• 'The Closet' is a faithful recreation of the famous Criterion Closet
• Browse in full 3D (the correct option) or in list view (boo)
• Connects to the Criterion Channel for easy streaming

If you've always wanted to browse the Criterion Closet but haven't been able to because (a) it's in New York and (b) you're not a famous actor, then Redditor olievans has just the thing for you: the entire Criterion Closet in virtual 3D form, explorable right in your web browser.

You can can take a look at The Closet right in that link. It features 1,327 Criterion editions, all shelved in the order of their spine numbers, and you can pull each disc box out from the shelf to inspect the design more closely. You can also filter the collection by decade, director, country, language and more — the physical version can't do that.

If you're not familiar with the Criterion Closet, it's a library of the special-edition disc sets released the film distributor Criterion, which been releasing much-coveted discs with beautiful art, great extra features, and often unique high-quality restorations since the age of Laserdisc.

Since 2010, the real Closet has been a place where directors, actors and other well-known faces — from Martin Scorcese to Charli XCX — are filmed picking their must-see movies from the range.

Why it's fun to be in the Closet

The Closet is available in two flavors: a full 3D reproduction of the iconic closet, and in list form. The list is more functional but a lot less fun because you don't get the surprise of finding This Is Spinal Tap immediately next to The Seventh Seal.

The website is a really fun way to browse one of the world's best movie collections, and while there are a few issues — it's not really obvious how to get your mouse cursor back, so on my Mac I had to press Esc twice to return to the home page and escape the closet — it's beautifully done and the closest thing you'll get to the real thing without first getting some IMDb credits under your belt.

What I really like about this is the discovery element. The Criterion Collection is very wide-ranging, and that means you never know what's going to be next on the shelf: Paris, Texas (number 501) is followed by the Australian thriller Revanche (502) and the historical German romance Lola Montès (503).

That makes it feel very much like the Blu-Ray equivalent of crate digging for exotic vinyl records: the Criterion Closet is full of surprises.

A note from the Editor

Hello! Matt Bolton, Managing Editor for TechRadar's home theater coverage here. As a Blu-ray collector, I've decided to take the opportunity I'll never have in real life and give you my Criterion picks — as in, these are ones I actually own. I'm not going to give you a whole spiel about each one, don't worry — but I'll highlight why

• Anora — a chunky collector's edition, and the best way get a 4K version
• Blow Out — essential for the DTS-HD Master sound, and the 4K restoration
• I Know Where I'm Going — the first 4K restoration of a B&W cinematography classic
• In The Mood For Love — one of my favorite movies, in the highest quality
• Lost Highway — the only way to get it in 4K Dolby Vision with a new DTS-HD sound restoration
• Moonage Daydream — the only way to get this in both Dolby Atmos and uncompressed sound, shockingly
• The Power of the Dog — the only way to get it in the higher bit rate of Blu-ray
• The Red Shoes — one of the most incredible-looking movies of all time, in its best-ever restoration
• Thief — the best-looking version of Michael Mann's grittiest movie

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• Kaleidescape launches the first 8K movie player certified by the 8K Association
• But the new 4K Cinematic format for higher-quality 4K is the exciting bit
• $4,995 (about £3,777 / AU$7,180)

Kaleidescape makes some truly spectacular 4K video players, and now there's an 8K version. It's "the world's highest-fidelity movie player," says chairman and CEO Tayloe Stansbury. "It brings movie lovers closer to the filmmaker's intent, with cleaner detail, true-to-life color, and a more natural presentation that dramatically improves the viewing experience of any display."

It's also a world first. The Kaleidescape Strato K is the first 8K movie player that's been certified for 8K by the 8K Association.

That's good, but the fact that it's the first such accreditation points to the problem with 8K. Buying 8K hardware right now is a bit like being the first person in the world to buy a fax machine: who are you going to send faxes to? Similarly, with 8K movie players and 8K TVs, what 8K movies are actually there for you to watch?

That means the Strato K, while impressive, is a bit of a gamble: you're buying hardware in the hope that the 8K movie trickle will become a flood, and I'm just not sure that rain is ever coming.

So the most important new feature might not be the 8K support, but instead a new format that Kaleidescape calls "4K Cinematic".

Kaleidescape Strato K: key features and price

Kaleidescape's 4K Cinematic is a format designed to deliver even better 4K picture quality, and it does that by using less compression. Movies are encoded at around 110Mbps using the HEVC codec. Kaleidescape says that's compared to around 60Mbps for 4K Blu-Ray, and around 17Mbps for standard 4K streaming services.

It's worth noting that those figures aren't the maximum bitrates for the formats — for example Blu-Ray can go up to 144Mbps, though 80Mbps is a more standard ceiling — but are the bitrates typically used in commercial releases.

In addition to the higher bitrate, 4K Cinematic uses 4:4:4 chroma sampling rather than the 4:2:0 of most commercial movie releases, meaning more accurate colors and less 'banding' or other color artefacts.

The downside of those higher bitrates is that you'll need a lot of storage: as FlatpanelsHD notes, the player only has 1TB of storage – equivalent to around seven 4K Cinematic titles, as those are 1.5x the size of normal 4K movies. Like other Strato players it's really intended to be teamed up with the firm's Terra servers.

Kaleidescape will label the higher-quality movies as 4K Cinematic in its movie store and on the Stratos K interface to differentiate them from standard 4K versions. Prices will be from around $10 to $30, and the initial raft of titles includes Top Gun: Maverick, F1: The Movie, Superman, Project Hail Mary, Dune: Part Two; Sinners, Predator: Badlands, Mortal Kombat II, Avatar, Tron: Ares, Thunderbolts, and others.

4K Cinematic supports Dolby Vision, Dolby Atmos and DTS:X — but Dolby Vision isn't supported by the Stratos K player in 8K movies, which are SDR or HDR10. The maximum frame rate for 8K is 30 fps via HDMI 2.1.

The Strato K has a recommended retail price of $4,995, which is $1,000 more than the five-star 4K Strato V. We are really looking forward to seeing what the new movie format looks like…

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If you're looking for the very best Dolby Atmos movies to show off what your that home system you've lovingly researched and chosen can do, then there's a smart list of the 'top 100' options available on a site called Hello Atmos.

This top 100 was curated by the creator of Hello Atmos in order to find the 'consensus' list of the movies that get recommended the most often. It's based on published reviews and lists of great Atmos movies (including ours), plus community recommendations from platforms like Reddit, in the many many threads where people ask for recommendations.

It's all pulled into an algorithm designed by the app's creator, Adrian Wrona, to rank the movies based on how strongly they're recommended, and resulting in the top 100 list.

You can read the full list just below, or see it on the Hello Atmos site, which also includes where you can stream the movies in your country (though it's TechRadar's stance that uncompressed audio from the best 4K Blu-ray players is the only way to really show off your system).

While like any best-of lists there's plenty of opportunity for an argument — is Blade Runner 2049 still a better showcase than Dune? Why isn't Dredd higher up the rankings? — it's a great and eclectic guide to some of the best sounding spatial audio soundtracks, with details of who did the mixing, which is a nice touch.

We've written about Adrian before; another tool on Hello Atmos scans your Apple Music or Spotify playlists to identify which ones are available in Atmos, which is great if you want to really explore spatial audio for music.

The 100 best Dolby Atmos movies, as rated by Hello Atmos

1. Blade Runner 2049
2. Dune
3. Mad Max: Fury Road
4. Ready Player One
5. The Batman
6. Top Gun: Maverick
7. Dune: Part Two
8. Gravity
9. Ford v Ferrari
10. A Quiet Place
11. The Matrix
12. The Lord of the Rings: The Fellowship of the Ring
13. Pacific Rim
14. 1917
15. Master and Commander: The Far Side of the World
16. Edge of Tomorrow
17. Spider-Man: Into the Spider-Verse
18. Fury
19. Midway
20. Saving Private Ryan
21. Deepwater Horizon
22. Bohemian Rhapsody
23. John Wick: Chapter 3 - Parabellum
24. A Quiet Place Part II
25. Civil War
26. The Lord of the Rings: The Two Towers
27. The Lord of the Rings: The Return of the King
28. Twister
29. Godzilla vs. Kong
30. Roma
31. No Time to Die
32. Transformers
33. Hacksaw Ridge
34. Oblivion
35. Furiosa: A Mad Max Saga
36. Prey
37. Alita: Battle Angel
38. TRON: Legacy
39. Baby Driver
40. Warfare
41. Star Wars: Episode I - The Phantom Menace
42. Godzilla Minus One
43. Gran Turismo
44. John Wick: Chapter 4
45. Hans Zimmer: Live in Prague
46. Kong: Skull Island
47. Ambulance
48. Twisters
49. Unbroken
50. John Wick

51. Avengers: Endgame
52. Jurassic Park
53. Apocalypse Now
54. Blade Runner
55. First Man
56. Man of Steel
57. Star Wars: Episode III - Revenge of the Sith
58. The Fifth Element
59. Soul
60. Spider-Man: Across the Spider-Verse
61. Black Hawk Down
62. 13 Hours: The Secret Soldiers of Benghazi
63. John Wick: Chapter 2
64. Dredd
65. Star Trek Into Darkness
66. Deadpool
67. Nope
68. Sinners
69. Brave
70. Doctor Sleep
71. WALL·E
72. F1
73. War of the Worlds
74. Mission: Impossible - Fallout
75. Us
76. Alien: Romulus
77. Everest
78. Star Wars: The Force Awakens
79. Avatar: The Way of Water
80. Ghostbusters: Afterlife
81. 6 Underground
82. Avengers: Infinity War
83. Ballerina
84. Aquaman
85. Titanic
86. Godzilla: King of the Monsters
87. The Guns of Navarone
88. Aliens
89. Nosferatu
90. Uncut Gems
91. Transformers: Dark of the Moon
92. Back to the Future
93. Suspiria
94. Overlord
95. Top Gun
96. Sicario
97. 300
98. Evil Dead Rise
99. Puss in Boots: The Last Wish
100. A Quiet Place: Day One

Over the past few years, I’ve often written about the state of 4K Blu-ray (and the state of physical media in general), and while sales numbers are often very doom and gloom, I’ve remained hopeful over its potential and popularity.

We’re big 4K Blu-ray fans here at TechRadar. Some of us (myself included) are collectors, and as TechRadar’s TV tester, they’re my primary source for testing the best TVs and best soundbars. In November 2024, I started the Blu-ray Bounty, a monthly column in which I review the best 4K Blu-rays each month, judging their picture and audio quality.

Since then, I’ve tested over 90 4K Blu-rays, and while most have proven to be real winners, some totally stood out from the pack. Some have even been good enough to become reference discs for when I’m testing TVs. So, as a celebration of Blu-ray's 20th anniversary(!), I've decided to whittle down those 90-plus titles to my all-time top 10.

Just to be clear: this isn’t an all-time best 4K Blu-ray article, just the best ones I’ve tested for Blu-ray Bounty. So, if your favorite is missing, don’t be surprised! The list is also in alphabetical order as I didn’t have the heart to rank them!

Alien: Romulus (20th Century Studios)

First on the list is Alien: Romulus. First featured in the December 2024 Blu-ray Bounty, Alien: Romulus delivers plenty of high-contrast scenes with powerful dynamic range, rich dark tones and punchy highlights. On the best OLED TVs, this disc looks staggeringly good, especially any exterior shots of space. There’s also plenty of awesome detail, with close-up shots of the character's faces showing every mark and facial feature with real clarity.

The disc’s Dolby Atmos soundtrack is also spine-chillingly realistic. The movie’s dramatic moments have plenty of impact, complete with hefty bass. The movement of face huggers is scarily well-mapped too. As they moved around the floor, their scuttling sounds had me looking nervously around our testing lab a few times when playing through our Samsung HW-Q990C Dolby Atmos soundbar. A perfect disc for a scary movie night with your home theater system.

Dark City (Arrow Video)

Dark City first featured in the July 2025 Blu-ray Bounty and has become an excellent reference disc for testing contrast. Inky blacks are featured throughout, and there are plenty of scenes with strong contrast as characters stand in front of desk lamps to cast detailed shadows, creating a nice noir vibe. Once again, the 4K remaster means people’s skin and object detail is refined, really showing off what 4K can do.

The disc features both Dolby Atmos and DTS-HD 5.1 MA soundtracks, and while this disc isn’t the audio showcase some of the other entrants on this list are, it’s still detailed and powerful, with a tense score and foreboding bass.

Double Indemnity (Criterion Collection)

Double Indemnity featured in the debut November 2024 Blu-ray Bounty, and it’s stuck with me ever since. It was my first experience of what 4K Blu-ray could do for an older, black-and-white movie. And it’s still one of the best examples of this that I’ve tested to this day. Contrast is fantastic, with a great range of black, white and gray tones, and textures have been restored to give them a true-to-life look that’s downright impressive — especially with Dolby Vision supported. While there may be some better restorations of black-and-white movies out there, this is a personal pick, as it really does showcase 4K’s capabilities.

Audibly, the movie only supports a monaural soundtrack, but again, it remains faithful to the original and still sounds great. Speech is clear throughout, and there’s a nice balance between the movie’s more dialogue-heavy and more action-packed scenes.

Fight Club (20th Century Studios)

Featured in the May 2026 Blu-ray Bounty, Fight Club finally came to 4K Blu-ray for the first time, and while there were some controversial changes made by director David Fincher, it’s still the best this movie has ever looked. Textures and detail have been refined beautifully, giving everything a fresh, crisp look. Contrast is striking, delivering deep blacks in the movie’s darker scenes, and whenever colors are featured they look punchy and accurate. Whenever there’s a close-up, it really shows off the disc’s clarity. This is another personal favorite, as I’ve waited a long time for this one to arrive — and it was worth the wait.

The disc features a DTS-HD 5.1 MA soundtrack, and while Dolby Atmos would have been nice, the 5.1 MA is still excellent. There are plenty of crushing, realistic impacts during fight scenes, with sometimes gruesome-sounding detail. But it’s the sense of direction and accuracy that really impresses — in the opening scene where the camera moves around the parking garage, the sound was mapped accurately to our testing soundbar.

Lawrence of Arabia (Sony Pictures Entertainment)

Lawrence of Arabia is another fantastic example of what 4K Blu-ray can do for classic movies. Featured in the February 2026 Blu-ray Bounty, Lawrence of Arabia is breathtaking on 4K Blu-ray. The level of detail and sheer scope of Freddie A. Young’s outstanding cinematography is truly brilliant, and balances some wonderful upscaling with plenty of film grain for purists. Detail is refined and textures are realistic, especially people’s skin and features in close-ups. Colors are also extremely rich, whether it’s the blue sky over the desert, the red sashes of the Arab fighters or the dazzling white of Lawrence’s robes. A truly magnificent disc.

For audio, both Dolby Atmos and DTS-HD 5.1 MA are featured. The Atmos soundtrack delivers plenty of scale and scope that perfectly suits Maurice Jarre’s grand score, as well as the movie’s action scenes. Explosions offer plenty of meaty bass, gunfights feel spacious and accurate, and speech comes through cleanly.

The Mask (Arrow Video)

While I anticipated that The Mask would be a good disc for its colors (more on that below), I was pleasantly surprised by how effective a disc it was for audio testing. Featured in the November 2025 Blu-ray Bounty, The Mask supports both Dolby Atmos and DTS-HD 5.1 MA soundtracks. Using the Atmos soundtrack, this disc whips up an impressively accurate soundstage, capturing the cartoonish, chaotic nature of the titular character. As he tears around a room in a tornado, the Atmos soundtrack is perfectly placed, with plenty of superb detail.

Visually, The Mask is at its best when The Mask himself is on screen. His gaudy yellow suit takes on an almost neon-like effect that really pops on screen, and works well if you’ve got a display that’s all about color. Elsewhere, textures have been upscaled nicely, giving skin, hair and even clothing a realistic look. There are even a few darker scenes at the Coco Bongo club that can really show off contrast.

Sinners (Warner Bros.)

Sinners first featured in the July 2025 Blu-ray Bounty, and while it’s a good-looking 4K disc, it features here for its audio — and for one scene in particular. During a time-bending musical sequence in a barn, the mix demonstrates pinpoint accuracy in capturing the hip-hop beats blending with blues music as the camera moves around the room. Any scenes involving blues tracks sound excellent, but really, it’s the barn scene that serves as an audio showcase. Elsewhere, action scenes have plenty of nice detail.

Sinners looks brilliant on 4K, accurately conveying the bright summer of Mississippi during its daytime scenes, and balancing these nicely with the rich contrast of its night scenes. Again, detail is really strong here, with textures in the 1930s clothing looking refined and lifelike, and with Dolby Vision supports, colors are deep and vibrant throughout.

The Sound of Music (Disney)

Featured in the October 2025 Blu-ray Bounty, The Sound of Music looks stunning in 4K. Where it really shines is in its color reproduction. The market scene in particular delivers bold oranges, reds and yellows from the fruits and vegetables on display that really pop on the right TV. The greenery of the surrounding hills looks lush too. Upscaling is also fantastic, and textures have been cleaned up nicely, giving everything a 3D-like appearance, especially people.

Equipped with a Dolby Atmos soundtrack, The Sound of Music sounds great too. Julie Andrew’s iconic vocals are detailed and powerful throughout, and there’s a wonderful balance between the musical score and the vocals. This is the best way to hear legendary tracks like Do Re Mi at home. This one really does tick all the boxes, both audibly and visually.

Wicked (Universal Pictures)

Wicked’s picture impressed me so much when I first tested it as part of the March 2025 Blu-ray Bounty that it’s become a reference disc I use for testing TVs. It delivers bold, vibrant colors throughout that have plenty of dazzle. Whether it’s the pink of flowers in trees or Glinda’s wardrobe, the green of trees and Elphaba’s skin, or even the white of a clifftop in the ‘Wizard & I’ scene, colors strike the balance between vivid and lifelike expertly. Details are crisp and intricate in every facet, from people’s clothing to the environments of Oz. There are even some high-contrast scenes that look great too. This really is one of my go-to testing discs.

Unsurprisingly, a Dolby Atmos musical sounds truly fantastic as well. The vocals and score balance well with one another, and come through with excellent clarity. There are some real showcase scenes for Atmos, notably the ‘Defying Gravity’ scene. Cynthia Erivo’s vocals are powerful and expertly rendered, even through the fast-paced movement as Elphaba whips around the skies on her broom — and with the right system the effect is truly immersive.

The Wild Robot

The final entry on this list is The Wild Robot, which first featured in the January 2025 Blu-ray Bounty. It’s a gorgeous animation that has fantastic detail, along with phenomenal colors that look both vibrant and natural. The environments have a painted effect that looks lifelike, and this blends really well with the crisp animation of the creatures of the forest and Roz. Both bright and dark scenes look brilliant too, looking both suitably punchy and rich respectively. This is another disc that has entered my testing rotation.

The disc’s Dolby Atmos soundtrack is great for accurately delivering the sounds of nature. Snapping twigs, calling animals and weather effects all combine to create a rich soundscape. Atmos is well utilized too, with birds flying overhead and heavy rain creating an immersive listening experience. There’s also some seriously hefty bass on display during a thunderstorm at the start of the movie.

What are some of your favorite 4K Blu-rays? Let us know in the comments!

Physical home media has gone through a turbulent time the last few years. With the rise of streaming services, demand for physical media over the past few years has steadily declined, with people choosing the convenience of streaming over physical discs.

There's still a dedicated fanbase of physical media collectors, though, and more recently streaming price rises and splintering means people have more interest just owning the stuff they want to watch. I’ve been writing about my hope for the resurgence of 4K Blu-ray, and physical media in general, since 2023. Now in 2026, I’m actually more hopeful than ever. It couldn’t come at a better time either, with the 20th anniversary of Blu-ray’s debut on June 20th, 2026.

I recently spoke to Kath Summersgill, Joint Group Head of Sales at Key Production Group, an agency specializing primarily in physical music and packaging manufacturing with vinyl, cassette and CD. However, the group also works with Blu-ray, both video and audio varieties, and DVD. We discussed the state of Blu-ray production, and physical media in general, and she had some encouraging things to say.

Promising numbers

“We’ve seen an increase in Blu-ray sales of over 10,000%, particularly in Blu-ray Audio” Kath tells me. “That’s over the span of the past eight to 10 years.” For a format that’s been on the decline, that’s an incredibly encouraging number.

Kath then mentions the ERA (Entertainment Retailer’s Association) report from December 2025, which reveals sales revenue for Music, Video and Gaming sales. “Although there was an overall decrease in the physical video format, Blu-ray actually increased by 3%”. While that may not sound like a lot, it’s a positive after some particularly bad numbers.

If you read more into the 2025 ERA report, 4K Blu-ray sales increased 19.5%, which is an extremely encouraging number. The strongest selling disc of the year was Wicked, a disc I regularly use for testing AV equipment and one of the main highlights of our Blu-ray Bounty feature (more on that later).

So, why have 4K Blu-ray sales turned around? For that answer, we’ll have to look to streaming services.

You can't rely on streaming

One of the most frustrating things people have with streaming services is the availability of movies. At one time or another, most people will have experienced a movie leaving a streaming service, only for it to either go to a rival service (that typically you won’t subscribe to) or for it just to disappear.

I’ve even seen horror stories of people buying movies on a streaming service that then also disappear. A Reddit thread in the r/AmazonPrime subreddit is a great example of this, where user u/Electrical_Paper6286 has had it happen “4 times between 2 movies”. Although the movies eventually returned, it’s a sign of how tentative the ‘ownership’ of movies on streaming platforms can be.

It’s one of the key issues affecting people’s trust in streaming services and something that’s driving people to physical media. Kath relates it to vinyl. “We know that vinyl is never ever going to replace streaming, but it exists very happily alongside it. I think that Blu-ray is the same, it offers different things that streaming doesn't. It's very much something that you can have and hold and you can keep and you can play over and over again.”

Kath also points out another issue with online-based movie and music streaming. “[With physical] you're not at the whim of your internet connection speed, or whether or not certain libraries drop certain titles, licence changes”.

This is another frustration. Numerous times I’ve gone to watch a movie on streaming and due to connection issues , it’s either streamed in reduced quality, buffered or just not streamed at all. This isn’t a problem with physical media.

A passionate fanbase

As I mentioned above, I’m a budding collector of 4K Blu-ray. While I don’t have fully stacked shelves (yet), I do have a collector’s edition or two and more than a few steelbooks.

In FilmStories’ article about the ERA 2025 report, they mention that steelbooks and special editions helped the growth in 4K Blu-ray in the UK, with every one in 10 4K Blu-rays released having some sort of steelbook or special edition, and due to their higher prices, they made up £2 of every £10 spent on 4K Blu-ray in 2025.

I tell Kath I’m a sucker for nice packaging and she agrees and she relates it to a recent vinyl release that Key Production Group handled. “We find people are doing this. We did a vinyl release recently with 72 variants and even though the packaging was the same, the color of the vinyl was different.”

(I’m also a sucker for colored vinyl, with a rust-effect Jack White/Dead Weather release from a Third Man Records Vault collection being a particular highlight in my stack.)

While special editions are great, it’s also the work of independent distributors and manufacturers, delivering more excellent 4K restorations than ever, that gets more people to invest in 4K Blu-ray.

The Criterion Collection and Arrow Video are two of the big names, but other organizations such as Kino Lorber, Shout Factory, Boutique Home Video and the BFI are crucial. These companies are producing more sought-after titles and giving them excellent restorations that mean people want to own them in the best possible quality.

In November 2024, I started the Blu-ray Bounty. This is an ongoing monthly column where I test the latest 4K Blu-rays from each month — and since its debut, the column has been growing.

We’re covering more discs than ever, covering a wider range of genres, and I have a feeling it’s only going to get bigger. I’ve produced tons of lists of excellent 4K titles that are perfect for showing off home theater systems, such as this 6 action movies list and 6 classic movies that show what 4K can do. and a good chunk of my reference discs for AV testing came from the Blu-ray Bounty.

I’m also an active user of the r/4kbluray subreddit and this is again one of the most passionate subreddits I’ve come across. Users update each other on releases, give their thoughts and reviews on the latest titles and always showing off their collections in the best possible way.

While it may well have been doom-and-gloom for 4K and Blu-ray in the last couple of years, I for one am hopeful for its future. What better way to celebrate Blu-ray’s 20th anniversary than with some good news.

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• The first HDMI 2.2 products are likely to arrive in 2027
• Massively increased bitrates with 4K 480Hz support, or 10K resolution
• Great for PC gaming, but won't make much difference to TV viewers

HDMI 2.2 is coming, and it could be a very big deal for gamers. That's because it delivers double the bandwidth of HDMI 2.1: up to 96Gbps.

That means HDMI 2.2 is capable of delivering uncompressed 4K at up to 240Hz (current HDMI can only do this using Display Stream Compression, aka DSC) or uncompressed 4K at 480Hz with 4:2:0 chroma subsampling, and it can also deliver uncompressed RGB 8K at 60Hz. And using DSC, it's capable of delivering 1440p at rates exceeding 1,000Hz.

There is an important qualifier, though: devices can be HDMI 2.2 certified without delivering the very fastest data speeds, so you'll need to study the spec sheets of any potential purchases.

As FlatpanelsHD reports, the HDMI organization expects the first HDMI 2.2 devices to go on sale in 2027; testing and certification are already taking place.

According to Rob Tobias, CEO and president of the HDMI Licensing Administrator, "We're hearing chip manufacturers will start to sample their FRL2 [Fixed Rate Link, the signalling technology used by HDMI] chips this year. And so we should start to see some 96 or up to 96 gigabit HDMI 2.2 products next year."

Will HDMI 2.2 be a big deal?

The specifications are impressive, though it'll be available in three flavors, all of which are faster than HDMI 2.1: 64Gbps, 80Gbps and 96Gbps.

The performance for gaming is particularly impressive, but we already have DisplayPort 2.1 at up to 80Gbps in many of the best gaming monitors so there isn't a hugely pressing need to upgrade. And HDMI requires licensing fees that are likely to be higher than for DisplayPort.

Chances are if you're into high-end gaming hardware you've already gone down the DisplayPort route, especially if you have a multi-monitor setup, but HDMI 2.2 should mean more choice among premium displays.

HDMI has more benefits in living rooms, thanks to features such as ARC (Audio Return Channel), CEC (Consumer Electronics Control) and ALLM (Auto Low-Latency Mode), so it's conceivable that the PlayStation 6 could embrace the higher bitrates of HDMI 2.2 — although games only rarely achieve the 4K 120Hz that's already achievable over HDMI 2.1, and we're not sure that's going to really change with the PS6.

But some 4K 240Hz games might be possible, and the best gaming TVs might offer the refresh rate to support it, so there may be some benefit for the most hardcore. For most living room uses, though, HDMI 2.1 is probably overkill — it's really best for PC connectivity when it comes to the pure data rate.

However, there's another benefit to HDMI 2.2: LIP, which stands for Latency Indication Protocol. LIP improves sound syncing on home theater setups, such as soundbars or AV receivers — this can be a pretty common problem with even the best soundbars, so we'll be keeping an eye on how well this works.

For most of us, I think HDMI 2.2 is generally something to keep an eye on rather than something to demand as soon as it debuts. HDMI 2.2 has been made with 10K resolution in mind, but the vast majority of commercial and streaming video tops out at 4K.

It's something to think about when buying new AV hardware in the future (there's good chance we'll need to wait for 2028's CES for widespread adoption in TVs), but initially at least, it'll be more about marketing than real-world benefits for most of us.

And bear in mind that HDMI adoption is really driven by the companies that provide the connection hardware.

Even today, not all high-end TVs have four HDMI 2.1 ports, because the most powerful processing chips used by many manufacturers don't support this. Some lower-tier TVs from the same makers do, because those chips have more up-to-date HDMI control elements — it's a bit of a mess. I suspect HDMI 2.2 will have the same kind of slightly chaotic support.

On PCs, we'll be relying on GPUs to support the tech, and new models aren't expected until late 2027 or after that — so there's a good chance of seeing HDMI 2.2 on them. But like HDMI 2.1, it'll probably launch on the highest-end models first.

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I recently visited the Japanese factory where Denon and Marantz make the hi-fi and home theater gear, and the best part of the seeing the facility was getting a demo of the reference home theater listening there, with its 9.4.6 channels of Dolby Atmos sound delivered via $250k of Bowers & Wilkins speaker.

While snooping around the room, the shelving in the corner that houses their disc library naturally caught my eye. Marantz's engineers had already told me that they consider Gravity to be one of the ultimate stress tests for AVRs (you can read why in the piece I linked above), but what else do they keep on hand for testing AV receivers and other gear?

I wanted to make a list to share with the many 4K Blu-ray and home theater enthusiasts out there, looking for fresh demo disc ideas — but given that we had limited time in the room and a major portion of the movies are in Japanese, I took a few photos of the shelves, and came back home to analyze them.

The list is below, and it's in two sections: movies, and concert discs. I excluded anything that isn't a Blu-ray or 4K Blu-ray — the shelves were obviously also full of CDs and SACDs (and a few DVDs).

It's not an exhaustive list: I used Google Gemini to help me translate Japanese titles that I couldn't discern myself anyway (I did not need help identifying which disc was Mad Max: Fury Road, naturally), and sometimes its translations were either vague or otherwise uncertain, so I didn't include those titles unless I could verify them another way. And also, I probably missed some because this whole exercise made me go a little stir-crazy.

So if you want to see the shelves and comb through yourself, here they are — but my written-out list is just below.

The list is inevitable in places — Blade Runner 2049 and 1917 are obvious inclusions, and two versions of Interstellar is the normal number of versions of Interstellar to own, in my opinion — but it was also really interesting and surprising in places.

I loved seeing Bridge of Spies in there; I didn't expect Hairspray (2007), but it makes a ton of sense; I'm very curious what makes Taxi 3 specifically a good disc to have; it absolutely rocks that they have RRR, and I can't recommend it enough for your own library; and in contrast to Interstellar, I really don't think anyone needs two copies of Pixels…

The music side includes a fun mix of jazz sets, classical music, movie music and huge stadium events — and with a very healthy dose of metal.

Movies

• 1917
• 2001: A Space Odyssey
• 28 Years Later
• 9 (Nine)
• A Clockwork Orange
• A Complete Unknown
• A Star is Born (2018)
• Akira
• Alien Romulus
• American Made
• American Sniper
• Apocalypse Now
• Apollo 13
• Aquaman and the Lost Kingdom
• Argo
• Avatar
• Back to the Future Trilogy
• Batman v Superman: Dawn of Justice
• Battleship
• Birdman
• Black Rain
• Blade Runner
• Blade Runner 2049
• Blue Giant
• Bohemian Rhapsody
• Breakfast at Tiffany's
• Bridge of Spies
• Burlesque
• Casino Royale
• Chicago
• Civil War
• Crimson Peak
• Deadpool & Wolverine
• Donnie Brasco
• Dr Strange and the Multiverse of Madness
• Dune (2021)
• Dune: Part Two
• E.T. the Extra-Terrestrial
• Fantastic Beasts: The Secrets of Dumbledore
• Ford v Ferrari
• Furiosa: A Mad Max Saga
• Get On Up
• Ghost in the Shell
• Ghostbusters (2016)
• Gladiator II
• Godzilla vs. Kong
• Gran Turismo
• Gravity
• Green Book
• Hairspray (2007)
• Harry Potter and the Deathly Hallows Part I
• Hidden Figures
• The Huntsman: Winter's War
• I, Frankenstein
• Inception
• Indiana Jones: The Complete Adventures [Doesn't include Dial of Destiny]
• Inside Llewyn Davis
• Interstellar
• It: Chapter One
• Jack Reacher: Never Go Back
• Jason Bourne
• John Wick
• Joker: Folie á Deux
• Jumanji: The Next Level
• Lucy
• Mad Max: Fury Road
• Man of Steel
• Mission: Impossible – The Final Reckoning
• Mission: Impossible – Dead Reckoning
• Mission: Impossible – Ghost Protocol
• Mission: Impossible – Rogue Nation
• Mission: Impossible – III
• Moana 2
• No Country for Old Men
• No Time to Die
• Nope
• Oblivion
• Oppenheimer
• Pacific Rim
• Pacific Rim: Uprising
• Paris, Texas
• Pixels
• Pokémon: The Movie
• Quantum of Solace
• Red Tails
• Rocketman
• Rogue One: A Star Wars Story
• RRR
• Rurouni Kenshin: The Legend Ends
• Seven (Se7en)
• Sherlock Holmes
• Sherlock Holmes: A Game of Shadows
• Sinners
• Sisu
• Skyfall
• Solo: A Star Wars Story
• Spectre
• Spider-Man: Across the Spider-Verse
• Spider-Man: Far From Home
• Spider-Man: Homecoming
• Star Trek Beyond
• Star Trek Into Darkness
• Star Wars: The Force Awakens
• Superman (2025)
• The Legend of Tarzan
• Taxi 3
• Teenage Mutant Ninja Turtles
• Tenet
• The Batman (2022)
• The Cell
• The Creator
• The Expendables 3
• The First Slam Dunk
• The Girl with the Dragon Tattoo
• The Greatest Showman
• The Hunger Games: Mockingjay – Part 1
• The Phantom of the Opera
• The Shallows
• The Sky Crawlers
• The Super Mario Bros. Movie
• Top Gun
• Top Gun: Maverick
• Transcendence
• Transformers: Age of Extinction
• Transformers: Rise of the Beasts
• Twisters
• Unbroken
• Venom: The Last Dance
• West Side Story (2021)
• Wonder Woman
• X-Men: First Class
• Yowamushi Pedal

Music and concerts

• Adele: Live at the Royal Albert Hall
• Ado Special Live
• Babymetal: Live at Tokyo Dome
• Beethoven Symphonies Nos. 5 & 7: Wiener Philharmoniker
• Berliner Philhamoniker: The Asia Tour
• Billy Joel Live at Shea Statdium
• Black Sabbath: The End
• Bob James Trio: Feel Like Making Live
• Bob Marley and the Walers Legend
• Bon Jovi Live at Madison Square Garden
• Chihiro Yamanaka: Somethin' Blue Quintet – Live at Blue Note Tokyo
• Chris Botti: Live in Boston
• David Gilmour: Live at Pompeii
• George Mccrae - Love
• Hans Zimmer: Live in Prague
• Harvie S Trio: Too Late Now
• Hit Man David Foster & Friends
• Joe Bonasmassa Live at the Greek Theatre
• John Mayer: Any Given Thursday
• John Mayer: Where the Light Is
• John Williams in Tokyo
• KISS Rocks Vegas
• Lady Gaga Presents The Monster Ball Tour
• Led Zeppelin: The Song Remains the Same
• Megadeth: Countdown to Extinction
• Metallica: Quebec Magnetic
• Michael Jackson: This Is It
• Misia: Soul Quest World Tour
• MR. BIG – The Big Finish Live
• MTV Unplugged ayaka
• Norah Jones: Live at Ronnie Scott's
• Pat Metheny Group: The Way Up - Live
• Pat Metheny: The Orchestrion Project
• Pink Floyd: Live at Pompeii
• Prince Sign o' the Times
• Queen: Rock Montreal & Live Aid
• Quincy Jones: The 75th Birthday Celebration
• Roger Waters: The Wall
• Rolling Stones: Shine a Light
• Scorpions: Live in 3D
• Shogo Hamada: On The Road 2015-2016
• Steve Vai: Live at the Astoria
• Sting: Live at the Olympia Paris
• Take Me to the River
• The Beatles: 1
• The Beatles: Get Back
• The Great Jazz Trio Hank Jones – The Legend of Jazz: Live at Blue Note Tokyo
• The Last Waltz
• The Rolling Stones: Hyde Park Live 1969
• Tony Bennett: An American Classic
• Toto: Live in Poland
• Vienna Philharmonic: New Year's Concerts – 2017, 2018, 2019, 2020, and 2021

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• Gemini on Google TV can now adjust audio and video, change modes and fix issues
• Coming to some 2025 and 2026 TCL TVs first
• US-only for now

If like me you've been fairly unimpressed by AI additions to TV interfaces so far, the latest update to Google Gemini might change your mind — because it's something you might use every day. Simply grab the remote or say "Hey, Google" to wake Gemini and you can then control your TV settings by voice.

