After two years of hints and hype, Sony finally released its first RGB backlit TVs this year, which they’re calling “True RGB.” We’ve reported on this technology for over a year, having seen prototypes in Japan as early as 2024. And now True RGB TVs are available for consumers to purchase. Our own Al Griffin reviewed the BRAVIA 7 II earlier this summer and now we’re covering the flagship BRAVIA 9 II (BRAVIA Nine Mark II). Is it Sony’s best performing TV ever, able to best the company’s Quantum Dot Mini LED TVs and perhaps even rival their OLED TVs? Read on to find out.
Sony BRAVIA 9 II True RGB TV.
What Is It?
Replacing the company’s Mini-LED flagship, the BRAVIA 9, the new “BRAVIA 9 Mark II” model (aka “XR90M2”), features an entirely new backlighting system which uses individual lighting elements for each of the primary colors: red, green and blue, instead of its predecessor’s blue LED backlight system. With RGB backlights, Sony says they are able to reach higher peak brightness levels at greater efficiency, improve both color accuracy and saturation and extend the color gamut so that more of the colors available in the real world can be captured by the TV. Our measurements and subjective viewing confirm most of these claims, though we didn’t specifically measure power efficiency.
Instead of a white or blue LED backlight, Sony’s TRUE RGB TVs feature independent backlight elements for the three primary colors, enabling a wider color gamut.
Because these RGB backlit TVs use a traditional LCD panel to create the image, they can be manufactured in larger screen sizes than OLED TVs. While OLED TVs currently max out at 83 inches (or, in some cases, 97 inches for very expensive models), Sony’s BRAVIA 9 II is available in screen sizes from 65 inches up to 115 inches.
The BRAVIA 9 II is built on Google TV, with access to thousands of audio and video streaming apps as well as Google Home smart home integration. For AI features, the BRAVIA 9 II has Google Gemini on-board for improved search, deep dives and content recommendations. The set also includes some exclusive goodies like access to Sony’s high quality Sony Pictures Core streaming service as well as support for DTS:X surround sound on both the Sony Pictures Core app and on select IMAX Enhanced titles on the Disney+ streaming service (requires separate subscription).
The BRAVIA 9 II features the Google TV with Gemini.
Great Picture, Less Fiddling
According to Sony’s own research, more than 87% of TV owners never adjust the picture settings on their TVs. With this in mind, Sony is making a concerted effort to optimize the picture settings automatically with features like an ambient light sensor, automatic calibration modes for services such as Netflix and Amazon Prime Video and a new “My Cinema” setting that allows users to set defaults for both picture and sound for various types of content. Sony also provides a “Professional” mode which comes pretty close to reference monitor accuracy right out of the box. And it’s a good thing it does, because Sony removed access to advanced CMS (color management system) adjustments in this year’s TVs.
The BRAVIA 9 II is Sony’s first set to include the company’s Immersive Black Screen Pro technology. This is a screen coating that reduces the direct reflection of ambient light on the screen. It’s designed to allow you to watch TV in bright rooms without the picture getting completely washed out, or lamps or sunlight being reflected back at the viewer like a mirror. In actual operation, it behaves similarly to Samsung’s Glare Free screen coating, but the Sony version does not exhibit any hint of color shift in content which features pure black.
In Japan, we saw a BRAVIA 9 II with half of its “Immersive Black Screen Pro” coating removed so we could more clearly see the effect of the anti-reflective coating.
Industrial Design
As far as visual styling goes, the BRAVIA 9 II offers a traditional slim bezel – all screen, very little border. Sony is partnering with frame maker Leon to provide custom frames for the BRAVIA 9 II to make the TV look more like artwork when not in active use. More details will be available for this option later this year.
The BRAVIA 9 II remote control is rechargeable and features full backlighting as well as a direct input select button (which we like to see).
