TL;DR
Chaotic Eclipse dropped RoguePlanet, their seventh Windows zero-day, hours after Microsoft’s record Patch Tuesday. It grants SYSTEM access on fully patched machines.
LG’s best OLED yet? The OLED65G6 delivers an excellent picture performance across a range of sources. There are a few flaws and aspects I’m not fond of, but this is a strong start to LG’s 2026 TV line-up
Bright, colourful, accurate-looking HDR picture
Impressive upscaling
Anti-reflection panel
Robust gaming performance
Wealth of entertainment options
Sound system is just ‘fine’
Apps ringfenced webOS sign-up
Dolby Vision x Filmmaker mode doesn’t seem to ‘adapt’
Anti-glare panel produces purple colour
Game mode is a little too bright and sounds a too sharp
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Hyper Radiant Colour Tech
2nd Gen panel of the Primary RGB OLED panel
LG Shield Security
Secures data, offers multi-year updates
Dolby Atmos FlexConnect
Supports wireless immersive sound
Another year, another G-series OLED from LG. But don’t assume that this is another rehash because there have been changes under the hood.
LG has bet big on OLED with only Samsung as its main challenger, while others have placed their chips on alternatives such as Mini LED and RGB TVs.
The reasoning behind Mini LED/RGB is that they offer higher brightness, wider colour range and better performance in bright rooms. LG disagrees.
And with the OLED G6, it’s taking on the naysayers to disprove the notion that OLED may be inferior.
This is LG’s brightest OLED yet, and more than a decade after it launched its first OLED, it wants customers to know that OLED is still the best in the business.
So the gloves are off (again). Can LG’s G6 OLED knock its RGB rivals out, or is this going to go the distance?
There haven’t really been any significant changes to LG’s design of the G6-series in years – ‘if it ain’t broke, don’t fix it’.
The stand takes about four minutes to assemble, but it seems to be the same as the G5 and G4 stands. Of course, if you buy the wall-mounted version, you just deal with hanging it up on your preferred surface. Connections are side- and downward-facing for feeding sources to the TV.


The stand is adjustable. You can hang it in its low orientation, or if you want to put a soundbar below, put the stand into its high position.
The OLED65G6 features LG’s Vanta Black Anti-Reflective coating to reduce reflections and maintain black levels in a bright room. Black levels remain strong, but I don’t find the G6 necessarily as good as Samsung’s glare-free OLEDs at mitigating glare and reflections. That said, the S95H does raise blacks slightly in a dark room but the OLED G6’s panel does create a purple tinge to reflections.
Wide angles are very strong, and while brightness and colour saturation do tail off, you’d have to be very wide and far to notice this.


LG’s webOS interface still fundamentally looks like the webOS it’s been for the last few years. There’s no room for Freely but all the UK catch-up and on-demand apps are provided, side-by-side with the big global apps such as Disney+, Netflix and Apple TV.
Accessing these apps requires an LG account. In previous years, this was ring-fenced to some but not all apps; now it’s required for all apps. It’s not a change most will like unless they already have an LG account.


You get five years of updates with LG’s Re:New program that guarantees four major software updates.
The interface itself is swift and responsive. Scrolling down to the bottom doesn’t take long, the interface free from clutter or meaningless diversions. There are ads, of course, but I don’t find them intrusive. Flick to the left and you’ll be received by LG’s Information Board, which offers weather updates, Google Calendar and any smart tech in your Home Hub.


Given this is the G-Series TV (which once upon a time stood for Gallery), there is LG’s Gallery+ app, where you turn the G6 into a picture painting (not to be confused with LG’s Gallery TV, which can also do the same thing). A subscription is required, but there’s free content alongside AI-generated… things.
With the LG Sports app, you can keep track of your favourite teams across a range of sports, as well as access content via Prime Video, YouTube, Apple TV, and DAZN. Currently, there’s a spotlight on the World Soccer Festival (you can guess what that is).


LG still pushes the G-Series as a gaming TV despite its more lifestyle focus, and I measured input lag remains quick at 12.9ms. All four HDMI 2.1 inputs support ALLM, VRR and 4K/120Hz.
PC gamers get a boosted 165Hz refresh rate with both AMD FreeSync Premium and Nvidia G-Sync included. There’s also Dolby Vision Gaming (4K/120Hz) and the HGIG standard, which covers off most of the gaming HDR formats aside from HDR10+ Gaming.


For further tweaking, press the Settings button when the TV is in its game mode, and the Game Optimiser pop-up allows for deeper customisation, including adjusting black levels or switching the Game Genre setting to optimise for specific game types.
Head to LG’s gaming portal and that has cloud gaming options in GeForce NOW (which supports 4K/120Hz in the cloud), Amazon Luna, Xbox app, Utomik, and Blacknut, while Twitch broadcasting is built in too.
If this feels like Déjà vu, then that’s because nothing much has changed on the connectivity front. There are four HDMI 2.1 inputs, one of which supports eARC for a sound system. Other HDMI 2.1 features include QFT to reduce latency during gaming and QMS, which eliminates black screens when switching to other HDMI sources.
The rest covers a headphone output, digital optical output, two RF aerials for broadcasts, Ethernet, three USB 2.0 inputs, and a CI+ 1.4 common interface slot.


