This week we unveiled the all-new, all-different — well, not all that different — TechRadar Awards, but plenty more happened in the worlds of tech.

Samsung announced that its next Unpacked event is taking place in a little over a week, and it’s teasing a big foldables announcement. However, based on its usual schedule, we’d be more surprised if it didn’t have any foldables to showcase this year.

Before you catch up with this week’s tech news, why not test yourself on last week’s seven biggest tech stories to see how good your memory is? Take the quiz below, or scroll on for the biggest tech news of the week… (and see if you can best last week’s ICYMI quiz when you’re done here).

7. The TechRadar Awards returned for 2026

The TechRadar Awards are back in 2026, and we’re making a radical change: we’re holding two sets of awards back-to-back this year! We’re introducing the TechRadar Product of the Year Awards and the TechRadar Readers’ Choice Awards. In the past, we combined reader votes on which products should win with our expert judges' opinions to determine an overall winner. But now we’re splitting those two elements into two different awards.

The Product of the Year Awards will be chosen solely by our editors and writers, based on their experience of using the products. The Readers’ Choice Awards will give all the power to you, our readers, though — you’ll be able to vote on a shortlist of the most popular and highly rated releases of the year, and the winner will be decided 100% by those votes.

We’re accepting nominations for products that you’d like to see shortlisted, and anyone can nominate something — so make sure that the products you love most are in with a chance!

Read the full story: Introducing TechRadar's Readers' Choice Awards and our Product of the Year Awards

6. ChatGPT rolled out its ‘smartest voice model ever’

This week, OpenAI has delivered an upgrade to ChatGPT’s voice mode for all users thanks to the rollout of two new models. The smaller GPT-Live-1 mini model will be the default for Free users, while paid users get the full GPT-Live-1 model.

GPT-Live-1 promises to sound more natural, be less interruptive when you pause while talking, and be smarter — as there previously seemed to be a knowledge gap between the written and spoken ChatGPT models.

To get around that last part, GPT-Live-1 actually delegates tasks to ChatGPT-5.5, then comes back with an answer.

There are also impressive new simultaneous translation tools that will translate what you hear live and what you say as you say it.

You can also give the chatbot a name to make conversing easier, though OpenAI’s go-to is ‘Chat’ — letting you live out your dreams of being a Twitch streamer.

Read the full story: GPT-Live-1 gives you more natural conversations without interruptions

5. Nokia debuted a retro phone with AI

This week, Nokia’s parent company, HMD, debuted a quartet of retro-style phones with one anachronistic addition — a big ol’ AI button.

They still offer a full suite of legacy features — if you miss the 3.5 mm headphone jack, a microSD for bigger storage capacity, and (on three of the models) an FM radio, you’ll find them here — it’s just that you’ll also have a little digital assistant too.

Details are thin, though it sounds like this won’t be quite on Gemini's level. Instead, the AI is mostly there to help with on-device tasks like setting alarms, opening the camera, and creating reminders. The biggest issue, however, is the AI assistant is only free for 180 days — after that it's $3.99 (about £3 / AU$5.75) a year if you're in the EU and $2.99 (about £2.25 / AU$4.30) a year everywhere else.

Yikes!

Read the full story: Nokia's new retro-styled feature phones have AI buttons for some reason

4. The Amazfit Active 3 Premium impressed us

The Amazfit Active 3 Premium is the sequel to last year's five-star Amazfit Active 2, and it's another knockout of a budget watch (despite the Premium name). A terrific fitness tracker costing just $169 / £169 / AU$239, it boasts features you normally get on watches twice the price, such as full-color maps and a sapphire glass screen.

Its metrics were accurate during testing, and it looks great to boot. It's the budget watch to get - even perhaps over popular choices such as the Apple Watch SE 3 or the Garmin Forerunner 70. It's a real win for Amazfit, which has quietly spent the last few years improving its Zepp App ecosystem and building well-priced fitness trackers for every category.

Read the full story: Amazfit’s latest premium offering is about more than just looks

3. We took over 1,000 shots with the Sony RX10 V

Sony surprised the camera community and us this week when it revived its best-in-class series of bridge cameras, with the launch of the new RX10 V. The Mark V superzoom arrived nine years after the now-discontinued Cyber-shot RX10 IV, with the same versatile 24-600mm F2.4-4 lens and 20 megapixel 1-inch stacked sensor, but with a welcome redesign and Sony’s latest processor and autofocus.

We had already tested the all-in-one camera ahead of its announcement, taking over 1,000 photos across a school sports day, bird photography trip, macro garden life and more, and were thoroughly won over, even if we were less impressed by the steeper asking price. That being said, the RX10 IV still took the crown of the best bridge camera available today, and with its predecessor being a rare secondhand find, we expect the latest model to be a popular camera indeed.

Read the full story: Here’s how Sony’s surprise new superzoom performed

2. Google Pixel 11 got a launch date

Samsung isn’t the only tech giant preparing to launch flagship phones soon — this week, Google announced that its Pixels will get a refresh next month.

The “next generation of Pixel” will be revealed on August 12, just three weeks after Samsung’s Unpacked event. Google didn’t mention any specific models, but we’re expecting to see a Pixel 11 (with fancy ‘Pixel Glow’ lights for notifications), plus new Pro models and a Pixel 11 Pro Fold.

Unfortunately, we’re also likely to see higher prices across the board, according to recent rumors. That wouldn’t be a huge surprise in these fun ‘RAMpocalypse’ days, but the expected arrival of the Pixel Watch 5 could at least help lighten the mood.

Read the full story: Google sets Pixel 11 launch for August 12

1. Samsung set a date for Galaxy Unpacked

After months of rumors, as well as an official tease or two, Samsung has finally made its next Galaxy Unpacked event officially official. Pencil in July 22, 2026, at 9 a.m. ET / 6 a.m. PT / 2 p.m. BST (11 p.m. AEDT) for Samsung's second Unpacked event of the year. Keeping with tradition, we're expecting the next-generation Galaxy Z Fold and Galaxy Z Flip, as well as an accessory or two.

It likely won't just be the successors to the Galaxy Z Fold 7 and Galaxy Z Flip 7. Samsung's invitation for the event teases "A New Shape Unfolds," likely hinting that a shorter, wider—more passport-like—foldable is on the way. The video invite also features a ticket being printed in a shape that further hints at the new design, as it simply doesn't line up with the current Fold or Flip.

So why introduce a new folding phone design this many generations in? Well, it's likely that Samsung wants to get ahead of Apple's rumored entry into the category, which, according to leaks, will take on a similar form factor. For Samsung, it's also about expanding its foldable lineup, and if we're lucky, maybe we'll see more diverse price points as well.

We don't have long to wait now. TechRadar will be on the ground at Galaxy Unpacked in London, UK, and, as usual, Samsung will livestream the event while we'll be live-blogging it.

Read the full story: 'A New Shape Unfolds' could be its biggest clue yet about what to expect

• Call of Duty: Black Ops and Black Ops 2 were just ported to PlayStation 4 and PlayStation 5
• Aside from an upgraded picture quality, they seem otherwise identical to the original versions
• Some fans are convinced that they just don't feel right, however

Yesterday, Activision treated us to the surprise release of not one, but two Call of Duty ports. You can now buy the original Black Ops and its acclaimed follow-up, Black Ops 2, on PlayStation 4 and PlayStation 5 for the very first time.

They upgrade the resolution of both games on these newer consoles (a substantial step up from the 608p native picture quality of the backwards compatible versions available on Xbox) but otherwise seem almost identical to their original incarnations.

Even some big features that many fans thought would be cut, like Black Ops 2's infamous emblem creator, are present and accounted for.

I picked up copies of the two games immediately with my own cash (there's currently an irresistible 50% discount on them if you have PS Plus) and spent the best part of yesterday evening playing on my PS5. Aside from the crisper picture quality, they're just as I remember.

I replayed the original versions of both games pretty recently too, via second-hand physical copies that I bought for my Xbox Series X to refresh my knowledge of both games ahead of the Black Ops 7 launch — this latest entry is a Black Ops 2 sequel, after all.

Some fans aren't as impressed, though, and argue that the games just don't feel right.

"Black Ops 1 PS5 has a serious controller input lag issue that needs to be adressed [sic] and fixed" argued one poster on r/callofduty. "It surely wasn’t this bad on PS3".

"Sounds like the original launch" another fan replied, with someone else chiming in: "The golden days" and a tongue-in-cheek sobbing emoji.

"BO1 always felt hard to aim in even in the old days compared to BO2. Pretty sure this is normal" added someone else.

Another post similarly reckons that "The responsiveness is terrible. I distinctly remember the original Black Ops 1 feeling way crisper than this". The top comment agrees, complaining that "I’m losing every gun fight because my gun doesn’t fire in time".

Although everything feels fine to me, there's definitely a chance that those playing specific resolutions, on specific TVs, or with features like VRR enabled might be having a much worse experience. I expect some patches will be released in the coming weeks if these claims hold water.

• Daniel Ahmad of Niko Partners says Sony ending physical disc production was inevitable
• He says it would have happened if not for the PS6, then the PS7
• Ahmad says Sony wants to create a "closed ecosystem with high margins"

Sony's decision to end the production of physical PlayStation discs in 2028 came as quite a shock to the community, but one analyst believes the move was inevitable given the rise in digital sales on consoles.

Sharing his thoughts in a long thread on X in a response to a fan likening the situation to Apple removing the headphone jack from its products, Daniel Ahmad of Niko Partners said, "It's more like Apple removing the CD Drive from its laptops starting in 2008."

He explained that while there were many complaints at the time, there's "not a single person is complaining about it today," and there were not many people complaining in the early 2010s either. Ahmad puts Sony's decision down to digital PlayStation software performing better now than it ever did before the PS4 launched.

"The first thing to note about Sony's decision is that it would inevitably happen at some point for consoles. If not PS6, then PS7," Ahmad continued. "Full game digital sales on PlayStation have gone from less than 10% prior to the release of the PS4 to around 80% today."

He added, "On Xbox it's already over 90%, and if anything I'm surprised they weren't the ones to do it first. Yes, these numbers include digital only games, reflecting the current market environment, but they don't include DLC, microtransactions or subscriptions / free games."

Ahmad shared a bit more data to support his claims, saying that about 50% of the PS5 user base is subscribed to PS Plus and has built up a large library and/or has access to numerous digital games.

"The truth is that the console ecosystem is nearly entirely digital at this point," he said, pointing to how Sony also earns revenue through digital add-on content, like microtransactions and other in-game purchases, more than it does "from the sale of physical and digital full game sales combined."

Games like Fortnite, Grand Theft A 5, Minecraft, Call of Duty, Apex Legends, Marvel Rivals, Battlefield 6, and Arc Raiders, Ahmad pointed out, had the highest number of players on PS5 in May, and half of them don't ship on a physical disc.

"Over 30% of PS5s sold to date do not have a disc drive (Meaning that 70% do, however)," the analyst added. "More importantly though, the current sell through rate of digital only PS5s is above 50%."

Ahmad also said Insomnia Games' sales figures, which have been presented as evidence that physical sales represent a good chunk of PS5 sales, are "out of date" and "people are looking at the sell in number rather than the sell through number."

He explained that one of the reasons retail is high for certain physical games is "because Sony counts bundles as retail sales, even if it's a digital code with the console."

A reason he believes Sony is going forward with an all-digital future is simple: "The economic argument." Because of the profit margins between physical and digital games, Sony can retain 100% of first-party games sold on the PlayStation Store, but it earns $21 (30%) from a $70 third-party title.

"When it [Sony] sells a third party game at retail, it earns around half that amount, even if the player spends the same $70," he said. "The difference isn't as stark for third party publishers, but they'd prefer to sell all games digitally if they could for the higher margins. That's why physical game revenue makes up just 5% of Sony's total game software sales revenue (incl. DLC / MTX), despite accounting a higher % share for units sold. When Sony said it would stop publishing games on PC, no one pointed out that it essentially earned the same from PC sales that it earns from physical disc sales, and the former was considered too little."

Ahmad said another reason is the market we're currently in, where console prices seem to be increasing regularly. Sony knows that the PS6 could enter a market where other hardware is over $1000, and players will think twice about upgrading on day one.

"While part of it is cutting costs, it's also a realization that consoles are no longer going to be $199 mass market devices and they will need to focus on hardcore gamers who are willing to spend more than ever," he said.

A third reason would be Sony wanting to create a "closed ecosystem with high margins."

"The retreat from PC is partly about this, the end of disc production is also about this, as is the exploration of different form factors. Right now you can resell, gift, or even refund physical games. With digital games, you don't have the same rights currently," Ahmad said. "As Sony looks to maximize spend per user, it is essentially ending the used market for PS6 software and ensuring all software sold is high margin and they capture a %. In other words, Sony controls the license in its entirety and access is dependent on them."

Ahmad concluded, calling Sony's lack of announcement around what will happen to PS4 and PS5 discs "a mistake," and had it "talked about a disc to digital program, or confirmed a disc add on for the PS6, the backlash wouldn't have been as strong."

The analyst also said it's "unlikely" that Sony will reverse the decision, but "wouldn't be surprised if they do end up clarifying certain aspects." However, Ahmad thinks it could support physical games for a few more years, perhaps through limited-run hardware or a more expensive PS6 compared to the digital version.

"I'm also of the belief that even if the PS6 costs $1k, used physical games helps increase overall affordability," he said.

Ahmad ended by saying the conversation needs to shift to "consumer rights" and what digital game ownership really means.

"Regardless of whether we're talking about bringing physical back, or embracing digital, the conversation needs to shift to consumer rights and what a license should enable. Stop Killing Games was one part of it, but gifting, family sharing, refunds, and other aspects are just as important," he said.

Sony RX10 V: two-minute review

Just when you thought bridge cameras had been sunsetted, Sony returns after a nine-year gap with the new RX10 V — and it’s a genuine upgrade of the Cyber-shot RX10 IV, which was already the best camera of its kind.

We get the same winning combination of a 1-inch stacked 20MP sensor and 24-600mm F2.4-4 lens, but the mark V model has been enhanced with Sony's latest Bionz XR processor and AI chip, enabling improved burst shooting speed, 4K video features, and, most importantly, better autofocus performance.

Sony has also implemented multiple design tweaks to the control layout and ergonomics, and as a result the RX10 V looks much more like an Alpha camera than the RX10 IV, which feels more Cyber-shot compact, did. For a more detailed breakdown of the differences, check out my RX10 V vs Cyber-shot RX10 IV article.

There are additional exposure dials, an AF joystick has been added (thank you, Sony!), as has a USB-C terminal, and the higher-resolution viewfinder is larger, more pronounced, and easier to see.

Throw in a bigger and comfier grip, which hosts the larger NP-FZ100 battery for a 50% boost in shot life, and the RX10 V is all round a slicker camera than the discontinued RX10 IV.

It's not all good news, mind you, depending on which way you look at it — the weather-resistant body misses out on a built-in flash and top LCD, both of which were present in the older model.

And some of the old drawbacks remain, such as the relatively sluggish zoom of the lens, which is 'just' a 25x optical zoom. I like that range, but other lesser-quality bridge cameras zoom further, such as the Nikon Coolpix P1100.

A significant sticking point is price — the RX10 V had to cost more than its nine-year-old predecessor, which was already pricier than any other bridge camera available. It's a big price to pay for this type of camera, even if you are getting a lot of camera for your money.

All that said, I've thoroughly enjoyed my lengthy review period with the Sony RX10 V, during which I've shot everything from travel to bird and macro photography, with the camera handling those and other subjects with aplomb.

It's a neatly packaged camera, especially when you consider you're getting a 600m f/4 lens when fully zoomed in. The RX10 V is a dream all-in-one camera, especially for enthusiast wildlife photographers with deep pockets.

Sony RX10 V: price and release date

• Announced on July 9 2026
• It costs $2,300 / £2,200 / AU$3,499

Sony's premium RX10 bridge camera series was always pricey compared to lesser-quality alternatives, and the latest version, the RX10 V, is even pricier. I'm not surprised: the RX10 IV launched for $1,800 / £1,500 / AU$2,000 almost nine years ago, and we should expect an inflation-based price bump at least. Still, $2,300 / £2,200 / AU$3,499 for a camera of this kind is a fair whack of anyone's money, let alone the enthusiast wildlife photographers that this camera is practically perfect for.

So what else could you get for similar money? If you already own a Sony mirrorless camera, the 400-800mm super-telephoto zoom lens is worth a look, especially if wildlife and bird photography are key reasons why you're considering the RX10 V. Or, if its zoom range alone that you want, and you're less concerned about outright image quality, the Nikon CoolPix with its monster 125x zoom is another option, and it costs almost half the price.

All things considered, though, I think the RX10 V is reasonable value for money, considering what you get.

• Price score: 4/5

Sony RX10 V specs

Sony RX10 V: Design

• Same 24-600mm F2.4-4 optically stabilized zoom lens as the RX10 IV
• Larger and more pronounced EVF with higher resolution and refresh rate
• Improved ergonomics and joystick added, but flash and top LCD removed

People buy a bridge camera primarily to get a superzoom lens, and the RX10 V has the exact same 24-600mm F2.4-4 lens as the RX10 IV — that’s a 25x optical zoom, with macro focusing up to a 0.49x magnification. Put simply, you’re covered for everything from landscapes and bird photography to close-ups of insects.

While the RX10 V is the same form factor as the RX10 IV, it has had a fairly major brush-up, and it feels a much better camera for it.

For one, the grip is comfier. It's a new shape with better ergonomics, and that's able to fit a physically larger battery than the previous model could, with a 50% boost in shot life.

If you're familiar with the RX10 IV, the top plate of this camera will take some getting used to; there are additional exposure control dials (one of which can be locked off) making quick changes to settings easier, while the shooting mode dial has been shifted to the right-hand side where a top LCD used to be. Personally I preferred the old setup.

Another major change is that the built-in flash has been removed, though a hotshoe remains for use with accessories such as an external flash.

Also, the viewfinder is more pronounced, which makes it easier to look into, helped by the fact that it's a larger 0.5-inch unit with more-detailed 3.68m-dot display, whereas the RX10 IV has a 2.36m-dot 0.39-inch unit. Put simply, the viewfinder is a major upgrade.

On the camera's back side, an AF joystick has been added (Sony calls it a 'Multi selector'), which is a control I love to have for the likes of manual AF-point selection. For wildlife photography, I used it a lot, and can't imagine how I would have coped so easily in such a scenario with the older camera.

Spin to the side, and the camera's ports are now neatly tucked away under rigid protective doors, with headphone and mic ports, plus a USB-C terminal has been added. The fact that the RX10 IV doesn't have a USB-C terminal is likely a reason it was discontinued, as per the EU's common charger regulations.

The tilt touchscreen is again a 3-inch type. It gets a small boost in resolution, and while that in itself isn't much of upgrade, its improved touch functions, and the fact that you can switch to a vertical format, are.

It’s possible to customize some of the buttons, including a speed-boost function during burst shooting — you can temporarily increase a medium speed, say of 10fps, to the maximum 30fps when the action begins. It’s a neat feature inherited from Sony's pro cameras, which minimizes how many photos you shoot, but the button placement is awkward for this feature — I would have liked a custom button on the front of the camera instead. A tally lamp has been added for video recording.

• Design score: 4.5/5

Sony RX10 V: Performance

• Sony's latest Bionz XR processor with AI chipset
• Burst shooting upped to 30fps, with Sony's most up to date autofocus system that includes a wide range of subject detection modes
• Now uses Sony's NP-FZ100 battery, delivering a 50% boost in shot life

Power and speed are where the major improvements are at. The RX10 V uses the same Bionz XR processor as the Sony A7 V mirrorless camera, with a combined AI chipset. The result is improved burst-shooting speeds and autofocus performance, and what Sony says is better color accuracy.

Burst-shooting speeds are boosted from the RX10 IV's 24fps to 30fps, when using the electronic shutter — which, in a camera like this with a stacked sensor, I have no problem doing. I'd hardly call this improvement in speed a reason to upgrade, though, especially since the mechanical shutter's maximum 10fps speed is enough for most scenarios.

When I was photographing action, such as for my child's sports day, or at my local nature reserve doing bird photography, I generally kept the camera to its 10fps setting, with one of the custom buttons set to a 30fps speed boost for when the action got really interesting.

This has allowed me to minimize the number of photos I've taken, while the way the camera groups burst sequences in playback makes files easier to navigate.

Something that makes the RX10 V feel like a snappier camera than the RX10 IV is that there is no viewfinder blackout, even for the 30fps setting, which is supported by continuous autofocus with Sony’s latest subject-detection autofocus.

Compared to the RX10 IV, the RX10 V is able to detect a wider range of specific subjects with real-time recognition, including dedicated modes for birds, cats, and more.

I generally made sure I selected the specific subject when I knew that was my focus, such as with bird photography, and have been seriously impressed by how sticky autofocus is. Even when birds were small in the frame, the RX10 V was regularly able to pick them up with the camera's autofocus area set to wide.

I had more issues when photographing my child's sports day, given that there were so many faces in a lot of the photos. For such scenarios, a quick jig of the autofocus area to a small area can help to avoid the camera focusing on people in the background instead of the subject.

I've mentioned it already, but like most of its recent mirrorless cameras the RX10 V also uses Sony’s popular NP-FZ100 battery, which is a longer-lasting unit than the NP-FZ50 in the RX10 IV.

Sony quotes shot life as up to 630 shots compared to 400 for the RX10 IV, which is a huge performance boost. Add on-the-go UBS-C charging, and the RX10 V is a better camera for heavy photography days.

For me, all the above performance improvements are key for a camera that people typically buy as an entry point for wildlife photography.

• Performance score: 5/5

Sony RX10 V: Image and video quality

• Same 20.1MP 1-inch sensor and 24-600mm lens as used by the RX10 IV
• New processor boosts color and autofocus accuracy
• 4K video frame rates upped to 60fps (no crop) / 120fps (with crop)

Considering the versatility of the 25x optical zoom lens, image quality is impressively sharp, while the bright aperture helps with low-light quality, and is easily able to blur backgrounds when using the telephoto settings.

That being said, there are no major image-quality improvements over the nine-year-old RX10 IV; we're still getting 20.1MP photos in RAW & JPEG, and 4K video recording.

It's largely the indirect factors that positively improve image quality: better autofocus performance and subject recognition, enabling an increased hit ratio of sharp photos, and images with greater color accuracy based on detected subjects.

Other more direct improvements include a boost in 4K video frame rates: the RX10 IV was limited to 30fps, whereas the RX10 V goes up to 60fps with no crop, or 120fps with a crop. Like before, we still get a 240fps, but only in Full HD format.

And then there are the new color profiles to choose from, including Sony's popular S-Cinetone and S-Log3 for video, and the ability to import up to 16 custom LUTs profiles.

There are a bunch of extra features that make the RX10 V a better camera for video than the RX10 IV; a tally lamp, enhanced audio workflows, and it's also now possible to record an in-camera time-lapse sequence.

If you already own a mirrorless camera, you're probably wondering if the RX10 V's quality is sufficient to replace a supertelephoto lens for photographing distant subjects. I was curious to find out, so I took the same photos of birds with the Sony A7R V professional mirrorless camera and Sony's longest telephoto lens, the 400-800mm, which is a similar price to the RX10 V.

You can see the direct comparisons between the RX10 V and Sony A7R camera with 400-800mm lens in my separate write-up. But to summarize here — yes, the RX10 V's detail is impressively sharp for a camera of this kind, but there is a reasonably obvious gulf in outright clarity from the larger and pricier Sony mirrorless setup.

• Image and video quality score: 4.5/5

Sony RX10 V: testing scorecard

Should I buy the Sony RX10 V?

Buy it if...

Don't buy it if...

Sony RX10 V: also consider

How I tested the Sony RX10 V

• Sony loaned me the RX10 V for the three weeks prior to its announcement
• I took it travelling and on regular trips to my local nature reserve
• I've used all the major camera and lens settings, plus made direct comparisons with Sony mirrorless gear

I made the most of my lengthy review period to properly test the RX10 V. I took it travelling where it was used in bright sunlight and hot weather, to my child's sports day, to my garden for macro photography, plus I regularly visited a nearby nature reserve which is a very popular spot for birding.

Across the various scenarios, I tested the different lens settings — the entire zoom and aperture range. I shot 20MP stills and 4K video clips, pushed the 30fps Drive Mode to its limits, tested the camera's close focusing capabilities, and shot until the battery drained.

And because I feel most people are interested in the RX10 V for wildlife photography, especially bird photography, I tested the various subject detection autofocus modes and pitted the premium bridge camera against Sony's longest lens, the 400-800mm F6.3-8, to see how it fared.

• First reviewed: July 2026
• Read more about how we test

• Analysts suggest Sony won't reverse its decision to end physical disc production
• Dr. Serkan Toto, CEO of Kantan Games, says Sony will wait for the backlash to pass
• Toto adds that "Digital is just too lucrative" for the PlayStation company

Sony plans to end physical disc production in 2028, but despite pushback from fans, analysts suggest the PlayStation maker won't reverse its decision.

The announcement has caused a bit of an uproar within the community, and while fans online continue to urge the company to backtrack on its decision, including creating a petition that has amassed over 247,400 signatures as of writing, Sony remains silent on the matter.

Others are also PS5 users protesting the plan by cancelling their PlayStation Plus subscriptions, with many fans encouraging others to do the same.

However, according to Dr. Serkan Toto, CEO of Japanese game industry consultancy firm Kantan Games, the boycott won't change Sony's mind on the matter.

"I sympathize with physical media fans, but Sony will not reverse this decision," Toto said in an interview with IGN. "They of course knew what the online reaction would look like, and they now wait for this storm to pass."

Toto put it down to digital being more profitable, and the number of players cancelling their PS Plus subscriptions wouldn't be enough to persuade the gaming giant.

"Sony has over 120 million active PlayStation users," he said. "Around 50 million people subscribe to PlayStation Plus. As a thought experiment, let's say 500,000 cancel in protest, that would be just 1% of that business gone — of course not enough to Sony to start rethinking. Digital is just too lucrative."

The profit margins between physical and digital games is significant, especially when you consider digital sales for first-party PlayStation games.

As IGN calculated, a game like The Last of Us would offer Sony 65% of the profit from a physical copy, 30% to the retailer, and 5% to production costs. For digital sales made from the PlayStation Store, Sony would retain 100% of the revenue, but for third-party titles like Call of Duty, the company would keep a 30% cut of the asking price.

"Their current profit margin has been too weak for years now, so they feel like they must act," Toto added. "From an economic perspective, digital sales just make too much sense especially for platform holders."

