Category Archives: Television

#Tech | CES 2024 | Cutting-Edge Products, TVs, Rabbit R1, and More

February 15, 2024Diversions, News, Pop Culture, Television, Web & Techces 2024, consumer electronics show, las vegasRaymond Tomlin

Top left: Rabbit R1 | Bottom: 2024’s LG OLED TV are transparent TV sets you can see — and see through.

Year after year, the annual Consumer Electronics Show held in Las Vegas each January brings with it all sorts of amazing demos, gizmos and hi-tech concepts that you won’t be available to buy for years, if ever.

But if you’re looking to snag some fabulous and futuristic products from CES 2024, don’t fret. In today’s Tech column, VanRamblings has gathered a few cool gadgets you can purchase right now, or put a dent in your bank balance very soon.

CES 2024 Best in Show | Best TV | LG OLED M4 | $3400

When it comes to innovative or life-changing new tech, it takes a lot to be the best of the best. Today we’ll provide some insight into the products that emerged out of CES we think have the power to improve everyday life.

LG’s 2024 OLED TVs come with upgraded AI upscaling utilizing precise pixel-level image analysis, that effectively sharpen objects that may appear blurry.

All driven by the discerning judgment of the AI itself, LG’s signature OLED M4 TV delivers a clearer, more vibrant viewing experience. An ingenious artificial intelligence (AI) processor adeptly refines colours by analyzing frequently used shades that best convey the mood and emotional elements intended by filmmakers and content creators. Dynamic Tone Mapping Pro splits pictures into blocks and fine-tunes brightness and contrast by analyzing variations in brightness where light enters the scene, creating images that look more three-dimensional.

In addition to its 97″, 83″ and 77″ models there’s a more normal-size 65-inch LG OLED M4 version that could actually fit into your home — and cost less, too.

VanRamblings bought CES 2023’s Best in Show Samsung NeoQLED Tizen Smart TV on Black Friday. Priced at $2999 last March, we picked it up for only $1250!

CES 2024 Best in Show | Best Gadget | Rabbit R1 | $199

Set to become all the rage among the tech-forward crowd later this year, and predicted to catch on with the tech-oriented general public soon after, the Rabbit R1 is a lot like a phone in terms of its looks, and in some of its features: it has a camera and a SIM card slot, and it supports Wi-Fi and Bluetooth. What’s different, and what makes the Rabbit R1 special, is the interface: instead of a grid of apps, you get an AI assistant that talks to your favorite apps and does everything for you.

For example, you could get the R1 to research a holiday destination & book flights to it, or queue up a playlist of your favourite music, or book you an Uber. In theory, you can do almost anything you can already do on your phone, just by asking.

We’ve seen next-gen personal assistants depicted in movies like Her, and the R1 is trying to make that a reality — leveraging the latest AI capabilities to replace the traditional smartphone interface with something a lot more intuitive.

CES 2024 Best in Show | Gaming Device | XREAL Air 2 AR glasses | $489

The XREAL Air 2 Ultra AR glasses offer the most advanced augmented reality wearable experience from the brand to date with hand and head tracking meeting spatial anchoring across a full 6DoF (six degrees of freedom).

Augmented reality (AR), mixed reality (MR), extended-reality (XR), whatever you want to call it, 2024 is lining up to be a big year for this tech with the popularity of the Meta Quest 3 expanding and Apple’s release of its Vision Pro headset.

CES 2024 Best in Show | Bemis BB-1200 Bidet Toilet | $399

If you’re less about TVs and AI, and more about something weird (and potentially practical), then there’s always the new Bemis BB-1200 Bidet Toilet. That’s right, it’s a smart toilet seat, capable of supplying unlimited warm water, a heated seat, air dryer alongside a remote and smartphone app to control it all.

You can really control everything from nozzle position to water pressure and seat temperature. There are even two user pre-sets so your preferences are saved and ready to go when you need it most. It sounds silly, but if it makes your bathroom experience a little more comfortable (especially in the cold winter months), then you shouldn’t dismiss it quite so easily.

The BB-1200 will be available this spring, and will set you back $399. Just make sure your bathroom has an outlet near the toilet to power everything.

CES 2024 Best in Show | Best Home Product | Family Hub+ | $2499

Samsung has gone all-in on artificial intelligence across its phones and home appliances. This includes a new AI Family Hub+ technology that is designed to bring together different appliances.

It is initially being built into the new Bespoke 4-door flex refrigerator, unveiled at CES 2024. This includes internal cameras and AI vision capable of identifying individual food items. It can then suggest recipes based on what you have in stock.

