our international networks segment also owns and operates the following regional television networks , which reached the following number of subscribers and viewers via pay and fta or broadcast networks , respectively , as of december 31 , 2017 : television service international subscribers/viewers ( millions ) .

Table:
 | television service | internationalsubscribers/viewers ( millions )
quest | fta | 66
dsport | fta | 43
nordic broadcast networks ( a ) | broadcast | 34
quest red | fta | 27
giallo | fta | 25
frisbee | fta | 25
focus | fta | 25
k2 | fta | 25
nove | fta | 25
discovery hd world | pay | 17
dkiss | pay | 15
shed | pay | 12
discovery hd theater | pay | 11
discovery history | pay | 10
discovery civilization | pay | 8
discovery world | pay | 6
discovery en espanol ( u.s. ) | pay | 6
discovery familia ( u.s. ) | pay | 6
discovery historia | pay | 6
( a ) number of subscribers corresponds to the sum of the subscribers to each of the nordic broadcast networks in sweden , norway , finland and denmark subject to retransmission agreements with pay-tv providers .
the nordic broadcast networks include kanal 5 , kanal 9 , and kanal 11 in sweden , tv norge , max , fem and vox in norway , tv 5 , kutonen , and frii in finland , and kanal 4 , kanal 5 , 6'eren , and canal 9 in denmark .
similar to u.s .
networks , a significant source of revenue for international networks relates to fees charged to operators who distribute our linear networks .
such operators primarily include cable and dth satellite service providers , internet protocol television ( "iptv" ) and over-the-top operators ( "ott" ) .
international television markets vary in their stages of development .
some markets , such as the u.k. , are more advanced digital television markets , while others remain in the analog environment with varying degrees of investment from operators to expand channel capacity or convert to digital technologies .
common practice in international markets results in long-term contractual distribution relationships with terms generally shorter than similar customers in the u.s .
distribution revenue for our international networks segment is largely dependent on the number of subscribers that receive our networks or content , the rates negotiated in the distributor agreements , and the market demand for the content that we provide .
the other significant source of revenue for international networks relates to advertising sold on our television networks and across other distribution platforms , similar to u.s .
networks .
advertising revenue is dependent upon a number of factors , including the development of pay and fta television markets , the number of subscribers to and viewers of our channels , viewership demographics , the popularity of our programming , and our ability to sell commercial time over all media platforms .
in certain markets , our advertising sales business operates with in-house sales teams , while we rely on external sales representation services in other markets .
during 2017 , distribution , advertising and other revenues were 57% ( 57 % ) , 41% ( 41 % ) and 2% ( 2 % ) , respectively , of total net revenues for this segment .
while the company has traditionally operated cable networks , in recent years an increasing portion of the company's international advertising revenue is generated by fta or broadcast networks , unlike u.s .
networks .
during 2017 , fta or broadcast networks generated 54% ( 54 % ) of international networks' advertising revenue and pay-tv networks generated 46% ( 46 % ) of international networks' advertising revenue .
international networks' largest cost is content expense for localized programming disseminated via more than 400 unique distribution feeds .
while our international networks segment maximizes the use of programming from u.s .
networks , we also develop local programming that is tailored to individual market preferences and license the rights to air films , television series and sporting events from third parties .
international networks amortizes the cost of capitalized content rights based on the proportion of current estimated revenues relative to the estimated remaining total lifetime revenues , which results in either an accelerated method or a straight-line method over the estimated useful lives of the content of up to five years .
content acquired from u.s .
networks and content developed locally airing on the same network is amortized similarly , as amortization rates vary by network .
more than half of international networks' content is amortized using an accelerated amortization method , while the remainder is amortized on a straight-line basis .
the costs for multi-year sports programming arrangements are expensed when the event is broadcast based on the estimated relative value of each component of the arrangement .
while international networks and u.s .
networks have similarities with respect to the nature of operations , the generation of revenue and the categories of expense , international networks have a lower segment margin due to lower economies of scale from being in over 220 markets requiring additional cost for localization to satisfy market variations .
international networks also include sports and fta broadcast channels , which drive higher costs from sports rights and production and investment in broad entertainment programming for broadcast networks .
on june 23 , 2016 , the u.k .
held a referendum in which voters approved an exit from the european union ( 201ce.u . 201d ) , commonly referred to as 201cbrexit . 201d after a preliminary phase of negotiations towards the end of 2017 , the u.k .
government and the e.u .
will in 2018 negotiate the main principles of the u.k . 2019s future relationship with the e.u. , as well as a transitional period .
brexit may have an adverse impact on advertising , subscribers , distributors and employees , as described in item 1a , risk factors , below .
we continue to monitor the situation and plan for potential effects to our distribution and licensing agreements , unusual foreign currency exchange rate fluctuations , and changes to the legal and regulatory landscape .
education and other education and other generated revenues of $ 158 million during 2017 , which represented 2% ( 2 % ) of our total consolidated revenues .
education is comprised of curriculum-based product and service offerings and generates revenues primarily from subscriptions charged to k-12 schools for access to an online suite of curriculum-based vod tools , professional development services , digital textbooks and , to a lesser extent , student assessments and publication of hard copy curriculum-based content .
other is comprised of our wholly-owned production studio , which provides services to our u.s .
networks and international networks segments at cost .
on february 26 , 2018 , the company announced the planned sale of a controlling equity stake in its education business in the first half of 2018 , to francisco partners for cash of $ 120 million .
no loss is expected upon sale .
the company will retain an equity interest .
additionally , the company will have ongoing license agreements which are considered to be at fair value .
as of december 31 , 2017 , the company determined that the education business did not meet the held for sale criteria , as defined in gaap as management had not committed to a plan to sell the assets .
on april 28 , 2017 , the company sold raw and betty to all3media .
all3media is a u.k .
based television , film and digital production and distribution company .
the company owns 50% ( 50 % ) of all3media and accounts for its investment in all3media under the equity method of accounting .
raw and betty were components of the studios operating segment reported with education and other .
on november 12 , 2015 , we paid $ 195 million to acquire 5 million shares , or approximately 3% ( 3 % ) , of lions gate entertainment corp .
( "lionsgate" ) , an entertainment company involved in the production of movies and television which is accounted for as an available-for-sale ( "afs" ) security .
during 2016 , we determined that the decline in value of our investment in lionsgate is other- than-temporary in nature and , as such , the cost basis was adjusted to the fair value of the investment as of september 30 , 2016 .
( see note 4 to the accompanying consolidated financial statements. ) content development our content development strategy is designed to increase viewership , maintain innovation and quality leadership , and provide value for our network distributors and advertising customers .
our content is sourced from a wide range of third-party producers , which include some of the world 2019s leading nonfiction production companies , as well as independent producers and wholly-owned production studios .
our production arrangements fall into three categories : produced , coproduced and licensed .
produced content includes content that we engage third parties or wholly owned production studios to develop and produce .
we retain editorial control and own most or all of the rights , in exchange for paying all development and production costs .
production of digital-first content such as virtual reality and short-form video is typically done through wholly-owned production studios .
coproduced content refers to program rights on which we have collaborated with third parties to finance and develop either because at times world-wide rights are not available for acquisition or we save costs by collaborating with third parties .
licensed content is comprised of films or .

Question: how many combined subscribers and viewers in millions do the top 2 pay distributed television services discovery hd world and dkiss have?
Answer: 32
Calculation: add(17, 15)