On a recent visit to head-fi brand Audeze's headquarters in California, I had the chance to talk to the brand about the recent ReSkin feature it launched for its Maxwell 2 gaming headset.

This new feature for its excellent planar magnetic driver-powered gaming headset allows owners to customize their set by swapping in funky earcup designs to inject some colour, flair, and personality into their gaming accessory.

The earcups have been so popular that a bunch of the first designs have sold out, with marketing director, Peter James, telling me that "the one that's sold the most is the all-seeing eye. That one actually sold out of its first run."

Indeed, of the six designs or sets that Audeze launched in May, only one of them is available to buy as of right now on the brand's website, and two — the all-seeing eye and the very limited edition Dia De Los Muertos set — are not even listed at all.

However, there could be big things on the horizon with the PlayStation-owned Audeze having "some potential game studio collaborations" on the way in the future, according to James.

This could be an opportunity for a collaboration with a huge PlayStation series or two in the future, given Audeze is under Sony Interactive Entertainment's (SIE) roof now.

Could we see a spectacular God of War Laufey ReSkin featuring Faye? Could we, Maxwell 2 owners, be wearing some Intergalactic: The Heretic Prophet artwork in the future? How about a profile shot of Wolverine adorning each earcup?

There are some truly exciting potential collaborations to consider given the relationship between Audeze and PlayStation.

And Audeze doesn't intend for the ReSkin designs to stop there: "We're really just getting started at this point.", James tells me.

"We're not intending this reskin program to be limited to Maxwell 2; that's just where it's starting."

I asked whether there might be a possibility of fans submitting their own designs in the future. "I don't think we're going to do 'design your own,' but we'll almost certainly be doing some things where people can submit designs and maybe run an online poll or competition to see what people vote on to select."

He went on to add that, as well as the exciting prospect of gaming collaborations, there are "more in-house designs that we'll be releasing on a monthly cadence."

Audeze has previous form with working with external collaborators from studio artists and musicians in relation to some headphones — when it comes to those super slick wooden rings that you can see on the likes of the LCD-2 and LCD-3 sets, for example — and it seems that the ReSkin program has the potential to unlock some big-hitting collaborations further down the line to continue that trend.

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

• Amid backlash surrounding plans to end physical game disc production, Sony is trying to advertise its new PlayStation fight stick
• The company has remained quiet amid fan pushback since announcing its plans
• Fans appear outraged by Sony's lack of response

PlayStation has just posted online for the first time since announcing its plans to end physical game disc production, but instead of addressing the elephant in the room, the company is trying to advertise its new fight stick.

From January 2028 onwards physical PlayStation discs will no longer be produced, and let's just say the reaction to the announcement has sparked overwhelming backlash.

While fans continue to urge the company to backtrack on its decision online, including creating a petition that has amassed over 170,000 signatures, PlayStation has remained noticeably quiet on the issue. But finally, after six days of silence, it looks like it's finally shared a new social media post.

Is it a statement addressing the issue? A response explaining its stance further? No. It's an advertisement for its new FlexStrike wireless fight stick.

As of writing, the post has been up for one hour, has over 4.5million views, and has received massive pushback, with fans flooding the replies to accuse PlayStation of ignoring them.

"Sony is completely ignoring the huge backlash for the killing physical media and ownership," one fan said. "Don't let them get away with it. Voice your disgust under every post they put out until they change course."

Another wrote, "No way THIS is the first tweet PlayStation puts out after 6 days," as another joked, "I don’t understand. This a physical product? How do I download it?"

The thread is also full of fans showing how much they care about physical media, with some proudly showing off their collections, others declaring they won't buy another console again, and of course, plenty of memes about the situation.

We'll have to wait and see if PlayStation eventually caves to the pressure, but for now, Sony's plan to stop manufacturing physical media is still going ahead.

• Sony has announced that it's ending physical PlayStation game disc production in 2028
• Fans are protesting the decision and have created a petition to urge Sony to change its mind
• It now has over 170,000 signatures

PlayStation fans have created a petition in a bid to urge Sony to reverse its decision to end physical game disc production from January 2028, and it's already reached over 170,000 signatures.

"On July 1, 2026, Sony announced it will end production of physical discs for all new PlayStation games starting January 2028," the 'Don't Kill the Disc' Change.org petition reads. "New games will be sold digitally, or as a box containing only a download code, with no disc inside."

The petition, created by the CEO of Canadian retailer PNP Games, also points out that days earlier, it was confirmed that Grand Theft Auto 6 physical editions will launch with no disc, but a digital download code instead, which many fans are disappointed with.

"When the market leader ends the disc, the rest of the industry follows," the statement continues. A disc is a real game you own. You can lend it, trade it, resell it, gift it, collect it, or pass it down to your kids. A box with only a download code is not the same thing. It is a digital license in plastic packaging. You do not own it. You are renting access that can be revoked, and people have already had purchased movies deleted from their libraries and games pulled from sale weeks after launch."

With a lack of physical games to sell in in-store retailers, there's also the risk of job losses and a weaker local economy, the creator added, and stressed that they're not against digital, but against digital being the only option.

As of writing, the petition has 172,204 signatures, and number which is growing by the minute, and many fans are being vocal about their disdain for Sony's decision.

"Physical media is what makes consoles the best place to play modern AAA games," one petitioner said. "It's the only decentralized local DRM solution that is both acceptable for publishers and provides sufficient ownership and user control to satisfy both sides. It is crucial for physical media to survive until digital ownership is sufficiently solved. My 30-year streak of supporting PlayStation depends on this decision. Don't betray your most loyal long-time customers Sony.

Another comment reads: "I've been a gamer on the PlayStation platform since the PS1 days, and many of my favorite games have been on PlayStation systems, whether as exclusives or simply a preferred platform. However, I'm a physical media gamer, and I refuse to support any gaming company that tells me I don't have the option to own physical media. I hope Sony will reverse this decision, but if not, then they will cease to get business from me after January 2028."

There are plenty more comments to cycle through, but while fans are voicing their concerns, Sony is notably quiet on the matter.

After posting the announcement, the company hasn't yet shared a statement in response to the outcry, so it remains to be seen if the PlayStation maker will cave under pressure.

Having tested countless pairs of ANC headphones, it takes something special to truly wow me. But today, we’re going to compare two sets of premium cans that did exactly that: Apple’s AirPods Max 2, and Sony’s WH-1000XM6.

If you’re considering which pair of headphones are for you, I’ve got you covered. I’ve spent hours testing both sets side by side, assessing each model on their feature-sets, performance, design, and most importantly, value for money.

The AirPods Max 2 and Sony WH-1000XM6 are both wonderful headphones, and each earned a 4.5 star review and hearty recommendation from us here at TechRadar. They’re different in more ways than you may expect, offering a pretty unique listening and user experience, but ultimately, there’s one set I’d pick over the other. Curious to hear my verdict? The scroll on down to see this clash for the ages to unfurl.

AirPods Max 2 vs Sony WH-1000XM6: price & specs

AirPods Max 2 vs Sony WH-1000XM6: features

Both the AirPods Max 2 and Sony WH-1000XM6 are rammed with features, but there’s one major point of differentiation — Apple’s cans are heavily tailored towards iOS users.

That’s right, the AirPods Max 2 have a lot of features that Android users won’t get access to. Stuff like Spatial Audio, auto-device switching, Siri, and Apple Intelligence integrations. This is understandable, although it’s a shame that Android users have no way to directly alter the headphones’ EQ. Apple users get a fantastic range of options to choose from, though, with stuff like Live Translation and the head-tracked Spatial Audio really standing out.

Sony’s headphones are undeniably more versatile, with myriad features available to both iOS and Android users. They have no end of options, with a 10-band EQ, scene-based listening, a Cinema upmix mode, speak to chat, and mic-mute. This is all controlled by Sony’s Sound Connect app, which is easy to use, although some settings do feel a little hidden in sub-menus.

But how about the main event: ANC? This is a much closer fight than I expected, actually. See, the XM6 offer class-leading noise canceling capabilities, and even when I’ve used them on flights they’ve silenced the sound of the deep jet engines firing or conversations happening around me. But the AirPods Max 2 are genuinely very competitive, even against the XM6. In my office, the sounds of keyboards clacking, colleagues talking, and cars passing by outside were totally crushed. Both headphones are top-tier when it comes to noise cancelling, and I’d argue they even rival Bose.

Another crucial area to explore is battery life. The Sony WH-1000XM6 keep things pretty standard with 30 hours of battery life with ANC on. This is the typical figure you’ll see for headphones in this kind of price range — nothing special, but enough to get you through a fair few days of listening. The AirPods Max 2, however, only supply 20 hours with ANC on. That’s just not good enough, and falls well short of the competition. If you don’t want to charge your cans all too often, then the XM6 are a better pick.

There are a few other areas where the XM6 prevail over the AirPods Max 2 as well, such as their superior call quality and background noise supression, inclusion of intuitive and precise touch controls over Apple’s digital crown, and use of DSEE Extreme for upscaling lower-quality audio files.

So, if you’re an iOS user, the AirPods Max 2 definitely have some snazzy features up their sleeves — including some smart options that the XM6 leave out. Each are great when it comes to ANC, and are on relatively even footing there. But Sony’s cans offer superior compatibility, battery life, and call quality, making them the overall winner in this category.

AirPods Max 2 vs Sony WH-1000XM6: sound quality

This is what you really came here for, right? But before I get into my sound comparison, let’s take a look at a few technical differences.

Like their predecessor, the Sony WH-1000XM5, the Sony WH-1000XM6 use 30mm dynamic drivers, except they’ve been redesigned with high-rigidity carbon fiber for better performance across the frequency range. They also feature Sony’s QN3 processor featuring a noise-shaper, which pre-empts sudden sound changes for a more controlled listening experience.

On the other hand, the AirPods Max 2 use custom 40mm drivers — just as the original AirPods Max did. However, the sequel added a new amplifier alongside Apple’s H2 processor, which is intended to supply more detailed, cleaner sound. Unlike the LDAC-equipped XM6, the AirPods Max 2 have no higher-res Bluetooth codec support, although you can access lossless playback via the headphones’ USB-C port.

Now that we’ve got that out of the way, let’s get into my listening comparison. In Journey by Ruze, the differences between the two pairs of headphones were clear. With the AirPods Max 2, I was treated to a spacious, immersive interpretation, with expansive vocals and dreamy synths showing off the headphones’ nuanced soundstage.

The Sony WH-1000XM6 went for a different approach, with a tighter and punchier take. Bass came through with the kind of impact that instantly demanded my attention. Vocals and synths were also really clear and well separated in the mix, but didn’t have quite as much of an expansive quality.

Moving over to something softer with Sakamichi by Yuta Orisaka and it was a similar story again. Vocals were emotive and tonally accurate, and were elegantly separated from strumming guitars. Percussion was also rhythmic and well-defined in the mix, and the broad soundstage exposed the track’s layers with finesse.

The XM6 excelled too, and vocals had excellent clarity in the mix, warped electric guitars sounded brilliantly separated — almost as if they were operating in a separate pocket. Meanwhile, the warmth of the track’s bass came through beautifully, and subtle percussive elements were weighted nicely too. Despite this, there was still a tightness to the sound — the direct and cohesive sound of the XM6 is simply very striking.

So, which headphones sound better? I think it’s a question that’s harder to answer than you may expect. On a strictly technical level, I’d argue that the AirPods Max 2 offer a bit more nuance, thanks to their wider soundstage, which opens up a more revealing and insightful listen. But I really do think there’s a case to be made for the XM6. Their punchier, tighter approach sounds spectacular, and adds a lot of vim and excitement — especially to more energetic tracks.

Ultimately, this one’s down to personal preference. If you want a more intimate sound with the joys of LDAC, then the Sony WH-1000XM6 are for you. But if you’re looking for an ultra-spacious, meticulous soundstage with clean all-round sound, then the AirPods Max 2 get the nod for me. Let’s call this one a tie.

AirPods Max 2 vs Sony WH-1000XM6: design

The AirPods Max 2 and Sony WH-1000XM6 have shown themselves to be very different propositions so far. And that’s reflected in their design as well.

In my view, the AirPods Max 2 are some of the best-looking wireless headphones on the market today, with a super-striking metallic look, an elegant fabric headband, and a selection of eye-catching colors. Sure, they look just about identical to the original AirPods Max, but if it ain’t broke…

The Sony WH-1000XM6 look pretty good themselves, though. They have a sleek, cohesive, and textured appearance, which resembles the XM5 pretty closely. The XM6 have more of an understated selection of colors than the AirPods Max 2 — personally I prefer what Apple’s headphones have to offer, but it’s totally down to personal preference.

I’d argue that the AirPods Max 2 have a more premium look and feel — as you’d hope considering the price difference — I just think they’re more striking. In addition, I prefer the flatter appearance of the earcups on Apple’s headphones to the semi-bulky look of the XM6’s.

But hang on. The XM6 aren’t down and out just yet. Because if we’re talking about pure practicality, they have the AirPods Max 2 beat. The XM6 are totally foldable, making them phenomenally compact if you want to toss them into a small bag, whereas Apple’s headphones are a bit more rigid. On top of that, the XM6 come with a fantastic magnet-lock case that's far better than the bizarre smart case of the AirPods Max 2, which doesn’t even protect the headband.

Overall, though, I’m gonna hand this one to Apple. I do like the case and foldability of the XM6 for sure, but the attention-grabbing, luxurious look of the AirPods Max 2 is undeniable. Yes, they’re also a fair bit heavier than the XM6 too, but I still found Apple’s cans very comfortable in use, meaning they just about edge it for me.

AirPods Max 2 vs Sony WH-1000XM6: value

There’s no hiding the fact that the AirPods Max 2 are significantly pricier than the Sony WH-1000XM6. Apple’s latest headphones typically come in at $549 / £499 / AU$999, while Sony’s have a list price of $449 / £399 / AU$699. But which one actually offers better value for money?

As I noted above, these headphones are very different, so the answer will vary depending on a few factors. The AirPods Max 2 offer more expansive sound than the XM6, paired with an excellent set of features for Apple device users and a luxurious look to boot. They are definitely on the expensive side, though, and although we’ve seen them pop up on sale with a few retailers (even as low as $399 in the US over Amazon Prime Day), they do have some notable flaws for the price.

The battery life instantly comes to mind — 20 hours isn’t very competitive. They also lack higher-res Bluetooth codecs, and their compatibility with Android devices is limited. Still, they’re a great pair of headphones overall, with fantastic sound quality, looks, and iOS functionality.

At $449 / £399 / AU$699, the Sony WH-1000XM6 feel like an easier sell. They offer ANC that’s easily on par with the AirPods Max 2, a more practical design, they sound spectacular, with a punchy yet well-balanced signature, and their broad compatibility is a big win — especially if you own a Windows laptop or Android phone.

These are also on sale fairly regularly, and I’ve seen them drop as low as $380 / £300 in recent times in the US and UK respectively. Sure, if you only have Apple devices, these may not offer the same convenience as the AirPods Max 2, and Sony’s headphones also leave out USB-C audio passthrough and have a slightly less premium look.

It’s closer than I initially thought, but I do think the Sony WH-1000XM6 are better value when all’s said and done. For less money, you get super-engaging sound, top-tier ANC, better battery life, and a more versatile software setup.

AirPods Max 2 vs Sony WH-1000XM6: verdict

So, if I could only choose one pair of these excellent headphones, which would I recommend? In this instance, I’m going to hand it to the Sony WH-1000XM6. Apple’s headphones are undoubtedly fantastic performers, and if you want the most spacious sound and features tailored for iOS, they’ll undoubtedly serve you very well. But for less money, the XM6 are just the slightly better value pick for me. Their combination of S-tier ANC, balanced, yet tight and punchy sound, and more versatile compatibility make them the ideal all-rounders.

2026 is almost over — well, not quite, but given we're already halfway through the year, it won't be long before those year-end awards are in sight again. And with the 2026 progress bar hitting 50% this week, we decided it was a good time to look back on the last six months and pick out the early 'gadget of the year' contenders from everything we've tested since January.

And we've been testing a lot — 639 products, to be precise, have passed through our labs and the real, unvarnished lives of our experienced testers this year. Those hundreds of gadgets span everything from coffee machines and smartphones to life-boosting accessories like portable DACs, fans and smart Lego.

So if you've just woken up from a six-month nap (we don't blame you) or are looking for some gadget inspiration, the list below will make for some fascinating reading. It doesn't contain every five-star product we've tested this year (check out our separate five-star review roundup for those), but it is a temperature check of all the products our reviewers haven't been able to stop talking about over the past six months...

21. Fitbit Air

• The fitness tracker of 2026 so far

The Google Fitbit Air is the highest-profile, most exciting fitness release of 2026 so far, and it’s generated plenty of buzz online. A screenless Whoop-style band weighing just 12 grams (including strap!) and with up to a week of battery life, the Fitbit Air is the most exciting thing we’ve seen from Fitbit since Google brought the brand.

The hardware is excellent, proving to record heart rate accurately in our comparison tests, and it’s eminently comfortable to wear. I had no problems wearing it virtually 24/7 during my testing period, including to shower and sleep in. It looked great, was super-light, felt comfortable and delivered accurate, insightful metrics.

The app is another story. While its AI-powered premium functionality is good, not everyone’s going to jive with the chatbot format of the AI Coach, and existing Fitbit users are irked that their community features and historic badges were deleted, replaced by an AI Coach to help you ‘celebrate your achievements’ in a different way. The app is uniformly recognized as being messy and cluttered, too. But away from the app’s design, the tracker is still the boldest, most interesting release in the fitness tech world this year.

Matt Evans, Senior Editor, Fitness, Wellness & Wearables

• Read our in-depth Fitbit Air review

20. Maxell Wireless Cassette Player

• Our favorite blast from the gadget past

Look me in the eye and tell me you have no cassette tapes hiding anywhere in your home. Right, there’s a shoebox somewhere. But where to play them? That’s where the Maxell Wireless Cassette Player comes in.

Not only is it brand new gear to play these old tapes, but it works with your favorite Bluetooth headphones; I found it the perfect blend of nostalgia and modern audio pleasure. Even its imperfect functionality, like flaky Bluetooth support, was somehow charming.

I wish it had recording like my old portable cassette player, but it was still kind of wonderful to get to hear old mixtapes, recordings, and even classic releases from 1980s music icons (The Traveling Wilburys!) again.

Lance Ulanoff, Editor at Large

• Read our in-depth Maxell Wireless Cassette Player review

19. MacBook Neo

• Still a winner, despite its recent price hike

Up until a month ago, the MacBook Neo was my favorite laptop of 2026, and I didn’t think there’d be any other new laptop this year that could beat it. With a launch price of $599 / £599 / AU$899, it was the cheapest MacBook you could get, and despite its budget price, it offered the kind of build quality, design, screen and performance that you just didn’t expect from laptops and Chromebooks around that price point.

It certainly made a big impact. Running on the A18 Pro chip, it could run pretty much any macOS app that more expensive Macs could, offered excellent battery life and a bright and vibrant display (something a lot of budget laptop makers often neglected to keep prices down). It sold like hot cakes, and gave a kick up the bum to rivals. Since its launch, both Acer and Dell have announced laptops (the new Acer Swift Air and Dell XPS 13) that the companies are very open about how they’ve been designed to take on the MacBook Neo.

However, last month Apple announced a raft of price increases for some of its products, including a $100 / £100 increase in price for the MacBook Neo. While not a massive increase (unlike what the MacBook Air and Pro got), it’s enough to make the MacBook Neo less of an instant recommendation, and some of its compromises, such as slow USB-C ports and no backlit keyboard, are suddenly harder to forgive.

Matt Hanson, Managing Editor, Core Tech

• Read our in-depth MacBook Neo review

18. Lego Smart Brick

• The opinion-splitter that won us over

The toy brand introduced a new technology-fueled piece in its iconic build block system this year at CES 2026 — and while some reactions have been mixed online we here at TechRadar have fallen in love with the system. If you’re a kid who loves playing with your sets and not just admiring them it hits the mark (almost) perfectly.

Out the gate it featured in a handful of Star Wars themed builds adding iconic starship noises, blaster fire effects, and flashing lights as the model moves and its play features are used. It does this thanks to motion and color sensors in the brick which perform different effects based on the special NFC tiles the smart brick is placed onto — the tile effectively programs the smart brick’s lights and speakers while they touch.

Admittedly it wasn’t perfect at launch, but Lego has already started to solve some of our issues with the builds and the brick’s interactiveness in its upcoming Pokémon Smart Play sets — helping to cement the smart brick as one of the best gadgets of the year, and we’re confident it’ll only get better.

Hamish Hector, Senior Staff Writer, News

• Read our hands-on Lego Smart Brick review

17. iFi Go Link 2

• A huge audio upgrade for your phone or laptop

Some hi-res products require careful tinkering and compatibility testing. This isn't one of those. Instead it's a no-fuss, super-small headphone DAC (which stands for digital-analog-converter) to effectively take the job away from the small and likely pretty basic DAC and amp stage in your smartphone or laptop, do the conversion job a lot better, and deliver the improved audio to your wired earbuds or headphones (and thus, to your shell-likes) of choice.

Did I mention it's also super-cheap? This thing costs just $59 / £59 and it essentially turns your source device's sound into something you'd get from hi-res player — and those can cost thousands.

It's smaller and lighter than the iFi options that came before it too. The Go Link 2 will happily slip into your pocket or bag along with your smartphone without issue, and if you're looking to get in on the wired trend (hey, lots of people are) it's a very good way to add wired headphone support to devices that have long since dropped the 3.5mm headphone jack.

OK, its amp stage won't be enough to drive high impedance planar magnetic cans (and those would probably come toting a 4.4mm jack anyway, which this doesn't have) but provided you're just looking to level up with closed-back dynamic solutions, this is little money, well-spent.

Becky Scarrott, Audio Editor

• Read our full iFi Go Link 2 review

16. RayNeo Air 4 Pro

• A lightweight personal cinema for travelers

Android XR and Meta might be stealing the smart glasses spotlight in 2026 with their announcements, but here at TechRadar we think the best new pair to launch so far this year is something a little different: the RayNeo Air 4 Pro.

The biggest difference between the RayNeo and those other specs is they don’t bother with AI — instead they’re effectively a portable display for your compatible phone, tablet, laptop, console, essentially anything that can output video and audio via USB-C.

The Air 4 Pro don't reinvent the wheel but add important new tools like being the first specs of their kind to support HDR10 — leading to more accurate and vibrant colors from their micro-OLED displays. Couple that with solid sound, a comfy fit, and optional Batman/Joker stylings for DC mega fans (plainer designs are available) and you have something incredible.

Hamish Hector, Senior Staff Writer, News

• Read our in-depth RayNeo Air 4 Pro review

15. MacBook Air M5

• The best ultraportable we've ever used

The MacBook Air is, in some ways, the portable most other laptops aspire to; it’s thin, light, surprisingly powerful, and has simply outstanding battery life.

At the time of review, Apple had doubled that storage space (far more important than you might think), finally upgraded connectivity to the future (Wi-Fi 7 and BLE 6) and, of course, slipped in the new M5 silicon.

The price rose a bit, and some wished for more colors (heck, maybe they'll think about Citrus for the next Air), but none of this really detracted from the MacBook Air’s sizable qualities, including a fantastic keyboard, huge ForceTouch trackpad, and Thunderbolt 4 ports. MacBook Air was the laptop that lured me away from Windows, and the M5 model is what’s keeping me here.

Lance Ulanoff, Editor at Large

• Read our in-depth Apple MacBook Air 13-inch (M5) 

14. Oppo Find X9 Ultra

• The new camera phone king

If you're in any doubt about whether the Oppo Find X9 Ultra is the best camera phone on the market right now, just look at the devices we've compared it to. In our Oppo Find X9 Ultra vs Samsung Galaxy S26 Ultra comparison, the Chinese flagship came out on top in almost every category, and in our Oppo Find X9 Ultra vs Lumix TZ300 vs Nikon Z8 comparison, we found that its telephoto capabilities "render most travel zoom compact cameras redundant." High praise indeed.

So, yes, the Find X9 Ultra — which is the first Ultra-branded Oppo phone to ship outside of China (albeit not in the US) — is the new camera phone king. But it comes with plenty of other flagship bells and whistles, too. There's the Snapdragon 8 Elite Gen 5 chipset, the 12GB of RAM, the 6.8-inch OLED display, and the enormous 7,050mAh battery. And Oppo's software has also come on leaps and bounds in recent years.

If we're talking 'the best phones of 2026 so far', the Find X9 Ultra is a must-include.

Axel Metz, Phones Editor

• Read our in-depth Oppo Find X9 Ultra review

13. Audeze Maxwell 2

• The best-sounding gaming headset I've ever tested

The Audeze Maxwell 2 isn't the gaming headset that's received the highest score from our team of reviewers so far this year on TechRadar Gaming, but it's still one of the absolute best to release this year. And it gets that mantle on sound quality alone.

The 90mm planar magnetic drivers produce the finest gaming audio I've ever experienced, and I can't imagine using anything else now (unless I have to for pesky work reasons). Audeze's patented SLAM tech means the bottom end is even better than ever, and so the whole soundscape is much more rounded and fulsome, while being exceptionally detailed and immersive.

It's a chunky headset, yes, but it has all the modern features you realistically need to get the most out of a headset for single-player immersion and gaining edges in multiplayer games: a robust mic, reliable connectivity, good design and build, all supporting that brilliant audio quality.

After nearly a decade of testing and reviewing gaming headsets of all stripes, I have not been treated to audio this good. It's proven so good that I disagree with our own review (sorry, Phil) and have written about how, after a few months of living with the Maxwell 2, I think it's a five-star gaming headset. If you want to consider any new gaming headset of 2026 thus far to upgrade your audio game, then this has to be it.

(Rob Dwiar, Managing Editor, TechRadar Gaming and Streaming)

• Read our in-depth Audeze Maxwell 2 review and my op-ed on why I would have scored the Maxwell 2 higher

12. Dyson PencilVax FluffyCones

• The most streamlined vacuum we've ever used

It's been a long time since I saw a vacuum that truly made me do a double-take, but that was the case with the Dyson PencilVac Fluffycones. Instead of the chunky dust cup / battery / filter configuration usually found at the top of a stick vacuum, the PencilVac has... nothing. There's just a broom-shaped handle. In fact, this handle houses all those components, except they've been shrunk down to an almost impossibly small size, and hidden away. That makes the PencilVac incredibly light, nimble, and easy to wield.