CES 2024 Best in Show | Roborock Zeo One | $1699

The Roborock Zeo One is an all-in-one washer / dryer combo machine that pulls double duty. It’s part of a relatively new breed of laundry combo machines that are just beginning to proliferate. Needless to say, the concept is compelling: you pile a load of laundry into a single machine where it’s washed and dried. But the Zeo One adds even more innovation to the mix.

A favourite feature: smart dosing. Instead of adding detergent and fabric softener with each load, you can fill the reservoirs and go for months without worrying about adding anything to your laundry.

The Zeo One also dries clothes using much less heat than a conventional dryer.
The Zeo-cycle drying system uses a large honeycomb-shaped disc with more than 20,000 holes to absorb moisture, using sensors and an AI algorithm to monitor the drying system more than 100 times per minute. By keeping the heat low, the Roborock Zeo One prevents damage to delicate garments like wool sweaters.

The Zeo One even collects lint and disposes of it automatically through a water line, so you never have to clear a lint trap.

CES 2024 Best in Show | Health Device | BeamO | $249

Withings’ BeamO might be the only health checkup device you need in your home, a first-of-its-kind 4-in-1 health checkup device meant to replace four essentials that should be in every home, combining an ECG, pulse oximeter, stethoscope, and thermometer into a single compact device. With it, you can monitor your heart and lung health, as well as your temperature.

There are those in the medical profession who believe the BeamO will revolutionize the measurement of the core vitals carried out during medical visits from the comfort of one’s own home. This crucial data will provide a vital overview of overall health or warning signs of potential areas of concern. Instead of measuring these stats a couple of times a year in a clinical setting, it will be possible to assess them every day. BeamO will be the thermometer of the future, providing the ability to assess temperature and observe the state of the heart and lungs.

Of course, a parent can also use the device to perform a checkup on a child.

In the future, the company says the BeamO will detect signs of infection and even possible cardiovascular issues such as atrial fibrillation (AfiB).

The Withings BeamO will be released this coming June, and will retail for $249.

Arts Friday | Netflix Takes Over the Oscars in 2021

October 16, 2020A & E, Arts Friday, Cinema, Media, Netflix, Television, Video & DVD, Web & TechRaymond Tomlin

In 2019, Netflix landed its first Oscar nomination for Best Picture with the release of Alfonso Cuarón’s critically acclaimed Roma. A year later, the streaming service was leading the field with 24 Oscar nominations, including Best Picture nods for both The Irishman and Marriage Story.
As Netflix’s impact on the world of cinema became increasingly undeniable, the younger and more diverse film academy was no longer prepared to shun the streaming service as the old Hollywood guard tried to do. Earlier this year, on April 28th, responding to the changes that COVID-19 had wrought, the Academy of Motion Picture Arts & Sciences removed the stipulation that a movie must be shown in a theatre before it could become eligible for the coveted Best Picture Oscar nomination.
And thus the stage was set for an Oscar ceremony in 2021 the likes of which no one will have ever seen before, with at least seven Netflix releases eligible for a Best Picture nomination, with each of those films set for Oscar nominations, ranging from Best Actor and Actress, Supporting Actress and Actor, to Best Director, Music, Sound and technical awards.
Today on VanRamblings, the Netflix features set to dominate Oscars 2021.

For the upcoming Academy Awards — delayed due to the pandemic until Sunday, April 25th — Netflix has pulled out all the stops. Already streaming, there’s Spike Lee’s Best Picture contender Da 5 Bloods, Gina Prince-Bythewood’s well-mounted action thriller The Old Guard, and Charlie Kaufman’s screenplay contender, I’m Thinking of Ending Things.
And, available today on Netflix, there’s writer-director Aaron Sorkin’s The Trial of the Chicago 7 which is, as Variety lead critic Owen Gleiberman writes, “a knockout, and the rare drama about the 1960s that’s powerful, authentic and moving enough to feel as if it were taking place today, a briskly paced and immersive film bristling with Sorkin’s distinctive verbal fusillades, a cinematic powder keg of film with a serious message that seamlessly blends a conventional yet compelling courtroom procedural with protest reenactments and documentary footage, the film offering an absorbing primer of a ruefully meaningful period in American history.”

