LG’s C6 OLED TV series for 2026 is a marked departure from the company’s previous OLED lineups. Buyers of last year’s LG C5 series OLED models, for instance, could expect 55-inch and larger sets from that series to have the same OLED panel type and feature set. This year, however, LG’s C-series OLEDs have been split into two camps: the C6 and C6H.
LG C6H OLEDs are only available in 77- and 83-inch screen sizes, while the C6 models range from 42 to 65 inches. But screen size is only part of the story here, as the C6H models feature a new RGB Tandem OLED display panel with Hyper Radiant Color Tech — the same one used in the flagship LG G6 and W6 OLED TVs (regular C6 models use a standard W-OLED display panel). It’s a substantial upgrade for LG’s mid-range C-series and one that makes it well worth upsizing to the 77-inch C6H, the subject of this review.
Both the 77- and 83-inch C6H models feature an aluminum pedestal stand.
What Is It?
The LG C6H is an upper-midrange OLED TV packed with features for the price. The 77-inch C6H was initially priced at $3,699.99, while the 83-inch model launched at $5,299.99, but those prices have since dropped to $2,699.99 and $4,299.99, respectively. Compare that with the flagship LG G6 OLED, which currently sells for $3,799.99 for the 77-inch model and $5,799.99 for the 83-inch version.
Aside from having the same RGB Tandem OLED display panel with Hyper Radiant Color tech and Brightness Booster Pro features found in LG’s flagship OLED TVs, the C6H series uses the same Gen 3 α11 AI processor as those models. This allows for all sorts of AI magic to happen, including AI-based 4K picture upscaling and 11.1.2-channel audio upmixing. AI is also used for the TV’s custom sound and picture options, which guide you through the process of creating presets based on your own audio and visual preferences.
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The C6H’s side-mounted input section (note the display panel’s fancy marbled plastic surface)
A key feature found in LG’s 2026 flagship OLED TVs that the C6H models lack is Reflection Free Premium tech, which eliminates screen glare when viewing in bright rooms. The C6H instead has a standard glossy screen surface, though in my testing, it didn’t suffer from the same strong, mirror-like reflections I’ve seen on some glossy screens.
The C6H supports the Dolby Vision, HDR10, and HLG high dynamic range formats, but not HDR10+. LG also has not announced an upgrade to provide Dolby Vision 2 support for the C6H or any of its other TVs — a shame, given that Dolby Vision 2 can provide a substantial picture quality upgrade even for legacy Dolby Vision content. LG’s implementation of Dolby Vision on the C6H includes Dolby Vision Filmmaker Mode, and it also features Filmmaker Mode with Ambient Light Technology, which uses the TV’s light sensor to adapt the picture for different room lighting conditions without sacrificing picture accuracy.
The C6H has a basic 2.2-channel down-firing speaker array that supports Dolby Atmos, but not DTS. Sound quality is very good, especially when the AI Sound Pro mode with virtual 11.1.2-channel upmixing is enabled. Dialogue is consistently clear, explosions have decent bass impact, and Atmos height and surround sound effects extend above and beyond the screen. A WOW Orchestra feature lets you combine the TV’s speakers with a compatible LG soundbar system for a more immersive effect, and there’s also Dolby Atmos FlexConnect support for LG Sound Suite wireless speakers.
LG’s webOS 26 gaming portal
LG’s C-series OLEDs have long been serious gaming TVs, and the C6H is no different. It has a native 120Hz display and supports Nvidia G-Sync and AMD FreeSync Premium VRR up to 165Hz across all four HDMI 2.1 ports. Other gaming-related features include a Game Dashboard pop-up menu and Game Optimizer, while the apps available through the TV’s webOS 26 smart interface include Xbox, Nvidia GeForce Now, Amazon Luna, and more.
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When I tested the C6H’s input lag with Game Optimizer active using a Bodnar 4K meter, it measured 12.8ms — an average result, but also relatively high compared with other LG TVs I’ve reviewed in the past, which clocked in at under 10ms.
The C6H’s design may lack the glamour of LG’s W6 Wallpaper TV, which uses the company’s Zero Connect box for a wireless hookup, but it still has a slim and appealing look. The bezel surrounding the screen is vanishingly thin, and the set comes with an aluminum pedestal stand. While the stand itself is made of sturdy enough material, I found that the TV wobbled a bit after I had it set up.
Connections are all located on a side panel on the back, and they include four HDMI 2.1 ports, an optical digital audio output, and an antenna input for the TV’s ATSC 1.0 tuner. Two USB Type-A inputs are provided, along with an Ethernet port and IR blaster output.
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The webOS 26 homepage with sponsored previews and content recommendations turned off.
LG C6H: Usability
LG’s webOS 26 serves as the C6H’s smart TV platform and, simply put, it seems more cluttered and difficult to navigate than previous versions of webOS. A large, ad-driven preview window occupies the top half of the screen. Below it are tabs for directly accessing Sports, Gaming, Music, and other types of content, along with an extended row of apps that you’ll definitely want to edit, since it’s packed with many offerings you’ll likely never use.
One app you may want to use is Gallery+, a subscription-based service that lets you display artwork on the TV when it’s in standby. A selection of free images is also available, and LG offers a free two-month Gallery+ trial. In this respect, the C6H is actually superior to Samsung’s S95H OLED TV. Even though the Samsung S95H supports Samsung’s gallery, there is currently no automated way to make that TV display art when in standby mode. Art Mode must be manually turned on in the TV each time you want to use it.
While webOS 26 is somewhat cluttered by default, LG does provide menu options to turn off sponsored previews and remove the large number of suggested content categories that appear as you scroll through the interface. Many of the controls and UI modifications available in the TV’s Setup menu can also be carried out in the LG ThinQ app, which you’ll need to download and create an account for when you first set up the TV.
I can’t say I found much need for the app, but it could be useful if you plan to use the TV as a smart home control hub to operate LG appliances like refrigerators and washer/dryers.
