In a 2019 article for the British Broadcasting Corporation, Sharon George and Dierdre McKay wrote, “If you only listen to a track a couple of times, then streaming is the best option. If you listen repeatedly, a physical copy is best . . . ” They were referring to the comparative environmental costs of listening to music either over the internet or reproduced on an electronic device. They could just as well have been giving excellent advice on the best strategy for enjoying all types of entertainment media in the digital age.
Owning physical copies only of favorite movies, television shows, books, and music, while streaming more transitory entertainments, is not only better for the environment, but better in all sorts of other ways. Buying an entertainment you may enjoy only once or twice is expensive and takes up shelf space in the home. Streaming choices are often limited to the most popular or the newest entertainments, leaving outright purchase from a vendor or borrowing from a library as the only options for enjoying more obscure, less widely popular works.
Cinerama historians John Harvey and Willem Bouwmeester photographed in 1987 examining the back covers of vinyl record albums devoted to music used in Cinerama productions. After many years years researching all things Cinerama, they eventually collaborated on the Cinerama installation in Bradford, England, in 1993. Photo by LarryNitrate2Cinerama.
There are indeed thousands of movies and television shows available on the streaming services, but a close examination reveals that the majority of those on the advertisement supported services are public domain properties that will be familiar to anyone who has rooted through the bargain DVD and Blu-ray bins at big box stores. The subscription streaming services are meanwhile moving toward a vertical integration model reminiscent of the Hollywood studios in the days when they owned production and distribution from top to bottom.
If you want to watch the latest Star Wars franchise release and you missed it during it’s brief theatrical release, then you must subscribe to Disney’s streaming service or go without. Some films these days don’t get a theatrical release at all. Another option is to buy the physical media if and when it becomes available. But in that case you would still want to watch the movie first to be sure it’s worth buying. It’s likely there will be always be a hardware means of playing back most electronic media, the trick is in guessing correctly which ones will stand the test of time.
30 years ago, many people thought vinyl record albums were all but dead. Only a tiny niche market of record collectors and audiophiles would continue to have need of record players and record player parts. Few people in 1991 would have guessed that by 2021 sales and production of vinyl records would have reemerged from the dustbin, while compact discs and players, for a brief period the predominant music delivery system on the market, would be overtaken first by digital downloads, and then by streaming music services.
A similar dynamic appears to be at play in the visual media market of movies and television shows. Despite the close resemblance of DVDs and Blu-ray discs to music compact discs, they are more comparable to vinyl records in quality of reproduction and in the way consumers use them. Blu-ray discs in particular are attractive items for ownership by collectors and cinephiles due to the outstanding quality of their video and audio reproduction, which can often outstrip what’s available for the same title on a streaming service.
Despite big manufacturers like Samsung discontinuing Blu-ray player production a few years ago because they noted the decline in the market to niche status, and similarly Warner Brothers recently moving toward ceasing production of discs, there will always be a demand for new Blu-ray players and new Blu-ray discs, however much the market shrinks for now. Just ask the manufacturers of vinyl records and the turntables needed to play them.
Ever since the Centers for Disease Control and Prevention (CDC) issued guidance on May 13 of this year that people fully vaccinated against COVID-19 no longer need to wear masks in most indoor settings, while unvaccinated people should continue to wear masks, a magical thing has happened in this country, and that is the huge increase in vaccination rates everywhere, as evidenced by how few people are still wearing masks indoors in any setting. Before May 13, the fully vaccinated percentage of the population stood at about 35 percent; after May 13, it appears that percentage leapt to upwards of 70 percent. Incredible! Herd immunity achieved overnight!
A sign regarding mask policy at a Walmart in Chantilly, Virginia, on May 20, 2021, shortly after the CDC issued new guidelines. Note how the wording does not require unvaccinated customers to wear a mask as a condition of entering the store. Photo by Famartin.
It’s heartening to look around at fellow citizens in shops, grocery stores, and restaurants and assess by an eyeball estimate that even more than 70 percent of adults appear to be fully vaccinated. In some places around the country, the number of fully vaccinated adults could even be as high as 90 percent, based on visual estimates. What’s holding the vaccination numbers back for the total population is the lack of a vaccine suitable for children under 12. In some shops, young children are almost the only ones wearing masks.
The CDC has statistics putting the nationwide percentage of fully vaccinated people at about 50 percent as of late July. Fake news! Anyone can waltz into their local big box store, where signs at the entrance clearly advise unvaccinated customers to don masks before entering, and see with their own eyes that the CDC’s numbers don’t tell the whole story. The CDC must be gathering data from people outside of stores, or even from ones who never set foot indoors at a public venue. Since the CDC is obviously part of the Deep State, their numbers are not to be trusted by honest Americans.