That’s virtually the same as it’s been for the last few years, which is fine, though the Hisense UR9 drops a HDMI input for a DisplayPort, which is different from the accepted norm.
Wi-Fi 6E support has Google Cast, AirPlay 2, and WiSA (for audio) under its umbrella, while there’s also Bluetooth 5.3 streaming.
This is the second year of LG Display’s Primary RGB Tandem panels, and the G6 is upping brightness further.
This year, it boasts what LG calls its Hyper Radiant Colour Tech, and along with the Alpha 11 AI Processor Gen3, it says it can boost peak brightness by 3.9 times.
That sounds like the usual marketing mumbo jumbo that doesn’t mean much to most people. I wasn’t able to record the figures of the OLED65G5 as I didn’t have the necessary equipment, but now I do and the OLED65G6 is one of the brightest OLEDs I’ve tested. In its Standard mode it registers the following:
| HDR Window (%) | Nits |
| 2 | 2668 |
| 5 | 2499 |
| 10 | 2458 |
| 100 | 400 |
The OLED65G6 can go even brighter, registering above 3000 nits in Filmmaker and Vivid modes, while very briefly reaching 4000 nits in the latter. If you’re of the opinion that OLEDs aren’t bright enough to watch during the day, the OLED G6 rebuffs that. And I suspect that when the G7 turns up, it’ll be even brighter.
HDR support covers HDR10, HLG, and Dolby Vision, and LG says there’s Dolby Vision x ambient Filmmaker mode, though as I’ll get to later, I’m not entirely convinced this is the case.
The 4.2-channel system has 60W of power at its disposal. On paper, it’s the same as the OLED65G5 model, but LG has re-tuned it to sound warmer and offer more bass. As always, we’ll hear whether that’s the case.


LG’s α11 AI Sound Pro feature claims to up-mix Dolby Atmos sound to 11.1.2 virtual channels, and I’d recommend using it – it’s a much more expansive sound when enabled.
WOW Orchestra combines the TV’s speakers with an LG soundbar to create a bigger sound, but the OLED65G6 also supports Dolby Atmos FlexConnect and will work with the Sound Suite speaker system LG launched in 2026.
The G6 features AI experiences powered by Google Gemini and Microsoft Copilot, which you can mostly (if not completely) avoid. LG’s Shield security system protects your data through the cloud and in real-time.
There’s been a lot of kerfuffle surrounding the launch of LG’s new 2026 TVs. Reviewers have mentioned different issues, different firmware updates – it’s all been a slightly messy rollout.
On my part, the G6 OLED I received seemed to have firmware dating back to 2024, which I couldn’t believe and thought I’d misread, but I updated the TV anyway. I’ve not experienced the issues some have, but there is one issue I’d like to point out.
I don’t think the Dolby Vision x Filmmaker mode is working properly.
On its website, LG notes it is the ‘ambient’ version of Filmmaker mode, but this is either not true, or it’s not working. Dolby Vision x Filmmaker mode is dark – and it’s meant to be like that as it’s tuned for watching with the lights off. The problem is that when the TV asks you to watch in this mode, it doesn’t compensate for ambient light. In a bright room, it’s so dark that detail is missing. I’ve turned on the AI Brightness mode in the settings, and that’s had zero effect.
Dolby x Filmmaker
Dolby Vision Home Cinema
Whether it was night-time scenes in Civil War, Dune or Sinners; detail is lost to the darkness in a bright room. Switching to Dolby Vision Home Cinema fixed this, but every time the LG G6 OLED receives a Dolby Vision signal, it’ll ask to watch in Filmmaker mode. My advice is to decline unless you’re watching in a dark room.
Aside from that, the LG OLED65G6 looks terrific in virtually all its picture modes. It’s not a massive increase in a real-world sense from the G5, but it is better.
Colours are rich, punchy, varied, but also seem accurate out of the box. Compared to a Hisense UR9 sat alongside it for the majority of testing, colours, shades and tones always seem to strike a better expression on the LG, with a more convincing performance.
Sharpness and detail are excellent; the OLED65G6 wrings every last bit of detail from the dank corridors and rusty surfaces of the Romulus station in Alien: Romulus; better than the Hisense UR9, which is softer, not as sharp and not as defined.


Where the LG loses points is with dark detail, which, while good across the films I demo on the OLED65G6, there are instances where black levels are a little impenetrable. But overall, black levels are rich and rock solid. There’s not a raised black in sight, even in a brightly lit test room. The pixel-perfect control of black levels means OLED TVs still reign over backlit LCD TVs.
In Disney’s Soul when Joe falls into The Great Beyond, highlights are rendered brightly, the sense of contrast from the TV is greater than the Hisense UR9, the pixel-perfect dimming also means it’s more precise with the starfield, picking out the varying brightness of the stars clearly and sharply.


It’s even more notable with Interstellar as they travel through the wormhole into another galaxy. As the camera pans past stars, the LG picks up more stars – and therefore more detail – than is visible on the Hisense.
With HDR10 content, the LG can feature white tones that are a little less bright – especially the ‘Construct’ scene in The Matrix Resurrections where Neo wakes up in a white room. Full-screen brightness is an area where Mini LEDs still have the advantage.
The Vivid mode features colours that are punchy, pure and rich – a boost in colour volume over the Home Cinema mode with a wider range of colours, and a performance that’s more balanced than it has been in recent years.


Brightness is excellent, contrast is terrific, detail levels are excellent and motion is handled with few issues. The Vivid mode boosts brightness and colours in all the right places, and it does so without adding distracting noise or garish colours. There are moments where it is oversaturated, but this the best Vivid mode I’ve seen on an LG TV.
A brief note on the Game Optimiser mode. It’s a little too bright to my eyes, and seems to introduce some clipping (loss of detail) with bright sources.
While the LG G6 OLED handles HDR content impressively well, most tend to watch in HD rather than 4K. It’s a good thing the OLED65G6 continues its excellent performance in this area.
With a Blu-ray of Mad Max: Fury Road, colours strike the right look (the red-orange of the ‘wasteland’, the blue skies, the white tones of the clouds). The LG uncovers more detail than the Hisense UR9 with a clearer sense of sharpness and finer detail visible. The LG retrieves more detail in the characters’ clothing, revealing more of the wear and tear they’ve been through.


