title: The Land Before Time

text: The series has spawned 14 spin-off games, eight for PC, one for the Game Boy Color, two for the Game Boy Advance and three for the original PlayStation. The PC games are usually educational games aimed for preschool and kindergarten. Games for the Game Boy Color and Advance include "The Land Before Time" and "The Land Before Time: Into the Mysterious Beyond", in which the original six characters must search for Chomper. Games for the PlayStation include "The Land Before Time: Big Water Adventure", a spin-off of "Journey to Big Water", "The Land Before Time: Great Valley Racing Adventure" and "The Land Before Time: Return to the Great Valley". All characters in these games are voiced by Lani Minella.


title: Broadcast syndication

text: Broadcast syndication is the practice of leasing the right to broadcasting television shows and radio programs to multiple television stations and radio stations, without going through a broadcast network. It is common in the United States where broadcast programming is scheduled by television networks with local independent affiliates. Syndication is less widespread in the rest of the world, as most countries have centralized networks or television stations without local affiliates. Shows can be syndicated internationally, although this is less common.


title: Broadcast syndication

text: Three common types of syndication are: "first-run" syndication, which is programming that is broadcast for the first time as a syndicated show and is made specifically to sell directly into syndication; "off-network" syndication (colloquially called a "rerun"), which is the licensing of a program whose first airing was on network TV or in some cases, first-run syndication; and "public broadcasting" syndication.


title: Broadcast syndication

text: In first-run syndication, a program is broadcast for the first time as a syndicated show. Often it is made specifically to sell directly into syndication and not made for any particular network.


title: Broadcast syndication

text: In off-network syndication, a program whose first airing was on network television (or, in some cases, first-run syndication) is licensed for local broadcast on individual stations. Reruns are usually found on stations affiliated with smaller networks like The CW or MyNetworkTV, especially since these networks broadcast one less hour of prime time network programming than the Big Four television networks and far less network-provided daytime television (none at all for these networks). A show usually enters off-network syndication when it has built up about four seasons' worth or between 80 and 100 episodes, though for some genres the number could be as low as 65. Successful shows in syndication can cover production costs and make a profit, even if the first run of the show was not profitable.


title: Broadcast syndication

text: This type of syndication has arisen in the U.S. as a parallel service to member stations of the Public Broadcasting Service (PBS) and the handful of independent public broadcasting stations. This form of syndication more closely resembles the news agency model, where nominally competing networks share resources and rebroadcast each other's programs. For example, National Public Radio (NPR) stations commonly air the Public Radio Exchange's "This American Life", which may contain stories produced by NPR journalists.


title: Broadcast syndication

text: When syndicating a show, the production company, or a distribution company called a syndicator, attempts to license the show to one station in each media market or area, or to a commonly owned station group, within the country and internationally. If successful, this can be lucrative, but the syndicator may only be able to license the show in a small percentage of the markets. Syndication differs from licensing the show to a television network. Once a network picks up a show, it is usually guaranteed to run on most or all the network's affiliates on the same day of the week and at the same time (in a given time zone, in countries where this is a concern). Some production companies create their shows and license them to networks at a loss, at least at first, hoping that the series will succeed and that eventual off-network syndication will turn a profit for the show. A syndicated program is licensed to stations for "cash" (the stations purchase the rights to local insertion some or all of the advertisements at their level); given to stations for access to airtime (wherein the syndicators get the advertising revenue); or the combination of both. The trade of program for airtime is called "barter."


title: Broadcast syndication

text: In the United States (as a result of continued relaxation of station ownership regulations since the 1970s), syndicated programs are usually licensed to stations on a group level, with multiple stations owned and/or operated by the same broadcasting group carrying the program in different markets (except in areas where another station holds the market rights to the program) – making it increasingly more efficient for syndicators to gain widespread national clearances for their programs. Many syndicated programs are traditionally sold first to one of six "key" station groups (ABC Owned Television Stations, NBC Owned Television Stations, CBS Television Stations, Fox Television Stations, Telemundo Station Group, and TelevisaUnivision), allowing their programs to gain clearances in the largest U.S. TV markets (such as New York City, Los Angeles, San Francisco and Philadelphia, where all six aforementioned groups each own stations), before striking deals with other major and smaller station owners. Shows airing in first-run syndication that are carried primarily by an owned-and-operated station of a network may sometimes be incorrectly referenced as a network program, especially if said network's syndication wing distributes the program, regardless to its distribution to stations of varying network affiliations and despite the fact it is not part of an individual network's base schedule.


title: Broadcast syndication

text: Since the early 2000s, some programs being proposed for national distribution in first-run syndication have been test marketed on a selected number of or all stations owned by certain major station group, allowing the distributor to determine whether a national roll-out is feasible based on the ratings accrued in the selected markets where the program is being aired.


title: Broadcast syndication

text: While market penetration can vary widely and revenues can be unreliable, the producers often enjoy more content freedom in the absence of network's standards and practices departments; frequently, some innovative ideas are explored by first-run syndicated programming which the networks are leery of giving airtime to. Meanwhile, top-rated syndicated shows in the United States usually have a domestic market reach as high as 98%. Very often, series that are aired in syndication have reduced running times. For example, a standard American sitcom runs 22 minutes, but in syndication it may be reduced to 20 minutes to make room for more commercials.


title: Broadcast syndication

text: Syndication can take the form of either weekly or daily syndication. Game shows, some "tabloid" and entertainment news shows, and talk shows are broadcast daily on weekdays, while most other first-run syndicated shows are broadcast on a weekly basis and are usually aired on weekends only. Big discussion occurred in the 1990s and 2000s about whether previously aired episodes of a show could become syndicated while new episodes of it continued to air on its original network. There had been much opposition to this idea and it was generally viewed to lead to the death of the show. However, licensing a program for syndication actually resulted in the increased popularity for shows that remained in production. A prime example is "Law & Order".


title: Broadcast syndication

text: As with radio in the U.S., television networks, particularly in their early years, did not offer a full day's worth of programming for their affiliates, even in the evening or "prime time" hours. In the early days of television, this was less of an issue, as there were in most markets fewer TV stations than there were networks (at the time four), which meant that the stations that did exist affiliated with multiple networks and, when not airing network or local programs, typically sign-on and sign-off. The loosening of licensing restrictions, and the subsequent passage of the All-Channel Receiver Act, meant that by the early 1960s, the situation had reversed. There were now more stations than the networks—now down to three in number after the failure of the DuMont Television Network—could serve. Some stations were not affiliated with any network, operating as independent stations. Both groups sought to supplement their locally produced programming with content that could be flexibly scheduled. The development of videotape and, much later, enhanced satellite downlink access furthered these options. While most past first-run syndicated shows were shown only in syndication, some canceled network shows continued to be produced for first-run syndication or were revived for syndication several years after their original cancellation. Until about 1980, most syndicated series were distributed to stations either on 16mm film prints (off-network reruns, feature films, and cartoons) or videotape (topical series such as the talk shows of Mike Douglas and Merv Griffin, and variety and quiz shows).


title: Broadcast syndication

text: Ziv Television Programs, after establishing itself as a major radio syndicator, was the first major first-run television syndicator, creating several long-lived series in the 1950s and selling them directly to regional sponsors, who in turn sold the shows to local stations. Ziv's first major TV hit was "The Cisco Kid". Ziv had the foresight to film "The Cisco Kid" in color, even though color TV was still in its infancy and most stations did not yet support the technology. Among the most widely seen Ziv offerings were "Sea Hunt", "I Led Three Lives", "Highway Patrol" and "Ripcord". Some first-run syndicated series were picked up by networks in the 1950s and early 1960s, such as the "Adventures of Superman" and "Mr. Ed". The networks began syndicating their reruns in the late 1950s, and first-run syndication shrank sharply for a decade. Some stalwart series continued, including "Death Valley Days"; other ambitious projects were also to flourish, however briefly, such as "The Play of the Week" (1959–1961), produced by David Susskind (of the syndicated talk show "Open End" and also producer of such network fare as "NYPD").


title: Broadcast syndication

text: Among other syndicated series of the 1950s were MCA's "The Abbott and Costello Show" (vaudeville-style comedy) and Guild Films' "Liberace" (musical variety) and "Life With Elizabeth", a domestic situation comedy that introduced Betty White to a national audience. In addition to the "Adventures of Superman", many other series were based on comic strips and aimed at the juvenile audience, including "Flash Gordon", "Dick Tracy", "Sheena, Queen of the Jungle", and "Joe Palooka". Original juvenile adventure series included "Captain Gallant of the Foreign Legion", "Cowboy G-Men", and "Ramar of the Jungle". Series based on literary properties included "Sherlock Holmes", "Long John Silver" (based on "Treasure Island"), and "The Three Musketeers". Several of these were co-productions between U.S. and European (usually British) companies. "Crusader Rabbit" pioneered in the area of first-run animated series; followed by "Bucky and Pepito", "Colonel Bleep", "Spunky and Tadpole", "Q. T. Hush", and others. (All of these were five-minute shorts designed to be placed within locally hosted kiddie shows.) Syndicated sports programming included "Championship Bowling" and "All-Star Golf", both produced by Chicago-based Walter Schwimmer, Inc.


title: Broadcast syndication

text: In addition to regular series, syndicators also offered packages of feature films, cartoons, and short subjects originally made for movie theatres. Until late in the 1950s, however, much of the theatrical product available consisted of low-budget secondary features (mainly Westerns) with relatively few notable stars. One syndication company, National Telefilm Associates, attempted to create a "NTA Film Network" of stations showing its lineup of first-run series, which included syndicated programs such as "Police Call" (1955), "How to Marry a Millionaire" (1957–1959), "The Passerby", "Man Without a Gun" (1957–1959), and "This is Alice" (1958). The venture lasted five years and closed down in 1961.


title: Broadcast syndication

text: By the late 1960s, a "de facto" two-tiered system had developed in the United States, with the major network affiliates (usually on longer-range VHF stations) consistently drawing more viewers than their UHF, independent counterparts; syndicators thus hoped to get their programs onto the major network stations, where spots in the lineup were far more scarce. Federal Communications Commission (FCC) rulings in 1971 curtailed the U.S. networks' ability to schedule programming in what has become known as the "fringe time", notably the 7–8 p.m. (Eastern and Pacific Time) hour of "prime time", with the stated hope that this might encourage more local programming of social and cultural relevance to communities (off-network syndicated repeats were also banned); some projects of this sort came to fruition, though these were usually relatively commercial and slick efforts such as Group W's "Evening/PM Magazine" franchise, and such pre-existing national projects as the brief commercial-television run of William F. Buckley Jr.'s interview/debate series "Firing Line". The more obvious result was an increase in Canadian-produced syndicated dramatic series, such as "Dusty's Trail" and the Colgate-sponsored "Dr. Simon Locke". Game shows, often evening editions of network afternoon series, flourished, and a few odd items such as "Wild Kingdom", canceled by NBC in 1971, had a continuing life as syndicated programming tailor-made for the early fringe.


