Modern-day televisions have evolved into rollable form factors on the high end of the spectrum but the utilitarian aspect of the big screen has mostly been ignored. That leaves space for concept designs like the SOUROND to shine through.
The display is specifically created for individuals residing in compact apartments. Its sleek form consists of a roll-up screen, audio system, base and charging capabilities. All these are targeted at reducing users’ space needs while enhancing user-friendliness.
This innovative form combines the function of television, audio and charging into a slim and space-saving design. The result, a multi-functional solution that not only saves space but also meets the varying needs of modern dwellers. SOUROND boasts a screwless aesthetic design making the installation very easy without compromising the integrity of the wall surface. This results in a versatile design that provides seamless flexibility for various setup options like wall-mounting or placing on the tabletop stand.
The base of the modern display has an in-built wireless charging function to charge all the power-hungry gadgets. The most interesting feature of the display is its roll-up screen that reveals the internal speakers underneath to enjoy music and podcasts. The array of 6 speakers concealed under the mesh surface beam rich audio for music lovers, hence, adding to the utility.
The only downside of the current proposed concept design is the lack of support for big screens that only fit a 32-inch screen. It is mostly aimed at users who like to add a multifunctional TV to their setup sans any wire clutter. That said, we would love to see a minimum of 55-inch screen setup with this multiple functionality, it ever this concept is materialized.
Spectrum owner Charter and Disney have resolved a dispute that prevented millions of customers from watching networks such as ABC and ESPN through their cable provider since August 31. The companies reached an agreement that features some intriguing streaming-related perks for Spectrum subscribers. Those include access to the long-awaited standalone ESPN streaming service, whenever that debuts, for those on a Spectrum TV Select plan.
Those subscribers will also have access to the ad-supported basic tier of Disney+ in the coming months, while Spectrum TV Select Plus customers will be able to check out ESPN+ as part of their plan. According to CNBC, Charter will pay higher subscriber fees to Disney.
It seems that Charter customers having access to ad-supported versions of Disney's streaming services was a point of contention between the companies before they finally reached a deal. In the meantime, Disney started offering Hulu + Live TV at a discounted rate of $50 a month for three months (the usual rate is $70) ahead of a price increase in October.
The newly forged agreement between Charter and Disney means that subscribers again have access to 19 of the latter's networks, including ABC-owned stations, the Disney Channel, FX and the Nat Geo Channel. Just in time for Monday Night Football, the full suite of ESPN networks is back as well. However, Spectrum subscribers are losing the ability to watch Baby TV, Disney Junior, Disney XD, Freeform, FXM, FXX, Nat Geo Wild and Nat Geo Mundo through the cable service.
This article originally appeared on Engadget at https://www.engadget.com/disney-channels-are-back-on-spectrum-after-12-day-standoff-174333955.html?src=rss
The following article discusses the fourth season of Star Trek: Lower Decks.
There’s a risk, using a word like “should” that we’re a short hop away from a tantrum to police the borders of What Proper Star Trek(™) is. But after watching most of Star Trek: Lower Decks’ fourth season, it does feel as if the show’s outlook is the most Star Trek of the bunch. Part of this is because the show is mature enough to laugh at itself, and part of it is because it’s now letting its characters grow. This is a sitcom, so its first duty is to be funny rather than weighty, but it’s a welcome sight to see the quartet escape the bottom rung.
I don’t think that’s much of a spoiler, because it’s in the trailer, the press material and the cast’s promotional interviews with TrekMovie. At the start of season four, some of the quartet get their promotions to Lieutenant Junior Grade, and out of their shared bunk. Now they’re expected to lead away missions, take on real real responsibilities and actually lead other people. It affects them all differently, with Boimler struggling to grow into his role, and Mariner fighting every urge in her body not to self-sabotage, with varying degrees of success. And it’s here, I think, that we see the side of Star Trek that so often gets overlooked in its other properties.