The same is true with a Blu-ray of Pacific Rim – colours are consistently better on the LG than on the Hisense, complexions feature more colour and life, and the dark detail performance is the opposite of its HDR picture, offering more insight into dark scenes than the Hisense.
Colours have more punch, solidity and range. It’s a very pleasing HD image.
With a DVD of There Will Be Blood, the LG handles noise well, although it doesn’t eliminate all of it; it balances noise reduction without affecting film grain better than the Hisense.


Sharpness and detail are good enough for a DVD source, and I noticed the LG picked out more detail with Plainview’s beard than the Hisense UR9 did. There’s a touch more definition on the LG, colours – again – seem more accurate, with a richer and punchier feel for colours.
LG’s taken the G6 OLED in a different direction with its sound, responding to customer feedback.
The issues ‘fixed’ with the G6 aren’t the ones I’d have gone for. While the G5 sported a thinner sound, it was clear and sharp, especially with the highs. The G6 carries more bass and a warmer tone, but the highs have dulled and it’s not as detailed.
The built-in system isn’t very loud at my usual listening levels, and has to be pushed to close to 80 to have an impact. You won’t want to listen to stereo programming with AI Sound Pro as the processing can make it sound harsh. If it’s a Dolby Atmos soundtrack, enable AI Sound Pro; otherwise, use Standard mode for everything else.


For stereo content, the Standard mode is a good choice. Watching The Capture on iPlayer, and it’s clear, with a big, broad soundstage, good bass, and decent dynamism.
Switch to Atmos in AI Sound Pro, and there’s a warmer tone with richer bass and a smoother performance. Despite the emphasis on more bass, the LG can sound a bit tubby at times –in Blade Runner 2049, the lows can sound muddled and soft, and the highs aren’t the sharpest.


With Civil War, the LG isn’t the most energetic, coming across as tepid and quiet at half volume. Pump the volume up and there’s slight distortion but regardless the action scenes sound sluggish. It’s fine but not exciting.
Dialogue is clear and, for the most part, natural, though there have been times when the warmth of the sound renders male voices a little bassy. Watching series two of Daredevil: Born Again, and there are moments where the tone of voices isn’t quite right.
Nevertheless, sound is spread across the screen, and at times you can hear effects pushed out from the frame, widening the soundstage even further.
When playing games on the PS5, the sound system goes for a sharper response, and I find it too crisp and sharp in Game Optimiser mode.
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It’s too soon to say whether this is the best OLED of 2026, but the LG G6 OLED delivers impressive picture across a range of sources
If the Filmmaker mode is meant to be adaptive, changing its performance with regards to the amount of light in a room, then it’s not working properly.
The G6 OLED is another excellent effort from LG. The picture quality is brighter, slightly more colourful, punchier, and feels like it’s more accurate.
The Dolby Vision x Filmmaker mode isn’t working as advertised in terms of its ambient function. It’s preferable to play in Dolby Vision Home Cinema in a room with lots of ambient light (if you’re in a dark room, Filmmaker mode is preferred).
Even though LG has given the sound system a retune, it still struggles with volume and is not the most exciting delivery. I also wish LG hadn’t locked all apps behind an account sign-up, either.
But the LG remains great for gaming, and there’s a wealth of entertainment options (if you get past the sign-up). RGB Mini LEDs are brighter, but they don’t offer the same level of contrast and control as far as black levels go. At least not yet.
Is it the best OLED? It depends on what you want. In terms of respecting the source, I’d say it’s the Sony Bravia 8 II. For sheer spectacle and mitigating reflections, it’s the Samsung S95H.
The LG G6 OLED finds itself in between those two, delivering accurate but great-looking HDR images without the slightly raised blacks of Samsung’s S95H.
LG’s best OLED yet? Absolutely, and a contender for one of 2026’s best TVs.
The 65-inch LG G6 OLED TV was tested over 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.
At the time of review, the LG G6 OLED is only available in 48, 55, 65, and 77-inch models.
| LG OLED65G6 | |
|---|---|
| Contrast ratio | Infnity |
| Input lag (ms) | 12.9 ms |
| Peak brightness (nits) 5% | 2499 nits |
| Peak brightness (nits) 2% | 2668 nits |
| Peak brightness (nits) 10% | 2458 nits |
| Peak brightness (nits) 100% | 400 nits |
| Set up TV (timed) | 240 Seconds |
| LG OLED65G6 Review | |
|---|---|
| UK RRP | £3099 |
| Manufacturer | LG |
| Screen Size | 65.4 inches |
| Size (Dimensions) | 1441 x 263 x 910 MM |
| Size (Dimensions without stand) | 826 x 1441 x 24.3 MM |
| Weight | 27.3 KG |
| Operating System | webOS |
| Release Date | 2026 |
| Model Number | OLED65G62LW |
| Model Variants | OLED65G66LS |
| Resolution | 3840 x 2160 |
| HDR | Yes |
| Types of HDR | HDR10, HLG, Dolby Vision, Dolby Vision x Filmmaker |
| Refresh Rate TVs | 48 – 165 Hz |
| Ports | Four HDMI 2.1, three USB, ethernet, optical digital out, CI+, two RF tuners |
| HDMI (2.1) | eARC, ALLM, VRR, 4K/165Hz, QFT, QMF |
| Audio (Power output) | 60 W |
| Connectivity | Wi-Fi, Google Cast, AirPlay 2, WiSA, Bluetooth 5.3 |
| Colours | Black |
| Display Technology | OLED |
YouTube officially announced that its in-app video sharing and messaging feature is now rolling out to the US, UK, Brazil, and Singapore, bringing the total number of supported countries to 40.
The feature is available to users aged 18 and older who are logged into a YouTube channel. The rollout is gradual, so it may not appear in your app immediately.