title: Broadcast syndication

text: In 1971, the U.S. FCC passed the Prime Time Access Rule and Financial Interest and Syndication Rules, which prevented networks from programming one particular hour of prime time programming on its television stations each night and required the networks to spin off their syndication arms as independent companies. Although the intent of the rule was to encourage local stations to produce their own programs for this time slot, budgetary limits instead prompted stations to buy syndicated programs to fill the slot. This, coupled with an increase in UHF independent stations, caused a boom in the syndication market. In the 1970s, first-run syndication continued to be an odd mix: cheaply produced, but not always poor quality, "filler" programming. These included the dance-music show "Soul Train", and 20th Century Fox's "That's Hollywood", a television variation on the popular "That's Entertainment!" theatrically released collections of film clips from the Metro-Goldwyn-Mayer library.


title: Broadcast syndication

text: There were also many imported programs distributed this way. These include the documentary series "Wild, Wild World of Animals" (repackaged by Time Life with narration by William Conrad) and Thames Television's sober and necessarily grim "The World at War". "The Starlost" (1973) was a Canadian series, apparently modified from the vision of science fiction writers Harlan Ellison and Ben Bova. Britain's ITC Entertainment, headed by Lew Grade, made "UFO" (1970) and "" (1975). These two series were created by Gerry Anderson (and his associates), previously best known for Supermarionation (a combination of puppetry and animation) series such as "Thunderbirds". The most successful syndicated show in the United States in the 1970s was probably "The Muppet Show", also from Lew Grade's company. Animated series from the 1980s "Dogtanian and the Three Muskehounds" and "Around the World with Willy Fog" came from Spanish animation production company BRB Internacional and their Japanese co-producers Nippon Animation.


title: Broadcast syndication

text: Game shows thrived in syndication during the decade. Nightly versions of "What's My Line?", "Truth or Consequences", "Beat the Clock" and "To Tell the Truth" premiered in the late 1960s and found loyal audiences for many years. Several daytime network games began producing once-a-week nighttime versions for broadcast in the early evening hours, usually with bigger prizes and often featuring different hosts (emcees were limited to appearing on one network and one syndicated game simultaneously) and modified titles ("Match Game PM", "The $100,000 Name That Tune" or "The $25,000 Pyramid", for example). A few independent game shows, such as "Sports Challenge" and "Celebrity Bowling", also entered the syndication market around this time. Of these shows, "Let's Make a Deal" and "Hollywood Squares" were the first to jump to twice-a-week syndicated versions, in about 1973. Another popular daytime show to have a weekly syndicated version was "The Price Is Right", which began concurrently in weekly syndication and on CBS; the syndicated "nighttime" version was hosted by Dennis James for its first five years, after which daytime host Bob Barker took over for another three years of weekly episodes (even though, by this point, the daytime and nighttime shows had diverged noticeably). The nighttime version of "Family Feud" (1977) quickly jumped from once-weekly to twice, and finally to five-day-a-week airings, and its massive popularity, along with that of new five-day-a-week entries like Jack Barry's "The Joker's Wild" (1977) and "Tic-Tac-Dough" (1978), the move of "Match Game"s daily run from CBS to syndication (1979), and Chuck Barris's increasingly raunchy remakes of his 1960s hits "The Newlywed Game" and "The Dating Game", brought an end (with rare exceptions) to the era of once-a-week games. Also popular in first-run syndication and daytime was "The Gong Show", hosted by Barris throughout most of its run (Gary Owens hosted the first syndicated season).


title: Broadcast syndication

text: A number of half-hour musical-variety shows were also offered in the early 1970s, generally built around personable middle-of-the-road singers like Bobby Vinton, Bobby Goldsboro, Dolly Parton, and Andy Williams, or groups like Sha Na Na, The Johnny Mann Singers, and The Golddiggers. "Wait Till Your Father Gets Home" (1972) was a Hanna-Barbera cartoon series attempting to ape the "All in the Family"-style sitcoms; "Skippy the Bush Kangaroo" (1969), an Australian children's series, or "Gentle Ben" (a decade later, the decidedly not-for-children Australian "Prisoner: Cell Block H" would have a brief U.S. syndicated run); and a Canadian sketch-comedy series began appearing on U.S. television stations in 1977—"Second City Television", which would eventually find a home, for two seasons, on NBC, as "SCTV Network 90" (and on premium cable channel Cinemax by 1983).


title: Broadcast syndication

text: The Universal/Paramount-produced package of original programming, "Operation Prime Time", began appearing on "ad hoc" quasi-networks of (almost by necessity) non-network stations in the U.S. in 1978, with a mini-series adaptation of John Jakes' "The Bastard". From the later 1960s into the late 1970s, Westinghouse also found considerable success with "The Mike Douglas Show", a variety/talk show hosted by a singer with an easygoing interview style, which aired in the afternoons in most markets; similar programs soon followed featuring Merv Griffin, who had been the host of CBS' most sustained late-night answer to "The Tonight Show Starring Johnny Carson" previously, and another network veteran, Dinah Shore. Also notable was the growing success of audience-participation talk shows, particularly that of the innovator of the format, Phil Donahue.


title: Broadcast syndication

text: First-run syndication in the 1970s also made it possible for some shows that were no longer wanted by television networks to remain on the air. In 1971, ABC canceled "The Lawrence Welk Show", which went on to produce new episodes in syndication for another 11 years, and currently continues to much success in weekend reruns (with new segments featuring Welk cast members inserted within the episodes) distributed to PBS stations by the Oklahoma Educational Television Authority. Also in 1971, CBS dropped "Lassie" and "Hee Haw", the latter show's run ending as part of the network's cancellation of all of its rural-oriented shows (known then as "rural purge", which also resulted in the cancellations of "The Beverly Hillbillies" and "Green Acres"). "Lassie" entered first-run syndication for two years, while "Hee Haw" continued to produce new episodes until 1992.


title: Broadcast syndication

text: Throughout the mid-to-late 1980s into the early 1990s, sitcoms continued to enter first-run syndication after being canceled by the networks, the most successful of which were "Mama's Family" and "Charles in Charge". Other sitcoms during this time to enter first-run syndication after network cancellation included "Silver Spoons", "Punky Brewster", "Webster", "It's a Living", "Too Close for Comfort", "9 to 5", "What's Happening!!", and "WKRP in Cincinnati". Many of these sitcoms produced new shows in syndication mainly to have enough episodes for a profitable run in reruns. Other sitcoms, such as "Small Wonder", "Out of This World", "The Munsters Today", and "Harry and the Hendersons" (as well as more action-adventure oriented series like "Superboy" and "My Secret Identity") enjoyed success in syndication throughout their entire run.


title: Broadcast syndication

text: The broadcast networks aired many action-adventure programs from the 1950s to the 1980s. By the late 1980s, however, increasing production costs made them less attractive to the networks. Studios found that reruns of one-hour dramas did not sell as well as sitcoms, so they were unable to fully recoup the shows' costs using the traditional deficit financing model. When NBC canceled the television series adaptation of "Fame" after only two seasons, the producers made special arrangements with LBS Communications, which resulted in MGM reviving the series for first-run syndication in the fall of 1983, where it continued for four more seasons, with the last first-run episode airing in the U.S. on May 18, 1987.


title: Broadcast syndication

text: "" debuted in 1987, and became the most-watched syndicated show throughout its seven-year run. Its great success caused many others to debut. "" (a horror series which shared its title with the successful movie franchise) also debuted in 1987. The next syndicated shows that debuted in 1988 were "War of the Worlds" and "Freddy's Nightmares". "Baywatch", which debuted in 1989 on NBC and was canceled after one season also became one of the most watched syndicated shows throughout its ten-year-run, garnering a worldwide audience.


title: Broadcast syndication

text: By 1994, there were more than 20 one-hour syndicated shows. "" and "Renegade" were also syndicated. "" and its spin-off series "" were also popular, often tying Deep Space Nine at 5% to 6% of the Nielsen-monitored audience. "Forever Knight" drew devoted "cult" audiences (3% rating). "Psi Factor" and "" attempted to draw on the audience for the Fox series "The X-Files" (as did the short-lived spinoff "Baywatch Nights"). Among the other series were "Relic Hunter", "V.I.P.", "High Tide", "She Spies" and "Once a Thief".


title: Broadcast syndication

text: "Babylon 5" began life in 1993 on the Prime Time Entertainment Network (PTEN), moved into syndicated distribution when its network was displaced by WB/UPN-affiliated stations, and eventually ended its final season on TNT (1998). In 1997 "", based on ideas from Gene Roddenberry, premiered in syndication. Three years later, a second Gene Roddenberry series, "Andromeda" also premiered in syndication. As emerging networks WB and UPN signed contracts with formerly-independent stations, and the syndication market shrunk, Andromeda season 5 moved to the Syfy Channel (2004).


title: Broadcast syndication

text: There was not another first-run syndicated drama (or a first-run scripted series in syndication) until 2008, when Disney-ABC Domestic Television and ABC Studios teamed up with Sam Raimi to launch a new first-run syndicated series, "Legend of the Seeker", based on Terry Goodkind's "Sword of Truth" novel series. Another gap in first-run scripted series in syndication followed for four years after "Legend of the Seeker" was canceled in 2009, until Trifecta Entertainment & Media (a company that mainly distributes programs for off-network syndication) began producing "SAF3" (pronounced "safe") in 2013.


title: Broadcast syndication

text: During the late 1970s and 1980s, independent stations signed on in mid-sized and many small markets. The market for made-for-television cartoons grew as a result to include a branch for such stations. It usually had a greater artistic freedom, and looser standards (not mandated by a network). The older Bugs Bunny and Popeye cartoons made way for first-run syndicated cartoons such as "He-Man and the Masters of the Universe", "Inspector Gadget", "Heathcliff", "ThunderCats", "My Little Pony", "The Transformers", "", "Voltron", "Teenage Mutant Ninja Turtles", and reruns of "Scooby-Doo", "Garfield and Friends", and "The Pink Panther", among many others.


