Image: PaKKiTo (Flickr)

Yesterday Radiohead announced that they were releasing their new album, 'The King of Limbs', on digital download on Saturday 19 February. Moving away from the pay-what-you-want pricing model of 'In Rainbows' they are offering their new album for £6 as well as £30 for a print copy with assorted goodies.

I really applaud what Radiohead are doing here. In the age of free access to millions of tracks, both illegally and increasingly legitimate, they know that the price for digital content had to be low. They also know that their fanbase is sufficiently rabid to swallow £30 for special artwork to help fill the band's coffers.

The problem, however, comes with their method of distribution. When it comes to handling thousands of payments and downloads on Saturday morning they might find they're without sufficient server capacity to handle it as happened with their release of 'In Rainbows' and the digital release of Saul Williams' last album.

The problem is that their website will not be the only place the download will be available on Saturday. Within seconds of the first downloads the album will be up on BitTorrent and people will be faced with the choice of a crippled official download server or a super speedy and, let us not forget, free BitTorrent download. Of course some will wait and pay but more will flock to torrent the album and that means lost revenue.

Perhaps I am not giving the band's digital team enough credit and they will nail the distribution by temporarily renting extra capacity at a data centre or even using BitTorrent itself to ease the pressure on servers; a method used to great success to distribute massive Linux ISOs.

That said I look forward to seeing how it all turns out on Saturday morning and, of course, listening to the tracks but I wouldn't be at all surprised to find fans grabbing the torrent that’s quicker and easier to get hold of when it comes to crunch time.

Image: smemon87 (Flickr)

We just enabled the new look Facebook pages for Alzheimer's Society and have been playing around with it this morning. I like the new design but there are some issues for charities that are going to have to be overcome. Let’s look at the good and the bad.

The good

1. Post everywhere as the brand

You can post as your Page on other Pages and profiles which means you can now do outreach using your Page and drive engagement by traveling to the mountain instead of waiting for it to come to you. If you have more than one related Page you could also cross-post and cross-promote which will be very useful for organisations that have separate Pages for events or local areas.

2. Notifications for your Page

Once you’ve clicked ‘use Facebook as Page’ you’ll be able to see notifications where people have interacted with you. This will be especially important to monitor now as you can post away from your own wall and this will be the only way of monitoring those external communications.

The bad

1. The photo carousel at the top

Carousel is, unfortunately, the right word. Unlike user profiles, the order of these photos is randomized every time you reload the page. This means you can't do any clever branding with it or use it for any kind of promotion. Bad for us page owners but good for Facebook who will see more advertising revenue as a result.

2. No more chronological posts

At the moment posts on a Page's wall are now ranked using a similar algorithm to the newsfeed. This means that the most recent post by you or a user may not appear at the top. This could lead to a situation where an old post languished at the top of the wall (making your page look stale) or a post promoting something important was pushed out the way for something else.

It's worth noting that you can see a chronological ordering of posts in the 'admin view' option but this won't display for users.

3. Your website's gone

The old page design showed your web address in the info box under the Page's picture. Now the info box has been relegated to a tab only accessible by the left-hand menu. I don't suspect that the URL in it's old place ever drove too much traffic to our website but it'll be driving even less to it now.

The round up

Facebook has a well established history of not rolling back design changes so these are undoubtedly here to stay. I think the design looks a lot fresher but it could definitely do with a few tweaks to make it even more useful for organisations and brands to get their message out there.

However, as good as VCCP's offering was, my ad of the year is actually a fairly low-profile but totally brilliant ad for a Doritos / Guitar Hero tie-in. It follows the life of a wannabe rockstar called Alan from birth to .. well, you'll have to see for yourself.

And yes it is 4 minutes long but it's the best 4 minutes you'll ever spend watching an advert.

So why is this my ad of 2009? Well, for me that's simple; it's because I watch it for my own amusement. I don't passively consume this ad, I actively seek it out and show it to other people. Undoubtedly it hasn't become the viral hit it was meant to be but in the more-art-than-science world of the viral video I'm not sure too much blame can be leveled at the AMV BBDO team that came up with it.

It also doesn't shy away from having fun with the brands. The stage dive into the Dorito's box is a genius bit of product placement and the overriding message that Alan is a bit of a loser but even losers can rock out on Guitar Hero plays up to the public perception that the game is just for people that weren't good enough to learn a real instrument.

