title: The Saint (Simon Templar)

text: Other actors played Templar in later series, notably "Return of the Saint" (1978–1979) starring Ian Ogilvy; the series ran for one season on CBS and ITV. A television pilot for a series to be called "The Saint in Manhattan", starring Australian actor Andrew Clarke, was shown on CBS in 1987 as part of the "CBS Summer Playhouse;" this pilot was produced by Donald L. Taffner, but it never progressed beyond the pilot stage.


title: The Saint (Simon Templar)

text: Inspector John Fernack of the NYPD, played by Kevin Tighe, made his first film appearance since the 1940s in that production, while Templar (sporting a moustache) got about in a black Lamborghini bearing the ST1 licence plate.


title: The Saint (Simon Templar)

text: Since the 1997 Val Kilmer film "The Saint", there have been several failed attempts at producing pilots for potential new "Saint" television series. On 13 March 2007, TNT said it was developing a one-hour series to be executive produced by William J. MacDonald and produced by Jorge Zamacona. James Purefoy was announced as the new Simon Templar. Production of the pilot, which was to have been directed by Barry Levinson, did not go ahead. Another attempt at production was planned for 2009 with Scottish actor Dougray Scott starring as Simon Templar. Roger Moore announced on his website that he would be appearing in the new production, which was being produced by his son, Geoffrey Moore, in a small role.


title: The Saint (Simon Templar)

text: It was announced in December 2012 that a third attempt would be made to produce a pilot for a potential TV series. This time, English actor Adam Rayner was cast as Simon Templar and American actress Eliza Dushku as Patricia Holm (a character from the novels never before portrayed on television and only once in the films), with Roger Moore producing. Unlike the prior attempts, production of the Rayner pilot did commence in December 2012 and continued into early 2013, with Moore and Ogilvy making cameo appearances, according to a cast list posted on the official Leslie Charteris website and subsequently confirmed in the trailer that was released. The pilot was not picked up for a series, but a large amount of additional footage was shot to complete it as the television film "The Saint", released on 11 July 2017.


title: The Saint (Simon Templar)

text: Since 1938, numerous films have been produced in the United States, France and Australia based to varying degrees upon the Saint. A few were based, usually loosely, upon Charteris's stories, but most were original.


title: The Saint (Simon Templar)

text: In the 1930s, RKO purchased the rights to produce a film adaptation of "Saint Overboard," but no such movie was ever produced.


title: The Saint (Simon Templar)

text: Three of the actors to play Templar — Roger Moore, Ian Ogilvy, and Simon Dutton — have been appointed vice presidents of "The Saint Club" that was founded by Leslie Charteris in 1936.


title: The Saint (Simon Templar)

text: In the late 1940s Charteris and sometime Sherlock Holmes scriptwriter Denis Green wrote a stage play titled "The Saint Misbehaves".


title: The Saint (Simon Templar)

text: It was never publicly performed, as soon after writing it Charteris decided to focus on non-Saint work. For many years it was thought to be lost; however, two copies are known to exist in private hands, and correspondence relating to the play can be found in the Leslie Charteris Collection at Boston University.


title: The Saint (Simon Templar)

text: The Saint appeared in a long-running series starting as a daily comic strip 27 September 1948 with a Sunday added on 20 March the following year. The early strips were written by Leslie Charteris, who had previous experience writing comic strips, having replaced Dashiell Hammett as the writer of the "Secret Agent X-9" strip. The original artist was Mike Roy. In 1951, when John Spranger replaced Roy as the artist, he altered the Saint's appearance by depicting him with a beard. Bob Lubbers illustrated "The Saint" in 1959 and 1960. The final two years of the strip were drawn by Doug Wildey before it came to an end on 16 September 1961.


title: The Saint (Simon Templar)

text: Concurrent with the comic strip, Avon Comics published 12 issues of a "The Saint" comic book between 1947 and 1952 (some of these stories were reprinted in the 1980s). Some issues included uncredited short stories; an additional short story, "Danger No. 5", appeared as filler in issue 2 of the 1952 war comic "Captain Steve Savage".


title: The Saint (Simon Templar)

text: The 1960s TV series is unusual in that it is one of the few major programs of its genre that was not adapted as a comic book in the United States. It was, however, adapted as a comic strip in the British weekly comic "TV Tornado (later merging with TV21)", where it ran from 1967 to 1970, drawn by Vicente Alcazar. The strip was titled "Meet the Saint" in later issues.


title: The Saint (Simon Templar)

text: In Sweden, a long-running Saint comic book was published from 1966 to 1985 under the title "Helgonet". It originally reprinted the newspaper strip, but soon original stories were commissioned for "Helgonet". These stories were also later reprinted in other European countries. Two of the main writers were Norman Worker and Donne Avenell; the latter also co-wrote the novels "The Saint and the Templar Treasure" and the novella collection "Count on the Saint", while Worker contributed to the novella collection "Catch the Saint".


title: The Saint (Simon Templar)

text: A new American comic book series was launched by Moonstone in the summer of 2012, but it never went beyond a single promotional issue "zero".


title: The Saint (Simon Templar)

text: The original Saint novellas first appeared in "The Thriller" (1929–1940), edited by Monty Hayden, a friend of the author, who was sometimes given a thinly disguised role in the early stories. Charteris also edited or oversaw several magazines that tied in with the Saint. The first of these were anthologies titled "The Saint's Choice" that ran for seven issues in 1945–46. A few years later Charteris launched "The Saint Detective Magazine" (later titled "The Saint Mystery Magazine" and "The Saint Magazine"), which ran for 141 issues between 1953 and 1967, with a separate British edition that ran just as long but published different material. In most issues of "Saint's Choice" and the later magazines Charteris included at least one Saint story, usually previously published in one of his books but occasionally original. In several mid-1960s issues, however, he substituted "Instead of the Saint", a series of essays on topics of interest to him. The rest of the material in the magazines consisted of novellas and short stories by other mystery writers of the day. An Australian edition was also published for a few years in the 1950s. In 1984 Charteris attempted to revive the "Saint" magazine, but it ran for only three issues.


title: The Saint (Simon Templar)

text: Leslie Charteris himself portrayed The Saint in a photo play in "Life magazine": "The Saint Goes West".


title: The Saint (Simon Templar)

text: Most Saint books were collections of novellas or short stories, some of which were published individually either in magazines or in smaller paperback form. Many of the books have also been published under different titles over the years; the titles used here are the more common ones for each book.


title: The Saint (Simon Templar)

text: From 1964 to 1983, the Saint books were collaborative works; Charteris acted in an editorial capacity and received front cover author credit, while other authors wrote these stories and were credited inside the book. These collaborative authors are noted. (Sources: Barer and the editions themselves.)


title: The Saint (Simon Templar)

text: In addition to the above, numerous paperback omnibuses compiling short stories and novellas have been published. Examples include "Arrest the Saint" (Avon, 1951), "Concerning the Saint" (Avon, 1958) and "The Saint Cleans Up" (Avon, 1959). In 1983, Avenel Books published the hardcover omnibus "The Saint: Five Complete Novels", though this was actually three novellas and two full-length novels, combining the books "Enter the Saint", "The Holy Terror" (a.k.a. "The Saint vs. Scotland Yard"), "The Last Hero" (a.k.a. "The Saint Closes the Case") and "Knight Templar" (a.k.a. "The Avenging Saint").


title: The Saint (Simon Templar)

text: A number of "Saint" adventures were published in French over a 30-year period, most of which have yet to be published in English. Many of these stories were ghostwritten by Madeleine Michel-Tyl and credited to Charteris (who exercised some editorial control). The French books were generally novelisations of scripts from the radio series, or novels adapted from stories in the American "Saint" comic strip. One of the writers who worked on the French series, Fleming Lee, later wrote for the English-language books.


title: The Saint (Simon Templar)

text: Burl Barer's history of the Saint identifies two manuscripts that to date have not been published. The first is a collaboration between Charteris and Fleming Lee called "Bet on the Saint" that was rejected by Doubleday, the American publishers of the Saint series. Charteris, Barer writes, chose not to submit it to his United Kingdom publishers, Hodder & Stoughton. The rejection of the manuscript by Doubleday meant that The Crime Club's long-standing right of first refusal on any new Saint works was now ended and the manuscript was then submitted to other United States publishers, without success. Barer also tells of a 1979 novel titled "The Saint's Lady" by a Scottish fan, Joy Martin, which had been written as a present for and as a tribute to Charteris. Charteris was impressed by the manuscript and attempted to get it published, but it too was ultimately rejected. The manuscript, which according to Barer is in the archives of Boston University, features the return of Patricia Holm.


title: The Saint (Simon Templar)

text: According to the Saintly Bible website, at one time Leslie Charteris biographer Ian Dickerson was working on a manuscript (based upon a film story idea by Charteris) for a new novel titled "Son of the Saint" in which Templar shares an adventure with his son by Patricia Holm. The book has, to date, not been published.


title: The Saint (Simon Templar)

text: A fourth unpublished manuscript, this time written by Charteris himself, titled "The Saint's Second Front" was written during the Second World War but was rejected at the time; believed lost for decades, it emerged at an auction in 2017.


title: The Saint (Simon Templar)

text: In the 2003 BBC documentary series "Heroes and Weapons of World War II" episode titled "The Man Who Designed the Spitfire" (Episode 2) at approximately 18 minutes in the film an RAF pilot is seen at rest in his dispersal hut with a large Saint stick-man logo on his flying gear (see image at right). He is perhaps showing some personal identification with Simon Templar's own war against Germany in the novella "Arizona".


title: The Saint (Simon Templar)

text: In 1980 English punk band Splodgenessabounds released a single "Simon Templer" (misspelling intentional). It reached number 7 in the UK charts. The song appears mocking of the TV character, concluding "I think Simon's a bit of a bore/Ian Ogilvy and Podgy Moore.”


title: The Saint (Simon Templar)

text: In 1962 students from James Cook University, Townsville, Australia abseiled down the pink granite monolith, Castle Hill and painted the character on its side as an act of patriotism, as the university had adopted the character as their mascot. At first, the local council (and some of the public) considered this vandalism and removed it, only for the students to keep repainting it. The council eventually gave up, and The Saint has been a permanent fixture since the 1970s. The irony now, is that Queensland State Legislation states that objects older than 30 years old are eligible for cultural heritage status. This means that The Saint, originally a piece of graffiti, is now a Townsville Cultural Heritage icon.


