Netflix Tag

After Life

After Life

If you appreciate a show that grabs you by the hands and pulls you through all the feels in a short amount of time, After Life is for you. Ricky Gervais writes, directs, and stars in this series about a man who has lost his wife to cancer and is trying to find a reason to keep slogging through this life. He can’t bring himself to commit suicide, yet he sees no hope for joy. So he has decided to embrace bitterness and hopelessness as superpowers that allow him to do and say anything. His resulting interactions with the people in his life swing between funny, heartbreaking, wickedly off-color, and even downright sappy. 

 

After Life is British to the core—a quiet little show filled with quirky people talking to each other a lot. It won’t be everyone’s cup of tea, but I found it delightfully honest and poignant. If you only know Gervais for his more acerbic wit, you might be surprised how unapologetically sentimental he can be at times, and those opposing forces mesh perfectly here. It’s like brewing Kuding to make sweet tea.

After Life

Season One consists of just six 30-minute episodes, so you can easily binge this one in a weekend. Netflix presents the show in Dolby Vision and HDR10, with a Dolby Digital Plus soundtrack. The picture quality through my Apple TV was very good—it’s a clean, nicely detailed image that goes for a natural look, so don’t expect a lot of stylized shots to exploit the HDR. Overall, the improved dynamic range just lends a better sense of realism. Not surprisingly, the soundtrack is primarily dialogue through the center channel, with some music filling out the soundstage. Overall, it’s not an AV presentation to show off your system, but it suits the subject matter.

 

I was surprised and perhaps even a bit disappointed to see that a second season of After Life is in the works. This one seemed perfect as a limited-run series—six episodes that tell a complete story, capturing a time of painful transition in someone’s life. But Season One proved to be such a sweet surprise to me that I’m also intrigued to see what the show has in store in its next life.

Adrienne Maxwell

Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the 
AV editor at Wirecutter (but her opinions here do not
represent those of Wirecutter or its parent company, The New York Times). Adrienne lives in
Colorado, where she spends far too much time looking at the Rockies and not nearly enough
time being in them.

Stranger Things 3

Stranger Things 3 is such a tonal, structural, and narrative departure from what’s come before that it can take hardcore fans of the series (raises hand unapologetically) a few episodes to get into this year’s batch of eight episodes. That’s not to say there’s anything wrong with the first couple episodes. In fact, the show’s creators—collectively known as the Duffer Brothers—demonstrate time and again their ability to lovingly mash up, remix, riff on, and reassemble 1980s pop culture in new and inventive ways. It’s simply that this time around, they’re being a little cheeky about it.

 

There’s a poolside scene in the first episode, for example, in which they nab the Cars’ “Moving in Stereo” from Fast Times at Ridgemont High, and it’s played in such a way that you can’t help but anticipate exactly what’s coming if you know that film. That anticipation is hilariously subverted, though, setting the stage for a new season that is, at times, something Stranger

Things has never really been before: Zany.

 

Get a few episodes in to Stranger Things 3 and the reason for this starts to become clear. While leaning hard on all of the influences that have made the show so beloved to date—Stephen King, Steven Spielberg, Robert Zemeckis, Richard Donner, Joe Dante, Tobe Hooper, Rob Reiner, and all the other giants of genre and coming-of-age fiction from that era—the Duffers also start to bring other, darker influences to the forefront: Early-80s Sam Raimi, mid-80s David Cronenberg. As such, things can get a little more gruesome this time around.

To balance that gruesomeness, the show’s creators introduce a lot more levity. They’ve mentioned Fletch as a big inspiration for Stranger Things 3, and indeed, elements of the Chevy Chase screwball comedy can be seen in the side-quest of Hopper (the show’s irritable chief of police) and Joyce (the mother of Mike, the unfortunate victim of Stranger Things and Stranger Things 2). Add to that some unlikely influences such as Spies Like Us and Red Dawn (the latter of which is ribbed more than revered here), and you’ve got a weird and wonderful pastiche that, on paper at least, seems like it would struggle to hold itself together.

 

But hold together it does. Whether it’s tweaking mall culture, reliving the Cold War tensions between the U.S. and U.S.S.R, or once again bringing a Dungeons & Dragons campaign to life in the creepiest of ways, Stranger Things 3 succeeds primarily because it’s not merely a gimmicky nostalgia romp—it’s a legitimate love letter to a bygone era.

 

Of course, as a result of that, some of its tropes may feel a little dated. The show isn’t interested in shades of grey: There are good guys and there are bad guys. And the bad guys are bad because they’re dirty commies hellbent on world destruction or something. Why are they hellbent on world destruction or something? Because they’re the bad guys. Duh.

 

Really, though, none of the above matters so much as the show’s amazing cast, which features a few new additions. Cary Elwes positively chews the scenery as the corrupt mayor of Hawkins, Indiana, whose shady political dealings allowed for

Stranger Things 3

the construction of the Russian-financed mall that serves as a front for the nefarious Soviet experiment at the heart of this season. And Maya Hawke (daughter of Uma Thurman and Ethan Hawke) absolutely shines as the misfit mall employee who helps crack the case at the heart of Stranger Things 3.

 

But the original cast, including the impossibly talented Millie Bobby Brown, is still the emotional heart of the show, and it’s their relationships, their emotional ups and downs, their successes and failures that keep us coming back.

 

Another thing that makes Stranger Things 3 such a fun and effective followup to the first two is that, despite all of its shake-ups in terms of tone, structure, and inspiration, there’s an undeniable through-line in the look of the show. The aesthetic is, unsurprisingly, 1980s through and through, and while capturing that look doesn’t leave a lot of room for super-vivid imagery throughout, the show’s 4K presentation relies heavily on HDR to add depth and texture to the shadows. There’s some nice use of spectacular (though not really eye-reactive) highlights from time to time, but most of the dynamic range is reserved for the lower end of the value scale. As such, you’ll definitely benefit from watching on a display that can handle the distinction between black and oh-so-very-nearly black.

