• It's a full Dolby Atmos mixing studio... in a shed
• Designed to deliver accurate Atmos audio with pin-sharp precision
• Artists are delighted with the mixes, which required no tweaks

If like me you used to have, or still have, a backyard office or shed for working in, you're going to be green with envy at the sight of mixing maestro Kurt Martinez's personal Dolby Atmos studio.

The award-nominated Atmos expert designed and built his own backyard office and filled it with enviable gear, and if he doesn't call it his Spatial shed I'm going to be very disappointed.

Martinez has been nominated for the prestigious Music Producers Guild award as Atmos Engineer of the Year, and he spent three years as the Head Dolby Atmos Mix Engineer at the world-famous Dean Street studios. He's worked on live and recorded music by a host of stars including Kylie Minogue, Def Leppard, Soft Play, Billy Idol and Duran Duran.

Like many freelancers, Martinez figured that having a home office was a much better idea than a long commute into the city, and in Martinez's case that decision was compounded by being a new dad. So he built an entire Atmos mixing studio in his back garden, doing everything himself apart from the electrics and internet connectivity.

How to make a spatial shed

As Mixonline reports, Martinez built the 2.5m x 3.5m garden office with a combination of porous timber walls to absorb the low frequencies, acoustic panelling in the ceiling and sides, a large rear bookshelf for dispersion, and acoustic slat panels at the front. There's thick acoustic underlay below the laminate floor and even the furniture has a function: the armchairs and rug are there to absorb audio reflections.

With the building ready, the next step was to add the tech. Martinez uses a Pro Tools system based around an Audient ORIA, which sends audio to a Ginger Audio Ground Control Sphere that's controlled by an Elgato Stream Deck+.

The speakers are striking. They're PMC6-2 left and right monitors, a PMC6 center speaker, an 8 Sub LFE, and Ci30 height and surround monitors. Final mixes are tested on AirPods Max and a Sonos home theater setup to check that still sounds good on consumer Atmos hardware as well a studio-level setup.

I used to have a very similar-looking setup for my own home studio, but sadly I didn't have Martinez's high-end gear or even more importantly, Martinez's ears, which is why nobody's nominating me for anything.

But I do love to see a good audio project, and it's clearly been very successful: according to ETNow.com Martinez's last five full-length records, which he mixed in that studio, required no tweaking at all when he tested them in large commercial studios.

All five of those records have been signed off by their delighted artists. I'd like to think that one of them was Shed Seven.

Blu-ray turned 20 this year, and although streaming is now the way most people watch films, physical media is dead is far from dead. Collectors are still buying Blu-rays for their new restorations, special features or limited-edition packages — and younger audiences are discovering the value of owning their films rather than dealing with your favorites disappearing on your all the time.

So if people still want to watch movies on discs at home, is there a Blu-ray successor on the horizon to offer something new?

Every major home video format before it has eventually been replaced. VHS gave way to DVD, then DVD gave way to Blu-ray. As someone who appreciates the quality of Blu-ray films but isn't an expert in the technology behind them, I assumed there would be a straightforward plan for something to come supplant them. Maybe an 8K Blu-ray? Maybe another physical format I've never heard of because home cinema is an interest of mine rather than my specialism?

But after speaking to analysts, hardware manufacturers and the organization behind Blu-ray itself, I discovered that most of them don't think another disc is coming. In fact, there’s no obvious "next format" about to be unveiled, and I wanted to find out why.

Why Blu-ray still has loyal fans

To understand why the future of Blu-ray is such an interesting topic, it's worth first getting to grips with why people still buy it. And the top reason came up in every conversation I had: ownership.

"Ownership matters more now than it did in 2005. When you buy a disc, you own that film. It’s yours, permanently, in its best possible form, sitting on your shelf whenever you want it,” says Victor Matsuda, Chairman of the Blu-ray Disc Association, the group behind the development of Blu-ray.

He tells me that people are switching on to the fact that most of what we “buy” digitally today is really a license that can change or disappear. His comments come shortly after Sony removed over 500 purchased movies from people's accounts without compensation, and right at the same time as Disney+ was forced to remove 4K and HDR support in many countries.

“We frequently hear complaints about people losing access to content they thought they’d purchased, and there have even been lawsuits brought on exactly this issue,” Matsuda says. “A disc doesn’t have that problem. Nobody can reach into your home and take it back.”

I've spoken to many physical media collectors over the years, and ownership is almost always the first thing they mention. But the second reason is quality. Ultra HD Blu-ray is still widely considered to be the best technology for watching films at home.

"20 years ago, Blu-ray set the standard for what a movie should look and sound like in the home, and it’s a standard both consumers and the industry recognized,” Matsuda tells me. “Ultra HD Blu-ray remains unsurpassed as the best overall experience for consumers.”

He explains that this has been the case even as streaming services have rolled out 4K and HDR. “The respective Blu-ray formats became the benchmark they chased, and in my opinion they still haven’t caught it. Blu-ray and Ultra HD Blu-ray remain the reference,” Matsuda says. “A stream can approximate it, but the disc carries the full, uncompressed picture and sound with nothing thrown away to fit a data cap.”

Olivier Semenoux, Europe head of GTM and Product Management at TCL Electronics, explains that much of that comes down to bitrate. "Blu-ray can be coded up to 128Mbps because that's the disc's technical limit,” he explains. “Streaming is a different story, most popular platforms cap out natively around 25Mbps, with some going up to 40 or 80Mbps.”

Unfortunately, the latter is very rare — when it comes to the big streamers, 16 to 18Mbps is the maximum you can expect.

This means that Ultra HD Blu-rays carry significantly more data per frame than a typical stream, meaning less compression and what you see at home is more of the original picture and sound being preserved. It's one of the reasons discs continue to set the standard for anyone who really loves home theater.

Variations of the same argument came up repeatedly in conversations with manufacturers too. I spoke with Rob Jones, President of Magnetar, a manufacturer of high-end 4K UHD Blu-ray and universal disc players. “When consumers invest in physical media, they get ownership, content preservation, and quality control,” he says. “While streaming is incredibly convenient, it cannot match physical media when it comes to that combination.” Jones says that’s what continues to drive Magnetar’s investment and development in this space.

But that doesn't necessarily mean streaming and Blu-ray are in competition. One of the more surprising things I heard was that several companies see them as complementary rather than competing technologies.

"We see many customers choosing both formats," Kenichi Ikenoue, Head of Strategic Planning at Panasonic Consumer Europe, tells me. "They enjoy the convenience of streaming for everyday viewing while turning to physical media when they want the highest picture and sound quality or want to own their favorite films."

Why 8K isn’t the answer

If Blu-ray still has loyal fans, isn’t the next step an 8K successor? That's what I expected to find, as someone who isn't deep on movie production. Instead, almost every expert I spoke to questioned whether there was any need for a successor at all.

"Honestly, I don't think so, at least not right now," says Victor Matsuda. "From a BDA [Blu-ray Disc Association] perspective, we don't see anything from content creators or consumers to indicate a need for a new format. They’re both extremely satisfied.”

There are signs elsewhere that the industry isn't preparing for another optical disc format either. In 2025, Sony announced that it was ending the production of recordable Blu-ray discs, MiniDiscs and MiniDV cassettes, saying that there would be "no successor models". Now, while that decision applies to blank recording discs rather than pre-recorded movie discs, it seems to reflect a broader shift away from consumer physical media formats.

One obvious reason for a new format would be 8K support, which is a format that would theoretically offer four times the resolution of today's 4K discs. But that wasn't what the experts I spoke to had in mind.

"The resolution race is interesting, but I don't see 8K finding a place with consumers anytime soon," Matsuda says. "The content community, meaning the Hollywood studios, produces its content in 4K and has stated their intent to continue doing so. Additionally, a number of manufacturers have dropped 8K from their lineups."

Jones agreed that 8K isn't ready for the mainstream, but says the challenge goes beyond content. It's also about the wider home theater ecosystem. "8K is a distraction until it's mainstream and the ecosystem simply does not justify it," he says.

He points out that an 8K player wouldn't just require 8K discs, but would also depend on compatible TVs, projectors, AV receivers and processors. "In order to sit down and experience 8K content, a viewer's entire home entertainment chain needs to support 8K," he says. "A consumer would need to replace every single link in their entertainment chain with a component capable of supporting 8K, which is impractical at best."

And it seems as if lack of demand isn't the only reason experts are sceptical. Some argue we've reached the point where higher resolutions matter much less than other improvements we can make to picture quality. "HDR and wide colour gamut make a far bigger difference to perceived picture quality than resolution does," Semenoux tells me.

Which means the challenge facing an 8K Blu-ray isn't just about a lack of content or compatible hardware; it's that the improvement itself may not feel significant enough to justify an entirely new format.

That's exactly how Mark Vena, CEO and Principal Analyst at SmartTech Research, sees it. "Frankly, an 8K Blu-ray would be a technical feat in search of a commercial problem to solve,” he says. “There's still little native 8K content, 8K TV adoption is modest and streaming platforms will almost certainly meet mainstream demand before another optical format ever reaches critical mass."

In other words, it’s not as if we’re all sitting around waiting for a new format to happen, it’s more that it doesn’t really have a reason to exist.

What creates a new format?

Vena’s point made me realize I'd been thinking about this the wrong way. Every major home video format solved an obvious problem. DVD improved on VHS by offering non-degrading video and the capacity for extra features. Blu-ray improved on DVD with the space for higher-quality video. And now we have Ultra HD Blu-ray, which improved on Blu-ray's quality further.

Crucially, each of those steps solved a real technical problem. But right now, there isn’t a real problem that a successor to Ultra HD Blu-ray could actually solve.

Matsuda explained this to me using a framework from his time as a product planner that he calls "needs" and "seeds". A "need" is a problem consumers or the industry want solving. A "seed" is a new technology that has the potential to create that demand in the future.

"I don't see a compelling driver for a new format at the moment," Matsuda says. "I think it's unlikely that a new format would arise out of consumer demand as there doesn't appear to be an expressed need. Similarly, Ultra HD Blu-ray continues to deliver content that takes full advantage of display technologies so I don't see a need arising from the industry side."

Matsuda says that could change. "From a seed standpoint, companies may have some technologies in development that could plant those seeds,” he explains. “But in my view, if a driving factor ever prompts a new physical format, it will most likely be the emergence of content the internet infrastructure simply can't deliver at scale without compromising quality. As long as streaming can handle what people want to watch, I don't see any real pressure for a new disc."

So a technological breakthrough on its own wouldn't be enough, a new format would also need the entire industry to then build around it.

Panasonic’s Ikenoue makes the same point from a more commercial perspective. "A successor format would also depend on significant investment from film studios and content providers. New hardware alone would not be enough. The content ecosystem would also need to support a new format. For the moment it is difficult to see the requirement for a successor."

A successor wouldn't just need a better disc, there’d have to be a need to even build that better disc in the first place. Only then would studios create the content, manufacturers would build the players, TV makers would support it and consumers would decide if it was worth upgrading. But right now none of the experts could identify a good enough reason.

What if the successor isn’t a disc at all?

That doesn't necessarily mean Blu-ray is the end of the story. Optical storage technology is still evolving. Companies are developing discs capable of storing far more data than today's Blu-rays, but the key thing is that they're aimed at archiving data on an enterprise scale rather than at home entertainment. Which means they aren’t about to become the next movie format that you’ll buy.

Instead, several people I spoke with pointed towards a future where the successor to Blu-ray isn't about discs. "If Blu-ray has a successor, it may not be something you can hold in your hand," says Mark Vena. Rather than another physical format, he believes the future lies in premium digital delivery through high-quality, studio-certified, lossless downloads stored locally on home servers or network-attached storage.

"This is why the real successor to Blu-ray, for most consumers, is not another disc at all," he says. "It's the combination of ultra high bitrate streaming, cloud libraries and AI-powered video optimization that's closing the quality gap."

So maybe the future isn't about replacing Blu-ray with another physical format but instead preserving the quality of audio and visuals that enthusiasts value about Blu-ray without even needing a disc in the first place.

One possible future is already beginning to emerge. Kaleidescape, a company specializing in premium digital movie delivery, offers downloads with bitrates to match what Blu-ray is capable of, preserving much more picture and audio quality than traditional streaming services while still providing the convenience of instant access.

Kaleidescape even recently launched a new 'Cinematic 4K' format for movies, which it says will offer even higher-quality bitrates for video, promising over 100Mbps of average bitrate (not maximum), which it compared to 60Mbps of average bitrate for 4K Blu-ray in its own marketing materials.

"In 10 years, the highest-quality movies at home will be delivered digitally, not on disc," Tayloe Stansbury, chairman and CEO of Kaleidescape, tells me. "Consumers will expect instant access, reference-quality presentation, and technology that evolves with each generation of content. That's the future Kaleidescape is building today."

However, for many fans of Blu-ray, the biggest hurdle here is still ownership and Kaleidescape's technical proficiency doesn't address that. It's a digital storefront, and the same concerns of losing access to things you've bought still applies.

Kaleidescape told me that its priority is delivering the best possible digital collecting experience rather than addressing licensing, and it declined to comment on people's increasing concerns about this side of buying movies.

Digital purchases may be able to close the gap on quality, but until they can offer the same promise of permanence as a disc, then physical media will continue to offer something digital can't.

Blu-ray remains resilient

When I first started researching this story, I thought I'd be talking to experts about the technology that’s waiting to replace Blu-ray. But instead, I learned the future is a little more complicated than that.

Every home video format in the past has reached a point where its limitations became too impossible to ignore. But Ultra HD Blu-ray appears to be in a different position. According to the people building and supporting the format, there isn't an obvious problem left for another new type of disc to solve. It still delivers the highest quality experience available to most consumers and continues to attract collectors who are willing to invest in physical media.

Looking at recent sales numbers, the Blu-ray market is much healthier than I expected. Mark Frampton, Senior Commercial Marketing Manager at Elevation Sales, a film sales and distribution company, says the format has remained remarkably resilient.

"We’re forecasting 2026 to be another year where the market stabilizes. Catalogue [older releases] has been very strong and only 2% down year-on-year. This is driven by collector’s editions and steelbooks, particularly on 4K Ultra HD which remains a format in growth."

In other words, older film releases are continuing to sell well, with premium collector editions helping to keep the market strong — and it's not just older enthusiasts buying discs today.

“Although the core buying audience is still people over 35, we’re increasingly seeing younger audiences entering the market,” Frampton tells me. “People aged between 25 and 34 are the second biggest buyers of Blu-ray. But Gen Z and Younger Millennials (aged between 14 and 30) who are experiencing ‘digital fatigue’ are becoming highly engaged in the format as well."

The wider industry paints a similar picture. Kath Summersgill, Group Joint Head of Sales at Key Production Group, a music manufacturer that specializes in producing physical media, points to figures from the Entertainment Retailers Association showing continued growth. "The current state of the physical movie market is incredibly encouraging, with ERA’s 2025 figures showing Blu-ray sales increased by 19.5%,” she says.

Now, these surprisingly healthy numbers don’t mean Blu-ray discs will be around forever. Streaming will continue to improve, premium digital libraries will become more sophisticated and companies like Kaleidescape are already demonstrating that top-quality movies don't necessarily need to be on a disc.

All of this means another physical format may never arrive. Instead, the next chapter for home theater could be digital — but there's a long way before collectors would be ready to trust digital libraries.

For now, at least you know you won't have to worry about buying your favorite movies yet again on another new disc format in the future.

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• Disney+ subscribers in some European countries have lost 4K and HDR support, including basic HDR10 as well as Dolby Vision
• This appears to be the result of a court ruling, with the same kind of patent dispute being the cause of Disney+ losing Dolby Vision previously
• Premium customers are paying more for very little advantage now, but there's no word on a refund or compensation as yet

A few months ago Disney+ removed Dolby Vision in parts of Europe after a patent court ruled against the entertainment company, although it brought Dolby back the following month. But now there's a much more serious removal: 4K and HDR10 are gone for many European customers as well as Dolby Vision, and these are pretty core things you pay for if you have Disney+ Premium.

It appears to be another patent issue. In a statement to FlatpanelsHD, The Walt Disney Company Nordic & Baltic said: "Following a recent court ruling affecting the technology we use to deliver 4K UHD and HDR, we have temporarily removed support for 4K UHD and HDR on Disney+. We are disappointed and share our customers' frustration. We are working hard to restore support as quickly as possible."

We're not sure exactly which countries are affected yet, but it doesn't include the UK (or US) — we'll update with a full list when we can, but it's likely to be the same countries affected by the Dolby Vision removal. The reported list of countries in that case was: Austria; Belgium; Germany; Denmark; Finland; France; Italy; Netherlands; Portugal; Romania; Sweden.

That isn't just frustrating. It's taken away a key reason for subscribing to the most expensive Premium plan (though you will still get Dolby Atmos and the ability to stream to four devices at the same time, and downloads on up to 10 devices).

But still, if you're paying the extra price specifically to upgrade from 1080p to 4K HDR, right now you're paying extra for nothing, there's no sign of any compensation for customers so far.

Maybe we should all go back to Blu-ray

It's no wonder that many movie fans are moving back to Blu-ray. Between price rises, digital deletion of paid-for titles and external issues such as patent disputes taking away picture quality you had access to until two days ago, it's not a great time to be solely reliant on streaming.

This current issue isn't Disney's fault. The major streaming services have all been targeted by patent owners claiming breach of their intellectual property, and this appears to be another one of those cases; if so, it'll probably be resolved relatively quickly.

But it does make me wonder about the bigger picture here, because I think streaming is in danger of losing what made it so popular as we pay ever increasing prices for what we used to get as standard.

In this particular case the loss of 4K and HDR has been imposed by an external issue. But the highest quality options have been moving upwards into the most expensive tiers for a couple of years now, so unless you pay for the premium subscriptions you don't get the best quality.

That means what used to be a one-size-fits-all offer is now much more complicated and more expensive every year. For example, I'm in the UK, where Disney+ has three plans, only one of which gives you Atmos and 4K. Netflix has three plans too, once again limiting 4K to the most expensive tier.

My previously ad-free Prime Video subscription is so stuffed with ads now it's a hilariously miserable experience with me and the kids swearing at the screen, and Dolby Vision and Atmos became paid-for upgrades two years ago.

I'd bet that if you're reading this you probably subscribe to, or use the ad-funded version of, a music streaming service; they're so convenient that looking for pirated songs is more trouble than it's worth. But can you say the same for the movie streamers?

I don't condone piracy at all. But as someone who's been reporting on digital piracy since the days when Metallica didn't know what a Napster was, I've seen piracy ebb and flow in music and in movies, and it's very clear that no matter how hard you try, no matter how much money and how many lawyers you throw at it, you cannot stop digital piracy. What you can do — what Netflix, the OG streamer, did — is offer a better alternative that makes it unappealing.

In a world where perfect digital copies of movies and TV shows are only a few clicks away, the only way to prevent people pirating is to make your product better in ways that persuade people to pay for it, or to accept the advertising that pays for it.

And to me it looks like only one of the major streamers is doing that: Apple TV+. What I'd love to see is the other streamers doing what it does. What I fear, and which is more likely, is that Apple TV is going to end up doing what they do.

In 2025, Hisense introduced RGB mini-LED to the market and since then, most TV brands have thrown their hat into the RGB TV ring. TCL, Samsung, LG and Sony are major names who have adopted the new technology, which was dubbed as being a potential ‘OLED killer’, thanks to boasting higher brightness and bolder colors, and claiming to deliver black tones to rival the best OLED TVs.

One of those new TVs has just entered our lab: the Sony Bravia 7 II. The more affordable model of Sony’s RGB TVs, sitting below the flagship Sony Bravia 9 II, the Bravia 7 II is priced fairly similarly to rival mid-range OLEDs. So, I decided to see how the Bravia 7 II would fare against the five-star LG C6, one of the best TVs I’ve tested in 2026 so far.

For these tests, both TVs were set to their respective, out-of-the-box Filmmaker Modes. For the Bravia 7 II, this was called Professional in SDR/HDR, and Dolby Vision Dark when displaying Dolby Vision content. On the LG C6, it's just the Filmmaker Mode.

Colors

Starting with The Super Mario Galaxy Movie, both the Bravia 7 II and C6 demonstrated excellent color reproduction. In the opening scenes, the Lumas’ colors are richer and deeper on the C6, whereas they were brighter on the Bravia 7 II, which worked well for highlights on screen such as when Rosalina uses her wand.

While most colors were a bit punchier on the C6, I did find that yellows and golds actually appeared more vibrant and eye-catching on the Bravia 7 II, shown by the light from the fire reflecting in Rosalina’s hair and face.

Later scenes showed that the C6 had much bolder reds, shown in Mario’s hat and overalls. The C6’s colors also looked more accurate for the most part to me, though during an early scene where Mario and Luigi ride through the desert, I was drawn to the Bravia 7 II’s warmer color tone, with the desert sand looking more true-to-life on the Bravia 7 II, whereas it looked too red on the C6.

There was no denying though the C6’s color handling allowed for more texture and saturation within them, which worked well for this animation.

Moving to a movie with some real-life elements, Speed Racer, both TVs did a great job reproducing the movie’s over-saturated, cartoonish color profile. The ’60s-inspired, often-garish color of people’s outfits and the decor of the Racer family home really popped on both screens. S

imilar to Mario Galaxy, the C6 demonstrated deeper, bolder colors, while the Bravia 7 II showed brighter colors. In the scene in the park where Speed first meets Trixie when they’re both children, the red of Trixie’s dress is punchier on the C6, but the green grass is more vivid on the Bravia 7 II.

In some instances, the Bravia 7 II’s colors did look a little washed out, bordering on too-pale, which was exaggerated by comparing it directly to the C6’s color depth. Reds appeared slightly orange on the Bravia 7 II compared to the C6, a similar story to what happened when I compared the Samsung S95/S99H with the G6, with the former showing orange-tinted reds.

Still, color reproduction is one of the selling points for RGB TVs, and while I felt that the Hisense UR8 (that company's own more affordable RGB mini-LED TV) didn’t stack up that well for color against the Samsung QN80H standard mini-LED when I tested the UR8 and QN80H side-by-side, the Bravia 7 II is putting up a solid fight against the LG C6 OLED (which is a superior TV to the QN80H).

Contrast/dark room viewing

The Batman is something of a torture test for TVs due to its low brightness, which means dark tones can look inaccurate. While OLEDs do a better job displaying it generally, recent models such as the LG G6 have over-brightened the dark tones at times — but the C6 has always handled it well, so it's a great test against the Bravia 7 II.

Watching scenes from the Batcave early in the movie, both TVs demonstrated strong contrast with a great balance between light and dark tones. The C6 had a higher perceived contrast as its black tones were much deeper, thanks to OLED’s pixel-dimming abilities, which meant the dark surroundings that contrasted with the overhead lights and lights from Bruce’s equipment create a higher dynamic range.

Still, the Bravia 7 II demonstrated strong backlight control, better than almost any standard mini-LED TVs I’ve tested this movie on. I also praised the Hisense UR8 for this, so it certainly looks like RGB TVs have unlocked better contrast and dark area control for LED TVs.

In the subway fight scene, the C6 once again proved to have the better black tones, accurately capturing the gloomy tone of the film. However, on the Bravia 7 II, more details such as Batman’s armor and the texture of the back wall were legible, thanks to showing them in slightly higher brightness (more on that in a while), compared to the C6.

The C6 itself showed the occasional sign of black crush compared to the Bravia 7 II. For out and out contrast though, I preferred the C6’s look, but the Bravia II was impressive.

Watching in a dark room, the C6 has the benefit of no backlight, meaning there was no ‘cloud’ effect, where a backlight is obvious over a dark scene. While the Bravia 7 II did show the odd moment of clouding, again it showed excellent backlight control compared to the competition.

There was also very little blooming in the scenes I tried; it only became obvious when a bright menu appeared on the bottom of the screen. Even the Bravia 7 II’s viewing angles were solid, not showing anywhere near the level of blooming a standard mini-LED TV would when watched way off-angle.

I decided to try one final black level test, using the scenes of space from Alien: Romulus. As expected, the C6’s black levels were inky and deep, delivering strong contrast against the stars.

Again though, the Bravia 7 II’s black levels were very good for a backlit TV, although there was some graying on occasion.

I did notice more blooming on the Bravia 7 II in this film however, most prominently whenever bright, white text appeared against black backgrounds. Still, the Bravia 7 II fared better with this movie than I thought.

Brightness

I'm about to get into brightness measurements, but there's a caveat. For my testing, I profile a Klein K-10A colorimeter and Jeti Spectral 15VA spectroradiometer for the best accuracy — and for some reason, I could not get the two’s Delta-E results to line up completely when preparing to measure the Bravia 7 II.

The same equipment worked fine with other TVs when I checked it, so it suggests there’s something odd with the 55-inch Bravia 7 II unit I tested, or perhaps with the way the equipment interacts with it.

Before my full review, we’re getting a different, 65-inch unit in, and I will measure it again — however, I'll provide the measurements I took so far for reference, because while the Delta-E wasn't perfect, it wasn't too far off, so they should be instructive. (And the LG C6 measurements have no issues.)

Brightness results for these two TVs are actually quite surprising. In Filmmaker Mode, the C6 registered 1,427 nits of peak HDR brightness in a 10% window, while the Bravia 7 II registered 1,218 nits peak HDR brightness in its equivalent Professional mode. I was surprised to see that the C6’s peak brightness was higher, as I thought an RGB mini-LED would hit much higher numbers than an OLED.

Looking at fullscreen HDR brightness (a 100% window), this is where the real difference lies. The C6 hit 247 nits in Filmmaker Mode, while the Bravia II registered 957 nits in Professional mode. This is a huge difference — this is the area where mini-LED in general trump OLEDs, though 957 nits is especially high, even

Seeing how this translates into real-world viewing, it shows mostly in bright scenes or scenes with a lot of white. Watching snow scenes from the Spears & Munsil demo footage, a shot of some horses in heavy snowfall is significantly brighter on the Bravia 7 II compared to the C6, giving it a more realistic look.

Another shot of a cliffside during the daytime again looks much brighter on the Bravia 7 II compared to the C6. As the cliff takes up a large portion of the image, the Bravia 7 II, which is brighter in measured areas like 50%, 75% and 100% compared to the C6, means the image looks brighter overall on the Bravia 7 II.

In scenes from Speed Racer, the C6’s peak brightness means white highlights look glossier, such as on the shell of the Mach 5, and colors have more punch in highlight areas, such as the red M on Speed’s helmet. But as the Bravia 7 II has higher fullscreen brightness, the picture does look brighter overall on the Bravia 7 II.

Finally, using a scene in the white-sanded desert from Lawrence of Arabia, this is one movie where the C6 and Bravia 7 II are much closer in brightness in real-world movies. As Lawrence rests on a rock, the sands behind him look punchier on the C6. His metallic watch had slightly more pop too, although this was minimal.

When the sands take up more of the screen, as a stranger approaches Lawrence and his guide, the C6 once again had higher perceived brightness for me.

In this instance, it seems to be related to both TVs color profiles. The Bravia 7 II’s warmer color tone, giving it the brown/orange tint you expect from this type of picture mode, blends more with the desert, whereas the C6’s red tone gives the desert a little more pop.

In terms of bright-room viewing, where you're contending with reflections, the Bravia 7 II is better overall, although the C6 does handle brighter scenes well, such as the ones from Lawrence of Arabia.

With darker movies, the Bravia 7 II is the better option, but it is still prone to mirror-like reflections (the Bravia 7 II doesn’t have the same anti-glare screen as the step-up Bravia 9 II). However, they weren’t as noticeable as the mirror-like reflections from the C6’s even glossier screen.

A step forward, but not quite there yet

Whenever I’ve compared standard mini-LED and OLED, OLED has often come out on top, thanks to its richer black tones and contrast, more refined image and deeper, bolder colors. RGB has been touted as the latest big rival to OLED, and the Bravia 7 II gives the C6 OLED a really good fight.

When smaller RGB TVs first joined the market this year, with the tech itself only arriving in 2025, I thought prices would be inflated. While the C6 is the better priced TV right now, with a 55-inch model costing $1,499 / £1,499 / AU$2,995, a Bravia 7 II isn’t priced too differently, with a 55-inch model costing $1,799 / £1,799 / AU$2,995. (Though LG TVs tend to get more aggressive discounts than Sony TVs, so LG might retain the edge over time.)

For now, the C6 is still the TV I recommend between these two, because it offers the crisper look, bolder colors and more dynamic contrast I’m looking for, as well as a cheaper price. But, there’s a lot to like about the Bravia 7 II and if this is a sign of what’s in store for RGB TVs as the tech develops, OLED will need to watch its back.

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Smart TVs have long been in controversial waters as far as privacy goes. From claims that your TV is a "privacy nightmare" to accusations of some models being a "mass surveillance system", you probably haven't failed to notice the periodic storms that have erupted around what televisions get up to in terms of data and telemetry. The latest lightning strike that hit last week was a development around LG TVs (and PC monitors) whereby voice features (and a McAfee pop-up ad in Windows) came under fire.

LG has defended its position in no uncertain terms, it should be noted (although the mentioned Windows 11 pop-up has since been retracted). But regardless of the rights or wrongs here, this affair was enough of a reminder to prompt me to finally take action on something I've been meaning to do for quite some time anyway.

Namely, to take my smart TV offline, once and for all. This means I can ensure that I know for certain that my television isn't get up to any online 'shenanigans' with whatever data may (or may not) be getting sent here or there — because it isn't online at all. And I don't need it to be online, either.

Maybe this is something you'd like to do, as well, so if you're thinking of following in my footsteps, I'm going to break down everything for you. That includes whether you actually need to have your smart TV online, and how to go about disconnecting it from the internet while still installing updates for the television manually, should you wish, which is possible in many — but not all — cases.

Do you really need to have your smart TV online?

I'd argue that you don't need to have your smart TV online, although that said, answering this question isn't exactly straightforward and there are caveats depending on your personal situation.

Obviously, if you use the TV maker's smart hub for any of your viewing needs, and the apps therein for streaming (or anything else), then clearly, you will need the television to remain online. Although these days, most people use a streaming stick to watch all their content and don't ever go near the smart TV hub, such as the Fire TV Stick (most commonly). It's just a much better way of working. (And yes, I do realize that any such hardware may come with its own privacy-related nuances and issues, but I'm not going to get into all that here – except to say that you'll want to consider Apple TV as an option if privacy is high on your list of priorities for streaming devices).

Assuming your viewing is done via a separate stick or box of some kind, then, the only real reason to keep your TV online is to get updates from the manufacturer. In my case, I have a Sony TV that's now four years old, and at this point, updates have reduced to a trickle – and they're mostly trivial tweaks and the like.

There's nothing I really need, and arguably, firmware updates are as much of a risk as they are a potential benefit at this stage of the TV's life. I like the way my Sony runs now, the picture is great, and everything's good – and who's to say an update might not throw a spanner in the works and break something? These things happen, even if it's something as simple as resetting my TV settings, which isn't fatal, but is annoying (and it has happened before).

Okay, so one thing I won't get that's regarded as vital is security updates and fixes. And I understand why these are thought of as critical, but hey, guess what: I'm taking my TV fully offline, so I won't need them. (There's no greater assurance of security than ditching online connectivity, anyway).

