Is it game over for Nintendo?

The Wii U is a bust (so far). And the legendary gaming company’s future is looking increasingly bleak

Nintendo had no choice but to go all in with the Wii U, the newest in a long line of ostensibly childhood-defining game consoles. Unfortunately, the company also inherited the weighty expectations of the original Wii — which, if you’ll remember, became a surprise hit when it debuted in 2006, or just two short years after the world was first introduced to a little-known senator named Barack Obama. But ever since the Wii U hit store shelves last November, sales have been disappointing. Now the company is dramatically lowering its forecasts for the future. 

Initial sales figures indicate that Nintendo has so far sold just 3.06 million Wii U game consoles, and anticipates moving just four million Wii U units through March — far below previous estimates of 5.5 million, predictions that weren’t even that optimistic to begin with. 

Initial reviews of the Wii U were mixed. Yes, it’s fun. But the console failed to offer a compelling reason for consumers to free up dusty shelf space alongside their Xbox 360s or PlayStation 3s. Some critics say the console is confused, and Nintendo didn’t know if it was targeting mature gamers fixated on first-person shooter games like Call of Duty and Borderlands, or more casual fans like the original Wii did with its motion-sensing nunchuck. Further complicating matters is a nimble new mobile industry, dominated by non-committal, take-anywhere games like Temple Run and Angry Birds. 

“Nintendo needs a change in strategy,” Michael Pachter, a gaming research analyst for Wedbush Securities, tells The New York Times. Even though Nintendo is an instantly recognizable brand the world over, the company still doesn’t license its gaming titles for other platforms (ever see Mario on an iPhone?). To make matters worse, on Thursday, Nintendo president Satoru Iwata said that the company has no intention of lowering the price of its $ 300 flagship gaming system anytime soon. “We were already offering it at a good price,” he said. 

That means Nintendo, unless it releases a best-selling breakout title soon (Zelda, perhaps? Super Smash Bros. Brawl?), will continue on its path toward an increasingly dark future. The company already had its worst year ever in 2011. Dramatic restructuring seems imminent.

Consoles — compared to phones, tablets, laptops, and many other gadgets — have a much slower product cycle. Manufacturers only press “reset” every couple of years so that game-makers aren’t constantly readjusting to new hardware.

For quickly aging dinosaurs like Nintendo, that means more plodding along. More disappointing forecasts. More reluctant critics. More lost opportunities to earn the trust of lifelong fans. More, more, more. (Or for Nintendo, less, less, less?)

“People have to try it to see it is fun,” Iwata said of the Wii U. Undoubtedly, it is.

But unfortunately for Nintendo, “fun” just isn’t good enough anymore.

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Beyonce electrifies at Super Bowl halftime show

If naysayers still doubted Beyonce's singing talents — even after her national anthem performance this week at a press conference — the singer proved she is an exceptional performer at the Super Bowl halftime show.

Beyonce opened and closed her set belting songs, and in between she danced hard and heavy — and better than most contemporary pop stars.

She set a serious tone as she emerged onstage in all black, singing lines from her R&B hit "Love on Top." The stage was dark as fire and lights burst from the sides. Then she went into her hit "Crazy In Love," bringing some feminine spirit to the Superdome as she and her background dancers did the singer's signature booty-shaking dance. Beyonce ripped off part of her shirt and skirt. She even blew a kiss. She was ready to rock, and she did so like a pro.

Her confidence — and voice — grew as she worked the stage with and without her Destiny's Child band mates during her 13-minute set, which comes days after she admitted she sang to a pre-recorded track at President Barack Obama's inauguration less than two weeks ago.

Beyonce proved not only that she can sing, but that she can also entertain on a stage as big as the Super Bowl's. The 31-year-old was far better than Madonna, who sang to a backing track last year, and miles ahead of the Black Eyed Peas' disastrous set in 2011.

Beyonce was best when she finished her set with "Halo." She asked the crowd to put their hands toward her as she sang the slow groove on bended knee — and that's when she the performance hit its high note.

"Thank you for this moment," she told the crowd. "God bless y'all."

Her background singers helped out as Beyonce danced around the stage throughout most of her performance. There was a backing track to help fill in when Beyonce wasn't singing — and there were long stretches when she let it play as she performed elaborate dance moves.

She had a swarm of background dancers and band members spread throughout the stage, along with videotaped images of herself dancing that may have unintentionally played on the live-or-taped question. And the crowd got bigger when she was joined by her Destiny's Child band mates.

Kelly Rowland and Michelle Williams popped up from below the stage to sing "Bootylicious." They were in similar outfits, singing and dancing closely as they harmonized. But Rowland and Williams were barely heard when the group sang "Independent Woman," as their voices faded into the background.