The feature is rolling out slowly, and the first recipients will be recent TCL Google TV models in the US, including the TCL QM8L. Other TVs and streaming devices will get it in the future too, though Google hasn't given any details of which specific models will get the update.

What can you control with the Gemini TV update?

Google has given four key examples of the kind of thing Gemini will enable you to do.

First and most usefully, you'll be able to change your audio and video settings. Google's examples include "increase the bass" and "set picture mode to 'Sport'" — as we recently said, even though we generally encourage you to keep your TV in a fairly accurate-looking mode, you want different settings to enjoy sport to its fullest.

Secondly, you'll be able to optimize your TV's settings for what you're watching, for example "it's movie night — help make this feel like a cinematic experience". Hopefully there's a less verbose way to do that.

Thirdly, you'll be able to troubleshoot picture and sound issues: "the screen is too dark", or "I can't hear the dialog clearly".

And finally, you'll be able to call up specific menus with commands such as "open display settings".

Google isn't the first to do this by any means — for example LG has voice-based assistants in many of its TVs, and you can ask question about picture problems just like this — but this is by far the slickest solution in terms of it making the useful changes on your behalf, no menus needed.

The first TVs to get the Gemini upgrade will be the 2025 TCL QM9K, and the 2026 X11L, QM8L and RM9L models in the US. Google hasn't given a timeline for other TVs from other manufacturers just yet.

TCL and Google also said that this update would come to a 2026 TV called the QM9L. What's slightly odd about this is that we're not familiar with a TV with that model name, and there's no solid evidence of it online. We've asked TCL for more information.

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Hisense introduced RGB mini-LED to the world in 2025, and while I was impressed by the 116UX (the first RGB mini-LED model) in many ways, I anticipated it would be a high-end tech for some time, sitting at a premium price and size that kept it from competing with the best TVs.

I didn’t anticipate how quickly the new tech would come to more mid-range options, and how many brands would take on RGB (check out our guide here). As luck would have it, a budget RGB model has landed in TechRadar’s testing lab: the 65-inch Hisense UR8.

I’ve also been testing the Samsung QN80H, which uses standard mini-LED, and the timing means I can put the new school RGB against the traditional mini-LED tech.

You’re probably wondering why I’m testing these two side-by-side: surely the new tech is significantly pricier? Surprisingly no: in fact, it’s nearly identical. A 65-inch Samsung QN80F costs $1,599 / £1,599 / AU$2,199 at the time of writing, while a 65-inch Hisense UR8 costs $1,799 / AU$2,395 (it’s yet to appear at UK retailers). So, can the new tech surpass the traditional?

A quick note on the photos below: the UR8 appears to have a red tint. This is the result of its matte screen interacting with my camera. In reality, there is no hint of this red tint.

Also, we obviously had different sizes of the TVs in, and that can make a difference to the backlights involved. It's what Hisense and Samsung sent us, respectively, so bear this in mind during the comparison — but there's plenty worth talking about by putting them side by side anyway.

Colors

One of RGB mini-LED’s primary sales pitches is how vibrant and bold its colors are and from my experiences so far, its color reproduction is impressive. Samsung on the other hand is known for its own dynamic color reproduction, in both its OLEDs and mini-LEDs.

For this test, I put both TVs in their default HDR Cinema modes and starting with Wicked, I was surprised by what I saw. While the UR8 did deliver some natural colors that appeared accurate (more on that at the end), the QN80H’s colors were much more vibrant.

The pink flowers of a tree and the blue decoration on the walls had much more pop on the QN80H. The UR8’s colors had some nice punch, but fell a little short compared to the QN80H.

There were some instances where the QN80H’s color brightness made things look a little artificial and this is again where the UR8 triumphed, showing some nice richness without going too far. But again, that color pop I was anticipating from the UR8’s RGB tech wasn't really there.

Switching to La La Land, the same was true again. At the Spring party, Mia’s yellow dress was much more vibrant on the QN80H, dazzling on screen. The same dress looked natural on the UR8 but didn’t have that wow factor.

Switching the UR8 to Standard, its colors suddenly had more pop, but looked a bit too artificial for my taste, so I reverted back to Cinema.

This is not to say the UR8’s colors looked bad during testing, but they didn’t have that saturation I expected from an RGB TV, even in scenes where they should have it.

Contrast and backlight control

Switching both TVs to their Filmmaker Modes, I put on The Batman, which has always served as a challenge for some TVs, and while the best OLED TVs can generally handle its low brightness comfortably, mini-LEDs sometimes struggle.

The QN80H demonstrated higher perceived contrast, with deeper dark tones and punchier highlights. Flashbulbs from cameras and lamps on walls in Mayor Mitchell’s house balanced well with shaded walls and corners to create dynamic contrast.

The UR8 still showed good contrast between dark and light tones as well as solid shadow detail, but dark areas took on a more washed-out, gray look. This was evident in the scenes in the Batcave and when Batman stands on the subway platform, where shadowed areas on screen looked too bright.

There was however a way to improve this. In the UR8’s picture settings, I dropped its brightness from the default 50 to 49, and it made a huge difference: the brightness control had been one of the more aggressive I’d seen.

After the tweak, the UR8 had much deeper black tones and stronger contrast. In the interest of fairness, I tried to tweak the QN80H’s settings, but its brightness control was much more subtle. Lowering it took away the impact from the highlights so I left it as is.

A note on the above photos: the QN80H's clouding was not this bad in-person, but this does illustrate the UR8's better backlight control (more on the in a second).

The same experiment with a brighter but still contrast-y movie in Dark City had mixed results. Dropping the UR8 down to 49 brightness resulted in deep blacks, but at the expense of detail.

As John speaks to the desk clerk in the opening scenes, the texture in his black hair was difficult to see, but less of an issue on the QN80H. Both TVs showed some black crush, but the UR8’s was slightly more noticeable. The default brightness showed nice contrast and better shadow detail, but again at a sacrifice to the dark tones.

But one thing that was apparent in my dark room testing was the UR8 had better backlight control and better viewing angles. Unless viewed head-on, the QN80H showed a clouding effect on dark backgrounds where the backlight bled through. The UR8 showed no signs of this and demonstrated no signs of clouding or blooming.

This was also evident in black and white content. Watching Sunset Boulevard, the QN80H showed backlight bleed on the edges of the screen. The UR8 did have a subtle brown tone over some blacks, whites and grays, but it was better than the QN80H.

So when it comes to reducing backlight bleed and wider viewing angles, the RGB panel gets us closer to the excellent performance of OLED in these areas — but not necessarily closer when it comes to contrast overall.

Brightness

Measuring the UR8’s peak HDR brightness in a 10% window, it clocked in at 2,087 nits in Filmmaker Mode and 2,394 nits in Standard. The QN80H registered 1,189 nits in Filmmaker and 1,204 nits in Standard.

Fullscreen HDR numbers are similar between the two, with the UR8 clocking in at 771 nits and 767 nits in Filmmaker and Standard respectively, while the QN80H hit 603 nits and 672 nits in Filmmaker and Standard respectively.

How does the brightness look in practice? That’s where things get interesting. Watching brighter, more colorful scenes, I found that the QN80F seemed to have more impactful highlights. In the end of the ‘Wizard & I’ scene from Wicked, as Elphaba stands over a white cliff, the whites definitely seemed brighter on the QN80H.

In some shots from Spears & Munsil demo footage, brightness seemed to trade off from shot to shot. In the opening snow scenes, whites looked vibrant on both TVs. In a later shot of a lit-up ferris wheel, it seemed brighter on the QN80H. A shot of a white lizard in a darkened studio was far brighter on the UR8 than the QN80H.

This was surprising, considering just how much of a leap there was in measured peak brightness between the two. One shot from Dark City, where John is in the Automat, the overhead lights appeared brighter on the UR8, but it wasn’t as substantial as I’d expected.

One area where the UR8 did succeed was reflection handling, but this was down to its anti-glare layer rather than its brightness.

While the QN80H had its own anti-reflection layer, it wasn’t nearly as effective as the UR8’s, which did a great job at limiting reflections without raising black levels.

Couple this with its excellent viewing angles, and you have a great TV for daytime sports — a timely release with the World Cup arriving. (Unless you're in the UK — what an own goal by Hisense there…)

A step forward, but…

Between these two TVs, it’s a tough call on which one I prefer. While the QN80H has bolder colors and crisper textures out-of-the-box, the UR8 has better viewing angles and better backlight control, resulting in more uniform pictures.

It shows that the next-gen RGB Hisense tech can definitely still learn from the traditional Samsung mini-LED. While the UR8 is decent out-of-the-box, it requires some adjustment (namely in its brightness), and its color accuracy isn’t great (registering a surprising 7.9 delta-E score in Filmmaker Mode, when we aim for a score of below 3…).

But the UR8 is a step in the right direction towards bringing OLED's strengths in viewing angles and uniformity to mid-range mini-LED. For that reason, I’d just about recommend the UR8 in this battle, but the QN80H proves there’s still life in the old mini-LED dog yet — it's a very appealing TV.

• TV component costs are rising, squeezing already thin margins
• A report says advertising in smart TVs has helped avoid price rises
• It also says fierce retailer competition has helped keep prices low

The price of nearly everything electronic has rocketed in recent months, with one particular exception: TVs. And a new report says that there's good news and bad news about that.

The good news is that TVs really have bucked the trend for ever more expensive electronics, which has been ideal for everyone looking for a new World Cup TV.

The bad is that it's because TV firms are keeping prices artificially low as they pivot to making money from advertising on your screens instead.

That's according to market research firm Omnia (via Digitimes), which says that North America provides a particularly clear example of the trend. Because the competition between retailers is so fierce in the TV market, TV firms have been under intense pressure not to raise their prices.

And because TV profit margins have been so low for several years anyway, that means they've been forced to find a different revenue stream: ads.

So we've been experiencing a classic double-edged sword. The TV makers' pivot to throwing more ads at you hasn't been making anyone happy; but it's meant that they've been able to weather component price rises without passing it on to us.

What's the state of the TV market?

People buying TVs for the FIFA World Cup has helped push TV shipments up: they've increased 6% year on year, according to market research firm Omdia.

Pretty much everywhere other than mainland China showed sales growth: 13% in Asia and Oceania, 12 in Latin America and 11% in North America. Omdia suggests that part of the change is the result of Chinese firms aggressively targeting overseas markets to compensate for slowing demand at home.

Those increased sales are happening against a background of increased and still-increasing costs, however. So firms are continuing to move towards what Walmart calls a "content-to-commerce" platform.

By linking streaming activity with advertising on its Vizio platform and Onn TVs, it aims to generate recurring income from advertising rather than being wholly reliant on hardware sales.

When you sell a TV you only get paid once. But you can sell ads on that TV forever. And that's why companies are willing to absorb some small extra costs now, in exchange for making sure you choose their TVs and they can make money long-term from you in the future.

The downside? Well, if prices of components keep rising, TV companies may conclude that they can always serve you more ads in more places… but in the meantime, at least you buy a nice new huge-screen.

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• Apple is cutting out the Apple TV HD (2015) and Apple TV 4K (2017) from tvOS 27
• The second and third-gen Apple TV 4K will be eligible for the update
• Though they'll support the update, it's unlikely they'll be getting AI integrations

Apple previewed a shedload of upgrades at WWDC 2026, and although tvOS 27 didn’t get its own segment during the keynote, Apple hasn’t left it out of the equation — but it will be cutting out some models from the upcoming software update.

If you’re still using the fourth-gen Apple TV HD from 2015, or the first-gen Apple TV 4K from 2017, I hate to break it to you but they won’t be getting the tvOS 27 treatment.

However, these devices will still continue to run tvOS 26. If you own the second-gen second-gen Apple TV 4K (2021), or either of the two iterations of the third-gen Apple TV 4K (2022), these devices will support tvOS 27.

You can also check if your device is compatible with tvOS 27 by checking the model numbers below:

• Fourth-generation Apple TV HD (A1625)
• First-generation Apple TV 4K (A1842)
• Second-generation Apple TV 4K (A2169)
• Third-generation Apple TV 4K (A2843)
• Third-generation Apple TV 4K (A2737)

Generally, Apple has kept most of its streaming devices in the loop with each update, but this marks the first time in four years where the company has cut out Apple TV hardware from a major OS upgrade.

It’s a bit of a shame for users who are still going strong with their devices from 10 years ago, and it's a similar case for the Apple Watches that have been dropped from watchOS 27.

It's also a bit of a downer to see this happen while so many old iPhone models are getting iOS 27, but there’s probably a valid reason as to why Apple has cut out its old streaming devices from the mix.

Comment from r/appletv

The main upgrades across Apple’s OS 27 update are its slew of Apple Intelligence-powered functions and the new Siri AI voice assistant, tools that will unlikely be supported by hardware that came out 10 years ago. Therefore, tvOS 26 is as far as Apple can go with its 2015 and 2017 devices.

However, though the second and third-gen Apple TV 4K streamers will support a handful of new tvOS 27 features, it looks like they’ll be excluded from getting AI upgrades, again because of hardware incompatibility (it runs on Apple’s A15 bionic chip).

With speculation of a fourth-gen Apple TV 4K looming, which is expected to launch later this year, we can only assume that the next-gen Apple TV 4K will be the first native streaming device for Apple’s new AI integrations.

Before you get too disappointed with this, it’s not to say the second and third-gen Apple TV 4K devices are being robbed of new features altogether. Though AI integrations probably won’t be on the cards for these models, Apple’s WWDC keynote briefly showed new performance boosts featuring faster app launches, smoother AirPlay connectivity, and a more responsive Control Center.

Additionally, Smart Downloads are also on the way, though we don’t know how these will work just yet.

Whether you call it football or soccer, the Beautiful Game is the best. As someone whose soul is nourished to an unhinged degree by watching 22 millionaires bashing a synthetic sphere around a field, I’m incredibly excited about the upcoming 2026 World Cup, which kicks off on June 11.

That said, I’m much less enthused by the prospect of huge amounts of people watching the world’s biggest sporting event on the wrong type of TV. Okay, maybe “wrong” sounds absolutely obnoxious to say. I’ll retract that. How about a ‘less than ideal’ type of display?

A huge number of people are buying (or plan to buy) bigger screens for the World Cup, and these days you can get amazingly cheap TVs in giant sizes. These will be LCD TVs with basic backlights (which means a set of LED lights that shines through the pixels, creating the light your eyes will actually pick up), but they're exactly what I want to warn you against.

But a super-cheap LCD is quantifiably the last type of TV I’d want to watch the World Cup on, due to one extremely annoying screen defect you're likely to encounter if you TV is too basic. Let me explain.

The dreaded dirty screen effect

Before I break down exactly what ‘dirty screen’ effect or ‘DSE’ is, I’ll flat out admit I utterly loathe this particular screen quirk that can be particularly obvious on many cheap LCD TVs.

How much do I detest DSE? As a coulrophobe who hates mushrooms and is also deathly afraid of heights, I’d rather go on a date with Pennywise involving a 10-course sampling menu of nothing but portobello-based appetizers atop the CN Tower, before I’d watch a single World Cup match on an LCD display.

What exactly is the dirty screen effect? It’s an issue where inconsistencies in a TV's backlight levels quickly lead to visible onscreen blotches.

These smudgy areas, where particular areas of the panel look darker or lighter than others, are especially easy to spot while watching something with a pretty uniformly colored portion of the screen, and with lot of fast-paced camera pans.

And wouldn’t you know it? Football/soccer has a whole lot of constant back and forth camera swings every time the ball is booted from the center circle to the edge of the opposition’s D.

Dirty screen effect is easiest to identify when watching content where large parts of the screen are made up of a single uniform color. Whether that’s pans across blue skies or across a green field, whenever a camera is swinging from side to side against large patches, DSE will rear its ugly head on lower-quality sets.

What causes the dirty screen effect?

Rather than being caused by a single factor, there are multiple issues that can lead to the dirty screen effect occurring. Though I’ve finally stopped worrying about OLED burn-in thanks to Light-Emitting Diode displays combating the issue through features like pixel cleaning cycles, DSE on huge cheap LCD panels remains as bad as it was on smaller cheap LCD panels a decade ago, because the fundamental problem hasn't changed.

The production process that goes into making LCD TVs is largely to blame for the soccer-ruining dirty screen effect. LCDs use multiple layers and diffuser sheets, which often leads to backlight uniformity issues when panels are being assembled.

If a cheaply-made panel is combined with not having enough LEDs behind the screen to illuminate it all uniformly (you can even end up with parts of the panel's interior casting shadows), you'll end up with some areas being more strongly illuminated than others.

In order to make TVs today so much bigger than they were, but affordable at the price most people want to pay, corners have to be cut — and the quality of panel assembly and backlighting can end up as a casualty.

And yet, giant screens are where you're most likely to notice these issues, because there's so much more space for you to notice the imperfections.

Despite, some folks will be completely oblivious to DSE. I get that. But as someone who is cursed with obsessive eyes that still hates myself for enabling motion smoothing on a TV when switching on sports (but you should do it — as I explained in that article), my peepers are constantly drawn to the lighting defect while watching soccer in a bar.

And trust me, as someone who watched over 60 Arsenal games last season (hoo-boy does that Champions League Final defeat in Budapest still sting), I know a thing or two (times 30) about watching football on subpar screens out in public.

What can you do about it?

Personally, I'd buy an OLED TV. I’ve watched nearly all of my football at home on OLED panels since 2015. If you have the budget for it, and watch to enjoy the World Cup with the best image quality and least distracting visual issues, check out the best OLED TVs. If you go OLED, your eyes will never be bothered by LCD’s biggest deficiency when watching footy/soccer. The LG G5 is a bargain while stocks last, as is the cheaper LG C5. The Samsung S95F, with its anti-reflective screen, is particular good for daytime sports viewing.

However, big-screen OLED TVs are expensive. They're also nowhere near as bright for fullscreen viewing as decent mini-LED TVs, meaning they're more prone to distracting reflections if you're watching during the day (though the Samsung S95F and LG G6 are better for this — but they're still pricey).

So here's some very basic advice: get a mini-LED TV instead of a regular LED TV and you're less likely to have a noticeable dirty-screen problem. All mini-LED TVs use a grid of LEDs across the whole back of the screen with support for local dimming — and more premium sets use much smaller LED and fit in many more of then, which helps with the uniformity of lighting. And they'll pack in more LEDs are larger sizes, to avoid any problems from going big.

If a mini-LED doesn't fit in your budget at the size you're thinking, you should drop down a size, rather than getting a poorer-quality but larger screen. You don't want to spend a whole tournament getting distracted by a strange shadowy effect on the screen.

The cheapest TV TechRadar's reviewers recommend to avoid a major dirty screen effect is the TCL QM6K in the US, or the TCL C6K in the UK. The uniformity on this set still isn't always perfect, but it's as good as you get for the price.

If you step up to the TCL QM7K (US) / TCL C7K (UK) or the Hisense U7N, you're at the point where you're unlikely to notice it.

Going further to the premium Samsung QN90F (which we rate as the best TV for sport), the TCL QM8K (US) / TCL C8K (UK) or the Hisense U8N means you won't need to worry about DSE.

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• Sony Bravia 6 OLED TV appears online, sitting between the Bravia 7 II RGB TV and Bravia 5 LED TV
• Looks like it will come in sizes from 48 to 83 inches
• No official confirmation but it's leaked on Sony's own sites

Sony appears to have leaked a new budget Bravia OLED TV, the Bravia 6 (with a model name A60), in sizes from 48 to 83 inches. Initially spotted by an AVS Forum user (via FlatpanelsHD), the model appeared in Sony databases across multiple countries, although most of the listings have since been removed.

The original AVS Forum post includes screenshots showing the Bravia 6 (A60) as a compatible model for Sony's wall-mount brackets, and details the model numbers and sizes: 48, 55, 65, 77 and 83 inches.

With Sony having launched its 'True RGB' Bravia 9 II flagship TV, there was some speculation that Sony might be moving away from OLED, but the apparent existence of the Bravia 6 suggests otherwise.

While the Bravia 6 is expected to be a budget model, it could be very tempting both to to gamers and home theater fans. It comes in both larger and smaller sizes than the more expensive Sony Bravia 8 or Sony Bravia 8 II OLED — the former comes in 55-77-inch sizes, and the latter is only in 55-65-inch sizes.

It also has four HDMI 2.1-compatible ports, rather than the two you get on Sony's pricier TVs (due to processor limitations).

Sony Bravia 6 A60: what we know so far

The Bravia 6 would be the most affordable OLED TV in the current Sony line-up, slotting in just below the Bravia 8.

According to the listings, the Bravia 6 uses the same MediaTek Pentonic P800 chipset as the Sony Bravia 3 II, which makes sense: it too has four HDMI 2.1 ports. The focus is on "affordability and features comparable to the LG OLED C6", the leaker says.

We don't have pricing or availability, or even confirmation that Sony plans to launch a new OLED TV. However, the fact that it was listed on Sony's own websites rather than on third party sites indicates that it does exist, and is probably coming soon.

If the Bravia 6 launches in 2026, it will be the third OLED Bravia model in the range, alongside the Bravia 8 and Bravia 8 II. The range also includes three models of LED TV including one mini-LED, and two flagship True RGB models, the Bravia 7 II and Bravia 9 II, although not all models are available in every country — I explained the full Sony 2026 range (without the Bravia 6, obviously)

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June 2026 looks to be another great month for 4K Blu-rays and as one of TechRadar’s resident 4K Blu-ray testers, I’ve picked the four discs I’m most looking forward to reviewing for Blu-ray Bounty.

Blu-ray Bounty is our monthly column where we review the latest 4K releases from each month to see how their picture and audio will show off your home theater system. In our most recent May 2026 edition, we covered five new discs including the hotly anticipated Fight Club 4K release.

Why do we love 4K Blu-ray at TechRadar? Mainly because it’s our main source for testing the best TVs and the best soundbars. It has a higher bitrate meaning a better-looking picture and uncompressed soundtracks, perfect for testing audio.

In last month’s most anticipated 4K discs list, I picked Fight Club, “Wuthering Heights”, Leaving Las Vegas and Some Like It Hot. I got to test all four as part of the Blu-ray Bounty and they all looked great. Below are my picks for the month of June.

As I’m based in the UK, these are based on UK release dates so don’t be surprised if one of them is already available in your region, or doesn’t have a confirmed release date yet.

Speed Racer (Warner Bros)

Based on the popular Manga series, Speed Racer, directed by The Wachowskis (Lana and Lilly, best known for The Matrix) follows the story of Speed Racer (Emile Hirsch), an aspiring racing driver who's trying to become a champion to save his family business.

Speed Racer is a visual feast for the eyes and features tons of bold, vibrant colors throughout. With Dolby Vision HDR supported, the neon-like colors should really pop on screen and with a good 4K restoration, details should look extra crisp, adding even more depth to the movie’s picture.

There’s also plenty of fast-paced action to push a display’s motion-handling skills to the test. If this disc looks as good as the Reddit hype suggests it could be, this reference-quality disc could be a new addition to my testing rotation.

Movies about racing typically make for excellent audio testing discs, especially when they support Dolby Atmos (F1 for example). I’m hoping Speed Racer will fit into this group, as it features plenty of dynamic racing scenes that should be immersive thanks to its supported Dolby Atmos soundtrack. I’m expecting screeching tires, plenty of movement to test precision and detail and some nice bass response from the subwoofer.

Release date

• US: May 19, 2026
• UK: 15th June, 2026

EPiC: Elvis Presley In Concert (Universal Pictures)

From director Baz Luhrmann (Romeo + Juliet, Elvis, Moulin Rouge), EPiC: Elvis Presley In Concert is a documentary about Elvis Presley. It features archival footage, including past conversations and interviews with Presley, and tons of live performances from the early 1970s.

Where else to go with this one but audio? Elvis has so many iconic hits and is arguably one of music’s best live performers, so iconic tracks from this time period like ‘Suspicious Minds’, ‘Always On My Mind‘ and ‘Burning Love’ (all featured on the movie soundtrack) are sure to sound sensational through a fully-fledged surround sound system.

Interestingly, there’s no Dolby Atmos soundtrack featured, so we won’t be getting the full 3D sound. There is, however, a DTS-HD 5.1 MA soundtrack included, which should sound fantastic and has often featured on some of the best-sounding movies I’ve tested.

Picture-wise, the footage used in the documentary (consisting of unused footage from two concert movies Elvis: That’s The Way It Is (1970) and Elvis: Live On Tour (1972) was shot in 35mm and 8mm film, so expect the 35mm shots to look superb in 4K. There's also support for Dolby Vision and as Elvis’ shows were known for their glitz and glamour, there could be some really nice looking shots featured, with plenty of vivid colors.

Release dates

• US: August 11, 2026
• UK: 15th June, 2026

Bullet In The Head (Arrow Video)

From legendary director John Woo (The Killer, Hard Boiled), Bullet In The Head tells the story of three friends Ben (Tony Leung), Frank (Jacky Cheung) and Paul (Waise Lee), who flee Hong Kong after killing a member of a rival gang, ending up in Vietnam during the height of the Vietnam War.

This disc’s real highlight should be on the audio side. Featuring a lossless mono and Dolby Atmos mix of the original Cantonese (as well as an English mono mix), there’ll be plenty of action-packed scenes throughout to show off a sound system. Think ricocheting bullets from the rear speakers, big explosions to rattle a subwoofer and the drone of helicopters in Vietnam to show off Atmos.

Visually, the disc supports Dolby Vision, so I’m expecting strong contrast with deep black tones as well as vibrant colors, particularly during the scenes in Hong Kong. A 4K restoration should do wonders for upscaling textures and details as well, and based on other Hong Kong 4K releases I’ve seen from this time period, there’ll be plenty of film grain retained for cinephiles.

Release dates

• UK: 22nd June, 2026
• US: N/A (Shout Factory version released January 6, 2026)

Hoppers (Disney/Pixar)

Pixar’s latest entry, Hoppers, follows the story of Mabel (Piper Curada) a college student who transfers her mind into a robotic beaver in order to communicate with local wildlife, unintentionally starting a revolution among said wildlife. The movie also features Jon Hamm, David Franco and Meryl Streep among the voice cast.

Pixar’s animation is often visually gorgeous, so much so that Elemental is still a regular feature in my choice of reference scenes for testing TVs, thanks to its dazzling colors. While Hoppers doesn’t have the same vibrant colors throughout, I’m still expecting some nice colors and crisp animation that will really show off the right displays. With Dolby Vision supported, the animation should look sublime.

Movies in nature are another fantastic way of showing off a sound system, capturing the sounds of wildlife such as chirping birds, rustling trees and cracking twigs. The Wild Robot was a great example of this. With a Dolby Atmos soundtrack supported, I’m anticipating the same from Hoppers and looking forward to testing it out on our Samsung HW-Q990C soundbar.

Release date

• US: June 2, 2026
• UK: 8th June, 2026

Highlighted releases: June 2026

Below is a list of highlight releases for June 2026. Both US and UK release dates are featured here (these are indicated). Release dates may vary by region, with some coming later in the year or already released. Titles featured in my list above are in bold.

June 1/2

• Hoppers (8th June, 2026 UK)
• Five Easy Pieces (8th June UK)
• Charade (22nd June UK)
• The Flintstones (1994)
• Trainspotting (UK)
• Avatar: Fire & Ash (UK, May 19, 2026 US)
• Body Heat (UK, May 19, 2026 US)

June 8/9

• The Burbs
• Notting Hill
• The Chronicles of Riddick
• Steven Spielberg: The Spotlight Collection
• 36 Hours (UK)
• Scream 7 (UK, June 16 US)

June 15/16

• Speed Racer (UK, May 19 US)
• EPiC: Elvis Presley in Concert (UK, August 11 US)
• Super Mario Galaxy Movie (US)
• Eraser
• Audition (1999)
• A Knight Of The Seven Kingdoms

June 22/23

• Bullet In The Head (Arrow, UK)
• Labyrinth (Collector's Edition, UK)
• Dark Crystal (Collector's Edition, UK)
• Hairspray (1988)
• Hang 'Em High
• A Simple Plan
• Rush

June 28/29

• Jackie Chan's Breakout Hits! (1994-1998)
• Rush (UK)
• Highlander (UK)
• Mortal Kombat Kollection
• The Money Pit

• Peacock will stream Telemundo's World Cup coverage with Dolby Vision HDR and Dolby Atmos in AC-4
• Dolby AC-4 codec promises higher sound quality than current streaming codecs
• All 104 matches will be covered

Last month we reported on a blind test that says Dolby's new-generation AC-4 audio codec sounds as good as 4K Blu-ray even at a low streaming bitrate. And now you can hear it as the soundtrack to the World Cup — if you have the right tech and subscriptions.

Dolby and NBCUniversal have teamed up to deliver a world first. Telemundo's live Spanish-language FIFA World Cup 2026 coverage will be streamed on Peacock in Dolby Vision HDR and Dolby Atmos using the AC-4 codec — according to Dolby, this is "the first commercial deployment of Dolby AC-4 by a video streamer."

All 104 matches will be broadcast using the technology, the first time it's been used for a major sporting event. It's also the first time the technology has been used by a major streaming service.

(If Spanish-language commentary isn't your thing, you might be interested in Samsung's latest TVs and their AI Soccer Mode, which enables you to remove the commentary entirely while keeping the crowd noise — we tested two affordable Samsung 2026 mini-LEDs here.)

Why this World Cup will sound like the future

Sound quality is one area where streaming can be disappointing. The audio codecs used by the major streaming services can't rival the quality of a 4K Blu-yay disc's soundtrack because their audio is too compressed.

AC-4 is more modern, and delivers much higher quality at the same bitrates, and in the double-blind listening test I referenced above, multiple audio pros couldn't tell the difference between AC-4 audio and uncompressed audio. It's up to 50% more efficient than current codecs, apparently.

The use of Atmos with AC-4 means the sound of these World Cup matches should be even more atmospheric, so if you've got a decent speaker setup or one of the best soundbars, it'll be even more fun to hear.

I'm not sure it'll be 100% as "vivid and electrifying as if you are sitting front row for each match without stadium prices" as the marketing blurb claims, but better dyanamic range with Dolby's spatial audio tech should mean it feels genuinely more immersive.

Dolby and NBCUniversal's engineers have spent a year working together to bring Dolby Vision to live sports, and according to NBCUniversal's senior vice president of global video engineering, David Bohunek, “Fútbol fans will love watching Telemundo’s FIFA World Cup 2026 coverage on Peacock in Dolby Vision and Dolby Atmos with Dolby AC-4 — it’ll be a truly stunning viewing experience they can’t get anywhere else.”

Of course, you'll need to be both a Peacock subscriber and using a TV with support for AC-4 in order to get the full effect. Dolby says that support in TVs is pretty widespread these days, and lists the following partners: "LG, Panasonic, Sony, TCL, Samsung, Sharp, Vantiva, Bang & Olufsen, Hisense, Huawei, Humax, Sagemcom, Skyworth/Strong, SEI Robotics, Innopia, Deutsche Telekom, Vodafone, Liberty Global, Sunrise, SES HD+, Sky, Swisscom, Zattoo, Waipu.tv, PŸUR, Ocilion, Austrostream, TPVision, Vizio, Philips, Kaon, Winston Neweb".

