Amazon and Roku could be preparing to launch updated streaming devices after new remotes were spotted at the FCC in the US.

We don't have specific details about what these new streamers might be at the moment, because it's the remote controls that have given them away. In this case, thanks to the filings, we see a new Amazon remote and four new Roku remotes.

The details, uncovered by Lowpass, point to the future launch of new streaming devices, likely coming in the next couple of months, but currently there are few clues as to what either company plans.

The listings at the FCC (here and here) don't have any photos and lack complete details, but give us enough to make some discoveries.

What could Amazon and Roku launch?

First, the Amazon remote is likely for a Fire TV device and appears to be the same size as the existing Alexa Voice remote. However, it appears that this is a Bluetooth Low Energy remote only, suggesting no IR support for older devices.

Little else can be determined about the remote at this time, but Amazon has many controllers across its devices, offering varying features – some have numbers, some include external device controls, and some are more basic.

With Amazon updating the Fire TV Stick line recently, the oldest models are the flagship Fire TV Stick 4K Max and the Fire TV Cube. Other devices have been recently replaced, moving over to Vega OS, its Linux-based software that's designed to reduce piracy amongst other things.

But, we also know that Amazon is aiming to shift from buying its processors from the likes of MediaTek and Amlogic, to using its own silicon. The timeline for that shift was predicted to be around 2027, according to Ming-Chi Kuo, which might fit with the next launch that Amazon makes.

Amazon traditionally hosts a fall hardware event around September or October each year – and the registration of this remote could point to that.

The second set of remotes are for Roku. Again, we have very little information about the devices these will control, but in this case there are four remotes. They include one that's specified as not having Roku's signature cloth tag.

That suggests that it's going to control hardware that's launched in partnership with another brand – perhaps a retailer like Walmart with its Onn devices.

Other details highlight buzzers to help find the lost remote, while they all use replaceable batteries rather than an internal rechargeable battery, like the Voice Remote Pro. That might indicate that these are regular bundled remotes for updated devices.

While we can't discern too much from these filings, it points to new streaming devices coming from both Amazon and Roku soon. And with Apple also tipped to launch a new Apple TV 4K, it looks like we'll have plenty of choice in the coming weeks and months.

The new Premier League season starts this weekend and Sky customers have several new and enhanced features rolling out for Sky Glass, Sky Stream and Sky Q to help them enjoy the action. Viewers using the Now streaming app will also get a couple of new modes.

The headline feature, Your Multiview, will launch on 21 August, in time for the first live match on Sky – Arsenal v Coventry. It gives you the ability to watch live feeds of up to four Sky Sports channels at once.

You can choose which of the feeds' audio you want to prioritise, but it means you'll be able to watch different matches or even sporting events at the same time.

For example, if your team's live match clashes with a Formula One race – you can have both on the screen at the same time, along with the golf and cricket coverage.

You can then switch any of the feeds to be full screen if you want to get closer to the action.

Now viewers will also be able to watch multiple streams at the same time, with the feature coming later this season.

What else is coming to Sky Glass, Stream and Sky Q?

Additional features that will be available across Sky platforms for the 2026/27 season include a Sports Hub with live scores, stats, tables and more. There will also be short-form clips and highlights instantly available to play at the side of the screen.

Sky Sports is introducing Team Pages too, so you can follow a favourite team from the same place – including all the live games, headlines and highlights. There will also be reminders for upcoming matches.

And, as with the recent World Cup coverage on the BBC and ITV, Sky will host Real Time streams of the Sky Sports Football, Sky Sports+ and Sky Sports Premier League channels. These offer lower latency feeds of live matches so you won't have goals and other incidents spoiled by phone notifications or neighbours.

All of these features will be available on Sky Glass, Sky Stream and Sky Q bar the Real Time feeds, which is exclusive to Glass and Stream.

When Apple detailed its new Siri AI functionality during WWDC 26 in June, it left out a couple of product categories it'll be coming to. However, it seems one of those will be getting the new, more powerful voice assistant after all.

References to Siri AI have been spotted in code, suggesting Apple's streaming devices will be getting the upgrade too. The only question that remains is whether it'll be available on existing boxes or if you'll need to buy a new Apple TV 4K.

There have long been suggestions that Apple will launch a new TV 4K box once Siri AI becomes available, as the current-gen model doesn't have a chipset capable of running it. After all, the Apple TV you can buy today was released four years ago, long before Apple Intelligence was introduced.

Siri AI could transform the TV streaming experience and offer a more immersive, contextual experience when you are hunting for something new to watch. It will also likely sit at the hub of your smart home, so could be important when using simple, contextual language to control other devices too.

As 9to5Mac also points out, Apple plans for a "One Siri" experience, so the same system works across all of your Apple devices – iPhone, Watch, MacBook, etc – and it'll undoubtedly want your Apple TV 4K box to be included.

And so it makes sense that Siri AI will be part of tvOS 27 when it releases in September. It's just whether it will be joined by new hardware that'll be required, too.

Found in official Apple code

The Apple-centric site claims to have found the reference to Siri AI in macOS 27, as part of the apps list for tvOS 27. The entry features the string "com.apple.campo", with "Campos" being the internal codename for Siri AI.

This doesn't appear in app lists for tvOS 26, leading 9toMac to believe that it'll be launched with tvOS 27.

Hopefully, this will also signal the long-awaited refresh of the Apple TV range as well, which might be announced alongside the iPhone 18 Pro and iPhone Ultra during Apple's next launch event. It's currently believed that could take place on 9 September – so not long now.

Unlike just about every other major TV manufacturer, Samsung does not support Dolby Vision – it has bet the house on HDR10+ instead, the HDR standard it co-developed. And there's a possibility it'll turn its back on Dolby Atmos eventually too.

That's because it has developed its own spatial audio codec with Google, which is available on select Samsung TVs from 2025 on and some models from other manufacturers, such as fellow Korean brand LG.

Like Dolby Atmos, Eclipsa Audio creates a "3D soundscape" by optimising the spatial positioning of sound when played through a TV or soundbar. However, unlike true Atmos, it doesn't require a full surround sound setup to work.

It can send channels to dedicated speaker systems, such as a 7.1.2 array, but it is also designed to work well through fewer speakers – creating a virtual bubble of sound for the listener.

What do you get with Eclipsa Audio?

Its biggest feature is to allow for positioning of sound within that scape, so you can pick out different cues and effects in different areas of the 3D "bubble". Effects can also move around to match visuals on the TV, for example.

Eclipsa Audio also has the benefit of being free to use by content creators and sound engineers, whereas Dolby Atmos and DTS:X require licence fees. That differentiates it and will hopefully lead to more Eclipsa Audio tracks being available in future.

Indeed, Samsung itself recently posted a chat with a couple of the senior executives behind Eclipsa Audio, Woohyun Nam and Joonhun Choi, who explained how the company's own streaming TV service, Samsung TV Plus, is adding new live music content mastered in the format.

"Our top priority was ensuring viewers could fully experience the immersion of a live performance," said Nam.

"We worked closely with the [visual display business] to verify that Eclipsa Audio could be delivered seamlessly through Samsung TV Plus and that the spatial audio of live performances was faithfully reproduced."

"We focused on securing Eclipsa Audio content and encouraging content partners to adopt the technology," added Choi.

It's been a clear hit so far: "Users said they felt as though they were sitting in the audience at a live performance," revealed Choi.

"Some even said that certain scenes were more satisfying than watching from a small theatre."

Of course, Samsung TV Plus is exclusive to Samsung televisions, and you'll need one that supports Eclipsa Audio to get the full effect. However, with Google being the main partner, the technology is also being baked in Google TV and Android TV models, and you'll likely find videos on YouTube to try the effect for yourself.

It will also eventually be used in a wider range of shows and content types.

"Beyond musicals, we plan to expand Eclipsa Audio to K-pop concerts, classical performances, movies and sports," said Choi. We wait to see (or hear) what comes next.

In a sudden and unexpected announcement last September, Dolby revealed that its next-generation HDR (high dynamic range) format, Dolby Vision 2, would be introduced.

I got to check out the new format – which arrives in Dolby Vision 2 and Dolby Vision 2 Max with added benefits for even higher-spec TVs – back in March of this year, courtesy of Philips' TP Vision 'Unboxed' event, where side-by-side demonstrations were presented.

Now, however, Dolby Vision 2 is here for real – and will begin rolling out via an over-the-air (OTA) update to a select handful of TVs. Hisense is first out of the blocks, beating TCL and others to the punch, but it won't be long before other brands also get a Dolby-certified pass.

That said, Dolby Vision 2 Max-authored content – which can take fuller advantage of scene-by-scene metadata for 'Authentic Motion' control – won't be available until sometime towards the end of this year.

Which TVs get Dolby Vision 2 first?

• Hisense UX
• Hisense UR9
• Hisense UR8
• Hisense U7 [USA]
• Hisense U7 Pro [UK/EU]

Interestingly, the Hisense TVs set to receive this update (as listed above) are all of its higher-end models – all of which will deliver Dolby Vision 2 Max, as and when the relevant content arrives.

No additional TV update will be required for Max compatibility, though, as the Dolby Vision 2 'wrapper' will determine which metadata is relevant to any presentation.

What's the immediate benefit of DV2?

• New Imagine Engine
• Content Intelligence
• Intensity control

You needn't worry whether you're watching 'original' Dolby Vision content or 'new' Dolby Vision 2-authored content.

This Dolby Vision 2 update will bring an immediate benefit to all Dolby Vision content, though, with a new imaging engine that delivers "enhanced" experience to visuals.

From contextual understanding of scenes, to punchier colours and greater visible detail, Dolby Vision 2 recalibrates the format.

Yet, for the first time, it puts simple control in users' hands – via the intensity slider feature. You can pick how intense the HDR effect is in real-time, using a software-based control.

What about Dolby Vision 2 Max content?

• Light Sense 2
• Authentic Motion
• Pro Reference Mode

Dolby Vision content doesn't change, per se, rather what your TV can do with it does.

Dolby Vision 2 Max brings everything mentioned above in Dolby Vision 2, but adds three key additional features.

Light Sense 2 handles real-time ambient light feedback for auto-adjusting of what you're watching.

Authentic Motion provides content creators with the ability to apply per-scene motion control into the metadata, preventing unwanted judder for specific moments. Brighter TVs highlight motion issues more keenly than dark ones, hence it being part of the Max feature set.

Lastly there's Pro Reference Mode, which is for high-end users only. This switches off Light Sense and fixed picture quality to match studio-accurate display presentation. It's not something that most will use.

The Hisense TVs listed above are all Dolby Vision 2 Max certified, so will benefit from these features – as and when the relevant content arrives. Just something else to look forward to, late in 2026 through into 2027 and beyond.

The TCL C7L has a tough act to follow – last year’s C7K model took home a coveted T3 Award, and now that it’s reached end-of-life, it’s available at a very tempting price indeed.

But TCL is nothing if not intrepid, and for the C7L it’s added an exciting new Super Quantum Dot – or SQD, for short – technology, without letting the asking price get out of hand. So can lightning strike twice?

Price & Availability

On review is the 65-inch C7L – the TCL 65C7L – which is on sale now, priced at £1299 in the UK. The equivalent 65QM7L sells for $1499 in the USA, while in Australia you’re looking at AU$1999.

The C7L offers other sizes, too, with 55-, 75-, 85- and 98-inch models also available. It runs quite the gamut of scale, which is part of the benefit of SQD technology, should you be looking for 'huge yet affordable'.

Features & What's New?

The most striking thing about the 65C7L – on paper, at least – is the fact that it’s a Mini-LED TV that uses Super Quantum Dot technology (SQD).

TCL has used an HVA 2.0 Pro LCD panel (because it promises low reflectivity and superior viewing angles) backlit by a colossal number of miniscule LEDs, in order to create a panel with a massive 1152 individually controllable backlight dimming zones (for the 65-inch model).

Then it’s deployed a similarly huge number of Quantum Dots that use five, rather than the more common two, layers of material to maximise their stability and efficiency as they’re generating colour. Only one other range of TVs currently uses SQD technology: the more expensive TCL C8L.

The idea is to serve up a television with a vibrant, accurate and wide-ranging colour palette to draw from, that has class-leading backlight control, that is easy to watch off-axis, and that can hit frankly unlikely brightness levels. For this 65-inch model, TCL is claiming a massive 3000 nits of brightness, which should be easy to watch even in brightly lit rooms.

It would be a shame not to make the most of this complicated technology, of course, so TCL has made the C7L compatible with every high dynamic range standard out there – HLG, HDR10, HDR10+ and Dolby Vision (including Dolby Vision IQ and Dolby Vision Game). Naturally, the screen is certified IMAX Enhanced too.

It’s used some proprietary technologies to maximise performance, too. The ‘All-Domain Halo Control System’ ensures the remarkable brightness levels don’t result in haloing during high-contrast scenes, while ‘Deep Colour System’ keeps colours naturalistic in every circumstance. That’s the idea, anyway...

As is only reasonable, given the thoroughgoing nature of the C7L’s video specification, TCL has again turned to Bang & Olufsen to provide this TV’s audio system. Unlike the video spec, though, not many details are forthcoming about the C7L’s sound.

Yes, it’s compatible with Dolby Atmos and DTS:X spatial audio soundtracks. Yes, there are a couple of exposed bass drivers on the rear of the chassis. And, yes, there’s actually more ‘Bang & Olufsen’ branding on this product than there is ‘TCL’.

But how many drivers are there in total? What are they made of? How much power is on tap to drive them? About the only thing I’m prepared to suggest is that while the TCL can deal with spatial audio, it’s not configured to actually deliver an impression of spatial audio. If it was, we’d know about it.

Performance

If you’ve worked out how to liberate significant brightness from a screen, it must be tempting to just shove all that brightness forwards at every opportunity. But thankfully TCL is a bit more judicious and slightly less of a show-off than that.

Of course, if you’ve got brightness to spare there’s no harm in letting everyone know about it every now and then. Cue up some nice bright HDR content and there’s real intensity to the C7L’s images – but even when really going for it in brightness terms, pictures are still detailed and the nuance of texture and tone is always present.

The TCL is very good at controlling high-contrast scenes, too. Even if black tones lack the outright depth of those served up by an OLED panel, there’s no washing out or bleaching even when black and white are sharing the screen.

In between these extremes, there’s remarkable breadth and variation to the colours the C7L generates. If your content insists on punchy and primary tones, there’s real zip to them here – but equally, when it’s called upon to do ‘subtle and understated', the TCL has more insight into the subtleties of shade than pretty much any price-comparable rival.

The palette on display has a lot of variation in it, and the screen’s facility with detail retrieval and retention means that discrepancies in texture, as well as in tone, are described in full. Control of patterns is also impressive.

The TCL is a crisp and organised watch, but it never threatens to get edgy with 4K content. Its ability to control on-screen motion – a big factor during this endless summer of televised sport – is always impressive. Or, at least, it is once you’ve looked into your motion-control options in the set-up menus…

The C7L isn’t half-bad when it comes to upscaling too – up to a point, anyway. The 1080p stuff isn’t quite as detailed or quite as sharp as native 4K content, naturally – but it’s still detailed, still composed, and still moves around the screen in confident fashion.

Moving down in resolution from here can see the TCL working very hard indeed at times, and images can get a little vague and smeary. The C7L isn’t the only big 4K TV that looks a bit of a state with reruns of 80s shows on the outer reaches of the cable channels, mind you…

The C7L is a straightforwardly impressive gaming monitor, thanks in no small part to very low latency, very high refresh rates and the motion stability I’ve already discussed. The brightness and the colour fidelity it’s capable of really bring the most out of a games console.

Shortcomings where picture quality is concerned are apparent, sure, but they’re not exactly deal-breakers. Some picture noise is apparent in content that’s less than state-of-the-art, and despite what TCL seems to think the HVA 2.0 Pro panel is readily reflective of the light in your room. It’s also not the greatest watch if you’re sitting strongly off-axis – its backlighting becomes apparent and its colour fidelity takes quite a big hit too.

When it comes to sound quality, though, the TCL is rather underwhelming. Don’t get me wrong, it’s not terrible – it can reveal a fair amount of sonic detail, and it has the ability to reach a fair way down the frequency range in search of bass sounds.

This is far from the only TV that can’t muster the sound quality to match its picture quality, though. It’s default audio character is ‘thin’, and it's definitely not a fan of higher volumes – the stressed and compressed nature of its sound if you turn it up will have you turning it down again pronto.

Design & Usability

The 65-inch C7L on review is just 56mm at its deepest point, and it’s VESA-compliant too – so it’s a great candidate for wall-mounting. If you're not going down that route, though, it’s supplied with a central pedestal stand that doesn’t swivel but does raise the screen to the point that even a quite chunky soundbar will fit beneath it.

It’s predictable (and, let’s face it, quite welcome) that TCL hasn’t attempted to do anything radical with the design of the C7L. Its bezels are reasonably slender, the plastics from which it’s mostly made don’t feel anything special, and the standard of construction and finish is perfectly fine – but where ‘design’ is concerned, this is just a TV and as functional as you might imagine.

Equally predictable and, in some ways, equally welcome are the ways in which you can control the C7L and set it up to your satisfaction. TCL supplies a remote control handset that covers pretty much every eventuality – it has rather small buttons, though, no backlighting, and doesn’t look or feel even remotely special. The TCL control app is equally thorough, easier to navigate, and just as tedious to look at as the physical remote. Happily, Google Assistant is built in and, once you’ve located the /mic’ button on the remote, it’s swift and reliable in response to your prompts.

However you decide you want to control the C7L, though, you’re in charge of some nicely judged set-up menus – they make getting a workable picture quick and easy, and offer some reasonably in-depth tweaking to those who want it. It’s just as well that the menus are simple and logical, because when the screen first comes out of its box and is plugged in, its default settings are all at whatever the visual equivalent of ‘shouting’ is.

The user interface is provided by Google TV, and it’s one of the better examples of the type. It includes each and every UK TV catch-up service, including the lesser-spotted BBC iPlayer, and has plenty of options where streaming service (and other) apps are concerned. It’s easy to navigate, quite logically laid out, and doesn’t try all that hard to sell you things. All of which count as positives.

As far as connectivity goes, there are four HDMI sockets – two are at full-on 2.1 specification, and one of this pair is also eARC-enabled. So as well as VRR, ALLM, AMD FreeSync and all the rest of it, the TCL supports 4K @ 144Hz and 1080p @ 288Hz – latency in ‘Game’ mode is at around 10m/s. There are a few lesser physical connections, along with a couple of RF aerial binding posts, and Bluetooth and dual-band wi-fi are available too.

TCL C7K review: Verdict

The C7L is not only a great advert for TCL’s Super Quantum Dot technology, it’s also a great all-around picture-maker that serves up endlessly watchable, high-contrast HDR (high dynamic range) images from any source capable of delivering them.

