document_title: Judge Judy

question_text: who pays the settlements on the judge judy show

question_tokens: who pays the settlements on the judge judy show

text: Judge Judy

text: Court show background[edit]

text: Origins[edit]

text: Sheindlin's pre-court show reputation as one of the toughest family court judges in the country was the topic of a February 14, 1993 edition of The Los Angeles Times written by—perhaps the man responsible for initiating her entertainment career—Josh Getlin.[15][16] On May 21, 1993, Joseph Wapner was released from The People's Court. Sheindlin called up the program and said, "You know, if he doesn't want to do this show any more, I can do it." The receptionist snapped, "Are you crazy, lady?" and hung up.[17] Getlin's Los Angeles Times article on Sheindlin caught the attention of 60 Minutes, which aired a segment on her on October 24, 1993.[18] The segment brought her national recognition and first led to an offer for her to write her own book. Sheindlin accepted the book offer, writing Don't Pee On My Leg and Tell Me It's Raining.

text: In early 1995 two former People's Court producers, Kaye Switzer and Sandi Spreckman (now involved in a lawsuit against Sheindlin and CBS as of January 2018, claiming they are owed compensation for discovering her[19]), asked Sheindlin if she would like to preside over her own courtroom series,[20] and she eventually accepted.[20] Sheindlin and her producers originally wanted the show title to be "Her Honor" but the production company, Big Ticket Television, decided on calling it "Hot Bench" instead,[21][22] even promoting the show as "Hot Bench With Judge Judy" for some time prior to the show's début.[23] However, Big Ticket ultimately decided on "Judge Judy".[24]

text: Petri Hawkins-Byrd, the court show's bailiff, was also Sheindlin's bailiff throughout her career in the Manhattan Family Court system. When Byrd found out about Sheindlin's show, he sent her a congratulatory letter, stating, "If you ever need a bailiff, I still look good in uniform." She phoned Byrd at his home in California to accept his offer and he has been the show's bailiff since its debut. Byrd is the longest-running bailiff in courtroom programming history. Sheindlin has stated that the show's producers desired different individuals for the role, but she refused.

text: Sheindlin appeared again on 60 Minutes on April 30, 2003. During the interview, Sheindlin stated:

text: I have a contract with the company to do the program through the 2006 season. At that point, we will have produced this program for 10 years. Right now, I would be satisfied with a good 10-year run. I think that would really be phenomenal. It would be lovely if we could end on a high note and for me to say "10 years and I still had people watching and I had a second career that was a blast."[21]

text: On September 14, 2015, Sheindlin began celebrating her 20th season anniversary presiding on Judge Judy. The program is the first in the court show genre to make it to 20 seasons without cancellation as well as the first to make it to this extent under one arbitrator. Her distinction as television's longest serving judge or arbitrator rewarded Sheindlin a place in the Guinness World Records on September 14, 2015.[25]

text: On-air format[edit]

text: Each episode of Judge Judy begins with an introductory preview of the main case, sensationalizing various moments of the case with dramatic music, voice-over commentary, graphics, etc. This is followed by the show's opening music video. At the beginning of each court proceeding, information regarding who is suing whom and what for is revealed originally by voice-over artist Michael Stull, who was later replaced by the show's current voice-over artist Jerry Bishop. Sheindlin typically begins each case by questioning the parties as to dates, times, locations and other facts central to the lawsuit. Monopolizing the discourse throughout the cases, Sheindlin will sometimes only listen to bits and pieces of each of the testimonies as she is quick to reply, impose her spiel and disallow responses that are not concise or made during her desire to speak.[26] Sometimes, however, Sheindlin will allow one or both of the opposing litigants to recount the entirety of their testimony. While delivering their testimony, litigants are not allowed to hesitate and must maintain fixed eye contact with Sheindlin at all times. Further, litigants are not allowed to speak out of turn or talk to each other. Small children who do not testify are usually removed from the courtroom at the start of the litigation, and unruly co-litigants and witnesses (and once an audience member who laughed too awkwardly during the proceedings) are ejected for disobeying the judge.

text: Like most modern court shows, cases on Judge Judy imitate small claims court cases in which civil trials (non-criminal cases) are heard and ruled on. Typically Sheindlin handles cases among former lovers, disputing neighbors, or family and friend relations.[27] Disputes generally revolve around issues such as broken engagements, unpaid personal loans, contract breaches, personal injuries from other litigants or their pets, minor property damages (e.g., fender benders, carpet stains, etc.), the fate of jointly purchased household appliances and rightful ownership of property.[27] As is standard practice in small claims court and most reality court shows alike, Judge Judy proceedings operate in the form of a bench trial (as opposed to its more common counterpart, the jury trial). Moreover, lawyers are not present and litigants must defend themselves.[28]

text: When the show goes into the first two commercial breaks, the voice-over sounds, stating "Judge Judy continues in a moment", followed by a preview of the remainder of the ongoing case, sometimes along with the following case, is typically shown. When the show comes out of the first two commercial breaks, the voice-over sounds, stating "Real cases, Real people, Judge Judy", followed by a verbal recap of the ongoing case. When the show comes out of the last commercial break, the voice-over sounds again, this time providing the show's telephone number and website to submit cases.[4] Generally each show presents two cases, but infrequently, an episode will present a single long case, three shorter ones, or even four shorter ones.

text: After expressing her views of the circumstances and behaviors of the litigants with regards to their testimonies, Sheindlin renders the judgment either by finding for the plaintiff (typically with the statement, "Judgment for the plaintiff in the amount of x dollars. We're done."), by dismissing the case, or by dismissing the case specifically without prejudice. Any counterclaims filed are handled similarly to this. Counterclaims are handled subsequently in the same segment, though often cursorily by Sheindlin as many counterclaims on the program have been filed out of vindictiveness as opposed to legitimacy. At the end of each case, there is typically an afterthoughts segment for the litigants. In these segments, the plaintiff(s), the defendant(s), and sometimes their witnesses deliver a monologue, expressing their feelings regarding the case directly to the viewers at home by speaking into the camcorder. Sometimes, however, these segments are omitted, especially after cases involving resentful litigants, too upset over the circumstances to remain in the studio and provide comment.[29]

text: Inner workings[edit]

text: The producers of Judge Judy hire extras from an audience service who compose the entire studio. Paid audience members are easier to control due to agreements and employment. They don't have to be trained or debriefed as much as your average person on how to act to make those in the spotlight look good. Producers also seek a certain demographic of individuals and seat them strategically throughout their audience. Most of these paid extras are aspiring actors.[16][30] Though tickets are not offered for the show, arrangements can sometimes be made with Sheindlin's production staff to allow fans of the show into the audience. The extras must not dress casually, and no logos or brand names may be visible on their clothing. Extras are also instructed to appear as if they are having discussions with each other before and after each case, so the bailiff may make such announcements as "Order! All rise."[31]

text: Audience members are not to make any noises during the proceedings and, unlike other court shows, may not applaud the judge or rightful litigant upon praiseworthy remarks; although on some occasions when Sheindlin delivers a crushing remark for a particularly egregious or ludicrous act, the audience is seen laughing or applauding without Sheindlin silencing them. For the most part, however, Sheindlin is seen bringing the audience to order (with a fountain pen; she never uses a gavel)  and admonishing them for engaging in any such noise throughout the cases.

text: To acquire cases, the show generally uses one of the following three options:

text:
Its 60 to 65 researchers, spread out across the country, enter small claims courts and photocopy numerous cases. These photocopied cases are then sent to Judge Judy producers, who review them all in search of lawsuits they believe will make for good television. According to the show's producers, only 3% of the photocopied cases are worthy enough for television.[16]
Its telephone number posting/announcement presented on each episode for interested individuals to call in with lawsuits.
Its website whereby lawsuits can be written out and submitted into the show.[32]

text: After one of these three processes, if the producers are interested, their employees will then call both parties and ask them questions relating to their lawsuit, making sure they're suitable for Judge Judy. If the parties agree to be on the show and sign a waiver, agreeing that arbitration in Sheindlin's court is final and cannot be pursued elsewhere (unless Sheindlin dismisses the lawsuit without prejudice), their case will air on Judge Judy.[33]

text: The award limit on Judge Judy, as on most "syndi-court" shows (and most small claims courts in the U.S.), is $5,000. The award for each judgment is paid by the producers of the show from a fund reserved for the purpose.[34] Sheindlin rules by either A.) issuing a verdict of a specific dollar amount (not always in the full amount of what is requested and rarely if ever in excess of what is requested even if she believes complainants are deserving of more) or B.) by dismissing the lawsuit altogether. When ruled on in these manners, cases cannot be refiled or retried elsewhere. However, if Sheindlin specifically dismisses the lawsuit "without prejudice", that lawsuit may be refiled and retried in another forum. In some instances, Sheindlin has dismissed cases without prejudice deliberately so that complainants pursue defendants in an actual court of law so that the defendants themselves are held financially accountable, this as opposed to the show. In such cases, Sheindlin has expressed particular aversion to the defendants in question.[35] Further, Sheindlin has dismissed cases without prejudice when she has suspected both the plaintiff(s) and defendant(s) of conspiring together just to gain monetary rewards from the program.[35]

text: Both the plaintiff(s) and the defendant(s) also receive an appearance fee. The appearance fee amount has varied as between different litigants of the show: certain litigants have reported receiving a $500 appearance fee while others have reported receiving $100, and others $250.[36][37] In addition to the appearance fee amount, litigants are paid $35 a day by the show.[37] The litigants' stay lasts for the number of days that the show does taping for that week, which is two or three days. [38] In addition, the airfare (or other means of travel) and hotel expenses of the litigants and their witnesses are covered by the show, and the experience is generally treated as an all-expense-paid vacation outside of the actual court case.[37] If there is an exchange of property, Sheindlin signs an order, and a sheriff or marshal oversees the exchange.[39] Sheindlin sees only a half-page complaint and a defense response prior to the taping of the cases, sometimes only moments before.[40] Most of the cases, not including any footage deleted to meet the time constraints of the show, usually last anywhere from twelve to forty-five minutes.[41][42]

text: Judge Judy, like most court programs, is inexpensive to produce and thus creates considerable income. A budget for a week's worth of Judge Judy episodes is half the cost of a single network sitcom episode.[43]

text: Recordings and airings[edit]

text: Three days every other week (two weeks a month), Sheindlin and her producers tape the court show.[24] They usually produce ten to twelve cases for each day they tape the show. This makes for about a week's worth of episodes, all done within one day. Anywhere from thirty to thirty-six cases are taped over three days during the week. Sheindlin appeared as a guest on Jimmy Kimmel Live! on September 13, 2011. When asked by Kimmel how many days a month she works, Sheindlin replied, "Five days." [44]Sheindlin and her producers sometimes tape only five cases per day and two days per week.[10][45] The show has fifty-two taping days a year.[46] For each season, some 650 claims are brought to the set to be "presided" over by Judge Judy.[10] This means approximately 8,450 claims have been brought to Judy Sheindlin's Hollywood set as of the end of its thirteenth season (2008–09).