Granted, there are other online features I'll lose too – voice command functionality with the TV, for example, but it's all minor stuff in the great scheme of things, and none of it matters to me personally (I use my streaming stick's voice search, anyway).

If you have an older smart TV, you're likely in a similar boat to me, although if you have a newer model, then maybe your television is still receiving firmware updates which are important, with fixes or new features you actually want.

In that case, you may still want to jump online to download and install those upgrades, but you only need to hop on temporarily to do so (maybe once every few months).

However, there is another way to get updates for your smart TV while keeping it offline permanently. Admittedly, it's a bit of a hassle compared to a seamless update within the TV's interface itself, but it does avoid going online at all, while still ensuring your smart TV is kept fully up-to-date. So, let's look at how to do that — but first, it's worth quickly touching on how to take your TV off the internet in case you're in any doubt.

How to take your TV offline

If your TV is online and you wish to revoke that internet access, it's a simple matter of turning off the Wi-Fi in the television's settings. (Assuming you're connected via Wi-Fi to your home router, of course — if you have an Ethernet connection, it's just a case of unplugging that cable from the TV).

You'll find the wireless network options somewhere in your TV's settings menu, generally under a category called 'network' or 'internet'. Head here and there'll likely be a slider or some kind of choice to turn off the Wi-Fi, and it should be as easy as flicking that switch. Of course, the method may vary slightly from TV to TV, as ever (consult your instruction manual if you get stuck).

You'll also see your home Wi-Fi network listed under available networks (or similar), and you can generally go into that option and select the choice to 'forget' the network (remove it permanently from the TV's memory). It's probably worth exercising that option as the safest way of fully disconnecting your television (although it does mean that if you want to add the wireless network again in the future, you'll have to re-enter the password).

How to install a firmware update with your smart TV offline by using a USB stick

The way you install an update with the TV offline is to do so via a USB stick. This means using another device that's online (your PC or laptop) to download the TV firmware update you want, then you copy it onto the USB stick, and plug that into your TV, piping the update through locally from there.

How this works may vary from manufacturer to manufacturer, as you might expect, but it's broadly the same. Follow the general instructions below, but bear in mind that you may have to adapt them slightly based on exactly which firm makes your TV.

1. Find out your exact TV model

First things first: you should note down the exact model name of your TV. You'll find this on the invoice (from when you bought it), or on the back of the TV set itself, or it'll often be in the settings in the TV menu (generally under Settings > System > About, or similar – or find it via the Help button on your TV remote, under system information or the like).

When I say full name, you'll need that to search for the correct firmware and ensure you download the right file. You can't just search for 'Sony Bravia 55-inch TV', you'll need the exact model with the full complement of letters and numbers, such as 'Sony K55XR80PU' which I'll use here as an example.

2. Download the latest firmware from your TV manufacturer's website

On your PC, run a Google search (or your preferred search engine) for the model name and firmware, so in our example here, we'll search for 'Sony K55XR80PU firmware'. You should get a link that takes you directly to the support web page where the manufacturer provides the relevant firmware download.

At that page, you may find the model name is truncated — it's the Sony K-55XR80 in this case, as the 'PU' bit at the end is regional model info relating to the UK. (Note that you can search directly for the firmware on the manufacturer's support site, but due to variations in the model names as observed, the site might fail to find it, so it's generally best to try Google first).

When you reach the support page for the relevant TV model, you should see the latest firmware update listed with its release date and notes about what it does. It may be referred to as 'firmware' or a 'software update', and in some cases, it might come with instructions. (Samsung calls its firmware downloads 'upgrade file USB type', for example — catchy, huh? — and LG includes a PDF guide with some downloads).

Click on the file to download it to your PC (and the instructions, too, if present).

3. Put the update files on a USB stick

Once downloaded, you need to put the firmware files onto the USB stick, so insert that USB drive into your PC, and copy them across. Exactly what you do here may vary slightly — and if you have instructions from the manufacturer you can, of course, follow these — but let's continue with our Sony example to give you an idea of what's involved.

With the Sony K-55XR80 firmware update, what's downloaded to the computer is a ZIP (compressed archive) containing three files. Extract those three files to a temporary folder on your system drive, then copy them over to the root drive of the USB stick (meaning just copy it straight onto the stick — don't put it into a folder). Note that the USB stick doesn't have to be empty, it can have other files on it (the TV will ignore them and pick up what it needs — although you will need enough room for the firmware update files to fit on the USB drive, naturally).

4. Insert that USB drive into a free port on your TV

Turn on the TV and plug the stick into an available USB port, and the television should detect the update, and start the installation process. (Sony suggests not having any other USB devices connected, by the way, and also rebooting your TV first, but the latter isn't really necessary — you can just turn it off, then on again, assuming it isn't off in the first place).

Slight variations with different TVs

Depending on your TV, you may have to proceed a bit differently — as noted, you can follow the instructions provided by your manufacturer on the firmware download page (or the downloaded installation guide, if you get one).

For example, with LG TVs, you need to put the update files in a correctly named folder on the USB stick as detailed in the provided PDF guide (and not the root of the USB stick, as with a Sony TV). Samsung TVs require the files to go in the root of the USB stick — not in a folder — like Sony, although with a Samsung model, the update may not kick off automatically when you plug in the USB drive, and you might need to trigger it manually. (Go to Settings > All Settings > Support > Software Update in the Samsung TV's menu, then select 'Update Now').

But broadly, whatever your TV, the idea is the same: download the update files (or file), put them on the USB stick, then plug the stick into a free USB port on your TV, where the update should be automatically detected and installed. The main differences will likely lie in the number of files you may have to download, and whether or not they need to go in a folder on the USB stick. At any rate, be sure to follow the manufacturer's instructions carefully.

Done and dusted

As ever, once a firmware update has begun, don't ever turn off the TV, unplug it (or remove the USB drive), or otherwise interfere with the process, as that runs the risk of seriously messing up your precious television. Sit tight and watch the update run its course, with the TV rebooting itself automatically at some point – and then you're done and dusted.

In many cases, then, there's no need to connect your smart TV to the internet ever, even to get firmware updates. Although don't forget that you'll need to manually keep tabs on when the latest updates emerge, regularly checking the manufacturer's website, as your TV won't flag update availability for you if it isn't online.

There's a final caveat to remember here, namely that some TV manufacturers may not provide updates for download and manual installation with certain models. In that case, you're rather stuck, and indeed Panasonic is notable in this respect, because this TV maker has ditched manual updates entirely for its newer models, with firmware only available via a direct download on the TV. However, even in these scenarios, you can still keep the TV off the internet most of the time, periodically venturing online just to grab the latest firmware (should you want to).

Dolby Atmos gets plaudits as the more popular immersive 3D sound format, but a lot of its love from home theater enthusiasts isn't about the spatial audio, but is more about the lossless audio quality you get on 4K Blu-ray. It's not the only game in town for this, however: there's also DTS-HD Master Audio (MA).

I’ve been testing new 4K Blu-rays as part of the Blu-ray Bounty, my monthly feature where I review the best new 4K releases for sound and visual quality, and tons of them use DTS-HD MA — especially older titles.

While DTS isn’t supported as widely in hardware as Dolby Atmos (new-release LG and Samsung TVs don't support DTS, for example), it’s an excellent sound format that can still deliver an immersive surround sound experience, especially in 5.1 surround systems.

While DTS-HD MA may not utilize height channels like Dolby Atmos does, there are a few 4K Blu-rays I’ve tested whose DTS-HD MA soundtracks sound so good, they had me asking who needs Dolby Atmos height effects anyway.

Below, I’ve picked seven of my favorite 4K discs that feature brilliant DTS soundtracks — most are 5.1 surround sound, but one is actually stereo (as the creator intended).

What do you think of Dolby Atmos vs DTS? Any other DTS 4K discs you think people should check out? Be sure to let us know in the comments below!

Chungking Express

Chungking Express follows the separate stories of two policemen in Hong Kong, both of whom are going through breakups and meet new strangers.

Where the DTS-HD 5.1 MA soundtrack shines here is capturing the hustle and bustle of Hong Kong. During one scene where Ah Wu (Cop 223) enters a night market, the sound of raised voices, goods being exchanged and the general chaos of a busy market sounds realistic and detailed.

The surround channels are used to full effect and sound is accurately mapped to them. The movement of sound had me double-checking the room, the sounds of the market are so convincing and tactile.

A later scene where Cop 663 visits a restaurant, the conversation of the patrons, clinking glasses and cutlery being used are given ample room to breathe, and the sound placement is precise. Again, the scene had that immersive feel that I’d found during the aforementioned night market scene. Throughout, the jazzy score is well balanced with other elements in the mix.

Tombstone

Tombstone follows the story of Wyatt Earp (Kurt Russell), a retired lawman who moves to the titular town with his brothers Virgil (Sam Elliott) and Morgan (Bill Paxton), and along with Doc Holliday (Val Kilmer) they must defend the town from a group of outlaws.

As you’d expect from a Western, there’s plenty of gunfights that demonstrate excellent surround sound and dynamic range. The DTS-HD 5.1 MA soundtrack here accurately maps ricocheting bullets to rear channels, while also following their trajectory. There’s good impact from said bullets too, showing some nice power from the front channels.

Elsewhere, other effects such as the clinking of spurs have a bright, clear sound and again sound realistic, with a clear connection between the sound and the action. Whenever horses gallop, there’s some meaty bass that delivers a solid rumble. The subwoofer of the system I use delivered plenty of oomph that even made our testing lab shake. Crucially though, despite bass volume, it’s well controlled and balanced within the mix.

Dunkirk

Dunkirk, directed by Christopher Nolan, follows the events of the Dunkirk evacuation in WWII, told from three different perspectives of people in the land, sea and air. It stars an ensemble cast that includes Kenneth Branagh, Tom Hardy and Cillian Murphy.

Christopher Nolan notably never uses Dolby Atmos with his movies, and Dunkirk is no different. While any Nolan movie could make this list (and this isn’t the only one), Dunkirk is easily one of the most impressive.

In the opening scenes, as the British soldiers attempt to outrun the gunfire, the mapping and directionality of the bullets was pinpoint accurate, coming from behind my head and ramping up the anxiety. These bullets also had plenty of impact and punch, delivering some serious power with every hit.

This is another DTS mix that despite a lack of height channels, delivers enough immersion that it feels like there’s height. Anytime a plane flies overhead, there’s absolutely perceived height, and the drone of the plane's engines has a clear sense of direction. Throughout the movie, bass levels are powerful but well controlled and dynamic, really giving a subwoofer a workout.

Interstellar

Interstellar is the story of Coop (Matthew McConaughey), a NASA pilot who joins an expedition to find a new home for humans, as Earth succumbs to famine and crisis. The movie also stars Anne Hathaway, Jessica Chastain and Michael Caine among its cast list.

Christopher Nolan’s second movie on the list, Interstellar delivers an impressive showcase for DTS-HD 5.1 MA. As the Endurance navigates the Gargantua wormhole, bass levels are strong, but there’s an added (intentional) sense of direction to the low frequencies as well, as the sound moves from the front to the rear speakers to create a fully immersive and engaging sense of reality bending around you. The roar of the ship’s engines delivers a seriously powerful rumble too, showing what your subwoofer can do.

There’s some fantastic detail within the sound mix too. During Coop’s daring docking sequence with the out-of-control Endurance, the sound of debris crunching into the ship and the directionality of the spinning ships are all intricate, audible and precise. There’s an excellent balance between every element, even with the powerful, organ-led score over the top of it — this is a really tough scene for speakers to drive, and is a great showcase for why Blu-ray is superior to streaming: it sounds so much weaker from any streaming source, but is brilliantly overwhelming here.

As Coop encouncters the black hole, the rattling sound of the dust again scrapes along the outside of the ship convincingly and sharply, really putting me inside the Ranger ship myself.

Minority Report

Minority Report, loosely based on Philip K Dick’s novella The Minority Report, stars Tom Cruise as John Anderton, the chief of the Precrime unit, which uses clairvoyant people to predict homicides before they happen. When the clairvoyant ‘precogs’ predict that Anderton will commit a homicide, he must go on the run.

Despite the lack of height channels in the DTS-HD 5.1 MA soundtrack featured on the Minority Report 4K Blu-ray, there are plenty of scenes where a sense of height is created. During the jetpack fight scene, the movement of sound and the spatial elements within the scene are enough to create the feeling of height to the mix.

The same is true in another scene where John escapes along a magnetic car freeway. Cars over John’s head, as he scales up the automated lanes of traffic, sound like they’re coming overhead, even with the missing height channels in the mix.

The detail in this disc’s soundtrack is just excellent. Other elements such as punches during fight scenes deliver solid impact and heft, with some meaty bass as well.

Fight Club

Fight Club is the story of an unnamed narrator (Edward Norton), who's an insurance agent who meets a mysterious soap salesman named Tyler Durden (Brad Pitt) and starts an underground fight club for disillusioned people.

As you’d hope from a movie as gritty as this, there’s plenty to like about the 4K disc’s DTS-HD 5.1 MA soundtrack. During fight scenes, punches and collisions have real impact, feeling every bit as gruelling as the scenes themselves. More visceral sounds, such as the bag of fat splitting open, are gruesome and realistic, sounding worryingly detailed. The narrator’s speech is crystal clear throughout most of the movie too, balancing well with the score and other effects.

Again, this is another mix with a real immersive feel in some scenes, delivering perceived height effects. During the opening, as the camera drops down through the building where the narrator is held at gunpoint, to the parking garage below, the sound of the breeze accurately follows the trajectory of the camera, creating that sense of height despite the lack of height channels.

Blow Out

Blow Out follows Jack Terry (John Travolta), a sound technician who is embroiled in a murder/assassination plot when he inadvertently captures evidence of the assassination while recording audio for a low-budget slasher film he’s involved in.

What makes this disc’s soundtrack so interesting is that rather than DTS-HD 5.1 MA surround, which the other entries in this list have been, this uses a DTS-HD 2.0 surround mix, preserving the original presentation, but in the best-quality mix we can deliver today.

While stereo may sound limited, some excellent sound design means the movie absolutely feels immersive. This is best demonstrated during a scene where Jack records audio in the park near the opening of the movie.

As he aims his microphone to capture audio, the sound of the wind and distant traffic fills the space with subtlety. When louder audio comes in, such as the hooting of an owl, the other effects don’t go away. As the car swerves off the bridge, the sound of the screeching tyres moves from side to side, again utilizing the surround channels well. There’s still some good impact as the car crashes through the fence into the river, too.

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• SyLC 3D Player supports everything from 3D Blu-ray to Apple spatial videos, and it can convert 3D video to display it on Apple Vision Pro headsets
• It's backwards and forwards compatible — and the creator says it can get dual-HDMI output for dual projection, for future-proofing
• The app runs on Windows, and is free via Github 'because this format deserves better than a slow death'

One of the great tech disappointments of the last few decades was 3D TV. Like many movie fans I was excited by the possibilities, invested in a 3D TV, and watched the entertainment industry ensure that yet again, 3D movies were a short-lived trend. By 2013, it was already generally agreed that 3D TV was dead and that smart TVs and 4K were the way ahead.

Not everyone got the memo [I had mine until 2020… -Ed]. Over on the r/audiovisual subreddit, Jarod-The_Centre is determined to ensure 3D never dies — so they have been making a free player that now "plays EVERYTHING in 3D" from Blu-ray to Apple spatial videos.

And that's just the beginning of its talents. If you're a fan of things pointing out of the screen for no good reason, Jarod's player is fascinating.

I refused to let 3D die ! So I spent months building a free player that plays EVERYTHING in 3D: Blu-ray MVC, 4K HDR side-by-side, even Apple spatial videos. And it converts your 3D Blu-rays to Vision Pro format... from r/audiovisual

What does the 3D player do?

What doesn't it do? The player, called SyLC 3D Player, is a Windows app that's now in its fifth release. It's designed to play three different generations of 3D content: Blu-ray 3D/ISO/MVC MKV; HEVC/H.265 3D up to 4K 10-bit HDR; and Apple's MV-HEVC spatial videos. "The MVC of the 2020s, playing on your 2010s 3D TV," Jarod writes. "There's something poetic about that."

The app outputs in frame-packed 3D for compatible 3D TVs and projectors, and it can do something else that's really impressive: it can export 3D content as MV-HEVC, so you can take a 3D Blu-ray and turn it into a spatial video for Vision Pro.

I love Jarod's explanation for making the app. "It exists because this format deserves better than a slow death, and because apparently I don't know when to stop."

Jarod's in good company. Reddit's response to the latest announcement has been really positive and packed with good ideas, so for example Acceptable-Rise8783 suggests that for future-proofing, the app should be able to "send the two fields separately but in sync through two HDMI outputs."

With 3D TVs and projectors becoming increasingly hard to find — as they point out, "projectors are dropping support left and right because the chips that do 3D are becoming hard to come by" — the choice of viewing platforms will be reduced to dual-projector 3D or VR headsets.

The creator says this is something likely to appear in the player in a future version as the player already drives two windows simultaneously — and it means that dual projectors is the most 'future-proof' option for 3D, and the app supports it as best it can.

The whole discussion is fascinating, and I think Jarod sums it up beautifully. "Keep the faith. The format's not dead while we're still building for it 🔥".

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You may not have heard of the Armour Home Group, but you have almost certainly heard of its three hi-fi brands: Q Acoustics, QED, and Goldring. Q Acoustics is one of the masters of great-value value speakers, QED is one of the best-known cable makers, and Goldring is a 120-year-old turntable specialist.

And you may not have heard of its new Managing Director, Charlie Henderson, but you will absolutely have heard of the audio brands he's helped to lead, including Cambridge Audio, Naim, and Jabra.

I've met Henderson before in his roles at Cambridge and Naim, and I was fascinated by how the email I received announcing his appointment promised to focus on expanding the brands "beyond the hi-fi" sector.

I wondered if that meant moving into more 'mainstream' parts of the audio world, and I wasn't sure how that would really work with a brand like QED, so I wanted to find out more — but it turned out that Henderson had something completely different in mind.

He wanted to talk about how the brands can support the return of public listening rooms, how they can engage with the new wave of people getting into hi-fi — and how the hi-fi world can get its "mojo" back.

TechRadar: You said in your introduction at the company that "My goal is to elevate these brands beyond the hi-fi sector and into the broader music community", referring to Q Acoustics, QED, and Goldring. So what do you have in mind?

Charlie Henderson: I have felt for a long time that the hi-fi industry has lost some of its mojo. If we go back to the '50s, '60s, '70s — kind of the essence of British hi-fi in particular — lots of those company founders were either part of rock bands, or they were gigging, or they were visiting live venues, and that's why they got into this industry. So a real love of music was always there.

I think we've seen maybe over the last 10 years or so that it's gone a bit stale. And I think in all the roles I've had in this industry, I've been really keen to make sure that we reboot it. So we talk about our mission as a business, which is to move beyond the hi-fi bubble and become part of music culture — almost as though that's revolutionary, but it's not; it's just going back to what hi-fi was. It was always part of music culture.

But if we think about going around Vienna High End or the Bristol Hi-Fi Show or any of these kinds of events, it's usually less about the music and it's mostly about the equipment and the technology. I think that's a shame. It's not why I'm in this industry; it's not why all the people I tend to find that I'm working with are in this industry.

So that is our mission, and the way we do it is by just being authentic about why we're really here.

TR: It's funny, of all the big tech shows, IFA is the one that has started doing what you're saying, and trying to be a cultural hub as well as a tech show. But really audio is such a kind of tangential part of IFA compared to these music shows that you're talking about.

CH: I remember chatting to a [very respected] hi-fi journalist at the Munich show a couple of years ago, and he just hung out with us. This was in my Cambridge [Audio] days, he just kind of just hung out because he was like, 'Man, at least someone's playing some proper music.'

You walk around the halls and it's Kate Bush and Pink Floyd and Led Zeppelin and all of the usual stuff. Great artists, they're still important musical acts and incredible — but decades have moved on and there's different artists today, you know? People like Fred Again and Ren are my two favorites at the moment, because I think they're British artists who are defining the real musical culture right now. And I haven't heard any Fred Again or Ren at an audio show.

I probably would hear it at IFA, and I think it's because IFA represents companies who understand that they are part of consumer culture. I think the hi-fi industry maybe sometimes thinks that consumer culture is a dirty word. I couldn't disagree more. Knowing who your customer is and what appeals to them and being part of their world, that's our responsibility as manufacturers ultimately.

TR: So what do you see music culture as being in 2026? We're in the middle of one of the most interesting times of audio I can think of, where the new audience who grew up on streaming are coming in and going, ‘I want to move beyond this.’ And that is partly behind the vinyl revival with young people really wanting to actively get into that side — but it's also leading us in the direction of every device having streaming built in or being ‘active’. There are these two arguably separate paths, so where can you ‘meet’ music culture as a company?

CH: There's a little bit of convenience going on here. Active is clearly a future direction for our industry, fueled by convenience and simplicity. I've spent a long time in my career involved in separates hi-fi, and that has a place, but I think even companies who have been focused on that over the last few decades realize that active is the direction of travel. I think that's down to people just wanting a simpler life.

But then there's the ironic flip side of that. We talk about the vinyl revival and analog renaissance and all these things, [including] CDs. I'm using one of my old Motorola phones for my phone because I don't always want to be connected on a smartphone.

But one of my favorite cartoons is [the one that asks] ‘What got you into vinyl? Was it the inconvenience or the expense?’ You know that one? I think the ritual [of playing and choosing vinyl] is really important.

Just for a second, I'm going to kind of dive off into part of how we'll execute our mission. You know, moving into being more a part of music culture isn't just about understanding the music side of it, it's actually how people experience music. I think as an industry, the hi-fi industry has long lamented the question: how do we get people to come in and listen to what music should sound like?

I don't believe [getting people to come to us] is the right answer. Go to where people are listening to music and show them how it could sound. There is a bar culture called the kissa bar culture that came out of Tokyo over the last 20 or so years. It manifests itself in these listening rooms, and you see them at Studio 180 in London, for example. Spotify has just announced its own version of one of these listening rooms as well. That's where music culture is for me.

There was a great article I was reading the other day where it's basically saying listening rooms like that are the new nightclubs. I thought that was super interesting because it's a place where people just assemble, share a passion of music. They might be sipping nice teas or drinking great whiskey or maybe just chatting, you know? It's a place to socialize.

We're seeing this resurgence of gaming, and I mean board gaming. I think that's beautiful, because it's people coming together and escaping the distractions of modern-day technology. It's definitely a younger audience who are doing that because they are sick to the high teeth of everything being online, everything being intangible and losing that connection with friends.

You're seeing it also manifesting in things like running clubs appearing and becoming a huge thing for people in their teens and 20s and early 30s, just craving for human connection.

And I think that is part of music culture. It's human connection. It's why gig tickets are going through the roof again — Glastonbury's selling out faster than ever.

And people really spend more on music, on a hi-fi system or an audio system. They're quite happy with their [premium] Apple Bluetooth products, they're already spending that money. They're dropping £1,000 on Glastonbury tickets and spending all this money on Taylor Swift to get the eight different versions of an album that she releases. They're obsessed by music, but they don't know who to talk to because no one's talking to them.

TR: This might tie back to what your plan is to get out there and interact with people, but the immediate problem that occurs to me with having more of these spaces — and about these spaces becoming more popular even though there's appetite for them — is the general collapse in the ‘third-place’ concept. Places you can go that are not work and that are not home and that are also sustainable businesses. A lot of these places are struggling. Board game cafes have done all right, but you've got maybe one or two per city. They're not like how pubs and bars have been absolutely everywhere in the past. So do you see yourselves opening some of these venues, or supporting them directly in other ways?

CH: I think the pub reference is interesting because we've seen a decline in pubs. We know how many pubs are shutting every week, and nightclubs. I think it's just a different way of people getting together. I'm not surprised that there's only one or two [board game cafes] in a town, because there's probably only ever been one or two nightclubs in a town. Clearly not the same number of people going through [board game cafes as nightclubs], but it's just a place where people can get together.

But just because they're not doing it publicly, doesn't mean they're not doing it at home, you know? We know that vinyl and turntable sales continue to increase year over year over year because people are creating their own environments at home.

In terms of how we execute it, it's by working through our relationships that we have as a team — and that I bring to the business as well in terms of relationships in the music industry and venues within the music industry — and saying ‘how do we support you creating your own listening bar environments’ or being able to [develop] kissa bar culture.

And doing that globally, importantly, as well. We might be based in the UK and proudly British hi-fi brands, but we're a global business, so how do we get a venue in Tokyo, the home of all of this culture? We've had some really good conversations in Vienna just last week about being able to do this in places in Australia, and opportunities in places like New York and across Europe. Spain, Italy and France are way ahead of the UK when it comes to this listening bar culture already.

And then obviously in the UK, our approach will be to support those venues either by equipping them with the right kind of technology to be able to deliver it, or helping people to open them. There's a difference between pop-up events, which are fun for the industry, and actually supporting these venues to be successful in what they're trying to do.

There's an ethical story here. Sometimes people say, ‘So what is it you do as a business? You're making stuff?’ I'm like: no, it's bigger than that. We make products for sure, but they transform people's lives.

It sounds very floaty and you know, almost ephemeral, but it's true: music changes how people feel, so we have a responsibility to make that available to people wherever they want to be. That's kind of our cultural thing, and we'll do that by making sure that the great kit that we make is in the places they want to go to — the two come together.

The outcome is that people realize that [our brands are] actually part of music culture, and therefore we are the people who are signposting who they could listen to great music through, and that's the business upside of it.

TR: So when you talk to these places about what support they need from you, what are they saying?

CH: Support financially. Equipment. There are some which have been really successful with very advanced audio systems, but most locations can't manage that.

We are proudly in the accessible end of the spectrum as a company, particularly around the Q Acoustics range. It's high-quality equipment, but it doesn't cost the Earth, so we can help some of these smaller venues perhaps be part of this movement; we can loan equipment to them, or work with them on [cost]. I think that's probably the practical thing that we'd be able to do.

TR: You’re talking about getting closer to music culture and being a music-listening brand, not a technical brand, if you think of it in those terms. Do you think that's something that separates you from the Chinese hi-fi brands that are exploding in popularity? A lot of them feel quite led by technical people who are able to create pretty incredible products for low prices, but the pitch feels based on technical specs.

CH: I think these brands aren’t that different to traditional hi-fi companies. You know, I've worked in a number of brands where it’s an engineering-led culture — and there's a bit of a transformation that we'll do at Armour Home; there's a degree of engineering-led culture [there].

What has been fun is seeing everything from the engineering teams, but also that our designers saying, ‘Hang on, we could be bolder and braver and less safe and actually be really exciting.’

So I'm already seeing renders for products that will come out in the next 12 to 18 months where I'm like, ‘Yeah, OK, now we're talking’. These are products that really speak to having a sense of style and presence, and really selective decisions around the colors, materials and finishes that we use, and being much closer to interior design. Pantone colors of the year and these similar cultural cues that matter [to people] — just being cool and relevant, that alone is more than maybe the Chinese brands are able to do because they're not attuned to it in quite the same way.

There is a distinction, though. It isn't just British tastes that matter; it's understanding the global tastes as well. So working with our global distributors as well to really get a sense of what is current right now in China or in Australia or in the US, and bringing that as a bit of a mix. Otherwise we fall into the trap I think British hi-fi brands have done in the past where they think everything starts and stops at the English Channel.

TR: Right now, Goldring is really a turntable accessories company that happens to make one turntable [the Goldring GR3]. So, is your plan to expand its reach by offering more turntable models, or are you thinking more about expanding the kind of accessories it makes into phono stages or something else that's not in the range at the moment?

CH: One of my observations when joining the Armour Home Group is that we focus a lot around the Q Acoustics business. And then we have two other businesses within it, which are Goldring and QED. I think that focus is a miss, [and] that's a shame, because we have 120 years this year of history with Goldring. It is one of two of the oldest audio brands in existence, and it has been there at all the defining moments over a century.

Then we have QED, which is 53 years old this year, and it was the brand that started the whole cable revolution from bell wire to proper audio hi-fi grade cables. Something called the Genesis report, which was written by the guys at QED, is still the bible that everyone else has followed ever since.

Q Acoustics has been the new kid on the block a little bit. It's 20 years old this year, so I kind of joke with people in the business that it's not a teenager anymore, we're a grown-up… but we have 120 years of Goldring.

So in the context of your question, Goldring is a beautiful thing for us to have in the family because it allows us to talk about 120 years of history, and iconic decks like the G99 or GL75 with Lenco that were built over the decades. But it's also bang up to date, because vinyl culture is hot.

So we have to do a couple of things. One is to celebrate the past and then also bring things bang up to date in the future. I've had some extraordinary conversations with some of the people I've met in this business, but one of them in particular is a guy called David Giffin.

He's been in the business for 40 years, his father was in the business for 41 years before that, and he was sharing with me this extraordinary scrapbook of all of the sort of cuttings over decades of this business.

That is extraordinary in itself, but he's now the person that people come to from all of the forums going, ‘This is the guy who can rebuild whatever cartridges from around the world’. He's showing me pictures of some Japanese cartridges, like super-esoteric cartridges made out of marble, that he's been tasked with repairing.

So this extraordinary level of skill sits in our Goldring team, and we don't talk about that nearly enough; it's extraordinary. How do we make that manifest itself in the consumer world? We let people know that we have some of the best cartridges, certainly for consistency of performance, that money can buy. We've got everything from entry level right up to Ethos at the top level

You can come to us for turntables too. We have GR3 as a turntable at the moment, and without giving any secrets away, of course we're looking at what more we can do more around that.

But I need to make sure that [a new] turntable is something truly iconic that celebrates 120 years of Goldring, that reminds everybody that this was the brand that started it all, and can sit proudly in a kissa bar environment, celebrated on this plinth, almost like they're shrines. Something that's truly special.

And then at the same time, [should] tie our brands together, so I can use QED technology in the development of that turntable, and I can also make sure we've got Q Acoustic speakers that do service to a turntable with 120 years' worth of history. That’s where some of these new flagship projects that we're working on are really exciting, because the material choices alone are bold.

I talk a lot internally about the thread between the brands. They're not disparate brands. We're incredibly fortunate to have three brands that bring everything together from the source through the connectivity through to the output, and we need to do more of that.

TR: So we should probably expect a cohesive, very premium, very celebratory set of stuff to come from this thinking?

CH: This is where I get kicked under the table by my PR handlers. You should expect a much more bold and confident view as to what we bring to market because I believe we've earned that over many, many, many, many decades.

TR: Are you considering doing something like special edition versions of Q Acoustics speakers that are Goldring-branded or designed? Q Acoustics' design language tends to have friendly, rounded corners, and rounded edges. I look at the GR3 and I see this stark, hard-edged cuboid block. Do you want a set of Q Acoustics speakers that are equally hard-edged and glossy-finished, [and] maybe have the Goldring logo on?

CH: I think it could be that way, or it could be the other way around. You could see a Goldring turntable that leans more into the home-friendly design, or I could see everything elevating to a new design approach as well, sure.

