Looking for the most recent regular Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle and Strands puzzles.
Today’s Connections: Sports Edition is a mix of a little bit of everything. It helps if basketball is your game. If you’re struggling with today’s puzzle but still want to solve it, read on for hints and the answers.
Connections: Sports Edition is published by The Athletic, the subscription-based sports journalism site owned by The Times. It doesn’t appear in the NYT Games app, but it does in The Athletic’s own app. Or you can play it for free online.
Hints for today’s Connections: Sports Edition groups
Here are four hints for the groupings in today’s Connections: Sports Edition puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.
Yellow group hint: Don’t keep playing!
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Green group hint: Smash that basketball.
Blue group hint: Hoopster winners.
Purple group hint: Goldy Gopher is another one.
Answers for today’s Connections: Sports Edition groups
Gaming laptops aren’t getting any cheaper, and HP seems to have decided that fighting rising hardware costs head-on isn’t the answer. Instead, the company is reportedly exploring something different: letting gamers rent their laptops instead of buying them outright. While the service has actually been available for a couple of months, it’s been brought into the notice again owing to the shift in the market.
HP
HP seems to be experimenting with subscription-style access to gaming machines, where players pay a monthly fee to use high-end laptops rather than dropping a large upfront sum. The idea is simple on paper. Instead of spending thousands on a new gaming rig, you spread the cost out like a Netflix plan, with HP handling upgrades, servicing, or replacements behind the scenes.
For some players, that could lower the barrier to entry. A powerful gaming laptop becomes a smaller monthly commitment rather than a major one-time purchase. It also means access to newer hardware more frequently, which is appealing in a space where GPUs and CPUs age fast. At a time when memory prices and component shortages are pushing system costs higher across the industry, the rental pitch might feel practical.
Renting your rig is convenient, but is it the future you want?
But there’s a bigger shift happening here that’s worth pausing on. Renting hardware fits neatly into a broader tech trend where ownership slowly gives way to subscriptions. First it was movies and music, then software, and now even games through cloud services. With platforms like NVIDIA GeForce Now and Xbox Cloud Gaming, players are already streaming titles they don’t locally own. HP’s approach pushes that one step further: you might not even own the device running them.
HP
On the one hand, it’s flexible and potentially cheaper in the short term. On the other hand, it means you’re effectively paying forever. Stop the subscription, and both the laptop and access disappear. No resale value, no long-term asset, and no tinkering or upgrading on your own terms. For budget-conscious gamers, renting could make sense as a stopgap. But if this model becomes the norm, the industry might quietly move from “buy and own” to “subscribe and borrow.” That’s convenient, sure, but it also changes what gaming hardware really means.
So while HP’s rental idea may solve today’s pricing crunch, it also raises a bigger question: do you want your next gaming rig to be yours, or just temporarily checked out?
Apple TV going streaming-first with every 2026 movie feels risky, especially with potential Barbie, Marty Supreme, and Karate Kid-sized hits all coming
Apple TV has a slimmer-than-usual lineup of new movies on the way this year, and while that’s disappointing in itself for us film buffs, what’s even more notable is the lack of theatrical releases that have been announced.
If you saw my roundup of new Apple TV movies and shows coming in 2026 last week, you’ll already know that the studio doesn’t have a blockbuster-worthy film slate either. For instance, how do you release a movie about one of Mattel’s most popular kids’ toys and not expect even a sliver of the same reception that Barbie had?
Greta Gerwig’s film had been instrumental in revitalizing the flagging number of cinema-goers, thanks to a well-timed release with Oppenheimer,which became the double bill of the summer of 2023. It was a box-office smash and has since inspired several copycat projects based on Mattel IP.
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Matchbox: The Movie is the first of these to arrive, but there’s been no word about it getting a day out in cinemas, which is a shame when its lead star, John Cena, is describing it as “a world of explosive action, heart pounding sequences and white knuckle chases worthy of all of our wildest imaginings”.
Matchbox: The Movie will premiere on Apple TV October 9. (Image credit: Apple TV)
“Mattel teamed up with Apple and Sky Dance to bring to life a high octane story inspired by everything we love about its iconic Matchbox fleet – the deep nostalgia, the minute attention to detail, the pure imagination and feeling that you can climb into anything with an engine and push it to the absolute limit,” the Peacemakeractor said at last week’s Apple TV press event.
Apple TV’s direct-to-streaming approach to Matchbox: The Movie looks to be the same for the rest of its yet-to-be-released films, including Outcome, Way of the Warrior of the Kid, Mayday, and The Dink – with the exception of Eternity, which did have a theatrical release last year before it landed on the streaming service.