text: For the most part, cases are taped all throughout the year except for two breaks Sheindlin and all of the staff members of her show have for the year. One of the two breaks includes an extra week off in December, as the show is only taped one week out of that month because of the holidays. The other break is from mid-July (only taping one week in July) and all through August. According to members of the show, the reason for this break is that people are more interested in taking vacations than in filing lawsuits around that time.[47] When the show premieres in September, only the best episodes of the ones taped before Sheindlin's break are selected to begin out the season. Thus, the first few weeks (the first week in particular) will consist of what the show feels to be its best episodes. In Sheindlin's words, "It's like drinking wine. You don't serve the really good bottle of wine third."[48]

text:
Altogether, there are 260 new episodes each season. There is at least one new episode for every weekday, with the exception of a few hiatuses during most of the summer, a couple of holidays, and as of more recent seasons, early spring as well (much of March and April).[49] The cases are all pre-recorded for editing purposes and will usually air one to three months after being taped. The cases are mixed up and not shown in order of when they were recorded.[50] While the cases taped in March end the seasons, the cases taped throughout April, May, June, and July start out each season in September and last through October.[51]
Throughout the very beginning of each season, two new Judge Judy episodes air per day. After two weeks, this is reduced to one new airing a day, followed by a repeat. There are also various other moments throughout the year where two new episodes are shown for a few weeks. This has sometimes included January when the show returns from its winter hiatus. Two new episodes are also shown daily during the "sweeps" months of November, February, and May. Unlike other television programs, the Judge Judy season finale does not air in April or May; rather, it airs in June, July, or August. When the season finale is extended to July or August, most of the summer episodes preceding it are repeats with new episodes that are few and far in-between.

text: Two DVDs, featuring "memorable cases," have been released by the show: the first in 2007, "Judge Judy: Justice Served," and the second in 2008, "Judge Judy: Second To None."[52]

text: Location[edit]

text: Judge Judy tapes at the Sunset Bronson Studios on Sunset Boulevard in Los Angeles, California.[53] In alternating weeks, Sheindlin, who owns a home in New York among other cities/states, flies out on her private jet to tape Tuesday, Wednesday, and Thursday.[24]

text:
As of 2014, the Judge Judy set is located directly beside the set of the courtroom series Sheindlin created and produces, Hot Bench. Both shows are taped in the same studio. Previous to that, the space directly beside Sheindlin's set was used for the courtroom series Paternity Court for the 2013-14 season.[54] Prior to that, the space was used for Judge Judy's long-running sister show Judge Joe Brown until Judge Joe Brown's 2013 cancellation. Like Judge Judy, Judge Joe Brown was also produced by Big Ticket Entertainment.[41] The two shows alternated taping weeks.
Despite the show being taped primarily in California, it displays various images of New York City upon returning from commercial breaks, including a subway train and official signs bearing "State of New York" and "Family Court" (Sheindlin was previously a New York family court judge)[55] within the letterbox-like graphics used going to and from breaks since the ninth season. The set features a New York state flag behind Sheindlin's seat.

text: Remodeling[edit]

text: Over its existence, the show has changed very little from season to season.[56] Most modifications to the program have been done in minute detail, such as to the show's book shelf display seen near the courtroom entrance. Aesthetically, the show's theme song, graphics, and color scheme are the only aspects that have changed repeatedly over the course of its lifespan.[57] The ninth season (2004–05) is one of few seasons in which the show underwent major remodeling when music for the show's opening, closing, and to/from commercial portions were modified. A modern version of a melody from Beethoven's 5th Symphony was then adopted as the show's opening theme song. This arrangement was composed by Non-Stop Music Productions.[58] For its scenes, Sheindlin is shown in a different courtroom from her own (part of a proposed renovation to the courtroom that was rejected by Sheindlin for being too dark), approaching the camera, followed by folding her arms and smiling at the camera. This is followed by showing various scenes of her presiding over different cases. As part of these modifications, the show's introductory previews, graphics, and images all began showing up in falu red.

text: Prior to the ninth season, the show used an original tune for its theme song composed by Bill Bodine. From the show's debut through its eighth season, various versions of this original tune were used, the show making moderate modifications to the tune every few seasons, as shown here and here. The actual full-length version of this original musical, which never played during the show's intro, played during the lengthier litigant-afterthought-segments as shown (full-length musical used for 1999-00, 2000-01, 2001-02). From seasons five through eight, the opening music video commenced with an approaching scene towards a computer animated courthouse display up until that scene entered into the courthouse. From there, several shots of Sheindlin gesticulating from her bench—as though presiding over various cases—were displayed in motion. These motioning images eventually developed into the courthouse logo that represents the program (the logo always displayed within the letter "D" in "Judy") by the end of this opening music video. The music video in seasons prior to this used relatively similar music with disparities in scenes, images, instrumental sound type and theme song length.

text: Further, early seasons of the show used graphics and images that were sea green and saffron. Blue and saffron then came to represent multiple seasons of the show before the show's current color scheme. By the show's sixth season (2001–02), music and graphics used in the introductory previews no longer resembled the rest of the program as they had previously, but instead used a high blue color scheme and a different song for each episode/intro preview. While the introductory preview's inconstant tunes have continued to the present season, the color scheme in the introductory previews began resembling the color scheme used in the rest of the program (falu red) once again by the ninth season.

text: Each opening music video consists of Voice-Over Artist Jerry Bishop stating: "You are about to enter the courtroom of Judge Judith Sheindlin. The people are real. The cases are real. The rulings are final. This is Judge Judy."[59] Originally between the statements "The rulings are final" and "This is Judge Judy" was the statement, "This is her courtroom."[60] This was removed in 2004. Beginning in September 2012, the show made a switch to high definition with its 17th season. The bumpers between commercials are also in HD, although most on-screen graphics such as plaintiff and defendant descriptions are framed to fit a 4:3 aspect ratio.[61]

text: By the 20th season beginning in September 2015, the show began using a shortened, scanty version of the same intro it had been using for 10 years since its 9th season. Both the Beethoven remix and lyrics have been curtailed. The present lyrics state only "You are about to enter the courtroom of Judge Judith Sheindlin. This is Judge Judy." In addition to not using much of an intro theme any longer, a "20th anniversary" caption is depicted above the "Judge Judy" logo in the intro. These are the only two updates for season 20.

text: Episode Specials[edit]

text: Primetime Judge Judy[edit]

text: On May 20, 2014, CBS aired a one-hour special called Judge Judy Primetime which aired at 8 p.m. ET/PT. The special was a combination of reshown clips from the 1993 60 Minutes Special on Sheindlin, as well as a few never-previously-seen cases. The special marked Judge Judy's first airing in primetime, a landmark for court shows which are typically limited to daytime or late night hours.[62][63] Although the special didn't rank nearly as high as Dancing with the Stars (14.86 million) and The Voice (11.57 million), it brought in 5.66 million viewers, enough to make it the night's top rated show on CBS. In addition, the special came in just behind American Idol, which brought in 6.61 million viewers.[64]

text: Contrived case[edit]

text: At least some of the cases on the series have been circumstances that were allegedly contrived by the litigants just to receive monetary payment from the program.

text: In April 2013, former litigants from a 2010 airing of the show revealed they conspired together in fabricating a lawsuit in which the logical outcome would be to grant payment to the plaintiff. The operation, devised by musicians Kate Levitt and Jonathan Coward,  was successful: Sheindlin awarded the plaintiff (Levitt) $1,000. The litigants involved also walked away with an appearance fee of $250 each and an all expense paid vacation to Hollywood, California. In reality, all the litigants in question—plaintiffs and defendants alike—were friends who split the earnings up among each other. It was also reported that the show's producers were in on the sham and knew of the contrivance all along but went along with it. The lawsuit was over the fictitious death of a cat as a result of a television crushing it.[65][66]

text: Curb Your Enthusiasm pseudo-Judge Judy case featuring Sheindlin[edit]

text: Sheindlin and her program appeared on the November 26, 2017 broadcast of Curb Your Enthusiasm, presiding over a sketch comedy court case with Larry David as the plaintiff. The pseudo-Judge Judy case assumed the appearance of an actual case from Sheindlin's program, taking place from the show's courtroom set with trademarked voice-over briefs, theme music and audience response.[67]

text: Judge Judy Sheindlin[edit]

text: Judge Judy was born on October 21, 1942, in Brooklyn, New York, to German-Jewish parents Murray and Ethel Blum. Sheindlin described her father, a dentist, as "the greatest thing since sliced bread" and her mother as "a meat-and-potatoes kind of gal." It was reported in October 2012 that Sheindlin had a $45 million yearly contract with CBS Television Distribution, in effect until 2015 and up $20 million from 2007.[68] It was later reported in October 2013 that Sheindlin is the highest paid TV star, earning $47 million per year for Judge Judy, which translates into just over $900,000 per workday (she works 52 days per year).[69]

text: Judy has gained a reputation for her tough judicial approach in both the family court and televised court, also known widely for her no-nonsense fact-finding, restive nature, and incisive impositions that dismiss attempts at debate.[70][71] In line with these attributes, her program has been touted as "a show where justice is dispensed at the speed of light." Loosely related is her resoluteness in opinions and rulings, often resulting in the parties arguing, debating and excuse-making to no avail.[72]

text: Strict in her management of the proceedings,[73] Sheindlin coerces precise compliance of rules and is very quick to scold or even punish what she perceives as disobedience, misbehavior or even annoyance. And as result of her gruff disposition,[74] volatile temper,[75] and cheeky treatment,[76] taglines such as "Justice with an Attitude" have been used to characterize the program.[77] As examples of this, Sheindlin has regularly made such remarks as:

text: "Baloney!", "Do I have 'stupid' written over my forehead?",[78] "I'm here because I'm smart, not because I'm young and gorgeous, although I am",[78] "If you live to be 100, you will never be as smart as I am, sir",[78] "Clearly you are not wrapped too tight",[79] "Where did you think you were coming to today, a tea party?!",[80] "I'm speaking!",[80] "If you interrupt again madam, your case is dismissed, and I'm throwing you out. Do we understand each other?",[80] "I've been in this business for over 40 years",[80] "Do I look like I need help from you?",[80] "That's a lot of who shot John",[81] "This is my playpen",[80] etc.