They also joined in for some of "Single Ladies (Put a Ring On It)," where Beyonce's voice grew stronger. That song featured Beyonce's skilled choreography, as did "End of Time" and "Baby Boy," which also showcased Beyonce's all-female band, balancing out the testosterone levels on the football field.

Before the game, Alicia Keys performed a lounge-y, piano-tinged version of the national anthem that her publicist assured was live. The Grammy-winning singer played the piano as she sang "The Star Spangled Banner" in a long red dress with her eyes shut.

She followed Jennifer Hudson, who sang "America the Beautiful" with the 26-member Sandy Hook Elementary School chorus. It was an emotional performance that had some players on the sideline on the verge of tears. Hudson also sang live, her publicist said.

The students wore green ribbons on their shirts in honor of the 20 first-graders and six adults who were killed in a Dec. 14 shooting rampage at the school in Newton, Conn.

The students began the song softly before Hudson, whose mother, brother and 7-year-old nephew were shot to death five years ago, jumped in with her gospel-flavored vocals. She stood still in black and white as the students moved to the left and right, singing background.

___

Follow Mesfin Fekadu on Twitter at http://twitter.com/MusicMesfin

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Medicines Co. Licenses Rights to Cholesterol Drug

The drug, known as ALN-PCS, inhibits a protein in the body known as PCSK9. Such drugs might one day be used to treat millions of people who do not achieve sufficient cholesterol-lowering from commonly used statins, such as Lipitor.

The Medicines Company will pay $25 million initially and as much as $180 million later if certain development and sales goals are met, under the deal expected to be formally announced Monday. It will also pay Alnylam, which is based in Cambridge, Mass., double-digit royalties on global sales.

That is small payment for a drug with presumably a huge potential market, probably reflecting that Alnylam is still in the first of three phases of clinical trials, well behind some far bigger competitors.

The team of Sanofi and Regeneron Pharmaceuticals is already entering the third and final stage of trials with their PCSK9 inhibitor, as is Amgen. Pfizer and Roche are in midstage trials.

ALN-PCS is different from the other drugs. It uses a gene-silencing mechanism called RNA interference, aimed at shutting off production of the PCSK9 protein. The other drugs are proteins called monoclonal antibodies that inhibit the action of PCSK9 after it has been formed.

Alnylam and the Medicines Company hope that turning off the faucet, as it were, will be more efficient than mopping the floor, allowing their drug to be given less frequently and in smaller amounts.

But that has yet to be proved. No drug using RNA interference has reached the market.

The Medicines Company, based in Parsippany, N.J., generates almost all of its revenue from one product — Angiomax, an anticlotting drug used when patients receive stents to open clogged arteries.

Dr. Clive A. Meanwell, chief executive of the company, said that PCSK9 inhibitors are likely to be used at first mainly by patients with severe lipid problems under the care of interventional cardiologists, the same doctors who use Angiomax. “It really is quite adjacent to what we do,” he said.

The Medicines Company licensed Angiomax from Biogen Idec, where the drug was invented and initially developed under a team led by Dr. John M. Maraganore, who is now the chief executive of Alnylam.

“It’s a bit like getting the band back together,” Dr. Maraganore said.

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U.S.-Mexico trade war over tomatoes appears to have been averted

American and Mexican tomato growers appear to have avoided a trade war — the U.S. Commerce Department has released a draft of an agreement governing the price of tomato imports from Mexico.

U.S. growers in Florida had accused their Mexican counterparts of selling their tomatoes below fair market value, a practice known as dumping.

The new agreement, which sets a minimum wholesale price for tomatoes, would replace a trade pact that went into effect 17 years ago.

Francisco Sanchez, the undersecretary of commerce for international trade, said in a statement Saturday that the agreement puts in place "robust enforcement that will allow American workers and the U.S tomato industry to compete on a level playing field."

In the last decade, U.S. growers found themselves competing heavily with Mexico. That country's exports of tomatoes to the U.S. reached $1.81 billion in 2011, more than quadruple the $412 million in 2000.

Eager to continue exports and sales of their tomatoes, Mexican tomato growers and importers worked with Commerce Department officials on drafting an agreement.

The plan, open to public comment until Feb. 11, would raise the wholesale price for tomatoes and strengthen anti-dumping enforcement.

One provision of the agreement, expected to take effect March 4, creates a reporting mechanism to monitor the price of production by Mexican growers.

Martin Ley, a Mexican tomato grower involved in the negotiations, said the agreement was made possible by steep concessions on the part of Mexican tomato producers.