Naturally, you'll to check if your particular devices supports it, using the manufacturer's website (or, more likely, Google).

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Welcome to a slightly delayed edition of the Blu-ray Bounty! In this month’s list, May 2026, we’ll be looking at five new 4K Blu-rays that could make for excellent additions to your growing collection.

If this is your first visit to the Blu-ray Bounty, welcome: you can check out previous editions of the Blu-ray Bounty at the link. In last month’s April 2026 list, we looked at a mammoth 8 discs: Ben-Hur (1959), 28 Years Later: The Bone Temple, Hamnet, Marty Supreme, Gilda, Crime Story, The Devil’s Backbone and The Blade.

4K Blu-ray is a big deal for us here at TechRadar, as not only is it our primary source for testing the best TVs and best soundbars (thanks to its superior picture quality and lossless soundtracks), but we’re big collectors ourselves: we’re always on the lookout for more discs to add to our collection!

I’ll be using our reference setup to test this month’s discs, which consists of the LG G5, one of 2025’s best OLED TVs; the Panasonic DP-UB820, one of the best 4K Blu-ray players on the market and the Samsung HW-Q990C, an 11.1.4 channel Dolby Atmos soundbar system.

I won’t be writing about the movies themselves here: I’ll only be commenting on their picture and audio and how they could be a great way to show off your home theater system.

Fight Club (20th Century Studios)

Based on the novel of the same name by Chuck Palahniuk, Fight Club tells the story of an unnamed narrator (Edward Norton) who meets a charismatic soap salesman named Tyler Durden (Brad Pitt) and together they start an underground fight club. Endlessly quotable, it was one of the most controversial movies of the 1990s.

Fight Club looks excellent on 4K. Textures have been upscaled well, and appear extra crisp. Close-up shots of characters' faces show fine details such as skin marks and hair with real clarity. While colors don’t play a major role in the movie, any that do have nice pop while still looking realistic. Tyler’s red jacket shows great color depth, as does the neon sign of Lou’s bar. The 4K disc also delivers strong contrast with deep black tones, accurately depicting the grimy nature of Tyler’s house and the Fight Club basement.

The disc itself doesn’t support Dolby Vision and while this would have potentially added more clarity and stronger contrast, the disc looks great. However, after online discussions of changes made by director David Fincher, I confirmed there have been some alterations. The most notable, which I confirmed from online chatter, is the clean-up of Marla’s face. While some viewers may find this distracting, I still feel the disc looks superb and is the best-looking version of this movie to date.

For audio, there’s no Dolby Atmos soundtrack, as it instead features a DTS-HD 5.1 MA mix. This mix is fantastic. It utilizes surround channels particularly in a very effective way, precisely mapping the sound during moments with fast moving camera shots. One in particular is the opening sequence where the camera drops down through the building, the sound accurately travels with the camera.

Elsewhere, there’s plenty of impact from the front channels during fight sequences, with the low-end providing some added rumble. Speech is clear for the majority of the movie, with the narration nice and clean throughout. I did find some instances where other effects drowned out the narrator’s voice, but this was only a handful of scenes.

Some Like It Hot (Altitude Films/Capelight Pictures)

Starring Marilyn Monroe, Jack Lemmon and Tony Curts, Some Like It Hot tells the story of two men Joe (Curtis) and Jerry (Lemmon), two musicians who flee Chicago after witnessing a mob hit. They disguise themselves as women and join touring singer Sugar’s (Monroe) band. A classic comedy, the movie was nominated for several Academy Awards and earned Golden Globe wins for Lemmon and Monroe.

A quick note: this 4K restoration I’ll be discussing is from Altitude films and is mainly targeted for the UK market. There is a Criterion Collection release available (first launched in April 2025) in the US and other regions.

This 4K disc is another great example of what 4K can do for classic black and white movies. With Dolby Vision support, there’s excellent range between deep black tones and bright white tones, with plenty of gray tones in between to create a dynamic, engaging picture. Textures have been upscaled beautifully, meaning skin is clean and crisp, with some parts looking 3D-like in quality. Objects have some nice refined detail as well, with close-up shots of Jack and Joe’s instruments and the handles of a coffin, both in the opening scenes, showing off the 4K restoration’s detail. Cinephiles will be pleased with the amount of grain retained as well.

There are two main audio options included: a PCM, 2.0 mono mix and a DTS-HD 5.1 MA mix. The 2.0 mix is much more direct and loud, with speech at the forefront. I preferred the 5.1 mix as it added some nice detail throughout. Scenes with gunfire mapped ricocheting bullets to the rear channels accurately and musical sequences had a lot more depth in the 5.1 soundtrack. I did need to bump the volume up for louder speech, but it was worth it to get the balance.

“Wuthering Heights” (Warner Bros)

“Wuthering Heights” is Emerald Fennell’s (Saltburn) re-imagining of Emily Brontë’s classic novel of the same name. It follows the story of the Linton and Earnshaw families, both wealthy landowners in the Yorkshire moors. The story in particular centers on the relationship between Catherine (Cathy) (Margot Robbie), the daughter of the Earnshaw family and Heathcliff (Jacob Elordi), a boy that the family fosters, as the two fall into a forbidden love.

“Wuthering Heights” looks visually striking in 4K. Where it stands out most is in its color reproduction, where intentionally vibrant colors are used throughout. Dolby Vision really makes these colors vivid with plenty of pop, particularly the bold reds that Cathy often wears and the red floor of one of the Linton estate rooms. Whites and blues are another highlight.

There are plenty of high contrast scenes as well, with rich black tones during night scenes and vibrant whites during the movie’s winter section. The movie has plenty of gorgeous cinematography of the surrounding landscapes, which look phenomenally detailed and strikingly realistic. Close-ups of the various cast members also look incredibly refined and intricate.

The 4K disc supports a Dolby Atmos soundtrack, which is punchy and detailed. While you won’t get many action-packed scenes, speech is crystal clear throughout and the movie’s soundtrack, written by Charlie XCX and John Cale, is engaging. Subtle details are accurately delivered too, such as the creaking of the ropes of the swing Isabella pushes Cathy on in one scene.

Leaving Las Vegas (StudioCanal)

Leaving Las Vegas follows the story of Ben (Nicolas Cage), an alcoholic Hollywood screenwriter who plans to drink himself to death in Las Vegas before striking up a relationship with callgirl Sera (Elisabeth Shue). Cage earned an Academy Award for his portrayal of Ben.

A note that this release is the StudioCanal version released in the UK and Europe. US readers’ most local version is the Shout Factory version released in December 2025.

Leaving Las Vegas was shot in 16mm film as opposed to 35mm — something you’d expect from movies on a lower budget. While this means the overall look of the film is on the softer side, there is definitely some great upscaling in this 4K restoration. Shots of Ben’s face show excellent detail in his pale skin and the dark circles around his tired eyes. Colors also have a nice vibrancy to them, mainly thanks to the neon-clad streets of Las Vegas, which really pop whenever they’re on screen. Ben and Sera’s sometimes brightly colored clothing also looks natural. The movie’s night scenes also present solid black levels too. Overall, a very good restoration.

This disc supports a DTS-HD 5.1 MA mix which is effective. Speech is clearly presented throughout and balances well with other sound effects. The movie’s score, which features a blend of smooth and chaotic jazz, is presented with excellent clarity and is nicely balanced across all channels, evenly spread across the four units of the Samsung HW-Q990C soundbar system I was using.

Point Blank (Criterion Collection)

Point Blank tells the story of Walker (Lee Marvin), a man who is left for dead by his partner Mal Reese (John Vernon) after a robbery. Upon recovering, Walker seeks revenge on Reese and others who have wronged him.

This is yet another great restoration from Criterion, a common theme that’s been happening on the Blu-ray Bounty for some time now. Textures have been cleaned up well, with object detail and people’s skin showing the benefits of a 4K restoration. Where Point Blank really shines is with its colors. As it was made in the 1960s, there’s plenty of bold colors throughout to fit the aesthetic of the time period, from the yellow-themed apartment Walker and Chris share to the green office the antagonists use. Colors crucially though are also true-to-life throughout, never looking oversaturated. There’s also some high contrast scenes during the night with strong shadows cast across people’s faces that looked fantastic on the G5 OLED I used for viewing.

There’s only a monaural soundtrack option for this disc and while it would have been nice to have some form of surround option to capture the movie’s more action packed driving and shootout sequences, the monaural is solid. Speech is clear throughout the movie and there’s still some good impact from gunshots and car crashes. It’s also accurately mapped, capturing Walker’s frantic driving as he intimidates a crooked car salesman.

LG B6 OLED TV: Two minute review

The LG B6 is the entry-level OLED TV in LG’s 2026 TV lineup. While it provides a brightness boost over its predecessor, the LG B5, which I rated as one of 2025’s best TVs, the LG B6 doesn’t deliver the full and clear upgrade I was hoping for.

The LG B6 has a full suite of features and still delivers great performance, but as long as the LG B5 remains in stock and is less expensive, the new model is held back from being an unqualified pick by a few issues.

The biggest change over the B5 is the B6’s higher brightness. Bright scenes have more impact, highlights are mostly punchier and colors benefit, looking that little more vibrant. Contrast is powerful and appears stronger thanks to the brightness increase, while textures are crisp, as you’d expect from the best OLED TVs.

However, the LG B6 had more of a green tint than its predecessor when compared side-by-side. This meant that despite its improvements, the B6’s picture wasn’t the full step-up over the B5 that I was looking for — it giveth on one hand, and taketh on the other. Viewed in isolation, the B6 is still a great looking TV, though — the thing about slightly color tints is that your eye gets used to them quickly and then you can just focus on the image.

Much like previous years, the B6’s 2.0 channel speaker system is solid for day to day viewing with clear speech and it is accurate with some solid detail for movies. Bass however is limited and the soundstage is narrow. If you’re after the cinematic experience and want the sound to match the picture, I’d add one of the best soundbars.

The B6 is easily one of 2026’s best gaming TVs. It has a full array of features on all four HDMI ports — 4K 120Hz, full variable refresh rate options, HGiG, auto low latency mode, Dolby Vision Gaming — and has four HDMI 2.1 ports. An 8.9ms measured input lag means performance is smooth with razor-sharp response time, and the picture looks superb while gaming. If you’re looking for a gaming OLED, this is an excellent choice.

The webOS 26 smart TV software doesn’t reinvent the wheel compared to webOS 25, but it didn’t need to. What webOS 26 does is make navigation easier with a new menu layout, more Quick Cards and more customization. While the banner ad on the home screen is annoying, it’s the only wrinkle in webOS 26, which I rate as one of the best smart TV platforms on offer.

But as I alluded to above, while I think the B6 is a great TV overall, the B5 is definitely the better option while it’s available. The 65-inch B6 I tested costs $1,999 / £2,399 / AU$3,295 (with a cheaper B6E option available for £1,799 in the UK).

While this is a decent price and similar to the B5’s launch prices, the B6 doesn’t change enough to recommend it over the B5 if you're buying around its launch time. If it's a great-value entry-level OLED you want, I'd spend less on the LG B5.

If you have the budget right now, I’d definitely opt for the LG C6 (65-inch model priced at $2,699 / £2,599 / AU$3,995) as my preferred choice. It's the best upgrade to LG’s OLED lineup in 2026, and provides even better brightness and picture than the B6, but with impeccable colors.

LG B6 review: Prices & release date

• Release date: May 2026
• 48-inch: $TBA / £1,299 / AU$1,995
• 55-inch: $TBA / £1,599 / AU$2,495
• 65-inch: $1,999 / £2,399 / AU$3,295
• 77-inch: $,2799 / £TBA / AU$TBA
• 83-inch: $4,499 / £TBA / AU$TBA

The LG B6 is the entry level OLED in LG’s 2026 OLED TV lineup, sitting below the mid-range LG C6 and flagship LG G6 and LG W6 (also known as the Wallpaper). The 65-inch model I tested costs $1,999 / £2,399 / AU$3,295 officially, which is the same launch prices as last year’s LG B5.

It’s worth noting that in some regions there are two LG B6 models: the B65 and the B6E. I asked LG what the differences between the two are, and it said the B6E does not have the following features: Precision Picture Master Pro, Precision Sound Master Pro, and it does not have the marble effect design on the back.

Other than this they should be the same, making the B6E by far the better deal, because I don't particular rate these features, LG's suggestion is that they have the same panel and Dolby Vision support otherwise. A 65-inch LG B6E model costs £1,999 in the UK, a full £400 cheaper.

LG B5 review: Specs

LG B6 review: Benchmark results

LG B6 review: Features

• Alpha 8 AI Gen 3 processor is a good mid-range processor
• 4K 120Hz, FreeSync and G-Sync across all four HDMI 2.1 ports
• Higher brightness than the LG B5

The B6 uses a W-OLED panel, much like its predecessor. However, there has been a brightness boost (I’ll get into that below in the Picture Quality section) that would suggest it’s using the new OLED SE panel: a cheaper, brighter WOLED panel that we saw in action in the Panasonic Z86C, which is that company's new entry-level OLED for 2026.

The B6 comes with the Alpha 8 AI Gen 3 processor, which introduces a couple of new picture and sound tools such as the Precision Picture Master Pro and Precision Sound Pro, which both aim to upscale picture and audio respectively. It’s worth noting the B6E, a cheaper B6 model available in some regions including the UK, does not support these features.

The B6 supports Dolby Vision HDR and Dolby Atmos for enhanced audio, but it does not support HDR10+ or DTS, the same as 2025. LG says it currently has no plans to support Dolby Vision 2. The B6 also supports Chromecast and AirPlay 2.

For audio, the B6 has a built-in 2.0 channel, 20W speaker system: the same as the B5 from last year. This year, much like the LG G6 and C6, the number of sound presets has been reduced to four, including AI Sound Pro, and Clear Voice for dialogue enhancement.

The B6 uses webOS 26, which introduces some refined AI features, such as AI concierge which now uses AI companions such as Gemini for lifestyle uses such as planning trips. The menu layout has also been re-ordered in order to prioritize major settings such as Energy Saving and Network.

For gaming, the B6 carries over the same features from the B5: 4K 120Hz, full VRR support including both FreeSync and G-Sync, auto low latency mode and Dolby Vision Gaming, all featured on four HDMI 2.1 ports. Game Optimizer returns with additional settings for gaming, including the Prevent Input Delay option.

• Features score: 5 / 5

LG B6 review: Picture quality

• Brighter than its predecessor
• Crisp detail and strong contrast
• Green tint visible in some scenes

Starting with measurements, the biggest difference between the B6 and last year’s B5 is the boost in HDR peak brightness. The B6 measured 835 nits in Filmmaker Mode, 895 nits in Cinema mode and 740 nits in Standard mode. These are big jumps over the B5’s 668 nits in Cinema mode and 637 nits in Standard mode.

For fullscreen HDR brightness, the jump hasn’t been quite as significant, with the B6 measuring 154 nits in Cinema Home, compared to 131 nits of the B5 in the same mode. In fact, there was even a drop in Standard mode, with the B6 measuring 150 nits compared to the B5’s 172 nits.

Moving to real-world testing, I found myself switching between Filmmaker Mode and Cinema Home depending on the content. Both picture modes looked good, but Filmmaker Mode suited darker, more contrast-y scenes, while Cinema Home looked great with colors and animation.

The B6 did a good job with SDR content. Watching an HD stream of Fight Club on Disney Plus, it upscaled textures to give them a crisper look and added some brightness that delivered stronger perceived contrast compared to some cheaper TVs I’d done this test on.

With lower-resolution content, such as YouTube videos, the B6 did a decent job upscaling textures and boosting colors to give them a better look, but ultimately the image didn’t hit 4K levels. There is a Precision HDR Master Pro setting in the main B6 model (not the B6E) which did sharpen textures when activated, but it was too artificial for my liking.

Watching a desert scene from Lawrence of Arabia, the white sands of the desert did indeed look brighter on the B6 compared to the B5 when I compared the two side by side, showing the brightness boost was real.

In Dark City, as John is in the automat, the highlights from the overhead lights and the yellow walls also looked brighter on the B6.

However, during my B6 and B5 comparison, the scene from Dark City was the first to tip me off on a potential issue with the B6: green tint. The yellow walls of the automat seemed to have a green hue on them on both the B6 and B5, but it was more noticeable on the new model.

The B6 demonstrated strong contrast with deep dark tones in high contrast scenes. It also had a higher perceived contrast over the B5 thanks to the brightness boost. In The Batman, as Batman wanders the crime scene in Mayor Mitchell’s house, the balance between the light tones from the lamps on the wall and the dark tones of the dark-panel wood walls was excellent.

Unfortunately, The Batman also exemplified the green tint issue on the B6 compared to the B5. In the subway scene, the rear walls looked more green on the B6, looking like the gray I expected on the B5. Maybe I got unlucky with my review unit, but it was definitely worth noting as green tint has been a criticism of LG’s OLED TVs before.

The B6 delivers bold, rich colors that benefitted from the new brightness boost. A Dolby Vision stream of Elemental on Disney Plus really showcased them, with the blues of Wade and his family, and the oranges and reds of Ember dazzling on screen. As Ember mends a vase, the purples and oranges of the new vase glistened, showing strong highlights.

In the ‘Wizard and I’ scene, as Elphaba stands under a tree with pink flowers, said flowers popped on screen, but still had great color depth.

The B6 delivered a measured HDR color gamut coverage of 97.4% of the DCI-P3 and 72.5% of the BT.2020 color spaces. While these aren’t bad results (we have a 95% threshold for DCI-P3, and are generally happy with a score above this), these numbers were oddly lower than the B5’s. The B5 had measured results of 99.5% and 74.85% in the DCI-P3 and BT.2020 color spaces respectively.

Viewed in isolation, the B6’s colors and contrast were actually very good but it just seemed a shame that I knew how good the B5 looked in comparison in some scenes. With the added brightness, I was hoping for a bigger picture upgrade.

Outside of this, the B6 showcased excellent textures, striking a nice balance between crisp and natural. Throughout my testing, people’s skin looked realistic while finer details such as hair appeared refined.

Much like the G6 and the C6, the B6 benefitted from using the TruMotion feature. For movies, Cinematic Movement was more than enough, reducing judder in a panning shot of a cliffside cemetery in No Time To Die. With sports, the Natural motion setting worked better, doing more smoothing and judder reduction which worked better.

The B6’s screen is however prone to mirror-like reflections, especially with darker scenes. Even some brighter, more colorful scenes struggled under our testing lab’s overhead lights in Filmmaker Mode. It would be nice to see some more effective anti-reflection measures brought to the B6, as I know it's possible from my review of the LG G6.

• Picture quality score: 4.5 / 5

LG B6 review: Sound quality

• 2.0 channel, 20W speakers
• Decent sound overall but definitely benefits from a soundbar
• Fewer sound modes than last year

The B6 comes with a 2.0 channel, 20W speaker system and supports Dolby Atmos (but not DTS). LG has reduced the number of sound presets from previous years, dropping the number from eight to four.

These four presets are Standard, AI Sound Pro, Clear Voice Pro and Sound Wizard. As my go-to Cinema preset had been removed, I opted for my backup: AI Sound Pro.

Watching the Batmobile chase scene from The Batman, the B6 showcased accurate image mapping, accurately following the direction of swerving traffic and the bullet sprays from the Penguin’s gun.

The same was true playing Battlefield V, as the B6’s speakers did a good job picking out subtle effects such as the crunching leaves underfoot in a forest mission.

Speech was clear enough throughout my testing as well, with most dialogue easily audible over the rest of the soundtrack.

Due to its limited 2.0 channel speaker system however, the sound doesn’t match the picture in quality. Bass felt very contained and while there was some rumble as the Batmobile ignited its engine, it felt thin in places.

The soundstage also felt narrow, never truly extending beyond the confines of the screen. Atmos effects, such as the rain in The Batman, felt limited too. I’d recommend a soundbar if you want sound impact to match the quality of the visuals.

• Sound quality score: 3.5 / 5

LG B5 review: Design

• Mostly premium build
• Feet are plastic this year instead of metal
• UK Magic Remote could do with an update

The 65-inch B6 I tested had a mostly premium build and design. It has a trim frame and near bezel-less screen allowing the picture to be the focal point. While it’s a small touch, the marble effect on the rear panel made it feel a little more premium, although it’s again worth noting this is only on the main B6 model and not the cheaper B6E.

One thing I was disappointed to find was that the B6 unit I was testing had plastic feet, compared to the B5’s metal feet. While the plastic feet were more than sturdy enough, it did detract from the B6’s overall premium design.

LG’s Magic Remote hasn’t had many updates in recent years in the UK other than the re-arranging and addition and removal of certain buttons, with the AI button taking center stage this year, and it could do with a refresh.

The US has the sleeker AI Smart Remote, but again when brands like Sony, Philips and Hisense offer more heavy duty, metal remotes, LG’s offering could be a bit more premium.

• Design score: 4 / 5

LG B6 review: Smart TV & menus

• Uses LG's webOS 26 smart TV platform
• Streamlined menus and more Quick Cards for easy navigation to key options
• Ads are annoying, but equivalent to other platforms

The B6 uses LG’s own webOS 26 as its smart TV platform. While webOS 25 was about the introduction of AI features — such as AI Concierge, for content recommendation and information, and AI Search, for advanced content searching — webOS 26 looks at refining menus for easier navigation while adding some new features.

Quick Cards, a place where relevant apps are organized by categories such as Sports, Game and Office, are back and some new ones have been added including Learning.

The Quick Menu, where picture and sound modes can be altered super-quickly without getting deep into menus, continues to be one of the webOS’ standout features.

webOS 26 is also very easy to navigate, with an intuitive menu layout that’s been re-organized for this year to make access to settings such as Energy Saving and Network easier, and these small changes have made navigation even smoother.

Unfortunately, the home page still features a large banner ad space at the very top of the screen which does push down the apps a bit. This is fairly common among modern smart TV platforms however and this is my only real complaint with webOS 26. It’s still one of the best OS on the market.

• Smart TV & menus score: 5 / 5

LG B6 review: Gaming

• 4K 120Hz and full variable refresh rate support
• 8.9ms input lag at 60Hz, 4.9ms at 120Hz
• Excellent features and performance

The B6 comes with a full suite of gaming features including 4K 120Hz, variable refresh rate including both AMD FreeSync and Nvidia G-Sync, HGiG HDR, auto low latency mode, and Dolby Vision Gaming, with all features supported across four HDMI 2.1 ports.

The B6 had a measured input lag time of 8.9ms at 4K 60Hz (in Boost mode), which is a superb result and up there with the very best gaming TVs. It registered a 4.9ms input lag at 1080p 120Hz.

Gaming performance on the B6 is excellent. Playing a mission in Battlefield V, the B6 handled the chaotic gunfights which involved a lot of quick movement and targeting with ease, with inputs feeling very smooth. As I flew around the desert in a plane, the sudden changes in flight path felt effortless and intuitive.

Battlefield V also looked great on the B6, delivering some nice brightness during the desert mission, with the sun on the horizon showing the B6’s strong HDR highlights. Textures were crisp with some nice detail in the weapons and environments as well.

• Gaming score: 5 / 5

LG B6 review: Value

• Great features and good performance
• Not the clear upgrade I wanted
• B5 is the better option while available, C6 is better when prices are close

The B6 is an interesting TV when it comes to value. The 65-inch model I tested costs $1,999 / £2,399 / AU$3,295, while the 65-inch LG C6 step-up TV currently costs $2,699 / £2,599 / AU$3,995, meaning the B6 has a good price gap in US and Australia, but it’s close in the UK — too close, frankly.

There's a good reason to choose the B6 instead of the C6 in the UK and Aus when you're saving that much, but in the UK I'd absolutely choose the C6 given the close prices. That's complicated by the existence of the cheaper B6E, which a 65-inch costs £1,799: excellent value for a brand new OLED that size.

That being said, the B6 isn’t the full upgrade I wanted over the B5, unlike the C6 which is a superb upgrade over its predecessor, the C5. While the B6 delivers higher brightness and still excellent picture quality, it has some picture inconsistencies (particularly the green tint) so you're trading improvements in one area to steps back in another.

As a result, while the B5 is still available, I’d recommend it over the B6. A 65-inch B5 currently costs $999 / £1,199 / AU$2,199, which is a steal for that TV. Stock does seem to be dwindling in some regions already however, and when it disappears, the B6 is worthy of taking its place once it drops in price to the same kind of level.

Ultimately if you want a real upgrade, the C6 is the top dog but if it’s not in your budget, the B6 is still a very good TV.

• Value score: 3.5 / 5

Should I buy the LG B6 OLED TV?

Buy it if...

Don't buy it if...

LG B6 review: Also Consider

How I tested the LG B6 OLED TV

• Tested in different lighting conditions over a couple of weeks
• Tested using both HDR and SDR sources
• Measurements taken using Portrait Displays' Calman color calibration software

The first steps for my testing was to do some casual viewing to establish which picture modes were the best for the LG B6. I found that both Filmmaker Mode and Cinema Home worked for movies, depending on the type of movie, whereas Standard worked best for sports.

Once this was done, I started my critical viewing using some reference scenes I use for testing, including HDR (4K Blu-ray and streaming) and SDR (DVD, YouTube, broadcast TV) sources. I also used Prime Video and HBO Max to test sports on the B6.

I used these scenes to analyze the B6's picture, focusing on color, accuracy, contrast, detail, motion, upscaling and more. I also used other scenes to test the B6's built-in speakers.

For 4K Blu-ray, I used a Panasonic DP-UB820 4K Blu-ray player and for gaming I used and Xbox Series X.

Moving on to objective testing I used specizlied equipment to take measurements of the B6. This included a Klein K-10A colorimeter, a Murideo Six G 8K Metal test pattern generator and Portrait Displays' Calman color calibration software to record measurements.

Brightness measurements were taken using both HDR and SDR white window patterns ranging in size from 1-100%, with a focus on 10% and 100% windows, for peak and fullscreen brightness, respectively. I also tested the B6's grayscale and color accuracy, taking an average of the Delta-E values (the margin of error between the test pattern source and what's shown on screen), looking for a result below 3.

I also tested the B5's coverage of the UHDA-P3 and BT.2020 color spaces. Finally, I used a Leo Bodnar 4K HDMI Input lag Tester to test the B5's input lag in milliseconds.

I also recorded the B6's HDR EOTF results with 1,000, 4,000 and 10,000 nits targets. I also used a Jeti Spectral 15a to take the B6's Spectral Power Distribution.

You can read an in-depth overview of how we test TVs at TechRadar at that link.

• First reviewed: May, 2026
• Read TechRadar's reviews guarantee

• A report claimed LG was in talks with Hisense executives to explore a possible sale of LG's TV business
• The original report has been taken offline to be "reviewed by an administrator"
• LG tells TechRadar that "These reports are groundless"

Today has been a rollercoaster for fans of the best OLED TVs — a major report from Korean business news outlet EBN claimed that LG was exploring spinning-off and/or selling its TV business to Hisense.

However, the original report has now been removed from the EBN website, replaced with just a pop-up message that says the report is down while it's "reviewed by an administrator".

An LG spokesperson told TechRadar "These reports are groundless." LG provided a slightly longer statement to Android Authority that's more forceful: "LG Electronics would like to state that this news regarding the potential sale of its TV business is completely baseless and therefore entirely speculative and misleading."

The original report claimed that LG executives travelled to Beijing to meet executives from Hisense, including discussions of the future of LG TVs and possibly a sale of the entire LG TV business to Hisense.

Maybe this happened, maybe it didn't, maybe it was misreported — LG's denial is firm, but companies often firmly deny things they then go on to do. But if the same were to happen, it would follow a growing trend, making it not necessarily that surprising.

From Philips to Sony to Panasonic… maybe LG?

If LG were considering a full sale or a partnership with Hisense, it wouldn't be the first big TV brand to do so: Sony's partnership with TCL is likely to give Sony's mid-market and budget models a boost, with Sony providing the brand cachet and proprietary technology and TCL bringing its high volume manufacturing efficiencies.

Panasonic has reached a similar arrangement with Skyworth to make its US TVs, and many Japanese TV brands are made under license too, including Toshiba and Sharp.

Philips' TVs have been made under licence for years, with TP Vision making them in Europe and Skyworth making them for the US.

The reason for all this is simple: making TVs is a tough business with fairly low profit margins, so you need to sell tons of TVs to make money. LG's OLEDs do good business, but its LED TVs have struggled to impress, and are nowhere near as dominant as its OLED sets.

TCL and Hisense are grabbing market share across the board thanks to being able to produce really solid mid-range sets that are pretty damn cheap — so much so that Hisense eclipsed LG sales in the premium TV market last year.

This kind of deal could likely boost LG's entry level and mid-range offerings, but there would probably be a lot of resistance to it online from OLED fans, because Hisense doesn't have much love for that tech. (A similar worry is facing Sony fans from the TCL partnership.)

Still, LG says you have nothing to worry about — reports of its TV business' death have been greatly exaggerated, apparently.

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• Sony's 2026 TV range has now all been announced
• Three tiers: RGB mini-LED, OLED and LED
• In sizes from 43 inches to 115 inches

Sony has just launched two new Bravia TVs today, with the new Bravia 7 II and Bravia 9 II replacing the current Bravia 7 and Bravia 9. The new models have RGB mini-LED backlights and fairly hefty prices: the Bravia 7 II starts at £1,899 / $1,599 (about AU$3,560) for a 50-inch model, and this rises to £22,999 / $30,999 (about AU$43,165) for the Bravia 9 II at 115 inches.

Although the two highest-end models simply replace their predecessors, other models in the current Bravia range are a little more confusing: both the Bravia 8 and the Bravia 8 II are available, while there's no Bravia 5 II – just the Bravia 5. And have you ever tried saying the name of the Bravia 2 II out loud to someone? It requires explanation!

It's a little confusing (though only a little by TV-naming standards), but it all makes more sense when you see that the Bravias are broken into three tiers: True RGB mini-LED, OLED and LED respectively. The bigger the number, the further up the list it lives.

Which Bravias are in the Sony range of 2026 TVs?

Let's start with the flagships first.

The Bravia 9 II and Bravia 7 II are True RGB TVs. The Bravia 7 II is available in 50, 55, 65, 75, 85 and 98-inch versions, while the flagship Bravia 9 II comes in 65, 75, 85 and 115-inch versions.

That makes the Bravia 7 II the first RGB TV from any brand to come in a 50-inch version — previously the smallest was 55 inches — and that puts it right up there against the best OLED TVs if you want a premium TV at a smaller size. Those TVs should be worried: we've seen Sony's RGB tech on multiple occasions and it's very impressive.

The key difference between the Bravia 7 II and the Bravia 9 II is that the latter has a more powerful backlight than its sibling. It's capable of 3,990 nits in Professional Mode. We measured the Bravia 7 II at 2,078 nits in the same mode. Both of those numbers are from testing pre-production models but we'd expect very similar real-world numbers — we expect there will also be fewer dimming zones and other changes in the Bravia 7 II, but we'll need to test the TVs for more detail on that.

Next up there are the two OLED ranges, the OLED Bravia 8 and the QD-OLED Bravia 8 II. They both come in 55 and 65-inch flavors. In the US, the Bravia 8 is also available as a 77-inch TV. Here's our Bravia 8 review, and our Bravia 8 II review, if you want to read about both sets.

And the final tier are the LED TVs; the Bravia 5 is mini-LED, while the Bravia 3 II and the Bravia 2 II are more standard LED tech.

The Bravia 5 comes in 55, 65, 75 and 85 inches; the Bravia 3 II comes in 43, 50, 55, 65, 75, 85 and 100 inches, and the Bravia 2 II is available in 43, 50, 55, 65 and 75 inches.

So that's it — you can mostly just use the first number to tell whether something is better or worse than the other models, but sometimes it being a 'II' matters… and sometimes it doesn't.

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After more than a year of teasing, Sony has finally announced its first 'True RGB' TVs, which use an RGB mini-LED backlight. They're called the Sony Bravia 9 II and Sony Bravia 7 II, and I got to see the Bravia 9 II in action.

Sony first showed us its RGB tech back in March 2025, and then showed it to us again in September, and the again a couple of months ago. It's kind of a relief to finally see it in a product that people will be able to buy.

The Sony Bravia 9 II is the highest-end model, and will be available in multiple larger sizes, while the Sony Bravia 7 II is notable for being the first RGB TV to come in a 50-inch size, which will make it interesting competition for the smaller options among the best OLED TVs — 55 inches was the smallest size of RGB set we'd seen so far.

They're not cheap, though — here's the size and price breakdown of these TVs (Sony was only able to supply UK prices at the time of writing):

RGB TVs use an LCD panel with lights behind it, like other mini-LED TVs, but the backlight can change color to better match what the pixels in front are supposed to show. Each mini-LED in the backlight includes individual red, green and blue sub-pixels to create the range of hues.

This enables a wider color range within the pixels, and requires less color filtering to do it, so the panels can have fewer layers, which helps with efficiency.

Sony has combined this with its X-Wide Angle Pro wide viewing angle, as well as a new anti-reflective system. Sony refused to give any information about the anti-reflective layer, but it looked to me like a matte element is involved, given the sheen that light created on the screen in my demo room.

The Bravia 9 II has a more powerful backlight system than the Bravia 7 II, but I didn't see them compared in real scenes directly, and Sony doesn't tend to discuss that kind of technical information too deeply.

What I did see was the Bravia 9 II compared to the Sony Bravia 8 II QD-OLED TV, the Sony Bravia 9 mini-LED (original non-RGB flavor), and Sony's reference studio monitor that's used for pro film grading — though sadly I couldn't take and share photos of the comparison.