It's fun, it's funny and the chorus still hasn't left my head since I first saw the ad in October last year.

So come on everybody, sing with me: "Alan you are a guitar hero! Trapped in the body of a rock n roll zero!"

3. The Skoda Cake Car

Oh my god it's a car made of cake!

Yeah, it's a car made of cake. And that's all it is.

Since PR companies discovered that 'stunt advertising' got column inches and TV coverage (ushered into the mainstream by the media's blanket coverage of the Bravia Bouncing Balls ad) we've been increasing presented with more and more ludicrously extravagant set pieces intended to wow consumers into submission.

Sony's ad was brilliant because it said that colours weren't static; that they were alive. Colours exploded and tumbled, jostled and jumped. It looked exciting and it made a clear link between the Bravia experience and the jaw-dropping spectacle you'd just witnessed.

And that is why the Skoda ad is so disappointing. Yes it's kind of cool that they managed to construct a car out of Victoria sponge but what does it actually say about the vehicle? Soft and squishy? Bad for something that can do 70 mph. Put together by some TV extras that couldn't book panto in Croydon? Well that's build quality for you.

It's just event advertising for the sake of it with nothing to say and for that reason it's going on the list.

2. Cadbury's Eyebrows

The brief: Create an ad that is more memorable and inexplicably brilliant than a gorilla drumming along to Phil Collins.

The pitch: Er .. there are these kids .. and their eyebrows wiggle .. .. .. in time to music!

If this was the best idea they came up with I want to know what they rejected. I'm not saying they should have milked the gorilla for another campaign but I did expect something a bit more well thought out than some sub-standard 'wacky' YouTube video. The fact that it seems to have been so successful amazes and depresses me in equal measure.

1. The T-mobile flashmob

By the time big business cottons on to anything remotely underground it, by definition, immediately fails to market it to the people that might be interested because the ads usually resemble something akin to your granddad dressing up as Ali G to tell you about the benefits of sexual health check ups in the style of an Eton educated grime MC.

Remember flashmobs? They were pretty cool in 2006. Well, unless it took T-mobile 3 years to co-ordinate a couple of hundred people dancing to one of the decade's worst mega-mixes I'd say that they missed the boat on this one.

At least the ad has a point: sharing is fun. Yes, sharing things on the net is fun. Watching things sent to you is fun. But not when you've already seen it and not when you already saw it nearly 5 years ago.

"Hey everyone! Look! Have you seen this wicked BADGER BADGER MUSHROOM MUSHROOM video?!"

Honourable mention (NSFW)

I don't think this was really anyone's favourite advert and, to be honest, it's not even from 2009 but I do like what Brooker has to say about it.

Image: R Philipson (Flickr)

Lots of sites are still using bad security questions and it's an easy way to get your account swiped. Common questions like 'what is the name of your pet?' and 'what is your mother's maiden name?' are actually pretty easy to get the answers to. Friends with your mum on a social network or like to tweet about your cat? Yeah, you're busted.

The way to get around this is simply to use your imagination. I always pick the 'what is the name of your pet?' question because I don't actually have a pet but I do have an imaginary dog. Only I know his name and since he's not real he never appears in photos on Facebook or does something cute I need share on Twitter. He is my imaginary password recovery dog and you shouldn't wait until Christmas to get one.

4. Use KeePass and go crazy with the long passwords

If you don't have an imagination or you do and your imaginary dog is called "password" you can use the program KeePass to securely hold a list of passwords and even generate random ones for you. KeePass has one master password which allows you to copy and paste your other passwords into your browser. This way you only need to remember one password so you can make the others as complicated and as unhackable as you want.

3. Don't let your online accounts go solo

Where possible, always link a secondary email address to an account. Gmail lets you do it and it's a great idea. Even if your password gets compromised it can be possible to get your account back this way. And since another password secured account is safer than a security question you're better off having it this way. Just don't have the same password for your primary and secondary email addresses.

2. The password is dead! Long live the passphrase!

A password (emphasis on 'word') can be brute forced especially if your password is a word in the dictionary. Far more difficult to get at are passwords that are strings of words put together - passphrases. A string of random words is tricky to remember but if you pick a sentence it's much easier to recall. "ThisIsMyExcellentWorkPassword" with some numbers and punctuation in it is actually a pretty good password.