The floorhead is equally unique, with its two pairs of cone-shaped, fluffy rollers, rotating in opposite directions to whisk away dust from hard floors and clear hair without tangling. This head pivots ultra-smoothly, can be used either way around, and enhances the incredible maneuverability on offer here. A truly innovative design from Dyson, and a useful one at that.

Ruth Hamilton, Collections Editor

• Read our full Dyson PencilVac Fluffycones review

11. Dali Sonik 1

• Small, passive stereo speakers that sound twice their size

It's not just because the Dali Sonik 1 are clearly the cat's miaow — although that never hurts!

The Dali Sonik 1 are the smallest in the Danish brand's ever-expanding new line of passive stereo speakers, but while this February 2026 proposition might be bijou, they sound easily twice their size. And for this money, that's a huge win.

We love them for their clear-mindedness, sparkling vocal reproduction, textured transients and remarkably deep, thumping robustness. They’re also low-distortion, with a sonic profile that never falls foul of overstating itself, apart from a very occasionally overzealous bass reflex (but that's largely down to placement).

You might be thinking you've seen this all before: small passive stereo speakers, they must all basically be the same, no? The Dali Sonik 1 are better than that — in fact we think they're currently the absolute best in their size and price category. It could well be the Sonik 1’s use of Dali’s trademarked Clarity Cone technology (taken from the Kore range before it), or the “SMC” (Soft Magnetic Composite)-assisted magnet systems that constitute the driver.

However it has been achieved, collectively this in-house wizardry has created a fulsome yet supremely natural-sounding set of standmount speakers. And they'll easily fit into your home (for a refreshingly palatable fee).

Becky Scarrott, Audio Editor

• Red our fully star-rated Dali Sonik 1 review

Our top 10 of 2026 (so far)

10. Apple AirPods Max 2

• The best noise-cancelling iPhone headphones on the planet

At first glance, Apple's March-issue second-generation flagship headphones probably didn't receive too many hugely excited whoops and cheers from the Cupertino giant's noted fanbase. Why? Because they arrived looking exactly the same as the first pair.

And they still come out on top in any mid-year headphones roundup. The ANC is just that good. We may sometimes be harsh at TechRadar, but we're always fair…

Put them on your head, engage the ANC and get them playing music. Suddenly it's impossible to knock them. There's a new H2 chip in each ear cup (plus a new amplification module) and that combination is a bona-fide game-changer.

OK, so you can use the Digital Crown as a remote and yes, you can now use Live Translation, nod or shake your head to control call-handling, or pipe up and the headphones now adjust playback accordingly. But none of these under-the-hood improvements is what seals the deal for me.

No, it's all about the sound, underpinned by the noise cancellation performance that is 1.5 times better — and anyone who owns the inaugural set will know how big a deal that is. Also, the overall sonic profile is punchier, more vibrant and with an extra ounce dynamic nuance across the frequencies.

The only reason I couldn't give them the full five stars? The stamina, at only 20 hours with ANC deployed. The thing is, when the cocoon of silence is this good, I'll take a hit on battery life.

Becky Scarrott, Audio Editor

• Read my full and in-depth Apple AirPods Max 2 review

9. Samsung Galaxy S26 Ultra

• The new king of Android

It can be hard to mess with near perfection, but that was the task facing Samsung when it built the Samsung Galaxy S26 Ultra. It’s a follow-up to the best Android flagship I'd ever used and, thankfully, the S26 Ultra did not disappoint.

The excellent, solid design (despite losing titanium) is a perfect showcase for Samsung’s vast OneUI 8 and all that AI. Plus it has a built-in S Pen that’s endlessly useful and new privacy screen feature that's so cool I wonder when Apple will copy it.

The just-short-of-perfection is mostly because it wasn't a full redesign some wished for and the frustrating lack of any kind of MagSafe charging capabilities. Those were, obviously, minor niggles in what is otherwise a powerful, big-screen handset that should be on everyone’s Android shortlist.

Lance Ulanoff, Editor at Large

• Read our in-depth Samsung Galaxy S26 Ultra review

8. EcoFlow Stream Ultra X

• A game-changing home battery for renters

It's no surprise that in a year of spiraling energy costs one of the big trends has been home batteries that can cut chunks out of your electricity bills — and this powerful, balcony-friendly unit is the most complete we've tested so far.

The EcoFlow Stream Ultra X isn't cheap and, at the time of writing, isn't available in the US (although its lower-capacity Stream Ultra X sibling is). But with its 3.84 kWH capacity and AI-powered energy management, it is a glimpse of a smart home genre that will soon become mainstream.

In short, this lithium iron phosphate battery charges from the sun via solar panels or from cheap grid power during the day, then powers your home at night. In our tests, we estimated that it could easily pay for itself in three years — and that's without connecting it to solar panels.

On its own, the Stream Ultra X isn't powerful enough to power your whole home during a power cut — it's more like the first rung on a ladder that can take you to solar or a bigger home energy system. But you can connect five more Stream series units to hit 23 kWh of power, and its versatility makes it one of the best examples so far of what the Germans call 'Balkonkraftwerke' (or 'balcony power plants').

Mark Wilson, Managing Editor, News (UK)

• Read our in-depth EcoFlow Stream Ultra X review

7. Sony InZone H6 Air

• Sony’s first open-back gaming headset is the best

This year Sony debuted its first open-back gaming headset with the Inzone H6 Air, and it’s the best such model that we’ve tested, blowing strong competitors like the Turtle Beach Atlas Air out of the water.

Underpinned by the same studio quality drivers found in the audio giant’s ever-reliable MDR-MV1 studio monitor headphones, now reworked for additional bass, it delivers crystal-clear, well-balanced sound that’s perfect for both gaming and music listening.

That open-back design lends itself to a wonderfully wide soundstage that adds depth to your favorite games — the detailed weapon sound effects of Battlefield 6 have never seemed so real, while we found that more narrative driven titles like The Last of Us Part 2 or Assassin’s Creed Shadows benefit from a whole new level of aural immersion.

They’re incredibly light and comfortable, coming in at 7oz / 199g, but that doesn’t mean that they feel cheap. The premium aluminum earcup shells are hardwearing and we’re certain that the durable fabric headband will last us for many years to come.

Dashiell Wood, Gaming Editor

• Read our in-depth Sony InZone H6 Air review

6. DJI Avata 360

• Our new favorite all-seeing drone

The big new trend for drones in 2026 is 360 models. A bit like flying versions of cameras like the Insta360 X5, these all-seeing aerial gadgets let you reframe your aerial videos and photos after you've landed, so you don't need to be so precise or decisive up in the sky.

The DJI Avata 360 isn't the first 360 drone we've seen — that was the Antigravity A1 — but it is our new favorite thanks to its unrivaled versatility. Yes, you can shoot 360 videos thanks to its dual 1-inch sensors, then edit that footage using DJI Fly mobile app or the DJI Studio desktop software.

But switch to the drone's single-lens mode, and you effectively have a DJI Avata 2, an FPV drone that can perform aerial acrobatics and get some very different footage. Because you get to choose between using FPV goggles and a standard RC2 two-stick controller, you also don't always need to bring along a spotter friend to fly it legally either.

Mark Wilson, Managing Editor, News (UK)

• Read our in-depth DJI Avata 360 review

5. Dyson HushJet Mini Cool

• A surprisingly powerful heat wave savior

Heatwaves have been another big theme of 2026 — and if you've been baking under a 'heat dome' in the past few months, you might well be interested in the Dyson HushJet Mini Cool, a tiny fan whose performance is as good as its name.

Dyson’s first portable fan excels for two main reasons. Firstly, the fan’s powerful motor reaches a staggering 65,000rpm, and the shape of the HushJet nozzle concentrates the airflow so it’s all directed right at you. Even on the lowest setting you can really feel it, but dial it up to maximum and you’d think you’re using a hairdryer.

You also don’t just have to use it as a hand-held fan — you can wear it around your neck, attach it to clothing or a bag strap, or stand upright on your desk, so it’s pretty versatile to boot. But we know what you’re thinking; it's a Dyson, so isn’t it going to be ridiculously expensive? Fortunately not, so that's why we awarded it a rare five stars.

Rowan Davies, Editorial Associate

• Read our in-depth Dyson HushJet Mini Cool review

4. JBL Go 5

• The best tiny Bluetooth speaker, now even better

When I fired the JBL Go 5 up for the first time, it genuinely blew me away. See, its predecessor was already a very solid-sounding speaker given its minuscule size, and it had great build quality and features to match.

But JBL really outdid itself with this sequel. The Go 5 has even more open and expressive sound than what came before, with clean and agile bass, enhanced detail and clarity in the mid-range, as well as articulate and controlled treble. Pair that with new, customizable edge lighting, improved IP68 dust and waterproofing, and options like USB-C lossless audio, and the Go 5 is easily one of the best small speakers on the market.

It’s also drop-proof, comes in a range of funky colors, and has personalizable EQ, enabling you to find the perfect sound for any occasion. At less than $55 / £40, it’s also sensational value for money, and it couldn’t be more deserving of its five-star rating.

Harry Padoan, Senior Writer, Reviews

• Read our in-depth JBL Go 5 review

3. Philips Baristina

• Bean-to-cup that's great value and a doddle to use

As far as entry-level coffee makers go, the Philips Baristina is simple, stylish, and just as easy to use as any pod coffee machine. Basically, it’s the best affordable bean-to-cup espresso machine we’ve tested.

Like a manual espresso machine, the Baristina uses a portafilter handle. All you need to do is push the empty handle into place, select your drink, and the Baristina will grind the right dose of coffee into the filter basket, so you don’t even need to weigh the coffee beans before brewing.

Using a simple set of three buttons — one for single espresso, one for a lungo, and one to boost the intensity by increasing the dose of ground coffee — it’s incredible value for money. While it doesn’t come with a steaming wand for milk and is very much espresso-first, the Baristina remains an excellent beginner-friendly espresso machine that's perfect if you're new to fresh beans.

Rowan Davies, Editorial Associate

• Read our in-depth Philips Baristina review

2. Sony A7R VI

• Sony just perfected mirrorless cameras

I've tested just about every major camera release spanning the last 15 years, and I don’t use the word 'perfect' lightly — but that's what the Sony A7R VI is. For me, it’s the winning combination of raw quality and speed — thanks to a stacked 66.8MP full-frame sensor with ludicrous dynamic range, lightning-fast burst-shooting and reliable autofocus performance. I really pushed the A7R VI, shooting everything from landscape photography to wildlife and portraits, and it didn’t skip a beat.

The A7R VI is also a seriously well-designed professional mirrorless camera, with an immersive high-resolution EVF and multi-angle touchscreen, plus it packs an all-new higher-capacity battery that bags more shots. Sure it costs a lot, but considering it’s capable of 95% of what the A1 II can do, with more resolution, for a much lower price, I think it’s decent value.

I've never owned a Sony Alpha mirrorless camera, but the A7R VI has me seriously tempted, especially since Sony has made my favorite lenses over the last 18 months. If I could keep a hold of a single new camera from 2026, the A7R VI would be it, and that’s why it’s my top pick.

Timothy Coleman, Cameras Editor

• Read our in-depth Sony A7R VI review

1. LG C6

• The OLED TV that somehow improves on its near-perfect predecessor

The LG C6 is the best TV I’ve tested this year so far. Impressively, it makes huge improvements over its predecessor, the LG C5. Thanks to its new, flagship-level processor, the C6 delivers brilliant, vibrant colors, powerful contrast and crisp detail, delivering better picture quality over the C5: which is no mean feat. When I tested the C6 next to the C5, the C6 proved to be more accurate too, eliminating a green tint that was noticeable on the C5.

The C6 is a gaming powerhouse, continuing the LG C-series’ legacy as one of the very best gaming TVs on the market. With four HDMI 2.1 ports, 4K 165Hz, full VRR including FreeSync and G-Sync, Dolby Vision and ALLM all supported, plus an ultra-low, measured 9.2ms input lag time, gaming is fantastic on the C6.

The C6 covers all the bases, offering solid built-in sound, an intuitive smart TV system that gets better each year and it’s generally the most competitively priced OLED as well. The C6 will take some beating in 2026.

James Davidson, TV Hardware Staff Writer

• Read our in-depth LG C6 review

This week we saw the return of Anthropic’s Fable, and PlayStation set the gaming world ablaze by announcing the end of physical discs for its consoles in 2028.

To catch up on these two mega stories and several more scroll down to read our recaps of the biggest tech news stories from the past seven days. You’ll find links to the longer original stories under each entry if you need to know more — and for a longer look back at the last six months, you can also check out our guide to the best tech of 2026 so far.

Before you catch up with this week’s tech news, why not test yourself on last week’s seven biggest tech stories to see how good your memory is? Take the quiz below, or scroll on for the biggest tech news of the week...

7. Tidal hit back at AI-made music

Tired of music made by text-prompt infiltrating your recommended feeds? You're in fine company; it seems the tide is finally turning on AI-generated audio.

This week, in what must be hugely welcome news for recording artists (and their parents, landlords, loved ones, and just lovers of original musical works with human vocals and instruments) hi-res music streaming giant Tidal has drawn a line in the sand.

The platform published a new comprehensive AI policy with the strapline "Promoting Fairness and Economic Empowerment in the Era of AI-Generated Music". The key bit is that as well as working with what the platform told TechRadar is “an external partner to manage detection”, the site will also be excluding wholly AI-generated music from all royalty payments.

The news follows huge strides in this area made by Deezer, with its free AI-detection tool that works on any streaming platform, Bandcamp's strong and concise anti-AI stance set out in January, Qobuz’s announcement of a proprietary AI-detection system in February, Apple Music’s March-issue 'Transparency Tags' (which unfortunately rely on record labels and distributors to tag AI content), and Spotify's… er, Verified by Spotify badge, which certifies that an artist is human, but doesn't help filter the remaining AI slop from your playlists.

All of this makes Tidal's stance, while not before time, particularly firm.

• Read more: 100% AI-generated tracks won’t earn royalties on Tidal

6. Netflix got another hated account update

A handful of Netflix users have noticed a new in-app pop-up that requires each member in a shared account to add individual email addresses to their individual profiles, instead of using the account owner’s email address as the primary one. One of the most jarring parts about it is that the pop-up doesn’t clear unless the request is fulfilled.

Netflix households accounts have always been built on the traditional 'one email, one password’ foundation, but why Netflix has decided to roll out yet another crackdown is the question that everyone is asking.

Though Netflix says it’s to make room for more convenient log-ins and more personalized recommendations, users believe it will give the streaming giant another way to better distinguish between the activity of individual profiles, or even shift them to individual accounts later down the line.

Netflix said that the rollout began on June 15, we imagine a global rollout is in the way.

• Read more: Netflix subscribers are furious at the platform’s latest update

5. We ran with the Garmin Forerunner 70

We’ve taken this new Garmin running watch for a spin. While it offers some clear upgrades over the Forerunner 55 that came before it, these enhancements come at a cost ($249.99 / £219.99 / AU$399) which makes this gadget less budget or entry level and more mid-range.

The trouble isn’t with this smart watch specifically. In fact, with new training and smartwatch features, a vibrant AMOLED display, and with solid compatibility across Android and iOS the watch is pretty solid. What we’re concerned about with the Forerunner 70 is that at this price (or for only a handful of bucks more) you can snatch up watches from rival brands that boast richer features and newer hardware.

At four stars it’s definitely good, but if you’re after the best, or even simply the best at this price point, the Garmin Forerunner 70 might not be it.

• Read our full Garmin Forerunner 70 review

4. The Steam Machine sold out in Japan

The upcoming Valve gaming PC-console hybrid has launched and the reality is it’s a pretty terrible deal on the face of it — though that hasn’t stopped it from selling out in Japan, and from scalpers asking for ridiculous prices for their reservation spot (allowing people a better chance at snagging the device).

Instead of battling with preorder disappointment, or the high costs of the proper machine, some have looked to alternatives but you’ll need to be careful. For every Stim Machine which presents itself as a sensible alternative (with some admittable downsides) there’s a flurry of cheap alternatives propping online that are frankly too good to be true.

Boasting components that wouldn’t actually fit inside the pictured chassis, a combination of parts that wouldn’t function together, and the plethora of never before seen companies proposing Steam Machine alternatives at impossibly cheap rates hints that a majority of these options are likely some kind of scam.

• Read more: The Steam Machine is overpriced — but be careful about buying a cheap clone

3. Anthropic’s Fable 5 was allowed to release

Anthropic’s Fable 5, the public version of its Mythos model, is returning after the US government lifted export controls that had forced the company to suspend access to it, and Mythos 5, earlier in June. The models were pulled after officials raised national security concerns linked to a possible jailbreak, a method of bypassing an AI model’s safety restrictions.

Anthropic pushed back strongly, saying it believed the issue was “a misunderstanding” and arguing that it had not been shown evidence of a broad or universal jailbreak. The company said governments should be able to block unsafe AI deployments, but only through a process that is transparent, fair, clear, and grounded in technical facts.

The return of Fable 5 matters because it shows how frontier AI launches may increasingly be shaped by governments, not just tech companies. Powerful models can now be launched, restricted, negotiated over, and restored within weeks.

• Read more: Anthropic’s Fable 5 is back after US shutdown it called 'a misunderstanding'

2. WhatsApp debuted usernames

WhatsApp has revolutionized its platform this week by introducing usernames — allowing you to build your contact information without sharing your phone number. They won’t take over completely for a while but folks are already reserving their username so that they’re ready for when the update goes live fully.

While many are fairly positive about the change, many fear this could increase the presence of cybercrime fraud and scams as bad actors reserve and use names that attempt to mimic politicians, celebrities, and businesses. This issue isn’t new to social media, but given the more direct nature of WhatsApp, and that businesses do use the platform to chat with customers, potential scams could have an easier time.

WhatsApp has hit back against this saying “only the legitimate account owners are able to reserve well-known public-figure names" however it’s unclear if, with enough imagination, people will find ways to reserve names that the Meta-owned platform hasn’t been able to account for.

• Read more: WhatsApp should freeze username rollout as it could ‘increase cybercrimes’, says India

1. PlayStation killed physical games

Just days after Grand Theft A 6 pre-orders opened with purely digital versions and code-in-a-box releases, PlayStation rocked the gaming world this week by announcing it is ending all releases of new PlayStation games on physical discs from January 2028. It also comes just days after Sony deleted select films from users' accounts that were bought digitally, and offered no compensation.

Claiming that the move “will enable us to align more closely with how most of our community prefers to access and play games today,” Sony looks to be reflecting recent statistics which show the vast majority of game purchases are indeed digital.

The move has not gone down well with fans, gamers, and the wider industry, as it likely paves the way for an all-digital future, and possibly a critical, maybe terminal blow to the second-hand game market, the ability to share games with others, and from a game preservation perspective

It also means that the PS6 will likely be all-digital by default — perhaps with an optional disc drive — and won’t release until 2028 at the earliest. With rumours that Xbox could follow suit with its next-generation console, the future looks increasingly digital, and game collectors such as ourselves are deeply worried and sad about it.

• Read more: In a huge blow to game ownership, PlayStation confirms end of physical games — mere days after GTA 6's disc-less pre-orders

• Sony teased a new RX10 on its Instagram, writing 'The Wait is over'
• Its previous bridge camera was the RX10 IV from 2017, which is discontinued
• This latest in the series will arrive on July 9 at 7am PT / 10am EDT / 3pm BST

Sony just dropped exciting news for fans of its versatile bridge cameras — a new RX10 camera will be revealed next week.

The teaser on Sony's Instagram reveals a surprising amount of detail, including the release date plus a silhouette of the next RX10, which from we can glean some info about its lens.

Perhaps the most surprising part of all is that Sony is launching a new RX10 in the first place. Its most recent bridge camera was the Cyber-Shot RX10 IV which was released all the way back in 2017, and has been discontinued for more than two years.

The RX10 IV is still regarded as the best bridge camera available, which tells you everything you need to know about this space, which has been largely dormant for years, save for a tired Lumix re-release and the occasional cheap Kodak model.

Despite the RX10 IV's skills, we can only hope that Sony has a little more in store for the next RX10, because an upgrade on the mark IV could be super interesting. The teaser (below) gives us a little snippet of what we can expect.

The most obvious point to note is the release date, which will be July 9 at 7am PT / 10am EDT / 3pm BST. I predict that putting a Sony bridge camera back in stores will be a popular move, especially among enthusiast wildlife photographers desiring a versatile telephoto lens in a lightweight setup.

Otherwise, there's one little clue, and that's the part of the teaser when the lens is extending upwards. We can't see the focal length of the lens, but we can see the aperture range, which is f/2.4 to f/16.

That aperture range is identical to the RX10 IV, which features a 25x optical zoom with a 24-600mm focal length range. The other details in that lens silhouette also look the same as those in the RX10 IV; the Vario Sonnar T* and twin control rings.

It's harder to glean much else from the teaser — the silhouette of the camera body looks similar to the one before it, but it could very well be different.

We won't have long to wait to find out more, with the next RX10 coming in less than a week.

What do you think of Sony's teaser? Is this the next Sony camera you were hoping for? Have your say in the comments.

• Sony is already repurposing its Austrian disc-making factory
• It's the only physical media plant of Sony's that's left
• Existing staff will be retained to work with micro optics

We're still reeling from Sony's announcement earlier this week that it will stop releasing PlayStation games on physical discs from the start of 2028 — and now there's news that Sony's last remaining physical media factory is already being repurposed.

According to ORF Salzburg (via The Verge and Google Translate), production at the Austrian plant is going to drop to around 10% of its current levels by 2028. The factory currently makes 600,000 blank Blu-rays every day (half of which are used for PlayStation games), and Sony has made some 26.4 billion discs in total across its sites.

The existing 300 staff are going to be kept on though, as per Dietmar Tanzer, CEO of Sony DADC (Digital Audio Disc Corporation). They'll be retrained in micro optics — squeezing optical components into the smallest spaces possible.

Instead of discs, the plant's assembly lines will be producing optical microlenses instead. One of the uses of these elements mentioned in the report is for projecting car turning signals on to the street surface, but there are a multitude of potential applications.

'We own nothing now'

The report also quotes Markus Streibl, head of Micro Optics at Sony DADC, who says that the company recently invested €30 million (about $34 million / £26 million / AU$49 million) in the tech as it looks to develop this part of its business.

As spotted by The Verge, there's evidence that the plant in Austria has been making microlenses since at least as far back as 2024. These small components are actually produced on discs, so there'll be some crossover in terms of equipment and processes.

While Sony seems immediately ready to move on and look to the future, many of us are having a less easy time moving on: gamers are promising to quit the PlayStation platform over concerns about what these means for game ownership ("we literally own nothing now" was a comment left by one disgruntled user).

The news has tempered some of the excitement around the opening up of GTA 6 pre-orders, and it also means the PlayStation 6 is highly unlikely to have a disc drive built in. Sony has also announced the closure of the PS3 and Vita stores at the same time.

• Former PlayStation boss Shawn Layden says Sony's decision to scrap physical discs is "fairly dramatic"
• Layden recalls a time when digital sales "were zero percent" because Sony didn't have a market
• He believes the move will also mean the PS6 won't have a disc drive

Former PlayStation Worldwide Studios boss Shawn Layden has shared his opinion on Sony's decision to stop producing physical discs and its plan to move all-digital, calling it "a fairly dramatic decision."

Speaking in an interview with Eurogamer following the bombshell news, the PlayStation veteran of 32 years confirmed that he had "no idea it was going to happen and "don't necessarily agree with it."

As for why he thinks Sony has made the decision, he suggested, "Maybe it's just too prohibitively expensive to stamp out discs," but believes that any big move to discontinue a product, feature, or model is "largely" a "straight spreadsheet [decision]."

"What are disc sales compared to digital sales? And I'm old enough to remember when digital sales were like 10 percent - I'm old enough to remember when digital sales were zero percent because we didn't have a digital market! And that number just grew over time," Layden said.

The ex-PlayStation leader suggested the COVID pandemic played a role in accelerating the purchase and consumption of digital games over physical, and believes that Sony's decision could mean the PS6 won't have a disc drive.

Analysts have also determined that the next-gen PS6 console will launch in late 2028 and won't have a disc drive, or at the very least, one will be sold separately "to play older PS4 and PS5 games on disc."

In fact, Layden revealed that ditching the PlayStation's disc drive was something the company considered for a year while he worked there.

"I've been asked this question every year for the last 20 years. 'When are you guys going to just give up on the disc drive?' My feeling with that was always: well, when I get to a place where I'm comfortable enough to believe that worldwide, broadband throughput is good enough to support that download experience, good enough to reach the majority of customers," Layden said.

He clarified, "Majority does not mean entirety, so there is a point, a tipping point, where if I have 80 percent of the opportunity, which represents 95 percent of the revenue source, what's my incentive to keep the lights on for the other 20 percent if it's effectively only 5 percent of the business? See what I'm saying? At some point, it just becomes obvious that we can't keep this whole thing running just for this very small slice of opportunity."

While Layden admits that Sony had always been "pretty good" at determining the risk of overestimating regional internet infrastructure, "because unlike Xbox, PlayStation had a wider global fanbase, and not just in the numbers, but in the reach, because Sony Corp had reach all over the world," there are also players who do not have access to the internet, such as people in military bases.

"The idea that they could still buy a PlayStation 4 game, throw it in a machine, and play was important. You don't want to leave those people behind," Layden said.

"I don't know what went on in those conversations, but it's a fairly dramatic decision."

As Sony plans to scrap physical discs, there are also concerns about the inability to resell games or buy them second-hand in the future, which Layden said "used to be a huge factor" in the business, but the rise of digital games "kind of quashed that used-game business, and made it hard for folks who were making a nickel in the secondary market by selling them."

However, he doesn't necessarily believe this drove Sony's decision because it's been happening over time, but thinks "we've reached some kind of homeostasis where it's in a weird sort of balance."

"Second-hand gaming still occurs, obviously, but it's not material anymore to the business to worry about, I think," Layden added.

Following Sony's announcement, new reports claimed that the company is testing a disc-to-digital feature for existing consoles and could also release a next-gen Project Helix console without a disc drive.

While there's no telling whether Microsoft plans to follow Sony's all-digital business practice later on, Layden believes the huge decision could influence other companies, including Microsoft and Nintendo, to follow suit.

"Certainly, this is an industry where if one company, particularly the leader of the industry, makes a decision of this magnitude, that's going to heavily influence what the other ones do," he said.

Any serious photographer knows the importance of great glass. And while I've had the personal pleasure of testing the best cameras for 2026 so far, innovative lenses get me even more excited.