 

The show’s 5.1-channel soundtrack also deserves to be experienced on the highest-quality surround sound system possible. That shouldn’t be a surprise, given that Stranger Things 2 was the impetus behind Netflix’ new adaptive studio-quality sound technology. Still, it’s a little shocking just how effective—indeed, how aggressive—the mix is this time around. I don’t think my subwoofer has gotten such a raucous workout since Scott Pilgrim vs. the World, and the surround channels are pushed to their extremes in all the right places, especially in remixing the gloriously nostalgic soundtrack.

 

My only beef is that Netflix doesn’t give us any bonus features for Stranger Things 3. While another season of Beyond Stranger Things would have been ideal, any sort of extra goodies would have been appreciated.

 

Thankfully, the show stands on its own as a binge-worthy romp, especially for those of us who grew up in the era being mythologized here. And for what it’s worth, there is one tiny extra worth mentioning: If you’re the type to hit the stop button as soon as the ending credits start rolling, be sure to stick around past the end of the final episode. There’s a mid-credits sequence that sets the stage for Stranger Things 4, which by all accounts will likely be the show’s swan song.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Who Does Content Delivery Right?

Earlier this year, we did a quick guide to all the various sources of video entertainment, prioritized by the quality of presentation from worst to best. In light of recent developments, though—the Game of Thrones debacle, the discovery that not all steaming devices deliver the same quality, and the emergence of services like YouTube as providers of exceptional content—we thought it would be a good time to revisit the most common methods of accessing movies and TV shows with an eye toward not just the quality of presentation but also the quality of content they provide. Because those two criteria don’t always align. As the general public recently found out (the hard way, unfortunately), some of the most enticing content is being delivered in less-than-enticing ways.

 

 

Cable & Satellite

DELIVERY  Really starting to show their age

CONTENT  Offer some cutting-edge programming, but without being able to show it to its best advantage

You could argue we’re living in a golden age of television, at least in terms of writing, directing, acting, and cinematography. Game of Thrones (minus the last season or two), ChernobylBillions, and American Gods are all beautifully-crafted fare. But the creators of these shows tend to suffer from “Cable Channel Syndrome,” often biting off more than their delivery platforms can chew. As such their efforts can look downright terrible.

 

Unfortunately, that poor presentation can follow these shows from broadcast to streaming, since so many premium cable networks offer online apps based on technology that’s not quite as outdated as cable and satellite, but close enough. At the very least, they all seem to be stuck in the cable-delivery mentality, mostly broadcasting their shows in HD, not Ultra HD (aka 4K), aside from the rare (and much later) release on UHD Blu-ray and/or Kaleidescape. Simply put, a lot of what’s being created for cable these days deserves a much better presentation than what it’s getting.

 

 

Internet TV

DELIVERY Slightly better than satellite or cable

CONTENT  Virtually identical to cable or satellite

Services like PlayStation Vue, Sling TV, and DirecTV Now, which attempt to replicate the experience of cable and satellite via the internet, and use cloud servers instead of hard drives for DVR storage, also tend to have the same content as satellite and cable. The delivery quality is generally a little better, although not always, since most of these services rely on outdated compression codecs and generally offer little or no 4K programming.

 

As for the quality of the content, it’s basically what you’d find on cable or satellite, with the same advantages and disadvantages. Most of these services provide the basics, like TNT, TBS, FX, USA, etc., but also let you add a subscription for HBO, Showtime, and other premium offerings for about the same upcharge you’d see on your monthly cable bill.

 

 

Over-the-Air Broadcast TV

DELIVERY  Pretty darn good—but we’re talking HD, not 4K

CONTENT  What you’d expect from broadcast networks

The tried-and-true TV antenna is making a comeback, especially with cord cutters, and in some markets it gives you access to potentially dozens of free channels offering programming from the major broadcast networks as well as some local shows you can’t get anywhere else.

 

These broadcasts almost always look better than cable, satellite, or internet TV because they’re less compressed. The quality of content, though, really depends on where you live. But chances are good that no matter your locale, you can access The Good Place—one of the most innovative and intelligent shows you can findvia an antenna of one sort or another.

 

 

Standalone Studio Streaming Apps

DELIVERY  Good enough HD for now—but the Disney+ service could help change that for the better

CONTENT  All over the place—but that should improve, too

The streaming marketplace is growing at an unsustainable rate, with new services popping up on a regular basis, dangling the promise of exclusive content in front of potential viewers for an extra however-many bucks per month. Some of these shows are actually quite good, like Doom Patrol from DC Universe and Star Trek: Discovery from CBS All Access. Unfortunately, for now, such services are mostly limited to HD, with outdated video codecs, and many offer stereo sound at best.

Who Does Content Delivery Right?

That will change quite a bit when Disney+ launches later this year. With a movie library including Disney Classics, Pixar, Marvel, Star Wars, and more, this will likely be the No. 1 must-have streaming service for most families. Disney is also developing a ton of new app-exclusive shows for the platform, like The Mandalorian (Star Wars—shown above) and Loki (Marvel), and the company has promised to deliver applicable content in 4K with HDR.

 

 

Hulu

DELIVERY  HD at the moment—although they might decide to offer 4K again

CONTENT  Some standout original shows like The Handmaid’s Tale

In addition to providing on-demand access to a good number of broadcast and cable TV shows, Hulu actually has some excellent original programming, headlined by The Handmaid’s Tale. But the quality of presentation doesn’t stack up against bigger streaming services like Netflix and Amazon. For about two years, Hulu quietly offered some of their shows (including The Handmaid’s Tale) in 4K, but just as quietly removed all support for 4K last year. There have been some hints they might offer 4K again, but as of now there’s no official timeline for that to happen.

 

In other words, if you ignore the handful of compelling originals, most people should probably look at Hulu as a replacement for cable or satellite (unless you’re a sports fan). The good news is, the picture and sound are vastly better than what you’re likely to get from Comcast or Dish Network. But that’s a pretty low bar, to be honest.

 

 

YouTube

DELIVERY  Can be first-rate—but how many vloggers do you really want to see in 4K HDR?

CONTENT  Only as good as the people producing & posting it—but a lot of it is innovative & excellent

Once the bastion of cat videos and puerile vlogs, these days YouTube sort of breaks all molds of content creation and delivery. Yes, you can buy or rent major studio movies and TV shows there, but the real appeal is that anyone can create 

content for the site. In any form. At any quality. And as such, it’s a wild and wonderful mixed bag.