It uses its prodigious brightness in a thoughtful and mature way, rather than just turning it up to ‘11’ the entire time – and when you add in the great colour fidelity, fine motion-handling and undeniable advantages it brings to gaming, it's certainly the real deal.

Also Consider

It’s an indication of just what an accomplished TV the TCL C7L is that the most credible price-comparable alternatives are all TVs from 2025. The C7K is one obvious option, given its even lower price, of course.

Otherwise the LG OLED C5, for instance, is now down towards TCL money – but while it has plenty to recommend it (excellent black tones, great gaming features, decent contrasts and good colour fidelity), it cannot get anywhere near the brightness of the C7L.

It’s a similar story with the Sony Bravia 7: it has impressive colour balance, good backlight control, excellent standard of build and finish and, remarkably, half-decent sound – but there’s no HDR10 or HDR10+ support and it’s rotten when viewed off-axis.

Two new picture technologies are coming to TVs in the next few months, with both HDR10+ Advanced and Dolby Vision 2 both set for release soon. Indeed, in the case of the former, we could see it in a matter of days

Samsung has announced that it will be rolling out HDR10+ Advanced to its 2026 models this month – August 2026. Or at least, it'll be activating it as the technology is already integrated in select TVs.

Amazon Prime Video will be the first streaming service to adopt the new brighter and more immersive HDR standard. Amazon has been pivotal in the rise of the HDR10 standard in the past, most notably being the first to offer HDR10+ on its movies and shows in 2017. This continues that trend.

"At Prime Video, we’re dedicated to providing the best possible viewing experience and HDR10+ Advanced represents a meaningful step forward for our customers," said Prime Video's vice president of technology, BA Winston.

"With Enhanced Overall Brightness and Intelligent Motion Smoothing, the picture quality adapts to bring out the best details in every scene."

Only Samsung's 2026 models will be compatible with HDR10+ Advanced – that's TVs with "H" at the end of their model name, including the jaw-dropping Samsung S99H and S95H.

Support for other manufacturers should become available over time.

What improvements does HDR10+ Advanced offer?

HDR10 is the de facto standard for HDR (High Dynamic Range) picture technology on many – if not all – TVs and devices. HDR10+ was introduced by Samsung in collaboration with several partners almost a decade ago as a direct response to Dolby Vision.

All HDR technologies expand the available colour gamut and offer a much wider dynamic contrast range, resulting in more realistic and immersive images. However, HDR10 simply applies the same setting for an entire movie or show, while HDR10+ (and Dolby Vision) can adjust the balance on a scene-by-scene basis – frame-by-frame, even.

As the name suggests, HDR10+ Advanced goes a step or two further. It adds Enhanced Overall Brightness, to better utilise modern TV's higher brightness capabilities, while also using AI to better tone map content in real-time. This preserves details at two ends of the spectrum, in the shadows and the brightest scenes.

On top of these, Intelligent Motion Smoothing dynamically adjust motion processing on a scene-by-scene basis, to smooth the action without creating the plastic look of aggressive motion technologies of the past.

The new technology rivals Dolby Vision 2, which will offer similar properties when it arrives soon too.

Sony has long been a proponent of LED backlight, with its flagship TV model often using some variation of the tech rather than the ever-popular OLED.

It's perhaps ironic that one of the best OLED TVs is the Bravia 8 II, a model that's flanked by two other non-OLED: the Bravia 7 II below it and this, the Bravia 9 II, at the top. Both of these are what Sony calls 'True RGB' TVs.

We've seen Sony's RGB tech on a number of occasions, but with the Bravia 7 II and the Bravia 9 II, it finally brings the next-gen TV tech to market. Meaning you can, finally, actually buy one.

While the message here is about surpassing OLED, the more time I spend with RGB backlight TVs, the more I see it more as the logical evolution of Mini-LED. It carries many of Mini-LED's advantages, while hanging onto some of its disadvantages.

At its core, the Bravia 9 II is a flagship Sony TV and that shines in pretty much everything that it does – especially if brightness and colour are your biggest asks. It might not seal the deal over OLED for everyone, though.

Price & Availability

The Sony Bravia 9 II was announced on in May 2026. It's widely available from retailers, but as a flagship model, it comes at a premium price.

It's available in 65-, 75-, 85- and 115-inch sizes. If you want something smaller, you'll have to get the Sony Bravia 7 II (which is less bright).

The 65-inch model is £3499 in the UK, so it's a full £500 more expensive than the LG OLED G6 – and that aligns with where Sony sees this television.

It's also a bump over the price of the previous Bravia 9, so there's no escaping the fact that this is an expensive TV (at least at launch – time may see discounts applied).

Sony Bravia 9 II vs Bravia 9: What's new?

Comparing the Bravia 9 II to the previous Bravia 9 might not be quite fair: the Bravia 9 was announced in 2024 and its design reflects a previous generation of Sony TVs.

The Bravia 9 II has a central stand instead of feet at the far ends of the screen, making it a lot easier to accommodate. It also increases audio output.

So physically there's a design difference, but the real difference lies in what powers the display. Moving from traditional Mini-LED, the Bravia 9 II introduces an RGB backlighting system, meaning it's much more capable when it comes to generating vibrant colours.

This is combined with the RGB Backlight Master Drive Pro, while also using a new contrast-boosting system. Peak brightness on the Bravia 9 was somewhere around 3000 nits, but the Bravia 9 II aims to be closer to Sony's reference monitor, which is calibrated to 4000 nits. So it's brighter by quite a margin.

The Bravia 9 II also comes with an anti-reflective display, which is a new technology for Sony.

In reality, these two TVs are a world apart. They might share the same fundamental name, but the core technology differs by a dramatic degree.

Design & Setup

The good news is that Sony's new Mirage stand is a very welcome addition, moving support into the centre of the screen rather than towards the edges that we saw from the previous generation.

That makes it a lot easier if you want to place the TV on a piece of furniture – the 65-inch model is 145cm wide, but now you don't need a huge surface to sit it on, as it can protrude over the edges.

The Mirage stand earns its name thanks to the clever refractive panel that slots between the legs. This plastic panel allows light through, but it obscures anything that's behind it. That basically means that cables can be hidden, but visually there's no huge block under the TV – it's a nice move to keep things tidy.

If you're interested in RGB TVs then there's something you need to know: this tech results in hefty TVs. While premium OLED models are wafer thin, RGB TVs are hench.

Sony has used the extra bulk of this TV to pack in a more accommodating sound system, but the 65-inch model I reviewed is definitely a two-handed lift.

There are two remotes in the box: one with a button-heavy version that's been established for many years; and a lighter remote made from recycled plastics, offering USB-C charging, which strips down the buttons – and which I found served me well during testing.

Sony's TV sits on the Google TV platform and the setup process is rather long, walking through a number of steps that invite you to connect devices, as well as introducing you to My Cinema, which is, in my opinion, the core of Sony's picture modes.

Sadly, Google TV doesn't support Freely, so you'll be invited to connect an aerial or TV box, but at least Google TV remembers your passwords if they're saved in Google – so it's quick to sign into your favourite streaming services.

Speaking of connections, Sony hasn't made a huge change from its previous arrangement with this TV: only two of the four HDMI ports support the full bandwidth HDMI 2.1.

That's a pain for anyone connecting a soundbar and multiple games consoles. This is a 120Hz display, so again, there's a bit of a feeling that you're not getting a huge amount of futureproofing.

Picture Quality

Cutting to the chase, the Sony Bravia 9 II offers exceptional picture quality.

There are two sides to that: firstly, Sony continues to offer exceptional processing that's balanced, aiming to deliver cinematic authenticity, while widening the colour volume over Mini-LED TVs. The RGB tech can deliver huge brightness and vibrancy, the fact that Sony keeps that in balance is a credit to the brand's pursuit of accuracy.

I've previously criticised Sony's home screen arrangement, because it tends to be a little dull when navigating. This seems a deliberate choice compared to something like the Hisense UR8S (that I was testing at the same time) where the home screen is almost painfully vivid.

Of course, once you dive into high-quality content, the screen doesn't fail to impress. Sony is inherently deliberate with its offering: there's no HDR10+ and there's no Filmmaker Mode, which is usually what TVs recommend for the "most accurate" presentation, as the director intended.

Instead, Sony offers Calibrated Modes for Netflix and Amazon Prime, and these modes will overrule Dolby Vision, which is usually upheld as the gold standard for HDR (high dynamic range) content. You can turn off those calibrated modes for better results – I find them a little dark.

My Cinema is a suite of picture modes that govern the picture settings across the TV. It's slightly confusing that My Cinema only applies to "movie" content, but apps and broadcast TV isn't classed as movie content, it counts as "video/images" instead. This would mean that My Cinema wouldn't apply to it.

You're free to manually change the content type in the settings, which is ultimately what I did. I had everything classed as "movie" and I used My Cinema for the lot. Sure, it's confusing, but I found that "My Cinema Daytime" struck the best balance overall for everything I watched.

Sony's processing makes a huge difference. Watching Glass Onion: A Knives Out Mystery and there are vibrant reds showing off the potency of RGB's ability, while skin tones remain natural without getting flushed. It's these fine points of HDR brilliance that are presented without blowing out the rest of the content. And that's what makes this TV and its underlying technology great.

But RGB isn't a magic bullet, as there are areas where the delivery looks a little strange – and that includes sport. I watched some of the World Cup in UHD via BBC iPlayer and found a strange combination of a slightly muted picture, but with colours that popped off the screen. That saw the orange of the referee's shirt looking almost neon, with some really vibrant adverts around the pitch, but the grass looking dull.

The 65-inch Bravia 9 II is thought to have 1530 dimming zones and that's naturally a long way from the 8 million that a rival 4K OLED would offer. But The Batman still looked dark and contrasty, with the Sony doing a great job and avoiding unnecessary brightening of darker scenes.

There's occasional blooming, but you have to look for it. It gets more obvious when you're not sitting head-on – white Netflix programme naming on a black background, for example. It's here that this LED tech shows its limitations compared to OLED.

Most of the time you also won't run into the Bravia 9 II's potential. That huge peak brightness sits in the background, betting against a future where content makes greater demands on TV screens than OLED currently offers.

If you want to see how bright and vibrant this TV can be, don't stop at Standard, jump all the way to Vivid and you'll find it's almost painfully bright. If you do end up using Standard, at least change the motion processing – as it's prone to the soap opera effect, while other modes handle motion with much more assurance.

This all sets the stage for excellent bright room performance, boosted by Sony's new glare-free screen. It's taken a leaf out of Samsung's book here, killing reflections with skill, making this a great TV for a sun-filled room, but I think that Sony's display looks blacker than Samsung's (I compared it to the S99H), so there's real rivalry here.

Sound Quality

Sony has a reputation for great sound on TVs – and that continues into the Bravia 9 II. This TV has an 80W speaker system that's made up of eight speakers. Rather than firing down from the bottom of the screen, which is common, these are placed at eye-level, around two-thirds of the way up the screen.

The speakers are divided into two woofers in the rear of the screen, left and right speakers, left and right sound-positioning tweeters, and upfiring beam tweeters. On first setup you'll be invited to tune the TV to the room with a quick test.

The layout of these speakers is designed to support immersive audio, with support for Dolby Atmos and DTS:X. It makes a noticeable difference. This is a great-sounding TV, although I suspect that those spending upwards of a few grand on a new screen will want a bigger soundstage too.

It's easy to recommend pairing this TV with one of the best soundbars, with Sony's Bravia Theatre Trio being an obvious suggestion, with the advantage of having access to Sony's advanced tech drawing the TV and sound system closer together.

Sony Bravia 9 II review: Verdict

Sony's new flagship TV offers stunning performance out of the box, bringing its first RGB backlight technology to market, yet not veering from the Hollywood accuracy that it's known for.

The Bravia 9 II possesses huge brightness potential, but it's used with restraint so that it has real impact when it matters. With Sony's processing ensuring this RGB technology keeps everything in check, it drives forward the case for flagship LED-based TVs.

Is this an OLED killer? Not yet. There's still blooming when viewing off-axis. But Sony's careful handling of dark scenes displays movies the way they're supposed to look, while its new anti-reflective finish results in a screen that often looks darker than Samsung's equivalent sets.

Overall, the Bravia 9 II is a great TV for brighter rooms – and a great showcase for RGB tech. However, there's no escaping that this is an expensive alternative to everything that OLED offers.

Also Consider

The Samsung S99H is a hugely bright QD-OLED model that's stunning in its delivery, while not delivering quite the accuracy out of the box that Sony strives for. But with a matte display and huge brightness, Samsung similarly offers a great bright-room experience for a little less cash.

The LG OLED G6 is one of the finest OLED models you can buy, cheaper than the Sony, but rivalling its position as a champion for accuracy. The glossy finish to the display retains the brilliant blacks that OLED is known for, better for movie nights in controlled rooms, while also offering a stunningly slim design.

The rapture around director Christopher Nolan's latest epic, The Odyssey, is unlike anything I've ever seen in cinema history. Audiences are travelling miles – some hundreds or even thousands – to watch it presented in its native IMAX 70mm format.

"As Nolan intended" has already become a prominent meme, driven by the fact that the majority of prospective audience members know they'll likely never see the film in IMAX 70mm – at least not soon, anyhow. I've resigned myself to a hypothetical showing many months from now, given the movie's plot isn't exactly secret.

But it got me thinking – such is the melting pot of technology and, indeed, technological crossover and nostalgic lean that we find ourselves in today – that when The Odyssey does release in physical and streaming formats, what'll be the best way to watch it?

Could it be that 8K resolution TVs – those four times the resolution of the current 4K standard – find their place in the market once more? Most brands – including LG, Sony and TCL – have given up the ghost when it comes to "Ultra-Ultra-HD", with Samsung the only notable remaining purveyor of the format.

Well, it's not as simple as that, because it's about so much more than just resolution. So let's dig into the 'whys', looking at how The Odyssey is being presented to audiences, the rarity of IMAX 70mm availability worldwide, and how the film's production process reaches beyond digital resolution and range.

What actually is IMAX 70mm?

But let's roll back a moment. For all this talk of 'IMAX 70mm', what exactly is the format? In short: it's a much taller aspect ratio than is typical of cinema, actually closer to the older 4:3 TV format that was predominant from the 1920s until around the turn of the century.

The Odyssey is the first feature film ever to be shot exclusively using IMAX 70mm film, as produced by Kodak. In this supposedly digital age, Nolan is an advocate of film for many reasons – despite its obvious challenges, which are well documented.

In the case of IMAX 70mm, an obvious challenge is the cameras required to expose such a negative, which is physically massive – each frame's usable area measuring 69.8 x 48.5mm, with 24 of those captured every second. Indeed, an IMAX 70mm film canister can only capture up to 150 seconds before it's exposed, meaning long takes during production are out of the question.

But while Nolan does scan the film for editing purposes, that's then used as reference, with the original film returned to and spliced by hand, the old-fashioned way. It's even colour-corrected on film, so the original and effectively limitless analogue format is never simplified by being digitised. Watch the 60 Minutes interview via the YouTube video embed above, which is a fascinating 15-minute watch.

Not all IMAX is the same

But here's the thing: not all IMAX presentations are equal. Indeed, only 40 copies of The Odyssey's film-to-film transfer in IMAX 70mm have ever been made. That's one for each of the 41 cinemas capable of presenting in such a format – that's how rare it is.

Just think about that for a moment: only 41 theatres in the world can present the movie this way. That's partly down to the old projection equipment requirements, not to mention expertise, plus the huge physical scale of the screen in its near-square format.

Plenty of other IMAX cinemas exist, of course, they just don't have the same projection equipment or screen size. The other IMAX-supported format is a 1.9:1 aspect ratio, which is far wider, yet a little taller than the more typical 2.20:1 aspect of most cinemas' digital projection standard.

I produced the infographic, above, to give a hypothetical visual indicator of those formats – IMAX 70mm film, IMAX's Laser / Xenon format at 1.9:1, and typical (non-IMAX) digital projection at 2.20:1 or 2.40:1 – and present what would be 'lost' on some systems.

How does IMAX display on TVs at home?

That same infographic provides an interesting snapshot in how most movies arrive to physical (4K Blu-ray, for example) or streaming formats. The portion between IMAX and typical digital projection becomes embedded black 'bars', as we all know so well, given modern TVs' 16:9 aspect ratio.

How will a TV display an IMAX 70mm image therefore? Well, we've seen it before. This isn't Nolan's first rodeo with the format – large portions of Oppenheimer were captured using 70mm film, for example, with even 2008's The Dark Knight having 28 minutes of its 152-minute runtime in the format.

When those scenes come on you know about it, though, as black borders appear to the left and right of – quite the jump from a widescreen image. Such is the nature of IMAX 70mm within a TV's 16:9 aspect ratio!

With The Odyssey that will be the perpetual vision in how it plays, unless Nolan elects to edit a different widescreen version of the movie for home viewing in addition to the original. And I think we all know: the chances of that are pretty much zero.

So, is 8K a good answer?

But back to that original thought: is an 8K TV the answer for would-be best at-home viewing? Would The Odyssey actually gain more from an 8K version? The answer is both yes and no. On the one hand, you would achieve a higher resolution than 4K, of course, but on the other hand it wouldn't be as high as the film stock's theoretical equivalent.

Kodak's low ISO 50 stock film has a grain that's somewhere in the 12K to 18K range. Not that a gridded digital capture of an organic, randomised pattern of crystals is ever going to fully realise that in the same way. The Odyssey also used some 'faster' film for low-light scenes – and the maximum ISO 500 is granier and will appear different in quality and aesthetic.

Besides, resolution isn't everything. Nolan's use of film, in his own repeated words, is to best equate to how the human eye sees. He wants his films to deliver grandeur in as realistic yet filmic a way as possible. It's not about cranking high dynamic range (HDR) to the maximum, pulling the highest yield from today's brightest TVs.

There's another devil in the detail, pun intended: to benefit from even 4K resolution at its fullest you need to be fairly close to the source (the THX-certified recommendation would be 6.5-feet at no more than 40-degrees off centre when viewing a 65-inch panel). For 8K that's even closer still: a 65-inch panel would need to be positioned about 3.5-feet away, which is unrealistci.

With IMAX screens so large – the biggest being in Melbourne, Australia – the equation is an entirely different prospect. So different that, arguably, the experience could never be transferred into a home environment. Which is exactly part of the point: to keep cinema as cinema. So let's cherish that, sing a song for the imminent death of 8K, and enjoy The Odyssey in whatever future formats it arrives in – however long that'll take.

LG just dropped some fascinating news to tie in with the streaming arrival of Masters of the Universe – it's adding an all-new picture mode to its latest top-end TVs. That mode is called Creator Original Picture Mode, and it's a little bit like Filmmaker Mode on steroids.