"Getting to this moment no doubt required significant compromise by the Mexican growers," he said in a statement. "Even though no dumping or injury to the U.S. industry was demonstrated by our competitors, over the last year our growers worked with our government to overhaul the whole Mexican industry, broaden the coverage and develop tough enforcement schemes.

"While concessions on price will impose hardships on our industry, we are hopeful that over the long run we will be able to continue to supply the United States with what are acknowledged to be the best tomatoes in the market."

Late last month, a study, paid for by a Mexican tomato trade group, predicted that the price of winter tomatoes would have doubled if Mexican imports were excluded from the U.S. market. The study, released by the Fresh Produce Assn. of the Americas, projected that the price of hothouse round tomatoes, for instance, would have risen from $2.02 a pound to almost $4 a pound.

U.S. growers appeared to back the agreement but held firm to their assertion that Mexico was dumping its tomatoes.

With the agreement, "we're hopeful and optimistic that we'll be able to compete under fair trade conditions," Edward Beckman, president of Certified Greenhouse Farmers, said in a statement. "Much work remains to have the agreement fully and faithfully implemented, and continuous monitoring and enforcement will be critical."

ricardo.lopez2@latimes.com

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'Argo' director Ben Affleck Wins DGA Award

Ben Affleck was named outstanding director for "Argo" at the 65th Annual Directors Guild of America Awards, which were held Saturday night at the Ray Dolby Ballroom at Hollywood & Highland.

The win solidifies "Argo" as an Oscar frontrunner, after the film also claimed key honors from the Screen Actors and Producers guilds last weekend.

"I don't this makes me a real director, but I think it means I'm on my way," Affleck said in a speech.

The other nominees for the feature directing award were Kathryn Bigelow for "Zero Dark Thirty," Tom Hooper for "Les Miserables," Ang Lee for "Life of Pi" and Steven Spielberg for "Lincoln."

The DGA award for feature directing has traditionally been a reliable indicator of who will win the directing Oscar -- only six times since the DGA Awards began in 1948 have the two honors differed.

But this year's Oscar directing race has been a bit of a head-scratcher--Affleck was not nominated, despite his film receiving multiple nominations from the Academy in other categories. Bigelow and Hooper were also snubbed.

The DGA is a larger body than the Academy's directing branch, representing 15,000 members, many of them in television.

The ceremony's television winners included Rian Johnson, who earned the drama series award for directing the "Fifty-One" episode of "Breaking Bad"; Lena Dunham, who collected the comedy series award for directing the pilot of "Girls"; and Jay Roach, who took the movies for television/miniseries prize for "Game Change" on HBO.

The evening's winner for documentary directing was Malik Bendjelloul, for the "Searching For Sugarman."

A lifetime achievement award was presented to "One Flew Over the Cuckoo's Nest" and "The People vs. Larry Flynt" director Milos Forman.

Host Kelsey Grammer kept the evening light, making jokes about Manti Te'o, Mel Gibson and Ron Jeremy, as well as some of the nominees in the room.

Grammer said to Bigelow, whose movie has been at the center of a controversy over forced interrogation, "Waiting so patiently to see if your name will be called, it must be torture for you."

All of the evening's feature directing nominees received a medallion from the DGA, most of them presented after an adoring speech. Martin Short, however, delivered Spielberg's medallion in an irreverent and sometimes bawdy address.

"I like my champagne like I like my women," Short said. "Compliments of the DGA."

When Spielberg stood to accept the honor--receiving the night's first full-house standing ovation--he reacted with amusement.

"When you tell your assistant to contact Marty about presenting you with the DGA medallion," Spielberg said, "You just assume she knows you're talking about Marty Scorsese."

ALSO

Academy doesn't follow the script in directors' race

Santa Barbara Film Fest sees itself as Oscar harbinger

Is 'Argo' poised to deliver a shocker at Directors Guild Awards?

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Meet the Man Who Designed BlackBerry’s New Phones

When BlackBerry set out to design the phones that would take the company into the next decade, it faced a big challenge. The flagship device of the new BlackBerry 10 platform needed to simultaneously satisfy what today’s customers want in a smartphone while at the same time stay true to the essence of BlackBerry — which, if the company’s market over the last few years is any indication, customers didn’t want.

The man tasked with redesigning BlackBerry phones was Todd Wood, the company’s senior vice president of design. Leading industrial design at BlackBerry since 2006, Wood is a veteran of industrial design, previously doing design work for Nokia and, before that, Nortel. Mashable sat down with Wood this week while he was in town for the BlackBerry 10 launch.