The BRAVIA 9 II can be wall mounted or set on a stand or credenza. The actual stand offers a neat party trick where a lenticular cover on the stand can effectively make wires behind the stand disappear while light can pass through the stand from front to back. The transparent effect of this “Mirage” stand only works with thin objects (like power and HDMI cables) and it actually is effective at creating the illusion of a floating screen with no visible wires.
The BRAVIA 9 II’s mirage stand allows light to pass through its lenticular panel while making cables behind it virtually invisible.
Connectivity
The BRAVIA 9 II includes four HDMI ports, two of which are HDMI 2.1 and two of which are HDMI 2.0B. One of the HDMI 2.1 ports is the set’s HDMI ARC/eARC port, for connection to a separate soundbar or sound system, leaving just one HDMI 2.1 port for direct connection of a gaming console or gaming PC. There’s also an RF input for antenna/cable, with an ATSC 3.0 (NextGen TV) tuner on board for reception of high quality local over the air TV broadcasts at up to 4K resolution. This is great for watching “event TV” like awards shows and major sporting events without the need for a paid streaming service subscription.
The BRAVIA 9 II features four HDMI ports but only two support HDMI 2.1.
There are also two USB ports for media playback or to supply power for a connected streaming stick, an Ethernet port, and a 3.5mm S-Center Speaker input for use with a sound bar or audio system that supports Sony’s Acoustic Center Sync feature.
Wireless connectivity includes Wi-Fi 6E and Bluetooth 5.3. The BRAVIA 9 II supports Apple AirPlay 2 as well as Google Cast for streaming both audio and video content from a phone, tablet or computer. We tested Google Cast audio from the Amazon Music app on an Android phone and found that it even supported wireless multi-channel Dolby Atmos music playback – a nice perk for those who enjoy listening to music in immersive surround sound and don’t want to have to connect a separate streaming box.
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HDMI 2.1 vs. HDMI 2.0B – What’s the Difference?
For most video sources, such as 4K Blu-ray Disc Players and Kaleidescape media players, HDMI 2.0B is more than up to the task of reproducing high quality 4K/HDR content, including Dolby Vision, HDR10 and HLG HDR as well as BT.2020 color gamut. But for gaming, HDMI 2.1 really is a better option as it supports Variable Refresh Rate (VRR) content with high frame rates as well as Auto Low Latency Mode (ALLM). If you’re a hard core gamer with multiple gaming rigs, you might consider connecting additional consoles or PCs into a receiver. HDMI switch or soundbar which offers HDMI 2.1 passthrough.
The Set Up
Having tested just about every brand’s Smart TV platforms over the years, Google TV is one of my favorites. If you have a Google account, and use that account across different streaming platforms, the set can pass your secure passwords onto various streaming services once you’re logged into your Google account. This makes adding your subscribed apps to the TV a much simpler proposition. And in operation, Google TV offers a fairly smooth and intuitive operation, though content recommendations definitely skew toward favoring YouTube (itself a Google-owned platform).
Sony Pictures Core streaming service is exclusive to select Sony TVs and game consoles.
If you want to check out the Sony Pictures Core app, you will need a separate account for that, and the TV comes with credits you can use to buy or rent titles from the SPC platform. Sony Pictures Core’s “Pure Stream” feature offers high bandwidth rates of up to 80 Mbps, which leads to a very clean and high quality streaming experience. It also includes the option for DTS:X and IMAX Enhanced sound on select titles.
I’d normally recommend using a hard-wired ethernet connection to the TV if you are a heavy streaming user and want to avoid any buffering due to WiFi, but we did notice that the built-in RJ45 network port is capped at 100 Mbps (100BASE-T). We also tested with a simple USB to RJ45 network adapter and got download and upload speeds around 360 Mbps plugged into one of the set’s USB 3.0 ports. And actually, with the TV just a few feet from our router, the on-board WiFi 6E wireless connectivity did measure up at over 300 Mbps. Considering most 4K streaming services barely crack 20 Mbps and even Sony Pictures Core’s “Pure Stream” caps out at 80 Mbps, any good wired or WiFi connection should be fine for a glitch-free streaming experience.