Due to arrive on Netflix on Tuesday, November 24th — on the eve of American Thanksgiving — director Ron Howard’s big budget film adaptation of J.D. Vance’s autobiographical best-seller, Hillbilly Elegy offers a powerful account of growing up in a poor Rust Belt town, that also provides broader, probing insight into the struggles of America’s white working class.
A passionate and personal analysis of a culture in crisis, Glenn Close and Amy Adams are at the centre of Howard’s film, and solid prospects for Best Actress and Best Supporting Oscar nods. Howard will be in the mix, as well.

Netflix will release David Fincher’s Mank in select theatres in November before the black-and-white film begins streaming on December 4th.
The Hollywood-centric period piece follows alcoholic screenwriter Herman J. Mankiewicz (certain Best Actor nominee Gary Oldman) as he races to finish the screenplay for Orson Welles’ 1941 masterpiece Citizen Kane. That classic picture was fraught with behind the scenes drama, as Mankiewicz and Welles argued over credit and who wrote what, which became even more important once the film won the Oscar for Best Original Screenplay.
The original script for Mank was written by Fincher’s father, Jack Fincher, so this project certainly means a lot to the filmmaker. Mank boasts a running time of 2 hours and 11 minutes, so it won’t be quite as long as Zodiac or The Curious Case of Benjamin Button, not that Fincher ever wastes a single frame. The film is expected to be a major awards contender for Netflix.

Ma Rainey’s Black Bottom. George C. Wolfe directs, Denzel Washington produces, and Oscar-winner Viola Davis (Fences) stars as Ma Rainey in Ruben Santiago-Hudson’s adaptation of the hit August Wilson Broadway play. The late Chadwick Boseman and If Beale Street Could Talk star Colman Domingo play members of Rainey’s ’20s jazz band.
Awards prospects: Ambitious trumpeter Levee was 43-year-old Boseman’s final role before succumbing to his private battle with colon cancer in August; he looks rail thin in film stills. Posthumous Oscars went to Heath Ledger (The Dark Knight) and Peter Finch (Network) among others. In this case, with the beloved Black Panther star also in the running for his supporting role as a U.S. Army soldier in Vietnam in the Spike Lee joint, Da 5 Bloods, many believe that it’s likely Boseman will wind up in the Best Actor category for Ma Rainey, with Davis as Best Actress. Like Mank, the elaborate period setting should be attractive to Academy craft branches.
Release date: In theatres early December, streams on Netflix December 18.

Oscar-winner and Hollywood icon George Clooney directs The Midnight Sky, a sci-fi thriller with a script by Mark L. Smith (The Revenant) based on the Lily Brooks-Dalton novel about an Arctic scientist (Clooney) attempting to warn a NASA spaceship astronaut (Felicity Jones) not to return to doomed planet Earth. Awards prospects: Netflix took advantage of the London Film Festival this month (October 2 – 18) with a tribute to Clooney, complete with clips. Critical reaction will determine whether The Midnight Sky will figure in the Oscar sweepstakes, but Clooney (Syriana) has delivered in the past, as has Oscar-nominated Jones (Theory of Everything).
Release date: In theatres early December, Netflix début to be announced.

Netflix | Central Park Five | Rise of a Racially Charged Demagogue

May 31, 2019Arts Friday, Cinema, Netflix, Politics, TelevisionRaymond Tomlin

In 1989 five young black men were wrongfully convicted of raping a woman jogging in New York City. Leading the charge against them was a real estate mogul whose divisive rhetoric can be found in his Presidency today.
Nearly three decades before the sociopathic pseudo-billionaire began his run for Presidency of the United States — before Donald Trump called for a ban on Muslims entering the U.S., for the expulsion of all undocumented migrants, before he branded Mexicans as “rapists” and mocked the disabled — Trump called for the reinstatement of the death penalty in New York following a rape case in which the five teenagers were wrongfully convicted.
The miscarriage of justice is widely remembered as a definitive moment in New York’s fractured race relations.
But Trump’s intervention — he signed full-page newspaper advertisements implicitly calling for the boys to die — has been gradually overlooked. Now those involved in the case of the so-called Central Park Five and its aftermath say Trump’s rhetoric served as an unlikely precursor to a unique brand of divisive populism that powered his rise to political prominence.

Donald Trump ‘was the firestarter’ when he called for the death penalty in the 1989 Central Park jogger case, says Yusef Salaam, one of the wrongfully convicted Central Park Five: “To see that he has not changed his position of being a hateful person … what has become of the country with a person like Donald Trump as President?”

Why is this raising of the case of the Central Park Five relevant now?

Jharrel Jerome, in Ava Duvernay’s new Netflix mini-series, When They See Us.

