I've been totally open about my love for the Sony Bravia 8 II. Not only is it the current What Hi-Fi? Awards TV of the year, it's also the TV I use at home.

Seeing as I've been reviewing TVs for almost 20 years, that hopefully says a lot.

The Bravia 8 II is also on sale right now, with the 65-inch version available for £2099 at Richer Sounds.

That's not the cheapest it's ever been (that would be £1979), but it's still a good price for what is an absolutely awesome TV.

If I were looking to buy a premium TV right now, though, it's the 65-inch LG C5 I would go for.

It's a step-down OLED rather than a flagship like the Bravia 8 II, but it's still an absolutely cracking all-rounder of a TV, and it's currently available for £1299 at Amazon.

That price difference is just too big to ignore.

In our review, we awarded the C5 five stars, praising it for delivering "excellent all-round performance" that punches well above its price.

It's one of those rare TVs that doesn't have any glaring weaknesses, making it an easy recommendation whether you're a movie buff, sports fan or gamer.

Picture quality is the obvious highlight. The C5 produces rich, vibrant colours without sacrificing authenticity, while its contrast is superb, delivering the deep blacks and bright highlights that OLED TVs are famous for.

It's also wonderfully sharp and detailed, with excellent motion handling that keeps everything from fast-paced football to blockbuster action films looking smooth and natural.

Gaming is another area where the LG excels. All four HDMI sockets support the full HDMI 2.1 specification, including 4K/165Hz, VRR and ALLM, making it one of the most comprehensively equipped gaming TVs around.

Now, let's be clear: the Sony Bravia 8 II is still the better TV. It's brighter, more vibrant and more refined, producing an even more cinematic and authentic picture. Its built-in sound system is also leagues ahead of the LG's, delivering audio that's fuller, weightier and more immersive than almost any other TV.

If money were no object, I'd still tell you to buy the Bravia 8 II.

But money almost always is an object. And when you're looking at an £800 price difference, the LG C5 becomes the smarter buy.

MORE:

Here are all of the best TVs and best TV deals available right now

And here are the best soundbars

Within the world of technology, there is often a misguided notion that newer always means better.

That is certainly true in the world of TV, especially with OLED sets. And OLED is a key tech on which readers, friends, family and random passers by often ask us for advice.

That has been especially true during this year’s Prime Day, when more than a couple of people have asked if there are any decent deals going on the two big-name flagship sets we recently reviewed – the five-star LG G6 and Samsung S99H.

If you’re dead to rights hellbent on one of them being your next TV, then I am pleased to report that, yes, there are deals running on both.

The best I have spotted is Richer Sounds’ deal on the 55-inch S99H. You can grab the 55-inch Samsung S99H for £2149 right now, if you use the TRADE250 code at checkout. You can then save a further £250 by claiming cashback from Samsung after purchase, letting you grab the cutting-edge set for £1899.

For the LG G6, numerous retailers, including Peter Tyson and Richer Sounds, have lopped £400 off the set’s original asking price, letting you grab one for £2099.

Both, in isolation, are pretty good deals, considering how recently the two TVs launched. But they’re not the TVs I, or any of the home cinema reviews team, would recommend right now.

Yes, they are top performers. The Samsung S99H in particular is a brilliant set that we describe as “the best Samsung has ever made”. We don’t give praise like that lightly.

The problem is that, even discounted, the S99H and G6 are expensive luxuries that are considerably pricier than a key rival, the Sony Bravia 8 II.

Our current Product of the Award winner, the Sony Bravia 8 II, is on sale at Richer Sounds for £1699, when you use the discount code, RSTV100, at checkout. That makes it £200 cheaper than the Samsung and £300 less than the LG.

Despite being older, the Bravia 8 II is still extremely competitive – we ran it against the G6 and S99H when we reviewed the new sets.

The upgrades offered by the S99H and G6 are limited to a smidge more peak-brightness here, a tad more colour-volume there. Even then, the Sony occasionally beats its newer rivals, offering a touch more dark detail and bit more finesse with its contrast in certain scenes. And that’s before we start talking about its better audio.

All of which helps to explain why we don’t tend to recommend buying the latest OLED TVs so soon after launch.

Year-on-year upgrades tend to be incremental (though there are exceptions to this rule). Still, TV makers launch new sets with incredibly high starting RRPs, just as the older models are plummeting in price.

And that’s the point we’re at with the S99H and G6. If you really want one of these sets rather than the older Bravia 8 II, we recommend waiting until later in the year, when the newer sets’ prices will almost certainly have dropped a little deeper. This usually happens in November, around Black Friday.

Until then, I strongly suggest looking at the much cheaper Sony Bravia 8 II. It represents significantly better value right now.

MORE:

These are the best OLED TVs we have tested

We rank the best 55-inch TVs

Check out our Prime Day 2026 home cinema deals live hub

If you’re looking for a new OLED TV over Prime Day, you will be pleased to learn that the five-star LG C6 we christened “the firm’s finest step-down model to date” mere weeks ago has had its price slashed.

Right now you can grab a 55-inch LG C6 for £1427.98 at Amazon. That is a solid £371.02 saving on the TV’s launch price.

But, before you go rushing to grab one, I’d urge you to check out the even better deal I have spotted on the older LG C5. You can pick one up on Amazon for £906.09. That’s a solid £993.91 saving on its launch RRP and the best price we have seen for it.

Why pick the LG C5 when the C6 offers a performance upgrade? It’s a good question, especially when our reviewers reported:

“[The LG C6] is a big upgrade by C-series standards. We don’t typically get too excited about processor upgrades, but the Alpha 11 Gen 3 has forced a brighter and richer performance out of the same OLED EX panel technology, and improved upscaling and shading subtlety. The extra brightness and richness have benefits across the picture, resulting in a more enticing, dynamic and three-dimensional delivery.”

The answer comes down to another key metric we always factor into our buying advice: value for money.

Yes, the C6 offers improvements on the C5. But, having run the two head to head in our test rooms, we don’t think they currently justify the difference in price. £423 is a lot of money, especially during a cost of living crisis. Even if you do have the spare cash, we can think of a better investment that will fix both TVs’ biggest weakness: their middling audio.

Neither set offers good enough audio quality for a truly immersive home cinema experience. So, even if you do have the cash to buy the C6 right now, we still recommend investing in the LG C5 and then using the money you have saved to buy a decent Dolby Atmos soundbar.

If you pull the trigger now, the five-star Sony Bravia Theatre System 6 featured in our best Dolby Atmos soundbars guide is selling for £399 at Amazon (save £150) right now. It will match wonderfully with the LG C5.

That price will even leave you with enough cash to invest in a cold pint, or iced coffee, to help get through the heatwave…

MORE:

These are the best OLED TVs we have reviewed

Check out our Prime Day 2026 home cinema deals live hub

Our picks of the best 55-inch TVs

On Monday, I wrote about how tempted I was to buy the 42-inch LG C5, which had dropped to a record-low £649.

I already own what I consider to be the best OLED TV available – the awesome Sony Bravia 8 II – but, at that price, the C5 was well worth buying for use in my spare room, where it could perform gaming and work monitor duties, as well as the odd streaming binge.

But yesterday, I updated that story to point out that the price for the 42-inch had dropped to £623. The previous price that I had thought was unbeatable had been beaten.

And now, would you believe, it's been beaten again: the 42-inch LG C5 is down to just £611 at Amazon.

That's a nuts price for a TV this good.

At £611 from Amazon, the 42-inch LG C5 is one of those deals that feels almost too good to be true.

In our five-star review, we praised its wonderfully balanced OLED picture, excellent motion handling, natural colours and superb contrast, all of which combine to deliver a brilliantly engaging and authentic viewing experience.

It's also among the most comprehensively specified gaming TVs available, with four full-bandwidth HDMI 2.1 sockets supporting 4K/144Hz, VRR, ALLM and Dolby Vision gaming.

