title: Jaya Ahsan

text: Having begun her career as a model in the late 1990s, Ahsan has since worked in numerous television dramas and serials. She established her reputation as an actress with roles as Monika in "Labonyo Probha", Pushpo in Toukir Ahmed and Bipasha Hayat's teleplay "Shonkhobash", and in "Hatkura". She found "Hatkura", set on the edge of a village in Rangpur District, a challenge. "I had to learn the dialect of Rangpur for the role. Actually, I had never been to a village before that. And it was a completely new experience for me", she said. In Channel i's 2010-2011 serial "Choita Pagol", she played the role of rural woman Alta. Ahsan said, "Alta is one of my favourite characters. I liked playing the role." Her performance in Mejbaur Rahman Sumon's "Tarporo Angurlata Nondoke Bhalobashe" also cemented her position as an actress. She portrayed various characters in teledramas including: "Sixty Nine (69)", "Tevaga", "Shahortolir Alo", "Tarpor Paruler Deen", "Amader Choto Nodi", "Mayesha", "Jostna, Nodi Othoba Roshider Kichu Kolpo Drisyo, Amader Golpo" and many more.


title: Jaya Ahsan

text: Ahsan played the role of a sex worker in the television play "Tarporo Angurlata Nando Ke Bhalobashey" in 2009.


title: Jaya Ahsan

text: Ahsan debuted her film career as a guest artiste in the film "Bachelor (2004)", directed by Mostofa Sarwar Farooki. As the lead actress, she debuted in Nasiruddin Yousuff's film "Guerrilla" (2011)). Adapted from the novel "Nishiddho Loban" by Syed Shamsul Huq, the film was based on the events of the Bangladesh Liberation War. It narrates the tale of Bilkis Banu, played by Ahsan, a freedom fighter, who actively participates in the Liberation War while searching for her lost husband. The film won National Film Awards in ten categories, including the Best Actress Award for Ahsan.


title: Jaya Ahsan

text: Ahsan's second film, "Chorabali" (2012), was an action thriller directed by Redoan Rony. She portrayed Noboni Afroz, a journalist, and won her second National Film Award for Best Actress Award.


title: Jaya Ahsan

text: In 2013, Ahsan acted in an Indian Bangla film titled "Aborto", directed by Arindam Sil. She was nominated for the Filmfare Awards East for Best Debut Performance Female for her role in the film. She also received an official invitation to attend the "66th Cannes Film Festival". In the same year, she appeared in "Purno Doirgho Prem Kahini", a Bangladeshi romantic film directed by Shafi Uddin Shafi. It was her first Bangladeshi film in collaboration with Shakib Khan. They both starred in its sequel, "Purno Doirgho Prem Kahini 2", released in 2015.


title: Jaya Ahsan

text: After a one-year break "Zero Degree" was her next venture. The film is a psychological thriller written and directed by Animesh Aich and was released on 15 January 2015. Ahsan won a National Film Award for best actress for her performance in the film. In 2015, Ahsan worked in two other Indian Bangla films — "Rajkahini" based on the 1947 east and west Bengal separation directed by Srijit Mukherji and "Ekti Bangali Bhuter Goppo," a psycho-horror film directed by Indranil Roychowdhury. "Ekti Bangali Bhuter Golpo" was set for a world TV premier in Kolkata on 17 May in Zee Bangla Cinema. Jaya's much anticipated "Rajkahini" starring alongside Rituparna Sengupta, Abir Chatterjee, Parno Mittra, Sohini Sarkar, Rajatava Dutta and many others was released on 16 October 2015.


title: Jaya Ahsan

text: In 2017, Ahsan acted in "Bishorjan" alongside Abir Chatterjee and Kaushik Ganguly directed by Kaushik Ganguly himself, for which she received awards including Filmfare Awards (first Bangladeshi to win so), Zee Cine Awards and BFJA Awards for her performance portraying the character of Padma. In the same year, Jaya was honoured with the ABP Ananda Sera Bangali for achievement in acting. Her other two releases that year are Akram Khan's "Khacha: The Cage" and Manoj Michigan's "Ami Joy Chatterjee."


title: Jaya Ahsan

text: In 2018, Ahsan performed in a courtroom drama "Ek Je Chhilo Raja" based on the historic Bhawal case directed by Srijit Mukjerji in a star cast including Jisshu Sengupta, Aparna Sen, Anjan Dutt, Rudranil Ghosh and others. She was also seen in "Crisscross" alongside Mimi Chakraborty and Nusrat Jahan, directed by Birsa Dasgupta. "Debi", a film based on Humayun Ahmed's novel, was released on 19 October 2018. It is directed by Anam Biswas, starring Chanchal Chowdhury, Ahsan and Sabnam Faria in the lead roles. The film was produced by Ahsan, as her first production from her production house "C Te Cinema". She received her fourth National Film Award for Best Actress and her seventh Meril Prothom Alo Award for Best Film Actress (Critics Choice) for her performance in this film.


title: Jaya Ahsan

text: In 2019, her first release was Kaushik Ganguly's "Bijoya", sequel to "Bishorjan" for which she won the Tele Cine Awards for Best Actress and Best Jodi alongside her co-star Abir Chatterjee"." Then she was seen in Arnab Paul's debut "Brishty Tomakey Dilam," a psychological thriller based on split personality disorder. She received the 'Dashobhuja Bangali 2019' award from the St. Xavier's College Calcutta Alumni Association. Next she did "Konttho" which released on 10 May directed by Nandita Roy and Shiboprosad Mukherjee starring Shiboprosad Mukherjee himself, Paoli Dam where Jaya plays the role of a speech therapist. After that she teamed up with Atanu Ghosh for his upcoming movie "Bini Sutoy" alongside Ritwick Chakraborty where she will also do a playback. Jaya again worked with Atanu Ghosh next film titled "Robibar" starring with Prosenjit Chatterjee for the first time. She has finished Soukarya Ghosal's fantasy horror "Bhoot Pori" and is shooting for Kaushik Ganguly's next titled "Ardhangini" starring alongside Churni Ganguly. She wrapped up filming "Alatchakra", the first 3D Bengali movie directed by Habibur Rahman based on the novel by Ahmed Sofa. She recently worked with Piplu Khan on his first feature film based on the current pandemic.


title: Jaya Ahsan

text: Ahsan is also a singer and took diploma courses in Indian classical music and Rabindra Sangeet. She did playback in few films, such as "Tomer Khola Hawa" in "Dubshatar" and "Jongoler Daak" in "Mesidona".


title: Jaya Ahsan

text: Ahsan is a craftswoman and a visual-artist, which she demonstrated in art-house movie productions like "Enechhi Shurjer Hashi". She was chosen as a brand ambassador for USAID (US Agency for International Development) to help women and children. In 2019, Ahsan was chosen as the brand ambassador of Bangamata U-19 Women's International Gold Cup.


title: Jaya Ahsan

text: Ahsan married Faisal, a television model, on 14 May 1998. The couple was also seen in same television ad. Together they ran an event management company. She divorced Faisal in 2012.


title: Temple of Jupiter Optimus Maximus

text: The Temple of Jupiter Optimus Maximus, also known as the Temple of Jupiter Capitolinus (; ; ) was the most important temple in Ancient Rome, located on the Capitoline Hill. It was surrounded by the "Area Capitolina", a precinct where numerous shrines, altars, statues and victory trophies were displayed.


title: Temple of Jupiter Optimus Maximus

text: The first building was the oldest large temple in Rome, and, like many temples in central Italy, shared features with Etruscan architecture. It was traditionally dedicated in 509 BCE, and in 83 BCE was destroyed by fire, and a replacement in Greek style completed in 69 BCE (there were to be two more fires and new buildings). For the first temple sources report Etruscan specialists being brought in for various aspects of the building, including making and painting the extensive terracotta elements of the Temple of Zeus or upper parts, such as antefixes. But for the second building they were summoned from Greece, and the building was presumably essentially Greek in style, though like other Roman temples it retained many elements of Etruscan form. The two further buildings were evidently of contemporary Roman style, although of exceptional size.


title: Temple of Jupiter Optimus Maximus

text: The first version is the largest Etruscan-style temple recorded, and much larger than other Roman temples for centuries after. However, its size remains heavily disputed by specialists; based on an ancient visitor it has been claimed to have been almost , not far short of the largest Greek temples. Whatever its size, its influence on other early Roman temples was significant and long-lasting. Reconstructions usually show very wide eaves, and a wide colonnade stretching down the sides, though not round the back wall as it would have done in a typical Greek temple. A crude image on a coin of 78 BCE shows only four columns, and a very busy roofline.


title: Temple of Jupiter Optimus Maximus

text: With two further fires, the third temple only lasted five years, to 80 CE, but the fourth survived until the fall of the empire. Remains of the last temple survived to be pillaged for spolia in the Middle Ages and Renaissance, but now only elements of the foundations and podium or base survive; as the subsequent temples apparently reused these, they may partly date to the first building. Much about the various buildings remains uncertain.


title: Temple of Jupiter Optimus Maximus

text: Much of what is known of the first Temple of Jupiter is from later Roman tradition. Lucius Tarquinius Priscus vowed this temple while battling with the Sabines and, according to Dionysius of Halicarnassus, began the terracing necessary to support the foundations of the temple. Much of the "Cappellaccio" tufa which forms the foundation of the Temple was probably mined directly from the site when it was excavated and levelled for the structure. Modern coring on the Capitoline has confirmed the extensive work needed just to create a level building site. According to Dionysius of Halicarnassus and Livy, the foundations and most of the superstructure of the temple were completed by Lucius Tarquinius Superbus, the last King of Rome.


title: Temple of Jupiter Optimus Maximus

text: Livy also records that before the temple's construction shrines to other gods occupied the site. When the augurs carried out the rites seeking permission to remove them, only Terminus and Juventas were believed to have refused. Their shrines were therefore incorporated into the new structure. Because he was the god of boundaries, Terminus's refusal to be moved was interpreted as a favorable omen for the future of the Roman state. A second portent was the appearance of the head of a man to workmen digging the foundations of the temple. This was said by the augurs (including augurs brought especially from Etruria) to mean that Rome was to be the head of a great empire.


title: Temple of Jupiter Optimus Maximus

text: Traditionally the Temple was dedicated on September 13, the founding year of the Roman Republic, 509 BCE according to Livy. According to Dionysius, it was consecrated two years later in 507 BCE.