What I can be clearer about is that I think it's important that there are technology linkages where possible across the three brands, and design cues where appropriate across all three as well, without betraying the core design fundamentals of each brand. It's a balancing act.

TR: The biggest missing pieces of your portfolio are the amp and streamer. Is that something you think about expanding into, or do you think the future is more in the combined active speaker route in the Q Acoustics range?

CH: There are two parts to that. We have our core business, and we have our distribution business in the UK, and it’s important to mention that our distribution business is really interesting.

We've got Xgimi at one end in terms of cutting-edge projector technology; we’re just rolling that out with retailers across the UK, and we literally can't keep up with demand.

Almost at the other extreme we've got Grado. Cool as hell, legit New York vibes, super interesting, iconic design. And then in the middle we've got Burson Audio, a head-fi and amp brand.

But there is the missing link [in our brands], which is amplification and streaming. Active speakers definitely support that, clearly, but we have a very successful passive speaker range, and I need to work out how to tackle that. Is that through partnerships? Is that through collaboration with existing manufacturers in the industry, those who are on the same mission as us of understanding that music culture is really important for the industry? Or do we treat it as a distribution opportunity for us in the UK? And I don't have the answer yet, but I know it's important.

TR: QED is surely the hardest brand here to expand beyond the core hi-fi community, unless you take a bit of a left turn. So what is your thinking there? Would you keep QED as a nice ‘glue’ option to connect everything together, or is there some future for QED that goes beyond what it does now?

CH: I would start by saying it’s about re-remembering that QED is the brand that started it all, and helping that awareness grow. There are other brands out there who've established a strong position in the premium and luxury cable sector, but they're all essentially going back to the Genesis report.

We are working on redefining the ranges, I'll put it that way, so you'll see some news coming out of QED fairly soon anyway.

I think connectivity is a question in itself. Cables were the original connection, but now wireless is a connection, and so I'm certainly pondering in my idle moments about whether QED should be in that wireless area. Because it's the modern day glue, and it's interesting you ask the question because it's definitely in my mind.

TR: You alluded to this earlier, but it's the old business study question of asking ‘What do we actually sell? Is it cables or is it connections? And if it's connections, then should we think about something medium than cables in the future?’ Is that the kind of question you're exploring for QED?

CH: Absolutely. And I’m only four weeks in, which is why I'm not giving you clear answers, but I can see that there is a clear consumer understanding among those who know us today that we are the connection. But there are consumers today who don't even know us, they're not being signposted well enough because of the music culture topic we've gone into as to how they listen to music — so they might recognize QED as being the connection, but they're only used to wireless connectivity. And so what do we do with that?

TR: I'm sure you are not going to have anything specific to say on this subject when it comes to products, but it's very relevant to this topic: have you seen the Pro-ject Wireless Box E? They've made this little box that connects directly to the speaker posts on the back of your passive speakers, it plugs into power, and it makes them wireless using the WiiM platform.

CH: I think that's actually quite exciting for our category. A theory I have is that a lot of people are starting to inherit hi-fi, so family members might be getting to an age or passing on, sadly, and people are discovering turntables in the loft. ‘What do I do with this?’

That's interesting for me as well, which is getting people on a journey. One of the companies I worked at was world-famous for understanding the importance of being there at the beginning of someone's journey and being with them for life. It’s a separates company, and it's the upgrade journey that people went on that's really important to me. It's one of the things that I'm talking to the marketing teams about, within the group. It's about making it easier to understand where you start and where you could go.

QED is a perfect example actually, where it's a bit of a maze and really hard to navigate, so making sure that, just from a packaging and a communications point of view, people know where they are on that journey. Are they at the beginning? Are they at our ‘good’, our ‘better’ or our ‘best’ — so they can work out where they could step up through their audio life.

I don't think we have done that enough in our ranges. It's the same with our 3000 series to our 5000 series range, and then up to our Concept portfolio, in Q Acoustics. It's making it really clear about what this [product] does at this level, what you can expect at this [higher] level and what you can expect at this [highest] level. This idea that it's always a little itch that's not quite scratched; it could always get better.

TR: One of the entry points that I think we're seeing a lot of at the moment is desktop speakers. You guys have compact speakers, bookshelf speakers that are pretty small — but in particular, there's this kind of breakout sector right now that’s one step down in size from there. Quite often wireless or active, but designed for people who are getting into the audiophile stage via their desktop. Based on what you were just saying, are you guys exploring more of these opportunities where there is some breakout sector where you can say ‘OK, this is where we can get people on board in our journey’?

CH: I'm gonna half answer that. We have three different bookshelves in our 3000 series and the same in the 5000 series, and those are to meet the needs of three different kinds of bookshelf customer. Some of them are international, like the 3030c, because they’re the bigger of the lot and the US buyers like a larger volume for the cabinet.

The 3010 and 5010 are our small footprint version. They are used in home offices a lot, but I think there are new audiences coming through. There's gaming, and there are younger consumers who might be in flat shares or whatever that need something smaller. So yes, we are watching that part of the industry very closely.

TR: We’ve talked a lot about music, and that's kind of clearly where your focus is as far as building a new identity and the opportunities. But Q Acoustics has such a successful history in the home theater space; it was one of the earliest pioneers of soundbars and soundbases, but left that area really right as it was exploding — though exploding with entries from the likes of LG and Samsung. At the moment, there's no a product in that area; is that something you could see the brand getting back into, or do you want to focus on that music side?

CH: So there is a crossover. Being part of music culture doesn't mean it's exclusive to other elements of it, and I think home entertainment and AV is still very much part of that culture of entertainment. And it is important to us strategically; we still have products in the range that allow us to satisfy a lot of those needs. We have a range of subwoofers from entry through to high performance.

In terms of the soundbar category, it’s quite a scary category. It's very hard to compete with free, and the TV manufacturers will offer a soundbar as free, or give a retailer the latitude to offer it for free to close a TV sale.

I've been actively involved in some products in that space in the past, and I've seen how successful they can be if they are designed really well.

I'm dancing around an answer to say: no plans at the moment. It is a category that I look at with curiosity, but I'm not sure if it's the absolute priority yet. Surround sound, yes — but soundbar, I'm not sure yet.

TR: In surround sound, what we’re seeing there is, again, a lot of people who are ready to step up, in the same way as we talked about people in hi-fi wanting to move up in the journey. One of the key trends happening in home theater right now is the move to wireless surround systems. Do you think that is a route you can see Q Acoustics going down? It's a complicated technical thing to deal with, but I feel like it's something that any company in the space right now needs to reckon with.

CH: So we've definitely got the capabilities to develop solutions in that space. An area we haven't talked about is install, and I think there is a bigger opportunity actually about making install an option for homeowners. We have a branch of products that we call ‘easy install’ — the name says it all, you know, super easy for the average DIYer through to electricians to install. I see that there's probably a future for much more there, in terms of in-ceiling speakers and maybe some satellite speakers to create this environment.

There's a whole tangent we could go down about whether Atmos has gained momentum. I think for me, it's still a ‘watch and see’.

But I think the idea of in-ceiling or in-wall speakers and satellite speakers, and maybe some floorstanders or bookshelves as an option, and them all working together, that's interesting — and I think wireless within that environment is really interesting. And by ‘interesting’ that means ‘yes, I'm considering that’.

The ‘easy install’ stuff is super interesting though for us, because we've all been in this industry a long time. We've seen that installation systems are seen as complex and scary and difficult and expensive. You need a server-mounted system and you need specialisms and you need lots of complexity and disruption to your home… it isn't like that anymore. I've been really blown away.

My wife doesn't know this yet, but I'm going to switch stuff out in our house, because I've suddenly realized how easy it is. Q Acoustics has a thing called the E300a, which is essentially a built-in amplifier and streaming modules in a down-lighter-like size. Wire it up to a couple of in-ceiling speakers, you've got a system ready to go. It couldn't be easier. Voice controlled, so you can say ‘Alexa play BBC 6 Music’ or whatever.

I don't think people realize they can do this yet generally, and that they can do it themselves on a weekend, or they can get their local electrician to come and pop it in, because it's easy. And we're trying to support the electrician channel to do more of that. Maybe that's more interesting than the soundbars on their own.

Let's get nerdyish for a second. HDMI ARC I think is really, really important. Thank God for it, because I think particularly if you're earlier on in your [hi-fi] journey, you have to make some compromises, but you can enjoy hi-fi quality sound through an HDMI ARC interface and it'll still be part of a pseudo AV system.

Sure, it's compromised because you're not going to get the bells and whistles coming from all around — Titanic isn't going to sound quite the same — but it's going to sound beautiful when you listen to music. In that kind of relationship between ‘is it music’ or ‘is it audiovisual’, I think it’s entertainment as a whole, and finding the best of both worlds. HDMI ARC has been a savior.

TR: There's also the element where, if people go to [the] Reddit home theater community for their advice on whether to buy a soundbar, or which is the right soundbar, what they will get is a lot of people saying that they should actually get a stereo setup. There are people who say this will always be better than any soundbar, and you guys do have that option in your active speakers.

CH: That's what I mean; you can get the best of both worlds. That stereo presence though is always going to be better; that’s the point, isn't it, because you're not compromised by [having] the bar in the middle.

TR: So finally, what is the holistic brand proposition you want to offer from Armour Home? If you're addressing what you want all of your brands to do at once, and you’ve got this idea of how you can integrate with the community, what do you want people to think about Q Acoustics and QED and Goldring in combination?

CH: I want people to see that there is a relationship between all three brands that takes us from the origins of the audio experience right up to the modern day. That there is some confidence in those brands, that we understand the legacy that they bring, and that Q Acoustics kind of brings that freshness to it as well.

That we can bring those technologies together more, so there's more integration there and the design and feel about them having a relationship closer together as well. So rather than Armor Home as a parent company being a collection of brands, Armor Home is the home of source through to the output.

And that we've got a vibe as well, that we're not passive, forgive the pun, in this industry — that we recognize that it's about the hairs on your arms. It isn't just about the engineering.

It's just about having a shared passion and experience and being visible to everybody in the places that they enjoy being. This idea of ‘we'll come to you, you don't need to come to us because we are the same as you’.

LG’s OLED TVs are often among the best TVs I test each year, and 2026 has been no different. Both the LG G6 and LG C6 earned full five-star ratings in my reviews, while the LG B6 also earned four-and-a-half, proving itself to be a fantastic affordable option.

On paper, all three of these TVs share a lot of the same features, especially for gaming, and they all scored highly for their picture quality, but how do they compare alongside one another in a real-world setting? I conducted this same test last year with the LG G5, C5 and B5 and in that instance, the LG C5 was my top pick, with the best balance of price and performance.

I’ve already compared the G6 and B6 this year, but now that I have access to all three TVs at the same time, I couldn’t wait to do a real world comparison between the three. The C6 has a new built-in processor (the same Alpha 11 AI Gen 3 the G6 uses), the B6 I tested hit new brightness heights and the G6 delivers even more impressive colors than its predecessor. All three still have big shoes to fill, so let’s see how they compare.

A quick note: I’m using the LG B6E here — a more affordable version of the LG B6 that I used for my review. While there is a price difference, LG has told me they are fundamentally the same TV; the B6E is missing some remaster features and has a plainer back panel, but still has important features such as Dolby Vision and the same gaming features.

Colors

The best OLED TVs often produce rich, vibrant colors that add real depth to a picture, and all three of these 2026 OLED TVs do the same across the board. Watching The Super Mario Galaxy Movie, the colors rendered on all three screens are stunning. The red and green of Mario and Luigi’s hats and overalls are both punchy and lifelike on each TV, and in this scenario, there’s not a lot to choose between them.

Any time the Lumas are on screen, there’s gorgeous visual pop with seriously bold colors on all three TVs, but this is where differences started to show. While there was a nice vibrancy on all three TVs, the G6 demonstrated the richest and brightest colors thanks to its higher peak brightness (more on that in the brightness section). I was surprised, however, at just how close to the G6’s colors were to those of the C6. The Lumas had the same color depth and luminosity (pun intended) on both.

Switching to another colorful movie in Speed Racer, all three TVs again accurately delivered super-saturated, vivid colors throughout the movie. The bright decor of the Racer home, with its orange and blue walls, really explodes on screen and again, the G6’s brightness gives its colors the most outright impact. Clothing, such as Speed’s blue shirt and Pops Racer’s red and orange shirts, are vibrant with plenty of visual punch.

One thing I did notice while watching Speed Racer is that on occasion, the G6’s color luminance could get ahead of itself. Colors would sometimes lose the richness I’d seen, bordering on too-bright. The C6 on the other hand, kept that nice depth. This was true particularly in the bright greens of grass and in the neon signage along the various racetracks. The B6E did a very good job demonstrating the same gaudy colors as its step-up siblings, but didn’t quite have the same wow-factor as the other two.

In terms of color accuracy, all three TVs did a good job, but I did notice that the G6 and B6E exhibited signs of a green tint that has been an issue for some LG OLEDs in the past. The C6 however, showed little to no sign of this green tint. The tint was particularly obvious in skin tones. Watching the opening scenes of Lawrence of Arabia, as a reporter interviews several outside Lawrence’s funeral, I could see people’s skin had a green/yellow complexion on the G6 and B6, which didn’t look right. The C6 showed a more natural skin tone. This was true in Speed Racer as well, shown most of all on several of the commentators.

Contrast and dark room viewing

All three TVs demonstrate impressive contrast, but the strength of the contrast depends on the scene. Watching The Batman in dark and ambient conditions, there’s a great balance between light and dark tones on all three screens. The scene where Bruce is in the Batcave early in the movie shows strong HDR highlights from the lamps, which contrast well with the dark surroundings. The G6’s higher brightness meant that light sources had more impact and created stronger perceived contrast than the other two models, but the C6 was a very close second.

All three TVs delivered deep blacks, and other dark tones looked authentic. In the subway scene, as Batman stands on the platform post-fight, I did notice that the green tint was prevalent on the G6 and B6E in darker room conditions. I found that dropping the G6’s contrast from 100 to 95 in the settings reduced the green tint significantly. On the B6, I couldn’t find a way to reduce it. On the C6, the picture looked accurate in its default settings, accurately portraying the gray color of the platform.

While all three TVs had great shadow detail as well as satisfying dark tones, I found on occasion that black crush could occur on the C6 and B6E. The G6 had better detail retention in dark areas such as creases in Gordon’s coat or the texture in Batman’s armor, showing better contrast balance and shadow detail overall. While there were some obvious differences between these three, it was clear all three demonstrated strong contrast overall, which is one of OLED’s main strengths.

Brightness and bright room viewing

Looking at these TVs together, the brightness differences are obvious. In terms of measurements, with all three TVs set to Filmmaker Mode, the G6 registered 3,004 nits peak HDR brightness — a staggering result for an OLED — while the C6 hit 1,427 nits, and the B6E clocked in at 808 nits. All of these numbers are increases over their predecessors (the G5 hit 2,268 nits, the C5 hit 1,180 nits, and the B5 hit 668 nits), resulting in more impactful pictures.

Fullscreen HDR brightness also jumped for all these TVs, with the G6 hitting 451 nits, the C6 hitting 248 nits, and the B6E hitting 148 nits. While the B6E’s boost over the B5 is minor, it’s a 50 nits jump for the C6 and a huge 120 nits boost for the G6. Fullscreen brightness is important for bright room viewing and for sports, as higher fullscreen brightness can be useful for displaying large areas of the same color on screen, say, a football field.

How did these numbers translate into real-world scenes though? Watching some footage of snow scenes from the Spears & Munsil UHD Benchmark 4K Blu-ray, the white of the snow has a lot more visual punch on the G6 than the other two TVs. But while the huge difference in brightness numbers may make this seem obvious, it’s not always been the case during my tests. It’s even clear on fullscreen brightness, as the opening shot of the demo footage shows the top of a snow-covered mountain, the G6 practically radiates brightness while showing the white sky, compared to the C6 and B6E.

Using brighter movie scenes, however, the perceived brightness becomes a lot closer. The white of the Mach 5 and Speed’s helmet in Speed Racer is still brightest on the G6, but the C6 still delivers plenty of vibrancy and brightness, and the perceived brightness gap isn’t as big.

The same is true when watching scenes from the desert in Lawrence of Arabia. The white sands surrounding the well dazzle on the G6, but the C6 still has plenty of impact, with bold HDR highlights. Even the B6E does a decent job rendering the brightness, although it lacks next to the G6 and C6.

With more colorful movies, such as The Super Mario Galaxy Movie, the brightness again is much closer. The Lumas I mentioned in the color section still have plenty of pop on all three screens, and despite the G6’s much higher brightness, these Lumas are only a bit brighter compared to the C6 and B6E. Fireworks also shine on all three screens, and while the color of the fireworks shines brightest on the G6, they’re close on the other two screens.

One thing that is undeniable, however, is which TV is best for bright room viewing. Most OLEDs struggle with bright conditions due to their glossy screens. While Samsung’s OLED Glare Free screen, most recently used on the Samsung S99H, is effective at eliminating reflections, none of these LG OLEDs use the same matte screen. This makes the G6’s anti-reflection so impressive, because not only does it do a great job reducing mirror-like reflections, but it maintains the crisp black levels OLED are known for. So impressive was the G6’s bright room performance, it became my choice of bright room OLED when I compared it to the Samsung S95/S99H.

This is one area where the C6 falls short. It has a very reflective screen, meaning trying to watch dark movies such as The Batman is impossible in Filmmaker Mode. The B6E seems to have some form of anti-reflection that does a better job reducing mirror-like reflections compared to the C6, but its lower brightness again affects bright room performance. For bright rooms, the G6 easily comes out on top.

Which to buy?

Which LG OLED is best for you will ultimately come down to how much you want to spend. Each TV delivers fantastic features, excellent picture quality and is superb for gaming. Even their processors operate at similar speeds. For my money though, the best value model and my top pick is the C6.

A 55-inch C6 (the size I tested) is available at the time of writing for $1,499 / £1,499 / AU$2,495, whereas a 55-inch G6 will cost you $2,199 / £2,099 / AU$3,995. The C6 not only carries the same processor, but shows a more accurate, out-of-the-box picture with no green tint, and it’s the model with the biggest improvements over its predecessor.

The B6E is a bit of a steal at $799 / £899 in the US and UK for the 55-inch, which is an excellent price for a brand new OLED. In Australia, the B6 is AU$2,495 for the 55-inch, the same as the C6. While the B6E is best for budget buyers, it doesn’t deliver the same performance as the C6, hence why the C6 is easily my top pick of LG three 2026 OLEDs.

Thinking of buying a new TV?

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As a Batman fan, I was disappointed to learn last week that The Batman Part 2 has been delayed until February 18, 2028, another four-month wait to add to add to its last (delayed) intended release date of October 1, 2027. This latest holdup is actually the fourth time the long-awaited sequel to The Batman has been delayed, with its initial release originally set to be October 2025.

Thankfully, there are plenty of ways to enjoy Batman content at home while we eagerly await The Batman: Part 2’s 2028 release. From Christopher Nolan’s iconic Dark Knight Trilogy to the awesome Batman: The Animated Series, there are tons of choices. And there’s no better way to enjoy Batman’s many adventures than with a 4K Blu-ray. I’m a 4K Blu-ray fan and collector, so I’m always testing the latest releases for the Blu-ray Bounty and finding new discs to test the best TVs and best soundbars.

Below, I’ve picked three of my favorite Batman-related 4K Blu-rays, not just because they’re my personal picks, but because they’re also great examples to show what 4K can do, especially for your home theater.

The Batman

Where else to better prepare for The Batman: Part 2 than with its predecessor, The Batman. Matt Reeve’s The Batman follows Bruce Wayne (Robert Pattison) in his second year as Batman, where he must face The Riddler (Paul Dano), a revolutionary who uses a series of riddles and puzzles to test Batman, as Riddler plans to expose Gotham’s corrupt government and elite.

The Batman has become one of my main 4K Blu-rays for testing TVs. Due to its low brightness, some TVs can really struggle to accurately display the movie, compromising its dark tones. But, there’s also plenty of excellent-looking scenes with powerful contrast, balancing light and dark tones, that can really show off a TV.

The opening 20 minutes of the movie itself is all a big demo-reel for contrast. From the dark subway platform illuminated by overhead lamps as Batman fights a gang of thugs, to where we first see Bruce decoding Riddler’s clues in the Batcave, The Batman delivers truly dynamic and strong contrast, which I've found look superb on the best OLED TVs in particular.

There’s also a chance to show a display’s shadow detail, with plenty of scenes making use of shadows to create a captivating image. The aforementioned subway scene is one of these, with truly dark shadows creating a foreboding atmosphere that fits the gloomy tone of the movie.

There’s excellent detail throughout, with crisp textures that look refined and lifelike. Close-up shots show scars, wrinkles and stubble on people’s faces with impressive clarity, and texture in environments, like Mayor Mitchell’s house or the Batcave, are given a near-3D level of detail.

The Batman is an audio showcase as well as a visual one. The Batmobile chase has become a reference scene I use for showing off a sound system. The ignition of the Batmobile’s engines deliver room-rattling, powerful bass that through a subwoofer can create some serious roar. The 4K disc uses a Dolby Atmos soundtrack that creates an immersive and detailed sound.

As the Batmobile chases Penguin across a busy freeway, serving traffic and blaring horns are accurately mapped to the action. As Penguin fires a spray of bullets at the Batmobile, the sound glides around a surround system, as I found when using soundbars such as the talented Samsung HW-Q990H. There are plenty of Atmos effects too, as rain regularly falls throughout the movie, effectively using the height channels of any sound system.

The Dark Knight

Arguably the most popular Batman movie ever made, The Dark Knight is the second movie in Christopher Nolan’s trilogy. It’s one that’s stuck with me ever since I saw it as a teenager in theaters in 2008. Bruce Wayne (Christian Bale) is a couple of years into his time as Batman and he faces his biggest challenge yet, when he squares off with the unpredictable and chaotic Joker (played brilliantly by Heath Ledger).

Unsurprisingly, where this disc shines is in its IMAX sequences. These IMAX scenes show impeccable detail and crisp, 3D-like textures. In the opening bank heist scene, every detail is refined, from the creases in the robbers’ masks, to the texture in buildings of the densely packed city. Oh, and don’t be surprised when the ratio changes from widescreen to fullscreen: that’s normal for IMAX on home media.

Black tones and shadow detail are excellent during the film's night scenes too (of which there are plenty), and they look superb on an OLED TV. Contrast is also strong, particularly during the prison escort scene. As trucks move under the freeway, the overhead lights balance well with the dark, shadowed areas of the tunnel to create dynamic contrast.

This disc is also an audio powerhouse. With a DTS-HD 5.1 MA soundtrack, there’s some fantastic detail. During the tunnel escort scene, the whir of Batman’s bike riding through the tunnel is mapped perfectly to every channel. As perspective changes, so does the sound. Bullets are precise, flying from the front to rear channels when the movie is from Batman’s point-of-view, and every individual effect is audible, such as flying debris and swerving tyres.

Bass throughout the movie is truly powerful. Bullets have serious impact and the roar of the Batmobile’s engines delivers tightly controlled, but hefty low-end that reverberated through our testing room when I watched.

The score is a showcase in and of itself, with superb separation across different channels of the Samsung HW-Q990C soundbar I was using. In the opening scene, the scratching strings came from the left rear, the ticking sound from the right, and the heavy bass exploded from the subwoofer. Crucially though, every element was perfectly balanced, within the score itself and with all the action.

Batman Forever

This pick will raise eyebrows, I’m sure. But, honestly, Batman Forever is the Batman movie I grew up with and despite its very corny nature, I enjoy it. It scratches the exact part of my brain that occasionally craves a nostalgic Batman fix. The movie follows Batman (played by Val Kilmer) as he does battle with the Riddler (Jim Carrey) and Two-Face (Tommy Lee Jones) as they attempt to take over Gotham.

While this may be a surprising choice for a lot of people, this is a seriously good-looking 4K presentation. Batman Forever uses a lot of bold and vibrant colors, and in 4K, they really pop on screen. The green of the Riddler’s gaudy outfit and the purple of Two-Face’s injured side compliment each other well. There’s also a lot of neon-esuqe lighting used in the movie, with light tubes, red detail on Two-Face’s minion’s guns and the shimmering greens of Riddler’s hideout and event space. All these colors have a gorgeous punch that looks sharp and dynamic throughout the movie.

Shadows are used a lot, with characters often standing over lamps or in shaded rooms to create strong contrast in images. The LG G6 OLED on which I watched this movie in our testing room celebrates these rich and inky dark tones, with the leather of Batman’s armor showing nice depth, but also balancing well as the light reflects off it. Shadow detail is excellent too, with textures in dark areas on screen legible (yes, even the strange texture of Batman’s armor). Skin looks realistic in the many close-up shots used, too.

This 4K disc also supports Dolby Atmos. There’s some excellent use of height channels throughout, with the sound of helicopter Two-Face uses to escape in the intro coming from overhead as I watched. Explosions have plenty of meat to them, producing some lovely low-end rumble during the movie’s more action-packed scenes. The sound of the Batmobile’s engines firing is another great demo for the powerful bass in the mix.

More subtle details are also fully audible. The sound of Batman’s batarang as he throws it is precisely mapped, with the sound eagerly following its trajectory. Bullets have great punch to them, and again these are accurately posited within the surround channels. Speech is consistently clear throughout too, even during the most chaotic scenes. You might not necessarily expect this movie to be such an audio showcase, but it really is.

• Prices on Roku streaming devices are going up
• The products are still available at 'sale' prices
• One source puts the change down to the memory crisis

Streaming devices like the Roku Streaming Stick Plus get you a whole lot of entertainment for relatively little money, but the value proposition is about to change: Roku is the latest tech company to jack up its prices in response to the global memory shortage.

As spotted by Ars Technica and others, the prices for streaming devices on the Roku US website have been put up, though the products are still available at their previous prices — now labeled as 'sale' offers. It's not clear how long this sale might last before the new pricing kicks in, but you might want to grab a Roku quickly.

The Streaming Stick is up to $39.99 from $29.99, the Streaming Stick Plus goes up from $39.99 to $59.99, the Streaming Stick 4K is now $79.99 rather than $49.99 (the biggest jump at 60%), and the Roku Ultra box is up to $149.99 from $99.99.

Looking at Roku's international websites, including the UK, there are no signs of price rises yet — but it seems inevitable that if the company is putting up the cost of buying a Roku in the US, then this will come to other countries too in the near future.

Time to switch?

Roku hasn't said anything officially about the new price changes, but according to the team at The Desk, a Roku executive they spoke to confirmed that it was down to "shortages in computer memory and other components".

We know that rapidly rising demands for AI compute capacity have led to a severe shortage of memory and rocketing costs, and everyone in the industry has been affected. Last month Apple raised its prices on a variety of different products in response, including iPads and the MacBook Neo.

Reaction online has been mostly negative, as you would expect. One Redditor says "it's hard to find another affordable option" for streaming devices like these, though other commentators are recommending alternatives from Google and Apple.

There's also some consternation over an increasing amount of ads being shown on Roku screens, and the company's recent acquisition by Fox. Whatever you think of Roku though, it's another sign of consumers being hit hard by memory shortages.

• Nearly 400 4K Blu-ray users shared info about player problems
• There's a huge gap between the best and worst in the poll
• Panasonic will be happy; Sony not so much

One of the things I like best about Reddit is the way people share their experiences of particular products: whether it's a kitchen knife, a portable AC or a Gibson guitar I know I'll be able to find sage advice on what to buy and what to watch out for. And now the good people of r/hometheater have come together to talk about the best 4K Blu-ray players and their reliability.

The poll was carried out by r/hometheater poster "requieminadream" and generated nearly 400 responses — almost double the number of previous poll respondents — from r/4KBluray, r/Bluray, r/PhysicalMediaMatters, the AVS Forums, and the Blu-ray.com forums. And there are some very clear differences between different firms' Blu-ray devices.

Requieminadream very kindly summarized the results in a sentence: "The Sony UBP-X700 is still the problem child, the Panasonic DP-UB820 is still champ, and the pricey UB-9000 posted the cleanest numbers (small sample though)."

But there were some interesting discoveries in the detail too, so it's definitely worth looking at if you're considering a pre-owned 4K Blu-ray player purchase, or just which one seems to make people the happiest long-term.

The 4K Blu-ray Standalone Player Reliability Poll numbers ARE IN! from r/hometheater

Which 4K Blu-ray players are the best?

One of the reasons I like Reddit wisdom is because with few exceptions, reviewers can't spend years with the products they test — so the reviews of my car don't know about the software issues that drive me wild and sometimes require a reboot at traffic lights, and the reviews of my router don't know about its tendency to misbehave every few weeks.

It's the same with Blu-ray players: even the most in-depth review won't be able to tell you if a player's likely to pack up in year two or three. (Though one exception is our Panasonic DP-UB820 review, written by our TV Hardware senior writer James Davidson, because he wrote us a fresh review based on combining using it in our test room and having used it daily for several years beforehand.)

But in general, polls like this are a brilliant resource.

By a large margin, the Panasonic DP-UB820 is the community's favored player: 43.4% of respondents have one, and its problem rate was around half that of the Sony UBP-X700. The rate of serious issues was very low, at just 8% — backing up what James had said, when he called it "the workhorse of the 4K Blu-ray player world".

The "problem child" that emerged from this latest poll is the Sony UBP-X700. Of the 103 Sony users, some 77.7% reported some issues over time; recurring and/or serious issues were 23%. The number one complaint is freezing during triple-layer transitions, which is something that has long been discussed on Blu-ray forums.

The poll shows another interesting pattern, which is problems over time. For the Sony, issues became more common over time — but for the Panasonic the pattern was of any failures showing up early, but better long-term reliability.

The other players in the survey came in between the two extremes, but some of the best results were from "other" players including games consoles and more niche Blu-ray products.

Satisfaction with those products was exceptionally high, with the PS5 getting a significantly higher rating than the Xbox. That's all the more striking given the Sony X700's performance: the PS5 is a more premium product and that seems to be reflected in its reliability — alas, we shouldn't expect any more PlayStations to arrive with a disc player.

I should make clear, as the original Redditor did, that in some cases the sample sizes for ownership in these polls is pretty low, so we should take the results with a pinch of salt. However, the Panasonic UB820 and the Sony X700 were the best-represented, and are the two most popular players, so their data is arguably the most useful anyway.

• Filmmaker mode in reverse: Creator Original embraces your TV's processing power
• Initially limited to 2026 C6, G6 and W6 OLED TVs
• Rolling out by the end of July 2026

LG Electronics has partnered with Prime Video to launch a new picture mode in select LG TVs. The new mode, called Creator Original, will initially be exclusive to three 2026 models: the LG C6, LG G6 and LG W6 series televisions.

The launch will be centered around the Masters of the Universe movie, which will be coming to Prime Video. And if you don't mind feeling very silly indeed, you can declare "I have the POWER!" into the LG Magic Remote for LG Smart TVs with webOS 23 or later to bring up content relating to the movie release.

Creator Original is the more interesting addition, though. It promises to deliver more control to creators than Filmmaker Mode, because it takes the opposite approach: instead of removing your TV's image processing and enhancement as much as possible, Creator Original embraces it, but with rules.

What is Creator Original on LG OLED TVs?