The sound is fairly ordinary, but that's a common weakness among TVs at any price and one that's easily fixed with one of the best budget soundbars.

Everything else about the C5 feels premium, making this deal particularly impressive. At £611, you're getting a TV that performs like a flagship for little more than the price of many mid-range rivals.

MORE:

Here are all the best TVs you can buy right now

And here are all of the best Amazon Prime Day TV deals

TVs are getting bigger, and bigger… and bigger.

Hisense and TCL have been selling 116-inch and 115-inch TVs for quite some time now – and both of those look fairly modest compa red with Samsung’s behemoth 130-inch RGB Micro LED TV, which was unveiled at CES 2026.

The sensibly sized living rooms of many British homes are simply not built for a TV of that size – and many will find a proper surround sound package to be a squeeze as well. So does that mean you simply can’t fit a home cinema system into your house?

Of course it doesn’t!

We have tested plenty of smaller TVs and soundbars with modest footprints; and what they lack in size, they make up for in performance.

In fact, I have built a complete system, which includes a 42-inch OLED TV from LG, a superb scaled-down Hisense soundbar package (which even supports Dolby Atmos), and a five-star Amazon streamer that is no bigger than your average chocolate bar.

All of these products are Award-winners and, thanks to Amazon Prime Day, they are now all hugely discounted. At launch, this set-up would have cost you £1418; thanks to some pretty astonishing Prime Day discounts, it can now be yours for just £862.

This trio of petite home-cinema gadgets strikes the three core pillars of any good home cinema setup: picture, sound, and content.

And if you are happy to use LG’s webOS software platform and don’t mind a slight decrease in picture and sound performance, you could ditch the Amazon Fire TV Stick 4K Max entirely, saving you a further £40.

The 42-inch LG C5, a compact OLED TV, is the definition of small yet mighty. Sporting a panel that delivers inky blacks and perfect contrast with ease, the C5 is a superb choice for movies – it’s and our pick for the best gaming TV, too.

We applauded its sharp, warm and rich picture, which we felt was hugely cinematic despite the comparatively small screen size from the 55- and 65-inch sets we usually test.

Furthermore, its gaming features are second to none. With a maximum refresh rate of 144Hz – ideal for PC gamers and more than enough for console gamers – and four full-bandwidth HDMI 2.1 sockets. The smaller display also makes this a solid choice for dedicated gaming rooms, and it can even be used as an oversized desktop monitor.

The only area that the C5 stumbles in is sound. OLED TVs, in our experience, often disappoint when it comes to their built-in sound systems, and it’s no surprise that a TV this small doesn’t break the mould.

That’s where the Hisense AX5125H comes in. Tongue twister of a name aside, this soundbar system delivers proper surround sound at a price as modest as its footprint. The package includes a soundbar, subwoofer and two surround speakers, all of which pair wirelessly and with very little fuss out of the box.

We were surprised by its weight, scale, and spaciousness, which (much like the C5) far exceed its size. Dolby Atmos is supported with two dedicated upward-firing drivers on the main soundbar unit, and there’s even an HDMI 2.0 passthrough socket. (Maybe Sonos could learn a thing or two.)

The LG and Hisense make a great cinematic space-saving duo – and, in truth, you could leave it there. But by adding the heavily discounted, Award-winning Amazon Fire TV Stick 4K Max, you get a pretty big streaming upgrade.

Amazon’s top-tier Fire TV Stick delivers 4K streams with oodles of detail and natural colours, and with an extremely comprehensive selection of apps, you’re spoiled for choice when it comes to content.

If you’re looking longingly at our best TV deals and best soundbar deals pages, but think that you can’t get involved with the Prime Day sales due to a lack of space, then hopefully this petite (and massively discounted) home cinema setup has changed your mind.

MORE:

Check out the best Amazon Prime Day AV deals live

As well as the best Amazon Prime Day hi-fi deals

And find the best OLED TV deals here

If you’re looking to upgrade your lounge AV setup holistically during Prime Day, then we have two bits of advice.

First, don’t go for the new stuff, especially when shopping for an OLED TV or Dolby Atmos soundbar. Most of the new hardware has just arrived and is still full price, or at best has had a tiny amount shaved off its RRP.

Second, ignore Amazon, at least for now, as the best deal combination we've found for a new setup is actually at Richer Sounds.

The deal requires you to use a combination of discount codes to get the best result, but once done, it nabs you a 55-inch Samsung S95F QD-OLED TV with the firm’s Award-winning Q990F Dolby Atmos soundbar system for £1836.50 – pretty impressive considering the two products would have cost £4198 mere months ago.

All you have to do is add the 55-inch S95H and Q990F to your basket at Richer Sounds and apply the “599Q990F”, “SAMS10PERCENT” and ”RSTV200” discount codes at checkout.

As an added perk, you will even get a Samsung SP-LFF3C projector thrown in for free with the deal. We haven't reviewed that specific model, so we can't comment on performance, but free is free, right?

What about the brand new Samsung S99H and Q990H? Yes, they have also both been discounted. Richer Sounds is currently offering the 55-inch Samsung S99H for £2149 (or an even better £1899 if you apply for cashback with Samsung after purchase), which is a decent saving on its £2499 regular price.

We’ve also spotted the Q990H retailing for £1299 (save £100) on Amazon. But that still adds up to a combined cost of £3198 for the two together.

While the newer models do offer noticeable performance gains according to our testing, they still don’t quite justify an extra £1371.50 investment, in our mind.

Especially as the S95F and Q990F are still very competent performers and among the best you will find at their current, discounted price.

As we said in our Samsung S95F review: “Sound aside, the Samsung S95F is every bit the five-star stunner. Vibrant, punchy and more crisp than a lifetime’s supply of Walkers Max, it’s a thrilling TV to live with and use, yet it also continues Samsung’s trajectory in producing more balanced and cinematically authentic TVs.”

And on the topic of sound, here’s our verdict on the Q990F: “The Samsung HW-Q990F nails it with a crisp and engaging sound and a whole new level of bass performance.”

So, all in all, a match made in heaven – perfect for watching the World Cup, then.

MORE:

These are the best OLED TVs we’ve reviewed

We rank the best Dolby Atmos soundbars

Check out our Prime Day 2026 home cinema deals live hub

We all love a bargain, which is why many of you may be looking for a stellar Prime Day deal on an LG C5.

And why not? The 42-inch LG C5, 48-inch LG C5 and 55-inch LG C5 all earned five-star ratings. The range also picked up not one, but three trophies during our latest What Hi-Fi? Awards.

And, while it has since been replaced by the five-star LG C6, having tested the two head-to-head in our viewing rooms, we can confirm the older C5 remains a very competitive performer and a valid option for any movie fan – especially when discounted.

At first glance, this is especially true right now, with pretty much every size of the LG C5 currently discounted. You can see a quick Cliff Notes of the best early Prime Day deals we’ve spotted on each below.

• Get the 42-inch LG C5 for £649 at Richer Sounds (save £750).
• Get the 48-inch LG C5 down to £759 at Richer Sounds (save £650)
• Get the 55-inch LG C5 down to £989 at Richer Sounds (save £910)
• Get the 65-inch LG C5 down to £1299 at Richer Sounds (save £1400)
• Get the 83-inch LG C5 down to £3052 at Richer Sounds (save £2480)

So, it’s a no-brainer, right? Time to click that magic checkout button and treat yourself to a shiny new OLED?

It would be all too easy to say yes, as those are solid prices on very good TVs. In fact, the 83-inch LG C5 deal is the best price we’ve seen on the giant OLED.

But, if you want my advice, I’d not pull the trigger yet, as I think the C5 will go down in price even further during Prime Day.