 

You’ll find innovative programming like Critical Role, alongside goofy (but utterly watchable) larks like Jelle’s Marble Runsstuff the likes of which you just won’t find anywhere else. There’s also wholly entertaining but undeniably educational programming like Smarter Every Day and Physics Girl. And while it’s true that some amateur content creators still upload videos that look like they were shot on a potato, many of the best of them have adopted high-quality prosumer gear that makes their clips look as good as anything you’ll see anywhere else.

 

Really, only the top-tier streaming platforms like Vudu, Netflix, and Amazon look better than what YouTube is capable of at its best, mostly because the service’s owner, Google, is blazing trails in terms of compression codecs. YouTube is also one of the very few providers already offering up content in 8K-and-greater resolutions. And it’s home to some of the most stunning 4K/HDR AV demos you’ll find anywhere.

 

 

Amazon Prime Video

DELIVERY  Has a ways to go to catch up with Netflix

CONTENT  Has a ways to go to catch up with Netflix

Amazon is, in many ways, playing catch-up to the streaming leader, Netflix. But you could argue that, at least with the quality of their original shows, they’re not far behind. The past couple years have seen an influx of stellar content like The Marvelous Mrs. MaiselTransparent, and HomecomingAnd with a billion-dollar-plus Lord of the Rings-inspired TV series in the works, the company’s commitment to being taken seriously as a major content creator is undeniable.

 

Unfortunately, Amazon’s support for Dolby Vision and Atmos for its own content is extremely limited, and the Prime Video search engine is atrocious via any device other than Amazon’s own Fire TV. Somebody (who has hopefully been fired) decided it was a good idea to list 4K versions separately from HD, and oftentimes the 4K versions don’t even show up in searches within the app.

 

In other words, at its best Amazon Prime may look as good as what you’re getting from the average Netflix original these days. But finding new content to watch can be a struggle, and finding it in the best available quality can be a snipe hunt.

 

 

Netflix

DELIVERY  Unmatched for a provider of original content

CONTENT  Nobody does it better when it comes to fresh takes on existing genres

Netflix is really leading the way when it comes to delivering top-notch video programming with high-quality picture and sound. The service is spending gobs of money to produce some of the most critically-acclaimed movies and series, most of which can’t be viewed anywhere else, like Roma, Our Planet, and Stranger Things, just to name a few. And as we discussed in a recent episode of the Cineluxe Hour podcast, Netflix has also developed a reputation for taking more creative risks than other content creators, which likely plays some role in the buzz that surrounds so many of its originals.

 

What many people may not realize is that, although Netflix is known for giving writers and directors a long creative leash, the service has some of the most stringent audio and video quality standards around. 4K and HDR (including Dolby Vision) are the norm for any new movies and shows, and the service even offers a decent smattering of titles in Dolby Atmos. What’s more, it recently introduced adaptive studio-quality sound that’s only available to viewers with surround sound or Atmos systems—just one example of the company’s commitment to audiovisual excellence. Granted, the quality of presentation can depend on how you’re accessing the app. But apart from UHD Blu-ray discs or Kaleidescape, Netflix is at the top of the quality mountain for presentation, and arguably for content.

 

 

Vudu & iTunes

DELIVERY  Consistently excellent

CONTENT  No original programming—traditional Hollywood fare instead

Vudu and iTunes don’t create original content—at least not 

yet—but they do offer access to a gigantic catalog of movies and TV shows from most of the major studios. Also, unlike most streaming services, they work primarily on an à la carte purchase model, meaning you don’t pay a monthly fee, but rather pick and choose what you buy or rent (an option Amazon also dabbles in).

 

Both Vudu and iTunes give you the option of downloading movies, but most people simply stream them in real time. If you have a decent-enough internet connection, they can deliver quality on par with Netflix (meaning nearly as good as discs), and both offer tons of movies in 4K/HDR with Dolby Atmos sound.

 

These services do have a very Hollywood-driven mindset, though, so expect to see very traditional offerings, with the latest Hollywood blockbusters put in front of you on a regular basis. Whether or not that floats your boat is entirely subjective, of course.

 

 

UHD Blu-ray & Kaleidescape

DELIVERY  Unrivaled

CONTENT  No original programming, but extremely deep catalogs

While the very best streaming services like Netflix and Vudu may be pushing audio and video quality to the point of diminishing returns, UHD Blu-ray discs (if you have a lot of free shelf space) and Kaleidescape downloads (if you’re done with discs) are still the only way to ensure the absolute best in compromise-free audio and video presentation. Streaming at its best gets close, but for some, “close” just isn’t good enough.

 

Both Blu-ray and Kaleidescape mostly serve to deliver major-studio content. But Kaleidescape in particular makes it very easy to find the best of this content thanks to its curated collections. Want to buy all of 2019’s Golden Globe nominees? They’re just a single click-and-a-download away. The Kaleidescape store also has nearly 80 of AFI’s Top 100 Movies of all time, and nearly 75 years’ worth of Best Picture Oscar winners. Frankly, none of the streaming services comes anywhere close to that. What’s more, Kaleidescape’s innovative user interface makes it easier than ever to find exactly the right movie to scratch your current itch, even if you’re not sure what that itch is.

John Higgins & Dennis Burger

John Higgins lives a life surrounded by audio. When he’s not writing for Cineluxe, IGN,
or 
Wirecutter, he’s a professional musician and sound editor for TV/film. During his down
time, he’s watching Star Wars or learning from his toddler son, Neil.

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Ep. 9: New Frontiers in Content & Compression

The Cineluxe Hour logo

Episode 9 opens with hosts Michael Gaughn & Dennis Burger talking about Dennis’s piece
on the surprisingly high quality of 4K streaming when watched using the right device.

 

At 6:18, Cineluxe contributor Andrew Robinson joins Mike & Dennis to discuss how Netflix
might be a threat to both the TV networks & the movie studios but the really innovative
programming isn’t happening on Netflix but on YouTube.

 

At 33:22, Cineluxe contributor John Higgins joins Andrew, Dennis & Mike to discuss the
controversy set off by the literally unwatchable Game of Thrones “Long Night” episode
and whether we can expect to see compression problems disappear any time soon.