Today on Netflix, acclaimed director Ava DuVernay sets about to restore the good names of the five Harlem teens who were arrested, convicted and imprisoned in the 1989 rape of a jogger, only to have those convictions vacated in 2002. They’re more commonly known as the Central Park Five, but that’s a pejorative creator DuVernay excludes almost entirely from her riveting four-episode documentary dramatization, When They See Us.

Here’s a brief survey of critical reviews of Duvernay’s narrative drama …

It is unsettling to realize that many people looking for something new to watch on Netflix this week will actually be unfamiliar with what happened in Central Park, New York, on an April night in 1989. What happened was the rape and attempted murder of a young woman who was jogging there, Trisha Meili. The 28-year-old Meili was doing her usual evening run after a long day at work on Wall Street.

And while there are many unsettling scenes in the first hour of When They See Us (streams today on Netflix), nothing is more disconcerting than the realization, an hour into the drama, that we know very little about Trisha Meili. She is not the focus of the story. The five boys charged with the attack on her are the point. The way in which they were coerced into confessions, threatened and intimidated, is the point.

When They See Us is superbly made and startling in its invective. That invective is aimed with blistering intensity, not just at a justice system that allowed a miscarriage of justice, but at all of American society. The point of the title is that nobody actually saw the boys, who became known as the Central Park Five, as who they were. They saw black youths and wanted to convict them.

Donald Trump took out ads in New York newspapers calling for the restoration of the death penalty so that the boys would be executed. Now, he runs the country. And the state of the country is the real point of When They See Us. As such, it’s a heightened, fraught series, the most unsettling drama so far in 2019, and meant to be.
John Doyle, The Globe and Mail

A searing portrait of injustice and innocence lost
Matthew Gilbert, Boston Globe

Ava Duvernay’s mini-series will break any heart, except, perhaps, that of our president, who maintains their guilt despite the confession and DNA evidence that exonerated them in 2002 and led to a $41 million legal settlement from New York City. Knowing with certainty that the boys are innocent makes watching each step of their descent into hell — from the manipulated false confessions that open the miniseries and the damning group-think media coverage that follows, to the way their young promise is squashed by prison and the stigma that trails them once they’re released — into an unnervingly doom-ridden tragedy.

The Vindication of the Central Park Five
Judy Berman, Time magazine

Nearly an hour into the premiere episode of Ava DuVernay’s Netflix miniseries When They See Us, four of the boys who will soon be known as the Central Park Five are left alone together in a holding cell. (The fifth, Korey Wise, is locked in with adults because he’s all of 16 years old.) They’ve just spent hours being interrogated — and intimidated — by police seeking confessions to support the theory that they gang-raped a woman in the park and left her for dead. In fact, most of them don’t even know each other. There’s a long silence before they start talking. The camera alternates between closeups of these scared, exhausted, beaten-up kids’ faces. They see each other. Hopefully, we see them, too.

As the title suggests, the idea of seeing is crucial to this elegant, wrenching four-part reenactment of the Central Park Five saga. DuVernay, who wrote, directed and (along with collaborators including Oprah and Robert De Niro) executive produced the miniseries, has a gift for framing a familiar historical moment so that you can really see it for the first time. In this case, the Selma director’s simplest but most profound decision is to portray these five black and Latino boys, ages 14 to 16, as the scared children they are, rather than as the gangsters or delinquents they were made out to be.

All four episodes of When They See Us are now available on Netflix.

Arts Friday | Netflix and the Death of the Theatrical Experience

May 10, 2019A & E, Arts Friday, Cinema, Diversions, Media, Netflix, Pop Culture, Television, Video & DVD, Web & TechRaymond Tomlin

With movie theatre attendance at a two-decade low and profits dwindling, with revenues hovering slightly above $10 billion, Hollywood is on the verge of experiencing the kind of disruption that hit the music, publishing, and related cultural industries a decade ago and more.
Hollywood once ruled the world with must-see movies that would entice people to head to the nearest cinema every weekend. But movie crowds have been declining as more people opt to “Netflix”, and chill at home.
Like other industries, entertainment is feeling the shock of technology and scrambling to adapt to sharply shifting economics. Studios are increasingly banking on big-budget franchise films to bring in bucks. But is that enough?
Wall Street Journal reporter Ben Fritz considered those issues in his book, The Big Picture: The Fight for the Future of Movies.

“Netflix is having a massive impact on Hollywood,” Fritz writes. “They’re disrupting all the traditional economics of television and movies. It’s inescapable how much Netflix has become the TV diet for so many people. Now it’s happening to movies.”