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A speed test app for Google TV confirmed that I got the best network performance on the BRAVIA 9 II via an RJ45 to USB 3.0 adapter. A WiFi connection was almost as fast.
Basic Settings
There are a few settings that we recommend if you’re looking for the highest performance. First of all, the Eco power savings mode, which is mandated on all TVs sold in the US (and many other countries) should be disabled. Leaving the “Power saving” feature on isn’t going to save you hundreds of dollars in electricity, nor will it prevent global warming, but it will sacrifice video quality as the set will automatically limit power usage which will cripple its peak brightness and dynamic range. So TURN IT OFF! You can find this in the “System… Power & Energy” menu under “Power Saving” or “Eco dashboard.”
The “Eco Dashboard” is where you can monitor power usage and adjust power saving settings on the BRAVIA 9 II.
Also, we recommend disabling the ambient light sensor as that can cause unexpected shifts in color temperature and performance which varies depending on how bright your room lighting is. However, disabling this is a two-edged sword as it means the TV also will not be able to adjust the HDR tone mapping and other video processing when your room lighting changes. So I’d say, if the TV is going to be used regularly in a darkened home theater type of environment, then leave the ambient light sensor off. But if it will be used in a bright living room with varying light conditions at different times of the day, leave that ambient light sensor on. It will enable many of the automatic picture settings which actually do work to optimize performance under different lighting conditions. The setting for this is in the “Eco Dashboard” under “Auto adjust picture according to ambient light.”
My Cinema and Auto Calibration Modes
In keeping with Sony’s intent to keep things simple, as far as settings are concerned, the company has introduced a “My Cinema” mode which allows users to create custom presets for both audio and video. Defaults include a “Director’s Cut” mode which sets the TV to one of its Dolby Vision picture modes or to Professional mode automatically when film-based content is detected. There are also presets for bright room viewing and for a dialog boost, which uses the Voice Zoom 3 feature to clean up dialog without impacting the rest of the soundtrack. Users can select these modes easily from the Quick Settings menu.
Sony’s “My Cinema” feature allows users to access or create custom presets for video and audio.
The BRAVIA 9 II also includes automatic “calibration” modes for Netflix, Amazon Prime Video and Sony Pictures Core. These modes detect the type of content being viewed (e.g., 60 fps sports or video or 24 fps films) and adjust motion, brightness and color settings to be optimized for each different type of content. We tested this on Amazon Prime, switching between Thursday Night football and a 24 FPS movie and found that the picture was adjusted to provide an optimized viewing experience with soccer balls and footballs displayed without any motion smear and cinematic motion captured without excessive motion smoothing applied.
These modes only work on the native apps (e.g., not with a connected Fire TV stick) and can be turned on or off in the Settings menu. The default settings for Amazon and Sony Pictures Core are both “On” but Netflix Calibrated mode is “Off” by default, so you’ll need to turn this on in the settings if you want to enable it.
Testing, Testing
Before doing too much critical viewing, we ran a basic set of measurements on the BRAVIA 9 II using Portrait Display’s Calman Color Calibration software. The TV’s eco power savings mode was turned off and the ambient light sensor was disabled before testing. Measurements were made in the TV’s default “Standard” picture mode (the default), as well as the more accurate “Professional” mode.
Peak HDR brightness measured on a white 10% window pattern in Standard mode was 3,371 nits on a 10% window and 786 nits on a 100% (full screen) white pattern. In Professional mode, we measured 3,243 nits on a 10% window and 795 nits on full screen white. While these are fairly impressive numbers, they weren’t as high as the 4,000+ nits value we were expecting and have measured previously on other samples.