 

The episode concludes at 59:20 with everyone (except Mike) talking about the most
interesting things they’re watched, listened to, or experienced in the past two weeks.

CLICK HERE TO CHECK OUT MORE EPISODES OF THE CINELUXE HOUR

RELATED POSTS

RELATED EPISODES

Andrew Robinson is a photographer and videographer by trade, working on commercial and branding projects all over the US. He has served as a managing editor and freelance journalist in the AV space for nearly 20 years, writing technical articles, product reviews, and guest speaking on behalf of several notable brands at functions around the world.

John Higgins lives a life surrounded by audio. When he’s not writing for Cineluxe, IGN, or Wirecutter, he’s a professional musician and sound editor for TV/film. During his down time, he’s watching Star Wars or learning from his toddler son, Neil.

If Your Stream Looks Bad, Don’t Blame Netflix

If Your Stream Looks Bad, Don't Blame Netflix

We all take for granted that buying a better video display will result in a better home cinema experience. Ditto speakers and sound processors and amps and control systems and so on. But for some reason, even in an era where streaming has pretty much taken over as the dominant source of AV entertainment, we talk about services like Netflix as if the hardware delivering them doesn’t really matter.

 

This realization has been at the forefront of my mind recently, as I’ve had discussions with videophiles on Facebook and in the comments section of Home Theater Review about the quality of the streamed video experience. Even folks with roughly the same internet speeds as me, similar quality home networks, and comparable displays seem to be watching a wholly different Netflix than the one I enjoy.

 

This absolutely baffled me for the longest time. My first inclination was to write it off as pure bias. Or maybe even ignorance. But then I started asking about a variable we videophiles rarely discuss when we talk about streaming: “How, exactly, are you accessing Netflix?” (By the way, I’m using “Netflix” a bit like “Kleenex” here, as a synecdoche for high-performance streaming

video across the board. You could just as easily plug in your high-quality streaming service of choice, be it Vudu or Amazon or what have you. But none of this necessarily applies to lower-quality streaming apps like CBS All Access, etc.)

 

What I found is that almost none of the commenters who bemoan the quality of Netflix watch it the same way I do, via Roku Ultra. Some use cable or satellite boxes. Some rely on the smart apps built into their TVs. Some even have their laptops plugged into their TVs via HDMI.

 

This makes a difference. Way more than you would think. Way more than I would have ever imagined until I actually sat down for some exhaustive comparisons between the exact same Netflix programming streamed to the exact same display.

 

The first thing I discovered is just how substantially different loading times are between devices. I did all of this testing on my 75-inch UHD TV, installed just above my credenza, which houses my Roku Ultra, Dish Network satellite receiver, Kaleidescape Strato, and my other AV components. All are plugged into the same enterprise-grade, gigabit Cisco network switch, and as such have access to the exact same level of connectivity. If you’re a numbers nerd, you can check the “Netflix by the Numbers” sidebar below for a breakdown of exactly how long it took each device to load the Netflix app (after a hardware reboot), begin playing a title, and reach full UHD resolution and full bandwidth.

None of the above is even slightly shocking. What was shocking, though, is just how different Netflix looked via these different devices. Cueing up my recent favorite, Our Planet, I couldn’t help but notice that via the app built into my smart TV, this gorgeous nature doc looked a bit less gorgeous. A bit smeared. A bit noisy. A good bit less refined. A closer inspection of the screen revealed the cause: Numerous video compression artifacts, pretty much right in line with what all of the streaming detractors have been hollering at me about on Facebook.

If Your Stream Looks Bad, Don't Blame Netflix

Switching inputs to the Roku Ultra—again, via the same network connection—I was a little staggered to discover a complete lack of compression artifacts. Ignore, by the way, the subtle swirling bands of brightness fluctuation in the image below. Those are a result of moiré, a misalignment of pixels between my TV and the digital sensor in my cell phone.

 

Ignore too the slight softness in the upper row of leopard spots. This frame is from about half a second later than the one above, and as such the cheetah is moving a little faster, so there’s some motion blur. Also, don’t focus on differences in color—my smart TV’s integrated Netflix app is delivering the program in Dolby Vision, whereas my Roku Ultra only supports HDR10, but the camera in my smart phone can’t capture the gamut of either format. This image was also taken a few inches away from the TV, so what you’re seeing is a tiny fraction of the screen, blown up way larger than life-size.

If Your Stream Looks Bad, Don't Blame Netflix

But I think what’s clear here is that via the Roku Ultra, Our Planet’s image is virtually artifact-free. (As I mentioned in my review of the program, the only compression artifact I could find in the series’ entire run, at least from any reasonable seating distance, was about a second-and-a-half of very minor, almost imperceptible color banding in one early episode.)

 

I sent a series of images to colleague Andrew Robinson, since he and I have been discussing the geeky particulars of compression a lot recently. He immediately started poking holes in my methodology, at my request.

 

“Are you using the same picture profiles?”

 

Yup.

 

“Are you letting the smart TV buffer up to full resolution?”

 

Uh huh.

 

“Is your Roku running through the video processing of your AV preamp?”

 

Nope. I bypassed my preamp and ran the Roku straight into HDMI 1 on my TV.

 

I’ve done my darnedest to think of any reason why the same UHD/HDR program would look so rough via one streaming device and so flawless via another connected to the exact same network switch in the same room, running the same

streaming service from the same account. The only thing I can come up with is something Andrew touched on in his most recent piece about compression: HEVC (aka H.265), the video codec Netflix uses to deliver UHD/HDR, is very processor intensive. The cost of shoving such high-quality video through such a small pipe is that it makes the device on the playback end do a lot of heavy number crunching. And if those numbers can’t be crunched quickly enough, the results look a lot like the top screen shot above.

 

My guess here is that my Roku Ultra has the horsepower to deliver Netflix practically flawlessly, whereas my smart TV simply doesn’t. (And as gorgeous as the TV is with native 4K video, its middling performance in upscaling lower-resolution video to 4K is further evidence of this. That’s why I use my AV preamp to upscale video.)