Ever since the Bravia 9 was first announced, which was shortly after Sony rolled out its current studio reference monitor that reaches 4,000 nits of brightness, Sony has been pushing the idea that it wants its TVs to be able to perfectly replicate the HDR experience of the reference monitor.

Sony believes that more movies will be mastered for 4,000 nits of brightness now that there's a suitable 4,000-nit monitor (1,000 nits has been by far the most common mastering level), and so to replicate the full tonal range of these movies properly, TVs should also be able to hit 4,000 nits of peak brightness.

This hasn't been possible in any of Sony's previous TVs, and it's quite obvious when you turn the tone mapping off that you lose a lot of detail in bright highlights when compared to the studio monitor… but Sony's demo showed that the Bravia 9 II lost much less detail in those areas in a direct comparison with all four screens.

It still wasn't able to exactly recreate the reference monitor, but it was by far the closest to recreating the pure reference image for HDR tones — and in color for some scenes, though this was much less clear-cut, with the Bravia 8 II putting in a strong showing in this case, and the Bravia 9 occasionally looking closer in certain scenes.

Sony declined to say what the actual brightness of the TV is expected to be, but happily we've had access to a pre-production unit to be able to measure this ourselves.

The Bravia 9 II is capable of 3,990 nits in Professional Mode (which is the most accurate mode, and is closest to the Filmmaker Mode that we usually like to test in) in a 10% HDR window — so yes, it's basically capable of that promised 4,000-nit paradise.

Even more impressive is its fullscreen brightness in this mode, which we measured at 827 nits — that's around double the fullscreen brightness we got from the similarly priced LG G6 OLED TV.

For comparison, we measured the Sony Bravia 8 II OLED at 1,439 nits in a 10% HDR window and 183 nits of fullscreen brightness. We measured the Bravia 9 (original) at 1,871 nits in a 10% window and 495 nits fullscreen.

We've also had the chance to measure the Sony Bravia 7 II's brightness, and that delivered 2078 nits in Professional Mode in a 10% HDR window, so we can expect the HDR performance of the Bravia 9 II to have clearly strong impact — although the Bravia 7 II actually delivered over 900 nits of fullscreen brightness in our measurements, so it actually beats its big sibling there.

These measurements were taken on pre-production units, as I mentioned, so we'll make sure that the final versions test the same — but they're impressive numbers.

The big question is whether the contrast and dark-tone performance will be as good. It looked strong in Sony's brief demos, but the company is unlikely to have shown me anything that might indicate color bleed from the RGB backlight, so we look forward to digging into that too.

Other things to note about the Bravia 9 II include its use of Sony's Acoustic Multi-Audio+ tech, which means powerful built-in speakers that now include up-firing speakers for more height in Dolby Atmos or DTS:X soundtracks.

On the downside, however, the TV still comes with only two HDMI 2.1 ports (out of four ports in total). Sony is basically the only manufacturer launching new high-end TVs with only two HDMI 2.1 ports, and it's frustratingly limiting if you plan to connect a soundbar as well.

I also want to highlight the fun new stand design of these TVs. The main panel of the stand is made from a light-bending material that lets through the tone of what's behind it, but not specific details.

I'm very impressed with my early looks at the Bravia 9 II and Bravia 8 II — they're both very premium TVs, but the 9 II looks like it could compete hard with Samsung to offer the best TV for brighter rooms with its huge brightness and anti-reflection tech, but with Sony's meticulous attention to accuracy.

And I'm really keen to get my hands on the little 50-inch Bravia 7 II, because it could offer the premium competition to the LG C6 at this size. Stay tuned for our full reviews later.

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I think it’s fair to say that Fight Club has been one of the most anticipated 4K Blu-rays in recent years. Although it seemed like it would never launch, in May 2026, the eagerly awaiting disc finally arrived.

Not only was it one of my picks for my most anticipated 4K Blu-rays for May 2026, but it was one of my most anticipated ever. It’s one of those movies that has stuck with me and until now, it has only been available on standard Blu-ray (which has 1080p resolution) or HD on Disney Plus.

There was no better place to try out the 4K Blu-ray than our TechRadar testing labs, with the reference setup that I use for our monthly Blu-ray Bounty column in which we review the latest 4K releases (Flight Club will feature in the May 2026 edition).

The setup is formidable. It consists of the LG G5 (one of 2025’s best OLED TVs), the Panasonic DP-UB820 4K Blu-ray player (one of the best 4K Blu-ray players on the market) and the Samsung HW-Q990C (one of the best soundbars in recent years).

As I fired up the disc, I glanced at the back of the case and noticed immediately that two big features were missing, and for some home theater fans, their absence might just be a dealbreaker.

No Dolby Vision or Atmos: why?

Yes, there is no Dolby Vision or Dolby Atmos support for the Fight Club 4K Blu-ray. The disc instead supports HDR10 and a DTS-HD 5.1 Master Audio soundtrack. Dolby Vision was apparently left off Fight Club at director David Fincher's request (according to a tweet from Feb 2026 from TheHDRoom on X). For some this may come as a surprise, and a potential disappointment, but there is a potential explanation. We need only look to another 4K title from Fincher’s back-catalogue for a clue.

Looking at the Se7en 4K Blu-ray we had in our testing lab, this doesn’t support Dolby Vision or Atmos either. Again, it offers HDR10 and DTS-HD 5.1 MA instead. Why is this? Well, we know Fincher made changes to the Se7en 4K restoration by using AI, according to a Rolling Stone article from January 2025.

As Dolby Vision uses dynamic metadata to analyze a picture shot-by-shot, this may have interfered with Fincher’s vision for the home release, presumably after making said changes. And thanks to some dedicated work from some Reddit users, we know for a fact that Fincher has made some alteration to the Fight Club 4K compared to the standard Blu-ray. And it’s been controversial to say the least.

Going through changes

Although not quite as drastic as George Lucas’ edits to Star Wars in the 1997 DVD release, Fincher has made some subtle (and a couple of not so subtle) changes to the Fight Club 4K Blu-ray. In a Reddit thread boosted to r/4KBluray by u/Kecofo8180, the top comment features a list of changes compiled by u/PhoneixBee32.

These run from added lens flare to a torch and a clean-up of some ceiling tiles, all the way to the a touch of spot-removal on Marla's face. The list was compiled based on a small selection of 4K Blu-ray vs standard Blu-ray comparison screenshots, meaning there are likely a lot more.

I decided to check out Marla’s appearance to see just how different she looked. Switching between the 4K Blu-ray and a HD stream of the movie on Disney Plus, the clean-up treatment was obvious. In the 4K shot, Marla has noticeably smoother skin with fewer spots and pimples, and the dark circles under her eyes have been reduced in comparison to the shot from the HD stream (see images above). It’s an odd choice considering the HD stream, with the more original look, feels more accurate to Marla’s character.

I also compared a brighter scene where the narrator is confronted by his boss. Looking at the two images, I was intrigued to note that the framing of the scene has been changed. In the 4K, the shot seemed to have been zoomed out — the narrator is fully in frame, as is an ashtray beside him. In the HD stream, his hand is partially cut off, his hair is brushing the top of the frame, and the ashtray is only half in shot.

There are some other tweaks I noticed, but a lot of them are so subtle that you wouldn't spot them unless you were studying the 4K Blu-ray and HD stream/Blu-ray versions side-by-side. Still, for those fans who like their 4K discs unaltered, this isn't welcome news.

Needless to say, there have been a number of Reddit threads discussing the 4K Blu-ray, and the response to these changes has been mixed. u/cheeseholidays commented "I do not understand filmmakers who do this", while u/epicmemetime15 wrote 'The editing of Helena's face is very weird" (referring to Helena Bonham Carter who plays Marla).

Other users have been more forgiving, and positive about how good the actual 4K looks. u/OK_Support2444 said, "Eh, I saw the remaster in theaters and it looked gorgeous" and u/requiuminadream commented, "I think this is looking phenomenal. Few minor tweaks here or there, but the image quality looks outstanding."

Still the best

Despite the alterations, as I was switching between the HD stream and the 4K Blu-ray, the 4K’s HDR strengths were obvious. While I’ll be sharing my full thoughts in the May 2026 Blu-ray Bounty column, I have some initial comments below.

Despite Marla’s smoothed skin, other details such as the whites of her eyes in a close-up shot, or the beads of sweat running down the narrator’s face, really pop thanks to those HDR highlights. The red of Tyler’s jacket is bold but realistic and exterior shots of Lou’s bar look excellent thanks to the vibrant neon signs.

The HDR also really helps deliver high-contrast scenes, including the Fight Club fights themselves, balancing the light tones from the overhead lamps with the dark tones of the dingy, grimy walls and floors.

The 4K disc’s DTS-HD 5.1 MA soundtrack also sounds great. There’s plenty of impact during fight scenes, with punches sounding worryingly realistic, with good bass as people tackle each other to the floor. But it’s the use of the rear speakers that’s really fascinating. During the opening, as the camera pans down from the top floor where the narrator and Durden are to the basement, the sound moves too. With the Samsung soundbar system I was using, the sound shifted from the front channels to the rear channels.

While these are only my first impressions, I can safely say the Fight Club 4K is excellent so far. Yes, Dolby Vision would have been welcome for those dark and high contrast scenes, and Dolby Atmos may have added more to the movie’s meaty fight sequences, but based on my first viewing on our reference system, this is a superb-looking and -sounding 4K Blu-ray.

It seems users are torn, so I decided to stop the comparison and just watch the 4K Blu-ray.

The 2026 World Cup is almost upon us, kicking off on June 11. As someone who obsesses about the beautiful game almost every second I’m awake, I’ve been pondering on how to get my TV best prepared for the biggest sporting event on the planet. (I'm almost as excited as I was finally seeing Arsenal crowned EPL champions after 22 agonizing years…)

It pains me to say this, but I’ve started turning on a picture setting I normally loathe in order to get my eyes fully adjusted before all the balls are kicked across Canada, Mexico and the USA.

The feature in question is motion smoothing. And as someone who typically hates this setting, I must admit I feel more than a little dirty. But the truth is that it genuinely does make watching football on even the best TVs look better.

Now for movies or streamed TV, I’d rather watch Spurs for all eternity than enable motion smoothing. For sports, and specifically soccer though, it’s an entirely different kettle of footy fish.

How does motion smoothing on a TV work?

Motion smoothing is a video-processing technique that adds artificial frames of video in between the 'real' video frames being shown by your TV. This technique is sometimes known as frame interpolation, and it works in a way that isn’t entirely dissimilar to how frame generation operates in graphically demanding PC games.

Manufacturers tend to refer to motion smoothing by different names. With LG sets, it’s often known as “TruMotion”, while Sony prefers “Motionflow”. Regardless of the moniker a TV supplier uses, the underlying tech is basically the same.

If you’re lucky enough to own a high-end TV with an advanced processor, motion smoothing is going to be handled more effectively than on a budget model.

When this feature is enabled, your display’s processor analyzes whatever is happening onscreen. It then subsequently detects and tracks moving objects, makes an educated guess as to where said objects would appear between the frames based on the their speed and direction, and then displays the extra frames live during playback.

Why does sport look better with motion smoothing enabled?

By accurately tracking ball movement and adding artificial frames to smooth out camera pans, motion-smoothing features can make matches easier to follow. For sports with constant camera pans, like ice hockey, soccer and NFL games, this technique can definitely give the impression general play is unfolding in smoother fashion.

This makes onscreen action look smoother, because your eye isn't seeing such a big difference in the ball's movement each time a new image appears, so your brain is filling in the gaps less, and more detail can be perceived.

This is why motion smoothing is particularly well suited to handle fast-paced soccer matches, which we’ll no doubt see plenty of during the tournament’s latter knockout stages. In elite level clashes, the ball moves from side to side at a rapid rate, and if you want to judge whether your player was fouled or not (he clearly was) then you need to see more detail than is present in smeary regular streaming quality.

Though I generally use my LG G3 OLED’s Filmmaker Mode for everyday viewing — a preset approved by directors like Christopher Nolan that blocks TruMotion — when it’s time to obsess over Arsenal, I switch to Vivid and enable motion smoothing lickety-split.

Though the best OLED TVs are pretty good at handling fast-moving action thanks to the display tech’s near instantaneous pixel response times, persistent judder can definitely occur during camera pans — and there can be other visual issues streaming sports as well.

For subpar soccer streams, motion smoothing can help

When it comes to watching football/soccer on TV, the visual experience you’re normally going to experience won’t be anywhere near the quality of streaming a Netflix Original.

The bitrate of the streams will be lower, which means it'll be harder to track the ball in congested penalty areas, because the amount of detail is directly related to amount of data being streamed (all other things being equal).

Here in my native UK, the only real way you can reliably watch high-quality 4K football on a weekly basis is with Sky Sports' UHD offerings. When I had this, I often didn’t bother enabling motion smoothing because the clarity of the on-field images I was watching were exceptional anyway.

Now that I’m “slumming” it with a Now TV subscription on my Amazon Fire TV Stick, I’m sadly living off sub-1080p table scraps. When I watched Arsenal lift the Premier League trophy a few days ago at time of writing, I could barely make out Martin Ødegaard’s handsome Norwegian face as he hoisted the famous trophy above his dreamy head.

Poor image quality is obviously a much bigger issue during matches, and the times I experience distracting judder if I don’t enable motion smoothing on my OLED can be hugely distracting. Without frame interpolation, all of those skittish camera pans as the ball bounces from the halfway line to the edge of the D can sometimes make me feel queasy, particularly on a 720p stream.

While motion smoothing can definitely reduce annoying blur and make it easier to keep up with the ball during intense matches, if your TV lets you tinker with the level of smoothing being deployed, I’d highly recommend you play around with sliders.

On my LG OLED, user settings allow me to tweak TruMotion so that De-Judder and De-Blur parameters are both fixed at 5/10. This gives me a nice balance between onscreen fluidity without making heated on-field action look overly fake.

Motion smoothing is ideal for World Cup viewing, but…

Enabling motion smoothing for certain sports can make the action feel more immersive. Take it from someone who watched a ludicrous 61 Arsenal matches during the 25/26 season.

Once the World Cup kicks off on June 11, you better believe my LG’s TruMotion feature is getting whacked on as soon as Mexico takes to the pitch against South Africa.

But… you definitely shouldn’t enable motion smoothing when watching movies or your favorite shows. Inserting artificial frames into content that was filmed at 24 frames per second will only make big screen blockbusters look about as cinematic as a Real Housewives marathon (leading to the dreaded ‘soap opera effect’).

When 48 teams soon square off for the privilege of lifting the Jules Rimet Trophy though, you should feel no shame for embracing your TV’s frame interpolation techniques.

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• tvOS 27 for Apple TV 4K isn't announced yet, but Apple has revealed some features
• They're focused on accessibility, including changing text size and auto-generating subtitles for videos that don't have them
• Apps that don't use Apple's tech frameworks may not be able to support them, though

We've been banging the drum for improving accessibility on Apple TV for ages, and it looks like tvOS 27 is going to deliver some really useful features later this year.

Even though tvOS 27 hasn't officially been unveiled yet, and won't be until WWDC 2026 on June 8th most likely, Apple has already revealed several new accessibility changes coming to the system. They're things that lots of people may actually want to use, not just those with vision or hearing difficulty.

However, apps that don't use Apple's developer frameworks and prefer their own proprietary tech, such as Netflix's app or the Prime Video app, may not support them.

One of the new features enables you to set the size of text on your TV, which is very handy for people with low or deteriorating vision: it'll adjust the descriptions on the Home Screen, in menus and in apps so that they're easier to read.

It'll work in any apps that support Apple's Dynamic Type feature, so if you can do it on your iPhone apps (where this feature already exists) you should be able to do it on your Apple TV 4K.

Smarter subtitling is coming to Apple TV

One of the most interesting new features is live transcription of videos that don't have subtitles already, such as older movie files or your own home videos. And in the latter case you'll be glad to know that all the processing is happening locally: your videos aren't being uploaded anywhere new to make it happen, it's just using the chip built into the device.

Although we're focusing on Apple TV here, this feature will also come to the iPhone, iPad, Mac and Vision Pro — the latter seems especially interesting, if the tech inside every turns out to be the basis for some Apple smart glasses.

That's the good news. The bad is that initially the subtitling feature will be limited to English, although more language support will be added later.

Last but not least, any hearing aids with Made for iPhone certification will get more reliable AirPods-style seamless transition between Apple devices across iOS, iPadOS, macOS and visionOS.

That means that if you want the sound from your Apple TV 4K beamed directly into your hearing aid, you could do it with just a couple of clicks, and no fiddly pairing process.

The new features are part of a wider package of accessibility improvements that'll be coming to the next generation of Apple operating systems later this year, and we'll no doubt see at least some of them demonstrated at WWDC 26 next month.

While a lot of people will be considering a visual or audio upgrade to their home setup in time for the World Cup, which kicks off June 11, one football fan's setup is going to make your plans feel… inadequate. It's an elite home theater designed with sports in mind, and it's won two CEDIA awards.

The project is called the Buzzards Road Home Cinema, and it was developed and executed by IndigoZest and Cinema Luxe. It uses a Sony 4K projector, an acoustically transparent screen (where LCR speakers were positioned behind the screen), and a 9.4.4-channel Dolby Atmos sound system.

Driving the system is a Artcoustic CPH1000D digital amplifier, an Anthem MCA 325 v2 power amplifier, and an Anthem MRX 1140 v2 Dolby Atmos AV receiver.

For speakers, Artcoustic made up the majority of the speaker configuration. Artcoustic Spitfire A10 wall speakers, Artcoustic SL 2-1 three-way monitor speakers and Artcoustic SL Architect PAS SPL in-ceiling speakers were used. For subwoofers, there were two Artcoustic Spitfire Sub 3 and two Artcoustic Sub 2 units in use.

For pictures, a Sony 4K projector and a 145-inch Control4 Dragonfly Fixed Ultra AcoustiWeave Projection Screen acoustically transparent screen were installed.

Alongside this, a Kaleidescape Strato 4K UHD Movie Player was installed, a premium alternative to the best 4K Blu-ray players that we’ve used here at TechRadar and it’s legitimately the real deal.

This is a seriously immersive setup with plenty of power and you’ll often find Sony 4K projectors at the heart of a reference setup, like the one I saw at AWE’s headquarters back in 2024. But the AV equipment was only one part of this system.

Football fan paradise

One element crucial to the whole concept was the use of the room for showing football games (particularly Newcastle United).

Paul Laventure, Client Director at IndigoZest, said “Big sporting events are ultimately about shared experience, and that sits at the heart of how these spaces are approached. The ‘perfect’ setup goes beyond just a large screen and great sound; it’s about creating an environment that brings people together effortlessly”.

This was taken into consideration for planning not only the layout of the seating, opting for a more sociable layout to the traditional home theater seating, but also for control. The room's owner wanted to able to switch easily between movie viewing and football, but not just in a boring regular setup.

The installers used Control4, a smart control system focused on multi-unit control from one platform, the add a one-button ‘Football Mode’. Using this not only switches to watching football in the home theater room, but the match is also broadcast around the wider property.

For an added bit of smart control magic, whenever someone calls to the house on its gate intercom, the content on the screen — including live broadcast matches — pauses to make sure “nothing was missed”.

A good-looking room

While cinephiles and home theater enthusiasts may not be too worried about the look of a room, Buzzards Road was designed to be a social space that also reflected the look of the rest of the property. This is where interior designer Sinead Kelly Herbert came in.

Working with the AV team, Herbert worked to implement the best fixtures to make the cinema room feel more welcoming. Bronze lighting fixtures were used, as well as a fiber-optic star ceiling, CNC-cut panelling and a stone-finished bar at the rear of the room.

Alongside this, all the speakers listed earlier, and the projector, are hidden so the room feels as comfortable as possible. The result? “Today, it’s the most-used room in the house — a social space, a sanctuary, and a statement in refined entertainment,” says Laventure.

With all these visual touches and the focus on a social environment for a great atmosphere for football, not to mention the Football Mode and exquisite-looking list of equipment, this sounds like the ultimate World Cup watch party place. Alas most of us will just have to settle for the best TVs and best soundbars.

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If you're thinking about upgrading your TV in time for the World Cup, you may already be discovering that the world of TVs is incredibly confusing these days. With different screen-tech options, a wide range of sizes, and prices ranging from a few hundred dollars or pounds to several thousand, making a decision isn't straightforward.

Don't worry, because we're here to help. Our team of reviewers has tested the best TVs on the market, paying particular attention to sports viewing, since live sports demands smooth handling of fast-moving action. And in this guide, I'll explain the features that matter most when buying a TV for sports, and why they're important.

Note that not everything you should consider will be listed on the box. I've highlighted the key things to look out for, but much of this information is more likely to be found in reviews and online store descriptions, rather than on the packaging itself.

Good upscaling and motion handling

Technically two features, but upscaling and motion handling go hand in hand to deliver clarity when watching sport — and if only one of the two is good, you’ll end up disappointed.

Upscaling is the process by which a 4K TV takes lower-resolution video and turns it into higher-resolution video to fill all of its pixels. Most people won’t be able to watch the World Cup in 4K natively, so upscaling will be necessary. There are many ways that TVs can do this, and many models these days will advertise themselves as using AI-assisted upscaling.

Motion handling is a similar process but for the movement of objects on the screen. A TV will tweak the image to improve the appearance of objects in motion, because in digital video, fast movement of something like a ball being kicked is difficult for video encoders to keep up with. This means it can lose a lot of detail in motion, causing fast-moving objects — such as a football — to appear blurred or smeared, or even leaving ghostly trails behind them.

Motion handling is designed to track fast-moving elements such as the ball and players, then process them to reduce blur and other motion issues to action is clear and easier for the viewer to follow. Some TVs can even generate new frames, creating the impression of a higher frame rate and smoother-looking motion.

The downside of poorly implemented motion handling – in some cheaper models, for example – is that such changes can look odd and unnatural. The ball might have an odd halo around it, players will appear strangely hard-edged, and the overall look will be very artificial, instead of naturally more detailed.

And this is the reason motion handling and upscaling tech need to work together to deliver the best results. For example, an upscale might be adding plenty of detail, but if motion processing is poor, that detail can become blurred in fast-action shots and difficult to see . Equally, if motion processing is great but the upscaler is adding weird edges to the ball, that again will undo the hard work.

LG’s OLED TVs, such as the LG C5 or LG G6, are excellent at upscaling and motion, as are Samsung’s higher-end TVs, including the Samsung QN90F and Samsung S95F. Sony’s TVs had a great reputation for this for years, but most recently we’ve found LG and Samsung to be superior. TCL and Hisense TVs generally handle these elements well in the more mid-range models, with the Hisense U8QG and TCL QM7K (both are US models) being especially impressive for their respective prices. Amazon’s Ember QLED TV is also decent out of the box compared to most budget-friendly TVs, as is the Roku Plus Series in the US.

Good screen uniformity

You might have heard this talked about as the "dirty screen effect". Basically, screen uniformity is a TV's ability to display an evenly lit image across the entire screen, without patches that appear darker. It's an issue that mainly afflicts LCD-based TV, including LED, QLED, mini-LED and RGB models.

LCD TVs work by shining a backlight made of LEDs through a grid of pixels, and the design of this backlight plays a major role in screen uniformity. If LEDs are unevenly arranged or lit, some areas of the screen can appear slightly darker or brighter than others. This is especially noticeable in scenes where there are large areas of solid colour – the grass on a football field, for example.

If your TV's screen uniformity is poor, you'll see odd dark patches rippling across the field as the camera follows the ball. Some people might mistake it for dust, hence the informal name.

The larger a TV, the more susceptible it can be to the dirty screen effect, simply because there’s a bigger area that needs to be lit evenly. This is why opting for a super-large budget model can sometime work against you, since they're less likely to come with the higher-quality backlighting required to maintain consistent screen uniformity.

While you can’t know for sure how a particular TV will perform, you can get a clue by considering the number of "dimming zones" listed in a TV's specs. In general, more dimming zones means more control over the backlight, which often goes hand in hand with a higher number of LEDs in the panel and better screen uniformity.It's also worth checking out reviews where people discuss screen uniformity.

I’ve talked about LED TVs a lot here — but what about OLED? In theory, OLED TVs display issues with screen uniformity, because every single pixel is its own LED. OLEDs can have problems with the evenness of the image, but it’s more likely to be the result of an actual fault rather than just a poor-value TV.

A reflection-beating screen

Watching sports generally means a lot of daytime viewing, and that tends to mean a lot of light. Even if you’re watching in the evening, you might still have lots of lights on in your room. The glossy screens of most TVs means they reflect like a mirror, making it difficult to see what’s on-screen.

Mirror-like reflections are particularly distracting, not only because they pull your attention away from the game, but also because your eyes will naturally try to focus on the reflection, rather than the image on the TV. Since the reflection appears to sit at a different distance to the TV image, constantly refocusing between the two can cause eyestrain.

TVs use a several methods to reduce reflections, and almost all TVs have a polarizer built in to help control how light travels through the panel. However, in budget TVs this can be very basic, and so won’t appear to make a huge difference in bright rooms.

So, in a more affordable TV, higher brightness can often present the best method of counteracting any reflections. Mini-LED TVs excel here because they use a huge number of tiny LEDs, allowing them to produce much higher brightness across the whole screen over what OLED TVs can achieve.

Some TVs also have specific anti-reflection layers. Samsung’s higher-end mini-LED and OLED TVs come with a “Glare Free" coating, which is basically a matte layer that scatters light rather than reflecting it. Any reflections instead appear as a dim haze rather than an object of focus, making it more easily handled by the TV's own brightness to overcome and therefore less distracting for the viewer. Hisense has also added a less-aggressive matte layer to its high-end and mid-range mini-LED TVs. The LG G6 OLED TV includes a very impressive layer that massively reduces the brightness of mirror-like reflections.

Basically, if you’ll be watching your TV in a bright room, then the higher the level of brightness in your TV the better — and a premium TV with an extra anti-reflection layer will help even further.

Sound that extends beyond the screen

When you're watching the World Cup, you want to feel immersed in the atmosphere of the event, and the sound is a major part of that. If the crowd noise seems confined to the TV itself, it’s hard to forget that you’re simply watching a screen. But when the sound feels like it's coming from beyond the box, you'll feel more like you’re part of the action.

Similarly, audio with deeper bass and clearer highs will deliver a more immersive feeling, because drums, stamping feet, voices and the roaring of a whole crowd will sound more full and realistic.

Once again, while there’s no way to know for sure from the specs alone if a TV will deliver a decent, you can make an educated guess.

Budget TVs are likely to have a very basic speaker system, usually comprising just two small speakers that point downwards. As such, their ability to engulf you in audio will be limited. If a TV has just a 2.0-channel speaker system, odds are that will be small-sounding.

A TV with forward-firing or side-firing speakers is far more likely to deliver expansive audio. Look for models whose specs feature a bass system (either a subwoofer or just passive bass radiators), which achieve a much fuller sound.

The good news is that mid-range TVs and upwards are increasingly capable of delivering full, well-handled sound straight out of the box. Models such as the TCL QM7K and Hisense U7 perform well in this area, but step up to the TCL QM8K, Hisense U8 or especially the Samsung QN90F, and you'll experience a much bigger and more spacious feel.

Of course, another way to ensure superb sound quality is with a soundbar or speaker system. Around this time of year, you'll find plenty of TV deals with soundbars thrown in, or offered at a low price, so keep a lookout. It’s possible that a mid-price TV with an affordable soundbar turns out to be the best-value combination overall for mixing a big screen with big sound.

A big screen size balanced with price

A lot of people looking to buy a TV for World Cup viewing will be tempted to go for the biggest screen possible, and there many huge sizes available for not much more than the cost of an 65-inch model, which will tempt people even more so to go big.

But big isn't necessarily best, because of all the factors I’ve mentioned above. All the potential dangers I’ve mentioned. Poor motion handling, weak detail, uneven screen uniformity, distracting reflections and limited sound are all more noticeable on a larger screen, where flaws have nowhere to hide.

If you have a budget of $1,000 to spend, you could buy a basic 85-inch TV, or a good 75-inch model, or a higher-quality 65-inch set. How you balance size, quality and budget is ultimately a personal choice, but it's important to note that unless your budget increases alongside the screen size, you’ll usually be trading performance for acreage.

If you're wondering what the "right" screen size is for your particular setup, check out this calculator, which will help you figure it out:

• Dolby AC-4 was the preferred codec of multiple audio pros
• Better than existing Atmos audio without high bandwidth requirements
• Peacock is upgrading but other streamers haven't announced any plans

One of the biggest differences between streamed movies and 4K Blu-ray is the sound quality: even the most expensive streaming tiers deliver compressed audio with a clear reduction in dynamic range and clarity compared to disc-based playback.

But that might change thanks to a new version of Dolby's sound technology that audio experts apparently can't tell apart from uncompressed PCM, but that works at streaming bitrates.

The new technology is called Dolby AC-4, and it's a codec: an encoder/decoder for compressing audio. It's designed to deliver much higher audio quality than current streaming soundtracks, and can do so without requiring lots of bandwidth.

With a bit of help from the New York section of the Audio Engineering Society and Engine Room Audio, the audio pros at Immersive Machines in the US set up a double-blind listening test where audio experts heard mixes in multiple formats including the current streaming standard, DD+JOC (using the Dolby Digital+ codec).

Again and again the experts picked AC-4 as having the best sound quality of the compressed audio formats.

How Dolby AC-4 could make your streams sound sweeter

Most streaming apps use DD+JOC for immersive audio. It's a version of the tried and tested Dolby Digital standard, with the JOC bit standing for "Joint Object Coding". It enables Dolby Atmos to deliver positional audio without breaking support for 5.1-channel setups.

Dolby AC-4 is what Dolby calls a Next Generation Audio codec, and it's designed to more efficiently deliver audio for headphone and speaker listening, including 3D object information.

As Dolby explains: "The AC-4 coding system utilizes new aspects of object audio beyond what is already available with Dolby Atmos in other Dolby codecs for features like dialogue enhancement or commentator substitution." And significantly, it "can deliver equivalent channel-based audio quality at roughly half the bitrate of Dolby Digital Plus".

That's impressive, but does it deliver?

Immersive Machines' listening test used three formats: DD+JOC at 768 kbps, uncompressed PCM audio at 13,824 kbps, and AC-4 L4 at 448 kbps. The listeners heard them on a full 7.1.4-channel system, on the same system with specific speakers muted, and to individual speakers soloed. Each format was given the letter A, B or C and their identities weren't revealed until the test was done.

The test wasn't just based on vibes. Listeners were asked to identify compression artefacts such as gating, "swishing", loss of spatial precision and loss of frequency range. And with all the speakers on — ie, the way you'd listen at home — AC-4 was in a dead heat with the reference uncompressed PCM audio.

Compression was more noticeable in AC4 when individual speakers were soloed, but for a full home theater setup, AC-4 delivered sound that apparently matches lossless but while streaming just 3% of the data.

There are some caveats here, notably the sample size: a test with 16 listeners isn't hard science. But at the same time, 16 audio pros told to listen critically are going to be much more picky than you or I are likely to be, so it's still quite the endorsement.

The first TV/movie streaming service delivering AC-4 will be Peacock, although the technology is also being used by Amazon Music and TIDAL (but specifically for binaural headphones-based spatial audio). Other streamers may migrate but so far there haven't been more announcements since Peacock's news at CES 2026.

You can find out more about the Immersive Machines testing here, but while it does suggest that streamers could deliver similar sound quality to 4K Blu-ray in the very near future, it's worth noting that Dolby AC-4 doesn't address one of the other reasons people buy Blu-Ray discs: unlike streaming, bought Blu-Rays don't disappear from your library when streaming rights expire or the streamer decides to slim down its catalog.

Better quality has absolutely been a major driver for why people buy 4K Blu-rays, especially if you have a great home theater setup — but collection and ownership is growing as a reason why people are becoming invested in Blu-ray again, and AC4 won't change that.

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• TCL's new Google TV update brings new audio and visual features
• Upgrade is for 2023, 2024 and 2025 TCL TVs, matching 2026 model features
• Requires Google TV and MediaTek Pentonic 700 chip

TCL is rolling out an upgrade to older TVs that adds Dolby Vision Filmmaker Mode and wireless subwoofer support. It also fixes an irritating sound bug in the Disney+ app and delivers the usual performance improvements and bug fixes too.

As FlatpanelsHD reports, the upgrade is coming to 2023, 2024 and 2025 TCL Google TVs powered by MediaTek's Pentonic 700 chip and it's already began rolling out.

The firmware version number is v643 and it's an over-the-air update.

TCL is pretty good at keeping its existing TVs up to date; earlier this year it provided a firmware update that boosted the Android version from 12 to 14 and added support for HDMI 2.1 Quick Media Switching.

What's new in the TCL Google TV update?

Dolby Vision Filmmaker Mode is the replacement for Dolby Vision Dark, and it's designed to deliver movies just as the filmmakers intended; it's the most accurate of all the picture modes for serious cinema fans, but limits the brightness in order to achieve this, so is better for dark room viewing.

The upgrade also fixes an issue in the Disney+ app with IMAX Enhanced DTS:X audio, which should now work properly; you should now be able to switch between Dolby Atmos and DTS:X on supported movies without any issues. Those movies include the likes of Tron: Ares and Marvel movies.

The third important change is an upgrade to the Dolby Atmos FlexConnect support. That's Dolby's wireless system for TV and home theater, and when it launched last year it enabled you to use up to four TCL wireless speakers with your compatible TV.

That's now been upgraded and you can now add a wireless subwoofer, the TCL Z100-SW, for extra low-end thump. That makes FlexConnect a more compelling alternative to a soundbar setup for those of us who like a lot of impact.