1. Hack yourself

My recent article, 'How I hacked my own life', showed that there is a staggering array of information available about you on the internet. I found pretty much everything I needed in order to give someone a good shot at cracking open some of my online events.

Only by actively trying to hack your accounts can you really be sure how it easy it is to get into them and only by looking through your public social media presences can you know what information you've divulged that might be used to crack open your online world.

Next week I lay into the 3 most irritating ads of 2009. Subscribe via RSS to make sure that you don't miss out.

The quest begins ..

I allowed myself only one starting point: my name. My name which is, unfortunately in the Google age, rather unique. Googling myself turns up my LinkedIn account at the top of the pile. In less than 30 seconds we have discovered what I do for a living, where I work and where and when I went to university. So far so good but what about getting some really useful information like my age? Well I don't list my age on LinkedIn but it isn't too hard to figure out from the dates of my education although, without an actual birth date, this information is probably only marginally useful.

So, back to Google and it appears that I've got 2 Twitter accounts. One is locked down (as is the cache) but the account name seems pretty unique and this hunch is proved correct when a bit of Googling brings you to a related website and a quick WHOIS gleefully spits out my home address.

Now I have my name, year of birth, place of employment and home address. Now, apart from my address, I'm not that worried about that information being out there on the web because, really, it seems like the kind of stuff that you could get your hands on in real life without too much effort.

But then I have a terrible thought: I've so far assumed that the key bit of information that was keeping me safe was my birthday. I've always been careful to obscure it from public facing sites, even choosing to fill in a false one on occasion (a move that permanently locked me out of my Flickr account when I forgot my password) but I start to get a sinking feeling that I might have actually tweeted about my birthday. I slavishly scan through my tweets and, sure enough, there it is: a big, flashing, publicly available neon sign that says 'THIS IS MY BIRTHDAY'.

Oh dear. Life = well and truly hacked.

The problem with privacy

Although not as true as it always was, for a long time websites with logins relied on your birthday as the key piece of identifying information that differentiated you from an impostor. Before social media kicked off it was a fairly reliable assumption that only you and a handful of friends and family would know your birthday and enough about you to answer any other security questions. Now that social media has grown up it is relatively simple to find identifying information about people; anyone who picked 'what is the name of your pet' for their security question could probably do with an urgent search through their social media presences to see if they've ever let it slip (handy hint: you have).

Now that we're living our lives online with more and more transparency as well as experiencing more incentives and reminders to share what we're doing, we should revamp the way we protect our online identities. Security achieved through 'secret' personal information is just a comforting daydream in the modern media age. For those of us that spend our lives on the web it is time to start hacking ourselves and seeing just what we discover.

The engineer Claude Shannon famously said of security design that you should assume that "the enemy knows the system". Well, now the system is you and you need to find a better way to protect it.

Next week I'll be sharing my tips on improving data security that I learnt as a result of researching this article. Subscribe via RSS to make sure that you don't miss it.

Other advertising agencies certainly seem to have taken an interest in the series of ads with Soho-based outfit, Big Al's Creative Emporium, producing this delightful parody.

Dixon's tube ad parody by Big Al's Creative Emporium

It's unclear whether this was actually a campaign or just the design team horsing around in the office but either way, I like it.

Coke: It's basically just brown sugar water

And to show there wasn’t any kind of bias against Coke the filmmakers also took the time to level a satirical swipe at Coca-Cola's main competitor whose fictional ad agency were compelled to deliver an even more damning creative: 'Pepsi. For when they don't have Coke.'

I've talked before on my blog about the trend of honesty in advertising and Ricky Gervais has certainly taken this modern marketing technique to its natural conclusion. Although many will be certain that we'll never see an ad for Coke that confesses that ‘it’s basically just brown sugar-water’, I for one would get a kick out of big companies having the faith in their brand to lay out the basic truth about their products.

It may be a risky strategy for a corporation like Coca-Cola but I've got a feeling that an ad like that would give them licence to run an incredibly satisfying and successful follow up campaign: 'Coke is just brown sugar-water. Coke drinkers don't care.'

Lego, and augmented reality company Metaio, have developed an augmented reality kiosk that will show you an animation of your whatever Lego contraption you wave in front of it. And of course it's better than an animation because it's an animation superimposed in the real world.

Initially this is just going to sell a boat load of Lego but the future applications of this are staggering as a promotional tool. What if Lego develop an app that allows you to overlay Lego sets and pieces over a base in your living room? You can glimpse your Lego creation before you even take the bricks out of the box.