title: Themes in Avatar

text: The 2009 American science fiction film "Avatar" has provoked vigorous discussion of a wide variety of cultural, social, political, and religious themes identified by critics and commentators, and the film's writer and director James Cameron has responded that he hoped to create an emotional reaction and to provoke public conversation about these topics. The broad range of "Avatar"s intentional or perceived themes has prompted some reviewers to call it "an all-purpose allegory" and "the season's ideological Rorschach blot". One reporter even suggested that the politically charged punditry has been "misplaced": reviewers should have seized on the opportunity to take "a break from their usual fodder of public policy and foreign relations" rather than making an ideological battlefield of this "popcorn epic".


title: Themes in Avatar

text: Discussion has centered on such themes as the conflict between modern human and nature, and the film's treatment of imperialism, racism, militarism and patriotism, corporate greed, property rights, spirituality and religion. Commentators have debated whether the film's treatment of the human aggression against the native Na'vi is a message of support for indigenous peoples today, or is, instead, a tired retelling of the racist myth of the noble savage. Right-wing critics accused Cameron of pushing an anti-American message in the film's depiction of a private military contractor that used ex-Marines to attack the natives, while Cameron and others argued that it is pro-American to question the propriety of the current wars in Iraq and Afghanistan. The visual similarity between the destruction of the World Trade Center and the felling of Home Tree in the film caused some filmgoers to further identify with the Na'vi and to identify the human military contractors as terrorists. Critics asked whether this comparison was intended to encourage audiences to empathize with the position of Muslims under military occupation today.


title: Themes in Avatar

text: Much discussion has concerned the film's treatment of environmental protection and the parallels to, for example, the destruction of rainforests, mountaintop removal for mining and evictions from homes for development. The title of the film and various visual and story elements provoked discussion of the film's use of Hindu iconography, which Cameron confirmed had inspired him. Christians, including the Vatican, worried that the film promotes pantheism over Christian beliefs, while others instead thought that it sympathetically explores biblical concepts. Other critics either praised the film's spiritual elements or found them hackneyed.


title: Themes in Avatar

text: "Avatar" describes the conflict by an indigenous people, the Na'vi of Pandora, against the oppression of alien humans. Director James Cameron acknowledged that the film is "certainly about imperialism in the sense that the way human history has always worked is that people with more military or technological might tend to supplant or destroy people who are weaker, usually for their resources." Critics agreed that the film is "a clear message about dominant, aggressive cultures subjugating a native population in a quest for resources or riches." George Monbiot, writing in "The Guardian", asserted that conservative criticism of "Avatar" is a reaction to what he called the film's "chilling metaphor" for the European "genocides in the Americas", which "massively enriched" Europe. Cameron told "National Public Radio" that references to the colonial period are in the film "by design". Adam Cohen of "The New York Times" stated that the film is "firmly in the anti-imperialist canon, a 22nd-century version of the American colonists vs. the British, India vs. the Raj, or Latin America vs. United Fruit."


title: Themes in Avatar

text: Saritha Prabhu, an Indian-born columnist for "The Tennessean", wrote about the parallels between the plot and how "Western power colonizes and invades the indigenous people (native Americans, Eastern countries, you substitute the names), sees the natives as primitives/savages/uncivilized, is unable or unwilling to see the merits in a civilization that has been around longer, loots the weaker power, all while thinking it is doing a favor to the poor natives." David Brooks, in "The New York Times", criticized what he saw as the "White Messiah complex" in the film, whereby the Na'vi "can either have their history shaped by cruel imperialists or benevolent ones, but either way, they are going to be supporting actors in our journey to self-admiration." Others disagree: "First off, [Jake is] handicapped. Second off, he ultimately becomes one of [the Na'vi] and wins their way."


title: Themes in Avatar

text: Many commentators saw the film as a message of support for the struggles of native peoples today. Evo Morales, the first indigenous president of Bolivia, praised "Avatar" for its "profound show of resistance to capitalism and the struggle for the defense of nature". Others compared the human invaders with "NATO in Iraq or Israel in Palestine", and considered it reassuring that "when the Na'vi clans are united, and a sincere prayer is offered, the ... 'primitive savages' win the war." Palestinian activists painted themselves blue and dressed like the Na'vi during their weekly protest in the village of Bilin against Israel's separation barrier. Other Arab writers, however, noted that "for Palestinians, "Avatar" is rather a reaffirmation and confirmation of the claims about their incapability to lead themselves and build their own future." "Forbes" columnist Reihan Salam criticized the vilification of capitalism in the film, asserting that it represents a more noble and heroic way of life than that led by the Na'vi, because it "give[s] everyone an opportunity to learn, discover, and explore, and to change the world around us." Si Sheppard on the other hand praised the film for drawing parallels between the corporate imperialism of the fictional RDA and its historical equivalents of the pre-industrial era (specifically the East India Company, which maintained its own private army in order to impose profit-driven territorial sovereignty on the Indian subcontinent).


title: Themes in Avatar

text: Cameron stated that "Avatar" is "very much a political film" and added: "This movie reflects that we are living through war. There are boots on the ground, troops who I personally believe were sent there under false pretenses, so I hope this will be part of opening our eyes." He confirmed that "the Iraq stuff and the Vietnam stuff is there by design", adding that he did not think that the film was anti-military. Critic Charles Marowitz in "Swans" magazine remarked, however, that the realism of the suggested parallel with wars in Iraq, Iran, and Afghanistan "doesn't quite jell" because the natives are "peace-loving and empathetic".


title: Themes in Avatar

text: Cameron said that Americans have a "moral responsibility" to understand the impact of their country's recent military conflicts. Commenting on the term "shock and awe" in the film, Cameron said: "We know what it feels like to launch the missiles. We don't know what it feels like for them to land on our home soil, not in America." Christian Hamaker of "Crosswalk.com" noted that, "in describing the military assault on Pandora, Cameron cribs terminology from the ongoing war on terrorism and puts it in the mouths of the film's villains ... as they 'fight terror with terror'. Cameron's sympathies, and the movie's, clearly are with the Na'vi—and against the military and corporate men." A columnist in the Russian newspaper "Vedomosti" traced "Avatar"'s popularity to its giving the audience a chance to make a moral choice between good and evil and, by emotionally siding with Jake's treason, to relieve "us the scoundrels" of our collective guilt for the cruel and unjust world that we have created. Armond White of "New York Press" dismissed the film as "essentially a sentimental cartoon with a pacifist, naturalist message" that uses villainous Americans to misrepresent the facts of the military, capitalism, and imperialism. Answering critiques of the film as insulting to the U.S. military, a piece in the "Los Angeles Times" asserted that "if any U.S. forces that ever existed were being insulted, it was the ones who fought under George Armstrong Custer, not David Petraeus or Stanley McChrystal." Other reviews saw "Avatar" as "the bubbling up of our military subconscious ... the wish to be free of all the paperwork and risk aversion of the modern Army—much more fun to fly, unarmored, on a winged beast."


title: Themes in Avatar

text: A critic writing in "Le Monde" opined that, contrary to the perceived pacifism of "Avatar", the film justifies war in the response to attack by the film's positive characters, particularly the American protagonist who encourages the Na'vi to "follow him into battle. ... Every war, even those that seem the most insane [are justified as being] for the 'right reasons'." Ann Marlowe of "Forbes" saw the film as both pro- and anti-military, "a metaphor for the networked military".


title: Themes in Avatar

text: Many reviewers perceived an anti-American message in the film, equating RDA's private security force to American soldiers. Commentator Glenn Beck on his radio show said that "Avatar" was "an anti‑U.S. human thing". Russell D. Moore in "The Christian Post" stated that, "If you can get a theater full of people in Kentucky to stand and applaud the defeat of their country in war, then you've got some amazing special effects" and criticized Cameron for what he saw as an unnuanced depiction of the American military as "pure evil". John Podhoretz of "The Weekly Standard" argued that "Avatar" revealed "hatred of the military and American institutions and the notion that to be human is just way uncool." Charles Mudede of "The Stranger" commented that with the release of the film "the American culture industry exports an anti-American spectacle to an anti-American world." Debbie Schlussel likewise dismissed "Avatar" as "cinema for the hate America crowd".


title: Themes in Avatar

text: Cameron argued that "the film is definitely not anti-American" and that "part of being an American is having the freedom to have dissenting ideas." Eric Ditzian of MTV concurred that "it'd take a great leap of logic to tag 'Avatar' as anti-American or anti-capitalist." Ann Marlowe called the film "the most neo-con movie ever made" for its "deeply conservative, pro-American message". But Cameron admitted to some ambiguity on the issue, agreeing that "the bad guys could be America in this movie, or the good guys could be America in this movie, depending on your perspective", and stated that "Avatar"s defeat at the Academy Awards might have been due to the perceived anti-U.S. theme in it.


title: Themes in Avatar

text: The destruction of the Na'vi habitat Hometree reminded commentators of the September 11 attack on the World Trade Center, and one commentator noted Cameron's "audacious willingness to question the sacred trauma of 9/11". Cameron said that he was "surprised at how much it did look like September 11", but added that he did not think that it was necessarily a bad thing. A French critic wrote: "How can one not see the analogy with the collapse of the towers of the World Trade Center? Then, after that spectacular scene, all is justified [for the unified] indigenous peoples (the allied forces) ... to kill those who [are] just like terrorists." Another writer noted that "the U.S.' stand-ins are the perpetrators, and not the victims" and described this reversal as "the movie’s most seditious act".


title: Themes in Avatar

text: Commentators around the world sought to interpret the relationship between the Na'vi and humans in the film, mostly agreeing with Maxim Osipov, who wrote in the "Hindustan Times" and "The Sydney Morning Herald": "The 'civilised humans' turn out as primitive, jaded and increasingly greedy, cynical, and brutal—traits only amplified by their machinery—while the 'monkey aliens' emerge as noble, kind, wise, sensitive and humane. We, along with the "Avatar" hero, are now faced with an uncomfortable yet irresistible choice between the two races and the two worldviews." Osipov wrote that it was inevitable that the audience, like the film's hero, Jake, would find that the Na'vi's culture was really the more civilized of the two, exemplifying "the qualities of kindness, gratitude, regard for the elder, self-sacrifice, respect for all life and ultimately humble dependence on a higher intelligence behind nature." Echoing this analysis, psychologist Jeffery Fine in "The Miami Herald" urged "every man, woman and child" to see the film and wake up to its message by making the right choice between commercial materialism, which is "steamrolling our soul and consciousness", and reconnection with all life as "the only ... promise of survival" for humanity. Similarly, Altino Matos writing for Journal de Angola saw the film as a message of hope, writing, "With this union of humans and aliens comes a feeling that something better exists in the universe: the respect for life." Cameron confirmed that "the Na'vi represent the better aspects of human nature, and the human characters in the film demonstrate the more venal aspects of human nature."