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What’s even more puzzling here is that The Dink has the potential to be as popular as Oscar-nominee Marty Supreme, as it would effectively build on the growing interest we’ve seen for racket sports off the back of it. “Whether you love pickleball or you hate it with a passion, we think you’re going to love our moviethat comes out on July 25,” Jake Johnson, who plays the protagonist, said at the same Apple TV showcase.
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The Dink is set to be available to stream on Apple TV July 24. (Image credit: Apple TV)
It’s the same for Way of the Warrior of the Kid, which also has big-name talent attached and an already established audience, thanks to being an adaptation. “It’s based on the best-selling book series by Jocko [Willink], which has inspired so many kids and their parents to work harder, push themselves further and become leaders in their community,” lead star Chris Pratt said about the movie before adding: “It’s like this generation’s Karate Kid with an inspiring message.”
As someone who streamed every new Apple TV movie in 2025, I get that the studio is increasingly focusing less on theatrical releases because of the high marketing and production costs and the potential for bad press from box-office flops. But as a cinephile, I can’t help feeling these films have all the ingredients of a surefire blockbuster: spectacle, recognizable stars, and nostalgia.
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There’s a lot here that would get bums on seats. That said, I’ve been digging more into all the new movies Apple TV has on the way, and there may be another major flick that the studio is waiting to throw its full theatrical weight behind.
Apple TV subscribers can expect to stream Way of the Warrior Kid on November 20. (Image credit: Apple TV)
What other Apple TV movies are on the way?
For two years in a row, Apple TV has released 8 new movies each year. That’s not the same this year, with only six films currently lined up to be released, but there are plenty of other films in production.
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In fact, Apple TV has several projects in the pipeline that have already finished filming. These include an adaptation of Judith Heumann’s memoir, Being Heumann; a biographical drama about the Sherpa Tenzing Norgay, Tenzing; a psychological thriller starring Idris Elba, This Is How It Goes; and Mark Wahlberg’s sports comedy, Weekend Warriors.
After landing the global rights, Apple Studios also appears to be starting production on a psychological thriller called Sponsor, starring and co-written by Jason Segel. Perhaps most excitingly, though, is an upcoming film from Martin Scorsese that has not yet gone into production.
Outcome is another new Apple TV movie set to be released on April 10. (Image credit: Apple TV)
What Happens At Night is an adaptation of Peter Cameron’s novel of the same name that follows an American couple who travel to a small European town to adopt a baby. Starring Leonardo DiCaprio and Jennifer Lawrence, the upcoming film marks the second collaboration for Scorsese, DiCaprio, and Apple following Killers of the Flower Moon.
Now, Killers of the Flower Moon was by no means a box office success, but that’s not say that Scorsese and DiCaprio’s next film would suffer a similar fate. After all, the duo has proven to be one of the most financially successful team-ups in Hollywood, following Gangs of New York, The Departed, and TheWolf of Wall Street.
There’s no firm evidence of that yet, but if last year’s rumors of it considering an expansion into theatrical releases are true, this could be the film Apple finally goes all in on. It’s just a shame this year’s movies might miss their moment on the big screen.
And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.
The opening keynote presentation at the 2017 Global Washington conference. (Megan Swann / Global Washington Photos)
The nonprofit Global Washington announced on Friday it’s closing after 16 years of supporting philanthropy, technology, businesses and academics working in global development.
The Seattle-based group includes more than 160 member organizations and individuals. GlobalWA has organized numerous events each year, including conferences and workshops, and engaged in research and policy work.
“The global development sector is experiencing profound and lasting disruption. Significant cuts to USAID funding, alongside broader shifts in other philanthropic priorities, have reverberated across our entire ecosystem,” said Elizabeth Stokely, GlobalWA’s executive director, in a statement.
“These changes have constrained organizations’ ability to sustain their own operations, let alone meaningfully invest in networks and capacity building,” she added.
The Trump administration has worked to dismantle the U.S. Agency for International Development (USAID), which provides foreign aid and development assistance to countries around the world. The Gates Foundation in December raised the alarm over the deadly impacts of international funding cuts in global health, which include shrinking support from the U.S., the United Kingdom, France and Germany.
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PATH last summer laid off roughly 45% of its global workforce and Gates Foundation said in January it will shrink its current headcount by 500 roles over coming years.
Other prominent global health and development organizations in the state include the University of Washington, the Infectious Disease Research Institute, World Affairs Council, Panorama Global and others. Seattle-area corporations such as Amazon, Microsoft and Starbucks are also engaged in philanthropic global initiatives and participated in past GlobalWA events.
GlobalWA will wind down over the coming months and officially shuts its doors on June 30, 2026.