Only a true macro lens can bring the insect kingdom to life, or a telephoto optic get you close to distant wildlife, or a fast prime bag you punchy portraits with dreamy bokeh.

With that in mind, I regularly review the latest lenses as well as cameras, and I've played with some real crackers this year. These include Sony's overdue macro lens upgrade, Sigma's world first 135mm with an f/1.4 aperture, Viltrox's impossibly tiny 28mm f/4.5, Canon's affordable f/1.2 prime, and Nikon's fabulous 70-200mm F2.8 Mark II.

Each of the above lenses serve different use cases, and they come in at varied price points, starting at just $99 / £90 / AU$169. Let's dive into my top five lenses for 2026 so far…

Viltrox AF 28mm F4.5

• Release date: Staggered release for various mounts
• Lens mount: Sony E, Nikon Z, Fujifilm X
• Verdict: 4/5

The Viltrox AF 28mm F4.5 was first launched in 2025 for Sony E-mount, but it has been released for various lens mounts in 2026, including Nikon Z and Fujifilm X. I expect an L-mount version will land soon.

It's an impossibly small wide-angle prime considering that it features autofocus, full communication with the camera, and an impressively fast f/4.5 aperture. It's so small, in fact — measuring just 15.3mm in length and weighing just 2.1oz / 60g — that I'd describe it more as a body-cap lens than a pancake lens, with a neat sliding lens cover, and it costs just $99 / £90 / AU$169, with occasional sales knocking 10% or so off the price.

I'd describe image quality as characterful rather than technically precise, with detail being fairly soft in the corners, and some obvious vignetting. In the center of shots, however, it's actually pretty sharp. It's a full-frame lens, but the Viltrox 28mm F4.5 actually makes even more sense for Sony, Nikon and Fujifilm's APS-C cameras, because the 1.5x crop effectively transforms the lens into a 42mm optic, plus the softer corners are outside the image area.

The Viltrox lens is so small and so cheap that it's a zero risk purchase, and one that I'd happily keep on my camera instead of a body cap and for quick everyday snaps.

Read my Viltrox AF 28mm F4.5 review

Sigma 135mm F1.4 DG Art

• Release date: January 31 (announced late 2025)
• Lens mount: Sony E, L-mount
• Verdict: 5/5

World-first is a term that's banded around a lot, usually with caveats, but Sigma's pro portrait prime is a true first — a 135mm lens with a maximum f/1.4 aperture. I've tested my fair share of 135mm f/1.8 lenses recently, including the Viltrox 135mm and Nikon Plena, while Sigma has its own that's now nine years old, but Sigma's latest offering has an even faster aperture and creamier bokeh for the ultimate portrait photography quality.

It's a beast of a lens, mind you, weighing 50.4oz / 1,430g, and with a massive front lens element and 105mm filter thread. If you're willing to lug the lens around, though, you'll be rewarded with "razor-sharp detail" and "stunning shallow depth of field", as we noted in our in-depth review, with the lens earning a perfect five-star rating.

Currently the Sigma 135mm F1.4 DG Art is available for Sony E and L-mount cameras; pro Nikon photographers can only hope that a Z-mount version is on the way soon.

Read my Sigma 135mm F1.4 DG Art review

Sony FE 100mm F2.8 Macro GM OSS

• Release date: January 15
• Lens mount: Sony E
• Verdict: 5/5

If there was a Sony E-mount lens that needed updating, it was the 10-year-old Sony FE 90mm f/2.8 Macro G OSS — Sony's only true macro lens. Thankfully, 2026 delivered the new Sony FE 100mm F2.8 Macro GM OSS, and it's a notable improvement on the 90mm original in just about every regard.

With "improved optics, faster autofocus, steadier stabilization, greater magnification, increased zoom and teleconverter compatibility", we concluded in our review that the new Sony 100mm is "the go-to macro lens for Sony working pros who make an income from close-up pictures, whether it’s product photography, still life, flat lays or macro nature shots".

Key features include the new maximum magnification, which was upped from 1x to 1.4x, plus its compatibility with teleconverters to further extend its reach. Compared to Sony's other macro lens, the new 100mm macro is in another league, and very much merited its five-star review rating. It's not the first optic of its kind — Canon walked this path years before with its own 100mm macro with 1.4x magnification. Still, Sony photographers finally have the macro lens their cameras deserve.

Read my Sony FE 100mm F2.8 Macro GM OSS review

Canon RF 45mm F1.2 STM

• Release date: November 6 (reviewed in March 2026)
• Lens mount: Canon RF
• Verdict: 3.5/5

What's this now — an affordable f/1.2 prime lens from Canon? Pick my jaw off the floor. True, it's far from being a perfect lens, but Canon's 45mm F1.2 STM makes a fast aperture and the attendant shallow depth of field potential available to beginners who would otherwise be priced out of owning such a lens.

We gave the lens a 3.5 star-rating because of its optical flaws; there's significant chromatic aberration and "swirly distracting bokeh". It doesn't even come with a lens hood. However, we've got to respect what this lens represents, and Canon for delivering it.

Not only is this the most affordable proprietary f/1.2 full-frame lens for any lens mount, but Canon also makes the most affordable mirrorless cameras. I can see the 45mm F1.2 STM pairing nicely with an entry-level full-frame mirrorless camera such as the EOS RP and EOS R8, and even with an APS-C model like the EOS R100, on which you're getting an effective 70mm lens (approx).

Where rival brands are typically ignoring beginners and putting their efforts into high-end gear, Canon is regularly delivering new cameras and lenses for all budgets and skill levels.

Read my Canon RF 45mm F1.2 STM review

Nikkor Z 70-200mm f/2.8 S II

• Release date: February 23
• Verdict: 5/5

If there's one lens for 2026 that I desperately want to add to my bag permanently, it would be the Nikon Z 70-200mm f/2.8 S II. Granted, I'm a Nikon shooter who regularly works at these focal lengths, who is also in need of upgrading (I still use the DSLR version of this lens via an adapter), but that's not to take away from what I called a "flawless" telephoto zoom.

It follows the 24-70mm f2.8 S II in being a second-generation upgrade of what was already an excellent Z-mount zoom lens, bringing a lighter build, fully removable tripod collar and teleconverter compatibility. The lighter design is thanks to an entirely new optical design that's somehow simpler and sharper at the same time, while also improving close-focusing capabilities.

There's probably not enough reason for owners of the original Z-mount 70-200mm to upgrade, especially given the jump in price, but for everyone else there's arguably no greater 70-200mm f/2.8 available — and it's the kind of lens I've relied on for so many shoots down the years. With the Mark II version now available, I finally feel like it's time to upgrade from my aged DSLR lens.

Read my Nikon Z 70-200mm f/2.8 S II review

What do you think of the lenses above? Are there any other new lenses that appeared in 2026 that you particularly like? Have you say in the comments.

• Sony plans to stop producing physical discs by January 2026
• The announced has spawned an overwhelmingly negative reaction from many PlayStation fans
• Many are concerned about what this means for game ownership and the PS6 era

Sony has announced that it plans to stop producing physical discs by 2028, delivering a huge blow to the concept of game ownership, and the reaction from PlayStation fans seems to be overwhelmingly negative.

The company shared the bombshell news in a PlayStation Blog post, and as of writing, it has over 6,645 comments. The majority of responses are calling for Sony to reverse the decision and arguing that they won't technically own any digital game they purchase come January 2028.

"We literally own nothing now but licenses this is a horrible decision Sony," one user wrote, as another said, "I’m gonna be honest, I will quit buying games. I hope I’m not the only one seeing this trend license purchasing vs game purchasing and it is disturbing that you are ok with this. Or worse, you have many of us convinced it’s OK."

There are also concerns about the lack of options regarding purchasing second-hand games in the future, as well as being unable to resell or trade their titles later on.

Some fans are also considering skipping the PS6 generation altogether if physical discs aren't on the table, with others vowing the PS5 will be their last PlayStation console.

"Looks like this is where my journey ends with PlayStation then, goodbye," commented one fan.

"Well if you want people to stop buying new game systems, this is a choice I guess," a commenter wrote. "But this will mean I will never buy another Playstation as the way digital purchases are handled have shown me that it is a risk to pay a single penny for a digital game as one glitch on Sony’s part can get your account banned, and make you lose out on every digital purchase you have ever made."

Another said: "This is a terrible decision. As a long time PlayStation customer, this will cause me to re-evaluate my console choice for the next generation. Digital-only is not in the best interest of the consumer, and it’s something I am not interested in.

"This, along with the decision to proceed with releasing a “PS6” at a time when components are at record prices, is making this hobby unaffordable for many. You risk killing the industry with these short-sighted decisions rooted in greed."

Following the announcement, analysts have determined that Sony's decision telegraphs that the next-gen PS6 console will launch in late 2028 and "at a minimum" won't feature a disc drive, but an add-on disc drive could be available to play older PS4 and PS5 games

It seems that Microsoft is following a similar all-digital business plan, as new reports have claimed that the company is testing a disc-to-digital feature for existing consoles and could also release a next-gen Project Helix console without a disc drive.

Gaming has officially reached its worst state in decades after PlayStation announced it will ditch game discs for PlayStation consoles starting in 2028.

It comes very shortly after Rockstar Games and its most anticipated game, arguably of all time, GTA 6, opened pre-orders.

Why is that relevant, you may ask? Well, in case you've missed it, there will be no discs available for 'physical' copies of GTA 6. Essentially, buying the highly anticipated game digitally or the physical edition at retailers means you won't have a hard copy of the game, as the latter comes with a code in a box.

Frankly, it's a reach to even suggest that GTA 6 has a physical edition at all, as a code in a game case definitely isn't a physical copy — and that's what makes things even more ridiculous.

Rumors recently suggested that there would never be any disc of GTA 6, and after PlayStation's disastrous announcement, it's safe to say that those rumors are accurate. We're not focusing exclusively on GTA 6 here, but if you're wondering what the future of gaming will look like from 2028 and beyond, GTA 6 is the example.

The PlayStation 'monopoly-like' behaviour begins

To put it simply, that example of GTA 6 means that all of the games purchased from the year 2028 and beyond on PlayStation consoles will no longer be owned by consumers, because digital purchases are actually licenses.

That's a huge issue for several reasons. If PlayStation wanted to revoke a user's access to a game, it could do so at any time, which we've recently seen with the removal of over 500 movies from user libraries without refunds. If a user loses their account from an unwarranted ban (or even by being hacked), then their digital purchases are effectively gone for good.

With this in mind, Sony's behaviour feels very monopolistic. Of course, gamers can still choose to buy third-party games on other platforms, but since Sony has reportedly tried to make certain games like Crimson Desert a timed exclusive (reported by Forbes), and it's now cutting off another avenue of purchasing games, it comes across as unfriendly to gamers, even if its moves aren't exactly illegal.

Physical copies have always allowed consumers to buy, resell, or borrow games and get their hands on cheaper copies at retailers, whether brand new or second-hand.

The latter is what gives stores like CeX, Game (in the UK), and GameStop purpose, letting consumers find games that they didn't want to pay full price for at launch, or buy games for retro systems like the PS1 or PS2, since the libraries from those game consoles are severely limited on PS5 (and some are only available via streaming).

Since the PlayStation Store will soon be the only place to buy games on PlayStation consoles, consumers will effectively be forced to pay high prices for most titles — including both PlayStation exclusives and third-party games that have been available for years already.

The examples are clear to see above; GTA 5 is a 2013 game that has received multiple re-releases from PS3 to P55, and somehow still costs $39.99 / £59.99 / AU$89.95. The same applies to Uncharted: Legacy of Thieves Collection, a 2022 game, which costs $49.99 / £44.99 / AU$74.95, and the list goes on.

At CeX, GameStop, and multiple other video game retailers, games of their caliber will cost significantly less, without needing a sale or discount to make them affordable for consumers.

That affordability is seemingly what Sony is also trying to eliminate alongside game ownership. Streamlining all PlayStation game purchases to its PlayStation Store ensures you can't find a cheaper deal for a game anywhere else. If that doesn't sound monopolistic, then I don't know what does.

Sure, there will likely still be cheaper options via video game retailers for 'physical' games with a code in a case. However, the fact that discs will no longer exist for games will instantly discourage gamers from opting for those so-called 'physical' editions, since ownership will be out of the equation.

It's always been more expensive to pay for games digitally than it has been to buy them second-hand — especially with constant price increases and few steep discounts — and once second-hand games are gone in 2028, there will be no going back.

To make matters even worse, Sony is also shutting down the PS3 and PS Vita stores in 2027, leaving PS3 and PS Vita owners with no possible way to purchase any of the games on those two platforms.

Announcing such a drastic move at the same time as informing gamers that discs will cease to exist on PlayStation does the exact opposite of instilling faith in consumers that buying digitally is the right move.

When the PS5 or any other future PlayStation console eventually becomes a retro console, Sony may very well do the same thing and close the platform's store. Without discs or hard copies of games, you can essentially kiss them goodbye for good.

The warning signs have been there all along; physical media, specifically within the gaming industry, has seen a steady decline over the years, with publishers and game studios of particular games opting for digital releases, and on some occasions, later releasing physical editions.

As Hideo Kojima, a veteran gaming designer, once said, "eventually, even digital data will no longer be owned by individuals on their own initiative". That reality is now here — and unless gamers stand up to Sony's anti-consumer practices now, it'll be too late once 2028 arrives.

• Sony plans to halt physical game production by January 2028
• Analysts say the announcement telegraphs that the PS6 will arrive in 2028
• It's predicted that the console won't have a disc drive

Following Sony's announcement that it will halt production of physical games within the next two years, analysts have determined that the next-gen PS6 console will launch in 2028.

According to Ampere analyst Piers Harding-Rolls, PlayStation's all-digital plan "telegraphs quite a lot of information about Sony’s plans for its next-generation console, the PlayStation 6," including a release window.

"We believe this almost certainly guarantees that the PS6 won’t arrive until 2028 at the earliest," he predicted, adding that the "current expectation is that the console will launch at the end of 2028."

Harding-Rolls also suggests that "at a minimum," the standard version of the PS6 won't have a physical media disc drive because Sony will be looking for ways to reduce the cost of its next-gen hardware, and "this is an easy win."

"It’s possible that an add-on disc drive could be made available to play older PS4 and PS5 games on disc," the analyst added.

"Removing the drive will upset some gamers that don’t want to pay for an add-on disc drive (if available) and that want to access their game collections on disc. It may be too impractical or too complex, but some process of transferral for older physical media to a digital license could alleviate some of these issues."

Whether the PS6 will be a console like the PS5 is yet to be known; however, recent comments from Sony Interactive Entertainment CEO Hideaki Nishino seem to suggest that the next-generation PlayStation console could be a handheld.

Nishino said, "For the next-generation platform, rather than simply serving as an alternative to PCs, we aim to deliver value that is unique to PlayStation," which would include "technological advancements but also an expansion of usage styles, enabling a seamless experience that can be enjoyed naturally beyond the living room."

New reports have claimed that Microsoft is also moving away from physical media.

It's said that the company is testing a disc-to-digital feature for existing consoles and could release a next-gen Project Helix console without a disc drive.

PlayStation has announced that it will end the production of disc releases after more than 30 years of physical games, confirming that everything that you buy will be digital-only from January 2028 onwards.

There will inevitably still be some new games on sale in stores, but likely only empty cases containing printed download codes. It's devastating news for physical game collectors and those skeptical of digital ownership, but also likely to sting for all PlayStation fans.

There's nothing quite like the feeling of getting your hands on a physical game and almost everyone will have a favorite, not to mention fond memories of scrounging money to buy them or receiving them as gifts as a kid.

That's why I've asked every PlayStation gamer on the TechRadar team to look back on some of their favorite physical releases for a final, teary-eyed send-off.

Hidden secrets revealed

I’m all for great cover art, but the PlayStation case I’ll always remember is that of the original Metal Gear Solid from 1998. That’s because the back of it contained a crucial clue for the game that stumped me for an embarrassing amount of time.

“You should contact Meryl by Codec,” Colonel Campbell says at one point during the stealth classic. “Wasn’t her frequency written on the back of the CD case?” It took a few hours (possibly days) for me to realise that he meant the game’s physical case, where a tiny screenshot reveals that life-saving frequency.

As much as I enjoyed fighting Psycho Mantis and creeping around under cardboard boxes, it was this moment that made me doff my cap to the game’s designers — and it’s sadly the kind of dovetailing between games and the physical world that just won’t be possible from 2028.

Mark Wilson, Managing Editor, News

Please insert disc 2

I've been on one PlayStation or another for around 25 years. I've got fond memories of unwrapping physical releases, poring over manuals and physical maps of digital locations, and I'm genuinely emotional at the prospect of the era of physical releases, buying resold games cheaply, and owning your own damn games (not just the license) coming to an end.

Perhaps my favorite physical disc memory is playing through Final Fantasy 9 while sharing a controller with my friend. I was around nine years old.

The party suffered Beatrix's ultimate move, the screen went black... and up came the "Change to Disc 2" message. We freaked out - I think both of us had forgotten this was a multi-disc game.

Matt Evans, Senior Editor, Fitness, Wellness & Wearables

Pour one out for the creamiest PS4 cover

I have an entire bookshelf of PS5 and PS4 games, but there’s only one with cover art that looks like a guy drowning in… cream. (I have been reliably informed that I will get in big trouble for suggesting it looks like anything else, so I leave that entirely to your own imagination.)

I’m, of course, talking about The Evil Within 2, with its striking front that depicts troubled detective protagonist Sebastian Castellanos immersed in a sea of milky fluid. He looks so peaceful, eyes shut as if asleep and his hands clasped together almost in prayer — a perfect reflection of the game's dream-world setting and undercurrent of religious themes.

It’s the kind of cover art with layers that you can only truly appreciate if you have it in your hands. There’s a creepy monster looming just over his shoulder, reaching up to pull him deeper into the nightmarish stew, and the outlines of floating skulls to really emphasize the threat.

It tells you everything you need to know about the game inside: this man is in imminent danger, and you need to get him out.

Even so, my absolute favourite detail is one that most would miss. The artwork is entirely monochrome aside from Sebastian’s wedding band, which glows gold on his ring finger. A little symbol of familial warmth and hope among all the sterile, creepy white. It’s only fitting; this is a game about going through hell to save your daughter, after all.

Dashiell Wood, Gaming Editor

Flushed to bits with Balatro Special Edition

Balatro was easily my favorite game of 2024, and even now I’ll dip in to play more — either to see how deep into a run I can venture, or to slowly chip away at Completionist++.

I picked it up digitally a little after launch, but when the Special Edition debuted with a physical disc and a handful of real cards from the game it was an immediate buy for me. Even if it meant I’d own it twice on PS5.

Admittedly the box is a little lackluster — the jokers are an odd selection, and considering it’s more of a collectible I would have loved a retro-style book insert to have been included — but I do love the cover art despite its simplicity, and I mostly saw picking up the game again as just a way to show the LocalThunk-made masterpiece some well-deserved extra appreciation!

(P.S. Bonus shoutout to the holographic cover art of Kingdom Hearts 2 on the PS2, that, combined with the Tetsuya Nomura-drawn art, was peak 2006-cool).

Hamish Hector, Senior Staff Writer

RIP Rockstar's iconic maps

Ironically, some of my favorite physical releases have been from one of the companies that’s being partially blamed for this disc-less future: Rockstar.

Rockstar’s move to not include an actual disc in the ‘physical’ release of GTA 6, instead just having a download code, means the biggest game of the generation, maybe even of all time, won’t really be having a physical release, and Sony’s announcement makes that seem especially bleak.

Buying a physical edition of a Rockstar game used to be a joy, as they often came with a fold-out map.

I used to love putting the disc in to install the game, then poring over the map, marvelling at the ever-expanding size of the titles and trying to figure out secrets and cool places to visit.

It was part of the experience, almost like you were preparing to vacation in the world. I remember doing it with the first ever GTA game on PC, right up to Red Dead Redemption 2 on PS4, which, sadly, is likely to be the last time I open a physical Rockstar game...

Matthew Hanson, Managing Editor, Core Tech

Even the ugly covers can be winners

Ico is a truly gorgeous game. The art style is absolutely perfect as an accompaniment to leading Yorda through the game’s world and fighting off the shadow monsters trying to kidnap her. And the box art in Japan and Europe nailed its atmosphere to perfection.

I owned the original cardboard case, which featured this gorgeous sleeve, an inner case with Yorda contrasted against a black tunnel and a range of art postcards conveying stunning moments from the game. Any time I slipped it open and removed the disc to place into the PlayStation, it was like I was entering the game’s mysterious castle step-by-step and made it feel like a living artwork.

Which is why it will never not be funny to me that this is the artwork Sony used to promote the game in the US. Rather than the tender, minimalist puzzler you’re actually getting, it looks like it’s advertising a straight-to-video 90s horror about a haunted windmill.

It’s the kind of embarrassing thing you whip up when you first discover Photoshop, decidedly not the kind of thing you release to a market of 300 million people, and for that I will always find it highly amusing.

Josh Russell, Reviews Editor

The best things in life are freebies

Cyberpunk 2077 is my favorite physical PlayStation game I own.

Outside of clocking hundreds of hours exploring Night City, I love it because it came with so much more than just the game’s disc, meaning my copy of Cyberpunk 2077 is a real collectors item for fans of the beloved RPG.

I enjoy collecting video game artwork and this release came with crammed with postcards, stickers, a game map, and a world compendium full of important lore. There’s something just so satisfying looking through all that whilst a game downloads, you’ve got everything you need to know about Night City in there without needing to even get out your phone.

This is a sad day for those of us who love physical video game collectibles, and even a freebie as small as a stack of postcards can make you feel like you’re buying something special. Cyberpunk 2077 has truly gorgeous aesthetics and so I’m glad I was able to get my hands on some free artwork back when I bought the game.

It’s a shame that future games might not get the same treatment.

Lucy Buglass, Senior Entertainment Writer

The last of these?

Having missed out on picking up any special editions over the PS3 and PS4 generations, it's the PS5 where I have really been able to treat myself to some special, and now favorite, physical editions of games.

Chief among them are both the collector's editions of The Last of Us titles on PS5: the WLF Edition of The Last of Us Part 2 Remastered, and the Firefly Edition of The Last of US Part 1.

Not only are these spectacular editions in their own right with wonderfully arranged boxes and layouts, fantastic steel books and a host of physical goodies to peruse, they mean more to me because I couldn't get special editions of both when they first came around.

They're in a box right now due to an impending house move, but these will be front and centre in my new office shelving units when I get the chance to display them in all their glory.

Hopefully, Sony finds a way to keep collector's editions like these going, though a large part of me will be very sad that there's no actual disc inside...

Rob Dwiar, Managing Editor, Gaming & Streaming

Unboxing a beating

I’ll admit I’m not really a big collector of physical copies of games these days thanks to the ease of digital downloads.

This was different back when games used to come in cardboard boxes or stuffed DVD cases, and had things like maps or chunky manuals with extra lore in them. There is a caveat though, as throughout the PS3 and PS4 eras digital downloads for games often cost much more than their physical counterparts, leaving me with a small selection of boxed PlayStation titles — my favourite being Bloodborne.

There’s nothing more than the disc and a leaflet touting Until Dawn and The Order 1886 inside, but it’s the stark cover art that stands out, with the ‘hunter’ facing away from the viewer, saw cleaver and blunderbuss in hand, against a contrasting white-grey background.

To me this represents the grim, dark journey Bloodborne takes you on: a blood-soaked path that marked a distinct departure from the Dark Souls series while still feeling like a game only FromSoftware could nail.

The physical box gained an almost ritualistic feel for me. In the odd event that the disk wouldn’t be in my PS4, I’d have to take it out of the box with the cold, grim hunter on the front greeting me with the familiar feeling that I’ll have to slash, parry, dodge my way through Yarnham time and time again as Father Gascoigne gives me a pasting. How I hated it, how I loved it.

Roland Moore-Colyer, Managing Editor, Buying Guides

Still hanging on to this one

Without a shadow of a doubt, Uncharted 2: Among Thieves is my favorite video game cover of all-time. It will forever sit at the forefront of my memory when reminiscing about the PS3.

Not only is the game itself an all-time great, but its cover art represents so much of the game’s excellence, with the very train sequence that it’s depicting later inspiring games like and Stellar Blade and even movies such as Mission Impossible: Dead Reckoning (even though its director swears it's not, it definitely is).

It’s sad to say goodbye to physical games, and here’s hoping that the backlash forces Sony to rethink its choice — but I’ll never forget the Uncharted 2 cover art for encapsulating just how amazing the PS3 era of gaming was.

Isaiah Williams, Staff Writer, Computing

• Sony has announced that the PlayStation 3 and PS Vita storefronts will soon shut down
• They will close next month in some regions, and next year in the UK, US, and Australia
• The news comes as the company announces the end of physical disc production in 2028

If today's news that PlayStation will stop producing physical game discs in 2028 wasn't bad enough, the company has also quietly announced that it will be closing the PS3 and PS Vita storefronts soon.

On the official PlayStation Blog, the company argues that the decision was driven by the fact that these old systems "are no longer able" to support "modern commerce systems" and current payment processing standards.

"PS3 and PS Vita represent an important era in our PlayStation history, so this was not an easy decision for us to make" the post says.

The storefronts will not be wound down immediately. It will be discontinued next month in Mexico, Honduras, and Nicaragua, then "additional Latin American and Middle Eastern countries" later in 2026.

For those in the US, UK, and Australia, the PlayStation Store will go offline on PS3 and PS Vita in July 2027. That gives you roughly a year to make any final digital purchases if you still have those consoles lying around.

Importantly, Sony does at least say that "players will still be able to download previously purchased content" once the stores are offline for "the foreseeable future" so it sounds like you at least won't lose access to anything that you have bought.

The reactions to the news in the comments have been overwhelmingly negative, with one PlayStation fan writing that "This is why physical media matters. More and more proof that you’re just buying a license that can be taken away whenever companies feel like it."

Another wrote: "Just stripping out everything today from us huh?! How much money is enough for you guys to not make everything worse?"

• PlayStation has announced that it will not release games on physical discs from January 2028
• This comes days after GTA 6 pre-orders were digital or code-in-a-box orders only
• Decision looks to pave the way for a digital-only PS6, probably releasing in 20-28 at the earliest

PlayStation has today announced that no new PlayStation games will be released on physical disc from January 2028 onwards.

In a huge blow to the concept of physical ownership, the gaming giant has said this move is "a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs" in a new PS blog post.