title: Themes in Avatar

text: Conversely, David Brooks of "The New York Times" opined that "Avatar" creates "a sort of two-edged cultural imperialism", an offensive cultural stereotype that white people are rationalist and technocratic while colonial victims are spiritual and athletic and that illiteracy is the path to grace. A review in the "Irish Independent" found the film to contrast a "mix of New Age environmentalism and the myth of the Noble Savage" with the corruption of the "civilized" white man. Reihan Salam, writing in "Forbes", viewed it as ironic that "Cameron has made a dazzling, gorgeous indictment of the kind of society that produces James Camerons."


title: Themes in Avatar

text: Many critics saw racist undertones in the film's treatment of the indigenous Na'vi, seeing it as "a fantasy about race told from the point of view of white people", which reinforces "the White Messiah fable", in which the white hero saves helpless primitive natives, who are thus reduced to servicing his ambitions and proving his heroism. Other reviews called "Avatar" an offensive assumption that nonwhites need the White Messiah to lead their crusades, and "a self-loathing racist screed" due to the fact that all the "human" roles in the film are played by white actors and all the Na'vi characters by African-American or Native American actors.


title: Themes in Avatar

text: Māori academic Rawiri Taonui agreed that the film portrays indigenous people as being simplistic and unable to defend themselves without the help from "the white guys and the neo-liberals." Another author remarked that while the white man will fix the destruction, he will never feel guilty, even though he is directly responsible for the destruction." Likewise, Josef Joffe, publisher-editor of "Die Zeit" in Germany, said the film perpetuates the myth of the "noble savage" and has "a condescending, yes, even racist message. Cameron bows to the noble savages. However, he reduces them to dependents." Slavoj Žižek argued that "the film enables us to practise a typical ideological division: sympathising with the idealised aborigines while rejecting their actual struggle." "The Irish Times" carried the comment that "despite all the thematic elements from Hinduism, one thing truly original is the good old American ego. Given its Hollywood origins, the script has remained faithful to the inherent superiority complex, and has predictably bestowed the honor of the 'avatar' not on the movie’s native Na’vis, but on a white American marine." Similarly, positing that "the only good humans [in the film] are dead—or rather, resurrected as 'good Navi'", a writer in "The Jerusalem Post" thought that the film was inadvertently promoting supremacy of one race over another.


title: Themes in Avatar

text: On the "Charlie Rose" talk show, Cameron acknowledged parallels with idea of the "noble savage", but argued: "When indigenous populations who are at a bow and arrow level are met with technological superior forces, [if] somebody doesn't help them, they lose. So we are not talking about a racial group within an existing population fighting for their rights." Cameron rejected claims that the film is racist, asserting that "Avatar" is about respecting others' differences. Adam Cohen of "The New York Times" felt similarly, writing that the Na'vi greeting "I see you" contrasts with the oppression of, and even genocide against, those who we fail to accept for what they are, citing Jewish ghettos and the Soviet gulags as examples.


title: Themes in Avatar

text: "Avatar" has been called "without a doubt the most epic piece of environmental advocacy ever captured on celluloid... The film hits all the important environmental talking-points—virgin rain forests threatened by wanton exploitation, indigenous peoples who have much to teach the developed world, a planet which functions as a collective, interconnected Gaia-istic organism, and evil corporate interests that are trying to destroy it all." Cameron has spoken extensively with the media about the film's environmental message, saying that he envisioned "Avatar" as a broader metaphor of how we treat the natural world. He said that he created Pandora as "a fictionalised fantasy version of what our world was like, before we started to pave it and build malls, and shopping centers. So it's really an evocation of the world we used to have." He told Charlie Rose that "we are going to go through a lot of pain and heartache if we don't acknowledge our stewardship responsibilities to nature." Interviewed by Terry Gross of "National Public Radio", he called "Avatar" a satire on the sense of human entitlement: "["Avatar"] is saying our attitude about indigenous people and our entitlement about what is rightfully theirs is the same sense of entitlement that lets us bulldoze a forest and not blink an eye. It's just human nature that if we can take it, we will. And sometimes we do it in a very naked and imperialistic way, and other times we do it in a very sophisticated way with lots of rationalization—but it's basically the same thing. A sense of entitlement. And we can't just go on in this unsustainable way, just taking what we want and not giving back." An article in the Belgium paper "De Standaard" agreed: "It's about the brutality of man, who shamelessly takes what isn't his."


title: Themes in Avatar

text: Commentators connected the film's story to the endangerment of biodiversity in the Amazon rainforests of Brazil by dam construction, logging, mining, and clearing for agriculture. A "Newsweek" piece commented on the destruction of Home Tree as resembling the rampant tree-felling in Tibet, while another article compared the film's depiction of destructive corporate mining for unobtainium in the Na'vi lands with the mining and milling of uranium near the Navajo reservation in New Mexico. Other critics, however, dismissed "Avatar"'s pro-environmental stance as inconsistent. Armond White remarked that, "Cameron’s really into the powie-zowie factor: destructive combat and the deployment of technological force. ... Cameron fashionably denounces the same economic and military system that make his technological extravaganza possible. It’s like condemning NASA—yet joyriding on the Mars Exploration Rover." Similarly, an article in "National Review" concluded that by resorting to technology for educating viewers of the technology endangered world of Pandora, the film "showcases the contradictions of organic liberalism."


title: Themes in Avatar

text: Stating that such a conservative criticism of his film's "strong environmental anti-war themes" was not unexpected, Cameron stressed that he was "interested in saving the world that my children are going to inhabit", encouraged everyone to be a "tree hugger", and urged that we "make a fairly rapid transition to alternate energy." The film and Cameron's environmental activism caught the attention of the 8,000-strong Dangaria Kandha tribe from Odisha, eastern India. They appealed to him to help them stop a mining company from opening a bauxite open-cast mine, on their sacred Niyamgiri mountain, in an advertisement in "Variety" that read: ""Avatar" is fantasy ... and real. The Dongria Kondh ... are struggling to defend their land against a mining company hell-bent on destroying their sacred mountain. Please help..." Similarly, a coalition of over fifty environmental and aboriginal organizations of Canada ran a full-page ad in the special Oscar edition of "Variety" likening their fight against Canada's Alberta oilsands to the Na'vi insurgence, —a comparison the mining and oil companies objected to. Cameron was awarded the inaugural Temecula Environment Award for Outstanding Social Responsibility in Media by three environmentalist groups for portrayal of environmental struggles that they compared with their own.


title: Themes in Avatar

text: The destruction of the Na'vi habitat to make way for mining operations has also evoked parallels with the oppressive policies of some states often involving forcible evictions related to development. David Boaz of the libertarian Cato Institute wrote in "Los Angeles Times" that the film's essential conflict is a battle over property rights, "the foundation of the free market and indeed of civilization." Melinda Liu found this storyline reminiscent of the policies of the authorities in China, where 30 million citizens have been evicted in the course of a three-decade long development boom. Others saw similar links to the displacement of tribes in the Amazon basin and the forcible demolition of private houses in a Moscow suburb.


title: Themes in Avatar

text: David Quinn of the "Irish Independent" wrote that the spirituality depicted "goes some way towards explaining the film's gigantic popularity, and that is the fact that "Avatar" is essentially a religious film, even if Cameron might not have intended it as such." At the same time, Jonah Goldberg of "National Review Online" objected to what he saw in the film reviews as "the norm to speak glowingly of spirituality but derisively of traditional religion."


title: Themes in Avatar

text: James Cameron has said that he "tried to make a film that would touch people's spirituality across the broad spectrum." He also stated that one of the film's philosophical underpinnings is that "the Na'vi represent that sort of aspirational part of ourselves that wants to be better, that wants to respect nature, while the humans in the film represent the more venal versions of ourselves, the banality of evil that comes with corporate decisions that are made out of remove of the consequences." Film director John Boorman saw a similar dichotomy as a key factor contributing to its success: "Perhaps the key is the marine in the wheelchair. He is disabled, but Mr Cameron and technology can transport him into the body of a beautiful, athletic, sexual, being. After all, we are all disabled in one way or another; inadequate, old, broken, earthbound. Pandora is a kind of heaven where we can be resurrected and connected instead of disconnected and alone."


title: Themes in Avatar

text: Reviewers suggested that the film draws upon many existing religious and mythological motifs. Vern Barnet of the "Charlotte Observer" opined that "Avatar" poses a great question of faith—should the creation be seen and governed hierarchically, from above, or ecologically, through mutual interdependence? He also noted that the film borrows concepts from other religions and compared its Tree of Souls with the Norse story of the tree Yggdrasil, also called axis mundi or the center of the world, whose destruction signals the collapse of the universe. Malinda Liu in "Newsweek" likened the Na'vi respect for life and belief in reincarnation with Tibetan religious beliefs and practices, but Reihan Salam of "Forbes" called the species "perhaps the most sanctimonious humanoids ever portrayed on film."


title: Themes in Avatar

text: A Bolivian writer defined "avatar" as "something born without human intervention, without intercourse, without sin", comparing it to the births of Jesus, Krishna, Manco Cápac, and Mama Ocllo and drew parallels between the deity Eywa of Pandora and the goddess Pachamama worshiped by the indigenous people of the Andes. Others suggested that the world of Pandora mirrored the Garden of Eden, and reminded that in Hebrew Na'vi is the singular of "Nevi'im" which means "Prophets". A writer for "Religion Dispatches" countered that "Avatar" "begs, borrows, and steals from a variety of longstanding human stories, puts them through the grinder, and comes up with something new." Another commentator called "Avatar" "a new version of the Garden of Eden syndrome" pointing to what she viewed as phonetic and conceptual similarities of the film's terminology with that of the Book of Genesis.