title: Broadcast syndication

text: In 1987, The Walt Disney Company tried its luck at syndication; "DuckTales" premiered that September and would eventually last for 100 episodes. The success of "DuckTales" paved the way for a second series two years later, "". The following year, the two shows aired together under the umbrella block "The Disney Afternoon". In the fall of 1990, Disney added another hour to "The Disney Afternoon"; the block continued in syndication, running additional first-run animated series until 1999.


title: Broadcast syndication

text: These cartoons initially competed with the ones that were nationally televised on the broadcast networks. In the 1980s, national broadcast networks only aired cartoons on Saturday-morning cartoon, not competing with the weekday and Sunday syndication blocks aired by local independent stations; however, by the 1990s, Fox and then The WB launched their own weekday afternoon children's program blocks. By the end of the 1990s, both syndication distributors and broadcast networks ended up losing most of their children's market to the rise of cable television channels aimed at that audience such as Nickelodeon and Cartoon Network, which provided appealing children's entertainment throughout the week at nearly all hours.


title: Broadcast syndication

text: Syndication remains a method of choice for distributing children's programming, although this has gradually shifted to only produce programs to satisfy the federally mandated "regulations on children's television programming in the United States" (E/I) rule imposed in the late 1990s as part of an amendment to the Children's Television Act of 1990 that requires stations to air three hours of educational children's programs every week, regardless of the station's format. Syndication is generally a less expensive option for a local station than to attempt to produce its own locally originated E/I programming; not all networks provide their own E/I programs, so stations that are affiliated with networks that do not carry children's program blocks acquire E/I programs off the syndication market to fulfill the requirements.


title: Broadcast syndication

text: Also in the 1980s, news programming of various sorts began to be offered widely to stations. "Independent Network News", which was produced by WPIX in New York City, was a half-hour nightly program that ran from 1980 to 1990 on independent stations (in some markets, "INN" was paired with a locally produced primetime newscast); CNN would offer a simulcast of programming from its sister network Headline News (now HLN) to broadcast stations later, as did its rival All News Channel, although both were used mainly to fill overnight time periods and were effectively discontinued in syndication when All News Channel folded in 2002 and HLN launched a "Headline Prime" talk show block in 2006. In 2019, NewsNet began offering a similar service to its affiliates. "Entertainment Tonight" began its long and continuing run as a "soft" news daily strip, with a number of imitations following (among which have included such entertainment news shows as "TMZ on TV", "Extra" and "ET"s own spin-off "The Insider"); and "tabloid" television, in the wake of ABC's "20/20" and, more immediately, 20th Television's "A Current Affair", would become a syndication staple with such series as "Hard Copy" and "Real TV".


title: Broadcast syndication

text: Another area where network dominance was challenged by syndicated programming in the 1980s was with late-night talk shows; "The Arsenio Hall Show" was the only very successful one (it would be canceled after five years in 1994 due to ratings declines spurred by many CBS affiliates pushing the show to later timeslots following the debut of the "Late Show with David Letterman", and was later revived in 2013), but similar programs were attempted such as Alan Thicke's earlier short-lived "Thicke of the Night", Lauren Hutton's innovatively shot "Lauren Hutton and...", and talk shows hosted by Dennis Miller, Whoopi Goldberg, David Brenner and Keenen Ivory Wayans; Magic Johnson's "The Magic Hour" was seen as a massive flop, similar to "Thicke of the Night". The popularity of syndicated talk shows fell dramatically in the mid-1990s as network and cable offerings expanded in the wake of Johnny Carson's retirement.


title: Broadcast syndication

text: Long before their popularity on network television from the 2000s onward, reality competition shows in one form or another, such as "Star Search" and "American Gladiators", enjoyed popularity in syndication as early as the mid-1980s. Since the now-defunct networks UPN and The WB began offering their affiliates additional nights of prime time programming in the late 1990s, there have been fewer first-run scripted series in syndication, at least, in the U.S.; much as with the closing of windows that provided opportunity for Ziv in the 1950s and various producers in the early 1970s. The more expensive dramatic projects are less attractive to syndicators (particularly when they might be sold, with somewhat less risk, to cable channels); "reality" series such as "Cheaters" and "Maximum Exposure" and several dating series began to be more common in the early 2000s. Some of the more low-key programs in this category were designed to appeal to children, such as "Beakman's World", "Disney's Sing Me A Story with Belle", "Animal Rescue" and "Jack Hanna's Animal Adventures". They were able to get significant clearance because of stricter Federal Communications Commission (FCC) enforcement of rules on children's television programming.


title: Broadcast syndication

text: Several game shows are currently syndicated; historically, the most popular have been "Wheel of Fortune" and the current version of "Jeopardy!", both created by television personality Merv Griffin, respectively premiering in 1983 and 1984. The shows have been No. 1 and No. 2 or No. 1 to No. 3 in the syndication ratings consistently since at least the late 1980s. In fact, according to the "Guinness Book of World Records", "Wheel" is the most popular syndicated television program both within and outside the United States. "Family Feud", created by Mark Goodson and Bill Todman, ended its first syndication run in 1985. Three years later, a revival of the program featuring Ray Combs as host became a moderate hit and continued for seven seasons, its last year featuring the return of original host Richard Dawson in a failed attempt to save the series. A third revival hit the airwaves in 1999 and has gone through four hosts. The first three hosts (Louie Anderson, Richard Karn and John O'Hurley) struggled in their respective runs and only lasted three to four years. The current run of the program, hosted by Steve Harvey, has been a major ratings success; on the week of June 12, 2015, for the first time ever, "Family Feud" was the highest-rated syndicated program in terms of average household ratings.


title: Broadcast syndication

text: While the current version of "The Price Is Right" (another Goodson-Todman game show) has enjoyed tremendous success on the CBS daytime schedule since its inception in 1972 under hosts Bob Barker and Drew Carey, it has also produced three spinoffs, two of which failed after one season. The most successful syndicated edition was the 1972–80 weekly version that was initially hosted by Dennis James, but in 1977, daytime host Bob Barker also hosted the nighttime version for the final three seasons. For the 1985–86 season, Tom Kennedy hosted a daily syndicated version, and in 1994–95, Doug Davidson emceed his own daily syndicated version, titled "The New Price Is Right". Unlike the daytime series, which expanded to its current one-hour length in 1975, the syndicated versions of "Price" were 30 minutes long. A "Hollywood Squares" revival also thrived beginning in 1998 under host Tom Bergeron, running six seasons until its 2004 cancellation. By far the most successful entry into the market in the 2000s has been the daily version of "Who Wants to Be a Millionaire", which premiered in September 2002 and was canceled in May 2019 after 17 seasons in syndication (and a total run of 20 seasons dating back to the show's premiere in August 1999).


title: Broadcast syndication

text: Because game shows are very inexpensive to produce, with many episodes completed each day of production, successful ones are very profitable; for example, in 1988 "Jeopardy!" cost an estimated $5 million to produce but earned almost $50 million in revenue. New game show concepts (that is, not based on an existing or pre-existing format) are rarely tried and usually unsuccessful in syndication; somewhat of an exception to this was "Street Smarts", which lasted from 2001 to 2006 (despite the series airing in late night slots in many markets). Between 2003 and 2007, no new game shows debuted in syndication, marking four consecutive seasons where no new shows with that genre debuted, a syndication first. That streak ended with the fall 2007 debuts of "Temptation" and "Merv Griffin's Crosswords", bringing the daytime tally to six game shows; both ended production after one year, though "Crosswords" aired in reruns in some cities during the 2008–09 season before those reruns moved exclusively to cable.


title: Broadcast syndication

text: More new shows were added for the 2008–09 fall season, including a daytime run of "Deal or No Deal" (which featured certain elements that differed from the show's franchised format, most notably with prospective players instead of models holding briefcases that held the monetary amounts) and of the popular board game "Trivial Pursuit". While "Deal" caught on and was renewed for the 2009–2010 season, "" suffered low ratings throughout its run and was canceled.


title: Broadcast syndication

text: For the 2009–2010 season, the Fox game show "Are You Smarter than a 5th Grader?" moved to syndication with a new, less expensive format. "Don't Forget the Lyrics!" followed for the 2010–2011 season. "Deal", suffering from falling ratings, was canceled in February 2010, with the final episodes airing in late May of that same year; it would later be revived by CNBC in 2018. "5th Grader" and "Don't Forget the Lyrics!" were canceled the following year for the same reason (although "5th Grader" would later be revived by Fox and Nickelodeon on two different occasions). Reruns of the popular Discovery Channel show "Cash Cab" began airing in syndication in January 2011. Reruns of the GSN dating game show "Baggage" first aired in syndication as a test run in early 2011 on stations owned by the Sinclair Broadcast Group, which preceded its full launch into other markets in fall 2012; although it was removed from syndication after one season.


title: Broadcast syndication

text: The 2014–15 season saw the introduction of "Celebrity Name Game", hosted by former "The Late Late Show" host Craig Ferguson; the series was renewed for a second season in January 2015, while Ferguson would also win a Daytime Emmy Award for Daytime Emmy Award for Outstanding Game Show Host for his work on the program. In January 2016, Fox owned-and-operated stations began a test run of "South of Wilshire"—a game show produced by TMZ. The 2017 summer season includes the game show "iWitness" created by TV judge Judith Sheindlin.


title: Broadcast syndication

text: The dominant form of first-run syndication in the U.S. for the last three decades has been the "stripping" (or "strip") talk show, such as "Donahue", "Oprah", "The Tyra Banks Show", and "Jerry Springer". Strip programming is a technique used for scheduling television and radio programming to ensure consistency and coherency. Strip programming is used to deliver consistent content to targeted audiences. Broadcasters know or predict the times at which certain demographics will be listening to or watching their programs and play them at that time.


title: Broadcast syndication

text: As with game shows, talk shows are inexpensive to produce and very profitable if successful. In many markets, a stripped show will be seen twice daily, usually with different episodes (one being a more recent episode and the other being an episode from a previous season). Sometimes, station groups with more than one station in a market, or a "duopoly", will run one episode of a strip on one of their stations in the morning, and the other available episode on another of their stations that night.