Kids and adults will be enthralled by this kiosk and it is a perfect example of a company doing augmented reality right: the customers love it, the press love it and it'll awaken the imagination of a new generation of tech-savvy Lego block builders.

Created by M&C Saatchi the ad is a brave attempt to run the gauntlet of the 'refreshingly honest' approach to brand advertising. In one fell swoop Dixons have admitted that their staff are not the best trained, that their shops are not the most aesthetically pleasing and that their sales advice is somewhat sub-standard. They admitted all of this because they're hoping that the message of their ad, 'we're not the best but we are the cheapest', is what will stick in consumers' heads when they reach the final stages of the product purchase cycle.

In many ways this is a twist on the classic Avis ad: 'we're number two ... so we try harder'. The agency behind that advert, DDB, hit upon the idea when they asked the beautifully blunt question, 'why does anyone want to rent a car from you?'. The answer that spawned the legendary advertising campaign was that Avis couldn't begin to compete on price so they had to compete on service; they tried harder.

A similar question has clearly been asked of Dixons. Why would anyone buy anything from you? Conversely, of course, they can't hope to compete against Harrods and Selfridges on service but they can certainly compete on price. 'We try harder' for Dixons is simply 'we are cheaper'.

With the country still feeling the effects of the recent recession it is absolutely right that dixons.co.uk is staking its claim to low prices instead of great service but a major stumbling block of this strategy is the question of whether it is too late for the site to establish itself as a major low-price retailer. The cut-price consumer electronics marketplace has a number of major incumbents: Amazon, Dabs and even eBay are all established players in this crowded and competitive market and consumers are already well versed in the 'try and buy elsewhere' purchasing philosophy.

To bet a brand's reputation on a campaign like this is commendable but very risky. Personally, I have a feeling that Dixons no longer has the clout or the brand recognition to make sure that 'the last place you want to go' is a call to action and not an untimely epitaph.

The 1936 film Reefer Madness was funded by church groups in order to teach the youth of the day about the dangers of cannabis. The fact that the film was then purchased and re-cut as a cult comedic exploitation film tells you just how hopelessly unrealistic the film's portrayal of drug users as murderers and rapists really was.

It is said that 'those who don't know history are doomed to repeat it' and the folks at Think!'s agency, Leo Burnett, clearly haven't taken the time to review the history of misguided government anti-drug campaigns.

The ad is clearly reaching out to existing drug users which is a problem because the existing users will be perfectly aware of what actual pupil dilation looks like and will dismiss the ads as worthless propaganda. If they can't take the dilated pupils aspect of the ad seriously then how can they be expected to absorb and, most importantly, engage with the message that drug driving is a serious offence?

Although it is plain to see that the video deliberately exaggerates the effect of pupil dilation in order to make a stronger point the reality is that all they've actually managed to achieve is to dilute and infantilize their message.

It's an immense shame to see that Think! (part of the Department of Transport) and Leo Burnett have so roundly failed to produce an informative anti-drug driving ad and that they have relied upon lazily rehashing antiquated scare tactics that were already ripe for lampooning well over 50 years ago.

Modern advertising is about engagement and Think! would do well to realize that patronising their audience has made a mockery of their brand and, most disappointingly, of their message.

Sennheiser remaster an old classic

No doubt spurred on by Apple's release of their own canal earphones Sennheiser have re-vamped and re-issued their best selling CX 300 earphones. The original CX 300's were considered by many to be the premier upgrade choice from the iPod's packaged earbuds and Sennheiser claim the CX 300-II's will be even better with 'improved bass, greater clarity, improved dynamics and more finely balanced sound'.

Weighing in at just 4 grams these earphones are perfect for commuters; not only because of their miniscule weight but also due to their emphasis on blocking outside noise by completely plugging your ear. As an added bonus for long journeys the earphones have been designed with very high efficiency in mind to help reduce the drain on your MP3 player's battery life.

The Sennheiser CX 300-II earphones are available in black, white, silver, red and pink and come with a protective pouch and 3 different sizes of buds to help keep the earphones in place.