title: Themes in Avatar

text: "The Times of India" suggested "Avatar" was a treatise on Indianism "for Indophiles and Indian philosophy enthusiasts", starting from the very word "Avatar" itself. A "Houston Chronicle" piece critiqued the film in terms of the ancient Hindu epics "Ramayana" and "Mahabharata", commenting on the Na'vi visual similarity with Rama and Krishna—avatars central to the respective epics and traditionally depicted with blue skin, black hair, and a tilak mark on the forehead. Another critic found that elements of the film's plot resembled such teachings and concepts of Hinduism as reincarnation of the soul, ecological consciousness, and incarnations of deities on Earth, commending "Avatar" and its director for "raising the global stature of Hinduism ... in months", while criticizing them for substantiating the western reluctance to accept anything oriental in its pristine form.


title: Themes in Avatar

text: Cameron calls the connection a "subconscious" reference: "I have just loved ... the mythology, the entire Hindu pantheon, seems so rich and vivid." He continued, "I didn't want to reference the Hindu religion so closely, but the subconscious association was interesting, and I hope I haven't offended anyone in doing so." He has stated that he was familiar with a lot of beliefs of the Hindu religion and found it "quite fascinating".


title: Themes in Avatar

text: Answering a question from "Time" magazine in 2007, "What is an "Avatar" anyway?" James Cameron replied, "It's an incarnation of one of the Hindu gods taking a flesh form. In this film what that means is that the human technology in the future is capable of injecting a human's intelligence into a remotely located body, a biological body." In 2010, Cameron confirmed the meaning of the title to the "Times of India": "Of course, that was the significance in the film, although the characters are not divine beings. But the idea was that they take flesh in another body."


title: Themes in Avatar

text: Following the film's release, reviewers focused on Cameron's choice of the religious Sanskrit term for the film's title. A reviewer in the "Irish Times" traced the term to the ten incarnations of Vishnu. Another writer for "The Hindu" concluded that by using the "loaded Sanskrit word" Cameron indicated the possibility that an encounter with an emotionally superior—but technologically inferior—form of alien may in the future become a next step in human evolution—provided we will learn to integrate and change, rather than conquer and destroy.


title: Themes in Avatar

text: Maxim Osipov of ISKCON argued in "The Sydney Morning Herald" that "Avatar" is a "downright misnomer" for the film because "the movie reverses the very concept [that] the term 'avatar'—literally, in Sanskrit, 'descent'—is based on. So much for a descending 'avatar', Jake becomes a refugee among the aborigines." Vern Barnet in "Charlotte Observer" likewise thought that the title insults traditional Hindu usage of the term since it is a human, not a god, who descends in the film. However, Rishi Bhutada, Houston coordinator of the Hindu American Foundation, stated that while there are certain sacred terms that would offend Hindus if used improperly, 'avatar' is not one of them. Texas-based filmmaker Ashok Rao added that 'avatar' does not always mean a representative of God on Earth, but simply one being in another form—especially in literature, moviemaking, poetry and other forms of art.


title: Themes in Avatar

text: Explaining the choice of the color blue for the Na'vi, Cameron said "I just like blue. It's a good color ... plus, there's a connection to the Hindu deities, which I like conceptually." Commentators agreed that the blue skin of the Na'vi, described in a "New Yorker" article as "Vishnu-blue", "instantly and metaphorically" relates the film's protagonist to such avatars of Vishnu as Rama and Krishna. An article in the "San Francisco Examiner" described an 18th-century Indian painting of Vishnu and his consort Laksmi riding the great mythical bird Garuda as ""Avatar" prequel" due to its resemblance with the film's scene in which the hero's blue-skinned avatar flies a gigantic raptor. Asra Q. Nomani of "The Daily Beast" likened the hero and his Na'vi mate Neytiri to images of Shiva and Durga.


title: Themes in Avatar

text: Discussing explicit or implicit similarities between the film and the philosophy of Hinduism, reviewers suggested that, just as Hindu gods, particularly Vishnu, become avatars to save the order of the universe, the film’s avatar must descend to avert impending ultimate doom, effected by a rapacious greed that leads to destroying the world of nature and other civilizations. Maxim Osipov observed that the film's philosophical message was consistent overall with the "Bhagavad Gita", a key scripture of Hinduism, in defining what constitutes real culture and civilization.


title: Themes in Avatar

text: Critics saw an "undeniably" Hindu connection between the film's story and the Vedic teaching of reverence for the whole universe, as well as the yogic practice of inhabiting a distant body by one’s consciousness and compared the film's love scene to tantric practices. Another linked the Na'vi earth goddess Eywa to the concept of Brahman as the ground of being described in Vedanta and Upanishads and likened the Na'vi ability to connect to Eywa with the realization of Atman. One commentator noted the parallel between the Na'vi greeting "I see you" and the ancient Hindu greeting "Namaste", which signifies perceiving and adoring the divinity within others. Others commented on "Avatar"'s adaptation of the Hindu teaching of reincarnation,—a concept, which another author felt was more accurately applicable to ordinary human beings that are "a step or two away from exotic animals" than to deities.


title: Themes in Avatar

text: Writing for the Ukrainian "Day" newspaper, Maxim Chaikovsky drew detailed analogies between "Avatar"'s plot and elements of the ancient Bhagavata Purana narrative of Krishna, including the heroine Radha, the Vraja tribe and their habitat the Vrindavana forest, the hovering Govardhan mountain, and the mystical rock chintamani. He also opined that this resemblance may account for "Avatar blues"—a sense of loss experienced by members of the audience at the conclusion of the film.


title: Themes in Avatar

text: Some Christian writers worried that "Avatar" promotes pantheism and nature worship. A critic for "L’Osservatore Romano" of the Holy See wrote that the film "shows a spiritualism linked to the worship of nature, a fashionable pantheism in which creator and creation are mixed up." Likewise, "Vatican Radio" argued that the film "cleverly winks at all those pseudo-doctrines that turn ecology into the religion of the millennium. Nature is no longer a creation to defend, but a divinity to worship." According to Vatican spokesman Federico Lombardi, these reviews reflect the Pope's views on neopaganism, or confusing nature and spirituality. On the other hand, disagreeing with the Vatican's characterization of "Avatar" as pagan, a writer in the "National Catholic Reporter" urged Christian critics to see the film in the historical context of "Christianity's complicity in the conquest of the Americas" instead.


title: Themes in Avatar

text: Ross Douthat, a conservative columnist of "The New York Times", called "Avatar" "the Gospel According to James" and "Cameron's long apologia for pantheism [which] has been Hollywood's religion of choice for a generation now." Replying to him, Jay Michaelson of the "HuffPost" wrote "The Meaning of Avatar: Everything is God (A Response to Ross Douthat and other naysayers of ‘pantheism’)". In "The Weekly Standard", John Podhoretz criticized the film's "mindless worship of a nature-loving tribe and the tribe's adorable pagan rituals." Christian critic David Outten disputed that "the danger to moviegoers is that "Avatar" presents the Na'vi culture on Pandora as morally superior to life on Earth. If you love the philosophy and culture of the Na'vi too much, you will be led into evil rather than away from it." Outten further added: "Cameron has done a masterful job in manipulating the emotions of his audience in "Avatar". He created a world where it looks good and noble to live in a tree and hunt for your food daily with a bow and arrow. ... Cameron said, "'Avatar" asks us to see that everything is connected, all human beings to each other, and us to the Earth.' This is a clear statement of religious belief. This is pantheism. It is not Christianity." The deleted scene "The Dream Hunt", which is included in the DVD extras, shows elements that reminded Erik Davis and others of ayahuasca experiences.


title: Themes in Avatar

text: Other Christian critics wrote that "Avatar" has "an abhorrent New Age, pagan, anti-capitalist worldview that promotes goddess worship and the destruction of the human race" and suggested that Christian viewers interpret the film as a reminder of Jesus Christ as "the True Avatar". Some of them also suspected "Avatar" of subversive retelling of the biblical Exodus, by which Cameron "invites us to look at the Bible from the side of Canaanites." Conversely, other commentators concluded that the film promotes theism or panentheism rather than pantheism, arguing that the hero "does not pray to a tree, but through a tree to the deity whom he addresses personally" and, unlike in pantheism, "the film's deity does indeed—contrary to the native wisdom of the Na'vi—interfere in human affairs." Ann Marlowe of "Forbes" agreed, saying that "though "Avatar" has been charged with "pantheism", its mythos is just as deeply Christian." Another author suggested that the film's message "leads to a renewed reverence for the natural world—a very Christian teaching." Saritha Prabhu, an Indian-born columnist for "The Tennessean", saw the film as a misportrayal of pantheism: "What pantheism is, at least, to me: a silent, spiritual awe when looking (as Einstein said) at the 'beauty and sublimity of the universe', and seeing the divine manifested in different aspects of nature. What pantheism isn't: a touchy-feely, kumbaya vibe as is often depicted. No wonder many Americans are turned off." Prabhu also criticized Hollywood and Western media for what she saw as their generally poor job of portraying Eastern spirituality.


title: Lolong (TV series)

text: Lolong (International title: "Crocodile Whisperer") is a 2022 Philippine television drama action series broadcast by GMA Network. Directed by Rommel P. Penesa, it stars Ruru Madrid in the title role. It premiered on July 4, 2022 on the network's Telebabad line up replacing "First Lady". The series concluded on September 30, 2022 with a total of 65 episodes. It was replaced by "Maria Clara at Ibarra" in its timeslot. The series has been renewed for a second season.


title: Lolong (TV series)

text: Broadcaster Jessica Soho came up for the series' concept of conflict between humans and crocodile, which was featured in her show "Kapuso Mo, Jessica Soho". "Lolong" is named after a crocodile of the same name, which was known as the world's largest crocodile in captivity. A long animatronic, enhanced by computer-generated imagery was used to depict the crocodile "Dakila".


title: Lolong (TV series)

text: In October 2020, Filipino actress Sanya Lopez left the series due to joining the drama series "First Yaya". Kim Domingo was also initially attached to appear in the series. Principal photography commenced in July 2021 in Quezon. It was halted in August 2021 due to the enhanced community quarantine in National Capital Region caused by the COVID-19 pandemic.