 

And look, none of this is intended to be an advertisement for Roku. It may be my streaming player of choice because it consistently delivers the best performance for the streaming apps I use most. But I haven’t tested every single media streamer on the market to compare their video quality. (As our own John Sciacca has reported, though, even the highly lauded Apple TV 4K sometimes struggles on the audio front, and Andrew reported anecdotally in our most recent conversation that he noticed a significant improvement in video quality when he switched to Roku.) Nor do I have a representative sample of smart TVs to confirm that all of their built-in Netflix apps render such poor video performance.

NETFLIX BY THE NUMBERS

A nuts & bolts comparison of different streaming devices

 

I started with a simple load-time test, to see how long it would take for Netflix to launch to the user-select screen via devices that had just been powered up. All of these numbers are, of course, influenced by the speed of my internet connection (500 mbps) and the quality of my home network.

 

Roku Ultra  3.05 seconds on average from the time I selected the Netflix app until it loaded to the user-select screen

 

Dish Network Hopper DVR  4.41 seconds on average

 

Smart TV  22.38 seconds on average

 

I then selected three different Netflix programs (Our Planet, Love, Death + Robots, and Test Patterns) and ran numerous tests to find the average time it took each device to start playing the program after it was selected.

 

Roku Ultra  3.20 seconds on average, from the time I pressed Select until the program started playing

 

Dish Network Hopper  9.64 seconds on average

 

Smart TV  13.15 seconds on average

 

Lastly, I cued up the Test Patterns again, specifically the pattern labeled “YCBrCr 10-bit Linearity Chart: 3840×2160, 23.976fps.” This test gives you a bitrate meter at the top of the screen, and also displays playback resolution, which let me gauge how long it would take each device to reach full bandwidth (16 mbps) and full resolution/color bit-depth.

 

Roku Ultra  Played at UHD 10-bit immediately, although it did start at 12 megabits per second and took 4.15 seconds on average to report full 16 mbps bandwidth

 

Dish Network Hopper DVR  Switched from 1920 x 1080 resolution to full 3840 x 2160 resolution after 15.62 seconds on average, and took an average of 46.26 seconds to reach full 16 mbps bandwidth

 

Smart TV Took 47.18 seconds on average to switch from HD to UHD resolution, and didn’t reach full 16 mbps bandwidth until an average of 142.54 seconds into the stream

All I can say for certain is that the device you use to access Netflix and all of the other streaming services you subscribe to does matter. And it matters way more than I would have predicted just a week ago. Simply put, if you’re streaming Netflix in your luxury entertainment system and notice that the picture isn’t up to snuff, don’t blame Netflix. Start pointing your finger at the device you’re using to access the app.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Dead to Me

Dead to Me

In Netflix’s new original series Dead to Me, nothing is quite as it seems. Even the show itself isn’t exactly what you might glean from a casual viewing of the Netflix teaser. You think it’s going to be a show about a grieving wife who lost her husband in a violent accident and is trying to move forward with the help of a support group—and especially another grieving woman that she meets there.

 

Perhaps you tune in because you love the two female leads, Christina Applegate and Linda Cardellini, and you think it’ll be fun to watch a sharp-edged show about two middle-aged woman who suddenly find themselves single and must help each other navigate grief, dating, parenthood, etc.

 

You’ll realize before the end of Episode One that Dead to Me plans to tell a different—and much more interesting—story. And if you’re at all like me, you’ll be instantly hooked and burn through all 10 half-hour(ish) episodes in a weekend.

Dead to Me

One thing that does meet expectations is the performances, as both Applegate and Cardellini are a joy to watch. But the real credit goes to show creator Liz Feldman and the writing team for giving them such great stuff to worth with. This kind of story could easily slip into a stereotype: “One is hard and angry. The other is sweet and quirky. Don’t they make a wacky team?” But both characters are fleshed out with depth and believability. Yes, Applegate’s Jen has a hard time keeping her anger in check, but she’s written as a real woman, with a real vulnerability underneath that helps her remain the sympathetic heroine.

 

Dead to Me is presented in Dolby Vision or HDR10 with a Dolby Digital Plus soundtrack. I streamed it through my Apple TV to an LG OLED TV, and the picture quality was excellent. The show is meant to have a very natural, everyday look, so there’s nothing particularly stylized about the cinematography. But the image is clean, colorful, and razor sharp, and the many Orange County, CA landscapes provide some nice eye candy. It’s beautifully lit, and the HDR just serves to reinforce that, be it through bright patches of sunlight streaming in through windows or the flicker of a firepit’s flames against the dark night sky.

 

Dolby Digital Plus is just fine for this type of dialogue-driven content. Your surround speakers and subwoofer won’t see much action here, although there is some effective LFE use in certain key scenes.

 

I must admit, I’m not sure if Dead to Me has the legs to run many seasons without the story devolving into absurdity. But I thoroughly enjoyed Season One, and I look forward to seeing what surprises Season Two will throw our way.

—Adrienne Maxwell

Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the 
AV editor at Wirecutter (but her opinions here do not
represent those of Wirecutter or its parent company, The New York Times). Adrienne lives in
Colorado, where she spends far too much time looking at the Rockies and not nearly enough
time being in them.

Our Planet

It’s been barely more than a year since beloved natural historian Sir David Attenborough took viewers on another romp around the natural world in Blue Planet II, so for some it may seem a little soon for another such epic journey. After all, Attenborough’s tentpole nature documentary series tend to follow big technological leaps, either in terms of presentation (HD, 4K, HDR, etc.) or exploration (e.g. the Nadir and Deep Rover submersibles employed in Blue Planet II).

 

Needless to say, we haven’t made such quantum leaps in the past calendar year. For the most part, what sets the new Netflix original Our Planet apart from its predecessors isn’t technological (although its heavy reliance on 4K drones does mean that we get to witness the wonders of a natural world from a new perspective at times). No, for the most part, what sets this series apart is its intent, and the prominence of its message.

 

Since the 1980s, Attenborough’s documentaries—at least the big “event” series—have been largely subtle in their environmental and conservational messaging. A summary sentence here or there. Maybe a wrap-up episode that connected the dots and spelled out how human activity has threatened and continues to threaten the fragile ecosystems around our pale blue dot.