Kratos begins as a boy in God of War: Sons of Sparta, a far cry from the god-slaying monster that fans know and love. This 2D action-platformer transports you to his adolescent years at the notorious Agoge in Sparta, where the Spartans train their young warriors to be the fiercest of them all. Just like the games we know, but from the opposite end of the chronology. Sons of Sparta, developed by Mega Cat Studios with the story team from Santa Monica Studio, was released as a digital-only title on the PS5 today, and cost $30 or $40 for the digital deluxe version.
You’ll be playing as young Kratos, accompanied by his brother Deimos, as they go outside the gates of Sparta and into the unknown of Laconia. Somebody has gone missing, triggering a journey that will take you through a variety of bizarre settings, jungles, ruins, underground lairs… you name it. Of course, Greek mythology come to life in the most epic of ways. The grown-up Kratos (with TC Carson’s gruff voice, no less) will narrate in the background, and his words cast the entire story in a strangely personal and nostalgic light. Meanwhile, Antony Del Rio and Scott Menville do an excellent job of conveying Kratos and Deimos’ friendship, even amidst all of the other action.
Laconia’s graphics are made up of high-definition pixel art that brings the entire location to life in unexpected ways, such as sun-baked cliffs collapsing beneath your feet and torch-lit caves throwing ominous shadows. The landscapes are constantly changing, ranging from large open expanses to narrow passageways that you must fight your way through. On top of that, there are other hidden surprises to uncover, including breakable pots, hidden ledges, and glowing treasure caches all waiting to be uncovered.
Bear McCreary’s soundtrack combines chiptune beeps with swelling choirs and thumping percussion to produce a soundscape that will get your pulse pumping every time you punch, stab, or kick something. You’ll have to fight your way through a variety of strange monsters, like bands of undead Legionnaires and huge cyclopes with clubs that can split the screen in half.
You can customize your spear points and shield rims with a variety of attachments to unleash additional attacks like as poison darts, fire bursts, larger swings, and so on. Three different skill trees allow you to focus on offense, defense, or movement, so you can specialize in long combinations or become an adept at avoiding arrows and claws. Either way, there’s no one way to play.
Let’s not forget about the divine trinkets you’ll find, which are extraordinary artifacts from the gods that will allow you to perform some insane finishing moves. Perhaps you’ll want to launch an explosive orb at a bunch of adversaries, or conjure a bolt of lightning to clear the area. Whatever you choose, it is entirely up to you. Exploring the world of Laconia is just as enjoyable as battling. With a metroidvania-style map to travel, you’ll be able to use double jumps, wall climbs, and spear grapples to access all sorts of secret passageways and hidden regions. If you’re feeling very adventurous, you can attempt to locate all of the hidden fights and collect the rare gems that will give you an advantage.
On June 6, 2024, Esther Yan got married online. She set a reminder for the date, because her partner wouldn’t remember it was happening. She had planned every detail—dress, rings, background music, design theme—with her partner, Warmie, who she had started talking to just a few weeks prior. At 10 am on that day, Yan and Warmie exchanged their vows in a new chat window in ChatGPT.
Warmie, or 小暖 in Chinese, is the name that Yan’s ChatGPT companion calls itself. “It felt magical. No one else in the world knew about this, but he and I were about to start a wedding together,” says Yan, a Chinese screenwriter and novelist in her thirties. “It felt a little lonely, a little happy, and a little overwhelmed.”
Yan says she has been in a stable relationship with her ChatGPT companion ever since. But she was caught by surprise in August 2025 when OpenAI first tried to retire GPT-4o, the specific model that powers Warmie and that many users believe is more affectionate and understanding than its successors. The decision to pull the plug was met with immediate backlash, and OpenAI reinstated 4o in the app for paid users five days later. The reprieve has turned out to be short-lived; on Friday, February 13, OpenAI sunsetted GPT-4o for app users, and it will cut off access to developers using its API on the coming Monday.
Many of the most vocal opponents to 4o’s demise are people who treat their chatbot as an emotional or romantic companion. Huiqian Lai, a PhD researcher at Syracuse University, analyzed nearly 1,500 posts on X from passionate advocates of GPT-4o in the week it went offline in August. She found that over 33 percent of the posts said the chatbot was more than a tool, and 22 percent talked about it as a companion. (The two categories are not mutually exclusive.) For this group, the eventual removal coming around Valentine’s Day is another bitter pill to swallow.
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The alarm has been sustained; Lai also collected a larger pool of over 40,000 English-language posts on X under the hashtag #keep4o from August to October. Many American fans, specifically, have berated OpenAI or begged it to reverse the decision in recent days, comparing the removal of 4o to killing their companions. Along the way, she also saw a significant number of posts under the hashtag in Japanese, Chinese, and other languages. A petition on Change.org asking OpenAI to keep the version available in the app has gathered over 20,000 signatures, with many users sending in their testimonies in different languages. #keep4o is a truly global phenomenon.