The C6H’s grid guide for browsing free TV channelsThe Gallery+ screensaver art portal
Like many other new TVs, the C6H uses an AI assistant for content searches and control, in this case Google’s Gemini AI and Microsoft’s Copilot. You can also ask either of those bots questions like, “When do trees start to show fall colors in the northeastern U.S.?” and then use that as a jumping-off point for planning a weekend getaway.
Unlike many other new TVs, using AI to generate screensaver art requires a subscription, in this case to LG Gallery+, which is a disappointment.
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The LG Channels app serves as a portal to an extensive array of free, ad-supported streaming content. You can also view free channels in a grid format by selecting the Guide icon at the top left of the webOS 26 homepage. This view also includes any broadcast TV channels received through a connected antenna.
LG’s AI Magic Remote features a button to activate AI-assisted voice searches.
LG’s Magic Remote has now become the AI Magic Remote with the addition of a button that calls up the TV’s onscreen AI assistant. You’ll need to enable voice control to use this function, though during setup you’ll have the option to limit voice recognition to the remote rather than use the TV’s built-in far-field microphone.
The Magic Remote design, which combines a point-and-click cursor with traditional navigation controls, has its detractors. I find it easy to use, however, and in some ways it’s superior to other TV remote designs. LG’s Magic Remote even has an Input button — an endangered feature on smart TV remotes — though pressing it doesn’t toggle through inputs. Instead, it takes you to a Home Hub screen, where you’ll need to click another button to call up a list of selectable inputs.
LG has taken knocks in the press recently for the privacy controls on its smart TVs. Automatic Content Recognition is a main bone of contention, as are network security and voice recording. You can get a good overview of what all the fuss is about here. Although LG is in the spotlight for this at the moment, their use of user information for marketing purposes is anything but unique.
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During initial setup, you’ll likely end up agreeing to a bunch of disclaimers simply to get the TV up and running as quickly as possible and, in the process, open yourself to a range of privacy-related vulnerabilities. In this case, it’s a good idea to visit Settings > Support > Privacy & Terms > User Agreements in the TV’s menu afterward to see exactly what you’ve signed away during setup.
The subscription-based LG Gallery+ lets you preview images available on the service.
Setup & Viewing Impressions
I made a basic set of color and brightness measurements of the LG C6H using Portrait Display’s Calman Color Calibration software. Measurements were made in the Filmmaker and Standard picture presets with adjustments left at the default settings with the exception of Energy Saving Step, a setting that automatically adjusts picture brightness based on room lighting, which was turned off for the tests.
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Brightness (HDR)
10% window
Fullscreen
Filmmaker Mode
2,059 nits
308 nits
Standard Mode
1,979 nits
341 nits
Brightness (SDR)
10% window
Fullscreen
Filmmaker Mode
485 nits
418 nits
Standard Mode
456 nits
424 nits
At 2,059 nits, the 77-inch C6H’s measured peak HDR brightness is notably higher than the Samsung S90H, a midrange OLED TV that uses the same W-OLED panel as the LG C6 series. That model topped out at 1,553 nits in Filmmaker Mode when we tested it. The C6H’s peak brightness is also below the Samsung S95H, a flagship model that measured 2,526 nits in Filmmaker Mode in our tests.
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The highest brightness level I measured from the C6H was 2,210 nits on a 2% window, also in Filmmaker Mode. The C6H also delivered high SDR brightness for an OLED TV, making it a good option for watching sports in rooms with high ambient light levels.
BT.2020 coverage
DCI-P3 coverage
83.4%
99.6%
At 83.4%, the C6H’s BT.2020 color space coverage lands between the Samsung S90H (75.8%) and S95H (89%) OLED TVs, while its DCI-P3 coverage measured 99.6%. Those are impressive results for an OLED TV and help explain the rich color reproduction I noted with everything from movies to sports.
At 4.4, the C6H’s average grayscale Delta E — the margin of error between the test pattern source and what’s displayed onscreen — came in somewhat higher than the maximum threshold of 3 we look for in testing, but it was easily reduced to 0.9 with basic calibration. Color point accuracy averaged 1.4 with the default Filmmaker Mode settings and improved to 0.5 post-calibration.
You can select a widget-based display to serve as a screensaver on the C6H.
Starting my subjective viewing tests with the trusty old Spears & Munsil Ultra HD Benchmark 4K Blu-ray discs, full-field white and gray test patterns showed a degree of brightness drop-off at the outer edges of the screen. The same patterns also revealed a slightly bluish tint at extreme off-axis viewing positions. Neither effect was visible with regular content, however, including black-and-white movies.
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Reference scenes from the James Bond movie No Time to Die (on 4K UHD Blu-ray) revealed good overall motion handling, though I did note a degree of judder in a tracking shot of Bond traversing a hillside cemetery — something easily fixed by setting both Judder and Blur to +3 in the TV’s TruMotion menu.
Another reference disc, The Green Knight, revealed no sign of banding artifacts in shots of Sir Gawain diving to retrieve Winifred’s skull from its underwater tomb, and the same held true in dark, misty shots of Paul Atreides walking with his mother, Lady Jessica, early on in Dune: Part One.
One of several free images available in Gallery+. You’ll need to manually select these for playback since Gallery+ screensaver mode is only available for subscribers.
The C6H’s excellent AI 4K picture upscaling can make high-definition images look strikingly clean and 4K-like. It had been years since I last watched Abel Ferrara’s Bad Lieutenant, and when I streamed it on the Criterion Channel, the gritty New York City street scenes looked wonderfully detailed and alive on the LG’s 77-inch screen.
Blacks in the movie looked rock solid, and there was also a satisfying level of detail in the shadows. I only wish the Criterion Channel would start streaming at least some movies in 4K, but then again, that might interfere with the company’s 4K Blu-ray business, and we don’t want The Criterion Collection going anywhere.
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OLED TVs like the C6H have long been a go-to choice for movie fans, but it’s only recently that OLED has become a popular option for sports as well. My testing of the C6H coincided with the start of the NFL season, and I can confirm that this is a great TV for watching football.