Tied in with Amazon Prime Video, where the movie is going to be added on 22 July, Creator Original Picture Mode is like a bespoke, movie-by-movie version of Filmmaker Mode. It lets your TV adjust itself to the exact settings chosen by the creators of the movie you're watching, instead of applying a uniform settings list.

LG says that the parameters on offer to creators and studios include "shadow detail, colour balance, noise reduction and motion handling", all of which can have a pretty big impact on how a film looks on your hardware.

This means that, in the case of Masters of the Universe, you should get the right contrast levels between some of its more glitzy effects and darker parts of the frame, for instance.

As an amusing extra cherry on top, LG is also making the movie available through a fun wake phrase. Those with a compatible TV will be able to use their remote's voice function to say "I have the power", which will bring it up for them to start watching.

Which TVs will actually get Creator Original Picture Mode? Well, it's only going to be the high-end ones. That means the 2026 OLED flagships – the paper-thin W6, the beautiful G6 and the more mass-appeal C6. Those last two are five-star models in our eyes, so this feature could make them even better.

LG says the setting will roll out by the end of July, and it'll be genuinely fascinating to see whether it gets much uptake. There's a lot to be said in favour of being able to get your TV tuned to a director's vision the moment you load up a movie, but it does depend on those creators actually investing the time in tinkering.

Interestingly, for now the LG press information on the setting also calls it "Creator Original Picture Mode for Prime Video" in its footnotes, which suggests the feature might not work across more streaming services or physical media when it does arrive, which would also limit its potential a lot.

Luxury AV brand Loewe has returned to its roots for its new TV launch, with the Antares OLED set having bespoke customisation befitting of its premium price point.

Each OLED panel, for example, is individually calibrated before it leaves the Loewe factory, while personalisation is possible through optional aluminium overlays and interchangeable design elements.

You can also choose to add a matching Antares soundbar, plus a floor2ceiling or rotating floor stand. Alternatively, it can be wall-mounted with one of the available solutions on offer.

The TV comes in several sizes – 42, 48, 55, and 65-inches – with each offering a 4K resolution with a refresh rate of 144Hz for gaming. Dolby Vision IQ is supported for HDR pictures, as well as Dolby Atmos for sound.

The smart functionality is provided by the Vidaa OS platform, which includes all the streaming apps you're used to – Netflix, Prime Video, Disney+ and Apple TV included. While other streaming options are available too, such as Apple AirPlay and Alexa support.

The optional Antares soundbar adds an 80-watts audio experience, and Loewe's dual channel platform is on board to enable USB video recording through multiple TV tuners. There's timeshift functionality on the set itself, too.

"With Antares, we are introducing the most individual Smart TV Loewe has ever created," said company CEO, Aslan Khabliev.

"For decades, Loewe is synonymous with design, innovation and individuality. Loewe Antares takes that philosophy further than ever before, combining exceptional picture quality, intelligent technology and unprecedented freedom of choice in one beautifully crafted product."

The Loewe Antares OLED TV is available now priced from €2,500 / £2,500. This goes up to €4,000 / £4,000 for the 65-inch model.

With the UK in the grip of another heatwave and England's next World Cup match scheduled for a balmy Saturday evening, I'm not going to be sweating it out in my front room. I'm going to decamp into my garden and watch it using a projector.

If you're thinking along the same lines then I have one piece of advice: don't waste your money on a cheap projector, get something you'll use again.

There have been a lot of changes to projectors over recent years, from falling prices to diverse designs. We have short throw projectors that don't invade your whole room, we have powerful 4K projectors for the ultimate detail.

From Samsung's Freestyle to Aurzen's affordable Roku projector, you have plenty of choices. And I've been testing the Soundcore Nebula P1 – a projector that's definitely worth consideration.

Portable practicality

I first saw the Nebula P1 at CES 2026 and the thing that attracted me to it was the versatility. Designed with portability in mind, the projector swivels into the body when you pack it away, while a pair of speakers clip onto the top. There's a carry handle so it's easy to port around.

Nebula has made this its forte, from the dinky P1i to the huge Nebula X1 Pro (which is over £4,000), these projectors are designed to be moved around. About the only criticism I have is that there's nowhere to store the remote unless I buy the separate carry case.

The detachable speakers mean you can easily create separation for stereo, or just place them close to where you're sitting so you can hear what's happening. They are only 20W, but I've found that to be loud enough and it's simpler than having to connect to a Bluetooth speaker.

Simple setup

The design of the Nebula P1 means you can rotate the projector body to adjust the height of the projection. There's no messing around winding tiny feet in and out on the bottom, you literally just set it at the angle you want. There's a screw thread on the bottom so you could put it on a tripod if you don't have a suitable surface for it – but it needs to be something sturdy as the P1 weighs 2.5kg in total.

There's auto keystone that will make sure the picture is correctly proportioned. This sits alongside autofocus, so you basically just have to point it at the screen and it will make all the adjustments. You can manually adjust the size, but it will project up to 180-inches diagonal. I tested it with a 120-inch screen.

It doesn't have the sort of smart correction that you'll find on the Samsung Freestyle that will adjust for wallpaper patterns, but it's easy to get it to fit your screen or projection area.

It's a full Google TV system

The Nebula P1 runs Google TV. This will invite you to sign in with your Google account, but you'll then have access to all the normal Google apps and streaming services. This is so much easier than connecting an external device or casting from your phone – as long as you have solid Wi-Fi, you'll get a great experience.

There's just one slight hiccup here: there's no support for BBC iPlayer at the moment. That often comes down to device certification, so if you need iPlayer, you might be better connecting a Fire TV Stick or similar. As this is an Android device, it's probably not too hard to sideload the APK. ITV X works perfectly, however.

If you are venturing into the garden you might choose to hotspot off your phone (which I did) if your home Wi-Fi doesn't reach reliably all the way to your projector – but I also found it had better connectivity than some cheaper projectors I tested alongside it.

There's also an HDMI connector alongside USB and a 3.5mm connector, so you have choices to connect other external devices if you choose. The included remote connects via Bluetooth and is backlit, so it's really handy and better than the cheap remotes that some projectors offer.

How good is the picture?

I've used the Nebula P1 to watch World Cup matches and it's ideal for those later evening games. This isn't a projector that's well suited to bright conditions – with 650 lumens it's mid-range, but on a summer evening, it's good enough. Importantly, it's far better than cheap projectors you might be tempted to buy on impulse.

If you are considering it, be sure to look at the brightness, because the more powerful it is, the better the picture can be.

The resolution sticks to 1080p which for most sports broadcasts will be fine, unless you're really craving the highest quality, in which case you're better watching your TV.

It's the portability that wins here. It's easy to move the Nebula P1 from garden to front room if you want. You just need somewhere to project the image and you're good to go.

In a World Cup year, there's been a big focus on bigger panels and emerging TV technologies – with RGB Mini-LED the incoming talent. But the established technologies, from OLED to Mini-LED, have also been bolstered further this year.

So whether you're buying a top-tier set to tune into the best streaming services, plug in a player for ultimate 4K Blu-ray experiences, or want best-of-best for a gaming panel, there are lots of top-notch TV options.

This year's T3 Awards 2026 not only celebrates the year's best TVs, but also expands across our brand's core areas of coverage – from Tech to Active and Home – and the quality over the past 12 months has been incredible. In addition to this Best TVs section, do also check out the Best Tech and Best Headphones & Audio winners.

Picking out the best TVs to award for this year was a considerable task. That's why we've broken down this category into relevant sections, highlighting specific purchase needs, from the best OLED model to the best gaming TV. Check out all the winners below.

Best Gaming TV

Samsung S99H / S95H

For the pivotal gaming experience, you'll have a number of requirements. High brightness for top HDR (high dynamic range), 4K output with speedy refresh rates (upward of 120Hz – meaning that HDMI 2.1port types are a must).

Well, Samsung's S99H goes above and beyond. Not only is this QD-OLED panel super-bright, but it's also equipped with four HDMI 2.1 ports on the rear.

Beyond this, however, you can connect a separate Wireless One Connect box and tot up a total of eight HDMI ports (the latency of the additions aren't for gaming link-ups, but ideal for your other A/V kit – no unplugging to make accommodations).

The S99H model pictured has a fancy 'FloatLayer' border design, too, but if that's not to your tastes, then in the UK the S95HF model ditches that and will likely be most gamers' choice.

Highly commended: LG OLED G6

Best OLED TV

LG OLED G6

Traditional OLED – that's organic light-emitting diode – technology has the benefit of self-emissive pixels, which create perfect contrast visuals. That means no light bleed, but it's also meant that other, brighter technologies have come to challenge it.

Well, 'challenge accepted' seems to be the message from LG. The Korean brand's latest panel proves that there's still a long life in OLED yet. Its Primary RGB Tandem multi-layer panel (the same fundamental one as in the previous OLED G5) and new processor combine for an even greater brightness uptick.

But it's not just sheer eye-searing levels that award this TV its accolades. The picture quality is magic – colourful yet faithful and an ideal match for cinematic content – and, when asked, this TV can flex its OLED muscles to deliver vivid gaming experiences too. It's very versatile – and frankly could have won many of these T3 Awards gongs.

Highly commended: Philips OLED 910

Best Streaming Service

Apple TV

The very reason to own a great TV comes down to the quality of what you can watch on it. This year has introduced more content from the best streaming services than ever before – including some absolutely superb shows.

Once again, Apple TV has shown itself to be the most consistent of them all in our book. The strength of Apple Originals shows and movies has been second to none – across a wide range of genres.

There's more to come, too, whether you're into drama, sci-fi, comedy, thrillers – Apple has got the lot. They'll all look even better via an Apple TV 4K box, too, if you want to back up your streaming service with some worthy hardware.

Highly commended: Disney+

Best TV

Sony Bravia 8 II

Now, while the LG and Samsung above are sensational OLED and QD-OLED panels in their own right, there's something untouchable about Sony's entry in this category – and why the second-gen Bravia 8 is our unequivocal winner.

No, it doesn't have four HDMI 2.1 ports (only two). No, it's not even technically the top model in Sony's line-up (that goes to the Bravia 9 II True RGB set). So why's it our winner? There's just something about the image quality straight out of the box that'll take your breath away.

Add better-than-average sound, a great design, and those visuals which bring out the best for both gaming and home-cinema uses alike, and it's a stormer of a set. It's a premium TV with a premium price, though, but it's a premium that's worth paying.

Highly commended: LG OLED G6

Best Mid-Range TV

TCL C7K

Another TV trend for 2026 is that top technologies are trickling down to more affordable price points. Indeed, the best "mid-range" winner this year feels anything but – often delivering flagship-grade results.

TCL has long been at the top of its game when it comes to the craft of Mini-LED panels, which is where the C7K (soon to be replaced by the C7L) brings great performance at a great price.

It delivers super-bright images, with a better-than-average sound system, yet will cost a huge amount less than its mainstream rivals – with minimal compromise. What's not to like? It's an obvious 5-star winner in this category.

Highly commended: Sky Glass Air

Best soundbar

Marshall Heston 120

Best TV acquired, but the sound's not up to delivering that true cinematic experience? While you may consider a full surround system, many people just want a single 'bar solution to cater for the task – and this year's winner does that with style.

Marshall's speakers have always stood out for visual flair reasons, which the company's first soundbar brings to the TV market. But it's not design for the sake of it, this is a practical setup that's complete with physical control knobs to give it unique appeal.

Not only this, it sounds absolutely banging straight out of the box, whether you're enhancing the best movies or blaring out your favourite music. It's got Dolby Atmos duties well and truly ticked, and its volume goes up to 11.

Unlike last year's Sonos winner, the Marshall has a 4K/120Hz HDMI passthrough, too, so you needn't compromise what you have to unplug in order to accommodate it and lots of other A/V kit beneath your TV. That's an added bonus in addition to its solid sonic performance.

Highly commended: Samsung HW-Q990H

Best Streaming Device (UK)

Manhattan Aero 4K TV Streamer with Freely

This year has also seen a huge uptick in the way we here in the UK can source content, with Freely having accelerated that. This free-to-air streaming provider brings access to BBC, ITV ,Channel 4 and Channel 5 – without the need for an aerial or sat dish.

There are umpteen ways to obtain Freely, with a number of manufacturers now baking it into new TVs, too, but as a separate purchase it's the Manhattan Aero that we find a diamond among the other gems. It also brings access to more than 400 other channels, so it's not just locked to the 'big five'.

It's not the first streaming device with Freely support, mind, but we do find it the most integrated. Powered by TiVo – which provides a smooth experience, suggesting the right shows and films at the right time – it's a doddle to set up and use, and you never have to pay a penny for a subscription either.

Highly commended: Apple TV 4K

At the end of this week, on 3 July, one of the biggest sci-fi shows of modern times will return. Yes, Silo season 3 is set to air on Apple TV.

The anticipation is high, too, given the second season's jubilant reception – it still maintains a 92% score on the aggregator site Rotten Tomatoes.

The latest trailer – which is embedded below – has already confirmed some pretty big plot twists, too, so the show's trajectory already looks to be a riot.

But Apple TV has made some great decisions in the show's airing schedule to which other platforms, from Netflix to Disney+, ought to pay greater attention.

Same-day global streaming

The first episode of Silo season 3 airs on Friday 3 July. Not Thursday in the USA and Friday at ungodly hours in the UK. It's a same-day release – so less chance of leaks and spoilers. That's a big positive for a global audience.

Unlike many shows' season premieres, Silo season 3 won't release multiple episodes at once. You won't get two episodes back to back to kick off the season – and I think that's a good thing for scheduling.

Indeed, as I've written before: Apple's bold message with Silo is foresight that Netflix should learn from. The show is already shot beyond this season, through to season 4, meaning ongoing consistency will continue to follow.

No mid-season breaks

Silo season 3 will air consistently, with each week's episode running to a similar length – none of the aberrated runtimes that the final season of Netflix's Stranger Things exhibited.

That, too, is an important factor for consistency, story flow and audience focus. Add that there are no mid-season breaks – FX's Higher Potential on Disney+ could learn that – and that can aid the storytelling aspect of this series.

There's going to be a lot of time jumps in this series, based on the trailer, which ought to lend the writers to cue up plenty of cliffhangers and unknowns. Classic TV storytelling momentum that so many modern 'boxset shows' otherwise lack.

Weekly schedule

But! No physical release...

As one of Apple TV's major Apple Original shows, however, the streamer keenly wants to hold the show on its platform.

That means no physical release – any Blu-rays you see are knockoff bootlegs, not official – and the 4K streaming output, as I've written about before, is sometimes questionable (especially for such a low-light show).

I, for one, would pay extra for an Apple TV Ultra, if it promised higher bitrates. The unofficial workaround, however, is to buy a physical Apple TV 4K box, which services its users with better quality than app sources elsewhere.

That's one hurdle I'm not sure can be fully overcome at this time. Given that Silo S3 has all the badges on its official page – 4K, Dolby Vision, Dolby Atmos – it's clear it could look even better than its streaming bubble enables. But it's a darn good reason to buy a 4K box nonetheless...

When the Project Hail Mary 4K Blu-ray was finally listed for pre-order I let out a little whinny of excitement. Or maybe that was just in my head. Nonetheless, I rapidly paid my order for the physical release, as it had been on my wish-list for some time.

Amazon MGM Studios had a major opportunity here to fix my biggest problem with physical media releases – namely, the release date being set in stone. Sadly, however, this is yet another 4K Blu-ray release where things are just, well, unclear.

- As a 4K Blu-ray fan, these are 7 discs I'd buy in Amazon's sale

Two weeks ago the Project Hail Mary pre-order went live on Amazon in the US. It attracted a mass of interest, then the listing seemingly evaporated – as if the pre-order volume was so considerable that all stock was allocated. Fortunately, the UK didn't suffer the same fate – you can still pre-order on Amazon.

Not in tandem with streaming

At the time the 4K Blu-ray pre-order went live, however, there wasn't even a hint of official release date. Even now, weeks on, there's no official word from Amazon MGM Studios about when the disc version will actually arrive to customers.

That's a frustration. After all, those who want to watch can do so via pay-to-view streaming using MGM+ – as has been the case since 18 June.

• Subscribe to MGM+ for £2.99/month (offer ends 2 July 2026)
• USA-based? Subscribe for $7.99/month

Sure, I get that Amazon wants to promote that platform's sign-ups and revenue, but why not get the 4K Blu-ray out first? Surely that would increase the demand and make even more money overall?

No precise release date

There are also agreements that restrict a release schedule based on a theatrical run – and as Project Hail Mary's life in the cinema extended initial expectations, that put in a bit of a delay.

That's the price of success but, again, why not relay with clarity as soon as possible when the disc would drop? It only adds additional time for teams to be working on the release, rather than squeezing schedules.

As it stands most UK sites have just latched '31 December 2026' into this field, as a catch-all way of saying 'this year', I suppose.

The 4K Blu-ray won't be released that late, though, as suggestion is 11 August will be the official date. Sources are loose on this one, however, so that can only be seen as a suggestion rather than definitive date at this time.

Limited 'Extras' detail

A massive reason for wanting a 4K Blu-ray of any release is for the best-of-best picture quality at a bitrate that no streaming service can ever match, plus an uncompressed sound mix that will make the best home theatres shine all the brighter.

In addition, however, collectors and fans love the Extras on discs. Behind-the-scenes. Storyboards. Deleted scenes. Alternate endings. Director's Cut versions. The list goes on. Yet there is no list – as the 4K Blu-ray of Project Hail Mary hasn't listed any of its contents at this stage.

That's not stopped me from buying the disc on first sighting, of course, I just wish these points would be addressed to make for a smoother purchase experience. At £24.99 / $37.99 for a copy, such buyers are awarding a high rate of return to the studios after all.

We're a day away from Grand Theft Auto VI hitting stores – to pre-order, at least. The game is due on 19 November 2026 for PS5 and Xbox Series X/S, but you can order your copy from tomorrow, 25 June.

It's exciting – after all, this is undoubtedly the biggest game release of the decade so far and while we have a few more months before we can actually play it, I'm already thinking about my gaming setup. I want to ensure that I'll make the most of GTA 6 from the first moment to the last.

Indeed, rumours suggest that the console version will have a 60 frames-per-second performance mode, and you are likely to get some in-game ray tracing support (on PS5 / PS5 Pro and Xbox Series X, anyway). So is your TV up to the task of showing it at its best?

If not, Amazon's Prime Day sale is here to help. There are some great TV deals this week in both the UK and US, which could give you the ideal platform to benefit from Rockstar's first new Grand Theft Auto in 13 years.

I've chosen some of my own picks to help you out.

Each of these deals is great for different reasons, although there are also additional TV deals available on Amazon in your area.