[More from Mashable: Here’s a Mysterious Image From BlackBerry’s Super Bowl Ad]

Wood speaks with the same thoughtfulness of other design leaders, such as Apple’s Jony Ive, but with none of the showiness. He’s been with BlackBerry (formerly Research In Motion) for long enough to see its fortunes rise and fall. As he describes the Z10, you feel that he’s heard enough praise and criticism about BlackBerry’s products that it all just bounces off.

[More from Mashable: Don’t Hold Your Breath for More BlackBerry Tablets]

When I bring up the BlackBerry Storm — the company’s previous (failed) attempt to create a touchscreen phone — Wood doesn’t bristle or even acknowledge the disaster it was. He simply describes certain design elements that a similar to the BlackBerry Z10, BlackBerry’s new flagship phone. And he makes them sound kind of cool.

“There’s still the ‘waterfall’ that was pronounced on Storm — these flowing surfaces,” Wood says as he points to the top and bottom of the Z10, which are ever-so-slightly sloped. “We’ve brought that with the margins [on the Z10], but it’s very subtle. There are some principles that we carry forward, but nothing’s been cut and pasted.”

As CEO Thorsten Heins described at the launch, BlackBerry faced a decision three years ago: adopt someone else’s mobile OS or go it alone. It opted for the latter, acquiring QNX software in 2010 and adapting it to build first the PlayBook, then BlackBerry 10.

Completely switching mobile platforms was risky and extremely challenging, but it was also a huge design opportunity, says Wood.

“We were starting the platform from scratch. We wanted to build on the design DNA [BlackBerry] had, and we wanted to keep certain attributes — the fit to face, fit to hand — the general comfort of the device, the build quality of the device.”

No Home Button

Key decisions about the device itself depended on how the software worked. There’s no home button on the Z10, for example — a user controls basic functions (like switching between apps) via gestures, such as swiping up from the edge of the screen.

Much of the design was influenced by the need for easy, one-handed operation.

“How can you design a system where you could multitask more elegantly?” Wood asks, rhetorically. “It’s not unlike shuffling cards. And we started to realize you can really do that with one hand and one thumb.

“Almost every phone has a UI paradigm of ‘You go home to go somewhere else.’ Here you can flow from app to app.”

Soft Touch Backside

The phone has a semi-rubberized back, a material that BlackBerry refers to as “soft touch.” The company has used it before — in the trim of the latest Bold smartphone, for example. But in the Z10, Wood’s team added a perforated pattern.

“Soft touch is a special coating that we use,” he explains. “It provides grip, and it’s very silky. What we did was add some microtexture to it, which is something that you don’t notice until you pick the phone up and run your hand across it. It’s a nice subtlety.”

Button Shapes

If you’ve ever thought the physical buttons on Samsung’s phones felt cheap, or the iPhone’s too bland, you’ll appreciate RIM’s contoured buttons for volume and media playback. The volume buttons have a slight notch on one side, and the play/pause button has a small upraised piece — all detectable by touch.

“We wanted to keep them really precise and clean,” says Wood. “We sculpted the keys so it’s always really apparent without looking, almost like braille, exactly where you are.”

Font

Wood also played a role in choosing the system font for BlackBerry 10, which is called Slate. Designed by Canadian Rod McDonald (who also designed the font for Maclean’s, one of Canada’s top national news magazines), BlackBerry chose Slate for its legibility, Wood says.

“Slate really works for screen and print, so we decided to adopt it. When you have such a high-res display, you get really accurate letterforms. When you have a really great font design, that improves productivity. You’re not squinting, and letters are not misinterpreted.”

The Q10

Of course, Wood also led the team that designed the Q10, the BlackBerry 10 phone with a physical QWERTY keyboard, coming about a month after the Z10 debuts. Although the Q10 borrows more design DNA from the BlackBerry of old, BB10 afforded some big departures as well.

For starters, the Q10′s keyboard is straight whereas most previous BlackBerry phone keyboards had a curve to them — which even led to the company calling one of its product lines the Curve.

“That is a big change,” Wood says of straightening out the keyboard for the Q10. “It was very logical, but also it signals ‘This is different.’ And there’s no performance tradeoff with it being straight — we’ve measured it.”

Besides being straight, the keyboard is larger than the ones on previous BlackBerry phones.

“What allows us to get that extra size is we’ve replaced the home key, the back key and the send/end keys, since everything in BB10 is controlled by gestures and direct manipulation of the data. Without the curve, each key is the same size, and they’re 3% larger.”

The Red LED

No BlackBerry phone would be complete without the trademark — and at times notorious — blinking red LED that indicates a message is waiting. Wood says the attribute is hard-wired into BlackBerry design at this point and at no point did the company consider ditching it.