Once the feature is enabled for you, a messaging icon appears in the top right corner of the app. You can also share any video or Short directly from the Share button while watching.
The catch is that starting a conversation is not as simple as searching for someone. You have to send an invite link first, and that link must go out through a third-party app like WhatsApp, iMessage, or SMS. The other person then accepts the invite and gets added to your YouTube contacts. This extra step is designed to prevent spam and unwanted messages.
Once connected, you can send text messages freely, react to content in real time, unsend messages by long-pressing them, delete entire conversations, and block or report contacts if needed. The only media you can share inside the chat is YouTube content, including videos, livestreams, and Shorts. No images, GIFs, or files allowed.

YouTube had a direct messaging feature in 2017, but it was quietly killed off in 2019. Now, it’s back once again in a much bigger way.
The feature has already been available in over 30 European countries since March 2026. YouTube says the positive response from countries where the feature was already live drove the decision to expand. Recently, the platform also added three new podcast features, but they are only for Premium subscribers.
There was a time when smartphones rarely crossed the 5-inch mark. As the years have passed, though, screen sizes on smartphones have grown, with many devices now soaring past 6.5 inches. While there are still a handful of great compact phones, most mainstream devices are now designed around bigger screens that are generally better suited for content consumption and gaming.
Big smartphones also often pack in larger batteries, more powerful internals, and ample space for cooling. If you’re in the market for one, the good news is that you won’t have to look very hard. We’ve compiled a list of our favorite giant-screened smartphones you can buy in 2026. Since most devices — across different price points — sport screen sizes of 6.5 inches or more, we’re considering premium phones with displays measuring around 6.9 inches to be truly gigantic.
It’s worth noting that while foldables like the Galaxy Z Fold 7 technically unfold into tablet-sized displays, we’ve limited our picks to traditional candybar-style smartphones. This way, you still get to experience the perks of a larger screen without having to deal with the compromises that come with foldable smartphones.
OnePlus might not be a household name in the U.S., but it enjoys a very loyal user base owing to its mantra of producing flagship-level hardware at comparatively affordable price points. The company’s flagship for 2026 is the OnePlus 15 — a $900 offering that rivals the likes of the iPhone 17 Pro and Galaxy S26 Ultra in terms of performance. It also happens to sport a generous 6.78-inch LTPO AMOLED display, with thin, uniform bezels all around and a tiny notch to house the front-facing camera.
If you’re looking to maximize screen real estate for movies you’re watching or games you’re playing, the OnePlus 15 provides an excellent experience. The display’s hallmark feature this year is its ability to hit 165Hz in supported games. Being backed by the Snapdragon 8 Elite Gen 5 SoC, the OnePlus 15 is probably one of the most powerful smartphones you can buy currently that makes good use of its internals.
The display also supports HDR10+ and Dolby Vision and gets plenty bright outdoors with a peak brightness of 1,800 nits. Furthermore, OxygenOS remains one of the smoothest ways to experience Android. In our review of the OnePlus 15, we were particularly impressed with its 7,300 mAh silicon carbon battery, which lasted much longer than a single day in our test. The bundled 80W (or 120W in certain regions) SuperVOOC fast charger is simply the cherry on top.
At 6.8 inches, the Pixel 10 Pro XL by Google certainly lives up to its name. While Pixel smartphones aren’t necessarily known for their outright performance or endurance, they are a great option for those looking to enjoy Android in its purest form. Priced at $1,200, the Pixel 10 Pro XL features an LTPO OLED display that can hit refresh rates up to 120Hz. Google calls it a Super Actua display, which is just a fancy way of saying it can get really bright outdoors, with the display capable of up to 3,300 nits of peak brightness.
The bezels aren’t as slim as other flagships, but they’re uniform and are accompanied by a small enough notch for the front-facing camera. If you’re eyeing a Pixel, you’re likely doing it for the software experience and camera performance, both of which, as we’ve discussed in our review of the Pixel 10 Pro XL, are still among the best in the industry. Google promises up to seven years of major operating system updates, which include frequent Pixel Drops that introduce exciting new features.
Apple went from releasing one or two smartphones a year to maintaining an entire fleet of iPhones — from the affordable iPhone 17e to the design-focused iPhone Air. The top-of-the-line iPhone 17 Pro Max is the most powerful smartphone the company sells, and it also happens to be the largest. It sports a mammoth 6.9-inch Super Retina XDR OLED display with a peak brightness of 3,000 nits. There’s support for HDR10 and Dolby Vision, and since this is a ProMotion panel, you get a 120Hz refresh rate, too.
Surprisingly, even with a much bigger notch that houses the Face ID scanner in addition to the front-facing camera, the iPhone 17 Pro Max boasts a higher screen-to-body ratio compared to the Pixel 10 Pro XL, thanks to its ultra-slim uniform bezels. The notch does get in the way when viewing widescreen movies, but human eyes are remarkably good at tuning it out in a few minutes. Besides, the Dynamic Island housed in that notch offers some genuinely useful ways to interact with Live Activities on the iPhone.
Pricing starts at $1,200, which gets you Apple’s most powerful smartphone chip, the A19 Pro. Aside from its screen and performance, our review of the iPhone 17 Pro Max also found that its triple-camera setup is great at capturing natural-looking photos and that the phone’s large battery lasts all day. Apple is also great with OS updates, with the iOS 27 update scheduled for fall 2026 promising performance and stability improvements and an updated version of Siri.
If you’re in the market for a high-octane Android phone with reliable cameras, the Galaxy S26 Ultra is difficult to beat. It’s powered by the Snapdragon 8 Elite Gen 5 chip and houses a quad-camera setup on the rear, including a 200-megapixel primary lens, two telephoto lenses, and an ultrawide sensor. Also impossible to ignore on every Galaxy S Ultra flagship is the display. This time, you get a giant 6.9-inch 120Hz AMOLED panel with a peak brightness of 2,600 nits. The display has slim bezels and a tiny hole-punch cutout for the front-facing camera.
The Galaxy S26 Ultra also offers an anti-reflective coating, which helps reduce glare when using it under harsh lighting. We’ve reviewed previous generations of the Galaxy S Ultra before, and although the changes have been pretty incremental since, it continues to offer some of the best multimedia experiences you can get on a smartphone.
Samsung’s flagship also has something that every other mainstream smartphone, irrespective of screen size, lacks — a built-in stylus. The S Pen is a great way to make the most of the Galaxy S26 Ultra’s massive display for taking notes, doodling, or simply editing images with greater precision. On top of that, Samsung’s Galaxy AI features continue to grow, and the manufacturer promises up to seven years of OS updates as well. Pricing starts at $1,300, making it as expensive as it is big.