• Amazon UK Prime Day TV deals
• Amazon US Prime Day TV deals

As for Grand Theft Auto VI itself, that will be available to pre-order from tomorrow, Thursday 25 June at midnight in your region.

The game will be available to pre-order digitally on the PlayStation and Xbox stores, or in physical form across multiple retailers. It'll be priced at $79.99 (with UK pricing TBC). A Grand Theft Auto VI: Ultimate Edition with additional in-game items will be $99.99.

Do note though, if you do pick up a physical copy the box will contain a download code – there is no disc version.

There's been no shortage of news from Apple recently, from showcasing what Siri AI will do, through to the changes that will come with iOS 27. One of those changes will have an impact on Apple TV too.

It's a minor thing, but it's really important, because iOS 27 will allow Apple TV to be updated from the Home app on your iPhone. That means that if there's a critical tvOS update, you can make that happen from your iPhone.

Previously, you'd have to turn on the Apple TV and run the update from there, which is an extra step that some might find inconvenient.

Of course, Apple TV also offers automatic updates (if you turn the option on), but often if you want the new software immediately, it's better to find the option to install it manually.

So why are updates important? The biggest thing that most will probably point to is the latest features, but that's not at the top of my list. Instead, this is important for security.

It's critical for device security to be running the latest software, even if you're not currently using the device – especially if it's online. If there's a vulnerability that needs to be patched, then hackers could use that to hijack devices.

I'd see that as the more important thing here – and via the Home app you will be able to just check and push the software to your devices, just as you can with HomePod.

The new functionality was shared by Aaron on X (via 9to5Mac) which shows the update screen for Apple TV in the home app.

What else is new in iOS 27?

There's a lot coming with iOS 27, which is expected to be pushed to devices back to iPhone 11 in September around the time of the iPhone 18 Pro launch.

We've spent some time with iOS 27, highlighting Siri AI (for iPhone 15 Pro and newer), the new photo editing tools, context-aware suggestions, password fixing and more Liquid Glass customisations as features to look out for.

Then there are child features, faster AirDrop and new Apple Intelligence features, but I suspect that most will be bowled over by Siri AI's app and the range of features that will offer.

Thankfully, beyond the headlines, things like easier updates for Apple TV adds convenience and protection.

Amazon has confirmed that the new Fire TV experience is now available on all current Fire TV Stick models and all Amazon Ember televisions. The new interface promises faster navigation and a new layout.

The new Fire TV OS was first shown off on the Amazon Ember Artline, Amazon's take on the lifestyle TV genre, designed to show art when not being used as a TV, with a matte display and changeable frames.

Core to the new software are the 20-30% speed gains that Amazon is promising, making for faster navigation around the user interface on your existing television. That's because there's new code powering Fire TV. I've used it on a couple of TVs now, and it's definitely faster.

The redesign shifts around some of the rows that made up the user interface previously, moving major areas to the shortcuts at the top – movies, live TV and more – while there's more space for apps – up from the six that it previously showed.

The rows below the app shortcuts are mixed and don't offer a lot of customisation, with "continue watching" some way down the page. That leaves a lot of the user interface as rows of recommendations, which may or may not be useful to you.

There's no change to the adverts either, which are now a feature of just about every TV OS.

There's a new menu too, accessed via the icon top left, which is where you'll find things like inputs. As I pointed out when I first tested this user interface, you're a couple of clicks away from inputs which isn't useful for those with connected devices.

There also isn't that much you can do to customise the layout, so while it looks cleaner, there's more that could be done to make it more personal.

Amazon hasn't listed the devices that it is available on, but has said that it's now rolling out to current Fire TV Sticks and Ember televisions. If you have a recent device that hasn't had a hardware replacement, you're probably in luck, but those with older sticks might consider buying one in the Prime Day sales if they want the new interface.

For Amazon's televisions it's also complicated: if you have one of the models that is currently on sale and has gone through the name change to be called Ember, then it will update.

I have the Mini-LED model that's now called the Ember Mini-LED and it's happily running the new interface. But I also have the older QLED model, which isn't, because it's been replaced by the Ember QLED recently.

If in doubt, head into your settings to check if there are updates, but for most people this will install in the background without you having to do anything.

Amazon has also confirmed that it's coming to Hisense Fire TV models, with plans to bring it to more brands later in this year.

World Cup fever has gripped the globe – and as we build up to England's first game, you might've watched the first match and thought "hmm, that doesn't look great".

Much as I could recommend buying a brand new TV, few of us have got the serious cash required to drop everything and bag a big new screen right now. So don't do that – just ensure the settings of your current screen are adjusting accordingly!

Looking for a World Cup TV deal? The 3 best models to buy

Here's a quick rundown of how to get your current TV into World Cup form ahead of the most important matches over the coming weeks. It's free, it's simple, and it'll improve your World Cup and, indeed, sports viewing no end.

Sport Mode

This isn't to sound patronising, but if your TV has a Sports mode then use it. It's designed to bring motion benefits and, in some cases, sound enhancements for commentary, that gets everything looking and sounding its very best for the game.

All TVs differ, of course, so where you find this on your particular brand will likely differ from another. A good place to start is the TV's remote control and the Settings icon – typically a 'cog', sometimes a series of horizontal bands (perhaps with a cog within that).

From here, look for 'Picture' or 'Picture Styles' – anything to that effect. If you've never adjusted this then, chances are it'll be on the default setting. Cycle between the Dynamic, Custom, Movie, Filmmaker Mode and so forth, seeking out Sports.

No Sport Mode? No Problem! Motion Adjustment

However! Not all TVs have a Sport mode. Indeed, the very example I'm illustrating this article with doesn't – and the Game mode, much as it sounds like a good match, is designed for videogames (with low-latency being its biggest goal).

In these cases, not all is lost, you'll just need to menu dig a little deeper. Because, ultimately, Sport mode is all about motion – and helping to smooth out what's on screen. It'll provide more fluid playback, but, be warned, it'll look terrible for movies and series.

Within your Picture Settings look for submenus that have a Motion adjustment. Then get ready to crank these up – as TV processors can 'add' frames to smooth out the action, or reduce blur by applying other processing tactics. The latter is good to prevent the ball appearing to 'stutter' across the screen when moving at pace.

Brightness Is Best

Another option: if you can't find all these settings but have a Dynamic mode or similar, then select this. This will elevate brightness, contrast and saturation – all of which help to bring football stadiums even more to life.

Otherwise, again, dig into your settings. Some TVs will have ambient light sensors to auto-adjust levels depending on daylight. Toggle that off and push the brightness levels to the upper levels instead – ensuring you'll be demanding the most output from your TV's backlight.

Again, full brightness can look terrible for movies and series that have nuanced – and post-produced – deep layers of dark levels. For the big game? You want everything as punchy and live-action as possible, so go all out.

Best Source

This might sound counter-intuitive, but don't use an internet-streamed source – especially BBC iPlayer 4K (when it's available). Why? Because the delay is a lot greater – and, unless you live on a farm in the middle of nowhere, you'll probably hear people cheering/booing some 40-seconds before you catch up on the action.

We can't all afford snazzy Sky or EE TV setups either, of course, but in the UK between the BBC and ITV you'll be able to get live broadcasts in Full HD (1080p). Those are upscaled to 4K resolution for any Ultra-HD TV anyway, so you'll gain some benefit of resolution anyway.

The obvious benefit to iPlayer 4K, however, is that it's also broadcast in HDR (high dynamic range) for the punchiest of quality. Much as I'd love everyone to experience that – the delay might not be worth it. Save that for the highlights shows instead!

Or spoil yourself...

If, however, you do have a wedge of cash and you've elected to not spend it on a flight to North America and do fancy buying a new TV then, fill yer boots. Below is a top-tier and a cheaper-but-also-excellent option – one from Samsung, the other TCL.

A new feature has started to arrive on select Google TV models that would have made my life so much simpler over the years.

You can now use voice control to direct Gemini to adjust a TV's picture settings, and even fix picture or sound issues. And as it uses advanced AI, you can use conversational language to do so – you don't even have to know what settings to change.

As the former deputy editor of Home Cinema Choice, I've tested my fair share of TVs over the years and one of the biggest time sucks was switching between picture modes and tweaking them. It also means I'm a stickler for getting the picture just right at home too – across the multiple models in my house.

That includes individual tweaks for different types of content, even specific movies, TV shows or games. And on most TVs, that means multiple clicks on the remote just to get to the right settings.

However, this new Gemini feature will allow you to change settings like brightness, contrast and picture mode, plus sound options through simply chatting with your TV. Just press the mic button on your remote and say, "Set picture mode to Movie," for example. Or, "Improve the dialogue."

You can also troubleshoot issues by telling your Google TV that the picture is too dark, etc.

And Gemini can be used to tweak and calibrate images, such as making the picture more cinematic just by asking it to do so. You won't need to go into specifics if you don't want to.

There's just one catch to all this – it's only available on a handful of TCL TVs at present, and exclusively in the US. It'll be rolled out to additional Google TV models worldwide over time, but for now it's just for the TCL QM9K, X11L, QM9L, QM8L, and RM9L.

If you have one of those sets, you need to head to system updates in your settings to check if the latest software is available (if it hasn't automatically installed).

The rest of us will have to wait a bit longer, which is fine – I've been waiting a couple of decades for something like this, what's a few months more?

Although it was barely mentioned in passing during Apple's WWDC keynote address this week, the Apple TV 4K box is getting several new tricks in the coming months. The release of tvOS 27 is expected around September time, and it'll add new features to existing set-top-boxes.

One of them will be of particular interest to audiophiles and lovers of Hi-Res Audio, as the Apple TV is set for higher quality music streams.

Hidden in a press release sent by Apple after the keynote was reference to Hi-Res Lossless Audio, which is coming with the next major build of tvOS. The Apple TV 4K box currently supports Apple Music Lossless Audio streams, running at up to 24-bit / 48 kHz when connected to a suitable system.

However, the addition of Hi-Res Lossless Audio could offer much higher bitrates and frequencies – possibly up to 24-bit / 96 or even 192 kHz. Apple hasn't revealed specifications as yet.

You'll need to connect your Apple TV to a compatible amp, receiver or hi-fi system, but the fact that it will be capable will come as great news to audio purists.

Also coming to Apple TV boxes will be AutoMix, which intelligently transitions Apple Music tracks from one to another. And there will be Siri AI and Apple Intelligence features too, although it's currently thought that they might be exclusive to a new Apple TV 4K model, also tipped for release later this year.

Certainly, if there are further performance boosts that will be available on the new device, it could be worth considering an upgrade anyway. A new model is expected to run on a much more powerful processor, so will be a lot faster to operate for starters.

That being said, the existing Apple TV 4K is still arguably the best streaming device out there, a staggering four years after its debut.

It's a largely open secret that a new Apple TV 4K box will arrive later this year – most likely in September – but existing models are getting updates, too. The only issue is, which ones.

Although Apple mostly swerved from mentioning the Apple TV 4K and tvOS 27 during its WWDC keynote on Monday, it did release the first beta for developers. And there are a few new features coming in later builds.

However, it also turns out that there's some less than welcome news for owners of older Apple TV streaming devices – your boxes will not be supported.

Indeed, it looks like pretty much all of the existing models will be exempt from some of the best new features, such as Siri AI and the new Apple Intelligence add-ons. That's because even the 2022 Apple TV 4K runs on a chip – the A15 Bionic – that is unlikely to be compatible.

But it will still get a range of additional new tricks coming with tvOS 27, such as smart downloads, a redesigned podcasts app, faster AirPlay connections, the ability to change the text size, and a more responsive Control Centre.

That's more than its predecessors, which won't be getting the latest software at all.

According to MacRumors' analyst Aaron Perris (via 9to5Mac), tvOS 27 will not be coming to the Apple TV HD or Apple TV 4K (1st gen).

The HD model was released in 2015, while the first Apple TV 4K followed in 2017. We've had two additional 4K boxes since then, which will be supported, it seems, but nothing since 2022.

That's why a new model is expected – it'll be the first compatible with Apple Intelligence and the new Siri AI.

We'll find out more in the coming months, and we'll keep you informed whenever there are additional details to share.

Leica has announced a new compact projector that brings some serious home cinema credentials without the eye-watering price tag usually associated with the iconic camera brand.

The new Leica Cine Compact 1 is a portable 4K laser projector capable of producing an image up to 220 inches in size. While Leica is no stranger to premium products, the £1,450 asking price is relatively reasonable considering the tech on offer here. A contender for best projector then.

Designed for varied use around the home, the projector features a built-in 360-degree rotation system that allows you to project onto walls, ceilings and other surfaces without needing a fixed screen. An ideal portable projector option.

Leica says automatic autofocus, keystone correction and screen alignment handle setup for you, meaning you can get watching in seconds. Much easier than many of the best home cinema projectors in that way then.

Streaming apps including Netflix, Disney+ and Prime Video come built in thanks to the integrated VIDAA operating system. Also, Apple AirPlay, Apple HomeKit, Bluetooth and Wi-Fi support should make it easy to slot into existing setups.

Inside, Leica has packed in a Summicron zoom lens, a 4K DLP imaging chip and Triple RGB laser technology. That means brightness tops out at 1,700 lumens, which should make it good for everything from movie nights indoors to outdoor viewing in the garden once the sun goes down.

Dolby Vision support is included, alongside Leica's own image processing technology, which should maintain image quality regardless of projection size. Audio gets a boost too, with support for Dolby Digital, Dolby Digital Plus and DTS Virtual:X.

The design is perfectly Leica. A solid aluminium housing and glass front panel give it a premium look, while the company says the construction also helps maintain optical alignment and cooling performance.

Leica points out that its history with projectors actually dates back to 1926, making this launch a fitting way to mark a century of large-screen expertise.

The Leica Cine Compact 1 goes on sale from 18 June for £1,450. That's still a significant investment for a projector, but in Leica terms it actually feels pretty reasonable.

Bugatti has unveiled its latest lifestyle collaboration, and this time it's a TV.

Created with Austrian display specialist C Seed, the new Bugatti N1 combines a giant 4K Micro LED display with the engineering and design skills usually reserved for hypercars. Available in 110-inch and 137-inch sizes, it's aimed at the ultra-luxury market.

The biggest party trick is that it doesn't look like a TV at all when switched off. Instead, the N1 sits in the room as a sculptural sideboard inspired by the design of the Bugatti Tourbillon. Press a button and, over 45 seconds, the cabinet unfolds to reveal a huge Micro LED screen.

Bugatti says the design takes inspiration from the brand's iconic C-line profile. The result is a display that looks more like a piece of furniture than a home cinema setup.

While the design will grab most of the attention, the technology sounds impressive too.

The N1 uses next-generation Micro LED technology with HDR10+ support, a special anti-glare coating and C Seed's own Adaptive Gap Calibration system, which aims to make the joins between display panels effectively disappear. The company also claims improved efficiency and lower heat output compared to previous designs.

The screen can rotate 180 degrees and integrates a hidden sound system developed with Wisdom Audio. The speakers extend from the body when needed before disappearing back inside when you're finished watching.

Materials are just as extravagant as you'd expect. Carbon fibre features throughout, while buyers can choose finishes inspired by the Bugatti Tourbillon alongside bespoke colour options.

Neither company has revealed what the Bugatti N1 will cost. Given C Seed's previous luxury displays have comfortably reached six-figure sums, this is unlikely to be an impulse buy.

Then again, if you're shopping for a TV inspired by a Bugatti hypercar, you're probably not too worried about budget.

It feels like we've been writing about new Apple TV and HomePod mini models for years – after all, the last Apple TV 4K hit stores in 2022. However, we might finally be in the last stretch, as there's a strong indication they could arrive around the same time as new iPhone models.

After numerous delays, it looks like Apple's positive progress with the new, AI-powered Siri will result in new devices this year – with Apple TV and HomePod finally on the cards for upgrades.

According to Apple expert Mark Gurman of Bloomberg, Apple has been holding off from refreshing each product line until the new version of Apple Intelligence was ready. And now that it is on the immediate horizon, so too are the new models.

"These refreshes have been held back for many, many months because they were designed to launch in tandem with the new Siri and Apple Intelligence updates," wrote Gurman in his latest PowerOn newsletter.

"That software is now scheduled for this fall, following numerous delays."

That suggests the new Apple TV 4K and HomePod mini will also arrive in the fall (autumn).

The only issue is that Gurman doesn't think the Apple TV upgrade will be that extensive: "In terms of new features, don’t expect much from the Apple TV box other than an updated chip," he added.

While that's a shame, it's understandable. The current Apple TV 4K is still one of the best streaming devices on the market – if not THE best. And although the hardware hasn't been renewed in the last four years, Apple has released regular software improvements.

It's likely the chip inside the new model will be upgraded purely to copy better with the new Apple Intelligence features. However, we might also find that the new capabilities won't run on the existing box – it runs on the A15 Bionic chipset and that's not compatible with current Apple Intelligence features, let alone new ones.

So it could be argued that the new model will be a fairly significant upgrade anyway. Also, Gurman claims the included Siri remote could be fully refreshed, albeit inside rather than its overall design.

As for the new HomePod mini, we shouldn't expect much to change in terms of design, but the S5 chip inside will similarly be swapped for one that's compatible with the all-new AI features.

Hopefully, all will become clear next week when Apple's annual developer conference kicks off. The main WWDC 26 keynote will take place on Monday 8 June and we'll be covering it all live, both from a UK perspective and from Cupertino in the States, too.

A projector can look good with what it offers on screen, but also - as the Anker Soundcore Nebula P1i shows - it can look good in and of itself too.

This new portable projector features two very distinctive and, let's be honest, very cute "ears". These, as you may have guessed are actually speakers. So why place them like that? This allows you to not only fold away the speakers for potability, but also to angle them for ideal sound output.

This is going under the Soundcore name, which is an audio sub-brand of Anker so that focus on audio is no surprise. As such this is all about that sound, with the dual flippable 10W drivers-toting speakers that offer Dolby Audio.

The idea here is that the projector can face the wall as needed but the audio can still be pointed at you, wherever you're sitting.

This features a soft handle top that allows for easy transport and at just 2.27kg it's lightweight too. The projector itself offers a TÜV-certified 380 ANSI lumens of brightness to back up the 1080p resolution output. All that makes it fine for dark-room use but little beyond that – which is expected at this price range.

Usefully, thanks to IEA 3.0 onboard, you just plonk this down and it'll automatically take care of autofocus, keystone correction, obstacle avoidance and screen fit.

Everything is run using Google TV so the software offers easy access to all the apps you could want including the likes of Netflix, Amazon Prime Video, and so on.

There's a wired power setup here so you will need to factor mains power access into where you place this. That could mean an extension cord or a powerbank is part of the purchase price – something to keep in mind.

What's the price and release date for the Anker Soundcore Nebula P1i?