title: Economy of Austria

text: The economy of Austria is a developed social market economy, with the country being one of the fourteen richest in the world in terms of GDP (gross domestic product) per capita. Until the 1980s, many of Austria's largest industry firms were nationalised. In recent years, privatisation has reduced state holdings to a level comparable to other European economies.


title: Economy of Austria

text: Labour movements are particularly strong in Austria, and they have a large influence on labour politics. Next to a highly developed industry, international tourism is the most important part of the national economy. The economy of Austria's average GDP is 13th growth in OECD countries, from 1992 to 2017. In Austria, 1.37% over average population growth is the strong factor.


title: Economy of Austria

text: Germany has historically been the main trading partner of Austria, making the Austrian economy vulnerable to rapid changes in the German economy. However, since Austria became a member state of the European Union, it has gained closer ties to other European Union economies. This development reduced its economic dependence on Germany. In addition, Austria's membership in the EU has drawn an influx of foreign investors.


title: Economy of Austria

text: They were attracted by Austria's access to the European Single Market and the country's proximity to the aspiring economies of the European Union. Growth in GDP accelerated in recent years, and reached 3.3% in 2006.


title: Economy of Austria

text: In 2004 Austria was the fourth richest country within the European Union, having a GDP (PPP) per capita of approximately €27,666. At the time, Luxembourg, the Republic of Ireland, and the Netherlands were leading the list.


title: Economy of Austria

text: Vienna was ranked the fifth richest NUTS-2 region within Europe (see Economy of the European Union), with its GDP reaching €38,632 per capita. It was trailing behind Inner London, Luxembourg, the Brussels-Capital Region and Hamburg.


title: Economy of Austria

text: Growth had been steady between 2002 and 2006, varying between 1 and 3.3%. After hitting 0% in 2013, growth had picked up a little. As of 2016, growth was set at 1.5%.


title: Economy of Austria

text: First Austrian Republic, founded as a result of the dissolution of Austria-Hungary, inherited an economy battered by the ravages of the First World War, namely:


title: Economy of Austria

text: A number of international relief schemes failed to garner enough support while a report by Sir William Goode argued that the Austrian economy would collapse without swift foreign intervention. As such, the Austrian economic crisis stretched into its second year, with inflation running at 99%.


title: Economy of Austria

text: With annual inflation running at 2,877%, the League of Nations was officially appointed to organise an Austrian reconstruction plan in August 1922. The League scheme was based on the view that Austrian troubles as a result of an inability to pay for necessities and obtain credit, and therefore, an Austrian financial revival was critical to Austrian survival. To this end, the plan was focused solely on financial reconstruction. Austria would receive loans raised from international money markets and the Austrian public, which would be secured on customs and tobacco taxes. In exchange, Austria would in effect lose sovereignty over its economy, agreeing to:


title: Economy of Austria

text: The measures took effect in 1923. Short-term effects were impressive; during the announcement to undertake Austrian reconstruction in August 1922, public confidence soared. Foreign currency holdings were converted back into krone, stabilising the currency. This allowed the Austrian Foreign Exchange Agency to finally intervene to fix the krone to the dollar, something that the wild gyrations of the past had not permitted. Capital rushed back into Austria, and domestic prices stabilised, pronouncing the end of hyperinflation.


title: Economy of Austria

text: The steam ran out shortly after implementation. Growth averaged 0.35% per annum until 1929, unemployment leapt five-fold, bankruptcies increased 41-fold, and the trade deficit doubled.


title: Economy of Austria

text: Austria was annexed by Nazi Germany in 1938, and consequently lost control of its own economic policy until the formation of the Second Republic in 1945.


title: Economy of Austria

text: Ever since the end of the World War II, Austria has achieved sustained economic growth. In the soaring 1950s, the rebuilding efforts for Austria lead to an average annual growth rate of more than 5% in real terms and averaged about four-point five percent through most of the 1960s. Following moderate real GDP growth of 1.7%, 2% and 1.2%, respectively, in 1995, 1996, and 1997, the economy rebounded and with real GDP expansion of 2.9 percent in 1998 and 2.2% in 1999.


title: Economy of Austria

text: Austria became a member of the EU on 1 January 1995. Membership brought economic benefits and challenges and has drawn an influx of foreign investors attracted by Austria's access to the single European market. Austria also has made progress in generally increasing its international competitiveness. As a member of the economic and monetary union of the European Union (EMU), Austria's economy is closely integrated with other EU member countries, especially with Germany. On 1 January 1999, Austria introduced the new Euro currency for accounting purposes. In January 2002, Euro notes and coins were introduced, replacing those of the Austrian schilling.


title: Economy of Austria

text: In Austria, Euros appear as 1999, however all Austrian euro coins introduced in 2002 have this year on it; unlike other countries of the Eurozone where mint year is minted in the coin. Eight different designs, one per face value, were selected for the Austrian coins. In 2007, in order to adopt the new common map like the rest of the Eurozone countries, Austria changed the common side of its coins.


title: Economy of Austria

text: Before adopting the Euro in 2002 Austria had maintained use of the Austrian schilling which was first established in December 1924. The Schilling was abolished in the wake of the Anschluss in 1938 and has been reintroduced after the end of the World War II in November 1945.


title: Economy of Austria

text: Austria has one of the richest collection of collectors' coins in the Eurozone, with face value ranging from 10 to 100 euro (although a 100,000 euro coin was exceptionally minted in 2004). These coins are a legacy of an old national practice of minting of silver and gold coins. Unlike normal issues, these coins are not legal tender in all the eurozone. For instance, a €5 Austrian commemorative coin cannot be used in any other country.


title: Economy of Austria

text: Many of the country's largest firms were nationalised in the early post-war period to protect them from Soviet takeover as war reparations. For many years, the government and its state-owned industries conglomerate played a very important role in the Austrian economy. However, starting in the early 1990s, the group was broken apart, state-owned firms started to operate largely as private businesses, and a great number of these firms were wholly or partially privatised. The government still operates some firms, state monopolies, utilities, and services. In the aftermath of the financial crisis of 2007–2008 two banks were nationalised. Since 2019 the Österreichische Industrieholding (ÖBAG) administers the investments of the Republic of Austria in partially or entirely nationalized companies, but came under strong criticism after leaked messages showed how Thomas Schmidt had a say in the appointment of the supervisory board and became sole director. Austria enjoys well-developed industry, banking, transportation, services, and commercial facilities.


title: Economy of Austria

text: Austria has a strong labour movement. The Austrian Trade Union Federation (ÖGB) comprises constituent unions with a total membership of about 1.5 million—more than half the country's wage and salary earners. Since 1945, the ÖGB has pursued a moderate, consensus-oriented wage policy, cooperating with industry, agriculture, and the government on a broad range of social and economic issues in what is known as Austria's "social partnership". The ÖGB has often opposed the Schüssel government's programme for budget consolidation, social reform, and improving the business climate, and indications are rising that Austria's peaceful social climate could become more confrontational.


title: Economy of Austria

text: Austrian farms, like those of other west European mountainous countries, are small and fragmented, and production is relatively expensive. Since Austria's becoming a member of the EU in 1995, the Austrian agricultural sector has been undergoing substantial reform under the EU's Common Agricultural Policy (CAP). Although Austrian farmers provide about 80% of domestic food requirements, the agricultural contribution to gross domestic product (GDP) has declined since 1950 to less than 3%.


title: Economy of Austria

text: Although some industries are global competitors, such as several iron and steel works, chemical plants and oil corporations that are large industrial enterprises employing thousands of people, most industrial and commercial enterprises in Austria are relatively small on an international scale.


title: Economy of Austria

text: Most important for Austria is the service sector generating the vast majority of Austria's GDP. Vienna has grown into a finance and consulting metropole and has established itself as the door to the East within the last decades. Viennese law firms and banks are among the leading corporations in business with the new EU member states. Tourism is very important for Austria's economy, accounting for around 10 percent of Austria's GDP. In 2001, Austria was the tenth most visited country in the world with over 18.2 million tourists. Previously, dependency on German guests made this sector of the Austrian economy very dependent on German economy. However recent developments have brought a change, especially since winter ski resorts such as Arlberg or Kitzbühel are now more and more frequented by Eastern Europeans, Russians and Americans.


title: Economy of Austria

text: Austria's health care system was developed alongside other social welfare programmes by the social democrats in Vienna initially.


title: Economy of Austria

text: Trade with other EU countries accounts for almost 66% of Austrian imports and exports. Expanding trade and investment in the emerging markets of central and eastern Europe is a major element of Austrian economic activity. Trade with these countries accounts for almost 14% of Austrian imports and exports, and Austrian firms have sizable investments in and continue to move labour-intensive, low-tech production to these countries. Although the big investment boom has waned, Austria still has the potential to attract EU firms seeking convenient access to these developing markets.


title: Economy of Austria

text: Companies and investors from Austria are active in mergers and acquisitions (M&A). Since 1991, more than 7,183 mergers & acquisitions transactions have been announced with a known total value of 261.6 bil. EUR. In 2017, over 245 deals with a total value of over 12.9 bil. EUR have taken place. They are not only active in national deals, but also as important investors in cross-border M&A abroad, with Germany being the most important partner. 854 German companies have been acquired by Austrian parant companies (outbound) so far.


title: Economy of Austria

text: The industry with the largest M&A activity in Austria in terms of transaction value has been the financial sector, whereas the industry with the largest number of transactions has been Industrials - representing 19.2%.


title: Economy of Austria

text: The following table shows the main economic indicators in 1980–2021 (with IMF staff estimtates in 2022–2027). Inflation under 5% is in green.


title: JP-8

text: JP-8, or JP8 (for "Jet Propellant 8") is a jet fuel, specified and used widely by the US military. It is specified by MIL-DTL-83133 and British Defence Standard 91-87, and similar to commercial aviation's Jet A-1, but with the addition of corrosion inhibitor and anti-icing additives.


title: JP-8

text: A kerosene-based fuel, JP-8 is projected to remain in use at least until 2025. It was first introduced at NATO bases in 1978. Its NATO code is "'F-34".


title: JP-8

text: It was specified in 1990 by the U.S. government as a replacement for government diesel fueled vehicles.


title: JP-8

text: The U.S. Air Force replaced JP-4 with JP-8 completely by the end of 1995, to use a less flammable, less hazardous fuel for better safety and combat survivability.