According to LG, Creator Original will enable TV and movie studios to set key parameters such as shadow detail and color balance, and to control how how motion processing and noise reduction are being used in your TV's processing, all to deliver the creator's preferred visuals, in theory.

In the case of Masters of the Universe, LG says that enables its TVs to "faithfully reproduce every glowing sword clash, shadowy Skeletor lair and explosive battle across Eternia."

Interestingly, Creator Original's pitch sounds remarkably similar to what Dolby is planning with Dolby Vision 2. Dark area handling and control over motion handling control are key features of DV2, which has the same goal as Creator Original: making the most of the capabilities of high-powered TVs without sacrificing accuracy by putting control in the hands of movie makers, and using data in the file to tell the TV what to do.

However, Creator Original won't have the bi-directional tone mapping and certain other features of Dolby Vision 2 Max, which also has a new and improved image quality engine behind it.

But still Creator Original looks like it may tick the most interesting boxes of DV2, and it has one big advantage over it: it looks like it's going to arrive first.

Dolby Vision 2 currently has one streaming partner, Peacock, and one filmmaking partner (StudioCanal), and there's no sign of a launch date as yet, though in discussions with Hisense and TCL we've learned that it's expected before the end of the year.

In contrast, LG says that Creator Original Mode for Prime Video "is scheduled to roll out by the end of this month," meaning July 2026, and if Prime Video adds support across more of its enviable Amazon Studios and MGM library, that could be a strong range of movies that use it. Of course, the fact that it only works on three TVs is a bit of a limitation.

When we asked LG if it has any plans to support Dolby Vision 2, it said that it would wait to see how support for the format evolves — but said we shouldn't expect current TVs to get it. So if you're thinking of buying the LG C6 or G6, this might be the best you can do for these kinds of next-gen image features.

As for the movie itself, we rather enjoyed it: in our Masters of the Universe review we said "it's the unrelentingly fun popcorn movie that [we] had expected recent Star Wars movie The Mandalorian and Grogu to be."

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As TechRadar’s AV tester, I’m always on the lookout for new 4K Blu-rays to test the best TVs and best soundbars with. While I have a pretty healthy catalog, with some top-notch discs, as a 4K Blu-ray fan, it’s exciting to check out new discs to keep testing fresh.

Last month, I tested the Speed Racer 4K Blu-ray and it was a powerhouse. Not only did it deliver staggeringly vibrant colors, but it also had a superb Dolby Atmos soundtrack that demonstrated power and precision, particularly during race sequences. It was one of my top discs of the June 2026 Blu-ray Bounty, and it’s easily one of the most impressive I’ve tested.

This month, a new disc has caught my eye: The Super Mario Galaxy Movie. The second entry in the new Mario Bros set of films, first started in 2023 with The Super Mario Bros., I’m anticipating that The Super Mario Galaxy Movie will have bright, crisp visuals and, hopefully, a great Dolby Atmos soundtrack.

While this was one of my most anticipated discs of July 2026, a first impressions Reddit thread on r/4K Blu-ray from user u/nacthenud got me even more hyped. Not only did they rate the movie’s HDR performance, but also mentioned it in the same breath as Speed Racer. So, I decided to check out how the disc fared on our reference LG G6 OLED TV, one of the best OLED TVs I’ve tested this year.

Phenomenal colors

From the moment The Super Mario Galaxy Movie starts, it’s clear just how stunning the 4K disc’s color reproduction is. As Princess Rosalina reads a bedtime story to the Lumas, the small creatures dazzle on screen. Every color, including yellow, green, red and so on, look natural and punchy in equal measure. Thanks to the high HDR highlight brightness, coupled with Dolby Vision support, the Lumas really popped on the LG G6’s screen. If your TV has high brightness with good highlights, you’ll be rewarded in this scene alone.

Soon after, as Rosalina battles Bowser Jr. in his giant robot, the sparkle from her magic, which comes out in vibrant blues, pinks and purples, shimmers on screen. This is also true later as the yellow Luma turns into a star, with the glittery stardust jumping on screen. Again, it’s another showcase of how impactful HDR highlights can look.

Later, as we see Mario and Luigi meet Yoshi for the first time, the 4K presentation gets to show the authenticity of its colors. Yes, Mario’s red jumpsuit and the green of Luigi’s overalls and Yoshi’s skin are striking, but the colors look realistic too. While I expected the colors in this movie to explode on screen as I’d seen in animated flicks like Elemental, these particular colors reminded me more of the lifelike colors I’d seen in The Wild Robot, exhibiting the wonderful depth and realism I liked in the latter.

In complete opposition to that, the neon signs of the games in the casino Peach and Toad arrive at really burst with color. This is where the G6’s highlights and peak brightness were really tested, and it did a great job. If you have a TV with high peak brightness, then again you’ll be rewarded. The same is true with the gold detail on the furnishings around Peach’s castle, as they sparkle as well.

Peach and Rosalina’s dresses are highlights in themselves, really delivering that candy-colored pop alongside the shimmer they both seem to produce. While they’re colors aren’t as natural as the Mario Bros and Yoshi, they’re accurate for the movie and really deliver a nice impact.

Dolby Atmos power

While I anticipated this disc to be a showcase for color, I didn’t expect it to be such a perfect audio powerhouse. Bass is frequently hefty, pushing the limits of the subwoofer of the Samsung HW-Q990C soundbar I was using. As Bowser Jr’s robot stomps towards Rosalina, the rumble from the Q990C’s subwoofer rattled the room and reverberated through the floor. Later, as Fox ignites the engines of the Arwing, this produces some meaty bass, akin to the igniting of the Batmobile’s engine from The Batman, my go-to audio testing scene.

The Dolby Atmos soundtrack here is also very precise. As Luigi launches fire in a panic in a cave, the flames’ trajectory was accurately mapped to the front channels, travelling from right to left across the soundbar. In another scene, as Peach and Toad first fly into space, the sound of the twinkling flight path of the trail behind them is not only mapped accurately, but clearly audible among the rousing, horn-led score, showing the soundtrack’s excellent balance.

Surround and height channels are also fully utilized. During the climactic space battle, as Fox pilots the Arwing towards Bowser Jr’s ship, the Arwing travels around the whole ship. This was mapped with real precision first to the front channels, then the rear right, to the rear left and back again, creating a fully immersive feel. It reminded me of the time-bending music sequence in Sinners, which also moved around each channel.

Throughout, there are numerous scenes where characters fly through space, using the star to move from galaxy to galaxy. These are a great demonstration for Atmos, with overhead flight paths actually coming from overhead. The same was true with Fox’s Arwing. As it avoided Bowser’s minions in the space battle, anytime the Arwing moved to the top of the screen, Atmos rendered accurate overhead flight.

Another reference disc

After watching The Super Mario Galaxy Movie, it’s definitely entering my testing rotation. Not only does it deliver on color and sound, but animation is crisp throughout, with clean-looking animation. Contrast is also powerful, with the dark blues of space contrasting well with the stars, Lumas and even the bright outfits of the main characters.

There are also plenty of bright scenes that will show off a TV’s HDR highlights and brightness, plus there’s some lovely shadow detail. Any scenes with strong light, such as Mario and Luigi with their flames in the cave, or at sunset as Peach gets frustrated, there’s strong shadows cast that look realistic.

This really is a superb 4K disc, and if you’re looking for a bold, colorful and dynamic movie to show off your home theater system, this is one to consider.

Samsung S95H review: Two minute review

Sitting at the top of Samsung’s 2026 TV lineup, the Samsung S95H is a flagship OLED TV that delivers excellent performance, particularly when it comes to picture, and a full set of features both for smart TV and for gaming. This could easily be one of 2026’s best TVs.

The S95H has a full list of features. Its NQ4 AI Gen 3 Processor comes with a stack of AI tools for picture, such as AI Motion Enhancer Pro and AI 4K Upscaling Pro, AI tools for sound such as Adaptive Sound Pro, and other AI tools for content recommendation. All of these fall under the Samsung Vision AI banner.

Picture quality on the S95H is superb. It delivers the highest brightness to date from a flagship OLED TV, along with vibrant, accurate colors, crisp textures and powerful contrast. Its anti-reflection screen is effective at eliminating reflections and while its Filmmaker Mode is a little dim in bright conditions, its Movie mode is a great brighter alternative.

Motion handling is mostly smooth and natural for both movies and sport, and while there are some hints of black crush in certain movies I tested, the S95H’s picture is still up there with the best OLED TVs.

The Samsung S95H delivers solid overall built-in sound. Its accuracy and precision are its strengths, with an excellent connection between the action on screen and the sound. The bass is punchy, there’s some nice impact and the soundstage can be wide. Still, this level of picture quality deserves a fuller sound, so I’d recommend one of the best soundbars or speakers.

Design is arguably the S95H’s most controversial topic this year. A new silver frame around the TV, called the FloatLayer Design, has been added and I personally found the frame to be distracting. While meant for wall-mounting, the extra width may cause space issues for some people and the handsome central pedestal stand of its predecessor has been replaced by two plastic feet. The One Connect Box has been removed, with ports returning to the TV itself — but you can connect Samsung Wireless One Connect Box to add more HDMI ports.

The S95H is a phenomenal gaming TV. Carrying four HDMI 2.1 ports that support 4K 165Hz, full VRR, HDR10+ gaming and ALLM, and boasting an ultra-low 9.5ms input lag at 60Hz, performance is smooth and the picture always looks great. Easily one of 2026’s best gaming TVs.

One UI Tizen is the S95H’s smart TV platform. It supports all major streaming apps, delivers pretty smooth performance and is easy to navigate. While there are some quirks that I found frustrating (namely auto-playing Samsung TV Plus), it’s still a good smart TV platform. Its Vision AI companion can be useful for those who enjoy AI, and while it doesn’t quite measure up to LG’s webOS, it’s still solid.

The 65-inch S95H I tested costs $3,399 / AU$5,299, putting it at the premium end of the TV market. While this is a high price, the S95H delivers features and performance to justify the price and it’s competitively priced with rivals, with the LG G6 65-inch costing $3,299 / AU$4,999. I expect prices for the S95H will drop shortly, with some deals already active in Australia at the time of writing.

Samsung S95H review: Prices & release dates

• Release date: June 2026
• 55-inch price: $2,299 / AU$3,999
• 65-inch price: $3,299 / AU$5,299
• 77-inch price: $4,299 / AU$7,999
• 83-inch price: $6,299 / AU$9,999

The Samsung S95H is the flagship OLED in Samsung’s 2026 TV lineup. It sits above the mid-range Samsung S90H and budget Samsung S85H. The 65-inch model I tested launched in June 2026 at $3,299 / AU$5,299.

In the few weeks since its release, prices have remained the same, though we have seen some price reductions in Australia, particularly in larger-sized models, with up to AU$1,500 off the 83-inch model. The S95H’s launch prices are cheaper than both its predecessor, the S95F, and the rival G6. However, the G6 has been out for longer, so its prices have dropped over time.

Samsung S95H review: Specs

Samsung S95H review: Benchmark results

Previous

1 / 4

Next

Brightness measurements

Taken using a colorimeter and test pattern generator. Click the test name to see more measurements and choose a test from the dropdown menu

HDR Filmmaker ModeHDR Standard ModeSDR Filmmaker ModeSDR Standard Mode

Samsung S95H

HDR Filmmaker Mode (10% window)

2739

HDR Filmmaker Mode (Fullscreen)

449

LG G6

HDR Filmmaker Mode (10% window)

3004

HDR Filmmaker Mode (Fullscreen)

451

Samsung S95F

HDR Filmmaker Mode (10% window)

2132

HDR Filmmaker Mode (Fullscreen)

390

01,0002,0003,0004,000

nits

HDR Filmmaker Mode Data

Product	HDR Filmmaker Mode (10% window) (nits)	HDR Filmmaker Mode (Fullscreen) (nits)
Samsung S95H	2739	449
LG G6	3004	451
Samsung S95F	2132	390

Samsung S95H

HDR Standard Mode (10% window)

2831

HDR Standard Mode (Fullscreen)

463

LG G6

HDR Standard Mode (10% window)

2469

HDR Standard Mode (Fullscreen)

385

Samsung S95F

HDR Standard Mode (10% window)

2135

HDR Standard Mode (Fullscreen)

380

07501,5002,2503,000

nits

HDR Standard Mode Data

Product	HDR Standard Mode (10% window) (nits)	HDR Standard Mode (Fullscreen) (nits)
Samsung S95H	2831	463
LG G6	2469	385
Samsung S95F	2135	380

Samsung S95H

SDR Filmmaker Mode (10% window)

220

SDR Filmmaker Mode (Fullscreen)

219

LG G6

SDR Filmmaker Mode (10% window)

559

SDR Filmmaker Mode (Fullscreen)

390

Samsung S95F

SDR Filmmaker Mode (10% window)

256

SDR Filmmaker Mode (Fullscreen)

137

0150300450600

nits

SDR Filmmaker Mode Data

Product	SDR Filmmaker Mode (10% window) (nits)	SDR Filmmaker Mode (Fullscreen) (nits)
Samsung S95H	220	219
LG G6	559	390
Samsung S95F	256	137

Samsung S95H

SDR Standard Mode (10% window)

229

SDR Standard Mode (Fullscreen)

229

LG G6

SDR Standard Mode (10% window)

648

SDR Standard Mode (Fullscreen)

559

Samsung S95F

SDR Standard Mode (10% window)

372

SDR Standard Mode (Fullscreen)

199

0200400600800

nits

SDR Standard Mode Data

Product	SDR Standard Mode (10% window) (nits)	SDR Standard Mode (Fullscreen) (nits)
Samsung S95H	229	229
LG G6	648	559
Samsung S95F	372	199

HDR color gamut

Closer to 100% is better. Taken using a colorimeter and test pattern generator.

Samsung S95H

UHDA-P3

99.97

BT.2020

89.2

LG G6

UHDA-P3

99.3

BT.2020

83

Samsung S95F

UHDA-P3

100

BT.2020

89.3

0255075100

HDR Filmmaker Mode Data

Product	UHDA-P3 ()	BT.2020 ()
Samsung S95H	99.97	89.2
LG G6	99.3	83
Samsung S95F	100	89.3

Picture accuracy

A lower score is better. Taken using a colorimeter and test pattern generator.

SDR Delta-E

Samsung S95H

1.6

LG G6

1.4

Samsung S95F

2.61

0123

SDR Delta-E Data

Product	Value
Samsung S95H	1.6
LG G6	1.4
Samsung S95F	2.61

Input lag

Lower is better. Taken using a Leo Bodnar 4K HDMI Video Signal Lag Tester.

Samsung S95H

4K 60Hz

9.5

1080p 120Hz

5

LG G6

4K 60Hz

8.9

1080p 120Hz

4.6

Samsung S95F

4K 60Hz

9.5

1080p 120Hz

0

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HDR Filmmaker Mode Data

Product	4K 60Hz (ms)	1080p 120Hz (ms)
Samsung S95H	9.5	5
LG G6	8.9	4.6
Samsung S95F	9.5	N/A

The Samsung S95F does not have a recorded 1080p 120Hz results as its measurements was taken before we started doing this test

Samsung S95H review: Features

• NQ4 AI Gen 3 processor
• OLED Glare Free screen
• AI enhancements including AI Football Pro mode

The flagship Samsung OLED has typically used a QD-OLED panel in its 55-77-inch sizes in the past. Based on my testing measurements, I am certain that the 65-inch model I tested does use a QD-OLED panel, though Samsung doesn't confirm this either way. The 83-inch model will use an LG W-OLED panel, because QD-OLED panels don't come in that size.

The S95H features an anti-reflection, matte screen, called OLED Glare Free by Samsung, that is designed to reduce mirror-like reflections, and keep reflections from a light to minimum.

The S95H uses Samsung’s own NQ4 AI Gen 3 processor, which provides visual AI-based enhancements such as AI Motion Enhancer Pro, 4K AI Upscaling Pro and Auto HDR Remastering Pro, as well as the introduction of AI Soccer Mode Pro, designed to provide the best picture and sound for Soccer. AI audio enhancements include AI Sound and AI Sound Controller Pro.

For HDR support, HDR10+, HDR10 and HLG are once again supported, but there is still no support for Dolby Vision. For enhanced audio formats, Dolby Atmos is supported, but not DTS.

The big design change with the S95H, compared to last year’s S95F, is the addition of a wider, silver frame, which Samsung calls a FloatLayer Design, which adds a couple of extra inches all around the TV. As a result, the One Connect Box is gone and ports have returned to the rear panel of the TV itself.

It’s worth noting that, as well as the four HDMI 2.1 ports on the rear panel, Samsung says that its Wireless One Connect Box can be added in addition to the other ports, giving you a total of eight HDMI 2.1 ports (four built-in, four on the optional box).

For sound, the S95H features a built-in 4.2.2-channel, 70W speaker system that supports Dolby Atmos: the same core specs as last year’s S95F. Sound features include Object Tracking Sound+ (OTS+), Adaptive Sound Pro and Active Voice Amplifier Pro.

Gaming is well covered, with four HDMI 2.1 ports built-in that support 4K at up to 165Hz, full variable refresh rate options including AMD FreeSync Premium Pro and Nvidia G-Sync, HGiG, HDR10+ gaming and auto low latency mode. There’s also a Game Hub where cloud-based applications such as Xbox and Luna can be accessed.

Samsung uses its own Tizen smart TV platform on the S95H, which features the aforementioned picture and audio AI tools as well as Generative Wallpaper and Art Mode, the latter of which is the same found on the brand’s The Frame art TVs.

Tizen supports a vast array of apps including Netflix and Prime Video and uses Samsung TV Plus for broadcast TV. It does however only have a built-in ATSC 1.0 tuner, rather than the latest ATSC 3.0.

• Features score: 5 / 5

Samsung S95H review: Picture quality

• Spectacular color display
• Effective anti-glare matte screen
• Strong contrast and inky black tones

The S95H boasts some strong brightness results, clocking in at 2,739 nits in Filmmaker Mode and 2,831 nits in Standard for peak HDR brightness. I used Movie mode for some of my testing, and this registered at 2,751 nits peak HDR. This is a big jump over 2,132 nits and 2,135 nits the S95H’s predecessor, the S95F, registered in the same HDR Filmmaker and Standard modes respectively.

Even fullscreen HDR brightness has had a nice boost, registering 449 nits in Filmmaker, 460 nits in Standard and 450 nits in Movie. This is a jump over the 380 nits and 390 nits the S95F achieved in Filmmaker and Standard mode.

The S95H’s has an anti-reflection, matte screen. If you’re viewing in a bright room, with unavoidable light, the S95H should be near the top of your shopping list. While I preferred the LG G6 over the S95H for actual content in bright rooms, the S95H is still the better TV for eliminating reflections outright.

The S95H demonstrates effective upscaling of SDR sources. Watching a mix of reality shows and Wimbledon via Samsung TV Plus, the S95H did a good job sharpening textures and giving colors a richer look. With HD sources, detail upscaling looked realistic and definitely had a 4K-like level of detail.

I tried out the Auto HDR Remastering Pro tool, and while it did boost brightness and sharpen textures, it all looked too artificial for my liking.

Moving to HDR sources, I first tested the S95H’s colour reproduction. Watching Speed Racer, a recent addition to my 4K Blu-ray testing rotation, the S95H delivered bright, bold colors that accurately captured the cartoon-style colours of the movie. Close-up shots of Speed Racer show vibrant reds in the interior of his cockpit and his ‘M’ logo, while later scenes show gorgeous, bright blues of clear skies and neon-like greens of a field in a schoolyard.

Comparing the S95H to the G6, I did find that the S95H made some reds a little pale and orange in appearance at times, but viewed in isolation, the S95H’s colors still looked superb. Moving to La La Land, Mia’s yellow dress was punchy, but accurate on the S95H and the gradient of pinks and purples in the sunsets looked realistic, but still lively.

It’s no real surprise that colors looked bold on the S95H, as I measured its HDR color gamut coverage at 89.2% of the BT.2020 colour space and 99.97% of the DCI-P3 color space: both outstanding results.

For darker movies, it was important to get the right picture mode for the situation. I found The Batman was too dim to watch in the default Filmmaker Mode with the lights on in our testing lab, but Movie mode worked fine. In a darker room however, Filmmaker Mode worked.

Throughout The Batman, the S95H’s strong contrast shone through, aided by its punchy highlights from its newfound brightness and rich black tones. Whether Batman stood in a dark subway or the camera cut to a ceiling-high, wide-angle shot of the Batcave, there was an excellent balance between light and dark tones.

I found during my testing that in Filmmaker Mode, the S95H was prone to black crush during the darker parts of the movie, resulting in detail loss. Batman’s armor in the aforementioned subway scene is obscured, as the S95H prioritizes deeper blacks. This wasn’t as true in a ‘brighter’ dark movie, such as Alien: Romulus, where detail is more preserved, but there were still hints of black crush.

The S95H’s textures are crisp and 3D-like, no matter the content. Skin, clothing and objects all look lifelike, especially in HDR. I actually found I preferred the look of the S95H’s skin tones better than the G6 in my comparison of the two.

Finally, motion. The S95H demonstrated good motion throughout my testing, but I found it was best to set motion to 3 blur and 3 judder. Any higher, and motion looked artificial and unnatural. Going back to Speed Racer, the S95H did a good job handling the fast racing sequences as cars swerved from side-to-side. I did find there was some judder as commentators panned across the screen, but I found this on every TV I’ve tested with the disc so far.

I tried out the S95H’s AI Soccer Mode Pro and it was somewhat effective. The commentary was clearer and louder, the picture was more detailed and motion was smoother. If you don’t want to use any AI tools, then Standard picture mode with judder and blur set to 3 worked well for sports.

• Picture quality score: 5 / 5

Samsung S95H review: Sound quality

• 4.2.2-channel speaker system with Dolby Atmos
• Great accuracy and clarity
• No DTS support

The S95H features a 4.2.2 channel, 70W speaker array and supports Dolby Atmos. There is however no DTS support. Along with its two sound modes, Standard and Amplify, there are AI Sound tools such as Adaptive Sound Pro and Active Voice Amplifier that can be used to adjust sound.

Watching Speed Racer with the S95H set to the Amplify sound mode, the S95H demonstrates solid bass and power, accurately delivering the rumble and revving of engines. Collisions as cars battle during races also have good impact, along with clear speech, even during the most hectic of races.

The S95H’s Object Tracking Sound+ (OTS+) is superb for delivering precise sound placement. When Speed Racer grinds a rail in the opening race, the sound was clean and audible, despite other loud effects.

Trying out the S95H’s AI Sound mode, it adds some width to the soundstage, giving more volume to more subtle effects. However, I personally found that the AI Sound was a little more compressed and some power was compromised, so I preferred the default Amplify setting.

While overall the S95H’s built-in speakers did a good job, I still felt the sound was contained to the screen's width, and while there was some good delivery of Atmos effects, they again were lost in the mix. For a TV with this picture quality, I’d still recommend a soundbar at least for the full cinematic experience.

• Sound quality score: 4 / 5

Samsung S95H review: Design

• Extended silver frame will be divisive
• Stand replaced with feet
• No One Connect Box included

Arguably the biggest talking point for the S95H this year is the physical design changes compared to last year’s S95F. The most notable is the FloatLayer Design, a silver frame that surrounds the TV, giving it a floating, 3D look. This is going to be a controversial addition and for some, it will mean a re-think on where to put the TV, since it adds width and height.

Personally, I’m not a fan, as I find the silver to be a bit distracting and when viewed off-centre, the frame looks odd.

The black, metal, pedestal stand from the S95F has been replaced by two plastic gray feet. While these feet are sturdy and easy to install, I still feel it’s a downgrade for a premium TV. The TV’s bezel is still sleek and ultra-thin, however, and gives it a high-quality feel (but is slightly spoiled by the frame behind it).

The other big change is the removal of the One Connect Box, an external box that housed the TV’s connections and processing. Now, the ports have returned to the rear panel on the TV itself.

For some, this will be welcome news. The S95H is compatible with the Wireless One Connect Box too, so if you liked the external connections, this is still an option you can add on — and not only that, the box can work in tandem with the TV’s built-in connections, meaning a potential eight HDMI 2.1 ports. Who needs an AVR?

The SolarCell remote returns once again, and while there’s been no real changes or additions to it, it’s still a light, sleek, USB-C and solar rechargeable remote that’s probably one of the better remotes on the market.

• Design score: 4 / 5

Samsung S95H review: Smart TV & menus

• One UI Tizen smart TV platform
• Vision AI features
• Home, Gaming, Art Hubs

The S95H uses Samsung’s own One UI Tizen smart TV platform, with the headline addition this year being the Samsung Vision AI Companion, which can be used to find related content to what you're watching, and can answer general questions you may ask AI. Microsoft Copilot is supported.

Tizen supports major streaming apps such as Netflix, Prime Video, Apple TV+ and more.

Tizen uses a number of different hubs as a way to organize relevant apps and content. Home houses streaming apps and content recommendations based on your viewing. Game houses all things gaming, including cloud based apps from the likes of Xbox. Daily hosts apps for office and health use, while Art hosts the Art Store, where artworks can be downloaded to be used as screensavers.

Art mode is a new addition, and basically means you can turn this into an artwork display, just like Samsung's The Frame TV. This may explain the new frame-like design. The Art mode costs a monthly subscription for access to all artworks.

Tizen is intuitive enough and easy to use. There is a space at the top of the home screen for banner ads, but this is common on most smart TV platforms nowadays. One thing I did find frustrating was that whenever I lingered on the home screen, Samsung TV+ would autoplay and overwrite whatever I was doing. There seemed to be no way to turn this off, short of deleting the app.

There are a good number of picture settings present, as well as AI-based tools for picture and sound settings.

• Smart TV & menus score: 4.5 / 5

Samsung S95H review: Gaming

• Four HDMI 2.1 ports
• FreeSync and G-Sync supported
• 9.5ms input lag time

The S95H is an excellent TV for gaming. Across its four HDMI 2.1 ports, it supports 4K 165Hz, full VRR including AMD FreeSync and Nvidia G-Sync, HDR10+ gaming and ALLM. It also features a Game Hub, where gaming related content and cloud based gaming apps such as Xbox and Luna are supported.

The S95H’s gaming performance is smooth and responsive, thanks to its ultra-low, measured 9.5ms input lag time. As I dashed around a desert battlefield in Battlefield V playing at 4K 120Hz, snapping between targets and diving for cover, there was never any sign of judder from the S95H, which expertly handled the chaos.

With its strong colors, high brightness and powerful contrast, the S95H looks great while gaming too. During the same desert mission in Battlefield V, it did a superb job capturing the relentless heat of the African sun. Detail in weapons and textures of environments were crisp and refined throughout gaming as well.

• Gaming score: 5 / 5

Samsung S95H review: Value

• Premium OLED price
• Competitive with other elite OLEDs
• Great features and performance for the money

As a flagship OLED TV, the S95H carries a premium price tag. The 65-inch model I tested costs $3,299 / AU$5,299, although I’ve seen offers in Australia dropping the same model to $AU4,799.

This puts its pricing right in line with its rival, the LG G6, which costs $3,299 / AU$4,999 for the 65-inch size. Really, it comes down to preference between the two and how important the differences such as total reflection reduction versus maintain black tones are.

Right now, if you want a flagship Samsung OLED, a 65-inch S95F is still available for roughly $2,499 (stock looks depleted in Australia) and while the S95H is an upgrade, the S95F is easily the best value option right now. Once the S95F goes out of stock, which looks to be sooner rather than later, the S95H’s prices will continue to fall, and it’ll be a more-than-worthy successor.

• Value score: 4 / 5

Should you buy the Samsung S95H?

Buy it if...

Don't buy it if...

Also Consider

How I tested the Samsung S95H

• Reviewed in our TV testing room in varying lighting conditions
• Tested using both SDR and HDR sources
• Measurements taken using Portrait Displays' Calman color calibration software

The first step in testing the S95H was to determine its best picture modes. I settled on three: Filmmaker Mode for dark-room movie viewing; Movie for bright-room movie viewing and Standard for sports and daytime TV.

After this, I began by testing the S95H's picture quality using both SDR (broadcast TV) and HDR (4K Blu-ray and streaming), focusing on color, contrast, detail, upscaling and motion.

I also tested the S95H's sound quality using reference scenes from Speed Racer among other movies, and I tested its gaming performance using Battlefield V on Xbox Series X.

Once subjective testing was completed, I moved onto taking objective measurements. I did this using a Klein K-10A colorimeter (profile with a Jeti Spectral 15VA Spectroradiometer), a Murideo Six G 8K Metal test pattern generator and recorded measurements using Portrait Displays' Calman color calibration software.

I started with brightness measurements, using white window patterns in sizes 1-100% in both SDR and HDR. The two primary results I focus on are peak (10%) and fullscreen (100%) brightness.

Next, I measured the S95H's color and grayscale accuracy in SDR, and then measured its HDR color gamut coverage, using the DCI-P3 and BT.2020 color spaces, hoping for a result of over 95% in the DCI-P3 space.

We recently introduced two new tests into our measurements. The first is the HDR EOTF, which shows the accuracy of a TV's brightness across its range, using 1,000, 4,000 and 10,000 nits targets. Then, there is the Spectral Power Distribution test, which measures how a TV recreates colors.

My final test was to measure the S95H's input lag using a Leo Bodnar 4K HDMI Input Lag Tester. I measured both 4K 60Hz and 1080p 120Hz results in milliseconds (ms).

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

• Users says they've observed LG gaming monitors automatically installing unwanted software on PCs
• LG's terms of service warn that conversations may be "captured and processed" on TV with the latest version of webOS
• The terms say you must now warn guests they may be recorded "in compliance with applicable wiretapping… laws"
• Update 22 July 2026: LG has issued a statement to TechRadar about the claims of unwanted installations and privacy concerns

Update: LG has issued the following statements to TechRadar regarding the following story.

"LG Electronics reiterates that McAfee is not installed automatically and is never installed without the user’s explicit consent. The LG Monitor App Installer is distributed through Microsoft’s official Windows distribution process, which included McAfee as an option. McAfee will be installed only if a user actively chooses to proceed with the installation and provides consent. Under no circumstances is McAfee installed automatically or without user authorization. The LG Monitor App Installer does not access, collect, or transmit any customer personal data.

"LG Electronics (LGE) reaffirms that LG TVs do not collect, record, or store ambient conversations. Voice recognition is an optional, user-initiated feature that processes voice data only when activated by the user to fulfill a specific request. Customers can use Smart TV features without enabling voice recognition. LGE is committed to protecting customer privacy and ensuring transparency in how user data is handled."

The rest of the story is as originally published, with some notes highlighting LG's response above.

How smart should a smart TV be? According to LG's latest TV terms and conditions, the answer is "not quite smart enough to comply with wiretapping laws", because that's now your responsibility if LG captures the voice of a guest in your house through its AI voice services. Though the situation with LG monitors appears to be even more dramatic.

As Gamers Nexus reports, some LG monitors appear to be installing adware on Windows PCs without asking for permission: in addition to the LG Monitor App Installer, they also install McAfee Scam Detector. (Update: LG disputes the Gamers Nexus' claim McAfee is installed without the user's consent.)

