The AI industry’s investors and critics don’t agree on much. But many in each camp share at least one basic conviction: America’s top labs are about to make a killing.
Tech
Former FCC Officials Line Up To Blast Brendan Carr’s Lawless Censorship Of ABC
from the policing-the-speech-police dept
A bipartisan roster of former top-level FCC officials have submitted a filing to the Trump FCC blasting the agency’s ongoing violations of the First Amendment and urging it to terminate its phony “investigations” into ABC — including the unprecedented early ownership review of the company’s broadcast licenses.
In the filing, former FCC officials allied under the banner of the Protect Democracy Project outline how the early “ownership review” of ABC’s eight broadcast licenses is really just a pretense to punish ABC and Disney for broadcasting speech the Trump administration doesn’t like, the coalition calling it “a grave violation of both the Communications Act and the Constitution.”
A companion announcement features numerous FCC officials lining up to express their disgust at Brendan Carr and his often-illegal assault on the First Amendment.
“Chairman Carr seems to be laboring under the ill-conceived notion that broadcasters have only partial
rights to free speech under the First Amendment,” said Mark Fowler, a Republican who served as
Chairman of the FCC from 1981 to 1987. “Just because the FCC issues licenses doesn’t make it the
speech police. With this senseless early renewal proceeding, Carr is demonstrating that he has
completely lost touch not just with the role of the FCC, but also with his own job description.”
Earlier this year, Trump Republicans were upset that The View hosted Texas Democratic hopeful James Talarico. That triggered an entire fake “investigation” and a threatened revocation of ABC’s broadcast licenses by Carr, who falsely claimed the show had violated the FCC’s dated and irrelevant “equal time” rule requiring that TV stations give equal time to political candidates from both parties.
It apparently didn’t matter that Carr’s threats were empty, that any legal case would be laughed out of court on First Amendment grounds, that Carr actively avoids enforcing such laws for right wing radio, that Carr had worked with Trump-friendly broadcasters to concoct a conspiracy to make ABC look guilty, or that The View had clearly been exempt from the FCC’s “equal time” rules since 2002.
The FCC has been engaged in several other simultaneous phony investigations of ABC, hoping to punish the company for journalism and comedy critical of the president. The efforts are legally unsupportable assaults on free speech and the First Amendment designed not really to go to court, but to signal to media companies that there are costly legal headaches in store if they joke about, criticize, or simply just platform journalism that’s honest about Trump.
Several of the same former FCC officials participating in this coalition filed a petition with the FCC late last year, urging it to rescind the agency’s news distortion policy, a tool Chairman Carr has abused to try and trample free speech and journalistic freedom.
“This proceeding is an effort to punish ABC and Disney for poorly disguised political reasons,” said
Rachelle Chong, a Republican who served as Commissioner of the FCC from 1994 to 1997. “The early
review and the allegations are unusual in a typical FCC license review which suggests it is more about a
desire to silence speech.”
While the effectiveness of these threats have waned in parallel with Trump’s sagging health and political power; they’ve still been embarrassingly effective at times. The View, for example, has shied away from hosting any politicians at all to avoid further agitating the kakistocracy. And ABC in late 2024 paid Trump $15 million to settle a baseless lawsuit the company would have likely won.
This latest filing was signed by other former FCC officials including Kathryn C. Brown, Rachelle B. Chong, Jerald N. Fritz, Rosemary Harold, William T. Lake, Ruth Milkman, Dennis R. Patrick, Peter Pitsch, Alfred C. Sikes, Gloria Tristani, Tom Wheeler, and Christopher J. Wright.
The filing and complaint are curiously lacking in statements from Democrats, who have been a feckless no show when it comes to competent media reform for the better part of a quarter century. At the same time, many Republicans who have proven solid on free speech issues during authoritarianism, have quietly supported the administration’s assault on the regulatory state and what’s left of competent corporate oversight, the impact of which will have very different, but very fatal, reverberations for decades.
A broad array of other Republican-leaning groups, including the Center for Individual Freedom, Citizens Against Government Waste, and Americans for Tax Reform, also filed complaints this week at the FCC over its ongoing harassment of ABC, showing just how ideologically alone Brendan Carr has become as he wages a sad and desperate war on the First Amendment at the behest of a bumbling tyrant.
Filed Under: bipartisan, brendan carr, censorship, comedy, fcc, first amendment, free speech, journalism
Companies: abc, disney
Tech
China’s cheap AI models pose a big threat to Claude and ChatGPT
Capital markets have signaled their faith in Anthropic and OpenAI’s impending hyper-profitability, valuing each at nearly $1 trillion. Many of Silicon Valley’s progressive adversaries also expect the labs to grow filthy rich but fear the implications, warning that AI-induced automation could transfer vast sums of money from ordinary workers to a handful of giant tech companies. Sen. Bernie Sanders’s call for nationalizing the top AI labs rests partly on that concern.
- The AI industry may be more competitive than investors expected.
- Chinese labs are producing models nearly as powerful as Claude and ChatGPT — and dramatically cheaper.
- That could make frontier AI a low-margin business.
- A world of cheap, open-source AI would bring both promise and danger.
But recent advances in Chinese AI call all of this into question.
Over the past two months, Chinese companies have released three AI models that are nearly as powerful as America’s frontier systems — and radically less expensive.
In June, Beijing’s Z.ai debuted a model that performed nearly as well as Claude and ChatGPT’s second-tier systems on independent benchmarks. Weeks later, another Chinese firm, Moonshot, unveiled “Kimi K3,” a model that allegedly outperforms all of its American rivals except for the very latest versions of Claude and ChatGPT. Finally, just days ago, Alibaba launched a preview of Qwen3.8 Max, which purportedly outclasses even OpenAI’s most advanced systems, while trailing only Claude’s Fable in its capabilities. (Disclosure: Vox Media is one of several publishers that have signed partnership agreements with OpenAI. Our reporting remains editorially independent.)
These developments don’t merely threaten America’s AI giants with stiffer competition in the race for superintelligence. Rather, they raise a more harrowing prospect: that the AI race’s ultimate rewards will be far smaller than anticipated. In a world where new advances can regularly be leapfrogged by cheaper upstarts, hoarding the technology — and its profits — will be harder for any one company to do.
In other words, building a machine God might not be as lucrative as it’s cracked up to be. AI, it turns out, may “want to be free.”
How AI was supposed to pay off
To see how China’s new models threaten Anthropic’s profit expectations, we must first examine why those expectations have been so high.
This is not entirely self-evident. After all, AI labs aren’t much like the hyper-profitable tech giants of the 2010s. Facebook and Airbrb were relatively capital-light businesses with ultra-low marginal costs (adding a profile to Facebook or listing to Airbnb costs the companies virtually nothing). And once each gained a foothold in their respective markets, network effects enabled them to retain formidable positions without needing to constantly upgrade their products.
Building a state-of-the-art AI company is a much more involved — and astronomically more expensive — endeavor. To get to the frontier, Anthropic and OpenAI have sunk (at least) tens of billions into semiconductors, data centers, power plants, and other capital investments. Staying at the cutting-edge, meanwhile, compels them to perpetually churn out evermore costly models.
To put a new Claude model through its initial training — in which it spends months digesting the internet and sussing out statistical patterns within its text — can now cost hundreds of millions of dollars. And such foundational computation is only the beginning. A truly superlative model requires several additional months of fine-tuning. Armies of contracted experts — such as computer scientists, physicians, and mathematicians — tutor the models, grading their answers and guiding them towards better ones. Then the AI systems complete millions of rounds of practice, in which they learn through trial and error how to solve countless problems. This arduous process, known as “post-training,” compounds the costs of a single model’s development.
All of which raises the question: Why would investors expect businesses with a cost-structure this challenging to be not merely profitable, but massively so?