The Anker Soundcore Nebula P1i is available now to buy via Amazon where it is priced around the £300 mark at time of publishing.

After what's felt like endless teasing, Sony has finally revealed its new flagship TVs for 2026 – led by the Bravia 9 II, which is the brand's first 'True RGB' television. The name was revealed in early April this year, but I've had to wait this long to see final product.

True RGB is the marketing term that Sony is opting to use when describing its RGB Mini-LED technology, which is similar to that of TCL and Hisense. I've now seen each brand's backlight panels, however, and can confirm that they are not one and the same.

That's particularly interesting, given that Sony and TCL signed what they called a "Memorandum of Understanding for Strategic Partnership" at the beginning of this year. Many thought that spelled the end for the brand's home cinema lines – but that's not the case.

Sony TVs 2026: Bravia 9 II or 7 II?

If you're familiar with the Sony TV range (here's the 2025 breakdown, top to bottom) then you'll be aware of the original Bravia 9 Mini-LED panel, which, until now, sat atop the brand's range. Its Bravia 9 II successor steps things up with RGB Mini-LED technology. That means more brightness, more colour volume and greater control for this new generation model.

There is another new model for the 2026 range, though, the Bravia 7 II. It's not as bright, features fewer dimming zones, does away with the anti-reflective panel coating, and utilises a plastic rather than a metal bezel. But it's also more affordable, embodies the same core True RGB technology, and comes in smaller size options – marking it out as one of the only premium small-scale TVs in recent years.

Having seen both Bravia 7 II and Bravia 9 II side-by-side at Sony's headquarters in the UK, the differences, while certainly present, might make the 'lower-spec' model the one with larger appeal for more prospective buyers. Especially at the 50- or 55-inch size. I've included UK pricing for each model size below:

What's True RGB tech all about?

But when RGB Mini-LED already exists in the market, just what is different about Sony's True RGB version? The Japanese tech giant says it's about stringent engineering, a team that has decades-long experience in the TV space, and all-new algorithms to stabilise colour accuracy at all brightness levels.

Whereas Mini-LED utilises, as the name suggests, miniature LEDs for its backlight system, RGB Mini-LED utilises a trio of individual red, green and blue ones – for enhanced colour control. Sony has shunned the two-diode method used by some makers – TCL's Q9M set, for example – for a tri-diode solution with true independent red, green and blue output adjustment.

That doesn't only mean greater colour saturation, but also greater colour volume – which, as I saw in a side-by-side demonstration against the previous Bravia 9 and new Bravia 9 II, makes for far smoother colour gradation and minimal banding. It's a huge step up, based on what I saw – and this could even see it challenge the best OLED sets.

Sony's engineers have designed "RGB feedback loop monitoring" that's designed to limit cross-talk of colours – an potential hazard of the RGB backlight technology – relative to brightness output, for greater consistency in its results. Sony's goal is the maintain the highest cinema-like results and realism, rather than just turning everything up to 11.

While the entirety of my pictures in this feature are of a generic screensaver – and therefore not especially pertinent in showing off Sony's achievements – in my preview sessions I saw other real-world content comparisons that highlighted the differences in panel types, both from Sony and other makers.

The death of OLED?

It's interesting to see that Sony hasn't given up on OLED, however, with the Bravia 8 II remaining its second-in-command set among the brand's TV product line-up. I think that set will remain hugely relevant for many cinema-lovers for some time to come yet. But why might you wish to forego that for a Bravia 9 II instead?

Well, it's all about scale. While QD-OLED panels are made in 55-, 65- and 77-inch sizes, and classic OLED (or WOLED) can offer 83- and 97-inch in less technologically adept formats – the latter costs an insurmountable sum to purchase. With the market moving towards larger scale options, that's what RGB Mini-LED and, indeed, True RGB can offer.

Indeed, the Sony Bravia 9 II can be purchased in a 115-inch panel size. Sure, it's still markedly pricey – as shown in the table up page – but it's cheaper than smaller OLED panels of its size. It's also far brighter, while its dimming and colour control is advanced enough that cinema lovers will find fair compromise in such a solution.

All of which puts Sony in an interesting position. The brand already makes some of the best OLED models, thanks to its refined processing, and while Mini-LED competitors are making great headway – TCL, in particular – there's visual point of difference in Sony's True RGB results that'll impress high-end buyers.

Because, let's face it, Bravia isn't ever about being the cheapest. It's about being the best. And Sony's patience in finally getting True RGB to market will please those cinema fans who will pay the premium. The Bravia 9 II and Bravia 7 II clearly emboy that thinking – and I think already look like premier competitors in a market where shortcuts and oversized panels are becoming more commonplace.

There's a new Sony flagship in town. And, no, it's not one of the best OLED TVs – as Sony's TV range had elected for Mini-LED to be its champion since 2024, when the Bravia 9 was introduced.

That's soon to no longer be the case, though, as Sony's long-anticipated RGB Mini-LED tech – which the brand is calling True RGB – will sit at the top of the stack, with the all-new Bravia 9 II model taking pride of place for 2026.

There's also a Bravia 7 II model, which brings the same flavour as the 9 II, albeit with less brightness, fewer dimming zones, no anti-reflective coating, and a design that doesn't use quite as premium materials – a plastic bezel rather than a metal one, for example.

However, the Bravia 7 II does have one trick that I think many people will be allured by: it's available from a 50-inch size, bringing a rare premium set into this smaller scale. The Bravia 9 II, by comparison, begins with a 65-inch panel size.

Both models, however, are able to offer super-size solutions for those who seek them. The Bravia 9 II can be purchased in 75-, 85- or 115-inch forms (the largest of which loses the anti-reflection finish), while the Bravia 7 II offers 55-, 65-, 75-, 85- and 98-inch scales to choose from.

And while I jest that you can "forget OLED", as Sony hasn't introduced a new model in this category, it's certainly not the end of the brand's commitment – the Bravia 8 II continues on, which is positioned between the Bravia 9 II and Bravia 7 II.

That puts a bit of a bizarre spin on things, with Sony considering True RGB as its flagship in the 9 II, followed by QD-OLED in the 8 II, but then re-visiting True RGB again in a slightly lesser specified format in the 7 II. Below that you'll find the Bravia 5 Mini-LED set, while the entry Bravia 3 II is set to launch in the UK later in the year.

At least everything is now a numbered Bravia model, eh? It gives structure in a clear "bigger number is better" arrangement.

The big part of the story is, of course, that Sony's RGB Mini-LED technology is now finally ready to see the light of day. The Japanese giant isn't the first to market with this technology type, with TCL and Hisense already on the market, but it has applied its own stringent engineering to its product.

Given the announcement that Sony's Bravia production would go under the wing of Chinese TV-maker TCL, there had been a lot of talk about the latest Bravia models "just being TCL TVs". I can confirm that's not the case, though, having seen a breakdown of the backlight in person next to TCL's equivalent – and they're vastly different.

That's not to say that TCL might not be manufacturing the Sony set (note: this hasn't been confirmed), simply that the technology is different. Sony's RGB feedback loop monitoring is designed to limit cross-talk of colours relative to brightness output, for higher accuracy.

So it's clearly far from the end of Sony's TV aspirations. The Sony Bravia 9 II looks to be a strong reveal in the company's vision to "unleash the magic of movies at home". A fitting reveal some 18 years after the brand's first altogether different RGB efforts, in 2008's XR1 model. How times change.

Beyond new TV reveals, Sony has also doubled down on high-end TV audio, with the all-new Bravia Theatre Trio offering an immensely wide soundstage for larger TVs. I listened to it with two (also new) Sub 9 and Rear 9 speakers and was blown away by its additional 24 'phantom' channels of output for amazing Dolby Atmos.

There's no word on specific release schedule at the time of writing – only that "late spring" is expected (so any time before 21 June this year). Price-wise, the Theatre Trio will set you back £2,000 – with the Sub 9 an additional £900 and the Rear 9 speakers also an additional £900.

Roku has started to roll out a fresh homescreen design to its streaming devices, TVs and projectors – including those made by third parties.

The update adds a new configuration and several features, making content even easier to find and enjoy. However, it's only being pushed to devices in the US for now, with other countries "to follow".

The new homescreen comes with a new banner at the top. Top Picks will give you recommendations based on your viewing habits, including shows and movies that are trending across Roku.

There's also a new For You section to find more personalised picks you might fancy watching next. This sits at the front of the Top Picks zone.

Quick Access is new, too. It's a rail that highlights the apps you use most often, so you don't have to go hunting for them in their dedicated section.

It's dynamic too, so the system adapts to your use of the Roku device and switches around the apps to always present the ones you opened most in recent times. Shortcuts will also be surfaced in this way.

Roku has added Destinations as well, with curated content categories to jump into, and there's a new area for updates and news on upcoming entertainment. Your Daily Scoop not only gives you the lowdown on the latest, it will offer content suggestions to match.

And the homescreen menu can now be "tucked away" and hidden when you don't need it.

There are a couple more new features that have been added, which you can read about on Roku's own website.

What are UK Roku users getting?

As I've said, this update is US only for now. I'll update you when it is also rolling out elsewhere. However, UK Roku device and TV owners have also recently received an update with a new feature.

Roku has added a new Football Zone to the experience across all Roku streaming devices in the country, including the new Roku TV Smart Projectors announced recently.

Released to coincide with the FIFA World Cup in June and July, the new area gives you direct access to all of the live matches that will be shown during the tournament. That means you can click on the match and it will stream, no matter whether it is being screened live by the BBC (BBC iPlayer) or ITV (ITVX).

There will also be match highlights, plus a collection of football movies, documentaries, and other TV series.

You should find the Football Zone is available on your device now (or you may need to force an update).

If you thought Toshiba's skillset stopped at TVs and other tech goods, think again. Today, the brand has unveiled a limited edition football shirt, designed to celebrate the upcoming 2026 World Cup.

The Retro Replay Shirt has been crafted in collaboration with streetwear designer, Killa Villa. The design is made to evoke one of the most legendary moments in English footballing history – Geoff Hurst's hat-trick in the 1966 World Cup final.

It comes as the brand published new research suggesting that almost two thirds of Brits would prefer to watch the action at home, rather than in the pub. That makes it more important than ever to ensure you've got a top notch TV in your living room – after all, it just might be the one you watch a World Cup win on.

Right now, one of my top picks is this 65-inch 4k OLED model. It's a Fire TV, with Freely built in for absolutely seamless usability and a real plug and play approach. It's also got Dolby Vision and Dolby Atmos built in, which should ensure cinematic scenes feel every bit as epic as they deserve to be.

If you're on a tighter budget and can sacrifice the OLED panel and Dolby Vision capabilities, this model at AO.com is also a great alternative. Plus, at just £379, it's hard to question in terms of value.

For this summer, when you're not donning your favourite England shirt, the Retro Replay Shirt should definitely be in rotation. It's a classic design which will definitely become a core part of my wardrobe over the coming months.

If you'd like to snag one too, you can take part in a competition on the brand's Instagram page, where the shirt – signed by England international, Marc Guehi – will be available alongside a Toshiba TV.

I'm in the process of reviewing the Amazon Ember Artline, the new "art TV" from Amazon that's designed for flush wall mounting and offers interchangeable frames. It rivals Samsung's The Frame, putting art on your walls while doing everything else you expect from a TV.

Part and parcel of that TV is a new Fire TV interface. Having just spent a couple of weeks with the Ember QLED (on the old interface), the contrast between these two menu systems is striking.

Amazon first announced that a new interface was coming in January 2026 and it's been slowly appearing in the US, where it's been met with mixed reception.

Fortunately, the art features of the new Ember Artline are powered by the new interface, so while no other Fire TV that I've seen in the UK has it (I also have the Ember Mini-LED), the Artline has been my first foray into this new interface.

It's definitely faster

At launch Amazon claimed the new Fire TV interface was 20-30% faster. That's always going to land well with users, especially as Fire TV has been a little sluggish in the past.

My experience is that it's definitely faster and I think it looks more modern too. It looks more like Google TV now, with major content types in the new shortcuts at the top of the screen, with apps shortcuts expanded.

More app shortcuts, more menu

On the old Fire TV interface there was a limit of six app shortcuts, but now you have many more. I have 16 on my home screen now and while it's not as clean as Roku's interface, I'm glad I don't have to open the menus to access those apps - I use more than six on a regular basis and I expect that's quite common.

But it's irritating that Amazon shoehorns in its own apps: Amazon Kids, Internet, Luna, Amazon Photos, all sit on this row taking up space. Some you can uninstall, some you can't.

Other apps that don't fit on the home screen are now accessed via the menu, so that's a couple of clicks away.

Key to app access is managing that row of shortcuts - press and hold the ok button when the app is highlighted to remove it (if you don't want it), or more importantly, move the apps you want to the front of the list.

I put my frequent apps to the start, and moved Amazon's bloatware to the end, off the screen.

Inputs gets buried

For anyone with multiple devices, switching inputs is an essential function on your TV. Once upon a time every remote had an input button but that's now rare. Fire TV used to have this on its main shortcuts bar right in the middle of the home screen, but it's now buried in the menu.

By buried, I mean you have to press the menu button on the remote to open the side menu, then select inputs, then the input you want. It's now three clicks away.

Why this isn't in the selection of top icons, I don't know. Up there you have search, home, movies, series, live TV and sports - and in some regions other options.

The thing that really strikes me is that there's very little flexibility here. I want inputs on that top row, but I can't customise it.

I've also mentioned that customising the apps shortcuts is limited to a few functions, and equally, I can't customise the rows that Fire TV shows.

That puts "Next up for You" at the top, which is content that's unrelated to anything that I've watched. Then we have the useful app shortcuts, then the annoying Sponsored row, then Live TV, which is useful.

Then we have two more rows - Netflix Recommends, Prime Games - before get back to something useful - Continue Watching.

Recommendations haven't got better

While the new interface is faster to use and I welcome the expanded range of shortcuts, pretty much everything else feels like it's space for rent. Sponsored rows, adverts at the top, rows of recommendations from other services.

That fact that Continue Watching is off the page makes it almost an afterthought - it's faster just to go straight to the app you want instead. That's likely what users are suggesting when talking about moving to Roku instead.

Of course there are shortcuts on the remote (which I use extensively because they're faster than navigation), as well as Alexa. In this case I've been using Alexa+, the new AI-enhanced version of Amazon's assistant.

For all the fun responses that Alexa+ will supply, it refused to return "Spider-Noir". "Old" Alexa on my oldest Fire TV, found Spider-Noir first time, serving up the trailer, so the jury is still out on whether Alexa+ is acutally helping here.

There's no reason to think that the new Fire TV will remain static: hopefully Amazon will introduce some customisation to make it more useful than it currently is, because it feels like user experience isn't at the heart of the new OS.

Nothing lasts forever and for the original Google Chromecast, it seems its time is done. There are reports that the teenager is finally set for the scrap heap as users claim their devices are failing.

First released in 2013, the Chromecast was different to other streaming devices of the time – there was no front-end or user experience, for starters, and it relied on your phone rather than a remote control.

Innovatively though, unlike Apple's AirPlay, casting video (or music) to the Chromecast enabled it to stream the content from its source, not your mobile device. That meant you could continue to use your phone, tablet or PC as normal.

The concept lasted for several generations of dongles before being replacement by the Chromecast with Google TV, where Google opted to follow its rivals in offering a full UI. And while casting content is still a thing today, across many third-party products too, the original Chromecast was consigned to the past.

Or so we thought. I turns out it's been operable for the last 13 years – until now, that is.

There are reports (via 9to5Google) that the original Chromecast is failing to stream for some and stopping working completely for others.

A Reddit thread is full of comments by users that have experienced issues with their older devices. It seems the game is up.

"I have two Gen 1s that no longer cast anything," writes Dude_Man79.

Chantastic adds that YouTube no longer streams from the Android app or a Chrome browser. Nor do HBO Max, Paramount+ and Pluto TV.

And SparkysAdventure has had trouble streaming Prime Video via their Chromecast: "Prime Video stopped working a couple days ago and Disney+ never worked for me."

Sadly, as these issues are said to have occurred very recently, it could be your own Chromecast dongle is on its way out.

The good news though is that this doesn't seem to have affected the second-gen models and beyond, so you could have a few years left for those. Still, it's probably worth considering an update. And if you don't fancy the Google TV Streamer set-top device, there are other options that support casting – including the Thomson Go Cast 152, which is keeping the Chromecast form factor alive.

Apple's annual developer conference, WWDC, is a couple of weeks away and we're therefore close to finding out all the new features and capabilities coming to our devices.

That includes iPhone, Mac and iPad, of course, but also the likes of the Vision Pro and Apple TV 4K. Indeed, Apple isn't even waiting until WWDC 26 to reveal one new feature it'll be adding to its streaming box later this year – it's announced details already.

In lieu of a new Apple TV 4K model, which may or may not debut in the coming months, at least existing versions will be getting a neat new trick.

Coming as part of tvOS 27 – likely this September – will be a new larger text feature. This will give you the ability to increase the onscreen text size to make it easier to read. It will affect all aspects of the Apple TV 4K experience – at least when it comes to Apple's own apps and services.

Some third-party apps may adopt it too.

As someone whose sight is gradually getting worse as I get older, this is a godsend. And I'm far from alone.

You will be able to increase and decrease the onscreen text size to your own preferences, thanks to a new slider bar in the settings. This will be particularly helpful for those who have smaller TVs and/or failing eyesight, and you can adjust the setting further as needed over time.

The new feature will be part of additional accessibility options being added across Apple devices. These include new measures to help reduce motion sickness when wearing Vision Pro in a vehicle, touch accommodations in iOS and iPadOS, and better compatibility with hearing aids.

There will be plenty of other new features too, some of which we should find out about during the WWDC 26 keynote address on Monday 8 June – Tim Cook's last as CEO.

We'll bring you all the news as it happens.

The TV landscape is ever-changing, so while I still think the best OLED TVs retain a very strong position in 2026, the incoming larger-scale panel trend with RGB Mini-LED technology is adding pressure to this established market.

Doubtless that's part of the reason LG has gone all-out with its latest flagship, the OLED G6 on review here, in delivering its brightest-ever OLED. It features the same Primary RGB Tandem multi-layer panel as in the previous OLED G5, but a new processor means greater thermal efficiency and that brightness uptick.

Early viewings of the OLED G6 impressed – as with my first-look and my colleague's Samsung and Sony side-by-side feature – although the presence of off-axis colour cast was a prevailing issue and ultimately a side effect of amping up saturation and brightness. However, software changes have since dialled back on this early issue.

Irrelevant of any brightness or colour volume claims, however, I've switched from Samsung S99H (S95H in the USA) to LG OLED G6 and, in a heartbeat, there's just something more cinematic and magical about the traditional LG OLED's pictures.