There are two simple reasons why. First, because while those are very good prices, outside of the 83-inch deal, we’ve seen all the other sizes slightly cheaper in the past. Not always by much, but £50 saved is a big deal for a lot of us right now, given the current cost of living crisis.

Second, because Prime Day tends to bring particularly impressive deals on C-series sets. Last year, we saw prices for the older C4 hit record lows across multiple sizes during Prime Day, and my instincts tell me the same will happen for the C5 this year.

Which is why, with Prime Day not even officially started, my advice right now is to wait and see what the actual event brings to the table. After all, you only have a few more hours to wait…

MORE:

Check out our Prime Day Home Cinema Deals Live Hub

We rank the best OLED TVs

Our picks of the best TVs money can buy

Prime Day 2026 doesn’t technically start until midnight, but that hasn’t stopped retailers from dropping a load of awesome early OLED TV deals.

And of that list, one in particular stands out; the first significant saving we’ve spotted on the five-star Samsung S99H.

That’s right, despite it just launching and receiving a glowing review from our experts mere weeks ago, Richer Sounds has already cut a significant wedge off the 55-inch S99H’s asking price.

You can grab the 55-inch Samsung S99H for £2149 right now, if you use the TRADE250 code at checkout.

But the savings don't stop there. You can then save a further £250 by claiming cashback from Samsung. That lets you get a latest generation, flagship QD-OLED for £1899, which is undoubtedly a tempting proposition.

If you’ve read our S99H review, then you’ll likely at the very least be tempted to snap one up – and we get why. As our experts said in our review:

“With a stunning, contrast-rich picture, improved sound system and a feature set that blows most other TVs out of the water, the S99H is the flagship OLED to beat for 2026.”

And if you want the best new OLED TV currently available, and don’t mind paying for it, then this deal is easy to recommend.

But, for those not 100 per cent committed to buying the latest hardware, there is one minor fly in the ointment. Specifically, the Award-winning, 55-inch Sony Bravia 8 II is also currently discounted.

Head to Richer Sounds and you can grab our 2025 Product of the Year winner for £1699. Yes, that’s not the best price ever on the set, but it’s a solid saving on its £2499 launch price. It also makes it slightly cheaper than the Samsung.

Samsung’s latest flagship OLED TV is better in some ways. Running the two sets head-to-head this year, the S99H is a smidgeon brighter and offers minor upgrades in some of the areas we are about. But it is still a very close race between the two.

Which is why we currently think the Bravia 8 II is better value for most people. Only serious performance chasers who insist on only buying the latest hardware will be better off spending that much extra for the S99H.

MORE:

Get all of our experts' recommendations in real-time with our Prime Day 2026 home cinema deals live hub!

These are the best OLED TVs we've reviewed

We rank the best TVs money can buy

I am a very lucky guy: the best TV I've ever tested (and I've been reviewing TVs for 19 years) is also now the TV I use at home.

That TV is the Sony Bravia 8 II, and it really is as awesome to live with as I had expected.

• View all the Prime Day deals

Why, then, am I eyeing up another TV in the Amazon Prime Day sales?

Two reasons: I'd love to add an OLED to my spare room for gaming, and this deal is just too exceptional to pass up.

£623 at Amazon is just unbelievable for a TV this good, and it takes it from a super-premium option that would have to be your main TV, to a good price to pay for a second room TV.

My plan for this 42-inch OLED is to use it as a gaming TV and a monitor for work.

Its gaming specs are impeccable: four HDMI 2.1 sockets that all fully support 4K/144Hz, 4K/120Hz, VRR and ALLM; a superbly implemented HGIG mode for super-accurate HDR in games; and a Dolby Vision gaming mode.

It's great as a monitor, too, with neat, user-created software available that enables monitor-style features such as auto-wake.

Even if you've no interest in gaming or productivity, though, the 42-inch C5 is awesome for TV shows and movies, with a really balanced and authentic performance that makes full use of OLED's perfect blacks and pixel-level contrast control.

Other than the limp sound (which I recommend solving with one of the best budget soundbars), this TV is great at everything it does, and I think it's just irresistible at this price.

MORE:

Here are all the best TVs you can buy right now

And here are all of the best Amazon Prime Day TV deals

I’m obsessed with broadcast delays (no, I’m not much fun at parties).

It all stems from Euro 2020, when my insistence on watching every match in 4K via BBC iPlayer resulted in several goals being spoiled by cheers from my neighbours and the revellers at a pub down the road.

Since then, I've prioritised low latency over outright picture quality when choosing how to watch major sporting events.

But I'd never actually tested the accepted wisdom around broadcast delays. So, with Sky launching its new Real Time feature for Sky Glass and Sky Stream, I decided it was time to find out which viewing method is actually fastest.

So, there I was, on a sweaty Thursday evening, setting up a second TV in my living room so that I could compare different broadcast options during the Czechia v South Africa match.

I needed to remove as many variables as possible, of course, so my two TVs needed to be identical. I therefore borrowed a 65-inch Sony Bravia 8 II OLED to match the one currently in situ in my lounge.

After ensuring that both TVs were running the same software and had the same picture settings, I plugged my now rarely used aerial into the ‘new’ TV (the one on the right in all of the photos sprinkled throughout this piece) and set about comparing that with the alternatives at my disposal.

This is what I discovered.

Freeview (aerial) vs BBC iPlayer

Before I get started, it’s worth noting that everything is delayed.

It simply takes time for anything that's filmed live to make it through all of the broadcast equipment, be encoded and transmitted, travel to and from satellites in space or through underground fibre-optic cables, and finally be decoded and displayed by your TV.

It’s commonly accepted, though, that watching the signals received by your aerial via a Freeview tuner is the least delayed option available. The BBC itself says that it takes 7-8 seconds for something happening live to reach your TV via this method.

So, how much slower was iPlayer than the TV playing Freeview? A hefty 23 seconds. That’s plenty of time for a goal to be spoiled by cheers from the neighbours.

Interestingly, I found no meaningful difference between BBC iPlayer's HD and UHD streams. If you're watching via iPlayer anyway, choosing the 4K feed doesn't appear to add any extra delay.

I also tested the iPlayer app on several devices – the Bravia 8 II itself, a Sky Stream box, and an Apple TV 4K – and the result was always 23 seconds, there or thereabouts.

It’s worth remembering that BBC iPlayer is the only way to watch the World Cup in 4K, and the feeds look terrific, but when immediacy matters, such as when England are playing, foregoing pixels for promptness is the sensible way to go.

Sky Stream/Glass

Time for Sky Stream, and the good news is that this was indeed quicker than BBC iPlayer. The bad news? It was still around 18 seconds behind Freeview.

That’s better, of course, but still more than enough time for a goal to be spoiled.

But, as I mentioned earlier, Sky has a special feature up its sleeve for dealing with this…

Sky Real Time

That feature is Real Time, which is designed to massively reduce the amount of lag experienced during big sporting events.

Sky has rolled Real Time out just in time for the World Cup, and it’s available on the BBC HD, ITV1 HD and ITV4 HD.

It’s worth noting that it’s not turned on by default. Once you tune in to one of the channels mentioned above during a World Cup match, you then need to click the ‘Real Time’ button that appears on the screen. Do that, and you’ll be switched to a special ‘RT’ version of the channel.

So, how much faster is Real Time? A whopping 13 seconds faster than standard Sky Stream, which makes it just five seconds slower than the Freeview tuner.

That’s close enough, I think, to rarely be an issue.

Conclusions, caveats and Sky Q

You’ve probably spotted that there’s a significant absentee from my testing, Sky Q, and there’s an easy explanation for that – I no longer have a satellite dish.

However, Sky has previously told me that Real Time brings Sky Stream/Glass to within three seconds of Sky Q, and the results of my testing certainly suggest that's plausible.

