parrflem leofwen serpent
Narcisa Flierl
We're glad you are here so we can best assist you. To use casting, the supported app must be installed on your mobile device and Roku TV. You must also connect your phone or tablet to the same wireless network as your Roku device. You can do this wirelessly with supported apps like YouTube and Netflix by opening the casting icon on the mobile device on your phone or tablet and selecting your Roku device.
I have never been able to use Android's native cast (Cast Connect) to cast through my Roku devices. Some of my previous Android phones were able to use Google Cast to cast some content (ie. Youtube, Netflix, etc-- that symbol that allowed user to cast to TV from within the opened app.)
I just use third party casting apps now when needing to cast content from my Android mobile devices to the Roku device. My personal preference is Web Video Caster (WVC), but others like Castify and Tubio work fine also.
With all the above, you install the app on your mobile device or phone (all can be found in the Play Store), and then you install a companion receiver on your Roku device. (all found in the Roku Channel Store).
The apps mentioned above are free (with ads on phone), and all offer paid features also. WVC is a one-time purchase of $3 or $4 for an ad-free full featured lifetime use, but the free version works perfectly fine. (a few additional features with the paid version).
Is there a way to cast from my mobile device to my Roku tv using Androids screen cast feature or if I'm in a mobile app for which an equivalent app is unavailable on Roku tv? I've been able to do these functions on my Android TV.
You can of course cast to your Roku TV what you are already watching on your mobile device. To use casting, the supported app must be installed on both your mobile device and your Roku streaming device. You must also make sure to connect your phone or tablet to the same wireless network as your Roku device.
You can do this wirelessly with supported apps like YouTube and Netflix by opening the casting icon on a mobile device on your phone or tablet and selecting your Roku device. The channel will launch automatically on your Roku device and playback will begin.
If you are unable to cast Netflix from your phone to your Roku TV even though you have downloaded the Netflix app on both devices and they are connected to the same Wi-Fi network, there are a few things you can try:
Note: The Screen Cast icon may be located in different locations depending on your Android phone model and version of Android. If you can't find it in the Quick Settings panel, try searching for it in the Settings app. Additionally, not all Android phones support screen casting, so make sure your device is compatible before attempting to cast.
This isn't as clearly documented as it probably should be. I have a Netflix account. I have an eligible T-Mobile plan for "Netflix on Us". What is the entire process, soup to nuts, on 1) enabling this feature on T-Mobile, and 2) updating my existing Netflix account to that I get the $8.99 credit from T-Mobile, per month.
These directions don't appear to be correct. I've tried to click "Manage Netflix" on my cell and on my computer with IE and with Chrome. It just keeps taking me to a screen that doesn't align with the directions. Nowhere can I log into my existing Netflix account. Are these instructions still accurate?
Oh, and for iPhone 15 peoples, the existing two-years free applies. Meaning that on the whole, Apple has deferred this potential-payment-problem decision till 2025. These days, the feature is available in the following countries, for both iPhone 14 and iPhone 15 users.
The core difference with an app like RideWithGPS is that it also has sensor support (even Garmin Varia radar integration), as well as uploads to all the various 3rd party platforms like a head unit (whereas Google Maps will most definitely not upload to Strava).
Two Things:
1-I like the PeakDesign phone holder on the handle bars, good choice!
2-I wish Peloton would allow none Peloton bikes to connect to their system, specifically for their scenic rides. I like to do those rides from time-to-time, but I am not a fan of the bike itself as I prefer to ride my Cannondale on my Wahoo.
Most other communicators (EPIRB/PLB, 911 call on a cell phone) will pass through an emergency call without any other charges, so long as the device functions. I think where Garmin and others in the satellite device arena are making their money is non-emergency check-ins and tracking, as well as messaging, rather than on a cost per emergency call.
I doubt it will ever happen, but it would be interesting if NordicTrack finally feels enough pressure to add Netflix to its platform after years of users having to use all kinds of workarounds to get it working.
Hi Ray, on my peloton bike+ (UK based) I only see the Disney App in the Beta Entertainment function. Is there a way of getting access to more providers or is all pushed depending on your country etc? There is the netflix app hidden away in the Apps area but there is no ride data displayed in a sidebar so pretty useless. Anyone else had similar experiences?