It goes on to argue that, "This transition will enable us to align more closely with how most of our community prefers to access and play games today."

The move is unlikely to be popular with fans and particularly with game collectors, and comes just days after the disc-less GTA 6 pre-orders, which saw Rockstar ditch the disc in favour of code-in-a-box game box releases.

Not only this, but this decision also comes a matter of days after PlayStation removed some movies that console owners had bought digitally from their libraries with no compensation.

It all points to a digital-only future, with a physical disc drive only being useful for games released before January 2028 on PlayStation. Sony's next PlayStation console being digital only by default now seems very likely.

It's a far cry from Sony's famous dunk on the PS4's competitor, the Xbox One, at the beginning of the last console generation, when the latter appeared to be announced with a function that would block resale and sharing of physical games. Microsoft quickly rowed that back.

The under-30-second video clip published by PlayStation has been viewed millions of times and is part of a series of famous 'wins' for PlayStation's console over Microsoft's back in 2013 that set the scene for that generation — and beyond — and is part of gaming folklore.

Now, however, it's all changed. This decision will further bring the concept of owning one's own games under scrutiny when publishers and platform holders will simply retain the right and ability to pull the plug at will, with consumers not necessarily owning a copy of the game they bought.

How do you feel about Sony's decision to no longer release any new PlayStation games on physical discs from 2028? Vote in the poll below or leave a comment.

• PlayStation CEO Hideaki Nishino has suggested the brand's next console could be a handheld ir hybrid
• He said Sony wants to break the perception that "PlayStation equals the living room"
• Nishino added that the next-gen console will offer "a seamless experience that can be enjoyed naturally beyond the living room"

New comments from Sony Interactive Entertainment CEO Hideaki Nishino seem to suggest that the next-generation PlayStation console could be a handheld.

During a recent Q&A published by Sony (via IGN), Nishino was asked how Sony plans to bring back users who migrated to gaming PCs during the COVID period and if the company sees potential for significant changes with the next-gen console.

Nishino responded, saying that PlayStation "has long been strongly associated with the idea of playing in the living room." However, in recent years, gamers have been using personal monitors elsewhere in their homes, so Sony is now selling peripherals such as monitors and speakers "to break away from the fixed perception that 'PlayStation equals the living room' and to broaden usage scenarios."

This is when Nishino hinted at the next-gen console, which we expect will be the PS6.

"For the next-generation platform, rather than simply serving as an alternative to PCs, we aim to deliver value that is unique to PlayStation," he said. "This includes not only technological advancements but also an expansion of usage styles, enabling a seamless experience that can be enjoyed naturally beyond the living room."

It's this comment in particular that suggests that Sony is looking to shift gears and perhaps create a console similar to the Nintendo Switch 2.

The CEO made similar comments in a recent interview Famitsu, during which he said Sony wants to leverage tech "that can be used in various forms and locations."

Nishino confirmed that the company plans to continue focusing on consoles, saying, "My belief that a console is necessary for playing games hasn’t changed," adding that Sony "wants to continue providing its own game consoles."

He added that "pick up and play" is the most important quality for consoles nowadays, making one think of the Switch 2.

Rumors of a PS6 handheld have been circulating for some time. According to a reliable insider, Moore's Law is Dead, Sony will launch its next-generation PlayStation with three devices in 2027, including two consoles and a companion handheld.

• Grand Theft Auto 6 is selling eight times faster on PS5 than Xbox says IGN
• Xbox disputes this, however, in a statement to Windows Central
• This potential bad news comes just as Xbox announced console price hikes

IGN has reported that, based on its internal affiliate data, Grand Theft Auto 6 preorders on PS5 are surging ahead of Xbox preorders of the game at a rate of eight to one — Xbox is now saying this is far from the full picture. Though, I have a hard time believing Xbox is doing a heck of a lot better than this data suggests.

In a statement to Windows Central, an Xbox spokesperson explained that “This doesn’t represent pre-order data. We’ve had record orders. People should wait for real data and not clicks on affiliate links."

Now, I don’t doubt that GTA 6 is selling gangbusters everywhere it’s playable, leading to “record sales.” Grand Theft Auto 5 is considered the third-best-selling game of all time — trailing only Minecraft and Tetris (though not everyone counts Tetris, as the figures aggregate several versions of the game, and you might see some places calling GTA 5 the second-best-selling of all time). So it tracks that out of the gate GTA 6 would be hugely popular too, and I expect it will only get more popular when GTA 6 Online and the PC port eventually release.

However, Xbox seeing record orders and its preorders lagging behind PlayStation’s aren’t mutually exclusive. In fact, it’s no secret that the PS5 has outsold Xbox consoles this generation, so you’d expect the Sony hardware to have more GTA 6 game sales — though with estimated sales figures sitting at around 95 million for PlayStation to 35 million Xboxes, you would expect a rate of two or three to one, not eight to one.

Is something more going on here as Xbox suggests?

What's going on with GTA 6 sales?

On Xbox’s side of the argument, there are reasons not to extrapolate too much from affiliate link data.

First, people might simply be picking the game up digitally directly from Xbox’s store rather than through typical affiliate partners like Walmart, Argos, and Amazon. Given that GTA 6’s physical edition is functionally identical to the digital version — as there’s no disc, just a download code in a plastic case — there’s little to no advantage to buying from a retail store.

And given Xbox's digital gaming focus with services like Game Pass and multi-platform gaming across consoles, PCs, and PC handhelds (even if GTA 6 doesn’t look set to be a Play Anywhere title at launch), it makes sense that Xbox gamers would be more comfortable (and possibly more likely to shop) at Xbox’s own store compared with PS5 gamers and PlayStation's store.

What’s more, affiliate data doesn’t necessarily mean sales. IGN hasn’t said much on what exactly its data is based on, but if it's affiliate link clicks (as the Xbox spokesperson suggests it is), then that doesn’t necessarily mean the PS5 version is selling eight times more copies, just that links for the PS5 version are eight times more popular.

Gamers could simply be clicking on them more but then not buying the game, or clicking a few times before making a purchase, though I’m not sure why you wouldn’t expect Xbox and PlayStation gamers to be equally flaky on a post-click purchase.

The only final piece of support for Xbox would be if IGN’s audience skewed more towards PlayStation at a rate disproportionate to the overall population’s two- or three-to-one.

Though as a general gaming outlet rather than one dedicated to either side of the aisle, I don’t see that being the case — all I could see happening is IGN’s audience of gaming enthusiasts could be more likely to own both an Xbox Series and PlayStation 5 console, and then with Sony’s promise that GTA 6 “plays best on PS5” they’d be more likely to pick up a copy for Sony’s hardware compared with Xbox’s.

All that’s to say, while IGN’s stats might not be entirely accurate to the final picture, I don’t doubt that PS5 sales of GTA 6 are blowing Xbox’s out of the water. And even if current sales aren’t quite eight-to-one, I wouldn’t be surprised if sales trend in that direction.

My argument here is Xbox consoles are set to get a major price hike effective August 1, 2026, putting the Series X at $749 for the all-digital, and $899 for the disc drive equipped model (price increases outside the US are yet to be confirmed) — a sharp raise on the previous costs of $599 and $649 respectively which are the identical to the equivalent PS5 models.

Sony may announce similar hikes itself — it isn’t immune to the cost increases hitting the whole industry, though its drastically better sales may help it weather the storm for a little longer — but until it does, the PS5 looks like a much better deal. If casual gamers still rocking a last-gen console finally want to upgrade so they can play GTA 6, there will be a clear winner: the PlayStation 5.

There’s still a lot of time before Grand Theft Auto 6’s eventual November 19 release date (I’ll be ready for another delay until it’s actually in my hands), but I don’t think Xbox’s fortunes will turn around dramatically by then.

• 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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• PlayStation boss Hideaki Nishino says "pick up and play" is the most important quality for consoles nowadays
• He says Sony wants to leverage tech "that can be used in various forms and locations"
• The CEO's comments suggest that Sony is looking to rejoin the handheld market

A new PlayStation handheld could be on the table after comments from Sony Interactive Entertainment CEO Hideaki Nishino suggest the company wants to create new hardware similar to the Nintendo Switch 2.

In an interview with Famitsu (translated by IGN), Nishino was asked whether PlayStation plans to continue focusing on consoles, following a past comment he made in 2024 about how hardware won't be disappearing any time soon.

The CEO confirmed it would, saying, "My belief that a console is necessary for playing games hasn’t changed," adding that Sony "wants to continue providing its own game consoles."

But what sort of consoles? Nishino went on to mention that "pick up and play" is the most important quality for consoles nowadays, which instantly makes one think of the Switch 2 or PlayStation Portal.

Nishino continued, saying that developing new consoles will mean Sony will be "leveraging technologies that can be used in various forms and locations" and that this would enable Sony "to create something exciting."

"For example, although the PlayStation brand is strongly associated with playing on the TV in the living room, we’re planning to release monitors and speakers so that people can play comfortably in other locations as well," Nishino said. "We developed the PlayStation Portal as part of this initiative."

The PlayStation Portal is a remote player, allowing PS5 users to play their PS5 games via their handheld device, a challenge Sony took on to create a new kind of gameplay experience, according to Nishino.

"We were thinking, 'Let’s try this, let’s try that,' and I’d like us to move forward with developing products while exploring various ideas in this way," he said.

While the PlayStation Portal is a handheld console, its purpose is built for streaming and cloud gaming, unlike the PSP and the PS Vita.

While the PSP took off and became Sony's biggest handheld ever, selling 70 million units, the PS Vita didn't fare too well, shifting an estimated 15 to 16 million units before it was discontinued in 2019.

If Sony plans to rejoin the handheld market, it will have tough competition if it goes against the Switch 2, which has officially sold almost 6 million units within its first year of release.

A PS6 handheld has been rumored for some time. According to a reliable insider and leaker, Moore's Law is Dead, Sony will launch its next-generation PlayStation with three devices in 2027, including two consoles and a companion handheld.

• The Nintendo Switch 2 is now the second fastest-selling video game hardware in US tracked history
• The console sold 5.9 million units by the end of its first year of release
• The PS5 and Xbox Series consoles have seen a drop in sales due to price hikes

The Nintendo Switch 2 has just hit a huge sales record in the US within its first 12 months of release, but Xbox and PS5 console unit sales have seen a steep decline.

According to a new report from Circana, the Switch 2 was the best-selling hardware platform in both units and dollars for May and 2026 year-to-date, achieving a US install base of 5.9 million units by the end of its first year of release.

This makes the Switch 2 the second fastest-selling video game hardware in US tracked history, behind the Game Boy Advance, which sold 6.5 million units in its first year.

Thanks to the Switch 2, overall spending on gaming hardware has increased by 38% to $249 million, compared to one year ago.

However, due to recent price increases, PS5 spending was down 43% and had a significant 58% drop in unit sales, while Xbox Series hardware spending grew 7% versus a year ago, but unit sales fell by 12%.

As a result, "PlayStation hardware unit sales fell to their lowest May total since May 2000, while Xbox hardware unit sales were the lowest ever recorded for a May month."

Microsoft yesterday announced that, effective August 1, 2026, the price of the Xbox Series X and Series S consoles will increase by $100 for 512 GB models and $150 for 1 TB models. The company will also be sunsetting its 2TB model, a result of the ongoing memory crisis.

• Sony has announced a new camera sensor designed for phones
• It has an unusual pixel structure that improves its resolution
• The company highlights it as being a particularly good fit for telephoto cameras

Telephoto cameras are often a weak link in smartphone camera arrays. Many phones don’t offer them at all, and those that do often use smaller sensors or fewer megapixels than their wide and ultra-wide counterparts. But a new Sony sensor could deliver a big telephoto upgrade if the best camera phones incorporate it.

The Sony LYTIA 610 is the industry’s first mass-produced sensor to have an ‘RB2×2 On Chip Lens (OCL) pixel structure.’ We won’t get too weighed down in technical details, but the upshot is that, according to Sony, this design achieves both “improved resolution and excellent autofocusing” at the same time.

There’s a greater than 20% improvement in spatial resolution (meaning its ability to resolve fine details) compared to conventional Sony sensors with the same pixel size, and the company specifically highlights telephoto cameras as benefiting from all this.

Plus, this sensor also offers an improved readout speed, allowing for 4K 120fps video recording and 4K 60fps HDR recording. So it could prove beneficial for videos as well as photos.

Reducing the performance gap

Sony also notes that this sensor “reduces the performance gap with the large sensors used on main cameras and suppresses variations in image quality across multi-lens camera systems, enabling a more uniform shooting experience.” So, in other words, if this is used for telephoto cameras, then you’re less likely to get noticeably inferior shots than when taking wide or ultra-wide photos.

This is all achieved without increasing the sensor or pixel size from Sony’s more conventionally designed LYTIA 601 sensor, which some phones currently use for their telephoto cameras. Potentially, then, this new sensor could deliver improved results without much of a price hike or a larger space requirement.

Of course, it remains to be seen which, if any, phones will actually use this sensor, but aside from Sony’s own Xperia handsets, you’ll also find Sony cameras in at least certain phones by Google, Xiaomi, and even Apple, among other brands. So there are any number of future handsets that could potentially get a telephoto boost from this sensor.

• Multiple Sony devices will lose access to streaming services and Google Cast
• AV receivers, Blu-ray players, soundbars, wireless speakers and more
• Effective November 17, 2026

Something we've learnt the hard way over the years is that pretty much any product with an online component will lose it eventually. Server shutdowns have affected everything from multiplayer games to the ill-fated PlaysForSure music platform, and now it's coming to Sony products.

Like Bose earlier this year, Sony is shutting down servers for some of its audiovisual products. But unlike Bose, which went to great pains to enable people to maintain as much functionality as possible, Sony's devices will lose many core features as a result.

The changes aren't immediate — they won't come into place until November 7th, 2026 — but they apply to a lot of models including AV receivers, Blu-ray disc players, speakers and soundbars. The full list of affected devices is available on Sony's website, but we've included it at the end of this article too.

What Bose did, and what Sony isn't doing

Earlier this year Bose discontinued online support for its SoundTouch speakers first introduced in 2013. However, the speakers themselves remained fully functional and while Bose's own SoundTouch streaming was switched off, AirPlay and Spotify Connect would continue to work.

Sony's changes are more severe. From November, the following services will be unavailable on affected devices:

• Amazon Prime Video
• Google Cast
• Netflix
• Pandora
• Slacker Radio
• Spotify
• Vudu

As Sony explains, from November "access to supported network services will no longer be available on affected models [and] any downloaded network services may no longer be accessible on affected models… we apologize for any inconvenience and appreciate your understanding."

While most of the affected models are elderly, there's a lot of them: nine soundbars, 16 AVRs, 17 Blu-Ray players, multiple Blu-Ray home theater systems and five sets of wireless speakers. That means the service shutdown is likely to affect quite a lot of people.

Which Sony products are affected by the 2026 shutdown?

Audio and Micro Component Systems

• CMT-MX700NI
• HAP-S1
• HAP-Z1ES
• MAP-S1
• NAC-SV10

AV Receivers

• STR-DA1800
• STR-DA2800ES
• STR-DA3700ES
• STR-DA5700ES
• STR-DA5800ES
• STR-DN1020
• STR-DN1030
• STR-DN1040
• STR-DN1050
• STR-DN1060
• STR-DN1070
• STR-DN1080
• STR-DN840
• STR-DN850
• STR-DN860
• STR-ZA810ES

Blu-ray Disc Players

• BDP-BX18
• BDP-BX37
• BDP-BX38
• BDP-BX57
• BDP-N460
• BDP-S185
• BDP-S270
• BDP-S280
• BDP-S370
• BDP-S380
• BDP-S390
• BDP-S470
• BDP-S480
• BDP-S570
• BDP-S580
• BDP-S770
• BDP-S780

Blu-ray Disc Home Theater Systems

• BDV-E280
• BDV-E370
• BDV-E470
• BDV-E570
• BDV-E580
• BDV-E770W
• BDV-E780W
• BDV-E870
• BDV-E880
• BDV-F7
• BDV-HZ970
• BDV-IZ1000W
• BDV-L600
• BDV-T28
• BDV-T57
• BDV-T58

Media Players

• FMP-X10
• SMP-N100
• SMP-N200

Soundbars

• HT-CT790
• HT-CT800
• HT-NT3
• HT-NT5
• HT-RT5
• HT-ST5000
• HT-ST9
• HT-XT2
• HT-XT3

Wireless speakers

• SA-NS310
• SA-NS410
• SA-NS500
• SA-NS510
• SRS-X7

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

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

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

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

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

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

Sony Bravia 6 A60: what we know so far

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

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

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

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

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• Sony says the FlexStrike Wireless Fight Stick is designed for beginner fight-stick users in mind
• PlayStation’s Vice President of Product Development, Edwin Foo, says it's for "those people who have grown up with the DualSense and gamepads"
• Foo adds that the market is already "pretty well served" for experienced users

Sony is launching a brand-new PS5 peripheral, the FlexStrike Wireless Fight Stick, designed specifically for fighting games but also for beginner players who lack fight stick experience.

TechRadar's senior reviews writer Harry Padoan got the chance to test out the new Sony fight stick ahead of its launch this year, and spoke to PlayStation’s Vice President of Product Development, Edwin Foo, who said that it's designed for first-time fight stick users.

When asked why Sony would target the former audience, Foo explained that there are two reasons, the first being that beginners deserve a chance to experience a fighting stick too.

"We [Sony] think it’s an experience that those people who have grown up with the DualSense and gamepads deserve to give a shot. It’s another way to play," Foo said.

The second reason is that Sony is aware that the market is already saturated and targeted towards seasoned fight stick users.

"We think the market is actually pretty well served already for people who already know and love fight sticks and have already made their choice, so to speak," he said.

The FlexStrike Wireless Fight Stick is slated to launch on August 6, 2026, for $199.99 / £179.99, with pre-orders starting on June 12.

Padoan writes that the fight stick "hits the right notes" performance-wise when tested against Marvel Tokon: Fighting Souls, is "approachable and straightforward to use," and "offers ultra-low latency in both wired and wireless capacities."

"One more thing that struck me about the FlexStrike was how secure and ergonomic it was to use," Padoan said. "The model’s tilted, textured base kept it fixed in place on my lap; it never seemed as if it was slipping off, and its lightweight construction kept it feeling comfortable in use."

Sony is bringing a wireless fight stick to new audiences with its upcoming FlexStrike Wireless Fight Stick. The tech giant is looking to pitch its new PS5 peripheral to those who have never owned a fightstick before — perhaps those who grew up with gamepads rather than arcade cabs — as well as relative newcomers to the fighting game genre.

Why? Well, to find out, I sat down with PlayStation’s Vice President of Product Development, Edwin Foo — a man who has overseen the development of products like the PlayStation Portal and Pulse Elite Headphones. I also got to try out the FlexStrike Wireless Fight Stick for myself — and I’ve got the lowdown on its price, release date, and more.

So, here’s everything you need to know about the FlexStrike Wireless Fight Stick, and how I rated my time with the new PS5 peripheral.

Enter Sony’s beginner-friendly FlexStrike

Before we get into the details, allow me to introduce Sony’s new fight stick. The FlexStrike Wireless Fight Stick can be used without a cable via PlayStation Link or wired via USB-C. I was told that the model offers 4ms latency when connected over PlayStation Link — favored over Bluetooth for its highly stable and speedier connectivity.

The model features a custom-built digital stick, which is fairly short — for an ergonomic yet fast and responsive feel. Pair that with well-sized buttons featuring mechanical switches, and you have a very solid foundation to work from.

But who exactly is this for? For Foo, this model is squarely aimed at fight stick first-timers — those who have grown up using gamepads rather than arcade cabs — but also newer fighting game fans.

He was keen to highlight how a lot of models boast an almost intimidating array of buttons, and can be pretty hefty to boot. The FlexStrike’s simplistic layout makes it more approachable, and its ergonomic design is ideal for people who just want to “pick it up, put it in their lap, and play,” he said.

But this got me wondering: why would Sony target players who are new to fight sticks, rather than more experienced fighting game fans? For Foo, this came down to two key reasons. The first, he said, is that “we [Sony] think it’s an experience that those people who have grown up with the DualSense and gamepads deserve to give a shot. It’s another way to play”. The second, he said, is that “we think the market is actually pretty well served already for people who already know and love fight sticks and have already made their choice, so to speak”.

Getting hands on

After chatting away about Sony’s upcoming peripheral, I was given a chance to try it out for myself. We loaded up the upcoming fighter Marvel Tokon: Fighting Souls, and both my opponent and I picked up a FlexStrike each. Interestingly, you can connect two of Sony’s fight sticks up to a single dongle and maintain ultra-low latency.

Now, time for a confession. I kinda suck at 2D fighters. I enjoy the odd bit of Guilty Gear or Street Fighter, but I am by no means up to competitive standards, and inevitably, I got my butt kicked.

However, I did get to experience everything the fight stick had to offer, and I found it really pleasant to use.

First of all, let’s talk about the control stick. Its relatively short stature made movement feel incredibly snappy and responsive, and I never suffered from pesky mis-inputs or anything. The click of the stick moving was satisfying and relatively light — it wasn’t obnoxiously loud or distracting, and Sony found a great balance in my view.

It was a similar story for the buttons, which felt tactile and reactive, and were placed in a convenient way to ensure maximum comfort. I never felt like I was overstretched, and the layout felt very beginner-friendly — ideal for the target audience. I also appreciated a lock button on the fight stick, which prevents you from accidentally triggering buttons like options or pressing the ‘PS’ button — after all, accidentally pausing the game can be grounds for disqualification in some competitive situations.

One more thing that struck me about the FlexStrike was how secure and ergonomic it was to use. The model’s tilted, textured base kept it fixed in place on my lap; it never seemed as if it was slipping off, and its lightweight construction kept it feeling comfortable in use.

Final thoughts: a well-made model, but a slightly tough sell?

Performance-wise, I think this model hits the right notes, especially for the target market. It's approachable and straightforward to use, and offers ultra-low latency in both wired and wireless capacities. Something I also discovered is that the model has a battery life of 40 hours, which is very solid indeed, and means you won’t have to charge it very often at all — another user-friendly feature.

But something that may prove to be a point of contention is the FlexStrike’s price. Sony told me that the upcoming peripheral will launch at $199.99 / £179.99. And while that’s not extortionate, I do think that the intended audience — i.e., fight stick newcomers — may feel that the cost is hard to justify.

Although it’s high in quality and has welcome features such as a carry case with a protective slot for the stick, and mechanical switch-powered buttons, almost $200 / £180 is quite a bit to spend on a peripheral — especially one that some will find not essential for play.

Having said that, Sony told me that the FlexStrike will release on August 6, 2026 — the same day as Marvel Tokon: Fighting Souls, meaning that a lot of new players could be tempted to go all in on the ultimate fighting game setup. Foo told me that there are no plans for a game and fight stick bundle on day one, but if we saw bundles in the future, that could be an effective way of shipping more controller units.

But what do you think? Do you see the FlexStrike Wireless Fight Stick being a success? Are you excited to try it out for yourself? Be sure to let me know in the comments!

The FlexStrike Wireless Fight Stick will release on August 6, 2026, and pre-orders will start on June 12.

Sony’s new Pulse Elevate speakers are aiming to bring “lifelike desktop audio” to your gaming sessions and beyond, and I travelled over to PlayStation’s UK headquarters in London to try them for myself.

I got to experience their in-game audio capabilities, music streaming skills, and even talk to PlayStation’s Vice President of Product Development, Edwin Foo, about the speakers’ creation process.

But just how good are the Pulse Elevate? And what exactly sets them apart from the swathe of competing desktop stereo speakers? Here’s what I think after my time with the upcoming product.

Sony’s new speakers: an overview

The moment that Edwin and I sat down with the Pulse Elevate, he responded to a question that he already knew I’d ask: “Why would we [Sony] need to make [desktop] speakers?” The answer came in two parts.

First of all, he said, since the release of the PS5 in 2020, Sony has identified a significant and growing portion of the user base that is not playing “in front of a TV on a couch,” but instead, while sitting at a monitor. “We realize that this trend is growing and we really need to acknowledge it,” Foo told me.

And the second part of the answer, he revealed, was that Sony felt that the display side of the desktop gaming equation was already well-served. “There are just lots of options out there for monitors,” Foo said. “But we realized that the audio portion of that experience could use some help”.

For many, relying on monitors for audio won’t be an option — many aren’t equipped with speakers in the first place, and when they are, they’re often pretty poor.

But Foo was also keen to highlight how headphones or headsets might not be a great alternative for some gamers, citing issues such as discomfort, ears overheating, and isolation from the rest of the household.

Headphone-like immersion on your desktop

Instead, Sony felt that speakers were the way to go — but it wanted to ensure that players could almost recreate the immersive experience of using headphones. Foo’s team was responsible for the Pulse Elite headset, released in 2024. And a lot of key tech from that model has been placed within the new Pulse Elevate.

The first example is PlayStation Link, Sony’s proprietary ultra-low-latency tech, which is ideal for gaming — and an important inclusion given that these speakers cannot be used wired; they either sit on charging docks or can run off the dock for 12 hours, according to Foo.

The second technology carried over is the Planar magnetic drivers, and this is the exciting stuff. These studio-inspired drivers offer tremendous accuracy and directionality, which makes them ideal for gaming, where you want a precise sense of where specific sounds are emanating from.

It’s worth mentioning that both speaker units also have a built-in woofer, which provides punchy, almost cinematic bass. Sony says that with the woofers and planar magnetic drivers combined, users can enjoy “a varied soundscape that’s perfect for desktop gaming”.

Sound check

After getting the lowdown on the Pulse Elevate’s inception, it was time for me to give them a go. I sat down at a desk, placed the speakers into their raised position, and entered a demo of Ghost of Yōtei.

This demo contained a story overview from 2025’s State of Play deep dive, and was very dialogue-focused. A narration running throughout the demo came through with exceptional clarity, never getting drowned out by music stirring in the backdrop or impactful bass. But it was in my second demo where I got a real taste of the Pulse Elevate’s full capabilities.

Yes, I got the chance to play the opening segment of Saros using the Pulse Elevate, and this is where the speakers impressed me most. When running through the environment, I was blown away by the directionality of ambient effects beside me, as well as enemies flying up and overhead. In addition, gunshots sounded agile and concise, rather than muddy or shrill, while dialogue remained well-balanced in the mix.

The planar magnetic drivers go a long way in providing precise stereo imaging, but there’s also Tempest 3D AudioTech on board, which endeavours to conjure up immersive surround sound for games that support it.