A common complaint about the rise of commercial AI services is that they are power-hungry and thus damage the environment. If this concerns you then [Squeezlabs] has the solution, in the form of an AI powered by a handcrank.
The guts of the system is a Raspberry Pi 5 running llama.cpp and appropriate speech conversions, but it and the Large Language Model (LLM) side are not the most interesting part of this system. The power comes from a hand crank charger of the type you’ll see for sale on the likes of AliExpress, designed for USB charging. That in itself is not enough to power the Pi though, as upticks in the processing can cause brownouts that crash the machine. Thus there’s a custom-made capacitor board to take up the strain, and even with that the handle resistance varies significantly depending on the computing load.
We can see that this is not the ideal way to experience an LLM, but maybe that’s not the point. It does however point towards a future in which the power demands of processing decrease and less effort is required. Meanwhile, this is by no means the first hand cranked project we’ve seen.
Depending on the car you have and the region it’s sold in, you may have spotted a little snowflake button sitting somewhere near your gear shift. You might be wondering what it does, and even more so if you’ve also got another snowflake button in your car, sitting near the climate controls. The short answer is that it turns on a dedicated Snow Mode, a driver setting that tunes your car for snowy and slippery conditions.
In that kind of weather, it’s very easy for your wheels to spin too quickly and lose traction, so to make up for that, Snow Mode makes your car slower to react when your foot lands on the accelerator. At the same time, the transmission changes its habits, shifting into higher gears earlier than normal – so early, in fact, that it sometimes pulls away in second gear rather than first. Even the traction control, which you should never turn off, gets jumpier and steps in sooner, especially when it senses a wheel losing grip. In Hyundai’s version (available on the Tucson, Venue, and Santa Fe), the wheel spin is checked every fiftieth of a second, and if one tire starts to slide, it quietly shuffles torque over to the others, helping keep you pointed where you actually meant to go.
Of course, plenty of other brands offer the mode besides Hyundai. On Toyota and Lexus, you actually get proper buttons. Hop into a Highlander, for instance, and you’ll see a Snow button right on the center console, sometimes badged ECT Snow. Lexus uses a near-identical button or switch. Subaru runs its own take too, only it badges the whole thing X-Mode instead of Snow. It’s actually mostly older cars that slap the snowflake symbol on the button, though, like the Saturn Astra.
On most other brands, the snow mode is tucked in alongside their other drive modes. Hyundai routes it through Drive Mode Select, while Ford spins it onto a rotary dial, where it’s sometimes called Slippery Mode. Then there’s Land Rover, which folds it into a combined Grass, Gravel and Snow setting. The mode may be badged differently as well, like Winter or a plain W. On newer models, you may not get any physical button or dial at all and might have to dig through the touchscreen menus to find it. However it’s presented, it basically works the same way across companies, mostly softening the throttle and reining in wheelspin.
As for when to use it, the rule of thumb is pretty simple. It’s meant to be flipped on the moment the road turns nasty, whether that’s fresh snow, packed ice, or freezing rain. It also helps when you’re crawling up a slick hill. And some folks even use it in mud, if there’s no dedicated mode for that, since the same low-grip logic applies. The setting is usually pretty flexible too, and you don’t necessarily have to be parked to switch it on. Volkswagen, for one, lets you jump into Snow Mode mid-drive.
As for the other side of things, the mode doesn’t do anything that’d make it unsafe under normal conditions. Still, running it then is pointless since it dulls your acceleration and quietly eats into your fuel economy, so it’s best to flip it off once the pavement is dry. Just keep in mind that it isn’t magic. All it really does is make your car a bit less excitable so it doesn’t get away from you. It won’t save bald tires or rescue you off a sheet of ice. For those more extreme cases, you’d be better off fitting your tires with some of the best tire chains.
Earlier this year, FIFA named YouTube a preferred partner for experiencing the World Cup 2026. On Wednesday, the next step in this partnership was announced, with the inaugural YouTube FIFA Creator Cup. It’s an exhibition match that’ll feature popular content creators from the platform, as well as athletes and celebrities. It’ll take place in New York City on July 12, ahead of the FIFA World Cup Final.
The Creator Cup is the latest step in FIFA’s moves to broaden soccer’s appeal through creator-involved content, potentially reaching the platform’s digital audience. The creators, athletes and celebrities competing in the match will be announced closer to the date.
Being a FIFA preferred partner means YouTube will, for the first time ever, broadcast unique World Cup-themed coverage — including the ability for viewers to stream the first 10 minutes of each game live on approved creators’ channels.
The roster of approved creators includes: Anwar Jibawi, Ara y Fer, Ashley Alexander, Celine Dept, Courtreezy, Deestroying, Haley Kalil, Horchata Soto, Howieazy, Jeenie Weenie, Jenny Hoyos, Jesser, Kelly Wakasa, Kika Kim, KYLECTRIX, Kwak Yoongy, Max the Meat Guy, Neagle, Noor Stars, The Sidemen, Sonrixs, TokaiOnAirRYO, Viniblogger and Zhong.
According to the platform, these creators have collectively amassed more than 350 million subscribers, all specializing in different content niches from sports analysis to food features, social challenges and travel videos. This means you’ll have an array of options to choose from for unique programming featuring your favorite YouTube personalities, all while still getting your World Cup fix.
A YouTube spokesperson didn’t immediately respond to our request for further comment.
Algorithms. Beauty filters. Endless scrolling.