text: Spawning from her "Judge Judy: Justice Served" DVD, Sheindlin's regular phrases on the program have become known as "Judyisms".[82] Some of these Judyisms are intended to provide a lesson, such as "A good deed never goes unpunished", "Beauty fades, dumb is forever", "If It doesn't make sense, it's not true", "Do you know when teenagers are lying? When their mouths move."[80] Sheindlin has used the position of television arbitrator to impart guidance, direction, and life lessons not only to her litigants but her viewers and public at large. An example of guidance often stressed by Sheindlin is to be independent through employment, especially so as to not live off the government where unwarranted or other people directly where oppression from or friction with the provider may eventuate. In the former, Sheindlin can often be quoted as stating, "No, you aren't supporting yourself. Byrd and I are supporting you."[83][84] Sheindlin has stated that the main message she wants viewers to take from her program is that people must take responsibility for their actions and do the right thing.[49][85]

text: Reception[edit]

text: Nielsen Ratings by season[edit]

text: Judge Judy went on the air in September 1996. By the end of October of that year, the show was averaging only a 1.5 rating, putting it in the mid-rank of the 159 syndicated shows on the air. At that time, it was never expected that the show's ratings would ever compete with highly successful daytime TV shows of the time, such as The Oprah Winfrey Show, The Rosie O'Donnell Show and The Jerry Springer Show.[49] According to Biography's documentary film on Sheindlin, "Judge Judy: Sitting in Judgment" (aired February 21, 2000),[86] producers of Judge Judy were disappointed that the show was barely making it on the radar. However, it did not take long for the court show to pick up momentum as Judge Judy rose to a 2.1 rating by the end of that first season. By its 2nd season (1997–98), the court show had already risen into the 4 ratings ranges, averaging a 4.3.[87]

text: The 3rd season (1998–99) of Judge Judy was the show's first season as the highest-rated program in daytime television, having surpassed the highly rated Jerry Springer Show and even then daytime powerhouse The Oprah Winfrey Show for the first time[88] (King World Productions which launched Oprah was a corporate sibling of CBS Television Studios, which distributed Judge Judy): the program's ratings more than doubled to a 5.6 for that season, marking Judge Judy as an early success.[89]

text: It was due, in part, to this early success that daytime television began to feature more court programming, such as a revival of The People's Court that re-debuted in fall 1997. In 1999, Judge Judy moved from Worldvision Enterprises to Paramount Domestic Television, which also distributed her stablemate Judge Joe Brown and eventually Judge Mills Lane. Many other retired judges were given their own court shows in syndication due in large part to Sheindlin's popularity. These include Greg Mathis, Glenda Hatchett, Alex Ferrer, Maria Lopez, Karen Mills-Frances, Cristina Perez, David Young, and many others. In addition, the series helped to spawn various nontraditional court programs. These include the reality-based revival of Divorce Court, which was originally presided over by Mablean Ephriam and now helmed by Lynn Toler; the short-lived Power of Attorney, capturing various high-profile attorneys arguing cases for litigants in front of Andrew Napolitano; Street Court, which took litigation outside of the courtroom; Jury Duty, featuring an all-celebrity jury hearing cases presided over by Bruce Cutler; etc. Furthermore, the role of Judge Judy in the rise in popularity of daytime court shows enabled several other non-real life judges to preside over courts, such as Nancy Grace, Jeanine Pirro, and Gloria Allred.

text: Also, partly due to Sheindlin's popularity, the producers of The People's Court decided to replace Ed Koch with Sheindlin's husband, Jerry Sheindlin, as their presiding judge during The People's Court's 3rd present life season/15th overall season (1999–2000); this meant that husband and wife would be either part of the same afternoon lineup or competing for ratings against each other. This experiment, however, did not last long as midway through The People's Court's fourth season, Sheindlin was replaced by the show's current judge, Marilyn Milian.[89][90]

text: For its 4th season (1999–00), Judy's ratings exploded to their highest to date, peaking at a 9.3 rating. At this point, Sheindlin's courtroom series was still more than ever the highest rated program in daytime. It was also at this point that Judge Judy held a record of increasing its ratings for each successive season since its debut. Because of the program's success, Judge Judy began airing at better time periods.[89]

text: It was by the show's 5th season (2000–01) that Judy's streak of growing in ratings from season to season since its debut had ceased. However, the court show still remained the highest-rated program in daytime that season with a 5.6 rating.[57] By the 6th season (2001–02), Judy was no longer the highest-rated program in daytime, beaten out by The Oprah Winfrey Show. The court show averaged a 5.0 rating that season.[57] Likewise, for her 7th season (2002–03), she also averaged a 5.0.[57] For her 8th season (2003–04), Sheindlin finally reversed the season-to-season downward turn in her ratings by averaging a 7.1.[91] Of the seven running court shows during the 2004–05 season, most of them earned a 3.63 rating; however, Judge Judy pulled in a 7.5 rating for that season (the show's 9th).[89] For her 10th season (2005–06), Judge Judy averaged a 4.8 rating.[92] Judge Judy averaged 4.6 rating for her 11th season (2006–07). Meanwhile, other programs in the genre were trailing Sheindlin from a vast distance (as has been the case since the debut of Judge Judy): Judge Joe Brown averaged a 2.9 rating; The People's Court averaged a 2.7; Judge Mathis averaged a 2.4; Divorce Court averaged a 2.0; Judge Alex averaged 1.9; Judge Hatchett averaged a 1.5; rookies--Cristina's Court averaged a 1.4, and Judge Maria Lopez came in last, averaging a 1.0 rating.[93]

text: For its 12th season (2007–08), Judge Judy averaged a 4.8 rating (4.8 HH AA%/7.4 HH GAA% rating) and 9.9 million average daily viewers.[52] Judy was the only first-run syndication program to increase in ratings for that season from the previous, leading CBS to immediately extend her contract through the 2012–13 season.[94] For its 13th season (2008–09), the show averaged a 4.2 rating (4.2 HH AA%/6.5 HH GAA% rating) and 9.02 million average daily viewers.[95] Its 14th season (2009–10) marked the first season in nearly a decade since the 2000–01 season that any daytime television program had been able to surpass The Oprah Winfrey Show's ratings (Judge Judy is also the show in question that during the 2000–01 television season surpassed The Oprah Winfrey Show in daytime TV ratings): Judy broke Winfrey's near decade-long streak with a 4.4 rating (4.4 HH AA%/6.9 HH GAA% rating) and 9.6 million average daily viewers.[96] It was also at that point that Sheindlin's courtroom series became the highest rated show in all of daytime television programming.[97] Judy secured this title in its 15th season (2010–11) as the program remained ahead of Oprah in her [Oprah] final season and the highest-rated daytime television offering, averaging a 5.11 rating[98] and 9.6 million viewers.[99] During this season, Judy also became the highest rated show in first-run syndication.[100] Late that same season in May 2011, as a result of continued high ratings, CBS again extended Sheindlin's contract, this time through the 2014–15 season (the show's 19th).[101]

text: In the first post-Oprah television season, the court show continued its reign as the most dominant show in daytime and also became the top-rated show in syndication, its 16th season (2011–12) racking up a 7.0 rating and 9.29 million average daily viewers.[102] As the top-rated show in all of syndication at this point, Sheindlin defeated first-run syndication programs and off-network syndication programs (rerun episodes of programs off their original network).[103] The title of overall syndication leader was previously held by off-network syndicated program Two and a Half Men (2010–11) and before that, first-run syndicated program Wheel of Fortune (2009–10).[104][105]

text: For its 17th season (2012–13), Judge Judy once again pulled in a 7.0 household rating.[100][107] The series delivered 9.63 million average daily viewers that season, growing by +32,000 viewers over the prior season.[108] Despite this, Judy lost its 1st place spot as the ratings leader in all of syndication that season, descending to 2nd place, only a tad behind The Big Bang Theory (off-network syndicate) which took home a 7.1 for that season. Still and all, this was the 3rd season in a row that Judy earned the title of ratings leader in all of first-run syndication.[100] Moreover, this was the 4th consecutive season that Judy was the ratings leader in all of daytime television programming.[109] For the 18th season (2013–14), Judy rose to a 7.2 household rating and brought in 9.94 million viewers, gaining 8% over its prior season. Also for this season, the show reclaimed the title as highest rated program in all of daytime (5th consecutive time, 8th time overall) and all of syndication (3rd time).[110][111] The show's 19th season (2014–15) pulled in a 7.0 household rating and remained the highest rated program in both daytime television as well as all of syndication.[112] The 20th season (2015–16) was Judy's 3rd consecutive year as syndication's top strip, the court show averaging a 7.0 full-season household rating.[113]

text: For its 21st season (2016-17), Judge Judy trounced all of its competitors in daytime and all of syndication. The court show scored a 6.8 household rating for its 21st season.[114][115]

text: Audience makeup[edit]

text: Judge Judy's daytime audience is composed of approximately seventy-five percent women and twenty-five percent men.[47] In February 2014, it was reported that Judge Judy's audience is mostly composed of older women, blacks, and Latinos.[116]

text: Criticisms[edit]

text: Sheindlin vs. Joseph Wapner[edit]

text: Despite her widespread popularity, Sheindlin's behavior and treatment of the parties that have appeared before her has often been the subject of criticism. Regular viewers of the program have also been criticized as sadistic for their delight in watching Sheindlin engage in her typical behaviors.[117] One such example of criticism has come from the first star of arbitration-based reality court shows, Joseph Wapner. Wapner, who presided over The People's Court from 1981 to 1993, was a long-time critic of Sheindlin. On November 26, 2002, Wapner criticized Judge Judy's courtroom behavior, stating "She is not portraying a judge as I view a judge should act. Judge Judy is discourteous, and she's abrasive. She's not slightly insulting. She's insulting in capital letters."

