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The 55-inch Made in India TV Mi TV Q1 will be launched on December 16, find out the price





A few days ago, Xiaomi announced that they are going to launch a new 4K QLED TV in India on December 16. However, before the official launch, the picture of the retail box of this TV with QLED technology of Shaomi was leaked today. Popular tipstar Rafee Shaik shared two pictures of the TV retail box from his Twitter account. From there, the price of the TV and some of its features came to the fore. Please be informed that the name of the TV will be Mi TV Q1.

According to the retail box, Mi TV Q1 will have Dolby Vision and high refresh rate reality flow display. As it is an Android TV, there will be Chromecast and Google Assistant, built-in. You can also install any app you want on the TV from the Play Store.

In the retail box, the screen size of Mi TV Q1 is 55 inches and the maximum retail price is Rs 59,999. This means that the actual price will be much lower than the printed retail price. It is estimated that the price of Mi TV Q1 in India may be around Rs 50,000. The LxWxH of the TV is 1.23m x7.1cm x61.4cm. This TV weighs 14.2 kg 8 This TV is completely made in India. Its manufacturer is Dixon Technologies in India.

The teaser page of this TV is now live on Mi.Com. It will be launched on December 16 at noon. It will also have DTS-HD and Dolby Audio support for HDR 10+ and great audio, as can be seen from the teaser page. Now we have to wait till the launch event to know the official price and other specifications of the TV.





Shuvro is very much passionate about quiz, writing and extremely enthusiastic to learn the modern scientific and technological discoveries in all over the world.


The Sorcerer’s Apprentice overview: Inoffensive but flimsy family present




The Sorcerer’s Apprentice review: Inoffensive but flimsy family show

pitting Graphic used to portray Paul McCartney snatching at banal snippets from conversations with his wife Linda and attempting to change them into strike songs. The similar method appears to be at the rear of quite a few of the new musicals that appeared in our mid-selection theatres pre-lockdown, and the types now staying arduously reformatted for dwell-streaming.

I salute the dedication of the King’s Head and Southwark Playhouse, and director Charlotte Westenra, for devising a workable on the web output of this inoffensive but flimsy household exhibit, shot on the Southwark stage. I just surprise if, in doing the job out how they could stage it, the manufacturing staff ever requested by themselves if they truly need to.

Writer Richard Hough and composer Ben Morales Frost take as their inspiration JW von Goethe’s poem, by itself tailored from a folks tale, and now best identified as the basis for the orchestral plan showcasing Mickey Mouse and an military of marching brooms in Disney’s Fantasia.

The poem is 14 stanzas prolonged and the Mickey segment operates a very little more than ten minutes. To fill two several hours of stage/display screen time, Hough and Frost pad out the skeleton of the morality tale into a story of family members strife and psychological expansion, with an ecological information pasted on prime for good evaluate. The tracks are pleasant but unremarkable with lyrics – “spellbound, it is like a fairground” – that sound as if they had been settled upon at the last minute.

The Sorcerer’s Apprentice


In the village of Midgard, which is vaguely Nordic and 19th century, electricity comes from the aurora borealis, harvested by some means or other by the cartoonish capitalist Lydecker. The local sorcerer-cum-health care provider Gottel (David Thaxton) warns of catastrophe. Gottel is a widower, gruff with his daughter Eva (Mary Moore) simply because she reminds him of his useless wife. So Eva attempts to impress him by turning her own expanding magical powers on Lydecker’s refinery, and accidentally conjures up an army of eco-terrorist cleaning utensils.

The character arcs – regret and redemption for Gottel, self-affirmation for Eva – are fully predictable but the narrative is blurry and imprecise. A single second figures are desperate to preserve the city from offended bits of wood and bristle, the upcoming they are sitting down to biscuits. A two-dimensional suitor is provided for Eva purely mainly because her appreciate music require a goal. The script does spring one particular surprise, and just one incredibly great joke occasioned by Gottel’s ability to mix medication and spells: “Magician, recover theyself.” Thaxton, and Dawn Hope as Lydecker’s mom, give the most convincing vocal performances: Moore is charming but hits from time to time flat.

Westenra’s output achieves just one fantastic visual coup, when the dancing brooms are supplanted by a wide, expressive, sculptural face. But it is a great deal tougher to suspend disbelief at the manipulation of props in a livestream than in a theatre. The magic just isn’t there.

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