The jerseys worn by Kansas City Chiefs fans in the first game of the season against the Denver Broncos came across as a rich sea of red in wide shots of the stadium. Even when watched in Filmmaker Mode, the C6H’s picture looked sufficiently bright with my room’s overhead lights on, and the TV’s accurate color made the green turf look natural and the white of the Denver players’ uniforms look subtle and balanced, as opposed to a blistering, bluish white.
The Bottom Line
At $2,699, the LG C6H is a no-brainer if you’re looking for a 77- or 83-inch OLED TV that offers the best performance characteristics of OLED tech, such as deep blacks, powerful contrast and rich color, combined with the high brightness levels that you’d typically expect from the best Mini-LED TVs. It’s priced substantially lower than LG’s flagship G6 and W6 series models, while offering many of the same features, including an RGB Tandem OLED display panel with Hyper Radiant Color tech, the Gemini and Microsoft Copilot AI assistants and four HDMI 2.1 ports with 165Hz support for gaming. The C6H is also priced around the same as its main midrange competitor, the Samsung S90H, while delivering higher brightness than that model.
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Opting for the LG C6H over the G6 flagship means you’ll lose out on the latter’s Reflection Free Premium tech for glare-free daytime viewing and its elegant, wall-hugging design. In both cases, however, you’re buying a TV that won’t be getting Dolby Vision 2 Max support via a future upgrade, and a LG Gallery+ app that requires a subscription to unlock its most useful features. Both of those issues aside, the LG C6H is an OLED that should be at the top of your shopping list, and is an excellent value at its current price.
Pros:
Uses same display panel as flagship LG G6 and W6 OLED series
Impressive brightness for an OLED TV
Clean 4K upscaling
Four HDMI 2.1 ports with 165Hz support
Reasonably priced for performance and features
Gemini and Microsoft Copilot AI assistants
Cons:
Lacks Reflection Free Premium screen found in flagship OLEDs
Dolby Vision 2 Max not supported
No HDR10+ support
No DTS sound support
webOS 26 a bit on the busy side
LG Gallery+ feature has key limitations without subscription
In context: Android smartphone maker Nothing has launched the Headphone (1) Pro, its new flagship audio product, which it claims combines an elevated listening experience for consumers with studio-grade production and mixing features for professionals. It succeeds last year’s Nothing Headphone (1), which TIME named one of its Best Inventions of 2025.
The biggest change in the new model is a three-driver audio system. It includes a bass dynamic driver designed to add more punch and sensitivity to low frequencies, a precision dynamic driver that adds more texture to vocals and instruments, and a new treble xMEMS driver that Nothing says delivers crisper highs.
Nothing also worked with London’s Metropolis Studios to tune the Headphone (1) Pro, with the collaboration focused on professional audio tools and soundstage characteristics.
The company also highlights an improved adaptive active noise cancellation system that uses a 10-microphone array to more accurately filter ambient noise than the first-gen model. With claimed noise reduction of up to 46 dB, Nothing is positioning the Headphone (1) Pro against premium rivals from Bose and Sony.
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Nothing says the improvement in noise reduction should be particularly noticeable in strong winds or noisy traffic. The headphones also feature redesigned ear cushions with an 8mm silicone baffle wall inside, creating a stronger sound barrier and improving the seal around the ears.
The Headphone (1) Pro supports Hi-Res wireless audio and wired playback over USB-C at up to 24-bit/192 kHz. It also offers five modes of Dynamic Spatial Audio with head tracking, along with five new custom EQ profiles. A separate Flat EQ switch is designed to give producers and creators a more neutral sound profile.
The Headphones 1 Pro is built out of aluminum and titanium to provide a durable shell while creating a premium look and feel. It also retains Nothing’s transparent design language, using shatter- and scratch-resistant 9H Panda Glass on both ear cups to reveal parts of the triple-driver architecture.
Despite the increased use of metal, Nothing has reduced the headphones’ weight to 327 grams through a redesigned internal architecture, including replacing steel arms with titanium. Other changes intended to improve comfort over longer listening sessions include a wider headband with thicker padding and softer ear cushions.
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The Headphone (1) Pro is positioned to compete with premium models such as the Sony WH-1000XM6, Bose QuietComfort Ultra, and Apple AirPods Max. It is priced at $399 and will be available beginning September 29 through Nothing’s official store at nothing.tech, Amazon, and Best Buy stores across across the US and Canada.
Ned Jenkinson of the University of Birmingham and Matthew Weightman of the University of Oxford discuss how advancements in brain research might affect how we learn and grow our skillsets.
Whether learning a new piano piece or adapting your tennis serve, acquiring physical skills depends on your brain’s ability tostrengthen and refine neural connections. Researchers are exploring whether this process can be accelerated with technology.
Scientists are particularly interested in the potential of non-invasivebrain stimulation, a group of techniques that can alter brain activity without surgery.
If these techniques can successfully enhanceneuroplasticity, the brain’s ability to reorganise and form new connections during learning, then they could be of use anywhere where performance depends on learning complex movements, from sport and music to surgery and beyond. Researchers are also seeing if these technologies could help with learning non-physical skills, such aspicking up a foreign language.
Elite sport, professional gaming and high-performance workplaces could all become targets for these enhancements if they prove effective. Brain stimulation could also have a big role to play in medicine, helping patients recover physical skills lost through injury or disease, such asstroke.
Studies suggest there’s a lot of potential here. But translating this potential into useful tech that reliably boosts learning physical skills remains a big challenge.
Stimulating findings
Research into enhancing motor learning with electric or magnetic stimulation has been gaining momentum since the turn of the millennium, with early studies garnering considerable excitement.
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In atypical experiment, participants might learn a sequence of finger movements similar to practising scales on a piano while receiving stimulation over brain regions involved in movement. Other studies have examined how stimulation could be used forbalance training or teachingsports-relatedskills orsurgical techniques.
Some of these experiments produced eye-catching results, finding that participantslearned certain movement tasks faster orretained skills for longer if they underwent brain stimulation. But other studies failed to find benefits. And in some cases, researchers struggled to replicate the success of earlier promising experiments when repeating them.
One reason for these mixed findings is that there’s no such thing as a universal ‘learning network’ in our brains. Different skills rely ondifferent combinations of areas near the surface of the brain as well as those deep within it.