LG's own app requires full access to all system resources, which potentially includes all your online activity, logins, hardware, location and more (Update: LG says that it does not collect or transmit any personal data) — while McAfee has a long history of being installed on devices as 'bloatware', and people are not reacting positively to suddenly finding it on their PC. (Update: LG says that it can only be installed with the user's consent.)

Comment from r/LGOLED

There may be a perfectly innocent explanation for all of this, but when big tech firms keep getting caught doing bad things because they thought they could get away with it, it's no wonder people are assuming the worst.

Comment from r/hardware

The bit that's causing consternation regarding smart TVs is part 6(d) of the new LG Electronics terms of service, headed Voice Recognition and Privacy Compliance.

As Notebookcheck's Hannes Brecher notes, the section states that it's your responsibility "to obtain all necessary consents from any third parties whose voices may be captured by the Product and to notify household members and guests that their voices may be captured and processed, in compliance with applicable wiretapping, eavesdropping, and privacy laws."

There are three ways around that. One, you can turn off all microphone-based features. Some people won't mind that, but they can be useful — especially asking it for settings you don't know how to find.

Two, you can avoid installing the latest software — but that means you won't get any security updates, which are important (to protect your privacy, ironically, among other things).

Or you can disable your TV's connection to the internet so it can't send information back, but that obviously makes it less useful, and will also disable the voice controls anyway.

I think the terms and conditions are an attempt at corporate ass-covering rather than something sinister: the preceding paragraph talks specifically about when "a product with voice recognition functionality is used" and it's possible that "family members, guests, children, and bystanders" might be overheard; if you're choosing to activate AI-based voice features then of course voices are going to be captured and processed in order for those features to work.

At the same time, it does seem broad enough to let LG use people's voices as AI inputs, rather than just accidental capture. And in the context of what LG's doing with PC monitors (not to mention AI training's very, ahem, casual relationship with consent and copyright), that's a worry — and people online increasingly have no tolerance for anything like this, as the responses on Reddit and Gamers Nexus' original YouTube video have shown.

Comment from r/hardware

• McIntosh MX124 AV processor launches for a cool $15,000 (about £11,079 / AU$21,423)
• 13.4 audio channels to 7.4.6 or 9.4.4 speaker configurations in Dolby Atmos and DTS:X Pro
• 7x 8K HDMI inputs and extensive additional connectivity, plus Dirac Live

If you're looking for an AV processor so future-proof that your grandkids will want to inherit it, McIntosh Labs may have just the thing. The new MX124 A/V Processor is designed for "today's "most advanced home cinema systems" according to the company, and comes with extensive connectivity options, as you'd expect.

As you'd expect from McIntosh, it's a tough-looking thing, and to my eyes it resembles something from a 1960s recording studio or NASA control center. But while it may look a little retro on the outside, what's inside is bang up to date.

Its 13 surround channels with four inividual subwoofer outputs support speaker configurations of up to 7.4.6 or 9.4.4, and it has superb wired and wireless connectivity for your AV components.

McIntosh MX124 AV processor: key features and pricing

The McIntosh MX124 A/V Processor is designed to sit at the center of a reference-spec home theater system, handling the audio and video sources and routing the audio to the appropriate amplifiers via its balanced or unbalanced outputs.

It has seven HDMI inputs and three outputs, including one with eARC for your TV, and all the HDMI inputs support 8K at 60Hz and 4K at 120Hz. They're compatible with Dolby Vision, HDR10+, HLG and IMAX Enhanced, and they also support HDCP 2.3, Rec.2020, 4:4:4 Color Spacing, Dynamic Lip-sync, 3D Video Passthrough, ALLM, VRR and Quick Frame Transport.

There are four dedicated digital audio inputs, one balanced and eight unbalanced analog stereo inputs, component and composite video inputs, and dual analog stereo outputs to accommodate two additional listening zones.

For streaming, the MX124 supports AirPlay, Bluetooth, Qobuz Connect, Spotify Connect, Tidal Connect and Roon Ready, supporting hi-res audio streaming at up to 32-bit/192kHz.

The MX124 also features Dirac Live Room Correction and Bass Control, with licenses included for both. It can also deliver Audyssey MultEQ XT32 room calibration if that's your preferred option.

As this is a premium AV product, it's been designed with professional installation in mind, and it's certified Connects With Control4 for simple and efficient setup and pre-configuration. It features RS232 for automation control and is suitable for rack mounting.

McIntosh didn't include pricing details in its official announcement but retailers are listing the new MX124 with a price tag of $15,000 (about £11,079 / AU$21,423). And as I mentioned above, that's excluding amplification.

If you're looking for something more affordable, you might prefer to take a look at Denon's two new affordable entry and mid-range AVRs, or Yamaha's two new budget AVR options.

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.

• Loewe's Antares is a 4K OLED TV with triple tuner, HDMI 2.1 and 144Hz VRR
• Selection of wall mounts, floor stands, rotatable table stands and speakers
• From £2,500 (about $3,350 / AU$4,799)

German luxury brand Loewe has unveiled what it calls its "most individual Smart OLED TV to date," the Loewe Antares. It's a 4K TV with a modular design that enables you to personalize it to suit your particular preferences.

The Antares TV features interchangeable aluminum onlays with a range of fabric colors, and flexible setup options including a universal table stand, multiple floor stands including a motorized stand, and several wall mount options. The table stand can rotate and offers three height positions.

The TV has Loewe's Invisible Sound integrated speaker system, but you can specify it with lots of beefier options. You can add the Loewe Soundbar Antares, which is a front-firing 80W soundbar designed specifically for these TVs, and/or an optional subwoofer.

You can also specify your Antares with other Loewe audio products including the multi.room amp, Klang subwoofer, We.BOOST wireless surround sound system and the we.BOOST center speaker, though the TV itself can be the center speaker in the wireless surround system if you prefer.

Loewe Antaras: key features and pricing

Each Antares TV has a 4K OLED panel that's been "individually calibrated before leaving the factory" according to Loewe. Loewe is one of the few companies that gets raw OLED panels from LG Display and finishes the manufacturing itself, but the company confirmed that this is an OLED EX panel with Double Rate Driving technology, which suggests it's the same panel tech used in the five-star (albeit cheaper) LG C6 OLED TV, plus whatever finishing touches and calibration Loewe has added.

There's support for both Dolby Vision IQ and HDR10+ Adaptive when it comes to HDR. There's a dual-channel, triple-tuner setup with USB recording, parallel TV viewing and timeshift functionality, and the OS is a customized version of Vidaa OS, with key streaming apps, Apple AirPlay, Miracast and Matter on board.

For gamers there's HDMI 2.1 support, with 144Hz VRR at 4K, and a dedicated low-latency gaming mode. There are multiple sizes here, from the compact 42-inch to the range-topping 77-inch.

As you'd expect from Loewe these are premium priced TVs. Prices start at £2,500 (about $3,350 / AU$4,799) and rise to £4,000 (about $5,370 / AU$7,675). The Loewe Antares soundbar is £300 (about $400 / AU$575).

At the moment this is a UK-only release, though Loewe told TechRadar that a US launch is being considered, but isn't confirmed yet.

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.

Sony's social media team are having a rough week: anything they post is getting piled on by angry gamers who are outraged by Sony's plans to stop the production of game discs.

Many PlayStation owners are vowing to boycott the PlayStation Store, cancel their PlayStation Plus membership and never buy PlayStation products again.

It's a PR nightmare for sure, with pretty much any online PlayStation content becoming a place for gamers to protest, derailing any attempt to talk about anything else.

It reminds me of the response to Sonos' introduction of a new and hugely flawed app, which Sonos now admits was badly done.

Sonos' PR nightmare lasted for around 18 months, there is now optimism and rebuilt trust around the new changes it's bringing to improve the app. Could Sony learn from Sonos' experience and its attempts to rebuild customer trust?

I think the answer is: yes it could, but no it won't.

What Sonos got right and Sony probably won't

Speaking to TechRadar earlier this year, Sonos CEO Tom Conrad set out his views on how to try and make angry customers happy again. "You just have to show up in people's life with some humility and do the hard work of earning their trust back through great execution, great product, great software, great experiences, and never forget what you put people through."

So far, Sony isn't doing that: rather than respond to gamers' concerns, it's battening down the hatches and staying silent about its move to digital-only. And that's a shame, because there are genuine reasons for gamers to worry about Sony's decision.

There are three key concerns about digital-only. The first, and I think the most important, is cost. The PlayStation Store is ludicrously expensive: for example Spider-Man 2, a three-year-old game, is £69.99 digital today in the UK, where I'm based. Competition between retailers means it's around £37 on disc.

The second is second-hand gaming. I buy many games second-hand, and many gamers like to sell their games after they've completed them or got annoyed by them, so that they can spend what they recoup on more new games (a win for the industry overall). So I can buy Returnal for about £20 on eBay. I can't buy the digital edition second-hand, so if I want the digital version it's… you guessed it, £69.99.

To be fair, you can get both games, and others, on PlayStation Plus Extra. But not everyone wants or can sustain yet another subscription, and we know that all subscription services go up in price — often dramatically so, as we saw with Xbox Game Pass last year.

And the third is ownership. Sony's disc announcement came just days after it deleted customers' purchased copies of over 500 movies, making it clear that purchasing doesn't mean owning forever. And those movies cost a lot less than £69.99.

Sony may have to eat humble pie for a while in order to mimic Sonos here, seeking out customer views to talk about those concerns, and maybe thinking about how to address them — so for example it could tell us that digital codes would still be sold through multiple retailers, like Nintendo does with its key cards, or that we'd be able to resell our digital-only games (even if it hasn't developed the mechanism for this yet).

However, the reality is that for a firm the size of Sony, even a significant customer backlash such as 246,586 signatures on a petition represents a microscopic proportion of its 125 million PlayStation Plus subscribers, let alone the many more PlayStation owners — and it can afford to ignore them.

That's something of a gamble. Just ask Microsoft, whose Game Pass price hike scared off far more customers than expected — according to reports, it lost 4 million out of 34 million Game Pass subscribers when it was expecting huge growth instead, forcing a partial reversal.

But Sony's gaming business is far bigger, and that means it can still upset a lot of customers without feeling much pain.

I suspect Sony is going to take a different lesson from the Sonos situation: even at the height of customer anger, Sonos still sold lots of speakers, soundbars and subs.

Then again, maybe Sony is more rattled than it's currently letting on. Two days after the digital-only announcement, with customers raging online, Sony CEO Hiroki Totoki sold more than half of his Sony stock and Sony's chief strategy officer unloaded a bunch of Sony shares too.

• The Nvidia Shield TV (2019) is out of stock pretty much everywhere
• Nvidia says it's down to consumer demand for the streaming device
• It's not yet clear if we'll ever get more stock or a replacement gadget

While there hasn't been any new Nvidia Shield TV hardware for seven years now, the streaming devices continue to be popular — but it looks as though it could finally be the end of the road for the cheapest base model in the series.

As spotted by Android Authority, this $149 / £129 / AU$289.95 model is now out of stock via Nvidia's official channels (there does appear to be some stock at Amazon Australia at the time of writing), and Nvidia has stopped short of promising that those stock levels will be replenished anytime soon.

In a statement to Android Authority, Nvidia said the Shield TV was out of stock "due to demand", and that there was nothing to say "regarding future availability at this time" — so make of that what you will.

Nvidia also took the opportunity to highlight that all Shield TV models continue to get software updates and continue to be supported by Nvidia, even though it's now more than a decade since the first of these gadgets went on sale.

More to come?

Both the base model Shield TV and the more premium Shield TV Pro were given a refresh in 2019, and Nvidia says the Pro version is still on sale. Whether or not Nvidia is planning to let the stock run down on that model too remains to be seen.

I've had several Shield TVs down the years, and have always been impressed with the hardware and the software on offer. They support a wide variety of apps and games, come with local storage, and can be customized in a variety of ways too.

Even something like the recently launched Google TV Streamer only just about catches up to everything that's possible with the Shield TV boxes — and that's saying something considering Nvidia's devices made their debut in 2015.

Nvidia execs are on the record as saying they're open to the idea of new Shield TV hardware in the future, so hopefully this clearing out of stock will be followed by a brand new model in the not too distant future.

Here at TechRadar, I test some of the best 4K Blu-rays each month as part of the Blu-ray Bounty. This is where we look at the latest 4K releases from that month and judge whether they’d be a worthy addition to your collection, focusing solely on the video and audio quality of each disc.

Every so often, a disc wows me so much that I add it to my rotation for testing the best TVs and best soundbars. 4K Blu-ray is my go-to source for AV testing, as it delivers a higher video bit rate, resulting in better picture quality than streaming, and uncompressed soundtracks for the best audio.

Some of the discs from the near-100 discs I’ve tested as part of the Blu-ray Bounty that have joined over the years include Wicked, The Mask, The Sound of Music and Dark City, to name just a few.

As part of the most recent June 2026 Blu-ray Bounty, there’s another disc that will definitely be joining the testing rotation, as it performs at a reference-quality level. And that disc is Speed Racer.

Breathtaking color

My go-to 4K Blu-rays for color testing have been Wicked and The Sound of Music. Wicked features an oversaturated, candy-color style that really generates a lot of pop on the right screen, while The Sound of Music delivers still-vibrant but more authentic and realistic colors.

Speed Racer falls in Wicked’s camp, but takes it to another level. Throughout the movie, there are some seriously vivid colors. Red is a prominent feature throughout the movie, as it's the color of Speed Racer’s ‘M’ logo and the interior of his car, both of which are often front and center on screen. It’s also the color of the Racer garage at home and Papa Racer’s shirt, which he wears throughout the movie.

When I tested the Samsung S95H/S99H and LG G6 side-by-side, both TVs interpreted the red differently: the G6 gave it a much deeper red hue, while the S95H/S99H made it look paler, almost orange in some places. Both of these TVs, likely to be two of the best OLED TVs I’ll test in 2026, captured the visual punch of this red, but it was useful to see how each TV interpreted the color.

There are plenty of scenes where a single color dominates. As the Racer family arrived at Royalton Industries, there were a lot of bold purples, including the airship's color, the walls, and even the transport. On the OLEDs I tested the disc on, these purples had a beautiful richness to them that again was displayed in different ways by the S95H/S99H and the G6, with the latter again adding that bit more depth.

This trend continued throughout the movie, whether it was the neon greens of a grass field in a flashback, the fantastic pink/purple/orange gradients in the sky during sunset or the lush blues of the sky during daytime race sequences (or Speed’s iconic blue and white shirt.) Even the white of the Mach 5 / 6 and Speed’s helmet had a glorious clarity to them, really dazzling on the S95H/S99H and G6.

The use of color is fantastic in Speed Racer, and if you have a TV with Dolby Vision, you’ll be rewarded with the most breathtaking colors, some of the best I’ve ever seen on a 4K Blu-ray. But it’s not just color reproduction where this disc is useful.

A Dolby Atmos showcase

When it comes to testing soundbars and TV audio, my go-to 4K Blu-rays have been The Batman, namely the Batmobile/Penguin car chase scene for its detail and bass, and Top Gun: Maverick, for its all-around expansive Dolby Atmos soundtrack.

Speed Racer has proved to be a far more compelling disc, audibly, than I ever thought. While I anticipated some hefty bass from the car’s engines, I didn’t anticipate the level of detail and sound mapping I would hear.

During the opening race, there are plenty of demonstrations of pinpoint accuracy as cars swerve wildly through the corners of the winding track. The sound of squealing tires demonstrates excellent directionality and is fully connected with the action on screen. As a car moves from side to side on screen, you can be sure to hear it in the front channels.

One moment in this scene, in particular, really grabbed my attention, though. As Speed makes his way around the track, he has to grind the rear axle of the Mach 5 against the edge of the track and as I was watching, I heard the sound of a grind come through crystal clear in the left rear speaker of the Samsung HW-Q990C soundbar I was using (an 11.1.4 channel Dolby Atmos system comprising of a soundbar, subwoofer and two rear speakers). This was the moment that made me realize just how precise and detailed the Dolby Atmos mix of this disc is.

There’s good use of Atmos effects and height channels too. As Speed uses his spring-loaded chassis to jump over a rival racer, a cut to said rival’s cockpit reveals a burst of not only bass but also the sound of the wind from the Mach 5 as Speed flips over. This sounded immersive, clean, and incredibly precise. There are plenty of helicopter sequences too, which are great for showing what Atmos can do.

There were plenty of highlight moments throughout the movie, but it is the race sequences that showcase the clarity and depth of this Dolby Atmos soundtrack. But there’s one final area where this disc is a perfect testing disc.

Always in motion

Motion handling is a key component of any TV. If a TV can’t accurately handle fast-moving images, then action movies and sports won’t look good. While motion interpolation settings, such as judder and blur reduction, can reduce these, they can introduce unwanted side effects, such as the ‘ghosting’ of a ball in a soccer game (where a trail of the ball appears as it travels across the screen).

I anticipate that Speed Racer is going to act as somewhat of a ‘torture test’ for some TVs (like The Batman can be due to its low brightness), as there are not only plenty of fast-paced driving sequences with plenty of quick shifts in direction, but one other real challenge: slow panning shots.

Frequently throughout the movie, commentators from various countries slowly track across the screen from side to side, and even on the S95H/S99H and G6, which have proven to have great motion handling with the right settings, these shots still struggled at times. The commentators sometimes showed judder as the TV’s tried to interpolate the motion, meaning this is something I’ll be using in future tests. With these panning shots, however, there is sometimes natural judder.

Again, though, it’s the fast-paced race sequences that can make or break a TV’s motion. Chaotic driving as cars swerve to avoid debris, smash into one another, or pull a tight turn can look unnatural if a TV’s motion isn’t right. Too much blur and judder reduction, and it’ll look artificial; not enough, and it’ll look like a juddery mess.

Speed Racer really is one of the best Dolby Vision and Dolby Atmos 4K Blu-rays I’ve ever tested and is a triple threat disc for color, motion and sound, so if you’re a regular reader of our TV and soundbar reviews and comparisons here at TechRadar, expect to see Speed Racer appear very soon.

• The Google Home Speaker supports wireless connectivity to the Google TV Streamer
• This gives a simple way to curate your own home theater setup
• You can connect your Google Home Speaker through your Google TV device, or via the Google Home app

Google’s new Home Speaker comes with a slew of much-needed upgrades, but its support for wireless connectivity with the Google TV Streamer is a tool users have been pining for since the company started making smart hubs.

As well as its Gemini-powered smarts and 360-degree audio redesign, Google now lets you to wirelessly pair the Home Speaker with your Google TV device, allowing you to ditch your TV’s built-in speakers and set up a home theater system. Pairing just one Google Home Speaker works, but you’ll get the most out of your setup if you have two.

The company announced its initial plans to develop the feature in 2020 when it unveiled the Nest Audio, its first smart speaker, but the functionality never arrived. “Google Home Speaker now works together with your Google TV Streamer. You can pair up to two speakers with a Google TV Streamer to turn your living room into a mini home theater with spatial surround sound,” the company detailed in a blog post.

Surround-sound systems are integral to most entertainment fanatic’s setups, but they don’t always have to feature a multitude of different types of speakers — some people simply rely on the best sound bars to boost their audio. Though the Google Home Speaker isn’t necessarily suited to seasoned audiophiles, it gives novices an inexpensive and hassle-free way to enhance their streaming experience.

It hasn’t been impossible to hook up wireless speakers to the Google TV Streamer, however, as the option to use the best Bluetooth speakers has always been there. However, because the Google Home Speaker’s function relies on Wi-Fi, the bandwidth is much bigger. This means it also supports Dolby Atmos which, for a cost-effective home theater setup, is quite a fair perk.

Audio champions such as Sonos and Bose have offered wireless connectivity with third-party streaming devices for years, so the Google Home Speaker’s functionality is far from new. That said, it’s only recently that TV manufacturers have decided to jump on the bandwagon and sell speakers of their own.

Over the last 18 months or so, brands including Amazon, LG and Samsung have released their own speakers to allow wireless connectivity with their range of TVs — so Google is playing catch-up here.

How to pair your Google Home Speaker with your Google TV Streamer

Once you’ve set up your Google Home Speaker for regular use, you can pair it with your Google TV device right from the home screen.

Using your Google TV Streamer remote, click the home button and head to ‘Quick Settings’ at the top of the screen. From there, select ‘Audio output’ from the options, click ‘Connect another device’, then select ‘Google speakers’ and click ‘Getting started’.

After this stage, you should see a list of Google Home Speakers connected to your account in a separate window, and you’ll want to select the ones you wish to pair with your Google TV Streamer. Once you’ve done this, tap ‘Next’ and it should complete your setup.

You can also do this from the Google Home app, as Google details on its support page.

The Samsung S95F was our pick for the best OLED TV for bright rooms in 2025, thanks to its anti-glare matte screen that eliminates reflections, and its high brightness. These combined to make even dark movies viewable in really bright rooms on it: something most other OLED TVs just couldn’t achieve — even the S95F’s rival, the LG G5.

It remained the king until the LG G6 arrived this year. While the G6 still shows some mirror-like reflections when the screen is turned off, the brightness of these reflections is toned so far back that they don't really distract any more when you're viewing something.

You can now watch movies — even the super-dark The Batman — in Filmmaker Mode in bright conditions without distraction, but with the deep black tones OLED is famed for retained. When I compared the G6 with the S95F, I actually picked the G6 as the new king of bright-room OLEDs.

Fast forward a few months and the Samsung S99H (known as the S95H in the US — it's the same TV with a different name) has arrived in our testing lab. It has the latest version of Samsung's anti-reflection matte layer, so can it reclaim the crown as the best option for bright-room viewing? I've already compared the S95H/S99H with the G6 where I focused on other picture quality elements such as dark-room viewing and colors, and they came out basically even. So let's see how they compare in bright conditions.

Out-and-out reflections

The first area I decided to test was both TVs' reflection handling capabilities. This meant which TV was the outright most effective at eliminating mirror-like reflections caused by lights and objects.

Using the overhead lights in our testing lab, after getting the right angle, it was pretty clear the S95H/S99H was the superior model. Looking at the screen, the light from the overhead light is reduced to haze and the actual shape of the light is illegible: perfect if you’ve got pesky lights or windows in your bright room that you can’t hide, and that your eye is drawn to involuntarily focus on.

On the G6, the shape of the light, and the light itself, was still legible. It was certainly an improvement over its predecessor, the LG G5, as the latter had a pretty reflective screen — but there was no doubt that the overhead light was still visible.

Even looking at the shut-off, blank screen, you could see objects, such as other TVs we store in the same room, on the screen of the G6. The S95H/S99H on the other hand had absolutely nothing on screen, other than the haze of light from overhead. So for pure reflection-killing, the S95H/S99H is best.

Black level performance

Watching a movie is a more complicated story, however. With both TVs set to Filmmaker Mode, and watching the dark-tone torture test that is The Batman, the G6 did a better job maintaining black levels and delivering more impactful contrast than the S95H/S99H.

In a scene where Batman stands in a dark subway platform, having just defeated a gang of thugs, the first thing that was apparent was the S95H/S99H’s Filmmaker Mode was very dim compared to the G6. Due to the low perceived brightness and the raised black tones of the mate screen, large parts of the scene were illegible, with Batman himself partly obscured in black and the detail in the walls at the back of the platform not as clear as they were on the G6. The G6 also has better shadow detail, with more of Batman’s suit and the creases in the thug’s black jackets more legible too.

Switching to Alien: Romulus, it was the same story. As the crew approached the Nostromo, the blackness of space was much inkier and deeper on the G6. The S95H/S99H had a hazy gray sheen over it from the matte screen, which affected the integrity of the black tones. It also meant the rings around the moon didn’t have quite as much punch as the G6.

I found it odd that there was such a perceived brightness difference between the two as when I measured their brightness, the gap wasn’t as big as the real-world viewing suggested. The S95H/S99H clocked in at 2,739 nits of peak HDR brightness (10% window) in Filmmaker Mode, while the G6 clocked in at 3,004 nits. While 250 nits is nothing to sniff at, the pictures on screen suggested a bigger gap.

In fact, fullscreen HDR brightness was about as close as it gets. In the same HDR Filmmaker Mode, the S95H/S99H hit a measured fullscreen brightness of 449 nits, while the G6 hit 451. The human eye can’t perceive that little difference, yet in person, the G6 had the more complete picture.

In fact, watching in a darker room, the S95H/S99H delivers a richer, stronger picture. The same subway scene from The Batman shows deeper blacks and looks more accurate to the movie’s gloomy tone. On the G6, I found that its brightness hampered it slightly. While it did demonstrate good shadow detail, its brightness affected the quality of the darker tones on screen, and the image just wasn’t as satisfying as on the S95H/S99H.

In fairness to both TVs, some settings tweaks can solve some of the issues above. On the G6, dropping contrast from 50 to 49 takes away some of that over-brightness, while switching Tone Mapping from the default Static to Active on the S95H/S99H in Filmmaker Mode adds some brightness, although the image doesn’t feel as accurate then. But for these tests, I kept both TVs in their default settings.

The better TV for bright rooms

Honestly, both these TVs are fantastic for bright-room viewing. They both do a great job of eliminating reflections and delivering excellent picture quality despite being in a bright room. OLED’s nemesis has always been bright rooms and reflections, and it’s great to have two TVs that can handle the light. You can’t go wrong with either of these TVs for bright rooms and they’re both excellent OLED TVs.

If you have a bright room, either of these TVs would work. Your choice may depend on your circumstances. If you know you'll be watching a lot with light flooding in during the day, the S95H/S99H is the better option for keeping reflections to an absolute minimum. If you can control the light in your room more, the G6 is probably the better option.

For me, if I had to pick one TV for bright-room viewing, I’d go for the G6. While the S95H/S99H is seriously good at dealing with pesky reflections, and is an improvement over the superb S95F, I favored the G6’s richer black tones in brighter rooms.

Although the G6 isn’t as complete at removing mirror-like reflections, so there are some present in darker scenes, it’s effective enough to make watching darker movies in a bright room feel less like a chore than it did on its predecessor, the G5 — but with the contrasty feeling you want from an OLED TV.

There's always a trade-off with choosing a bright-room TV of reflection reduction versus preserving the image accuracy. Last year, the balance fell in favor of Samsung's matte display. This year, the G6’s better black level performance combined with drastically lowering the impact of mirror-like reflections is enough to make it my pick for bright rooms — but the Samsung S95H/S99H is a brilliant TV for light rooms still.

Sony Bravia Theater Bar 7 review

I’m not going to sugar-coat this. I’ve been a big fan of Sony’s soundbars, but its latest generation can feel like a step backward, and that includes the Sony Bravia Theater Bar 7.

I genuinely like some of the choices Sony has made: these new speakers are simple and elegant, becoming one with your room. They’ve also got a much smaller footprint, making placement (both in front of a TV and on a wall) much easier.

The included remote has fewer buttons, giving it a friendlier feel than the previous models. And Sony’s 360 Spatial Sound Mapping might be the easiest room correction feature ever baked into a soundbar.

You get an HDMI input for passthrough as well as the HDMI eARC connection to the TV, which is a soundbar feature that’s becoming harder to find; it comes with every cable you need, plus a wallmount kit; and you no longer need to spend $1,000 to get up-firing drivers (an essential ingredient for convincing Dolby Atmos sound). They’re included in the $869 / £699 / AU$1,199 Bravia Theater Bar 7.

And yet despite these benefits, the Bravia Theater Bar 7 (AKA model HT-A7100) nixes some of my favorite features from the previous generation.

There’s no built-in subwoofer, no on-screen setup menus, no alphanumeric front display, no hi-res Bluetooth codecs, no ability to connect wireless headphones, no Chromecast support, no Google Assistant/Amazon Alexa compatibility, and no playback via USB storage or UPnP (for streaming music from a networked server).

Of these omissions, the one I noticed most is the lack of a built-in subwoofer. While it’s true that too much low-frequency sound can be, at times, unwanted — for instance, if you’re a condo-dweller with thin walls between units — I believe that’s a good problem to have. You can always dial the bass down if the neighbors complain. But not having enough bass to start with? That’s tough to accept, especially at this price.

It’s not that the Bar 7 has no low-end; it does. It’s just that it doesn’t get low or loud enough to provide what I think of as a truly cinematic experience, even with the available bass adjustment set to ‘max’.

The obvious and easy way to overcome this limitation is to buy the Bar 7 with Sony’s Bravia Theater Sub 7 wireless subwoofer, a combo that only costs $230 / £100 more. If you buy the Theater Sub 7 after the fact, it will cost you $329 / £249 / AU$299. Sony sent me a Sub 7 to test, and it does the trick, restoring the weight and punch that the Bar 7 lacks.

Still, if bass isn’t your thing, the Theater Bar 7 delivers crystal-clear mids and highs, and can do so at volume levels that are shockingly loud. Dialogue is crisp and well separated from the rest of the soundtrack. Sony deserves top marks for this — poor dialogue clarity has become something of an epidemic in the last decade, and the Theater Bar 7 really helps.

With dedicated up-firing drivers for height channels and side-firing units designed to bounce rear channel sound to your listening position, the Theater Bar 7 should deliver a compelling, immersive experience, especially when playing Dolby Atmos or DTS:X content.

I don’t want to be too harsh in my analysis; the Theater Bar 7 definitely creates a soundstage that is taller, wider, and deeper than non-Dolby Atmos speakers, but given its price, I expected more.

I use a number of different test clips when evaluating spatial immersion, such as the Aston Martin chase scene from No Time To Die, the opening of Mad Max: Fury Road, and the first sandworm reveal from Dune.

The Theater Bar 7’s strengths (its clarity and power) created a strong sense of energy and immediacy — both vital elements for enjoying cinematic sound — but these couldn’t overcome the soundbar’s struggles to place key effects like bullet impacts or whispery voices accurately in my space.

Normally, when a soundbar underperforms my expectations, I reach for the settings menus, where you can usually tweak everything from bass and treble to the levels of individual channels.

Unfortunately, Sony doesn’t provide any way to tweak the Bar 7’s tuning. There’s no equalizer, no set of bass/treble adjustments, and no EQ presets. If you find the sound signature too emphatic when it comes to the high frequencies (as I definitely do), there’s not much you can do about it.

All of this adds up to a soundbar that finds itself in the anti-Goldilocks zone. The less expensive Sony Bravia Theater Bar 6 may not be expandable, but out of the box it can deliver more cinematic punch thanks to the included wireless sub.

By the same token, if you spend just a little more than the price of the Theater Bar 7, you can get the Bravia Theater Bar 8. With its built-in sub, you get all of the sleek, single-speaker appeal of the Bar 7, with genuinely good low-end bass (and lots of expansion options).

Sony Bravia Theater Bar 7 review: Price & release date

• Released April 2026 (US), May 2026 (UK), July 2026 (Australia)
• $869.99 / £699 / AU$1,199

As the name suggests, Sony has priced the Bravia Theater Bar 7 to sit between the existing Theater Bar 6 ($699.99) and the Theater Bar 8 ($999.99).

While the Theater Bar 6 comes with its own subwoofer, it can’t be expanded later with optional surround speakers. If you want that, you’ll have to buy the more expensive Bravia Theater System 6, which comes with a sub and surrounds.