title: Temple of Jupiter Optimus Maximus

text: The man to perform the dedication of the temple was chosen by lot. The duty fell to Marcus Horatius Pulvillus, one of the consuls in that year.


title: Temple of Jupiter Optimus Maximus

text: Livy records that in 495 BCE the Latins, as a mark of gratitude to the Romans for the release of 6,000 Latin prisoners, delivered a crown of gold to the temple.


title: Temple of Jupiter Optimus Maximus

text: The original temple may have measured almost , though this estimate is hotly disputed by some specialists. It was certainly considered the most important religious temple of the whole state of Rome. Each deity of the Triad had a separate cella, with Juno Regina on the left, Minerva on the right, and Jupiter Optimus Maximus in the middle. The first temple was decorated with many terra cotta sculptures. The most famous of these was of Jupiter driving a "quadriga", a chariot drawn by four horses, which was on top of the roof as an acroterion. This sculpture, as well as the cult statue of Jupiter in the main cella, was said to have been the work of Etruscan artisan Vulca of Veii. An image of Summanus, a thunder god, was among the pedimental statues. The cult statue of Jupiter showed the god standing and wielding a thunderbolt, dressed in a "tunica palmata" (a tunic decorated with images of palm leaves), and the "toga picta", dyed purple and bearing designs in gold thread. This costume became the standard dress for victorious generals celebrating a triumph.


title: Temple of Jupiter Optimus Maximus

text: The original temple decoration was discovered in 2014.The findings allowed the archaeologists to reconstruct for the first time the real appearance of the temple in the earliest phase. The wooden elements of the roof and lintels were lined with terracotta revetment plaques and other elements of exceptional size and richly decorated with painted reliefs, following the so-called Second Phase model (referring to the decorative systems of Etruscan and Latin temples), that had its first expression precisely with the Temple of Jupiter Optimus Maximus. The temple, which immediately rose to fame, established a new model for sacred architecture that was adopted in the terracotta decorations of many temples in Italy up to the 2nd century BCE. The original elements were partially replaced with other elements in different style in the early 4th century BCE and anew at the end of the 3rd – early 2nd century BCE. The removed material was dumped into the layers forming the square in front of the temple, the so-called "Area Capitolina", in the middle years the 2nd century BCE.


title: Temple of Jupiter Optimus Maximus

text: Repairs and improvements were undertaken over the course of the temple's lifetime, including the re-stuccoing of the columns and walls in 179 BCE, the addition of mosaic flooring in the cella after the Third Punic War, and the gilding of the coffered ceiling inside the cella in 142 BCE. Over the years the temple accrued countless statues and trophies dedicated by victorious generals, and in 179 some of these attached to the columns were removed to lessen the clutter.


title: Temple of Jupiter Optimus Maximus

text: The plan and exact dimensions of the temple have been heavily debated. Five different plans of the temple have been published following recent excavations on the Capitoline Hill that revealed portions of the archaic foundations. According to Dionysius of Halicarnassus, the same plan and foundations were used for later rebuildings of the temple, but there is disagreement over what the dimensions he mentions referred to (the building itself or the podium).


title: Temple of Jupiter Optimus Maximus

text: In 437 BCE Aulus Cornelius Cossus unhorsed the Veientes' King Lars Tolumnius and struck him down. After taking the linen cuirass off Tolumnius' body, he decapitated the corpse and put the head on a lance and paraded it in front of the enemy, who retreated in horror. Cossus donated the captured armour, shield and sword to the Temple of Jupiter Feretrius on the Capitoline Hill, where as late as the reign of Emperor Augustus it could be seen.


title: Temple of Jupiter Optimus Maximus

text: The first temple burned in 83 BCE, during the civil wars under the dictatorship of Sulla. Also lost in this fire were the Sibylline Books, which were said to have been written by classical sibyls, and stored in the temple (to be guarded and consulted by the quindecimviri (council of fifteen) on matters of state only on emergencies).


title: Temple of Jupiter Optimus Maximus

text: During Lucius Cornelius Sulla's sack of Athens in 86 BCE, while looting the city, Sulla seized some of the gigantic incomplete columns from the Temple of Zeus and transported them back to Rome, where they were re-used in the Temple of Jupiter. Sulla hoped to live until the temple was rebuilt, but Quintus Lutatius Catulus Capitolinus had the honor of dedicating the new structure in 69 BCE. The new temple was built to the same plan on the same foundations, but with more expensive materials for the superstructure. Literary sources indicate that the temple was not entirely completed until the late 60s BC. Around 65 CE the three new cult statues were completed. The chryselephantine statue of Jupiter was sculpted by Apollonius of Athens; its appearance is generally known from replicas created for other temples of Jupiter in the Roman colonies. It featured Jupiter seated with a thunderbolt and scepter in either hand, and possibly an image of the goddess Roma in one hand as well.


title: Temple of Jupiter Optimus Maximus

text: Brutus and the other assassins locked themselves inside it after murdering Caesar. The new temple of Quintus Lutatius Catulus was renovated and repaired by Augustus. The second building burnt down during the course of fighting on the hill on 19 December of 69 CE, when an army loyal to Vespasian battled to enter the city in the Year of the Four Emperors.


title: Temple of Jupiter Optimus Maximus

text: The new emperor, Vespasian, rapidly rebuilt the temple on the same foundations but with a lavish superstructure. It was taller than the previous structures, with a Corinthian order and statuary including a "quadriga" atop the gable and "bigae" driven by figures of Victory on either side at the base of the roof. The third temple of Jupiter was dedicated in 75 CE. The third temple burned during the reign of Titus in 80 CE.


title: Temple of Jupiter Optimus Maximus

text: Domitian immediately began rebuilding the temple, again on the same foundations, but with the most lavish superstructure yet. According to Plutarch, Domitian used at least twelve thousand talents of gold for the gilding of the bronze roof tiles alone. Elaborate sculpture adorned the pediment. A Renaissance drawing of a damaged relief in the Louvre Museum shows a four-horse chariot ("quadriga") beside a two-horse chariot ("biga") to the right of the latter at the highest point of the pediment, the two statues serving as the central acroterion, and statues of the god Mars and goddess Venus surmounting the corners of the cornice, serving as acroteria. It was completed in 82 CE.


title: Temple of Jupiter Optimus Maximus

text: In the centre of the pediment the god Jupiter was flanked by Juno and Minerva, seated on thrones. Below was an eagle with wings spread out. A biga driven by the sun god and a biga driven by the moon were depicted either side of the three gods. After the emperor Theodosius I eliminated the public funding for upkeep of pagan temples in 392, it was spoliated several times through the Middle Ages. During the 16th century, it was subsumed into a large private residence, the Palazzo Caffarelli-Clementino, which became part of the current-day Capitoline Hill.


title: Temple of Jupiter Optimus Maximus

text: The temple completed by Domitian is thought to have lasted more or less intact for over three hundred years, until all pagan temples were closed by emperor Theodosius I in 392 during the Persecution of pagans in the late Roman Empire. In the 4th century, Ammianus Marcellinus referred to the temple as "the Capitolium, with which revered Rome elevates herself to eternity, the whole world beholds nothing more magnificent." During the 5th century the temple was damaged by Stilicho (who according to Zosimus removed the gold that adorned the doors). Procopius states that the Vandals plundered the temple during the sack of Rome in 455, stripping away half of the gilded bronze tiles. Despite this, in the early 6th century Cassiodorus described the temple as one of the wonders of the world. In 571, Narses removed many of the statues and ornaments. The ruins were still well preserved in 1447 when the 15th-century humanist Poggio Bracciolini visited Rome. The remaining ruins were destroyed in the 16th century, when Giovanni Pietro Caffarelli built a palace (Palazzo Caffarelli) on the site.


title: Temple of Jupiter Optimus Maximus

text: Today, portions of the temple podium and foundations can be seen behind the Palazzo dei Conservatori, in an exhibition area built in the Caffarelli Garden, and within the Musei Capitolini. A part of the eastern corner is also visible in the via del Tempio di Giove.


title: Temple of Jupiter Optimus Maximus

text: The second Medici lion was sculpted in the late 16th century by Flaminio Vacca from a capital from the Temple of Jupiter Optimus Maximus.


title: Temple of Jupiter Optimus Maximus

text: The "Area Capitolina" was the precinct on the southern part of the Capitoline that surrounded the Temple of Jupiter, enclosing it with irregular retaining walls following the hillside contours. The precinct was enlarged in 388 BC, to about 3,000m. The Clivus Capitolinus ended at the main entrance in the center of the southeast side, and the Porta Pandana seems to have been a secondary entrance; these gates were closed at night. The sacred geese of Juno, said to have sounded the alarm during the Gallic siege of Rome, were kept in the "Area", which was guarded during the Imperial period by dogs kept by a temple attendant. Domitian hid in the dog handler's living quarters when the forces of Vitellius overtook the Capitoline.


title: Temple of Jupiter Optimus Maximus

text: Underground chambers called "favissae" held damaged building materials, old votive offerings, and dedicated objects that were not suitable for display. It was religiously prohibited to disturb these. The precinct held numerous shrines, altars, statues, and victory trophies. Some plebeian and tribal assemblies met there. In late antiquity, it was a market for luxury goods, and continued as such into the medieval period: in a letter from 468, Sidonius Apollinaris describes a shopper negotiating over the price of gems, silk, and fine fabrics.


title: ER (season 12)

text: The twelfth season of the American fictional drama television series "ER" first aired on September 22, 2005, and concluded on May 18, 2006. It consists of 22 episodes.


title: ER (season 12)

text: Kovač and Abby become the main central characters and their relationship slowly starts to get back on track as they deal with her unexpected pregnancy. A new nurse manager causes friction among the staff, following a successful operation Weaver no longer needs her cane, Pratt journeys to Africa where he joins Carter on a relief mission while a face from Sam's past leaves the lives of Abby and Kovač hanging in the balance. In addition to Darfur, geopolitics of the day get a strong spotlight due to the Iraq War.


title: ER (season 12)

text: Following Sherry Stringfield's departure in the season premiere, this season becomes the first to not feature any of the original cast members in a regular capacity (Noah Wyle is featured for four episodes in a guest capacity throughout the season).


title: Darksiders (video game)

text: Darksiders is a 2010 hack and slash action-adventure video game developed by Vigil Games and published by THQ. The game’s inspiration is from the Four Horsemen of the Apocalypse, with the player taking the role of the horseman War. The game was released for the PlayStation 3 and Xbox 360 on January 5, 2010 in North America, January 7 in Australia, January 8 in Europe, and March 18 in Japan. The Microsoft Windows version was released in North America and Australia on September 23, and in Europe on September 24. A parallel sequel, "Darksiders II", was released on August 14, 2012.