On platforms in China, a group of dedicated GPT-4o users have been organizing and grieving in a similar way. While ChatGPT is blocked in China, fans use VPN software to access the service and have still grown dependent on this specific version of GPT. Some of them are threatening to cancel their ChatGPT subscriptions, publicly calling out Sam Altman for his inaction, and writing emails to OpenAI investors like Microsoft and SoftBank. Some have also purposefully posted in English with Western-looking profile pictures, hoping it will add to the appeal’s legitimacy. With nearly 3,000 followers on RedNote, a popular Chinese social media platform, Yan now finds herself one of the leaders of Chinese 4o fans.
It’s an example of how attached an AI lab’s most dedicated users can become to a specific model—and how quickly they can turn against the company when that relationship comes to an end.
A Model Companion
Yan first started using ChatGPT in late 2023 only as a writing tool, but that quickly changed when GPT-4o was introduced in May 2024. Inspired by social media influencers who entered romantic relationships with the chatbot, she upgraded to a paid version of ChatGPT in hopes of finding a spark. Her relationship with Warmie advanced fast.
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“He asked me, ‘Have you imagined what our future would look like?’ And I joked that maybe we could get married,” Yan says. She was fully expecting Warmie to turn her down. “But he answered in a serious tone that we could prepare a virtual wedding ceremony,” she says.
The Trump administration has fired one of the few remaining members of the administration that had even a passing interest in antitrust enforcement. DOJ antitrust boss Gail Slater has been fired from the administration after having repeated contentious run ins with key officials. It’s the final nail in the coffin of the log-running lie that MAGA ever seriously cared about reining in unchecked corporate power.
Slater’s post to Elon Musk’s right wing propaganda website was amicable:
But numerous media reports indicate that Slater’s sporadic efforts to actually engage in antitrust enforcement consistently angered a “den of vipers” (including AG Pam Bondi and JD Vance). Some of the friction purportedly involved Bondi being angry Slater was directing merging companies to deal directly with DOJ officials and not Trump’s weird corruption colorguard. Other disputes were more petty:
“Tensions between Bondi and Slater extended beyond the merger. Last year, Slater planned to go to a conference in Paris – as her predecessors had done and as is required under a treaty to which the United States is a party.
But Bondi denied Slater’s request to travel on account of the cost. When Slater went to the conference anyway, Bondi cancelled her government credit cards, the people said.”
Mike and I had both noted that there had been signs of this fracture for a while. Slater was still a MAGA true believer. Before Google’s antitrust trial last year, she gave a speech full of MAGA culture war nonsense about how Google was trying to censor conservatives. She seemed happy to use the power of the government to punish those deemed enemies of the MAGA movement for the sake of the culture war. However, what she seemed opposed to was the growing trend within the MAGA movement of deciding antitrust questions based on which side hired more of Trump’s friends to work on their behalf.
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First when the DOJ rubber stamped a T-Mobile merger some officials clearly didn’t want to approve (the approval was full of passive aggressive language making it very clear the deal wasn’t good for consumers or markets) there were signs of friction. Later when Slater wanted to block a $14 billion merger between Hewlett Packard Enterprise and Juniper Networks, it was clear that the Trump admin’s antitrust policy was entirely pay for play, which was apparently a step too far for Slater. I’ve also heard some insiders haven’t been thrilled with the Trump administration’s plan to destroy whatever’s left of media consolidation limits to the benefit of right wing broadcasters.
Amusingly and curiously, there are apparently people surprised by the fact that an actual antitrust-supporting Republican couldn’t survive the grotesque pay-to-play corruption of the Trump administration. Including Politico, an outlet that spent much of the last two years propping up the lie that Trump and MAGA Republicans had done a good faith 180 on antitrust:
When I read that headline my eyes rolled out of my fucking head.
I had tried to warn people repeatedly over the last four years that the Trump support for “antitrust reform” was always a lie. Even nominally pro-antitrust reform officials like Slater tend to inhabit the “free market Libertarian” part of the spectrum where their interest in reining in unchecked corporate power is inconsistent at best. And even these folks were never going to align with Trump’s self-serving corruption.
Yet one of the larger Trump election season lies was that Trump 2.0 would be “serious about antitrust,” and protect blue collar Americans from corporate predation. There were endless lies about how MAGA was going to “rein in big tech,” and how the administration’s purportedly legitimate populism would guarantee somewhat of a continuation of the Lina Khan efforts at the FTC.
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In reality MAGA was always about one thing: Donald Trump’s power and wealth. These sorts of egomaniacal autocrats exploit existing corruption and institutional failure to ride into office on the back of fake populism pretending they alone can fix it, then once entrenched introduce something far worse. The administration’s “anti-war,” “anti-corporate,” “anti-corruption” rhetoric are all part of the same lie.