As well as gaming, I got to try listening to some music, which you can stream via Bluetooth on the Pulse Elevate for ultimate convenience. We tuned into Stay by The Kid Laroi and Justin Bieber, and I was impressed with the bass output of the speakers as well as the energetic percussion.

We’ll need more time to test the speakers to determine just how good they are — especially for music, but they certainly made a good first impression. However, I’ve not even mentioned one of the best parts about these speakers yet: their noise-rejecting microphone.

With music turned up to the max, Foo spoke a few words, which were recorded at a Teams meeting. When we listened back, the music was totally inaudible, and Foo’s voice came through with spectacular clarity. This really blew me away, as I tested a lot of audio tech with AI algorithms for ‘crystal clear calls’ and they can often be underwhelming. But this works incredibly well, and means you can enjoy in-game audio while talking to your pals without any compromise in terms of speech clarity.

Talk about a first impression

I have to say, I was pretty impressed by the Sony Pulse Elevate during my time with them. They offered an impressive sense of space while retaining clarity across the frequency range, and their noise-reducing mic feels very well equipped for online gaming.

There are some slight compromises; for example, Foo told me that the speakers don’t support LDAC, and with no wired alternative, that means that true hi-res audio is off the table. Still, the AAC codec is supported, and with a good quality signal, that can often be enough to deliver outstanding audio.

The planar magnetic drivers are also a fantastic inclusion, and I felt that they captured the feeling of headphones for desktop gaming to great effect. Again, though, we’ll need to test them for an extended period to get the full picture.

One more thing I’ll say is that I like the design of these. They can stand flat or raised, depending on your preference, and they easily slot on or off their charging docks. Their sloped appearance is also pretty eye-catching, and they look classy in both of their color variants: Midnight Black or White.

Some details remain unknown, such as the speakers’ price — which Foo was unable to tell me just yet — as well as their release date. However, Sony previously touted them for a 2026 launch, so hopefully we can get our hands on them sooner rather than later.

As we draw towards the end of another week, it's time to look back at the stories that shaped the technology landscape over the last seven days — collected here for your convenience in our regular In Case You Missed It (ICYMI) round-up.

A lot has happened, as is always the case. The Pope weighed in on the pros and cons of AI, we looked at new gadgets from Oura and GoPro, Sony showed off its latest TVs, and Fitbit users were less than happy at being forced to use the Google Health app.

Make yourself comfortable and join us as we take a tour through those stories and more. Once you've fully caught up, you'll be ready for whatever the next week brings.

8. Oura revealed ‘the world’s smallest smart ring’

After much anticipation, the Oura Ring 5 is here, ready to claim the title of being the best smart ring on the market. Compared to the previous model, the new wearable is smaller, lighter, and more durable, while also offering extra battery life — you should be able to go for a week between charges (in our tests, the previous Oura Ring 4 lasted around six days).

There's a lot more to talk about with this new device, too, including the redesigned portable charging case, real-time activity tracking, expanded support for women's hormonal and reproductive health, and the ability to add lab results, such as blood test results, to your profile. We've got all the details here, including the price (which has gone up).

• Read the full story: Oura just unveiled 'the world’s smallest smart ring', the Oura Ring 5 — and members are going to love these 7 upgrades

7. We spent a long weekend with GoPro Mission 1 Pro

The GoPro Mission 1 Pro is a camera that GoPro is hoping will appeal to more serious filmmakers and creatives (hence the Pro in the name), and those with more to spend: it comes with a 1-inch sensor that's capable of recording in up to 8K video resolution, and a rugged design that keeps the camera waterproof up depths of to 66 feet (about 20 meters).

But is it actually any good? To find out, TechRadar's intrepid Senior Staff Writer Hamish Hector took the camera on a long weekend of adventures, exposing it to high May temperatures, sandy beaches, a paddling trip, and more. The verdict is that this is a GoPro that mostly impresses, though several limitations are worth noting.

• Read the full story: I spent a long weekend with the GoPro Mission 1 Pro — it survived heat, sea, sand and a couple of drops, but you need to respect its limits

6. The Jony Ive-designed electric Ferrari got a roasting

The newly unveiled Ferrari Luce is the first electric car from the luxury sports car manufacturer, and it's been designed in partnership with LoveFrom, the company headed by Jony Ive, formerly head of design at Apple. The big reveal of the car has led to a wave of responses online and off, and the majority of them are... not particularly positive.

Various commenters have compared the Luce to a Waymo robotaxi, suggested the design is "worse than I could have ever imagined", and concluded that "Ferrari have absolutely and completely lost their minds." Ouch. Don't take their words for it, though — have a look at the aesthetics of the Luce for yourself (even if it's unlikely that you can afford it).

• Read the full story: 'Somehow worse than I could ever have imagined': the new Ferrari Luce EV is getting a brutal reception, but legendary Apple designer Jony Ive has defended his choices — and there's one key decision most people agree with

5. The Pope warned us all about AI ‘dehumanization’

AI is the biggest talking point in tech at the moment, and Pope Leo XIV has now joined the chat. The Pontiff shared his thoughts on AI as part of his new encyclical, Magnifica Humanitas — an encyclical, a formal document published by the Vatican and traditionally used to address major moral or social issues, in case you were wondering.

It's a long document, but if you want the short version, the Pope reckons that AI threatens to create "new forms of dehumanization", and that its "opaque algorithms" are a worry for humanity and social justice. There are references to the Tower of Babel here, and a warning that AI could be the next folly to lead to disaster for humankind and our faith.

• Read the full story: The Pope just warned AI could create 'new forms of dehumanization' — and his message feels aimed straight at Big Tech

4. Meta started ‘the end of social media as we know it’

Social media platforms aren't particularly pleasant places to be a lot of the time, so how do you feel about paying extra for them? Meta has announced that it's rolling out monthly subscription options for Facebook, Instagram, and WhatsApp — though at the moment, we haven't heard much in the way of details about what you get in return for your money.

Whatever the new plans involve, TechRadar's Editor at Large, Lance Ulanoff, thinks it's a bad idea and that we should expect more and more features to become paywalled as time goes on.

Might end-to-end encryption in WhatsApp eventually become a WhatsApp Plus extra, for example? Or could we see restrictions on free users in terms of posting limits?

• Read our full hands-on preview: Meta's subscription plans are the tip of a terrible pay-to-engage iceberg and may be the beginning of the end for social media as we know it

3. We reviewed ‘the most immersive Bond game in years’

When it comes to Bond video games, everyone thinks immediately of GoldenEye, and then... there's not much else of note really. It looks like that's going to change with the launch of 007 First Light from IO Interactive, which has been acclaimed by reviewers and gamers alike for bringing a high-quality, engaging experience to the Bond universe.

In our own review, which you can get to below, TechRadar Senior Editor Amelia Schwanke says: "007 First Light is perhaps the closest a game has ever come to making me feel like I’m starring in a Bond film... this stylish origin story still feels like a triumphant return for the most iconic secret agent." The game is out now, for PC, PS5, and Xbox Series X|S.

• Read the full review: 007 First Light delivers a blockbuster Bond origin story packed with spycraft, stealth and explosive action set pieces

2. Google outraged Fitbit fans again with new Health app

The Google Health app is now replacing the Fitbit app on Android and iOS, and the Fitbit community isn't happy about it: the new app has been described as "atrocious", "clunky", and "unbelievably bad" across the internet, and there are widespread complaints about fitness data being logged incorrectly and Google's AI coach being less than helpful.

There's no going back, unfortunately, for those who much preferred the design and the flow of the now-replaced Fitbit app. Google has said it will be working on fixing bugs and adding new features to the Google Health app over the coming weeks, but it will take time for these negative user sentiments to be turned around.

• Read the full story: Google Health is getting heat for being 'unbelievably bad' after replacing the Fitbit app — but Google says fixes are coming

1. We finally saw Sony’s first 'True RGB' TV in action

The arrival of new Sony TVs is always worth celebrating, and we've been taking a close-up look at the new Sony Bravia 9 II, Bravia 8 II, and Bravia 7 II models. These are the first 'True RGB' televisions from Sony, making use of an RGB mini-LED backlight: the tech promises an upgrade over mini-LED, through the way that the LCD backlight can adjust its colors.

There's a lot more to know about these TV sets, too, including pricing, which you'll find in the article below. Color range and viewing angles have been improved, as has the anti-reflective technology, and HDR performance is significantly better as well. We've also had time to check out the impressive Sony Bravia Theatre Trio speakers.

• Read the full story: I saw Sony's first 'True RGB' TV in action compared to a studio monitor and Sony's best OLED TV — and based on early measurements, Sony might finally bring 'reference' HDR performance to your home

And why not test yourself on last week’s seven biggest tech stories to see how well you were paying attention? Take the quiz below.

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

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

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

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

Which Bravias are in the Sony range of 2026 TVs?

Let's start with the flagships first.

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

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

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

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

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

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

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

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Sony has just announced the Bravia Theatre Trio, which is a new Dolby Atmos wireless system that splits the difference between a proper surround system and a soundbar, and is particularly designed with huge TVs in mind, to make sure the soundscape is wider than the TV itself — but will be tempting to anyone who wants a physically more separated sound than the best soundbars alone can deliver.

It can also be expanded into a fuller wireless surround setup, and I got to hear this full-force system in action. But first, let's go over the basics.

The Sony Bravia Theatre Trio is, as the name implies, three wireless speakers in a package. It's what home theater fans call an 'LCR' system — meaning left, center, and right channels.

There's a center speaker that's like a mini soundbar, which connects to your TV over HDMI eARC. And there are left and right speakers that look like little pillars with a flat section added to the back, so they can be wall-mounted.

The center speaker has two woofers and a tweeter, while each of the the side speakers each has a woofer and tweeter facing forward, and then an 8cm upfiring driver for Dolby Atmos height channels.

In the simplest terms, this is a 3.0.2-channel system, though Sony says that the system is built heavily around virtualization of more in-depth speaker setups. This initial three-speaker system can apparently mimic 24 phantom channels.

Sony says that it's done some smart stuff with its virtualization tech in the Bravia Theatre Trio, including rethinking how those phantom channels work: they're now designed not just to mimic the placement of a more elaborate speaker setup, but also to mimic the "indirect sound sources" of a cinema room's acoustic signature, including reflections.

So yes, for those keeping track of how psychoacoustic virtualization works, it may be the case that this system is using the reflections of your room to create the sense of an entirely different set of reflections…

To help the system do this as well as possible, it comes with a USB-C microphone that you can use for room calibration. Just plug it into your phone or tablet, fire up Sony's app, and follow the instructions so it can do its best work.

As I mentioned above, this three-speaker core setup can be expanded with add-on rear speakers or a subwoofer as well.

You have two choices of subwoofer: the new Sub 8 is a mid-range option, while the Sub 9 is an absolute massive beast of a sub by lifestyle tech standards. It looks like two Sub 8 units glued together with a vent in the middle, and while Sony didn't confirm the specs, I wouldn't be surprised if that's not far from the truth.

You also have two choices of rear speaker: there's the existing Bravia Rear 8 or the new Bravia Rear 9, which are more or less the same speakers as the front left and right (woofer, tweeter and upfirer combo — in the same design).

Of course, these add-ons will cost you — and the core Bravia Theatre Trio package isn't cheap either. Here's the breakdown of all those options (Sony was only able to provide UK pricing pre-launch and Australian info for the Theatre Trio only, but we'll update with other pricing as we get it):

Sony eats Sonos' lunch

Before I get to my experience of the performance of these speakers, something that immediately struck me is that this kind of setup is what Sonos' users have been begging to company to do for years.

Given that Sonos' whole thing is wireless satellite speakers, its users have asked many, many times (directly and on the r/sonos subreddit) for the ability to use separate front left and right speakers in an LCR setup with its soundbars.

There's even a third-party app that enables this called SonoSequencr, which is quite popular among Sonos home theater enthusiasts.

It seems wild that Sony has offered this before Sonos, and with a better spec list than Sonos can offer, because the Bravia Theatre Trio offers both Dolby Atmos and DTS:X support (Sonos lacks DTS), and has an HDMI passthrough port (supporting 4K 120Hz) so you don't lose an HDMI port by using it.

Of course, if Sonos did end up offering a setup to compete with this, it could have a major price advantage. You can get a Sonos Beam Gen 2 (as the center channel) and two Sonos Era 300 speakers (as spatial audio side speakers) for £1,077 at the time of writing, compared to £2,000 for the Sony system.

And there's also the small issue that in my demo of the Sony system I found it to be quite hit and miss…

Mixing it up

I didn't get to hear just the Bravia Theatre Trio core setup on its own at Sony's event; instead I heard the fullest setup, with the original trio, two Rear 9 speakers, and two Sub 9 subwoofers (though, somewhat oddly, these were placed next to each other rather than spaced for even bass distribution).

In terms of pure physical channels, this is a 7.2.4 setup, but Sony was unable to confirm exactly what the virtualized channel setup it creates using the phantom channels would be — though Sony confirmed that you get 24 phantom channels regardless of how many physical speakers are involved.

First up we watched the big music performance in Sinners at the juke joint. What jumped out straight away is that the system provides a really powerful and warm sound, which is really well suited to the pounding of drums and making the tonality of guitars feel solid and electric.

However, I wasn't that impressed with separation of different elements in the mix, despite all the Dolby Atmos power going on — and in particular I felt that the vocals were more subdued than I'd expect, especially for a system with an actual separate center speaker.

Moving onto the car shoot-out in No Time to Die, the surround and positioning effects got a particular chance to shine. The rear effects were solid, but the side effects were especially impressive considering there are no real speakers there.

Building on that, I thought the way sound moved from the front, around the sides, and to the back was especially impressive — it felt like the sound moved smoothly the whole way, and didn't jump from the front to the back, which is how it can feel in some simple five-channel systems.

But this demo also showed the same apparent weakness with vocals, with dialogue feeling soft and a little muddy even in the quieter moments — and even some of the mid-frequency effects seemed to not pop quite as strongly as they should (I have seen this scene a lot in demos).

The final demo was the first racing scene in Ready Player One, and the system produced a lot of sound and fury all around me here… but I thought there was a slight softness to the fine details that held it back — the very sudden sounds didn't seem quite as dramatically sudden as they should, which robbed them a little of impact, scale and spectacle.

That last point wasn't helped by the fact that in all three demos I noticed that the sound and visuals weren't quite in sync. This isn't uncommon in HDMI ARC-based systems at all, but I don't normally notice it as strongly as I did here — and I think it made a difference when experiencing the crunching crashes of Ready Player One if you see the impacts before you hear them.

Of course, this is far from a review — and I'm really interested to see how just the core Bravia Theatre Trio set performs on its own. But at this early stage, I'm kind of torn: I love the overall concept and the design, but I'm concerned about the high price based on the performance I heard so far.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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• Sennheiser launches Momentum 5 wireless headphones
• Improvements to ANC, feature set and repairability
• Price bumps up against Sennheiser's premium cans

Better late than never, eh Sennheiser? The legendary audio brand took four years to bring its much-anticipated Momentum 5 Wireless to market, but they're finally here — and perhaps just in time to show the recently-released Sony 1000X The Collexion how it's done.

These new cans succeed the five-star Sennheiser Momentum 4 Wireless, which we loved all the way back in 2022, and are still in use today by several members of the TechRadar team. Perhaps the brand was just waiting for its tenancy on our list of the best headphones to end, so it could reclaim the top spot.

Releasing in June 2026, the Sennheiser Momentum 5 Wireless are due to cost $399 / £329 / AU$749, which represents a little price hike from their predecessors. It's much less than Sony's fancy newest headphones — but it's basically right in line with the price of the Sony WH-1000XM6.

It puts them quite close to my favorite headphones from the company, the Sennheiser HDB 630, which sell for $499 / £399 / AU$999 — and I'd personally be tempted by the HDBs. But maybe I'll feel differently once we've actually tried the Momentum 5 Wireless and their new features.

Momentum? You barely know 'em

Sennheiser has given the Momentum 5 a 42mm driver again, like the Momentum 4, but has added certification for Hi-Res Audio, Snapdragon Sound and aptX Lossless codecs. The app also now has an EQ and presets, as well as a listening test.

Improvements come to active noise cancellation (which is now influenced by four microphones, over two in the last pair — but far fewer than the 12 employed by Sony), while Bluetooth is version 5.4 out of the box, but Sennheiser promises an upgrade to 6.0 in the future.

Other features include Dolby Atmos spatial audio with head tracking — we love this on the Sonos Ace, so hopefully it's just as good here.

The battery life is slightly lower than the previous model at 57 hours, but that's only three hours less than the Momentum 4's lasting power, and is still nearly double the 30 hours promised by the Sony XM6 or Bose QuietComfort Ultra Headphones 2nd Gen.

Sennheiser's making a point of repairability for the Momentum 5: apparently, it's easy to use a Phillips screwdriver to remove and replace an ailing battery. Since the battery is often the aspect of gadget which will stop working first, this will hopefully ensure your headphones keeping lasting for years.

There are three color options for the Sennheiser Momentum 5: black, white and blue (or 'Denim', according to the brand). Whichever you buy, you'll get a carry case, USB-C charging cable and 3.5mm headphone cable.

No matter how you shake it, the Sennheiser Momentum 5 don't look like huge reinventions of the fourth-gen model, but that's no bad thing. You can't argue with a perfect review.

Instead, it seems to update some of the Momentum 4 features which haven't aged well in four years, and if the sound's had a tune-up in the right places, we expect these to be pretty damn competitive.

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

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

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

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

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

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

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

Football fan paradise

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

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

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

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

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

A good-looking room

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

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

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

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

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This week, we were treated to Google AI updates galore at Google I/O 2026, and Apple announced the date of its own software showcase keynote: WWDC 2026.

To catch up on all this and more, scroll down to read our highlights of the biggest tech news stories of the week.

But before you go, you might want to test yourself on our tech news quiz…

7. The Trump Phone saga got worse

Last week, we reported on what was hopefully the end of the T1 Trump Phone’s saga: it is being shipped out to customers. Though this week we have terrible news, and that’s the personal data of seemingly everyone who bought one has been leaked, thanks to a security exploit on the Trump Mobile website.

This includes names, addresses, and “everything short of credit card number,” said YouTuber Coffeezilla via his Voidzilla sidechannel (who was one of the people affected by the leak).

This leak also seemingly revealed that only around 30,000 orders have actually been placed for the T1 Phone, and only from roughly 10,000 distinct customers, which is a far cry from the previous estimates of around 590,000.

• Read the full story: Trump Mobile seems to be leaking customer information

6. Apple set a WWDC date

Knowing when Apple will hold WWDC and knowing the exact day and time of the keynote are two different things. One is a signal to mark your calendar and make travel plans, the other (that keynote) is a trigger for deep rumination about all Apple will say and do. Now that we know it’s June 8 at 10AM PST, we’ve been pondering that big Google Gemini-backed Siri reveal, platform updates galore, a folding tease (please), and Tim Cook’s CEO swan song. What a wild day it will be.

• Read the full story: A glowing WWDC invite might hint at the next-gen Siri

5. Nvidia gave up on gamers?

Nvidia has seen incredible growth thanks to the AI boom — turns out making the metaphorical mining tool in the AI gold rush (with its processors being an essential component for data centers that power the largest models) makes you a killing. However, its latest investor call announced not only a record-breaking quarter, but also that it’ll be grouping how it reports sales for GPUs bought by gamers with those bought for robotics, automotive, and telecoms needs.

This change in strategy lines up with the rumor that we won't see any new GPUs from Nvidia this year at all, as it seems Team Green is turning its back on PC gamers somewhat.

The move to bury graphics sales in Nvidia's financial reports feels like another step on this path of marginalizing the GeForce family. We shouldn’t jump to conclusions, but it does feel somewhat ominous.

• Read the full story: Nvidia doesn't seem to care about gaming GPUs any more

4. We played Assassin’s Creed Black Flag Resynced

After going hands-on with Assassin’s Creed Black Flag Resynced at a Ubisoft preview event in Paris last month, we can safely say that this is a remake done extremely well. It has all the makings of a fabulously refreshed experience, taking one of the best games in the series, giving it a boost mechanically and a glow-up aesthetically, and still ensuring the right balance of the original’s spirit with some game-enhancing modernizations.

Combat has been overhauled to be much more action-oriented, and while there’s a clear influence of recent games in the series like Assassin’s Creed Mirage here, it still retains that flow, style, and piratical action that made Edward Kenway such a joy to take on in combat all those years ago. The world of the Caribbean in the Golden Age of Piracy looks absolutely breathtaking, controls have been tightened, exploration feels more organic and natural, and there are even big changes to those pesky and annoying insta-fail stealth missions.

We didn’t get to see much of the brand-new content that’s been made for Resynced, but we’re excited to dive back in and devour everything the original had, and more, all over again when the game releases on July 9.

• Read our full hands-on preview: Assassin’s Creed Black Flag Resynced perfectly captures the spirit of the original

3. We tested Sony’s expensive headphones

Sony has launched its most expensive wireless headphones to date, the Sony 1000X The Collexion. The idea here is to take the technology of the super-popular WH-1000XM6, power it up even further with a next-gen processor and new advanced audio transducer design, and then add its most comfortable and premium physical design on top of that. Has it worked? Well, in our Sony 1000X The Collexion review, we had high praise for their more spacious and detailed sound, and their absolutely supreme levels of comfort and beautiful metal finish. So are they worth their steep $649 / £550 price? Well, that’s a bit more contentious…

• Read the full review: Are Sony’s priciest wireless headphones worth it?

2. Google I/O delivered Android XR… kinda

We’ve known since last year that 2026 will be Google's year of the smart glasses, and at I/O we finally saw that promise in all its glory as Samsung unveiled a pair of pairs from Gentle Monster and Warby Parker. Attendees also got to experience Xreal’s Project Aura glasses.

As expected, they’re essential Ray-Ban Meta glasses but powered by Google Gemini — though that’s not necessarily a bad thing given the popularity of Meta’s specs.

The only catch? We didn’t get prices or release dates for any of this tech, though Samsung did promise its glasses would land in the “Fall” (so either September, October, or November).

• Read the full story: We saw the first Samsung Android XR glasses at Google I/O

1. Google I/O brought AI galore

Google I/O 2026 kicked off this week, and if you were worried/hoping (delete as appropriate) that artificial intelligence (AI) was a passing craze, think again. The software giant revealed incoming Gemini-powered upgrades for Search, Android, Google Docs, online shopping, and even YouTube (yes, really) at its annual developer conference, meaning AI is likely to touch your life one way or another, sooner rather than later.

In fact, Google is so confident about the all-encompassing nature of its new software tools that the company used an iPhone (not a Pixel) to demo Gemini Spark at Google I/O. Was that a warning shot to Apple, or an olive branch? Maybe we’ll find out at WWDC…

• Read the full story: Gemini is becoming impossible to avoid

• "Now is the time to start thinking about pointing input" for Google TV says Google
• No Google TV manufacturers currently use pointy remotes
• Gemini AI features seem to be the reason for the push

I believe there are two kinds of TV user in the world: people who hate LG's Magic Remote, and people who haven't used LG's Magic Remote. I'm in the former camp, so I'm bemused by Google's latest announcement: it looks like something very similar is coming to Google TV.

If you're not familiar with the Magic Remote, it uses Wii-style motion control with similar accuracy, so trying to point at anything can be frustrating: the cursor drifts with even the slightest movement, turning channel hopping into what feels like a round of Wii Tennis. It's an attempt to solve the ongoing challenge of controlling a smart TV from a distance, and I don't think it's a successful one: my kids' TV has a Magic Remote and they, and I, hate it.

But Google seems to disagree. "Now is the time to start thinking about pointing input", Google TV developer relations engineer Paul Lammertsma told app makers at Google I/O this week (via FlatpanelsHD)

What's the point of a pointing remote?

To the best of my knowledge, the only mainstream TV manufacturer using pointing remotes is LG, and LG doesn't use Google TV. So what's going on?

It's all about Gemini and ever more feature-packed TVs, it seems. As Lammertsma explained: "The TV experience that we once knew is changing. Gemini is changing the way we discover and stream content with voice, but how we use the remote is evolving too. Pointer remotes bring motion-controlled input to the big screen, unlocking faster user navigation across the Google TV Home page and within content-heavy apps."

It seems unlikely that LG is going to dump its own webOS platform in favor of Google TV, so Google encouraging the adoption of pointing remotes in apps strongly suggests that either Google or one of its partners is developing pointing remotes for Google TV sets. It's unclear whether the support will be backwards compatible or limited to new TV models only.

Making TV remotes is hard, I know: some are far too complicated and others are far too simple. I hope Google has cracked the drift and accuracy problems that plague handheld remote controls and that the movement looks like it does in the animation above — and not like the remote control in my kids' room that drives us all mad.

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• Sony's PlayStation State of Play returns on June 2, 2026, featuring Marvel's Wolverine as the headline act
• The showcase will last over an hour, with news and announcements on games from top studios worldwide
• It will also be showcased in Alamo Drafthouse theatres, suggesting a big reveal is on the horizon

Gaming in 2026 is already stacked with plenty of games in the pipeline for launch, notably the most anticipated of them all in Grand Theft Auto 6 from Rockstar Games — and it's seemingly about to get even better this June.

Sony has announced its next PlayStation State of Play will take place on June 2, which will feature a new reveal of Marvel's Wolverine, with 'more than 60 minutes' of updates, announcements, and gameplay reveals from 'top studios around the world'.

The showcase will kick off with Insomniac Games' Marvel's Wolverine, focusing on the gritty combat and new details on what the third-person action-adventure game will have to offer when it launches on September 15, 2026.

As for other games, we can expect almost anything to show up, based on Sony's brief description of worldwide high-quality studios being featured — and Sony is also holding a fan-viewing event at multiple Alamo Drafthouse theatres for the State of Play, so it appears as though something significant besides Marvel's Wolverine is on the horizon.

It's worth noting that Summer Game Fest 2026 kicks off three days later on June 5, so there's plenty of speculation to be made in the meantime. With that being said, here's what I hope shows up.

Dragon's Dogma 2 Expansion

Dragon's Dogma 2 hasn't left the discussion among gamers since its 2024 launch, with the expectation of an expansion. Capcom inevitably did just that for the first entry in the franchise, with Dragon's Dogma: Dark Arisen adding a new region, story, bosses, gear, and enemies to tackle, in Bitterblack Isle.

Fans also believe Capcom recently teased the existence of an expansion within its latest anniversary celebration post, alongside some mysterious additions to the game on Steam's backend. In that case, it wouldn't be a stretch to suggest there's a strong chance a reveal is on the cards.

