Perhaps I was auditioning for the wrong group, as I recently became aware of Hi-Fidelity, who performed at the 2006 Harmony Sweepstakes competition. I've often attended the preliminary rounds of this annual competition and have observed that the best groups have either plenty of personality or a gimmick. Hi-Fidelity had both, performing a pair of original, Star Trek-themed songs — in character, no less!

These comic stylings are courtesy tenor Craig Ewing, lead Dan Jordan, bass Martin Fredstrom, and baritone Gregg Bernhard. Together as Hi-Fidelity, they accrued an eclectic geek portfolio in the past decade, even providing the vocals for an incongruously violent Xbox video game commercial. Alas, their Web site has not been updated since their Pan Pacific Championship 2008 win.

Now, where's my pitch pipe …

The pub rechristened itself Cheers in 2001, to capitalize on the success of the show. Its owner opened another location in nearby Faneuil Hall, built to closely resemble the television's set, as most Bostonians know by now that the original Bull & Finch has a dramatically different layout from its more popular fictional sibling. Fortunately, my guests for lunch were not like most Bostonians: with four Cheers fans from Melbourne, Australia, and my Missourian girlfriend who'd never seen the show, I figured the pub would be a good place for a quick bite to eat en route to the airport.

This sign, seen at the opening of every episode of Cheers, greets visitors to the former Bull & Finch.

Like the layout, the bar's atmosphere was also unique from that of the show. Our corner booth had intimate lighting, but the noisy atmosphere of other diners close enough to touch and several widescreen televisions sometimes made it difficult to be heard. The room was decorated with local mementos, referencing everything from pilgrims to Celtics but with few appearances by Sam Malone, Coach, or its other televised employees.

Serving us was Rachel, who was attentive and friendly but not gregarious — unless provoked. As I quizzed her on the bar's history as it related to Cheers, she confessed, "I don't understand why it's a big deal. It wasn't a great show." She was somewhat placated by my familiarity with the show, separating me from other tourists who think Cheers was actually filmed at the Boston bar.

We dove into the menu of standard pub fare: mozzarella sticks and buffalo wings, soups and salads, burgers and sandwiches, and a bit of pasta. Italian dishes were named for Carla, the show's stereotypical cynic, while other characters' names were slapped almost indiscriminately onto other items: Frasier's chicken panini, Sam's turkey wrap, Rebecca's fish and chips. Of course, the Cheers bar didn't have a kitchen, with the only edibles being peanuts and beer, but we passed on the drinks — Woody's Wonder, Cliff's Cranberry Crush — and went right to the entrees: three burgers, one mug of clam chowder, a bowl of macaroni and cheese, and a grilled cheese sandwich.

Crisp salads were delivered first for those dishes that came with them, followed soon after by the main course. My international guests found New England's seafood lived up to the hype, with chowder that was creamy with a good balance of potatoes and clams that weren't too chewy. My Aussie guests found the "eNormous" burgers, which varied only in portion, to be average, accompanied by warm and well-salted "chips" (what we could call french fries). The macaroni and cheese was topped with bread crumbs that added little crunch to the dish, while the grilled cheese — which consisted of three cheeses, fire-roasted red peppers, olives, and tomatoes — was the better of the two vegetarian choices.

The six of us proceeded to finish the meal with a selection of brownie sundaes and vanilla ice cream. The sundaes were buried beneath a disproportionate amount of whipped cream, obscuring the smaller and only slightly warm brownie beneath. The dish of ice cream was deliciously worth the effort of chipping away spoonfuls of the frozen stuff.

The bill for six meals, three desserts, and assorted drinks amounted to $127.28, roughly a reasonable $21 per person. We chose not to add to that amount with any purchases from the gift shop, which included t-shirts, golf balls, and other memorabilia emblazoned with the Cheers logo.

When adapted for fiction, real life can often seem a letdown by comparison, but it all depends on your expectations. I had no delusions that Cheers would be anything like Cheers, and I did not leave disappointed: a visit to the former Bull & Finch was much like a visit to any other pub. Although the food was enjoyable, the television bar did not succeed on the reputation of its menu, and neither will this one. The best part was sharing the company of friends I'd not seen in a decade, making any destination into one where everybody knows your name.