Sennheiser CX 300-II earphones, around £40

www.sennheiser.co.uk

Take your dream studio on the road

The all-in-one studio is a musician's dream that has only begun to be realized in the last few years and the release of Abelton Live 8 represents a significant leap towards such a mighty software solution. Whether producing tracks using Live's built-in synths or recording an instrument directly Ableton boasts a suite of tools ready to unleash your musical creations on the world.

Core to the Live philosophy is the 'Session View' mode that presents the user with a large grid of cells that can hold anything from a drum beat to a piano sample. These cells can be triggered at any time in any order; emulating the feel of using multiple pieces of MIDI hardware while keeping it all on one screen. This is a god send to performing musicians who wish there was an easier way of launching samples without poking at a mutitude of boxes replete with banks of flashing LEDs and poorly marked switches. Those not wishing to take their musical inventions on tour will also be more than satisfied with Live 8's 'Arrangement View' that sets the elements of a track out in a more traditional timeline view.

A workhorse of a program like Ableton Live 8 has too many features to mention but some of the additions to it's previous incarnation are particularly exciting. Live 8 features a revamped groove engine which allows you to apply groove patterns in real time, a looper for sound-on-sound techniques that function without hardware limitations, a new warping engine for more accurate audio slicing and brand new effects including overdrive, a frequency limiter and the ever popular vocoder.

If you're looking for a bells and whistles software studio you can't go far wrong with Ableton Live 8 and its impressive roster of satisfied customers that include Daft Punk, Nine Inch Nails and Pete Townshend.

Ableton Live 8, from $700

www.ableton.com

Low-budget rocking from ex-Marshall men

It used to be that high gain tube amps hit their sweet spot for volume long after you'd been lynched by your neighbours so when a team of ex-Marshall Amp employees promised to develop a tube amp that sounded just as sweet at a perfectly respectable bedroom level of 5 Watts, the guitar world began to take notice.

Powered by 10" Celestion speakers the Blackstar HT-5 comes in 3 flavours: a combo, a mini stack and a head for those who want to use one of their existing speaker cabinets. All 3 interpretations offer pretty much the same features including the much talked about 'Infinite Shape Feature' or ISF. This allows unique customization of the amp's tone control network which lets you dial in a boosted-mids American tone, a more 'woody' British sound or anything in between.

For the low price you'd be forgiven for thinking that the Blackstar HT-5's feature list ended at the ISF feature. However, the Blackstar boys also found the cash to include a 3-band EQ, seperate volume controls for the clean and distorted channels and an FX loop so you can use your effects pedal collection to modify the HT-5's sound even further.

Having won several accolades for this amp, including Guitarist Magazine's 'Guitarist Choice' award, there's never been a better time to jump on the HT-5's luscious sounding bandwagon before every man and his slightly deaf dog starts to want one.

Blackstar HT-5, from £299

www.blackstaramps.co.uk

Express yourself with the new Sony Ericsson W508

Even though some might think that the iPhone has won the war when it comes to music phones Sony Ericsson are hoping to create some serious competition with their newest phone in the popular Walkman series of handsets. The W508 features a unique 'Shake and Gesture' system that allows you to become your own DJ by simply giving your phone a brief shake. This interactive system that recognizes movement can be used to switch tracks, alter volume or turn an alarm off with a swipe of your hand. Ideal for those who just can't seem to find the snooze button in the morning.

Personalization is the key to the W508 and as such it comes with the option to switch between eight different coloured fascias. The phone's music system also embraces its user's individuality with Sony Ericsson's SensMe technology which analyses the mood of a song and groups it into a playlist with other songs with a similar feel. The end result is personal playlists tuned perfectly for anything from a lazy summer afternoon to the build-up to a big night out.

A 3.2 megapixel camera and a 1GB M2 card complete this package which is ideal for anyone who wants to bring their own particular style to their music and their phone.

Sony Ericsson, price TBA

www.sonyericsson.com

Bang & Olufsen broadcast from the future

The futuristic Beosound 5 is a single panel jukebox that looks like it has come straight from the set of a high budget sci-fi film. It's black and silver trimmings contain an impressive screen and a touch wheel combination. The physical movements of the aluminium selection wheel are perfectly in sync with the screen which displays the music you're browsing in a variety of exciting colour schemes. The Beosound 5 plays tunes from a hidden black box designed to hold up to 500 GB of your music and act as a streaming device for countless internet radio stations.

The killer feature of this Bang & Olufsen system is its intelligent MOTS (More Of The Same) system which profiles your favourite music by it's rhythm and syncopation and creates a personalized musical journey for you. This masterpiece of sonic engineering is a must-try and, if you can afford it, a must-buy too.