 

With Our Planet (and its accompanying hour-long making-of special), that message takes center stage. Which isn’t to say that Attenborough dwells on it constantly. Large swaths of the eight-episode series are devoted to the drama, heartbreak, and 

hilarity of the natural world. Show a ten-minute clip from the middle of any given episode to your dad, and he might be hard-pressed to tell it from an old episode of Mutual of Omaha’s Wild Kingdom, if not for the stunningly modern cinematography and deliciously dynamic Dolby Atmos sound mix.

 

But Attenborough does a great job of priming the 

pump here, setting the stage in such a way that you can’t help but meditate on how much of nature relies on delicate, precarious balances, and how those balances are undeniably being thrown out of whack.

 

One example: It’s one thing to be told that arctic sea ice is on the wane. It’s another altogether to see with your own eyes how that’s affecting the wildlife in the region. At the other end of the globe, we also see how diminishing sea ice around Antarctica is disrupting eating, mating, and migration patterns of everything from seals to penguins to humpback whales.

Even if that message doesn’t resonate with you, it’s impossible to deny that Our Planet is an absolute feast for the eyes. Presented here in 4K with both Dolby Vision and HDR10 (depending on which HDR format your system supports), the series is one of the most striking video demos I’ve ever laid eyes on—in any format. The high dynamic 

range is used here to enhance everything from the iridescent shimmer of orchid bees to the fluorescent glow of algae growing underneath sea ice, and while we’ll likely never know how much better (if at all) it could look if released on full-bandwidth UHD Blu-ray or via Kaleidescape, one thing is for certain: This streaming series manages to surpass the already mind-blowing video presentation of Blue Planet II on any format, streaming or not, and that’s mostly due to its stunning HDR mastering and grading.

 

There are times when the contrasts and highlights are so rich and nuanced, and the imagery so detailed, that your brain just can’t help but interpret the picture as glasses-free 3D. Individual snowflakes fall through the back of the frame, reflecting stray sparkles of sunlight, without a hint of lost definition or clarity. If not for the liberal application of slow-motion, you’d swear you were looking out a window. Indeed, only the appearance of some very occasional, subtle, fleeting, almost imperceptible banding in the underwater sequences of the second episode give the slightest clue that this isn’t uncompressed video.

The audio is mostly fantastic, as well. For a nature documentary, the surround effects can be quite startlingly aggressive at times, but they’re never egregious, and such effects are always used for the purposes of immersion, not merely spectacle. If I have a slight beef here, it’s that the Dolby Digital+ encoding doesn’t quite fully capture the nuanced timbres of Sir Attenborough’s inimitable voice in the way I suspect Dolby TrueHD would. But again, that’s a minor nit to pick.

 

As mentioned above, the series is also amongst the rare Netflix offerings to be accompanied by bonus features—in this case, a behind-the-scenes documentary that sheds light on how so many of the stunning images within were captured. The series was four years in the making and involved 3,365 filming days at 200 locations, with a total of 6,000 drone flights and 991 days at sea. With only an hour to play with, the behind-the-scenes doc can’t dig into all of the high-tech trials and tribulations of the filming, but it’s enough to scratch your curious itch and answer most of the biggest “How did they film that?!” questions you may have.

 

In the end, it’s difficult for me, a nearly fanatical David Attenborough devotee, to come to terms with the fact that Our Planet could conceivably be the last of his major earth-spanning natural history mini-series. He is, after all, approaching the age of 93. As such, and when taking into consideration the urgency with which he delivers his message here, it’s hard not to view this series as a potential swan song of sorts. If that be the case, I couldn’t imagine a finer farewell, nor a more fitting final lesson from the man who has done so much to entertain, inform, and enlighten us about the wonders of the natural world for the better part of half a century.

 

To call this one “essential viewing” may be the biggest understatement I’ve ever typed.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Love, Death + Robots

Love, Death + Robots

The first night I sat down to watch the new Netflix anthology series Love, Death + Robots, I went into it in full binge mode. At 220 minutes total, it hardly seemed a daunting marathon. Four episodes in, though, I was burned out. Overloaded. Overstimulated. Desensitized to the carnage and ribaldry pouring out of my screen.

 

That’s not a knock against the series, which is the realization of David Fincher and Tim Miller’s failed attempts to bring Heavy Metal to the big screen again. It’s simply an acknowledgement of the fact that I think I’ve discovered the first streaming series that expressly discourages binge watching. That could in part be due to the fact that most of the 18 shorts in the anthology are radically different in tone, style, and genre. The collection runs the gamut from dungeon-diving horror to comedy to fantasy to science-fiction, with sprinkles of high-tech action/adventure and steampunk wǔxiá thrown in. The animation is also

quite varied, including a nice mix of hand-drawn 2D animation and CGI that ranges from stylized and painterly to hyper-realistic. There’s even a delightful live-action short that harkens back to Steven Spielberg’s old Amazing Stories series from the 1980s.

 

In short, there’s really nothing tying these episodes together, aside

from loose adherence to the titular theme to one degree or another. Honestly, a better title might have been “Love, Death, and/or Robots.”

 

But none of that should be interpreted as a knock against the series, either. Merely an observation about why I think Love, Death + Robots works better as a collection of disconnected morsels, intended to be taken in one at a time here and there, not consumed in one or two sittings.

 

You almost certainly won’t enjoy all of the shorts, even if this is your sort of thing. (And to gauge whether this is your sort of thing, it probably boils down to your fondness for the aforementioned Heavy Metal, the magazine on which it was based, or maybe even the old MTV/BBC Two anthology series Liquid Television.) Half of the shorts in this first season collection

are downright brilliant, and the other half are a weird mix of puerile, pointless, and outright repugnant.

 

The problem is, although I think most people would agree with that assessment overall, I doubt you could find two people who could come to consensus on which shorts belong in which category.

There are a few objective standouts, though. “Zima Blue,” one of the few 2D shorts, is as profound as it is simple in its storytelling. “Good Hunting,” an adaptation of one of the short stories from Ken Liu’s award-winning The Paper Menagerie and Other Stories, is another fantastic vignette that manages to create a wondrously gorgeous and compelling world populated by fascinating characters in its all-too-brief 17 minutes. It’s one of the longest shorts in the series, although it feels like one of the shortest.

 

At the other end of the spectrum, goofy and disturbing romps like “The Witness” seem to have taken the series’ lack of censorship as a mandate rather than a license, and the result is a gratuitous and exploitative nightmare that I can’t imagine anyone actually enjoying.

