Philip K. Dick struggled to make a living as a science fiction writer through the majority of his life. It wasn’t until shortly before his death that Do Androids Dream of Electric Sheep? was adapted to the screen and became the classic Blade Runner. After his death in 1982, nine additional Dick stories have turned into feature films, including box-office successes Total Recall and Minority Report. His latest adaptation is from his short story The Adjustment Team, in which humanoid creatures can influence people’s lives without them knowing in order to ensure that they comply with a mysterious Plan orchestrated by the Chairman.
Matt Damon stars as David Norris, a popular New York congressman who’s a shoo-in to win a U.S. Senate seat in 2006 until a political scandal derails his campaign. Before he gives his concession speech, he ventures into a hotel bathroom and is interrupted when Elise (Emily Blunt) emerges from a stall and encourages him to be more honest.
Her advice inspires David to drop the political speech and instead ad-lib from the heart. Thanks to this honesty, he becomes the front runner for the 2010 election. According to the Plan, David and Elise
are never to meet again, but when a worker at the Adjustment Bureau screws up, the two run into each other on a city bus, and the Bureau will do whatever it takes to ensure that the Plan gets back on track.
Once, all you needed to enter the receiver business was audio-engineering chops, competence in packaging efficiency, and a sharp pencil over the bottom line. That was then — before the digital audio/video revolution and the birth of the A/V receiver as we know it. Today, you need at least as much smartsin the computer, DSP, and software/firmware fieldsas you do in plain ol’ audio, a fact that has thinned,and continues to thin, the herd of receiver makers noticeably.
The speaker world is anything but conservative. Think of the different types you can buy: good ol' cones 'n' domes, electrostatics, planar magnetics, ribbons, horns, pulsating spheres, and more, mounted in all sorts of enclosures or in no enclosures at all.
The world of custom home theater is less daring. Installers want speaker systems that sound great, play loud as hell for hours on end, place reasonable demands on amplifiers, and install easily. This is why you rarely see anything but cone 'n' dome speakers used in custom home theaters.
Of the companies catering to the custom market, BG Radia is one of the few that does things differently.
For a time, there was Kuro, and Kuro was king. Kuro made other TVs envious of its awesomeness. Then. . . there was no Kuro. TV reviewers wept; everyone else bought LCDs. Under-intelligenced “pundits” foretold the end of plasma TVs — but Panasonic, Samsung, and LG quietly coughed and politely said, “Umm, we still make plasmas.”
While Panasonic plasmas traditionally excel on the picture-quality front, they’ve lagged a bit behind other flat-panel TVs when it comes to style. Take last year’s VT25 series. The picture on those sets was hard to fault (the 50-incher we reviewed won our 2010 Video Product of the Year award), but when positioned alongside new, ultra-slim plasmas from companies like Samsung, the Panasonic’s 3-inch panel depth and thick gloss-black bezel rendered it caveman-like by comparison.
RSL Speaker Systems is the current manifestation of Rogersound Labs, a SoCal company that goes back a few years — 30 or so, in fact. Like many speaker makers, RSL got its start through garage tinkering, in this case by Howard Rodgers, owner of a well-known retail chain of the same name. (How the “d” got dropped from the company name is a story for another day.)
Despite a long, successful run, the original RSL, again like many other speaker companies, eventually faded away. But after regaining rights to the company name just last year, the firm was reincarnated after a long hiatus by its founder and his family.
Prices for flat-panel TVs have been reduced to a level where they’ve literally become throwaway commodities. Just yesterday, a customer informed me that he was going to put a TV outside on his deck and “leave it there until it breaks, then buy another one.”
Blu is a companion to Linda, and the two are inseparable. But when Brazilian ornithologist Tulio shows up, Linda learns that Blu is the only male blue macaw in existence and must mate to save the species. Linda reluctantly agrees, and she, Blu, and Tulio set off to Rio de Janeiro. This leads to events Linda never dreamed of back home in Moose Lake, Minnesocold. And when birdnappers, together with a particularly nasty jailbird, enter Blu’s world, his adventures parallel hers.
Produced by Blue Sky Studios, the computer animation house behind the successful Ice Age franchise, Rio’s story line doesn’t feel all that promising at first. But it grows on you. While 2011 hasn’t yet equaled 2010 for potential entries in the animation hall of fame, a chameleon, a panda, and now a macaw are more than enough to keep the current golden age of computer animation firing on all cylinders.