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On SDR content, in Standard mode, the BRAVIA 9 II measured 698 nits on a 10% pattern and 407 nits on a fullscreen pattern. In Professional mode, with SDR test patterns, we measured a surprisingly low 74 nits on a 10% white window and 76 nits on a full screen pattern. Sony tells us that for SDR content, they target 100 nits for peak brightness as this matches the SDR mastering reference and is what you’d see on a fully calibrated professional broadcast monitor. But our measurements came in even lower than that. If you’re watching SDR content like regular Blu-ray or non-HDR streaming sources, it’s likely that Professional mode is going to look too dim so we’d suggest either switching modes to Standard or Cinema modes, or cranking up the brightness a bit.
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For color testing, the BRAVIA 9 II did pretty well right out of the box, though we did notice that red measured a bit off, which skewed the overall test results. The grey scale Delta E measurement (variation from reference) in Professional mode came in at a highly respectable 2.4 and the color Delta E measurement came in at 3.3, though this was mostly due to the red primary color test coming in at 6.7, which isn’t ideal. With some tweaking – or a full calibration – you can get these numbers lower, but our testing concentrates on what buyers will see without calibration.
For color gamut tests on the BRAVIA 9 II in Professional mode, we measured 87.3% of the BT.2020 color standard and 97.1% of the P3 standard. While these are solid numbers, they aren’t quite as high as what we measured from the Samsung Micro RGB TV (R95H) which came in at 93.3% of BT.2020. On real world content, the BRAVIA 9 II did produce accurate, well saturated colors on HDR material.
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For gaming, we measured the panel lag at 9.8 ms, using a Bodnar 4K meter. With this response time and 4K/120 Hz support on the HDMI 2.1 inputs, the BRAVIA 9 II makes a capable, if not class-leading, gaming display.
Viewing Impressions
At press events in Japan and New York, and again at the 2026 TV Shootout, we were able to compare the BRAVIA 9 II directly to its predecessor as well as to a professional Broadcast Video Monitor, the BVM-HX3110, a $30,000+ reference monitor used for professional color grading. And the True RGB set definitely held its own as a reference quality display.
In Professional mode, the BRAVIA 9 II matched the $30,000+ Sony broadcast monitor very closely in color accuracy and skin tone reproduction.
Compared directly to the BRAVIA 9, the BRAVIA 9, Mark II offers wider color gamut, higher peak brightness, greater freedom from video artifacts like aliasing and color banding, and black levels and contrast that will give an OLED TV a run for its money. It also offers a wider field of view with less of the color shift and brightness drop off axis than we have seen on many competitive LCD TVs, though not as good as most OLED TVs.
In our own direct testing, off-axis viewing and glare reduction were both exceptionally good on the BRAVIA 9 II with the set able to maintain rich black levels in a fairly bright room. And reflections from lamps placed directly opposite the set were diffuse enough as to not be immediately noticeable or distracting.
Video clips shot at Grand Prismatic Spring on Spears and Munsil’s UHD Benchmark reproduced vivid punchy colors and fine specular highlights on the BRAVIA 9 II.
On some content, there was occasionally very mild blooming on the edges of brightly colored images set against a black background, but this artifact was hard to find on most material. And with RGB backlighting, the blooming tended to match the color of the object, instead of being a white edge (halo) around the on-screen object.
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We viewed several challenging 4K/HDR clips highlighting HDR tone mapping and found that the BRAVIA 9 II excelled in both specular highlights and shadow detail. The movie “Alpha” was mastered in HDR with peak brightness of 4,000 nits. With the BRAVIA 9 II measuring fairly close to that in several picture modes, we found that the set was able to capture the orb of the sun in a scene toward the end of the movie with nice definition. On sets that can’t reach 4,000 nits – or those with inferior HDR tone mapping – the sun spreads out into an amorphous blob of light (not exactly what the director intended, I would say).
In the movie “Alpha,” mastered for 4,000 nits peak brightness, the BRAVIA 9 II had no trouble reproducing the bright orb of the sun while still preserving shadow details in the foreground.