“That’s probably the strongest, most iconic element of the DNA we carry forward,” he says. “It’s origins were ‘Let’s save on battery life,’ and it continues today. For us, we call it the spark, or the splat. It’s a hallmark of BlackBerry it makes some people excited, and it makes some people neurotic, but it’s up to end users to manage that.”

How do you like the design of BlackBerry’s new phones? Let us know in the comments.

BONUS: BlackBerry Z10 Review

Click here to view the gallery: BlackBerry Z10 Review

Lead image by Nina Frazier, Mashable

Images by Nina Frazier, Christina Warren and Pete Pachal, Mashable

This story originally published on Mashable here.

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Affleck's 'Argo' wins Directors Guild top honor

LOS ANGELES (AP) — Ben Affleck has won the top film honor from the Directors Guild of America for his CIA thriller "Argo," further sealing its status as best-picture front-runner at the Academy Awards.

Saturday's prize also normally would make Affleck a near shoo-in to win best-director at the Feb. 24 Oscars, since the Directors Guild recipient nearly always goes on to claim the same prize at Hollywood's biggest night.

But Affleck surprisingly missed out on an Oscar directing nomination, along with several other key favorites, including fellow Directors Guild contenders Kathryn Bigelow for "Zero Dark Thirty" and Tom Hooper for "Les Miserables."

Affleck's Oscar snub has not hurt "Argo" and may even have earned it some favor among awards voters as an underdog favorite. "Argo" has dominated other awards since the Oscar nominations.

"I don't think that this makes me a real director, but I think it means I'm on my way," said Affleck, who won for just his third film behind the camera.

The Directors Guild honors continued Hollywood's strange awards season, which could culminate with a big Oscar win for Affleck's "Argo." The guild's prize for best director typically is a final blessing for the film that goes on to win best-picture and director at the Oscars.

Affleck can go only one-for-two at the Oscars, though. While "Argo" is up for best picture, the director's branch of the Academy of Motion Picture Arts and Sciences overlooked him for a directing slot.

Backstage at the Directors Guild honors, Affleck said he had nothing but respect for the academy and that "you're not entitled to anything."

With 12 Oscar nominations, Steven Spielberg's Civil War saga "Lincoln" initially looked like the Oscar favorite over such other potential favorites as "Argo," ''Les Miserables" and "Zero Dark Thirty," since films generally have little chance of winning best picture if they are not nominated for best director. Only three films have done it in 84 years, most recently 1989's best-picture champ "Driving Miss Daisy," which failed to earn a directing nomination for Bruce Beresford.

But Affleck's "Argo," in which he also stars as a CIA operative who hatches a bold plan to rescue six Americans during the hostage crisis in Iran, has swept up all the major awards since the Oscar nominations. "Argo" won best drama and director at the Golden Globes and top film honors from the Screen Actors Guild and the Producers Guild of America.

Many of the same film professionals who vote in guild awards also cast ballots for the Oscars, so all the wins for "Argo" are a strong sign that the film has the inside track for best picture.

Milos Forman, a two-time Directors Guild and Oscar winner for "One Flew Over the Cuckoo's Nest" and "Amadeus," received the group's lifetime-achievement award. Guild President Taylor Hackford let the crowd in a toast to Forman, who was ill and unable to attend.

Malik Bendjelloul won the guild's documentary award for "Searching for Sugar Man," his study of the fate of critically acclaimed but obscure 1970s singer-songwriter Rodriquez. The film also is nominated for best documentary at the Oscars.

Jay Roach won the guild trophy for TV movies and miniseries for "Game Change," his drama starring Julianne Moore as Sarah Palin in her 2008 vice-presidential run.

Roach said that he watched John McCain rush to choose Palin as his running-mate, potentially putting her second in line for the presidency.

"I said, 'We gotta talk about this,'" Roach joked.

"Girls" star Lena Dunham earned the guild honor for TV comedy, while Rian Johnson won for drama series for "Breaking Bad."

Dunham won for directing the pilot of "Girls," which focuses on the lives of a group of women in their 20s.

"It is such an unbelievable honor to be in the company of the people in this room, who have made me want to do this with my life," Dunham said.

Filmmaker Alejandro Gonzalez Inarritu ("Babel," ''Amores Perros") won for best commercial for a Procter and Gamble spot he directed.

Among other TV winners:

— Reality program: Brian Smith, "Master Chef."

— Musical variety: Glenn Weiss, "The 66th Annual Tony Awards."

— Daytime serial: Jill Mitwell, "One Life to Live."

— Children's program: Paul Hoen, "Let It Shine."