The upgrade will be coming to TVs including the X11K; C8K and QM8K; C7K and QM7K; C6K and QM6K; C855; C805; C955; and X955 and QM851G. You can check if the upgrade is coming to your own TV in FlatpanelHD's TV database.

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The LG B5 was one of my favorite OLED TVs in 2025. It delivered detailed, contrast-rich picture quality and came with a full suite of gaming features that made it one of the best gaming TVs on the market. Its launch prices may have been too close to its more premium sibling the LG C5, but as 2025 went on, the B5’s prices dropped and it became an excellent value option and arguably the star of Black Friday.

Naturally then, its successor, the LG B6, has some big shoes to fill. In the lead up to the B6’s release, it’s been shrouded in mystery. We were given tons of details about the LG G6 and LG C6, both of which earned five stars in my respective reviews of them, and are on course to be two of 2026’s best OLED TVs — but we heard next to nothing about the LG B6.

We speculated that it might be using the new OLED SE panel, a cheaper, but brighter OLED panel from LG Displays that the brand said could hit up to 1,000 nits. We saw the new OLED SE panel in action with Panasonic’s new OLED, the Z86C, and the brightness was definitely there.

Now, the B6 has actually arrived in our testing lab and I had to put it alongside its predecessor to see how they compared… and it turned out far weirder and more complicated than I ever expected.

A boost in brightness… sort of

The LG B-series has been producing the same level of brightness measurements for years, despite LG's step-up C-series and G-series counterparts hitting new heights.

That seems to have changed for the B6, in one area at least. The B6 had a measured peak HDR brightness of 895 nits in Cinema Home and 835 nits in Filmmaker Mode. This is a very healthy jump over the B5’s 668 nits peak HDR brightness (measured in Cinema mode).

There were shifts in fullscreen brightness too, in both SDR and HDR. The B6 was roughly 20 nits brighter in Cinema Home compared to the B5 in both SDR and HDR — it's not a lot, but anything is welcome.

How did this translate into real-world viewing? In some scenes, peak areas were visibly brighter on the B6. When John speaks to the hotel desk clerk in Dark City, the desk lamp demonstrated the brighter highlights of the B6, as it looked more impactful and created stronger perceived contrast.

The B5 still delivered strong contrast with arguably deeper black tones, but the B6 had the brightness advantage to more impactful contrast overall.

I then switched over to the desert scenes from Lawrence of Arabia. As Lawrence and his guide fetch some water from a well, the white sands surrounding them had more impact on the B6. While they still had solid brightness on the B5, the B6’s boosted peak brightness levels were on show.

However, as the scene went on, I noted that the white sands within the scene had a greener tint to them in some shots. In other shots, the green tint would appear in the B5, but overall it was more obvious on the B6.

Green tint is sometimes an issue with WOLED panels, and has been discussed at length online — especially with LG’s OLEDs. I wrote about it during my LG C6 and LG C5 comparison, where I was happy to see that the C6 had eliminated this, making the C5 look more green. I decided to see if it was obvious on other content.

Green tint

I switched the type of scene completely and opted for The Batman, in order to see if the green tint was obvious in darker scenes: boy, was it.

In the subway fight scene, as Batman stands over his defeated foes, the green tint was very obvious on the B6. The light reflected from the left side of the screen (from the subway exit) took on a green tone, whereas on the B5 it was much closer to the accurate tones I'd expect.

The same was true in later scenes, as the green tint was noticeable against brown tones of brick walls of an aerial shot of Gotham and as Batman walks down a dimly-lit corridor.

I decided to try out some scenes with lots of pure white, namely scenes of snow from the Spears & Munsil UHD Benchmark Blu-ray, viewed in HDR10 and mastered at 1,000 nits.

I was surprised to see that the B5’s white tones were more vibrant and punchy throughout, delivering higher perceived brightness over the newer B6, despite what the measurements above said. While I can't confirm the physics of it, I suspect that the green tint on the B6 was having an effect on the perceived 'pop' of the white tones.

Colors

It was time to try out some colorful scenes. In some shots from the Spears & Munsil footage, such as an orange butterfly, the B6 demonstrated richer, deeper colors compared to the B5. Another shot of a cliffside with the sun rising over it showed the B6 had a more accurate color profile and that nice extra hit of brightness.

Putting on the Wizard and I scene from Wicked, both TVs delivered strong vibrant colors that looked accurate. The pink flowers over Elphaba’s head popped on both screens nicely, while the green of Elphaba’s skin also looked accurate on both TVs.

The yellow stone of the walls and pillars appeared brighter on the B6 and took on a darker tone on the B5. Looking closer, the B5 actually bordered on having that green tint, but it wasn’t as obvious.

This was true of other scenes throughout Wicked, with both the B6 and B5 doing a great job with Glinda’s pink room and dresses throughout, as well as faithfully reproducing the rich emerald green and gold of the train as it arrives into Emerald City. At times, the B5 would show flashes of a green tint; at other times, the B6 would.

One additional wrinkle I found is that the B6's measured HDR color gamut coverage in both BT.2020 and DCI-P3 color spaces has dropped compared to the B5. It registered 72.5% of BT.2020 and 97.4% of DCI-P3, where the B5 measured 74.85% and 99.5% respectively.

While the latter DCI-P3 result of the B6 is still above the 95% threshold we really want to see, it was still odd to see it drop and may be related to the colors seeming inconsistent at times.

Check out the full measurements for the B6, B5 and C6 below. A quick note: I used Movie mode for the B5's HDR brightness when I tested it last year, but I stick with Filmmaker Mode for the B6 and C6.

A new appreciation

Overall, I find this comparison frustrating, but enlightening. Viewed in isolation, these are two very good TVs, but it’s hard to ignore any issues I’ve spotted once I’ve seen the two side-by-side.

The green tint on the B6 unit I have was worrying, and while it's possible that I was unlucky and got a panel especially prone to it, that would have implications for the uniformity of quality in the panels, so that would be its own issue to discuss. I contacted LG about what I was seeing, and the company declined to comment without a representative being able to see the screens in person.

While it's not confirmed if the B6 uses the newer OLED SE panel, the brightness increase makes me think it's likely. Maybe it's teething problems with a new panel, but I can't be sure.

If I had to recommend a TV between the two, I’d opt for the B5. Not only was it the more consistent of the two overall, but it’s also a heck of a lot cheaper. A 65-inch B5 costs $999 / £1,199 / AU$2,199, whereas the recently launched 65-inch B6 costs $1,999 / £2,399 / AU$2,495.

It’s worth noting there is a better value B6E model available in the UK that costs £1,799, and LG told me that the only real difference is aesthetic and a lack of HDR Precision Master Pro and Precision Sound Pro features, neither of which I like to use anyway based on my testing so far.

But really, my main takeaway is a renewed appreciation for just how good the LG C6 is. Not only does it have a new processor, which seems to have fixed the green tint issue, but it’s a lot brighter with better detail and contrast, earning every one of its five stars.

While it is pricier, with a 65-inch model costing $2,699 / £2,599 / AU$3,995, it’s worth the investment in my opinion, thanks to its upgrades — especially in the UK, where the difference is so minimal.

As stock of last year’s LG OLEDs seems to be dwindling quickly in several retailers, I suspect the C6 will become the big-ticket LG OLED of 2026, and right now I think I'll be strongly recommending that OLED buyers spend the extra to upgrade to it.

• Denon unveils new X2900H and X3900H AV receivers
• Both have new audio architecture for Dolby Atmos and DTS:X sound
• X2900H is 7.2 channels; X3900H is 9.4 channels

Denon has unveiled two new AV receivers, including an update to one of the most popular bang-for-buck models around — and it's a pretty strong upgrade based on my early impressions from a demo session.

The new models are the Denon AVR-X2900H and the AVR-X3900H, and they're similar in a lot of ways, with the X3900H promising more "scalability" and "flexibility" over its little sibling.

They replace the X2800H and X3800H respectively, and Denon says they've been updated internally to improve the sound, including sharing a new 32-bit DAC system designed to deliver "improved imaging, clearer high-frequency detail and more confident low-frequency energy across every channel."

Both receivers support Dolby Atmos and DTS:X, and include Dirac Live and Audyssey support for sound correction. They both have six HDMI inputs and multiple HDMI outputs, with support for 4K 120Hz passthrough with Dolby Vision HDR (and 8K video at 60Hz). New this year is support for 1440p and AMD FreeSync passthrough, which is nice for PC gamers.

They also have Denon's HEOS wireless platform on board for music streaming over Wi-Fi, with support for major streaming platforms to play in hi-res — plus Bluetooth connectivity.

The differences come in just how elaborately all this is implemented. The X2900H supports 7.2 channels of sound at up to 95W (at 8 ohms) per channel, while the X3900H supports 9.4 channels at up to 105W (at 8 ohms) per channel.

The pricier X300H includes Auro 3D and IMAX Enhanced support as well as the two standard spatial formats, and offers more Dirac tools as optional extras. The X2900H offers two HDMI outs (one of which is eARC), while the X3900H has three HDMI outs (again one eARC).

The extra channels of the X3900H obviously require a load more speaker connections on the back, but the X3900H also includes more RCA inputs, including an MM phono input, and more pre-amp outputs.

Both models launch today, May 14. The Denon AVR-X2900H costs $1,349 / £899 (about AU$1,680), while the Denon AVR-X3900H costs $1,849 / £1,299 (about AU$2,430).

So, you've got the run-down on what they can do — but how do they sound? Happily, I got to hear them before their launch.

What are the Denon X2900H and X3900H like in action?

Denon's listening room at its Kawasaki office — used by its current Sound Master, Shinichi Yamauchi, to refine and provide feedback on the performance of its products — provided the setting for an all-too-brief demo of the new AVR models.

They were connected to the room's array of Bowers & Wilkins 801 speakers, which are probably a little more hardcore (at $55k / £34k per pair) than most people will connect to these amps, but at least I could be sure that the speakers weren't going to impose any kind of limitation on what I was hearing.

First, Denon gave me a demo comparing the existing X2800H AVR with the new X2900H that replaces it, showing a scene from Dune in the ornithopter (a word I'm now able to spell first time consistently, thanks to how frequently scenes featuring it in appear home theater demos).

This was a 5.2.2-channel demo in Dolby Atmos, maxing out the X2900H's 7.2-channel capacity with the five surround channels plus the two height channels, and then two subwoofers.

The key theme here is that small changes add up to a clear improvement. The dialogue clarity is a little stronger, standing out slightly more prominently from the beating wings of the ornithopter while still feeling natural.

The spatial effect of the surround channels is a little stronger as well, feeling like there's a touch more dynamic range and expansiveness to envelop you in what's around you.

The bass transients and low-end power also feel — say it with me — a little stronger. There's an extra step of liveliness and control to bass impacts that make them feel more tactile

Adding together multiple elements that are a little stronger, though, creates a whole that feels bigger, meatier and more complete. The upgrade from the X2800H to the X2900H isn't game-changing, but it's weighty.

After that, we got a comparison of the new step-up X3900H against the X2900H. The demo was Hans Zimmer & Friends: Diamond in the Desert, which is a movie score concert film (but sounds like an animated movie where Hans and his team solve a Scooby-Doo-like mystery).

The X2900H played through the same speaker setup as above, but when we switched to the X3900H we added a couple of extra surround channels, taking us to 7.2.2 channels, in Dolby Atmos.

Interestingly, though, in the section of the Inception medley that Denon demoed for us, I couldn't hear as much difference between these two AVRs as I could between the X2800H and the X2900H, even though in this case two extra speakers were being added.

It may have been partly to do with the arrangement of the song just not taking that much advantage of the extra channels, but in general I'd say I didn't feel much of a difference in the expression and clarity of the instruments.

It's obviously very possible that further reviewing with more scenes will reveal more nuance, so I'll have to reserve full judgment on the X3900H — but obviously, at the very least, even if its performance turns out to be very similar to the X2900H, it still provides more channels and higher power output for speakers that really benefit from it, so may be worth the upgrade anyway.

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I’ve now fully tested the LG C6, the brand’s mid-range OLED for 2026, and can say it deserves every bit of its five-star rating. It delivers superb picture quality, with authentic contrast and punchy, natural colors, delivering a gaming experience that's up there with the best gaming TVs.

While I expect the C6 will be high of many people's list of the best OLED TVs to watch on Black Friday, when there should be plenty of deals, launch time is always an interesting time of year. This is because last year’s models are often available for significantly less, so despite the C6 being a major upgrade over its predecessor — and one of 2025’s best TVs, the LG C5 — it can be tempting to opt for last year’s equivalent instead.

We’re in an interesting situation, however, where the LG G5 — last year’s flagship LG OLED — is available for the same price as the LG C6. Naturally, you'd assume that it’s a no-brainer: buy the G5. But since I had both TVs available for testing, I decided to run them side-by-side using reference scenes to see which actually offers better value for money. All of these tests were conducted in Filmmaker Mode with default settings.

Brightness

The LG G5 uses a Primary RGB Tandem OLED panel, while the 65-inch C6 I used for testing uses a standard WOLED panel. This means the G5 has a significant advantage in measured brightness over the C6. We measured the G5’s peak HDR brightness at 2,268 nits in Filmmaker Mode, compared to the C6's 1,438 nits, also in Filmmaker Mode. For full-screen HDR brightness, the G5 measured 331 nits, whereas the C6 measured 245 nits.

These are big differences in favor of the G5, but how does it translate in real-world viewing? Watching the desert scenes in Lawrence of Arabia, the G5’s higher brightness showed up as brighter white sands with more pop compared to the C6. The whites on the soldier and Prince Faisal’s uniform deliver more punch on the G5, too. The C6 still displays very good brightness throughout the movie, but the G5 has the edge.

Looking at some scenes showing snow from the Spears & Munsil demo footage, again, saw brightness on the G5 look punchier, with whites more vibrant in any scene with lots of bright tones.

Colors

Both TVs also delivered exceptional colors, with plenty of vibrancy and realism. In Lawrence of Arabia, the striking reds of the soldier’s sashes and flags looked more dynamic on the G5, boasting higher color brightness. While the same colors still looked punchy on the C6 with decent brightness, the G5 had that little bit more. The same was true of the blue sky in the early desert scenes: the G5 had that extra pop, but the C6 did an excellent job, too.

One color that had a more obvious impact on the G5 was the sandy browns of the desert dunes and rocks. The browns seemed to really jump off the screen in comparison to the C6, although it could be argued that the latter delivered these with a more natural look.

I switched to Wicked next, known for its vivid colors. Once again, both TVs did a fantastic job capturing colors throughout the movie, delivering them with plenty of pop and dazzle. But once again, the G5 had the edge: the pink flowers in a tree that Elphaba stands beneath looked more vibrant compared to the C6. The glittering green and gold of the train to Emerald City again looked punchier on the G5, aided by its higher brightness.

However, there were some scenes where the C6 looked better, in particular when it came to delivering natural colors. The green of Elphaba’s skin, more toned down than the Emerald City, looked more realistic on the C6. The sandstone-colored walls of Shiz also appeared more authentic on the C6, where they took on a more golden tone on the G5.

Contrast

Right off the bat (pun intended), both TVs showed superb contrast. As Batman stalks around the crime scene in Mayor Mitchell’s home, both TVs demonstrated an excellent balance between the light tones of lamps, torches and flashbulbs with the dark tones of Batman’s costume, the police uniforms, and the dark-wood room.

Looking closer, the G5 had the advantage when it came to highlights from the aforementioned torches, creating a stronger perceived contrast. However, viewing in dimmed conditions, I found myself drawn to the C6. While highlights weren't as vibrant, its contrast felt more authentic and natural, better suiting the tone of the movie.

In pitch-black conditions, during the subway fight scene, both TVs showed great shadow detail with the panelling of the walls in the background. While these details were clearer on the G5, it also demonstrated raised dark tones, with blacks took on a slightly gray hue. They again appeared more natural-looking on the C6, I thought.

Using a brighter but still high-contrast movie, Alien: Romulus, I was surprised by how close the two TVs looked in Dolby Vision. The G5 had slightly more brightness in the stars against the black of space or the various colored lights in the blacked-out hallways, but the C6’s contrast looked just as good. Switching to HDR, the G5 gained more brightness — but, again, the C6’s natural contrast stood out.

Price is important

So, which TV should you go for? My personal favorite is the G5 with its more colorful and brighter scenes overall, particularly those in Lawrence of Arabia. But I did still find myself drawn to the C6 for darker, more high-contrast scenes in movies such as The Batman as it looked more authentic.

Elsewhere, there really isn't much – if anything – to differentiate between the two TVs. Both boast a full suite of gaming features, including 4K 165Hz; both use LG’s webOS smart TV platform; and both deliver solid overall sound — although they could do with a soundbar. The C6 even has the Alpha 11 Gen 3 processor, the successor to the Gen 2 in the G5.

Really, it comes down to price — and at the time of writing (weeks before the C6’s launch), the G5 is better value. The 65-inch model will cost you about $2,499 / £2,299 (availability seems scarce in Australia), whereas the C6 65-inch costs $2,699 / £2,599 / AU$3,995. That means you can get a flagship OLED for cheaper than a mid-range model. As we near Black Friday later this year, the C6 could see some big discounts, at which point it becomes the better option.

On the surface, the G5 is the more striking TV and it really is fantastic. The C6 is also fantastic. You’re honestly spoilt for choice between these two and it really does come down to price and personal preference.

• Google TV's home screen will get a "personalized feed of snackable videos"
• New generative AI features on TCL Gemini-ready TVs arrives today
• Improvements to Google Photos and screensavers

Google TV is getting an upgrade (such as it is) that many people are going to dislike. This summer, it'll be bringing vertical video to US viewers' homescreen in the form of YouTube Shorts clips.

According to FlatpanelsHD it could get worse: Google hasn't ruled out adding vertical video from TikTok and Instagram too.

Google isn't the first big tech firm to add vertical video to its TV viewing. Disney+ did it earlier this year, and Instagram has a TV app too — but those are within apps, not just piped straight to you when you turn the TV on.

Why is Google adding vertical video to Google TV?

Adding Google Shorts to your homescreen is part of Google's wider mission to keep you inside its ecosystem and watching its ads. At the moment, the homescreen recommendations are for movies and shows, often sending you other services; by adding YouTube Shorts to the mix, you might potentially watch lots of videos from Google's own services, each with ads.

Vertical video isn't the only addition coming to Google TV. As of today, if you're a US owner of a TCL TV with Gemini (such as the TCL QM8K) you can access more generative AI tools in the form of the Nano Banana and Veo apps, for generating images and video respectively. They'll roll out to more Gemini-enabled TVs and devices in the coming months.

There's a new Remix feature in Google Photos that enables you to change existing photos' styles and backgrounds via voice commands, and you'll be able to search for specific photos via voice. There's also a Dynamic Slideshows feature that'll display a selected Google Photos album as a screensaver. That one doesn't require Gemini.

Whether these features delight or disgust you is going to depend on what you use your TV for. As Google describes it, the new features are "designed to help you connect, create and share laughs together" by "unlocking the TV’s potential as a shared creative canvas."

The new generative AI tools will be available on compatible US TCL TVs today, and most of the new features will roll out to US users this summer. Dynamic Slideshows will be available worldwide, again in the summer.

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• IJP OLED could be 30% to 35% cheaper than current OLED production
• Challenges remain, especially power consumption and blue OLED lifespan
• Expect to see the tech in premium laptops first, but TVs are on the cards

A new report says that the long-awaiting arrival of inkjet-printed OLED will slash the price of OLED production, making the tech much more cost-effective and the resulting displays much more affordable.

That's good news in the relatively short term for laptops (such as a near-future OLED MacBook Pro), and for smaller displays in devices such as phones and in-car consoles. And in the longer term it's good news for TV buyers too.

The dominant production technology in OLED production is FMM, which is short for Fine Metal Mask. According to display analysts Omdia, FMM costs are getting lower — but inkjet printing will be even cheaper, with a price difference of between 30 to 35% compared to FMM production. Given that OLED is an expensive tech to produce, that could make a big difference.

And price isn't the only benefit. Inkjet printing offers some significant advantages over FMM. However, it's important to note that those lower costs are a prediction for the future, not a measurement of how much IJP OLED costs to produce at the moment.

This is still a very new screen tech, and that means it's still expensive to manufacture because the yields — meaning the amount of panels produced that are good enough to sell — still need to be improved.

We've been told by TCL, the biggest player in the IJP OLED game right now, that it'll be several years before it's affordable in mass-market TVs — but in laptop and even monitor-sized panels, the tech is rolling out.

What's so exciting about inkjet-printed displays?

For manufacturers, the lower cost of inkjet printed displays isn't the only benefit. It's set to be much more efficient once it's working at full quality — Omdia says that for 16.3-inch OLED laptop displays, manufacturers can produce 10% more panels from a single substrate compared to FMM processes — and the machines cost less to buy.

That's the good news. But there are still some challenges for inkjet-printed OLEDs to overcome. One of the key challenges has been the lifespan of blue OLEDs made using the IJP process: according to TCL CSOT, in 2020 the lifespan of its blue pixels was just 40 hours. Power consumption was also a significant issue.

However, by late 2025 TCL CSOT had improved the longevity of its blues by ten times to 400 hours, and it had reduced power consumption by one-third — the technology has continued to develop since then.

This is a very fast-moving sector, and there's big money being spent on developing it: TCL CSOT alone has invested $4 billion in its T8 plant, which will be located in Guangzhou in China. It's intended to produce 22,500 substrates per month.

Those panels will be destined for monitors, notebooks and tablets, but TVs are on the roadmap too: as we reported last year, TCL has been showing off TVs with panels up to 65 inches in size. Mass production of the first panels from the plant is likely to commence in late 2027.

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LG C6 OLED TV: Two-minute review

The LG C6 has a tough act to follow, because the LG C5 was one of the best TVs I tested in 2025. So I'm happy to report that not only does the LG C6 do everything the C5 can do, but its Alpha 11 AI Gen 3 image processor — the same one you’ll find in the flagship LG G6 TV — delivers a significant brightness boost and more refined picture quality overall, making the C6 a solid upgrade over its predecessor.

The 65-inch LG C6 I tested is priced at $2,699 / £2,599 / AU$3,995 at launch, which is the same launch price as the C5 in the US and Australia, but is cheaper in the UK, despite the upgrades.

It’s worth noting that the larger 77-inch and 83-inch models now fall under a new designation as the LG C6H, and use the upgraded Primary RGB Tandem 2.0 OLED panel found in the flagship LG G6 and LG W6 models. As a result, they’ll likely perform somewhat differently to the model I tested, and we’re not including them as part of this review — we plan to review the C6H separately.

The C6’s picture quality is fantastic. Colors are punchy, vibrant and natural all at the same time, looking more accurate than the picture on last year’s C5 in my side-by-side testing. Its contrast is superb, with deep blacks, punchy highlights and refined shadow detail.

Textures are crisp, motion is smooth and natural, and it upscales non-4K HDR sources well. It does suffer from reflections in bright rooms, and I did notice some banding in gray areas, but this isn’t enough to detract from its overall quality, which is up there with that of the best OLED TVs.

Its built-in sound is solid overall. The AI Sound Pro mode delivers refined bass, great accuracy and clear dialogue. Dolby Atmos effects aren’t as pronounced as I’d like, and the soundstage can feel narrow at times, so while its sound is decent, I’d still connect one of the best soundbars to the LG C6 for a more cinematic experience.

The C6 is a phenomenal gaming TV. It delivers a full list of gaming features, including 4K 165Hz in the C-series for the first time, and its razor-sharp performance will make gamers very happy. Pair this with its awesome picture quality, and the C6 sets the bar as a best-in-class gaming display.

LG’s webOS continues to be one of the top smart TV platforms around, and while there are no big upgrades this year other than more generative AI options, the settings menus have been streamline to make navigation easier, and thanks to its new processor, performance is smoother than ever.

Ads at the top of the home page and on the screensaver are still an issue, but it’s nothing you won’t find on other smart TVs. Ultimately, webOS 26 is still great.

The C6 is a nice step up over the LG C5, and is very good value for what it delivers. However, the C5 is significantly cheaper, and still available at the start of 2026, so if you don’t want to wait for C6 prices to drop, the C5 is a much cheaper option right now.

For UK users looking for a 65-inch TV, I would also recommend the Philips OLED910 — it’s effectively a flagship OLED at a mid-range price. As the C6’s prices drop later in the year, though, it’ll become better value.

LG C6 review: Prices & release date

• Released in May 2026
• 42-inch: $1,399 / £1,299 / AU$1,995
• 48-inch: $1,599 / £1,399 / AU$2,395
• 55-inch: $1,999 / £1,799 / AU$2,995
• 65-inch: $2,699 / £2,599 / AU$3,995

The LG C6 is available in 42-65-inch models, with the 77-inch and 83-inch models now listed as a new model called the LG C6H, which uses the upgraded Primary RGB Tandem 2.0 OLED panel, as seen in the LG G6. I haven’t included the C6H’s pricing here, as we plan to review it later.

The 65-inch C6 I tested is launching at $2,699 / £2,599 / AU$3,995, which is the same price the C5 launched at in the US and Australia in 2025, but is cheaper than the C5’s launch price in the UK.

LG C6 review: Specs

LG C6 review: Benchmark results

LG C6 review: Features

• Alpha 11 AI Gen 3 processor is flagship-class with better color handling
• Gaming features are as good as it gets right now
• Dolby Vision and Atmos, but not HDR10+, DTS or Dolby Vision 2

The LG C6 is the mid-range OLED in LG’s 2026 TV lineup, sitting above the entry-level LG B6, and below the flagship LG G6 and the revived super-thin LG Wallpaper TV, known as the W6.

As mentioned, there are two LG C6 models this year: the standard C6 and the C6H. The former is available in sizes 42-65-inch, and uses what LG Display officially calls a "Tandem WOLED" panel, while the latter is available in 77-inch and 83-inch sizes only, and uses the "Primary RGB Tandem 2.0" OLED panel that’s also used in the flagship LG G6.

The C6 does, however, come equipped with a new processor across all its sizes: the Alpha 11 AI Gen 3, which is the same processor that's used in the step-up G6 and W6 OLEDs. This supports an upgraded Brightness Booster, more refined upscaling, and picture enhancements such as 13-bit image processing (12-bit color plus one bit of brightness). It also supports 11.1.2-channel audio upmixing with its AI Sound Pro mode.

Dolby Vision and Dolby Atmos are supported, but once again there’s no support for HDR10+ or DTS, and LG has no plans to support Dolby Vision 2 on this TV in the future.

For sound, the C6 comes with LG's usual 2.2-channel speaker system included. In terms of sound profiles, LG has trimmed back the options from eight to four, opting for AI sound modes over traditional sound modes such as Cinema or Sports.

The C6 is fully equipped for gaming, with four HDMI 2.1 ports that support 4K 165Hz (a step up from the 4K 144Hz supported in the C5), full variable refresh rate compatibility including AMD FreeSync and Nvidia G-Sync, HGiG HDR, Dolby Vision Gaming, and auto low latency mode.

It comes with LG’s Game Optimizer dashboard, where gaming settings can be instantly accessed and adjusted for optimum performance.

The C6 uses webOS 26 as its smart TV platform, the latest version of LG’s own smart TV software. While there aren’t as many new, headline-grabbing features this time around, AI features such as AI Search and AI Concierge have been refined, menus have been streamlined, with the removal of some picture and sound modes, and some new Quick Card categories have been added.

The C6 also supports all major streaming apps including Netflix, Disney+, Apple TV and Prime Video.

• Features score: 5 / 5

LG C6 review: Picture quality

• More accurate colors and refined contrast
• Excellent detail and boosted brightness
• Reflective screen can be an issue in bright conditions

Starting with brightness measurements, the C6 hit 1,438 nits peak HDR brightness (measured on a 10% white window pattern) in Filmmaker Mode. This is a sizable boost over last year’s C5, which clocked in at 1,180 nits in the same test. Standard mode receives a smaller boost, hitting 1,291 nits peak HDR in a 10% window, compared to the C5’s 1,191 nits.

Fullscreen HDR brightness has also received a healthy boost, with the C6 hitting 245 nits in Filmmaker Mode, up 25% from the C5, which registered 195 nits in the same test. In Standard mode, the C6 measured 232 nits compared to the C5’s 200 nits, so again a smaller change, but still positive.

In practice, this not only adds more brightness to SDR sources, but creates stronger contrast between dark and light tones in high-contrast scenes. Whites in particular, such as scenes of snow or white clouds, and any scenes with high peak brightness with the sun as a central feature, get a solid boost to make its picture more impactful over last year’s C5.

The C6 also does a good job with lower-resolution and SDR sources. An HD stream of Fight Club on Disney+ benefitted from upscaled textures and refined contrast, with darker scenes in particular looking great.

A DVD of The Amazing Spider-Man doesn’t quite look like it’s had the full 4K treatment, but textures are very neatly cleaned up, and there’s an injection of brightness to make it much more appealing overall.

I tried out Precision Master HDR Pro, a setting aimed to upscale SDR to HDR quality. While it did add more brightness and sharpened up textures, I found it to be too aggressive, as it created harsh edges around people and objects in The Amazing Spider-Man so I preferred to leave it turned off.

Color reproduction is superb on the LG C6, especially with Dolby Vision sources. In Elemental, streamed on Disney+, the oranges, pinks and purples of the vase as Ember fixes it are vibrant and punchy, with the C6’s new extra brightness adding even more shine to the picture.

In Wicked, as Elphaba stands under a tree in the Wizard & I scene, the pink flowers really pop on screen, but also appear more natural when compared to viewing the same scene on last year’s C5. The green of Elphaba’s skin also looks natural (allowing for the fact that it's green), with colors looking less saturated than on the C5, and for the better here.

It’s no wonder the C6’s colors pop, because it measured 99.7% and 75.8% coverage of the DCI-P3 and BT.2020 color spaces respectively. These are excellent results for a WOLED screen, and the C6 basically matches flagship OLEDs in DCI-P3, which is the most important space for HDR viewing.

It also registered a color accuracy score of Delta-E 1.2, which is fantastic for out-of-the-box settings, and means it’s essentially impossible to tell it apart from ‘perfect’ colors. All these measurements were taken in Filmmaker Mode.

Contrast is excellent on the C6. Watching The Batman, as Batman walks down a hallway, the balance between the dark tones of the wood-paneled walls and the light tones from the lamps are well separated, with each having their own nuances, creating strong contrast.

The same is true in Dark City — as John speaks to the desk clerk, black tones are rich, and contrast nicely with the bright and punchy desk lamp.

The C6 also displays superb shadow detail. Throughout The Batman, objects in dark backgrounds are still visible, such as the back wall of the subway platform or the portraits in Mitchell’s office. Comparing it to the C5, shadowed areas look more accurate, and true to how you’d expect the eye to see them.

Watching dark scenes in a pitch-black room, I did notice that black tones were raised in places. But by changing a few settings, dark areas on screen improved to the point where I was happy with them, without any in-depth calibration needed if you want to follow suit.

I dropped the ‘Near Black Detail’ option to -1 (it's 0 by default), dropped ‘Adjust Contrast’ from 100 to 95, and finally dropped ‘Black Level’ by 1, from the default 50 to 49. This didn’t dim the picture much at all, but improved black levels and contrast overall.

While watching a dimly-lit scene from The Green Knight, I did notice some vertical banding in a gray area of the scene. This was the first and only time I noted it in my test — I tested similarly difficult scenes in other movies — so it’s not enough to affect my score, but it’s something to note, as vertical banding has been a criticism of LG’s OLEDs in the past.

I compared the LG C6 to the LG C5, and the C6 demonstrates a more accurate color temperature, which is clearest when watching black-and-white movies. In Sunset Boulevard, the C6 delivers deep blacks, bright whites and a range of accurate gray tones.

Playing the same scenes on the C5, there's a green tint that affects the accuracy of the picture, and the C6 doesn’t have this issue. The green tint on the C5 isn’t noticeable in scenes full of color (and the TV scored excellent in color accuracy tests), but the starkness of monochrome really highlights it.

The C6 also delivered refined detail across content, with crisp textures that looked 3D-like but also natural and true-to-life. A close-up shot of Batman shows every bit of his stubble and other facial marks with real accuracy.

The C6 has excellent motion handling. I found Standard mode with the Natural motion setting to be perfect for sports (I tested soccer and baseball) and I used the Cinematic Movement motion setting for movies, which has been my go-to for LG for the last couple of years.

Without any processing on, there can be some judder in slow-moving movie shots, but Cinematic Motion worked well for delivering a panning shot of a cliffside cemetery from No Time To Die with natural-looking motion and much-reduced judder.

It’s not all plain sailing for the C6. I found that its reflection handling was merely average, noting some strong mirror-like reflections when watching darker scenes in brightly lit rooms.

While this was expected, I was impressed by the step-up LG G6’s anti-glare coating when I tested it, so I know that LG’s glossy OLEDs can crush reflections when given the tools; it's a shame the C6 didn’t receive the same treatment.

• Picture quality score: 4.5 / 5

LG C6 review: Sound quality

• 2.2-channel speaker system
• Good overall sound quality
• Some sound modes removed

The C6 has a built-in, 2.2-channel speaker array that supports Dolby Atmos, but like last year, there’s no support for DTS. LG has removed some of the traditional sound modes, such as Cinema and Sports, in favor of AI sound modes such as the returning AI Sound Pro and the new Precision Sound Master Pro.

Using the AI Sound Pro mode in my go-to Dolby Atmos scene — the Batmobile chase from The Batman — the C6 delivered great accuracy and detail, with a strong link between the action on screen and the sound. Mapping was very good, as the screech of swerving car tyres and blaring horns passing by off-screen sounded authentic.