Another of the challenging clips I like to put on screen when testing TVs is the opening text crawl from “Blade Runner.” While OLED TVs have little trouble reproducing the fine edges of white and red text as it scrolls up a pitch black background without any color bleed, most LCD TVs struggle with this kind of content. On the BRAVIA 9 II, the white and red text maintained its brightness and saturation against the black background but there was some faint glowing around the edges of the text that only became noticeable when viewing up close.
White text on a black background is difficult for any LCD TV to reproduce well, but the BRAVIA 9 II True RGB TV was almost as good as an OLED TV on this type of content.
With its frequent outer space shots, the movie “Gravity” can be a torture test for LCD TVs. Without local dimming, the blackness of outer space will look dark gray at best. And on sets that do use local dimming, but don’t have enough dimming zones, many of the stars disappear as the zones which are supposed to illuminate them are turned off to provide a good black level. On the BRAVIA 9 II, the black letterbox bars on “Gravity” appeared as black, not gray, and the pinpoint stars appeared clearly against the black background of space, though the stars themselves were slightly sparse compared to the Samsung S95H OLED we also had on hand.
In full screen white and grey test patterns, the BRAVIA 9 II exhibited excellent edge to edge screen uniformity and only minimal evidence of DSE (Dirty Screen Effect). This is particularly impressive on a local dimming LED backlit LCD TV as the zone layout can sometimes lead to hotspots or dark spots when viewing a full screen uniform test pattern. The Spears and Munsil disc also includes a test pattern filled with tiny randomized red, green and blue spots that flash on the screen. We looked closely at this pattern both in motion and on freeze frame and saw no evidence of the color crosstalk that plagues some RGB-backlit LCD TVs. The red, green, blue and white dots all maintained their color purity.
A randomized red, green and blue test pattern on the Spears and Munsil UHD benchmark showed no signs of color crosstalk on the BRAVIA 9 II.
For motion tests, we pulled up the city walk scene, about 6 minutes into “Baby Driver.” With the default settings in Professional mode, the frequent camera pans on buildings and street signs produced only minimal judder and none of the stutter we sometimes see on OLED TVs.
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While the BRAVIA 9 II is not subject to the jitter we see on OLED TVs on 24 fps material, Sony’s does offer detailed motion adjustments for film or video-based content.
While the CalMan color tests came out well (except for the higher than average delta E for red), putting on real world content like the skin tone test from “Spears and Munsil” helps to provide subjective confirmation of the numbers. And on this test, the BRAVIA 9 II looked spectacular, with faithful color reproduction across multiple shades of skin tones. And the pure red pantone swatch also appeared natural and richly saturated, suggesting that the high delta E on red is more of a testing artifact, and less of a “red flag” (pun intended) for actual color reproduction.
Skin tones were particularly well reproduced by the BRAVIA 9 II in Professional mode.
One issue that many TVs struggle with is color banding or posterization. This appears on screen when a color fades from bright to dark. A good scene to test this is from “The Green Knight.” When Sir Gawain swims down to retrieve the skull of St. Winifred, the bloody water fades on screen right to left from a bright crimson red to black. On many TVs, instead of a smooth transition, you see distinct bands of red as the color darkens. The BRAVIA 9 II handled this torture test well with only very mild banding in the transition. The opening scene from “Guardians of the Galaxy, Volume II” with its subtle grading of white billowy clouds against the blue Missouri sky was also reproduced smoothly without any visible posterization or banding.
On challenging content like this scene from “The Green Knight,” the BRAVIA 9 II exhibited only faint color banding or posterization.
Sports was also handled well by the BRAVIA 9 II. During World Cup soccer matches, the ball traveled up and down the pitch with excellent clarity and minimal blurring or motion artifacts. US Open tennis matches also looked great, with no smearing of the ball and excellent facial details on the celebrities (and regular folks) watching from the stands.