There are (at least) two answers. The first (and most obvious) is that the market for superintelligent machines is liable to be vast. Frontier AI systems promise to reduce costs and improve performance in myriad white-collar sectors. And Anthropic’s soaring revenues indicate that firms do, in fact, find Claude useful. A company like AirBnB has earned billions by revolutionizing a single industry; imagine then what a technology that remade virtually all industries might be worth.
Of course, plenty of technologies are valuable but not massively profitable to produce. After all, in well-functioning markets, competition should eventually erode individual firms’ margins, even if the underlying technology continues generating huge value.
But this is where the second answer comes in: Frontier labs’ immense costs are a burden, but they’re also a safeguard against competition — or, in industry parlance, a “moat.”
Startups may be able to afford to build or acquire more rudimentary models, many of which are “open source.” But, the thinking goes, they won’t be able to deliver Claude Fable-level performance without raising giant amounts of capital. And what investors will be willing to pour hundreds of billions into an AI pipsqueak that’s light-years behind Google, Anthropic, and OpenAI?
Alas, the Chinese AI labs’ rapid progress — and the way it was achieved — suggest that Anthropic’s moat may be shallower than previously thought.
How Moonshot swam Anthropic’s moat
The existence of powerful, Chinese AI systems is neither new nor surprising. Xi Jinping’s government has made vying for global AI dominance a key economic goal. And China’s DeepSeek, which also has stunned US companies with its lower-cost competitive models, surpassed ChatGPT as the most-downloaded free iPhone app more than a year ago.
The latest models, however, have dramatically narrowed the gap in capabilities between frontier American systems and their Chinese rivals. Just as critically, they’ve done so in a manner that other, relatively underfunded AI upstarts might be able to emulate.
Alibaba and Moonshot needed to invest massive resources to train their base models. But they allegedly found a low-cost way to refine those models into near-frontier systems: Just ask Claude.
Or, more specifically: Engage Claude in 16 million conversations, using 24,000 fake accounts. In each of those exchanges, ask the model to not only answer countless difficult questions but also, walk you through its reasoning, step by step. Then take all of this data and feed it into your own model as study material, training it to respond to the world’s most challenging queries as Claude would.
Through this process — known as “distillation” — an AI lab can replicate virtually all of a frontier model’s capacities, without sinking vast sums into human experts and post-training computing runs.
China’s AI labs have not admitted to using distillation. But OpenAI and Anthropic both reportedly uncovered Chinese distillation attempts earlier this year. And some of the new models appear to display tell-tale signs of distillation in conversations with ordinary users; Kimi K3 has routinely identified itself as “Claude.”
Chinese AI companies are hardly alone in using distillation to catch up with frontier labs. Earlier this year, Elon Musk admitted in court that xAI enhanced Grok’s capabilities by running distillation techniques on Claude and ChatGPT. Nonetheless, China’s latest models appear to demonstrate that distillation can help take a second-tier model to the frontier’s threshold.
America’s frontier labs have tried to defend themselves against such imitators. But this is technically difficult when distillers can assemble massive networks of bots, each asking an inconspicuous number of questions. And legally, it is difficult for America’s AI giants to argue that distillers are stealing their intellectual property. After all, in a sense, China’s copycats are merely doing to Anthropic and OpenAI what those companies did to journalists, coders, lawyers and other specialists: Feeding their public-facing outputs into a model, which then replicates their capabilities by discerning underlying patterns within the text.
Oh, and China’s giving these models away
The new Chinese models would have caused Silicon Valley enough headaches, if they merely provided stiffer competition, while demonstrating the power of distillation.
What makes Kimi K3 and Qwen3.8 Max especially threatening to the American AI giants’ profitmaking potential, however, is that they are officially open source — meaning that the models’ parameters can be downloaded for free. (Alibaba and Moonshot have not yet released these parameters, but they say they will shortly.)
In other words, any company or hobbyist with enough computing power will soon be able to run a near-frontier Chinese model on their own hardware, modify that model to better serve a specialized purpose, and then sell access to their new version — without paying Alibiba a single yuan.
As Kimi and Qwen grow more capable, their market-share is likely to grow, at American AI giants’ expense.
For many of Anthropic and OpenAI’s potential customers, that proposition may be hard to turn down. Most businesses don’t need the world’s smartest AI, just one competent at their enterprise’s core tasks — compiling legal research, answering IT queries, writing working code, etc. A model that produces outputs 90 percent as good as Claude’s — at roughly one-sixth of the cost — will sound pretty good to many corporations.
Further, open source models aren’t just cheaper than frontier systems, but potentially more secure. If you run an AI on your firm’s own servers, then you don’t need to entrust sensitive data to Anthropic, Google, or OpenAI.
All this had led much of corporate America to embrace open-source models, even before the latest versions narrowed the capabilities gap. In a Linux Foundation survey, 63 percent of organizations reported using open-source AI systems.
And increasingly, those models are Chinese. According to Sequoia Capital, one of Silicon Valley’s premier venture capitalist firms, a majority of American AI startups now use open-source Chinese systems. As Kimi and Qwen grow more capable, their market-share is likely to grow, at American AI giants’ expense.
What’s bad for OpenAI is good (and/or catastrophic) for humanity
All this said, it is still entirely possible that OpenAI and Anthropic will justify their colossal valuations. In many highly competitive economic domains, having access to the world’s very best AI model will remain highly valuable. And America’s frontier labs still outperform all their peers.
But it’s increasingly plausible that selling state-of-the-art AI systems will prove to be a low-margin undertaking. In a world of ubiquitous, near-frontier open source models, the AI sector’s big winners probably won’t be its top labs, but rather, its chipmakers and cloud computing providers.
For ordinary people, a future where superintelligence is dirt cheap — and rival AI companies are constantly rising and falling, rather than consolidating into mega-corporations — would look somewhat different than the cyberpunk dystopia that the left’s been dreading.
And not entirely in a good way. For one thing, in that reality, mitigating AI’s biggest risks would be immensely difficult. Having a handful of firms monopolize control over frontier AI systems is bad in many respects. But it does make those models easier to regulate, as the Trump administration’s decision to temporarily block Claude’s Fable in the name of cybersecurity demonstrated.
By contrast, if recipes for ultra-powerful AI models are published all over the internet — and anyone with modest technical skills can modify them at will — then systems willing to help their users hack government bureaucracies or engineer bio-weapons are liable to proliferate.
From another angle, however, the “AI becomes almost free” scenario may look like capitalism at its finest: Retrospectively, such a development would mean that a small number of extremely rich people bankrolled the creation of an immensely useful technology, under the expectation of massive profits, only to see competition erode their returns — and disperse that tech’s benefits across a wider group of businesses and consumers.
Granted, in the case of AI, this process might also generate a super-virus that kills us all. But hey, no system is perfect.
Tech
WhatsApp finally fixes one of its biggest storage headaches with this new cleanup tool
If your phone’s storage keeps mysteriously shrinking, WhatsApp channels might be part of the reason. Photos, videos, voice notes, and other media shared by channels can pile up in the background, and until now, cleaning them out hasn’t exactly been a pleasant experience. That’s finally changing.
WhatsApp is rolling out a new storage cleanup tool for channel media, giving Android beta users a much simpler way to free up space without digging through endless files one by one. The feature was first spotted in development a couple of months ago, and it’s now beginning to reach select beta testers through the latest WhatsApp beta for Android update.
No more digging through endless channel files
Previously, users could manage channel media from WhatsApp’s storage settings, but the process was fairly tedious. Every file had to be reviewed and selected manually, making cleanup feel more like a chore than a quick maintenance task. The new tool streamlines that experience with two dedicated ways to manage downloaded channel media.