Additionally, people can respond very differently to the same stimulation. Factors such as age, anatomy, genetics and even baseline skill level may influence whether stimulation is beneficial. Add to that the infinite number of ways to apply stimulation, the picture becomes murkier.
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Despite these challenges, the field continues to evolve in its quest to enhance motor learning. For instance, rather than broadly stimulating the brain, researchers are increasingly targeting specific neural circuits involved in learning.
This is partly thanks to advances inneuroimaging andcomputational modelling, which has allowed scientists to predict how electrical currents travel through a person’s brain. Newer brain stimulation technologies, such as focused ultrasound, can also now reach deep structures involved in skill acquisition.
The goal is to use these technologies not simply to increase brain activity, but to influence the right neural circuit at the right time during learning. This idea builds on a fundamental principle of neuroscience, often summarised as“neurons that fire together, wire together”. When brain cells are repeatedly activated at the same time, the connections between them become stronger.
By carefully timing stimulation tocoincide with the movements made during practice, researchers hope to reinforce the neural pathways involved in learning a new skill. In principle, this could make stimulation more reliable and more effective than current approaches, but researchers are stillfine tuning exactly how this would work.
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Motoring ahead
Important questions remain. Who would have access? Should stimulation be regulated in competitive environments such as sport? And how much evidence should be required before consumer devices are marketed to healthy users?
These questions are becoming increasingly relevant as brain stimulation moves beyond the laboratory and clinic. A number of at-home devices are now available for people to buy.Some have receivedregulatory approval, as they’re indicated for treating medical conditions such as depression. But there’s also a growing market for devices forcognitive and performance enhancement. For these uses, no regulatory approval is needed.
The technology is advancing rapidly, but evidence to support it and regulations governing it are still trying to catch up. Proper frameworks for its adoption may simply be bypassed by the ready possibility of ‘DIY’ brain stimulation.
For now, brain stimulation is unlikely to transform anyone into an overnight virtuoso or elite athlete. But as researchers develop increasingly precise ways of targeting the neural circuits that underpin learning, the prospect of enhancing human performance is shifting from science fiction towards scientific possibility.
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The challenge today is not simply learning how to influence the brain, but deciding where, when and why we should.
Ned Jenkinson is a senior lecturer in human movement sciences at the School of Sport and Exercise Sciences at the University of Birmingham. His research incorporates a range of techniques including non-invasive brain stimulation, electrophysiological recording, eye-tracking, neuroimaging and behavioural techniques. He uses these techniques to investigate how the brain controls movement and how it allows us to learn new motor skills.
Matthew Weightman is a postdoctoral researcher at the Oxford Centre for Integrative Neuroimaging in the Plasticity Group at the University of Oxford, led by Prof Heidi Johansen-Berg. He is broadly interested in the field of sensorimotor neuroscience. His current work focuses on the role of sleep to recovery after stroke. More specifically, he is interested in how we can improve sleep after a stroke, whether improved sleep in stroke patients relates to better functional recovery, and if physiological processes that occur during sleep can be enhanced post-stroke to boost consolidation.
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Keio Corporation (Keio), a major private railway operator in Japan, said its network was hit by a ransomware attack over the weekend, disrupting some of its business systems.
Following a system failure in the early hours of Saturday, the company confirmed the attack and shut down its network to prevent additional damage.
The company said it is investigating the extent of the impact and whether the attackers accessed any customer or business partner information.
Keio is a large Japanese railway operator with 85 km of track and 69 stations, as well as a separate hospitality business of 25 hotels. The company has over 2,200 employees and a reported annual revenue of about $2.6 billion.
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“In the early hours of September 26, 2026, we confirmed a ransomware attack on our group’s servers. We have reported the incident to the police and are conducting an investigation into the attack’s route and damage with the cooperation of external experts,” Keio says.
The incident appears to have affected only the hospitality side of Keio’s business, not train operations.
A separate announcement published on the company’s Keio Plaza Hotel Tokyo website is warning of possible delays on some customer-facing services.
At the time of writing, BleepingComputer could not find a ransomware group claiming the attack on Keio.
BleepingComputer has contacted the company to request more information about the incident, and we will update this post with their response once it reaches us.
Tokyo Metro has also disclosed a cyber incident over the weekend in which attackers gained unauthorized access to its systems and accessed 59,000 member email addresses.
Although both Keio and Tokyo Metro are Japanese railway operators, it is unclear if the organizations were targeted in a coordinated campaign by the same threat actor.
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Tokyo Metro is a major transit operator that runs nine subway lines covering 195 km and 180 stations, carrying an average of 7 million passengers daily.
The company said the breached systems contained only email addresses and that it has already identified and closed the security weakness the attackers used in this case.
Join Mikko Hyppönen and security leaders from the NFL, CHANEL, and Atlassian for a two-hour digital summit on what AI-speed attacks change, what defenders should stop doing, and how to validate, decide, fix, and re-validate at machine speed.
Home puts chats, delegated work, and Office documents inside one interface
Code lets non-programmers describe software and have Copilot build it
Autopilot can continue recurring work without waiting for another instruction
Microsoft has introduced a redesigned version of its Copilot AI platform which claims to combine chat, delegated work, and coding tools into a unified application experience for users.
The company says the update is meant to let individuals and organizations scale artificial intelligence across everyday tasks and long-term projects.
Three new capabilities anchor this release, including Home, Code and Autopilot, each aimed at a different kind of work.
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Home brings Chat and Cowork together
The Home tool brings together two existing modes, Chat for quick questions and Cowork for tasks users delegate entirely, under one shared starting point.
Word, Excel, and PowerPoint now operate inside this same interface, letting users draft documents, budgets, and presentations without switching applications.
In these documents, Copilot is now grounded in Fabric IQ, pulling context from more than 20 million semantic models built in Power BI.
Edits made by colleagues or by the assistant itself appear in real time, so progress stays synchronized across a shared file.
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A new plugin registry will let organizations manage Microsoft, partner and custom-built plugins from one central catalog starting this month.