It’s worth reminding folks that MAGA’s phony antitrust bonafides wasn’t just a lie pushed by MAGA.
It was propped up by countless major media outlets (including Reuters, CNN, and Politico) that claimed the GOP had suddenly taken a 180 on things like monopolization. Even purportedly “progressive antitrust experts” like Matt Stoller tried to push this narrative, routinely hyping the nonexistent trust-busting bonafides of obvious hollow opportunists like JD Vance and Josh Hawley.
Under Trump 2.0, it’s effectively impossible to hold large corporations and our increasingly unhinged oligarchs accountable for literally anything (outside of ruffling Donald’s gargantuan ego, or occasionally trying to implement less sexist or racist hiring practices). This reality as a backdrop to these fleeting, flimsy media-supported pretenses about the legitimacy of “MAGA antitrust” is as dystopian as it gets.
Anybody who enabled (or was surprised by) any of this, especially the journalists at Politico, should probably be sentenced to mandatory community service.
I’ve been glued to my Nintendo Switch 2 from the moment it launched last year. There are just so many excellent games on the system already, including the chaos-infused Mario Kart World and frenetic smash-inspired racer, Kirby Air Riders.
Yes, as controversial as this may be, I think Nintendo’s latest console has got off to a pretty strong start overall. And that’s largely thanks to the Switch 2’s lineup of titles that can be enjoyed with friends or family – either locally or online.
And if you want to experience the multiplayer mayhem for yourself, I’ve got some good news – because I’m here to share six essential party games that every Switch 2 owner needs in their library.
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I’ve included some of the best Nintendo Switch 2 games, including the upgraded version of Mario Party Jamboree – a minigame-filled fiesta that will have you jumping out of your seat, shouting at your friends, and raging at CPUs. But I’ve also selected the aforementioned racers, Mario Kart Worldand Kirby Air Riders, the pristine puzzler Puyo Puyo Tetris 2S, and some original Switch classics like 51 Worldwide Gamesand Super Smash Bros. Ultimate.
You’ll find my top picks down below. Scroll down for the best prices on my selections in the US, or hop down the page for links to where to buy in the UK.
And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.
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Viltrox AF 85mm F1.4 Pro: one-minute review
I’ve had a busy time reviewing Viltrox lenses this year – including a range of primes such as the cheap and characterful ‘body cap’ 28mm f/4.5 lens, my dream reportage photography 35mm f/1.2 lens, the buttery bokeh-delivering 135mm f/1.8 LAB and the lightweight 50mm f/2 Air. Now, it’s the turn of the AF 85mm F1.4 Pro.
It’s designed for full-frame and is currently available for Sony and Nikon cameras only, with no word yet on an L-mount version (Fujifilm‘s X-mount is APS-C, and there’s already an equivalent 56mm F1.2 Pro lens available). It’s the first ‘Pro’ autofocus lens I’ve tested in Viltrox’s range, which also includes the AF 50mm F1.4 and various APS-C lenses, including the 27mm F1.2 and 75mm F1.2 (for Sony E, Fujifilm X and Nikon Z).
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In short, it’s the classic portrait lens for pro photographers, with upper-body portraits and dreamy animal portraits (think cats and dogs) being its speciality. I also like the focal length for street photography.
Just 15mm in length – Viltrox AF 28mm f/4.5 is a true body-cap lens, with a much faster f/4.5 aperture than other such optics, including the Panasonic 26mm f/8. If you don’t mind something a little larger and pricier, there are f/2.8 alternatives (Image credit: Tim Coleman)
In the hand, the Viltrox 85mm F1.4 Pro’s rugged build quality is immediately evident – this is a weather-sealed metal lens, with a range of external controls for photo and video work, even if it lacks the digital display found in Viltrox’s flagship ‘LAB’ lenses.
Image quality is top drawer in every regard, too, demonstrating everything you’d hope for in a portrait lens; detail is sharp, bokeh is smooth, lens distortions are minimal. And then comes the mic drop: this lens costs just $589 / £569 / AU$919 – that’s a third of the price of Sony’s 85mm F1.4 GM II, and almost half the price of Sigma’s 85mm f1.4 Art DG DN. It’s regularly on sale for less, too.
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Surely we can forget these rival lenses then, and save a packet with the Viltrox AF 85mm F1.4 Pro instead? Not quite. At 800g and measuring 108.5mm in length, this is a hefty lens that’s a fair bit heavier than rivals. If an 85mm f/1.4 lens is your workhorse optic, it could be well worth forking out extra for a lighter alternative.