text: Judge Judy replied through her publicist, stating, "I refuse to engage in similar mud slinging. I don't know where or by whom Judge Wapner was raised. But my parents taught me when you don't have something nice to say about someone, say nothing. Clearly, Judge Wapner was absent on the day that lesson was taught."

text: Since then, Wapner has stated, "She is a disgrace to the profession. She does things I don't think a judge should do. She tells people to shut up. She's rude. She's arrogant. She demeans people. If she does this on purpose, then that's even worse. Judges need to observe certain standards of conduct. She just doesn't do it and I resent that. The public is apt to gain the impression that this is how actual judges conduct themselves. It says 'judge' on the nameplate on the bench and she's wearing a robe."[118]

text: Sheindlin has since stated, "As a young person, when I had watched The People's Court. . . I said 'you know what, I could do that.' And at least as well because while Joe Wapner is a very good judge, [he] didn't have much of a sense of humor. And I always knew from a very practical perspective that you have to marry those two things in order to be successful in entertainment."[20]

text: In a November 2013 interview with Larry King, Sheindlin was asked whether she enjoyed watching Wapner on The People's Court. She replied, "Meh! Oatmeal!" Following this, King asked her what if any other television judges then did she enjoy, to which Sheindlin answered "Mills Lane" of Judge Mills Lane.[119]

text: Acclaim[edit]

text: In a September 2014 Rickey Smiley Morning Show interview, Judge Mathis was asked what 3 other court show judges he'd most enjoy sharing a meal with. For his first choice, he answered (laughing) "Are you kidding?! It would be Judge Judy at the head of the table. Oh my goodness, that Judge Judy is something else." His second choice was Judge Marilyn Milian, and third Judge Mills Lane.[120]

text: In August, 2010, rapper, singer and songwriter Nicki Minaj stated that she has an obsession with Judge Judy and that all of her free time is spent watching the program.[121]

text: In February 2013, then head Football coach for the San Francisco 49ers, Jim Harbaugh, was asked about the importance of truthfulness and enthusiastically remarked, "Somebody that's not truthful? That's big to me. I'm a big fan of the "Judge Judy" show. When you lie in Judge Judy's courtroom, it's over. Your credibility is completely lost, and you stand no chance of winning that case. So I learned that from her. It's very powerful and true. If somebody lies to you, how can you trust anything they ever say after that?"[122][123][124][125]

text: A couple months later, Harbaugh would even attend tapings of Judge Judy along with his father as audience members. As part of the experience, Harbaugh and his father had lunch with Sheindlin and visited with her both before and after tapings. After meeting Sheindlin and seeing cases in person, Harbaugh stated, "I've never seen Judy adjudicate one improperly. She is so smart. She is so good. I could sit there and watch those cases all day. I really could. It's fun to watch somebody that does their job well. I could watch Judge Judy do cases all day. I could watch people play football who do their job really well. People who direct traffic. I get a real kick out of watching people who direct traffic do it. I've done it for hours. I like football the most, but Judge Judy is right up there. She's the best."[122][123]

text: Brad Adgate, senior vice president of research for Horizon Media, said "Judge Judy is the new Oprah of daytime TV-actually, she was [already] beating Oprah while Oprah was still on."[12]

text: President and CEO of CBS, Leslie Moonves, stated "Over the last few decades, there have been very few shows that have achieved the remarkable success that she has. Not only has Judy sustained that success year after year, how many shows grow in their 15th or 16th year in syndication? She started as a fresh voice and she's been a remarkable presence in daytime television ever since."[126]

text: Many regular viewers and supporters of Judge Judy have defended Sheindlin's treatment of the parties that have appeared before her by describing the parties as an "endless parade of idiots" that Sheindlin has had to put up with.[127][128][129]

text: Lawsuits involving Sheindlin, executive producer, Big Ticket, and CBS[edit]

text: Judge Judy executive producer Randy Douthit has been sued twice by former staff members of the Judge Judy program for alleged wrongful termination, discriminatory practice, and mismanagement while on the job.

text: Racism termination lawsuit[edit]

text: In December 2007, Jonathan Sebastien, a former producer of the Judge Judy show of 7 years, filed a lawsuit against the production company in L.A. County Superior Court for wrongful termination. Sebastien claimed that when he proposed certain cases for the show involving black litigants, Douthit turned them down with his alleged reasons being he didn't want to see any more black people; their behaviors were too ghetto and more suited for then active television jurist Joe Brown; and they needed more pretty, upscale white people. Sebastien claimed that in January 2007, he objected to the alleged discrimination in a meeting and was verbally abused by Douthit. Three months later on March 30, Sebastien stated he was fired with the reason given that rating numbers were down. Sebastien claimed that the real reason he was fired was because he opposed his boss's alleged "discriminatory selection process."[130][131]

text: Ageism lawsuit[edit]

text: That same day in December 2007, the show's former associate producer Karen Needle was also fired. She later sued Douthit, claiming that she was wrongfully terminated because she was too old, 64 at the time. Sheindlin was not named as a defendant. Needle, who helped book audiences for the program, stated the reason she was given for being fired was "unspecified conflict from her audience work." Needle said she began suffering from back pain, sometimes even resorting to lying on the ground in pain, and when she asked her bosses for a new chair, nothing was done. According to the complaint, two weeks before Needle was fired, she took off four days to assist her ailing 88-year-old mother. Needle stated, "There is a lot of terrible stuff going on if two people file separate lawsuits. It's a toxic situation over there. This is supposed to be Judge Judy, the voice of justice, and yet her own staff isn't treated well. What is she getting paid all that money for if her own staff is treated with such little decency?"[131]

text: Conspiracy/fraud allegations[edit]

text: In March 2013, a lawsuit was filed against Sheindlin by Patric Jones, the estranged wife of Douthit. Jones alleged Douthit and Sheindlin had conspired to permit Sheindlin to buy Christofle fine china and Marley cutlery owned by Jones. She said Sheindlin had paid Douthit $50,815 for the items without her knowledge to deprive her of her valuables,[132] and she sought $514,421 from Sheindlin. The suit ended after Sheindlin returned the tableware to Douthit and Jones agreed to pay Douthit $12,500 and have the tableware handed back to her.[133]

text: Lawsuit by production against YouTube user[edit]

text: On October 17, 2013, Big Ticket Television and producers of Judge Judy  filed a lawsuit against Ignacio De Los Angeles. The suit was made against the individual for posting an episode of Judge Judy on YouTube. According to the suit, Big Ticket directed Ignacio to remove the 2006 episode of Judge Judy that he had posted. Ignacio ignored the command.[134][135]

text: Copyright lawsuit filed by Judy Sheindlin[edit]

text: On Wednesday, March 12, 2014, Sheindlin filed a lawsuit of her own for the first time in her life. The suit was filed against Hartford, Connecticut, personal injury lawyer John Haymond and his law firm. In the lawsuit, Sheindlin accused Haymond and his firm of using her television image without consent in advertisements that falsely suggested she endorsed him and his firm. In March 2013, Sheindlin's producer allegedly told the firm that the use of her image was not permitted, but ads continued. The lawsuit filed in federal court sought more than $75,000 in damages. Sheindlin said in her statement that any money she wins through the lawsuit will go toward college scholarships through the Her Honor Mentoring Program. Sheindlin described the unauthorized use of her name as "outrageous", stating, "Mr. Haymond is a lawyer and should know better."[136][137][138] Haymond later filed a countersuit for punitive damages and attorney's fees, alleging defamation of him and his firm by Sheindlin.[139] Haymond insisted that local affiliates asked him to appear in Judge Judy promos to promote Sheindlin for which he obliged.[140][141] On August 8, 2014, it was reported that the case between Sheindlin and Haymond settled out of court in a resolution that favored Sheindlin. Haymond will be donating money to Sheindlin's charity, Her Honor Mentoring Program.[142]

text: Lawsuit by Rebel Entertainment aimed at CBS and Sheindlin's salary[edit]

text: On March 14, 2016, talent agency Rebel Entertainment and its president, Richard Lawrence, filed a multimillion-dollar lawsuit against CBS Television, claiming the media giant failed to pay the agency millions of dollars in profits. Rebel claims they are owed profits and contractually agreed to for their contributions to launching the program and discovering Sheindlin through their terminated employees Kaye Switzer and Sandi Spreckman. The lawsuit alleges CBS hasn’t paid Rebel for the past six years because CBS told them the net profits that go to “Judge Judy” have been wiped out due to Sheindlin’s annual salary boost to $45 and then $47 million. The lawsuit goes on to attack Sheindlin's salary as being far too high. Rebel described it as "exorbitant" and "grossly inconsistent with customary practice in the television industry," that similarly successful talk show hosts aren't paid nearly as much. Further, Rebel claims they were to be consulted before any spin-offs of the show were produced, but were not when Hot Bench (another courtroom arbitrated show launched by Sheindlin and her producers) was created.[143][144] In response to the lawsuit, Sheindlin has stated:

text: When Sheindlin was deposed for this case in the summer of 2016, she matter-of-factly let CBS know as follows: “CBS had no choice but to pay me what I wanted because otherwise I could take it wherever I wanted to take it or do it myself. Their back’s to the wall. They pay me the money that they do because they have no choice. They can’t find another one.” This case, which seeks widespread unspecified damages, is ongoing and faces a March 2018 trial start.[145]