The first appears directly inside a channel’s information page. From there, users can review everything that particular channel has stored on their device and filter files by category before deleting them. Instead of scrolling through a mixed collection of media, it’s now possible to target only photos, videos, stickers, or voice notes, depending on what’s taking up the most space. Better yet, WhatsApp won’t automatically remove starred updates during the cleanup process. Important posts you’ve intentionally saved can remain on your phone while everything else is cleared away, reducing the risk of accidentally deleting something worth keeping.
The junk drawer inside your phone
WhatsApp is also adding a second shortcut that could prove even more useful for people who follow dozens of channels. Inside the Updates tab, users can now long-press one or more channels and choose a new Clear media files option from the menu. Rather than opening each channel individually, this lets you remove stored media from multiple channels in one go. It’s a small change, but one that addresses a growing problem. Many channels post photos and videos every day, and those downloads can consume gigabytes of storage over time. Since the files are often forgotten after they’re viewed, many users don’t realize how much space they’ve lost until their phone starts warning them about low storage.

For now, the feature is only available to a limited number of Android beta testers running the latest WhatsApp beta from the Google Play Store. As with many WhatsApp features, the rollout is happening gradually, so it may take a few weeks before more users see it. The company also hasn’t confirmed when the storage cleanup tool will make its way to the stable version of the app. Still, if you subscribe to a lot of WhatsApp channels, this could end up being one of the app’s most practical quality-of-life upgrades in quite some time.
Tech
Meta is bragging about how its AI keeps people on Instagram, while facing lawsuits over addiction
Ripple effect: Social media addiction has been a subject of public debate for years, but time spent on apps like TikTok and Instagram keeps climbing. Meta has now confirmed it’s using AI to personalize the Instagram feed, and that shift is driving a sharp increase in the amount of time users spend on the platform.
During its Q2 2026 earnings call, Meta said its latest Reels ranking update, the largest one to date, drove a 15-basis-point increase in Instagram sessions. The number of “reshares” has also increased significantly, suggesting the app is doing a better job of surfacing content users actually want to see.
Speaking to investors and analysts, CFO Susan Li explained that the algorithm is specifically designed to track the type of videos people watch on Instagram and recommend similar content, keeping people hooked to the app. According to Li, the algorithm now offers more personalized content than ever, giving users more direct control over what they see.
Li added that the AI algorithm now allows Instagram to recommend newer content to users, with its largest models identifying high-quality Reels the moment they’re created. She noted that more than 50% of the recommended content in users’ feeds is now less than a day old, more than double what it was a year ago.
During the quarter, Meta also deployed its “Muse” family of LLMs to better classify content by topic and tone. Li said the company has already benefited from the new models across all its platforms and is now developing next-generation recommendation algorithms designed to power both organic content and targeted advertising.
But even as Meta touts the effectiveness of its AI algorithms in keeping users engaged, the company is facing multiple lawsuits alleging that it deliberately designs its recommendations to make its platforms addictive to teens and young adults, harming their mental health and contributing to a marked increase in anxiety, depression, and social isolation among its most loyal users.
Meta was sued by 40 US states for allegedly breaking their consumer protection laws and fueling a youth mental health crisis by encouraging teens to spend excessive time on its platforms. The lawsuits allege that, in pursuit of greater profits, Meta ignored internal studies indicating Instagram could harm teenagers’ mental health.
Tech
Q Acoustics 3040c Review – Trusted Reviews
Verdict
If you can find a pair of compact floorstanders that have the breadth of sonic talent of the Q Acoustics 3040c, are built and finished to a similarly high standard, but are no more expensive, well… then you’ll have two pairs of speakers on your shortlist
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Clean, balanced and expansive sound
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Expertly constructed and finished
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A great option for smaller spaces
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Could be more dynamic
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Lack a little rhythmic positivity
Key Features
Introduction
It has had its fair share of misses, of course – haven’t we all? – but when it decides to try to redefine what’s possible at very accessible price-points, Q Acoustics has had many notable hits.
This new 3040c floorstander completes the 3000c range, and is the company’s latest attempt to demonstrate its entry-level credentials – and on paper, at least, it looks more like a hit than a miss or a maybe…
Design
- Choice of four finishes
- Magnetically attached grilles
It’s to Q Acoustics’ great credit that there’s nothing about the way the 3040c looks, or about the way it’s constructed and finished, that suggests it’s been built down to a price.
The 942 x 285 x 281mm (HWD) dimensions are pleasing – and it’s worth bearing in mind the width includes the bolt-on rear stabiliser that holds the floor-spikes and prevents the slender cabinet from toppling over too easily. The rear spikes can be adjusted from the top, too, which means it’s a lot easier to get the speaker level than it otherwise would be.


As well as being nicely proportioned, the 3040c cabinet looks good in a slightly curvy, understatedly elegant sort of way. There are no visible bolt-heads or anything nasty like that, even when you remove the magnetically attached grilles – and when the grilles are off, the satin nickel brightwork surrounding the three-driver array looks quite upmarket. The overall aesthetic is certainly a cut above what the asking price might lead you to anticipate…
The standard of finish is well up to snuff, too. Naturally, the cabinets are of MDF with a vinyl wrap – but it’s flawlessly applied, and any of the four available finishes – the Claro walnut of my sample, pin oak, satin black or satin white – look the part.


Specifications
- 22mm soft dome tweeter; 2 x 120mm Continuous Curved Cone mid/bass driver
- 43Hz – 30kHz frequency response
- 88dB sensitivity
Passive loudspeakers don’t usually have a lot of features, and that’s especially true of relatively affordable passive loudspeakers. But in the established Q Acoustics manner, the features the 3040c have are entirely appropriate.
On the outside, there’s a decoupled 22mm soft-dome tweeter sitting between a couple of 120mm mid/bass drivers – these are of the same Continuous Curved Cone design that debuted in a far more expensive range of Q Acoustics loudspeakers. The idea of C³ is to combine the strengths of flared cone design (clarity and control, mostly) with the low-frequency response of a straight conic cone – it’s proven technology at this point, and can only be to the benefit of the 3040c.


At the rear of the cabinet, just above a pair of extremely low-profile speaker cable building posts, there’s a bass reflex port. Q Acoustics provides port bungs, and it pays to experiment both with the position of the speaker relative to a rear surface and with the efficacy of the bungs themselves.
This is an arrangement, says Q Acoustics, that results in a 43Hz – 30khz frequency response and an 88dB sensitivity rating that means the 3040c should be no real trouble to drive.
On the inside, the 3040c uses Q Acoustics’ Point-to-Point bracing to minimise low-frequency vibration and enhance soundstaging and imaging, and also features Helmholtz Pressure Equalisers. These tubes nullify internal pressure, and markedly reduce the standing waves and sonic colourisation it can provoke.