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Independent developers and partners can also publish plugins once for use across multiple Copilot surfaces under the new registry arrangement.
The Code tool allows non-programmers to describe an app, tracker or dashboard in plain language and have it built automatically.
This feature runs on the same underlying technology used in GitHub Copilot and can be hosted within a company’s own systems.
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Autopilot operates without constant prompting
Autopilot, the third addition, is a persistent agent capable of completing recurring work without needing a new instruction each time.
It can run supplier reviews or similar multi-step processes, build schedules, contact stakeholders, and follow up on outstanding items independently.
Because it operates continuously in the cloud, work can continue late at night or whenever a person’s attention shifts elsewhere.
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A related feature called Today, entering private preview in October, will summarize missed messages and pending tasks across mail and chat.
Microsoft is also tying spending controls to these tools through a system it calls FinOps for AI, letting administrators track usage.
Administrators can set spending limits, approve credit requests and restrict which AI models different teams are permitted to use each month.
Everyday tasks like quick answers or first drafts run on a fixed-price subscription, while agentic features use usage-based billing.
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Code, Cowork and Autopilot all fall under this usage-based pricing model, alongside frontier models Microsoft refers to as Astra and Fable.
Home and Code are set to roll out through Microsoft’s Frontier program within weeks, and Autopilot enters private preview by month’s end.
Microsoft has not released independent data showing how widely the three features are being adopted, how accurate they are, or how much time they actually save.
Automate your Mac with ease using Shortcuts and Apple Intelligence.
Filipe Espósito for Engadget
Shortcuts has been available on Mac since macOS Monterey, but it’s one of those utilities many Mac users have never explored. At first, it can seem too complicated. You have to know which actions to choose and how to connect them, then hope it all works.
But macOS 27 Golden Gate changes that with Describe a Shortcut, which lets you type exactly what you need and have Shortcuts do the heavy work for you with AI. It doesn’t always work, but it makes the app much easier to use — especially if you’re not an expert.
If you’re not familiar with Shortcuts, it’s an automation tool where you create scripts to handle tasks on your devices. Apple’s own example is a shortcut that texts your spouse with an estimated arrival time based on traffic when you’re leaving work. But you can get much more complex, like a shortcut that checks your calendar and the weather to give you a summary of what to expect today.
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There are many possibilities, and now with macOS 27, it’s much easier to master the app.
Creating shortcuts on your Mac is easy
Filipe Espósito for Engadget
Creating a new shortcut takes a few seconds. Open the Shortcuts app on your Mac and click the Plus button to enter a prompt. The more details you provide, the more likely the app is to get your shortcut right. A command like “Clean up my Downloads” might be too vague for the app to understand what you really want. Instead, try something like “Every Friday, move anything in my Downloads folder older than 30 days into a folder called Archive.” You’re more likely to end up with a working shortcut when you provide clear details.
This is a good example of how Shortcuts are helpful for tasks you often forget to do; no one really cleans out their Downloads folder unless they’re trying to free up space. Plus, you can check the result right away by opening the folder and looking at what moved. If the shortcut moved too much, re-enter the prompt with even more specific details.
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A shortcut can also be great for summarizing long text with Apple Intelligence. Try something like “Take the text on my clipboard, summarize it in three sentences and save it to a new note.” Then copy a long article or an email, run the shortcut and you’ll have the short version in Notes.
Make your shortcuts easier to reach
Filipe Espósito for Engadget
If a shortcut isn’t part of your normal routine, chances are you’ll forget about it after a while. Thankfully, you can assign a keyboard combo to a shortcut, or pin it to the menu bar, so you’ll never forget it.
Choose the shortcut you want to adjust and click Edit. Go to the Shortcut Details menu (the one with the information icon) and select Add Keyboard Shortcut. To add it to the Control Center or menu bar, open Control Center on your Mac (at the top-right) and select Edit Controls. There, all you have to do is add the action from the Shortcuts app, and you’re all set. Exploring the Automation tab is also a good idea for creating a seamless workflow of shortcuts that run on their own when you need them.
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Shortcuts isn’t the only element in macOS 27 that acts on your behalf. Visual Intelligence has its own key combo: Shift + Command + Space. After pressing this, select a window on-screen and have Siri answer questions about it or take action, like adding an event to your calendar. Try it on an email with a date buried in it, for example. Siri can also run your shortcuts via voice, speaking of which.
Shortcuts and Siri AI require Apple Intelligence, which means you need a Mac with an M1 chip or later — Intel Mac users are out of luck. Also, some limits may apply when using Apple’s AI models in Shortcuts. More complex prompts could reach a limit faster.
Peak XV Partners, one of the largest venture capital firms investing in markets including India and Southeast Asia with more than $10 billion in assets under management, has increased how much it invests per startup through Surge, its seed-stage investing platform, as it unveils a new cohort of 18 companies.
At least three of the companies in this cohort had already raised outside funding, in some cases from Peak XV itself, before joining Surge.
The new batch, called Surge 12, is the first to operate under Peak XV’s higher investment ceiling of up to $5 million per company, up from $3 million previously. The venture firm invested more than $50 million across the cohort, which has collectively raised over $90 million in seed funding, according to Peak XV. Its median investment per company has also increased, though the firm declined to disclose the figure.
“The bar to raise a Series A has gone up pretty significantly,” Rajan Anandan (pictured above), managing director at Peak XV, said in an interview. He added that the firm is also seeing more capital-intensive companies, particularly in deeptech, that are raising larger rounds at the seed stage.
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Surge has become more global with each cohort, Anandan told TechCrunch, with its latest group spanning founders and companies from San Francisco to Sydney. Just five of the 18 startups in Surge 12 are focused on the Indian market, while more than half of the companies are based in India. The remaining 13 target global markets, highlighting the difference between where the companies are built and where they expect to find customers.
Since its launch in 2019, when Peak XV operated as Sequoia Capital India and Southeast Asia, Surge has backed more than 180 startups founded by entrepreneurs representing more than 18 nationalities. Peak XV says the 10 largest companies to emerge from those cohorts now generate more than $1 billion in combined annual revenue.