Stellar Blade 2

Shift Up hasn't been shy of teasing the development of the Stellar Blade's sequel, as it recently stated development is progressing smoothly within its latest earnings report, so it may indeed be time to reveal what the developers have been cooking behind closed doors.

The sequel will be self-published on this occasion and will likely arrive on PC day one, stepping away from the first entry's timed exclusive format. That doesn't necessarily mean Shift Up won't be revealing the game at a State of Play, so this isn't an unrealistic expectation or wish for the June 2 event.

Grand Theft Auto 6

Without a doubt, GTA 6 is one title that is highly unlikely to be revealed at Sony's upcoming State of Play, as Rockstar Games is more than confident to host a big reveal itself.

However, rumors have been active regarding Rockstar and PlayStation's marketing collaboration for the game, and since Take-Two Interactive's CEO, Strauss Zelnick, has already stated that marketing for GTA 6 will begin during the summer, June 2 (or frankly, June 5 during Summer Game Fest) seems like the ideal time for that.

It's a bit of a long shot, but it would make sense since Sony is showcasing the event at a theatre, a move it hasn't committed to in years, setting the stage for massive crowd reactions.

When I first saw the Sony 1000X The Collexion headphones — the company's new higher-end cans designed to offer a more spacious and natural sound with better comfort compared to the Sony WH-1000XM6 — I had an immediate thought, and I wasn't alone among the audio journalists I was with: these look a lot like the Sonos Ace.

Both headphones go for a super-clean look, internal mechanisms for the headband arms, slim-profile earcups, chrome-finish detailing, and a mottled faux leather material.

So I had an idea: I took them to our photography studio and got some close-up photos taken of both headphones, and I made a quiz. I pixelated the photo of them at the top to avoid giving anything away, but if you to see the headphones before you play (Easy Mode, if you like), then I'll put the original image of them side-by-side after the quiz.

Are you enough of a headphone aficionado to tell two of the best noise-cancelling headphones apart? I'll admit, I built the damn quiz, then only scored 9/10 when testing it…

Scroll a little further if you're looking for that side-by-side image — I didn't want accidental spoilers.

Let us know in the comments how you did — the first two players on the TechRadar team (other than me) scored 3/10 and 8/10 respectively, so we've had a range of scores even among tech experts (though not necessarily headphones experts).

If you want to read more about Sony's new headphones, you can read our full 1000X The Collexion review, or you can read in-depth about the five key upgrades and three unexpected downgrades in The Collexion compared to the XM6 headphones, including Sony explanation of why there are compromises.

Still have questions? I’ll be answering everything you want to know about Sony’s most expensive wireless headphones ever in a live Q&A tomorrow (May 20) at 12pm ET / 5pm BST, alongside Harry Padoan, who tested them.

Now, here's that image of them together:

• Sony unveils 1000X The Collexion headphones for $649 / £550 / AU$999.95, available in May 2026
• Custom 30mm driver, and new processor with DSEE Ultimate and '360 Upmix' spatial audio modes
• Design focuses on comfort, with gentler clamping force and larger earpads

Sony has just unveiled its most expensive (and possibly most-leaked) wireless headphones to date, which it's calling 1000X The Collexion. If you just want to read whether they're any good, then you can go straight to our Sony 1000X The Collexion review, because we've been using them for a few weeks.

But if you want to know more about what makes them different, and why Sony produced them in the first place, stick around here — I spoke to Sony insiders from the UK and Japan to hear more about what makes them worth their high price tag.

And what is the Sony 1000X The Collexion's price tag? That would be $649 / £550 / AU$699 when they're available sometime during May.

That price is a major leap over the $459 / £349 / AU$699 you now pay for the Sony WH-1000XM6. But Sony hopes that you'll think The Collexion (as I'll call them from here) are worthwhile — the company told me "we wanted to go further then ever before, to create something that isn’t just the next in our line-up, but that represents 70 years of audio mastery."

Building on that, Sony's Personal Entertainment Product Manager, Mike Somerset, said: "Is this just the 1000XM7? The answer very clearly is: no. It’s aimed in a totally different direction… We’re bringing some new things to these headphones that we have never done before."

The Collexion being a "different direction" makes them interesting to compare to the XM6, because they're an improvement over the XM6 in several ways — but are actually a step back in others, and that's not an accident. So here are the upgrades and arguable downgrades you need to know about.

1. A striking new look (and case)

The Collexion's look is very Sony if you've been following the evolution of the Sony WH-1000XM5 and then the XM6 — but it's clearly a little more premium and full of flourishes.

Sony says the name for the design "theme" used for The Collexion is: "Resonate".

It comes in Black or Platinum (ie, white) finishes, and a key element according to Sony is that "every visible part is made from two materials," with the intention of creating "contrasting textures".

There's a new case design too, with a handle — it's more 'handbag-like' in some ways.

That even runs through into the metal detail in places — for example, the hinge connecting the earcups to the headband is "hand-polished by skilled craftspeople", and mixes a sand-blasted finish with glossy chrome.

Sony says that the faux leather material alone was two years in development. The company also put in a lot of work, such as working with a split-design battery for the first time, to reduce the thickness of the earcups to just 40mm for a sleeker profile when wearing them — that's compared to 45.4mm in the XM6 cans.

The combination of the slimmer earcups and the metal detailing gives them a look that's more than a little reminiscent of the Sonos Ace, and that's no bad thing.

Sony also said that the goal here was to create a "timeless design", and I think there's something to this: the matte metal headband reminds me of the metal headphones you'd get with a Sony Walkman in the '80s, yet the rest of the design is undeniably modern Sony.

2. A focus on comfort

The redesign isn't just about the aesthetics, of course. Sony also said that it's particularly focused on comfort here, so that you can wear them for hours and hours, and barely notice they're there.

Specifically, the gap in the earpads is larger in these headphones than in the XM6, so they're less likely to touch the outside of your ears, and they give you a little more breathing room — and are likely to fit better with glasses.

The headband is also a little thicker, so the pressure is distributed a little more evenly — and the clamping force of the headband has been reduced, so you'll feel less pressure wearing them. This last point will come back later, though, because it's a double-edged sword…

3. A more powerful processor

Sony is introducing a new audio processor for the first time in The Collexion: the Integrated Processor V3. This is then combined with the same QN3 noise-cancellation processor used in the Sony XM6.

The V3 is Sony's most powerful headphone processor yet, and it means that these are the first headphones to include DSEE Ultimate. DSEE is Sony's audio upscaling tech, meant to take limited-quality Bluetooth streams and to upscale and add back in detail and dynamic range that's been cut out by compression.

"DSEE Ultimate is the best that Sony has ever done, and we’ve never put it in headphones before," the company said — DSEE Extreme was the previous best tech in its headphones, while Ultimate was limited to its music players, such as the Sony NW-A306.

The key difference is that it's powerful enough to upscale both the sample rate and the bit-depth of the sound at the same time — Sony says this is thanks to AI, as so many things today are. Sony says the sample rate will be upscaled to 96kHz, and the 16-bit depth will be upscaled it to 24-bit.

Sony says that it also brought a bunch of other audiophile engineering developments over from the Walkman line to the V3 processor design, including a low-phase-noise crystal oscillator for “perfect timing”, advanced solder containing gold at “key audio points on the circuit board”, and various component optimizations to improve “the signal to noise ratio across all frequencies”.

The V3 processor also enables new spatial modes, so let's get into those, because they're important enough for Sony to have devoted a whole new button to them.

4. Spatial Audio 'Upmix' modes

Sony is going big on spatial audio in The Collexion, and is using the power of the new V3 processor to offer four "360 Reality Audio Upmix" modes, which can take any audio source and turn it into spatial audio, but with a different kind of signature to the space depending on the mode.

There will be a Cinema mode (which the Sony XM6 also have) to feel like you're in a home theater, but now also a Music mode (designed to sound like you're in a live venue), and Game mode. There will also be the great Background Music mode from the XM6, which sounds like you're listening in a café or somewhere with soft ambient music.

There's a new button on the headset to switch between these modes, though by default it'll cycle between Music, Cinema and the mode being off. You can customize it to add Game or Background music in the Sony Sound Connect app.

Unfortunately, we don't think these are very good — you can read all about that in the full Sony 1000X The Collexion review.

I asked Sony why it doesn't support Dolby Atmos for this, since the experience there tends to be great. It said that there were several factors, ranging from how Android itself and different phones deal with Atmos encoding, to what’s possible in chipsets it's using — but Sony also said it wanted to give the same experience to all users, regardless of your device of streaming service of choice.

5. New speaker driver and sound tuning

Sony said that its goal with The Collexion was to "faithfully reproduce sound as the creator intended" and to “allow listeners to relax and immerse yourself in the lingering resonance of the music".

To do that, it developed a new "bespoke" 30mm driver, which has a similar design principle to the one used in the Sony WF-1000XM6 earbuds: it's a dual-material design, with a very hard central dome to improve detail, and a softer outer edge for better bass response.

The harder center is made using a "unidirectional carbon-layered core composite", which apparently means it's made from long carbon strands — "like hair", Sony said. The XM6 headphones' driver also uses carbon, but a lower percentage of it in the mix of materials (including paper). More carbon means more rigidity.

Sony said that the sound character it's aiming for includes "perfect balance, and really fantastic sound and detail" that is "toned to reproduce the sound as artists intended".

Sony also said that it was focusing on "a wider stage, and greater separation between instruments and vocals" with "a smoother, more pleasant bass" that it described as "appropriate fullness".

In comparison to the XM6, Sony said the older model is "in between the monitor and the consumer" in terms of its profile, and that the sound is "punchier" (which is exactly how my colleague Harry Padoan described the difference in his Sony The Collexion review) — but The Collexion has a wider soundstage and more focus on "natural-feeling" sound.

6. Shorter battery life

OK, it's time to move onto the areas where The Collexion are (arguably) a step down from the XM6 headphones. First up is the battery life, which is rated at 24 hours — Sony's other 1000X headphones have clocked in at 30 hours.

That's below average compared to basically all the best noise cancelling headphones — even Bose, which was happy offering 24 hours for years, raised its game to 30 hours for the Bose QuietComfort Ultra Headphones 2nd Gen. Pretty much the only competitor it's not lower than is the AirPods Max 2, which offers a measly 20 hours.

Sony told me that this change was due to making the earcups slimmer, and acknowledged that it was a compromise compared to the usual amount — but it also noted that it was sufficient for the longest flights.

Sony also highlighted that the batteries can be replaced in the future without trouble, because they're just held in with screws, rather than glued in.

7. Not optimized for noise cancellation

The Collexion have the same general noise-cancellation tech as the Sony XM6 — including the QN3 processor and 12 microphones — plus an improved driver, so you might assume it would Sony's best noise-cancellation yet… but Sony was clear not to expect this.

Sony emphasized that it would still steer you to the XM6 if you want its top ANC power. The reason is that the focus on comfort — elements such as the lighter clamping force and change in earcup material and design — means that these headphones won't have quite as strong a physical seal against outside sounds as the XM6.

Again, in our The Collexion review you'll read they're actually very good for noise cancellation, and are on par with AirPods Max 2 — but yes, the XM6 are noticeably better when it gets loud. It's a fair trade-off for the comfort, though.

8. They're not foldable

This won't be a dealbreaker for everyone, but some people really prefer headphones that fold for travel, and we were really pleased that Sony added this feature back into the XM6 headphones, having dropped it in the Sony XM5.

The Collexion don't fold, but Sony said that portability was something it had in mind when creating the slimmer earcups, and between that and the case being a little smaller, it's still a nice small thing to put in a bag — and also of note for travellers, the wider headband means they're more comfortable to wear around your neck.

Sony 1000X The Collexion: Two-minute review

The Sony 1000X The Collexion headphones arrive 10 years since Sony released the first set of headphones in its 1000X series, and to mark the occasion the Japanese tech giant has delivered its most expensive pair of wireless headphones ever. These are an ultra-premium pair of over-ears that are aimed squarely to be a rival to Apple’s AirPods Max 2.

And the Sony 1000X the Collexion really do feel like Sony’s attempt at going for the AirPods Max's popularity without the restrictive nature of that model’s iOS-centric feature-set. Everything from the sound signature through to the flatter design feels like a challenge to Apple, and, on a number of fronts, I’d argue that Sony has risen to said challenge.

Let’s start where it matters most and discuss sound quality. The Collexion (as I will call them) have an incredibly expansive, spacious soundstage, which provides plenty of room for individual instruments to express themselves.

Vocals and instruments are expertly separated, and there’s a fantastic degree of balance across the frequency range, resulting in nuanced, articulate sound. Combine that with using LDAC or lossless wired audio, and you’re in for a very detail-oriented listen.

The broad, roomy sound will certainly appeal to fans of the AirPods Max and their successor, although on a personal level, I did prefer the tighter and punchier sound signature of the Sony WH-1000XM6.

In terms of features, The Collexion riff heavily on what the XM6 had to offer, with impeccable touch controls, a 10-band custom equalizer, and third-party integrations like Spotify Tap and YouTube Music Quick Access. But there are some notable differences.

Here, users can access DSEE Ultimate for upscaling lower-quality files to 96kHz and 32-bit. This is enabled by a new V3 chip, which also powers some 360 Upmix audio modes for Music, Cinema, and Gaming, although these are unfortunately pretty poor, meaning I barely ever touched them. This is a shame, especially as the headphones have a dedicated button for such modes.

Noise cancelling is very good on The Collexion, and a 12-microphone system provides a solid barrier against traffic noise, surrounding chatter, and the like. Sony has been clear that the XM6 are more ANC-focused, and this came across in my testing, with a few more sounds seeping in with The Collexion — but what’s here still competes well against models like the AirPods Max 2 and bests the Bowers & Wilkins Px8 S2.

Something that has taken a substantial step down, however, is battery life. You’re only getting 24 hours now (with ANC on), which is a fair bit less than most of the competition. 30 hours is essentially a standard for premium wireless headphones now (in no small part thanks to it being Sony's usual benchmark), although The Collexion can still outlast the AirPods Max 2, which only manage about 20 hours of playtime.

I think these headphones largely nail their more luxurious design, though. They have a gorgeous faux-leather headband and earcups which both look and feel amazing, while titanium details also offer a nice contrast to that material, and make The Collexion stand out clearly over the more unified look of other models in the 1000X line, such as the Sony WH-1000XM5.

Generally, the headphones also feel very sturdy, and although they have a fair bit of weight to them, they’re less hefty than the AirPods Max 2. The Collexion are also exceedingly comfortable, and I felt happy using them for hours on end without ever feeling the need to adjust them.

All in all, then, the Sony 1000X The Collexion are a great pair of headphones that, on the whole, justify their asking price. Factors like their luxurious build, spacious sound, and solid feature-set mean they fare well against competitors in this price range.

There are some downsides, such as lower battery life and ANC power compared to the Sony WH-1000XM6, as well as the underwhelming 360 Upmix modes, but all in all, these headphones are worth considering for any who loves the feel of Sony headphones but wishes for a more revealing sound profile.

Sony 1000X The Collexion review: Price and availability

• List price of $649 / £550 / AU$999.95
• Released in May 2026

The Collexion were officially unveiled in May 2026, about 10 years after Sony released the first set of headphones in its 1000X series. They’re the most premium wireless headphones on Sony’s roster, and have a list price of $649 / £550 / AU$999.95, meaning they’re $200 / £200 / AU$300 more expensive than the Sony WH-1000XM6.

This puts them close to the AirPods Max 2 — though Apple has them undercut by a good $100 in the US, and £50 in the UK (they cost the same in Australia). Other notable competitors include the Dali IO-8 for £499 in the UK and AU$899 in Australia, though these cost a hefty $899 in the US. There's also the Bowers & Wilkins PX8 S2 for $799 / £629 / AU$1,299.

Sony 1000X The Collexion review: specs

Sony 1000X The Collexion review: Features

• ANC and battery life can’t match the XM6
• Best-in-class touch controls
• DSEE Ultimate for upscaling, plus LDAC and wired lossless available

Perhaps unsurprisingly, the Sony 1000X The Collexion have a very similar featureset to the Sony WH-100XM6 — although there are some things that are exclusive to this pricier model, and some things they don’t do quite so well.

Let’s start with the new stuff. One brilliant addition is DSEE Ultimate. This technology is enabled by a new Integrated Processor V3 chip, and has never featured in a pair of Sony headphones until now (only in its music players).

DSEE Ultimate uses AI tech to upscale the sample rate of a lower-quality audio file (including stuff that's being compressed down for Bluetooth transmission) to 96kHz / 24-bit resolution. When using this on Spotify, a lot of the tracks I listen to regularly sounded a touch more detailed, and I highly recommend keeping this setting on.

On top of this, The Collexion bring high-resolution to the table via both wireless and wired means. First of all, these headphones feature LDAC for higher-res Bluetooth listening. This tech is still inherently lossy, but if you want to take a step up, you can connect the headphones to your listening device via a 3.5mm connection for wired lossless audio.

Something else enabled by the V3 chip is The Collexion’s 360 Upmix spatial audio modes. Although there’s no Dolby Atmos support, there are Music, Cinema, and Game modes, all of which take a standard audio signal and convert it into a more expansive format.

Unfortunately, I found that these upmixed modes produced poor audio quality, so even though the feature is enticing in theory, I barely made use of it — more on that later.

Still, there are plenty of great features on board, such as The Collexion’s top-tier touch controls. These are the same as on the XM6 — you can swipe to skip tracks and adjust volume, cover the right earcup to enable transparency mode on the fly, and double tap to play or pause your music.

The touch controls are incredibly responsive, and the decision to use a double tap to pause means I never accidentally triggered a command.

Call quality is also strong once again, with four feedback mics on the inside of the headphones. There’s also a 10-band equalizer and presets for personalized audio, multi-point connectivity, voice assistant compatibility, and third-party software integrations like Spotify Tap and YouTube Music Quick Access.

A lot of these settings are available in Sony’s Sound Connect app, which is relatively easy to use, but some settings are buried deep in numerous sub-menus, which can be a irritating at times.

Anyway, let’s talk about the most important feature of all: active noise cancellation. Again, you get the choice to use full ANC, a transparent ambient sound mode, or no noise cancelling at all. There’s also adaptive sound control, which switches settings depending on your environment and behaviour.

Just how good is the ANC here, though? Well, Sony was clear with us that The Collexion are less centered around ANC than the WH-1000XM6 — despite also containing the QN3 processor and 12-microphone system, just like those headphones.

And although noise cancelling is still very good on The Collexion headphones, with surrounding chatter and traffic noise kept quiet even at medium listening volumes, I could certainly tell the difference compared to the XM6. While listening to music, some higher-pitched sounds, like typing and taps running, as well as louder sounds like doors closing, could still be heard.

If you want best-in-class ANC, I’d stick with the XM6 — or the Bose QuietComfort Ultra Headphones Gen 2 — but otherwise, you’ll likely be satisfied with the noise cancelling available here.

One other feature that’s received a downgrade from the XM6 is battery life. You only get 24 hours here, which Sony says is a result of The Collexion’s flatter design in the earcups compared to the XM6, which offer 30 hours of playtime.

But let’s be honest: 24 hours just isn’t very good. It’s enough to last you through a long flight, and will likely get you through a few days at the office, but avid listeners will still have to charge their cans fairly regularly.

Ultimately, the standard in this bracket is 30 hours, although Sony still outdoes Apple here, with the AirPods Max 2 only able to manage 20 hours.

• Features score: 4 / 5

Sony 1000X The Collexion review: Sound quality

• Expansive, open sound is striking
• Sensational attention to detail using LDAC and wired lossless
• 360 Upmix modes are best avoided

If you’re looking for a pair of headphones that offer the sort of expansiveness that Apple’s AirPods Max 2 can, with all mod-cons available to you, but you don’t want the restrictions those impose on non-Apple devices, then I’d argue that The Collexion are the closest thing available.

These headphones conjure up an incredibly wide, spacious soundstage — using them, it feels as if you’re listening to music inside a large virtual room. They use a new 30mm driver, which has been redeveloped with soft edges and a harder center for enhanced detail and balance.

Listening to Voyager by Daft Punk, the airy synths sounded pleasantly forward, while the percussion occupied its own individual pocket, with plenty of room to express itself. Bass then entered the fray with tremendous impact, and came through with an almost three-dimensional quality. Spacey synths also carried a tremendous sense of space, while guitar licks danced away in the backdrop.

The headphones performed very well, no matter what genre I threw at them. With a deep house track like Planet 34 by Jesse Maas, the bass came through with admirable depth and agility, meaning the low-end sounded full and energetic rather than lethargic and ‘boomy’. Higher-pitched percussion in the treble range also maintained tight control, but never sounded blunt or underpowered.

Generally, there’s a pleasant balance right across the frequency range, and instrument separation is incredibly refined. Pair that with the headphones’ great attention to detail, and you’re in for a pleasantly nuanced listening experience.

I should be clear, however, that these headphones are at their best with some form of higher-res mode of listening. For instance, when I listened to Felini by Venerus and Marco Castello, I found that using LDAC over standard Bluetooth made a noticeable difference.

Vocals came through more naturally and articulately, while soft acoustic guitars sounded a little more expressive — the tune just had a more open, nuanced sound to it overall. This was also the case when using a wired connection, so if you want to experience The Collexion at their most intricate, make sure to use one of these options.

But how do The Collexion compare to the Sony WH-1000XM6? Well, The Collexion go for a more expansive and spacious sound, while the XM6 offer a tighter, punchier interpretation.

In Sadao Watanabe’s jazz-funk fusion record, Down East, I could detect a huge difference in the way that the headphones handled the smooth, funky bass. On the XM6, it was by no means overwhelming, but certainly impactful and slightly forward. There was still a solid amount of low-end weight on The Collexion, but the bass had a more spacious quality.

The Collexion’s more dispersed sound and almost distant low-end meant the track lost a bit of its bite, and I actually preferred the more direct approach of the XM6. There’s no doubt that The Collexion are capable of offering more space for individual instrumental elements to work their magic than the XM6, but some may actually prefer the tighter approach of the latter.

Ultimately, which you prefer is largely down to personal preference — I already preferred the sound signature of the WH-1000XM6 over the airy, broad approach of the AirPods Max 2, for instance, but I’m confident that both sound fantastic in unique ways.

One thing that did disappoint me, however, was the quality of the 360 Upmix modes. When using the Music mode, tracks sounded glaringly worse — vocals lost clarity, drums had a tinny edge, and keys in the mid-range lost their tonal accuracy. The Cinema mode was a bit better, but I still found speech to be less clear and defined, making for a weaker overall viewing experience.

This is a shame, given that the 360 Upmix modes are pitched as a major feature, and even have a dedicated button. But at the time of writing, they’re just not good enough.

• Sound quality score: 4.5 / 5

Sony 1000X The Collexion review: Design

• Stunning faux-leather casing with titanium details
• Super-comfortable fit with plush earcups
• Slightly odd-looking case

Sony’s The Collexion headphones look strikingly different from models like the Sony WH-1000XM6 and XM5, combining a beautiful faux-leather exterior with metal details.

The look of the outer casing is top-class, and is a clear indicator that these headphones are a premium product. Even when I used touch controls, the textured feel of the faux-leather was incredibly satisfying — and these small touches go a long way when you’re spending north of $500 / £500 on headphones.

Dual-textured metal links the earcups to the headband, and the metal is used for the various buttons and ports, and I can see people being divided on how enticing this looks.

Where the XM6 went for an ultra-fluid, homogenous design, The Collexion go for more of a contrasting look, and overall, I’m a fan. When we attended the product launch, Sony told us it was aiming to create a “timeless design,” and although I’d argue that headphones like the Marshall Monitor III ANC — which have a gorgeous retro look — do this slightly better, I still like The Collexion’s aesthetic.

Although the Sony WH-1000XM6 are my go-to headphones, there’s always been one thing I’ve disliked about their design: the bulky-looking earcups. The Collexion have done away with this, in favor of flatter and slimmer earcups — similar to those of the Sonos Ace. They look fantastic, and although Sony told us that the more compact form was a large reason for the reduced battery life, I’m a big fan of this choice style-wise.

Despite their flatter earcups, the Collexion are actually quite a bit heavier than the XM6. Sony’s new cans come in at 0.7lbs / 320g, compared to the 0.6lbs / 254g of their cheaper cousin. This is likely a result of the more premium materials being used, but I never felt that the headphones were too hefty in-use, and they’re still considerably lighter than the 0.9lbs / 386g AirPods Max 2.

In fact, I’d argue that these headphones are some of the most comfortable I’ve ever used. Their plush earcups, cushioned headband, and low-pressure feel is sensational, and makes for incredibly comfortable listening sessions, no matter how long.

There’s a wider headband on this model than on the XM6, which means these headphones won’t clamp too hard if you place them around your neck.

There are a few physical buttons on board, for altering noise cancelling levels and turning the power on or off, and for when (or rather if) you want to sift through the 360-degree audio modes. The rest is down to the touch controls, which are best-in-class.

Although I’ve been full of praise up to this point, The Collexion do have a few potential drawbacks worth pointing to, design-wise.

The first is that they're not foldable. This is a shame, as I love the XM6’s foldability, especially if I’ve forgotten the case and want to place them in a small bag or larger-sized pocket.

Another thing I'm not super-keen on is the case. Like the XM6, the Collexion have a magnet-lock case, which is incredibly practical and good to see. However, the look of the case is… not the best. It almost looks like a mini handbag, and not an especially attractive one. You can see it just below.

This is a minor issue in the grand scheme of things, but personally I preferred the more simple look of the XM6’s case.

• Design score: 4.5 / 5

Sony 1000X The Collexion review: Value

• Very high asking price
• Justified in most areas, but less so in others
• Overall they still compete well against the likes of the AirPods Max 2

So, do the Sony 1000X The Collexion earn their high asking price? Well overall, I’d say they do — but the picture isn’t entirely black and white (unlike their color options).

At $649 / £550 (about AU$900), these are Sony’s priciest wireless headphones, coming it at around $200 / £200 more than the WH-1000XM6. That value is realized in many respects, with more spacious and detailed sound, better upscaling, and a considerably more premium build.

However, these headphones lag behind the XM6 when it comes to ANC and battery life. They still compete well in terms of noise cancelling, sound quality, and design against similarly priced rivals like the Bowers & Wilkins Px8 S2 and the Apple AirPods Max 2, but if you want a true pair of all-rounders with top bang-for-buck, then the XM6 would still be my top recommendation.

• Value score: 4 / 5

Sony 1000X The Collexion review: Should you buy them?