Sound Quality
- Great clarity and detail retrieval
- Punchy, well-controlled low frequencies
- Slightly short of dynamic reach
Don’t doubt the Q Acoustics can play loud, hit hard and generally fill your listening space with sound – but this is not their defining character. By the prevailing standards of affordable floorstanding loudspeakers, the 3040c are notably sophisticated and even-handed in their approach.
A listen to A Tune for Us by Djrum and this balanced nature is made completely apparent. Frequency response, from the bottom end right to the top, is smooth and even – integration between the drivers is good and there’s no aural indication of the crossover point apparent.


The tonal balance is impressive, too – there’s not much evidence of the warmth and friendliness of tone that used to be the Q Acoustics thing, instead the 3040c are a neutral and non-interventionist listen in this respect.
There’s good bass extension here, but more importantly there’s good control of the attack and decay of bass sounds – there’s never any danger of the sound dragging or droning. Great midrange resolution allows voices of all types to project with plenty of energy and character, and the top of the frequency range is attacked with a polite amount of aggression – so treble sounds have plenty of bite but next-to-no edge to them.


And at every point, detail levels are high. Not only the broad strokes, either, but the more subtle, more minor, more transient stuff is identified and handed over too – and without the 3040c sounding especially analytical. Even the low-key harmonic variations (sometimes) apparent in voices or instruments get a fair amount of attention and put into convincing context.
There’s energy and positivity to the presentation when a recording demands it, but when it comes to dynamic fluctuations the Q Acoustics don’t have quite what’s required to reveal them in full. Oh, you’ll be left in no doubt when Caroline’s Total Euphoria shifts up the intensity and attack – but the 3040c don’t quite give full expression to the up- and downticks in volume and drive.
And ‘don’t quite give full expression’ applies to rhythms, too. Yes, the Q Acoustics control their low-frequency activity well, and keep momentum levels up where they need to be – but there’s not quite the flow to rhythms that the best (fairly) price-comparable speakers can manage. Lumpy is to overstate it, but the 3040c are not as fluent as is absolutely ideal. Is ‘lumpy-ish’ a word?