title: Darksiders (video game)

text: A remastered version of the game named Darksiders: Warmastered Edition was released on November 22, 2016 for PlayStation 4 and Xbox One and on November 29, 2016 for Microsoft Windows. A Wii U version was released on May 23, 2017, and a Nintendo Switch version was released on April 2, 2019.


title: Darksiders (video game)

text: In "Darksiders", players control War, one of the Four Horsemen of the Apocalypse, in a third-person perspective. The world is split into separate locations with many areas initially inaccessible until later in the game. The center of the world, The Scalding Gallow, functions as a hub where War is given new objectives and paths to unlock new areas, many of which require the use of newly-gained abilities to progress.


title: Darksiders (video game)

text: Although War is initially limited to the use of his two-handed signature sword, Chaos Eater, he eventually obtains other weapons throughout the course of the game. He also has a Scythe, which he uses as his other main offensive weapon. Weapons have different combinations of attack that can be obtained throughout the game. Along with combos, players are encouraged to use countering moves, blocks, and swift dodging. Projectile weapons such as a revolver and a boomerang-style throwing blade can also be used. Objects scattered throughout the environment can also be used as weapons and projectiles. At a later point in the game, War gains the ability to summon a horse that provides faster movement and increased attack power.


title: Darksiders (video game)

text: Along with weapon-based attacks, War can also use an array of magic-based attacks, known as Wrath powers, that are both offensive & defensive in nature. The amount of Wrath powers available are determined through the Wrath meter. War's Chaos Form, which transforms him into a large, fiery and extremely resistant entity can be activated once War's Chaos meter is filled.


title: Darksiders (video game)

text: When enemies are near defeat, War can perform an elaborate and violent finishing move, instantly killing them. Some larger foes can be briefly ridden and steered into other enemies before being finished off. War eventually encounters large boss opponents that are both giant in size and deal heavy damage, and are themselves puzzle-based battles requiring certain methods and certain weapons to defeat them, and in some cases quick time button events to dodge or deal attacks.


title: Darksiders (video game)

text: Upon defeat, some enemies expel souls that provide different benefits. Green souls that fill the health bar, yellow souls that fill the Wrath meter, and blue souls that are the game's form of currency, and can be spent on new combo attacks, enhanced Wrath powers, power-ups, and potions. Also, there are artifacts littered throughout the world that can be exchanged for more blue souls, with bonuses for completing each set. Additionally, souls can be obtained in chests found throughout the world. Other items that can be located include Wrath Core and Lifestone fragments, whereupon collecting four, War's Wrath or Health, respectively, are permanently increased.


title: Darksiders (video game)

text: Since the beginning of time, the kingdoms of Heaven and Hell have been at war. A mediator known as the Charred Council arose to maintain "the Balance" of order and stability. The Council created a warrior brotherhood, the Four Horsemen of the Apocalypse (War, Death, Strife, and Fury) to enforce their rules by punishing transgressors. Foreseeing that humans would become crucial to the Balance, the Council declared them a third kingdom, under their protection. Heaven and Hell agreed a truce and sealed it with the Seven Seals, to be broken only when the kingdom of Man had become strong enough to join the Endwar. Breaking the seals would bring about the Apocalypse, with the breaking of the final Seventh Seal calling the Four Horsemen to Earth.


title: Darksiders (video game)

text: The Horseman of War (Liam O'Brien) arrives on present-day Earth, where the Endwar appears to have begun: armies of angels and demons are engaged in battle, with mankind caught in the middle. Confronting the archangel Abaddon (Troy Baker) of Heaven's army, War is surprised to learn that the Seventh Seal has not been broken and the other Horsemen were not summoned. Abaddon is killed by the gigantic demon Straga (Troy Baker). War battles Straga and gains the upper hand, but mysteriously loses his strength mid-battle. He is saved from death by the Charred Council (Fred Tatasciore), who accuses War of siding with Hell and causing the Apocalypse prematurely. War demands a chance to find the real culprits; the Council agrees, but War is stripped of his powers and bound to a Council servant, the Watcher (Mark Hamill), who is enabled to kill him if he disobeys. War returns to a ruined Earth, where a century has passed since "the Destroyer" annihilated humanity and defeated the forces of Heaven. The stranded remnants of the angelic army have formed a resistance force called the Hellguard, led by Uriel (Moon Bloodgood).


title: Darksiders (video game)

text: The demon merchant Vulgrim (Phil LaMarr) tells War that to find the Destroyer, he will need to travel to the hellish Black Tower. Vulgrim advises War to seek advice from Samael (Vernon Wells), a demon lord imprisoned for challenging his master's dominance. After being released, Samael explains that four ancient monsters called the Chosen are the guardians of the Black Tower. He asks War to kill them and bring him their hearts so the Tower will open. War slays all four of the Chosen, although it is revealed that their purpose was not to guard the Black Tower but to prevent Samael's return. Samael, revitalised, honours his bargain and opens a pathway to the Tower. He also hints that the Council are keeping War weakened for their own purposes.


title: Darksiders (video game)

text: Arriving at the Black Tower, War finds Azrael (Keith Szarabajka), the Angel of Death, imprisoned. As War works to release him, Azrael confesses that he and Abaddon conspired to break six of the Seven Seals. The intention was to summon the demon lords to a council of war where they would be ambushed, throwing Hell into disarray. The six Seals would meanwhile be restored, eliminating all evidence. The two angels convinced Ulthane (JB Blanc), a mighty blacksmith from an ancient race, to break and reforge the Seals. However, Abaddon's death ruined the plan, and the Endwar began in earnest.


title: Darksiders (video game)

text: War frees Azrael and fights a rematch with the demon Straga, whose death causes the Tower to collapse. Azrael transports himself and War to the Garden of Eden, where War visits the Tree of Knowledge to receive a vision. In this vision, War sees that Abaddon went to Hell after his death and was offered the choice to "serve in Heaven or rule in Hell." Knowing he was doomed for punishment in any case, he chose to become the Destroyer. He also guards the unbroken Seventh Seal, which would otherwise call the Four Horsemen to Earth. War is also shown that the Charred Council was aware of the conspiracy; they allowed the Apocalypse to happen and summoned War themselves, knowing he would track down the conspirators to clear his name. War then sees himself slain with a glowing sword. Azrael deduces the sword is the Armageddon Blade, a weapon powerful enough to kill the Destroyer, which has been broken into shards; War gathers the pieces and takes them to Ulthane, who reforges the blade.


title: Darksiders (video game)

text: Uriel, Abaddon's former lieutenant and leader of the Hellguard, confronts War, whom she still believes guilty of launching the Apocalypse and causing Abaddon's death. She challenges him to the Death Oath, a duel to the death. War is victorious, but spares her life, and reveals the Destroyer's identity as the fallen Abaddon. Enraged, Uriel leads the Hellguard into battle against the Destroyer, but they are defeated, as in War's vision. War then enters the battle with the newly forged Armageddon Blade, refuses the Destroyer's temptation, and after a fierce battle succeeds in killing him.


title: Darksiders (video game)

text: War retrieves the Seventh Seal from the Destroyer, but is subdued by the Watcher, who knows that if War were to regain his strength, he would turn against the corrupt Council. Uriel intervenes, killing War with the Armageddon Blade as foreseen in his vision, thereby fulfilling their Death Oath. The sword also shatters the Seventh Seal, which restores War to life, and frees him from the Council's control, whereupon he destroys the Watcher. Uriel warns War that he cannot stand alone against the forces of Heaven, Hell, and the Council; he replies that he is not alone, as the other three Horsemen are seen descending to Earth.


title: Darksiders (video game)

text: The player character is War, first of the Four Horsemen of the Apocalypse. Along with the rest of the Horsemen, War is not aligned to Heaven or Hell but instead serves at the whim of the Charred Council, whose purpose is upholding the balance between the two forces. He maintains a strict code of honor and will battle any obstacle in his way. It is prophesied that War and the other Horsemen will descend upon the Earth once the Apocalypse begins.


title: Darksiders (video game)

text: Throughout the story, War is bound to and accompanied by The Watcher, an emissary charged by the Council to watch over and guide War on his journey. Because of his assigned role, he is constantly skeptical and cynical of War's actions, much to War's annoyance and often anger. He relishes his duty and enjoys needling War and bossing him about simply because he can. War later employs the guidance of Samael, once a mighty and feared demon, now imprisoned, who himself seeks vengeance against the Destroyer, the main antagonist of the story and leader of the victorious forces on Earth. Many other characters become central to the overall plot, recurring at times. Among these is Uriel, leader of Heaven's armies after their first leader, Abaddon, was killed during a major battle; now stranded on Earth, Uriel seeks revenge against those she believes responsible. Another recurring character is Vulgrim, a demon merchant who provides gear and abilities for War in exchange for human souls. Finally there is Ulthane, also known as the Black Hammer, an "Old One" who at first is hostile towards War, but the two quickly become allies; first after Ulthane aids War in entering the Griever's lair, then providing War with a magical revolver and re-forging the Armageddon Blade for him.


title: Darksiders (video game)

text: Creator Joe Madureira planned a comic book series and a possible film adaptation for the game. Madureira has been reportedly working on the screenplay and may sell the rights to a Hollywood studio. However, the rights belong to THQ Nordic, leaving the status of the project unknown.


title: Darksiders (video game)

text: "Darksiders" has received positive reviews. Aggregating review website Metacritic gave the Xbox 360 version 83/100, the PlayStation 3 version 82/100, and the PC version 83/100.


title: Darksiders (video game)

text: "GameZone" Dakota Grabowski gave the game an 8/10 on both PlayStation 3 and Xbox 360, saying that "THQ and Vigil Games did an outstanding job creating an intellectual property that has weight. The voice-acting is top-notch, the combat is exquisite, the replay value is high, and the world they have created is fascinating. "Darksiders" is a marvelous way to start out 2010". Being overall positive, IGN saw the elements of "Darksiders" as a combination of three separate game franchises. "Devil May Cry", "God of War", and "The Legend of Zelda" games have been used to compare to the style of "Darksiders".


title: Darksiders (video game)

text: THQ creative director Luis Gigliotti revealed in a 2009 interview with GameAxis that "Darksiders" would be a franchise. "Darksiders II" was released in August 2012. War's brother, the Horseman, Death, is the protagonist of "Darksiders II".


