), "Man in a Suitcase" (1967–1968), "The Prisoner" (1967–1968) and "Captain Scarlet and the Mysterons" (1967–1968). However, most UK series predominantly made using videotape, such as "Doctor Who" (1963–89; 2005–present) did not begin color production until later, with the first color "Doctor Who" episodes not airing until 1970. (The first four, comprising the story "Spearhead from Space", were shot on film owing to a technician's strike, with videotape being used thereafter.)


title: Color television

text: In Japan, NHK and NTV introduced color television, using a variation of the NTSC system (called NTSC-J) on September 10, 1960, making it the first country in Asia to introduce color television. The Philippines (1966) and Taiwan (1969) also adopted the NTSC system.


title: Color television

text: Other countries in the region instead used the PAL system, starting with Australia (1967, originally scheduled for 1972, but not fully implemented until 1975–1978), and then Thailand (1967–1969; this country converted from 525-line NTSC to 625-line PAL), Hong Kong (1967), the People's Republic of China (1971), New Zealand (1973), North Korea (1974), Singapore (1974), Pakistan (1976, but not fully implemented until 1982), Kazakhstan (1977), Vietnam (1977), Malaysia (1978, but not fully implemented until 1980), Indonesia (1979), India (1979, but not fully implemented until 1982–1986), Burma (1980), and Bangladesh (1980). South Korea did not introduce color television (using NTSC) until 1980–1981, although it was already manufacturing color television sets for export. The last country in Asia and the world to introduce color television was Cambodia in 1986.


title: Color television

text: Nearly all of the countries in the Middle East use PAL. The first country in the Middle East to introduce color television was Iraq in 1967. Jordan and Oman, become second in the early-1970s. Saudi Arabia, the United Arab Emirates, Kuwait, Bahrain, and Qatar followed in the mid-1970s, but Israel, Lebanon, and Cyprus continued to broadcast in black and white until the early 1980s. Israeli television even erased the color signals using a device called the "mehikon".


title: Color television

text: The first color television service in Africa was introduced on the Tanzanian island of Zanzibar, in 1973, using PAL. In 1973 also, MBC of Mauritius broadcast the OCAMM Conference, in color, using SECAM. At the time, South Africa did not have a television service at all, owing to opposition from the apartheid regime, but in 1976, one was finally launched. Nigeria adopted PAL for color transmissions in 1974 in the Benue Plateau state in the north central region of the country, but countries such as Ghana and Zimbabwe continued with black and white until 1984. The Sierra Leone Broadcasting Service (SLBS) started television broadcasting in 1963 as a cooperation between the SLBS and commercial interests; coverage was extended to all districts in 1978 when the service was also upgraded to color.


title: Color television

text: Unlike most other countries in the Americas, which had adopted NTSC, Brazil began broadcasting in color using PAL-M, on February 19, 1972. Ecuador was the first South American country to broadcast in color using NTSC, on November 5, 1974. In 1978, Argentina started international broadcasting in color using PAL-B in connection with the country's hosting of the FIFA World Cup. However domestic color broadcasting remained black & white until May 1 1980 when regular broadcasting started using PAL-N, a variation of PAL-B specially suited for Argentina, Uruguay and Paraguay.


title: Color television

text: Some other countries in South America, including Bolivia, Paraguay, Peru, and Uruguay [1981], didn't broadcast full-time color television until the early 1980s.


title: Color television

text: Cor Dillen, director and later CEO of the South American branch of Philips, was responsible for bringing color television to South America.


title: Color television

text: There are three main analog broadcast television systems in use around the world, PAL (Phase Alternating Line), NTSC (National Television System Committee), and SECAM (Séquentiel Couleur à Mémoire—Sequential Color with Memory).


title: Color television

text: The system used in The Americas and part of the Far East is NTSC. Most of Asia, Western Europe, Australia, Africa, and Eastern South America use PAL (though Brazil uses a hybrid PAL-M system). Eastern Europe and France uses SECAM. Generally, a device (such as a television) can only read or display video encoded to a standard that the device is designed to support; otherwise, the source must be converted (such as when European programs are broadcast in North America or vice versa).


title: Color television

text: [1] For SECAM the color sub-carrier alternates between 4.25000 MHz for the lines containing the Db color signal and 4.40625 MHz for the Dr signal (both are frequency modulated unlike both PAL and NTSC, which are phase modulated). The frequency of the sub-carrier is the only means that the decoder has of determining which color difference signal is actually being transmitted.


title: Color television

text: Digital television broadcasting standards, such as ATSC, DVB-T, DVB-T2, and ISDB, have superseded these analog transmission standards in many countries.


title: Sabrina (1954 film)

text: Sabrina (Sabrina Fair/La Vie en Rose in the United Kingdom) is a 1954 American romantic comedy-drama film directed by Billy Wilder, adapted for the screen by Wilder, Samuel A. Taylor and Ernest Lehman from Taylor's 1953 play "Sabrina Fair". The picture stars Humphrey Bogart, Audrey Hepburn and William Holden. This was Wilder's last film released by Paramount Pictures, ending a 12-year business relationship between him and the company.


title: Sabrina (1954 film)

text: In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: Sabrina (1954 film)

text: Sabrina Fairchild is the young daughter of the Larrabee family's chauffeur, Thomas, and has been in love with David Larrabee all her life. David, a three-times-married non-working playboy, has never paid romantic attention to Sabrina. Since she has lived for years on the Larrabees' Long Island, New York, estate with her father, to him she is still a child.


title: Sabrina (1954 film)

text: Eavesdropping on a party at the mansion the night before she is to leave to attend the Le Cordon Bleu cooking school in Paris, Sabrina watches, follows, and listens as David entices yet another woman into a dark and vacant indoor tennis court. Distraught, she leaves her father a suicide note and then starts all eight cars in the closed garage in order to kill herself. She is passing out from the fumes when Linus, David's older brother, opens the door, discovers her, and carries her back to her quarters above the garage when she does pass out.


title: Sabrina (1954 film)

text: After two years in Paris, Sabrina returns home an attractive sophisticated woman. When her father is delayed from picking her up at the station, flirtatious David, passing by, offers her a lift without recognizing her. She accepts.


title: Sabrina (1954 film)

text: Once David realizes who she is, he is quickly drawn to Sabrina and invites her to join him at a party at the mansion, and then later invites her to the indoor tennis court. When Linus sees this, he fears that David's imminent marriage to Elizabeth Tyson may be endangered. If that engagement were broken it would ruin a profitable opportunity for a great corporate merger between Larrabee Industries and Elizabeth's very wealthy father's business. Instead of confronting David about his irresponsibility, Linus pretends to sympathize with him. Linus manipulates David to sit down on champagne glasses he has placed in his pockets, and David is incapacitated for a few days.


title: Sabrina (1954 film)

text: Linus now takes David's place with Sabrina on the pretext that “it’s all in the family.” Linus and Sabrina fall in love, though neither will admit it. Linus’s plan is to pretend to accompany Sabrina back to Paris on an ocean liner but then not join her on the ship, getting her away from David, the family, and the now-threatened merger. However, when Linus instead confesses these intentions to Sabrina, she is hurt but understands the logic of the tactic. She agrees to sail the next day to live in Paris, but without Linus's offered money and other inducements.