title: Broadcast syndication

text: Meanwhile, the popularity of some of the audience-participation talk shows continues to encourage new participants, some of whom, such as Morton Downey Jr. and Rosie O'Donnell, have brief periods of impressive ratings and influence; others, such as Oprah Winfrey and Maury Povich, have a sustained run. A notable scheduling decision was made by KRON-TV in San Francisco: a 2000 dispute with NBC led to that station's disaffiliation from that network after 52 years, and since all the other larger networks were already represented in San Francisco, KRON decided to become one of the largest commercial independent stations by market size on the VHF band in the U.S., and soon tried running "Dr. Phil", a popular new stripped series hosted by Winfrey-associate Dr. Phil McGraw, in primetime, with impressive ratings results.


title: Broadcast syndication

text: First-run syndicated shows in the United States include talk shows (e.g., "The Dr. Oz Show", "Dr. Phil", "The Real", "The Doctors", "The Ellen DeGeneres Show" & "The Kelly Clarkson Show"); tabloid/newsmagazine shows (e.g., "TMZ Live"); crime/law enforcement shows (e.g., "Crime Watch Daily"); game shows (e.g., "Hollywood Squares", "Funny You Should Ask", "Family Feud", "Jeopardy!" and "Wheel of Fortune"); reality court shows (e.g., "Judge Judy", "Judge Mathis", "Judge Jerry", "Judge Faith", "Protection Court", "Hot Bench" and "The People's Court"); and sitcoms (e.g., "The First Family").


title: Broadcast syndication

text: The emergence of barter syndication in the 1980s caused the number of independent stations to grow from fewer than 100 in 1980 to 328 , as they did not need cash for programming. With the loosening of FCC regulations and the creation of new additional broadcast networks (such as The CW and MyNetworkTV), most of these independents have joined one or another of these or smaller (religious or low-budget) networks.


title: Broadcast syndication

text: In other cases, like those of KCAL-TV in Los Angeles, KMCI-TV in Lawrence-Kansas City and WMLW-TV in Racine-Milwaukee, those independent stations are used to complement their network-affiliated sister station (respectively in the mentioned cases, KCBS-TV, KSHB-TV and WDJT-TV) by allowing a duopoly control of more syndicated programming than would be possible on one station (and to spread it throughout the schedule of the two stations, often several times a day), or to air news programming in times unavailable on the larger network station, along with fulfilling network and syndicated programming commitments, which allows popular or network programming to be moved to the independent stations due to breaking news or sports commitments without the traditional inconvenience of a late night or weekend airing of the pre-empted show. A duopoly of a network-affiliated and independent station also allows a network station to move a low-rated syndicated program to their sister independent station to stem revenue losses.


title: Broadcast syndication

text: Off-network syndication occurs when a network television series is syndicated in packages containing some or all episodes, and sold to as many television stations and markets as possible to be used in local programming timeslots. In this manner, sitcoms are preferred and more successful because they are less serialized, and can be run non-sequentially, which is more beneficial and less costly for the station. In the United States, local stations now rarely broadcast reruns of primetime dramas (or simply air them primarily on weekends); instead, they usually air on basic cable channels, which may air each episode 30 to 60 times.


title: Broadcast syndication

text: Syndication rights typically last for six consecutive showings of a series within three to five years; if a program continues to perform well enough in broadcast or cable syndication during the initial cycle, television stations or cable networks can opt to renew an off-network program for an additional cycle.


title: Broadcast syndication

text: Syndication has been known to spur the popularity of a series that only experienced moderate success during its network run. The best known example of this is the original "" series, which ran for three seasons on NBC from 1966 to 1969, gaining only modest ratings, but became a worldwide phenomenon after it entered off-network syndication. Its success in syndication led to the "Star Trek" film series, "", and the later versions in the franchise.


title: Broadcast syndication

text: It is common for long-running series to have early seasons syndicated while the series itself is still in first-run network production. To differentiate between new and rebroadcast content, until the 1980s it was not uncommon for series to be syndicated under a different title than that used in their original broadcast run. Examples include "Bonanza" (which was syndicated as "Ponderosa"), "Gunsmoke" (as "Marshall Dillon", a title still used to differentiate reruns from the early, half-hour and black-and-white episodes of the show from the later one-hour color episodes), "Emergency!" (as "Emergency One"), "Ironside" (as "The Raymond Burr Show"), "Hawaii Five-O" (as "McGarrett"), "M*A*S*H" (as "M*A*S*H 4077th"), "Marcus Welby, M.D." (as "Robert Young, Family Doctor"), "CHiPs" (as "CHiPs Patrol"), "Happy Days" (as "Happy Days Again"), and "The Andy Griffith Show" (as "Andy of Mayberry").


title: Broadcast syndication

text: Syndication of older episodes can also increase exposure for a television show that is still airing first-run network episodes. In the case of the CBS sitcom "The Big Bang Theory", its syndication, particularly on TBS, is one of the reasons attributed for a rise in first-run ratings for its sixth season. The sixth-season episode "The Bakersfield Expedition", for example, was the first episode of that series to attract 20 million viewers.


title: Broadcast syndication

text: Off-network syndication can take several forms. The most common form is known as strip syndication or daily syndication, when episodes of a television series are shown daily five times a week in the same time slot. In the 1960s and 1970s, independent stations with no news departments began viewing strip syndication as a necessary means of obtaining effective counterprogramming to the local news programs airing on network affiliates. Typically, this means that enough episodes must exist (88 episodes, or four seasons, is the usual minimum, though many syndicators prefer a fully rounded 100 episodes) to allow for continual strip syndication to take place over the course of several months, without episodes being repeated. However, there are exceptions, such as the 65-episode block (common in children's programming), which allows for a 13-week cycle of daily showings, so there will only be four repeats in a year.


title: Broadcast syndication

text: In some cases, more than one episode is shown daily. Half-hour sitcoms are sometimes syndicated in groups of two or four episodes, taking up one or two hours of broadcast time. If a series is not strip syndicated, it may be aired once a week, instead of five times a week. This allows shows with fewer episodes to last long in syndication, but it also may mean viewers will tire of waiting a week for the next episode of a show they have already seen and stop watching. More often, hour-long dramas in their first several runs in syndication are offered weekly; sitcoms are more likely to get stripped. In recent years, there has been something of a trend toward showing two consecutive episodes of a program on Saturday and Sunday nights after prime time (generally following the local news). This pattern has been particularly prominent for shows which are still in production but have run long enough to have many previous episodes available.


title: Broadcast syndication

text: As with commercial stations, not all the airtime nor all the perceived audience are met by the productions offered U.S. public-broadcasting stations by PBS; additionally, there are some independent public television stations in the U.S. which take no programming from that (somewhat) decentralized network. As a result, there are several syndicators of programming for the non-profit stations, several of which are descendants of the regional station groups which combined some, not all, of their functions into the creation of PBS in 1969. American Public Television (APT) is the largest of these, nearly matched by the National Educational Telecommunications Association (NETA, a merger of Southern Educational Communications Association and the Pacific Mountain Network). The now defunct Continental Program Marketing was another of the syndicator-descendants (of the Northeastern, Southeastern, and Rocky Mountain educational networks, respectively) of the pre-PBS era. Among the other notable organizations in the U.S. are Westlink Satellite Operations (based at Albuquerque's KNME) and Executive Program Services.


title: Broadcast syndication

text: Off-network syndication in its various forms, including Internet, international and traditional direct-to-station sales, constitute roughly half of an individual television program's overall revenue stream, with the other half taken up by advertising.


title: Broadcast syndication

text: In 1993, Universal Television became one of the first studios to cash in on the cable trend, first selling repeats of "Major Dad" to USA Network in 1993 for $600,000 per episode, the first time a network program was exclusively sold to a cable network for its first run rights. Later it sold reruns of "Law & Order" to A&E for about $155,000 an episode; in 1996, the studio got $275,000 from USA Network for repeats of "New York Undercover", a far less successful show. "Law & Order" drew A&E's highest daytime ratings – one million viewers per episode.


title: Broadcast syndication

text: Universal sold reruns of "" and "" to USA Network for $300,000 each. And even long-forgotten shows can find new life: Paramount Network bought "The Dukes of Hazzard" from Warner Bros. in 1997 for well over $10 million. USA Network paid $750,000 for the rights to "Walker, Texas Ranger"; while USA's reruns of the show drew an average of 2.3 million viewers – outstanding by cable standards – Perth says the show will need "an enormous number of airings to have any sort of profitability."


title: Broadcast syndication

text: Not all programs in syndication are sold for a fee. Less popular programming may be distributed by "barter", in which the syndicator, instead of selling the show to a station, offers the show for free, with the caveat that the station give up its advertising time on other shows to the syndicator's advertisers. Barter syndication, in addition to the cost advantage, is popular because of its flexibility; a station can typically pick up a barter syndicated program for only a few weeks or months, without the long-term financial commitment of a traditional syndicated series, allowing the station to plug the show into its lineup to fill a hole in the schedule.


title: Broadcast syndication

text: Cash deals are when a distributor offers a syndicated program to the highest bidder. A cash plus deal is when the distributor retains advertising space to offset some of the cost for the program. The station gets the program for a little less in exchange for some ad space for the producer.


title: Broadcast syndication

text: Barter deals are usually for new untested shows or older shows. In this type of deal, distributors get a fraction of the advertisement revenue in exchange for their program. For example, in a 7/5 deal the producer gets seven minutes of advertising time, leaving five minutes for the station to insert local as well as national advertisements.


title: Broadcast syndication

text: Radio syndication generally works the same way as television syndication, except that radio stations usually are not organized into strict affiliate-only networks. Radio networks generally are only distributors of radio shows, and individual stations (though often owned by large conglomerates) decide which shows to carry from a wide variety of networks and independent radio providers. As a result, radio networks such as Westwood One or Premiere Networks, despite their influence in broadcasting, are not as recognized among the general public as television networks like CBS or ABC (many of these distributors ally themselves with television networks; Westwood One, for instance, is allied with NBC News, while Premiere is allied with Fox). Some examples of widely syndicated commercial broadcasting music programs include weekly countdowns like Rick Dees' "Weekly Top 40", the "American Top 40", "American Country Countdown" with Kix Brooks, "Canada's Top 20 Countdown", the "Canadian Hit 30 Countdown" and the nightly program, "Delilah", heard on many U.S. stations.