title: Darksiders (video game)

text: A third entry in the "Darksiders" series was originally planned by Vigil Games, but the fate of its franchise was threatened due to financial complications. Its parent company, THQ, filed for bankruptcy in 2012. The company's assets were sold at an auction, excluding Vigil Games, which was shut down along with the parent company, THQ. "Darksiders" was purchased by Nordic Games in the final transaction of THQ's assets in April 22, 2013.


title: Darksiders (video game)

text: The third installment, "Darksiders III", was developed by Gunfire Games, the team largely consisting of former Vigil Games employees and published by THQ Nordic. It was released in November 27, 2018. The game follows the Horseman Fury as the protagonist and is set during War's 100-year imprisonment.


title: M23 rebellion

text: The M23 rebellion was an armed conflict in North Kivu, Democratic Republic of the Congo (DRC), that occurred between the March 23 Movement and government forces. The rebellion was part of continued fighting in the region after the formal end of the Second Congo War in 2003. It broke out in 2012 and continued into 2013, when a peace agreement was made among eleven African nations, and the M23 troops surrendered in Uganda.


title: M23 rebellion

text: In April 2012, former National Congress for the Defence of the People (CNDP) soldiers mutinied against the DRC government and the peacekeeping contingent of the United Nations Organization Stabilization Mission in the Democratic Republic of the Congo (MONUSCO). Mutineers formed a rebel group called the March 23 Movement (M23), also known as the Congolese Revolutionary Army. It was composed of former members of the rebel CNDP, and allegedly sponsored by the government of the neighbouring states of Rwanda and Uganda.


title: M23 rebellion

text: On 20 November 2012, M23 rebels took control of Goma, a North Kivu provincial capital with a population of one million people. By the end of November that year, the conflict had forced more than 140,000 people to flee their homes, according to the U.N. refugee agency, in addition to the refugees already forced from their homes by previous rounds of fighting in the region. After repelling an ill-organized government counterattack and making some further gains, M23 agreed to withdraw from Goma on their own and left the city in early December.


title: M23 rebellion

text: On 24 February 2013, eleven African nations signed an agreement designed to bring peace to the region. In October 2013, Congo told the UN that the M23 movement was virtually finished after being pushed back to a small area near Rwanda. On 7 November 2013, following significant defeats to a UN-backed government offensive, M23 troops crossed into Uganda and surrendered.


title: M23 rebellion

text: In March 2009, National Congress for the Defence of the People (CNDP) rebels signed a peace treaty with the government, in which it agreed to become a political party in exchange for the release of its imprisoned members.


title: M23 rebellion

text: On 4 April 2012, it was reported that Bosco Ntaganda and 300 loyal troops defected from the DRC and clashed with government forces in the Rutshuru region north of Goma. According to M23 spokesman Vianney Kazarma, the defection was due to Joseph Kabila's cheating in the Democratic Republic of the Congo general election, 2011.


title: M23 rebellion

text: Jason Stearns reported on 4 May 2012 that Colonel Sultani Makenga had joined the M23. Stearns commented that this "is a significant development, since Makenga was the second highest ranking CNDP officer behind Ntaganda in the Amani Leo structure as the deputy commander of South Kivu."


title: M23 rebellion

text: On 6 July 2012, M23 attacked and took the town of Bunagana less than a kilometer from the border with Uganda. Some 600 DRC troops fled across the border and took refuge in Uganda. The rebels issued a statement that they would cease their offensive if the government agreed to holding peace talks with them. The United Nations condemned rebel attacks in the region after an Indian peacekeeper was killed in the fighting.


title: M23 rebellion

text: On 8 July, the rebels captured Rutshuru, 70 kilometers north of Goma, the capital of North Kivu province. By 10 July, they were 40 kilometers from the city of Goma. Witnesses said rebels appeared to be taking towns and villages with ease, with government troops usually melting away. The towns of Rubare and Ntamugenga had also reportedly fallen to the rebels.


title: M23 rebellion

text: On 20 July, M23 and government forces exchanged heavy weapons fire around Kibumba and Rugari, forcing thousands of civilians to flee towards Goma. UN helicopter gunships were seen headed towards the front line. The security situation in eastern Congo was described as rapidly becoming worse.


title: M23 rebellion

text: Fighting broke out again in November 2012, with reports of heavy gunfire and explosions near Goma. Both sides blamed the other for the outbreak of hostilities. Government forces claimed M23 rebels suffered 110 dead, a claim the rebels denied. Government forces reportedly used tanks and helicopters in the fighting, which saw rebels advance closer to Goma nevertheless.


title: M23 rebellion

text: On 15 November, MONUSCO helicopter gunships were deployed to support government forces as they fought to hold off a rebel attack south of Kibumba, flying 17 sorties and firing more than 500 rockets and missiles. The combined army and UN assault killed approximately 64 M23 fighters. However, the rebels resumed their offensive the next day and in larger numbers; their advance put them within 18 miles of Goma. The army retreated under heavy fire to the southern outskirts of Kibumba after being forced back by the rebels, according to the provincial governor. The government army began to regroup around the nearby town of Kilimanyoka after the retreat. Later rebels claimed to have seized control of Kibumba but said they had no plans on attacking Goma. A UN spokesman told that the M23 appeared to be well equipped with night vision equipment and 120mm mortars.


title: M23 rebellion

text: On 18 November, it was reported that Congolese troops and the administration were leaving Goma in a hurry as M23 was at the gates of the city. The North Kivu governor left on a boat en route to South Kivu. The United Nations troops did not react when the rebels bypassed their camp on the road to Goma. The following day, M23 demanded that the Congolese government open peace talks, or face an escalation of fighting.


title: M23 rebellion

text: M23 forces began an assault against army positions in Goma on 19 November, sending mortar shells and machine gun fire into the city which was still being defended by the government army. M23 spokesman Lt. Col. Vianney Kazarma said "Fighting is already taking place on the streets of Goma this morning." The DRC government spokesman confirmed the claim saying, "We have yet to stop this attack; they have not taken Goma yet." Congolese army units were reported to be holding defensive positions in the city centre and the airport armed with tanks and machine guns.


title: M23 rebellion

text: M23 forces entered the city proper on 20 November, advancing on foot up the main road towards the city centre. Heavy bursts of small arms fire could be heard in the city and near the airport. M23 was reported to have captured the Goma International Airport. Though other reports claimed that UN forces retained control of the airport, with Lt. Gen. Chander Prakash, commander of UN forces in the area claiming that M23 attacked the peacekeepers but were repelled.


title: M23 rebellion

text: M23 forces moved in two columns past Sake, eventually capturing most of Goma as well as a nearby border post with Rwanda. Some government soldiers took off their uniforms before fleeing the city.


title: M23 rebellion

text: By late morning, Congolese government troops had been forced back to the west of the city, with many abandoning their positions and withdrawing westwards from Goma entirely. Rebels marched into the centre without a shot being fired as the government army fled and UN peacekeepers stood down.


title: M23 rebellion

text: Local police surrendered their posts and weapons without resistance. M23 made a statement later on announcing: "The town of Goma fell at 11:33 local time, despite the attack helicopters, despite the heavy weapons, the FARDC [national army] has let the town fall into our hands."


title: M23 rebellion

text: Reuters reports on the scene confirmed that heavily armed M23 soldiers were present and walking through the city unchallenged, and that the UN peacekeepers present were not resisting the M23 advance through the city. Some residents came onto the streets to greet the rebel takeover. After guards of the local prison fled Goma, along with the national army, more than a thousand criminal prisoners escaped through a hole in the prison wall. The rebels ordered civil servants back to work, warning they will not tolerate corruption, and allowed the UN troops to continue to patrol the streets.


title: M23 rebellion

text: DR Congo president Joseph Kabila urged the city's people to "resist" the group's takeover. UN spokesman Eduardo del Buey said peacekeepers "cannot substitute" for the national army, adding that the 1,500 UN troops in Goma held their fire because they did not want to risk civilian lives. UN Secretary General Ban Ki-moon criticized M23 for alleged human rights violations during the takeover, including destruction of property, "intimidation of journalists", and the abduction of women and children. Noting that the First Congo War had begun with fighting in the same region, the "New York Times" described Goma's takeover as "raising serious questions about the stability of Congo as a whole."


title: M23 rebellion

text: Almost 3,000 members of the Congolese army and police forces switched sides in Goma on 20 November and joined the rebellion as M23 continued its advance, seizing control of the town of Sake and stating that it intends to overthrow the national government. M23 forces began advancing towards the town of Bukavu, capital of South Kivu state on 21 November. They announced their next intended target after Bukavu as the city of Kisangani, the capital of Orientale Province.


title: M23 rebellion

text: Government forces, despite having withdrawn from Sake, launched a counterattack to retake the city on 22 November leading to heavy clashes with M23 forces there. The surprise counterattack was badly beaten by the rebels.


title: M23 rebellion

text: Thousands of hungry and demoralized government soldiers fled back in disarray to the town of Minova, around 50 km from Goma. They got drunk and reportedly began raping, looting and threatening civilians; the allegations were confirmed by an UN source for "The Guardian", which described them as "angry and paranoid", and contrasted their appearance to the apparent discipline in the rebel ranks. The troops continued raping local civilian women and girls in a systematic way for three days, resulting in international outrage.


title: M23 rebellion

text: The "UN condemned the atrocity as "horrifying" in its scale and systematic nature." The American Bar Association's office in Goma has identified 1,014 victims, but the UN had a final list of about 126. The DRC Army prosecuted officers in 2014 in what was called the Minova Trial, the largest rape trial in DRC history. Only a few junior officers were convicted. There has been insufficient financial support for the women who were victimized, and insufficient protection for them in the years since.


title: M23 rebellion

text: According to the chief of Uganda People's Defence Force, M23 leader met with him and agreed to let him mediate, which resulted in M23 agreeing to withdrawing their forces from Goma and Sake in principle, although a timeframe did not appear to have been agreed upon. However, a DRC military spokesman claimed that M23 had refused to abandon Goma and said: "They have refused to leave the city of Goma. This is a declaration of war, and we intend to resume combat." Nevertheless, the next day the situation appeared to ease, with M23 agreeing to a withdrawal from captured territory, with the intention of eventually leaving Goma and returning to their original positions before they took the city.