• On Saturday, November 14th, the touring "Star Wars In Concert" comes to the TD Garden for both a 3:00 PM matinee and an 8:00 PM performance. The concert is described as "John Williams' breathtaking score from the epic Star Wars saga … performed by a live symphony orchestra and chorus, accompanied by a stunning video montage on an enormous LED screen." Anthony Daniels (C-3PO) has been narrating this concert, though it's unclear if that's only at specific venues. Us Bostonians are no stranger to hearing Mr. Williams' soundtracks performed live, as the composer is also the director emeritus of the renowned Boston Pops Orchestra and often serves as guest conductor, but a dedicated concert to this particular score is a rare treat. Tickets are $32.50, $52.50, or $72.50, plus applicable taxes and fees.

• That same weekend is the New England Fan Experience (NEFX) sci-fi convention. Star Trek headliners include Bostonian Leonard Nimoy (Spock Prime) as well as John de Lancie (Q), though the former will be available only on Saturday, competing with the aforementioned Star Wars concert. Online tickets (via a Web site that is remarkably reminiscent of a GeoCities page) are available through November 6th for $45 each, or for $50 at the door.

• NEFX 2009 is held a week earlier than in 2008, avoiding the conflict that occurred last year with the annual Super Megafest, traditionally held the weekend before Thanksgiving. That means this year, you can attend NEFX one week and Super Megafest the next! The latter is held in Framingham, less than a half-hour west of Boston. The expo — which features an unusual amalgam of sci-fi actors, comic book artists, TV show stars, and pro wrestlers — will this year present Brent Spiner (Star Trek's Data), Ray Park (Star Wars' Darth Maul and, more recently, G.I. Joe's Snake Eyes), and James Marsters (Buffy's Spike). In addition to signings, each star also has a half-hour Q&A session, though the schedule is unknowable prior to the event: an email from its coordinator informed me, "No, panels will not be posted on the site. Most celebs will do Q&A sessions both days. However sat is probably the better day to see more Q&A sessions." Last year I happened to show up just in time to see Jonathan Frakes; otherwise I would've been out of luck. The actual show floor is quite small but packs a lot into it. Tickets for the entire November 21-22 weekend are only $20.

Though the two conventions offer cheaper admittance than the orchestral concert, they also have the most potential to drain your allowance, based on how many celebrity autographs you want to go home with; typical fees range from $20 to $50 or more per signing. This will be my third Super Megafest, and I usually budget $100 for at least three autographs.

If you'll be attending either the Star Wars matinee or the Super Megafest, be sure to say hello to Showbits!

This 23-minute episode covers the same topic as that book: the inventors and technologies that have shaped Hollywood in the last century. I was intrigued by this insider's perspective on the effect various innovations have had on the industry. If you're of a younger generation, it may be unfathomable that the lack of VCRs and DVD players meant that movies used to be seen in theaters and nowhere else — once they were gone, they were gone. But Mr. Kirsner's book eschews that consumer impact to look instead at how movie studios viewed such developments as threats. For example, Thomas Edison discouraged the invention of a projector, preferring his kinetoscope, which allowed silent movies to be seen through a hole in a box, creating a solitary and unshared experience. Later, silent movies were seen as a quiet respite from the busy world that "talkies" would disrupt. Often, it was competition from other markets that urged Hollywood to accept change: Technicolor (named in 1915 for its inventor's alma mater, MIT) was not widely adopted until seen as a response to the widespread adoption of black-and-white television.

The threat of progress extends to more recent times as well. I was a Blockbuster Video employee at the advent of DVDs, which had massive ramifications for the industry. You may not remember that movies used to become available for consumer purchase 3-6 months after they were released to rental outlets. Back then, each VHS tape would initially retail for more than $100, which only commercial entities could afford, before being lowered to a more reasonable mass market price. Once movies moved from tape to disc, their reproduction became much cheaper, allowing for simultaneous release to both rental and consumer venues and eliminating the window of exclusivity formerly the domain of companies like Blockbuster.

What changes chafe today's film industry? Digital cameras and projectors have spotty adoption records, but neither significantly changes the movie-viewing experience. The most volatile aspect of movies appears to be in the delivery mechanism. YouTube, Hulu, and the like are, within and without copyright, bringing chunks of video to your computer; Netflix and the Microsoft Xbox bring feature-length content right to your television; and, in a less technical manner, Red Box adds cheap rentals to your grocery list.

The podcast packs much information into a short period, encompassing not only the founding moments mentioned above but also more recent milestones, such as TRON (which I've already written about extensively and the sequel to which I am eagerly anticipating) and Terminator 2. This teaser has moved the book to my short list. The complete history of Hollywood is, of course, yet to be written, as technology will never stop progressing to meet (and create) new needs. Where do you see movies going?