title: JP-8

text: The U.S. Navy uses a similar formula, JP-5. JP-5 has an even higher flash point of > 140 °F (60 °C), but also a higher cost, though the U.S. Navy Seabees still use JP-8 in their construction and tactical equipment.


title: JP-8

text: In addition to its use for powering aircraft, JP-8 is used as a fuel for heaters, stoves, tanks, by the U.S. military and its NATO allies as a replacement for diesel fuel in the engines of nearly all tactical ground vehicles and electrical generators,


title: JP-8

text: and as a coolant in engines and some other aircraft components. The use of a single fuel greatly simplifies logistics.


title: JP-8

text: JP-8 is formulated with an icing inhibitor, corrosion inhibitors, lubricants, and antistatic agents, and less benzene (a carcinogen) and less "n"-hexane (a neurotoxin) than JP-4. However, it also smells stronger than JP-4. JP-8 has an oily feel to the touch, while JP-4 feels more like a solvent.


title: JP-8

text: When used in highly supercharged diesel engines with the corresponding low compression ratio of about only 14:1 or below, JP-8 causes troubles during cold start and idling due to low compression temperatures and subsequent ignition delay because the cetane index is not specified in MIL-DTL-83133G to 40 or higher. Because lubricity to the BOCLE method is not specified in MIL-DTL-83133G, modern common-rail diesel engines can experience wear problems in high-pressure fuel pumps and injectors. Another problem in diesel engines can be increased wear to exhaust valve seats in the cylinder heads, because a minimum content of sulfur is not specified in MIL-DTL-83133G. Sulfur in fuel normally contributes to a build-up of soot layers on these valve seats. According to the notes in this standard, it is intended to include a cetane index value in one of the next releases.


title: JP-8

text: Workers have complained of smelling and tasting JP-8 for hours after exposure. As JP-8 is less volatile than standard diesel fuel, it remains on the contaminated surfaces for longer time, increasing the risk of exposure. JP-8 exposure has also been linked to hearing problems, but rather than being unable to hear sounds, the brain has a hard time deciphering the message. Dr. O'neil Guthrie, a research scientist and clinical audiologist with the United States Department of Veterans Affairs Loma Linda Healthcare System in California, has compared the central auditory processing disorder to dyslexia for the ears.


title: JP-8

text: In 2001, Texas Tech University's Institute of Environmental and Human Health and the United States Air Force conducted an 18-month study of the health effects of JP-8 on 339 active duty personnel at six US Air Force installations. The study found that Air Force workers who were exposed to JP-8 were no more likely to seek medical attention than workers who were not exposed to JP-8 on the job. Personnel in the high- and moderate-exposure categories self-reported greater amounts of symptoms such as headaches, dizziness, difficulty breathing, general weakness, trouble concentrating, forgetfulness, and trouble gripping things.


title: JP-8

text: JP-8+100 (F-37) is a version of JP-8 with an additive that increases its thermal stability by 100 °F (a difference of 56 °C). The additive is a combination of a surfactant, metal deactivator, and an antioxidant, and was introduced in 1994 to reduce choking and fouling in engine fuel systems. The additive is known as 8Q462, or Aeroshell Performance Additive 101, is manufactured by BetzDearborn (Now GE Betz), and used at the ratio of 256 ppm, at cost of about $1 per 1000 gallons of fuel. Commercially, this additive is used in police helicopters in Tampa, Florida. JP-8+100 is also used for Canadian Forces CP-140 Aurora, CC-130 Hercules, CF-18 Hornet and the CC-115 Buffalo.


title: JP-8

text: JP-8+100LT is a variant of JP-8+100, with additives to facilitate low-temperature performance. It is considered as a logistically friendly low-cost replacement of the JPTS fuel for the Lockheed U-2 airplane.


title: UniMás

text: UniMás (, stylized as UNIMÁS, and originally known as TeleFutura from its launch on January 14, 2002, to January 6, 2013) is an American Spanish free-to-air television network owned by TelevisaUnivision. The network's programming, which is aimed at Hispanic Americans in the 18-34 age range, includes telenovelas and other serialized drama series, sports, sitcoms, reruns of imported series previously aired on parent network Univision, reality and variety series, and theatrically released feature films (primarily consisting of Spanish-dubbed versions of American movie releases).


title: UniMás

text: The network is operated out of Univision's South Florida headquarters in the Miami suburb of Doral, Florida. Since its launch, the network has made major inroads in overall and demographic viewership, eventually ranking as the second highest-rated Spanish-language television network in key dayparts, behind only sister network Univision, by 2012.


title: UniMás

text: UniMás is available on cable and satellite television throughout most of the United States, with local stations in over 40 markets with large Hispanic and Latino populations. Most of these stations are pass-throughs for the network's main programming feed, offering limited to no exclusive local programming. Univision Communications chief operating officer Randy Falco has overseen the network's operations since his appointment in the position by the company on June 29, 2011.


title: UniMás

text: The network traces its origins to Barry Diller's November 1995 acquisition of the Home Shopping Network and its broadcasting arm Silver King Communications, which owned television stations affiliated with HSN in several larger media markets. In June 1998, the renamed USA Broadcasting (which had been merged into the Diller-owned USA Networks in 1997) launched a customized independent station format, "CityVision", which infused syndicated programming – including a few produced by sister production unit Studios USA that also aired nationally on USA Network – with a limited amount of local entertainment and magazine programs (reminiscent of the format used by CITY-TV in Toronto and more prominently, its co-owned stations that became charter outlets of Citytv, when CHUM Limited expanded the format to other Canadian markets as a television system in 2002). USA's Miami outlet, WYHS-TV, served as the test station for the format, disaffiliating from HSN and converting into a general entertainment outlet under the new call letters WAMI-TV.


title: UniMás

text: By September 2000, USA Broadcasting had expanded the "CityVision" entertainment format to three of its thirteen other HSN outlets – with some of the stations adopting call letters referencing common nicknames for their home cities – WHOT-TV (now WUVG-DT) in Atlanta, KSTR-TV in Dallas–Fort Worth and WHUB-TV (now WUTF-DT) in Boston. Before the group could carry out the proposed conversions of its other stations into independent stations, USA Networks announced that it would sell off its television station group in the summer of 2000, to focus on its cable network and television production properties. Among the prospective buyers for the thirteen-station group were The Walt Disney Company (which would have created duopolies with ABC owned-and-operated stations in New York City, Los Angeles, Chicago and Houston) and Univision Communications (which would create duopolies with Univision owned-and-operated stations in those same four cities); the latter purchased the USA Broadcasting stations for $1.1 billion on December 7, 2000, with the sale being finalized on May 21, 2001.


title: UniMás

text: On May 15, 2001, during Univision's upfront presentation, Univision Communications announced its intentions to form a then-unnamed secondary television network that would compete with Univision, Telemundo and the then-recently launched Azteca América. Organizational plans for the network called for the recently acquired former USA Broadcasting stations to serve as the network's nuclei, with its programming catering to bilingual Latinos with a preference toward watching English-language television programs, as well as young adult males between the ages 18 and 34 that seldom watch Spanish language television other than sporting events; Univision executives expected the network to reach 80% of all Hispanic and Latino households throughout the U.S. that own at least one television set by the time of its launch. Although Univision maintained a dominant market share among the American Spanish language television networks (holding an 83% share of Latino viewers during prime time at the time), Univision Communications executives did not believe that a second network would result in a cannibalization of the flagship network's market share.


title: UniMás

text: On July 31, 2001, Univision announced that TeleFutura would be the name for the new network, with Univision Communications chairman and chief executive officer A. Jerrold Perenchio noting the name was suggested in part by two of corporate employees to "represent[…] the future of Spanish-language television". Univision continued to run the nine HSN affiliates and four independent stations (one of which regained its affiliation with HSN earlier that year) as English language outlets for several months following the USA Broadcasting purchase.


title: UniMás

text: TeleFutura formally launched at 7:00 p.m. Eastern Time on January 14, 2002, debuting initially on 18 Univision-owned stations (consisting of twelve former USA Broadcasting stations – an additional station, WQHS-TV in Cleveland, was converted into an owned-and-operated station of parent network Univision instead; it would later carry UniMás on a subchannel) – and six others that Univision Communications acquired afterward) and 24 affiliates owned by other companies. Initial programming on the network – which was counterprogrammed to offer distinct programs that do not directly compete with shows aired on Univision – included "Escándalo TV" ("Scandal TV"; the program was originally titled "Escándalo en el Medio Dia", before being changed due to the existence of a similarly titled Mexican program produced by Televisa), a three-hour gossip/entertainment program designed to compete with similar newsmagazines such as Telemundo's "Cotorreando" (and ran on the network until October 2011); and the daytime talk show "Monica".


title: UniMás

text: The remainder of TeleFutura's programming consisted of imported telenovelas from Latin American production companies with which Univision maintained programming agreements including Televisa, Venevisión, Coral Productions, RCTV, RCN and Rede Globo, which aired only on weekday afternoons at its launch. Evenings and weekends primarily consisted of feature films, consisting exclusively of dubbed Spanish prints of American releases from the 1980s onward, as part of the umbrella showcases "CinePlex" (for daytime movies, usually those airing on weekends), "CinEscape" (for late night movies), "Cine Especial" (for special movie presentations) or "Cine de las Estrellas" (for prime time movies). The network also featured news and sports updates during prime time, as well as several sports programs and events including "Contacto Deportivo" ("Contact Sports"), an hour-long weeknight sports news program; weekly boxing matches on Friday nights; and soccer matches from Liga MX on weekend afternoons.


title: UniMás

text: On June 27, 2006, Univision Communications was acquired by Broadcasting Media Partners Inc. – a consortium of investment firms led by the Haim Saban-owned Saban Capital Group (which had previously owned Saban Entertainment until its sale to The Walt Disney Company in June 2001, as part of News Corporation's sale of Fox Family Worldwide), TPG Capital, L.P., Providence Equity Partners, Madison Dearborn Partners and Thomas H. Lee Partners – for $12.3 billion (increasing to $13.7 billion or $36.25 per share by the sale's closure), plus the assumption of $1.4 billion in debt. The sale received federal approval and was formally consummated on March 27, 2007.