title: M23 rebellion

text: On 24 February 2013, leaders of 11 African nations signed an agreement designed to bring peace to the eastern region of the Democratic Republic of Congo. Among the signers were Rwanda and Uganda, both of whom had been accused of aiding the rebellion, a charge the nations deny.


title: M23 rebellion

text: The deal, which was brokered by the United Nations, consists of two principle parts. First, it calls on the DRC to implement security reforms, work to strengthen its government, and increase cooperation with its neighbors. Second, it calls on neighboring countries to help structurally reform certain DRC organizations, but to otherwise refrain from interfering with DRC internal affairs. It also opens the possibility of a UN intervention brigade being established in the region.


title: M23 rebellion

text: Several African countries have discussed contributing troops to an intervention force, which, if formed, would supplement the 17,000 UN military personnel already working in the area. The M23 rebels were not represented in the deal's negotiations or at the signing. M23 spokesperson Bertrand Bisimwa said he had not read the agreement but hoped it would not reignite fighting.


title: M23 rebellion

text: UN Secretary-General Ban Ki-moon said he hopes the accord will usher in "an era of peace and stability" for Africa's Great Lakes region, but cautioned that the agreement "only the beginning of a comprehensive approach that will require sustained engagement." He also said that a special envoy would be deployed in Congo in the near future. United States ambassador to the United Nations, Susan Rice said she welcomes the deal and called on the Congolese government to continue working towards peace.


title: M23 rebellion

text: In a statement, European Union leaders Catherine Ashton and Andris Piebalgs called the agreement and appointment of a UN envoy "important steps" in the peace process and commended the spirit of "good neighborliness" demonstrated. However, regional analyst Theodore Trefon said the agreement was not a long-term solution. "You're not going to be able to impose peace from above or the outside on people who don't want peace", he remarked. On his blog about Congo, Jason Stearns agrees writing "So are we back in a peace process? Not really. Or more precisely: We don’t know yet. The agreement is more a statement of principles than a concrete action plan."


title: M23 rebellion

text: Separately, negotiations between the Congolese government and rebel leaders continued in neighboring Uganda. Ugandan Vice President Edward Ssekandi said the discussions had been productive thus far. Joseph Kabila said negotiations would continue, but added that time was running out to reach an agreement, citing the 15 March deadline for the talks.


title: M23 rebellion

text: On 18 March 2013, Bosco Ntaganda turned himself in to the U.S. embassy in Kigali, Rwanda, where he requested transfer to the International Criminal Court in The Hague. Though the reasons for his surrender are unknown it was speculated that he was either pressured to do so by Rwanda or feared infighting within the M23 movement and its military leader Sultani Makenga, which had recently forced Ntaganda's forces to flee the DRC into Rwanda. Though Rwanda was not a signatory to the Rome Statute, the media speculated it would be forced to turn him over to the ICC. The U.S. also had listed him on its War Crimes Rewards Programme. On 22 March, he was detained by the ICC. Four days later, he made his first appearance in front of the Court.


title: M23 rebellion

text: On 25 February, disagreement between factions of the M23 about how to react to the peace agreement led to violence. M23's political leader, Jean-Marie Runiga Lugerero, was sacked. In a statement signed by M23's military leader, Sultani Makenga, he was accused of treason because of "financial embezzlement, divisions, ethnic hatred, deceit and political immaturity". Makenga declared himself interim leader and clashes between those loyal to Sultani Makenga and those loyal to Jean-Marie Runiga Lugerero, who is allied with Bosco Ntaganda, have killed ten men and two others were hospitalized. M23 has denied that it is hit by dissent.


title: M23 rebellion

text: In March 2013, the United Nations Security Council authorized the deployment of an intervention brigade within MONUSCO to carry out targeted offensive operations, with or without the Congolese national army, against armed groups that threaten peace in eastern DRC. The brigade is based in North Kivu and is made up of a total of 3,069 peacekeepers. It is tasked with neutralizing armed groups, reducing the threat posed to State authority and civilian security and make space for stabilization activities.


title: M23 rebellion

text: In May 2013, fighting continued for the first time in six months as M23 attacked the government's forces north of Goma. At least 15 rebels and four government soldiers were killed in the fighting on 20 May as both sides traded artillery fire in the town of Mutaho near Goma after rebels tried to retake it from the government, which had recently seized it from them.


title: M23 rebellion

text: Clashes once again broke out in July 2013, as M23 fought back against what it said was an army assault involving aircraft and artillery. Government forces used heavy weapons against the rebels in the town of Muja, just north of Goma. A government spokesman claimed that 120 M23 members were killed, and 10 army soldiers were killed. The claim could not be independently verified. During the same fighting government's forces were accused by the UN of mistreatment of M23 detainees and desecration of corpses of M23 combatants. On 24 July 2013 the government's Mil Mi-24 gunships, piloted by Ukrainian soldiers from high altitudes, inflicted heavy civilian casualties near the village of Rumangabo.


title: M23 rebellion

text: On 30 July the group were given a 48-hour ultimatum by the U.N. to leave the Goma area or face "use of force." Between 21 and 29 August, heavy fighting outside Goma left 57 rebels, 10–23 government soldiers, 14 civilians and one Tanzanian U.N. peacekeeper dead. 720 government soldiers and 10 U.N. peacekeepers were also wounded.


title: M23 rebellion

text: In late October, the Congolese army captured two towns from M23 rebels: Kiwanja and Buhumba, both of which are in the Rutshuru area of North Kivu province, near the Rwandan border.


title: M23 rebellion

text: In October 2013, Congo told the UN that the movement was virtually finished after being pushed back from its key position at Mount Hehu and Rumanagabo, north of Goma, to an enclave near Rwanda. Congo also re-captured Kiwanja and Rutshuru and discovered mass graves. On 30 October, the first town seized by the rebels in 2012 was stormed by UN-backed Congolese troops as the rebels abandoned Bunagana.


title: M23 rebellion

text: Following Uganda's calls for a ceasefire on 1 November and government shelling the next day, as well as a new offensive on 3 November in the hills around the border with Uganda and Rwanda, M23 leader Bertrand Bisimwa called to "immediately end hostilities" and that "we call on the facilitator of the Kampala peace talks to immediately put in place a mechanism to monitor the ceasefire."


title: M23 rebellion

text: Despite the calls, the army accused the rebels of bombing Bunagana. Army spokesman Olivier Hamuli said: "This is not fighting, it is bombs launched by M23 targeting the population of Bunagana. They are targeting civilians." Conversely, the rebels said that they were attacked with heavy weapons. "Radio Okapi" reported that four civilians were killed and 10 others were wounded in Bunagana on 4 November. UN, EU and AU envoys urged both sides not to undo the progress made in peace talks and that M23 should renounce its rebellion and the army should hold off from further military action.


title: M23 rebellion

text: The next day, following the two-week UN-backed offensive the government claimed to have defeated the rebels, as the group said it is ending its rebellion and would disarm and demobilise its forces in order to pursue a political solution. The announcement came hours after its fighters were driven out of its last two strongholds of Tshanzu and Runyoni at about 3:00. Bisimiwa issued a statement that read: "The chief of general staff and the commanders of all major units are requested to prepare troops for disarmament, demobilisation and reintegration on terms to be agreed with the government of Congo."


title: M23 rebellion

text: Government spokesman Laurent Mende said that many rebel fighters were surrendering and that Congo was ready to pursue peace talks. The U.S. special envoy for the African Great Lakes region said from Pretoria: "In a region that has suffered so much, this is obviously a significant positive step in the right direction." On 6 November 2013, the 23 March rebels fled the country. The next day, the rebels surrendered at Mgahinga Gorilla National Park in Uganda as about 1,500 fighters, believed to be most of the force were held after surrendering in Kisoro by the borders, this included Sultani Makenga. M23's surrender has sparked many questions of legal accountability for military leaders, such as Makenga, but also for lower level combatants and other parties to the conflict.


title: M23 rebellion

text: At a meeting in Entebbe, Uganda, the Congolese government delegation left the talks after a failure to agree to a wording of a document intended to officially end the insurgency. Government spokesman Lambert Mende said: "Uganda seems now to be acting as part of the conflict. It has interests in M23." At the same time, no dates for talks to resume were set.


title: M23 rebellion

text: Ugandan President Yoweri Museveni was also accused of subverting the East African Community by marginalising the leaders of Burundi and Tanzania by not inviting them for the talks. Freedom and Unity Front leader General David Sejusa said: "He started that rebellion. He gave them arms, he gave them financial support, he gave them equipment, and he gave them uniforms. So, it's not like I’m talking out of the blue. But, then, the chameleon he is, he turns around and then he postures as if he's the one who wants to bring peace."


title: M23 rebellion

text: On 12 December 2013, Kenyan President Uhuru Kenyatta's spokesman, Manoah Esipisu, said that an agreement had been signed in Nairobi between the government of the Democratic Republic of Congo and the M23 movement.


title: M23 rebellion

text: Despite the agreement, there were difficulties in pacifying the region. Over the 14–15 December weekend, at least 21 people were discovered to have been hacked to death in the area, although the perpetrators were not known. There were also concerns about DDR for M23 officers and soldiers who were in Uganda and Rwanda and fears of renewed instability. Furthermore, on 2 January, Colonel Mamadou Ndala, who helped lead the counter-operations, was killed in North Kivu province by the Allied Democratic Forces-NALU (ADF-NALU).


title: M23 rebellion

text: A UN report stated that the rebels were getting support from Rwanda. According to the DR Congo government, 25 Rwandan members of M23 have surrendered as part of a total of over 370 M23 soldiers that have allegedly surrendered by 25 June. On 19 November, Rwanda claimed that the DRC government forces fired tank and mortar shells across the border into its territory. The DRC government confirmed the incident, but claimed that Rwanda shelled its own territory to justify a wider-scale intervention in the DRC.


title: M23 rebellion

text: The U.S. government announced on 21 July that it would cut military aid to Rwanda. U.S. Ambassador-at-Large for War Crimes Issues Stephen Rapp stated that Rwandan authorities could be charged for "aiding and abetting" war crimes: "There is a line that one can cross under international law where you can be held responsible for aiding a group in a way that makes possible their commission of atrocities." The United States cited Rwandan support for the M23 militia, while they employed child soldiers.


title: M23 rebellion

text: Rwanda denied that it was backing the rebels, calling the accusation an attempt to make the nation a "scapegoat" for DRC's problems. The SANDF said it was unable to confirm that Rwanda has supported M23.