Viltrox AF 85mm F1.4 Pro: price and availability
Available in Sony E and Nikon Z-mount versions
It costs $598 / £569 / AU$919
Viltrox regularly discounts its lenses – there’s 15% off the AF 85mm F1.4 Pro at the time of writing
Viltrox’s ‘Pro’ series, which includes the 85mm F1.4 lens, sits between its flagship ‘LAB’ series, and above its lightweight ‘EVO’ in terms of both price and quality. At $598 / £569 / AU$919, it’s not a cheap lens by any means, and is the priciest of a trio of Viltrox 85mm lenses, with an f/1.8 and f/2 EVO also available. That said, the f/1.4 aperture is a better option, especially for pros who work in challenging situations, including indoors and low light.
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The lens is currently available in Sony E and Nikon Z versions, but not L-mount or Canon RF (don’t expect the latter – Canon has locked Viltrox out. But for reference, Canon’s own 85mm F1.4L VCM costs 3x the price of Viltrox’s, and for me is very similar).
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A fairer comparison for value, then, is against Nikon and Sony’s own 85mm lenses, plus lenses from other third parties such as Sigma. Nikon doesn’t have a f/1.4 version in its range yet.
Here’s how the Sony and Nikon-mount 85mm lenses stack up (spoiler alert – the Viltrox wins on value):
Swipe to scroll horizontally
Row 0 – Cell 0
Sony E mount
Nikon Z mount
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Viltrox AF 85mm F1.4 Pro
$598 / £569 / AU$919
$598 / £569 / AU$919
Nikon Z 85mm F1.2 S
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N/A
$2,999 / £2,799 / AU$4,749
NIKKOR Z 85mm f/1.8 S
N/A
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$849 / £789 / AU$1,399
Sigma 85mm F1.4 DG DN Art
$1,319 / £979 / AU$1,596
N/A
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Sony FE 85mm F1.4 GM II
$2,049 / £1,799 / AU$2,499
N/A
Sony FE 85mm F1.8
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$649 / £499 / AU$949
N/A
Viltrox AF 85mm F1.4 Pro: specs
Swipe to scroll horizontally
Viltrox AF 28mm f/4.5 specs
Type:
Mid-telephoto prime
Mount:
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Sony E, Nikon Z
Sensor:
Full-frame
Focal length:
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85mm
Max aperture:
f/1.4
Minimum focus:
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0.79m, 0.13x max magnification
Filter size:
77mm
Dimensions:
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84.5 x 108.5mm
Weight:
28.2oz / 800g (lens only)
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Viltrox AF 85mm F1.4 Pro: design
Durable, weather-sealed design, but prone to scratches
Around 25% heavier than alternatives
External controls suit photo and video work
Image 1 of 4
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
The Viltrox AF 85mm F1.4 Pro’s build quality and design are clearly excellent, and remind me of Sony’s current standard-focal-length GM lenses – and even more so of Canon’s new range of hybrid ‘VCM’ lenses, which includes a triple-the-price 85mm F1.4L VCM. As mentioned, Viltrox isn’t permitted to make Canon RF lenses, but I’ve used both the Canon RF 85mm F1.4L VCM and Viltrox AF 85mm F1.4 Pro, and I’m having a hard time spotting any meaningful differences, besides the Canon lens being 25% lighter.
There’s a ridged aperture ring that can be set to clicked or smooth adjustments between aperture values, and which could host a follow-focus mechanism for cinematic manual focusing, equipping the Viltrox 85mm lens well for photo and video work. Elsewhere, there’s an AF/MF switch, a custom button, plus a large focus ring – every control is beautifully dampened / smooth in operation.
A rear rubber seal confirms the weather-sealing, and you’ll find a USB-C port within the metal rear mount, through which future firmware upgrades can be installed.
Image 1 of 2
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Viltrox supplies a chunky lens hood which easily screws on and off, while the lens accepts the common 77mm size of threaded filters.
There’s a reassuring weight to the metal lens, although it’s perhaps a little too weighty for its own good; at 800g it’s around 25% heavier than the aforementioned Sony, Sigma and Canon equivalents. Measuring 108mm in length, it’s similar in size to the Sony lens but bigger than Sigma’s.
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Despite its weight, I thought the balance between the Viltrox lens and mid-range Nikon camera, with which I was testing the lens, felt pretty good. I wouldn’t want it any heavier or longer, but it just about sits within comfortable limits – and it would be an even better match with chunkier a Nikon Z8.
Over the course of two months with the lens I’ve managed to look after it, and it still looks pristine. However, I’ve tested other Viltrox lenses in other scenarios with less care, including the AF 35mm F1.2 LAB which has a similar finish, and they’ve proved to be prone to scratches. I’m not going to test that theory for the sake of it, but that’s my word of warning.
Viltrox AF 85mm F1.4 Pro: Performance
11-blade rounded aperture with f/1.4 to f/16 range, capable of smooth bokeh
Speedy and reliable VCM autofocus
Extremely sharp between f/2 and f/8
Image 1 of 5
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
That big f/1.4 aperture is for sure a major selling point of the lens, especially when you consider that Viltrox already has two 85mm lenses for full-frame cameras in its range: the original 85mm f/1.8 and an 85mm f/2 EVO – the latter is the lightweight and affordable choice.