text: In a April 2018 verdict on this case, Los Angeles Superior Court Judge Joanne O'Donnell found that Sheindlin is not grossly overpaid and that her salary does not constitute a breach of contract, rather her salary is as result of the "resounding success of her program and without its namesake star would not continue." In another motion however, Judge O'Donnell ruled in Lawrence's favor that it was a breach of contract for the Defendants to have failed to consult him before launching "spin-off" series Hot Bench. Dissatisfied with being granted one part of their motion while denied the other, attorney for Richard Lawrence, Bryan Freedman, has revealed that the Plaintiffs intend on appealing Judge O'Donnell's verdict. Freedman is quoted as stating, "As for admitting and then ignoring Rebel’s uncontroverted expert opinion evidence that frontloading the 45 million dollar salary of Ms. Sheindlin was not consistent with the United States television industry, the court committed a reversible error. That issue will be decided by the court of appeal."[146]

text: Lawsuit by Kaye Switzer and trust of Sandi Spreckman against Sheindlin, CBS and Big Ticket[edit]

text: On Friday, January 19, 2018, a breach-of-contract lawsuit—similar and loosely related to the case filed by Rebel Entertainment—was filed in the Los Angeles Superior Court against Sheindlin, CBS Corporation, CBS Studios and Big Ticket Television by Kaye Switzer and the trust of the now deceased Sandi Spreckman (copy of the lawsuit here).  Switzer and Sandi Spreckman are former employees of Rebel Entertainment, terminated by the employer. Switzer and Spreckman’s trustee, Jay Robinson, claim they discovered and introduced Sheindlin to producer Larry Little, asserting that if not for this move that there would be no Judge Judy and thus they are owed monetary royalties. The lawsuit also states that Sheindlin sold "The Judge Judy Library" to CBS Television Distribution for a sales price of over $95,000,000 to the House of Leslie Moonves. Switzer and the Spreckman's trustee contend that they were not paid any monetary rewards by Sheindlin, CBS or Big Ticket in this transaction.[147] It's important to note that the two women have a long history of filing lawsuits over the same matter against Sheindlin and her Judge Judy business partners dating back to the year 2000.[148]

text: Not taking the lawsuit as a concern, Sheindlin was quoted as regarding the subject of "Who is owed what as just background noise," and that the monster success of her show came from nothing more than the sweat of her brow and the force of her personality. Sheindlin was also quoted as stating she has "fond feelings of Kaye and Sandi" but that they were fired before her show ever started and that she personally never entered into a contract with either of them.[149]


document_title: The Iron Giant

question_text: who does vin diesel play in the iron giant

root

text: The Iron Giant

text: Plot[edit]

text: Shortly after the Soviet Union launches Sputnik 1 in October 1957, an object from space crashes in the ocean just off the coast of Maine, then enters the forest near Rockwell, Maine. Nine-year-old Hogarth Hughes investigates and finds a giant robot attempting to eat the transmission lines of an electrical substation. Hogarth eventually befriends the Giant, finding it docile and curious. When it eats railroad tracks in the path of an oncoming train, the train collides with it and derails. Hogarth leads the Giant away from the scene and discovers that it can self-repair. Hogarth hides it in his family barn. After dinner with his widowed mother, Annie, Hogarth reads comics to the Giant. It is impressed with the adventures of Superman, but disturbed by how the villainous "Atomo the Metal Menace" is depicted. Hogarth calms the Giant, telling it "you are who you choose to be."

tag: p

text: The incidents lead U.S. government agent Kent Mansley to Rockwell. He discovers evidence of Hogarth's involvement and rents a room in their house to keep watch on him. Hogarth evades Kent and moves the Giant to a junkyard owned by beatnik artist Dean McCoppin, where they pretend the Giant is one of Dean's art pieces. When the cowardly and paranoid Kent brings a U.S. Army contingent led by General Shannon Rogard to the scrapyard to 'prove' the Giant's existence, Rogard is enraged by the apparent false alarm and prepares to leave with his forces after berating Kent on his antics.

text: Hogarth enjoys his time with the Giant but is forced to explain "death" after witnessing hunters killing a deer. One day, Hogarth inadvertently activates the Giant's defensive system. Dean rescues him before the Giant attacks. The Giant calms, but Dean orders it away for Hogarth's safety, but Hogarth gives chase. Dean realizes the Giant was acting in self-defense and catches up to Hogarth as they follow the Giant.

text: The Giant saves two boys falling from a roof when it arrives, winning over the townspeople. Kent convinces Rogard to return to Rockwell when he spots the Giant in the town; the Army attacks the Giant after he had picked up Hogarth, forcing the two to flee together. When they fall off a cliff while escaping, the Giant's old flight system activates, to their surprise. However, the Giant is shot down and crashes to the ground. Hogarth is knocked unconscious, but the Giant, thinking Hogarth dead, transforms into a war machine in grief and retaliates, forcing its way back to Rockwell. Kent then convinces Rogard to prepare a nuclear missile launch from USS Nautilus, as conventional weapons prove ineffective. Dean and Annie revive Hogarth, who returns in time to calm the Giant while Dean clarifies the situation to Rogard. The General is ready to stand down when Kent impulsively orders the missile launch. A furious Rogard reminds Kent that the missile is locked onto the Giant's current position; in the center of the town. They will all die in the blast. Kent attempts to escape, but the Giant stops him and Rogard has him detained. Hogarth explains to the Giant what will happen when the missile strikes. The Giant bids farewell to Hogarth and flies off to intercept the missile, remembering Hogarth's words about being who one chooses to be. Just before impact, it says "Superman" in reply. The missile explodes in the atmosphere, saving Rockwell, its population, and the military forces nearby but destroys the Giant, devastating Hogarth.

text: Months later, a memorial of the Giant stands in Rockwell, and Dean and Annie are starting a relationship. Hogarth is given a package from Rogard, containing a bolt from the Giant; the only remnant ever found. That night, Hogarth finds the bolt trying to move on its own and happily allows it to leave. The bolt joins many other parts as they converge on the Giant's head on the Langjökull glacier in Iceland. The Giant's head activates, and he smiles as he begins reassembling himself.

text: Cast[edit]

text:
Eli Marienthal as Hogarth Hughes, an intelligent, energetic and curious 9-year-old boy with an active imagination. Marienthal's performances were videotaped and given to animators to work with, which helped develop expressions and acting for the character.[9]
Vin Diesel as The Iron Giant, a fifty-foot, metal-eating robot.[10] Created for an unknown purpose, the Giant involuntarily reacts defensively if he recognizes anything as a weapon, immediately attempting to destroy it. The Giant's voice was originally to be electronically modulated but the filmmakers decided they "needed a deep, resonant and expressive voice to start with," so they hired Vin Diesel.[11]
Christopher McDonald as Kent Mansley, a government agent sent to investigate sightings of the Iron Giant. The logo on his official government car says he is from the "Bureau of Unexplained Phenomena".
Harry Connick, Jr. as Dean McCoppin, a beatnik artist and junkyard owner. Bird felt it appropriate to make the character a member of the beat generation, as they were viewed as mildly threatening to small-town values during that time. An outsider himself, he is among the first to recognize the Giant as no threat.[12]
Jennifer Aniston as Annie Hughes, the widow of a military pilot and Hogarth's mother.
John Mahoney as General Shannon Rogard,[10] an experienced and levelheaded military leader in Washington, D.C. who strongly dislikes Mansley.
M. Emmet Walsh as Earl Stutz, a sailor and the first man to see the robot.
James Gammon as Marv Loach, a foreman who follows the robot's trail after it destroys the power station.

James Gammon also voices Floyd Toubeaux

Cloris Leachman as Mrs. Karen Tensedge, Hogarth's schoolteacher
Ollie Johnston and Frank Thomas as the train engineers. Johnston and Thomas were animators and members of Disney's Nine Old Men. Bird cited them as inspirations for his career and incorporated their voices and likenesses into the film.[12]

tag: ul

text: Production[edit]

text: Development[edit]

text: The origins of the film lie in the book The Iron Man (1968), by poet Ted Hughes, who wrote the novel for his children. In the 1980s, rock musician Pete Townshend chose to adapt the book for a concept album; it was released as The Iron Man: A Musical in 1989.[11] In 1991, Richard Bazley, who later became the film's lead animator, pitched a version of The Iron Man to Don Bluth while working at his studio in Ireland. He created a story outline and character designs but Bluth passed on the project.[9] After a stage musical was mounted in London, Des McAnuff, who had adapted Tommy with Townshend for the stage, believed that The Iron Man could translate to the screen, and the project was ultimately acquired by Warner Bros. Entertainment.[11]

text: In late 1996, while developing the project on its way through, the studio saw the film as a perfect vehicle for Brad Bird, who at the time was working for Turner Feature Animation developing Ray Gunn.[11] Turner Entertainment had recently merged with Warner Bros. parent company Time Warner, and Bird was allowed to transfer to the Warner Bros. Animation studio to direct The Iron Giant.[11] After reading the original Iron Man book by Hughes, Bird was impressed with the mythology of the story and in addition, was given an unusual amount of creative control by Warner Bros.[11] This creative control involved introducing two new characters not present in the original book, Dean and Kent, setting the film in America, and discarding Townshend's musical ambitions (who did not care either way, reportedly remarking, "Well, whatever, I got paid").[13][14] Bird's pitch to Warner Bros. was based around the idea "What if a gun had a soul?"[15] He expanded upon his desire to set the film in America in the 1950s in a later interview:

text: The Maine setting looks Norman Rockwell idyllic on the outside, but inside everything is just about to boil over; everyone was scared of the bomb, the Russians, Sputnik —even rock and roll. This clenched Ward Cleaver smile masking fear (which is really what the Kent character was all about). It was the perfect environment to drop a 50-foot-tall robot into.[14]

text: Bird's sister, Susan, was shot and killed by her estranged husband before the film's story was completed. This motivated Bird to emphasize the anti-gun message of the film and the moralistic quote by Dean: "You are who you choose to be."[citation needed] The film was dedicated to Susan's memory.