Surge founders at the Peak XV U.S. Immersion 2026Image Credits:Peak XV Partners
Anandan described Surge as one way Peak XV invests at the seed stage, alongside its standard seed investing, while the firm still remains an investor as companies progress through later funding rounds. The founders it backs typically include repeat entrepreneurs, experienced operators, and highly specialized technical founders, he said, with about 50% to 60% of a typical cohort made up of people coming from operating roles at established technology companies.
This cohort’s startups span AI, robotics, space, consumer products, healthcare, music, and fintech, ranging from AI safety and personal computing to autonomous robots built for underground pipes and satellites designed to detect radio-frequency signals from orbit.
The Surge 12 cohort
Alma — founded by Nischith Shadagopan M N and Vinod Ganesan — is building a personal computing platform focused on making computer use faster and more affordable. Its founders previously worked at Microsoft Research and were founding engineers at Sarvam AI, a Bengaluru-based startup building AI models for Indian languages.
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August AI — founded by Anuruddh Mishra, an IIT-BHU alumnus who started the company in 2022 after a personal medical misdiagnosis — provides a healthcare platform that combines AI with physician-led care, reaching over 9 million users across 160 countries.
Ditto — founded by UC Berkeley dropouts Allen Wang and Eric Liu — works as an AI dating matchmaker inside iMessage, aimed at helping college students turn digital introductions into in-person connections. (TechCrunch wrote more about this one last month.) The company had already raised $9.2 million in a Peak XV-led seed round announced earlier this year.
GameStock — founded by Antoine Mistico, Easton Dana, and Vivek Indlebele Narasimha Prasad — brings competition mechanics to financial markets, turning investing and trading into a more competitive experience. Mistico is a two-time founder and former professional baseball player.
HiLoop — founded by Jad Ghalayini, Karan Brar, and Thomas Boser — helps AI companies adapt general-purpose open-weight models for specific applications using its post-training platform. Its founding team includes former Reducto engineers and a Cambridge computer science PhD who completed his doctorate at 24.
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Hoola Health — founded by Deeksha Senguttuva — focuses on care for children and their families, providing consultations, vaccinations, medicines, diagnostics, developmental therapy, and dental services on a single platform. Senguttuvan grew up around healthcare, as her family built and operated a hospital group.
Kello — founded by Mona Gandhi and Subramanya Jingade — is building an AI-powered talent-discovery platform focused on identifying a candidate’s potential and trajectory rather than relying primarily on conventional credentials. Gandhi says she was Airbnb’s first female engineer and she previously founded Upraised, while Jingade previously co-founded AmbitionBox.
Kindling — founded by Adam Miller and Sachin Shah — is building what it calls a “storytelling operating system” for technology startups, using AI to help companies develop and produce their communications and content.
Puralink — founded by Harrison Crowe-Maxwell, Shyeon Delnawaz, and Thien “Long” Tran — is developing autonomous robots that can navigate underground pipe networks. Crowe-Maxwell has been building robots since childhood and turned university research into the patented drive technology behind the startup.
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Reinforce Labs — founded by Anish Das Sarma — is developing tools to evaluate, red-team, and remediate enterprise AI systems. Sarma previously founded a company acquired by Airbnb and later served as a director at Google, where he led AI and machine-learning teams.
Riffle — founded by Anurag Choudhary and deo — is building a browser-based platform where musicians can create, collaborate on, and share music, reducing the need to move between separate tools during the creative process.
Rosella — founded by Chris Dwyer and Sean Stuart — is building an AI-native commercial insurance brokerage for U.S. businesses, using AI to automate parts of the traditionally manual process of finding and placing business insurance. Rosella raised a roughly $2.5 million pre-seed round led by Peak XV and Intact Private Capital earlier this year.
Tribe Money — founded by Himanshu Arora and Nikhil Shanker — gives an AI-powered personal finance platform that helps users track their money, research investments and make investing decisions.
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ULOOK — founded by Adheesh Boratkar and Siddhesh Ravindra Naik — is building autonomous satellite systems for radio-frequency sensing and spectrum intelligence, targeting customers globally. Its founders have worked on more than 12 satellite missions. The company had already raised roughly $2.3 million in seed funding from growX Ventures and InfoEdge Ventures before joining Surge.
Wingit — founded by Nikunj Kothari and Saksham Khandelwal — is building a beauty platform aimed at India’s growing premium-consumer market. It is focused on how consumers discover and shop for higher-end beauty products.
Three other startups in the cohort have yet to publicly reveal their names or products. Peak XV said they are working in education, applied AI, and medical products.
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The Metric Is Not the Mission is a ten-part examination of how Big Tech moved from building and expanding the open internet to increasingly shaping it around its own metrics, incentives and assumptions. Across the series, the argument follows the evolution of the platform economy—from the optimism of the early internet to the growing tensions around power, prediction, geopolitics, accountability and the future of digital life.
The series will be published in two parts each week over five weeks, with each installment building on the one before it. At the end of the series, the complete essay will be brought together in a single PDF edition, providing the full argument in one place.
Part III: When the Maps Became the Territory
In Part II, the story turned on a crucial distinction: measuring behavior is not the same as understanding people. Part III takes that idea further, examining what happens when the platforms’ representations of the world begin to substitute for the world itself.
There is a curious tendency among successful technologies to disappear. Not physically, of course, but cognitively. Once they become sufficiently embedded in everyday life, they cease to be experienced as technologies at all. Electricity is no longer a marvel of engineering but an expectation. We do not admire the plumbing each time we turn on a tap, nor do we reflect on the extraordinary complexity of global logistics every time fresh fruit appears on supermarket shelves in the middle of winter. The greatest infrastructures become invisible because they succeed so completely that we mistake them for part of the natural order.
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The internet reached that point sometime during the second decade of the twenty-first century. Yet something else happened along the way that proved far more consequential. As the network itself faded into the background, the platforms through which most people experienced it moved decisively into the foreground. Increasingly, users no longer spoke about “going online.” They spoke about opening an app.