title: Broadcast syndication

text: Syndication is particularly popular in talk radio. While syndicated music shows (with the exception of some evening and overnight shows such as "Delilah" mentioned above) tend to air once a week and are mostly recorded, most popular talk radio programs are syndicated daily and are broadcast live. Also, with relatively few 24-hour live talk radio networks (though this, in recent times, has been changing), most radio stations are free to assemble their own lineup of talk show hosts as they so choose. Examples of syndicated talk programs are Premiere Networks' "The Bob & Tom Show", Dial Global's "The Jim Bohannon Show", and the self-syndicated "The Dave Ramsey Show" (more recently, talk networks such as Talk Radio Network have been marketing and packaging all-day lineups, marking a departure from the syndication model; as such, popular shows such as Cumulus Media Networks' "The Savage Nation" and Premiere's "The Rush Limbaugh Show" now air as part of a broader network lineup in many markets, particularly on Premiere owned-and-operated stations, though they continue to be syndicated to non-network stations as well). Talk syndication tends to be more prevalent because voice tracking, a practice used by many music stations to have disc jockeys host multiple supposedly local shows at once, is not feasible with live talk radio.


title: Broadcast syndication

text: National Public Radio, Public Radio International, and American Public Media all sell programming to local member stations in the U.S., most of which are subsidized through the Corporation for Public Broadcasting but operated by private nonprofit organizations, universities, state or local governments. This is in contrast to centralized public radio networks in other countries (such as Canada's CBC, Australia's ABC and the United Kingdom's BBC) that own and operate all of their stations as arms of the national government and run them as a strict network (from 1948 to 2013, the United States had a strict anti-propaganda law, the Smith–Mundt Act, that prohibited broadcasting government-owned networks such as Voice of America to American audiences. The law was mostly repealed in 2013, but distribution of VOA or other federally produced radio programming is still rare). Two independently produced, non-commercial syndicated programs, heard on hundreds of community radio and indie radio stations, are "Alternative Radio" and "Democracy Now!". Some (in fact, most) radio programs are also offered on a barter system usually at no charge to the radio station. The system is used for live programming or preproduced programs and include a mixture of ad time sold by the program producer as well as time set aside for the radio station to sell.


title: Broadcast syndication

text: Before radio networks matured in the United States, some early radio shows were reproduced on transcription disks and mailed to individual stations. An example of syndication using this method was RadiOzark Enterprises, Inc. based in Springfield, Missouri, co-owned with KWTO. The Assembly of God, with national headquarters in Springfield, sponsored a half-hour program on the station called "Sermons in Song." RadiOzark began transcribing the show for other stations in the 1940s, and eventually 200 stations carried the program. The company later produced country music programs starring among others, Smiley Burnette, George Morgan, Bill Ring and Tennessee Ernie Ford (260 15-minute episodes of "The Tennessee Ernie Show" were distributed), and more than 1,200 U.S. and Canadian stations aired the programs. Many syndicated radio programs were distributed through the U.S. mail or another delivery service, although the medium changed as technology developed, going from transcription disks to phonograph records, tape recordings, cassette tapes and eventually CDs. Many smaller weekend programs still use this method to this day, though with the rise of the Internet, many stations have since opted to distribute programs via CD-quality MP3s through FTP downloads.


title: Broadcast syndication

text: It was not until the advent of communications satellite in the 1980s that live syndication became popular (though it could be transmitted through network lines, it was not particularly common because of cost, network congestion and quality issues). Since then, most syndicated radio programs are distributed using satellite subcarrier audio technology. Shortly after satellite networks such as RKO, Transtar and SMN began, the Fairness Doctrine was repealed, which is credited with helping Rush Limbaugh become the first national talk radio superstar. At the same time, the FCC began issuing more FM broadcasting licenses to suburban and rural areas in the late 1980s, which allowed more room for music stations on the FM dial; radio formats such as country music that were traditionally AM fixtures even after most pop and rock music moved to FM were now moving to FM as well, leaving much more room for talk formats on the AM dial. As the 1990s went on, Laura Schlessinger and Howard Stern began their national shows, rising to become national icons. The Telecommunications Act of 1996, which led to significant concentration of media ownership, facilitated the rapid deployment of both existing and new syndicated programs in the late 1990s, putting syndication on par with, and eventually surpassing, the network radio format.


title: Broadcast syndication

text: After the September 11 attacks, syndicated talk radio saw a notably rapid rise in popularity, as networks rushed new national shows into syndication to meet the demand for discussion of national issues. Many of these, such as Laura Ingraham, Bill O'Reilly, Sean Hannity and Glenn Beck, were mostly supportive of the actions of the Republican-led government; a few others, such as Alex Jones, were openly critical of the government's actions and motives. After the Democrats took control in the late 2000s, the gap between the two styles narrowed due to the mutual opposition of both camps to the government's actions, which allowed Jones greater clearance on stations.


title: Broadcast syndication

text: In contrast to conservative talk radio, which has predominantly been driven by syndication, progressive talk radio has almost always been a network-driven model. The incompatibility of conservative and progressive ideologies and the lack of syndicated progressive hosts required solutions that could produce all-day programming to individual stations. It was not until Air America Radio launched in 2004 that progressive talk would become viable; though it failed several years later, Dial Global now carries a network slate that is carried on most progressive talk stations. Sports radio is likewise mostly a network phenomenon, partially because the irregular nature of sports pre-emptions makes having a full-time network to be able to cut into and join in progress at any time highly convenient. Syndicated radio is not as popular in other parts of the world. Canada has a few independently syndicated shows, but the bulk of syndicated content there comes from the United States, and the sum total of syndicated programming is far less than most American stations, as Canadian stations rely more heavily on local content. Most other countries still follow the network radio model.


title: Broadcast syndication

text: Syndication also applies to international markets. Same language countries often syndicate programs to each other – such as programs from the United Kingdom being syndicated to Australia and vice versa. Another example would be programs from the United Kingdom, Mexico, Brazil, and Argentina being syndicated to local television stations in the United States, and programs from the United States being syndicated elsewhere in the world. One of the best-known internationally syndicated television series has been "The Muppet Show", which was produced by Grade's English ITV franchise company ATV at Elstree Studios in Hertfordshire, and was shown around the world, including the United States, where it aired in syndication (including the owned-and-operated stations of CBS), and Canada, where CBC Television aired the show. The 1970s was a time when many British comedies, including "The Benny Hill Show" and "Monty Python's Flying Circus" were syndicated to the United States and worldwide. Many soaps and long-running series are also successfully syndicated around the globe.


title: Broadcast syndication

text: The television show "" earned $1.6 million per episode in its first cycle in cable syndication. There were many different versions of the show making it an international success. It was already popular in the U.S., so becoming a success internationally as well as within the U.S. made syndication sensible. Whether a series is produced in the U.S. or not is based on the economic value and potential viability of its sales internationally with the possibility of syndication.


title: Broadcast syndication

text: Economic factors that influence production outside the U.S. play a major role in deciding if a television show will be syndicated, internally and internationally. International syndication has sustained a growing of prosperity and monetary value amongst the distributors who sell to them. Due to a rise in competition, syndicators have upheld high standards for different countries to buy the rights to distribute shows. During the 1990s poor ratings were common amongst syndicated shows, but distributors still made it possible for international competition to happen and buy U.S. shows. Colombian, Brazilian, Mexican and Venezuelan telenovelas are programmed throughout the Portuguese and Spanish-speaking world, and in many parts of India, China and Europe, while Turkish television drama is broadcast in the Balkans, some other European countries, Western and Central Asia and North Africa.


title: Broadcast syndication

text: Because of the structural differences discussed above, there are presently very few areas where a true U.S.-style syndication model operates, whereby programs are sold on a per-area basis (within a single country) to local or regional stations with differing (or no) network affiliations. Canada was historically one of the few exceptions. Until the mid-1990s, television stations in Canada, like those in the U.S., were typically run as separate local operations, with a small number of moderately sized ownership groups such as Baton, Canwest, WIC, and CHUM. Those stations that were affiliated with a national network, i.e. CBC or CTV, did not always receive a full schedule of programming from that network.


title: Broadcast syndication

text: At this time, it was not uncommon for U.S. syndicators to treat Canada as an extension of their domestic syndication operations, for both their first-run and off-network offerings. This is still the case for American radio programs; Canadian radio networks are not assembled as rigidly into networks (except for the CBC's radio division). However, an alternate form of first-run syndication was performed by some domestic broadcasters: as the Canadian rights to U.S. primetime series were often acquired by individual station groups (as opposed to full-fledged national networks), they would in turn resell local rights for those programs to stations in areas where they did not operate. A few of Canada's independent stations, most notably CHCH-TV and CITY-TV, also resyndicated their own locally produced programs to other television stations. Unlike in the United States, however, few Canadian programs were ever created solely for syndication without officially belonging to at least one specific station or network; those that did exist were intended primarily to be syndicated into the American system, and even those were typically distributed in Canada as "network" programs rather than being sold to individual stations.


title: Broadcast syndication

text: Since the late 1990s, as most stations have been consolidated into national networks consisting almost entirely of owned-and-operated stations and with full-day network schedules, both types of syndication have largely disappeared from the Canadian broadcast landscape. Programs that are sold in syndication in the U.S. are now generally sold to Canadian media groups to air across all their properties, with per-market sales now being very rare. For example, American shows that air in syndication in the United States, such as "Live with Kelly and Ryan" or "The Ellen DeGeneres Show", air in Canada as core parts of the CTV Television Network schedule. "The Oprah Winfrey Show" appears to have been the last significant holdout to this model, having aired primarily on CTV stations, but in some markets airing instead on a Global station, and even some CBC affiliates.


title: Broadcast syndication

text: One syndication service remains in Canada, Yes TV, which serves the few remaining independent stations in the country with mostly American programs ("Judge Judy", "Wheel of Fortune" and "Jeopardy!" are currently syndicated in Canada through Yes TV). These independent stations can also secure deals with American syndicators; CHCH, for example, has a direct deal with 20th Television to carry some of that company's classic sitcoms, including those from the MTM Enterprises library. They were also, in 1986, largely involved in production of the final incarnation of "Split Second" game show, which was syndicated in U.S. by Viacom.