The case over “social media addiction” against Meta and Google in a California courtroom ultimately came down to these elements, legal experts say, and what a jury found was negligence on social media companies’ part when designing apps where tweens and teens would come to spend roughly one-fifth of their day.
Joseph McNally, former federal prosecutor and director of Emerging Torts and Litigation at McNicholas & McNicholas in California, says jurors agreed with the novel legal argument that Meta and Google were negligent in their design of Instagram and YouTube, respectively, contributing to the mental health problems of the plaintiff. Parent companies of Snapchat and TikTok settled with the plaintiffs before the trial.
McNally and other experts tell EdSurge the verdict will affect thousands of similar cases and influence how tech companies roll out their features — and that the legal tussle over where liability falls when it comes to youth mental health isn’t over yet. With the social media giants vowing to appeal, the case could end up before the U.S. Supreme Court.
The impact left by the presentation of internal company emails was undeniable, McNally says. Internal Meta communications showed that employees raised alarms about the potential harm to teen girls posed by a beauty filter. Documents also showed they knew that users much younger than 13 — the minimum age required for sign up — were on their platforms, he adds.
“They looked the other way because — the plaintiffs argued — they had a long-term benefit, long-term value of hooking those users early,” McNally says. “I think that the emails painted a picture of a company whose own employees were raising concerns about features in the product, and the plaintiff effectively used those emails to show that they knew about the risk of the product.”
If Meta and Google had settled, the court wouldn’t have had cause to grapple with the legal question of whether social media companies can be held liable for harm caused by their design. But from the defense’s perspective, tech companies had been solidly protected by Section 230 in the past, explains Princess Uchekwe, corporate attorney and founder of The Chief Counsel in New York. That’s the part of the 1996 Communications Decency Act that shields websites and online platforms from being sued over content posted by users.
Just one day before the California verdict, a New Mexico jury found Meta liable in a $375 million consumer protection lawsuit over its failure to protect children from social media harm on its platforms.
“What the lawyers for the plaintiffs were arguing is, essentially, it’s not the content that we have a problem with,” Uchekwe says, “It’s the fact that when people use your platform, you have implemented certain features that make it almost impossible for people to leave. You can scroll into the bottomless pit of hell on Instagram, and nothing ever tells you, ‘Maybe you should pause.’”
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The $6 million in damages is a drop in the bucket for the two social media giants, but McNally says there are potential benefits to appealing the ruling anyway. There are thousands more consumer lawsuits against social media companies around the country, with school districts joining as plaintiffs.
One is that an appellate court might find that the long-time protections that social media companies have relied on should have come into play. The verdict barreled through the defenses raised by Section 230, which protects platforms from claims of harm caused by third-party content. It’s a policy that makes a free and open internet possible.
“[Section] 230 has resulted in the dismissal of hundreds of lawsuits over the years where they would’ve otherwise faced hundreds of millions of dollars in liability,” McNally says. “An appeal [based on] Section 230, which is a federal statute, could make its way up to the Supreme Court, who would have the final word on the scope. [If the] court of appeals remanded it back to the trial court and said, ‘Look, Section 230 applies,’ it would essentially bar these claims [of harm caused by the design].”
Uchekwe says failure to win an appeal could be “almost devastating” for tech companies due to the sheer amount of damages they could have to pay across thousands of similar lawsuits, along with the cost of restructuring how their apps function. That could mean rethinking features like targeted algorithms, the ability to endlessly scroll and notifications that draw users back into the app.
“Not only social media companies,” Uchekwe says, “all tech companies that have implemented things like that, especially if they have children as a base, are going to have to start reconsidering.”
There’s also a First Amendment case to be made, McNally adds. Some legal experts, including UC Berkeley law professor Erwin Chemerinsky, argue that the “addictive” algorithms that came under fire during the trial are protected free speech. If that argument succeeds on appeal, it could stop the legal cases arguing product liability in their tracks.
“If the Supreme Court overturned it based on Section 230 and the First Amendment, it’s unlikely there’s going to be a new trial. It would likely be dismissed,” McNally says. “I won’t say that with certainty, but the prospects of dismissal would be pretty good for the defendants.”
McNally says the fact that a jury ruled Meta and Google’s app features were “unreasonably unsafe for its users” creates challenges for them in the swaths of similar lawsuits they’re facing. Plaintiffs in those cases still must prove a direct link between the social media companies and the harm they’re alleging.
“I think it’s going to result in some cases probably moving closer to settlement, but in all those cases, I think that the defendants are going to be looking closely at the causation issue,” McNally says. “There’s probably other cases out there where the evidence of causation is not as strong, and those cases may be harder for a plaintiff to get across the finish line.”
Uchekwe predicts that if the verdict sticks, tech companies — especially those with users who are under 18 — will be forced to retool their app features to encourage users to spend less time on their platforms. That could hurt the companies’ ad revenue and their ability to gather data on users.