That OLED is ever more fleeting – there's no top-tier Panasonic model for 2026, for example, while Sony isn't expected to deliver a newer OLED model this year either – somehow makes the G6 feel all the more special. Paired with the LG Sound Suite that's even more true (and more expensive), meaning this LG could well have the most magical TV release of the year.

Price & Availability

The core LG OLED G6 model is available in 55-, 65-, 77- and 83-inch panels that feature the Primary RGB Tandem multi-layered OLED panel type.

There's also a smaller 48-inch model in the UK, although its brightness ceiling won't be as high. A 97-inch behemoth will be available at a later date, albeit as a special order – and lacking the multi-layer panel type entirely.

Price-wise, the OLED G6 is certainly costly – but, considered year on year, it's actually a little cheaper than its G5 predecessor in some regions, such as the UK. It's got to remain competitive in this evolving market, after all.

On review is the 55-inch model, much as I was hoping for the 65-inch. It's the stand-mount variant (the 'S' of 'G66LS' in the product code representing that – and differing from the 'G64LW' of the wall-mount option).

LG OLED G5 vs G6: What's New?

Visually speaking, the LG OLED G6 continues with the same design language of its G5 predecessor. There's not anything to note that's different about the exterior – but that's no bad thing when you've got a well-made and understated set with central stand mount.

The biggest change is what's inside, with the latest Alpha 11 AI Gen 3 Processor being the key reason for a step up in picture quality potential. It's able to handle a lot more colour volume, thanks to a 12-bit colour channel, adding greater nuance to gradation too.

This seemingly small upgrade will bring key differences for home-cinema enthusiasts who want the most cinema-like high-end results at home. But the G6 is also well equipped in other departments, offering HDMI 2.1 on all four of its ports, with up to 165Hz supported all round – so it's superb for gamers too.

The G6 also introduces a new anti-reflection layer, which might get said home-cinema enthusiasts a little nervous. But, fret not, the implementation of this is less Samsung S99H/S95H-like in implementation, retaining a glossy-like finish that curtails reflections from being so mirror-like in appearance.

Design & Setup

Assembling the OLED G6 is pretty straightforward: four screws secure the central stand-mount into position, which you can affix in either a lower or higher position, the latter best for those wanting to position a large soundbar beneath.

The stand doesn't swivel, so parking your sources into the four HDMI slots around the back means you'll need to maintain access. It's a slender set overall, with the outer edge's silver finish being millimetre present from the front-facing position (this is no showy Samsung S99H by any means!).

While the G5 went fairly big on its artificial intelligence (AI) features, the G6 thankfully doesn't double down on trying to over-enhance these too much. Staples are retained, such as Picture Wizard, which allows you to create a picture preference by selecting from visual prompts. Personally, I'd stick to the pre-set options instead – which are all well judged.

In terms of software, LG's webOS platform – which dedicates far too much of its top area to adverts – has moved away from any underlying Freeview Play/Freesat HD platform in the UK. It does, however, offer the staple catch-up apps, including iPlayer, with easy direct access. And LG's ad-supported 'LG 1' channels offer lots of web-sourced live access straight from the home screen.

Controlling everything is actioned via the wand-like remote – quite literally, as you point it at the screen for a live cursor, which can be fiddly to use – which I do wish had a simplified Sources button present. Instead there's a voice-recognition AI button positioned centrally, which, if you like to use your voice, you'll find potentially better.

LG has long been creating its own processor boards, which gives it a leg up in the TV market compared to many (as MediaTek's top hardware is the only alternative at present in handling four HDMI 2.1 sources). Here, that means 4K Dolby Vision support at up to 144Hz from any of those ports (165Hz is supported for non-DV via VRR). It's very strong in terms of spec here.

Picture Quality

When there's so much talk of next-gen TV technology, a classic such as OLED might sound as though it's reaching its limits. But the LG OLED G6 proves that's anything but true – especially for cinematic picture quality, which I've found to be breathtaking.

Recently, I've been running a 4K Blu-ray 'Cinema Club', denouncing the best streaming services in favour of disc sources for the utmost viewing quality. It's an essential for testing a TV of this calibre, of course – but as I test for weeks, using a TV as if it's my own, in my living room at home, I'm able to get a real feel for a set's output

And the LG OLED G6 has been so impeccable from the offset that it's made me amp up my 4K Blu-ray watching sessions. There's just something magical about the myriad features OLED brings to the table for cinema that makes it a preferable choice.

Yes, the G6 is brighter than any LG TV before it. That's a fact: a circa 2,500 nit peak brightness, with full-screen brightness at circa 450 nits, representing a 20%-or-greater increase over the G5. But this isn't the tell-all of its picture quality.

Watching Oppenheimer for the umpteenth time, the black-and-white scenes were presented with a depth that's almost hard to describe. Such is the perfection of OLED's high-contrast ability, with no blooming or haloing to worry about.

Skipping over to watching Bugonia for the first time, and while the 3:2 aspect ratio filled the screen unusually, the movie's filmic visuals were presented skilfully. No over-processing hiding the film grain, no jarring judder in motion, no banding in the various fire-lit close-up or dark basement scenes.

Sharpness is biting, too, with wonderful clarity that doesn't appear overstretched. I've even attended side-by-side comparisons with a larger 65-inch G6 next to 2025's Samsung S95F and another Sony model – and the LG was the more natural and sharp-looking of the lot.

However, the quest for greater brightness and colour can see a colour cast show up. In isolation you'll not notice. It's just worth pointing out that it can exist – but you could also call this LG's "flavour" in its tuning. No doubt you'll have read about it already – we've even written about the overt green saturation previously, in early tests – but do note it's now certainly been toned down.

Feed the G6 generally more dour colour palettes – I've recently acquired Jason Statham's Shelter on 4K Blu-ray, for example – and the G6 will honour those brown and grey tones faithfully. The not-so-sunny Scottish Isles' scenery is presented with realism, without trying to overly jazz up the palette. That said, if you ask it to by selecting from Standard or Vivid, or pumping up various settings of your choosing, the G6 can also go all-out if you'd prefer.

That's a tool not to be overlooked. Much as I prefer Cinema Mode to Filmmaker Mode on the G6 – it's a little brighter, without overcooking things, delivering great Dolby Vision quality (there's no HDR10+ here, as a point of note) – for gaming, animations or even sports, those modes earn their place. And that's when the G6's brightness feature can be turned up a notch to unlock eye-searing and colour-saturated entertainment.

The anti-reflection coating of the G6 is great, too. Off-axis reflections are dialled down rather than completely muted, would-be daylight sources presented as softened pinkish non-distractions during daytime viewing. It's the sort of balance that cinema-lovers will appreciate in the home – more delicately handled than LG's competition.

And even with that coating in play, the G6 continues with LG's delivery of OLED picture quality as an art form. Ultimately clarity, brightness, contrast, depth-of-field and realism combine to magic effect – minor colour cast visible or not. Even writing about it makes me want to stop and go chuck another 4K movie on – as the G6 is just that good.

Sound Quality

Flagship TVs might deliver out-of-this-world picture quality, as the G6 offers. Sound quality, however, is a different hurdle to clear – because a slender frame doesn't have the sheer physical volume to deliver cinema-like audio.

I called the previous G5's sound "a little washy", and while I wouldn't say the G6 offers giant dynamics by any means, it is a more capable and AI-enhanced system that many will consider ample.

Watching Guillermo del Toro's Frankenstein, for example, and the dialogue is clear, the soundtrack thrums along – with modest rather than the deepest of bass – and placement is convincing. It's a cohesive mix, nothing too strained.

I've been spoiled with LG's Sound Suite – the H7 soundbar, W7 subwoofer and four M7 surround speakers – for much of this review period, detaching those outputs for a number of days to explore the G6's solo output. The TV can't rival the best soundbars for LG TVs, of course, but it does a fair job nonetheless.

LG OLED G6 review: Verdict

Anyone thinking that OLED's days are increasingly numbered will be forced to eat humble pie when sat in front of an LG OLED G6. This flagship panel delivers bright, colourful, yet faithfully realistic images that capture the magic of cinema – but at home.

The G6 is no one-tricky pony, though, able to really lean on that enhanced brightness output for vivid gaming – it's especially good here, thanks to four HDMI 2.1 ports – sports or entertainment, too. Colour can be its weakness in the context of QD-OLED and Mini-LED competitors, mind, with sometime minor colour cast present.

On paper, and indeed in person, the OLED G6 looks mighty similar to its G5 predecessor. Its internal processor upgrade might sound like a small deal, but for those seeking the best at-home experience, it delivers big-time for what home-cinema enthusiasts will be seeking. Others might prefer a cheaper, last-gen offer, of course.

So forget about RGB Mini-LED, for OLED's strength has been bottled and condensed by the LG OLED G6. Pair it with a suitable soundbar or surround option and, while you might be close to bankrupt, at least you'll be in pure cinema heaven. Straight out of the box and this has no doubt been one of the best TVs I've tested in 2026.

Also consider

While the Samsung S99H is probably too glitzy a design prospect for many, the brand's pure OLED alternative, the S90H, is a less high-end but nonetheless accomplished alternative – that'll cost you much less.

Otherwise, find an LG G5 or C5 deal for a lot less money and you'll be close to the G6's level in classic OLED terms. Or side-step to Sony, with the Bravia 8 II being an impressive Samsung alternative that many cite as delivering greater realism, much like the LG.

Apple will soon detail a whole host of new features and capabilities coming to all of its devices, including iPhone, iPad, Mac and Apple TV, but before WWDC 26 kicks off and iOS 27 is revealed, there's been time for another big software update across the board.

Along with the public release of the likes of iOS 26.5 and iPadOS 26.5, Apple TV boxes have been delivered tvOS 26.5 – the latest iteration of the system software. And it does bring with it a few tweaks here and there. You can't help but feel the best is still to come, however.

There are persistent rumours that a new Apple TV 4K box is coming, for starters. And even if not, tvOS 27 is likely to add a suite of Siri-powered AI improvements to existing devices. We'll certainly be keeping a beady eye on the WWDC keynote on 8 June 2026 to find out more.

In the meantime, the latest build has delivered "performance and stability improvements", according to Apple's release notes. There's little else for now, with some bigger new features having arrived at the end of March.

What new features did Apple TV get recently?

Apple's tvOS 26.4 update added Genius Browse, which introduced a new rail to the Apple TV app. This presents content recommendations around different categories, such as "binge-worthy shows" and "a rush of adrenaline", and has proved rather handy if you don't know what to watch next.

We also got the "continuous audio connection" feature in the settings, which is particularly useful for Sonos speaker owners who run their third-party audio setup through an AV receiver or amp.

And there were new options for subtitles users, too.

However, these will hopefully be greatly overshadowed by the announcements coming soon. Fingers crossed we'll get a new Apple TV box at last – after all, the current model is four years old now. But failing that, the new AI centric abilities should take the platform in a new direction.

When I sit down to watch a movie on an empty evening, and I cast my eye over my home entertainment system, there's one addition I've made in 2026 that makes the biggest difference. While I might be a tech reviewer, my home setup isn't wildly ostentatious, either.

My TV is a 55-inch LG C2 OLED, so it's nothing brand-new or flagship-level, and while my Sonos surround sound system is lovely, it's based around a Beam Gen 2 rather than something like the Arc Ultra, so I'd say it's attainable rather than ultra high-end.

Still, I can't pretend to be a true everyman while using the device that has made the biggest difference since I added it at the start of the year – the Panasonic DP-UB820, a 4K Blu-ray player that puts so many others on the market to shame.

For a good few years before getting my hands on the DP-UB820, I'd been doing what millions of others might when I wanted to watch a Blu-ray or 4K disc: using my PS5. After all, given the cost of a console like the PS5, it's one of the most cost-effective players out if you get a version with a disc drive.

The PS5 had some big downsides for me, though. Firstly, it doesn't support Dolby Vision, which can be a pain given how good compatible discs can look. Secondly, it meant I had to move my console around my flat unhelpfully frequently, which got boring quickly.

Now, with the DP-UB820 on board, I can leave that in the living room where it belongs, and keep my PS5 in my office to make my gaming sessions less disruptive for my partner. That's a win-win, but it doesn't cover the technical side of things.

The DP820 is the player that tops by far the most lists of the best 4K Blu-ray players, including our own, and there's good reason for that. It's the best marriage of value and features, in short, with superb picture and sound quality that doesn't break the bank. In fact, the fact that it's still this widely recommended years after Panasonic released it underlines that quality.

I've found that it is indeed a better device for 4K viewing compared to the PS5, if only thanks to its far-expanded controls and settings menus, along with its quiet disc drive to make for one less distraction while watching. I can't pretend that everyone needs a DP-UB820 in their setup, but if you're getting more interested in 4K Blu-rays then it's the best recommendation I can give you from my own setup right now.

LG has taken to the annual SID Display Week 2026 to show its its latest OLED technology that represents an exciting jump forward for the technology.

The display manufacturer showed off what it calls third-gen Tandem OLED as a new evolution in the already impressive OLED tech. This, it says, could mean OLED screens that offer 18% more power efficiency, making them ideal for smartphones and laptops.

They could also last double the lifetime, making them perfect for higher price investments like TVs. The panels can last up to 15,000 hours of normal running – that's a whole lot of streaming binging right there.

All that and this new tech means these will be the brightest OLED displays yet, with an output of as much as 4,500 nits.

This Tandem OLED tech was first launched back in 2019, with the second generation arriving in 2023. Now this third iteration has landed and should start appearing in OLED panels soon.

The tech works by stacking multiple organic light-emitting layers to enhance brightness, efficiency, and durability.

LG showed off a few specific use cases for the latest Tandem OLED tech. One was a laptop that features a 16-inch display, which is so much more efficient that it can offer up to 2.3 hours of longer life on a charge.

Another display, a 27-inch OLED panel, achieves 5K resolution at 220 PPI and thanks to a new RGB stripe structure, improves colour clarity, precision and better aperture ratio with far less bleeding and fringing.

There was also a gaming monitor that won Display of the Year at SID. This was a 27-inch OLED panel with a 720Hz refresh rate.

LG also showed off a world first with a 39-inch 5K2K ultra-high-resolution curved OLED panel that was displayed at the event.

When can I get this LG Tandem OLED?

LG has said that this technology is already well developed and it plans to begin mass producing it later this year.

That should mean that next January, when a lot of manufacturers show off their latest tech at the CES event, we may see the third generation Tandem OLED TVs arriving as the flagship models for LG in 2027.

Thought the era of killer Kickstarter bargains was over? Not so fast, as XGIMI has a crowdfunded deal to launch its next projector, the XGIMI Titan Noir, with up to 50 per cent off standard pricing.

This isn’t a single projector but a family of three, the Titan Noir, Titan Noir Pro and Titan Noir Max, and all are up for grabs with a launch date of June 2026.

The banner deal here is the XGIMI Titan Noir Max, which at $2999 — or around £2207 — is selling at half price. Or you can get 46%, $2300, off the XGIMI Titan Noir Pro at $2699 (£1986), while the base Titan Noir discount snips $1500 off the usual price. It’s selling for $2499, or around £1839.

At the time of writing, the crowdfunder has already racked up more than £8.5 million, with upwards of 3700 backers.

The obvious question: what’s the difference between the three projectors? It’s all about the light source. These are laser projects, so none require regular lamp replacements, but as you head up from Noir to Noir Pro and then to Noir Max, you gain lumens.

XGIMI rates the standard projector at 4500 ISO lumens, it’s 6000 for the Pro and 7000 for the Max. This also affects their rated native contrast, which runs from 7000:1 in the XGIMI Titan Noir, to 8000:1 in the Pro and 10,000:1 in the Max.

And we already know these are solid performers, because not only are reviews already out there, but these are the follow-up models to the already highly regarded XGIMI Titan from 2025.

This is not a crowdfunded campaign of old, where you’re not sure if the product will ever actually exist.

UK buyers get free shipping, and there will be no surprise customs fees, but you do have to pay an additional 20 per cent sales tax. Them’s the rules.

Features shared across all three models include a 15-element lens system with optical zoom, 4K resolution image, dynamic iris, claimed 1ms input lag and integrated Harman Kardon speakers. But as with any projector speakers, don’t expect too much from these.

The XGIMI Titan Noir is around 38 cm long and weighs 8.1kg. It’s no tiny projector, but it is not going to dominate a room either, and it includes a carry case with a handle.

Some packages on offer in the crowdfunder also include an XGIMI Ascend, a motorised 100-inch screen with 170W speaker system baked into its base. It’s valued at $1999, but is on offer for $1299, around £956, during the campaign. The Ascend will be available slightly later in the year, in September.

These “launch special” XGIMI Titan Noir deals will be available until 9 June. You can "pledge" an order over at Kickstarter.

Google will soon start to roll out a whole bunch of new features to its Google TV platform, which will improve many smart TVs and streaming devices.

That will include the Google TV Streamer, of course, but also TVs from the likes of Philips (older models), TCL, Sony and Hisense. There are other devices that run on Google TV too, including the Thompson Go Cast 152 in the UK and the Onn 4K available through Walmart in the US.

The new Google TV update will include new content on the homepage in the form of vertical videos. Starting with YouTube Shorts, US Google TV users will be able to browse and play videos straight from the menu screen.

A new rail will give you a personalised feed of vertical clips, which could also incorporate additional services over time – such as Instagram and TikTok. Both Disney+ and Netflix will also be introducing vertical videos to their respective platforms soon.

In addition, the new update will add a wide selection of AI tools for photo editing and creation, as well as the ability to make your own video clips using Veo – Google's AI-powered video maker.

Nano Banana will drive photo creation, with Personal Intelligent tech also tapping into your Google Photos library to help you make custom images featuring family members and pets.

The same is true with Veo, you'll be able to make video clips starring your own family, for example. All you have to do is describe the action and who you want in it, then Veo will hunt through your Photos library to find the person's likeness.

What else is coming to Google TV soon?

Other new features that are coming soon include the ability to search for specific photos in your library using your voice. And once found, you can then use Google Photos Remix to turn them into different art styles.

All of these new creations and the original photos will be available to view in a new dynamic slideshow, or you can easily set them to be your screensaver.

The update will roll out to US Google TV devices first – sometime this summer – with other regions to follow after. It also depends on your manufacturer on how many of the new features will be adopted and when.

The latest evolution of LG’s best OLED TV series, the C6 is the benchmark model other big brand screens will likely be compared against in 2026.

Cosmetically it doesn’t look that different from what’s gone before, but behind the glass is significantly more processing power, courtesy of a shiny new Alpha 11 Gen 3 processor, which ushers in a commensurate increase in peak high dynamic range (HDR) brightness.

When it comes to hierarchy, the C6, as always, sits neatly between its extravagant G6 sibling, and the more accessible B6. If history is any guide then, of the three, this is the model most people will actually buy. So does it represent money well spent?