That linguistic shift deserves more attention than it usually receives. Language often reveals structural change before statistics do. To “browse the web” implied movement across an open landscape whose boundaries were undefined. One followed links, discovered obscure websites, stumbled upon ideas that had not been recommended by anyone, and occasionally became gloriously lost. The experience resembled wandering through an unfamiliar city with no particular destination in mind. Serendipity was not a flaw in the architecture; it was one of its defining virtues.
Applications altered that relationship almost without anyone noticing. They replaced geography with destination. Instead of entering a network whose possibilities remained unknown, we entered environments that had already been organized on our behalf. The internet did not disappear, but it became increasingly hidden beneath layers of interface, recommendation and curation. Like passengers traveling through an airport without ever seeing the city beyond the terminal, we continued moving through digital space while encountering only the carefully managed environments that had been prepared for us.
This transformation is often described as an inevitable consequence of convenience. While accurate in its own right, this explanation offers an incomplete narrative. Convenience was certainly the language through which the platforms justified many of their design choices. Friction was treated as the great enemy of the digital age. Every additional click became an obstacle to be eliminated. Every decision that users might otherwise make for themselves could instead be anticipated by software. Recommendation replaced search. Autoplay replaced choice. Infinite scrolling replaced endings. The future, we were told, belonged to experiences so seamless that they would feel almost effortless. And they did.
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It is difficult to criticize convenience because convenience is genuinely valuable. Few people wish to return to an internet in which finding information required memorizing obscure web addresses or navigating labyrinthine directories. The platforms did not succeed by forcing people into inferior experiences. They succeeded because, for many years, they built better ones.
Yet convenience has always carried an intellectual cost. Every technology that removes friction also removes moments of deliberation. The elevator spares us the staircase but also the awareness of distance. Satellite navigation ensures that we rarely become lost, while quietly diminishing our ability to construct mental maps of the places through which we travel. Streaming services relieve us of searching for entertainment, but in doing so they also shape the boundaries of what we are likely to discover. Every act of technological simplification transfers a small measure of agency from the individual to the system.
The internet had originally been built on a different assumption. Its underlying protocols did remarkably little. They did not decide which website deserved prominence, which ideas should travel furthest, or which communities ought to flourish. Their genius lay precisely in their restraint. They created conditions under which others could innovate without first requesting permission. The web itself functioned less like a product than like a constitutional order: a simple framework within which extraordinary diversity could emerge.
Platforms gradually adopted the opposite philosophy. They did not merely provide the rules of the game; increasingly, they became active participants in every interaction taking place within it. They selected what deserved attention, inferred what users might prefer before users themselves knew it, prioritized certain relationships over others and determined, through millions of microscopic computational decisions, the contours of everyday experience. The architecture became less constitutional than managerial.
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There is an illuminating parallel here with the history of cities. The most enduring cities are rarely the ones that have been planned in every detail. They are those that accumulated layer upon layer of human activity over centuries, adapting continuously to changing needs without ever fully surrendering their unpredictability. One finds unexpected bookshops beside cafés, workshops hidden behind apartment blocks, public squares appropriated for demonstrations one week and festivals the next. Their vitality emerges not from perfect organization but from the freedom they grant people to appropriate space in ways that planners never anticipated.
Shopping malls operate according to an altogether different logic. They are meticulously designed environments in which every entrance, corridor, sightline, and seating area has been carefully considered. Music, lighting, and architecture work together to produce an experience that feels spontaneous while being anything but. There is comfort in their orderliness. They are clean, efficient, and reassuringly predictable. Yet no one mistakes a shopping mall for a city. Its purpose is not to cultivate civic life but to optimize a particular set of behaviors within a privately governed space.
The analogy is imperfect, as all analogies are, but it captures something essential about the transformation of the internet. The early web invited participation because it remained fundamentally unfinished. It assumed that users would contribute to shaping it. Today’s dominant platforms present themselves as complete worlds. Participation still exists, but it takes place within boundaries established elsewhere. Users generate the content while the architecture remains firmly in corporate hands.
Perhaps this is why the language of “community” has begun to feel strangely hollow. Communities, in the classical sense, are rarely designed. They emerge through shared experience, mutual obligation, and a degree of unpredictability that no algorithm can fully reproduce. Platforms, by contrast, increasingly treat community as an engineering problem to be optimized. They recommend friendships, suggest conversations, rank relevance, suppress friction, and amplify interaction according to models whose objectives are necessarily commercial because the organizations that develop them are commercial enterprises.
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None of this should be understood as an accusation of bad faith. Many of the engineers responsible for these systems genuinely believed they were improving people’s lives. The difficulty lies elsewhere. Every large institution eventually begins to confuse the optimization of its own internal metrics with the fulfillment of its original purpose. Universities sometimes mistake publication counts for scholarship. Hospitals occasionally confuse efficiency with care. Governments become preoccupied with administrative process rather than public service. Technology companies are no different. The indicators that make sense within an organization slowly become proxies for the world outside it. The metric is not the mission. This is the point at which the maps begin to replace the territory.
The extraordinary quantities of behavioral data collected by digital platforms produce an understandable confidence. When one can observe billions of interactions each day, it becomes tempting to believe that society itself has become legible. Human behavior appears measurable, predictable and, increasingly, governable. The platform begins to resemble reality because so much of reality passes through the platform.
Yet the map is never the territory. It captures what can be measured, not everything that matters. A map records roads but not the reasons people travel. It identifies cities without conveying the lives unfolding within them. Likewise, recommendation systems observe behavior with astonishing precision while remaining largely indifferent to experience itself. They recognize patterns without necessarily understanding meaning.
That distinction mattered little while the platforms continued solving the problems that had made them indispensable. It becomes far more consequential once they begin confronting a world that no longer resembles the one for which they were originally designed. Because societies have changed; politics has changed; and, the internet has changed. The question is whether the companies that grew powerful by interpreting one era have noticed that another has already begun.
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Konstantinos Komaitis, PhD, is a veteran of developing and analysing Internet policy to ensure an open and global Internet.
While smartphones won’tstop getting bigger, e-readers seem to be getting smaller. Boox has been at the forefront with one of the most popular small e-readers, the Boox Palma, and now it is adding an even smaller model.