title: Broadcast syndication

text: There are three key reasons why a radio station will decide to pick up a syndicated show – the program is unique and has difficult to replicate content, has a decent ratings track record or offers a celebrity host. New developing radio programs are generally able to claim one of these attributes, but not all three. Regional syndication attempts to replace these benchmark attributes with other benefits that are generally recognized by the industry as also being important. Given the financial downturn within the industry, the need for quality cost effective locally relevant programming is greater than ever before. Programs that offer regionally specific content while providing the economic benefits of syndication can be especially appealing to potential affiliates. Regional syndication can also be more attractive to area advertisers who share a common regional trading area versus assembling a radio network of stations that hopscotch across the United States.


title: Pranav Mohanlal

text: Pranav Mohanlal (born 13 July 1990) is an Indian actor who works in Malayalam films. The son of actor Mohanlal, began his acting career as a child artist in "Onnaman" (2002) with his father in the lead role, and won the Kerala State Film Award for Best Child Artist for "Punarjani" (2003). He later assisted Jeethu Joseph on "Papanasam" and "Life of Josutty". He made his acting debut in a lead role with action thriller "Aadhi" (2018), which emerged as one of the highest-grossing Malayalam films of the year and fetched him the SIIMA Award for Best Debut Actor. He achieved further critical and commercial success with Vineeth Sreenivasan's coming-of-age film "Hridayam" (2022).


title: Pranav Mohanlal

text: Pranav Mohanlal was born on 13 July 1990 in Thiruvananthapuram, Kerala in India as the son of actor Mohanlal and Suchitra Balaji. He has a younger sister, Vismaya Mohanlal. His maternal grandfather is the Tamil film producer K. Balaji and his maternal uncle Suresh Balaje is also a producer.


title: Pranav Mohanlal

text: Pranav completed his schooling from a boarding school, the Hebron School, in Ooty, Tamilnadu. He graduated with a bachelor's degree in philosophy from the University of New South Wales in Australia. Pranav maintains a low profile and is known for avoiding the media. He explained, "I don't hate media. It is just that I believe that people have nothing to gain from knowing my personal life".


title: Pranav Mohanlal

text: Following his father's skills, Pranav learnt Martial Arts and is a trained Parkour. His Parkour moves were used in action thriller Aadhi.


title: Pranav Mohanlal

text: Pranav made his screen debut in 2002, appearing in a minor role in the action crime drama "Onnaman", starring his father Mohanlal and directed by Thampi Kannanthanam. He played the childhood version of his father's character Ravisankar. In the same year, he acted in his first leading role in "Punarjani", a drama directed by Major Ravi and Rajesh Amanakara. He played Appu, a troubled child who ran away from home thinking his parents love his younger brother more than him. His performance earned him the Kerala State Film Award for Best Child Artist. After that, he took a break to concentrate on his education. He stayed away from film industry and was not keen on returning to pursue acting anytime soon as he was interested in books and travel more than cinema. In between, he made a cameo appearance in a song in "Sagar Alias Jacky Reloaded" in 2009. Director Priyadarshan, who is also their family friend said in an interview: "He is a terrific actor. I have seen him act in plays in school and he was selected as the best actor too ... But now, he says he does not want to be [in] cinema".


title: Pranav Mohanlal

text: In 2014, Pranav began working as an assistant director under Jeethu Joseph in the Tamil film "Papanasam" (2015), starring Kamal Haasan, a remake of Jeethu's Malayalam film, "Drishyam" that starred his father, Mohanlal. He continued working as an assistant in Jeethu's subsequent film "Life of Josutty" (2015) before departing. In September 2016, it was announced that he would be returning as an actor in a film to be directed by Jeethu and produced by Aashirvad Cinemas. The action-thriller titled "Aadhi" began principal photography in August 2017 and was released in January 2018. He wrote, sang and performed the English song "Gypsy Women" in the film. "Aadhi" received positive response, particularly for Pranav's parkour stunt; the film was a commercial success grossing 35 crore in a month. It was one of the highest-grossing Malayalam films of the year. His second film "Irupathiyonnaam Noottaandu" directed by Arun Gopy and produced by Tomichan Mulakuppadam was released in 2019, receiving mostly negative reviews.


title: Pranav Mohanlal

text: He appeared in a guest role as young Kunjali Marakkar IV in the Priyadarshan-directed period film "" (2020), starring Mohanlal. In 2020, he began filming "Hridayam," written and directed by Vineeth Sreenivasan. Produced under the banner of Merryland Cinemas, it was released worldwide in January 2022 and features Pranav playing the protagonist of the film.The film was blockbuster in box office.


title: Pranav Mohanlal

text: Pranav won the Kerala State Film Award for Best Child Artist in 2003 for his performance as a troubled child in the film "Punarjani". He won the Best Debut Actor award at the 8th SIIMA and the Kerala Film Critics Association Awards for the film "Aadhi".


title: Super Bowl XXXV

text: Super Bowl XXXV was an American football game between the American Football Conference (AFC) champion Baltimore Ravens and the National Football Conference (NFC) champion New York Giants to decide the National Football League (NFL) champion for the 2000 season. The Ravens defeated the Giants by a score of 34–7, tied for the seventh largest Super Bowl margin of victory with Super Bowl XXXVII. The game was played on January 28, 2001, at Raymond James Stadium in Tampa, Florida.


title: Super Bowl XXXV

text: The Ravens, who posted a 12–4 regular season record, became the third wild card team to win the Super Bowl and the second in four years. The Giants entered the game seeking to go 3–0 in Super Bowls after also finishing the regular season with a 12–4 record.


title: Super Bowl XXXV

text: Baltimore allowed only 152 yards of offense by New York (the third-lowest total ever in a Super Bowl), recorded 4 sacks, and forced five turnovers. All sixteen of the Giants' possessions ended with punts or interceptions, with the exception of the last one, which ended when time expired in the game. New York's lone touchdown, a 97-yard kickoff return, was quickly answered by Baltimore on an 84-yard touchdown return on the ensuing kickoff. The Giants became the first team since the Cincinnati Bengals in Super Bowl XXIII not to score an offensive touchdown and the fifth overall. Baltimore linebacker Ray Lewis, who made three solo tackles, two assists, and blocked four passes, was named Super Bowl MVP.


title: Super Bowl XXXV

text: Counting the 1958 and 1959 NFL Championship Games, this was the fourth title game that involved teams from Baltimore and New York, and the first such matchup since Super Bowl III, in which the New York Jets defeated the Baltimore Colts. A team from Baltimore had not won a Super Bowl since the Colts' victory in 1971.


title: Super Bowl XXXV

text: NFL owners awarded Super Bowl XXXV to Tampa during their October 31, 1996, meeting in New Orleans. Tampa became the fourth metropolitan area to host the game at least three times, joining New Orleans, Miami, and Los Angeles. Other cities under consideration at the meeting were Miami, Atlanta, and Los Angeles. Owners initially planned on selecting only two hosts (XXXIII and XXXIV), but decided to name three after strong showings by the respective delegations. Tampa was essentially promised a Super Bowl after committing to the construction of a new stadium. Miami, Atlanta, and Tampa were selected to host XXXIII, XXXIV, and XXXV, respectively.


title: Super Bowl XXXV

text: The Ravens entered the game with the second-best defense in allowing yards in the league, with the fewest points allowed (165) and the fewest rushing yards allowed (970) during the regular season. At the time, they were the only team to hold the opposition to under 1,000 yards rushing in a season since the NFL adopted a 16-game schedule in 1978. Baltimore's 165 points allowed broke the record set by the 1985 Chicago Bears, who had given up 187 points. The Ravens' defense had held their opponents to ten or fewer points in eleven games, including four shutouts.


title: Super Bowl XXXV

text: The defense was led by a trio of outstanding linebackers: Peter Boulware, Jamie Sharper, and Ray Lewis. During the regular season, Boulware recorded 7 sacks, while Sharper forced five fumbles and made one interception. Lewis was named the NFL Defensive Player of the Year by recording three sacks, making 138 tackles, and intercepting two passes. Pro Bowl defensive tackle Sam Adams and veteran Tony Siragusa anchored the defensive line, along with defensive ends Rob Burnett (10.5 sacks, three forced fumbles, and five fumble recoveries) and Pro Bowler Michael McCrary (6.5 sacks and three fumble recoveries). Baltimore also had an outstanding corps of defensive backs led by Pro Bowl veteran safety Rod Woodson, who along with Kim Herring, Duane Starks, and Chris McAlister combined for 17 interceptions.


title: Super Bowl XXXV

text: On offense, the Ravens' main strength was rushing, led by rookie Jamal Lewis (1,364 yards, six rushing touchdowns, 27 receptions, 298 yards) and Priest Holmes (588 yards, 32 receptions, 221 yards). Also, tight end Shannon Sharpe recorded 67 receptions for 810 yards and five touchdowns. Receiver Qadry Ismail added 49 receptions for 655 yards and four touchdowns. The offensive line was anchored by tackle Jonathan Ogden, who was named to the Pro Bowl for the fourth consecutive season. On special teams, Jermaine Lewis ranked second in the NFL with 36 punt returns for 578 yards and two touchdowns, while also catching nineteen passes for 161 yards and another score. Kicker Matt Stover led the NFL in field goals made (35) and attempted (39), while ranking seventh in field goal percentage (89.7) and second in scoring (135 points).


title: Super Bowl XXXV

text: However, the Baltimore offense was mediocre, ranking only thirteenth in the league in scoring (333 points), sixteenth in total yards (5,301), and 23rd in passing yards (3,102). The team had a lot of trouble scoring, and at one point they went through five games without scoring an offensive touchdown (although they managed to win two of those games). But they managed to regroup, as head coach Brian Billick forbade anyone to use the "P-word" (presumably "postseason" or "playoffs") until the team actually played in it. The Ravens' outspoken defensive lineman, Tony Siragusa, did utter the word "playoffs" on two occasions and was fined $500. Since the fine (and Billick's ban) were clearly symbolic and playful, Billick explained himself by saying, "He got a $400 fine for doing it on national television and $100 for doing it on his radio show. The reason being because no one listens to his show anyway." In place of the "P-word", the word "Festivus" was used, the December 23 secular holiday featured in an episode of the popular American television sitcom "Seinfeld" (the Ravens organization played along with this theme for that year's playoffs by showing a clip of Cosmo Kramer saying "A Festivus miracle!" on the stadium screen during the team's only home playoff game that year). The Super Bowl was thereafter referred to as "Festivus Maximus."