Both the Bravia Theater Bar 7 and Theater Bar 8 can be expanded with subs and/or surrounds, however the Theater Bar 8 has a built-in sub, which may provide enough low-end for some people (especially for those in apartments or other small spaces).

Sony Bravia Theater Bar 7 review: Specs

Should I buy Sony Bravia Theater Bar 7?

Buy it if...

Don't buy it if...

Sony Bravia Theater Bar 7 review: Also consider

How I tested Sony Bravia Theater Bar 7

• Used the Sony Bravia Theater Bar 7 as my main audio system for one week
• Tested in my basement media room
• Sources: Apple TV 4K, Nvidia Shield 2019, and streamed music from various apps

After setting up the Sony Bravia Theater Bar 7, I used it as my main audio system for watching movies, TV shows, and music in my basement media room. Over the course of a week, I played a variety of Dolby Atmos test clips from movies such as No Time To Die, Ford v Ferrari, Mad Max: Fury Road, Dune, and Unbroken. I took careful note of details like dialogue clarity, surround sound, and height channel immersion.

I streamed most content from an Apple TV 4K connected via an LG OLED TV, which fed the Theater Bar 7 from its ARC output. However, I also connected an Nvidia Shield TV to the soundbar’s HDMI input to test Dolby Atmos in Dolby TrueHD, and see what, if any video passthrough issues came up.

I evaluated the effect of Sony’s limited sound modes as well as its 360 Spatial Sound Mapping room correction feature.

For music, I used a variety of apps, including Apple Music, Tidal, Qobuz, and Amazon Music, listening to a wide range of genres and formats, like Dolby Atmos Music. Some were played from apps on the Apple TV 4K and Nvidia Shield, while others were streamed wirelessly using AirPlay and Bluetooth.

• Read TechRadar’s reviews guarantee
• First reviewed: July 2026

• People continue to build alternative Sonos apps with features Sonos hasn't offered
• Recent creations include customizable room correction that works with front surrounds
• Most aren't widely available, and are being shown in invite-only betas

In the last few months, Sonos has finally moved on from fixing its app's tech issues to improving it with new navigation and adding some useful new techy features, such as a key new network troubleshooting option.

But many Sonos users are just tired of waiting for long-requested features — such as the ability to add front surround speakers — so they're building their own alternatives instead.

We covered some user-created apps to improve the Sonos ecosystem not too long ago, and the list of available options continues to grow.

More Sonos apps than you can shake a soundbar at

First up there's "the app Sonos should have made" according to its creator: Somos InControl. It's an iOS remote for Sonos home theater products with custom EQ, saveable sound presets, surround height levels and music features too.

The big draws here are that it supports adding front left and right surround speakers, and the ability to save EQ options for different use cases — the example screen shot has slightly tweaked sound for 5.1 surround versus Dolby Atmos versus music listening that you instantly switch between. It's an Apple TestFlight work in progress so availability is limited, but it looks very impressive.

The app Sonos should have made. Try it for free. from r/sonos

Moosic is a self-hosted music server app that offers an alternative to Trueplay's room tuning, with the always-welcome ability to display charts of the room correction, plus more customization options for the tuning.

It also enables you to switch your Sonos configuration — such as switching a pair of Era 300s from working as rear speakers to working as stereo music speakers — but to keep separate room-tuning profiles for each configuration, which again is something Trueplay doesn't offer.

If you're wondering why not just use TruePlay, creator AffectionateFox5907 explains: "Sonos does not provide a way to switch between home theatre and music setup seamlessly. My app does, but as part of that I lose Trueplay. When you unbond and rebond a speaker, each time it will lose its Trueplay configuration. My app basically builds a better Sonos app that adds features I've been wanting for a while without having to have a bunch of different apps. This now works with multiple subs and should work with fronts added as well."

One of the big downsides of using third-party apps that add front surrounds is that it disables Trueplay, so this is a win for people coloring outside the usual Sonos surround lines.

It also looks ideal for anyone who's found using their home theater for music to be a bit of a pain, and there are plenty of people who do: there's a whole Reddit thread asking for a simple switch between movie mode and music mode without having to reconfigure your system every time you do it.

I built my own version of "Trueplay" from r/sonos

Last but not least, MajorAtmosphere has created Kyuu (pronounced "queue"), an iOS Sonos controller that enables you to use UPnP for local files, which the Sonos app doesn't support.

As they explain: "Kyuu runs a lightweight local server that handles speaker discovery via SSDP, polls playback state, and sends commands directly to your speakers. The iOS app talks to that server over your LAN — no cloud, no Sonos account, no external dependencies."

I built a local-first Sonos controller iOS app using the UPnP API — no account required [Beta] from r/sonos

• Dire Straits' keyboardist/producer Guy Fletcher post about mixing their albums in Dolby Atmos
• He says immersive mixing of the original recording sessions is "quite addictive" and often very emotional
• 3D audio can reveal details that were previously buried when engineering for stereo

One of the things I love most about audio technology is how it can reveal things you've never heard before either because they were buried in the mix or because your setup, speakers or headphones weren't delivering all the detail.

And according to Dire Straits' keyboardist and producer Guy Fletcher, Dolby Atmos is delivering revelation after revelation not just to music fans, but to the musicians and producers who made the records in the first place.

The majority of records are made with stereo in mind, and according to Fletcher "stereo remains an extraordinary format". But as he explains on LinkedIn, redoing a stereo record for Atmos enables you to rediscover "the little things that get sacrificed along the way when you're making a stereo record. The tiny details. The decisions nobody notices because they're buried beneath more important decisions."

Fletcher makes an intriguing claim. Taking a stereo record and making it three-dimensional isn't about making it sound the same; "it's more to do with matching the emotional impact" as he says. It's not what you hear. It's what you feel.

What immersive audio delivers – and doesn't quite deliver

I think Fletcher is correct, and I'm going to compare audio to another art form: video games. I've been replaying some very old favorites recently and I'm amused by how terrible the graphics are; in my memories, those games were photorealistic as well as utterly compelling. When those games are remastered to higher visual quality they're effectively enabling me to play what I remember, not what I actually saw.

As Fletcher describes it, taking recordings into spatial audio does much the same. "The moment you begin placing objects or building beds around the listener, the music seems to breathe and expand. Mix or bus compression suddenly seems rather pointless. Sounds are no longer confined to a flat line between two speakers. Instead, they occupy a living, sculptural environment with depth, height and dimension."

It's not perfect by any means, because people listen to Atmos and other spatial audio on all kinds of different hardware that may be suboptimal: headphones, soundbars, and a range of speaker systems that don't deliver the full experience.

"Creating extraordinary Atmos mixes is no longer the obstacle," Fletcher says. "The real challenge is ensuring that the sense of space, scale and emotional impact that makes immersive mixing so exhilarating, can be faithfully experienced by the vast majority of listeners who do not own a dedicated Atmos speaker system.

Fletcher describes spatializing Dire Straits' biggest hit album, Brothers in Arms, whose original multi-tracks took him straight back to the recording studio in 1984. Although the album had previously been remastered for 5.1 audio, the Atmos edition still required extensive detective work as well as painstaking restoration.

"The real challenge lay in respecting an album that has become woven into the lives of millions of listeners," Fletcher recalls. "While 5.1 and Atmos share some similarities, Atmos offers a very different creative canvas. The challenge was never technical — the challenge was emotional."

For Fletcher, "Atmos has a curious ability to reveal not just the details within a recording, but also the memories embedded within it. In that respect, at its best, the spatial audio experience is as much about rediscovery as it is about technology."

Of course Atmos doesn't guarantee a mix is good: the record industry is very good at remastering records as a quick cash grab, and there are plenty of famous records by big artists whose remasters caused howls of outrage. But when an album is approached with care, patience and above all else, a love of the original material, the move to 3D can make songs sing even more beautifully.

We're halfway though 2026, and this year has already delivered some of the best soundbars we've seen — or rather, heard. The standout amongst the models we've tested is the "phenomenal" Samsung HW-Q990H — one of a select group of 5-star products, thanks to its "powerful, engaging and detailed sound profile", straightforward setup and strong connectivity options. Another winner was the LG Sound Suite Immersive Suite 7 Pro. If you're yearning for some "phenomenal rumbling bass", this is the soundbar for you.

Those are both premium picks, but we also reviewed a couple of brilliant budget options. The Klipsch Flexus Core 100 comes in at a fraction of the price of that Samsung model, and while its soundscape is understandably less expansive, it still impressed us by delivering clear dialogue, strong bass, and a useful, responsive display.

The rather utilitarian-looking Zvox AccuVoice AV855 also stood out from the pack; this bar is especially designed to make dialogue easier to hear. It's built especially for those with hearing impairments, but will appeal to anyone who's sick of having to turn on the subtitles on just to understand what's happening.

Scroll down to see all my picks. Hit the 'View details' button for a summary of what we thought about each one, plus a link to our full review.

Super soundbars

The Samsung S95F was our TV of the Year last year, thanks to its excellent picture quality, effectiveness in a bright room and superb gaming capabilities. It edged out the LG G5, the S95F’s flagship rival, for the honors — but needless to say, both these models were top-tier performers and contenders for our list of the best TVs. So I've been relishing testing their successors side by side.

I’ve already tested and reviewed the LG G6, the G5’s successor, and it earned five-stars in my LG G6 review. It’s one of the best OLED TVs I’ve tested this year, especially for bright room viewing (more on that later).

Now, the S95F’s successor — which is called the Samsung S95H in the US, and the S99H in the UK (and there is a separate model called the S95H in the UK, which is different to the US' S95H. Clear? Great…) has arrived in our test room, so I put the S95H/S99H and G6 side-by-side to see which flagship OLED comes out on top.

Colors

Color reproduction on both these TV’s predecessors has been superb in the past, so I was keen to see how the two new models would fare. I started with Speed Racer on 4K Blu-ray, which I recently reviewed as part of the June 2026 Blu-ray Bounty, and boy, does it have some impressive colors.

With both TVs set to their respective HDR Movie modes (called Cinema Home on the G6) colors are bold, punchy and vibrant on both TVs, perfectly delivering the hyper-saturated, cartoon-esque look of the movie.

Colors practically exploded on screen on both TVs. Looking closer, the G6 has deeper, richer colors which add a more 3D-like effect to the picture, while the S95H/S99H’s are on the more natural side. Blues, greens, purples and yellows appear more true-to-life on the S95H/S99H, while the G6 opts for dazzle.

One thing I found very interesting however was how each TV rendered red. In some scenes, I noticed that the S95H/S99H made these red details look more orange, while on the G6 they had a much more candy-apple red look that felt more accurate to the movie. This was clear in a scene with the red shelves, walls and floors of the Racer family garage, shown above.

In the close-up shot of Speed Racer during a race shown above, the red of his seat and the M logo on his helmet was deeper and bolder on the G6, looking a little pale on the S95H/S99H. For any red tones, I preferred the G6’s saturation: for this movie at least, in these modes.

For the record, in terms of measurements, the S95H/S99H scored 2.2 SDR color accuracy and 99.97% UHDA-P3 and 89.3% BT.2020 HDR color gamut coverage, to the G6’s 2.3 SDR color accuracy, 99.3% UHDA-P3 and 83% BT.2020 color gamut coverage (measured after its most recent update as of July 3rd 2026). So, these two generally measured about the same in these major areas.

When it came to skin tones, I found myself drawn to the S95H/S99H. The G6 clearly favoured red in Cinema Home, hence the deeper reds in objects. To some, the skin tones of characters on the S95H/S99H may have looked a little washed out, but I found the highlighting red tones in people’s faces, such as their cheeks, during close-up shots to be a little distracting.

Switching to La La Land, with both TVs in Movie mode, the more natural colors worked in the S95H/S99H’s favour. At the spring pool party, Mia’s yellow dress was vibrant on both screens with some gorgeous visual pop, but the yellow looked more authentic on the S95H/S99H. In the background, the green bushes were deeper on the G6, which gave them a nice, rich look, but again I felt the softer green of the S95H/S99H suited the movie better.

Later on, a close-up shot of Mia, the G6 again showed off the red tones in her skin, while on the S95H/S99H, her skin tone was uniform, more lifelike. In the ‘City of Stars’ scene, as Sebastian walks along a pier at sunset, both TVs accurately delivered the gradation of the sky, which goes from purple, to orange, to pink, accurately and while the G6 again had that richer look, the S95H/S99H had a bit more punch in the paler tones.

Contrast and dark room viewing

Moving onto darker movies, I started with The Batman, my reference disc for darker scenes. The Batman is a very dim movie (mastered at a max of around 400 nits) so it can be tricky for any TV to accurately display.

As both TVs have effective reflection handling layers (more on that below), I tried out the movie in Filmmaker Mode in a brightly lit room — and of the two, the G6 better preserved richer black tones with crisper textures and contrast. The S95H/S99H was much dimmer, and although the matte screen blocked mirror-like reflections, the movie was harder to watch.

Switching to Movie mode on both TVs, it then became a much closer call. Watching the subway scene, as Batman stands on a dark subway platform, both TVs delivered strong black levels with good shadow detail. The S95H/S99H had the more uniform picture of the two overall in Movie mode.

Switching to darker viewing conditions, and switching back to Filmmaker Mode, the differences between each TV was much more apparent. While both TVs still delivered strong contrast, shown in scenes with bright lights against dark backgrounds such as the Batcave and the crime scene at Mayor Mitchell’s house, the S95H/S99H actually delivered noticeably deeper blacks.

In some cases they were too deep, as it did exhibit some black crush, which resulted in loss of shadow detail. In the same subway scene from before, the background became mostly ineligible on the S95H/S99H. On the G6, these same details were preserved, but the picture was much brighter and the darker areas on screen weren’t as satisfying. Despite the black crush, I found myself drawn to the S95H/S99H’s more uniform picture.

Next I switched to ‘brighter’ movies with dark scenes, and went back to having brighter conditions in the room. In Fight Club, back in Filmmaker Mode, the G6 had the more impactful contrast and richer black tones.

As Marla and the narrator talk in a dimly-lit shop, the S95H/S99H’s matte screen created a haze effect across the screen, affecting some dark tones and made textures look a little softer. The G6’s glossy screen had crisper textures and deeper blacks with more impactful contrast. But switch to Movie mode and, again, it was a toss up as to which looked better.

Using a scene from space in Alien: Romulus in Movies modes, both TVs delivered rich black tones with a good amount of white stars dotted throughout, something some cheaper TVs I’ve tested can’t reproduce as cleanly. Again, in Filmmaker Mode, the G6 was the more engaging picture with the inky blacks, but the S95H/S99H did a better job handling reflections on this occasion, while still delivering powerful contrast. So let's dig more into reflections and visual punch.

Brightness and reflections

OLED TVs are getting brighter. Once struggling to hit over 1,000 nits HDR peak some years ago, this is easily surpassed now, on both flagship and mid-range models.

I measured the S95H/S99H as hitting 2,739 nits HDR peak brightness (10% window) in Filmmaker Mode, as well as 449 nits of fullscreen HDR (100% window). In HDR movie mode, the S95H/S99H hit 2,751 nits peak and 450 nits fullscreen.

The G6 in the same modes, after a re-test with a new firmware update, hit a staggering 3,004 nits peak (10%) and 451 nits fullscreen brightness in HDR Filmmaker Mode. In HDR Cinema Home, the G6 hit 2,207 nits peak and 365 nits fullscreen brightness.

How did this translate into real-world scenes? Using some snow scenes from the Spears & Munsil UHD Benchmark, both TVs, set to Filmmaker Mode, showed punchy white tones with plenty of vibrancy, but the G6 had that little bit more depth in some areas. Generally, however, the S95H/S99H had the brighter picture in larger white areas, during a shot of a snow-covered ground or a white sky.

In movies, going back to Speed Racer, Speed’s white Mach 5 car and helmet appeared brighter on the S95H/S99H, especially in Movie mode, which makes sense based on the 500 nits peak HDR difference between the S95H/S99H and G6 in that mode.

However, the G6 again had that satisfying glint that drew the eye more. In daytime scenes, the S95H/S99H again showed higher overall brightness, especially in lighter colors like green and yellow. But, the G6’s richer colors sometimes gave it a perceived sense of higher brightness through its boldness.

In another scene from Fight Club, again in Movie mode, as the narrator stands over an overturned car in the day, the clear, blue sky was noticeably brighter on the S95H/S99H. The G6 still showed good brightness, but it wasn’t as impactful as the S95H/S99H.

I’ve touched on bright-room conditions and reflection handling above, and both these TVs are impressive on this front. The S95H/S99H’s anti-glare screen does an excellent job at eliminating mirror-like reflections, turning them to a haze. While it would beat every other OLED TV in brighter rooms, the G6 is more than a match for it.

When I compared the LG G6 to last year's Samsung S95F for their reflection handling, I preferred the G6, as it did a better job delivering inkier, richer black tones while still eliminating most reflections.

The S95H/S99H is brighter than the S95F, and while this does mean its overall picture quality next to the G6 is improved, delivering more powerful contrast, I still prefer the G6 for bright rooms… in Filmmaker Mode.

In Movie mode, however, it again becomes a very tight call, edged by the G6 for me. I just preferred the preservation of contrast over the out-and-out reflection handling.

Which do I prefer?

In these tests, the LG G6 proved to have bolder colors, with better black levels and punchier highlights in brighter conditions (still with great reflection handling). The Samsung S95H/S99H showed better skin-tone accuracy, better contrast balance and black tones in dark room viewing, and higher perceived fullscreen brightness.

Deciding between these two TVs is no easy task. Both deliver outstanding picture quality, with their own strengths, and superb gaming experiences. It's never been a closer contest. So torn am I between the two, I’m saying you can’t really go wrong with either. It will come down to price and what you’re looking for — though while I've only focused on picture here, I do know that a lot of people are put off by the huge frame on the S95H/S99H, and that might make the difference.

If you want Dolby Vision HDR, bolder colors and better contrast with richer black levels in a bright room, go for the G6. If you want HDR10+, a more accurate-feeling picture out-of-the-box in a dark room, and a TV that beats the most challenging reflections, go for the S95H/S99H. Honestly, both TVs can do pretty much everything.

If I had to choose one today, it would be the LG G6. Not only does it have the better black level performance in brighter rooms, but right now, it's cheaper in the UK (where I am) and Australia, with a 55-inch G6 costing $2,299 / £2,099 / AU$3,499, while the S95H/S99H 55-inch costs $2,199 / £2,399 / AU$3,999. If I were in the US, or if the prices switch here, I could easily change my mind: it's that close.

Last month in June 2026 proved to be yet another packed month for 4K Blu-ray releases and July is looking just as busy. Despite the long list of discs on my radar, I’ve narrowed it down to my top four I’m most looking forward to, hopefully, testing.

I’ll be looking to test these discs as part of the Blu-ray Bounty, our monthly column where we test the latest 4K releases on their picture and sound quality, to see whether they’re worth adding to the bursting shelves of a 4K blu-ray collection.

4K Blu-ray is my bread-and-butter source for testing the best TVs and best soundbars, as it offers the best bitrate for picture and uncompressed audio for sound. I’m also a collector myself, so I’m always looking for new discs I can add to my collection!

In my June 2026 most anticipated article, my picks were Speed Racer, Bullet In The Head, EPiC: Elvis Presley In Concert and Hoppers. Three out of the four featured in the June 2026 Blu-ray Bounty (Hoppers sadly didn’t arrive, but I’ll hopefully feature that another time) and while they were all great, the real highlight was Speed Racer, which was an audio showcase and an outstanding looking disc (check out the Blu-ray Bounty for my full thoughts).

Hard Boiled (Arrow Video)

Hard Boiled stars Chow Yun-fat as Inspector “Tequila” Yeun, a detective in pursuit of a Triad syndicate who gets involved in an operation involving an undercover officer. This is arguably director John Woo’s (Bullet In The Head, The Killer, Mission Impossible 2) most iconic movie.

Having recently reviewed Arrow’s recent restoration of Bullet In The Head, I’m excited to see what it can do with Hard Boiled. Where I’m hoping this disc’s strengths will lie is in its Dolby Atmos mix. Hard Boiled is a gritty, action-thriller with plenty of gunfights and a good Atmos mix should deliver plenty of impact, bass and a real sense of immersion, with ricocheting bullets covering the latter.

The Bullet In The Head restoration had rich colors, crisp textures and strong contrast, so I’m hoping for more of the same here. While I’m expecting it to have the haze that I’ve now clocked in a few early-90s Hong Kong cinema movies, I still think Hard Boiled has the potential to look great, especially as it supports Dolby Vision, which should work wonders for textures, detail and contrast.

• US release date - N/A: (Hong Kong Cinema Classics version released November 4, 2025)
• UK release date - 27th July

Alice in Wonderland (1951) (Disney)

Alice in Wonderland, based on Lewis Carroll’s novels Alice’s Adventures in Wonderland and the sequel Alice Through the Looking Glass, tells the story of a young girl called Alice who ends up in a strange, fantastical world where meets odd characters such as the Mad Hatter, Cheshire Cat and the evil Queen of Hearts. (This is a cheeky addition as this disc was actually released on 29th June, but I’m going to hopefully test it as part of the July Blu-ray Bounty!)

4K can do wonders for animation, especially when it comes to detail and colors. Alice in Wonderland has plenty of seriously bright colors and I expect Wonderland to look truly brilliant in 4K. The disc comes with Dolby Vision HDR support, which is only going to make colors pop even more. The 4K restoration will hopefully add more depth and texture to the picture as well.

As for audio, there’s no support for Dolby Atmos which is a bit of a shame as it would’ve been nice to get the full immersive experience as Alice falls down the rabbit hole. Thankfully, there is a DTS-HD 5.1 MA soundtrack included and in recent discs I’ve tested this has proved to be just as good. There’s plenty of moments throughout the weird and wonderful Wonderland that should sound fantastic on 4K.

• US release date - May 6, 2025
• UK release date - 29th June, 2026

The Super Mario Galaxy Movie

The sequel to 2023’s The Super Mario Bros Movie, The Super Mario Galaxy Movie follows Mario and his crew — Luigi, Yoshi, Peach and Toad — head to space to save Princess Rosalina from the clutches of Bowser and his son, Bowser Jr.

I’m expecting crisp, slick animation and of course boat-loads of fantastical colors from this disc on 4K. With Dolby Vision support included, I’m anticipating some seriously impressive color reproduction, whether it’s the red of Mario’s iconic suit or the green skin of Bowser and Yoshi, this disc could be a new reference disc for TV testing. As the movie takes the gang to space, there’s also a chance for some strong contrast between the deep blackness of space and any bright stars along the way.

Equipped with a Dolby Atmos track, I’m expecting an immersive soundtrack that will provide some excellent detail during the movie’s more action-packed sequences. Plus, with several flight sequences, as the character’s fly through space, I’m hoping for some real utilization of the height channels to give a wide, full sound. I can imagine this disc is going to deliver an impressive audio experience that I’m looking forward to trying out through our Samsung Dolby Atmos soundbar.

• US release date - June 16, 2026
• UK release date - 20th July, 2026

Hairspray (1988) (Criterion Collection)

Directed by John Waters, Hairspray (the original, 1988 movie) tells the story of teenager Tracy Turnbald, as she aims for fame as a dancer on a local TV show. Set in the 1960s, Tracy also rallies against racial segregation, which gets in her trouble with adults and authority figures.

As this is a release from Criterion, I’m expecting an excellent restoration job. I’ve tested a ton of Criterion’s 4K releases and all of them have looked fantastic. As Hairspray is set in the 1960s, there’s a potential here for some truly bold visuals, especially with color. Decor and outfits should really pop on screen, capturing the sometimes-garish, saturated aesthetic of the time period.

There are two soundtrack options on the 4K disc of Hairspray: DTS-HD 2.0 and 5.1 MA. This isn’t the remake from 2007, which is based on the 2002 stage musical, so I’m not anticipating many showcase audio moments. However, as the movie does involve music and dancing, there could be some nice, clean sound mixes, especially with DTS-HD 5.1 MA supported.

• US release date - June 23, 2026
• UK release date - July 20, 2026

July 2026 highlighted releases

Below, I’ve picked some highlight releases for July 2026. Both US and UK releases are featured here, with release dates noted. These release dates may vary by region, with some titles already available or yet to be released until later this year depending on where you are. 4K Blu-ray is region-free, so you should be able to order from wherever.

July 6/7

• To Live and Die in LA
• The Protector
• Double Impact
• The Magic Faraway Tree (2026)
• The Drama (US - UK July 13)

July 13/14

• Obsession
• Hud
• The Usual Suspects
• Alice Doesn’t Live Here Anymore (US - UK July 27)
• Michael
• The Mummy (2026)
• Red Sun
• The Crying Game
• Full Contact

July 20/21

• Falling Down
• The 7th Voyage of Sinbad
• Pleasantville
• Anyone But You
• Hairspray (UK)
• The Super Mario Galaxy Movie (UK)
• Excalibur (UK)
• Mortal Kombat II (UK - US July 28)

July 27/28

• Hard Boiled (UK)
• Strictly Ballroom (UK)
• Soylent Green
• Stranger Things: Complete Series
• X: The Unknown (UK)
• Kill Bill: The Whole Bloody Affair

You've bought one of the best TVs or best projectors. You've invested in one of the best soundbars, or a stunning home theater speaker system. Life is good. So what should you watch to make the most of your system? What are the best Blu-rays to show off your setup?

Our resident disc enthusiast, Senior TV Hardware Writer James Davidson, tests out new Blu-ray releases every month in his Blu-ray Bounty column, to see which ones really impress when it comes to visuals and immersive sound. Now that we're halfway through the year, he's picked out his six favorite discs released in 2026 that most impressed him — and that's against some hot competition.

We're not judging the movies themselves, that's obviously subjective. What we're interested in is how well they'll show off your TV or home theater setup, and how happy these particular presentations make you as a result.

• Criterion has a 50% off sale in the US right now! See the range here

Speed Racer

The Wachowski sisters' dazzling sci-fi adventure Speed Racer is undergoing something of a revival right now, fuelled by positive posts on social media praising its visual extravagance; at the time of release there was disappointment that the sisters had made a sci-fi sports action comedy based on a 1960s manga.

But Speed Racer comes from the same incredibly inventive brains that birthed The Matrix and it's mind-blowing in its first-ever 4K HDR presentation. This has instantly entered our library for testing TVs as a new reference disc for colors and motion handling.

"Speed Racer looks astounding on 4K Blu-ray," James says. "Where it really shines is in its color reproduction. Colors are bold, vibrant and punchy throughout, taking on an almost neon-like level of saturation, which perfectly suits the movie. Whether it’s the pulsing lights of the racetrack or the 1960s-inspired clothing and decor of the neighborhood, the colors seriously pop on screen."

It's particularly good for showing off your OLED TV if you have one thanks to its deep blacks and neon brights, while its Dolby Atmos soundtrack is "ridiculously detailed."

Fight Club

The 4K edition of Fight Club had a short theater release before arriving on Blu-ray, and it's had a bit of a mixed reception: while as James says it's 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" — there's been some disappointment that the audio isn't in Atmos, and that there was some fudging to elements in the movie itself.

The soundtrack is a DTS-HD 5.1 Master Audio mix. It's a great presentation that sounds fantastic, and while it's a shame it doesn't have the extra native height you'd get with Atmos, it doesn't stop this from being one of the showstoppers of 2026.

Lawrence of Arabia

Lawrence of Arabia is one of cinema's most iconic epics, and the 4K Blu-ray version is simply stunning. "Presented in Dolby Vision, the sheer majesty and scope of the movie’s cinematography is accurately delivered with breathtaking detail," James says. "Epic landscape shots reveal intricate textures, while close-ups of characters show weather-beaten skin and Lawrence’s sand-coated hair down to the finest margin."

The soundtrack is great too, with choices including Dolby Atmos and DTS-HD MA 5.1. We particularly liked the Atmos version, which is spacious and detailed with plenty of gusto. "Ricocheting bullets, the trotting of camel’s feet and even the wind are pinpoint and accurately mapped to the action on screen," James says, praising the "incredibly hefty" bass that delivers "huge rumble from the explosions and machine gun fire."

Ben-Hur

Here's another iconic epic, and like Lawrence of Arabia the 4K version of Ben-Hur is a "staggering 4K Blu-ray," James says. At the time it was the largest-scale movie ever released, and the restoration "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."

He continues: "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."

The audio restoration is as ambitious and impressive as the visuals. The Dolby Atmos soundtrack is clean, refined and powerful, with excellent use of the surround channels in the busy market scenes and the famous chariot races. The hooves in the latter are a great workout for your subwoofer, James says.

3:10 to Yuma

3:10 to Yuma was released in 1957 and is today considered a classic Western, following rancher Dan Evans as he escorts an outlaw to his trial in Arizona. Criterion's restoration of the original movie is absolutely superb, James says. "Textures have been beautifully cleaned up — every weather-beaten wrinkle on people’s faces is fully restored — and looking almost modern. The movie is in black and white, and dark tones are deep while white tones are bright, with a full range of gray tones in between. Cinephiles will be happy with the amount of film grain retained, though it’s more obvious in the movie's exterior scenes."

You have two audio choices here: monoaural, as originally released, and DTS-HD MA 5.1. The original mono soundtrack has been cleaned up beautifully, but the real fun is in the 5.1 version. "There’s solid bass from the rumble of galloping horses, good surround details during gunfights with ricocheting bullets, and even a wide soundstage, letting the soundtrack breathe," James says. "Speech is also crystal clear."

Dead Man

Dead Man may look like it's from the same era as 3:10 to Yuma, but it's from 1995: director Jim Jarmusch chose to shoot entirely in monochrome, and the Criterion restoration delivers "dazzling whites, such as highlights in the sun, and inky blacks, such as Blake’s hair and shadowed areas within forests. Contrast is strong, with a perfect balance between light and dark tones." Detail is excellent, especially in close-up scenes, delivering "an exceptional looking disc."

There's no surround sound with this release; the audio is DTS-HD 2.0. However, what it lacks in channels it makes up for in the form of Neil Young's superb score, played solo on electric guitar and delivering "plenty of chugging and twangy Western-sounding riffs that are detailed and clear." Dialog is perfectly clear and effects such as gunfire are accurately positioned.

The vast majority of the best TVs use a dedicated OS, complete with access to the full gamut of video streaming apps. However, if you've found yourself struggling with your TV's native interface — be that due to its age, or because it's from a niche/no-frills TV brand and doesn't have the fastest processor — then a dedicated streaming device can often breathe new life into an old TV.

The Amazon Fire TV Stick range is a perfect example. They couldn’t be simpler to install — just plug one into an HDMI port on your TV — or use. They can speed up navigating through menus by using dedicated processors that often outperform the built-in chips found in cheaper TVs — they’re literally built for one task — while also adding more functionality.

I’ve broken down the benefits of using a dedicated streaming device compared to sticking with your TV’s own operating system.