text: Ted Hughes, the original story's author, died before the film's release. His daughter, Frieda Hughes, did see the finished film on his behalf and loved it. Pete Townshend, who this project originally started with, enjoyed the final film as well.[16]

text: Writing[edit]

text: Tim McCanlies was hired to write the script, though Bird was somewhat displeased with having another writer on board, as he wanted to write the screenplay himself.[13] He later changed his mind after reading McCanlies' then-unproduced screenplay for Secondhand Lions.[11] In Bird's original story treatment, America and the USSR were at war at the end, with the Giant dying. McCanlies decided to have a brief scene displaying his survival, stating, "You can't kill E.T. and then not bring him back." McCanlies finished the script within two months. McCanlies was given a three-month schedule to complete a script, and it was by way of the film's tight schedule that Warner Bros. "didn't have time to mess with us" as McCanlies said.[17] The question of the Giant's backstory was purposefully ignored as to keep the story focused on his relationship with Hogarth.[18] Bird considered the story difficult to develop due to its combination of unusual elements, such as "paranoid fifties sci-fi movies with the innocence of something like The Yearling."[14] Hughes himself was sent a copy of McCanlies' script and sent a letter back, saying how pleased he was with the version. In the letter, Hughes stated, "I want to tell you how much I like what Brad Bird has done. He’s made something all of a piece, with terrific sinister gathering momentum and the ending came to me as a glorious piece of amazement. He’s made a terrific dramatic situation out of the way he’s developed The Iron Giant. I can’t stop thinking about it."[11]

text: Bird combined his knowledge from his years in television to direct his first feature. He credited his time working on Family Dog as essential to team-building, and his tenure on The Simpsons as an example of working under strict deadlines.[14] He was open to others on his staff to help develop the film; he would often ask crew members their opinions on scenes and change things accordingly.[19] One of his priorities was to emphasize softer, character-based moments, as opposed to more frenetic scenes—something Bird thought was a problem with modern filmmaking. "There has to be activity or sound effects or cuts or music blaring. It's almost as if the audience has the remote and they're going to change channels," he commented at the time.[18] Storyboard artist Teddy Newton played an important role in shaping the film's story. Newton's first assignment on staff involved being asked by Bird to create a film within a film to reflect the "hygiene-type movies that everyone saw when the bomb scare was happening." Newton came to the conclusion that a musical number would be the catchiest alternative, and the "Duck and Cover sequence" came to become one of the crew members' favorites of the film.[20] Nicknamed "The X-Factor" by story department head Jeffery Lynch, the producers gave him artistic freedom on various pieces of the film's script.[21]

text: Animation[edit]

text: The financial failure of Warner's previous animated effort, Quest for Camelot, which made the studio reconsider animated films, helped shape The Iron Giant's production considerably. "Three-quarters" of the animation team on that team helped craft The Iron Giant.[18] By the time it entered production, Warner Bros. informed the staff that there would be a smaller budget as well as time-frame to get the film completed. Although the production was watched closely, Bird commented "They did leave us alone if we kept it in control and showed them we were producing the film responsibly and getting it done on time and doing stuff that was good." Bird regarded the trade-off as having "one-third of the money of a Disney or DreamWorks film, and half of the production schedule," but the payoff as having more creative freedom, describing the film as "fully-made by the animation team; I don't think any other studio can say that to the level that we can."[18] A small part of the team took a weeklong research trip to Maine, where they photographed and videotaped five small cities. They hoped to accurately reflect its culture down to the minutiae; "we shot store fronts, barns, forests, homes, home interiors, diners, every detail we could, including the bark on trees," said production designer Mark Whiting.[22]

text: Bird stuck to elaborate scene planning, such as detailed animatics, to make sure there were no budgetary concerns.[18] The team initially worked with Macromedia's Director software, before switching to Adobe After Effects full-time. Bird was eager to use the then-nascent software, as it allowed for storyboard to contain indications of camera moves. The software became essential to that team—dubbed "Macro" early on—to help the studio grasp story reels for the film. These also allowed Bird to better understand what the film required from an editing perspective. In the end, he was proud of the way the film was developed, noting that "We could imagine the pace and the unfolding of our film accurately with a relatively small expenditure of resources."[23] The group would gather in a screening room to view completed sequences, with Bird offering suggestions by drawing onto the screen with a marker. Lead animator Bazley suggested this led to a sense of camaraderie among the crew, who were unified in their mission to create a good film.[9] Bird cited his favorite moment of the film's production as occurring in the editing room, when the crew gathered to test a sequence in which the Giant learns what a soul is. "People in the room were spontaneously crying. It was pivotal; there was an undeniable feeling that we were really tapping into something," he recalled.[14]

text: He opted to give the film's animators portions to animate entirely, rather than the standard process of animating one character, in a throwback to the way Disney's first features were created.[19][24] The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object "in a fluid-like manner."[11] They had additional trouble with using the computer model to express emotion.[19] The Giant was designed by filmmaker Joe Johnston (best known for designing the Star Wars trilogy), which was refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant.[18] Using software, the team would animate the Giant "on twos" (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model.[18] Bird brought in students from CalArts to assist in minor animation work due to the film's busy schedule. He made sure to spread out the work on scenes between experienced and younger animators, noting, "You overburden your strongest people and underburden the others [if you let your top talent monopolize the best assignments]."[19] Hiroki Itokazu designed all of the film's CGI props and vehicles, which were created in a variety of software, including Alias Systems Corporation's Maya, Alias' PowerAnimator, a modified version of Pixar's RenderMan, Cambridge Animation's Animo (now part of Toon Boom Animation), Avid Elastic Reality, and Adobe Photoshop.[25]

text: The art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Whiting strove for colors both evocative of the time period in which the film is set and also representative of its emotional tone; for example, Hogarth's room is designed to reflect his "youth and sense of wonder."[22] That was blended with a style reminiscent of 1950s illustration. Animators studied Chuck Jones, Hank Ketcham, Al Hirschfeld and Disney films from that era, such as 101 Dalmatians, for inspiration in the film's animation.[24]

text: Music[edit]

text: The score for the film was composed and conducted by Michael Kamen. Bird's original temp score, "a collection of Bernard Herrmann cues from '50s and '60s sci-fi films," initially scared Kamen.[26] Believing the sound of the orchestra is important to the feeling of the film, Kamen "decided to comb eastern Europe for an "old-fashioned" sounding orchestra and went to Prague to hear Vladimir Ashkenazy conduct the Czech Philharmonic in Strauss's An Alpine Symphony." Eventually, the Czech Philharmonic was the orchestra used for the film's score, with Bird describing the symphony orchestra as "an amazing collection of musicians."[27] The score for The Iron Giant was recorded in a rather unconventional manner, compared to most films: recorded over one week at the Rudolfinum in Prague, the music was recorded without conventional uses of syncing the music, in a method Kamen described in a 1999 interview as "[being able to] play the music as if it were a piece of classical repertoire."[26] Kamen's score for The Iron Giant won the Annie Award for Music in an Animated Feature Production on November 6, 1999.[28]

text: Post-production[edit]

text: Bird opted to produce The Iron Giant in widescreen—specifically the wide 2.39:1 CinemaScope aspect ratio—but was warned against doing so by his advisers. He felt it was appropriate to use the format, as many films from the late 1950s were produced in such widescreen formats.[29] He hoped to include the CinemaScope logo on a poster, partially as a joke, but 20th Century Fox, owner of the trademark, refused.[30]

text: Bird later recalled that he clashed with executives who wished to add characters, such as a sidekick dog, set the film in the present day, and include a soundtrack of hip hop.[31] This was due to concerns that the film was not merchandisable, to which Bird responded, "If they were interested in telling the story, they should let it be what it wants to be."[18] The film was also initially going to released under the Warner Bros. Family Entertainment banner, the logo for which featured mascot Bugs Bunny in a tuxedo. Bird was against this for a multitude of reasons, and eventually got confirmation that executives Bob Daley and Terry Semel agreed. Instead, Bird and his team developed another version of the logo to resemble the classic studio logo in a circle, famously employed in Looney Tunes shorts.[31] He credited executives Lorenzo di Bonaventura and Courtney Vallenti with helping him achieve his vision, noting that they were open to his opinion.[18]

text: According to a report from the time of its release, The Iron Giant cost $50 million to produce with an additional $30 million going towards marketing,[4] though Box Office Mojo later calculated its budget as $70 million.[3] It was regarded as a lower-budget film, in comparison to the films distributed by Walt Disney Pictures.[32]

text: Themes[edit]

text: The Iron Giant primarily deals with the concept of existentialism, as well as the nature of humanity. This is exemplified when Hogarth says to the Giant "You are who you choose to be". McCanlies commented that "At a certain point, there are deciding moments when we pick who we want to be. And that plays out for the rest of your life." McCanlies added that films can provide viewers with a sense of right and wrong, and expressed a wish that The Iron Giant would "make us feel like we're all part of humanity [which] is something we need to feel."[17] When some critics compared the film to E.T.: The Extra-Terrestrial (1982), Bird responded by saying "E.T. doesn't go kicking ass. He doesn't make the Army pay. Certainly you risk having your hip credentials taken away if you want to evoke anything sad or genuinely heartfelt."[29]

text: Release[edit]

text: Marketing[edit]

text:
"We had toy people and all of that kind of material ready to go, but all of that takes a year! Burger King and the like wanted to be involved. In April we showed them the movie, and we were on time. They said, "You'll never be ready on time." No, we were ready on time. We showed it to them in April and they said, "We'll put it out in a couple of months." That's a major studio, they have 30 movies a year, and they just throw them off the dock and see if they either sink or swim, because they've got the next one in right behind it. After they saw the reviews they [Warner Bros.] were a little shamefaced."