title: Super Bowl XXXV

text: Midway through the season, with the team at 5–3, Billick benched starting quarterback Tony Banks and replaced him with Trent Dilfer. Although his statistics were hardly distinguished (twelve touchdowns, eleven interceptions, 76.6 passer rating), and the team lost in his first game as a starter, Dilfer led them to victory in their last seven regular season games to finish in second place in the AFC Central with a 12–4 record and entered the playoffs as a wild-card team.


title: Super Bowl XXXV

text: The Giants advanced to Super Bowl XXXV after posting a 7–9 record in the previous year. Their big draft acquisition during the off-season was running back Ron Dayne, the 1999 Heisman Trophy winner. The plan was to have his power running style complement running back Tiki Barber's speed and pass-catching ability. The two would be called the Giants' "Thunder and Lightning" backfield. Although Dayne had a solid rookie year by rushing for 770 yards, the breakout star during the regular season was Barber. Barber had 1,006 rushing yards in 213 attempts, caught seventy passes for 719 yards, and scored ten touchdowns. He also returned 44 punts for 506 yards and gained 266 yards returning kickoffs, giving him 2,495 total yards.


title: Super Bowl XXXV

text: Kerry Collins entered the season as the Giants' unquestioned starting quarterback. Although he helped lead the Carolina Panthers to the 1996 NFC Championship Game, he endured a mediocre season in 1997. In 1998, he quit part way through the season after the team opened the campaign with a four-game losing streak. After spending the remainder of the 1998 season with the New Orleans Saints, Collins was signed in 1999 as the Giants' second-string quarterback, but soon claimed the starting job. In leading the Giants to Super Bowl XXXV, Collins completed 311 out of 529 passes for 3,610 yards and 22 touchdowns during the regular season. His favorite targets, in addition to Barber, were wide receivers Amani Toomer (78 receptions, 1,094 yards, seven touchdowns), and Ike Hilliard (55 receptions, 787 yards, eight touchdowns), along with fullback Greg Comella (36 receptions for 274 yards). The Giants offensive line featured guard Ron Stone, the team's only Pro Bowl selection from the offense.


title: Super Bowl XXXV

text: The Giants also had a powerful defense, led by Pro Bowl defensive end Michael Strahan, who recorded 9.5 sacks, and defensive tackle Keith Hamilton who recorded ten. Defensive backs Jason Sehorn, Emmanuel McDaniel, Reggie Stephens, and Shaun Williams combined for fourteen interceptions. Pro Bowl linebacker Jesse Armstead led the team in total tackles with 102, while also recording five sacks and an interception.


title: Super Bowl XXXV

text: The Giants lost just four games that season, having won six of their first eight games before a subsequent two-game losing streak put them at 7–4 with five games to go. In what would be his defining moment, head coach Jim Fassel, at a press conference following the Giants' loss to the Detroit Lions, guaranteed that his team would make the playoffs. The Giants responded by winning their last five regular season games to reach 12–4 and win the NFC East for the first time in three years.


title: Super Bowl XXXV

text: With an explosive defense and a "play-it-safe" offense, the Ravens became the seventh wild-card team to reach the Super Bowl, and third in four seasons, after allowing only a combined one touchdown and three field goals in their playoff wins over the Denver Broncos, the Tennessee Titans, and the Oakland Raiders. Meanwhile, the Giants defeated their rivals, the Philadelphia Eagles, 20–10, and shut out the Minnesota Vikings, 41–0, the most lopsided game in NFC Championship game history.


title: Super Bowl XXXV

text: Officially, the win made the Ravens the quickest expansion team in NFL history to win a Super Bowl, although much like the 1950 Browns winning the NFL Championship in their first season in the NFL after coming over from the All-America Football Conference, the Ravens were not an expansion team in the traditional sense of the term that started out as a completely brand new organization, coaching staff and players from scratch.


title: Super Bowl XXXV

text: The Giants, as the designated home team, wore blue jerseys with grey pants. The team had previously worn blue jerseys with white pants in their two prior Super Bowl victories, but before the 2000 season, they replaced the Big Blue Wrecking Crew-era uniforms with a modern version of their early 1960s set. The Ravens donned all-white uniforms for the game.


title: Super Bowl XXXV

text: The game was broadcast in the United States by CBS (their first since Super Bowl XXVI in January 1992). Play-by-play announcer Greg Gumbel became the first African-American announcer to call a major sports championship on network television. He was joined in the broadcast booth by color commentator Phil Simms. Armen Keteyian and Bonnie Bernstein served as sideline reporters. Jim Nantz hosted all the events with help from his then-fellow cast members from "The NFL Today": Mike Ditka, Craig James, Randy Cross, and Jerry Glanville. The desk reporting was done aboard the famous "Buccaneer Cove" pirate ship at the end zone of Raymond James Stadium.


title: Super Bowl XXXV

text: The broadcast featured the brand-new EyeVision instant-replay system, which provided rapid-fire sequential shots from a series of cameras positioned around the top of the stadium. It allowed for bullet time effects, similar to those used in the movie "The Matrix". It was extremely unusual for CBS to debut a major new technology system at an event the size of the Super Bowl. The EyeVision system proved its mettle when it helped to uphold a replay challenge on a Jamal Lewis 4th-quarter touchdown. EyeVision was also used during the broadcast of the Super Bowl XXXV halftime show, which was directed by "Saturday Night Live" director Beth McCarthy-Miller. EyeVision would mostly fall out of use after Super Bowl XXXV, not being used in an NFL game until an upgraded version was announced for Super Bowl 50.


title: Super Bowl XXXV

text: CBS also produced a separate HDTV broadcast of the game in the 1080i format, with Kevin Harlan and Daryl Johnston announcing. It was the second year that the game was televised in both standard-definition TV (NTSC) and HDTV.


title: Super Bowl XXXV

text: As previously mentioned, this was the first Super Bowl to be aired on CBS in nine years (after XXVI). Following the 1993 season, Fox bought the rights to air the NFC package, leaving CBS without the NFL for the next four years until 1998, when they began broadcasting the AFC package, bringing an end to NBC's 33-year stint. (NBC would later outbid ABC for the prime time NFL package in 2006, which resulted in these match-ups moving from Monday to Sunday.)


title: Super Bowl XXXV

text: Along with being the first African-American to be the play-by-play announcer for a Super Bowl, Gumbel also became the third person to both host a Super Bowl pregame show and call the game, joining Dick Enberg and Al Michaels. Gumbel was the host during his first stint with CBS for Super Bowl XXVI, and he was the pregame host for Super Bowls XXX and XXXII when he was with NBC.


title: Super Bowl XXXV

text: Before the game, a pregame show titled "Life's Super in Central Florida" was held, featuring Sting, Styx, and PYT. The show was directed and choreographed by Lesslee Fitzmorris from Covington, Louisiana.


title: Super Bowl XXXV

text: To honor the 225th anniversary of the birth of the United States, singer Ray Charles performed "America the Beautiful". The song was signed (ASL) by Tom Cooney. To honor the 10th anniversary of the Persian Gulf War, 10 military veterans from the conflict including former general Norman Schwarzkopf were introduced on the field. The vocal group (and Florida natives) Backstreet Boys then sang the national anthem becoming the only boyband to sing the national anthem at the Super Bowl.


title: Super Bowl XXXV

text: The coin toss ceremony honored the two previous Super Bowls that were played in Tampa. Representing the New York Giants' win in Super Bowl XXV was the game's MVP, Ottis Anderson, and former head coach Bill Parcells (coincidentally, tight end Howard Cross was the only Giants player on the 1990 team that was still active). Representing the Los Angeles Raiders' win in Super Bowl XVIII was that game's MVP, Marcus Allen, and former head coach Tom Flores.


title: Super Bowl XXXV

text: This was the last Super Bowl to have individual player introductions for both teams (both the Ravens' and Giants' defenses were announced). In Super Bowl XXXVI, the New England Patriots bucked this trend and were introduced all at once as a team; the Rams, however, still used individual player introductions in that game. Starting with Super Bowl XXXVII, the league decided to have both participating teams introduced collectively as teams, instead of introducing them individually by player.


title: Super Bowl XXXV

text: The halftime show was produced by MTV, then a sister network of CBS before the re-merger. The show was titled, "The Kings of Rock and Pop". It was headlined by Aerosmith and 'N Sync, and also featured appearances from Britney Spears, Nelly, Mary J. Blige, and Tremors featuring The Earthquake Horns. The show featured a back-and-forth medley between Aerosmith and 'N Sync.


title: Super Bowl XXXV

text: The city of Tampa moved its annual Gasparilla Pirate Festival from its usual date in early February to the Saturday before the game. It was the largest Gasparilla in history, with over 750,000 attending.


title: Super Bowl XXXV

text: Both defenses dominated early in the first quarter as the first five possessions of the game ended in punts. On the fifth punt, Ravens kickoff/punt returner Jermaine Lewis returned the ball 33 yards to the New York 22-yard line. Although a holding penalty on the return moved the ball back to the 41-yard line, Baltimore took only two plays to score on quarterback Trent Dilfer's 38-yard touchdown pass to wide receiver Brandon Stokley.


title: Super Bowl XXXV

text: Early in the second quarter, New York advanced to midfield, only to lose the ball when Ray Lewis deflected a pass into the arms of linebacker Jamie Sharper for an interception. Then on the next play, a holding penalty against the Giants nullified linebacker Jessie Armstead's 43-yard interception return for a touchdown that would have tied the game. Later in the period, Dilfer completed a 44-yard pass to receiver Qadry Ismail to set up a 47-yard field goal by Ravens kicker Matt Stover to extend Baltimore's lead, 10–0. With the aid of a 27-yard run from running back Tiki Barber, the Giants advanced all the way to the Ravens' 29-yard line on their ensuing drive, but Baltimore defensive back Chris McAlister intercepted a pass from quarterback Kerry Collins to keep New York scoreless at halftime.


title: Super Bowl XXXV

text: The Giants forced the Ravens to punt on the opening drive of the second half. Five plays later, Ravens safety Kim Herring intercepted Collins at the New York 41-yard line. The Ravens then advanced to the 24-yard line, but the drive stalled and Stover missed a 41-yard field goal attempt.


title: Super Bowl XXXV

text: After an exchange of punts, Ravens defensive back Duane Starks intercepted a pass from Collins and returned it 49 yards for a touchdown, setting off a chain of events unseen before in Super Bowl history: three touchdowns on three consecutive plays in 36 seconds. On the ensuing kickoff, Ron Dixon returned the ball 97 yards for the Giants' first and only score of the game. But Jermaine Lewis returned the next kickoff 84 yards for a touchdown, making the score 24–7 for the Ravens. It was the first time in history two kickoffs were returned for touchdowns in the same Super Bowl game, and on back-to-back kickoffs.