It’s also worth noting that there are plenty of variables that mean your results might vary slightly from mine. Aerial connections and Freeview tuners are remarkably consistent, but network conditions are not. Broadband speeds, router performance, wi-fi quality and even the streaming device itself can all affect how quickly a live stream reaches your screen.

Still, if you want to see how all of these various viewing methods compared, delay-wise, for me, here’s a little graph I whipped up:

Broadcast / reception delay

Here's how long, in seconds, it takes each broadcast type to show you a goal that's just been scored

Delay

Live

0

Freeview (aerial)

8

Sky Q (satellite)

10

Sky Glass/Stream with Real Time

13

Sky Glass/Stream without Real Time

26

BBC iPlayer

31

010203040

Delay Data

Product	Value
Live	0
Freeview (aerial)	8
Sky Q (satellite)	10
Sky Glass/Stream with Real Time	13
Sky Glass/Stream without Real Time	26
BBC iPlayer	31

This is according to my testing – bear in mind that your mileage may vary.

So, is Sky Real Time the saviour of sports fans tired of hearing celebrations before they see the goal?

Not quite. My tests suggest that a good old-fashioned aerial is still the quickest way to watch live TV, and Sky Q via satellite probably remains a touch faster too.

But Sky's new mode narrows the gap dramatically. Instead of lagging tens of seconds behind the live action, Sky Stream and Sky Glass are now close enough to traditional broadcast TV that, in most homes, they're unlikely to be the reason a goal gets spoiled.

For years, choosing streaming TV meant accepting that everyone else would see the goal first. Thanks to Real Time, that trade-off is finally starting to disappear.

MORE:

Here are all of the best TVs you can buy right now

And don't forget the audio! Here are all of the best soundbars

Can you believe that there was a time when Samsung didn’t feature a single OLED TV in its range? That all changed in 2022, when it put its spin on OLED by adding a layer of Quantum Dots and launched the excellent S95B QD-OLED TV.

Five years later, the brand is now reaping the benefits of the self-emissive panel technology. It now makes some of the finest OLED TVs around – take the five-star S95F and S90F duo from last year – and its 2026 lineup features more OLED TVs than ever before.

Of course, Samsung was never going to celebrate half a decade of OLED success without taking things up a notch, which is why it has introduced a new, rather unusual flagship model that takes inspiration from one of the brand's other most successful models.

That new flagship OLED is the S99H, a premium QD-OLED TV that oozes style and sophistication, thanks at least in part to its aesthetic similarities to the wildly successful, design-led The Frame LCD range.

Here, though, those smart good looks have been blended with the core abilities of the excellent S95F – with a generous helping of performance upgrades for good measure.

The result? A showstopping OLED TV that blends style and substance, and one that we think could dethrone the current reigning champion of our best OLED TV list: the Sony Bravia 8 II.

Price

We have the 55-inch Samsung S99H before us today, and it’s officially priced at £2499, though in true Samsung fashion, that launch pricing hasn’t stuck around for long. We’re already seeing a £100 decrease across all sizes, which puts the 65-inch version at £3199, the 77-inch model at £4199, and the 83-inch size at £5999.

Now, we need to clear something up regarding model numbers for different regions.

In the US and Australia, Samsung is calling this model the S95H. Despite the different name, it is an identical TV. In these regions, you’ll find the 55-inch S95H for $2500 / AU$3999, the 65-inch S95H for $3400 / AU$5299, the 77-inch S95H for $4500 / AU$7999, and the 83-inch S95H for $6500 / AU$9995.

That's not the end of the story, though. To confuse things even more, Samsung is selling a model under the S95H name here in the UK, too, but it’s a different TV. From what we gather, it is the same TV as the S99H, but without the metal frame-style design. In fact, it looks identical to last year’s S95F.

So, to reiterate, the S99H we're testing here is known as the S95H in the US and Australia, but that is not the same as the UK's S95H TV. Yes, we have given some constructive feedback to Samsung on all of this.

Got all that? Then let's consider the S99H's competition, which primarily comes in the form of Sony’s awesome, Award-winning Bravia 8 II, the 55-inch version of which, after around a year on sale, now costs around £1799 / $2600 / AU$3995. That makes it significantly cheaper than the S99H in the UK, but there's rough pricing parity between the two TVs in the US and Australia.

There’s also the 55-inch LG G6 to consider, which appears to be widely discounted to £1840 here in the UK, but is so far sticking to its $2500 / AU$3995 launch price in the US and Australia, respectively.

Design

We’re confident in saying that this is one of the most unusual-looking TVs to enter our AV testing room.

Samsung clearly took inspiration from its hugely popular The Frame TV when it came to designing the S99H, and while this television’s looks won’t be to everyone’s taste, we’re just pleased to see a TV company that’s willing to push the boat out when it comes to design.

The S99H features a two-layer design, with an OLED screen section mounted onto a slightly larger metal backplate, with a roughly 2cm gap between. Samsung calls this its “FloatLayer” design.

It’s hard to describe, but the effect it gives is essentially a floating OLED panel surrounded by a premium metal frame. Much like LG’s G-series, this TV is designed to be wall-mounted, and while we can’t do that in our testing room, we have seen it wall-mounted at various hands-on events leading up to launch.

In short, the S99H looks like a work of art when it's fixed to a wall, as the floating design becomes really quite striking and effective. Despite the two-layer design, the overall depth is just 2.8cm, which also helps to sell the futuristic look that Samsung is going for.

Unfortunately, the TV doesn’t look quite as suave when it’s set up in its tabletop configuration. Samsung includes two quite cheap-feeling plastic feet with the TV that feel somewhat at odds with the rest of the premium design, and the metal bezel and floating design look less convincing when it's not attached to a wall.

Samsung also includes two remotes in the box: a “traditional” button-heavy number, and a sleeker “smart” remote. The latter includes both a USB-C socket and a small solar panel on the back for easy recharging, though it’s frustratingly not backlit. Then again, neither are the remotes included with the aforementioned Sony or LG TVs, so we can’t knock Samsung too much here.

Features

Samsung’s penchant for cramming (almost) every imaginable feature into its TVs is, once again, evident with the S99H.

We’ll start with the QD-OLED display, which Samsung has managed to squeeze even more brightness out of since we last saw it on the S95F. It can now reportedly reach a whopping 2700 nits in the Movie picture mode, and as you’ll come to find out in the picture section of this review, there are plenty of instances in which we find ourselves being taken aback by how bright this TV can get.

Samsung has also improved its Glare Free coating this year, making it more effective at combating reflections and glare from ambient light. The matte display also makes artwork from Samsung’s Art Mode feature look more realistic for those who want a TV that blends into its surroundings.

In usual Samsung fashion, HDR support comes in the form of HDR10+ (including the Adaptive and Gaming versions), HDR10 and HLG, but not Dolby Vision.

Samsung's answer to Dolby Vision 2, HDR10+ Advanced, is also supported by the S99H. Unfortunately, no content is available in the new format yet, and we don't have a date for its arrival. Amazon is said to be working on adding it to Prime Video in the not too distant future, though.

Hardcore PC gamers will be pleased to learn that the S99H can handle signals right up to 4K/165Hz, as well as the console-friendly 4K/120Hz format, across all four of its HDMI 2.1 sockets. VRR, ALLM and HDR10+ Gaming are also all supported.

All of the connections are built into a side-facing nook in the rear of the TV, which is a departure from the One Connect box that has come with Samsung’s previous flagship OLED TVs.

One Connect does live on, though, and in a quite remarkable way: Samsung is offering an optional Wireless One Connect accessory, which is set to launch in July for £299 / $350 (AU price TBC).

This features four HDMI sockets, and because it connects to the S99H wirelessly, it takes the total HDMI 2.1 socket count to a staggering eight. That’s enough to support all three of the current-generation consoles, a gaming PC, a 4K Blu-ray player, a soundbar or AVR, and a streaming device, and you’d still have one spare.