After all, Starfleet is an organization of people coming together to do better for other people, but also to improve themselves. For every daring scientific experiment and skin-of-the-teeth rescue, we see more of the senior officers’ desire to actually nurture their charges. This, too, helps to broaden the series’ focus, to include T’Lyn, the fan-favorite who joined the Cerritos at the end of last season. The broader view also gives Captain Freeman more of a central role in several episodes, especially highlighting the times when her knowledge is ignored by her superiors. For all we’ve seen of the dung rolling downhill and landing in Beta Shift’s trench, it’s not as if those higher up the chain don’t get their fair share of excrement, too.
I wonder if its status as Star Trek’s officially-sanctioned Class Clown gives it room to be more subversive than anyone gives it credit for. Time and again, both in this series and before, we see totems of Star Trek’s past commoditized and packaged for sale. It’s an easy way to milk fans’ nostalgia glands, but it’s also potentially a subtle critique about the nature of nostalgia. As much as Lower Decks was created by a Next Generation fan who wants to recapture some of that magic, it’s also a commentary on that very same desire. And the show’s creative team is clear-eyed enough to notice that series’ blind spots and mine them for comedy.
But, for all of this high-falutin’ talk, this remains Lower Decks, a series that can have you in tears at the sight of a pair of dueling [SPOILERS] trying to out-compliment each other. And, if nothing else, it’s a pleasure to spend more time with Starfleet’s horniest and weirdest crew.
The first two episodes of Star Trek: Lower Decks will be available to watch on Paramount+ on Thursday, September 7. A new episode will arrive on subsequent Thursdays.
This article originally appeared on Engadget at https://www.engadget.com/lower-decks-taps-into-what-star-trek-really-is-130059999.html?src=rss
Late-night comedy’s five biggest hosts are starting a podcast. Stephen Colbert, Jimmy Kimmel, Seth Meyers, John Oliver and Jimmy Fallon will host Strike Force Five, a weekly chat about “the complexities behind the ongoing Hollywood strikes.” All proceeds will go to out-of-work staff from the hosts’ five talk shows.
“The hosts bring their unique insights, opinions, and humor to the show as they navigate the Hollywood strikes and beyond,” a Spotify blog post reads. The five comedians will take turns moderating the episodes. Spotify’s Megaphone is producing the series, and the streaming service is the podcast’s sole sales partner — but the series isn’t exclusive to the platform. “[It’s available on] Spotify, or wherever you get your podcasts,” Meyers said in a video Kimmel posted to X (formerly Twitter). “But Spotify, you fucks,” Oliver aggressively deadpanned.
The series launches on August 30th (day 120 of the strike, as noted byTVLine). It will run for at least 12 episodes.
The Writers Guild of America (WGA) and the Alliance of Motion Picture and Television Producers (AMPTP) have been at odds without much discernible progress since the WGA began striking on May 2nd. The WGA described the sides’ latest meeting last week as more of a “lecture” than a negotiation. “We were met with a lecture about how good their single and only counteroffer was,” the WGA negotiating committee wrote to members. “But this wasn’t a meeting to make a deal. This was a meeting to get us to cave, which is why, not 20 minutes after we left the meeting, the AMPTP released its summary of their proposals. This was the companies’ plan from the beginning — not to bargain, but to jam us. It is their only strategy — to bet that we will turn on each other.”
This article originally appeared on Engadget at https://www.engadget.com/late-night-tvs-biggest-hosts-start-a-strike-force-five-podcast-to-support-striking-staff-172100624.html?src=rss
Max, formerly known as HBO Max, will give subscribers access to several AMC shows, at least for a limited time. The streaming service has struck a deal with AMC to feature some of its more recent programming from September 1st to October 31st. According to CNBC and Variety, their deal encompasses over 200 episodes from titles that include Fear the Walking Dead, Anne Rice's Interview With the Vampire and Killing Eve. AMC will even make more of its shows available through Max this fall.
While the network has its own streaming service called AMC+, it's been struggling to make money off it and to keep up with rival providers. When company chairman James Dolan sent a memo to staff members in the midst of layoffs last year, he wrote: "It was our belief that cord cutting losses would be offset by gains in streaming. This has not been the case."