Affleck's win Saturday nicks the Directors Guild record as a strong forecast for the eventual directing recipient at the Oscars. Only six times in the 64-year history of the guild awards has the winner there failed to follow up with an Oscar. This will be the seventh, since Affleck is not up for the best-director Oscar.

Peer loyalty might play in Affleck's favor at the Oscars. The acting branch in particular, the largest block of the academy's 5,900 members, might really throw its weight behind "Argo" because of Affleck's directing snub. Actors love it when one of their own moves into a successful directing career, and Affleck — who's rarely earned raves for his dramatic chops — also delivers one of his best performances in "Argo."

Affleck has had no traction in acting honors this season, and he's joked that no one considered it a snub when he wasn't nominated for best actor. So a best-picture vote for "Argo" might be viewed as making right his omission from the directing lineup and acknowledging what a double-threat talent he's become in front of and behind the camera.

A best-picture prize also would send Affleck home with an Oscar. The award would go to the producers of "Argo": George Clooney, Grant Heslov and Affleck.

But it's not as though Affleck has never gotten his due at Hollywood awards before. He and Matt Damon jump-started their careers with 1997's "Good Will Hunting," for which they shared a screenplay Oscar.

___

AP Entertainment Writer Sandy Cohen contributed to this report.

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Concerns About A.D.H.D. Practices and Amphetamine Addiction

Before his addiction, Richard Fee was a popular college class president and aspiring medical student. "You keep giving Adderall to my son, you're going to kill him," said Rick Fee, Richard's father, to one of his son's doctors.

VIRGINIA BEACH — Every morning on her way to work, Kathy Fee holds her breath as she drives past the squat brick building that houses Dominion Psychiatric Associates.

Andrea Mohin/The New York Times

MENTAL HEALTH CLINIC Dominion Psychiatric Associates in Virginia Beach, where Richard Fee was treated by Dr. Waldo M. Ellison. After observing Richard and hearing his complaints about concentration, Dr. Ellison diagnosed attention deficit hyperactivity disorder and prescribed the stimulant Adderall.

It was there that her son, Richard, visited a doctor and received prescriptions for Adderall, an amphetamine-based medication for attention deficit hyperactivity disorder. It was in the parking lot that she insisted to Richard that he did not have A.D.H.D., not as a child and not now as a 24-year-old college graduate, and that he was getting dangerously addicted to the medication. It was inside the building that her husband, Rick, implored Richard’s doctor to stop prescribing him Adderall, warning, “You’re going to kill him.”

It was where, after becoming violently delusional and spending a week in a psychiatric hospital in 2011, Richard met with his doctor and received prescriptions for 90 more days of Adderall. He hanged himself in his bedroom closet two weeks after they expired.

The story of Richard Fee, an athletic, personable college class president and aspiring medical student, highlights widespread failings in the system through which five million Americans take medication for A.D.H.D., doctors and other experts said.

Medications like Adderall can markedly improve the lives of children and others with the disorder. But the tunnel-like focus the medicines provide has led growing numbers of teenagers and young adults to fake symptoms to obtain steady prescriptions for highly addictive medications that carry serious psychological dangers. These efforts are facilitated by a segment of doctors who skip established diagnostic procedures, renew prescriptions reflexively and spend too little time with patients to accurately monitor side effects.

Richard Fee’s experience included it all. Conversations with friends and family members and a review of detailed medical records depict an intelligent and articulate young man lying to doctor after doctor, physicians issuing hasty diagnoses, and psychiatrists continuing to prescribe medication — even increasing dosages — despite evidence of his growing addiction and psychiatric breakdown.

Very few people who misuse stimulants devolve into psychotic or suicidal addicts. But even one of Richard’s own physicians, Dr. Charles Parker, characterized his case as a virtual textbook for ways that A.D.H.D. practices can fail patients, particularly young adults. “We have a significant travesty being done in this country with how the diagnosis is being made and the meds are being administered,” said Dr. Parker, a psychiatrist in Virginia Beach. “I think it’s an abnegation of trust. The public needs to say this is totally unacceptable and walk out.”

Young adults are by far the fastest-growing segment of people taking A.D.H.D medications. Nearly 14 million monthly prescriptions for the condition were written for Americans ages 20 to 39 in 2011, two and a half times the 5.6 million just four years before, according to the data company I.M.S. Health. While this rise is generally attributed to the maturing of adolescents who have A.D.H.D. into young adults — combined with a greater recognition of adult A.D.H.D. in general — many experts caution that savvy college graduates, freed of parental oversight, can legally and easily obtain stimulant prescriptions from obliging doctors.