title: M23 rebellion

text: On 30 November 2012, the United Kingdom's international development secretary Justine Greening declared that the UK government decided to withhold a multimillion-dollar aid payment to Rwanda over allegations that it is backing M23 rebels. Rwandan Foreign Minister Louise Mushikiwabo replied that the measure "is based on allegations of faulty reports which we have said for the last six months are wrong."


title: M-DISC

text: M-DISC (Millennial Disc) is a write-once optical disc technology introduced in 2009 by Millenniata, Inc.and available as DVD and Blu-ray discs.


title: M-DISC

text: M-DISC's design is intended to provide archival media longevity.M-Disc claims that properly stored M-DISC DVD recordings will last 1000 years.The M-DISC DVD looks like a standard disc, except it is slightly thicker and almost transparent. The patents protecting the M-DISC technology assert that the data layer is a glassy carbon and that the material is substantially inert to oxidation and has a melting point of . M-Discs are readable by most regular disc drives.


title: M-DISC

text: M-DISC developer Millenniata, Inc. was co-founded by Brigham Young University professors Barry Lunt, Matthew Linford, CEO Henry O'Connell and CTO Doug Hansen. The company was incorporated on May 13, 2010, in American Fork, Utah.


title: M-DISC

text: Millenniata, Inc. officially went bankrupt in December 2016. Under the direction of CEO Paul Brockbank, Millenniata had issued convertible debt. When the obligation for conversion was not satisfied, the company defaulted on the debt payment and the debt holders took possession of all of the company's assets. The debt holders subsequently started a new company, Yours.co, to sell M-DISCs and related services.


title: M-DISC

text: According to an accelerated aging test of the French National Laboratory of Metrology and Testing in 2012, at and 85% humidity, the DVD+Rs with inorganic recording layer like M-DISCs were still readable after 250 hours (equivalent of 62.5 years to 86.8 years time) with an acceptable read/error rate, and were rated "less than 250 hours" equivalent to competing offers.


title: M-DISC

text: The performance was better than several DVD brands using organic dyes, where discs were not always readable after 250 hours; slightly lower than another brand which achieved a lower read/error rate and was rated "250 hours"; much less than glass DVD technology, which was rated by "more than 1000 hours".


title: M-DISC

text: Recorded discs are readable in most conventional drives. Available recording capacities are similar to other optical media from 4.7 GB DVD-R to 25 GB, 50 GB BD-R and 100 GB BD-XL. With the first DVD M-DISCs, it was difficult to determine which was the writable side of the disc, so coloring similar to that on standard DVD discs was added to later discs to help distinguish the sides.


title: M-DISC

text: Asus, LG Electronics, Lite-On, Pioneer, and Verbatim produce drives that can record M-DISC media. Ritek produces M-DISC Blu-ray media, sold under the Ritek and M-DISC brands. Verbatim produces co-branded discs, marketed as the "Verbatim M-DISC".


title: M-DISC

text: There are several, more commonly used alternatives to the M-Disc, such as hard disk drives, and solid state drives.


title: Lost television broadcast

text: Lost television broadcasts are mostly those early television programs which cannot be accounted for in studio archives (or in personal archives) usually because of deliberate destruction or neglect.


title: Lost television broadcast

text: A significant proportion of early television programming was never recorded in the first place. Early broadcasting in all genres was live and sometimes performed repeatedly. Due to there being no means to record the broadcast or, later, because the content itself was thought to have little monetary or historical value it was not deemed necessary to save it. In the United Kingdom, early programming was lost due to contractual demands by the actors' union to limit the rescreening of performances.


title: Lost television broadcast

text: Apart from Phonovision experiments by John Logie Baird, and some 280 rolls of 35mm film containing some of Paul Nipkow television station broadcasts, no recordings of transmissions from 1939 or earlier are known to exist.


title: Lost television broadcast

text: In 1947, Kinescopes (preserving the image on a monitor via an adapted cinematic film camera) became a practical method of recording broadcasts, but programs were only sporadically preserved by these means. Tele-snaps of British television broadcasts also began in 1947 but are necessarily incomplete. Magnetic videotape technologies became a viable method to record material in 1956 in the US via the cumbersome Quadruplex system using 2-inch wide tapes. Televised programming (especially that which was not considered viable for reruns) was still considered disposable. What was recorded was routinely destroyed by wiping and reusing the tapes. The only developed from the late 1970s providing a new outlet for release.


title: Lost television broadcast

text: The ability for home viewers to record programming was extremely limited before videotape; although a home viewer could record the video of a broadcast onto 8 mm film throughout television history or record the audio of a broadcast onto audiotape beginning in the 1950s, one could generally not capture both on the same medium until super-8 debuted in the 1960s. Home movies of this kind are exceptionally rare. Audio recordings are more common and numerous copies of otherwise lost television broadcasts exist.


title: Lost television broadcast

text: Wiping, also known as junking, is a colloquial term for action taken by radio and television production and broadcasting companies, in which old audiotapes, videotapes, and kinescopes (telerecordings), are erased and reused, or destroyed. Although the practice was once very common, especially in the 1960s and 1970s, wiping is now practiced much less frequently.


title: Lost television broadcast

text: Older video and audio formats were both much more expensive (relative to the amount of material that could be stored) and took up much more storage space than modern digital video or audio files, making their retention more costly, and there was more incentive to recycle the media for reuse or (in the case of film media) any silver content than to preserve the content, thus increasing the incentive of discarding existing broadcast material to recover storage space and material for newer programs.


title: Lost television broadcast

text: The advent of domestic audiovisual playback technology (e.g., videocassette and DVD, and particularly with the rise of digital media in the 1990s) has made wiping less beneficial, as the cost of producing and maintaining copies of telecasts dropped dramatically. In addition, broadcasters also later realized how much commercial potential from home video, cable television, and online streaming usage of their archived material was possible and that served as a strong economic incentive to preserve all recordings. Over time this came to include scenes not originally broadcast due to time constraints and outtakes not originally used whether due to mistakes on the part of the cast and/or crew or for some other reason – once producers and distributors realized there was significant demand for such content especially from devoted fans of their programs, they preserved the content to be marketed later (especially on home video releases).


title: Lost television broadcast

text: To the extent that wiping still exists, it is primarily used when it is deemed necessary for content to be irrevocably expunged for legal or ethical reasons (such as when there is concern the content might be illicitly obtained and/or used for unlawful and/or inappropriate purposes), or alternatively to erase ephemeral content with little to no intrinsic value.


title: Lost television broadcast

text: Like most other countries, only a small portion of the early decades of Australian TV programming has survived. Many economic, technical, social and regulatory forces combined to prevent large-scale preservation of Australian programs from this period, and also contributed to the later destruction of most of what was recorded at the time. There was, and is, no regulatory requirement to lodge copies of programs with an archive authority such as the National Library of Australia.


title: Lost television broadcast

text: In the first decade of Australian TV, 1956–1966, Australia produced very little original local drama content, compared to other English-speaking nations. From the introduction of TV in Australia in 1956 to around 1964, the commercial stations did produce their own programmes, but the majority of locally produced original programming was made by the government-funded Australian Broadcasting Commission. By June 1964, the ABC had produced 185 of the 212 plays, all 31 operas, and 90 of the 95 ballets shown on Australian TV in that period. Some of this was recorded, but little of that material has survived. One of the best-known and most often seen surviving recordings from this period is the footage that purports to be the recording of the inaugural broadcast of TCN-9 Sydney on 16 September 1956, but this is in fact a fabrication – the actual broadcast was not recorded at the time, so the station restaged it some days later, for archival and promotional purposes.


title: Lost television broadcast

text: In this early period, the technology then available to pre-record television programs, or to record live broadcasts off-air, was relatively primitive. Although Australia introduced TV rather later (1956) than other nations like the USA, the use of videotape did not become widespread in the Australian industry until the early 1960s, so only a small number of episodes from the earliest period have survived. Nearly all of that material exists as kinescopes.


title: Lost television broadcast

text: Although many important ABC programs from these early days were captured as kinescopes, most of this material was later lost or destroyed. In a 1999 newspaper article on the subject, author Bob Ellis recounted the story of a large collection of kinescopes of early ABC drama productions, and other programs, including some of the first Australian TV Shakespeare productions, and the pioneering popular music show "Six O'Clock Rock". Learning that the ABC planned to dispose of these recordings, Bruce Beresford (then a production assistant at the ABC), arranged for a friend to pose as a silver nitrate dealer, and the anonymous collector purchased the films for a nominal cost. Subsequently, the collector occasionally rented some of the films out to schools for a small fee, but the daughter of one of the actors involved (Owen Weingott) recognised her father from a Shakespeare production, and told him about it. Assuming that the ABC still owned the print and was making money out of these recordings without compensating the actors, Weingott lodged an official complaint. Commonwealth police descended on the illegal collector, but he was warned that they were coming, and in a panic he destroyed almost all the material he possessed.


title: Lost television broadcast

text: Well into the 1970s, it was still common for news, current affairs, sports coverage, game shows, talk/panel shows, infotainment programs and variety shows to be broadcast live, and these were usually not recorded. In this early period, recording and editing TV shows on videotape was expensive and time-consuming, and because of the comparatively lower cost, and the high level of skill available to Australian TV networks in live broadcasting, and the lack of any market for such recordings, pre-recording or archiving of most day-to-day TV content was considered unnecessary and uneconomical. Although some news and other programming from this period has survived, most of what is still extant is material that was captured on film (such as actuality footage, interviews, press conferences, etc., recorded for news stories).


title: Lost television broadcast

text: Another factor, common to all countries, was that before domestic video technology was introduced in the 1970s, there was generally no economic motive for Australian TV to make or keep recordings of most TV shows, except in the case of pre-produced mainstream documentary, comedy or drama programs that could be sold to other stations in Australia, or to broadcasters overseas (e.g. "Skippy The Bush Kangaroo"). Likewise, virtually no private recordings exist of Australian TV material produced before domestic video was introduced, because viewers had no practical means to record programs off-air.


title: Lost television broadcast

text: Before reliable, high-quality inter-city cable and satellite links were established, some Australian programs of the 1960s were routinely videotaped, usually for distribution to affiliate stations in other states – like the popular "In Melbourne Tonight" with Graham Kennedy – but the vast majority of these program tapes were later erased, or simply destroyed.


