Every new application, API, and automated workflow adds identities that need oversight, yet most organizations lack a single source of truth for who has access to what. IntegraTRACE, founded by software engineer Steve Emmanuel, provides a SOC 2 Type II compliant identity visibility platform that centralizes human, non-human, and agentic identity data across cloud environments. The company is expanding from North America into Europe and Asia.
Enterprise technology has become significantly more interconnected over the past decade. Cloud platforms, automation, artificial intelligence, and software integrations have allowed organizations to operate with greater speed and flexibility, but they have also made understanding digital access far more complicated.
Every new application, automated workflow, and API introduces more identities with larger scope that require oversight, making visibility increasingly difficult as technology ecosystems continue to expand. A report shows that identity-based attacks accounted for nearly 1 in 3 intrusions observed in 2024, with attackers increasingly relying on valid accounts and stolen credentials as initial access methods.
Steve Emmanuel, CEO and founder of IntegraTRACE, witnessed that shift firsthand throughout more than a decade in software engineering. Beginning as a developer before advancing into technical leadership roles, he found that every step into larger organizations brought greater complexity. Teams expanded, cloud environments grew, and new applications were introduced, yet one challenge consistently remained.
“The biggest misconception is that somebody is keeping track of everything,” Emmanuel says. “Engineering assumes security has the answers. Security assumes engineering has the answers. Everyone believes someone has the complete picture, but very often there isn’t a reliable source of truth.”
Those experiences ultimately inspired the creation of IntegraTRACE, a SOC 2 Type II compliant identity visibility platform designed to help organizations understand how human, non-human, and agentic identities interact across cloud environments and enterprise applications. Rather than focusing solely on authentication or access management, Emmanuel explains that the company’s objective has been to provide organizations with a centralized view of digital identities as enterprise infrastructure becomes increasingly distributed.
From the beginning, Emmanuel wanted the platform to solve practical customer challenges rather than pursue features simply because they were popular. He explains that customer feedback has played a central role in product development, allowing the engineering team to respond quickly as cloud environments and identity ecosystems continue evolving.
According to Emmanuel, one of the most common responses from customers is realizing how much identity information had been dispersed across separate systems. Centralizing that information provides a clearer picture of access across the organization and helps surface potential risks before they become larger security concerns.
“Visibility changes the conversation,” Emmanuel says. “When organizations can see every identity and its level of access in one place, they gain insights that were previously difficult to obtain.”
From his perspective, customers frequently identify over-privileged accounts, dormant credentials, and permission structures that would have taken weeks or even months to uncover through manual reviews. Bringing those insights together into a centralized view allows security and engineering teams to spend less time gathering information and more time addressing potential risks.
IntegraTrace
He credits much of the company’s early growth to maintaining a close relationship with customers. Rather than following lengthy development roadmaps, the engineering team regularly incorporates customer feedback into the platform, often delivering requested improvements within weeks. Emmanuel believes that approach has helped ensure every product enhancement is tied to a practical business need.
“We’re building something people genuinely need,” he says. “When customers tell us there’s a problem slowing them down, we want to solve it quickly. That feedback continues to shape how the platform evolves.”
Looking ahead, Emmanuel says the company’s ambitions extend well beyond cloud infrastructure. Following early adoption across Canada and the United States, IntegraTRACE is preparing for expansion into Europe and Asia while broadening its visibility capabilities into HR systems, financial applications, and other enterprise software where identities continue to multiply.
His long-term vision is to make identity visibility a foundational layer across an organization’s technology ecosystem. As businesses continue adopting AI, automation, and increasingly connected applications, Emmanuel believes understanding digital access will become as important as managing the systems themselves.
“The organizations that adapt most successfully won’t necessarily be the ones with the most security tools,” Emmanuel says. “They’ll be the ones that have the clearest understanding of every identity operating across their business and the confidence to act on that knowledge.“
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.
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.
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.
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.
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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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.
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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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.
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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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
Excellent picture
Approachable interface
Quick to assemble
165Hz for PC gamers
Impressive upscaling
Need an LG account to access apps
Bigger sizes offer brighter performance
Review Price:
£2999
Hyper Radiant Colour Tech
Brighter, more colouful pictures
VRR
Up to 165Hz with PC games
AI
Google Gemini and Microsoft Copilot
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.
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.
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.
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.
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.
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.
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.
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.
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.
Great picture, better than expected sound and the usual competence when it comes to smarts and features. It’s hard to knock the OLED65C6.
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.
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.
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.
| 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 |
| 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 |
Need some help with today’s Mini Crossword? It’s one of those tricky ones, where three clues all depend on each other. Read on for all the answers.