AMC's programs will be marked as such on the Max app and will be listed in a tab labeled as "AMC+ Picks on Max." They will be available to both ad-free and ad-supported Max subscribers, though the AMC+ titles will reportedly not include commercials and ads. HBO EVP Meredith Gertler said "[t]he AMC+ collection pop up is an excellent example of how [the company] can use innovative strategies to add value to [its] content offering."
The parties have yet to announce the other titles arriving on Max this fall, but CNBC says they will not include AMC's biggest shows, such as Mad Men and The Walking Dead. Breaking Bad and Better Call Saul, which also won't be making their way to Max, are already licensed to Netflix.
This article originally appeared on Engadget at https://www.engadget.com/max-will-stream-fear-the-walking-dead-killing-eve-and-other-amc-shows-055138723.html?src=rss
CNN+ lasted barely over a month before Warner Bros. Discovery pulled the plug last year amid reports of abysmally lower viewer numbers. But the company still thinks there’s room for live news from CNN on a streaming service.
It’s bringing CNN Max to all Max tiers in the US at no extra cost on September 27th. The new round-the-clock service will “be part of an open beta for news that will enable experimentation with product features, content offerings and original storytelling, all with the input and feedback from the Max community," WBD said in a press release.
CNN Max will feature original programming, as well as live programs from CNN US and CNN International. New shows include CNN Newsroom with Jim Acosta, Rahel Solomon, Amara Walker and Fredricka Whitfield and CNN Newsroom with Jim Sciutto. The streaming channel will feature several CNN tentpoles as well, like Amanpour, Anderson Cooper 360, The Lead with Jake Tapper and The Situation Room with Wolf Blitzer.
Meanwhile, WBD will rename Max’s CNN Originals hub to CNN Max. Non-news CNN programming like Anthony Bourdain: Parts Unknown and Stanley Tucci: Searching for Italy will be available through this hub, along with the new 24/7 channel and more than 900 episodes of new and classic programming.
CNN Max is perhaps a less-risky bet for WBD than CNN+. CNN sank hundreds of millions of dollars into that endeavor. CNN+ was more personality-centric, while it seems CNN Max will be aligned with CNN proper’s approach to news. Having a blend of CNN and original programming should help keep costs down too.
This article originally appeared on Engadget at https://www.engadget.com/a-live-cnn-streaming-channel-is-coming-to-max-in-september-141316706.html?src=rss
208 episodes of The Clone Wars and Star Wars Rebels. Three Tales of the Jedi shorts. Two episodes of The Mandalorian and The Book of Boba Fett. One movie. That's everything you'll need to see to truly understand everything going on in the new Ahsoka series on Disney+. For Star Wars diehards, especially those raised on the animated shows spearheaded by Ahsoka creator Dave Filoni, it's everything they've hoped for. Everyone else, though, may find themselves adrift.
Ahsoka deftly brings animated characters to live action — Rosario Dawson remains a beguiling Ahsoka, and she's joined by Mary Elizabeth Winstead as Hera Syndulla, and Natasha Liu Bordezzo as the impulsive Sabine Wren — and it wastes no time introducing intriguing villains (especially Baylan Skoll, a former Jedi portrayed by the late Ray Stevenson). The series is a direct sequel to Rebels in almost every way. But while that's great news for fans, the downside is that newcomers to the wider Rebels verse, even those who've seen Ahsoka in The Mandalorian and The Book of Boba Fett, will have a hard time finding any emotional stakes.
Photo by Lucasfilm
With the previous live action Star Wars TV shows (including the enjoyable-yet-unneccessary Obi-Wan Kenobi series), Filoni and co-producer Jon Favreau tried to ease general audiences into deeper aspects of Star Wars lore. That was most successful in the first season of The Mandalorian, which was filled with new characters and simple emotional stakes. (Protect Baby Yoda, no matter what it takes!) But Filoni eventually managed to bring in some characters from his animated shows, including the nefarious bounty hunter Cad Bane.