The AI Sound Pro profile focuses more on the mid-range this year, which I personally prefer. The changes also meant the bass felt more solid than it did on the LG C5, and while it doesn’t beat the likes of Sony and Panasonic TVs, it was still meaty in places.

Trying out the Precision Sound Master Pro setting, the soundstage did feel wider, and there was more overall volume, but it was personally too bright for my tastes.

I always used the Cinema sound setting for my testing in previous models, so I’m disappointed that this is no longer an option, but AI Sound Pro is a solid alternative.

Still, despite the C6’s solid sound, I’d hook up a soundbar if you want the sound quality to match the picture, as Dolby Atmos effects can get lost and the soundstage can at times feel narrow.

• Sound quality score: 4 / 5

LG C6 review: Design

• Premium design with bezel-less screen looks great
• Metal stand and trim feel high-quality
• UK remote still feels cheap

The C6’s design carries over from last year’s C5. It feels premium but more lightweight than the hefty G6. Its silver metal trim and base makes the TV feel premium. The screen has a near bezel-less design with no real border, giving the picture the full real estate.

The rear panel has a marbled design that adds a nice touch, and the ports of the TV are easily accessible on the rear-side panel, with all four HDMI ports in plain view.

LG’s Magic Remote in the UK does, however, continue to feel cheap compared to other OLED remotes. While it has a useful pointer, its overall build still feels plasticky and light, a far cry from the black, metal rechargeable remote that Philips supplies with its OLEDs. Fingers crossed this changes next year.

• Design score: 4 / 5

LG C6 review: Smart TV & menus

• AI features are becoming smarter
• Streamlined settings menus is very welcome
• Snappy navigation is also an improvement

The LG C6 uses webOS 26 as its smart TV platform, and it’s again one of the best on the market. Quick Cards are a useful tool where relevant apps can be organized by category, such as Music and Game, and new options have been introduced, such as Office and Learning.

The Quick Menu continues to be one of the most useful tools for adjusting popular settings such as picture mode with no fuss — just hit a button and it pops up at the side of the screen, with instant access to common settings, without totally interrupting what you’re watching.

LG has streamlined some settings menus, moving options such as Network and Energy Saving higher up in their category for easier access. Couple this with the new faster Alpha 11 processor and navigation feels easier overall, with better visibility and nice, snappy performance.

AI features such as AI Concierge are more refined, with better recommendations, and new features such as Generative AI can be used to plan activities or create images.

webOS 26 does still have large banner ads at the top of the screen that take up just over a third of the home page, and I did note that whenever the C6 went into screensaver mode it wouldn’t take long before sponsored ads appeared.

Still, these are the only negatives I had with what has consistently been a brilliant smart TV platform, and ads are becoming increasingly common on all platforms.

• Smart TV & menus score: 5 / 5

LG C6 review: Gaming

• 4K 165Hz and full VRR support on all four HDMI ports
• 9.2ms 60Hz / 4.2ms 120Hz input lag time is as good as usual
• Superb performance and picture in gaming modes

The C6 maintains the LG C-series OLED’s reputation for best-in-class gaming performance and features. It supports 4K at 165Hz, variable refresh rate (HDMI spec, FreeSync, and G-Sync), auto low-latency mode, and Dolby Vision Gaming across all four HDMI 2.1 ports.

Activating its Boost mode in the Game Optimizer menu yields a measured 9.2ms (4K 60Hz) and 4.6ms (1080p 120Hz) input delay, a phenomenal result that gamers will be delighted with.

Playing Battlefield V, performance not only felt incredibly smooth as I targeted enemies while running, but looked excellent as well. The desert mission I played was bright and vibrant, and environments were incredibly detailed, with intricate textures in rocks and buildings.

Not much more needs to be said: the C6 is a gaming powerhouse.

• Gaming score: 5 / 5

LG C6 review: Value

• Cheaper launch prices than the LG C5 in the UK
• Excellent picture and features for the price
• But the C5 is a lot cheaper in 2026, and may offer better bang-for-buck

The LG C6 is great value for the performance and features it delivers. It carries across all the elements that made the C5 one of last year’s best TVs, but offers higher brightness, more refined contrast and color, and has an upgraded processor for faster performance.

The 65-inch model I tested costs $2,699 / £2,599 / AU$3,995, which means it’s launching for the same price in the US and Australia as the C5, which is impressive enough, but it’s actually £100 cheaper than the C5’s launch price in the UK, even with all the upgrades.

If you’re looking to buy at the time of writing, however — May 2026 — the C5 remains the best option, with the same 65-inch costing $1,399 / £1,399 / AU$2,599 on average.

If you’re based in the UK and looking for a 65-inch, I’d also strongly recommend the Philips OLED910, which costs £2,199 at 65-inch (£500 cheaper than the C6) and boasts flagship-level brightness and colors, plus a superb built-in Bowers & Wilkins sound system. In smaller 42-55-inch sizes, though, the C5 is still the best option.

The C6 is still a premium TV in the grand scheme of the TV market, but those launch prices are likely to drop quickly. If you want to buy right now, the C5 is still your best value option overall, but as C6 prices drop it will become even better value.

As far as new 2026-released TVs go, I don’t expect many to match it on the combination of features and image quality for the price.

• Value score: 4.5 / 5

Should I buy the LG C6 OLED TV?

Buy it if...

Don't buy it if...

Also Consider

How I tested the LG C6 OLED TV

• Tested over two weeks using HDR and SDR sources
• Tested in variable lighting conditions
• Measurements taken using Portrait Displays' Calman color calibration software

My first steps in testing the LG C6 involved establishing its most accurate picture modes through casual viewing. I landed on Filmmaker Mode for most movies, as well as Cinema Home, and finally Standard for sports and broadcast TV.

I then moved on to critical viewing, using both HDR (4K Blu-ray and 4K streaming) as well as SDR (DVD, Blu-ray and broadcast TV) sources to test the C6's picture. I used these sources to analyze upscaling (of SDR), color, brightness, contrast, textures, detail and motion.

I used a Panasonic DP-UB820 4K Blu-ray player when playing discs including 4K Blu-ray. I also used an Xbox Series X to test the TV's gaming features and performance.

Aside from subjective testing, I also took measurements on the C6 using a Klein K-10A colorimeter (profiled with a Jeti Spectral 15VA Spectroradiometer) and a Murideo Six G 8K Metal test pattern generator, and used Portrait Displays' Calman color-calibration software to record measurements.

To measure the C6's brightness, I used both HDR and SDR white window patterns ranging in size from 1-100%, taking readings in both Filmmaker Mode and Standard picture modes.

I also tested the C6's grayscale and color accuracy, taking an average of the Delta-E values (the margin of error between the test pattern source and what's shown on screen), looking for a result below 3. Anything below this is considered indistinguishable to the human eye.

I measured the coverage of the UHDA-P3 and BT.2020 color spaces, hoping for a result of over 95% for the former.

I also tested the C6's HDR EOTF in 1,000, 4,000 and 10,000 nits. This test shows the C6's accuracy at both light and dark levels. I also measured the C6's Spectral Power Distribution, which demonstrates its color performance, using the Jeti spectroradiometer.

Finally, I used a Leo Bodnar 4K HDMI Input lag Tester to test the C6's input lag in milliseconds.

Read our in-depth overview of how we test TVs at TechRadar.

• First reviewed: May 2026
• Read TechRadar's reviews guarantee

• HBO Max now requires Fire OS 6 or later on Fire TV devices
• Some Fire OS 5 devices were sold as recently as 2020
• Fire OS has been superseded by Vega OS on newer devices

If you have a Fire TV device from 2020 or earlier you may lose access to the HBO Max app — it only affects you if your device is running Fire OS 5, but that's still estimated to be "millions" of people, potentially.

The news comes via AFTVnews, which spotted that the HBO Max app support page has been updated and details Fire OS 6 as the oldest supported version of Amazon's TV OS.

That's bad news if you have the older OS, because while Amazon does deliver software updates to existing hardware, it almost never upgrades the version of the operating system.

AFTVnews notes that "this likely leaves millions of Fire TV devices still in use with no way to access one of the most popular streaming services."

That means if you've got one of the affected devices and you're looking forward to whichever Game of Thrones spin-off is coming next, it's time to buy a newer model.

What does HBO Max say about Fire TVs?

HBO isn't the only streamer to stop supporting older Fire TV devices. Netflix ended support for first-gen Fire TV devices in 2025 because the streamer now relies on video formats those devices don't support.

You can see the list of HBO Max supported devices here, and under Amazon Fire TV it says "Amazon Fire TV devices with Fire OS 6 or later [or] Vega OS 1 or later. This includes Fire TV Stick devices, Fire TV Cube, Echo Show devices, and Smart TVs with Fire TV built in."

Fire OS 5 is on Fire TV products sold between 2015 and 2020, including the second generation Fire TV stick. That was a massive seller, so HBO dropping support is going to affect a lot of people's devices.

From Amazon's perspective, upgrading the OS on older devices isn't always the best policy: newer OSes are built for newer hardware, and that can mean problems bringing new versions to devices they weren't built for.

And having people buy new models doesn't just enable Amazon to sell you a new Fire Stick running its new and preffered Vega OS: it also means moving people to a version of the product that can't be used for sideloading or dodgy free streaming.

At the time of publishing, deals on newer Fire TV devices (or Roku devices, if you're feeling a little burned by Fire TV) aren't widespread, but they're common, so keep your eyes open if you need an upgrade.

Thinking of buying a new TV?

Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

• Valve has been importing (literal) tons of "Game Consoles"
• Weights and details suggest they aren't Steam Decks
• HDMI 2.1 VRR and 4K 120Hz could be delivered via firmware update

With the new Steam Controller now shipping, attention is turning to Valve's hotly anticipated Steam Machine — and, fingers crossed, it appears to be nearing launch too. Valve has reportedly brought around 50 tons of "game consoles" into the US, at least according to import records seen by The Verge, .

Although it's possible that these imports are Steam Decks, which used the same label for their shipments, the shipping records detail different weights and patterns this time around. And that's led to speculation, or perhaps wishing, that the Steam Machine's US launch is imminent.

But if it is, you can expect them to sell out quickly unless Valve has a lot more containers coming or here already: as Notebookcheck.net calculates, 50 tons of shipments works out at about 20,000 Steam Machines.

That's not the only Steam Machine news circulating this week. It also appears that Valve's new console could come with HDMI 2.1, including full-quality 4K at 120Hz and variable refresh rate support, which was feared to be impossible.

If so, that makes it an even more serious rival to the Xbox Series X and the PS5 for playing on the best gaming TVs, because it makes the Steam Machine an even more impressive gaming platform for big 4K screens.

Will the Steam Machine have HDMI 2.1?

The Steam Machine is currently listed with a spec of HDMI 2.0 and 4K at 120Hz with a reduced color spectrum. That's because true 48Gbps HDMI 2.1 with the AMD graphics and Linux OS wasn't possible: as Valve explained late last year, the HDMI Forum had blocked open-source Linux drivers for HDMI 2.1.

Valve said that the hardware was certainly HDMI 2.1 compatible, but the software wasn't, and it was helping AMD try to "unblock things there." And according to reports on Phoronix, AMD has done just that.

AMD has released a series of Linux kernel patches that add support for HDMI Fixed Rate Link, aka FRL, a feature that's exclusive to HDMI 2.1. That's currently working on AMD GPUs on Linux systems. The next step is to develop a full implementation of HDMI 2.1 to potentially deliver 4K at 120Hz (or higher) with HDR, variable refresh rate and auto low latency mode.

There's no timeline for that full implementation, so it's unlikely that we'll see HDMI 2.1 at launch, whenever that actually turns out to be. But HDMI 2.1 is clearly possible on the Steam Machine, and that suggests it's a question not of whether Valve will support the standard, but of when that support will be delivered, so it can truly match what the consoles can do.

We're still waiting for a launch date for the Steam Machine, but hopefully it'll be announced very soon: the launch has been delayed because of memory and storage shortages, so the early 2026 launch has been pushed back. However, Valve was still hoping to launch in the first half of 2026, so we may see what's in those shipping containers very soon.

May is looking to be an exciting month for 4K Blu-rays, with major releases including arguably one of my most anticipated discs to date. While the list of May’s releases looks to be extensive, I’ve narrowed it down to four.

We’re big fans of 4K Blu-ray at TechRadar. It’s the best source for testing the best TVs, due to 4K Blu-ray’s higher bitrate for better picture quality, and best soundbars, as soundtracks are uncompressed, meaning you’re getting full-fat Dolby Atmos and DTS.

I’m hoping to get my hands on these discs to feature in our monthly feature, the Blu-ray Bounty, where we test the latest 4K releases from each month that we think will make for a good showcase for your home theater system.

In last month’s most anticipated 4K list (April 2026), I picked Gilda, Hamnet, Marty Supreme and 28 Years Later: The Bone Temple and all four were featured in the April 2026 Blu-ray Bounty and, spoiler, they all looked great!

As I’m based in the UK, the following picks are based on UK 4K releases, so don’t be surprised if your pick is missing!

Fight Club (20th Century Studios)

Instantly quotable and one of the best movies of the 90s, Fight Club tells the story of an unnamed narrator (Edward Norton) who befriends a soap salesman named Tyler Durden (Brad Pitt), and together they start an underground ‘fight club’. The movie also stars Helena Bonham Carter and Meat Loaf. Easily one of my most anticipated discs ever.

Fight Club is a visually striking movie. While a lot of its scenes have a grimy, murky look, these dark scenes make for an excellent contrast test, with plenty of black tones. I use this movie as one of my SDR tests, as on Disney+ it’s only in HD. I’m excited to see what it will look like in all its gruesome detail in 4K, and I’ve got high hopes after how good another of Fincher’s iconic movies, Se7en, looked when it came to 4K for the first time last year. While there’s talk of no Dolby Vision included, that didn’t stop Se7en from looking great.

There are plenty of audio moments in Fight Club that sound realistic and brutal, not limited to the numerous fight scenes in the club itself. With a solid soundtrack, be that Dolby Atmos or DTS, these scenes could be really impactful and be a perfect way to test the meatiness of your chosen sound system.

Release Dates

US: May 12, 2026

UK: 18th May, 2026

Some Like It Hot (Altitude Films)

Some Like It Hot is the legendary comedy featuring Marilyn Monroe as ‘Sugar’ Kane, a traveling musician who is unaware that two of her fellow band members in her all-female band are men (played by Tony Curtis and Jack Lemmon) on the run from the mob. A classic comedy, it was nominated for multiple Academy Awards. It’s worth noting this isn’t the 4K Criterion release available in the US, but rather a new version from Altitude.

I’ve been a believer in what 4K can do for classic movies for some time now, and that only seems to grow every month. Black-and-white movies like Double Indemnity, Sunset Boulevard, and 3:10 To Yuma (1957) have looked incredible, and I have high hopes for Some Like It Hot, too. While I’m disappointed it’s not the Criterion release, I’m still hopeful to see this iconic movie revived.

As with a good number of these older releases, I’m not expecting a new, mind-blowing sound mix here, but Some Like It Hot has plenty of musical sections with classic songs like the titular track and ‘I Wanna Be Loved By You’, both elegantly sung by Monroe.

Release Dates

UK: 18th May, 2026

US: N/A, Criterion version released April 8, 2026

Leaving Las Vegas (Studio Canal)

Leaving Las Vegas is the story of Ben Sanderson (Nicholas Cage), a struggling alcoholic who develops a relationship with a prostitute named Sera (Elisabeth Shue). The movie earned Cage the Academy Award for Best Actor, as well as an Academy Award nomination for Best Actress for Shue.

Interestingly, Leaving Las Vegas was shot on 16mm film, as opposed to the more mainstream 35mm. While I’m not expecting blockbuster visuals for this modestly-budgeted movie (approx $4 million), there are plenty of scenes showcasing the gaudy neon glow of Las Vegas that should make for some interesting visuals.

I’m not expecting any blockbuster moments from Leaving Las Vegas audibly, but it does have an interesting score and some licensed songs from Sting, including ‘Angel Eyes’, that with the right sound mix will hopefully complement the picture.

Release Dates

UK: 18th May, 2026

US: N/A — Shout Factory released December 16, 2025

“Wuthering Heights” (2026) (Warner Bros.)

A loose adaptation of Emily Brontë’s novel, Jacob Elordi stars as Heathcliff and Margot Robbie as Cathy in Emerald Fennell’s (Saltburn, Promising Young Woman) take on the classic period romance/drama. Fennel intended this version to "recreate the feeling of a teenage girl reading this book for the first time" (quote from a Vogue interview on YouTube).

While the film itself may be incredibly divisive, visually, it has plenty of moments that should look stunning on 4K. There are plenty of vivid, vibrant colors that explode on screen, along with breathtaking shots of the surrounding moors. There’s also plenty of stylized, contrast-rich shots that should make for a real showcase on a home theater system. And with Dolby Vision supported, “Wuthering Heights” should look excellent.

Audio-wise, the main talking point is Charlie XCX’s soundtrack. Thankfully, there’s a Dolby Atmos mix included, so it should deliver this soundtrack with real clarity and immersion. The pulse-pounding, big electronic sound XCX has become known for is a highlight, so it’s sure to sound great on a big sound system.

Release dates

US: May 5, 2026

UK: 11th May, 2026

Highlighted releases May 2026

Below is a list of highlight releases for May 2026. Both US and UK release dates are featured here (these are indicated). Release dates may vary by region, with some coming later in the year or already released. Titles featured in my list above are in bold.

May 4 / 5

• Alice in Wonderland (1951)
• Blue Thunder
• “Wuthering Heights” (2026) (UK release 11th May)
• GOAT
• Point Blank (US release date April 21 2026)

May 11/12

• Fight Club (UK release 18th May)
• Mona Lisa (UK)
• Moneyball (US, UK release TBC)
• Bridesmaids

May 18/19

• Leaving Las Vegas (UK)
• Speed Racer (US, UK release 15th June)
• Avatar: Fire and Ash (US, UK release 1st June)
• Boy Heat
• The Walk
• The Bride!
• Some Like It Hot (UK)
• Witness (UK)
• The Dollars Trilogy (UK, Arrow Video)

May 25/26

• Robin Hood: Price of Thieves (US, UK release March 2023)
• Harry and the Hendersons
• The Great Outdoors
• Lenny
• Sirat
• Zulu Dawn
• The Cars That Ate Paris
• Insomnia (1997 original)

Welcome to the April 2026 edition of the Blu-ray Bounty, where we check out the latest 4K Blu-ray releases from each month, assessing their picture and audio to see if they make a worthwhile addition to your 4K Blu-ray collection. This month is our largest list to date, with a whopping 8 discs.

If you want to check out previous editions of the Blu-ray Bounty for some disc recommendations, they can be found at the link. In last month’s March 2026 Blu-ray Bounty, I tested 6 discs: Wicked: For Good, The Running Man (2025), 3:10 To Yuma (1957), The Breakfast Club, The Man Who Wasn’t There, and Cutter’s Way.

We’re big fans of 4K Blu-ray here at TechRadar. It’s our go-to source for testing the best TVs and best soundbars, because it has excellent picture quality due to its high bitrate and uncompressed soundtracks. We’re also collectors ourselves!

I’ll be using our reference setup for this month’s edition, consisting of the LG G5, one of 2025’s best OLED TVs; the Panasonic DP-UB820 4K Blu-ray player, the best 4K Blu-ray player on the market; and the Samsung HW-Q990C, an 11.1.4 channel, Dolby Atmos soundbar system.

I won’t be analyzing the movies of these discs themselves: only their picture and audio to see how much they’ll show off your home theater setup.

Ben-Hur (1959) (Warner Bros.)

One of Hollywood’s most iconic epics, Ben-Hur stars Charlton Heston as the titular Judah Ben-Hur, a former Jewish prince condemned to slavery after he is accused of treason. The story follows his quest for freedom and revenge on those who betrayed him. At the time of production, it was the largest-scale movie ever released, costing roughly $15 million ($170 million today).

Much like Lawrence of Arabia 4K from the February 2026 Blu-ray Bounty, Ben-Hur is a staggering 4K Blu-ray. The restoration here upscales textures to an almost modern-day look, with accurate, lifelike skin tones and refined details such as rocks, grass, and buildings throughout. Colors are rich and vibrant: from the reds of the Roman soldiers' capes to the glorious blue sky, every color pops on screen.

There’s some nice brightness to this disc, too. Soldiers' gold uniforms gleam in the sunlight, and the sand-colored buildings of Jerusalem dazzle without ever over-exerting the brightness. Even the movie’s darker scenes display rich blacks with powerful contrast. As the slaves row the ship, the dark tones of the walls contrast with the light from the torches beautifully.

Ben-Hur has received a serious audio upgrade as well as a visual one. The Dolby Atmos soundtrack does wonders for the bombastic and mighty horn-led score, which sounds clean, refined, and powerful. Surround channels come into play frequently, such as the hustle and bustle of the markets in Jerusalem or during the chariot races in the latter parts of the movies, with galloping hooves and the roaring crowd delivered with real precision. The hooves also make for a great workout for your subwoofer.

28 Years Later: The Bone Temple (Sony Pictures)

The fourth installment in the 28 Days Later franchise, 28 Years Later: The Bone Temple, is a direct sequel to 28 Years Later and follows Spike (Alfie Williams) as he is indoctrinated into the cult of Sir Lord Jimmy Crystal (Jack O’Connell). Ralph Fiennes returns as Dr. Ian Kelson.

28 Years Later: The Bone Temple is a visual feast for the eyes. In daytime scenes, as characters walk through nature, colors like the bold, red flowers and lush green trees have some serious pop. Textures are 3D-like in appearance, with all the dirt, blood, and scars on Kelson’s body looking incredibly detailed and realistic. Highlights have some serious shine to them too, with Crystal’s gaudy gold chains looking suitably vibrant.

Night scenes look superb too. Blacks are consistently deep throughout and looked great on the G5 during my testing. Contrast is powerful, with any scenes involving fire balancing beautifully with the rich, black surroundings. Again, fire really showed off the punchy brightness in peak areas too.

Equipped with a Dolby Atmos soundtrack, 28 Years Later: The Bone Temple is a showcase for speakers. Moments of violence sound gruesome, with every hit, stab, and puncture given a skin-crawlingly realistic level of detail. The Atmos soundtrack is utilized well. As projectiles were fired during the barn scene, they seemed to come from all directions where I was sitting. Speech is crystal clear throughout, and don’t worry, Kelson’s pyre scene (which we won’t spoil) sounds excellent.

Hamnet (Universal Pictures)

Hamnet dramatization of playwright William Shakespeare (Paul Mescal) and his wife, Agnes Hathaway (Jessie Buckley), as they deal with the death of their son Hamnet. Nominated for multiple awards, Buckley earned an Academy Award for her portrayal of Hathaway.

A gorgeous-looking disc, especially in Dolby Vision, Hamnet delivers some lovely visuals. Colors have some nice punch, such as Hathaway’s red/orange dress at the start of the movie, but also appear true-to-life, with the greens of the countryside around Shakespeare’s home, looking great. Textures are strikingly realistic, with close-up shots of people’s faces showing freckles, stubble, and aging lines with impeccable detail.

Darker scenes look great too. As the family eats dinner at night, the black surroundings are deep and balance nicely with the flame of the candles on the table, creating a strong contrast and casting strong shadows.

Hamnet has a Dolby Atmos soundtrack and makes use of it. The score throughout sounds excellent, with the opening choral track filling our testing lab nicely, and the melancholic strings sounded refined throughout. Dialogue is consistently clear, and there are some good Atmos scenes, with scenes in the forest featuring birds flying overhead utilizing height channels.

Marty Supreme (A24)

Marty Supreme is the story of Marty Mauser (Timothée Chalamet), a table tennis player in the 1950s who vies to become world champion. The character of Mauser is loosely based on real-life US table tennis player Marty Reisman.

Marty Supreme looks great in 4K. The movie’s table tennis tournament scenes demonstrate strong contrast between the lit-up tables and players and the crowds, who are encased in deep shadows. Colors can also look rich, whether it’s the bright red of the paddles or the sometimes bold 1950s aesthetic, namely loud-looking greens and pinks. Textures look both crisp and true-to-life, with stubble, wrinkles, and hair looking refined.

This disc’s Dolby Atmos soundtrack has plenty of fantastic moments. Any scenes involving ping-pong are accurately mapped, with a strong connection between the sound and the action on screen and pinpoint directionality. One scene where Marty plays in a bar delivered great surround sound, with the rattle of ping pongs coming from the rear speakers as Wally (Tyler, The Creator) talks to another patron. The movie also features notable tracks from the 1980s, such as Alphaville's ‘Forever Young’, and all of these sound authentic and engaging.

Gilda (The Criterion Collection)

Another iconic movie of Hollywood’s Golden Age, Gilda follows the story of Johnny Farrell (Glenn Ford), a card counter who begins to work for casino owner Ballin Mundson (George Macready). Mundson returns from a trip abroad with a new wife, Gilda (Rita Hayworth), whom Farrell recognizes from his past. This movie was a star-making turn for Hayworth.

Gilda is yet another home-run restoration from Criterion Collection. Textures have been cleaned up beautifully to look more refined and crisp, which is especially apparent in people’s skin. Contrast is great with deep dark tones and bright white tones and there’s a great range of gray tones in between. Cinephiles will be happy with the level of grain included, but make no mistake, this is a very clean 4K restoration that looks top-notch.

This disc only supports a monaural soundtrack, but dialogue is crystal clear throughout, and sound is accurately mapped. Shattering glass, bullets, and the hubbub of the casino all sound great. Musical sections also sound very good with a nice balance and strong detail. Not a showcase soundtrack for a home theater system, but very well cleaned up.

Crime Story (88 Films)

Crime Story is an action-thriller starring Jackie Chan as Police Inspector Eddie Chan, who is tasked with finding missing businessman Wong Yat-fei. His journey takes him from Hong Kong to Taiwan, where he encounters powerful mobsters. The film is based on the real events surrounding the kidnapping of businessman Teddy Wang in 1990.

This 4K restoration from 88 Films is excellent. The picture has been cleaned up to deliver crisp textures that appear lifelike throughout. There’s a nice mix of scenes to show off all aspects of a display, from the punchy colors of the neon-clad Taipei markets to the shady, shadowed rooms where gangsters hang out, which deliver a strong contrast with deep black tones. Film grain fans also need not worry, as there’s a healthy amount maintained as well.

There are both Stereo 2.0 LCPM and DTS-HD 5.1 soundtracks on offer here in both the original Cantonese and suitably overacted, cheesy English dub. I opted for the Cantonese 5.1, and as you’d expect from an action-packed Jackie Chan movie, there’s a lot going on. Explosions and gunfire deliver plenty of meaty bass with serious impact, and ricocheting bullets are accurately mapped to a nice, wide soundstage. Dialogue is very front-end in the 5.1 mix, sometimes at the expense of other elements, but it’s always clear.

The Devil's Backbone (Studio Canal)

Directed by Guillermo del Toro, The Devil’s Backbone is a Spanish gothic horror movie that follows the story of a boy who finds himself in an abandoned orphanage at the end of the Spanish Civil War. The orphanage is haunted by a recently deceased boy.

The picture quality of this restoration from Studio Canal is fantastic. Daytime scenes have a stunning brightness to them, with accurate color reproduction of the beige sands of the desert surrounding the orphanage, while instances of red really pop on screen. Night sequences have excellent black depth, balancing well with the light from the moon or candles as they creep into the darkness.

There are both DTS-HD 5.1 and 2.0 LPCM sound mixes. I used the DTS-HD 5.1, and it’s brilliant. Everything sounds natural, especially the dialogue. The score is consistently strong and presented with real clarity, particularly during the movie’s more eerie scenes, accurately delivering the chill factor. Moments of impact, such as punches and door slams, deliver deep, engaging bass. Overall, an excellent sound mix.

The Blade (The Criterion Collection)

A wuxia movie (a genre based around the adventures of martial artists in ancient China), The Blade tells the story of Ding On (Vincent Zhao),a factory worker who learns martial arts to seek revenge on his father’s killer.

The Blade’s picture looks stunning and is yet another awesome job by Criterion. Colors are bold and vibrant throughout, but also appear natural. This can be seen in the movie’s many fight scenes, where different color filters are used to create striking, dynamic images, and other colors, such as blood and costumes, pop. There are a good number of high contrast scenes where the light from torches balances well with the rich black tones. Textures have also been refined, with skin tones and textures in particular looking very natural.

This disc only supports a monaural soundtrack (both in the original Cantonese and a dubbed English track), but it delivers clear dialogue that’s well balanced with other effects. The movie’s many fight scenes have plenty of impact and accuracy, with the clashing of metal blades in particular sounding satisfying punchy.

• Dreame has announced its RGB mini-LED TV is coming to the US
• It boasts speakers that physically move to adjust the sound based on where you're sat
• It was showcased at Dreame Next in April 2026

If you can say anything about Dreame, it’s that the smart home brand isn’t afraid to stick robotic moving arms anywhere it can justify it — and that now extends to TVs with the Innix Aura Mini LED R8000F. This unique TV has made its American debut at Dreame Next in San Francisco, and is set to actually become available in the future in the US.

Instead of a grabber reaching out from your screen, the robotic element is Dreame’s world-first dynamic sound engine. This 6.2.2-channel audio setup features mechanical, extendable, rotating speakers that adapt to the viewer’s position (using AI to decide how to mode, naturally) to create the best sound experience.

So no matter where you sit in your living room, or even if you decide to get up and sit elsewhere mid-movie, Dreame says you should get a standout sound performance with all positional effects recreated perfectly for you.

In addition to the sound innovation, Dreame promises the next-gen RGB mini-LED display can achieve incredible color accuracy, with the Dreamind Master AI processor optimizing visuals and audio in real time.

Now, we’ve already seen the impressive RGB mini-LED tech in other TVs — including Samsung's world-first 130-inch version at CES, and a great-looking demo from Panasonic — and so Dreame’s display is likely to be as visually dazzling as those, depending on how well its processing works.

The really big question is those robotic speakers.

While Dreame Next did have an R8000F TV for me to marvel at the hall, the crowds and high cluttered ceilings are not acoustically ideal when it comes to getting an early impression of TV sound. Nor were the sounds of vacuum cleaning from the demonstration happening literally right in front of the screen.

But we do know that physically moving and turning speakers in your space can improve audio performance, so the basic principle is certainly a valid one. Following the user to improve sound quality using virtualized changes in the sound is a principle used in the LG Sound Suite Immersive Suite 7 Pro setup, and as part of Trueplay tuning if you use a Sonos soundbar such as the Sonos Arc Ultra — but those don't actually move the speakers.

It all depends how effective the TV’s speaker movements are, how accurate the AI smart adjustments are, and also how the speakers handle multiple watchers spread around your room and not just a single person.

We’ll also need to test the TV out for ourselves to judge if it can hold a candle to a proper surround sound setup, and if it’s solid value for money, but we're really looking forward to trying it out.

Pricing and release date information aren’t yet available for the R8000F, but we’ll hopefully get our hands on this TV before the end of 2026.

Alongside the R8000F, Dreame gave us another look at its S100 TV.

The Aura mini LED display features "QLED+" technology to enhance its visual details, with its black crystal screen boasting anti glare and low reflections to help maintain visual clarity in bright conditions.

Sound-wise, while it doesn’t offer adjustable speakers like Dreame’s R8000F, the S100 does house a 4.1.2-channel sound system built into the screen, apparently.

It debuted at CES earlier this year and is set to land at some point before 2027 with a starting price of $1,299 (around £960 / AU$1815) for its smallest 55-inch size model.

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• Samsung has joint-developed a nano-material to create a 3D/2D switching light-field display
• Glasses-free 3D with wide viewing angles and very high resolution
• Likely to appear in phones, tablets and commercial displays first

Are 3D TVs coming back? Not anytime soon, but a new kind of 3D display tech is still quite exciting, and Samsung has teamed up with Korean private research university POSTECH to make a breakthrough. It's developed a way of switching between very high-resolution 2D and realistic, glasses-free 3D.

We've seen glasses-free 3D from both TCL and Visual Semiconductor recently, and they both use plenoptic displays, aka light-field displays. Samsung's version of a light-field screen uses what are described as a "metasurface lenticular lens" layer of "nanoscale structures" to "transition seamlessly between flat (2D) and stereoscopic (3D) images".

This is an important development because as trade site The Elec explains, conventional light-field displays tend to use bulky lenses, deliver narrow viewing angles, have relatively low resolution and can require real-time eye tracking to deliver 3D. Samsung's design addresses these issues.

What's so special about Samsung's 3D screen tech?

Like other light field displays, Samsung's system transmits light from multiple directions simultaneously to mimic the way light reaches the eye from real objects, which makes it possible to trick the brain to deliver glasses-free 3D. It means there's no limited 'sweet spot' you need to be in to see the 3D effect. But without decent viewing angles for general usage, most displays will still be of limited use. Enter Samsung and its metasurfaces.

Samsung's apparently metasurfaces deliver complex optical functions without the bulk of existing lenses, and Samsung's lens can change its focal properties to deliver either 2D or 3D through a simple change of voltage. According to The Elec, the lens currently delivers viewing angles of up to 100 degrees while only being 1.2mm thick.

That's the good news. The bad news is that you shouldn't expect to have this tech in your home any time soon. Samsung's lens was 25 centimetres square, which is only around a quarter of the size of a smartphone display, let along a TV.

The first commercial applications of the technology are likely to be either small, but that could be fun. Imagine if your iPhone could reproduce your photos in 3D, thanks to the depth maps it already captures in photos? Or the what if the Nintendo Switch 3 actually turns out to be the Switch 3DS, with a return to glasses-free 3D gaming?