It’s the honor system in operation, see, and since Americans are honorable people, they would never falsely represent their vaccination status in order to satisfy their own selfish whims and perverse ideas, not when behaving that way could endanger their fellow Americans, among them the honestly unvaccinated, such as young children and those who are immunocompromised. No, when it comes to weighing the evidence of one’s eyes and belief in the honorability of fellow Americans against the statistical mumbo jumbo disseminated by a cabal of Deep State scientists at the CDC, the scales definitely tilt toward siding with all the American patriots cruising maskless down the aisles of Walmart and Costco.
Supermarket social distancing signs in Ireland in August 2020. Follow the blue sign floor tiles! Photo by Ear-phone.
According to the CDC, as of July 25, 2021 the percentage of Americans fully vaccinated against COVID-19 was 49.1 percent. That’s an increase of only about 14 percent since May 13, 2021. Herd immunity won’t be reached until the percentage of fully vaccinated is over 70 percent. Considering how vaccination rates have been slowing, it’s unlikely Americans will achieve herd immunity before the onset of cold weather forces more activities back indoors for the winter.
Judy Garland as Dorothy in the 1939 film, The Wizard of Oz, directed by Victor Fleming. In Kansas, the state Dorothy called home, the COVID-19 vaccination rate is 44.9 percent, 4.2 percentage points below the national average. In a land of alternative facts somewhere over the rainbow, the vaccination rate is much higher – away above the chimney tops, in fact.
Absent widespread vaccine mandates, it could be that a vaccination rate of about 65 percent will be a limit past which we cannot move due to the political and cultural divisions in the country, as honorable American snowflakes dig in their heels like recalcitrant children and refuse to become socialist tools by doing the right thing for others, even passing up bribes from state and local governments. They may kill themselves for the puerile satisfaction of owning the libs, and so be it, but in the meantime they will serve as incubators for new, possibly more dangerous coronavirus variants, and they will spread their affliction to everyone else, even within the magical realm past shop doors.
— Ed.
People who prize the best television picture quality available were dismayed when manufacturers discontinued plasma television sets in 2014, leaving them only the option of Organic Light Emitting Diode (OLED) television sets with comparable, or even better, picture quality, but at ten times the price. Prices on OLED sets have come down since 2014, though not to the level of plasma sets, which sold for under $1,000 as they were going out of production. The lowest price on an OLED set is still over $2,000.
Prior to the 1990s, consumers had essentially one option for television set technology, the Cathode Ray Tube (CRT). There were projection television setups available which never amounted to more than a small niche segment of the market. The CRT was capable of excellent picture quality in the areas of color fidelity, contrast, and deep black levels, but it was hampered by poor resolution and practical limitations on picture size because of its bulky form. The poor resolution was primarily an artifact of the television signal available from mid-century through the 1980s at least, and when high definition television signals became widely available after the turn of the century, it was theoretically possible for CRT sets to remain in production with the capability of resolving the high definition signal, however there was still the problem of increasing screen size without the set becoming impractically deep as well.
A 3 inch TV set receiver. Photo from The Library of Virginia.
Of the television set technologies competing to replace CRT after the turn of the century – Liquid Crystal Display (LCD), rear projection and front projection, and plasma – LCD emerged as the sets capable of widest distribution because of their lower prices and variety of screen sizes, while both types of projection sets remained niche products, and plasma became the choice of videophiles who didn’t care for the fuss and expense of projection sets. All was well then for plasma set buyers until manufacturers looked ahead to the production of ultra high definition, or 4K, sets after 2010, and the manufacturers of plasma sets, primarily Panasonic, Samsung, and LG, found that it would be difficult to create a plasma set capable of 4K resolution, while the other technologies, including the newcomer OLED, were more amenable. One by one the manufacturers dropped out of producing plasma sets.
In this scene from the 1997 Robert Zemeckis film Contact, with Jodie Foster, an alien race bounces back to Earth the first television signal it intercepted from our planet. Warning: foul language.
The more than acceptable replacement for plasma when it came to picture quality was OLED, and when users of plasma sets needed to replace them eventually they could turn to that option rather than to LCD ultra high definition sets, which had improved over the years but still had their shortcomings reproducing a cinema quality picture. The problem with OLED was the high price, a problem caused partially by LG for some time being the only major producer of the sets. Sony and Samsung have started producing sets, and their competition may induce more significant price drops in the next year than have taken place since plasma sets went out of production in 2104. When it comes to buying technology products, and particularly the television sets of the past twenty years, it takes a keen eye for the markets to know – or rather to guess well – when to take the leap and buy without feeling suckered because the very next fiscal quarter the bottom dropped out of the price, and that $3,000 television in the living room is now selling for less than $1,000 at the big box stores. In any case, the picture quality of an OLED 4K television set would have been unimaginable even twenty years ago, and each person accounts its value differently.
— Techly