For better or worse, Ahsoka feels like a riskier project than most of those other live action shows. Almost everyone refers to events and major characters from Rebels, without explaining much about who they are. We know that Grand Admiral Thrawn seems like a major new antagonist, but the show never says why. We later learn that Ahsoka is driven to find him because that may reveal the location of Ezra Bridger, the main character of Rebels who disappeared at the end of that series. Sabine and Ahsoka share some pensive moments reflecting on their lost friend, but we don't get much about their shared relationship beyond that.
Photo by Lucasfilm
At times watching Ahsoka is like being invited to a party where everyone else are old friends, and who refuse to explain their in-jokes or shared history. It's not their problem if you're not having as much fun as them. Deal with it. I had similar issues with The Mandalorian's third season relying too much on The Book of Boba Fett, but at least those were shows airing in close proximity. Ahsoka hinges on direct continuity from an animated series that began in 2014 and ran for four years.
Of course, the series may get better down the line. Ahsoka is Filoni's baby, after all, and he's too talented of a storyteller to have her tread water for a season. And I'll admit, even the excellent Andor took a few episodes to really rev things up. I just hope this show weaves character motivations into its plot more effectively moving forward.
In the first two episodes, Ahsoka is basically sent on a fetch quest when a new trio of villains pops up. There’s some investigative work that sheds light on the post-Empire world (would former members of the Empire really want to support the New Republic?), but much of the time I felt like I was waiting for something, anything to happen. At least the handful of action scenes spice up the proceedings – Dawson’s months of training really show in her lightsaber duels. And there are hints of interesting character dynamics moving forward.
In the years since Rebels ended, it turns out Ahsoka started training Sabine as a Jedi, but then abandoned her. It’s a reflection of Ahsoka’s own story, where she started as Anakin Skywalker’s padawan before a (very complicated) series of events pushed her out of the Jedi Order. Can Ahsoka make up for her mistakes, or is she doomed to fail her student like her master failed her?
At the very least, Ahsoka’s first two episodes are far more intriguing than the Book of Boba Fett or Obi-Wan’s intros. Both of those shows felt superfluous – did we really need Boba Fett’s backstory and redemption tale? Did seeing another Obi-Wan and Darth Vader duel really accomplish anything? Ahsoka, on the other hand, is trying to push Star Wars into new territory. It’s just too bad that everyone isn’t invited for that journey.
This article originally appeared on Engadget at https://www.engadget.com/ahsoka-review-star-wars-disney-193023619.html?src=rss
Fans of shows like Andor and The Last of Us who are looking forward to finding out whether their faves will triumph at the Emmy Awards will have to remain patient for an extra few months. The Television Academy and Fox have announced that the Primetime Emmy Awards ceremony will now take place on January 15th — Martin Luther King Jr. Day — rather than September 18th.
That marks a delay of four months and it means the ceremony will air one week after the Golden Globes. The Television Academy and its broadcast partner have pushed back the Creative Arts Emmy Awards to the same weekend as the Golden Globes as well (an edited version of that two-night ceremony will air on January 13th).
The delay isn't unexpected. Rumors have been swirling for weeks that the Academy and Fox would have to postpone the Emmy Awards amid writers and actors strikes that have ground Hollywood productions to a halt. With no Writers Guild of America members available to write jokes for the Emmys host and actors in SAG-AFTRA unable to attend awards ceremonies due to union rules about promoting struck work, a rescheduling seemed inevitable at this point.
Actors and writers are on strike in an attempt to secure fair contracts with Hollywood studios that protect the future of their professions. One of the major points of contention is that both unions want to safeguard their members against advancements in artificial intelligence that could harm their employment prospects. For instance, SAG-AFTRA claims the studios wanted to scan actors and have the right to use their digital likenesses in perpetuity in exchange for a single day of pay.
As has been the case for several years now, shows and television movies from streaming services are competing with those from broadcast networks for Emmy glory. HBO and Max racked up a combined 127 nominations thanks to the likes of The Last of Us and Succession. Netflix has 103 and Apple (with a big helping hand from reigning Emmys champ Ted Lasso) has 52. Thanks in large part to its various Star Wars shows, Disney+ has 40 Emmy nominations this year.