 

Don’t let missteps like the latter scare you off, though, as long as you’re not turned off by animated violence and sex across the board. Love, Death + Robots is a radical experiment in filmmaking that deserves to be celebrated in spite of its misses. And its audiovisual presentation is utterly stunning. From beginning to end, Love, Death + Robots is a UHD/HDR video torture test that demands to be watched on the best screen in the house. Only a weird sound mix for one of the shorts, “Sonnie’s Edge”—which buries the dialogue and leans way too heavily on the surround channels—keeps this series from being an A+ AV demo from beginning to end.

 

In the end, Love, Death + Robots is, like most good genre fiction, a product of its time. Without the risk-taking attitude of new media outlets like Netflix, it probably wouldn’t have ever seen the light of day. Had it somehow beaten the odds and been made before now, there’s no way it would have snuck under the wire with an R rating without some massive edits. And without the benefit of modern AV formats, it wouldn’t have nearly the same impact.

 

But in a weird way, the series also comes across as an interesting rejection of our current media climate and its emphasis on gluttonous consumption. To appreciate the series fully, you really need to treat it as a bag of snacks, not a sustaining meal.

 

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Even Streaming is Better than Most Movie Theaters

We’ve been talking a lot here lately about how a home entertainment system—built with the right components, carefully installed, and properly calibrated—can now deliver an experience that surpasses that of most commercial movie theaters. There’s this persistent and niggling perception in the home theater enthusiast community, though, that achieving such a seemingly lofty goal means that you must eschew streaming formats like Netflix, Amazon Instant, and Vudu altogether.

Simply put, this is silly.

 

And mind you, I’m not saying that such streaming formats are perfect. Consider the fact that your typical 4K movie, which is only compressed down to roughly 250 megabits per second at your local cineplex, is squeezed into a 15- or 20-megabit-per-second pipe for Vudu streaming. It’s pretty obvious that something is lost along the information superhighway. (A UHD Blu-ray release or Kaleidescape download, by the way, runs at more along the lines of 60 to 100 mbps).

I’m merely arguing that when viewed in the right environment, on the right system, the quality of the experience you can get via streaming can far exceed the quality of most movie theaters.

 

How is that possible given the above admission about compression? It all boils down to the way our eyes prioritize certain elements of an image over others. In short, the most important aspects of an image, at least to our eyes and our brains, are black level and dynamic range. The closer the darkest parts of an image are to true black, and the more steps there are between the darkest and lightest areas of an image (to a point), the more pop and impact an image has.

Streaming Better Than Movie Theaters

Need an example? Here’s a screen grab from the 2017 Pixar film Coco. The top image is a direct screen grab in all its high-contrast glory, with inky blacks and sparkling highlights. And this doesn’t even capture the high dynamic range you’d get from the Vudu stream of the film, with its enhanced sparkle and superior shadow detail.

 

The bottom image? I simply tweaked the contrast to make the blacks a little less black and the whites a little less white, in line with the limited brightness and dynamic range capabilities of most commercial cinema projectors and screens.

 

And you may be thinking to yourself, “What about the vibrancy of the colors? The glow of those magically lit leaves? The pop of Miguel’s jacket? Surely you toned down the colors of the bottom image a bit, too!”  Nope.

The perceived loss of saturation in the bottom image is simply a byproduct of tweaking the relationship between black and white, to illustrate the differences between a good home display and Screen 3 at Jim Bob’s Continental Cinema 16 down the street. That’s literally the only thing I manipulated here.

 

Actually, I lied. The top image was also subjected to roughly four times as much lossy compression as the bottom before I combined them and compressed them again.

And hey, maybe you don’t like the DayGlo color palette of Coco as it was originally intended to be seen. That’s valid. But what’s true of this example is true for any other film. Even via a streaming source like Vudu or Netflix at home, you’re getting an image that’s more vibrant, with truer-to-life contrasts and oodles more brightness. And at the end of the day, that’s far more important to our visual cortices.

 

And that’s not even taking into account the films these days that were color graded and mastered with the superior brightness and dynamic range of home displays in mind, with no thought given to the compromised theatrical experience. I’ve never seen a theatrical presentation that came close to capturing the contrast, shadow detail, and highlights of Netflix’ The Ballad of Buster Scruggs, just to name one example.

 

Maybe if more commercials theaters converted to Dolby Cinema, with its vivid laser projection and higher dynamic range, this argument would carry less weight. But of the 250 Dolby Cinema theaters in the US of A, the closest one to me is a two-and-a-half-hour drive away. So, for me, the very best commercial cinema experience is defined by the

limitations of IMAX Digital. And if you bother to venture out to your local cineplex with any frequency, the same is likely true for you, as well.

 

In his most recent post, our own John Sciacca made the point that Kaleidescape is the only sure-fire way of ensuring that you enjoy the absolute best picture and sound that you can at home, short of buying UHD Blu-ray discs. That’s absolutely true. No arguments from me on that point. If nothing less than audiovisual perfection will suffice, streaming hasn’t reached that level
. . . yet.

 

But if we’re simply talking about enjoying a better experience than you’re likely to get at your average local megaplex? I would argue that streaming, in the era of 4K and HDR, and when viewed on a properly installed and calibrated home display, has already crossed that Rubicon.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Home Theaters are Better Than Movie Theaters

Home Theaters are Better than Movie Theaters

Photo by JESHOOTS.com from Pexels

As John Sciacca points out in his recent article, “Are Home Theaters Making Movie Theaters Better?” home entertainment spent more than half a century playing a catchup game with commercial cinemas, at least in terms of technological innovation and quality of presentation. But Wabbit Season has now pretty much undeniably become Duck Season, and home entertainment reigns supreme. Yes, commercial cinemas are making some interesting technological innovations, as John points out. But most of these are limited to a handful of theaters in major metropolitan areas.

 

For most people, a well-built, well-calibrated, well-programmed home cinema system (be it in a dedicated screening room or multi-use home entertainment space), has the potential to vastly outshine the movie-watching experience at the average local cineplex. And while much of this has to do with incredible advancements in the quality of consumer electronics in the

past few years, that’s not the whole story. There’s also a story to be told here about comfort, convenience, and customization.

