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 ) .

television service: quest: fta
dsport: fta
nordic broadcast networks ( a ): broadcast
quest red: fta
giallo: fta
frisbee: fta
focus: fta
k2: fta
nove: fta
discovery hd world: pay
dkiss: pay
shed: pay
discovery hd theater: pay
discovery history: pay
discovery civilization: pay
discovery world: pay
discovery en espanol ( u.s. ): pay
discovery familia ( u.s. ): pay
discovery historia: pay
internationalsubscribers/viewers ( millions ): quest: 66
dsport: 43
nordic broadcast networks ( a ): 34
quest red: 27
giallo: 25
frisbee: 25
focus: 25
k2: 25
nove: 25
discovery hd world: 17
dkiss: 15
shed: 12
discovery hd theater: 11
discovery history: 10
discovery civilization: 8
discovery world: 6
discovery en espanol ( u.s. ): 6
discovery familia ( u.s. ): 6
discovery historia: 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 .

Questions:
in millions, how many combined subscribers and viewers do the top 2 pay distributed television services have?
and what is that total for the top two of the fta distributed television services?

Answers:
32
109