This article originally appeared on Engadget at https://www.engadget.com/the-television-academy-has-delayed-the-emmys-until-january-144508081.html?src=rss
The following article discusses spoilers for “Hegemony” and Star Trek more generally.
1. Bloody hell. I’ve repeatedly said that Strange New Worlds exudes a special sort of confidence this season. The cast and crew are working as a seamless whole, knowing that the conviction at which you sell is just as important as the quality of what’s being sold. The team has raised their floor and ceiling in equal measure, and even the worst episode was bad because of what it said, not because of how it said it. “Hegemony,” is a finale that, aided by the early commission of season three, acts as one part victory lap and one part set up for what follows.
2. The powers that be at Paramount didn’t signal ahead of time that this episode would end on a cliffhanger. In fact, Henry Alonso Myers’ screenplay is a brilliant feint, suggesting the episode will wrap up on a satisfactory, if brisk, ending before the rug pull in its final moment. You’d be forgiven for not noticing the different transporter energy when the survivors were beamed away on your first watch. Myers’ script and Maja Vrvilo’s direction is permeated with a low-level feeling of dread that suits the needs of both the Alien-esque horror and the raised-stakes of a finale.
3.Strange New Worlds has been smarter about setting up and paying off its threads than you might expect. “Among the Lotus Eaters” saw Ortegas feeling sidelined after getting bumped from an away team which forced her to accept her role as the ship’s pilot. Here, she finally gets her wish to go on a mission, but her initial enthusiasm is sapped when she realizes she’s more or less out of her depth. Her scene with Dr. M'Benga, where she admits she’s leaving the role of action hero to the captain, underscores this. The fact she’s one of the crewmembers taken by the Gorn at the end adds a darker weight to her finally getting her wish granted.
Michael Gibson/Paramount+
4. Montgomery Scott’s voice-only cameo in last season’s finale was a neat hat-tip to fans with a basic fluency for Star Trek. I guess it was just too tempting not to follow up on that this time, with Martin Quinn as the young engineer. It’s gratifying to see an actual, Paisley-born Scot playing the role, and an amusing fact that he’s the second actor – after Simon Pegg – who has paid their dues playing roles in various British comedy shows. If Quinn hangs around, I can’t wait for Trek completionists to watch Limmy’s Show and Derry Girls to watch his early work, much like when I watched Brent Spiner on Cheers and Night Court.
5. I don’t want to harp on about the limitations a prequel imposes, because we all know the score now. It may bend the edges of Trek’s established narrative but Strange New Worlds can never escape its eventual destination. Young Kirk, Young Spock, Young Uhura, Young Chapel, Young Scotty and Young Dr. M’Benga will all be here, around and alive, to turn into their 1966 counterparts. You can’t put any of those characters in jeopardy, or base your episode around asking that question, because we already know who is safe.
That’s why the emotional beats of Spock’s dramatic rescue of Chapel worked perfectly, but asking the question of her survival did not. The show was smart enough to only leave the issue lingering for the first act before we saw Chapel working to stay alive. (Notice she also gets to do an EVA in a proper spacesuit after her emergency leap in “The Broken Circle.”) But I can only speak as a “fan” so maybe it worked better for those mainstream viewers who have made Strange New Worlds one of the biggest shows on streaming TV.
Michael Gibson/Paramount+
6. Back in the ‘60s, Pike and Kirk were the same character with the serial numbers filed off, both drawn from the same template of rugged mid ‘60s masculinity. Two-fisted thinking men of action as comfortable on the back of a horse as they were quoting poetry or discussing naval history. This lack of distinction wasn’t really an issue back then, or even now, until Strange New Worlds made the conscious decision to let Kirk lurk on the periphery of Pike’s narrative.
It meant the production team needed to retrofit Pike as different from his successor, helped by Anson Mount’s gravitas and easy charm. And the first season finale made it clear that Pike’s reluctance to shoot first and ask questions later was his tragic flaw. One that Kirk didn’t have, which made him a better leader to take the Enterprise on its next set of missions. But Anson Mount’s paternity leave and reduced shooting schedule meant there wasn’t time to examine the fallout from “A Quality of Mercy” in any detail.