title: UniMás

text: During the February 2007 sweeps period, according to Nielsen Media Research, TeleFutura made significant gains in viewership at the expense of Telemundo, which it overtook for second place among the major Spanish-language networks in the key demographics of Adults 18–34, Men 18–34 and Men 18–49. On February 26, 2010, TeleFutura once again ranked as the second highest-rated Spanish-language network in the United States and earned its highest ratings for an entertainment special in the network's history, with the finale of the reality competition series "Buscando La Doble de Selena" ("Search for Selena's Double"), which attracted 1.9 million total viewers. TeleFutura finished 2012 as the youngest broadcast network with a median age of 36 and finished the year averaging 642,000 total viewers aged 2 and up. It also ranked as the second highest-rated Spanish-language network in 2012 in key dayparts among Adults 18–49 and Adults 18–34.


title: UniMás

text: On December 3, 2012, Univision Communications announced that it would relaunch TeleFutura as UniMás – which loosely translates to "Univision Plus", to underline its ties to its parent network Univision – with a programming refocusing to appeal more towards Latino males between the ages of 12 and 35 years old. The revamped network would feature Mexican and Colombian-imported programming from Televisa, Caracol Televisión and RTI Colombia (the latter two of which compete with RCN in the domestic Colombian market), which had maintained longstanding programming and production agreements with rival Telemundo, through contracts struck months before the relaunch, it would also increase its reliance on sports content for its weekend schedule.


title: UniMás

text: The new logo and brand identity, which debuted on-air at 5:00 a.m. CST on January 7, 2013 (exactly one week before the network's 11th anniversary), were created in collaboration with branding firm Troika Design Group. As part of the campaign to announce the launch, Univision Communications launched an extensive advertising campaign for UniMás that included promotional spots, digital ads, print ads and outdoor advertising in New York City, Los Angeles and Miami. The network's prime time was revamped to feature several new serial dramas formatted of a grittier nature than the romance-themed telenovelas produced by Televisa that air on Univision to appeal to male viewers including the Colombian adaptation of "Breaking Bad", "Metástasis"; the crime dramas "Made in Cartagena" and "¿Quién Eres Tú?" ("Infringement"); and the boxing-themed drama "Cloroformo" ("Chloroform"), which were included among the relaunched network's initial prime time offerings.


title: UniMás

text: On May 13, 2019, UniMás refocused its programming strategy in order to target a younger audience to that of its parent network Univision, with a focus on news, sports, unscripted entertainment and reality shows, most of them broadcast live. On that day, the station added an early edition of Noticiero Univision: Edición Nocturna at 10 p.m., coinciding with the arrival of Colombian newsreader Patricia Janiot to the broadcast, co-anchoring alongside Enrique Acevedo. On October 31, 2021, this shift was completed with the launch of a new wordmark logo and brand identity, designed, as in 2013, by Troika Design Group, and a new slogan, "Vívelo Todo" ("Live it All").


title: UniMás

text: UniMás operates on a 126-hour network programming schedule, which it has maintained since its launch as TeleFutura in January 2002. It provides general entertainment programming to owned-and-operated and affiliated stations daily from 6:00 a.m. to 1:00 a.m. Eastern and Pacific Time. Two separate children's programming blocks known as "Toonturama" and "Toonturama Junior" – which features some programs compliant with FCC educational programming requirements – airs for five hours each Saturday at 7:00 a.m. Eastern and Pacific Time. All other time periods are filled with infomercials.


title: UniMás

text: As TeleFutura, the network featured a broad mix of programming, consisting of telenovelas, sports, feature films, entertainment newsmagazines, comedy series (such as "¡Qué Locura!" ("What Madness!") and "Chespirito"), game shows (such as the "Family Feud" adaptations "¿Qué dice la gente?" ("What do the People Say?") and "100 Mexicanos Dijeron" ("A Hundred Mexicans Said"))) and variety series (such as "Pepsi Música" ("Pepsi Music") and "Sabadazo"). In January 2009, TeleFutura launched the daily gossip show "La Tijera", hosted by Charitin Goyco, Liliana Rodriguez, Paul Bouche, Carolina Sandoval and Augusto Valverde. The hosting staff was gradually altered over its two-year run to include Tanya Charry, Raul Garcia, Anabelle Blum and Rodolfo Jimenez joining Sandoval; the show was cancelled in October 2011. On October 10, 2011, "La Tujera" was replaced by a daily gossip show "Tómbola", while the network also debuted a late night talk show "Noche de Perros"; due to low ratings, "Tombola" was cancelled on January 17, 2012, followed by "Noche de Perros" three months later on April 20.


title: UniMás

text: Currently, the majority of UniMás' programming consists of telenovelas and series produced by Televisa (the majority of which originated on the company's flagship network in Mexico, Canal de las Estrellas), Caracol Televisión and RTI Colombia; several of the network's Televisa-sourced programs (including "Casos de Família" ("Family Cases") and "El Chavo del 8") have also previously aired on parent network Univision, many having aired on that network years prior to being broadcast on UniMás. It also carries a moderate amount of first-run original programming produced by sister production unit Univision Studios, including the reality courtroom show "Veredicto Final" and sports magazine program "Zona NBA".


title: UniMás

text: Notably, UniMás was to replace Telemundo as the U.S. Spanish language broadcaster of the Miss Universe and Miss USA pageants through an agreement with the Miss Universe Organization that was signed on February 5, 2015. However, Univision Communications chose to relinquish the rights to the two pageants on June 25 of that year, as part of its decision to cut business ties with then-Miss Universe Organization co-owner Donald Trump in response to controversial remarks he made during his June 16 speech announcing his candidacy for the Republican Party Presidential nomination in which Trump stated that Mexicans immigrating into the U.S. were responsible for the transporting of illegal drugs, brought crime, rapists and drug dealers into the country, and called for the building of a wall along the Mexico–United States border. The termination of the agreement led Trump and the Miss Universe Organization to jointly file a breach of contract and defamation lawsuit against Univision Communications in the New York Supreme Court on June 30, 2015, seeking $500 million in damages.


title: UniMás

text: The only general news program to have aired on the network to date debuted on October 17, 2005, when TeleFutura began airing "En Vivo y Directo" ("Live and Direct"), a half-hour early evening newscast that aired at 7:00 p.m. Eastern Time (opposite a taped 4:00 p.m. news program on sister network Galavisión) that featured an in-depth analysis of news stories affecting the U.S. Hispanic community. The program was cancelled in April 2006 due to low ratings, replacing the newscast with movies.


title: UniMás

text: As UniMás, on September 20, 2015, the network began airing "Fusion Presenta" ("Fusion Presents"), a weekly block on Sunday nights consisting of Spanish-language versions of original docu-series originally aired on English language sister cable network Fusion. In November 2015, the network also began simulcasting Univision's late night newscast, "Noticiero Univision Edición Nocturna" on weeknights, as Univision began several simulcasting efforts to maximize its ratings, including having lead-out program "Contacto Deportivo" airing both on Univision and Univision Deportes Network to compete against the flagship English broadcast and the ESPN Deportes Spanish version of ESPN's "SportsCenter".


title: UniMás

text: Through its association with Univision's sports division, Univision Deportes (which is also responsible for the production of sports content on Galavisión and its dedicated cable-satellite sports channel Univision Deportes Network), UniMás broadcasts association football matches from Liga MX (which have aired since the network's inception in January 2002) and Major League Soccer. The network has also broadcast weekly boxing matches on most Fridays for much of its history; as TeleFutura, the network debuted a new weekly boxing showcase, "Sólo boxeo", on April 30, 2010.


title: UniMás

text: The network also served as a supplementary Spanish-language broadcaster of the FIFA Men's and Women's World Cups through Univision Communications' exclusive contract with FIFA for the U.S. Spanish-language television rights to the tournament that concluded in 2014 (Telemundo and NBC Universo assumed the contract beginning with the 2015 Women's World Cup). As TeleFutura, it carried eight live games during the 2006 FIFA Women's World Cup, all occurring during the last days of group play when multiple games are played simultaneously (in the same capacity that ESPN2 served for English-language rightsholder ESPN); the network also aired replays of tournament matches and World Cup recap shows. In 2007, TeleFutura acquired the exclusive rights to broadcast weekly Major League Soccer games on Sunday afternoons; its relationship with the league expanded in 2012, when the network aired the MLS Cup, which was watched by 485,000 viewers (a 58% increase from the 2011 final and a 109% increase over the 2010 final, both of which aired on Galavisión).


title: UniMás

text: Upon the rebrand to UniMás, the network increased its sports offerings with events such as soccer matches from the Mexico National Team and Liga MX, and the acquisition of rights to the 2013 CONCACAF Gold Cup, the 2013 FIFA Confederations Cup and Copa América Centenario, along with the 2014 FIFA World Cup. TeleFutura shows carried over to the relaunched UniMás included sports programs such as "Solo Boxeo" and the nightly sports news program "Contacto Deportivo" (which would eventually move to Univision after a twelve-year run on TeleFutura/UniMás on March 8, 2015). On November 1, 2014, UniMás began airing rebroadcasts of the El Rey Network professional wrestling showcase "Lucha Underground" on Saturday afternoons. On May 3, 2015, the network debuted a weekly sports magazine program "Zona NBA" ("NBA Zone"), featuring news and interviews from around the National Basketball Association (NBA).


title: UniMás

text: The network began airing UEFA Champions League and UEFA Europa League matches in 2018 as a result of Univision acquiring the Spanish-language rights to UEFA club competitions from Fox Sports beginning with the 2018–19 season.


title: UniMás

text: For much of its history, the bulk of TeleFutura/UniMás' children's programming was derived of mainly live-action and animated programming from American and international producers, much of which consisted of dubbed versions of series natively produced in English (including "Bob the Builder", "Ned's Newt" and "The Dumb Bunnies").