• Faster navigation: Budget TV manufacturers often prioritise the display technology and tend to skimp on the processor to save on manufacturing costs. In these cases, a dedicated streaming stick with a more powerful chipset allows them to better handle both menu transitions and running apps.
• Longer lifespan - TV manufacturers eventually stop updating the built-in OS as your TV gets older, so a newer streaming device is a great way to bypass the OS altogether. The newest devices from Amazon and Apple also support Wi-Fi 6 and 6E, which both can deliver speeds of up to 9.6Gbps, whereas most TVs over 2 years old only support the slower Wi-Fi 5 (3.5Gbps) standard.
• Smart home integration - While some of the bigger TV brands have built-in smart home support, Amazon, Google and Apple’s dedicated streamers are all designed to serve as central hubs for their respective smart home ecosystems (Alexa, Google Home and Apple HomeKit). That means if you have other smart home devices, you can control them all from the comfort of your sofa.

Of course, Apple and Google's latest dedicated streamers cost around AU$400 and AU$160 respectively, so they're not exactly cheap – which is where Amazon's Fire TV Sticks come in as a better option, with RRPs starting as low as $79.

What’s more, this pre-Prime Day deal on Amazon’s Fire TV Stick 4K Plus (the middle option of the family) sees it hitting an all-time low price, making that value proposition even more apparent — especially if you don’t need all the bells and whistles of the pricier Apple and Google offerings (and don’t mind a bit of integrated advertising).

Still not convinced? Here’s how the Amazon Fire TV Stick 4K Plus compares with the Apple TV 4K and the Google TV Streamer:

Long before today's wafer-thin OLED TVs became commonplace on our living room walls, televisions were big, bulky boxes built around cathode ray tubes, known as CRTs. They were heavy, deep and, for decades, they were everywhere.

But then back in the 2010s, manufacturers stopped making them, and now most people would consider CRT TVs to be an outdated technology — a stepping stone in the evolution of television before they were replaced with flatter, lighter and more capable displays took over.

But for a growing number of collectors, enthusiasts and retro gaming fans, these CRT TVs are far more than relics of the past. Browse Reddit, specialist forums or YouTube, and you’ll find people hunting for rare models, restoring decades-old sets, and swapping advice on how to keep their ageing televisions alive.

Some enthusiasts travel hundreds of miles to collect a particular screen. One of my favorite YouTube documentaries about CRT TVs tells the story of an enthusiast who obtained the biggest CRT TV ever made: the Sony PVM-4300, weighing a huge 200kg (440lb), shipped from Japan over to the US.

At a time when almost every piece of consumer technology is designed to become thinner, lighter and packed with smart features, CRT TVs have developed an unusually devoted following.

I think that raises an interesting question. If people still want CRT TVs, and if enthusiasm for them remains strong long after manufacturers stopped making them, why aren’t companies building new ones?

To find out, I spoke to display engineers, industry analysts and a former Sony CRT expert. What I discovered challenged my assumptions about why technologies disappear. The biggest obstacles aren’t a lack of demand or even the technology itself. They’re the factories, materials, regulations and supply chains that disappear around them.

But before we get there, it’s worth understanding what CRT TVs are and why people continue to love them decades after manufacturers stopped making them.

What are CRT TVs/monitors — and why do people still love them?

CRT stands for cathode ray tube. It’s a display technology that creates images by firing streams of electrons at a phosphor-coated screen. The phosphors gain energy from the electrons and generate light, creating the image.

Although the underlying tech dates back to the late 19th century, it’s safe to say that CRTs were the dominant display tech of the 20th century. For decades, if you owned a TV or a computer monitor, it almost certainly used cathode ray tube.

The popularity of CRT TVs peaked around the turn of the millennium. Global CRT PC monitor sales reached around 90 million units in 2000, and CRT TV sales peaked at around 130 million units in 2005.

Then, remarkably quickly, they disappeared. As LCD and other flat panel tech improved throughout the late 1990s and early 2000s, most manufacturers began shifting production away from CRTs.

Which is why, within little more than a decade, the TV tech that had once dominated homes and offices for generations had vanished from retailers.

But just because you can’t buy new CRT TVs anymore doesn’t mean enthusiasm for them has completely disappeared.

Part of the appeal for enthusiasts and collectors is nostalgia. These are the same screens many people grew up with. They’re the televisions that sat in your living room, your bedroom, maybe even your classroom.

At a time when tech feels defined by algorithms, smart features, subscriptions and AI, it’s no surprise that some people are drawn to older devices that feel simpler and more tangible. It’s the same reason there’s been a continuous interest in the best record players and vinyl over the years — an interest that's grown over the last decade.

But nostalgia isn’t the whole story. Retro gaming enthusiasts argue that older games look better on CRT TVs because that’s how they were originally designed to be played. The way CRTs display images can soften pixel edges, blend colors together and create visual effects that developers wanted players to see, and actually designed their imagery around.

Others appreciate characteristics that are difficult to fully recreate on modern displays, including their motion handling, deep blacks and analogue look. While today’s OLED and LCD screens are sharper, brighter and more efficient, some enthusiasts argue that older games, films and video formats can feel more natural on the technology they were originally created for.

For some collectors, owning a CRT is as much about preserving an important piece of technological history as it is about using it.

There’s no single reason that people love CRT TVs. But whatever the motivation, communities dedicated to CRT restoration, repair and preservation continue to thrive.

So, if people still care enough to hunt down ageing CRTs, restore them and keep them running long after manufacturers stopped making them, why aren’t companies building new ones?

As someone with a reasonable understanding of modern display tech but very little knowledge of how CRTs were actually made, I became fascinated by that question. And it turns out the answer has surprisingly little to do with whether people still want CRT TVs and far more to do with how technologies actually disappear.

To build a CRT, we’d need to rebuild a whole industry

You might assume the story of why CRT TVs disappeared is fairly straightforward. Something like: flat screen TVs arrived, they were better than what came before them and consumers moved on. But the experts I interviewed painted a much more complicated picture.

I spoke to Hugues Orgitello, an engineer, electronics expert and founder and CEO of electronic design house Aes Techno, who told me that CRTs weren't necessarily replaced because they suddenly became inferior.

"It wasn’t just because flat screens looked better. Late CRTs were excellent," Orgitello says. "In fact, flat screens weren’t as good initially. They improved after new regulations."

That's a surprising thing to hear given how often technological progress is presented as a simple story of old being replaced by new.

So if better picture quality wasn't the whole story, what happened? To answer that, we need to look beyond the screen itself.

When I first began researching why manufacturers don’t start producing CRTs again, I naively imagined they might just need to secure some funding, dust off some old blueprints, and turn the lights back on at an old factory. But the reality is way more daunting.

"CRT production required massive specialized glass fabrication, vacuum tube assembly, phosphor coating, shadow mask or aperture grille alignment, electron gun manufacturing, high-voltage electronics, and precision calibration," explains Mark Vena, the CEO and Principal Analyst at SmartTech Research "Much of that supply chain has disappeared.”

Modern display manufacturing is built around very different technologies. So that means the factories, suppliers and expertise that once supported CRT production have largely all gone.

According to Orgitello, many of the specialist components required to build CRTs are no longer being made at all either. "Leaded CRT-grade glass isn't made anymore. The specialty plants closed or converted. Same for shadow masks, deflection yokes, and electron guns."

And for this reason, even repairs to existing CRT TVs can be difficult. "New deflection yokes are no longer produced; technicians have to salvage them from donor units,” Orgitello tells me. Deflection yokes are the coils that steer the CRT’s electron beam across the screen to create an image.

That means that if a company were to attempt to manufacture CRTs in 2026, they wouldn't simply be launching a new product. "You'd be rebuilding an entire industrial base," Orgitello says.

Considering the environmental regulations

One of the recurring themes that came up in my conversations with display experts was how technologies don’t just compete on performance. It’s just as much about cost, regulation, manufacturing and environmental impact. And that’s where CRT TVs run into serious trouble.

Even if someone managed to rebuild the factories, suppliers and specialist expertise needed to make them, another obstacle would be modern environmental regulations.

"Could it pass today's regulations? In the EU, almost certainly not," Orgitello explains. The problem comes down to the materials that made CRTs possible in the first place.

Those challenges extend far beyond Europe. Mark Vena describes CRTs as "a nightmare by modern product standards."

"They are heavy, fragile, power-hungry, high-voltage devices that often contain leaded glass and other materials that trigger regulatory, shipping, repair, and recycling challenges,” Vena says.

Few people understand display technology better than Gary Mandle. Now a consultant and owner of Outtahand Displays, he previously spent decades at Sony, where he worked as both an engineer and product manager during the CRT era.

"I would say there’s no chance of CRT returning,” he tells me “The reason is that the materials used in manufacturing are not very environmentally friendly. That's what killed CRT."

The materials list does read like a catalogue of substances that modern manufacturers generally try to avoid. "A CRT carries lead in the glass to inhibit X-ray emissions from exiting the glass envelope. The CRT gun uses cadmium, so it would also be a problem to manufacture, and the face uses phosphors, which were also very nasty,” Mandle tells me.

It's difficult to imagine any regulators enthusiastically welcoming the return of products built around materials like these.

But could engineers solve these problems?

Of course, engineering has overcome plenty of seemingly impossible challenges before. So what would happen if a company genuinely wanted to build a CRT TV today and had the time, money and resources to solve some of the biggest problems in making them?

"Could engineers solve this? Partly,” Orgitello tells me. He says that some elements would be relatively straightforward.

"The electronics around the tube are easy to modernize,” he says. But other parts would be much harder. "The know-how for glass and guns could be reconstructed at high cost."

But there are limitations here that have less to do with engineering and more to do with physics. "CRT depth grows with screen size (no flat 50-inch CRT is physically possible),” Orgitello says. And this is one of the reasons CRTs became so bulky. The larger the display, the deeper and heavier the tube needed to be.

Which means there were also safety concerns. "Very large screens require a thick glass face for safety since there is a vacuum inside the CRT. If the CRT were to implode, then the CRT gun could exit out the front of the face and hurt the viewer," Mandle explains.

Even if manufacturers were willing to tackle these challenges, Mandle says that the costs would be substantial. "The most difficult technical problem is building the CRT gun,” he tells me. “The most expensive part would be building the assembly line.”

"The TV industry is now built around flat panel scale economics,” Vena explains on this same point. Today's display supply chains support televisions, but they also support smartphones, laptops, tablets, cars, digital signage and all sorts of other products with a screen. And those enormous production volumes help drive costs down. Whereas CRTs would be operating in the opposite direction.

"CRTs would essentially be a boutique product with high tooling costs, low production volume, difficult shipping economics, and limited retail appeal," Vena says.

So while a surprisingly large audience of enthusiasts and collectors may be passionate about CRT TVs, passion doesn't necessarily translate into a viable manufacturing business. "That math is ugly, even if the enthusiast's passion is real,” Vena says.

The CRT experience isn’t dead

Despite all of this, CRT enthusiasts may not be entirely out of luck. Vena believes the future isn't likely to involve reopening CRT factories. Instead, it’ll be about recreating the experience using modern technology.

"The more realistic market opportunity is better CRT-like experiences through modern displays, FPGA gaming hardware, low-latency scalers, scanline filters, shader engines, and display modes optimized for retro content,” he tells me.

We're already seeing examples of this approach emerge, with specialist hardware, apps and display modes designed specifically to recreate the look and feel of CRT displays — even down to simulating the physics in some cases.

The collector market clearly demonstrates that demand for authenticity still exists. But, at least for now, the industry appears more interested in simulating CRTs than manufacturing them.

What CRT TVs teach us about technological progress

When I started researching this article, I assumed the story of CRT TVs was a fairly simple one. A new technology arrived, it was better than what came before it, people upgraded and the old technology disappeared. But after speaking to engineers and display experts, I realized the reality is far more interesting.

As Mandle explains, CRTs weren't immediately outclassed by the displays that followed them. "At the time, other technologies, such as LCD, were in their infancy, so CRT was always preferred since it didn't have color shifts when you viewed it at an angle, and of course, it had much better black performance,” he tells me.

Of course, modern displays have improved enormously since then. "LCD has improved by leaps and bounds since then. OLED is another technology that outperforms CRT. It has blacks even better than CRT, and no geometry issues since it's a matrix, not a raster. Then you have microLED on the horizon, which has even more improvements,” Mandle says.

So yes, in many ways, today's display technology is better. But that's only part of the story. What fascinated me most about CRT TVs is that they reveal something we often overlook when we talk about technological progress. Because we tend to focus on the products themselves and assume technologies live or die based on whether consumers want them.

But every technology actually sits on top of a much larger ecosystem of factories, materials, regulations, expertise, suppliers and investment. And sometimes that ecosystem starts to fall apart before interest in the technology does.

That's exactly what happened with CRTs. "Technologies don't usually die because consumers move on, they die because the inputs disappear," Orgitello tells me. "Specialty supply chains consolidate and shut down, regulators tilt toward the cleaner substitute, and capital and engineering talent flow elsewhere."

This felt like the real answer to my original question. Why don't we make CRT TVs anymore? Because enthusiasm can outlive an industry. The passion for CRT TVs remains, but the factories, materials, expertise and supply chains that sustained it do not.

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Welcome to the June 2026 edition of the Blu-ray Bounty. This is where we review the latest 4K Blu-ray releases each month, judging each disc on its video and audio quality, to see if they’ll make a worthy addition to your collection. If you’re new to Blu-ray Bounty, you can check out previous editions here.

We’re big fans of 4K Blu-ray here at TechRadar, and some of us are even collectors ourselves. As TechRadar’s TV tester, I use 4K Blu-ray to test the best TVs and the best soundbars, as it offers uncompressed video and audio for the best picture and sound you can get at home.

In last month’s May 2026 edition of the Blu-ray Bounty we looked at five discs, including the highly anticipated Fight Club, as well as Some Like It Hot, Wuthering Heights, Leaving Las Vegas and Point Blank.

This month, we’re looking at seven discs, including one that’s getting a lot of buzz as 'reference-level'. As always on the Blu-ray Bounty, we’re not talking about the movies themselves, just the disc's picture and audio quality.

We’ll be using our usual setup consisting of the LG G5, one of the best OLED TVs of 2025, the Panasonic DP-UB820, the best 4K Blu-ray player on the market, and the Samsung HW-Q990C soundbar system.

As I'm based in the UK, these releases are based on UK release dates, so don't be surprised if any of these titles are already out where you are, or if one of your picks isn't listed — it might just be coming to where you are later.

Speed Racer (Warner Bros.)

Speed Racer tells the story of Speed Racer (Emile Hirsch), a young man who becomes a racecar driver, following in his older brother’s footsteps, in order to save his family's business. Based on the manga series of the same name, the movie also stars Christina Ricci, Susan Sarandon and John Goodman.

Speed Racer looks astounding on 4K Blu-ray. Where it really shines is in its color reproduction. Colors are bold, vibrant and punchy throughout, taking on an almost neon-like level of saturation, which perfectly suits the movie. Whether it’s the pulsing lights of the racetrack or the 1960s-inspired clothing and decor of the neighborhood, the colors seriously pop on screen. On the LG G5 I used, there was a gorgeous depth and richness to said colors.

Black tones during night races are inky, textures are incredibly crisp, especially in people's skin and hair, and even the cartoon-ish CGI of the crowd and cars on the track is slick and sharp. The disc also really pushes the boundaries on motion, with the swerving cars and constantly changing camera angles serving as a showcase for your display’s motion handling.

Sound-wise, this is a seriously impressive disc. The Dolby Atmos soundtrack is lively, engaging and ridiculously detailed. During the opening race, the bass of the Mach 5’s was powerful but tightly controlled, and the hum of passing engines through the wind was crystal clear through the HW-Q990C’s rear speakers.

There’s ample room in the Atmos mix too, giving every element a chance to breathe. The mapping of sound is impressive too. As Speed grinds his car on the edge of the track in the opening race, I heard the movement of this through the left rear channel clear as day, despite all the bass from the subwoofer, and the speech and other effects through the front channels.

EPiC: Elvis Presley In Concert (Universal Pictures)

From Baz Luhrmann (director of the 2022 Elvis biopic) comes EPiC Elvis Presley In Concert, which features never-before-seen archival footage of Elvis’ early performances as part of his legendary Las Vegas residency, as well as archive interviews with Elivs telling his own story.

The disc has a DTS-HD 5.1 MA soundtrack that sounds superb. While Elvis’ narration, made of clips from interviews, is clear, as is the audio of the behind-the-scenes studio sessions, it’s the live performances on stage that sound most impressive. The drums are punchy but beautifully intricate, giving the subwoofer a real workout. Elvis’ vocals are powerful, detailed, and delivered with real clarity. The bass is refined and clearly audible, and guitars are bright and clean. This is a perfectly balanced mix that sounds excellent, regardless of the track. Highlights include Polk Salad Annie and Burning Love.

While visuals aren’t the main feature of this disc, the restored footage looks brilliant. Textures are smooth and crisp, with close-up shots of Elvis’ face even picking out his stubble. Colors are bold and bright, perfectly capturing Elvis’ flashy on-stage costumes and his often colorful offstage outfits . There’s a nice punchy brightness to the picture as well, with highlights on bejeweled, sequin-encrusted costumes really glinting on screen. Naturally, there’s some film grain present from the cameras used at the time, but most shots have been cleanly restored.

Bullet In The Head (1991) (Arrow Video)

Bullet In The Head, directed by John Woo, follows Ben, Paul and Frank, three friends who flee Hong Kong after murdering a member of a rival gang. They become smugglers in Saigon, Vietnam, at the height of the Vietnam War in 1967. The movie stars Tony Leung, Jacky Cheung and Waise Lee.

Visually, this is a solid restoration from Arrow. While the movie still has the grainy, sometimes hazy look you’d expect of early-90s Hong Kong Cinema, textures have been cleaned up well, especially in skin and faces, with more intricate detail such as hair looking refined. Colors can appear bold, whether it's the red of Ben’s T-shirt or the brightly colored buildings in Saigon. Black levels are deep during night-time scenes, and there's some nice contrast during scenes in the market, or when the trio are at the Bolero club in Saigon.

There are three soundtrack options with this disc: Cantonese Mono and Dolby Atmos, and English Mono. The Atmos soundtrack is a more spacious extension of the mono, but it does add more volume and depth to the audio. Speech is clearer in the Atmos mix, and other sounds, such as punches and crashes during fight scenes, have more impact. Gunshots in shootouts have good clarity, and while they don’t quite utilize the rear channels as well as other movies I’ve watched, there’s still some nice power on display. Bass from explosions is also tightly controlled.

Body Heat (Criterion Collection)

Starring William Hurt and Kathleen Turner, Body Heat follows lawyer Ned (Hurt) and Matty (Turner), the wife of a businessman named Edmund (Richard Crenna) as Ned and Matty begin an affair and plot to murder Edmund in order to get his fortune and run away together. The movie was inspired by the 1944 movie Double Indemnity (which I reviewed for the November 2024 Blu-ray Bounty).

Visually, this is another top-notch restoration job from Criterion. Textures look realistic, particularly in skin and in finer details such as hair. As the movie has such a sweltering setting, sweat features regularly and really shows off the level of detail present. Colors are punchy, with more intricate objects such as a red matchbook on Ned’s desk really popping. There are a number of night scenes showing rich black tones, as well as strong shadows cast by bright lights across the character's bodies and faces.

The disc comes with both DTS-HD Stereo and DTS-HD MA 5.1 surround soundtrack options. Opting for the 5.1 surround, speech is clear throughout the movie and there are some nice details present, such as the chirping of crickets, which come through the rear channels during some night sequences. The other main component of the soundtrack is the dramatic, string-led score which does a good job utilizing the full surround channels.

Avatar: Fire & Ash (20th Century Studios)

The third movie in the Avatar franchise, Avatar: Fire & Ash continues to follow Jake (Sam Worthington) and Neytiri (Zoe Saldaña) on Pandora, who must now face challenges from an aggressive, new Na’vi tribe. The movie also stars Sigourney Weaver, Steven Lang and Kate Winslet, with the former two appearing in all three of the current Avatar movies.

Avatar: Fire & Ash is visually impressive. The animation is slick, with crisp textures and detail such as the Na’vi’s braids and skin looking 3D-like. Colors are bold and vibrant, whether it’s the blue of the Na’vi themselves or the seas of Pandora and the rich reds of the warpaint of the Mangkwan. Environments are striking, with lush, green trees and fields, with textures in cliffs and rocks showing intricate detail. Night-time scenes show inky blacks and when fire is added to the mix, it shows the discs' strong contrast.

The Dolby Atmos mix included here is excellent for showing off a home theater system. Any sequences where creatures such as the Nightwraiths fly overhead delivers impressive height, with their flight paths accurately mapped. Gunshots have real weight to them, especially with automatic weapons, creating a real thud through both the soundbar and the subwoofer. Speech is clear throughout, even in the most chaotic battle scenes. During these battle scenes, whenever an arrow is fired, it’s extremely detailed, coming through the rear channels crystal clear. Like some other modern blockbusters I’ve tested, this is a great Atmos soundtrack.

Five Easy Pieces (Criterion Collection)

Five Easy Pieces tells the story of Robert Dupea (Jack Nicholson), a piano prodigy turned oil rig worker who returns home to his rich, estranged family and attempts to reconnect upon hearing about his father’s ailing health. The movie also stars Karen Black as Rayette, Robert’s girlfriend.

Criterion delivers another great restoration here. Colors really pop on screen, shown in people’s brightly-colored clothing. A scene at the bowling alley near the opening of the movie shows this, with almost every patron’s clothing looking vivid. Textures, such as the grime on the oil rigger’s faces and frown lines in Robert’s forehead, look lifelike and detailed. There’s plenty of film grain present and it’s more pronounced in some scenes than others (namely outdoor, daytime scenes), so cinephiles will be happy.

For audio, there’s only a mono soundtrack present. This won’t be an audio showcase for your home theater system, but speech is clear and other effects, such as Robert slamming himself against his car-seat, have some impact. The best part of this audio mix is whenever someone plays the piano, namely the scene where Robert plays Chopin’s ‘Prelude, Op. 28, No.4’, as it sounds bright, clean and detailed. This is a well-restored audio mix.

36 Hours (AKA Terror Street) (Hammer)

36 Hours (released in the US as Terror Street) tells the story of Major Bill Rogers (Dan Duryea), a US pilot who is framed for the murder of his estranged wife Katherine (Elsie Albiin) while he tries to visit her in London. He then has 36 hours to solve her murder so he can return back to the States.

This is a great restoration from Hammer. Textures have been cleaned-up well, making people and their clothing look incredibly lifelike. Contrast is strong throughout, with deep blacks, punchy whites and a full range of gray tones to create a dynamic image. There is the occasional shot where textures can appear fuzzy, but it's rare and considering the age of the movie, it’s surprisingly good-looking throughout. There is grain present, which will please cinephiles, but again there’s been a surprisingly thorough clean-up job here.

There are two options for soundtracks here: mono and DTS-HD 5.1 MA. The mono mix is louder and more direct, but the 5.1 mix has a warmer, cleaner sound that fits the tone of the movie. Dialogue is controlled and clean in all parts of the movie and the melodramatic score is bright and bold, using the rear channels to great effect. Other effects such as gunshots and punches have some solid impact to them as well.

• A new 4K restoration of Hammer's Dracula is coming to theaters and Blu-ray in October 2026
• Uncensored and with new footage believed to have been lost forever
• Pieced together from 'the best original archival materials sourced from around the world'

Here's a tale to really sink your teeth into: Hammer Films has "painstakingly restored" (pun intended, I assume) the original 1958 Dracula, adding "long-lost" footage and delivering an uncensored cut in full 4K. It'll be coming to movie theaters and home entertainment in October 2026.

This isn't a remaster. It's a resurrection. It features footage that was believed to be lost for over six decades, and which was only ever seen by Japanese cinemagoers in the 1950s. The recovered material is "from the best original archival materials sourced from around the world" and has never been released in the US or UK, nor available for home viewing in either country.

Dracula was the second on-screen pairing of Peter Cushing, who plays Dr Van Helsing, and Christopher Lee, who plays… I'm just checking my notes here… Dracula.

Fangs for the memories

There have been many Dracula movies, but the 1958 one delivered the definitive Drac: as Hammer Films says, Lee's portrayal introduced "the bloodshot eyes, predatory fangs and visceral physicality that became the blueprint for modern vampire mythology and whose influence can still be seen across horror cinema today."

It's hard to overstate Dracula's influence. Everything you'd expect from a Dracula movie — the fangs, the heaving bosoms, the wooden stakes, the suggestion that some women might actually enjoy having their necks bitten by a charismatic count — features here, and the film has frequently been included in rankings of the best films and horror films of all time.

As director Terence Fisher explained to our friends at SFX Magazine, this was the movie that made vampires sexy. "My greatest contribution to the Dracula myth was to bring out the underlying sexual element in the story… At the moment he bites it is the culmination of a sexual experience."

As you can see from the still images above, the restored version looks absolutely spectacular. And the film itself is a masterpiece. As Empire wrote in its retrospective review, "It was garish, it was sexy and it was never afraid to be gory. And with its spectacular ending — in which The Count's flesh peels away and crumbles to dust when caught in the first rays of the morning sun — Dracula created one of the classic images of horror cinema."

According to the wonderfully named John Gore, CEO of Hammer Films and executive chairman of John Gore Studios, “Bringing Dracula back to audiences in 4K goes far beyond a piece of film restoration work. This is the recovery of a piece of British film history that audiences believed had been lost forever. Seeing Christopher Lee and Peter Cushing together again in such extraordinary detail is a reminder of just how powerful this film remains nearly seventy years after its original release.”

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• Hundreds of TV episodes and movies will be removed from PlayStation Store accounts on 1 September
• People had bought the movies and shows
• No apologies, let alone compensation, from Sony

One of the best things about Blu-ray discs is that you don't need to worry that Sony will sneak into your home in the middle of the night and take them away.

Unfortunately you can't say the same about digital purchases: Sony is scrubbing hundreds of movies and TV show episodes purchased on the PlayStation Store from people's collections with no compensation. Come September, they're gone.

The list of affected movies and shows is on the Sony website and includes the remastered Terminator 2: Judgement Day, Gomorrah, the Rambo movies and many more. The problem is the end of a licensing agreement between Sony and StudioCanal, a major producer and distributor of movies and shows.

As Sony explains, from September 1, 2026, "you will no longer be able to access your previously purchased content from StudioCanal, and it will be removed from your video library."

To add insult to injury, the notification ends with the PlayStation slogan: "Play has no limits".

As you can imagine, this has gone down very well with movie fans.

Why is Sony removing people's purchases?

Sony's arrangement with the film production company StudioCanal has ended, and that means Sony no longer has the rights to sell those TV shows and movies. The fact that people have bought them is irrelevant to Sony, because in the terms and conditions that absolutely nobody reads it says that you're buying a license to view a show or movie, not to own it.

Since the news broke, my social media has been full of people saying the same thing: Sony's move is a pretty great advert for digital piracy. And it's definitely upset a lot of movie fans, such as Quelonious on r/movies who vowed: "I will never buy streaming movies again", although that poster is sticking with Blu-ray rather than flying a pirate flag.

"If I were you I wouldn't make digital purchases for movies," Rewdyroo writes on the same subreddit, noting that "you aren't buying the movie. It functions more like a lease and if the license for the movie that whatever service you bought it from runs out your digital movie also goes away, no refund. I've had it happen on Amazon and will never purchase a digital movie again."

Mildmichigan spoke for many: "This should be illegal. If I buy something digitally, and the platform loses distribution rights or whatever then I should be grandfathered in."

We've discussed this before, because it's a key reason to keep buying Blu-rays: Blu-rays are yours forever. But it's an issue with all kinds of digital media, going back to the days of Microsoft's PlaysForSure digital music, which sold audio files that died when Microsoft shut down the servers. Whether it's a streaming catalog or GTA 6, if it's not on physical media you can't ever be sure that it's yours forever.

(Is now a good time to mentioned the Criterion's 4K Blu-rays are 50% off at the moment in the US?)

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• The Sopranos: The Complete Series is a limited edition 4K Blu-ray release
• 86 episodes over 28 discs including 2 bonus Blu-rays
• December 2026 (US), $149.99

One of the greatest TV dramas of all time is coming to 4K Blu-ray. The Sopranos: The Complete Series box set is available for pre-order in the US and Canada, and will be released at the end of 2026.

This far from the first Sopranos box set: in addition to the DVD box set I've got on the shelf, there was a Blu-ray box in 2014, plus a 25th anniversary Blu-ray box set in 2024, which included The Many Saints of Newark as well. So this is the first time it's all available in 4K.

This edition delivers a brand new and currently untitled featurette with Sopranos creator and writer David Chase. That featurette is on one of the two bonus discs that also include hours of extra material including a two-part documentary, seven behind-the-scenes featurettes, and all of the bonus content previously released on The Sopranos: Complete Series Blu-ray release. And it's all delivered in hardcover lay-flat book packaging.

For fans of the show, this looks like the ultimate release: the best-looking, most pristine way to see one of the most influential TV shows ever.

Why The Sopranos in 4K is a must-have mafia drama

The Sopranos tells the story of depressed mob boss Tony Soprano, who's going to therapy in secret because he knows that if word gets out about his "weakness", he's a dead man walking. It's as much about family as it is about mafia families, and it features stellar performances throughout.

During its run the show amassed multiple well-deserved awards including 111 Primetime Emmy nominations and 21 wins, 5 Golden Globe awards, and Emmys for cast members James Gandolfini, Edie Falco, Michael Imperioli, Drea de Matteo, and Joe Pantoliano.

I'm not being hyperbolic when I tell you that The Sopranos began a golden age of TV drama. Without The Sopranos, there would be no Breaking Bad, Mad Men or any of the other premium shows we love so much.

It was pivotal in shifting the view that TV was inferior to cinema, and that our relatable protagonists couldn't be awful people. And it was really, really, really good: the writing, the performances and the cinematography were all superb.

While much of the praise for The Sopranos centers on the cast, and rightly so, the work of cinematographer Alik Sakharov was crucial too. The cinematography was groundbreaking in how it contributed to the story, and there's a fascinating article about it on No Film School. And if that's the kind of thing you find interesting, then this new 4K box set was made for you.

The Sopranos 4K Blu-ray box set has a release date of 8 December 2026 in the US and a recommended price of $149.99.

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• '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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Grand Theft Auto 6 pre-orders are live, and now we’re finally within touching distance of the release of 2026’s most anticipated game — if not, one of the most anticipated games of all time.

Of course, to play the game you’ll need a modern console, and one of the best TVs or best monitors can’t hurt either. But there’s one more thing I think you need to enjoy the experience at its very best: a strong audio setup.

That’s right, most TVs have pretty shoddy built-in speakers, and even if they support immersive formats like Dolby Atmos, typically struggle to whip up expansive, punchy, and clean sound. As a result, I’d strongly suggest investing in a soundbar, which will help you truly immerse yourself in the world of GTA 6, and enjoy movies and series like never before.

So, I’ve curated a list of five soundbars I’d recommend grabbing right now, with everything from affordable all-in-one options through to spectacular surround sound systems — there really is something for all kinds of budgets and living spaces here. Ready to discover my top picks?

1. Sonos Beam Gen 2

It may be almost half a decade old, but the Sonos Beam Gen 2 is still one of the best compact soundbars I’ve ever tested. I found that it delivers the kind of hard-hitting bass you’d expect from a larger, pricier soundbar, it’s easy to customize in the Sonos companion app, and it even conjures up a pretty wide soundstage, in part thanks to its Dolby Atmos support.