After all, he now knows his desire to find a peaceful solution single-handedly started a war that wiped out the Federation. He also knows he has to remain true to his principles or else he could pollute the timeline and not be in the right place to save future Spock’s life. The fact he’s unable to make a decision in the cliffhanger is entirely congruent with the journey Pike has been on, but it’s clear the steps leading to this moment would have been explored far more had Mount been available.
“Hegemony,” then, is the show’s first real chance to look at how Pike has tried to grow into Kirk’s mold, despite how ill-fitting he finds it. In his first talk with Admiral April, he advocates a policy of shooting first, but not long after he’s thinking about trying to find a peaceful solution. It’s those two competing urges that paralyze Pike in the finale, knowing there are lives on the line whatever he does. But, again, you have to praise the production team for trusting the audience will keep up with what happened in the previous season.
7. It’s not great that Strange New Worlds can only do so much to put clear water between Pike and Kirk. You can’t make Pike look too old-fashioned or useless without alienating him from the audience, especially given his forthcoming ultimate sacrifice. But go too far the other way and you make Pike a dove in comparison with the more hawkish Kirk which, to me, feels like the wrong message to be sending.
Michael Gibson/Paramount+
8. It’s hard to know how long Strange New Worlds will run for, or what the plans are for its future. You could easily argue it never needs to end so much as just swap out characters until you’ve rebuilt the 1966 ensemble. Every generation of Paramount executives harbors a desire to get a do-over on Kirk and Spock in the hope their name recognition alone will carry a series.
But I’m curious if that’s something people would actually want? I’m not sure I do, but then my dream would be an original series set in Trek’s present with no legacy characters at all. And I know that’s something of a minority opinion compared to all those folks who want yet another run on the nostalgia treadmill set in the safety of Trek’s past. (If nothing else, at least Strange New Worlds has kept its fan service to a minimum and tried, as best as it can, to set out on its own path.)
9. At the end of my season one finale review, I wrote “Whisper it, friends, but Strange New Worlds might actually be good?” That was a fair line at the time, since the show took a while before clicking into a high gear. Since then, however, more or less every episode has improved upon the last to produce a second season with barely any weak notes. We don’t need to whisper anything now, Strange New Worlds is the best live-action Trek of the streaming era.
This article originally appeared on Engadget at https://www.engadget.com/nine-thoughts-about-star-trek-strange-new-worlds-blockbuster-finale-130046409.html?src=rss
For some individuals, placing a TV in the bedroom is a matter of debate as a bedroom should primarily promote relaxation and good sleep. On the other hand, some people find it perfect to have a TV in the bedroom so that they can enjoy movies, watch their favorite shows, or play games from the comfort of their bed. However, the downside is that it may result in disturbed sleep and fewer conversations with your partner.
Designer: Katrin Stoiko
What are the factors to be considered while installing a TV in the bedroom?
Make sure to assess the TV’s visibility from various angles like from the bed, a seating area, or any desired position.
The TV should be strategically positioned at eye level to provide optimal viewing. Here is a calculation based on one’s seating height and distance from the TV. The distance from the TV should be nearly 2.5 times the diagonal length of the screen, while in the case of high-definition TVs, one can consider a distance of 1.5 times the diagonal length of the screen.
Do not place the TV opposite a sunny window to prevent potential glare.
For good eye health, make sure to choose the size of the TV according to the dimensions of the bedroom.
How to place the TV in the bedroom?
If you choose to install a TV in the bedroom, explore the various ways to do so and select the option that suits your preferences.
Wall-Mounted TV
Mount the TV on the wall opposite the bed to save floor space and achieve a clutter-free look. Consider creating an aesthetically pleasing background around the TV since it typically becomes the focal point of the bedroom.
A wall-mounted TV is a space-saving solution that is highly recommended for compact bedrooms as it creates an airy atmosphere and does not clutter the horizontal surfaces or dominate the bedroom.
The TV is cleverly installed on the opposite side of the bed, neatly tucked away as its position does not provide a direct view. For this arrangement, one can use a pivoted wall mount to adjust its position, allowing one to view it comfortably from the bed or from a distance to ensure comfortable viewing.