Price & Availability

As you might expect, the C6 comes in a variety of screen sizes: there are 42-, 48-, 55-, 65-, 77- and 83-inch versions, priced from £1,299 through to £4,799. This puts it in the upper mid-range of premium TVs. On review is the 65-inch, priced at £2,499.

Stateside, you’ll pay from $1,399 for the 42-inch through to $5,300 for the 83-inch. In Australia, meanwhile, you can expect that to equate to A$1,399 through to A$5,299 for comparable models.

However, there’s some additional devil in the details. The two largest models (distinguished by their 'C6H' suffix) use high-brightness Tandem OLED panels, the same panel used in the earlier flagship OLED G5 series, complete with Hyper Radiant Color Technology and Brightness Booster Pro. The remainder, including the 65-incher tested here, use an updated classic OLED 'EX' panel, with regular Brightness Booster technology.

Features & What's New?

While there’s some disparity in panel execution, the C6 line shares the same, generous feature count. Whatever you need your telly to do, a C6 will almost certainly do it.

Central to the user experience is webOS 2026, which is still one of the most comprehensive smart TV platforms available. All the major services are here – including Netflix, Prime Video, Disney+, Apple TV+, YouTube and others – alongside LG Channels, the brand’s own FAST (Free Advertising Streaming TV) smorgasbord. This now offers around 270 ‘channels’ in the UK, and the likelihood is you’ll find at least a few worth watching.

Perhaps disappointingly, LG has chosen not to support the Freely TV-over-IP service (read all about Freely here). LG tells me that’s because it sees its own ecosystem as the set’s de facto content hub, and views Freely as competition. We do get all the main UK catch-up apps – BBC iPlayer, ITVX, Channel 4, Channel 5 – but to my mind this is not really comparable to having live streaming channels to browse.

The webOS interface itself remains familiar: a rail-based layout with personalised recommendations, live TV listings and curated content hubs. You can also customise the home screen with widgets, such as a calendar, weather, or news, and even integrate fitness devices for guided workouts.

Voice control is built in, as are Google Cast and AirPlay. Accessibility is thoughtfully handled too, including simultaneous audio output to TV speakers and Bluetooth hearing aids. This will be a godsend for households where the audience has a mix of hearing requirements.

For gamers, the C6 is enviably well-equipped: the set boasts a 165Hz refresh rate for PC gamers, with Nvidia G-Sync and AMD FreeSync Premium (that's the VRR and ALLM boxes ticked). Console owners get their pick of the ports, with all four HDMI 2.1 inputs 4K 120Hz capable.

As a gaming screen it’s up to par. I measured input lag 13ms (1080/60), which is the same as last year’s C5 model.

Brain power also gets a boost. The set runs LG’s latest Alpha 11 Gen 3 AI processor, the same silicon found in its range-topping G6, as well as the latest Wallpaper TV and Micro RGB Evo MRGB 95.

LG claims substantial gains in processing power for the new chip, which translates to better upscaling and clear improvements in brightness and contrast.

Picture Quality

So has LG finally fumbled the ball when it comes to image quality? Has it ‘eck as like!

The C6 delivers punchy, hyper-sharp imagery with succulent colours and excellent control over light and shade – once you’ve disabled the default out-of-the-box power-saving mode, as clever as that might be.

Black levels are, as to be expected from an OLED panel, convincingly deep and inky, while near-black detail and shadow texture is clearly resolved, without smudging into greyness.

Picture modes include Cinema Home, Game Optimizer, Filmmaker Mode, Personalized, Vivid, Standard, plus a couple of ISF Expert presets for bright and dark room viewing.

There's also the option of selecting a self-adjusting AI Pro picture mode, selectable during setup, if you don't want to bother managing picture presets.

Ultimately, everything is a matter of taste, but watching The Mandalorian in 4K Dolby Vision (via Disney+), I found Cinema Home mode offered the best overall balance. Starfields retained their density and sparkle, with outstanding contrast and HDR snap.

The Standard picture mode ups brightness and overall impact, and generally looks fine with less cinematic fare, so that’s a solid option too.

Motion handling is well judged. Of the options offered, TruMotion’s Cinematic Movement is the least intrusive, at least in terms of movie material, removing judder without introducing that telltale soap-opera sheen.

Perhaps suprisingly, peak HDR brightness turns out to be the big story here. The C6 delivers a tangible uplift over its predecessor.

In Vivid mode, the set blasts past 2000 nits, as seen in very small highlights. Not that I’d advocate watching in Vivid for any great length of time. Cinema Home delivers a still impressive 1576 nits with a 5% window, dropping to 1123 nits on 10%.

Specular highlights – fireworks, reflections, metallic glints – display a convincing intensity, giving images more dimensionality.

This brightness bump comes largely from processing rather than brute-force panel changes. The Alpha 11’s expanded bit-depth handling (12-bit processing with a 13-bit output) enhances gradation and brightness precision.

Everyday TV, animation, and sports all look fabulous. You won’t want to turn it off.

Sound Quality

When it comes to audio, the C6 is more prosaic. It’s good enough, but is bass light. I measured very little happening below 100Hz. Playing back the Dolby Atmos ‘Amaze’ test clip, there's no thunderclap at all. Similarly, Dune Part Two unspools without any of its signature seismic bass moments.

This despite a dedicated 20W woofer buried in the set's case. The TV's official specification lists a 40W total in a 2.2 channel configuration. There is an AI Pro sound model, which offers a more upfront presentation, but I found it a rather thin, fatiguing listen.

There are ways to improve matters though. The C6 can be partnered with LG’s new wireless Sound Suite loudspeakers; the TV instigates a direct connection with the speakers, using them as rears in a spatial configuration. Or, of course, match it with one of the best soundbars for LG TVs.

Design & Usability

Cosmetically, the C6 is almost unchanged from its predecessor, and build quality remains excellent.

The wafer-thin panel has a slate-like rear finish, and sits on a central pedestal stand. This makes it easy to park on AV furniture, although the lack of any swivel is rather inconvenient.

Connectivity can be considered comprehensive. In addition to the quartet of HDMIs, there are a couple of USB ports, an optical digital audio output, Ethernet LAN, and both Wi-Fi and Bluetooth 5.3. The set is Auracast compatible and can also accommodate terrestrial and satellite aerial feeds.

The OLED C6 comes with the latest, thinnest Magic Remote control. I’ve never fully warmed to its on-screen cursor, but the customisable buttons and voice control are welcome. There’s no backlight here though.

The panel itself is conventionally glossy. It doesn’t have an anti-glare filter to repel ambient light sources, worth considering when placing the TV. Some will find this a benefit, though, as some home-cinema enthusiasts are staunchly against the anti-reflective panel for how it can affect black levels.

LG OLED C6 review: Verdict

The LG OLED C6 is a thoroughly impressive all-round OLED TV that wrings even more performance from a tried and tested recipe. LG’s boffins have managed to elevate picture performance, with higher peak brightness, extremely good shadow definition, and more intelligent processing.

If you want near-flagship picture quality without paying quite such a high-end price, then the C6 is exactly where you should be looking. It’s not flawless – audio could be further improved and the Freely snub is ill-judged – but the core C-series viewing experience remains a deeply satisfying, 5-star watch.

Also Consider

If OLED is your bag, compare and contrast the LG C6 with Panasonic’s Z90B, and the Samsung S90H. The former, in 65-inch guise, uses a Master OLED Pro OLED EX panel, and is capable of stunning image quality. Conversely, the Samsung S90H, boasts Glare‑Free anti‑reflection coating, helpful if ambient light is likey to be an issue where you watch.

Samsung TV owners have famously long lived without a few features found on televisions from rival brands – Dolby Vision, for one. Another that comes as more of a surprise is Google Cast.

Samsung's smart TVs have not had native support for Google Cast, with the manufacturer favouring its proprietary Smart View feature instead. Built around Miracast, it has basically offered a similar experience, allowing you to mirror your phone's screen, but it's not quite the same.

However, that's all changing. As well as finally supporting Google Cast on its new, 2026 smart TV models, Samsung has started to roll it out as an upgrade to older sets too. That includes TVs made from 2023 on.

According to XDA Developers, the One UI Tizen v2115 update is now available across multiple Samsung smart TVs released in the last few years. And it includes Cast support.

There is a caveat – your TV needs to have been made and sold from 2023 and run on Tizan OS. But if compatible, you'll find a much better streaming option waiting.

That's because Google Cast is universal – it works across pretty much every Android phone and tablet you can think of, iPhone and iPad too. You just have to tap the Cast icon when you're in a streaming app (if supported), select your TV and away you go.

Perhaps the biggest benefit over Samsung's own Smart View is that Google Cast doesn't technically mirror your device's display. Once Cast, the content is streamed by the TV from the internet directly, leaving your phone to perform other tasks with no slow down or interruption.

You can use your mobile device as a remote, but the video is streamed independently.

This is a big deal for Samsung smart TV owners, many of which have bemoaned its absence over the years. It also allows you to stream from apps that might not be otherwise available on your TV.

Many other brands have offered the service for years – especially those that run Google TV or Android TV – which Samsung owners and others have had to add a Chromecast device for the same functionality. You won't need that any longer.

If your Samsung TV doesn't currently run Tizen v2115.3 or later, check your settings to see if an update is available. It might take a bit longer to reach all the supported models, depending on your region.

As a consumer tech journalist, I'm currently in the throes of what can only be called 'TV season', when all the best new TVs get lined up for the test bench just ahead of their on-sale dates.

It's a great insight to test out the latest sets, gauging how different one model is from the last and what improvements we can expect on a year-on-year basis.

In Samsung's flagship model, the difference is paramount – delivering what I described in my S99H review as the best HDR gaming I've ever seen on any TV to date.

But there's a problem. Samsung has made some divisive decisions about this model for this year. Well, sort of. As it's not the same model name in every region, as I'll get to below.

Why the S95HF is the one we all want

See that giant silver bezel border and 'floating' bezel-free panel in the image above? That's Samsung's "FloatLayer" design language for the S99H, as reviewed in the UK.

In the USA, the exact same model is called the S95H. We don't get that one in the UK, though. But both have opted for an 'art' design, which has caused some to scratch their heads as to why.

Well, any prospective UK customers who dislike that big ol' border can instead opt for the S95HF model, which won't be available Stateside. Not to be confused with last year's S95F flagship, as the HF is the 2026 version – without the silver bezel.

Samsung has done very well with its The Frame TVs – the anti-reflective "TVs as canvas" prospect – and clearly thought to incorporate elements into its flagship to promote its monthly pay-for Art Store subscription. It's clear that 2026 is the year of the art TV trend, as I wrote about back in January.

All the 2026 QD-OLED models feature an anti-reflection screen – called 'Glare Free' in Samsung's marketing – and, while I love how it diffuses bothersome ambient light, some home-cinema diehards dislike the effect and are calling for a model without such a feature.

Yet Samsung's QD-OLED picture rules

Divisive or not, however, what I have come to learn from the S99H (or, by virtue, the S95H or S95HF too?) is that its picture quality is outstanding. As QD-OLED goes, this is the flagship to rival all flagships – with an incredible Standard Mode preset that, unusually, I've left on by default. Because it's just that good.

Samsung has been really inspirational with some other design/feature choices too. The flagship doesn't use the brand's OneConnect Box by default – a separate unit to house the HDMI connections away from the panel, using wireless transmission, making it ideal for wall-mounting – but you can add one as a separate purchase.

Buying said OneConnect Box will up the HDMI count from four ports to eight in total, meaning a mass of HDMI 2.1 connections and a fix to one of my biggest bugbears with modern TV connectivity. Note, however, that latency from wireless connections is extended – and not the best for gamers, therefore.

Speaking of gamers, though, and the S99H absolutely nails that offering. While there's no Dolby Vision – as Samsung uses its own HDR10 and HDR10+ instead – the insane brightness and colour volume makes HDR titles look spectacular. Indeed, the S99H clocks a brightness output close to 4,000 nits – rivalling even high-end Mini-LED TVs.

So should I buy the S95F instead?

So make of Samsung's flagship design choices what you will. It stands out of a point of difference, which is a rarity in the TVs world these days. And if you don't like it then the S95HF model will deliver a pared-back solution instead – unless you're based in the US, where it won't be available.

The best option in that scenario? Don't forget about last year's flagship, the S95F, which is now a cut of its original price and, while not as bright as the 2026 'H' model equivalent, is still a notable TV choice.

Every year manufacturers somehow manage to make the best TVs even better – increasingly it's like there's no ceiling to what's possible. That said, Samsung's take for its 2026 flagship might seem, well, confusing on the face of it.

Why? Because the S99H on review here – the same as the S95H in the USA – takes Samsung's QD-OLED panel mastery, but leads it down a more 'arty' design route, complete with an integrated silver bezel border. Don't want the bezel? You'll want the S95HF – the all-important 'F' variant not available in the USA (and not to be confused with the last-gen S95F model either!).

Samsung has also done away with the default OneConnect Box – the separate unit to wire HDMI and other connections away from the TV itself – meaning a thicker chassis than typical art TV buyers might consider as optimum. That is better for gamers who want the lowest latency possible, though, and this TV is heavy set for those customers.

In fairness, Samsung opted out of the OneConnect Box default last generation, with the S95F (2025) not taking it on like its S95D (2024) predecessor. That said, you can buy an optional box for the S99H (or, indeed, S95H and S95HF) – upping the HDMI count to eight ports total, which finally fixes my biggest issue with TV connectivity.

So is the Samsung S99H a genius amalgamation of all the company's finest TV tech or a flagship misfire pitching the 'art TV' trend of 2026 to high-end home cinema enthusiasts? I've been living with a production sample for a couple of weeks for this review to find out...

Price & Availability

I've laid out a table of pricing, below, for the key model sizes – differentiating regional product codes. Note: there's no 55-inch S99H, while the S95H's 83-inch model I've not included, as it's not the same type of panel technology.

The absence of a 55-inch S99H means no QD-OLED panel in Samsung's 2026 range at this size for the UK, which I find perplexing. Presumably sales just haven't been successful in that size category – unless the S95HF fills that gap (and which I've queried with Samsung to see if such a model will become available).

Price-wise, the S99H model is a little more costly than the outgoing S95F series from last year. It's a consistent £100 per model for both the 65- and 77-inch versions, which is under 3% and therefore in line with annual inflationary factors.

S99H vs S95H vs S90H: What's what?

For the UK market, Samsung has tried to simplify its product ranges (despite the mayhem of regional variations, as outlined above!).

There's the S99H at the very top of the spectrum (S95H in the USA), which uses a QD-OLED panel type. That's Quantum Dot OLED, which goes extra on colour and brightness compared to classic OLED. The S95HF is the same, but ditches the silver bezel design.

Step down to the S90H and that's all classic OLED (read our review here) – and with more size options available. That's different to the previous S95F and S90F models, where the core sizes (55- and 65-inches only) were both QD-OLED – but with a lesser degree of anti-reflective coating in the lower-spec model.

Design & Features

The first time I saw an S99H (well, technically an S95H) was at the annual CES show. Samsung had gone fairly stealth on the set's presence, given it had just announced a 130-inch Micro-RGB panel that dominated the brand's exhibition space.

In that dark room, the H set's silver edging – which sits behind the main panel, as if embossing it to greater prominence, in what Samsung calls 'FloatLayer' design – wasn't especially flashy or distracting. But when my 77-inch S99H arrived for testing at home, set up in my living room as normal, I found that silver edge hard to ignore.

Time is everything, though, and the more I lived with it, the more I enjoyed its point of difference. Others may disagree, though, and you might not want the 'floating' aesthetic for a wall-mount TV either – in which case I'd strongly suggest picking the S95HF (unless you're in the USA, in which case it's hard luck, apparently).

What I did find incredibly refreshing about the S99H, however, is how simple it was to assemble. It's a screwless design, so the two feet slot over couplings – with two height options available – and that's it, job done. Compared to Samsung's complex 8K TV set up this one's a doddle.

Around the back of the S99H is where you'll find the four HDMI 2.1 ports. They're assigned a little differently than typical, with port no.3 serving the HDMI eARC – which I've been using in tandem with the HW-Q990H surround system to great effect.

That soundbar houses two further HDMI inputs for passthrough, so I've got lots of connectivity options. However, if you do want even more, the S99H can also operate with a OneConnect Box (sold separately; not tested in this setup), meaning you can either deliver wirelessly to the set, foregoing the usual HDMI ports, or double up with a total of eight available – something no other manufacturer yet offers.

Software-wise, Samsung's Tizen-based system is a little confusing at times – perhaps because it features not one but two remote controls with different quick-access buttons. Nonetheless, the homepage combines access to 'Now Playing', 'Popular Searches', a series of customisable apps, and rows of streaming picks to jump into – including from Samsung TV Plus.

Given this TV's anti-glare panel and updated design aesthetic, Samsung is clearly looking to double down on its art offering – with Samsung Art Store also easily accessible, should a membership appeal (at a monthly cost). No longer is this sort of content confined to The Frame TVs, which have been doing so well for the brand.

Samsung Vision AI is also available at the click of a button, bringing personalised voice querying to the fore. That's in addition to the AI Picture Settings, which automate the visuals – but I've found aren't to this set's greatest benefit, except really when watching sports.

Picture Quality

If you're on board with the FloatLayer design and silver bezel addition and happy with an anti-reflective display – for 2026 there's no QD-OLED option without such a panel coating – then the Samsung S99H's picture quality is astounding.

Like, so astounding that you won't even be peeking at that silver bezel for even a moment. Everything else around you will almost dissolve away, such is the impeccable nature of Samsung's image clarity. I thought the S95F previously was a stunner and, well, the S99H is that and even more – offering even greater brightness potential.

Such is the nature of QD-OLED that it delivers all that's great about classic OLED – perfect contrast and the deepest blacks – but with even more oomph. I can see why my T3 freelance contributor was somewhat disappointed the step-down S90H model wasn't to be QD-OLED for this year's range (despite being an 'excellent true OLED').

I think the S99H has one of the most captivating 'Standard' picture modes that I've ever seen. Many other brands deliver such colour pop that it's almost overwrought, but the Samsung deals a more balanced hand. I've been unusually tempted to leave this mode on more often than typical – and it's so bright that many Mini-LED sets aren't going to meddle with this.

But the real magic in the S99H comes from the more delicate picture-handling, such as in Movie mode. This is the one for the real cinema heads – yes, there's Filmmaker Mode too, of course – who might want to tweak the tiniest number of settings to get a little uplift in output. Swimming in a sea of black levels is no bad thing, though, handled with nuance and care by this panel.

An exception to that can be caused by the anti-reflective panel, though, where higher ambient light levels will lift the black floor to appear a little greyer. The panel will defy reflections, though, which will be to most viewers' benefit – and it diffuses them incredibly well, such is Samsung's strength in this field.