Even standard definition DVDs, like “The Adventures of Buckaroo Banzai Across the 8th Dimension” had punch and impact on the BRAVIA 9 II.
As part of the testing, I put on some older DVDs and set our UHD Blu-ray player to output the video at its native 480p resolution. This forced the BRAVIA 9 II to upconvert the standard def signal to 4K resolution. This meant the TV had to create 23 additional pixels for each one on the DVD. Watching “Buckaroo Banzai” on DVD looked remarkably good, particularly in Cinema mode and with some tweaks to the noise reduction in picture settings. It was easy to forget I was watching a DVD and get sucked into the movie (again).
A Few Words About the Sound
With a TV, picture quality is primary. But a TV’s audio features can help set it apart. With the BRAVIA 9 II’s on-board decoding of Dolby Atmos and DTS:X (including DTS:X Profile 2), it will likely appeal to movie lovers – and music lovers – who love their immersive surround sound. The DTS:X Profile 2 support is key for enjoying IMAX Enhanced movies from Disney+ and Sony Pictures Core, so you can access the full IMAX Enhanced soundtracks, which typically offer stronger bass and more pronounced spatiality than the nearfield-mixed Dolby Atmos tracks we find on most streaming services.
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The BRAVIA 9 II is one of few TVs we’ve tested that supports Dolby Atmos music over a wireless Google Cast connection.
While the native Amazon Music app on Google TV does not support Dolby Atmos, we found that the BRAVIA 9 II does handle Dolby Atmos over a wireless Google Cast connection, playing Dolby Atmos music tracks from Amazon Music on a phone casting wirelessly to the TV. This is something we rarely see on a TV, soundbar or even a component A/V receiver. If you are into music in surround, this feature means you won’t have to plug in a separate streaming stick just to listen to Dolby Atmos music.
While we expect that most folks who invest this much in a TV will likely connect it to an external audio system – or at least a soundbar – the TV itself actually sounds pretty good on its own. While bass is a bit lacking, spatiality of the sound is actually very good and dialog comes through cleanly with proper positioning relative to the screen. Watching “Blade Runner,” the soundtrack was rich and powerful and the knock at the door when Leon entered the conference room came from well to the right of the screen itself. There’s even a sense of height to the image on Dolby Atmos and DTS:X soundtracks, thanks to up-firing beam tweeters, which are part of the set’s Acoustic Multi-Audio+ feature.
In the film “Gravity,” the Dolby Atmos soundtrack also produced nice spatiality in the introduction where the space shuttle slowly moves from right to left of the screen at the beginning of the film. It also handled the chaotic scenes of destruction that follow a runaway satellite debris field with precision and detail. If you want to keep things simple, or need to rely on the TV speakers temporarily while you select an audio system, the sound of the BRAVIA 9 II will get you by.
If you connect a Sony soundbar or compatible Sony speakers, detailed audio settings will appear in the TV’s “Quick Settings” menu.
And for those who prefer the clean look of a TV without any front speakers, the BRAVIA 9 II also supports Sony’s new “Direct Connect” feature. This allows you to add a wireless subwoofer and wireless rear speakers, using the TV’s built-in speakers for the front soundstage (front left, center, front right, and up-firing height speakers), but enhancing that with real wireless speakers in the rear for a more immersive surround sound stage. This keeps the TV’s look super clean while providing true surround sound and deep extended bass via wireless add-on speakers.
Comparison to BRAVIA 7 II
While our sample of the BRAVIA 7 II performed well overall, the BRAVIA 9 II was clearly superior. Peak brightness and color accuracy were both better on the 9 II, and the Immersive Black Screen Pro feature on the BRAVIA 9 II made for a vastly improved bright room viewing experience. Also, the BRAVIA 9 II offers approximately three times as many dimming zones, which explains its strong performance on both color banding, screen uniformity and blooming/haloing. While the BRAVIA 9 II is significantly more expensive than the BRAVIA 7 II, these performance improvements do justify the higher cost.