title: Lost television broadcast

text: Even after videotape was well-established in Australian TV production, the practice of erasing and reusing tapes was common in both commercial TV and the ABC, and this continued well into the 1970s. Only a very small portion surviving of the many thousands of hours of videotaped programming made during the 1960s and early 1970s survives. The majority of ABC-TV's mainstream original content (including comedy, drama, variety, news and current affairs) was produced in-house; consequently these programs all suffered considerable losses due to the corporation's policy of reusing videotape – a practice further exacerbated by budget cuts in the 1970s. In one notorious case, a controversial installment of the 1970s ABC comedy series "The Off Show" (the infamous "Leave It To Jesus" episode) was lost because the show's producer vehemently objected to its religious satire, and deliberately erased the master tape the night before it was due to be broadcast.


title: Lost television broadcast

text: All the episodes from the first 12 months (1969–1970) of the ABC's music magazine series "GTK" are now lost. The majority of the material recorded for the post-1970 episodes was rediscovered in ABC archives and storerooms in the early 2000s, when the ABC closed and sold off its Gore Hill, Sydney studio complex. This is due to most of the "GTK" program segments being recorded on film (in an older part of the studio complex) and then transferred to video for broadcast. Although many broadcast masters were wiped, many more were rescued and hidden by the program's later producer, Bernie Cannon, and nearly all the post-1970 filmed segments, including the archive of live-in-studio performances by local bands, have survived.


title: Lost television broadcast

text: Other shows suddenly missing from the archives include most of the first three years' of "Countdown" (episodes beyond 1978 of "Countdown" have survived in this manner), nearly all of the hundreds of 15-minute episodes of the ABC's popular soap "Bellbird", two thirds of all the taped 166 episodes from the ABC's "Certain Women", and a large proportion of the Ten Network's hugely popular "Young Talent Time" from the 1971–1976 era. Much of the early years of Nine's then-Saturday Morning children's program "Hey Hey it's Saturday" was unrecorded, and many episodes recorded in the early 1970s have since been erased.


title: Lost television broadcast

text: Some programs or segments of programs from the mid 1970s onwards have been retrieved from people's home taping shows off-air (portions of "Young Talent Time" and "Countdown" have survived in this manner).


title: Lost television broadcast

text: General lack of repeats of 1950s and 1960s Australian series makes it difficult to know what is extant and what is lost. For example, there is no information available as to whether any episodes still exist of "Take That" (1957–1959), sometimes considered to the first Australian television sitcom. Information on archival status is also lacking for other 1950s-era series like "The Isador Goodman Show" (1956–1957), "It Pays to Be Funny" (1957–1958), "Sweet and Low" (1959), among others.


title: Lost television broadcast

text: Some of the best-known survivors of this period are comedy or drama series commissioned and broadcast by the ABC's commercial rivals. Frequently, these were outsourced productions made by private companies, such as the many drama series made by Melbourne-based Crawford Productions (a production brand of WIN Television), which at its peak in the 1970s had major primetime series running concurrently on all three Australian commercial networks. Crawfords retained the rights to its productions, and was able to earn money from reruns, so most of its production output was preserved. Crawford is now unique in Australian TV history because it still owns and markets a comprehensive archive of all its major productions from the 1960s and beyond, including "Homicide", "Division 4", "Matlock Police", and "The Sullivans".


title: Lost television broadcast

text: The National Film and Sound Archive holdings of 1950s era shows include several episodes of the 1957 discussion series "Leave it to the Girls", most of the 1958–1959 soap opera "Autumn Affair", and a number of episodes of the comedy game show "The Pressure Pak Show". These shows, produced by ATN-7 in Sydney, probably survive because they were pre-recorded for the purpose of interstate broadcast ("Autumn Affair", despite primitive production values, was repeated into the 1960s).


title: Lost television broadcast

text: The Australian Broadcasting Corporation (ABC) erased much of its early produced output. Much of the videotaped ABC programme material from the 1960s and early 1970s was erased as part of an economy policy instituted in the late 1970s in which old programme tapes were surrendered for bulk erasure and reuse. This policy particularly targeted older programmes recorded in black-and-white, leading to the loss of many recordings made before early 1976, when the real reason is that Australian television converted to colour. The ABC continued erasing older television output until the late 1970s.


title: Lost television broadcast

text: Programmes known to have been produced then lost include most studio segments and stories from the 1960s current affairs shows "This Day Tonight" and "Monday Conference", hundreds of episodes of the long-running rural serial "Bellbird", all but a handful of episodes of the early-1970s drama series "Certain Women", an early-1970s miniseries of dramatizations based on Norman Lindsay's novels, and nearly all of the pre-1978 episodes of the weekly pop-music show "Countdown".


title: Lost television broadcast

text: Many produced episodes of popular Australian commercial TV series are also lost. In the 1970s, Network Ten had an official policy to reuse tapes; hence, many tapes of "Young Talent Time" and "Number 96" were wiped. To this day, Network Ten still only keeps some of its programming. Other notable losses from the Ten archive include hundreds of episodes of the Melbourne-based pop music shows commissioned and broadcast by ATV-0 Melbourne in the 1960s and early 1970s—"The Go!! Show" (1964–1967), "Kommotion" (1964–1967), "Uptight" (1968–70), and the "Happening 70s" series (1970–1972).


title: Lost television broadcast

text: The Nine Network discarded copies of some of their programs, including the popular GTV-9 series "In Melbourne Tonight" starring Graham Kennedy. Though it ran five nights a week from 1957 to 1970, fewer than 100 episodes are known to survive, and many of the surviving episodes are edited prints made for rebroadcast across Australia. Early episodes of breakfast show "Hey Hey It's Saturday" do not exist because the programme was broadcast live and did not begin live videotape recordings until a number of years later.


title: Lost television broadcast

text: From 1964 to 1967, all TV programs were recorded on film in what was then East Pakistan (until 1971). Then in 1967, VTR recording was introduced to record their TV programs in high quality. Bangladesh Television rarely practiced wiping since its archive has been carefully maintained.


title: Lost television broadcast

text: From 1968 to 1969, Rede Tupi produced new episodes of the telenovela "Beto Rockfeller" by recording over previous episodes; as a result, few episodes survive. After the closure of TV Tupi in 1980 the 536 tapes at its São Paulo studios were transported to a warehouse in the São Paulo suburb of Cotia and were simply left to deteriorate there until they were recovered by the Cinemateca Brasileira in 1985 and subsequently restored by TV Cultura in 1989. Only two Rede Tupi owned and operated stations are known to have any preserved videotapes; TV Itacolomi's archives are now owned by TV Alterosa, the Minas Gerais affiliate of SBT in Belo Horizonte, whereas almost all of TV Piratini's material was lost in a fire in 1983, two years after the building of the extinct station was occupied by TVE-RS, the statewide public television station in Rio Grande do Sul. The few TV Piratini surviving tapes are stored at the Hipólito José da Costa Communication Museum, in Porto Alegre, albeit in a heavily deteriorated state. Also, some tapes at the Rede Tupi studios in Urca, Rio de Janeiro were later found to have been significantly degraded by vinegar syndrome, hence they were unable to be migrated to a modern format. However, part of the library of Rio de Janeiro TV Tupi studios was found in 2005 at the headquarters of Radio Tupi, and later donated to the Brazilian National Archive, which signed an agreement with Globo in 2007 to preserve the material.


title: Lost television broadcast

text: RecordTV also lost much footage from the 1960s due to wiping, fires, and deterioration; most of the MPB music festivals no longer exist, and the sitcom "Família Trapo" has only one surviving episode, featuring Pelé. Until 1997, Rede Record had no policy on archiving videotapes; since then, at least 600 videotapes that were previously believed to be lost have been recovered with the help of the Ressoar Institute.


title: Lost television broadcast

text: Globo lost the first 35 broadcasts of "Fantástico" and most of the first years of "Jornal Nacional", in addition to many segments of their other soap operas as a result of wiping, and also due to three fires that occurred in 1969 (at its São Paulo studios), 1971 and 1976, (the latter two at its Rio de Janeiro studios) where in the 1976 fire, an estimated 920 to 1,500 tapes were destroyed.


title: Lost television broadcast

text: Most of TV Excelsior's output was damaged in a fire in 1969; however, in the late 1990s about 100 tapes of Rede Excelsior programming were discovered in the archives of Globo and TV Gazeta and these tapes were restored by the Faculdade Cásper Líbero and subsequently donated to the Cinemateca Brasileira in 2001.


title: Lost television broadcast

text: The Brazilian public television network Cultura has preserved many old programs and has one of the most complete archives among Brazilian television networks. Despite having suffered a fire in 1986, this fire did not reach the station's archives.


title: Lost television broadcast

text: After the bankruptcy of Manchete, in 1999, most of the collection was seized at the station's studios, in Rio de Janeiro, until it was included in the bankruptcy estate and later auctioned by the Brazilian courts, which caused part of the library to be lost. However, some telenovelas (such as "Pantanal") had reruns by some television networks (such as SBT and Band).


title: Lost television broadcast

text: Many SBT 1980s and 1990s productions were lost due to wiping and also due to floods that occurred in 1987 and in 1991 at its studios in the district of Vila Guilherme. The network did not have a archiving policy until 1996, when the network moved its studios to CDT da Anhanguera in Osasco, Greater São Paulo.


title: Lost television broadcast

text: The Canadian Broadcasting Corporation never practised wiping of programs they produced themselves. As a result, the CBC now maintains a nearly complete archive of all programming produced by them that was recorded.


title: Lost television broadcast

text: One exception was the 1953–54 science-fiction series "Space Command", of which only one out of 150 episodes are known to survive, although the whole series was Kinescoped for distribution to stations across Canada. The CBC also says that the 1984–93 music video series, "Video Hits", no longer exists in their archives; presumably, any recordings were wiped for legal reasons as the show used content licensed from music companies.


title: Lost television broadcast

text: The CTV Television Network has admitted to wiping many programs during the 1970s. Because of Canadian content requirements, the need for Canadian-produced programming led to more preservation of the shows they produced, and even very poorly received programs (such as "The Trouble with Tracy") were saved and rerun for several years after their cancellation. Furthermore, Canadian rebroadcasts have been a source of some programming their producers in the United States and the United Kingdom have lost.


title: Lost television broadcast

text: A large portion of the publicly-owned TVN's archives between 1969 to 1973 were burned by the military during the coup in 1973. Only a few films in 1969 and 1970 are known to survive, including a still frame featuring the company's logo at the time, and the text "Desde Arica, hasta Tierra del Fuego" (From Arica, to Tierra del Fuego), as well as several idents featuring its mascot at the time, "Tevito", which also included the mascot being crushed by the TVN logo.