“The movie industry is going through what the record industry has gone through. Subscription streaming is changing the movie business. The music business has had to adapt to people streaming, and that’s going to happen in the movie business. A lot of traditionalists are saying, ‘No, a movie is made to be seen in a theatre.’ That may be what Hollywood wants, but that is not what a lot of consumers want.”

As we wrote in a column published in 2018, in recent years Hollywood has been gun shy about producing romantic comedies.

Netflix, though, has proven just how durable the romcom formula is.
When Lara Condon and Noah Centineo’s To All the Boys I’ve Loved Before débuted last August, it set Netflix streaming records, with over 45 million viewers tuning in. Needless to say, a sequel will be released later this year, as is the case with Joey King’s breakout hit, The Kissing Booth.
Meanwhile, Rose McIver’s The Christmas Prince also spawned a much-anticipated sequel on Netflix this past holiday season.
In 2019, Netflix is set to spend around $18 billion on original programming, most of which is slated for movie production and documentaries, consisting of a 121 movie and documentary slate. Warner Bros.will release 23 films this year, while Disney (Hollywood’s most profitable studio) will début a mere 10. All the Hollywood studios combined in 2019 won’t spend $18 billion on production, and will release only a mere fraction of Netflix’s titles.
Looking into the financial crystal ball, investment firm Goldman Sachs predicts that Netflix could have an annual spending budget of $22.5 billion in 2022, a staggering number that would see Netflix far outstrip the total spending by all of the Hollywood movie studios combined.
With Netflix boasting 139 million subscribers, and growing by millions every month, according to tech mogul Barry Diller, a former senior member of the executive team at Paramount and 20th Century Fox and current Chairman of the Expedia group, “Hollywood is now irrelevant.”

Having disrupted the model for TV broadcasters by making schedules extraneous and grabbing millions of viewers at the same time, Netflix is now making a run at Hollywood. “I think it’s going to be fascinating to watch,” says US journalist Gina Keating, author of Netflixed: The Epic Battle for America’s Eyeballs.
Netflix’s deep pockets have lured Hollywood stars such as Will Smith (Bright), Joel Edgerton, Sandra Bullock (Bird Box), Ben Affleck (Triple Frontier), Kevin Costner and Woody Harrelson (The Highwaymen), Anne Hathaway, Robert DeNiro, Al Pacino and Harvey Keitel, the latter three of whom will star in Martin Scorcese’s $150 million epic, The Irishman, arriving day and date on Netflix and a handful of theatres across the continent this upcoming autumn season, just in time for the Oscars.
And talking about the Oscars, Netflix’s Roma won a slew of Oscars this past Ocotber, winning Best Director, Cinematographer and Foreign Language Film for Alfonso Cuarón, while Period, End of Sentence won Best Documentary. Both films have been available on Netflix since December.
Although Netflix has been around for over two decades, the company’s rise to the top of Hollywood happened in a remarkably short period of time.
House of Cards, Neflix’s first foray into original content, débuted only six years ago. By expending monies to produce more shows and movies, it has managed to grow so rapidly that even its own executives are surprised.

“We’ve outperformed the business in a way we didn’t predict,” David Wells, Netflix’s (now former) chief financial officer, told The Hollywood Reporter in late February, after the company announced that its subscriber base had increased by over seven million in the first two months of 2019, its largest increase ever.

While Hollywood could take control of its fate, it’s very difficult for mature businesses — ones that have operated in similar ways for decades and where the top players have entrenched interests — to embrace change.
One can imagine the future looking something like this: You come home (in a driverless car) and say aloud to Alexa, Siri, Google Home or some A.I. assistant that doesn’t exist yet, “I want to watch a comedy with two female actors as the leads.” Alexa responds, “O.K., but you have to be at dinner at 8pm. Should I make the movie one hour long?” “Sure, that sounds good.” Then you’ll sit down to watch on a screen that resembles digital wallpaper.
At the Consumer Electronics Show this year Samsung débuted a flexible display that rolls up like paper.
There are other, more dystopian theories which predict that film and video games will merge, and we will become actors in a movie, reading lines or being told to “look out!” as an exploding car comes hurtling in our direction, not too dissimilar from Mildred Montag’s evening rituals in Fahrenheit 451.
When we finally get there, you can be sure of two things.
The bad news is that many of the people on the set of a standard Hollywood production won’t have a job anymore. The good news?
You’ll never be bored again.