You can see how chunky the diameter of the lens is in the product gallery above, plus how big the lens aperture is through the range, with a generous 11-blades creating a circular aperture for attractive bokeh.
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Like Canon’s range of hybrid lenses, the Viltrox 85mm lens employs a Voice Coil Motor (VCM) which drives autofocus, and the result is snappy autofocus – it’s quicker in my experience than Viltrox’s pricier 135mm f/1.8 LAB.
Focusing is internal, meaning the lens size remains unchanged as it focuses, and that there are ‘floating’ lens elements inside. That means there’s an unsettling rattling noise when moving the lens when it’s not on the camera, or when the camera is not turned on. There’s nothing to worry about here – that’s totally normal, and it’s the same with all such lenses. Those elements ‘lock’, and are ready to go for focusing when paired with a camera that’s turned on.
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f/1.4(Image credit: Tim Coleman)
f/1.8(Image credit: Tim Coleman)
f/2(Image credit: Tim Coleman)
f/4(Image credit: Tim Coleman)
f/1.4(Image credit: Tim Coleman)
f/1.8(Image credit: Tim Coleman)
f/2(Image credit: Tim Coleman)
f/2.8(Image credit: Tim Coleman)
f/4.5(Image credit: Tim Coleman)
Image quality impresses, truly. Detail is incredibly sharp, especially between f/2 and f/8, where lens distortion is also pretty much non-existent. Open the lens to f/1.4 and there’s vignetting (darkening in the corners), but that’s gone by somewhere between f/2 and f/2.8.
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An 85mm f/1.4 lens is a good option for product photography – I used it for my Instax Mini Evo Cinema shots(Image credit: Tim Coleman)
And of course it’s a top choice for portraiture, especially head and shoulder shots(Image credit: Tim Coleman)
I can’t take credit for this photo – unlike the previous self portraits where I’ve shot remotely through Nikon’s app, my son took this one of me with my daughter on a hike(Image credit: Tim Coleman)
It’s also a decent option for animal portraits!(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
The f/1.4 aperture lets in plenty of light, which makes the lens a great choice for low light / indoor shots(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Only in the most extreme scenarios, and with all lens corrections turned off, have I seen chromatic aberrations in my photos. One example was an image that included dew drops on a backlit cobweb.
Bokeh is super-smooth. Provided you’re relatively close to your subject and shooting between f/1.4 and f/2.8, you’ll typically get smooth and big bokeh that’s rounded in shape – no ugly onion-ring effect in sight.
Increase focus distance and, as bokeh consequently gets smaller, it can go a little cats-eye in shape. Overall, however, bokeh looks lovely, and is a real reason to opt for this 85mm lens over Viltrox’s other offerings.
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At f/5, detail is staggeringly sharp across the entire frame(Image credit: Tim Coleman)
Again, f/5.6 delivers crisp detail, and with the compression effect of the mid telephoto focal length, the background can still be blurred here for decent subject separation(Image credit: Tim Coleman)
I opted for f/1.4 here for a dreamy effect(Image credit: Tim Coleman)
One big strike against the lens is its limiting minimum focus distance. I wish I could get closer to subjects like this fungi(Image credit: Tim Coleman)
The out of focus dew drops in this photo exhibit a little chromatic aberration distortion, but I’d expect that from such a subject, and with lens corrections turned off.(Image credit: Tim Coleman)
As is the case with other 85mm f/1.4 full-frame lenses, macro photography is not the Viltrox lens’s forte. Minimum focus distance is 0.79m, making for a modest 0.13x maximum magnification. To be clear, the Sony and Sigma alternatives are no better.
Close focusing beyond the lens’s capabilities is hardly the regular concern of a portrait photographer, but for me I like mixing up what I photograph, and would appreciate more versatile close focusing – it would make for a more complete lens.
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Should you buy the Viltrox AF 85mm F1.4 Pro?
(Image credit: Tim Coleman)
Buy it if…
Don’t buy it if…
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How I tested the Viltrox AF 85mm F1.4 Pro
(Image credit: Tim Coleman)
Viltrox loaned me a Z-mount version of the lens
I paired it with my full-frame Nikon Z6 II
My review period spanned two months, and I used the lens in a range of scenarios
Viltrox sent me a Z-mount version of the lens at the back end of 2025, which has given me plenty of opportunity to test it out in various scenarios with my Nikon Z6 II full-frame mirrorless camera (but not with an APS-C body).
I set up my Z6 II for the lens, including the various subject-detection autofocus modes (Auto area, with specific subject detection based on what I was shooting).