Should you buy it?
You want big but not too big
You have a reasonably modest space and a reasonably modest budget, but want more than a hint of what a bigger budget might be able to buy you.
You’re lacking in space
Your space is so modest that the 3040c will have to be in a corner – these are compact speakers, sure, but they still need just a little space in which to operate…
Final Thoughts
The Q Acoustics 3040c are a classic gateway product.
Here’s where you first realise what the world of proper hi-fi is all about, here’s where you get an authentic taste for it – and so years from now, despite constantly denying you have any kind of problem, you’ve spent all your disposable income on upgrade and yet somehow still find yourself with you face pressed against the window of your nearest high-end showroom…
How We Test
The speakers had sufficient breathing space both behind them and to the sides, and I attached them to a couple of different amplifiers for this test – the price-appropriate (and still bargainous) WiiM Amp Pro, and a new Musical Fidelity M5xi that I will admit was, in the context of the speakers, overkill.
Then I listened to music via a turntable, a CD player and streamed via Bluetooth – so lots of different formats, lots of different genres, lots of different resolutions.
FAQs
Do I need the stabilisers?
Yes – for stability, of course, but also because there’s no way of attaching rear spikes to the cabinet without them
That’s never ideal, to be honest – but at least the 3040c are quite forgiving of being close to a rear surface thanks to the bungs for their rear-firing bass reflex ports…
Everything relative, of course, but Q Acoustics has designed the 3040c to perform properly in smaller rooms – so as long as your space isn’t tiny you should be fine
Full Specs
| Q Acoustics 3040c Review | |
|---|---|
| Manufacturer | Q Acoustics |
| Size (Dimensions) | x x INCHES |
| Weight | 14.4 KG |
| Release Date | 2026 |
| Driver (s) | 22mm soft dome tweeter; 2 x 120mm Continuous Curved Cone mid/bass |
| Frequency Range | 43 30000 – Hz |
| Sensitivity | 88 dB |
| Speaker Type | Hi-Fi Speaker |
| Impedance | 4 ohms |
| UK RRP | £599 |
| USA RRP | $1099 |
| EU RRP | €899 |
Tech
JP Morgan lowers Apple price target on supply chain worries
While price increases didn’t worry the investors at JP Morgan, ongoing supply chain constraints will have a short-term impact, and thus their new price target is $340.
It’s been a bumpy few months for Apple thanks to RAM shortages, price increases, and supply constraints. Investors expect that these problems will continue through December even if Apple finds ways to counteract their effects.
In a note seen by AppleInsider, JP Morgan shares that it believes high demand for products like the iPhone 17 and MacBook Neo has helped maintain momentum in the product cycle. Siri AI’s impending launch will also help drive demand going into Q4 2026.
As good as things might look for Apple on the demand side, everything else is a little more troubling. Supply constraints will impact overall revenue and increasing component prices will drive down gross margin.
Apple has levers it can continue to pull to combat these effects, but they only go so far. JP Morgan expects that even if the short term isn’t ideal, the long term will still look great for Apple.
First, the supply chain constraints will only delay sales, not prevent them entirely. Limited product availability will drive revenue into later quarters rather than lose it entirely.
Second, Apple can help maintain margins by seeking out lower prices on non-memory components. Also, services will see a bump thanks to revenue brought in from iCloud+ subscriptions tied to AI token allotments.
It’s not exactly a bleak outlook, just a realistic one as JP Morgan observes how news from the Q3 earnings will affect stock prices. The December 2027 target price is now set to $340 versus the previous $345 set earlier in July.
Tech
Why No Other Country Has An International Military Base On US Soil
If you’ve ever served in the United States military, odds are that you worked at one of the nation’s many foreign bases located throughout Europe, Africa, Asia, Australia, and South America. The U.S. maintains between 750 and 800 facilities of various sizes and types in around 80 foreign countries, colonies, and territories. All told, that is between 70 and 85% of the world’s foreign military bases. They range in size from relatively small to extremely large in both land mass and population.
That makes the U.S. military the most expansive throughout the globe. Looking at so many foreign U.S. bases, many might wonder about the opposite: foreign-owned bases on U.S. soil. To put it simply, there aren’t any, and there hasn’t been a foreign base in the United States for a very long time. Technically, no foreign military base has been established or occupied since the War of 1812, when the United Kingdom established several during the conflict. On the surface, that doesn’t exactly seem fair to American allies who host U.S. personnel in their respective countries.
The main reason why there aren’t any foreign bases on U.S. soil is that they’re not needed to bolster U.S. defenses. Still, the U.S. isn’t entirely closed off to the militaries of its closest allies. Many maintain permanent and semi-permanent detachments within U.S. facilities, working alongside American personnel.
Foreign military personnel detached to the United States
The United States is home to eight permanent detachments of foreign personnel from Germany, Italy, the Netherlands, Singapore, and the United Kingdom. They’re located in Virginia, Texas, Arizona, Idaho, Nevada, California, Georgia, and South Carolina. An additional facility will open to train Qatari troops at Mountain Home Air Base, Idaho. While these presences are permanent and see turnover of personnel throughout the year, they are not foreign-owned bases. Instead, they’re co-located on American bases. This is different from how the U.S. military operates in other nations’ territory.
American bases are not considered to be American soil, unlike embassies, which are small islands of their respective nations’ soil in other countries. For bases, the U.S. enters into a Status of Forces Agreement, or SOFA, with host nations, allowing for a back-and-forth between the U.S. and whichever nation it’s working with. At one of the largest bases, Ramstein Air Force Base in Germany, one of the terms of the SOFA agreement is that personnel are given ration cards for purchasing fuel, coffee. It’s similar in other countries.
For those personnel working within the United States on a permanent basis, the vast majority of them are pilots. This makes sense since the U.S. often sells its military aircraft to its allies. Selling something like an F-35 Lightning II to Belgium or Poland is good for American exports, but training pilots becomes a necessity. Instead of conducting training elsewhere, many foreign pilots come to the U.S. to learn how to operate U.S.-made aircraft alongside U.S. pilots. Intelligence personnel also train in the U.S. alongside American servicemembers, though this is a far more exclusive club.
Tech
Detect the Signature of Dark Matter With a DIY Antenna
If you’re wondering what dark matter is, you’re not alone. Astronomers don’t know. But they’ve determined that this invisible material must be far more abundant than the stars and nebulas that they can see. They’ve surmised as much from observing the gravitational effects of all this perplexing dark stuff, launching a decades-long campaign to understand its nature.
I recently learned that it is possible to sense the presence of dark matter using a small radio telescope such as the Discovery Dish covered in these pages last year. The trick is to know what observations to collect and how to analyze them. I’ll sketch that out below, but first let me describe the homemade radio telescope I put together for this project.
It’s a pyramidal-horn antenna, not unlike the horn antenna first used in 1951 to detect the 1,420.4-megahertz radio emissions from interstellar clouds of neutral hydrogen in space. These emissions hold the key to confirming the presence of dark matter because such clouds can be found all over the galaxy, and their motions reflect what’s happening in different parts of the Milky Way.
I used an online calculator to help me design my antenna, adopting dimensions I knew I could achieve using a US $25 10-by-2-foot roll of roof flashing and an emptied one-gallon paint-thinner can. (Next time, I’ll just buy an empty F-style can.)
The horn antenna is made from tape, an empty paint can, and a roll of metal roof flashing [bottom row]. Signals are picked up with a low-noise amplifier [top middle], and passed to a software-defined radio receiver [top left].James Provost
Construction of the antenna itself was similar to that of the slightly smaller horn antenna I described in these pages in 2019. I made my new antenna bigger, though, because I needed better angular resolution, allowing me to scan smaller regions of the sky.
To pick up the emissions from interstellar hydrogen, I used Nooelec’s $45 SAWBird+ H1, a device that combines two low-noise amplifiers with a standing-acoustic-wave filter centered on 1,420 MHz, in combination with a RTL-SDR V4 dongle. So it’s not too hard to put together the hardware needed to measure signals from hydrogen clouds. But how do you pull the signature of dark matter out of those signals?
The answer is that you use such measurements to gauge the speed at which clouds located at different distances from the center of the Milky Way are moving in their orbits.
You just have to show that the speed at which material orbits the center of the galaxy doesn’t fall off with distance.
You might think that these clouds circle around the galactic center in the same way that planets orbit the sun or satellites orbit the Earth, with objects close in orbiting faster than those farther out. Mercury, for example, zips around the sun at 47.4 kilometers per second, whereas Neptune lumbers along at a leisurely 5.4 km/s.
The Milky Way contains a central bulge of stars surrounding a supermassive black hole. So at first blush, the mass of the galaxy appears to be concentrated near its center. If that were the case, stars and clouds of other material would orbit more slowly as their distance from the center increases. If, however, there were enormous amounts of invisible matter present throughout the galaxy, you wouldn’t expect orbital velocities to diminish in this way.
How Do You Measure the Speed of Interstellar Clouds?
So to detect dark matter, you just have to show that the speed at which material orbits the center of the galaxy doesn’t fall off with distance. And radio observations are the easiest way to do that, because you can gauge speeds by measuring how much the signal from hydrogen clouds is shifted by the Doppler effect.
By pointing your radio telescope at different parts of the sky, you pick up emissions from clouds located at various distances from the galactic center. The frequency offset of these emissions from 1,420 MHz reflects the speed of approach or recession of those clouds relative to Earth.
You need measurements from the plane of the galaxy, at galactic longitudes between 0 and 90 degrees (a galactic longitude of 0 degrees points directly toward the center of the galaxy and 180 degrees directly away from it). Applying some high school trigonometry lets you convert these figures into orbital speeds around the galactic center, a technique known as the tangent-point method.
In any group of clouds, the one with the highest velocity as seen from Earth will be the one lying closest to a tangent point along its orbit around the galaxy. This allows its distance from the galactic center to be determined through trigonometry [top]. The bottom graph shows the astronomical community’s measurements for velocities around the galactic center [in black], with the author’s results plotted in filled and open red circles.James Provost
Experiments aiming my horn antenna at an Inmarsat geostationary satellite revealed that the angular resolution of my little radio telescope is about 20 degrees. So with the help of the planetarium program Stellarium, I pointed my antenna in the plane of the galaxy at galactic longitudes of about 15, 30, 45, 60, 75, and 90 degrees, spacing things out in an effort to make each set of measurements largely independent.
I used the SDR# software with a plug-in called IF Average to read the raw measurements coming in from the antenna. This plug-in stacks up data received over a few minutes, allowing a weak signal to emerge and produce a clean radio spectrum that shows the 1,420-MHz line. In reality of course, it looks more like a bump, or even a set of bumps due to Doppler shifted emissions from multiple clouds, located at different distances from the galactic center. Fortunately, you only have to care about the cloud that’s receding the fastest—the one with the largest redshift, in astronomer-speak.
I used Microsoft Excel to analyze the shapes of radio spectra I gathered, modeling them as the sums of individual bell-shaped contributions from different clouds. That allowed me to estimate the largest redshift for each galactic longitude I probed. Then, again using Excel, I applied formulas that transformed those six redshift values into six pairs of orbital velocities and distances from the galactic center.
The plot of my results matched reasonably well with a recent paper, “The Inner Rotation Curve of the Milky WayInner Rotation Curve of the Milky Way,” in Publications of the Astronomical Society of Japan. Two innermost points, which showed anomalously low orbital velocities. Another shot at curve fitting in Excel brought these results closer to expectations, but they were still somewhat off.
In any case, the orbital velocities I estimated did not diminish with distance from the galactic center—quite the opposite. Something out there is putting its stamp on how the Milky Way turns. And that basic observation is what allows me to say that, with the help of some roof flashing and a paint-thinner can, I’ve been able to detect dark matter from my backyard.
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Tech
iPhone and Mac sales surge push Apple’s quarterly revenue to $109 billion
Bottom line: Apple’s last quarterly earnings report under CEO Tim Cook showed gains across nearly every category, led by iPhone and Mac sales. The budget MacBook Neo appears to have been a major contributor to that growth. But as the Cupertino company prepares to hand the reins to a new CEO, rising prices could complicate the road ahead. Apple has already begun responding with a new leasing program.
iPhone sales drove the largest gains, bringing in $54.3 billion in revenue during the third quarter of fiscal 2026, up 22% YoY. Services, wearables, iPads, and especially Macs also contributed, pushing overall revenue to $109 billion, up 16% YoY.
The MacBook Neo, Apple’s first budget-priced MacBook, was likely the biggest driver behind that Mac growth. The entry-level notebook couldn’t hold onto its $600 launch price for long, but it quickly outsold the MacBook Air and pushed Apple to double its production target.
AI fever likely played a role too, helping drive the Mac division’s 29% YoY growth. The popularity of AI agents like OpenClaw triggered Mac mini shortages that stretched on for months.
Despite that impact, Apple has largely watched the AI boom from the sidelines. The company introduced a new AI-powered version of its digital assistant, Siri, earlier this year, but rivals Microsoft and Google have bet far more heavily on Copilot and Gemini, respectively.
That caution has drawn criticism from some quarters, but investors have also come to see Apple as something of a safe haven amid the AI market’s volatility, helping the company reclaim its status as the world’s most valuable.