“Undoing some of those things may decrease their bottom line, but I’m not sure it will do it to the extent that it’s detrimental to their revenue,” Uchekwe says. “If you weigh the benefits of putting these safeguards in for children versus your revenue, I never think that your profit should come at the expense of a generation of people.”
Nadia Tamez-Robledo (@nadiatamezr) is a reporter covering K-12 education for EdSurge with focuses on student and teacher mental health and changing demographics. You can reach her at nadia [at] edsurge [dot] com.
William Shakespeare wrote “The Tragedy of Hamlet, Prince of Denmark” (which, for obvious reasons, is typically referred to as just “Hamlet”) somewhere around 1600. And for centuries, the age-old philosophical question was, “To be, or not to be?” Had ol’ Willy been born in modern times, though, that question might instead have been, “To Costco, or to Sam’s Club?” Because if we’re being honest, that’s a far more important question, as it directly impacts our wallets on a near-every-day basis.
Most of us who visit these big-box stores are looking for a way to save money. When we leave pushing two carts full of stuff we didn’t know we needed in the first place, though, did we really save anything at all? Consumerist anxieties aside, believe it or not, both stores opened in 1983 and began the Costco versus Sam’s Club rivalry we still have today. They’re almost like a modern-day Hatfields and McCoy, but the preferred weapon of choice is bucks over bullets.
Technically, Sam’s Club (founded by Walmart’s Sam Walton) struck first, flinging open the doors to its first members-only store in Midwest City, Oklahoma, in April of 1983. Costco opened its first store in Seattle, Washington, just a few months later, in September of that same year. While both started in the same year, the story of these two economic juggernauts (and their rivalry isn’t that clean and simple.
A store called Price Club opened in 1976 in what had once been an airplane hangar on Morena Boulevard in San Diego, California. Founded by Sol Price and his son, Robert, it’s considered the world’s first membership warehouse club, and initially catered only to business customers in need of supplies and wholesale items. Jim Sinegal was the executive vice president of merchandising, distribution, and marketing for this lone warehouse store, which took off and thrived for several years.
In April 1983, Walmart’s Sam Walton launched his competing chain, Sam’s Club. Then, Jim Sinegal, taking what he had learned from Price Club, teamed up with Jeffrey Brotman to open the first Costco in September of the same year — and the big box store war truly began. A decade later, Sam’s Club was the dominant leader, raking in $14.7 billion annually at its roughly 400 stores. Second, with 94 stores, was Price Club, while Costco’s 103 stores placed it in third.
Realizing they wouldn’t be able to win the war by maintaining that status quo, Price Club merged with Costco in 1993, with the new enterprise relaunching as PriceCostco. The new company quickly generated $16 billion annually from 206 stores, edging out Sam’s Club, and eventually renamed itself Costco in 1997. Today, Sam’s Club and Costco are locked in a seemingly never-ending battle, with the two companies vying to offer the better deal on tires, televisions, and other goods to customers.
Apple has terminated support for AFP in macOS 27, effectively killing off the Time Capsule. However, affected owners might be able to revive their hardware.
A long-discontinued network storage device, Time Capsules gave Mac users a way to back up over a home network using Time Machine. While the hardware hasn’t been available for quite a few years, support continued up to macOS 26.
However, as warned in macOS Sequoia 15, support for the Apple Filing Protocol, AFP, was being deprecated and removed in a future macOS release. That turned out to be macOS 27, thanks to a notice in macOS 26 warning about the end of support for AirPort Disk and other Time Capsule disks.
This is an issue that affects Time Capsule specifically, as it relies on AFP for its connectivity. While Time Capsule does include support for SMBv1 (Server Message Block), it was only supported in macOS 26 as a deprecated measure.
From macOS 27 onwards, Time Machine will require hardware using SMBv2 or SMBv3. This will mean it will work with modern NAS devices, but not Time Capsules.
While Time Capsules in their normal state won’t work for Time Machine, there are efforts to try and add the required functionality to the hardware.
A GitHub project we wrote about in April, titled TimeCapsuleSMB, aims to update the outdated SMB layer with a newer one, while keeping Apple’s firmware untouched. This way, Apple’s file sharing stays enabled, so your internal disk, or connected USB ones, keep auto-mounting and working on the forthcoming macOS 27.
Really, it’s a modern Samba build to manage file sharing that’s loaded onto the Time Capsule. It runs Samba 4.24.3 server, advertises itself with Bonjour, and accepts authenticated SMB3 connections.
At that point, assuming the project ever works, you can connect to the server using a normal SMB URL, and then use it for Time Machine backups.
When we first wrote about the project, there were concerns that it was more a proof-of-concept than a full project. However, at the time of publication, there have been many commits to the project, including some that are just hours old.
According to the project’s requirements, you need to use a Mac running macOS 14 or later, or a Linux device on the same local network as the Time Capsule. You also need the password for the Time Capsule, as well as Homebrew, Python 3.9 or later, and smbclient installed locally.
The instructions to install it are quite complex, which puts the project out of reach of the typical user. However, near the top is a “Quick Start” option that relies on just five commands, streamlining the process.
As it stands, Time Machine users have few choices in how they maintain their backups. They could look for an external drive or invest in a NAS, as the most obvious, if expensive, solutions.
But, with a project like TimeCapsuleSMB, there’s a chance of reviving an underappreciated part of Apple’s former product line.
SECURITY
The CEO thought this was the best way to deal with some email issues
PWNED Welcome, once again, to PWNED, the weekly screed where we highlight those who did not do the deed of securing their systems. If someone left their passwords or their access exposed, we will be writing about them here.