Integrate It With The Dresser
For bedrooms with a dresser, try aligning the TV with the dresser to maintain a balanced and harmonious arrangement.
In this example, the dresser and TV are designed into a multifunctional and aesthetically pleasing design that harmoniously blends with the overall décor of the bedroom in hues of brown, gold, and off-white. The patterned surface behind the TV unit enhances the appearance of the TV, which is also aligned with the circular mirror.
Combine it with a Gallery Wall
Incorporate the TV within a gallery wall to prevent it from dominating the art display. Note that combining the TV with artwork can lend a soft and sophisticated ambiance to the bedroom. The aesthetics can be enhanced by decorating the wall with beautiful paintings, family photographs, and sleek shelves with accessories.
Near a Sitting Area
If the bedroom is spacious enough, place the TV opposite a sitting area to ensure a comfortable viewing experience and promote good posture while watching.
Out of Sight
Position the TV unit where it can be easily viewed from the intended viewing spot to ensure convenience and a clear line of sight. As the bedroom should be a space dedicated to rest, concealing a TV behind closed doors is a fantastic way to achieve this ambiance. Additionally, it allows one to hide unsightly cables and cords simply by closing the doors.
To keep the TV discreet, consider placing it inside a cabinet or armoire, allowing one to close it when not in use for a cleaner look.
This arrangement is highly recommended for those who do not like gadgets in the room and the best part about this setup is that it not only maximizes space but also creates a sleek and organized bedroom. However, make sure to pay attention to the type of doors you choose. Opting for traditional hinged doors would require keeping them open while watching the screen, which might be less convenient. Instead, consider more practical alternatives. Sliding door systems offer an excellent solution for concealing technology in the bedroom or any other room of the home.
In this example, a niche is created between two wardrobes in contrasting tones of wood with utility drawers while the wardrobes are white. The best part is that the built-in TV unit can conceal all the wires seamlessly, creating a clutter-free view. The diffused lighting provides the niche with a distinctive and characterful look.
A Built-in Unit
For a creative approach, install the TV amidst built-in shelves or a wardrobe, offering an innovative and stylish spot to showcase the TV.
This is one of the most space-efficient methods of storing and displaying the TV as it creates a seamless and integrated look. In this TV unit, there is a provision for storage behind the TV unit.
This bedroom offers brilliant outdoor views, hence this drop-down TV can be pulled down when in use and can be motored up and concealed inside the ceiling when it is switched off. Go for window treatments like opaque curtains, window blinds, and sheer curtains so that they can block the sunlight and prevent glare on the TV screen. This is a great way to conceal the TV discreetly without sacrificing valuable wall space.
The TV in this bedroom is mounted on a marble wall panel. The wall also integrates the TV, writing desk, and a tall wall mirror to perform multiple functions, keeping the ambiance of the room light and subtle.
In a spacious bedroom that can accommodate separate sleeping and seating areas, consider a TV cabinet that functions as a semi-open partition between both areas of the bedroom. This TV unit offers flexibility for TV viewing, as one can watch it while lying down on the bed or seated in the living room area on the opposite side. Additionally, it adds versatility to the room’s layout just as in this image.
Use LED Strip Lighting
Designer: Philips
Reduce eye strain with bias lighting in the bedroom as it is a great way to picture the contrast of the TV. This lighting can be fit around the TV of different sizes as a decorative element for an ambient look and creates a relaxing ambiance while watching TV. This is a great way to introduce mood lighting within the bedroom.
Above the Fireplace Mantel
Designer: South Harbor Inn
If the bedroom has a fireplace, it is advisable to mount the TV above the fireplace mantel as it is an excellent way to reduce visual impact. The TV unit blends with the décor of the bedroom and reduces its visual impact.
Among the various bed designs available, some incorporate TVs into the footboard, allowing them to lift for viewing and slide down to be hidden away using electric motors. This option is one of our favorites because once integrated into the bed, it offers a seamless and convenient TV viewing experience.
