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
InternationalSubscribers/Viewers(millions)
Quest
FTA
66
Dsport
FTA
43
Nordic broadcast networks<sup>(a)</sup>
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: Analyse this data from a financial earnings document. how many combined subscribers and viewers in millions do the top 2 pay distributed television services discovery hd world and dkiss have?
Choices:
21
32.0
32000000
255
30
Correct choice index: 1