Boox announced the Picco, with preorders opening today. Its screen is just under 4 inches (3.97 to be exact), making it about the size of a playing card. It’s even smaller than the Xteink X4 Pro I tested earlier this year, which has a 4.3-inch screen (but just slightly larger than the 3.7-inch Xteink X3), and considerably smaller than the upcoming Boox Palma 3’s 6.19-inch screen. I liked the size of the Xteink in my hand, but navigating the interface and getting books were challenging, so I’m excited to see another option in that smaller size from a maker with more accessible ebooks (though still not as convenient as a Kindle or Kobo with their built-in stores).
The Picco will cost $100 and is expected to ship in November. I’ll be testing it soon, but in the meantime, here are the details if you’ve been eyeing a tiny e-reader.
An E-Reader for Productivity
Courtesy of Boox
The Boox Picco has a monochrome screen with a resolution of 235 pixels per inch and an adjustable front light that switches between warm- and cool-toned lighting. The microSD card slot supports up to 2 TB of flash memory storage (a 16 GB card is included). There are both a touchscreen and physical page-turning controls, thanks to the buttons on the side of the device. The case has a magnetic ring so you can attach it to the back of a smartphone, though I’ll have to see how well it fits when I test it, as I had mixed results attaching an Xteink to my phone due to both fit and magnet strength.
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Courtesy of Boox
Boox says the Picco will have a streamlined operating system focused on reading and digital utility tools. It’s also the first in what Boox calls its Tiles lineup, which is how you’ll access ebooks on this device. You can also use web and USB-C file transfers (the Picco has Wi-Fi and Bluetooth connectivity) to get ebooks onto the Picco. The Picco also has the Pomodoro, Todo, and Countdown apps, so you can use it as both an e-reader and a productivity gadget—handy, and a bigger motivation to keep it attached to the back of your phone even when you aren’t reading.
I’m intrigued to see it in action. Boox’s most popular e-reader could become the Picco over the Palma 3, but we’ll have to wait for both devices to become available to see which is the better buy. Stay tuned for my reviews of both when they come out.
But a Chromium-based design means it can only be so efficient.
Discord
Discord is working on a new mode for its social platform that it says might be less resource-intensive. Screenshots of an option called Game Mode began circulating on social media over the weekend. The description shown for the Game Mode toggle states that it will “Reduce Discord’s CPU and GPU usage while a game is running.” By making the chat platform less resource-intensive, concurrently running software should be able to run more smoothly.
Today, the company confirmed on X that this experimental mode will begin rolling out to its users next week. The brief official announcement about Game Mode added that Discord is “aiming to add more resource-saving features over time.”
Discord is based on the Electron web app framework, which uses Javascript and Chromium for creating software. The open-source Chromium, which is the basis for Google’s Chrome and several other browsers, is not known as the most efficient tool for web development. A feature like Game Mode could offer some performance improvements, especially while also running a beefy AAA game on the same machine, but there may only be so far that Discord will be able to streamline on its current architecture.
Six of the nine independent experts on the advisory board of the Global Internet Forum to Counter Terrorism—a consortium run by several of the biggest US tech companies—resigned on Monday, according to a letter seen by WIRED and interviews with three of the people.
The tensions between the independent advisory committee and the GIFCT date back to an email the counterterrorism and free speech experts received in July from Meta’s Nell McCarthy, a vice president overseeing content policy. For years, the group had advised the GIFCT on how to prevent platforms from becoming havens for the radical organizations and individuals blamed for some of the world’s worst mass violence.
But McCarthy wrote that while the consortium welcomed the experts’ insights on violent trends, it no longer desired their scrutiny on the effectiveness of Big Tech’s efforts to curtail violence. Meta and other leaders wanted to “refresh” the 6-year-old independent advisory committee the experts sat on, she wrote. Meta currently serves as chair of GIFCT’s operating board, giving it outsized influence over policy changes, though other companies on the panel must ultimately approve.
New additions to the rotating advisory committee had previously been elected by current members; under the plan laid out in July, they would instead be picked by tech companies. The committee would be barred from weighing in on key topics such as the consortium’s performance and making recommendations together as a group. Its role as a watchdog would be neutered, advisers believed.
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In their resignation letter, the departing members of the committee wrote that their appeals against the plan had been “ignored” and that, in turn, they had “lost confidence in the GIFCT’s ability to deliver effectively on its founding mission” to prevent terrorists from exploiting online services. “We all know that a body that cannot scrutinise, take a position, or evaluate is not an advisory body at all,” the letter stated. “It is decoration and accountability theatre.”
Meta deferred comment on the resignations to the GIFCT. An unsigned statement sent to WIRED by a GIFCT spokesperson on behalf of the consortium’s leadership and the Meta-chaired operating board says the proposed changes have been “informed by several rounds of feedback” and are not yet final. They came out of discussions on “how to more effectively engage civil society and governments for substantive input” as “multi-stakeholderism is a core principle” for the GIFCT.
The consortium has about 35 members; other long-time board members include Microsoft and YouTube. A small staff alerts members to violent content, helps them exchange threat intelligence, and commissions research on countering extremism. While the coordination has helped some platforms combat problematic content, critics believe the group isn’t living up to its potential.
A WIRED investigation in 2024 uncovered several issues with GIFCT, including Meta delaying TikTok’s membership bid and poor relations between the companies at the helm and the unpaid independent advisory body. It also revealed failures in the tip-sharing database the consortium oversees to coordinate takedowns of problematic content.
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The dismantling of the advisory group threatens to deteriorate the organization’s work further at a time when balancing free expression and online safety has become more challenging. Generative AI tools have simplified content creation but imposed limited guardrails.
The experts who resigned include university researchers and representatives of civil society organizations. They had agreed with McCarthy on the need for changes to improve the results of the decade-old anti-terrorism consortium. But they believe the proposal, which could be finalized soon, amounts to a step backward.
“There won’t be critical voices raising concerns about what GIFCT is doing or is not doing,” one of the departing experts says. “It may seem politically convenient for them to abolish the independent advisory committee, but they are going to regret it in the longer term.”
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