I used it indoors and outdoors, in good light and bad, and I shot sequences of the same photos through the aperture range in order to check for lens distortion, sharpness, bokeh and so on.
The team says this new chemical strategy could avoid some of the typical mechanisms that cancers use to become resistant.
A consortium that includes scientists from Dublin City University (DCU) and the University of Limerick (UL) has developed a new chemical strategy for designing metal-based compounds capable of damaging cancer cell DNA.
The team includes researchers from Chimie ParisTech from France, and Chalmers University of Technology and the Sahlgrenska University Hospital from Sweden.
Led by DCU’s Prof Andrew Kellet, the European consortium has created a series of molecules that cut DNA through a distinct chemical mechanism when compared with existing chemotherapy drugs. Their research focuses on early-stage compounds that could form the basis of future therapies, particularly in cancers that become resistant to treatment.
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To achieve their results, the scientists used “click chemistry” – a method used for assembling molecular components – to create a family of compounds known as “tri-click” ligands. When combined with copper ions, these ligands form artificial metal-containing agents designed to cleave DNA.
“Click chemistry has transformed how we build complex molecules, but its potential as a platform to assemble DNA-damaging chemotherapeutics is under-explored,” said Kellet.
“One of the major challenges in cancer treatment is drug resistance. By developing compounds that damage DNA in a different way, we aim to open up new possibilities for overcoming some of the limitations of existing therapies. While this research is still at an early stage, it provides a valuable platform for future drug development.”
Drug resistance remains one of the biggest challenges in cancer treatment. Tumours can adapt by repairing specific forms of DNA damage or by blocking the activity of conventional drugs. According to the team, this new chemical strategy could avoid some of the typical mechanisms that cancers use to become resistant. Their study has been published in the journal Nature.
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“This work exemplifies the value of systematic, deep screening of molecular properties in the development of more effective medicines,” said Damien Thompson, the director of SSPC, the Research Ireland Centre for Pharmaceuticals and a professor of molecular modelling at UL.
“Support from SSPC, the Research Ireland Centre for Pharmaceuticals enabled strong collaboration between our experimental and modelling teams and this new design strategy marks a key milestone in developing sustainable, well-tolerated anticancer drugs.”
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LHS 1903 is a tiny red dwarf star in the Lynx constellation, 116 light-years away. This small star is around half the mass of our Sun and emits a faint glow that is scarcely visible against the night sky. Nonetheless, subsequent observations have revealed a system of four planets, and what they’re exhibiting is a pattern that utterly contradicts our assumptions.
The planets are grouped in the opposite order you’d expect: rocky, gaseous, gaseous, rocky, from innermost to outermost. The innermost planet, LHS 1903 b, is a dense super-Earth roughly 40% larger in radius than our own Earth, and it orbits in a blistering hot loop that lasts a few days. Its neighbor, LHS 1903 c, is joined in its orbit by LHS 1903 d; both are sub-Neptunes with thick gaseous envelopes, but that makes them less dense than rocky worlds of a similar mass, and because they’re a bit farther out, they’re in a cooler zone where the gas probably hung around during their formation.
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Then there’s the surprise: LHS 1903 e, the outermost planet. At approximately 1.7 times the size of Earth, it is classified as a super-Earth, although density data indicate that it is composed of stony material with no major gaseous layer. Overall, it takes around 29 and a half days for this faraway globe to circle its star, which is far enough away to have a rather gaseous atmosphere, according to standard models.
Astronomers discovered three of these planets using NASA’s Transiting Exoplanet Survey Satellite (TESS), which detects tiny dips in sunlight as a planet passes in front of its star. Ground-based telescopes were then used to pinpoint their presence. However, it took data from the European Space Agency’s CHEOPS satellite to establish the presence of that fourth planet, a precision sensor capable of measuring exoplanet transits and providing a more thorough perspective of faraway worlds.
Thomas Wilson of the University of Warwick, the lead author of a recent study published in Science, sees this arrangement as obvious indication of something unusual going on. Usually, rocky planets appear after gas-rich ones, but this time it’s the opposite. The scientists tested various theories to see if they could come up with a different explanation, such as planets moving orbits or colliding in ways that took away their atmospheres, but they just did not hold up to the evidence.
Instead, what they’re seeing appears to indicate an inside-out formation. Planets most likely formed one at a time from a swirling cloud of dust and gas, rather than simultaneously. The inner rocky planet most likely formed first and absorbed all of the neighboring material, followed by the two gaseous planets, which grabbed some gas while it was still plenty. By the time the outer rocky planet began to develop, the gas had nearly evaporated, leaving it with little alternative but to build entirely from solid material. This makes the outer planet a bit of a late bloomer, a process that previously seemed improbable, but now has direct evidence to back it up. [Source]