The S99H also supports Dolby Atmos, both via HDMI eARC and through its built-in 4.2.2-channel 70W sound system.

Samsung offers two simplistic sound modes, Standard and Amplify, but there is also a range of Samsung-specific sound processing features based on its Vision AI platform, including Object Tracking Sound Plus, Active Voice Amplifier Pro, Adaptive Sound Pro, and AI Sound Controller Pro; all of which are fairly self-explanatory.

Q Symphony also returns. This allows you to use the TV’s speakers in unison with those of a connected Samsung soundbar, but it should be approached with caution – we generally find that a good soundbar performs best when the less capable speakers of a TV don't get involved.

AI also steps in to help with picture processing, as Samsung has implemented its 4K AI Upscaling Pro, AI Motion Enhancer Pro and Auto HDR Remastering Pro features, alongside a Real Depth Enhancer contrast enhancement system and Colour Booster Pro.

On the subject of AI, Samsung has applied its “AI for All” mantra in swathes here, as the S99H is positively dripping in artificial intelligence, right down to the AI button on the remote.

A click of this button brings up Samsung’s Vision AI interface, which can recognise on-screen content and provide extra contextual information. This includes related content, cast information and prompts to find out more detailed information about the show or movie.

Scrolling from this page brings us to a more generalised AI interface, from which Samsung allows you to pick your preferred system. Here you can ask for recipes, generate AI wallpapers, or ask general questions. The sky is, hypothetically, the limit.

This is all made possible by the same NQ4 AI Gen3 Processor found in last year’s S95F, as well as Samsung’s Tizen OS platform. The operating system has had a fairly comprehensive refresh for 2026, with a new content bar at the top that splits your apps into categories including entertainment, gaming and art, and the operation feels generally slicker.

App coverage is mostly excellent, with a wide range of international and domestic streaming applications. Currently, the only missing app is BBC iPlayer; we’ve reached out to Samsung, which says that it expects to add iPlayer support soon.

Samsung TV Plus, which features hundreds of free over-the-internet streaming channels, is also included, and gamers are well looked after thanks to the presence of apps for services such as Xbox, Amazon Luna, and Nvidia GeForce Now.

Picture quality

It’s clear that Samsung has been working to tweak and adjust its picture processing over the years in the pursuit of achieving that final pinch of picture quality excellence, and the S99H is evidence that its work has paid off. This is Samsung’s most mature TV yet, and it’s all the better for that.

We opt for Filmmaker Mode as our preferred picture preset, albeit with a couple of tweaks to get the best performance possible: we switch Colour Temperature from its Warm 2 default to Warm 1, and turn the judder and blur reduction settings up to 1.

The resulting picture is extraordinary, and it makes any content we throw at it – from Blade Runner 2049, Civil War, Pan and Drive, to No Time To Die and The Batman – shine. We have the S99F set up next to the Award-winning Sony Bravia 8 II, and despite the tough competition, the Samsung delivers an unflinching visual feast.

Starting with the opening scene of Blade Runner 2049, we find that the S99H serves up oodles of contrast, which results in a deeply three-dimensional picture with superb highlights.

The overhead shot of the solar farm instantly draws us in, thanks to the superb detail levels mixed with the excellent sense of depth. We also approve of how the S99H handles the gloomy, bluish-grey sky, as well as the skin tones of Officer K and Sapper Morton.

In fact, the S99H makes the Sony Bravia 8 II look a bit green in our head-to-head comparison, and skin tones start to look a bit pasty, too. Sony TVs have traditionally leaned towards the cooler side when it comes to colour reproduction, even in Filmmaker Mode, but it’s interesting to see these TVs take a different approach, particularly as they use the same panel technology.

This is most evident in the scene from Pan in which the floating pirate ship enters a cavern; the Samsung runs rings around the Sony when it comes to maintaining low-light colour volume. Skin tones are noticeably warmer and more vibrant on the Samsung in this instance. That being said, the Sony is evidently better at maintaining shadow detail.

In fact, some shadow detail is lost entirely on the S99H, especially during dark sequences in moodier flicks such as Drive and The Batman. In both films, we find facial features and clothing textures occasionally succumb to darkness, while the Sony has no trouble keeping them visible.

At the other end of the spectrum, the Samsung takes the crown when it comes to delivering dazzlingly bright highlights; in fact, we’re adding the S99H to the list of TVs that we’ve had to shield our eyes from physically.

Reverting to the exceptionally bright (and critically dismal) Pan, we find the mix of punchy, concentrated highlights and rich colours stealing our attention away from the Sony entirely.

However, the more conventional-looking Civil War is the perfect test disc to highlight exactly what this TV does well. Everything from the night-time forest fire sequence to a helicopter gliding over a lake and the Charlottesville military camp looks fantastic.

There’s a real sense of nuance here that previous Samsung TVs haven’t always been able to capture. Foliage, for example, is wonderfully textured and detailed without looking over-etched, and while the colours do seem a smidge over-saturated compared with those from the Bravia 8 II, it's not to an extent that looks instinctively wrong.

The sequence that shows the journalists driving through a forest fire seals the deal here. The mix of detail, depth and contrast served up by the S99H is remarkable – the striking, bright flames contrast wonderfully with the dark background, and there is a real sense of intensity and warmth derived from how Samsung's OLED handles highlights.

We fire up the standard Blu-ray of Logan to assess the S99H’s upscaling capabilities, and it's a similar story here, too. Detail levels are superb, and if we weren’t so eagle-eyed, the S99H could almost have fooled us into thinking we were watching a 4K disc.

Colours are also nicely balanced, and motion remains solid, too. This TV excels regardless of what you throw at it.

Sound

It’s not just the picture performance that Samsung has improved. Sound has also been upgraded, which is a good sign after the S95F’s middling delivery.

We stick with Civil War, which highlights everything from dialogue to explosions, and even Dolby Atmos height effects. The rhythmic swooping of helicopter blades is delivered with a strong leading edge, underpinned by a pleasingly controlled dose of bass.

Moving on to the scene in which Lee and Jessie have a heart-to-heart conversation in a wooded area, we approve of how the S99H captures the subtle characteristics of their voices well, and overall, the dialogue is crisp and well-defined. The atmospheric effects, including birds chirping and leaves rustling in the wind, sound pleasingly spacious, too.

There is plenty of height and width to the sound, which is also evident in Blade Runner 2049. The sequence in which Officer K returns to his home from the police precinct is another example of how the S99H captures atmospheric sounds to great effect.

The booming audio adverts are placed with impressive precision and plenty of height, while the S99H somehow manages to beam the sound of the bustling street in a way that creates a fairly convincing sense of immersion.

While we’re on the subject of Blade Runner, we put the S99H through our usual chapter two stress test and find that Samsung has changed its approach. Where many of the brand's previous models have been quite bassy but a little prone to distortion, the S99H digs less deep but proves to be almost entirely distortion-free.

Sony takes a similar approach with the Bravia 8 II (and many other of its TVs), and we ultimately find it to be a sensible compromise. We would of course like more bass weight, but if that has to be sacrificed somewhat to reduce distracting distortion, then so be it.

It’s not all good news on the sonic front, though: like the S95F, the S99H simply doesn't go very loud. Even close to its maximum volume levels, this is an easy TV to talk over. The Amplify setting helps to negate this somewhat, but it does result in some dynamic compression.

The Sony Bravia 8 II also does a better job of organising the sound during scenes with lots of competing effects. The ending battle of Civil War is a perfect example, as the Sony balances dialogue, explosions, and vehicle sounds with care to create a more impactful and immersive soundscape.

With all that said, the S99H is still a big improvement over the S95F where sound is concerned, and it's ultimately a very usable (and even enjoyable) built-in sound system.

Verdict

There’s no other way of putting it; Samsung has knocked it out of the park with the S99H.