It's very possible that actually the first applications will be for big spenders, such as retail and other business displays.

Will the tech make it into TVs? I'm not sure, and I'm speaking as someone who both owned and loved a 3D TV. It seems that every generation has to go through the '3D is the future! / actually no it isn't!' cycle: the 3D cinema boom of the 1950s, the second 3D cinema boom of the early 80s, the Avatar-led 3D cinema and 3D TV boom of the 2010s…

So if that schedule repeats, we're due the next 3D boom in the 2040s. Which gives Samsung plenty of time to perfect its tech.

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• Samsung Display applied for screen certifications that seem to include the first 83-inch QD-OLED panel
• New 24-inch monitor-size panel is also references
• No official word on a launch or plans for when they'll appear

There's big news in the world of QD-OLED TV: the first 83-inch QD-OLED panel has appeared in certification listings, which suggests that a launch is on the cards.

As FlatpanelsHD reports, the UL Solutions certification database details multiple Samsung Display QD-OLED panels that have been submitted for the organization's QuantumView verification. And one of those panels is labelled QDOLED83.x, where the number refers to the panel size in inches.

The full list starts at 24 inches and runs through 27 inches, 31 inches, 34 inches, 49 inches, 55 inches, 65 inches, 77 inches and 83 inches. Until now, QD-OLED panels have topped out at 77 inches.

The sizes under 55 inches are for monitors rather than TVs, and offer a much-anticipated secret of their own: they appear to confirm rumors of a 24-inch version coming.

When is the 83-inch QD-OLED TV launching?

The short answer: we don't know. The slightly longer answer: Samsung hasn't announced its existence, let alone product plans, pricing or launch dates… but we can make a very well-educated guess

We've had rumors of this 83-inch panel before, and they've proved to be unfounded: the discovery of what was thought to be an 83-inch QD-OLED in Samsung's parts database in late 2024 turned out to be the Samsung S95F, which came in an 83-inch size, but uses a WOLED panel from LG Display for that size, and stuck with QD-OLED for the smaller sizes.

This leak looks much stronger, because it comes from Samsung Display (the part of the company that makes the panels, not the part that makes TVs) directly.

The company uses UL Solutions' QuantumView certification as a marketing angle – so for example last week Samsung's press office was delighted to tell us that Samsung Display's entire QD-OLED line-up has achieved that certification. That press release didn't detail the screen sizes, however.

So far Samsung hasn't listed an 83-inch QD-OLED in its 2026 line-up, and neither has Sony, which also uses Samsung Display panels. But it would be rather strange to get certification for a screen size you don't intend to sell.

So while an announcement doesn't appear to be imminent, I'd expect to see this large model become an option in 2027's TVs. It will probably go through mass manufacturing later in 2026, ready to be assembled in TVs at the end of the year and the start of next year — perfect for the usual TV cycle of announcements at CES and launches during the following April or May.

In meantime, we expect that the 2026-release Samsung S95H/S99H will use Tandem WOLED for its 83-inch model again — though that's no bad thing, given the performance of the LG G6 OLED TV in our review, which uses the same panel.

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LG’s C-series OLEDs are arguably among the most popular TVs released every year, thanks to their versatility, performance, and value for money. While still a premium TV for many, it's often one of the most competitively priced for what it delivers.

Last year’s LG C5 was one of the best TVs I’d tested, and while it didn’t bring tons of changes from the LG C4 – other than a moderate brightness boost and an updated processor with more AI features – it was still a superb TV that brought across everything great about the C4 and built on it further.

The C5’s successor, the LG C6, has landed in our testing labs, and I’ve been putting it through its paces, including placing it side-by-side against the C5. Based on my testing, it’s a solid upgrade, bringing more improvements than the C5 delivered over the C4.

It’s worth noting that the C6 model I’m testing, the 65-inch, uses the same kind of WOLED EX panels that the C-series has used for a while, while the 77 and 83-inch models now use the Primary Tandem RGB 2.0 OLED panel that's also used in the LG G6. These two models now go under a different name as a result: the LG C6H.

The C6 has impressed me in the time I’ve been testing it. Here are my top three things I like about it, and one area where it could be better.

A solid brightness boost

I measured the LG C5 last year at 1,180 nits peak HDR brightness (measured on a 10% window in Filmmaker Mode), and I was pleased with the moderate boost in brightness over the C4 (which clocked in at 1,065 nits with the same tests). It gave highlights and peak brightness areas on screen that little extra pop.

This year, the C6 has provided an even bigger brightness boost, clocking in at 1,438 nits peak HDR brightness (10% window) in Filmmaker Mode. This makes a huge difference in high contrast scenes. In movies like The Batman and Dark City, you can see what the extra brightness has done with lamps in dark-lit hallways, making them bolder and, in turn, delivering stronger perceived contrast.

The C6 has also had a nice fullscreen brightness boost. I measured it at 245 nits full-screen HDR in Filmmaker mode, an increase of 50 nits over the C5’s 195 nits. 50 nits may not seem like much, but in fullscreen for a WOLED TV, it’s a healthy step-up — it's around a 25% improvement, after all.

It helps brighter scenes with even light levels (including sports), and in theory, it should help in brighter rooms to beat reflections (spoiler alert: I’ll be discussing that below).

Goodbye, green tint

Over the past couple of years, some of LG’s OLEDs have had a slight green tint to them. This isn't always noticeable, but it does become more obvious when compared to other brands’ OLEDs.

Despite this, LG’s OLEDs always tend to score well in our color accuracy measurements, often clocking under 1.5. For context, we get these results by averaging the Delta-E values (the margin for error between the signal from the test pattern source and what’s shown on screen), and anything below 3 is considered a great result, since it's indistinguishable from 'perfect' to the human eye.

When viewed in isolation, LG’s OLEDs still look excellent. They always score highly in the picture quality section of our reviews. But, putting the C6 side by side with the C5, it’s clear that the new model looks more accurate.

This difference was most obvious when viewing black and white movies. Watching Sunset Boulevard, the picture looked more accurate in the grayscale tones on the C6, and the green tint became noticeable on the C5. It made the C6’s whites and grays look cooler in temperature, taking on a more blue/white look, which suited the film better.

While it was less obvious on other content such as full-color movies or animation, the C5's green tint was still faintly there, and I found myself drawn to the C6’s picture.

Faster processor, more features, cheaper price

While the 65-inch C6 I’ve been testing may miss out on the Primary Tandem RGB 2.0 panel the 77 and 83-inch C6H is getting, it has received one notable hardware upgrade: the new Alpha 11 AI Gen 3 processor, which is the same used in the flagship G6.

Not only does this mean response times and performance when navigating menus are faster, but it’s getting all the Alpha 11’s picture upgrades, such as 13-bit color processing (12-bit with 1 bit of brightness) and Brightness Booster, which could explain the C6’s big brightness upgrade I discussed above.

The C6 already came with all the C5’s gaming features that made the latter one of the best gaming TVs on the market, but PC gamers are getting more support this year. The C6 supports up to 4K 165Hz, an upgrade over the C5’s 4K 144Hz.

The other great news is that we’re getting these upgrades and cheaper launch prices for the C6 (in the UK at least). I recently reported the C6’s launch prices, and it’s launching cheaper than the C5 did in every size. The 65-inch I tested will hit shelves at £2,499 compared to the C5’s £2,699. Elsewhere, it’s actually launching for the same as the C5, despite the fact that we usually expect an increase in the current climate.

Room for improvement: reflections

Reflections and bright-room viewing have been the bane of glossy OLEDs for years. It’s why Samsung introduced its excellent Glare Free matte screen in 2024 and refined it in 2025 with the five-star Samsung S95F. And in 2026, it’s bringing said anti-reflection screen to the mid-range Samsung S90H, the LG C6’s mid-range OLED rival.

I’ve admittedly been spoiled this year by seeing what the LG G6 can do in a bright room next to the Samsung S95F, battling reflections while providing more accurate blacks. Yes, the S95F is still the best at outright eliminating reflections, but the G6’s new anti-glare coating really does make a difference, so much so that it would be my pick for OLED bright room viewing.

That still doesn’t stop me from feeling disappointed that the C6 still suffers from the same distracting reflections that its predecessor did. Not even a brightness boost could help it, as mirror-like reflections plague the C6’s screen, made even worse when watching darker movies.

It’s one of my few gripes with the C6, but seeing how the G6 is capable of massively reducing reflections (even though it has a glossy screen) and that the rival Samsung S90H is bringing anti-glare to the mid-range OLED market, does make me wonder why LG couldn’t try and reduce the C6’s reflections further.

LG C6: it’s looking good

Other than the reflections and a few other nitpicks I have with the C6, it looks like a truly brilliant TV from the time I’ve tested it so far. The three things above are just my top three stand-out changes, but it really does deliver improvements to the picture quality, gaming performance, and features we’ve come to know with LG’s C-series models.

While I would still say the LG C5 is the best option if you’re looking to buy right now, as its prices continue to drop over a year into its life, the C6 is a worthy upgrade and would be my choice if you’re holding off. I’ll have my full review live soon, but right now, things are looking very good for the C6.

The LG C5 was easily one of the best TVs released in 2025, as it continued the C-series OLED lineup's long legacy of delivering excellent picture quality and a full range of features at a mid-range OLED price.

When I tested the C5 last year, I awarded it the full five stars in my LG C5 review – thanks to its vibrant yet accurate picture, and its top-tier gaming performance – so its successor, the LG C6, has some big shoes to fill.

On paper, the C6 is very similar to the C5… in its 42- to 65-inch sizes at least. In its larger 77- and 83-inch models, the C6 becomes the C6H and uses a Primary Tandem RGB 2.0 OLED panel, the same in the flagship LG G6, rather than WOLED EX panel used in the smaller sizes, which is similar to the panels from the last few versions.

Still, all models of the C6 does come with a new processor: the Alpha 11 AI Gen 3, which is the same used in the flagship LG G6. This means it should get a nice brightness boost and improved color output, like the G6 does.

The 65-inch C6 recently arrived in our testing labs so I decided to put it against our C5 model we use for reference testing to see what changes, and hopefully improvements, had been made on the C6.

How has the LG C6's brightness improved?

We weren't sure if we'd get much of a brightness boost in the C6, rather than the C6H, but I've been very pleasantly surprised. As soon as I loaded up some snow scenes from the Spears & Munsil demo footage I always use for reference material, the C6’s higher brightness was obvious. Whites had a much bolder, vibrant look that made the snow really pop on screen. Crucially, it never overexerted the brightness either, keeping it well controlled in peak areas.

Other scenes where the sun sits on the horizon or in the sky showed the benefits of the peak brightness boost. As it sat on horizons or in the sky in movies such as Top Gun: Maverick or Wicked, these peak areas on screen looked more impactful and noticeably brighter, even compared to the already solid LG C5.

But here's the interesting twist: I measured the C6’s peak HDR brightness (in a 10% window) at 1,438 nits and its fullscreen HDR brightness at 245 nits, both in Filmmaker mode. This is a big jump from the C5’s 1,180 nits peak HDR and 195 fullscreen HDR brightness in the same Filmmaker Mode. That all makes sense, given that I could see a clear brightness increase.

However, the C6 actually measured lower in brightness on 25%, 50% and 75% brightness windows. It measured 694 nits at 25% (C5: 775 nits), 389 nits at 50% (C5: 443 nits), and 287 nits at 75% (C5: 317 nits).

Despite this, in real-world use, all scenes looked brighter, even if they seemed like they would fall into these categories. We've reached out to LG to discuss this result, in case it could be a quirk of the measurement process.

One area where the C6 hasn’t made a big change, however, is in its reflection handling. The C5 struggled with reflections and the C6 is no different. Despite a brightness increase, dark scenes can still be a struggle in brighter rooms on the C6, as it didn’t receive the anti-glare upgrade that G6 did, which I found very effective when comparing it to the Samsung S95F.

Have the colors improved on the LG C6?

To compare the C6 and C5’s color reproduction, I decided to return to an old favorite reference testing disc in Wicked. With both TVs set to Dolby Vision Filmmaker Mode, it was clear that the C6’s colors were indeed an upgrade over the C5’s. For one, color accuracy seemed to be improved, because by comparison the C5 had a slightly green tinge, but the C6 looks just how I'd expect.

In the ‘Wizard & I’ scene, while both TVs delivered strong, vibrant colors, the C6’s demonstrated greater accuracy. The C6’s color saturation appears to be dialled back compared to the C5, which is something I also found when testing the step-up G6 and G5 side-by-side. This decision was by design, and I feel it’s benefitted the C6.

But colors on the C6 still had a lovely punch, with the pink flowers in the tree looking vibrant and the green of Elphaba’s skin and the blue details on the wall and other student’s uniforms striking a nice balance between authentic and bold.

The C6’s added brightness also helped with other scenes. As the train arrived into Emerald City, the dazzling greens of the train really popped on screen and the gold details of the train's mechanisms dazzled more on the C6 than the C5.

Skin tones also appeared more accurate on the C6, looking more true-to-life across each person on screen. The C5’s didn’t look bad by any means, but the C6’s authenticity really gave it the edge.

One element I'm going to dig deeper into before completing my full LG C6 review is how it handles color banding — the LG G6 is much improved in this area in HDR10 in my experience, and it's thanks to the processor, so I'm hoping for the same here. Watch this space for the full review.

Has the LG C6's contrast improved over the C5?

To do an initial comparison of the C6 and C5’s contrast, I used my go-to disc: The Batman. Throughout the movie, there are plenty of high-contrast scenes which are perfect for showing off what an OLED is capable of.

The C5 did a superb job with The Batman when I first tested it and while it still looked great here, as you’d expect from one of the best OLED TVs, the C6 again looked better.

While both TVs delivered strong contrast with a good balance between dark and light tones, the C6’s higher peak brightness gave stronger perceived contrast. As Batman walks down a hallway of a crime scene in Mayor Mitchell’s House, the wall lamps had more shine on the C6.

Where the C6 really succeeded was in the finer details. Black tones were a little bit richer and shadow detail was better. As Batman and Catwoman first meet in the darkened office, portraits on walls were more visible on the C6. The same was true of the opening subway scene, as more of Batman’s armor and the platform’s surroundings were visible on the C6.

Crucially, the C6 didn’t raise black tones to do so. In fact, in some scenes, the C5’s blacks appeared crushed at times, with some detail loss in the aforementioned armor.

Another contrast test was to see how these TVs displayed black and white movies. I opted for Sunset Boulevard. As you’d expect from two OLED TVs, screen uniformity was excellent and both demonstrated deep blacks, punchy whites and a full range of gray tones to deliver a more complete picture.

Whether it was the daytime scenes as Joe walks to the gates of Paramount Pictures studio or in Norma’s gloomy drawing room as she’s clad in black, both TVs did a good job with the contrast of the movie.

Once again though, with both TVs side-by-side, the C6’s more accurate color temperature came across. The C5 again had the slight green hue across the screen, while the C6 had the cooler, blue look I would expect, which meant it looked more accurate with a black-and-white movie.

In isolation, the C5 was still great for black-and-white pictures — you don't really notice the green hue unless you have something to compare it to — but the C6 showed how much of an improvement it was.

The C5’s secret weapon

Having put these two TVs side-by-side, I would say the C6 is a nice upgrade over the C5. Not only do colors look more natural, but it demonstrates slightly better and more balanced contrast, a nice brightness boost and a more accurate color tone across the whole screen. The C5 is still a brilliant TV that deserved every bit of its five-star rating, but the C6’s adjustments give it a more complete picture.

However, if you’re looking to buy right now, in early 2026, the C5 is clearly the better option. For a 65-inch C5 you’ll be paying $1,299 / £1,399 / AU$2,599 on average. As the C6 has only just launched, the 65-inch model will cost around $2,699 / £2,499 / AU$3.995. That’s a huge difference.

While the C6’s price won’t stay that high for long — the C-series is often the first model in LG’s TV lineup to get a discount — the C5 is a much better value option as it stands.

If you’re not in a rush to buy, the C6 delivers better picture quality based on this test, so it would be my pick once price drops are happening. But, the C5 is still a superb TV that won’t really let you down so if you’re looking to buy a C-series model soon, the C5 is the better choice.

• The JMGO N3 Ultimate is available to order, with an early price of $2,399 (about £1,777 / AU$3,354)
• 4K, Dolby Vision HDR and up to 5,800 ISO lumens
• Triple-laser system with emphasis on optical adjustment

JMGO's new 4K projector comes with what the brand says is the "world's first" 3-in-1 integrated optical system. The N3 Ultimate combines four-way lens shift, wide range optical zoom and a smart gimbal in a single system that promises better visual performance even when projector placement isn't perfect.

The N3 Ultimate is bright, too, with an output of up to 5,800 ISO lumens. That's exceptionally bright, and more than double the brightness of our current favorite home theater projector, the Epson Pro Cinema LS9000.

As we've come to expect from the brand there's a big discount for early bird buyers. The full price is $2,999 (about £2,222 / AU$4,192), but until 13 May 2026 that's discounted to $2,399 (about £1,777 / AU$3,354).

JMGO N3 Ultimate: key features

"Almost every projector ends up being placed off-center" in real-world use, JMGO says, and as a result the N3 Ultimate has been designed to prioritize optical adjustment rather than digital keystone correction in order to deliver the highest possible resolution and brightness.

The N3 Ultimate also has a memory function that enables you to recall different settings for different walls: the preferred screen size, the image optimization settings and the appropriate app. Switching is a one-click process.

The projector is powered by JMGO's MALC 5.0 triple laser, which has 5,800 ISO lumen output, a color accuracy delta-E of just 0.7 (meaning it's essentially perfect to the human eye) and 110% coverage of the BT.2020 color gamut. There's 4K resolution, Dolby Vision HDR, and the projector also supports Dolby Audio.

For gamers and sports fans there's a low latency of 1ms and a refresh rate of up to 240Hz with support for variable refresh rate.

It's an impressive spec, but the N3 Ultimate is up against some fierce rivals including our current budget pick of the best projectors, the BenQ GP520. It too delivers 4K, and while it delivers around half the brightness of the N3 Ultimate, it's also less than half the price.

LG G6 OLED TV: Two minute review

The LG G6 OLED TV is the successor to the excellent LG G5 elite OLED, and it's a worthy follow-up. It uses a new-gen Primary RGB Tandem 2.0 OLED panel with a new Alpha 11 AI Gen 3 processor to help it deliver better picture quality and performance. Feature packed and able to handle anything thrown at it, the G6 sets the standard for OLED in 2026, in more ways than one.

Picture quality on the G6 is excellent. It delivers punchy, vibrant colors that appear more natural and accurate than its predecessor, while also delivering powerful contrast with rich blacks and refined brightness.

The real game changer is its reflection handling, which does a fantastic job of limiting mirror-like reflections while maintaining better black levels than the Samsung S95F, which we rated as the best OLED TV for bright-room viewing… until now.

Detail is exceptional, with crisp textures, while motion handling is smooth and natural. The G6 is a truly impressive TV to look at.

The G6’s built-in sound has had some big changes, with a drop in the number of sound modes available for the 4.2-channel speaker system. I preferred using the AI Sound Pro mode, which has had its sound profile altered compared to the G5’s version of this mode.

It’s more direct, punchier and more accurate now. But ultimately, while the G6’s sound is solid, I’d still add one of the best soundbars for the full cinematic experience.

LG’s OLEDs are always among the best gaming TVs on the market and the G6 is no different. With four HDMI 2.1 ports supporting a full suite of features — 4K 165Hz, FreeSync and G-Sync variable refresh rate certification, HGiG HDR, Dolby Vision gaming — plus a new ultra-low measured input lag of 8.9ms, the G6 is a fantastic gaming set.

LG's webOS continues to be one of the better smart TV platforms available, and webOS 26, the latest iteration, is another great instalment. There's a rich suite of picture settings, the navigation and layout is intuitive, and actually useful AI tools for content recommendations and user quality-of-life. It’s not perfect, with bulky ad space on the home screen, but there’s little else to complain about here.

At $3,399 / £2,999 / AU$4,999 for the 65-inch model I tested, the G6 is a premium-priced TV. Its US launch pricing is consistent with the G5’s launch pricing last year in the US, and is a little cheaper in the UK — and I don’t expect it will stay at these prices for long, because TVs always start dropping soon after launch. It delivers good overall value thanks to the performance you’re getting for the price, but it remains at the top end of the TV market.

If your priority is having the deep cinematic dark tones that OLED is known for, but viewable in as many lighting conditions as possible, the LG G6 is elite.

LG G6 review: Prices & release date

• Release date: March 2026 (US/Aus) / May 2026 (UK)
• 48-inch price: $N/A / £TBC / AU$N/A
• 55-inch price: $2,499.99 / £2,199 / AU$3,999
• 65-inch price: $3,399.99 / £2,999 / AU$4,999
• 77-inch price: $4,499.99 / £3,999 / AU$7,499
• 83-inch price: $6,499.99 / £TBC / AU$9,999
• 97-inch price : $24,999.99 / £TBC / AU$29,999

The LG G6 is one of LG’s flagship OLED TVs for 2026, alongside the ‘Wallpaper’ LG W6. It sits above the mid-range LG C6 (and new LG C6H, which is the version of the C6 at larger sizes) and entry-level LG B6. It is widely available in 55, 65, 77 and 83-inch sizes.

There is also a smaller 48-inch model in the UK, and a larger 97-inch model in the US and Australia (though you should expect different performance results from these panels — especially the 97-inch model, which uses a much older OLED panel rather than the Primary RGB Tandem 2.0 panel in the other sizes).

Prices have remained consistent with the G6’s predecessor, the G5, in the US and Australia, but in a surprising turn of events, the G6's launch prices in the UK are cheaper than the G5's were in three key models: 55, 65 and 77-inches, with all three coming in £200-500 cheaper than their predecessors.

LG G6 review: Specs

LG G6 review: Benchmark results

LG G6 review: Features

• Primary Tandem RGB OLED 2.0 panel and Alpha 11 Gen 3 AI Processor
• 4K 165Hz for PC gaming with full VRR support
• New LG webOS adds more AI features and tweaks some settings

The LG G6 is equipped with the Primary RGB Tandem 2.0 OLED panel, the second generation of the redesigned OLED panel first introduced in the G6’s predecessor, the G5. It delivers higher brightness, and LG has added better reflection handling on top of that.

The G6 also features the new Alpha 11 Gen 3 AI Processor, which features Brightness Booster Ultimate, a ton of AI features including AI Search and AI Chatbot, and faster processing speeds.

New features also include 12-bit color processing and 13-bit output (the final 1-bit is a brightness boost), Dual AI Super Resolution, Dynamic Tone Mapping Ultra and enhanced AI Sound features including Object Enhancement.

The G6 supports Dolby Vision HDR, but as usual does not support HDR10+. It also supports Dolby Atmos sound, but again there is no DTS support. It also supports Chromecast and Apple AirPlay 2. LG says there are currently no plans for Dolby Vision 2 support.

Gaming is well supported on the G6, with 4K 165Hz, full variable refresh rate options including AMD FreeSync and Nvidia G-Sync, HGiG HDR, auto low latency mode, and Dolby Vision Gaming all supported across four HDMI 2.1 ports. Game Optimizer mode features as usual with plenty of settings available to tailor the gaming experience.

For audio, the biggest change is the reduction of available sound modes — from eight to four — with more of a focus on AI sound modes. The TV comes with the same 4.2 channel speaker system as last year’s G5 and again supports the AI Sound Wizard first debuted in last year’s Alpha 11 Gen 2 processor.

As before, there's no support for DTS decoding in the TV, so it's best if your source device or soundbar can handle this.

As for the latest iteration of LG’s own smart TV platform, webOS 26, there have been alterations to the AI features from last year, such as a more refined AI Concierge which can use Generative AI as well as a new layout for major settings in menus that prioritize users more.

The Quick Menu can also be customized to add more personal features such as Game Optimizer. Quick Cards return, and more have been added such as Home Office and Music.

• Features score: 5 / 5

LG G6 review: Picture quality

• Rich and especially natural color reproduction
• Excellent contrast and shadow detail, even by OLED's standards
• Surprisingly effective reflection handling that's a big step up

Beginning with some brightness measurements, the LG G6 hit 2,471 nits HDR peak brightness in Filmmaker Mode and 2,454 nits in Standard mode. While the Filmmaker Mode number is roughly a 200-nit increase from the G5, the Standard mode figure is a massive 604 nits increase (the G5 measured 1,850 nits), which is far higher than the 20% increase LG had promised.

Fullscreen HDR brightness has received the most meaningful boost, with the G6 hitting a measured 455 nits in Filmmaker Mode compared to the G5’s 331 nits. In Standard mode, it measured in at 373 nits, again a nice jump from the G5’s 297 nits in the same mode, meaning pictures should appear far brighter overall.

Color reproduction is arguably the G6’s greatest strength, though. Although colors don’t appear as 'bright' on the G6 compared to its predecessor, the LG G5, LG told me this was "by design" and I think the tweak has paid off: colors are simply stunning on the G6 while looking totally natural.

Watching the market scene from The Sound of Music, where orange, yellow and fruits sit front and center on screen, all these colors looked rich, refined and still packed plenty of punch, while also appearing true-to-life. Other scenes which feature green hills and blue skies, such as the ‘Do Re Mi’ scene, also demonstrate the G6’s excellent color accuracy.

Switching to an animated movie, The Wild Robot, the G6 again delivers gorgeous hues. A scene where Roz is surrounded by multi-colored butterflies shows excellent color balance between neutral and bolder colors, but crucially still delivers the richness you’d want from an animated movie.

Measuring the G6’s HDR color gamut coverage, it hit 99.3% of the DCI-P3 color space and 82.7% of the BT.2020 color space. These are both superb results and help explain why the G6’s color reproduction stands out — it's capable of showing pretty much everything that HDR video has to offer. It also registered a 1.4 delta-E SDR color accuracy in Filmmaker Mode: another brilliant result, meaning its colors are indistinguishable from 'perfect' to the human eye out of the box.

The G6’s contrast is another high point. Watching various high-contrast scenes from The Batman, such as the investigation in Mayor Mitchell’s house and the subway fight scene, the G6 delivers powerful contrast with deep, rich dark tones of the dark wood surroundings balancing with punchy highlights from light sources.

This is also true in Alien: Romulus, where shots of space show ‘perfect’ blacks mixed with refined highlights of stars and suns. Next to the G5, these shots are not only more balanced but more controlled, demonstrating minimal clipping in the lights.

Shadow detail is also excellent on the G6. In The Batman’s many dark scenes, details such as Batman’s armor, the panelling of a column on the subway platform, and even the portraits on the walls of Mitchell’s house are all visible without the need for raised brightness.

One area where the G6 really impressed was its reflection handling. Playing dark movies such as The Batman, Nosferatu and Alien: Romulus with overhead lights in our testing lab turned on, I was surprised by how much of the picture was visible and even how few mirror-like reflections there were. Not even the ‘torture test’ of The Batman was muddied on the G6.

It’s the black retention that also impresses, as I found when testing the G6 next to the Samsung S95F, with its anti-glare matte screen. While the S95F can cut out mirror-like reflections totally, its black tones can end up looking gray compared to the G6 in some lighting conditions, while the G6 manages to balance both reflections and black accuracy.

The G6’s motion handling is fantastic. Testing various sports including basketball, tennis and football, pictures are smooth and responsive throughout with no signs of motion artefacts such as ghosting. Either the Cinematic Movement or Natural motion settings, located in the TruMotion menu, worked well during my testing, though I did find motion settings necessary as some mild judder would occur with these settings turned off.

Motion handling for movies was also great. I personally found that my preferred setting was the Cinematic Movement setting, which did a good job reproducing a panning scene of a rocky hillside from No Time To Die with only minimal judder (which is expected). Throughout the succeeding chase scene, fast motion camera shots appeared smooth.

A DVD of The Amazing Spider-Man shows just how impressive the G6’s upscaling is. The picture on the 65-inch model was bright, clean and had crisp textures compared to some cheaper TVs I’d seen. I already knew how impressive LG’s OLEDs were at upscaling based on the G5’s performance in this area in last year’s four-way OLED showdown I did, but the G6 took it a step further, adding even more detail.

• Picture quality score: 5 / 5

LG G6 review: Sound quality

• 4.2 channel speaker array with four sound more options
• Great accuracy, good detail and solid power
• Soundstage isn't that wide compared to a soundbar

Testing the G5 last year I found myself drawn to the AI Sound Pro mode as well as the Cinema setting. With the removal of the latter in the G6 this year, I settled on AI Sound Pro as my favorite after testing the G6’s built-in 4.2 channel speaker system. AI Sound Pro upmixes sound to an 11.1.2-channel configuration with the aid of the Alpha 11 Gen 3 Processor. Dolby Atmos is supported, but there’s no DTS support of any kind.

LG has altered the AI Sound Pro profile for the G6 and it results in a more direct, bassier sound than last year’s G5. The sound profile itself also focuses on more mid-range tones, which I found more appealing than last year’s brighter G5.

Using the Batmobile scene from The Batman, the G6’s speakers deliver punchy bass, capturing the rumble of the Batmobile’s engine during ignition accurately. Mapping between sound and the action on screen is precise, with the swerving tyres and car horns of passing cars sounding authentic. This is also true during The Mask. As The Mask himself tornadoes around, the G6 does a good job with the directionality of the sound.

While the G6 also delivers a respectable soundstage, with sound sometimes extending beyond the screen, it all still feels quite contained. The speakers don’t have the punch of a soundbar or of TVs with larger speaker systems such as the Sony Bravia 8 II or Panasonic Z95B. The G6 is good for general movie and TV viewing, but its sound doesn’t match the sheer brilliance of its picture.

• Sound quality score: 4 / 5

LG G6 review: Design

• Wall-mount and stand options for some sizes
• Premium, sturdy build on the whole TV set
• Remote still feels cheap in comparison

The LG G6 carries a lot of the same design over from the G5. It still has a metal frame that looks premium and feels reassuringly sturdy, along with a heavy, gray and metal pedestal stand that can be placed at two heights to make room for a soundbar. There’s a cable-tidy option at the back of the TV as well.

The G6 also comes with a slim-fit wall-mount in the box in some sizes (depending on region) for those that want to wall-mount their TV. The G6’s screen itself has a near-bezelless design, meaning the picture takes up basically all of the front — something that's not so true with Samsung's new 2026 flagship OLED TV.

LG’s Magic Remote returns here, and while the US remote benefits from a somewhat slimmer build with a more streamlined button layout, the UK is stuck with the old-style magic remote with a wheel.

The latter still feels light and cheap: not something you want for a TV at this price. LG could take some lessons from brands such as Philips and Hisense, whose remotes feel far more premium.

• Design score: 4.5 / 5

LG G6 review: Smart TV & menus

• Uses LG's webOS 26 smart TV platform
• Expanded Quick Cards and customizable Quick Menu are useful
• More and enhanced AI features are actually welcome

The G6 comes with webOS 26 as its smart TV platform, which is the latest iteration of LG’s own smart TV. Some of the returning highlights features include the Quick Menu, which is a handy tool for easily changing picture and sound presets, and the Quick Cards feature, where apps can be organized into a relevant category 'card' on the home screen. For 2026, these cards have been expanded to include even more options.

The system also has an excellent array of accessibility options, which are also in their own quick card.

The AI Concierge, which previously helped you find tailored content recommendations based on searches and watch history, can now use Generative AI for other tasks, such as making travel plans.

Other AI tools introduced last year, such as Voice ID (which can activate a person’s profile with their customized settings simply by recognizing a voice), AI Search (for AI-assisted content search) and AI Chatbot (for troubleshooting) all return. There’s also an AI Art feature, where artworks can be generated, though you'll have a limited number of credits.

As for menus, webOS 26 is easy to navigate, clearly laid out and has enough options to customize picture and sound settings without being overwhelming. One downside is that the webOS 26 homepage has over a third of its top space taken up by banner ads, which can be an eyesore, but it's far from alone in this. It still remains one of the best smart TV platforms on the market.

• Smart TV & menus score: 5 / 5

LG G6 review: Gaming

• 4K 165Hz, AMD FreeSync and Nvidia G-Sync all supported
• Ultra-low 8.9ms input lag time measured using a Leo Bodnar 4K meter
• Four HDMI 2.1 ports with full support for all gaming features

Following in the footsteps of LG’s previous OLEDs, the G6 is a phenomenal gaming TV. It comes with four HDMI 2.1 ports that have all the features gamers will be looking for: 4K 165Hz, VRR with both AMD FreeSync and Nvidia G-Sync supported, HGiG, Dolby Vision Gaming and auto low latency mode.

It also features the Game Optimizer menu where settings can be tweaked, including an 'Input delay' option. Activating Boost mode (for lower input lag), the G6 registered an 8.9ms measured input lag, beating the years of 9.2ms in its predecessors.

Playing Battlefield V, gaming performance on the G6 is razor-sharp and responsive. Whether it was a fast-paced mission driving a tank around war-torn Berlin or running from enemies in France, movement felt smooth and targeting was snappy and easy. There was never any stutter or delay during the most chaotic moments.

Gaming also looks gorgeous on the G6, with the rich contrast, bold colors and crisp detail it delivered for movies translated over to gaming. Once again, the G6 has set the bar for a gaming TV in 2026.

• Gaming score: 5 / 5

LG G6 review: Value

• Good overall value compared to other flagship OLED TVs
• Consistent pricing with predecessor in the US, and cheaper in the UK
• Still very much a premium TV

The LG G6 is a premium-priced OLED TV, with the 65-inch version I tested costing $3,399 / £2,999 / AU$4,999 at launch. It delivers the premium experience OLED fans will want, with excellent picture quality and superb gaming performance, but it is undoubtedly a top-end TV.