1A clue: With 8-Across and 1-Down, grow from your own mistakes
Answer: LIVE
5A clue: Video game section
Answer: LEVEL
6A clue: Figure skating duos
Answer: PAIRS
7A clue: ___ Poupon (mustard brand)
Answer: GREY
8A clue: See 1-Across
Answer: AND
1D clue: See 1-Across
Answer: LEARN
2D clue: Like the outfield walls of Wrigley Field
Answer: IVIED
3D clue: Extremely
Answer: VERY
4D clue: Letters capitaLized in this cLue
Answer: ELS
5D clue: Sports org. for Nelly Korda
Answer: LPGA
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
Samsung has largely stuck with traditional designs for its Galaxy Buds lineup over the years, with the bean-shaped Galaxy Buds Live standing out as the one truly radical departure. But that appears to be changing, as Samsung experiments with designs its rivals have embraced for years. Just a day after leaked renders offered an early look at the clip-on Galaxy Buds On, a new leak has shed light on another upcoming pair of Galaxy Buds targeted at gym-goers and athletes.
According to SamMobile, Samsung is working on another pair of buds internally codenamed “Buds Canal 5.” Leaked renders suggest that they may be aimed squarely at users who want earbuds for workouts and running rather than everyday listening.
The renders show flat ear hooks paired with an ear tip that sits in the ear canal, a layout previously seen in countless other fitness-focused earbuds already on the market. It’s not immediately clear if the tips form a full in-ear seal for stronger noise isolation or a half in-ear fit that trades isolation for a more open, breathable feel.
Either way, the hook itself is the highlighting feature. It’ll help keep the earbuds in place during physical activity, something no other earbuds in Samsung’s current lineup are really designed to do. The leak doesn’t reveal any details beyond the design, so it’s unclear whether Samsung plans to include features like active noise cancellation or a dust and water resistance rating.
Samsung’s current earbuds catalog sticks to one traditional stem-based design, be it with silicone tips, like the Galaxy Buds 4 Pro, or without them, like the regular Buds 4. With the upcoming Galaxy Buds On, Samsung will cater to buyers who prefer awareness over isolation, leaving a gap for those wanting a pair of earbuds that won’t fall out when they go for a jog or to the gym.
The ear hook design will fill that gap and help Samsung better compete with other brands in that segment. If you’ve been holding out for Samsung earbuds that won’t fall out mid-run, this is worth keeping an eye on. Just don’t expect an announcement anytime soon. Samsung hasn’t made anything official, and there’s still no word on specifications, pricing, or even what they’ll ultimately be called.
HOVERAir just revealed Versa, a camera that lives in two worlds at once. Hold it and you get a compact, three-axis stabilized shooter small enough for a pocket. Snap on a set of protected wings and the same module lifts off, follows you, and films from the air without a controller or any flying skill.
In the hand, it functions similarly to handheld gimbal cameras that content creators are already accustomed with. You have a built-in screen to preview and check your shots right there on the spot. The 3-axis gimbal keeps motion smooth whether you’re walking, sprinting, or simply turning, and it’s really useful. Their papers indicate that the image processor is well-tuned for recording strong dynamic range, which should result in clean colors in bright city streets, deep shadows, and even decent low-light performance after the sun begins to set. For the time being, the exact sensor size and resolution remain unknown.
The real magic happens when you transform it. You can quickly and easily attach the camera module to a flyable frame in one motion. The propellers are carefully stored in protective cages, as they have been with previous models. Once attached, the device transforms into a completely autonomous camera capable of taking off from your palm and flying away on its own. On-board systems take over, including an AI tracking engine that keeps your subject right in the middle of the frame. You get a variety of automated cinematic moves, like follow, orbit, zoom out, bird’s eye view, and many more that fans of their past cameras will recognize and enjoy.
There is no need for a remote or even a practice session because the system will just pick up the person in front of it and follow the chosen course on autopilot. When it’s finished, it gently flies back into your waiting hand. The module can then be removed and used as a standard handheld camera with no difficulty. However, one notable mode goes above and beyond. In 3D Worlds, the camera whizzes around the environment in a precise 360-degree circuit, taking a series of stills and stitching them together into a 3D model that you can flip around on your phone or computer to share. HOVERAir explains that because this technology relies on image stitching rather than fancy laser scanning, it is now best suited to interior or small outdoor locations.
AI even joins in on the fun when it comes to composition, as the system scans the environment, offers a better location for the camera, and then applies an intelligent crop after the shot is locked in. The goal is to get professional-level framing without the hassle. HOVERAir spent years honing the concept of a self-flying camera, beginning with the original Hover Camera, progressing to the X1 series, which included palm launches and auto-tracking, and the waterproof Aqua for aquatic activities. Versa just takes that and folds the handheld and airborne responsibilities into a single gadget. Earlier models stayed under the 250g mark, avoiding all those bothersome registration regulations in many countries; whether Versa will be able to follow suit will be determined once the exact specs are released.
Price and availability are currently unknown. The company is still gathering interest on its website and promises to provide more technical information soon. Until then, it’s clear to see what’s in store: a single little camera that you can hold in your hand for everyday videos or leave on the ground and film from the air as needed.
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