Have a story about someone leaving a gaping hole in their network? Share it with us at pwned@sitpub.com. Anonymity is available upon request.
This week’s terrifying tale of poor security hygiene comes courtesy of Luke Irwin, CEO and principal consultant at Aegis Cybersecurity. He’s been in the industry for more than a quarter of a century and he knows where the bits are buried.
At one point, Irwin consulted for a company that was a large national facility services organization, a 2,000-employee firm that provided cleaning, security guards, industrial abseiling (cleaning the facade), and other things that other large businesses need to keep their physical plants running smoothly.
The CEO had one very peculiar idea about how to keep his own house in order: he wanted to have access to every one of his employees’ login credentials.
The chief executive had an Excel spreadsheet sitting right on his desktop with a complete list of all the employee usernames and passwords. Let that sink in for a second. One person had all the keys to the castle in a single, easily accessible file.
In any decent security setup, no one in the company has access to anyone else’s password. Even the head of the IT department should not know another employee’s password. I say this as someone who used to work for a company where the IT department would ask you to DM them your password if you had computer problems.
But this company’s CEO wanted the usernames and passwords for reasons I’m sure any of his employees would appreciate: so he could go into their email accounts! He had an experience where one colleague had sent secret information to the entire company via email and he had spent the evening logging into every single account and deleting the message before anyone could see it.
Just in case other messages were sent in error in the future, the CEO wanted the ability to log into all the relevant accounts and delete them himself. Perhaps for the same reason, he would not allow MFA (multi-factor authentication), because that would have kept him out of people’s inboxes. He was adamant even though the company had been the victim of a ransomware incident previously.
“Despite repeated advice, he held that position for around four months, until we were able to demonstrate that the IT team could remove messages centrally using fairly simple administrative commands, without needing everyone’s password,” Irwin said.
Even after getting rid of the Excel sheet of shame, the boss still refused to turn on MFA and the company subsequently suffered two data breaches involving sensitive client data.
Unfortunately, this company wasn’t the only one that Irwin worked with where the management had something against MFA. Another client, this one in the medical sector, was opposed to multi-factor authentication because it “made things just a little too hard” for the external consultants they were using to access their systems.
During the time that Irwin worked with that company, they got lucky and no one breached them. But since then, he’s seen signs that their data was available on the dark web. No word on whether they ever switched MFA on.
There’s plenty to learn from Irwin’s two clients, but it’s all pretty obvious. First, don’t let anyone, even administrators or CEOs, have other people’s passwords. If someone has to get into another person’s email account, have IT use administrative access. Second, always enable MFA, preferably MFA with passkeys. ®
Chaotic Eclipse dropped RoguePlanet, their seventh Windows zero-day, hours after Microsoft’s record Patch Tuesday. It grants SYSTEM access on fully patched machines.
Chaotic Eclipse, the security researcher Microsoft threatened with criminal prosecution, has published a seventh Windows zero-day exploit. Called RoguePlanet, it grants attackers SYSTEM privileges on fully patched Windows 10 and 11 machines. The researcher released the proof-of-concept hours after Microsoft shipped its June Patch Tuesday update, which fixed a record 200 vulnerabilities.
RoguePlanet exploits a race condition in Windows Defender’s internal processing logic. Specifically, it is a Time-of-Check to Time-of-Use (TOCTOU) vulnerability. An unprivileged user can redirect a file operation performed by Defender, which runs as SYSTEM, to execute attacker-controlled code at the highest privilege level.
“The exploit is a race condition, so it’s a hit or miss,” the researcher said. “I have managed to get a 100% success rate on some machines while it struggled to work on others.”
Security firm ThreatLocker confirmed the flaw works and published a video demonstration. “Our initial analysis confirms that the RoguePlanet exploit is viable and performs as described,” said CEO Danny Jenkins. He added that application allowlisting can prevent the exploit from executing.
The proof-of-concept was published on a self-hosted Git repository after the researcher said Microsoft had both GitHub and GitLab repositories hosting earlier work removed. This is part of an escalating dispute. Microsoft invoked its Digital Crimes Unit against the researcher and revoked access to their Microsoft Security Response Center account.
Chaotic Eclipse has disclosed seven zero-days in a matter of months: BlueHammer, RedSun, UnDefend, YellowKey, GreenPlasma, MiniPlasma, and now RoguePlanet. Microsoft’s June Patch Tuesday fixed two of them, GreenPlasma and YellowKey, but the rest remain unpatched. The researcher says the disclosures are retaliation for how Microsoft handled the process.
“They mopped the floor with me and pulled every childish game they could,” the researcher wrote. “I was wondering if I was dealing with a massive corporation or someone who is just having fun seeing me suffer.”
The timing is pointed. Microsoft’s June Patch Tuesday was its largest ever, fixing 200 vulnerabilities including 33 rated critical and three publicly disclosed zero-days. Analysts attribute the surge in part to AI-assisted code auditing, which is finding vulnerabilities faster than defenders can patch them. RoguePlanet arriving hours after the record update underscores the gap: even the biggest patch cycle in Microsoft’s history was immediately obsolete for anyone running Windows Defender.
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