— Writer Tim McCanlies on Warner Bros.' marketing approach[13]

tag: table

text: The Iron Giant was a commercial failure during its theatrical release, resulting from poor promotion from Warner Bros. This was largely attributable to the reception of Quest for Camelot; after its release, Warner would not give Bird and his team a release date for their film until April 1999.[33] After wildly successful test screenings, the studio was shocked by the response: the test scores were their highest for a film in 15 years, according to Bird.[14] They had neglected to prepare a successful marketing strategy for the film—such as cereal and fast food tie-ins—with little time left before its scheduled release. Bird remembered that the studio produced only one teaser poster for the film, which became its eventual poster.[31] Brad Ball, who had been assigned the role of marketing the film, was candid after its release, noting that the studio did not commit to a planned Burger King toy plan.[34] In an interview with IGN, Bird stated that it was "a mis-marketing campaign of epic proportions at the hands of Warner Bros., they simply didn't realize what they had on their hands."[35]

text: The studio needed an $8 million opening to ensure success, but they were unable to properly promote it preceding the release. They nearly delayed the film by several months to better prepare. "They said, 'we should delay it and properly lead up to its release,' and I said 'you guys have had two and a half years to get ready for this,'" recalled Bird.[31] Press outlets took note of its absence of marketing,[36] with some reporting that the studio had spent more money on marketing for the intended summer blockbuster Wild Wild West instead.[19][33] Warner Bros. scheduled Sunday sneak preview screenings for the film prior to its release,[37] as well as a preview of the film on the online platform Webcastsneak.[38]

text: Box office[edit]

text: The Iron Giant opened at Mann's Chinese Theater in Los Angeles on July 31, 1999, with a special ceremony preceding the screening in which a concrete slab bearing the title character's footprint was commemorated.[39] The film opened in Los Angeles and New York on August 4, 1999,[38] with a wider national release occurring on August 6 in the United States. It opened in 2,179 theaters in the U.S., ranking at number nine at the box office accumulating $5,732,614 over its opening weekend.[40] It was quick to drop out of the top ten; by its fourth week, it had accumulated only $18.9 million—far under its reported $70 million budget.[3][40] According to Dave McNary of the Los Angeles Daily News, "Its weekend per-theater average was only $2,631, an average of $145 or perhaps 30 tickets per showing"—leading theater owners to quickly discard the film.[37] At the time, Warner Bros. was shaken by the resignations of executives Bob Daly and Terry Semel, making the failure much worse.[37] T.L. Stanley of Brandweek cited it as an example of how media tie-ins were now essential to guaranteeing a film's success.[4]

text: The film went on to gross $23,159,305 domestically and $8,174,612 internationally for a total of $31,333,917 worldwide.[3][5] Analysts deemed it a victim of poor timing and "a severe miscalculation of how to attract an audience."[37] Lorenzo di Bonaventura, president of Warner Bros. at the time, explained, "People always say to me, 'Why don't you make smarter family movies?' The lesson is, Every time you do, you get slaughtered."[41]

text: Home media and television syndication[edit]

text: Stung by criticism that it mounted an ineffective marketing campaign for its theatrical release, Warner Bros. revamped its advertising strategy for the video release of the film, including tie-ins with Honey Nut Cheerios, AOL and General Motors[42] and secured the backing of three U.S. congressmen (Ed Markey, Mark Foley and Howard Berman).[43] Awareness of the film was increased by its February 2000 release as a pay-per-view title, which also increased traffic to the film's web site.[44]

text: The Iron Giant was released on VHS and DVD on November 23, 1999,[30] with a laserdisc release following on December 6. The VHS edition came in three versions—pan and scan, pan and scan with an affixed Giant toy to the clamshell case, and a widescreen version. All of the initial widescreen home video releases were in 1.85:1, the incorrect aspect ratio for the film.[30] In 2000, television rights to the film were sold to Cartoon Network and TNT for three million dollars. Cartoon Network showed the film continuously for 24 consecutive hours in the early 2000s for such holidays as the Fourth of July and Thanksgiving.[45][46]

text: The Special Edition DVD was released on November 16, 2004.[47] In 2014, Bird entered discussions with Warner Bros. regarding the possibility of releasing The Iron Giant on Blu-ray. On April 23, he wrote on Twitter that "WB & I have been talking. But they want a bare-bones disc. I want better," and encouraged fans to send tweets to Warner Bros. Home Entertainment in favor of a Special Edition Blu-ray of the film.[48] On September 6, 2016, the film was released on Blu-ray for the first time, titled the Signature Edition.

text: Reception[edit]

text: Critical response[edit]

text: The Iron Giant received widespread critical acclaim.[49] Based on 135 reviews collected by the review aggregate website Rotten Tomatoes, The Iron Giant received an overall 96% approval rating; the average score is 8.2/10. The consensus reads: "The endearing Iron Giant tackles ambitious topics and complex human relationships with a steady hand and beautifully animated direction from Brad Bird."[50] On Metacritic, the film achieved an average score of 85 out of 100 based on 27 reviews, signifying "universal acclaim".[51] In addition to its response from film critics, CinemaScore reported that audiences gave the film an "A" grade.[52] The Reel Source forecasting service calculated that "96–97%" of audiences that attended recommended the film.[37] As of 2015, Rotten Tomatoes ranks it the third most positively reviewed animated film made in the 1990s.[53]

text: Kenneth Turan of the Los Angeles Times called it "straight-arrow and subversive, [and] made with simplicity as well as sophistication," writing, "it feels like a classic even though it's just out of the box."[54] Roger Ebert of the Chicago Sun-Times compared it, both in story and animation, to the works of Japanese director Hayao Miyazaki, summarizing the film as "not just a cute romp but an involving story that has something to say."[55] The New Yorker reviewer Michael Sragow dubbed it a "modern fairy tale," writing, "The movie provides a master class in the use of scale and perspective—and in its power to open up a viewer’s heart and mind."[56] Time's Richard Schickel deemed it "a smart live-and-let-live parable, full of glancing, acute observations on all kinds of big subjects—life, death, the military-industrial complex."[57] Lawrence Van Gelder, writing for The New York Times, deemed it a "smooth, skilled example of animated filmmaking."[58] Joe Morgenstern of The Wall Street Journal felt it "beautiful, oh so beautiful, as a work of coherent art," noting, "be assured that the film is, before anything else, deliciously funny and deeply affecting."[59]

text: Both Hollywood trade publications were positive: David Hunter of The Hollywood Reporter predicted it to be a sleeper hit and called it "outstanding,"[60] while Lael Loewenstein of Variety called it "a visually appealing, well-crafted film [...] an unalloyed success."[61] Bruce Fretts of Entertainment Weekly commented, "I have long thought that I was born without the gene that would allow me to be emotionally drawn in by drawings. That is, until I saw The Iron Giant."[52] Peter Stack of the San Francisco Chronicle agreed that the storytelling was far superior to other animated films, and cited the characters as plausible and noted the richness of moral themes.[62] Jeff Millar of the Houston Chronicle agreed with the basic techniques as well, and concluded the voice cast excelled with a great script by Tim McCanlies.[63] Amid the positive reviews, a mildly negative review came from The Washington Post's Stephen Hunter, who opined, "The movie — as beautifully drawn, as sleek and engaging as it is — has the annoyance of incredible smugness."[64]

text: WatchMojo.com ranked The Iron Giant number 6 on its Top 10 Animated Movies of the 1990s.[65]

text: Accolades[edit]

text: The Hugo Awards nominated The Iron Giant for Best Dramatic Presentation,[66] while the Science Fiction and Fantasy Writers of America honored Brad Bird and Tim McCanlies with the Nebula Award nomination.[67] The British Academy of Film and Television Arts gave the film a Children's Award as Best Feature Film.[68] In addition The Iron Giant won nine Annie Awards and was nominated for another six categories,[69] with another nomination for Best Home Video Release at The Saturn Awards.[70] IGN ranked The Iron Giant as the fifth favorite animated film of all time in a list published in 2010.[71] In 2008, the American Film Institute nominated The Iron Giant for its Top 10 Animated Films list.[72]

text:
Awards

Award
Date of ceremony
Category
Recipients and nominees
Result

Annie Awards
November 6, 1999
Best Animated Feature Film
Allison Abbate, Des McAnuff, and John Walker
Warner Bros. Pictures; Warner Bros. Feature Animation
Won

Outstanding Individual Achievement in Effects Animation
Allen Foster

Michel Gagné
Nominated

Outstanding Individual Achievement in Character Animation
Jim Van der Keyl

Steve Markowski
Won

Dean Wellins
Nominated

Outstanding Individual Achievement for Directing in an Animated Feature Production
Brad Bird
Won

Outstanding Individual Achievement for Music in an Animated Feature Production
Michael Kamen

Outstanding Individual Achievement for Production Design in an Animated Feature Production
Alan Bodner

Mark Whiting
Nominated

Outstanding Individual Achievement in Storyboarding in an Animated Feature Production
Mark Andrews
Won

Kevin O'Brien
Nominated

Dean Wellins

Outstanding Individual Achievement for Voice Acting in an Animated Feature Production
Eli Marienthal
For playing "Hogarth Hughes".
Won

Outstanding Individual Achievement for Writing in an Animated Feature Production
Tim McCanlies (screenplay) and Brad Bird (story)

BAFTA Children's Award
April 9, 2000
Best Feature Film
Brad Bird, Allison Abbate, Des McAnuff, and Tim McCanlies

Florida Film Critics Circle
January 9, 2000
Best Animated Film
Brad Bird
Won

Genesis Awards
March 18, 2000
Best Feature Film - Animated

Hugo Award
September 2, 2000
Best Dramatic Presentation
Brad Bird (screen story and directed by), Tim McCanlies (screenplay by), and Ted Hughes (based on the book The Iron Man by)
Nominated

Las Vegas Film Critics Society
January 18, 2000
Best Animated Film

Won

Los Angeles Film Critics Association
January 20, 2000
Best Animated Film
Brad Bird

Motion Picture Sound Editors Awards
March 25, 2000
Best Sound Editing - Animated Feature