“Any step along the way, someone could have helped him — they were just handing out drugs,” said Richard’s father. Emphasizing that he had no intention of bringing legal action against any of the doctors involved, Mr. Fee said: “People have to know that kids are out there getting these drugs and getting addicted to them. And doctors are helping them do it.”

“...when he was in elementary school he fidgeted, daydreamed and got A’s. he has been an A-B student until mid college when he became scattered and he wandered while reading He never had to study. Presently without medication, his mind thinks most of the time, he procrastinated, he multitasks not finishing in a timely manner.”

Dr. Waldo M. Ellison

Richard Fee initial evaluation

Feb. 5, 2010

Richard began acting strangely soon after moving back home in late 2009, his parents said. He stayed up for days at a time, went from gregarious to grumpy and back, and scrawled compulsively in notebooks. His father, while trying to add Richard to his health insurance policy, learned that he was taking Vyvanse for A.D.H.D.

Richard explained to him that he had been having trouble concentrating while studying for medical school entrance exams the previous year and that he had seen a doctor and received a diagnosis. His father reacted with surprise. Richard had never shown any A.D.H.D. symptoms his entire life, from nursery school through high school, when he was awarded a full academic scholarship to Greensboro College in North Carolina. Mr. Fee also expressed concerns about the safety of his son’s taking daily amphetamines for a condition he might not have.

“The doctor wouldn’t give me anything that’s bad for me,” Mr. Fee recalled his son saying that day. “I’m not buying it on the street corner.”

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Deering Banjo in a groove

It all started with the Kingston Trio.

One day in 1963, a San Diego kid and his friends got their hands on an album by the popular folk group. Greg Deering, 12 at the time, recalls studying the musicians on the cover and thinking, "I've got to get a banjo" — not out of love for the twangy instrument but mainly because his pal already had a guitar.

Fifty years later, Greg, his wife, Janet, and daughter Jamie preside over the bestselling banjo-making business in the U.S.

From a small Spring Valley factory, the Deering Banjo Co. is having its best year ever, defying the U.S. skills gap and California's manufacturing doldrums. It has expanded and trained its own workforce and expects to top $4 million in sales for the year ending June 30.

Greg Deering, 62, is the creative force behind the banjo design and the machinery used to build them. Janet Deering, 58, handles operations. Daughter Jamie Deering, 34, might have the most fun job: liaison with the company's big-name roster of professional musician customers.

Over the company's 38-year history, it has developed a loyal following from the likes of Taylor Swift, Keith Urban, the Dixie Chicks, Steve Martin and Mumford & Sons. Artists who play Deering banjos rolled up 13 Grammy nominations this year.

Two of Deering's fans illustrate how the company has managed to ride the banjo's renaissance as an instrument that crosses several musical genres as varied as country, reggae and indie rock.

"It's great working with a family company, an American company that really cares about the artist and making top-quality banjos," said Jeff DaRosa, singer, bassist and banjo player for the Dropkick Murphys, the Boston-based Celtic punk band.

Scotty Morris, lead vocalist of the contemporary swing revival band Big Bad Voodoo Daddy, called Deering Banjo "the quintessential American instrument builder."

"When I call Deering, I talk to a Deering, and I like that almost as much as I love the instruments they build," Morris said.

That kind of reputation combined with specially crafted manufacturing tools and a skilled, veteran workforce has helped the company weather the recession and cheap competition from China. Deering has been able to expand its workforce in a way that other companies have not, growing to 42 workers from 30 a year ago.

Although the nation as a whole has been adding manufacturing jobs, all California has done is reduce the rate of decline, said John Husing, principal of Redlands-based Economics and Politics Inc.

The most recent statistics available show that California ended 2012 with 1.23 million manufacturing jobs, down sharply from nearly 1.9 million in 2000 and marginally below the nearly 1.24 million in December 2011.

If you ask the Deerings what their greatest challenge has been, the answer has been running the business in California, particularly during a run-up in workers' compensation insurance premiums that began under Gov. Gray Davis.

"That nearly put us out of business. We're still paying off some of those debts," Greg Deering said, adding that the company has remained in California mostly because the family considers it home.

"And because we are stubborn. We are so stubborn," Janet Deering said.

Greg Deering credits his father, who worked in the Southern California aerospace industry, for developing his eye for design.

"He started me out on model airplanes when I was 2," Deering said. "He turned me loose on my own, making models when I was 5. At age 7, he bought me my first set of drafting tools."

But it wasn't until he was a student at San Diego State that he realized just what his father had done for him. There was an assignment to cut a board of certain dimensions from a rough block of wood. He was done with the assignment quickly and began working on a banjo. Weeks later, he realized the other students were still working on the block of wood.