Bang & Olufsen, price TBA

www.bang-olufsen.com

Image: ShellyS (Flickr)

It sounds like the stuff of science fiction but a new piece of research published in Neurosurgical Focus reveals the emergence of a new frontier of technological security: protecting against hackers that can take control of your brain.

In recent years it has become increasingly common for people to be fitted with electronic brain implants which can be used to regulate bodily functions like brain cooling and even prosthetic limbs. These implants were designed to adhere to existing clinical guidelines but, currently, no assessment is made of their security risks.

When examining a cardiac defibrillator that was released in 2003 the researchers found that it could be manipulated via a wireless connection to induce a potentially fatal heart rhythm using cheap, basic equipment. Although the chips are designed to be controlled by wireless technology there are currently no systems in place for user authentication, making gaining access to the device a fairly simple process.

The research warns that 'neurosecurity' must develop at the same pace as neural technology in order to protect future patients from crashes and malicious attacks which may, if current security issues are allowed to perpetuate, even result in hackers being able to remotely control a brain's memory function.

The researchers state that most of these scenarios are hypothetical and that there is presently a low risk of tampering for electronic brain implants but they also call for immediate action in order to anticipate and address the moral and technological problems that will undoubtedly arise from our increasing reliance on wireless neural technology.

Image: Dunechaser (Flickr)

The first two Terminator films were cult smash hits that defined a genre and spawned a generation of teenage boys with pitch-perfect Austrian accents. They were stylish, timeless and eminently quotable; all factors that made the disappointment of T3 even more unbearable. And so we arrive at Terminator: Salvation acting under the bizarre direction choice of ‘McG’ who has previously graced the silver screen with Charlie's Angels and, lest we forget, Charlie's Angels: Full Throttle.

The film follows an adult John Connor as a commander on a post-Judgement Day planet where humans continue to battle Skynet in a seemingly never-ending world of car chases, ludicrously percussive explosions and cute warrior-children with a surprisingly competent grasp of modern assault weaponry. But hang on, sounds kind of cool doesn't it? Well, that's actually the problem with Terminator: Salvation. Every new shiny killer leviathan, artificially intelligent motorbike and evil Helena Bonham-Carter is pretty much the most exciting thing you've ever seen for the five seconds it takes you to realize that you're just watching a series of criminally uninspired set pieces that collide into each other in no particular order and for no particular reason; it's just that the collisions look so good.

When you strip away the stunning CGI work you realize that the plot of Terminator: Salvation is riddled with so many holes that a shotgun wielding Schwarzenegger must have taken aim at it at some point in the proceedings. It trundles along against the film's single palette background (grey, if you were wondering) devoid of any real story and, worst of all, any sense of impending doom. Terminator 2 was such an arresting piece of work because the moment that Robert Patrick's Terminator appeared you knew that you were never safe. It didn't matter how far away you could get or how fast you ran, you were being relentlessly pursued by an emotionless killer with a solitary, deadly objective. It was a slow, brooding nightmare that you desperately wanted to escape from and it is the exact opposite of Salvation's ham-fisted approach to creating tension which mostly consists of punctuating serene shots of crumbling infrastructure with random, deafening industrial noises.

The only time the film comes remotely close to the kind of suspense that was present in the first two films is when Connor enters the robot city and finds himself face to face with Arnie’s original T-800 Terminator. When you are watching a lone Connor fight the Terminator you are right there in the terror with him. You duck at every jab, you crawl backwards in your seat, you feel that he might just beat it, might somehow outwit this monstrous machine and survive. This is what Terminator films should be like and why you don't feel the slightest bit of fear as you watch soldiers and civilians trying to escape from building-sized, heavily armed robots that look like they could obliterate everything in the nearest ten miles if they wouldn't also inconveniently vaporize a key character that needs to fulfil his role in some outrageous plot twist later on in the film.

Although Terminator: Salvation is not a complete dud, it is the moments where it shines that are actually the most painful to watch because they remind you of what Salvation could have been: a worthy successor to a series of films with such great potential. As Connor rides off into the sunset at the end of the film growling something generic about having won the battle but not the war we can only hope that the inevitable return of John Connor and his allies is in a film that is truly deserving of being part of a franchise that forged cinematic history.