Comparison to Samsung S95H OLED
While testing the BRAVIA 9 II, we also had Samsung’s flagship OLED, the S95H on hand. While the BRAVIA 9 II offers higher peak brightness and a slightly wider measured color gamut, the contrast and black level performance of the S95H was superior, as was its off-axis viewing. Styling of the S95H with its Float Later metallic frame may not appeal to all buyers, but overall performance of the S95H is hard to beat for most content.
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For bright room viewing, Samsung’s Gloss Free screen coating and Sony’s Immersive Black Screen Pro screen coatings were each very effective at reducing the reflection of ambient room light on the screen. In our viewing, Sony’s coating was a bit more effective overall as it did not lead to any hint of color shift or excessive loss in black levels on pure black images.
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The Bottom Line
Sony’s first flagship entry into the RGB-backlit LCD TV category is a strong performer, particularly for viewing in rooms that may have high ambient light. In overall performance, the BRAVIA 9 II is the best we’ve seen yet of the RGB-backlit LCD TVs. It is particularly adept at making all content look good, from streaming to standard def DVDs, to fast-moving sports to movies, in any sort of room lighting. And its automatic calibration modes mean you’ll spend less time fiddling with settings and more time just enjoying what you’re watching. While we still prefer OLED TVs for critical viewing, those who want a larger screen or a TV that works well even in bright rooms will find a lot to like in the BRAVIA 9 II.
Pros
Bright image with effective anti-reflective coating makes for excellent bright room performance
Elegant styling with unique mirage stand
Wide color gamut and high peak brightness make 4K/HDR content look spectacular
Support for Dolby Atmos and DTS:X decoding and passthrough
Sony Pictures Core streaming service provides exceptionally high quality video streaming
Cons
Expensive (though comparable to flagship RGB TVs from competitors)
Low default peak brightness with SDR (standard dynamic range) content in Professional Mode
No support for Eclipsa Audio immersive sound
Black level performance and contrast doesn’t quite match OLED
Our Ratings:
★★★★★★★★★★ Picture Quality
★★★★★★★★★★ Design
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★★★★★★★★★★ Usability
★★★★★★★★★★ Sound Quality
★★★★★★★★★★ Features
★★★★★★★★★★ Value
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Where to Buy:
BRAVIA 9 II
BRAVIA 9 II Pro (Extended warranty and Extra SPC Credits)
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.”
The successful mission also deployed 26 of SpaceX’s latest Starlink satellites.
SpaceX
For its 14th flight, SpaceX’s Starship powered by its Super Heavy megarocket has entered low-Earth orbit for the first time. SpaceX kicked off this major undertaking early Monday morning but had to deal with some hiccups on the way, including losing one of its six Raptor engines. Ultimately, SpaceX decided to push on with the mission and successfully reached orbit albeit with some compromise.
SpaceX originally planned to have Starship orbit Earth six times over a span of nearly 10 hours for the Flight 14 mission. With one of the engines offline, the plan changed to only spend approximately three hours in orbit before reentering the Earth’s atmosphere and landing in the Pacific Ocean. As part of the same mission, SpaceX managed to deploy 26 of its Starlink V3 satellites into orbit. SpaceX said that its Starlink team has made contact with all newly-deployed 26 satellites in orbit, which will eventually be used to improve Internet speeds for customers. While previous Starship missions also carried several V3 satellites, they only remained in suborbital space and served as test flights to see if the new satellites would connect to the existing Starlink constellation.
While Starship’s flight 14 marked a major milestone of reaching orbit, the mission also served as a test of the reusability of its Super Heavy rocket. After providing the necessary boost to Starship, Super Heavy landed in the Gulf of Mexico, where it will eventually be retrieved, but not by a launch tower‘s “chopsticks” as previously demonstrated.
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