With a refined approach to picture tuning, a feature set that (with one key caveat) many TVs can only dream of, and a greatly improved sound system compared with last year’s model, the company’s latest flagship OLED TV takes the title from the S95F as the best TV the company has made to date.

The bold new design might not suit all tastes, and die-hard Dolby Vision fans may be disappointed, but we’re struggling to find reasons not to recommend the Samsung S99H to anyone considering splashing some serious cash on a flagship OLED TV.

SCORES

• Picture 5
• Sound 4
• Features 4

MORE:

Read our review of the Sony Bravia 8 II

Also consider the LG G6

Read our Philips OLED910 review

Best TVs: flagship OLEDs and budget Mini LED sets tried and tested

There’s a war going on for your living room. The premium TV technology of choice of the last few years – OLED – is under attack from a new, stunningly bright and vibrant foe – RGB Mini LED.

Every major brand has either launched its first RGB Mini LED TVs or is about to. Hisense launched its first RGB Mini LED models last year, in fact, but those were gigantic, 100+ inch sets, so a long way from a serious proposition for most people.

Hisense is also the first brand to submit to us a proper, mainstream RGB Mini LED TV to review, though – the UR9.

RGB Mini LED TVs are pitched at different levels by different brands, but Hisense is absolutely pitching the UR9 as a rival to flagship OLEDs. The price confirms as much.

So, what better way to benchmark it than against our current favourite flagship OLED, the Sony Bravia 8 II.

That, then, is what we’ve done. Over several days, we’ve tested the Hisense UR9 and Sony Bravia 8 II side by side, feeding all of our favourite discs and streams into both simultaneously, and judging them on picture quality, sound quality, features, usability, design and price.

This might not be a full RGB Mini LED vs OLED battle – the Hisense UR9 doesn’t represent all RGB Mini LED TVs, after all – but it is the opening skirmish in the broader TV tech war. And it's an eye-opening one at that.

Hisense UR9 vs Sony Bravia 8 II: price

The Hisense UR9’s pricing is interesting to say the least. In the UK, the 65-inch model we tested is priced at £2999, which places it in the same price category as brand-new flagship OLEDs.

In Australia, meanwhile, the UR9’s price of AU$3999 makes it slightly more affordable by local standards.

In the US, though, the pre-launch price of $3500 had dropped vastly to just $2000 by the time the TV actually hit stores.

Things are much more straightforward with the Sony Bravia 8 II, the 65-inch version of which launched at £2999 / $4000 / AU$5295, but can now be bought for £2299 / $2798 / AU$4995.

The inconsistent international pricing of the Hisense UR9 makes it a little tricky to judge this round, but seeing as we’re a primarily UK publication, and that we reviewed a UK sample, we’re going to prioritise the UK pricing and call this it in favour of the Bravia 8 II.

WINNER: Sony Bravia 8 II

Hisense UR9 vs Sony Bravia 8 II: design

The Sony Bravia 8 II and Hisense UR9 are both smart-looking TVs, but they take rather different approaches to design.

Sony has essentially carried over the styling of the A95L, resulting in a TV that looks purposeful, premium and monolithic. While it lacks the ultra-thin glamour of some rival OLEDs, the Bravia 8 II still feels like a flagship product, with its clean lines and understated aesthetic giving it a suitably high-end appearance.

The feet can be installed in either a low-profile position that leaves the bottom edge of the screen sitting just millimetres above your furniture, or a raised position that creates space for a soundbar. The downside is that those feet can only be positioned at the furthest extremes of the chassis, meaning you'll need furniture that's at least as wide as the TV itself.

The Hisense UR9 is a more practical proposition. At 4.5cm thick, it's chunkier than the Sony and doesn't have quite the same premium flair, but it is solidly built and neatly finished, with slim bezels and a restrained dark metallic finish.

Hisense has also made a couple of sensible usability-focused decisions. The centrally mounted pedestal stand occupies a footprint of only around 42cm, making the TV much easier to place on narrower furniture, and it too offers two height positions so that a soundbar can be accommodated beneath the screen.

The UR9's integrated Devialet sound system is more visually obvious than Sony's Acoustic Surface Audio+ setup, with perforations running down the sides of the chassis and across the top edge to house the side- and up-firing speakers. That's not necessarily a bad thing, but it does contribute to the TV's more functional, engineering-led appearance.

Ultimately, neither of these TVs is likely to be bought primarily for its styling, but the Bravia 8 II's cleaner, more premium design gives it the edge. The UR9 is practical and perfectly attractive in its own right, but it lacks the sense of sophistication that Sony's flagship delivers.

WINNER: Sony Bravia 8 II

Hisense UR9 vs Sony Bravia 8 II: features

The biggest difference between these two TVs is, of course, their panel technologies.

The Sony Bravia 8 II uses Samsung Display's latest QD-OLED panel, paired with Sony's XR processor and a custom heatsink. Because OLED technology is self-emissive, every pixel can be controlled independently, with no need for local dimming zones.

Sony doesn't publish specific brightness figures for its TVs, but the Bravia 8 II is estimated to hit around 1900 nits in small highlights, making it one of the brightest OLED TVs currently available.

The Hisense UR9, meanwhile, uses an RGB Mini LED backlight with 980 local dimming zones. Rather than relying on a conventional white backlight shining through colour filters, it uses separate red, green and blue Mini LEDs to generate colour directly. Hisense claims a peak brightness of up to 3500 nits for the 65-inch model we tested.

On paper, then, these TVs take radically different approaches to creating their images. We're not going to award points for one technology over the other here, though, because what ultimately matters is how those technologies perform in practice. We'll get to that in the picture quality section.

There are other differences in the feature sets of the two TVs worth highlighting, though.

Hardcore gamers are generally better served by the Hisense. All three of its HDMI sockets are full-bandwidth HDMI 2.1 ports, with support for 4K/170Hz, 4K/120Hz, VRR and ALLM. It also features a DisplayPort connection, which remains extremely rare on TVs and could prove useful for committed PC gamers.

The Sony supports 4K/120Hz, VRR and ALLM, too, but still offers only two HDMI 2.1 sockets, one of which doubles as the eARC connection. That limitation remains one of our biggest frustrations with Sony's flagship TVs.

That said, we'd probably take the Sony's two HDMI 2.1 sockets and two additional standard HDMI inputs over the Hisense's three HDMI sockets and DisplayPort arrangement. The latter will be useful to a niche audience, but many buyers are more likely to benefit from having an extra ‘standard’ HDMI connection available.

HDR support favours the Hisense, though. The UR9 supports every major HDR format currently in use, including HLG, HDR10, HDR10+ and Dolby Vision. The Bravia 8 II supports Dolby Vision, HDR10 and HLG, but, as is customary for Sony TVs, HDR10+ is absent.

The Bravia 8 II fights back with Google TV, which remains one of the stronger smart TV platforms available and features excellent app support. The UR9's VIDAA operating system is fast and responsive, but there are some notable omissions.

Most significantly, while the Apple TV app is present, it lacks access to the Apple TV Store and users' purchased libraries. That's a genuine disappointment, as Apple's movie store remains the best pay-as-you-go film streaming service available, particularly for 4K HDR movies.

Sony also offers IMAX Enhanced certification, its Studio Calibrated Modes for services such as Netflix and Prime Video, and Sony Pictures Core integration.

Ultimately, neither TV completely dominates on features, but the Hisense's broader HDR support, extra HDMI 2.1 socket and more advanced gaming specification give it the edge overall.

WINNER: Hisense UR9

Hisense UR9 vs Sony Bravia 8 II: picture quality

This is, of course, the section that really matters.

The Hisense UR9 makes an immediately strong impression. Once switched into either Filmmaker Mode or IMAX Cinema, it produces a rich, vibrant and remarkably composed image that rarely behaves like a traditional backlit TV.