"That was when it clicked for me," he said, later adding, "my father was a very intense mentor for me. He was teaching me how to be a craftsman."

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Marmot researchers raise a toast for Groundhog Day

For most Americans, Groundhog Day is a quaint oddity or a movie starring Bill Murray. For Punxsutawney Phil Sowerby, the Pennsylvania critter who'll be dragged out of his burrow Saturday by men in top hats to look for his shadow, the day must be a supreme annoyance.

But for UCLA biologist Dan Blumstein, today's midwinter observance has become a reason to throw a party in honor of a creature that scientists have studied for decades.

Groundhogs are marmots — and through marmots, scientists hope to gain insight into the social behavior of animals, how they communicate and how their interactions influence the size of their population.

And so on Friday afternoon, Blumstein and a group of 30 or so fellow "marmotophiles" gathered in a spare hallway in the university's Life Sciences building and toasted groundhogs with cans of soda as a jazz mix played in the background.

"This is really the only holiday about animal behavior," Blumstein said.

Cat-sized, sharp-toothed groundhogs have a large range — from the Southeast up into the East Coast and Midwest, across Canada and even as far north as Alaska. Also known as woodchucks, they're the largest of the 14 or 15 marmot species (scientists are still debating the precise number).

Marmots are great animals for scientists to study, Blumstein said, because they're awake during the day and they "have an address," living in burrows that researchers can stake out over time. Blumstein, who has also studied the behavior of kangaroos, wallabies, hermit crabs, sea anemones, lizards, birds and people, has spent more than 13 years observing the colonies of yellow-bellied marmots who live at the Rocky Mountain Biological Laboratory in Crested Butte, Colo.

During summers in the field, he and colleagues have trapped marmots live using horse chow as bait, tagged them with "earrings," taken samples of their blood, and recorded the size of colonies as they waxed and waned. During winter, Blumstein has held a hibernating marmot in a lab, its body temperature just a couple of degrees above freezing. "It's like a hairy rock," he said.

A groundhog roused from hibernation that appears to be "looking for his shadow" is probably displaying a typical pattern, Blumstein said. Marmots rouse periodically during the winter to urinate, and near the end of the season they start to emerge from their burrows and scope out their territory for potential mates. Males typically wake before females.

Over the years, the scientists' observations have helped them understand how certain behaviors translate into success, or failure, for the colonies. Lately, they've focused on how the higher temperatures brought on by climate change might improve, or hinder, the marmots' reproductive success.

As recently as 2010, earlier springs seemed to be helping the marmots in Colorado by increasing the length of time they could eat. But then a longer-than-usual winter caused the population to crash.

Blumstein and his team are curious to see how the marmots will fare this spring after a winter that produced less early-season snow. That snow acts as a blanket for the animals; without it, their burrows may not have maintained the right temperature for healthy hibernation.

"We want to understand the limits of their flexibility," Blumstein said. "At some point, there may be too little snow to keep them warm over the winter."

One of Blumstein's students said she was studying gene expression in the Colorado marmots. Another student, from South America, was studying how marmots react to climate. They don't have marmots — or Groundhog Day — in South America, she noted.

Matthew Petelle, a graduate student, said he was interested in "marmot personality." Some are bold and others are shy, he said, and he's trying to figure out why the shy ones survive and thrive.

"We're the enthusiasts," he said of the partygoers at the science building, admitting that he'd probably be talking about marmots even in the absence of Groundhog Day.

Behind Petelle glowered Two-Buck Chuck, a groundhog Blumstein spied near a Kansas road more than 15 years ago.

"I was trying to study it and I was thinking it was alive," he said. "Then I realized, it's really not moving."

The animal had been hit by a car and had crawled off the road to die. Blumstein brought the body back to his lab and stuffed it, with help from his wife.

Other examples of groundhog kitsch were on display as well. There was a photograph of an obese yellow-bellied marmot eating Lay's potato chips in a Utah woman's kitchen and a page from the News of the World tabloid headlined "ATTACK OF THE 100 FT MARMOT."

"We made that into T-shirts," Blumstein said.

The jovial professor said he got the idea for the annual shindigs from his mentor, Kenneth Armitage, a University of Kansas behavioral ecologist who led the Rocky Mountain Biological Laboratory marmot project for 41 years.

Armitage, now retired, said he always promised his guests he'd serve groundhog at the parties.

As in "ground hog," or sausage.

"They'd kind of look at you funny, at first," he said of his grad students. "Then you'd see this big flash of relief."

eryn.brown@latimes.com

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