Still, Apple couldn’t escape the historic DRAM and NAND shortages stemming from the AI data center buildout. The full impact of recent price hikes, which pushed MacBook and iPad prices up by as much as $200 just days before the quarter ended, remains unclear.
Apple Upgrade, a leasing program the company announced earlier this week, could mark the start of a new era of hardware rentals.
Looking ahead, Tim Cook is set to step down as CEO in September, right as Apple unveils the iPhone 18 lineup and, potentially, the iPhone Ultra, the company’s first foldable device.
Estimates on iPhone Ultra pricing vary, but some analysts expect it to retail for as much as $2,500, marking the start of a new flagship tier that could eventually extend to a touchscreen-enabled MacBook Ultra. Other upcoming products include a major overhaul of the iPad lineup, starting with an OLED-equipped iPad mini, and a refreshed Mac lineup built around Apple’s new M6 chips.
Tech
Microsoft turns to the UK Supreme Court after losing twice over second-hand software licenses, and billions could ride on the outcome
- Microsoft has won an extended stay at the Competition Appeal Tribunal while it seeks permission to appeal to the UK Supreme Court, having lost at both the Tribunal and the Court of Appeal
- Its argument that Office’s icons and clip art placed it outside software exhaustion rules was rejected as producing “odd results”, including CD software being resellable while identical downloads were not
- The jurisdiction ruling matters more than the £270 million claim, as it clears the way for a parallel collective action that could expose Microsoft to billions
Microsoft has bought itself time in its long-running fight with a British software reseller, securing an extended stay of proceedings at the Competition Appeal Tribunal while it prepares to seek permission from the UK Supreme Court to appeal.
While Microsoft has yet to appeal formally, its indication that it intends to do so buys it some breathing room against a judgment that could mean that parallel proceedings, including a £3.5 billion class action lawsuit that could compromise as many as 2.7 million members, could become a centerpiece of the software giant’s future legal troubles in the UK.
The UK CAT (Competition Appeal Tribunal) has paused parts of the case as a result, and Chair Justin Turner KC noted that it was not yet known whether permission would be granted, and framed his decision as balancing the potential waste of costs if permission were granted and an appeal succeeded against the undesirability of delay in the proceedings.
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A legal quagmire exacerbated by shifting legal defense from Microsoft?
Microsoft has been fighting this claim for years, dating back to 2021, when JJH Enterprises, a Derby-based reseller trading as ValueLicensing, sued Microsoft for £270 million.
The allegation is that Microsoft wrote terms into its agreements that offered customers better subscription pricing in exchange for surrendering the right to resell their perpetual licenses, thereby choking off the secondary market and pushing buyers toward Microsoft 365 even as the software giant denies wrongdoing.
ValueLicensing’s case rests on the Court of Justice’s 2012 decision in UsedSoft v Oracle, which held that a software vendor’s distribution right is exhausted once it sells a perpetual license, including one delivered by download, so it cannot use copyright to block the onward sale of that copy.
Having contested the case as a competition matter for years, Microsoft changed its argument in 2025, recasting it as a copyright dispute. Office, it said, is not merely a computer program. It ships with icons, user interface elements, help files, and clip art, and those creative components should be governed by a different copyright regime in which exhaustion does not bite.
That argument has now failed twice. The Competition Appeal Tribunal (CAT) unanimously decided the preliminary copyright issues in ValueLicensing’s favor in November 2025, and on July 7, 2026, the Court of Appeal dismissed both of Microsoft’s appeals, one challenging the CAT’s jurisdiction to rule on copyright questions at all, the other contesting the copyright findings themselves.
Microsoft’s reading, the court observed, would produce “odd results”: software supplied on a CD-ROM could be freely resold while the identical software delivered as a download could not, and a vendor could defeat established exhaustion principles simply by bundling some icons with its code.
At the same time, the CAT did not grant resellers unlimited freedom. Under UsedSoft, a buyer holding a single copy installed on a server and licensed for several users cannot carve off part of that user capacity for resale, because exhaustion attaches to the copy rather than the seat.
The Tribunal distinguished that from a genuine volume arrangement comprising multiple independent copies or licenses, in which reselling a corresponding number may be permissible once the seller has stopped using the copies it has passed on. That distinction sets real limits on how the secondary market can operate.
Microsoft has spent most of the period covered by the claim moving its customer base from perpetual licenses to Microsoft 365. If ValueLicensing wins outright, it wins the right to trade in a category that its opponent has been deliberately retiring for a decade. Should the Supreme Court decline to take the case, proceedings return to the Tribunal, with a trial mooted for 2027.
The jurisdiction ruling matters well beyond this claim. By confirming that the CAT can decide copyright questions where they are necessary to resolve a competition case, the Court of Appeal cleared a path for others, and The Register reported in April 2026 that Microsoft had viewed that appeal as a complete answer to Alexander Wolfson’s collective action, on the basis that copyright issues could not be transferred to the High Court in a class action.
Wolfson was granted permission to intervene in support of ValueLicensing, and his claim, which could expose Microsoft to liability in the billions, now stands to benefit from the ruling.
What could this mean?
Britain’s regulators have taken an interest in the same broad shift, too. On July 29 2026, the Competition and Markets Authority opened a consumer protection investigation into how Microsoft marketed its Microsoft 365 Personal and Family plans.
From January 2025, existing subscribers were given Copilot and other new features at no extra cost for the remainder of their term, then automatically moved onto a higher-priced plan at renewal unless they chose an alternative or canceled.
A time-limited “Classic” plan preserved the old feature set at the old price, and for annual subscribers the Copilot version cost £25 more per year.
“When a business changes its subscription plans, customers need clear and timely information about their options,” said Hayley Fletcher, senior director for consumer protection at the CMA. “Our investigation will consider whether Microsoft customers were misled and ended up paying more as a result.”
Microsoft said consumer trust is a priority and that it is reviewing the claims while cooperating with the inquiry. The CMA has reached no conclusions and has not accused the company of breaking the law.
That probe concerns consumer subscriptions rather than the commercial agreements at issue in the ValueLicensing case, so the two are separate matters under different regimes. What links them is the same underlying transition from one-off purchases to recurring ones.
Microsoft already faces a CMA strategic market status investigation into its business software, and Australia’s competition regulator is suing the company in the Federal Court over the same Copilot and Classic plan issue, affecting an estimated 2.7 million customers. Whichever way the Supreme Court application goes, the legal scrutiny of how Microsoft moved the world onto subscriptions is not ending soon.
The scrutiny also lands in a fraught transatlantic moment. On July 24, days after the European Commission fined Google $1 billion under the Digital Markets Act, Trump announced a Section 301 investigation into EU trade practices, declaring that the United States is not a “PIGGYBANK” for Europe and promising a substantial tariff.
Brussels has consistently maintained that regulating economic activity within the bloc is its sovereign right, and that its digital rules apply to all firms operating there. Britain sits awkwardly beside that fight. Its courts are no longer bound by EU case law, and its regulators answer to nobody in Brussels, but the president’s stated targets have been digital taxes and digital markets rules in general rather than the EU alone, and the UK has both.
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Tech
LG C6 OLED (OLED65C6) Review
Verdict
An excellent mid-range OLED from LG that delivers fantastically balanced and colour-rich picture quality. The sound system isn’t too bad either and it’s well stocked for features. This might end up being LG’s best OLED model of 2026
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Excellent picture
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Approachable interface
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Quick to assemble
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165Hz for PC gamers
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Impressive upscaling
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Need an LG account to access apps
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Bigger sizes offer brighter performance
Key Features
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Review Price:
£2999
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Hyper Radiant Colour Tech
Brighter, more colouful pictures
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VRR
Up to 165Hz with PC games
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AI
Google Gemini and Microsoft Copilot
Introduction
LG’s C-series OLED has undergone some changes for 2026, which may or may not please some.
They’re still the mid-range model, sitting between the G-series and B-series, with six sizes ranging from 42- to 83-inches, but the 77- and 83-inches feature similar brightness-boosting technology that’s in the G-series model; the 55- and 65-inches – reviewed here – miss out on that boost.
They are brighter than their C5 predecessors, but not quite as bright as their bigger siblings, which may prove to be a little controversial, but the OLED65C6 makes a compelling argument that bigger might not be better when the performance is this good.
Design
- Quick to assemble
- Strong viewing angles
- Decent with reflections
The design for the 55- and 65-inch C-series models hasn’t changed dramatically, though I do like the marble-like material that’s on the back of the TV. You won’t see it for the vast majority of the TV’s lifespan, but it does look pretty.