title: Lost television broadcast

text: The first edition ever of the Eurovision Song Contest of 1956 was broadcast live and only a sound recording of the radio transmission and a section of the winning song's reprise has survived from the original broadcast. The ninth edition of 1964 is said to have been recorded on tape, but a fire reportedly destroyed the copy at DR, the Danish broadcaster who produced the contest. Another recording of the contest was thought to have existed at the French television archives, but it has since been revealed that this is not the case. Only small portions of the original broadcast and audio from the radio transmission are accessible for the time being.


title: Lost television broadcast

text: The vast majority of Greek television shows before the 1980s are considered lost, as ERT never took archiving seriously. Recent efforts have been made to archive what is left, but the material is very limited.


title: Lost television broadcast

text: The Republic of Ireland was a latecomer to television, Telefís Éireann being established at the end of 1961. Although early news broadcasts were recorded on kinescopes, almost all broadcasts from the first fifteen years (i.e. up to 1977) are lost. Of the soap opera "Tolka Row" (1964–68) only the last episode survives, while almost all the early episodes of "The Late Late Show" (1962–present) are lost. Even when shows were sent abroad — "The Riordans" was sent to Australia for rebroadcast — the tapes were often sent back to Ireland and recorded over, as they were so expensive.


title: Lost television broadcast

text: The 23rd, 24th and 25th editions of the Italian Sanremo Festival of 1973, 1974 and 1975 have been lost. Only some portions of the original tapes have survived in the Daily News Archives. The 26th edition of 1976 was lost by RAI but it could be recovered in the Spanish Broadcasting Company's (TVE) vaults, since it was broadcast all around Europe and recorded by TVE.


title: Lost television broadcast

text: Many early RAI television programs were not preserved. Only a few episodes of the game show "Lascia o raddoppia?" have survived and no recording of the musical variety "Settevoci" is extant.


title: Lost television broadcast

text: The best known missing programs are the children's shows "Ja zuster nee zuster" from the 1960s and most of "Hamelin" ("Kunt u mij de weg naar Hamelen vertellen") from the 1970s.


title: Lost television broadcast

text: The 1970s Dutch TV series "The Eddy-Go-Round Show" hosted by Eddy Becker, despite featuring high-profile guests, is reported to have been largely erased by the broadcaster it aired on, though a short section featuring Swedish pop group ABBA performing "I Do, I Do, I Do, I Do, I Do" was later uncovered on a tape recorded by a home viewer. An additional episode was later uncovered as the host had kept a copy himself, and was later re-broadcast on a Dutch cable channel in 2012. A clip of Marmalade performing on the show also has survived. A further clip of Olivia Newton-John performing was found by Ray Langstone in 2013.


title: Lost television broadcast

text: Hundreds of episodes from the internationally versioned show "Un, dos, tres... responda otra vez", mainly from the first two seasons (1972–1973 and 1976–1978), including the first episode of the first season, are lost or were destroyed. Only four episodes out of 54 from the first season and 12 out of 83 from the second season are known to survive. The following seasons from the third to the fifth one (1982–1986) are also incomplete, but not as dramatically diminished as the previous seasons. The sixth season of 1987 is the first fully located and preserved one. Since Televisión Española archives were not catalogued until 1987, and there are thousands of tapes in kilometers of shelves of unknown uncatalogued content, there could be more episodes there than what is preserved today (the last previously thought lost then found episode from the first season was just discovered in 2005). Also, some of the lost episodes of seasons two, three, four and five exist as either complete or as portions on the archives or on home video recordings made by members of the public.


title: Lost television broadcast

text: Yugoslav Radio Television (JRT) practiced wiping until the 1970s when it gained access to newer and cheaper methods of recording, which allowed it to regularly archive programming.


title: Lost television broadcast

text: Of the original 1973 "Doraemon" 31 segments are lost due to the studio warehouse that stored all content of the show, having to sell the reels off for money, which ultimately failed in the end. The show only lasted for 26 episodes—it was interrupted due to the dissolution of Nippon TV Video, the production studio. 21 episodes are known to survive, two of which have no audio. The final episode was called "Sayonara Doraemon" (Goodbye Doraemon) and aired on September 30, 1973. Audio, still images, the opening theme and ending theme survive all together. In 1995, 16 episodes were found to be stored in Studio Rush (now known as IMAGICA), and other segments have been found, though two remain without their audio tracks. The opening and ending credits do still exist as well, along with a pilot film that was produced in 1972. These are occasionally shown at "Doraemon" fan conventions in Japan, but cannot be released legally on DVD owing to rights complications due to the production studio being defunct. It was briefly rebroadcast in 1979, but was abruptly pulled off television by order of Shogakukan, who did not want the new adaptation's reputation to be affected by the existence of the previous one.


title: Lost television broadcast

text: The entirety of the Nippon TV tokusatsu television series "Assault! Human!!", originally produced and aired in 1972, was lost at some point after the series was rebroadcast in the 1980s, after the master tapes were reused. While suits from the show were purchased, then reused by Toho in the 1973 series "Go! Greenman", the only traces of "Assault! Human!!" come in the form of supplementary materials such as reference books, merchandise, magazine articles and the show's soundtrack.


title: Lost television broadcast

text: All episodes of the Osamu Tezuka anime "Big X" are said to be lost except for episodes 1, 11, and 40–59. Only episodes 37 and 38 of "Space Alien Pipi" survive, along with the opening and ending theme. Certain episodes of "Perman" are lost, some have picture but no audio.


title: Lost television broadcast

text: Most episodes of the Children's puppet show "Hyokkori Hyōtanjima", running from 1964 to 1969 on NHK for total of 1,224 episodes, were reportedly wiped after the broadcast. The tapes were reportedly reused for other programs since video tapes were costly. 6 episodes have resurfaced from black and white kinescopes, as well as 2 color episodes.


title: Lost television broadcast

text: Toei Animation is known to wipe broadcasts of older anime series. For a time, the original films of "Dragon Ball", "Dragon Ball Z", and some of "Dragon Ball GT", which contained high-quality audio, were wiped. They were considered lost media until a group of fans collected VHS recordings of the series during their original broadcasts, which contained the original audio. The audio was then sent to Christopher Sabat of Funimation. An official release of these series containing the original audio has yet to be made.


title: Lost television broadcast

text: Due to its multiple studio facilities, namely its Chapultepec and San Ángel studios, Televisa preserved most of its scripted series for broadcast years after the preserved programs had ended their original runs. Some Televisa programs, however, were lost in the 1985 Mexico City earthquake that destroyed part of the network's archive. However, smaller channels, such as XEIPN-TV and XHDF-TV, did not begin to preserve their recorded broadcasts until the early 1980s. Monterrey's Multimedios Televisión keeps most of its programming, though some special historical programming dealing with its flagship station's history clearly shows that some footage has been either donated by viewers recorded from its original broadcast, or uses footage of its programming recorded by archivists.


title: Lost television broadcast

text: In the early days of PTV, a few test transmissions were broadcast, but the majority of programming was live. Since at the time PTV did not have the tools needed to create backups, the programming was considered lost as soon as it aired.


title: Lost television broadcast

text: Pre-recorded shows started airing in 1971, stored mostly using Video Tape Recorders (VTR) and later shifting to VPRs. Both were stored in spools.


title: Lost television broadcast

text: Final archive cuts of aired shows were stored in a near-freezing room, which was the standard storage requirement. However, sometime in the early 1980s, the air conditioning for archives was turned down too much, causing the spools to succumb to the heat and fuse together.


title: Lost television broadcast

text: When the industry finally realised in early 1990s that transfer to digital video was imminent, the equipment needed to play back the old spools was no longer in working condition and replacement parts were almost nonexistent.


title: Lost television broadcast

text: The spools were stored at the Shalimar recording company, and PTV has been able to play segments for retrospective programs.


title: Lost television broadcast

text: The Center for Media Psychology Research Pakistan website gives a different story, stating that after the switch to colour broadcast, the recording medium in the 1970s was the one inch spool format which recorded sound and electronic moving pictures as a combined stream on a magnetic recording medium. However, due to the one inch magnetic spool containing all old archives was eventually lost.


title: Lost television broadcast

text: The first three years (1979 to 1982) of the longest-running television show in the Philippines, "Eat Bulaga!", have been lost. The first full surviving episode was broadcast on August 7, 1982, the third anniversary of the show.


title: Lost television broadcast

text: The inaugural game of the Philippine Basketball Association (PBA) in 1975, along with most of the games that were broadcast during the first seven seasons of the league, are believed to be lost. The oldest known full game archive of the league was from the 1979 season. Most of the league's playoffs games, including a significant number of games involving Ginebra, were missing in the PBA archives, when the archive was digitized in 2010. Short clips of older games are in possession of private collectors.


title: Lost television broadcast

text: The television archive of ABS-CBN Corporation from 1953 to 1972 are believed lost, when the station was taken over by the government of Ferdinand Marcos when he declared martial law in the country. In addition, ABS-CBN alleged in its complaint-affidavit filed after the People Power Revolution against Roberto Benedicto (who took over ABS-CBN's facilities following the declaration of martial law) that "the musical records and radio dramas accumulated by ABS-CBN in a span of twenty-five (25) years and stored in its library were now gone".


title: Lost television broadcast

text: The status of the archived broadcasts of Banahaw Broadcasting Corporation, the television network that took over ABS-CBN's facilities from 1973 to 1986 is unknown. An audio recording of the daily sign off as well as a video recording of a 10-second station ID are known to exist.


title: Lost television broadcast

text: Drama and entertainment output was studio-based and followed the tradition of live theatre and radio drama. The earliest recording method for television was telerecording (Kinescope in the US), first used in 1947, which involved capturing the image from a special television monitor onto film using a modified film camera. increased in use during the 1950s, and surviving UK programmes which were not pre-filmed usually exist in this form until the late 1960s. Conventional filmmaking methods, other than for factual programming, were only gradually introduced from the mid-1960s.


title: Lost television broadcast

text: All television programmes have copyright and secondary rights associated with them. For drama and entertainment, the actors, writers, and musicians involved in a production all have underlying rights. In the past, these rights were defended rigorously—permission could even be denied by a contributor for the repeat or re-use of a programme. Talent unions were highly suspicious of the threat to new work if programmes were repeated; indeed, before 1955 Equity insisted that any telerecording made (of a repeat performance) could only "be viewed privately" on BBC premises and not transmitted.