On top of this, I love how the Beam Gen 2 is incredibly easy to set up. Just connect it to your display’s HDMI eARC port, plug it into the power, and you’re good to go. Its small size also makes slotting it into your setup super seamless, and its modern look helps it to stand out as a stylish centerpiece in any living room or bedroom.

When you’re done with a GTA 6 play session, this soundbar can also double up as a neat companion for music too. It has Wi-Fi streaming, enabling you to stream your favorite tunes with high quality playback, and there’s even AirPlay 2 support for iOS devices. If you have other Sonos products, you can also link the Beam 2 with them and enjoy the beauty of multi-room audio, meaning this model really is a great all-rounder.

2. Marshall Heston 60

For me, the hottest competition the Sonos Beam Gen 2 has in the small soundbar category, is the Marshall Heston 60. This 2025-issued model really wowed me when I got my hands on it, and for two key reasons: its spacious sound, and its luxurious looks.

Let’s start with how this thing performs. Despite its limited 28.7-inch / 730mm width, it creates a surprisingly convincing sense of width, and whether I was playing video games or spinning some 4K UHD Blu-rays, I found it delivered delicious depth and excellent tracking of any on-screen action. With Atmos content, it really felt as if I could hear some elements playing in the corners of our TV testing space, which is something that a lot of mini models fail to do.

It also gets the basics spot on, with clear dialogue, controlled yet relatively powerful low-end sound, and impressive musicality. Although I have to say, this soundbar arguably looks even better than it sounds. Its amp-inspired aesthetic, golden details, striking frets, and classy control panel really make it stand out. As a result, you won’t only get a soundbar that’s great for engrossing audio in GTA 6, but you’ll get a product that you’re proud to put at the front and center of your living space.

3. Samsung HW-Q800F

Right, let’s take things up a gear, should we? If you want truly absorbing bass as well as expansive sound from a main soundbar, then the Samsung HW-Q800F has got you covered.

I tested this 5.1.2 channel model at the end of last year, and awarded it a rare five star rating, praising its deep, almost room-swallowing bass, its exceptional dialogue clarity, and its convincing Dolby Atmos effects. This bar can even muster up an impressive sense of height, providing an almost tangible feel to sound effects in video games as well as movies.

The Q800F brought a new sub into play which is a lot more compact, but still hits hard, meaning it's easy to fit into your living space without requiring a sacrifice in terms of quality. It’s also rammed with countless features, such as an effective calibration tool, Dolby Atmos and DTS:X support, a range of sound modes (including a Gaming setting), and Q-Symphony, which adds audio from compatible Samsung TVs into your system.

4. Samsung HW-Q990F

OK, now we’re getting into the really spacious-sounding stuff, and where better to start than with the Samsung HW-Q990F, the step-up options from the aforementioned Q800F.

Although the newer Samsung HW-Q990H is available in 2026, I’d still suggest getting the Q990F right now, as it offers a very similar level of quality at a typically smaller cost. It comes with a soundbar, sub, and two surround speakers, giving you true surround sound for the most enveloping experience imaginable. And when I heard the Q990F for myself, I was really struck by how well all of these speakers work in harmony — with games and movies alike, I found that audio sounded incredibly cohesive and well-balanced.

More generally, the Q990F delivers awesome all-round sound, with seriously weighty yet regimented bass, ultra-clean mids, and expressive highs. It also serves up impressive dynamics, a nuanced soundstage for gaming, movies and music alike, and fantastic features within Samsung’s SmartThings app. Another highlight is its two HDMI 2.1 inputs, which you can connect a games console like the PS5 Pro to for 4K 120Hz gameplay — ideal if you’re running out of slots on your TV or monitor.

5. JBL Bar 1300MK2

Last but not least, we have the magnificent JBL Bar 1300MK2 (or JBL Bar 1300XMK2 in the US), which is one of the most mind-blowing surround sound systems I’ve ever had the joy of testing here at TechRadar.

The most attention-grabbing thing about the Bar 1300MK 2 is its immense power. It has a maximum power output of almost 2,500W across its 29 drivers, which — as I said in my review — is ludicrously high. This means that you can access room-shaking volumes, and if you’ve got a large living space, you’ll be able to feel the might of its sound in every inch of the room.

But the 1300MK2 doesn’t just have power for the sake of power, it really does sound mesmerizing. The highlight is the low-end, which I found to be seismic and full-sounding, while still remaining controlled and never getting in the way of sounds elsewhere in the frequency range. Dolby Atmos is also spectacularly strong on the 1300MK2 with almost mind-boggling width on offer and solid height effects, making you feel at the center of the action when gaming or watching videos.

The flexibility of the 1300MK2 is another one of its highlights. It comes with battery powered surround speakers, which you can easily place wherever you want without having to mess around with wires — something a lot of rivals force you to do. And these can even be used as standalone Bluetooth speakers if you’re on the go, or be used standalone for night mode — ideal for a 2am gaming sesh.

In case you hadn’t heard, GTA6 pre-orders are live tonight (June 25) at midnight. Due for general release on November 19, it’s been 13 years (!) since GTA 5 first launched two console generations ago. While you’re pre-ordering your copy, now might be the time to upgrade your TV to experience Vice City looking its best.

I test TVs for a living, and that includes the best gaming TVs. For GTA 6, you’re going to want excellent picture quality with vibrant colors, excellent motion handling for the fast-paced action, and a suite of gaming features to cover the bases. Below, I’ve picked five of the top gaming TVs to suit all budgets that will be perfect for tearing through Vice City.

You may notice that all of these TVs are from last year. While we’ve been testing the best TVs this year and a lot of them are great, last year’s TVs will be a much better value and still more than capable of doing justice to GTA 6. That’s why, for me, they’re the better option right now.

LG C5

The best place to start is with the top recommendation. Sitting at the top of our best gaming TV guide, as well as our best OLED TV guide, is the LG C5, a five-star OLED that can literally do it all. It has a full suite of features and superb picture quality that will be perfect for GTA 6.

The C5 delivers rich, bold colors with whatever it’s given, and this is going to be important for the neon-soaked streets of Vice City in GTA 6. Watching colorful movies like Elemental on the C5, colors really pop on screen, with oranges, reds, and blues all shimmering. It also delivers rich contrast with deep black tones, important again for that nightlife vibe in Vice City. With excellent motion handling, car chases will be a breeze for the C5.

Packed with a full suite of gaming features, the C5 is a top-notch gaming TV. Four HDMI 2.1 ports support 4K 144Hz, full VRR, HGiG, ALLM, and Dolby Vision gaming, and with a 9.2ms input lag time, expect super-responsive gameplay as you’re fleeing from the cops in GTA 6. It handled Battlefield V at 120fps with ease when I played it.

Price-wise, you’ll want to pay about $1,199 / £1,399 (stock is looking thin in Australia) for a 65-inch model. This will be a great size for seeing GTA 6 in all its glory, but the C5 is available in sizes 42 to 83 inches to cover every situation.

TCL QM6K/C6K

If you’re looking for a TV upgrade but don’t want to break the bank, the TCL QM6K (known as the TCL C6K/Q6C depending on region and retailer) is a fantastic choice. It still has great picture quality and an impressive stock of gaming features for a very affordable price.

I tested the C6K as I’m based in the UK, and it has great overall picture quality. Its main highlight is its color reproduction. It produces vivid, natural colors that made movies like Wicked look great during my testing, accurately capturing the vibrant pink of flowers in trees. Expect the same for GTA 6. The C6K also demonstrated impressive backlight control and black tones for a mini-LED at this price range, working well for movies like The Batman. Again, Vice City nightlife should look great.

The C6K supports a lot for gaming, which is rare at this level. It supports 4K 144Hz, FreeSync Premium Pro, ALLM, and Dolby Vision gaming. It has a measured 13.6ms input lag, which is still above the 15ms threshold we look for. Gaming on it, I had a great time while playing Battlefield V, as it did a great job handling chaotic battle sequences, so it should be prepared for GTA 6.

Its real highlight is its price. A 65-inch QM6K has dropped as low as $529 and the C6K 65-inch will cost around £679/ AU$1,099. These are excellent prices for a TV this size and a great option for an affordable upgrade for GTA 6.

Samsung QN90F

Now, if you’re someone who’s planning to take some time off to play GTA 6, you’ll need a TV that works well in a bright room for daytime gaming sessions. Enter the Samsung QN90F, a brilliant gaming TV that also doubles as our best TV for sports.

The QN90F is the perfect TV for bright rooms for several reasons. It has solid brightness (exceeding 2,500 nits HDR peak and over 600 nits full screen) and an effective, anti-glare screen that does a great job reducing mirror-like reflections to a minimum. So, even if you have big windows, the QN90F can handle them. It also has great picture quality to go with it, producing punchy, accurate colors and strong contrast with surprisingly rich black tones. Expect GTA 6 to look great on this one.

The QN90F is equipped with a full list of gaming features, too. It supports 4K 165Hz, FreeSync Premium Pro, ALLM and HDR10+ gaming across four HDMI 2.1 ports. Its 9.5ms input lag time is up there with the very best, so you can expect it to handle the chaos of GTA 6 with no problems.

While the QN90F is a flagship model, its prices have dropped significantly. A 65-inch will cost you roughly $1,399 / £1,299 (stock in Australia is low again), which is again phenomenal pricing for a TV at this level.

LG B5

If you want an OLED but can’t quite stretch to the LG C5, the LG B5 is your next best option. It’s one of the best budget OLED TVs I’ve tested and delivers a lot of the same great performance and features as its step-up sibling.

With accurate, rich colors that suited the vibrant aesthetic of Wicked and Elemental, the B5 is sure to make GTA 6’s sun-soaked, colorful streets look fantastic. It also produces the powerful contrast with inky blacks you’d want from an OLED TV, despite its cheaper price range. While the B5 doesn’t have the brightness of other step-up OLEDs, it still has punchy highlights that will make the neon of Vice City pop.

The B5 is kitted out with a full list of gaming features, including 4K 120Hz, full VRR including FreeSync and G-Sync, HGiG, Dolby Vision gaming, and ALLM, all built into the four HDMI 2.1 ports. A measured 9.1ms input lag time is at the top of the gaming TV list, so expect all the action of GTA 6 to look superb.

The B5’s prices can fall to a deceptively affordable place for an OLED. You can get the 48-inch model, a perfect size for bedroom gaming, for as low as $549 / £569 / AU$1,169, meaning you don’t have to spend a fortune for OLED.

LG G5

The flagship OLED for LG in 2025, the LG G5, is like the C5 taken up a notch. It has a similar feature set but turns up the picture quality by another level with higher brightness, bolder colors, and more impactful contrast.

Testing the G5, its colors were its most impressive aspect. Vibrant, rich, and bright all at once, any colorful scene dazzled on screen, and I think it’s going to do the Miami-inspired Vice City serious justice in GTA 6. It also produces powerful contrast, expertly balancing deep black levels and bright highlights. Vice City nightlife will look stunning on this TV. It also produces extremely impressive textures that are 3D-like, along with refined detail.

This is another TV with an impressive list of gaming features. 4K 165Hz, full VRR including FreeSync and G-Sync, Dolby Vision gaming, HGiG, and ALLM are on all four HDMI 2.1 ports. Its measured 9.2ms input lag time again did wonders for Battlefield V’s fast-paced gunfights at 120fps when I played it, so it should do the same for GTA 6.

The G5 is at the more premium end of the TV market, with a 65-inch model costing $2,299 / £1,999 / AU$2,699, but if you are looking for the premium way to play GTA 6, this will be the TV to do it on.

• 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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I’ve tested more than 20 soundbars during my years of reviewing tech and audio products at TechRadar, many of which have performed brilliantly, while some… it’s best we don’t talk about them.

Although I’ve tested some premium surround-sound options such as the LG Sound Suite Immersive Suite 7 Pro and JBL Bar 1300MK2, I’ve also tested a lot of budget-friendly, affordable options. And today, I’m here to share some of the very best affordable models I’ve tested, so you can upgrade from basic TV audio or enter into the world of cinematic Dolby Atmos home entertainment without breaking the bank.

I’ve picked out a range of options, from an ultra-cheap 2.0 channel bar, all the way up to a multi-box combo with Dolby Atmos and Wi-Fi streaming. There really is something for everyone in this list, so without further ado, let’s get into my top picks.

1. Sony HT-S100F / HT-SF150

Whenever a big sale comes around, I always plug the Sony HT-S100F — also known as the Sony HT-SF150 in some markets, including the UK. Why? Well, it’s because Sony created the ideal affordable audio upgrade for anyone frustrated by unpleasant TV sound.

This one-box 2.0 channel soundbar produces solid clarity and width, with well-defined dialogue, and a built-in bass reflex speaker for enhanced low-end performance. It also makes use of Sony’s proprietary S-Force Front Surround virtual processing, which creates the impression of three-dimensional audio to impressive effect.

With HDMI, digital optical, USB, and Bluetooth connectivity, there are so many ways to enjoy sound on the HT-S100F, and it’s incredibly quick and easy to set up too.

Of course, you’re not going to get the thumping, cinematic bass that larger models can offer, and there’s no Dolby Atmos here either. But if you want clearer sound at an ultra-low price, then the Sony HT-S100F is still one of the very best options on the market.

2. Klipsch Flexus Core 100

Moving onto a Dolby Atmos soundbar now with the Klipsch Flexus Core 100. This 2.1 channel model is a great performer, with impactful, striking bass output, accurate dialogue reproduction, and impressive power.

Like the aforementioned Sony option, the Flexus Core 100 is also very simple to set up, and its LED display makes it incredibly easy to flick between various modes and options. There’s also a remote included in the box, as well as an awesome companion app which is free to download and super-responsive.

Although there are some limitations in terms of height, the Flexus Core 100 delivers admirable width when watching movies in Dolby Atmos, and when I watched a 4K UHD Blu-ray of The Mask, the titular character’s cartoonish spin sounded as if it was coming from the corners of our testing space.

While an alternative like the Marshall Heston 60 may offer sharper Atmos effects and stronger all-round quality, the Flexus Core 100 is often on-sale for far less than this model, which is a very capable alternative. This Klipsch bar’s talents in the bass department alone make it well-worth considering — especially if you just need a step-up from thin-sounding TV audio.

3. Sonos Beam Gen 2

OK, shifting up a gear once more, and I’ve simply got to shout out the Sonos Beam Gen 2. This small soundbar may not be the newest, but it’s still sensational. Sure, Sonos owners will get the beauty of multi-room capabilities, and there’s Wi-Fi streaming here too, which makes streaming music from your phone incredibly seamless. But that’s not even the best part.

See, the thing that really stands out about the Sonos Beam Gen 2 is its ability to conjure up almost thunderous bass, in spite of its limited confines. Even when testing it against the newer Marshall Heston 60, I found the Beam Gen 2 to offer more dynamic, and more immersive low-end sound, with high-octane action scenes and sudden jump-scares in horror movies hitting with striking impact.

On top of this, the Beam Gen 2 serves up crystal-clear dialogue, commendable musicality, and Dolby Atmos capabilities. If you want, you can also customize the model’s sound via the Sonos companion app.

What’s more, the Beam 2 looks absolutely gorgeous, with a modern, minimalist aesthetic that I can’t get enough of. If you’re short on space, have a smaller TV, or don’t want to spend all too much, then the Sonos Beam Gen 2 is a ridiculously easy recommendation to make.

4. Samsung HW-Q800F

Finally, we have the best overall choice in our guide to the best soundbars: the Samsung HW-Q800F. And this soundbar isn’t only one of the best affordable options out there, it’s simply one of the best soundbars I’ve ever tested here at TechRadar.

The Q800F is a soundbar-subwoofer combo that delivers incredible value for money. You get seriously convincing, multi-dimensional Dolby Atmos and DTS:X effects, and even height effects come through well — something a lot of Atmos soundbars struggle with. You also get seismic bass from the compact sub, crystal clear dialogue from the main bar, and precise, controlled treble.

In addition, the Q800F is crammed with connectivity options, with HDMI eARC, digital optical, Bluetooth, Wi-Fi, and even an HDMI input for your games consoles, streaming devices, and more. The sub and soundbar are also paired right out of the box, making your set up phenomenally straightforward.

Yes, the Q800F is a little pricier than the other entries in this list, but you can often find it on sale for far less than its initial list price of $1,099 / £799, which was already strong value considering the quality of this model’s audio, build, and feature-set.

• The software works with rooms of all shapes and sizes
• Helps identify the right place for speakers and acoustic panels
• Free for one room, but furniture analysis requires payment

If speakers are sonic superheroes, then their arch-enemies are the rooms we put them in: poorly positioned speakers or oddly shaped abodes can ruin stereo and spatial audio setups by delivering badly located, boomy or otherwise unfortunate audio. But now a new website is offering to help you find the perfect place to put your speakers and any acoustic panels to compensate for any room irregularities.

The website is Roomtreatment.diy, and it uses multiple methods to predict how sound will bounce around your space. It can then identify what treatment is necessary and where it should be positioned.

How does Roomtreatment.diy analyze your audio?

Posting on Reddit's r/acoustics, the site's creator FerencS explains that the analysis is based on splitting low and high frequencies, and then identifying the "excitability" of each part of the room. The simulation can also identify how much audio will be reflected or absorbed by other items in the room. The models have been tested against a dozen real measured rooms to make sure that they're as lifelike as possible.

There's no doubt that rooms and placement change what you hear; I've just had to redo a bunch of mixes because I hadn't compensated for my monitors being too close to the wall and making the bass more prominent. And while this website is a work in progress — for example it doesn't model soundbars just yet — it's already very impressive.

The site has clearly been made for people who aren't necessarily audio experts: when you first create your room it asks what issue you're trying to deal with, whether that's boomy, uneven bass, an off-center stereo image, muddy or smeared details or "it just feels off". There's much more detail if you want it, so for example when you select a particular speaker setup it'll tell you what frequencies to listen for in terms of mid-bass "honk", as well as tell you about potential sound stage issues and other unwanted effects.

The app's room creation is free to use, but you're limited to a single room, it doesn't take panels or furniture into account and you can't use the audio preview feature to hear how the room would sound with the selected setup. Paid users can choose between $19 to unlock everything for one room, $29 for two or $49 per month for unlimited rooms. That last one's for professional use rather than home use.

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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

When the Canvas L was announced, and declared itself the "world's first audiophile soundbar", the TechRadar Slack lit up. The likes of KEF and Bang & Olufsen would surely dispute that claim — and is this upstart company really going to beat them at their own game?

Well, I got to listen to the new Canvas L in action at the High End Vienna 2026 hi-fi show, and my skepticism is gone. Other companies have produced absolutely glorious-sounding soundbar-shaped speakers, but the Canvas L is pretty astounding even in that context.

It's not trying to be like soundbars that apply 50 drivers to create a really big sound that works with Dolby Atmos spatial audio in all directions. It's pretty clear when you see the speaker arrangement that this is following a more traditional stereo speaker setup, just transplanted into a shape that's more like soundbar, and that sits below a TV.

Each side of the soundbar has an arrangement with a 29mm SB Acoustics ring radiator tweeter, a four-inch mid-range driver custom-built by Scan-Speak, and an eight-inch Scan-Speak woofer, the latter of which is paired with a matching eight-inch passive radiator.

So that's a pretty classic three-way system (plus a radiator), just in a cunning disguise. It requires a pretty robust amount of bracing, and the cabinet here certainly looks more like what you'd expect from hi-fi than from a soundbar. And the hefty size means it's designed to mount to the back of your TV, rather than sit on a surface.

Of course, even though this is basically a pair of floorstanding speakers in a cunning horizontal disguise, all the amplification is on board, and there's a hefty 1,500W of peak power. Specifially, there's 300W per woofer, 200W per mid-range driver, and 50W per tweeter, all class D.

Canvas Hifi says the frequency response is a huge 25Hz to 40,000kHz — and that brings me the juicy part: how it sounds.

Let's start with the fact that I can easily believe those big frequency range claims, because there's just wildly deep bass that resonates convincingly right through your abdomen, in a great way.

The low end is just gloriously meaty, giving you something to really grip onto and flow with in the music, and that can wake you up with guttural punch if it needs to.

I felt that were was just a slightly boomy edge to it when digging to the deepest depths, which wouldn't necessarily be surprising for something with two huge radiators, but it may have just been an artefact of the cobbled-together listening rooms we have to use at trade shows.

Even if it it's part of the bar's sound, I'd still have no real complaints if I wanted a powerful system without a sub — you just wouldn't need one, and it had no problem dispersing bass thoughout the room, as you'd want.

The sense of power goes beyond just the bass — it has no problem filling the whole room in front of me with a wall of sound that's packed with texture, and brings convincing realism to every delicate element in vocals.

It's so dynamic and impactful, with excellent musical timing, in a way that just gives it engrossing rhythmic energy. I could have happily sat floating in its sound the rest of my day at the show.

I've talked about the power a lot, because it's what stands out most. It can be really light-touch when it needs to be, meaning that it really does feel like an elite hi-fi experience in soundbar form, because it has the versatility that I associate with truly excellent large speakers — and then the ability kick you like a horse when the song demands it.

My overarching takeaway from the experiences was just for firm and 3D the instruments feel in music, even without the full separating you'd normally have for a stereo soundstage.

Here's the thing, though: I only got to hear it with music. Ultimately, this is is still a soundbar, and how well it works with movies is a big deal. I have no doubt it's going to handle the dynamic scale of a great soundtrack easily, but I'd definitely want to hear it with dialogue before arriving at any definitive conclusion.

Oh, and the other thing is the price. The Canvas L will reportedly start from $5,999 for the base model, which includes fixings to attach it to your TV, and it'll work as a stand for your TV as well. That will have a front panel for the speaker as well, of course.

That's about $6,880 / £5,150 / AU$9,760 — and it's for the smallest size. (The size of the speakers won't change at larger sizes, but you'll get a different front panel and fixtures.)

But bass as low as 25Hz is really hard for anything that isn't a dedicated subwoofer to hit. I had a look for stereo speakers that can match it, and you're looking at something like the Monitor Audio Gold 500 6G — which cost the same as this without amplification — or the Bowers & Wilkins 803 D4, which cost about $20k.

So relatively speaking, the Canvas L is a bargain? Sure, why not.

Welcome to a bonus edition of my Blu-ray Bounty column, where I test the latest physical media film releases to see which make great showcases for your setup.

Normally, the Bounty arrives at the end of the month, but in celebration of Blu-ray’s 20th anniversary (on 20th June), I thought I’d check out a few discs released in 2026 that didn’t make it into the Blu-ray Bounty the first time. If you're thinking it just sounds like I wanted to find an excuse to watch some cool movies while at work… well, no comment.

As usual, I’ll be using a setup consisting of one of the best OLED TVs of 2025 the LG G5, along with the Panasonic DP-UB820 that we rate as the best 4K Blu-ray player on the market, plus Samsung HW-Q990C Dolby Atmos soundbar surround system.

As usual, I don’t review the movies themselves here, just the audio and video quality of the disc.

One Battle After Another (Warner Bros.)

One Battle After Another tells the story of Bob (Leonardo DiCaprio), a washed-up revolutionary who lives off grid with his daughter Willa (Chase Infiniti). He must face his past when his nemesis Colonel Steven J. Lockjaw (Sean Penn) resurfaces and his daughter goes missing.

Visually, One Battle After Another is a striking movie. Textures are crisp throughout, looking both 3D-like and true to life. There are plenty of high-contrast scenes that showcase rich black tones with punchy highlights, especially during night scenes where strong shadows are cast. Colors are natural, with the green grass of fields and the bright, blue sky all looking natural throughout the movie.

With a Dolby Atmos soundtrack, this disc sounds fantastic. Explosions and gunfire have plenty of impact and power, demonstrating well controlled bass tones. This balances nicely with the movie’s more intricate sound effects, such as the clicking of a gun’s chamber and lightly treading footsteps. There’s a good use of height channels too, as army helicopters fly overhead, creating an immersive atmosphere.

Becoming Led Zeppelin (Sony Pictures Classics)

Becoming Led Zeppelin is a documentary that explores the origins of the iconic rock band, from the members’ youth to the height of the band, including never-before-seen footage and modern-day interviews with the band.

Where else to start than with audio? There are two soundtrack options: DTS-HD 5.1 MA and DTS-HD 2.0 MA. Played through our soundbar, the 5.1 mix sounded fantastic. When Good Times, Bad Times kicks in, John Bonham’s thumping drums sound superb through the subwoofer: tightly controlled, detailed and meaty. Jimmy Page and John-Paul Jones’ guitars are refined, dynamic and intricate. Finally, Plant’s vocals are clear, punchy and as powerful as you could hope for.

Other highlights include Babe, I’m Gonna Leave You as the band recounts their first US tour in 1968, where Page’s delicate playing sounds crisp and clean and Plant’s haunting vocals are gorgeous and shortly after a live version of Communication Breakdown sounds raw, punchy and perfectly balanced, with every instrument given room to breathe.

Visually, the disc is 4K SDR. While there’s not a great deal to show off here, as most of the documentary is made up of old footage and talking-heads with the band, what is present is clean and shows great detail. Some of the footage has been upscaled nicely and some left intentionally grainy, but it’s still an excellent presentation overall.

This Is Spinal Tap (Sony Pictures)

This Is Spinal Tap is a mockumentary about the fictional rock band Spinal Tap on their 1982 US tour. The movie stars Christopher Guest as Nigel Tufnel, Michel McKean as David St Hubbins and Harry Shearer as Derek Smalls. Rob Reiner directs and stars as the filmmaker Marty Di Bergi.

The movie comes with two DTS-HD MA soundtracks 5.1 and 2.0. The 5.1 mix sounds superb, particularly during the live concert sequences. Guitars are crunchy and detailed, drums and bass are meaty and provide a nice workout for your subwoofer. The mix is extremely well balanced with a wide soundstage, giving each instrument ample room. Vocals are clean during live sections and speech is clear during dialogue scenes. The infamous ‘Stonehenge’ scene in particular sounds fantastic.

Visually, the movie supports Dolby Vision and looks very good. Colors have plenty of punch, from the band’s loud, bright costumes on stage to the more natural environments with bushes and trees, there’s a really nice balance of color. Dark tones are deep and rich and textures look lifelike. While it doesn’t have the level of upscaling I’ve seen in some movies, skin, hair and clothing have been sharpened up. Cinephiles will be happy with the level of film grain retained here and while some scenes have more grain than others, it suits the mockumentary style of the movie.

All The President’s Men (Warner Bros.)

All The President's Men follows the story of two reporters from The Washington Post, Carl Bernstein (Dustin Hoffman) and Bob Woodward (Robert Redford), who investigate the Watergate scandal. The movie is based on the non-fiction book of the same name.

All The President’s Men looks great in 4K. Watching in Dolby Vision, the picture is bright and detailed, with crisp textures throughout. Clothing and hair are refined and colors are bold and vibrant, shown on the brightly colored off chairs and desks in The Washington Post office. The green trees and grass surrounding the courthouse look natural and punchy. Night scenes showing deep blacks with strong contrast, shown as cars drive through the city. There’s plenty of grain retained which cinephiles will be happy with, but there’s some nice upscaling too.

The disc has a DTS-HD 2.0 soundtrack and throughout the movie, speech is clear with good detail. Subtle effects such as radios and voices on a telephone and the scratching of a reporter’s pencil have a good amount of detail. While there’s nothing to really show off your sound system like you’d get from an action-packed blockbuster, it’s a great overall soundtrack.

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.

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.

When you're buying a new TV, one of the biggest decisions is the size — but this can also be one of the hardest decisions to make. That's why we built our easy TV size calculator, which you'll find just below.

You tell it how far away you sit from the screen, and it'll tell you what the ideal size is — and we'll recommend the best options for different budgets, based on our hands-on reviewing experience with the sets.

The size recommendations are based on a ratio of distance from the screen compared to screen size. For general viewing, this ratio is 1.6:1 — meaning that your distance from the screen is 1.6x the size of the screen.

We chose this ratio based on the amount of your vision that the screen will fill — the screen will occupy about 30° in your vision at that ratio. We chose 30° based on advice and research from Samsung, LG, Sony, Panasonic, THX, the Society of Motion Picture and Television Engineers, and the University of Cambridge.

However, we know that some people lean towards wanting a bigger-than-average TV for a more cinematic experience, while some people hate a large screen and want something smaller than average. So our tool lets you say if you want something larger or smaller than average, and in that case, we calculate based on different distance-to-size ratios.

For the cinematic option, we use a 1.2:1 ratio, which is 40° in your field of vision. For the smaller option, we use a 2:1 ratio, which is 20° in your field of vision.

TV buying guides

Size-based TV guides

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• No Dolby Vision on Disney+ in the EU (again)
• UK and US viewers aren't affected
• It's due to patent issues, and other streamers have settled out of court

Back in February we reported that Disney+ had dropped Dolby Vision HDR from its service in parts of Europe; Disney said at the time that was due to "technical challenges" but later conceded that "as a result of a lawsuit at a German patent court, we were forced to make changes to the availability of certain advanced video formats" once the format returned to the platform.

And now it looks like Disney+ has had to drop Dolby Vision again, in 11 countries this time.

The culprit once again appears to be a court case, this time in the Unified Patent Court (UPC). And the claimant is once again InterDigital, who claimed that Disney infringes one of its video patents. Because the UPC has a wider jurisdiction than the German court, it affects Disney+ in more countries.

InterDigital published a press release about the latest verdict earlier this week. The court "ruled that InterDigital is entitled to an injunction over Disney’s infringement of an InterDigital patent covering certain video encoding techniques related to HEVC and confirmed the validity of this patent," InterDigital says.

"The UPC is a pan-European patent court which issues decisions that apply across multiple countries in the European Union (EU); here, the injunction against Disney spans 11 EU countries. Disney can appeal the decision."

The affected countries are all in the EU, so the UK isn't affected, and nor is the US, naturally: if you go to the support page for Disney+ in the UK, it'll happily sing the praises of its Dolby Vision content. That's been removed from the support pages in Europe, however.

Why Disney's not doing Dolby in Europe

The court verdict isn't the only challenge for Disney. InterDigital has sued over other patents covering HDR technology, "the dynamic overlaying of multiple video streams", and compression technologies connected to the HEVC and AVC codecs.

Although the verdict was about Dolby Vision, it also affects 3D movies on Disney+ available on Vision Pro, because those all use Dolby Vision too.

Disney isn't the only company that InterDigital says is infringing its patents, but other firms, such as Amazon, have apparently come to a settlement in order to continue offering Dolby Vision.

Disney isn't blaming technical challenges this time. In a statement to FlatpanelsHD, Disney Nordic said:

"As a result of litigation before a European patent court, we have been required to make changes to the availability of Dolby Vision and 3D in Denmark and several neighboring countries. We are disappointed that we have had to do this, and we share our customers' frustration. Disney+ continues to support the highest-quality formats, including up to 4K UHD and HDR, and we are actively exploring options to address the recent changes to ensure that we deliver the best possible viewing experience tailored to customers' devices and subscription plans."

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.

• 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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