title: Super Bowl XXXV

text: The Giants gained only one first down on their final four possessions and were never able to move the ball into Baltimore territory. Meanwhile, the Ravens added 10 more points to their lead, making the final score 34–7. A few possessions after Jermaine Lewis' touchdown, Giants punter Brad Maynard's 34-yard punt from his own four to the 38-yard line and tight end Ben Coates' 17-yard reception set up a 3-yard touchdown run by running back Jamal Lewis early in the fourth quarter. Dixon fumbled the ensuing kickoff to Ravens defender Robert Bailey, setting up Stover's 34-yard field goal with 5:27 left in the game.


title: Super Bowl XXXV

text: Dilfer threw for 153 yards and a touchdown, with no interceptions. Jamal Lewis rushed for 102 yards and a touchdown (only the second rookie to rush for 100 yards in the Super Bowl, joining Timmy Smith in Super Bowl XXII, while also being the first rookie to score a rushing touchdown in a Super Bowl since Smith in 1988), and caught a pass for four yards. Stokley was the top receiver of the game with three receptions for 52 yards and a touchdown. Jermaine Lewis recorded 152 total all-purpose yards (111 kickoff return yards, 34 punt return yards, seven receiving yards, one rushing yard) and a touchdown.


title: Super Bowl XXXV

text: Collins had a passer rating for the game of only 7.1, the second worst in Super Bowl history, threw four interceptions (tying a Super Bowl record that has since been surpassed by Oakland quarterback Rich Gannon's five interceptions in Super Bowl XXXVII) and completed only 15 of 39 passes for 112 yards. Barber was the Giants' leading rusher with 49 yards, also catching six passes for 26 yards and returning two punts for thirteen yards, while Dixon tallied six kickoffs for 154 yards and a touchdown with a sixteen yard pass catch. While Giants punter Brad Maynard set an undesirable Super Bowl record with eleven punts, Baltimore punter Kyle Richardson nearly matched him with ten punts.


title: Super Bowl XXXV

text: Overall, both teams combined for only 396 total yards, the lowest in Super Bowl history. The Ravens joined Super Bowl XVIII's Los Angeles Raiders in the record books as the only teams to score offensive, defensive and special teams touchdowns in the same Super Bowl. The third team to do the same were the Seattle Seahawks in Super Bowl XLVIII. Super Bowl XXXV was the second Super Bowl since 1975 in which the losing team failed to score at least ten points, after Super Bowl XVIII.


title: Super Bowl XXXV

text: All the main contributors for the Ravens on offense, defense, and special teams were named Lewis. Linebacker Ray Lewis, a native of Lakeland, Florida, less than an hour from Super Bowl host city Tampa, who made three solo tackles, two assists, and blocked four passes, became the second linebacker to be named Super Bowl MVP after Chuck Howley in Super Bowl V. Lewis also became the first defensive player to be honored since Larry Brown in Super Bowl XXX, and at the time the seventh defensive player to be Super Bowl MVP, joining Howley, Jake Scott, Harvey Martin, Randy White, Richard Dent, and Brown (since Lewis, only three additional defensive players have been named Super Bowl MVP: Tampa Bay Buccaneers safety Dexter Jackson in Super Bowl XXXVII, Seattle Seahawks linebacker Malcolm Smith in Super Bowl XLVIII, and Denver Broncos linebacker Von Miller in Super Bowl 50). Despite being named the game's Most Valuable Player, Lewis did not go to Walt Disney World because of an investigation during the previous year. Quarterback Trent Dilfer went in his place.


title: Super Bowl XXXV

text: Jamal Lewis was the top rusher of the game, Jermaine Lewis notched 145 yards and a touchdown on special teams. In addition, the Ravens defense was coached by Marvin Lewis. The Ravens defense has since been considered among the greatest of all time. The Ravens defense became the third to shut-out their opponent in Super Bowl history; the Giants' only points came on a kickoff return. Washington in Super Bowl VII scored against Miami only after the late fumble by Garo Yepremian, which was returned for a touchdown. The only points Pittsburgh allowed to Minnesota in Super Bowl IX came on the return of a blocked punt.


title: Super Bowl XXXV

text: The New York Giants started a trend of seven different NFC Champions in seven years. The Giants would return to the Super Bowl in 2007 and again in 2011 defeating the New England Patriots on both occasions, ending the current trend at the time, but starting a new one. Beginning with the 2001 St. Louis Rams, who played in Super Bowl XXXVI, there were ten different NFC Champions in ten years. Once again, the Giants ended the trend and started another one. Beginning with the 2008 Super Bowl XLIII participant Arizona Cardinals, there were six different NFC Champions in six years. This streak was finally ended by the Seattle Seahawks, who advanced to the Super Bowl in both 2013 and 2014.


title: Super Bowl XXXV

text: The Baltimore Ravens would later win Super Bowl XLVII in 2013 against the San Francisco 49ers (which was also aired on CBS). Ray Lewis was a member of both Ravens' Super Bowl wins. In between the Ravens' victories, the Indianapolis Colts, the Pittsburgh Steelers, and the Patriots would have a Super Bowl appearance more than once, with New England and Pittsburgh winning more than once. The only other AFC team to make the Super Bowl in that stretch were the Oakland Raiders, in Super Bowl XXXVII.


title: Super Bowl XXXV

text: Had the Giants won, it would have marked the first year since 1989 that a Super Bowl and World Series champion came from the same metropolitan area. The New York Yankees won the World Series during the Giants' season. Including the New Jersey Devils' win in the Stanley Cup Finals and the New York Mets' runner-up finish to the rival Yankees, there were four teams from the New York metropolitan area that made the championship round of their respective leagues in the same year.


title: Super Bowl XXXV

text: The following records were set in Super Bowl XXXV, according to the official NFL.com boxscore, the 2016 NFL Record & Fact Book and the ProFootball reference.com game summary.


title: Super Bowl XXXV

text: The American Civil Liberties Union criticized a test of a system used at the event to monitor the people in attendance. A group of four companies installed a face recognition system to scan the faces of fans entering the stadium and compare them with a database of criminals. Attendees were not told that they were subject to this surveillance. Tampa police reported that the system identified nineteen criminals, but due to complaints and trouble with false positive results, it was not re-used the next year. Super Bowl XXXVI and all subsequent Super Bowls have been designated as a National Special Security Event, qualifying for extra security detail from the Secret Service.


title: Tony Goldwyn

text: Anthony "Tony" Howard Goldwyn (born May 20, 1960) is an American actor, singer, producer, director, and political activist. He made his debut appearing as Darren in the slasher film "" (1986), and had his breakthrough for starring as Carl Bruner in the fantasy thriller film "Ghost" (1990), which earned him a nomination for the Saturn Award for Best Supporting Actor. He went on to star as Harold Nixon in the biographical film "Nixon" (1995), which earned him a Screen Actors Guild Award nomination, and as Neil Armstrong in the HBO miniseries "From the Earth to the Moon" (1998).


title: Tony Goldwyn

text: Goldwyn voiced the main character in the Disney animated film "Tarzan" (1999), and portrayed Colonel Bagley in "The Last Samurai" (2003), Johnathon "John" Collingwood in the horror film "The Last House on the Left" (2009), Andrew Prior in the "Divergent" film series (2014–2015) and Paul Cohen in "King Richard" (2021), the latter of which earned him a second nomination for a Screen Actors Guild Award. He starred as President Fitzgerald Grant III in the ABC legal/political drama "Scandal" (2012–2018) and directed a number of episodes for the series, for which he won a Peabody Award.


title: Tony Goldwyn

text: Goldwyn was born in Los Angeles, California, the son of actress Jennifer Howard and film producer Samuel Goldwyn Jr. Goldwyn's paternal grandparents were mogul Samuel Goldwyn, a Polish Jewish immigrant from Warsaw, and actress Frances Howard, who was originally from Nebraska. His maternal grandparents were playwright Sidney Howard and actress Clare Eames. One of his maternal great-great-grandfathers was Maryland Governor and Senator William Thomas Hamilton. Goldwyn attended Hamilton College in Clinton, New York, Brandeis University in Waltham, Massachusetts (where he received his Bachelor of Fine Arts degree), and the London Academy of Music and Dramatic Art. He additionally studied acting at HB Studio in New York City.


title: Tony Goldwyn

text: Following his departure from drama school, Goldwyn began acting in guest star roles in the mid-1980s. Goldwyn had his breakthrough for playing Carl Bruner, friend-turned-betrayer of Patrick Swayze's character Sam Wheat, in the fantasy thriller film "Ghost". The film earned positive reviews, and won the Academy Award for Best Original Screenplay. For his performance, Goldwyn earned a nomination for the Saturn Award for Best Supporting Actor. Goldwyn appeared on the comedy series "Designing Women", in which he played a young interior designer named Kendall Dobbs, an HIV-positive man who was dying from AIDS and who asked the women of Sugarbakers to design his funeral. In the HBO miniseries "From the Earth to the Moon", Goldwyn played astronaut Neil Armstrong, commander of Apollo 11. He also voiced the title character in the 1999 animated feature film "Tarzan" which was produced by Walt Disney Feature Animation and grossed over $400 million. He reprised the role in the video games "" and "Kingdom Hearts".


title: Tony Goldwyn

text: Goldwyn had a recurring role on the NBC-Universal drama "" as Frank Goren, brother of lead character Robert Goren, played by Vincent D'Onofrio. He also had acting and directing duties for the first season of "Dexter" for Showtime (brother John Goldwyn is executive producer). As a stage actor, Goldwyn has appeared twice in Off-Broadway shows at Second Stage Theatre and on Broadway at Circle in the Square Theatre. At Second Stage Theatre he appeared in Theresa Rebeck's "Spike Heels" (1992) alongside Kevin Bacon and Julie White. In the summer of 2006 at Second Stage Theatre he starred opposite Kate Burton in another Rebeck play, "The Water's Edge". Goldwyn played J. D. Sheldrake, the philandering business executive, in the Broadway musical "Promises, Promises" starring Sean Hayes and Kristin Chenoweth. The cast recording was released on June 23, 2010, with Goldwyn in three tracks.