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Previously, a diverse set of source requests may have been assigned to one facility, but language and/or resource limitations may have required that facility to outsource a subset of their assigned work to another facility. This workflow was previously managed outside of the Backlot ecosystem, which increased the risk of communication issues and resulted in workflow redundancies.
Phase One of the subcontracting feature helps to bring this type of work in-band -- allowing for seamless communication between the original Fulfillment Partner and their sub-assignee(s). Additional functionality will be provided in later phases of development.
The ultimate goal is to ensure that only qualified partners are operating in our ecosystem. In support of that aim, Phase 1 of this newly added feature allows for increased visibility & more efficient communication between Netflix and our Fulfillment Partners.
This feature allows Fulfillment Partners to sub-assign requests to other Fulfillment Partners and provides visibility when they do. A Fulfillment Partner can sub-assign source request(s) by selecting one (or many) source requests from their Backlot view and navigating to the "person icon" in the bulk action bar below:
Existing Partners will have visibility into the sub-assigned Backlot source requests; however, they will not be able to deliver direct to Netflix at this time. Subsequent phases of this feature will allow for qualified sub-assignees to deliver to Netflix, directly.
At this time, you may assign source requests to external vendors outside of our delivery ecosystem; however, the external vendor will not have the ability to log into Backlot and view the source requests nor will they be able to deliver directly to Netflix in later feature enhancements.
It feels like a pilot episode inexplicably chopped up in four places. The first season literally ends with the iconic cast coming together to prepare for the inevitable battle against everyone's favorite antagonist. Needless to say, Warren Ellis' loose retelling of Castlevania 3: Dracula's Curse seems to have garnered polarising opinions. Some people thought the gore (and there's a gleefully gratuitous amount of that) was on-point. Others thought it was unnecessary. Some loved the animation. Others abhorred it. And I'm not even going to get started on the pacing, dialogue, character design, and adherence to the source material. (The music. What on earth happened with the music?)
Personally, though? I thought Netflix's Castlevania was competent television. Not great, mind you. Competent. If we were doing numbers - and hey, why not - it was a seven-point-five in most places, an eight in some, and the occasional 'I guess this could be so much worse' five in a few spots. For the most part, I enjoyed the art direction. It could be my natural predisposition towards furry capes, however, and a fondness for practical-looking fight scenes. (Caveat: I'm not particularly impressed with the final showdown.)
I mean, sure. There's fan service. How could there not be? But it doesn't come across as insider-y, if you know what I mean? At no point during the viewing experience did I tilt my head, frown puzzledly at the screen, and wonder about the implications of an action, a phrase. You could binge-watch the whole shebang without a lifetime of devotion to the games.
But okay, enough about that. Let's break down the Castlevania animation a little. Each episode pivots around a different character. In the very first one, we have Dracula himself, reimagined as a semi-sympathetic individual who falls in love with a scholastic young woman. Their relationship doesn't last. Five minutes later, she's dead, burned alive as a witch, and Dracula's left to mourn in, at least in the context of undead lords of the night, a somewhat reasonable fashion.
He goes back to his wife's murderers and informs them that they have precisely a year to evacuate before he brings the world down around their ears. Dialogue-wise, this isn't Castlevania's best showing. Dracula repeats the phrase 'one year' so many times, it feels like he's worried about the condition falling on deaf ears. And there's that whole conversation about fornicating with livestock, which got far too much screen time for my liking.
That said, the episode does a fantastic job at illustrating precisely how violent the series will be, happily raining viscera on all and sundry. It also introduces Trevor Belmont, brilliantly voiced by Richard Armitage, towards the end.
I adore Trevor. The 'disgraced scion turned wandering drunk' is a familiar trope, but Trevor really sells it here. He doesn't seem so much despairing of lost glory, as he is despairing of the fact he can't get drunk without getting into trouble. He's a hot mess of a human being. He gets the stuffing kicked out of him before he staggers outside and throws up from his exertions. Armitage does a lot to provide Trevor with the right mix of insouciance and gravity, hinting at the kind of man the last son of the Belmonts once was.
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