While it also is an improvement over the G5 in terms of picture quality, the G5 is better value at the time of writing, as it nears the end of its first year of life. You can pick up a 65-inch G5 for $2,199 / £2,249 / AU$3,199, so if you’re desperate for a new G-series, the G5 is your best bet in terms of value for money. If you can wait, the G6 is the better TV to go for once prices drop.

Still, the G6 is a fantastic TV, really showing what flagship OLED can do. If you have the budget, the G6 is worth the investment.

• Value score: 4 / 5

Should you buy the LG G6 OLED TV?

Buy it if...

Don't buy it if…

LG G6 review: Also consider...

How I tested the LG G6 OLED TV

• I tested the LG G6 over three weeks, watching streaming, 4K Blu-ray, regular Blu-ray, and DVD
• Tested in various lighting conditions in our TV testing labs
• Measurements taken using Portrait Displays Calman color calibration software

I first tested the LG G6 OLED TV with some casual viewing to establish its best picture modes, settling on Filmmaker Mode for SDR, HDR and Dolby Vision sources.

I then conducted real-world viewing tests using both SDR (DVD and broadcast TV) and HDR (4K Blu-ray and 4K streaming) where I analyzed the G6's picture quality. I focused on color, contrast, shadow detail, motion and upscaling (for lower resolution sources such as DVD).

I also tested the G6's built-in sound by using reference scenes to test its sound performance, such as The Batman and The Mask, on top of other viewing.

Once these subjective tests were completed, I did some objective testing by taking measurements suing specialized equipment. I used the Klein K-10A colorimeter (after meter profiling with the Jeti 15VA spectroradiometer), Murideo Six G 8K Metal test pattern generator and recorded results using Portrait Displays Calman color calibration software.

I measured the G6's brightness in both Filmmaker Mode (its most accurate mode) and Standard picture modes, in both SDR and HDR. I used white window test patterns ranging 1-100%, focusing on 10% (peak brightness) and 100% (fullscreen brightness).

I also measured its HDR color gamut coverage, using both BT.2020 and UHDA-P3 color spaces, hoping for a result of over 95%. I also measured its SDR color and grayscale accuracy by taking the average of the Delta-E results (the margin for error between the test pattern signal and what's shown on screen), hoping for results below 3 (anything below can't be distinguished by the human eye).

I then measured the G6's EOTF in 1,000, 4,000 and 10,000 nits brightness, which shows the accuracy at which the G6 displays in both dark and light areas.

I also measured the G6's Spectral Power Distribution using the Jeti spectroradiometer, which shows the G6's color performance.

Finally, I measured the G6's input lag using a Leo Bodnar 4K HDMI Input Lag Tester, measuring this is milliseconds (ms).

• First reviewed: April 2026
• Read TechRadar's reviews guarantee

Samsung has decided to use LG-made WOLED panels in every size of its new 2026 mid-range Samsung S90H OLED TV model, as opposed to mixing and matching QD-OLED and WOLED as it has done in the past — and it’s upset some fans.

WOLED, the more traditional or ‘standard’ OLED panel, has historically been dimmer than QD-OLED, which has also been known for more vibrant colors and higher HDR color gamut coverage (based on our previous tests) thanks to its use of quantum dots.

First introduced by Samsung in 2022, in its flagship Samsung S95B OLED, QD-OLED really took off when the Samsung S90C mid-range OLED was first introduced in 2023. At the time, we praised the company for making its QD-OLED tech more affordable. So much so, it sat at the top of our best TVs list for a while and won our TV of the Year award in 2023.

The next two models however, 2024’s S90D and last year’s S90F, were subject to a ‘panel lottery’. This meant that in some sizes in some regions, users couldn't know whether they would get a QD-OLED or WOLED panel, and Samsung regularly declined to confirm anything when asked. And there would have been a clear performance difference between different panels.

(This was more of an issue with the S90D, but QD-OLED was still limited in the S90F, and only really guaranteed to be QD-OLED worldwide in a 65-inch size.)

This year, Samsung seems to have decided to cut the confusion altogether by using WOLED panels across all sizes, as reported by multiple sources including DisplaySpecifications. Unfortunately, it’s not gone down well with some fans. In a post in r/OLEDgaming, user u/TheGabrielSevero says: “Samsung S90H is a WOLED? If it is, it’s a HARD pass.”

Some users also aren’t happy with the introduction of the OLED Glare Free matte screen to the S90H lineup either, making its debut in this model after being first introduced in 2024 with the flagship Samsung S95D and then making its way to more mini-LED and QLED models last year.

I’ve always been impressed by the matte screen for its reflection-beating abilities that make bright room viewing easier, but some users criticize it for raising black tones to a gray, which is a compromise for beating the reflections. I tested the Samsung S95F next to the LG G6 recently and the LG manages to balance both blacks and reflections with a more pleasing result, but the Samsung S95F is still an excellent choice for bright rooms, a title it holds on our best OLED TV list.

So the S90H is coming under fire for two big reasons, and while I can't help anyone who doesn't like the matte screen with that element, I have arguably some good news for those worried about the use of WOLED panels — or, at the very least, an explanation on why Samsung would switch.

LG C6’s brightness: a new hope?

When we measured the 65-inch Samsung S90F (which uses a QD-OLED panel last year) its peak HDR brightness (10% window pattern) it clocked in at 1,400 nits, with its peak fullscreen HDR brightness hitting 270 nits. These were much higher results than the rival LG C5 (which uses a WOLED panel), which we measured at 1,180 nits peak and 195 nits fullscreen.

While these were both five-star TVs overall, having the option to get a QD-OLED TV for the same price as a WOLED TV was better value for money in several ways, because you were getting a more advanced, much brighter panel.

However, our lab recently measured the LG C6’s brightness and there’s some promising news. The C6’s peak HDR brightness hit 1,355 nits and its fullscreen HDR brightness measured 237 nits. This is a nice boost over the C5, and much closer to the S90F’s results, especially in peak brightness.

The reason the C6 results are relevant is because it uses LG Display's mid-range WOLED panel, which is the one almost certainly used in the S90H – and so the Samsung should achieve very similar numbers.

So when it comes to pure brightness, you can see why Samsung would choose to make the switch — it takes the confusion out of the S90H line-up, while hitting very similar brightness figures to the S90F QD-OLED models.

And the double-whammy is that WOLED panels are reportedly much cheaper to produce than QD-OLED (one report says QD-OLED is up to 65% more expensive to produce even today), so if you can get that level of performance while paying less, wouldn't you go for it?

Having said that, the S90H's performance is likely to take a hit in one area, however: BT.2020 HDR color gamut coverage. The C6 measured 75.4% coverage in our lab’s recent tests, but the S90F clocked in at a staggering 90.1%. This is where QD-OLED really shines. Happily, in the more commonly used DCI-P3 color space — the one actually used by HDR video — both TVs achieved nearly 100%.

It's worth noting that the above C6 measurements were taken before a recent firmware update. Although we're not expecting big changes in the areas measured above (peak and fullscreen brightness and HDR color gamut), we'll be doing a full re-test before our full LG C6 review goes live.

We haven't measured the S90H yet, but when we do it’ll be interesting to see how similar it is to the C6, and what performance differences there are in real-world viewing. While it’s great to know that panels will be consistent across the range, will there be a compromise in Samsung’s often bolder color reproduction? And how will the matte display affect things? I’m eager to get the S90H in to find out.

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Ever since I saw my first RGB-backlit TV at CES 2025, from Samsung (immediately followed by Hisense and TCL later in the show), I've been really bullish on the technology's potential — even going so far as to call it "a huge danger to OLED TVs".

2026 is really the year of the RGB TV, with major launches coming from nearly every huge TV maker, and I've been really excited by the models I've seen in previews, ranging from Samsung's first-of-its-kind 130-inch RGB TV to Panasonic's tease of a future RGB model it may launch, to Hisense's UR9 RGB TV that's unique by offering a DisplayPort connection, to Sony's demonstration of the tech it plans to launch in 2026.

So, having finally seen so much of these TVs in action, my anticipation of them actually arriving must be only growing, right?

My friends, they haven't even launched yet, and I'm already exhausted by the whole RGB rollout.

They're not even here and they're too confusing

A major part of the problem is that there are already just too many variations — or possible variations — and considerations to track.

You can read our full explanation of RGB-backlit TVs here. Still, the gist is that because it uses a colorful backlight, that means it can deliver a wider range of colors than regular mini-LED and can have less light bloom from bright areas to dark area potentially, because colors don't always leak as obviously (as my colleague Jake Krol noted on his more recent trip to see Sony show off its RGB tech again).

So, this is a new technology that's better than regular mini-LED, right? It's the most premium tech, ready to take on the best OLED TVs?

Well, not according to TCL, which is including two RGB TVs in its new TV range, and neither of them is its flagship TV. The flagship is the TCL X11L, which uses a new-and-improved version of regular mini-LED tech to deliver some impressive results compared to other mini-LED models in our testing.

Here's what's most confusing: one of the RGB TVs that TCL is launching is its second-fanciest model, sitting just below the X11L, but the other is one of its least-premium models, sitting below its mid-range 7-series mini-LED TVs, due to its limited number of dimming zones and middling brightness.

LG is also launching RGB TVs, which might come as a surprise given that it's the standard-bearer for OLED. Well, guess what? It's positioning its RGB TVs below the LG G6 and LG C6 OLED TVs in the range, and it really just seems to be offering them so it can provide an affordable, larger-screen option than its OLEDs can deliver.

Philips is similarly launching an RGB TV model that seems to replace the mini-LED models it's always had that sit below the OLEDs in its product range, so it's the same deal there.

So all three of these companies think that RGB TVs are not going to be the flagship. But Hisense disagrees! Its flagship TV this year is an RGB TV, and the TV just below that will also use RGB tech, and then it switches to regular mini-LED tech once you get to the mid-range U7-series (which looks great this year thanks to a new anti-reflective layer).

Samsung is also making RGB TVs the flagship of its LED range, with mini-LED models only coming in lower down the range with the QN80H and below (including some models that are mini-LED without QLED, which genuinely shocked me).

Except Samsung has a kind of split flagship TV personality these days: is the flagship the Samsung R95H RGB TV, or is it the Samsung S95H/S99H elite OLED TV (which has impressed us in our early testing at home)? It's basically both!

Sony will launch its 'True RGB' TV sometime this year, but we have no idea what the price will be, or how it will compare to the Sony Bravia 8 II OLED TV in the line-up — but I expect it to sit above it, based on Sony's pursuit of 4,000 nits reference-quality TVs to match its studio monitors.

So to recap, is RGB tech the new premium OLED-killer tech? Well, LG and Philips seem to think it's not, and OLED is still the top dog. Samsung hasn't chosen a side. TCL doesn't like OLED anyway, and yet still says RGB tech doesn't even beat its own mini-LED tech.

Only Hisense is fully committed, and is even removing its sole OLED TV from sale in 2026.

So what's the average TV buyer supposed to think? Obviously, the TechRadar TV team is going to be testing them to work out which are indeed very premium and which should be genuine alternatives to OLED as the premium TV pick… but for someone who's just trying to understand the options available to them and level of quality you get from a particular type of technology, the RGB launch looks like a total fumble.

And that's before you get to trying to reckon with what's in the panels themselves.

Not all RGB tech is created equal, probably

Since mini-LED launched around 2021, the technology has become… complicated. There's no rule on what can be called "mini-LED," so some of the TVs marketed that way today are just TVs we would have known as direct-LED TVs in the past. Samsung even released edge-lit TVs that it markets as mini-LED, which I think is pushing the definition too far.

But also, do you get better results from something with very small LEDs packed in, but terrible control of light bleeding from one area to another, or from something with bigger LEDs in fewer zones, but with better shaping of the light as it passes through the panel?

At first, the technology was very samey, but it's developed into something complex over time with a million ways to approach its simple concept.

RGB TVs are launching with a ton of confusion around the specific implementation already built in, even though they offer such a clear original concept (of having a colorful backlight instead of a single color).

For example, did you know that some RGB TVs might not actually use red, green, and blue LEDs in each backlight element, as is the whole promise of the technology? There are versions of the tech that use two LEDs (blue and green) with a phosphor color filter to create the full range of hues. This would be cheaper to make, but it will surely perform less well.

Sony has been making a big fuss about how its upcoming TV will have individual red, green, and blue LEDs for each backlight element, because it's a premium piece of tech. Sony seems to be briefing against other brands that might be cutting corners, to make clear that its (probably high-priced) TV is worth the cash.

Who would be launching a cheaper TV that cuts corners this way? Most people would probably guess the Chinese brands that have been undercutting the likes of Sony and Samsung on price for years.

But Hisense is doing the exact same briefing as Sony against unnamed competitors who may use the cheaper version. The company told me that its two new RGB TVs use all three LED colors, unlike some that might be using the dual-LED system.

Okay, what about TCL? The company certainly gets some side-eye from TV enthusiasts following the result of a lawsuit saying that it can't call certain TVs "QLED" anymore. Well, TCL told me explicitly that its higher-end RGB model not only uses all three RGB LEDs, but it actually has two of each LED per element to provide better light performance.

The company said that the red element even uses an individual control chip per red LED, because the red wavelength needs the most careful management. For green and blue, the two LEDs are each controlled by one chip.

Now, Sony's made a big song and dance about having one LED per color, and TCL's out here with two LEDs per color — who's the more premium now, eh, Sony? The answer is: I have no idea! We'd have to test both, but this whole thing leaves me exhausted rather than excited about a new technology that hasn't even launched yet. Multiple companies are pointing fingers at others for cutting corners, but everyone is also successfully emphasizing how they're absolutely not cutting corners.

The good news is that it should be very obvious if TVs are using the cheaper system once we get them in our labs, because the spectrum power distribution of a TV screen is like a fingerprint for different technologies, since it measures the inherent luminance of different wavelengths within the panel, which gets adjusted for the content.

But the thing is, we're not even done with the technology being confusing yet, because at CES in 2026, Hisense literally didn't show its two new RGB TVs at all, instead opting to show the next version of the tech, which is no longer RGB anymore. It's RGBC, because the company is apparently adding a cyan LED in addition to the red, green, and blue.

Am I excited about this? I don't know, man, why don't you let me see what I think of the RGB ones first!

And I haven't even talked about how RGB TVs will often "color zones" instead of the "dimming zones" you get with mini-LED, meaning you need to divide the number of color zones by three in order to get the equivalent number to simple dimming zones, because color zones count all three RGB elements as independently dimmable (but this is silly, because we only care about the number of zones in terms of their ability to turn things black).

What do you tell people in your own advertising?

Look, it's obviously great that the TV world is more innovative and competitive than it's ever been right now. It's going to mean better results and cheaper TVs for people buying them, so I'm far from mad about all this.

But I'm bemused, because the TV companies are making it both harder for themselves and for me by rolling this tech out in such a chaotic manner.

Take Hisense, valiantly betting on RGB as being the flagship top-of-the-line TV. It will surely just advertise that RGB is the best you can get — nice and easy, right? Except TCL will offer an RGB TV that massively undercuts both of Hisense's TVs, so Hisense's own advertising may work against it because it makes that TV look incredibly tempting in comparison to its own — and both companies have opted to name their versions of the technology 'Mini RGB', so they'll sound incredibly similar to most people.

When someone asks me whether one type of TV technology is better than the other, or even just whether something is good for a particular purpose, I can normally give a succinct answer, even if it starts with 'depends'.

I really don't know how to answer with RGB tech this year. I'll probably have to tell people to ignore the name and just think of it as mini-LED because of how interspersed it is with mini-LED tech between different manufacturers at similar prices.

But that seems like such a waste of a new screen technology, doesn't it? OLED has such a simple dominance of branding as the premium TV tech, and RGB could have challenged it, but collectively, the branding has been diluted before it even launched fully.

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I just attended a demo of Hisense's new 2026 TVs, and while discussing the new UR9 RGB TV, one unusual feature jumped out at me: it has a DisplayPort connection. It's not a full-size DisplayPort port, but it's a USB-C port with full DisplayPort support and branding.

HDMI has obviously dominated the world of TV inputs, but DisplayPort is still the most common output on GPUs — and preferred by the PC hardcore in many cases. In general, it seems more hassle to include DisplayPort than it's worth on most TVs, so it's just never on there — which is why this one obviously caught my eye.

Hisense didn't explain exactly why it went for it on this particular model, but there are two things going on with this TV that might explain it.

First, the set has 3x HDMI 2.1 ports, not 4 like most high-end TVs. This was also true of the Hisense U8QG last year — it appears to be a result of the particular connection control chip that Hisense is using.

When Hisense revealed this to me, it explained that the TV has three HDMI ports, then made a point of saying it also has DisplayPort, which will support 4K at 170Hz/180Hz (depending on size). So it's possible that adding a DisplayPort was simply a way of offering a fourth 4K 170Hz/180Hz input, overcoming whatever HDMI limitation there is.

But the second element is that this is an RGB-backlit mini-LED TV, and Hisense claims that it should be able to hit over 100% of the BT.2020 pro color space, and is also Pantone validated (though the latter doesn't mean too much — Hisense's more affordable TVs have this rating too).

So there could be an element of Hisense aiming to include DisplayPort for maximum color depth for creatives who want to use the wide color support of the screens. Whether the TV will hit the claimed color figure is something we'll have to wait to see — there are multiple ways to measure the color space, and the Hisense UX116 released last year with RGB tech hit 92.6% of the BT.2020 space in our tests. This is way better than regular mini-LED TVs, which have tended to max out at around 75-78%, but obviously isn't quite 100%.

The only potential issue for both gaming and creative use is the size of the TVs — the UR9 series will come in 65-inch, 75-inch, and 85-inch sizes, with 100 inches also available in the US. That means it's not desk-friendly but might still have potential for both.

I think it's PC gamers looking for a sofa setup who will find this the most interesting. You'll have the flexibility to use the HDMI ports for whatever AV connectivity you need that really requires HDMI, and you can make the most of the high refresh rates over DisplayPort.

The TV supports AMD FreeSync, and while Hisense hasn't confirmed it for this model, most of its mini-LED sets are G-Sync compatible, though not G-Sync certified.

Its TVs usually have fairly low latency when we've measured them, and they have easy-to-use gaming menus for adjusting settings.

But the other tempting factor is that RGB mini-LED technology isn't coming out in monitors at the moment, and it's a really interesting new technology. It uses an LCD panel with a mini-LED backlight, but the backlight isn't one color: each light element has red, green, and blue LEDs, so effectively a low-res version of the image is created by the backlight, and then the LCD layer adds the final color-filtering and detail.

It's theoretically more efficient than regular mini-LED, while having a wider color gamut and potentially less noticeable blooming from light areas to dark ones.

And it's much brighter than OLED, and this TV has a lightly matte anti-reflective coating to help make it work well for brighter rooms, if you're playing during the day.

Having a DisplayPort option won't be a major game-changer for most people, but it's so rare that I had to call it out — and it's especially interesting that it's on a TV technology you can't get in a smaller version, so the UR9 offers something unique.

It's not going to be cheap, though — in the US, the 65-inch model is officially priced at $3,499, while in Australia it's set to retail at AU$3,999, which actually works out to be great value. We don't have UK prices yet, but based on the US price, that's around £2,650.

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April has arrived, and that means a whole new group of 4K Blu-ray releases, and it’s looking like a real mix! Here at TechRadar, we not only use 4K Blu-ray to test the best TVs and best soundbars, but we’re collectors ourselves. Some of these very discs may find their way onto our shelves!

While it looks like there are tons of great discs coming in April, I’ve selected a few highlights that I’m hoping to feature in the Blu-ray Bounty, our monthly column where we test the latest 4K Blu-ray releases that we think will show off your home theater system: be that picture, audio, or hopefully, both!

In my March most anticipated 4K Blu-ray article, I picked 3: 10 To Yuma (1957), Wicked: For Good, The Breakfast Club, The Man Who Wasn’t There, and Ben-Hur. I got to test four of the five in the March 2026 Blu-ray Bounty, and they looked great. Ben-Hur was delayed in the UK until April 26th, so expect it in this month’s Blu-ray Bounty!

Below, I’ve picked four of my most anticipated discs for April 2026. As I’m based in the UK, these are based on UK 4K releases, so don’t be surprised if your favorite is missing!

28 Years Later: The Bone Temple (Sony Pictures)

A direct sequel to 28 Years Later (the third movie in the 28 Days Later franchise), 28 Years Later: The Bone Temple picks up where its predecessor left off. Dr. Kelson (Ralph Fiennes) makes a groundbreaking discovery, while Spike (Alfie Williams) is indoctrinated into a cult led by ‘Sir Lord’ Jimmy Crystal (Jack O’Connell).

28 Years Later: The Bone Temple has plenty of visually striking scenes, with strong contrast and bright, burning fires, that are sure to look great in 4K, especially with Dolby Vision HDR support. I’m expecting a clean, modern 4K presentation akin to other titles I’ve tested, such as Predator: Badlands.

An action-packed horror like this relies on its sound design, so it’s great news that the 4K disc for 28 Years Later: The Bone Temple comes with a Dolby Atmos soundtrack in tow. This will be great for delivering every visceral fight sequence, heart-pounding, eerie scene, and even the moments of calm in nature.

Release dates

US - April 21, 2026

UK - April 20, 2026

Marty Supreme (A24)

Marty Supreme tells the story of Marty Mauser (Timothée Chalamet), a table tennis player who vies to become world champion in the 1950s. Directed by Josh Safdie (of the Safdie Brothers, who directed Good Time and Uncut Gems), Marty Supreme was nominated for several Academy Awards in 2026.

The Safdie Brothers are often known for making excellent-looking movies, as anyone who has seen Good Time and Uncut Gems will attest, and Marty Supreme is no different. The 1950s aesthetic, both colorful and gritty, should look great on 4K, and table tennis sequences should be a good test for your display’s motion.

The 4K Blu-ray of Marty Supreme comes with a Dolby Atmos soundtrack, which will not only be great for delivering the movie’s soundtrack (filled with songs from both the 1950s and 1980s) but also for the movie’s ping pong sequences. I’m looking forward to putting this one through our reference Samsung HW-Q990C soundbar to really test that immersive Atmos feel.

Release dates

US - March 31, 2026

UK - April 6, 2026

Gilda (The Criterion Collection)

Gilda is a classic of Golden Age Cinema and is one of Rita Hayworth’s (who plays the titular Gilda) most famous roles. It tells the story of Johnny Farrell (Glenn Ford), a gambler who takes a job for a casino owner, only for issues to arise when he realizes the owner’s new wife is his ex-lover, Gilda (Hayworth).

It seems like every month I write about a new Criterion Collection 4K disc that brings new life to an older movie, be it 3:10 To Yuma, Captain Blood, Double Indemnity: I could go on. Gilda looks like it’s set to be the latest entry into this lineage, and I have every faith this movie is going to look excellent in 4K, especially with Dolby Vision HDR included.

The 4K disc of Gilda is only set to feature an LCPM mono soundtrack, but again, as I’ve experienced with a few Criterion Collection 4K discs, I’m expecting a refined soundtrack with clear speech and a clean score. There won’t be anything sound-system-worthy, but it should be great nonetheless.

Release dates

US - April 7, 2026

UK - April 27, 2026

Hamnet (Universal Pictures)

Hamnet tells the story of Agnes Hathaway (Jessie Buckley), wife to playwright William Shakespeare (Paul Mescal), who must deal with the tragic loss of their son Hamnet, an event that inspires Shakespeare to write Hamlet. Directed by Chloé Zhao, Hamnet won multiple awards, including Academy Awards for Zhao (Best Director), Buckley (Best Actress), and Best Picture.

Hamnet should look great on 4K Blu-ray. It has contrasting scenes that should really show off all areas of a display. From the lush natural forests with occasionally bold costumes to the grittier, dirtier streets of London, there should be plenty here to serve as a visual feast. Not least of all because Dolby Vision HDR is supported.

While this disc is unlikely to push your system to its limits like an action blockbuster would, the Hamnet 4K release does come with a Dolby Atmos soundtrack. Where I expect this to shine is during the scenes in the forests and nature. These can often be among the best types of scenes for really showing off a Dolby Atmos sound system, with more subtle sound effects.

Release date

US - March 3, 2026

UK - April 13, 2026

Highlighted releases - April 2026

Below is a list of highlighted releases for April 2026. Both US and UK releases are featured here (which are indicated). Release dates may vary by region, with some titles already released or some coming later in the year. The titles I’ve discussed above are highlighted in bold.

April 6/7

• Gilda (Criterion) (UK release, April 27)
• Mercy (2026) (UK release, April 20)
• Crime Story (UK)
• Marty Supreme (UK)

April 13/14

• Hamnet (UK)
• The Devil’s Backbone
• The Blade (Criterion) (UK)
• Mantrap (US release, April 24)
• The Phantom (1996)
• Monty Python: Life Of Brian
• Becoming Led Zeppelin: Collector’s Edition (UK release, April 27)
• Trouble In Paradise (1932) (Criterion) (UK release, April 20)

April 20/21

• 28 years Later: The Bone Temple
• Die My Love
• Sleepers
• Point Blank
• The Eye

April 27/28

• Moneyball
• Innerspace
• Throw Momma From The Train
• Dust Bunny
• Stardust
• The Protector (UK)

The first Samsung TV of 2026 has finally fully emerged from the depths of the brand’s R&D department — and I’m here to tell you that from what I’ve seen so far of the epic S99H (or S95H as it’s known in the US), this TV has the potential to be seriously special.

While the S99H isn’t in stores yet for you to check out for yourselves and hasn’t yet run the gauntlet of the full TechRadar testing team, I’ve been lucky enough to spend a few days with the 77-inch model already (it also comes in 55-inch, 65-inch and 83-inch sizes).

During that time, it’s become clear that it delivers a substantial step up over its already-talented Samsung S95F predecessor — and TechRadar rated that set as the TV of the Year in 2025.

The big changes start with the S99H’s design. Samsung typically prides itself on incredibly slim, minimalistic flagship TV designs, so it’s quite a shock to find the 77-inch S99H’s already large screen framed by an eye-catching outer frame that extends well over an inch around all four of the screen’s edges.

Given how much bigger it makes an already big screen, the S99H’s so-called FloatLayer design is likely to be controversial. The fact that the metallic outer frame is set back from the protruding screen, though, creates an unusual ‘three-dimensional’ viewing experience that I personally found more immersive and cinematic than anything I’ve had with typical flat, ‘single-layer’ TV.

The clever design extends to a nifty reflective neck for the provided desktop stand that makes the screen look like it’s floating in mid air, and there’s some well defined cable channeling around the back panel.

Another big new feature for the S99H, though, means that you don’t actually need to connect any of your sources directly to the TV if you don’t want to.

It’s possible to buy an optional extra Wireless One Connect box for the S99H that not only adds an extra four HDMI 2.1 ports to the four already found on the TV itself, giving you a total of eight, but also means you can watch the pictures and sound from up to four sources without having any cable other than the power cord running into the TV.

This wireless box adds just under 30ms to the time the TV takes to render images, meaning gamers should probably stick with connecting their consoles and PCs directly to the main TV, but otherwise this optional wireless connection box takes the S99H’s connectivity into unprecedented territory for sheet number of ports.

The S99H’s picture features and quality appear to have undergone an impressive transformation, too. The QD-OLED technology at their heart has been pushing brightness forward at a phenomenal rate with each new generation, and the 77-inch S99H continues this trend by managing to hit almost 4,500 nits on tiny HDR windows (up more than 12% on last year's S95F), and hits nearly 2,800 nits even on a 10% test window.

In fact, in a major assault on mini-LED TV territory, the S99H even manages to maintain brightness above 500 nits on a fullscreen 100% white HDR test window. T

his all feeds into an HDR performance of staggering dynamism and punch but also impressive consistency in the S99H’s Standard preset, backed up by those pure colours that are QD-OLED’s trademark, and the pixel-level light control and beautifully deep, consistent black colours that home cinema fans now expect from any OLED screen.

The S99H’s Standard preset doesn’t just look so far to be even more spectacular than that of its predecessor, though; it also looks better, offering more refinement and tighter control at the image’s extremes to minimise any glitches that might distract you from what you’re watching.

Before anyone worries, though, that the S99H cares only about showing off the extremes of what its panel can do, its Filmmaker Mode also looks so far be a triumph, at least from a ‘hitting the numbers’ perspective.

In my early tests (made without tinkering with the preset’s settings at all) it delivered the most accurate results I’ve ever seen across all of my Calman Ultimate software’s greyscale and colour tests.

Samsung’s latest anti-reflection screen filter seems from early viewing to have been improved again too, still removing pretty much all reflections from the screen but now retaining slightly deeper black levels when the filter is having to work really hard in a very bright environment.

Upgrades from inside out

While some of this apparently improved precision from the S99H will be down to improvements to its QD-OLED display, Samsung’s latest NQ4 AI Gen 3 processor with its 128 neural networks is surely playing a part, too.

This is now powerful enough to apparently automatically tune the brightness of each and every pixel in real time, to optimise the impact of its screen with any incoming video. Plus, this year, the S99H is going to be getting support for the new ‘HDR10+ Advanced’ format.

The next-gen form of HDR10+ adds six new enhancements to the previous premium HDR system in a bid to make HDR look brighter, more dynamic (while still tracking creative intent) smoother (but only to a degree set by content creators), and more accurately coloured, while also being able to adapt its workings better to different genres of content and cloud gaming.

The new AI processor also provides advanced recognition of the type of sport you’re watching through such elements as the distribution of grass, the presence of scoreboards, pitch markings, baseball bats, tennis rackets and the like, so that it can focus its ball-tracking motion processing elements more accurately. So you shouldn’t end up seeing artefacting in the picture if you opt to apply motion processing to a sport source.

The latest AI system introduces an audio improvement, too, that lets you divide any soundtrack up into separate voice, music and effect elements so that you can then manually adjust the balance of each element to suit your hearing, combat ambient noise, or just make a particular element clearer with specific TV show or movie mixes.

I’ve already mentioned AI quite a bit through this look at the S99H, but this being a Samsung TV we’re not done with AI quite yet. For starters the latest Samsung smart remote control introduces a dedicated AI button that takes you directly to a new onscreen menu devoted purely to the TV’s extensive AI smart features.

These now include not one but two third-party AI systems, Co-Pilot and Perplexity. Why two? Because, says Samsung, each one offers different areas of specific expertise. You can manually choose which AI assistant you want to use, or else the TV will try to pick the best one for you, depending on what you’ve asked the TV to do.

One last welcome usability change I’ve noticed on the S99H in my time with it so far is that Samsung has moved the set of icons you use to move between different submenus from the main Tizen home hub to the top of the screen, rather than ranging them down the left. This makes the home screen look much cleaner and less intimidating.

Needless to say the TechRadar team is raring to bring you a full review of Samsung’s S99H/S95H range as quickly as we can, without rushing anything. From what I’ve seen so far, though, things are looking very promising indeed.

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• Netflix on Apple TV no longer uses the tvOS video player
• This results in small but annoying interface changes
• But it also means some features are now missing from the app

Netflix has changed the way its app works on Apple TV HD and Apple TV 4K streaming devices, and given how popular these devices are with home theater enthusiasts, it's no surprise that lots of viewers are unhappy with the results of this particular update.

Instead of using the tvOS operating system's built-in video player software and screen, which ensures a consistent experience irrespective of the streaming service you're using, Netflix has decided to do things differently. Netflix has now replaced the tvOS player with its own custom player, and that player not only looks different, it also doesn't work with a bunch of playback features that users have been used for years and years.

Netflix isn't the only streamer to do this; Disney+ uses its own player too. But the Netflix player removes some basic functions when you're skipping or playing shows and the changes aren't going down well with some viewers. (It's also not Netflix's first time breaking from integrating with Apple's tech — it already skips the Apple TV app's Up Next section.)

What has Netflix done to the Apple TV app?

The Netflix app update has changed some standard features. For example, when you click back or forward on your Apple TV remote, the standard behavior is that the show will skip backwards or forwards by 10 seconds, and users are used to this.

Not any more: as viewer iamonreddit explains, "now it pauses and brings up the frame selector, and then you have to click again. Did they not do any research or usability testing before releasing this? It's also not smooth at all."

According to FlatpanelsHD there are multiple other features of the tvOS player that are now unavailable in the Netflix app including the handy auto-subtitling that kicks in when you rewind or mute the show; the option to use Enhance Dialog; the info and video/audio format details in the slide-up menu, the ability to double-tap and find out when the show or movie ends, and even integration with the useful 'Remote' app on iPhone and iPad.

That may sound like a lot of fuss over nothing, but one of the reasons people buy Apple TV is because of its user interface: it's a nice place to spend time in. And when apps go against that, for example to deliver the same experience that you'd get on a Fire TV or an Android device, they make the experience on Apple TV worse – maybe not by much, but enough to be another irritant. And irritants accumulate.

But may not just be about the interface. Other Redditors shared their negative Netflix experiences. "The new player is pretty bad. And 4K doesn't look like 4K," lusid1 posted. Leckie described "consistent quality issues... things will randomly go pixelated and I need to force close the app... nothing else has an issue and all other apps work great." And aisuperman is "at the verge of unsubscribing to an app which has a video player from the 2000s."

I think redditor b2717 put it very well: "for me it’s like someone moved all the doorknobs in my house to the other side, right by the hinges. They may still technically work, but it makes using them harder and more annoying. And every time I’m going to be reminded how unnecessary it all is."

This also comes hot on the heels of Netflix announcing yet another price hike in the US, which includes the second price increase on the Premium plan in just 14 month, so already people will have been asking themselves if they want to keep the service.

Reddit user motorik puts their view very simply: "Latest Netflix app update is 'time to unsubscribe' bad."