Oh, and it'd be remiss of me not to mention that Dolby Vision content isn't supported by Samsung (but is still well handled by the set's HDR capabilities). The brand's own HDR10 and HDR10+ formats are the go-to here – with HDR10+ Advanced incoming later – which you'll mainly find in Amazon Prime Video content.

That said, many cinephiles have been asking for Samsung to deliver an equivalent panel without the anti-reflection for dark room setups – something that, thus far, hasn't been brought to market. I can see why this would be desirable, though, especially if I had the relevant home-cinema installation space.

There's one other very particular point I must also point out: the S99H, in the pre-release review sample format that I've received, suffers from minor judder issues. This is input source and mode irrelevant, too, so even a 24p 4K Blu-ray disc can appear to drop a frame from time to time. Samsung will be working on software updates ahead of release schedule, no doubt, so based on previous S-series models I can't foresee it remaining an ongoing issue.

In contrast to the above observation, however, pop the S99H into gaming mode, and here it might be at its very best. Playing Horizon: Zero Dawn you'll not only get HDR delivered to the max – the brightness and colour are among the best I've ever seen – but the fluidity of motion is just incredible.

All the VRR, ALLM and mod cons you'd expect of a TV with four HDMI 2.1 ports are on show here. It explains, in part, why the brand has done away with the OneConnect Box as a default option, too, because of the added latency that results.

Sound Quality

While I may have criticised the S99H for being a bit thicker than some of Samsung's previous TV models, there's an obvious benefit to the added girth: more space for audio implementation.

Indeed, the sound system here is found between the floating panel and the silver bezel behind, offering a 70W system configured in 4.2.2 channels. That's four speakers handling your frontal soundstage, two (hidden) woofers on the back, and two upfiring outputs to help project sound for greater immersion.

Add in Samsung's Object Tracking Sound (OTS, as it's called for short) and the apparent source of audio relative to what's happening on screen, feels naturally associated. I've largely been using a soundbar during testing, which can sit the sound a bit too 'low', which isn't something the TV suffers from when used in isolation.

Overall, the default audio presentation here is decent. There's a limit to low-frequency bass output, of course, but compared to many tellies, it's a stronger-than-typical setup. You might even get away with foregoing one of the best soundbars, if you don't intend to watch at high volumes.

Samsung S99H review: Verdict

If the floating panel design and silver bezel are of appeal, then the Samsung S99H's QD-OLED picture quality is so bold and bright – yet still natural and convincing – that most people won't believe their eyes. Its anti-glare panel will make this set ideal for rooms with some ambient light sources, too.

If you don't like the floating aesthetic, then you'll want to buy the S95HF instead (not that you can in the USA). This axes the border bezel from the design – and it's the one I'd also opt for personally. This model still has the anti-glare panel, though, so those looking for a QD-OLED without it will have to continue petitioning Samsung for a future product release.

Aside from the S99H's minor judder issues for streaming/movie content (which ought to be fixed for the on-sale date), the picture quality when digging into Movie and Filmmaker Mode is really like bringing the cinema home. And the gaming output could well be the best I've ever seen on any TV to date. Even the sound isn't too shabby – a rare thing indeed from a TV's default output.

Having lived with the S99H for a fortnight, using it as my own, Samsung has managed to deliver across the board. And with such strong competition – the Sony Bravia 8 II and LG OLED G6 are both obvious rivals – to still be able to stand out is no mean feat. It's not the 'arty' design or Art Store that are the reason for that, though, it's the staple features done right – and a default picture that almost defies belief.

Also Consider

One as-yet-unmentioned 'problem' with the S99H is that it's pretty pricey. A way around that would be to find last year's exceptional S95F model – which has no silver bezel of concern – at a cut of the price. That's the sensible move, even if it's not as bright a panel overall.

Rivals in a similar ballpark include the Sony Bravia 8 II, which is a 5-star panel for its beautiful picture handling, or if a classic OLED panel appeals, then LG's OLED G6 or last year's OLED G5 are top-tier models to consider. Step down, and the OLED C6 or C5 are also great, yet even more affordable considerations.

There's been a rise in picture frame style TVs over the last few years. From a market that Samsung established with The Frame, we're now faced with the Ember Artline from Amazon, Canvas TV from Hisense, and Nxtvision models from TCL.

And it's TCL that's making the news today, announcing more details on the TCL A400 Pro Nxtvision TV, an evolution of this lifestyle TV category that uses a Mini-LED panel.

Remarkably, the price of TCL's model undercuts rivals, making it look like really good value for money. The 55-inch TCL A400 Pro costs £899, while the Amazon Ember Artline is £949 and uses less sophisticated panel technology.

It follows the lead started by Samsung with The Frame Pro in 2025, with TCL now offering a rival television that upgrades the visual experience beyond the QLED panels that we've seen in the past.

That shift in technology helps to address one of the pain points of this type of lifestyle TV, boosting the picture performance when you're actually watching TV, rather than using it as an art gallery.

With that in mind, the TCL A400 Pro has a QD Mini-LED panel, increasing the dimming zones over a traditional QLED panel, with up to 448 zones on the 98-inch model, while the 55-inch model has 112 zones.

That really boosts this TV's abilities, while it also offers 4K HDR performance and 144Hz, with a matte display to fend off reflections and give that canvas-like appearance when showing artwork.

There's an Onkyo sound system on this TV along with Dolby Atmos and DTS, so it should sound great too.

The prices announced for the UK are as follows:

• 43-inch - £599
• 55-inch - £899
• 65-inch - £1099
• 75-inch - £1399

That significantly undercuts the price of the Samsung's The Frame Pro, where the 55-inch model costs £1,699 for the 2026 model.

That's double the price, although Samsung's equivalent TV comes with a Wireless One Connect box, so you can mount the TV on the wall, but then all the connections are elsewhere, which is really convenient. But as I found when I reviewed the 2025 model, it can lead to increased input lag when gaming.

Samsung also supplies the wall mount, which might go some way to justify the cost, while the 55-inch model is 24.9mm thick, so much slimmer than TCL's version at 39.9mm.

It looks like these art TVs are going though a really interesting time, with TCL certainly offering a lot of TV for the money. There's no word on exactly where they will be stocked, yet.

Are art TVs the future? It's a question that seems to be on the lips, or at least the minds, of executives at all the biggest TV manufacturers this year. After a long period in which most brands seemed content to let Samsung have its little niche with The Frame, the landscape is shifting rapidly all of a sudden.

LG's bringing back the Wallpaper TV, TCL has big plans in the area, and now Amazon's done a classic Amazon and very rapidly brought out an art TV of its own – the Ember Artline. It's a 55 or 65-inch QLED TV that puts the emphasis on a large collection of free artwork that you can use to spruce up a wall of your choice, and I saw it in person at a recent Amazon event.

Spending some actual time with a new TV is always an interesting experience, and I made sure to grab the Artline's remote as soon as I could to get a proper feel for its UI and artwork, leaving me interested to see more.

Crucially, at briefings like these, you can play around with a TV but don't generally get time to sit and watch content for more than a snatched minute, so the biggest question mark that still lingers over the Ember Artline for me is how it looks with Filmmaker Mode turned on for a movie I know and love.

Concentrating on the artwork, though, I liked what I saw. The Artline has a matte finish that, along with the magnetic frame and recessed wall mount that you get with your purchase, basically marks it out from Amazon's other TVs. It works pretty well, too, dissipating light effectively, albeit not quite as invisibly as far more expensive models from the likes of Samsung manage.

The artwork on offer is great, too, divided into sections for easier browsing – so you can, for instance, choose a country to see what art Amazon has licensed from it, across a range of time periods. You can also select genres and styles, too, and there's more coming.

Amazon's reps told me that the art on offer won't be removed or cycled in and out; everything there is yours to keep, but with the promise that more will be added over time, including a generative AI option for those who don't need or want actual artistic intention on their art TV.

Curiously, though, I found the actual Fire TV UI on the Artlines I got to play with a little slower than I expected. At the same event, I got to handle the latest Fire TV Stick HD, which is an entry-level £40 piece of hardware, and it felt significantly snappier and more responsive than the baked-in software on the Artline.

That might be down to pre-release hiccups, and it's entirely possible that the full versions of the TV that are now available to order will be smoother and faster, but I found it odd given the controlled setting of an Amazon briefing. The setting also meant I couldn't test the TV's awareness feature, which turns the display off when nobody's in the room, to avoid the power drain of 24/7 operation for the art you choose.

Overall, the time I got with the Ember Artline left me wondering what direction I'd go in if I needed to buy a TV right now. I think I still lean towards accepting a TV for what it is and getting a pure OLED, since I just love how those panels perform (with my LG C2 giving me no reason to upgrade), but the art TV movement is clearly picking up pace.

Whether the Ember Artline sees the needle move further in terms of sales and popularity will be interesting to observe in the coming months, and we'll aim to get a full review for you so you can see how it stacks up in our view.

Amazon has confirmed that future Fire TV Sticks will no longer allow app sideloading or run on Android. You won't even be able to download and install approved apps either.

That's because it is switching to its own Vega OS software for all streaming devices going forward, and as that is a cloud-based operating system, you will no longer have the ability to customise them.

The software was first installed on the Amazon Fire TV Stick 4K Select released last year and can also be found driving the all-new Fire TV Stick HD coming at the end of April.

Rather than host streaming apps on the device itself, Vega OS is entirely run on the cloud – so the likes of Netflix and Disney+ are installed on a remote server, including the front end, so you access the entire experience over an online connection, not just the content.

It's similar to the latest TiVo platform, which is found on multiple smart TVs and the Manhattan Aero Freely TV box, and the Titan OS smart TV system adopted by Philips and a few other manufacturers.

The benefit is that you don't have to download and run apps yourself, so every streaming service is updated remotely and you are always accessing the latest version. And the processing power of your TV or device is less important, as it's only required to run the video stream well.

It also enables Amazon to keep costs down for new Fire TV Stick releases, especially during the ongoing RAM chip crisis.

The downside is that you have far less freedom over what you choose to do with your device. Some sideload their third-party apps onto Fire TV Sticks, allowing them to operate services that are otherwise unsupported. You cannot do that on the Select or forthcoming HD Fire TV Sticks – or any other future models.

The confirmation was found on Amazon's developer site (via Cordbusters): "All future Fire TV Sticks will run on Vega," it says in a box-out about the operating system.

That will definitely upset some, although considering the clampdown on the illegal use of Fire TV Sticks (with content piracy being a real issue in the recent past), the switch always seemed inevitable.

Time will tell if it makes a difference to the wider consumer market, though.

A class action lawsuit has been filed against Amazon in the US which claims the company "purposefully" made older Fire TV Sticks fail to force customers into an upgrade.

The plaintiff claims the remote for his second-generation Fire TV Stick eventually became "inoperable" after Amazon ended updates for the 2016 device. Other customers have also complained that their first and second-generation streamers have also stopped working or slowed down considerably.

According to the New York Post, the suit goes on to say that Amazon wouldn't provide a refund or software updates for the failing devices. It also accuses the company of "deceptive" marketing, as it didn't inform customers of a cut-off date for software upgrades.

This is something that has been adopted more widely in recent years, especially by mobile phone manufacturers. The likes of Samsung, Google and Nothing often guarantee a period of software updates for their devices at launch. It wasn't common when the original Fire TV Sticks were launched, however.

It also begs the question of how long purchased technology is supposed to be supported. Sonos stoked the ire of its long-term customers a few years ago, when it announced it would no longer support older devices in its upgraded app. And Samsung prompted a flurry of complaints when Netflix became incompatible with its older smart TVs.

Simply put though, consumer technology is hardly ever built to last forever. A device released a decade ago is likely to have a far slower, less capable processor than a modern equivalent – RAM and storage, too.

So is it fair to expect a streaming device released in 2014 or 2016 to still perform as well today – especially one that cost around $40? That, it seems, is for the courts to decide.

When Amazon announced the Ember Artline TV, it was keen to put the focus on the new matte finish and artwork that the TV would bring to people's lounges and living rooms. That's well and good, but, in some ways, the more important announcement was that when the TV arrived, it would also mark a massive branding change for Amazon.

That's right – Fire TVs aren't Fire TVs any more; or are they? Well, as it happens, now every TV that Amazon makes itself will be an Ember TV, drawing more of a clear line between 'a TV that Amazon makes that runs on Fire TV' as compared to 'the Fire TV ecosystem and software experience', if that makes sense. No more Fire TV Fire TVs, basically.

At an Amazon briefing last week, I was interested to question Emma Gilmartin, Director of Fire TV for Europe, about the change and what it means for consumers and customers. She explained that while this is a big tweak from Amazon's perspective, it's one that should result in less "confusion" for regular folks.

"I think there's a reason why we've moved away from just calling everything Fire TV – because Fire TV is, in itself, a user experience. And it's now on partner-branded TVs, on our streaming sticks, and our own-party TVs. So it becomes confusing for customers when everything is just Fire TV."

That's a rare level of honesty from a huge corporation like Amazon, albeit at a time when it can afford to say that its past branding was odd, since it's now changing the system. When I asked whether there was any anxiety internally about the swap, I got a bullish response, too, with basically no sense that there was risk to the name swap.

For my money, Ember's a pretty clean name, and the continuity of the "fire" image does make a smooth transition pretty likely. Plus, it's not like the Fire TV brand is going anywhere – it's still the umbrella under which the Ember hardware lineup will sit. In fact, Amazon has another little hardware launch to talk about, too, in the form of a new £40 Fire TV Stick HD.

Glimartin described the stick as "super, super fast", and I can attest that in person, the 30% boost in speed it's been given is impressive, especially given it's entry-level stuff. A bunch of recent Fire TV Sticks will also be getting the OS update that Amazon's rolling out, which should give them all a roughly 30% boost, too, so it's a great time to be a stick owner.

As Gilmartin put it, "the team took the opportunity to completely rewrite the code, which allows them to iterate much faster, and allowed us to scale and do different things in the future". That might mean that future updates are more frequently deployed, making for better future-proofing in the long run.

I've always been curious about which of Amazon's sticks sells the best, since there are plenty to pick from, and while Gilmartin wouldn't be drawn on any actual figures, she confirmed that from Amazon's point of view, there's no real drive to consolidate its lineup into fewer options.

"We also have this debate about how many sticks – but for some people, a jump of £10 or £15 is a lot, so for some people the Stick HD is perfect, [while] some people want to get the best, with the best Wi-Fi and connectivity". Crucially, as she puts it, "people are buying all of the sticks", so there's no single one that's likely to get chopped any time soon.

Regardless, the big Ember branding change is probably enough upheaval for one financial quarter at least, and Amazon will doubtless have multiple eyes on its analytics the moment it makes the swap. We'll be fascinated to see how it lands, too.

When Amazon announced the Ember Artline, its first foray into the extremely on-trend world of art TVs, it fairly obviously looked like it was pushing the boat out. After all, while it's been making Fire TVs for a while now, most of them haven't had a specific USP other than generally good value to offer.

Now, though, it's brought the Ember Artline out in the UK and EU, a little while after it arrived in the US, and the TV's arrival also ushers in a bit of a new branding era. All of its actual TVs are no longer Fire TVs – they're Ember TVs, with the Fire TV OS pre-loaded on them. That should make things a little simpler for people to understand, and being able to write "Ember Artline" without worrying about the "Fire TV" bit certainly is a small relief.

The Artline makes no secret of its aim, and basically takes one of Amazon's existing top-range QLED displays and then sticks a non-reflective matte coating on the screen, as well as a thinner body and cleverly recessed mounting system to allow you to get it really flat against a wall.

That sets it up to fulfil its primary purpose – looking like a matte painting when you're not using it as a TV. Whether you pick up the 55-inch version for £950 or the 65-inch one for £1,200, you'll get two extras in the package when you order it. The first is that low-profile mounting kit, which is nice to see, and the other is your choice of magnetic "frame" for the TV.

These are super simple to install, too, since they literally just click magnetically onto each edge of the TV to make it look like it has a perfectly-fitting frame. There are a couple of wood-like finishes, then a bunch of colours to choose from, and that should make matching it to your room of choice fairly doable.

Having seen the TVs in person a couple of times now, I've been impressed by their design, especially those magnetic frames. It'll remain to be seen how they stack up to other TVs in the same price bracket, though, with the comparison to OLED sets being particularly interesting. The fact that Dolby Vision and HDR10+ are both present and correct, though, is a great sign.

The TVs are available to order from today in the UK, so you can get your hands on them immediately if you like the cut of their jib. For those simply looking for a new Fire TV stick, though, Amazon has smaller news on that front, too.

It has a new version of its entry-level Fire TV Stick HD – and for £40 you'll get a great 1080p experience that should be around 30% faster than the last-generation stick in terms of operating speeds. It's also slimmer to more easily fit behind your TV without making it hard to arrange your HDMI ports, which is always nice.

Perhaps the biggest upgrade is the addition of passthrough power through a USB cable, though, letting you get power from your TV instead of needing to plug another wall socket in.

If you're not enjoying the experience of your Google TV, you're not stuck with the interface, you can change it. Thanks to a new launcher called Arc, you can now get an interface that looks a lot more like Apple TV.

Android has always been about flexibility and that doesn't just apply to phones and tablets - there are also freedoms within other Android platforms to switch things around, including on Google TV.

Whether you're using the Google TV Streamer or a TV that runs Google TV, changing the launcher is an option.

The advantage of switching to a new launcher is that you can fully customise it to your preferences, it can be completely personalised, avoiding adverts and recommendations that come from Google.

The most popular of these is Projectivity Launcher, which can be found by searching on Google TV and then installing the app from Google Play. However, if you fancy something that looks like Apple TV, then Arc might be a better bet (via Android Authority).

This option isn't as advanced as Projectivity in that it's not an app in Google Play, so you'll need to be a little more advanced to get everything going. However, it's freely available on Github, which also points out some of the things that don't work and gives advice on button mapping to get Arc to launch.

The result is a cleaner interface that uses less RAM than the standard launcher (so it feels faster) and it looks like the frontend of Apple TV 4K.

The developer says that it was tested on Chromecast with Google TV (so install it at your own risk) and that in future it's looking at video wallpapers, channel support and more.

It isn't the full Apple TV 4K experience, of course, so while you can have the Apple TV app (which again has a cleaner design) you won't get all the features that Apple TV itself offers.

Currently, Apple's TV box is over three years old and while there haven't been many changes in the TV industry to warrant an update, it's still a little long in the tooth.

It's rumoured that there could be an Apple TV 4K update in 2026, with a faster chip and new Siri powers, although the slow roll-out of Apple's advanced AI could have put the brakes on a new box. Still, if you don't want to wait, you can make your Google device look like it instead.