There’s a wide stand to perch the TV on, though not too wide that you need a freakishly large piece of furniture to sit it on (I’m looking at you Sony).
Assembling the TV is fairly quick – around two minutes – and less time-consuming than adding the stand to the G6. The C6 is made to LG’s high standards: minimalist, well-packaged and good-looking, you can wall-mount but it will jut out from wall thanks to the little bump on the rear.


The OLED65C6 seems to use a similar anti-reflection solution as the G6 but does it reduce reflections? I’m not too convinced it does. In dark rooms I can clearly see what’s in the room, though it does refract ambient light sources without affecting black levels. There’s also a purple-ish hue to the screen when light shines on it, just like with the G6.
Viewing angles are massively wide if you’ve got family and friends over. The C6 keeps its colour and brightness at more acute angles and far away, though it’s not as bright as the G6.
Connectivity
- Four HDMI 2.1 inputs
- Plenty of wireless options
It does feel as if this section repeats previous years, but as is standard, there are four HDMI 2.1 inputs with HDMI 2 for plugging your soundbar into. All HDMI inputs support ALLM and the various forms of VRR too.


An Ethernet port offers the means to hardwire straight to your router if you find the Wi-Fi 6E connection flaky. There’s an optical audio output, two RF inputs, three USB 2.0 inputs and a CI slot.
Bluetooth 5.3 is supported, and Wi-Fi brings support for Google Cast and Apple’s AirPlay 2.
User Experience
- Slick and fast interface
- Some customisation possible
- Old LG remote


The webOS platform hasn’t changed much from previous years. You’ve got your Quick Cards made up of gaming, radio, art (you have to pay a subscription for complete access), and lifestyle apps. Portal is new, offering a mix of video content, trending news and podcasts.
There’s also LG’s Channels, its hub for free-to-view TV and on-demand content (through Rakuten TV) as a sort-of alternative to Freely. It’s got a decent selection of programming to watch, and logging into your account (more on that shortly) also means that if you quit a show or film, you can resume where you dropped off.


But that doesn’t mean the C6 ignores the UK catch-up apps, which are all present, and there’s the big global apps accounted for in the likes of Netflix, Disney+, Apple TV and HBO Max.
The problem here is that LG now requires you sign up to access any app, an annoying change from where you could access some apps without restrictions.
The interface itself is swift and responsive, and refrains from offering too much content for users to get lost and confuse in. The number of rows isn’t that much to scroll down, and content is easily highlighted. Yes there are ads but I don’t find them intrusive, and most of them are advertisements for LG products or popular TV series.


Swipe to the left and you’ll come across ‘My Page’, which offers personalised content. All of this is protected by LG Shield to keep your data safe, and the OLED65C6 will receive security updates until 2030.
The Magic Remote returns and it’s getting to the point where it’d be nice if we could get access to the USB-C remote available in other countries. It can’t cost too much to add, and while the Magic Remote is fine (I don’t get cranky about it), a rechargeable USB-C remote is better than one that runs on battery power.


Gaming
- Nvidia and AMD VRR
- Quick input lag
- Cloud gaming options
All HDMI 2.1 inputs support ALLM and VRR (Nvidia G-Sync, HDMI VRR and AMD FreeSync). Refresh rates have been boosted up to 165Hz for PC gaming.
Input lag stays the same at 12.9ms and Boost mode can bring it down to 9.4ms (same as before).
If you don’t have a console, the C6 supports plenty of cloud gaming options in the Xbox app, Blacknut, Amazon Luna, Boosteroid et al.
With the Game Optimiser menu you can change settings to alter the performance as you want. Want a black level performance that allows you see where others might be hiding? Some may call that cheating…
There’s HGiG, which are guidelines for optimal HDR performance, and there’s Dolby Vision Gaming support (4K/120Hz) for those of you with an Xbox Series console.
Features
- AI features
- Dolby Vision x Filmmaker mode
- FlexConnect support
LG’s Home Hub supports smart platforms such as its own ThinQ, Matter, Google and Apple Home. Voice control and search is possible through Google Gemini and Microsoft Copilot.
There’s more AI with LG’s AI Concierge that provides personalised recommendations, with In This Scene offering insight into cast and crew of a film and programme (like Prime Video’s X-Ray feature). There’s also the option to create Generative AI images… if you’re interested.


The UK finally has the Voice ID feature that remembers your voice and can automatically log you into a profile when you press the AI button and speak.
On the picture and sound front, it’s all overseen by LG’s Alpha 11 AI Processor 4K Gen3 with Dual AI Engine that can improve brightness, upscale to 4K and produce a more 3D image in real-time. With audio it’s a 60W, 4.2 channel system with AI Object Remastering Ultra that brings clarity to vocals and can boost audio to 11.1.2 virtual channels of sound with Dolby Atmos.
There’s no DTS support, which is a shame, but there is Dolby Atmos FlexConnect if you buy LG’s Sound Suite audio system. On the HDR front there’s HDR10, HLG, Dolby Vision and the Dolby Vision x Filmmaker Mode.