Buy them if...

Don't buy them if...

Sony 1000X The Collexion review: Also consider

Sony 1000X The Collexion review: How I tested

• I tested them for just under two weeks
• I predominantly tested them using Tidal
• Tested in real-world conditions

I spent more than a week testing the Sony 1000X The Collexion headphones, during which time I tested them in as many real-world situations as I could, to test the active noise cancellation.

Although I dipped into apps like Spotify, I predominantly used Tidal to test their performance, due to its support of higher-resolution files. I began my testing by sifting through the TechRadar testing playlist, which features tracks from a wide variety of genres, but I also listened to hours' worth of tunes from my personal library.

I’ve spent years testing all sorts of audio gear here at TechRadar, ranging from party speakers to audiophile-friendly wired and wireless headphones. I also reviewed the Sony WH-1000XM6 and compared them to rivals from Bose, Apple, Bowers & Wilkins and more — I've been using the XM6 headphones for more than a year now, so I had a deep understanding of how The Collexion differed from their counterpart.

• Read more about how we test
• First reviewed: May 2026

• PlayStation is ending single-player PC ports, according to Bloomberg and confirmed by PlayStation boss
• Ghost of Yotei and Saros were likely the next games to be ported onto PC
• Kena: Scars of Kosmora will still be on PS5 and PC, when it launches in 2026

PlayStation's presence on PC has gradually expanded over the years, with its exclusive single-player games arriving on the platform a year or so after launch — but that's now coming to an end.

As reported by VGC, PlayStation boss Hermen Hulst has confirmed that single-player PS5 exclusives won't be coming to PC anymore, according to Bloomberg's Jason Schreier. This comes after its initial report in March, which is now corroborated via Hulst's internal confirmation to staff.

The most recent exclusives, Ghost of Yotei and Saros, were heavily rumored and expected to be ported to PC, particularly the former, following in the footsteps of its predecessor, Ghost of Tsushima, which was released on PC three years after its console debut.

Unfortunately, that's not happening anymore, marking the end of an era when many of PlayStation's blockbuster titles were available on Steam and Epic Games. One title, Kena: Scars of Kosmora, is still scheduled for launch on PC in 2026, and that's only because Ember Lab isn't a first-party PlayStation studio, but Sony is responsible as its publisher.

Bloomberg also stated that PlayStation believes PC ports risk damaging the 'console's brand' and the sales of the PS5. However, it feels as though Sony has taken two steps backwards, as this hurts consumers more than it benefits them.

The staggered release system that would see exclusives arrive on PC at least one year later was good for consumers who were either exclusively on PC or owned a PS5 console, whilst also on PC, with the freedom of playing at launch or patiently waiting for a better version in terms of graphics and performance.

It's an understandable move from PlayStation in a financial aspect, especially since a continuation of PC releases would actually benefit Valve's upcoming Steam Machine — which is poised to be a direct rival in the console space as a console-like PC.

While this stance can change again in the future, it's highly unlikely at this rate, especially if the rumors of Project Helix (the next Xbox console) will be able to run Steam, effectively acting as a PC, as that would mean Sony would be lending its exclusives over to rivals in both Valve and Microsoft.

When Sony invited me to try the new Sony A7R VI, naturally, I leaped at the chance to handle a camera that we just rated five out of five stars in our recent review. The camera wasn't the only thing I wanted to try, however, as the brand was also debuting the rather eye-catching FE 100-400mm F4.5 GM OSS — a lens that looks to offer serious reach for birders or sports photographers alike.

Such reach, alongside the A7R VI's impressive 66MP resolution, should be a birders' dream considering the camera's rather ridiculous cropping potential. Couple that with the brand's latest autofocus? Even a street photographer like me has no excuse for not nailing the shot anymore.

The Sony 100-400mm f/4.5 GM currently retails for €5,000 / £4,400 (AU$ TBC), so it's not a cheap lens by any stretch. According to Sony, it's aimed at the Professional/enthusiast crowd, straddling the middle-ground between 'amateur' and the brand's highest-end professional glass.

When I saw this lens, I immediately thought it was a like-for-like upgrade to the prior FE 100-400mm F4.5-5.6 GM OSS, released back in 2017. That's not the case, however, as this new lens features not just a constant aperture, but also improved autofocusing capabilities according to Sony.

In the hand, the 100-400mm f/4.5 is a hefty specimen, but it's surprisingly lightweight for a telephoto of this size. Sony stated that they were deliberating between making this one either an f/4 or an f/4.5 constant aperture, but they chose the latter because of its substantial weight savings.

At 1,840g, I think they made the right choice here. Considering just how good the brand's BSI full-frame sensors are, you're not losing much light-gathering capacity with a half-stop of aperture. The lighter weight, however, should pay dividends when lugging this lens out and about in the field.

A few other things I really liked about this lens are the well-thought-out FN buttons scattered around the barrel of the lens, which offer plenty of customization options. The support for 45mm drop-in filters at the base of the lens is also a nice touch, meaning you don't have to fork out for massive 95mm front filters.

A great pairing with the Sony A7R VI

There is an old adage that gear doesn't make the photographer. Certainly, that's true, but if there's anything that can help you nail that telephoto shot, it's got to be this lens in combination with the Sony A7R VI.

I have to admit, I'm a relative beginner when it comes to bird photography. I could not even tell you the difference between a coal tit and a great tit. I can tell between a duck and a goose, but only just.

Even I was able to get some good shots with the 100-400mm f/4.5. In the hands of a pro, the possibilities here are surely expansive.

At 400mm, the lens features impressive reach, but it's in combination with the A7R VI's 66MP sensor where it truly shines. With such cropping potential, you can reach far beyond an APS-C crop here - upwards of 100% zoom, in fact.

This is where the lens's constant f/4.5 aperture also comes in handy, in that you still get a decent level of background separation at the most extreme end. While the bokeh can still get a little busy, it will be smoother than the f/5.6 featured on the older 2017 lens.

I didn't have much time to test this lens in the field, but from my short experience, it was a very potent combination. I still missed a few shots (mostly due to my own failings), but I was definitely surprised at how sharp the images were at such extreme crops upon inspection in post. Again, there's serious potential here for experienced birders.

Excellent autofocus, too

Everyone knows the Sony A7R VI is a beast when it comes to autofocus, but this lens is arguably just as impressive. Throughout my session, I tried quite a few lenses, including higher-end GM primes, and I was surprised that the hefty 100-400mm f/4.5 didn't lag behind any of its siblings.

Sure, when compared to something like the stunning FE 50mm F1.2 GM, the 100-400mm f/4.5 is not quite as rapid, but it is surprisingly close. In my brief testing, focus acquisition was extremely impressive when paired with the new A7R VI. Even on a busy basketball court, the lens had no trouble tracking faces and action with the camera's admittedly excellent human-priority focus mode.

Again, I'm reminded of the previous gear adage, but really, with equipment this good, it really is so effortless to nail a shot - this is action and bird photography on easy mode. From my few hundred-or-so test shots, I had an impressive hit rate, and the images from the basketball scene in particular rendered with impressive sharpness thanks to the lovely light conditions.

For a full assessment, I'd need to properly judge low-light performance as well as distortion, aberration, and so on, but this lens definitely impressed me from my initial hands-on.

There's an open nature reserve with a wetland, encircled by woodland, about a 10-minute drive from my house, and it’s one of my favorite places to go running. Sunrise on a cold morning here can be magical for photography too — the sun-kissed mist hovering over the water makes for dreamy conditions.

Throughout the year, the nature reserve attracts a range of migratory and rare species of birds, making it a popular spot for birding — people will drive a good hour or more to visit with their long lenses, spotting scopes and binoculars.

I've never tried serious bird photography myself, chiefly because I'm way too young for that (joking), but also because the longest lens I've ever owned is a 70-200mm, which doesn't get me nearly close enough.

Recently, however, I had the chance to test Sony's longest lens, the FE 400-800mm F6.3-8 G OSS, and the idea of trying bird photography suddenly became very appealing.

I paired the super-telephoto zoom lens with the new Sony A7R VI. My logic was that the camera’s stellar bird-detection autofocus skills, blazing-fast shooting speeds of up to 30fps, and 66.8MP stacked sensor were perfect for bird photography when armed with the 400-800mm focal length.

One visit led to another, and before I knew it, I was out the door at 5am every morning, gear in hand.

I had just found my new hobby. It happened a few years earlier than I care to admit, but why resist the inevitable? Yes, I'm now into birding, and I have this incredible Sony camera gear to blame.

The super-supertelephoto lens

When I first saw Sony’s 400-800mm lens in 2024, I thought it was a peculiar focal length. But after my bird photography testing, it feels like the perfect range for this genre.

For most bird photography — in the wild at least — you’ll want a focal length of at least 600mm to get close enough, but I found that even longer, at 800mm, was my most-used setting.

I wouldn’t want an 800mm prime lens, mind you, even if that meant benefitting from a slightly faster aperture. When you're locked in on a bird at 800mm, and it moves, which it will, it can be tricky to locate them again. That’s why quickly zooming out to 400mm is handy.

With a wider perspective at 400mm, you can locate the subject more easily, and then zoom back in again. In any case, about 10% of the time, the 400mm focal length was actually the better pick when I was lucky enough to get physically close.

Optical image stabilization is handy, smoothing out camera shake and consequently making this lens totally usable handheld. The focus range limiter is neat too, but I tended to keep the focus range set to 'full' given the birds could be located any distance from me at any point — in one spot, there are gauze bushes next to a boardwalk.

The one thing against the lens is its maximum aperture, which is f/6.3 at 400mm and reduced to f/8 at 800mm. I usually opted for a 1/1000sec shutter speed at 800mm to freeze action, and at f/8 in anything but good light, you’ll find ISO needs to be bumped up, which impacts image quality.

Depth of field is not an issue, though. At 800mm and f/8, backgrounds are delightfully blurred, just about all of the bird is in sharp focus, and the photos looks great.

An upshot of the limited maximum aperture is that the lens is much lighter than Sony’s professional fast-aperture telephoto primes, such as the 600mm F4, and it’s much, much cheaper, too. For amateur bird photography, I think the 400-800mm F6.3-8 is the practically perfect lens.

The speedy, highly detailed camera

If the 400-800mm F6.3-8 is the ideal lens for bird photography, the A7R VI proved to be its perfect partner. Like its predecessor, the camera features subject-detection autofocus with a dedicated option for birds, but it adds an auto option, which is handy when you’re regularly switching between subjects.

For bird photography, however, I selected the dedicated AF mode on the assumption that this could help improve the camera’s scan rate, with less in the scene for it to be looking for — after trying both options, I would advise you to do the same.

I also tried bird photography with the 400-800mm lens and the older Sony A7R V, and it felt like autofocus was slightly slower compared to the new camera. I don’t have numbers to back this up or give a measurable difference, just my experience.

I was impressed by how the camera could latch onto birds even when they filled just a small portion of the frame. Check out the example below — the A7R VI easily located the distant male stonechat.

With continuous burst shooting set to 10fps using the mechanical shutter, bird-detection autofocus in play, camera and lens image stabilization active, I had a dream setup, on the foundation of a high-resolution stacked sensor and extreme dynamic range.

Sony says the A7R VI has a 16-stop dynamic range, which is 1-stop more than the A7R V and most other professional cameras. It also has the most pixels in a full-frame sensor — all 66.8MP of them.

What I appreciated about the high-resolution sensor was the ability to crop into images where the subject filled a small portion of the frame, even when shooting at 800mm.

Just how much can you crop? Well, the camera's APS-C crop mode (1.5x) is still 28MP, and in that mode the 800mm setting of the lens effectively looks like a 1200mm lens (see the sequence above at 400mm, 800mm, and 800mm with the 1.5x crop mode). It's possible to crop in much more than that and still get a detail-rich image, especially for images displayed on mobile devices. You might not need such big files in terms of output, but for bird photography, being able to crop is supremely helpful.

The birdlife

That’s the gear covered — but how was my experience itself? I had an absolute blast — in the space of a week, I went from a complete novice to confidently identifying a range of bird species for inquisitive passersby impressed by the camera gear in my hand. Yep, I had become one of those guys.

The nature reserve is home to a wide range of birdlife. My very first snaps were of Canada geese on the water, mainly because the light and mist were magical. But venturing further along the boardwalk, I saw ground-nesting birds and more.

There were Chats, Finches, Woodlarks, and I even saw a family of Dartford Warblers. I tuned in my ear for birds; the car alarm-like shrill of a Lapwing and the peculiar call of a Curlew — I was told that I was looking at the only nesting pair in this county. Common Cuckoos were present too, though I never got the camera tracked onto one of those.

I photographed European Stonechats who had caught dragonflies and grubs, and watched a Reed Bunting go back and forth gathering nest-building material. The delightful contrast of a (European) Goldfinch amidst the pale green leaves of a birch was spectacular.

Seemingly, it was my time — I was becoming a bird enthusiast. I had given in to the inevitable. I was hunting for birds, enjoying the thrill of getting the shot, but with a camera and not a rifle.

And honestly, it was the most fun I'd had with the camera in ages. This didn't feel like work, but something that fed me. And, yes, I did ask Sony to extend the loan of the lens, because I wasn’t ready to give it back. Once I bid farewell, I’ll be looking into buying a super telephoto zoom lens of my own (but I'm not quite ready for a bird spotting journal...yet).

Interested in trying bird photography out for yourself? Check out our selection of the best wildlife photography cameras.

• Sony has posted an advert for the Xperia 1 VIII's AI Camera Assistant tool
• But all the images using this feature look worse than the 'before' shots
• It's unclear how this could have happened without Sony realizing

Update 15/05: Sony has followed up its X post with a second post explaining that the AI Camera Assistant feature "doesn’t edit photos after shooting — it suggests 4 settings in different creative directions based on the scene and subject. You can choose any option or use your own settings." The rest of this article is as originally published.

AI is a controversial tool, but even those against the technology would probably admit that it has some utility. One such use case is to improve photos, but Sony’s recent attempt to advertise AI's skills in this area has very much backfired.

You see, the Sony Xperia 1 VIII has just launched with an ‘AI Camera Assistant’ tool, which, on paper, sounds promising. It can make suggestions about settings you might want to change, such as exposure, bokeh, and color, based on what you’re pointing the viewfinder at, in order to get the best version of a photo. Except, its suggestions are seemingly absolutely terrible.

In a post on X, the official Sony Xperia account has shown some before and after photos aimed at advertising the capabilities of this tool, but the improved shots basically just seem to be overexposed to ludicrous levels, washing out colors and details, and leaving the photos looking pale and unnatural.

An accident or an intentional gamble?

Even if the feature really is this bad, it’s bizarre that Sony would highlight its failings like this, so there’s some debate online about what’s going on. Nothing’s CEO Carl Pei even weighed in, suggesting “this must be engagement farming??” But if it is, it’s quite the gamble given just how terrible this makes the feature look.

Other replies have described the results as “awful” and noted that “all the originals look better”, with one poster saying, “If this is intelligence, I'd prefer my phone dumb.” Another simply asks, “Is this satire?”

The response is almost universally negative, and it seems hard to believe that Sony didn’t realize the adjusted photos look worse. But it’s also hard to imagine the company would intentionally post bad images for engagement.

Perhaps, then, the before and after shots have accidentally been mislabeled, but the post has been up for quite a while now, so you’d think it would have been taken down if that was the case.

We’ll be interested to give the AI Camera Assistant feature a try for ourselves when we get our hands on the Sony Xperia 1 VIII, but for now, based on Sony’s own images, it looks like something you might want to steer well clear of.

Sony A7R VI: Two-minute review

Highly-detailed images or blazing-fast performance — historically, you'd have to pick one or the other when choosing a camera. However, Sony has now given us both in one model — the A7R VI — and for me, it's the perfect mirrorless camera.

I've shot everything from detail-rich landscapes to fast-moving wildlife photography while testing the A7R VI, and it hasn't missed a beat. I've really appreciated the huge number of pixels I have to play with, which means that heavily cropping into images is entirely possible.

Its new 66.8MP stacked full-frame sensor resolves more detail than the sensor in the 50MP A1 II — Sony's previous flagship camera for quality and performance — and most of that camera's speed in terms of sensor readout.

I say 'most', because its readout speed is half that of the A1 II, and able to support autofocus up to 60fps, but it has certainly been sufficiently speedy for just about every scenario I've used it in. And rolling shutter distortion is minimized compared to the A7R VI's predecessor, the A7R V — I shot with both cameras at the same time in order to make direct performance comparisons.

Even better, the A7R VI costs £4,500 / AU$6,999, which seriously undercuts the pricier A1 II. Considering what the A7R VI can do, the A1 II feels somewhat redundant, especially when the speed-specialist A9 III is also on the scene for the likes of pro sports photographers who demand the absolute fastest performance.

Of course, that's still a decent chunk of anyone's money, and the A7R VI costs a lot more than the still-incredible A7R V, which has fallen in price since its launch in 2022, and is probably the better value pick if detail is all that matters to you.

However, given the upgrades here, which also include a new and higher-capacity battery type, the A7R VI's starting price feels justified. I've been reviewing cameras for 15 years, and I think Sony just made the first one that's perfect. I could happily dine out on its skills for many years to come.

Sony A7R VI: price and release date

• Announced on May 13 2026
• The body-only price is £4,500 / AU$6,999

Yes, the A7R VI'S £4,500 / AU$6,999 launch price is higher than that of the A7R V, which cost £4,000 / AU$5,499 on its announcement late in 2022, and which can now be had for around £3,000 / AU$4,799. That said, the A7R VI is more camera — it's not just a resolution king, but a speed demon too.

When you consider what the A7R VI is capable of versus the Sony A1 II, which costs more than £6,000 / AU$9,999, it feels like excellent value.

• Price score: 4.5/5

Sony A7R VI specs

Sony A7R VI: Design

• Still lightweight and small versus rival high-resolution full-frame cameras
• Rugged design and excellent ergonomics
• Touchscreen features a 4-way axis, the detailed EVF detail packs 9.44m dots

For recent models, Sony has made great strides in improving how its cameras handle, and how easy the menus and controls are to navigate. It's no longer the case that rival Canon and Nikon cameras are simply easier and more intuitive to use.

For starters, Sony has improved the design of the grip — on the A7R VI it's even bigger and more pronounced than before, no doubt to house the upgraded and physically larger new battery type which debuts here (more on this in the performance section).

The new bulb button on the camera's top plate illuminates key buttons in low light, making them easier to find in the dark, and there's a tally lamp for video recording. Each port sits behind its own rigid door, which when in use sits neatly out of the way. These are all lovely additions to what is otherwise a very similar design to the A7R V.

Like before, we get three control wheels for exposure adjustments (one of which is lockable), four custom buttons (though not one on the front of the camera, sadly), a grippy AF joystick and a four-way control dial which also includes drive mode and ISO shortcuts.

There's a neat 3.2-inch touchscreen with 4-way articulation, meaning the screen can be flipped out to the side and viewed at awkward angles, whether you're shooting in vertical or horizontal format. There's a highly detailed 9.44m-dot EVF, too, but this time it's a HDR DCI PW display which Sony says is 3x brighter than the one in the A7R V.

We get twin card slots again, and each slot accepts either an SD card or one of Sony's CFexpress Type A cards. Per gigabyte, CFexpress Type A cards are among the most expensive, more so than CFexpress Type B used in rival cameras. Of course you can use cheaper SD cards, but you'll want a CFexpress card to get the A7R VI's speediest performance for burst shooting and so on.

Naturally, with this being a pro body, the A7R VI is weather-resistant. I'm not in the habit of wrecking cameras, and certainly not review samples that I have to send back, but you can feel that the A7R VI is rugged too. The back-right control dial has a tiny bit of give, and could be a weak point, but it performed fine during my review.

If I was to have one criticism, it's that the camera body still feels a little cramped — many of the controls are small and tightly packed together. You'll also want a vertical grip when pairing the A7R VI with big lenses for better balance, such is its compact design. But overall, the A7R VI is as good a camera body as Sony has ever made.

• Design score: 5/5

Sony A7R VI: Performance

• The sensor is stacked with rapid readout speed, minimizing rolling shutter distortion
• A new higher-capacity NP-SA100 battery makes its debut
• Subject tracking autofocus performance further boosted with new chip

While the A7R VI's design is a minor upgrade, its performance reaches new levels thanks to a new 66.8MP stacked sensor, new Bionz XR 2 processor, combined processing and AI chip (as in the Sony A7 V), and an entirely new battery. Let's look at each of these in more detail, starting with the sensor.

Not only is the sensor the highest-resolution for the full-frame format at 66.8MP, it's a stacked sensor, which means a faster readout speeds, and a half-stop boost in image stabilization performance, now up to 8.5 stops.

Stacked sensors power everything from rapid autofocus speed to minimizing rolling shutter distortion. The A7R VI's is faster than the A7R V's regular 61MP sensor, but not quite as quick as the A1 II's 50MP stacked sensor, nor the A9 III's 24MP global shutter.

We also get a next-gen processor, the Bionz XR 2. Top features include 10fps burst shooting (mechanical shutter) for up to 535 frames in compressed RAW, and up to 30fps blackout-free (electronic shutter) for up to 150 shots — the latter is a three-second burst.

One of the buttons can be assigned as a burst-shooting boost, meaning you can tick over at, say, 10fps in using the electronic shutter and up this to 30fps when a key moment occurs.

Burst shooting is also supported by the pre-capture feature, where up to one second of shots can be buffered with the shutter half-pressed, before you fully press the shutter to engage a sequence.

Like in the A7 V, the A7R V combines the processing chip with the dedicated AI chip — the setup found in previous-generation cameras like the A7R V — into a single chip, for greater efficiency and power conservation, and for smarter autofocus and accurate auto white balance and color rendition.

In addition to a boost in the maximum possible length of burst shooting sequences before the camera slows up, there's an auto subject-detection mode this time around, which is very handy if you regularly switch between subject types, plus dedicated subject-tracking modes for as humans, birds, animals and vehicles, with the camera able to recognize head, eyes and even body shape (human pose), to intelligently understand where exactly to focus on, with a super impressive hit ratio of sharp shots.

I photographed a lot of birdlife, and found the bird detection autofocus super reliable, and even able to pick out subjects when they only took up a small portion of the frame. Those who like to use spot focusing will enjoy seeing the size options expanded, with new XL and XS options for wider or even more precise focusing.

And then there's the new battery, a NP-SA100 unit with 2,670mAh capacity. For Sony photographers, this one is a big deal — the first new battery for Sony mirrorless cameras in nine years, since the legendary NP-FZ100.

The new battery is physically larger and has a 17% bigger capacity than the NP-FZ100's 2,280mAh, which already delivered rival-beating power, so that's the good news.

The bad news is that the batteries are not forwards / backwards compatible. You can't use your stock of NP-FZ100 batteries in the A7R VI, nor can you use the new NP-SA100 in an older Sony camera.

Batteries, along with the continued use of Sony's own CFexpress Type A cards, are another potential costly extra, which will no doubt irritate some Sony fans keen on the A7R VI. I certainly enjoyed having two NP-SA100 batteries and a charging dock for long weekends of heavy shooting, and would personally factor that into a purchase. The bottom line, though, is that the new battery's life is better — and who wouldn't want that?

• Performance score: 5/5

Sony A7R VI: Image and video quality

• The highest-resolution full-frame sensor in a mirrorless camera, and it's a stacked type
• 66.8MP equates to 28MP with a 1.5x (APS-C) crop
• Dynamic range boosted by one stop to a class-leading 16 stops

The 'R' series of A7 cameras have always been about detail — delivering the highest-resolution stills that Sony cameras are capable of. And the A7R VI boosts the series further, from 61MP to 66.8MP, and this is achieved with a substantial boost in performance thanks to the stacked sensor.

There are some who would have preferred an even bigger boost in resolution over a boost in speed — there was a time when the A7R VI was rumored to come with a (regular) 100MP sensor. For me, however, as someone who photographs everything from landscapes to portraits and wildlife, I prefer the versatility of the A7R VI's sensor. It's basically perfect for my needs.

With a stacked sensor, there's a risk of some compromises in image quality, especially in low light. Thankfully, in the case of the A7R VI, the opposite is true, and dynamic range is further boosted from 15 stops to 16 stops.

I don't usually need 66.8MP stills, but being able to crop into such large files can be super handy. For example, I took a lot of bird photos, and even with Sony's 400-800mm lens, which is its longest telephoto lens, the tiny, distant subjects at times appeared small in the frame.

No problem: I could crop right in and still enjoy super-sharp detail. To give you an idea, the 1.5x (APS-C) crop mode is still 28MP, which is a huge file size. Employing that crop with the 400-800mm lens is effectively like having a 1200mm lens! This is where high-resolution cameras can be particularly helpful.

Color is also improved, with the subject-detection AI chip analyzing the scene for better auto white balance (AWB). For example, where older AWB systems might look at a lush green woodland scene and compensate with the opposing tone, resulting in an overly magenta hue, the A7R VI knows it's a woodland, or a person in the shade, and will select the right tone for the scene.

Video recording looks similar to the A7R V's going by the numbers: 8K up to 30fps and 4K up to 120fps, and still no open-gate recording, but the new stacked sensor minimizes rolling shutter distortion, making the A7R VI a better option for video than its predecessor. It's also equipped with more filmic color profiles.

• Image and video quality score: 5/5

Sony A7R VI: testing scorecard

Should I buy the Sony A7R VI?

Buy it if...

Don't buy it if...

Sony A7R VI: also consider

How I tested the Sony A7R VI

• Sony loaned me the A7R VI four weeks before it was announced
• I had four lenses to use with it, plus twin batteries and a charging dock
• I've taken photos and videos of a wide range of subjects to test key feature

I had the chance to test the Sony A7R VI for four weeks ahead of its announcement, and used it with four lenses: a small 24mm f/2.8 prime, the 28-70mm F2 GM, 70-200mm F4 G OSS II Macro and 400-800mm F6.3-8 telephoto zoom. I was also supplied with two batteries and the twin charging dock.

Given the camera's high-resolution stacked sensor and latest processor, which incorporates the previously separate AI chip, I wanted to test the camera's image quality and performance in a wide range of scenarios, which included landscape photography, wildlife photography, portraiture and more.

I also tested its burst-shooting skills, shooting in both the mechanical and electronic shutter modes, and noting how many photos the camera could capture before slowing up.

Sony also loaned me the A7R VI's predecessor, the A7R V, so I was able to make various performance comparisons, especially around high-speed photography.

• First reviewed: May 2026
• Read more about how we test