Perhaps the most impressive thing about the UR9 is how well controlled its RGB Mini LED backlight is. Throughout our testing, blooming is kept impressively in check, black levels are consistently strong and the TV almost entirely avoids the brightness pumping, flickering and shifting backlight behaviour that often gives Mini LED technology away.

Extra-bright HDR content is a particular strength. Movies such as Pan look spectacular on the UR9, with dazzling highlights and bold colours that comfortably outgun the Bravia 8 II for outright brightness. Sunlight bursting through clouds and glinting off fantasy scenery is delivered with real punch and intensity.

The UR9 is also a very accomplished motion performer, and it combines its brightness with rich colours, excellent shadow detail and a pleasingly cinematic warmth that stops the image from ever becoming gaudy or overblown.

In isolation, it's one of the best backlit TVs we have ever tested.

Direct comparison with the Bravia 8 II reveals why OLED remains the reference technology, though – at least for now.

Despite its impressive brightness and excellent local dimming, the Hisense simply can't match the Sony's pixel-level contrast control. Counterintuitively, some of the brightest highlights against the darkest backgrounds actually appear more impactful on the Bravia 8 II than on the much brighter Hisense, because the OLED can render them without any concern about blooming.

More significantly, the Sony produces a more solid and perceptually three-dimensional image. Objects and characters stand out from their surroundings with greater depth and dynamism, while subtle gradations within shadows, clouds and highlights appear more convincing and refined.

We've observed this extra solidity from OLED many times before, but the side-by-side comparison between these two TVs demonstrates it particularly clearly. Next to the Bravia 8 II, the UR9 simply looks a little flatter and less immersive.

The Sony also has the advantage when it comes to viewing angles. While the Hisense holds up better than many LCD-based rivals, the sweet spot in which it performs at its very best is still relatively narrow. Thanks to its OLED panel, the Bravia 8 II performs consistently from almost any angle.

And while blooming is rare on the UR9, it isn't entirely absent. Difficult scenes such as the bomb-test sequence in Oppenheimer or the opening starfield of Alien: Romulus reveal imperfections that even this highly accomplished RGB Mini LED set cannot completely escape.

The Bravia 8 II, meanwhile, is simply sensational. Its combination of dazzling brightness by OLED standards, vibrant colours, exceptional shadow detail and razor-sharp definition creates an image of astonishing depth and realism.

What impresses most isn't any single strength, but how naturally all of its strengths come together. The Bravia 8 II consistently delivers a picture that feels balanced, authentic and effortlessly cinematic, whether you're watching a pristine 4K Dolby Vision disc or a much more humble SDR stream.

The Hisense UR9 proves that RGB Mini LED can get surprisingly close to flagship OLED performance, and many viewers will adore its combination of brightness, richness and stability. But when viewed side by side, the Bravia 8 II remains the more complete and convincing picture performer.

WINNER: Sony Bravia 8 II

Hisense UR9 vs Sony Bravia 8 II: sound quality

Both the Sony Bravia 8 II and Hisense UR9 are unusually sonically accomplished by modern TV standards.

That's important, because while we always recommend pairing a premium TV with a dedicated sound system, for many buyers that’s either impractical or unpalatable.

The Hisense UR9 certainly doesn't disappoint. Its Devialet-tuned 4.1.2-channel sound system delivers a presentation that is impressively spacious and full-bodied, with particularly convincing width and height effects.

Dolby Atmos soundtracks benefit from a strong sense of scale, while bass is deeper and more substantial than most flatscreen TVs can manage. The overall character is smooth, rich and easy to listen to over extended viewing sessions.

The UR9's audio system isn't flawless, though. Dynamics can feel a little restrained during big action sequences, and dialogue doesn't always have the clarity and expressiveness we'd ideally like.

We also found ourselves preferring the Standard sound mode over the more expansive Theatre setting. While Theatre mode undoubtedly sounds bigger, it can introduce a slightly diffuse and faintly echoey quality to voices that makes dialogue seem less natural than it should.

The Sony Bravia 8 II takes a very different approach. Rather than relying on conventional speaker placement, its Acoustic Surface Audio+ system uses actuators to vibrate the screen itself, effectively turning the display into a speaker.

The result is one of the most cohesive and convincing audio performances we've heard from a TV.

Dialogue and effects are tied directly to the action on screen in a way that traditional TV speaker systems struggle to replicate, creating a stronger sense that sound is genuinely coming from the people and objects you're watching.

Like the Hisense, the Sony also sounds surprisingly spacious, with effects extending well beyond the edges of the screen. Detail levels are excellent, too, and the Bravia 8 II combines subtle dynamic nuance with enough punch to make action scenes engaging and exciting.

Bass depth isn't as generous as it is from the Hisense, but it's impressively controlled, and the overall tonal balance is exceptionally well judged.

Ultimately, these are two of the best-sounding TVs you can currently buy. The Hisense delivers scale, warmth and impressive Atmos effects, but the Sony's superior detail, greater dynamic expression and uniquely direct delivery give it the edge.

WINNER: Sony Bravia 8 II

Hisense UR9 vs Sony Bravia 8 II: verdict

The Hisense UR9 is a hugely important TV.

Not only is it the first mainstream RGB Mini LED TV we've fully reviewed, it's also the first serious attempt to take on flagship OLEDs with a fundamentally different display technology.

And the good news for RGB Mini LED fans is that, in some ways at least, it succeeds.

The UR9 is bright, vibrant and impressively refined. More importantly, it avoids many of the traditional pitfalls of backlit TVs, with excellent black levels, impressively restrained blooming and a consistency that often feels surprisingly OLED-like.

In several respects, it's one of the best backlit TVs we've ever tested.

But while the UR9 proves that RGB Mini LED is a genuinely exciting technology with enormous potential, it also demonstrates just how high the bar currently is at the top end of the OLED market.

Ultimately, picture quality remains the most important factor in any TV buying decision, and it's here that the Sony Bravia 8 II retains a clear advantage. The Hisense has the stronger gaming specification, broader HDR support and spectacular brightness, but the Sony's superior contrast control, greater three-dimensionality and more natural, cinematic image make it the more accomplished performer overall.

This isn't a verdict on RGB Mini LED versus OLED as technologies, and it certainly isn't the last battle in what is shaping up to be one of the most interesting periods in TV tech for years.

Instead, it’s the verdict on the very best OLED TV currently available versus the first mainstream RGB Mini LED model. And while the Hisense UR9 proves that RGB Mini LED is ready to compete with the very best, the Sony Bravia 8 II remains the TV to beat.

OVERALL WINNER: Sony Bravia 8 II

Since news broke that TCL is taking a stake in Sony’s home entertainment business, there have been a lot of questions about the Japanese giant’s plans for OLED.

After all, TCL has famously championed Mini LED as a superior technology, even at the top end of the market, so it may not be keen on Sony continuing to push its rival format.

The Bravia 9 II and Bravia 7 II, which Sony unveiled mere weeks ago, are both set to use new True RGB panel technology, not OLED.

So there is some evidence that Sony may partially agree with TCL and doesn’t see OLED as its future.

We, however, don’t fully agree that Mini LED is always the better option. For us, OLED is still the top dog – at least when it comes to picture quality – based on our testing.

There is something about OLED’s pixel-level light control and the resulting perfect blacks that no LED set, Mini, RGB, or otherwise, has been able to beat.

Sony is a key reason we continue to push OLED sets in our recommendations, with our TV and AV editor, Tom Parsons, openly describing our current Product of the Year, the Sony Bravia 8 II OLED, as the best TV he has ever tested, period.

Which is why the team and I were delighted when FlatPanelsHD spotted a new leak, suggesting Sony is not only about to unveil new sets with the panel tech, but that they will also serve a currently underserved part of the market: small, affordable OLEDs.