Picture Quality
- Bright, natural images
- Very good motion
- Good Vivid mode
It’s been a while since I last reviewed a 65-inch C-series model, but this year’s effort feels like a substantial step-up.
There’s still an issue with the Filmmaker x Dolby Vision mode in that it’s not adaptive by default, and even when I turn the feature on, it’s still not as balanced as it should be. I’d avoid using that HDR mode for now, but aside from that, the LG OLED65C6 is a stunner.
Dark detail is well handled so you’re seeing most of the detail in the darkest parts of the image (though I wouldn’t say all the detail is visible with a watch of Zero Dark Thirty).


Levels of detail and sharpness are excellent with Alien: Romulus, and colours strike me as looking close to what they should be.
Highlights are bright, contrast is very good (though the extra brightness of the G6 is even better) and there’s a three-dimensionality and sense of depth thanks to the TV’s processing that you don’t get from rivals. It may not be strictly natural but it’s a nice effect all the same.


A 4K Blu-ray of Speed Racer looks terrific with colours that are punchy, bright and wide-ranging – the TV explodes with colour with black levels that are substantial in terms of depth but not impenetrable.
An HLG stream of The Capture on iPlayer offers excellent levels of fine detail and sharpness – the show looks phenomenally good in 4K HDR with saturated colours and terrific detail to the point of being able to see the fuzz on someone’s jacket or the pores on someone’s skin. Complexions are both natural looking and balanced, highlights are bright but not overwhelming. It looks fantastic.


And the Vivid mode that worked so well on the G6 has been translated to the C6. With Cinderella, there’s a boost to colours and brightness, and the film still looks relatively balanced and natural. There were moments where that wasn’t the case – some noise here and there, and complexions that seem too hot – and it’s not as bright or as sharp as the G6, but colours take on a vivid and punchy look that’s among the best I’ve seen from any TV this year.
Motion is mostly excellent. Smooth and Natural (ironically) still produce judder, stutter and motion blurring; but Cinematic is best for a smooth look without issues, and if you go down the User route, in the region of 4/5 De Blur/De Judder seems the best fit.


Upscaling
- Sharp and detailed
- Colours look a little dark
The good times keep rolling when the OLED65C6 has to upscale films and TV series to 4K.
Whether it’s a DVD of Jaws or a Blu-ray of Succession, colours look natural. Detail levels are resolutely solid with HD content, while There Will Be Blood, Inglorious Basterds and Jaws on DVD exhibit some noise and lack of detail, that doesn’t derail the presentation as the C6 manages noise well, and ensures jagged edges don’t stick out.


You’ll only notice the lack of detail in wider shots or jagged subtitles, but in close ups of actors it comes up trumps despite the lower resolution.
The Kissed by Fire episode from Game of Thrones season three features colours that are well judged, though not the most spectacular with the action taking place north of the wall. But clarity and detail looks super, especially a shot of Jamie Lannister and his muddied face.
The same can be said with a Bu-ray of Tomorrowland. Bright, colourful but natural looking – picture-wise there doesn’t feel like there’s a weakness the TV has.


Sound Quality
- Punchy sense of bass
- AI Sound Pro mode
- Good with dialogue
I won’t hide that I was a little disappointed with the OLED65G6’s performance. However, I’d rate the C6’s built-in sound system as being better.
There’s a choice of two modes: Standard and AI Sound Pro. Standard is not as loud, as detailed or as sharp. It’s better for native stereo or mono content.
AI Sound Pro is for immersive audio. It’s sharper, louder, more detailed and outputs more energy through the TV’s 60W speaker.


I play my usual test discs starting with Civil War. Gunshots feature good detail and explosions have weight to them, though it’s not as powerful, detailed or carries as much heft as TVs from other brands I’ve tested in the past (notably Panasonic and Philips). It spreads its sound across the width of the screen and further, with sounds placed accurately on the screen where they originate from. There are times where I can hear dialogue beyond the width of the TV’s frame.
To my ears it sounds better at lower and higher volumes than the G6 did, and while it’s not the most exciting listen through the action scenes, it maintains a good hold on dialogue clarity throughout them.
With Dune the bass frequencies don’t feature much depth from the speakers. That’s not to say there isn’t bass present, but it’s not powerful and in some scenes there’s a little distortion with the bass.
With The Housemaid the C6 has a better handle on bass levels (when it needs to go deep, it struggles), but lows are clear and detailed; plus dialogue sounds natural.


Returning to Alien: Romulus and again, like the G6, it’s not the most dynamic and energetic performance, but the C6 sounds a bassier with the low frequencies. Dialogue is clear and sharp, highs are also clear, and soundstage is spacious. Aside from some slight distortion, this was better than I was expecting from the C-series.
I’d still recommend a soundbar, and LG’s own M7 is an expensive but good choice. Expect to see that review soon. Otherwise, there’s a few to choose from in our best soundbar and best Dolby Atmos soundbar guide.
Should you buy it?
Well-rounded midrange OLED TV
Great picture, better than expected sound and the usual competence when it comes to smarts and features. It’s hard to knock the OLED65C6.
The bigger models are brighter
We know LG wants to sell more big-screen TVs, but it feels a little controversial to deny the smaller sizes the brighter OLED panels.
Final Thoughts
The C6 is the best C-series model I’ve tested from LG. The picture is fabulous for the price, and yes, while you’re missing out on the increased brightness from the bigger sizes, it doesn’t feel like a massive miss given the quality present with the OLED65C6.
If you’re a gamer, it’s got what you need; it’s well stocked for entertainment options, there are plenty of smarts and sound system is better than expected. As an all-round package, the C6 has to rank as one of 2026’s best TVs.
How We Test
The 65-inch LG C6 OLED TV was tested for a month with real-world use and benchmark tests that included measuring brightness, input lag and using the Spears and Munsil Benchmark UHD disc to test viewing angles and colour accuracy.
- Tested with real world use
- Tested for a month
- Benchmarked with Spears and Munsil disc
Test Data
| LG OLED65C6 | |
|---|---|
| Contrast ratio | Infinite |
| Input lag (ms) | 12.9 ms |
| Peak brightness (nits) 5% | 1360 nits |
| Peak brightness (nits) 2% | 1517 nits |
| Peak brightness (nits) 10% | 1510 nits |
| Peak brightness (nits) 100% | 238 nits |
| Set up TV (timed) | 120 Seconds |
Full Specs
| LG OLED65C6 Review | |
|---|---|
| Manufacturer | LG |
| Screen Size | 64.5 inches |
| Size (Dimensions) | x x INCHES |
| Size (Dimensions without stand) | 826 x 1441 x 24.3 MM |
| Weight | 17.4 G |
| Operating System | webOS |
| Release Date | 2026 |
| Resolution | 3840 x 2160 |
| HDR | Yes |
| Types of HDR | HDR10, HLG, Dolby Vision, Filmmaker Mode |
| Refresh Rate TVs | 50 – 165 Hz |
| Ports | Four HDMI 2.1, Digital Optical Audio Out, Three USB 2.0, CI slot, Two RF, Ethernet |
| HDMI (2.1) | eARC, ALLM, VRR, 4K/120Hz, QMS, QFT |
| Audio (Power output) | 60 W |
| Connectivity | Wi-Fi 6E, Bluetooth 5.3, Google Cast, AirPlay 2 |
| Display Technology | OLED |
| UK RRP | £2999 |
| USA RRP | $2699 |
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