title: UniMás

text: When the network launched in 2002, TeleFutura launched three children's program blocks aimed at different audiences: "Mi Tele" ("My TV"), a two-hour animation block on weekday mornings featuring a mix of imported Spanish-language cartoons (such as "Fantaghiro" and "El Nuevo Mundo de los Gnomos" ("The New World of the Gnomes")); and two weekend morning blocks, "Toonturama", a three-hour lineup that mainly featured dubbed versions of American and European animated series as well as anime series (such as "Flight Squad" and "Problem Child", "Lost Universe", "Tenchi Universe" and "Red Baron"; "Toad Patrol" was an exception to the dubbing as it needed to use an English dub to fix translation issues) and a two-hour companion block that preceded it on Saturday and Sunday mornings, "Toonturama Junior", featuring programs aimed at preschoolers that fulfilled educational programming requirements defined by the Federal Communications Commission's Children's Television Act (among the programs featured on "Toonturama Junior" was "Plaza Sésamo" ("City Square Sesame"), Televisa and Sesame Workshop's Spanish-language adaptation of "Sesame Street" featuring a mix of original segments featuring characters based on its U.S.-based parent series and dubbed interstitials from the aforementioned originating program, which had aired on Univision since 1995 and passed on the U.S. television rights to TeleFutura at its launch). On September 9, 2018, in an agreement with Animaccord, the network launched the popular Russian cartoon Masha and the Bear, airing it every Sunday morning.


title: UniMás

text: , UniMás has 26 owned-and-operated stations, and current and pending affiliation agreements with 19 additional television stations encompassing 19 states, the District of Columbia and the U.S. territory of Puerto Rico. Counting only conventional over-the-air affiliates, the network has a combined national reach of 46.54% of all households in the United States (or 145,419,291 Americans with at least one television set).


title: UniMás

text: Despite Univision's over-the-air expansion since its sister network launched as TeleFutura, UniMás has been slower in expanding its national coverage through broadcast television outlets and does not have over-the-air stations in several major markets with relatively sizeable populations of Hispanic and Latino residents where Univision and/or at least one of its competing Spanish language networks have broadcast affiliates, most notably Seattle, Washington; Kansas City, Missouri; Amarillo, Texas; Oklahoma City, Oklahoma; and Midland, Texas. Partly in order to fill these gaps, UniMás provides a national cable network feed that is distributed directly to cable, satellite and IPTV providers as an alternative method of distribution in markets without either the availability or the demand for a locally based owned-and-operated or affiliate station.


title: UniMás

text: The network maintains affiliations with low-power stations in a few markets, such as Philadelphia (WFPA-CD), Bakersfield, California (KBTF-CD), Las Vegas (KELV-LD) and Palm Springs, California (KEVC-CD). In some markets, including both of those mentioned, these stations also maintain digital simulcasts on a subchannel of a co-owned/co-managed full-power television station. UniMás also maintains a handful of subchannel-only affiliations in a few markets, the largest by market size being WUVG-DT2 in Atlanta, Georgia, whose parent station operates as a Univision owned-and-operated station.


title: UniMás

text: Currently, the Entravision Communications Corporation is the largest operator of UniMás stations in terms of both numerical total and overall market reach, owning or providing services to 20 UniMás-affiliated stations, including that are relayed on subchannel of full-power sister stations and two that the company operates under local marketing agreements with network parent Univision Communications (including stations in markets such as Boston (WUTF-DT) and Orlando (WOTF-DT)).


title: UniMás

text: UniMás provides video on demand access for delayed viewing of full episodes of the network's programming through various means, including via Hulu's Hulu Latino platform through a content deal with the service. The network also a traditional VOD service – UniMás on Demand – which is carried on most traditional cable and IPTV providers, which originally launched on February 1, 2011, as TeleFutura On Demand, and also offers the network's news programming, tape-delayed versions of its sports telecasts and feature film content alongside telenovelas.


title: UniMás

text: Due to restrictions imposed on the streaming service by Univision Communications, Hulu limits day-after-air streaming of newer episodes of UniMás' programs to subscribers of its subscription service until eight days after their initial broadcast, in order to encourage live or same-week (via both DVR and cable on demand) viewing. Like the video-on-demand television services provided by the other U.S. broadcast networks, UniMás on Demand disables fast forwarding for content provided through the service.


title: UniMás

text: Since the service launched on October 29, 2012, Univision Communications' multi-platform streaming service UVideos has made full-length episodes of UniMás' programs (including those produced by Televisa and its other content providers) available on its website at UVideos.com and companion mobile app for smartphones and tablet computers supporting the iOS and Android platforms (with programs streamable over 3G and WiFi networks). The most recent episodes are usually made available for streaming on the service (as well as Univision on Demand) the day after their original broadcast to subscribers of participating pay television providers (such as Comcast, Verizon FiOS and Time Warner Cable) using an ISP account via an authenticated user login. The service also includes select original digital content, user-enabled English subtitling for most programs (except for excerpts from Noticiero Univision broadcasts) as well as a social stream featuring viewer comments from the UVideos and other social media platforms, which are time-synched to the user's local time zone to mimic a live relay to the user as posted during the program's original broadcast.


title: UniMás

text: On November 18, 2015, Univision Communications launched Univision Now, an over-the-top subscription video on demand streaming service, which features program content from both UniMás and Univision without requiring an existing pay television subscription in order to access. The service – which is available for either $5.99 per month or $59.99 per year, although prospective users can access content through a seven-day free trial – is initially available via a dedicated website (univisionnow.com), and apps for iOS and Android devices.


title: UniMás

text: The service carries UniMás' alternative series, classic series previously seen on the network and live association football matches from Liga MX and Major League Soccer; a live stream of the network's main feed is also available, and incorporates a DVR-style "rewind" feature allowing users to replay live content up to 72 hours after their broadcast. New episodes of prime time series aired on UniMás and Univision – both original content and programs from their distribution partners – are made available for streaming the day after their broadcast on the two linear television networks and are accessible for seven days following their airdate. Restrictions imposed by film studios that supply such content for the network prohibit certain movies carried on UniMás from being made available on Univision NOW.


title: UniMás

text: UniMás' master feed is transmitted in 1080i high definition, the native resolution format for Univision Communications' network television properties. However, twelve UniMás-affiliated stations – all but one of which is owned by Entravision Communications – currently transmit the network's programming in 480i standard definition, either due to technical considerations for affiliates of other major networks that carry programming from another network in high definition on their main channel or because a primary feed UniMás affiliate has not yet upgraded their transmission equipment to allow content to be presented in HD.


title: UniMás

text: What was then TeleFutura launched its high definition simulcast feed at 12:02 a.m. Eastern and Pacific Time on January 1, 2010, on its East and West Coast flagship stations in New York City and Los Angeles, WFUT/WFTY-DT and KFTR-DT (which, along with Univision, became the last two U.S. broadcast networks to begin offering their programming in HD). Most of the network's programming is presented in HD (including most telenovelas; sports programs, including soccer events; newsmagazines; and most feature films, depending on the availability of high-definition "television" cuts of films) is broadcast by the network in high definition; exceptions exist with certain telenovelas, sitcoms and variety series as well as select children's programs aired as part of the network's weekend morning children's block produced prior to 2008 that air in reruns, which continue to be presented in their native standard definition format. DirecTV began carrying the Eastern Time Zone feed of the HD simulcast nationwide on April 28, 2010; Dish Network subsequently added it two weeks later on May 12, 2010. TeleFutura's HD format was also rebranded as UniMás HD on January 7, 2013.


title: UniMás

text: On March 4, 2016, UniMás, along with its sister channels, Univision, Galavisión, TUDN and Univision tlnovelas were dropped by AT&T U-verse due to a carriage dispute. This however, did not affect DirecTV customers, despite being a subsidiary of AT&T, as they were done on a separate deal. All of Univision's channels (including UniMás) were later returned to the U-verse lineup on March 24, 2016.


title: UniMás

text: On January 27, 2017, Charter Spectrum (along with Time Warner Cable and Bright House, the latter merged with Charter Communications on 2016) faced another dispute with Univision, warning Charter Communications that UniMas and its sister channels could be removed from Charter by January 31, 2017. Prior to then, Univision sued Charter over pay carriage rates at the New York Supreme Court in July 2016. On, January 31, Charter customers lost access to all of Univision's channels, including UniMás and Galavision. On February 2, the New York Superior Court ordered Univision to end the blackout on Charter as negotiations continue. This blackout affects all Univision affiliates, even if Univision doesn't own them, so it included all stations owned by Entravision Communications, even if Entravision was not involved in the dispute.


title: Eurojackpot

text: Eurojackpot is a transnational European lottery launched in March 2012. As of September 15, 2017, the countries participating in the lottery are: Croatia, Czech Republic, Denmark, Estonia, Finland, Germany, Hungary, Iceland, Italy, Latvia, Lithuania, Netherlands, Norway, Poland, Slovakia, Slovenia, Spain and Sweden.


title: Eurojackpot

text: The jackpot starts at €10,000,000 and can roll over up to €120,000,000. Playing the Eurojackpot costs €2 per line (except in Lithuania which includes additional game called 'Joker' that increases the price to €3 per line; buying a base ticket without Joker is not an option).


title: Eurojackpot

text: The goal is to match 5 correct numbers out of 50 plus another 2 supplementary numbers out of another 12; the odds of winning the jackpot are 1:140,000,000. There are 12 tiers of prizes for Eurojackpot.


title: Eurojackpot

text: The lottery draw takes place every Tuesday and Friday at 21:00 local time in Helsinki. The evaluation of the winning lottery tickets is done in Germany and Denmark.


title: Eurojackpot

text: Up to January 31, 2013 the Eurojackpot lottery had a 'rolldown' clause: in case the jackpot is not won for 12 consecutive draws, the 13th draw will be subject to a rolldown whereby if no winner is able to match all 7 winning numbers, the jackpot is paid out to the next winning tier where a winner is available. It was this clause that set the previous jackpot record of 27,545,857.50 Euros in August 2012, as a German player who correctly matched the 5 main numbers, but only one of the Euronumbers (out of two), walked away with the jackpot in the second prize tier.


title: Eurojackpot

text: For the groups except the first one, the winning amounts are calculated nationally, and they can vary by country based on number of winners, lottery tax and other reasons.


title: Eurojackpot

text: The maximum jackpot of €120 million was reached for the first time on Tuesday 19th July 2022. Nobody won in that draw, but a player from Denmark did win in the following draw on Friday 22nd July.


title: Eurojackpot

text: The second largest jackpot was set on May 20, 2022, when a 15-player syndicate from Germany won €110 million. This prize was the first jackpot over €90 million to be won following Eurojackpot's rule changes in March 2022, which increased the jackpot cap to €120 million.


title: Eurojackpot

text: The previous record, and cap, was 90,000,000.00 Euro. This sum was first won on May 15, 2015 where a person from Czech Republic won the 90,000,000.00 Euro jackpot.