 

In short, here are 10 reasons why home theaters are now better than movies theaters.

 

 

1) BETTER PICTURE

These days, even a mid-level Ultra HD (or “4K”) display, when properly calibrated and positioned, can give 

you a better and more immersive image than you’re likely to find in your local movie theater. Sure, your neighborhood megaplex has bigger screens working to its advantage, but depending on how far away you sit, a 75- to 120-inch screen at home can fill up just as much of your field of view. And displays this large are pretty close to becoming the norm for better home entertainment spaces. What’s more, you’d have to look pretty far and wide to find a movie theater screen that delivers anything close to the black levels and high dynamic range delivered by a good modern home display.

 

 

2) BETTER SOUND

At least in theory. While commercial cinemas still have the advantage in terms of channel count, let’s face it—you really don’t need 128 speakers in your living room to deliver an audio experience that’s every bit as engrossing as that of a movie theater. What’s more, theater sound has to be balanced for potentially hundreds of viewers. At home, you can tune the sound for the handful of seats that matter most. And today’s advanced room correction systems can make even a somewhat compromised space sound positively cinematic.

 

 

3) BETTER QUALITY CONTROL

Have you ever been to a commercial cinema and complained about an image that was too dim or stretched, or a screen that was soda-stained, or speakers that were blown, only to be greeted with that deer-in-headlights look? The fact is that most movie theater managers don’t care about (or even understand) quality of presentation. At home, you can either

address problems when they arise or, at worst, call your local integrator for assistance.

 

 

4) THE AV EXPERIENCE CAN BE
TWEAKED TO YOUR TASTE

Whether you like your movie sound to be played at reference listening levels, or just a bit louder or quieter than industry standards would dictate, chances are slim that you’ll ever be happy with where the volume knob is set at your local movie theater. At home, you can adjust the loudness to your liking, and even tweak it based on your mood.

 

 

5) THE “WOW” FACTOR CAN BE EVEN BETTER

Back in the day, there was an undeniable theatrical element involved in going to the movies. And yes, most of that boiled down to that highly anticipated moment when the curtains opened or widened to accommodate a Cinemascope film, but still. They used to call it “going to see a show” for a reason. The movie itself was simply the centerpiece of a larger event.

 

These days? Not so much. But home theaters can make movie-watching special in a way that commercial cinemas have long since abandoned. If you have a home automation system, you can dim the lights and draw the shades and maybe even cause the screen to drop down from the ceiling at the press of a button. If you have a Kaleidescape movie server system, these automated events can even be tied to the opening and closing credits of the movie itself—or even intermission. And you can program an entire evening’s worth of entertainment—trailers, cartoons, movies, and more—that can be launched with a single click. Simply put, movie night at home can be special in a way that bopping down to the local movie theater long ago ceased to be.

 

 

6) YOU’RE ON YOUR OWN TIMETABLE

Speaking of intermission, how many times have you missed a few minutes of a movie due to a necessary potty break? That’s not a problem when you’re watching at home. Perhaps more importantly, unless you’re itching to watch

the latest Marvel movie, which is likely to be playing on half the screens at your local multiplex, you’ll likely find that your choice of viewing times is limited to 4:25 or 9:45. At home, you can start the movie when you want.

 

 

7) THE VARIETY OF ENTERTAINMENT IS SO MUCH BETTER

As I alluded to in that last point, even at a megaplex with 16 screens, half of them are likely to be playing the same movie, which greatly limits your viewing options. These days, the rise of streaming services creating their own award-winning movies means that your options are wide open for home viewing.

Want to check out something like Bird Box or Roma? Outside of a few film festivals and a limited theatrical release aimed only at Oscar contention, the only way you’d ever see these films is at home. You could easily argue that Netflix and Amazon are the most innovative and important film studios in existence today, and their works are only available in the home for most people.

8) TWO WORDS: GOURMET POPCORN

OK, it’s entirely possible that my wife and I are weirdos in this respect, but we’re total popcorn snobs. We have our own oil popper, and when it’s time to sit down for a movie we’re likely to spend five minutes simply deciding what kind of kernels to pop. On the rare occasions when we do go to the cinema, the grease-covered cardboard they sell by the bucket is an unappetizing letdown.

 

And hey, maybe gourmet popcorn isn’t your thing. Substitute your own snack of choice and you get the point. Movie theaters have done a decent job of offering more variety in their snacks in recent years, but let’s be honest here: They’re all kinda gross unless you live in a major metropolis. At home, you can snack better, snack cheaper, and snack healthier to boot.

9) YOU GET TO DEFINE “COMFORT”

My wife recently returned from a road trip, during which she went to the movies with a friend of ours who lives up north. She came home raving about the recliners in the cinema they visited, to which I replied, “Were they as comfortable as your seat on the sofa?” The answer, of course, was a resounding, “no.” Still, it’s humorous to me that the notion of comfortable seating in a movie theater is a novelty in and of itself. What’s more, these seats have to accommodate a broad range of opinions as to what constitutes “comfortable.”


Personally, I like a firm memory foam sofa that conforms to my posterior, but isn’t so cushy that I drift off during our annual 12-hour Lord of the Rings Extended Edition marathon. Maybe your tastes lean even firmer, or maybe you’d prefer to sink into the accoutering equivalent of a marshmallow. Either way, in your home theater or multi-use entertainment space, you get to pick the seats.

 

 

10) YOU GET TO PICK THE AUDIENCE

There may yet come a day when commercial cinemas once again reclaim their technological superiority over home cinema systems en masse, but even if they do, I can’t imagine going back to the movies on the regular. And that mostly boils down to the fact that the moviegoing masses are loud, obnoxious, obtrusive, self-centered jerks. When we went to see Captain Marvel a few weeks back, I nearly sprained my shushing muscles. And outside of chains like Alamo Drafthouse, most cinema operators generally couldn’t care less if kids are swinging from the rafters.


Anyone who comes to my house to watch a movie knows they’re there to watch a movie, not gab for two hours straight or check their phones every ten minutes. And you could argue that my rules for movie-watching at home are a little strict, but you know what? Friends and family who join me on my couch for a show always come to appreciate the specialness of the experience.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.