Best Sound Editing - Music - Animation

Nominated

New York Film Critics Circle
January 10, 2000
Best Animated Film

2nd place

Santa Fe Film Critics Circle Awards
January 9, 2000
Best Animated Film

Won

Saturn Awards
June 6, 2000
Best Home Video Release

Nominated

Science Fiction and Fantasy Writers of America
May 20, 2000
Best Script
Brad Bird and Tim McCanlies

Young Artist Awards
March 19, 2000
Best Family Feature Film - Animated

Best Performance in a Voice-Over (TV or Feature Film) - Young Actor
Eli Marienthal
Won

text: Legacy[edit]

text: The film has gathered a cult following since its original release.[35]

text: The Iron Giant appeared in Steven Spielberg's 2018 film Ready Player One, replacing Ultraman from the book, where he fights alongside the RX-78-2 Gundam against Mechagodzilla.[73]

text: Signature Edition[edit]

text: A remastered and extended cut of the film, named the Signature Edition, was shown in one-off screenings across the United States and Canada on September 30, 2015, and October 4, 2015.[74] The edition is approximately two minutes longer than the original cut, and features a brief scene with Annie and Dean and the sequence of the Giant's dream.[75] Both scenes were storyboarded by Bird during the production on the original film but never finished due to time and budget constraints. Before they were fully completed for this new version, they were available as deleted storyboards on the 2004 DVD bonus features.[74] They were animated in 2015 by Duncan Studio, which employed several animators that worked on the original film.[74] The film's Signature Edition was released on DVD and for digital download on February 16, 2016.[76] An official Blu-ray release was available on September 6, 2016.[77] Along with the additional scene, it also showcases abandoned ideas that were not initially used due to copyright reasons, specifically a nod to Disney via a Tomorrowland commercial, which was also a reference to his then-recently released film of the same name, and a reference regarding the film being shot with CinemaScope cameras.[78]


document_title: Transport layer

question_text: protocols used in transport layer of osi model

text: Transport layer

text: Services[edit]

text: Transport layer services are conveyed to an application via a programming interface to the transport layer protocols. The services may include the following features:

text:
Connection-oriented communication: It is normally easier for an application to interpret a connection as a data stream rather than having to deal with the underlying connection-less models, such as the datagram model of the User Datagram Protocol (UDP) and of the Internet Protocol (IP).
Same order delivery: The network layer doesn't generally guarantee that packets of data will arrive in the same order that they were sent, but often this is a desirable feature. This is usually done through the use of segment numbering, with the receiver passing them to the application in order. This can cause head-of-line blocking.
Reliability: Packets may be lost during transport due to network congestion and errors. By means of an error detection code, such as a checksum, the transport protocol may check that the data is not corrupted, and verify correct receipt by sending an ACK or NACK message to the sender. Automatic repeat request schemes may be used to retransmit lost or corrupted data.
Flow control: The rate of data transmission between two nodes must sometimes be managed to prevent a fast sender from transmitting more data than can be supported by the receiving data buffer, causing a buffer overrun. This can also be used to improve efficiency by reducing buffer underrun.
Congestion avoidance: Congestion control can control traffic entry into a telecommunications network, so as to avoid congestive collapse by attempting to avoid oversubscription of any of the processing or link capabilities of the intermediate nodes and networks and taking resource reducing steps, such as reducing the rate of sending packets. For example, automatic repeat requests may keep the network in a congested state; this situation can be avoided by adding congestion avoidance to the flow control, including slow-start. This keeps the bandwidth consumption at a low level in the beginning of the transmission, or after packet retransmission.
Multiplexing: Ports can provide multiple endpoints on a single node. For example, the name on a postal address is a kind of multiplexing, and distinguishes between different recipients of the same location. Computer applications will each listen for information on their own ports, which enables the use of more than one network service at the same time. It is part of the transport layer in the TCP/IP model, but of the session layer in the OSI model.

text: Analysis[edit]

text: The transport layer is responsible for delivering data to the appropriate application process on the host computers. This involves statistical multiplexing of data from different application processes, i.e. forming data segments, and adding source and destination port numbers in the header of each transport layer data segment. Together with the source and destination IP address, the port numbers constitutes a network socket, i.e. an identification address of the process-to-process communication. In the OSI model, this function is supported by the session layer.

text: Some transport layer protocols, for example TCP, but not UDP, support virtual circuits, i.e. provide connection-oriented communication over an underlying packet oriented datagram network. A byte-stream is delivered while hiding the packet mode communication for the application processes. This involves connection establishment, dividing of the data stream into packets called segments, segment numbering and reordering of out-of order data.

text: Finally, some transport layer protocols, for example TCP, but not UDP, provide end-to-end reliable communication, i.e. error recovery by means of error detecting code and automatic repeat request (ARQ) protocol. The ARQ protocol also provides flow control, which may be combined with congestion avoidance.

text: UDP is a very simple protocol, and does not provide virtual circuits, nor reliable communication, delegating these functions to the application program. UDP packets are called datagrams, rather than segments.

text: TCP is used for many protocols, including HTTP web browsing and email transfer. UDP may be used for multicasting and broadcasting, since retransmissions are not possible to a large amount of hosts. UDP typically gives higher throughput and shorter latency, and is therefore often used for real-time multimedia communication where packet loss occasionally can be accepted, for example IP-TV and IP-telephony, and for online computer games.

text: Many non-IP-based networks, such as X.25, Frame Relay and ATM, implement the connection-oriented communication at the network or data link layer rather than the transport layer. In X.25, in telephone network modems and in wireless communication systems, reliable node-to-node communication is implemented at lower protocol layers.

text: The OSI connection-mode transport layer protocol specification defines five classes of transport protocols: TP0, providing the least error recovery, to TP4, which is designed for less reliable networks.

text: Protocols[edit]

text: This list shows some protocols that are commonly placed in the transport layers of the Internet protocol suite, the OSI protocol suite, NetWare's IPX/SPX, AppleTalk, and Fibre Channel.

text:
ATP, AppleTalk Transaction Protocol
CUDP, Cyclic UDP
DCCP, Datagram Congestion Control Protocol
FCP, Fibre Channel Protocol
IL, IL Protocol
MPTCP, Multipath TCP
RDP, Reliable Data Protocol
RUDP, Reliable User Datagram Protocol
SCTP, Stream Control Transmission Protocol
SPX, Sequenced Packet Exchange
SST, Structured Stream Transport
TCP, Transmission Control Protocol
UDP, User Datagram Protocol
UDP-Lite
µTP, Micro Transport Protocol

text: Comparison of transport layer protocols[edit]

text:
Feature
UDP
UDP-Lite
TCP
Multipath TCP
SCTP
DCCP
RUDP[a]

Packet header size
8 bytes
8 bytes
20–60 bytes
50–90 bytes
12 bytes[b]
12 or 16 bytes
14+ bytes

Typical data-packet overhead
8 bytes
8 bytes
20 bytes
 ?? bytes
44–48+ bytes[c]
12 or 16 bytes
14 bytes

Transport-layer packet entity
Datagram
Datagram
Segment
Segment
Datagram
Datagram
Datagram

Connection-oriented
No
No
Yes
Yes
Yes
Yes
Yes

Reliable transport
No
No
Yes
Yes
Yes
No
Yes

Unreliable transport
Yes
Yes
No
No
Yes
Yes
Yes

Preserve message boundary
Yes
Yes
No
No
Yes
Yes
Yes

Delivery
Unordered
Unordered
Ordered
Ordered
Ordered / Unordered
Unordered
Unordered

Data checksum
Optional
Yes
Yes
Yes
Yes
Yes
Optional

Checksum size
16 bits
16 bits
16 bits
16 bits
32 bits
16 bits
16 bits

Partial checksum
No
Yes
No
No
No
Yes
No

Path MTU
No
No
Yes
Yes
Yes
Yes
?

Flow control
No
No
Yes
Yes
Yes
No
Yes

Congestion control
No
No
Yes
Yes
Yes
Yes
?

Explicit Congestion Notification
No
No
Yes
Yes
Yes
Yes
?

Multiple streams
No
No
No
No
Yes
No
No

Multi-homing
No
No
No
Yes
Yes
No
No

Bundling / Nagle
No
No
Yes
Yes
Yes
No
?

text:
Jump up ^ RUDP is not officially standardized. There have been no standard-related developments since 1999.
Jump up ^ Excluding data chunk headers and overhead chunks. Without embedded chunks, an SCTP packet is essentially useless.
Jump up ^ Counted as follows: 12 bytes SCTP header + 16 bytes DATA chunk header or 20 bytes I-DATA chunk header + 16+ bytes SACK chunk. Additional non-data chunks (e.g. AUTH) and/or headers for additional data chunks, which might easily increase the overhead with 50 bytes or more, not counted.

tag: ol

text: Comparison of OSI transport protocols[edit]

text: ISO/IEC 8073/ITU-T Recommendation X.224, "Information Technology - Open Systems Interconnection - Protocol for providing the connection-mode transport service", defines five classes of connection-mode transport protocols designated class 0 (TP0) to class 4 (TP4). Class 0 contains no error recovery, and was designed for use on network layers that provide error-free connections. Class 4 is closest to TCP, although TCP contains functions, such as the graceful close, which OSI assigns to the session layer. All OSI connection-mode protocol classes provide expedited data and preservation of record boundaries. Detailed characteristics of the classes are shown in the following table:[8]

text:
Service
TP0
TP1
TP2
TP3
TP4

Connection-oriented network
Yes
Yes
Yes
Yes
Yes

Connectionless network
No
No
No
No
Yes

Concatenation and separation
No
Yes
Yes
Yes
Yes

Segmentation and reassembly
Yes
Yes
Yes
Yes
Yes

Error recovery
No
Yes
No
Yes
Yes

Reinitiate connection (if an excessive number of PDUs are unacknowledged)
No
Yes
No
Yes
No

Multiplexing and demultiplexing over a single virtual circuit
No
No
Yes
Yes
Yes

Explicit flow control
No
No
Yes
Yes
Yes

Retransmission on timeout
No
No
No
No
Yes

Reliable Transport Service
No
Yes
No
Yes
Yes

text: There is also a connectionless transport protocol, specified by ISO/IEC 8602/ITU-T Recommendation X.234.[9]