The leak occurred when a (now removed) listing on Sony’s website for a new Bravia 6 OLED TV appeared.

This hasn’t been confirmed yet, so we are still firmly in rumour territory (we have contacted Sony for comment), but the details in the listing paint a pretty picture.

First, because the listing shows the range will feature a 48-inch size option.

Second, because the alleged use of MediaTek's Pentonic 800 chipset means it will have four HDMI 2.1 ports. That’s great news for people with multiple current-generation consoles and a Dolby Atmos soundbar, all of which require the advanced HDMI connectivity to run at full speed.

Third and finally, because the report suggests the Bravia 6 will feature one of LG’s new OLED SE panels, which are designed for cheaper OLEDs.

We haven’t yet reviewed any TVs sporting that particular panel technology, so we can’t speculate on screen quality, but the potential is certainly exciting.

Regular readers know that we have long lamented the ongoing lack of good, cheap, smaller OLED TVs on the market.

Only a select few companies offer 48- and 42-inch OLED sets. And those we have reviewed and recommend tend to sit in the mid-tier, so can’t really be described as cheap. Even on sale, you’re looking at around £850 / $850.

Right now, with Panasonic’s Award-winning 48-inch Z90B out of stock, there are only two real options to choose from: the 48-inch LG C5 and the 48-inch Samsung S90F.

Editor's note: There are 48- and 42-inch options in the cheaper LG B-series and Samsung S85-series, but we haven’t been able to review them, so we can't recommend them.

Having another contender appear from a known OLED maker, then – and one that offers all three of the things we want – is undeniably positive.

If it does appear and delivers the Award-winning, balanced performance for which Sony OLEDs have become famous in recent years, it could well be the cheap OLED we’ve been waiting for.

So, here’s hoping it’s true, and we get a 48-inch Bravia 6 into our review rooms in the not too distant future.

MORE:

These are the best OLED TVs we have tested

We rank the best Dolby Atmos soundbars

Our picks of the best Mini LED TVs

If you thought Sony was done revealing new TVs after its latest Bravia 9 II and Bravia 7 II announcements, then think again.

After an OLED-less lineup left us wondering if we'll ever see a new OLED from the company again, there is a glimmer of hope thanks to a leaked listing that mentions a new model – but it's not what we were expecting.

According to a post on AVS Forum (via FlatPanelsHD), Sony will launch the Bravia 6 later this year, and it is a step-down OLED that's set to compete with the LG B6 and Samsung S85H.

The Award-winning duo of OLEDs in Sony's current TV lineup, the Bravia 8 and Bravia 8 II, will remain on sale for the foreseeable future, with the Bravia 6 expected to sit lower in the lineup. In fact, it is looking like Sony will position this below its new Bravia 7 II and Bravia 9 II RGB Mini LED models.

Screen sizes are rumoured to range from 48 to 83 inches. Sony is also expected to use the A60 model number for this set.

Specific model numbers have leaked with corresponding screen size indicators, such as K-48A60 for the 48-inch model.

The post on AVS Forum also claims that Sony will use MediaTek Pentonic 800 chipset, which is the same one found on the new Bravia 3 II.

This should delight gaming fans, as the Bravia 6 will reportedly be the first Sony OLED TV to feature four full-bandwidth HDMI 2.1 sockets.

The mid-range chipset and the name of this TV suggest the TV will sit in the middle of Sony's current range, which gives us a hint towards the panel technology it could use.

We expect it to feature LG Display's OLED SE panel, which has been specifically designed and tailored to entry-level OLED TVs, such as the Samsung and LG we've mentioned above.

The launch of a new "small" OLED TV could also signal the end for one of the longest-running TVs on the market.

The Sony A90K, which launched in 42-inch and 48-inch screen size options back in 2022, might finally be replaced by this supposed Bravia 6. Is this the end of an era?

For those wondering where this leak originated, we'll have to direct you to Sony itself. The Bravia 6 was explicitly mentioned on a wall-mounting compatibility page from Sony's very own website; you can find the webpage here, but all traces of the Bravia 6 have been completely scrubbed from existence.

Ultimately, we have to take all leaks with a pinch of salt, and nothing is set in stone until Sony confirms the Bravia 6's existence.

We've reached out to Sony for official comment...

MORE:

Read our full Sony Bravia 8 review

As well as our LG C6 review

And check out our picks for the best OLED TVs

The Sony Bravia 9 II might be the most trailed TV in history. I originally saw it in prototype form – before it even had a name – in Sony’s Tokyo HQ in February last year, and I wrote about how impressive it was a short time later.

I then saw it again in March this year, but I had to sit on that until last month, when Sony announced that its first RGB Mini LED TVs would be arriving this year, under the name ‘True RGB’.

Even then, I was able to talk about the new TV only as a vague ‘True RGB’ model, without a model name or specifications. I was also only able to discuss its performance in Sony-led demos against a couple of RGB Mini LED competitors.

During the same March visit to Tokyo, though, I was also given an hour to test independently the 75-inch Bravia 9 II against the Bravia 9 and a Sony BVM-HX3110 mastering monitor, with my own content and with full control over the settings. And I can now write about that.

An hour isn’t a long time to test a TV, and the Bravia 9 II was still in development at the time, so this hands-on, of course, doesn’t count as a full review. However, this level of access ahead of launch is extremely rare, and it means I have a good understanding of how Sony’s new flagship TV performs.

Largely, it’s extremely impressive. I think it’s possibly the best backlit TV ever produced, in fact. But is it an OLED killer? That’s where things get complicated…

Price

The Sony Bravia 9 II will be available in 65-, 75-, 85 and 115-inch sizes, with pricing as follows:

• 65 inches: £3499
• 75 inches: £4299
• 85 inches: £5499
• 115 inches: £22,999

So the 65- and 85-inch versions of the Bravia 9 II are each £500 more expensive than their Bravia 9 equivalents, whereas, surprisingly, the 75-inch Bravia 9 II is £200 cheaper than the 75-inch Bravia 9.

The 115-inch model is all-new and, unsurprisingly, very expensive indeed.

Design

Within the confines of TV design, where the screen element itself is always going to be a 16:9 rectangle, the Bravia 9 II is unusual and rather striking.

Sony refers to the design as “harmonic presence”, with the idea being to create “harmony with the space and between products”.

The “Mirage Stand” is clearly the Bravia II’s most distinctive aesthetic feature. It’s semi-transparent, which gives the impression that the TV is floating, but it still hides the cables that run behind it.

This semi-transparent neck is attached to a usefully narrow metal plate, so the TV will happily stand on furniture much less wide than itself. But the plate also sticks out quite a long way to the front and back in a way that looks slightly ungainly to my eyes. It also means you can’t position the TV particularly close to the wall – unless, of course, you choose to wall mount it.

There's no variable height with this stand, either. It is designed to allow space for a soundbar beneath the TV, but there's no option to lower it if you’re not using a soundbar.

Along the sides and the top, the bezels are extremely thin, and while the bottom bezel is thicker, it’s generally much thinner than that of most TVs.

That gives the screen itself space to shine – except it doesn’t shine, because it has a new anti-reflective treatment that Sony is calling “Immersive Black Screen Pro”.

Having seen a sample of the Bravia 9 II with a half-coated and half-uncoated screen (see the images above), I can confirm that it’s highly effective at suppressing reflections, and while it is matte, it looked far less grey in bright ambient lighting than is typical of matte-coated displays.

Features

Of course, the headline feature of the Bravia 9 II is its RGB Mini LED backlight.

Sony has taken the next-gen Mini LED backlight that it developed for the Bravia 9 and RGB-ified it. So, rather than white LEDs, the Bravia 9 II’s backlight features independently controllable red, green and blue diodes.

The theoretical advantage of this is the same as it is for all of the other RGB Mini LED TVs that are all the rage right now: better colour accuracy and, because a colour filter isn’t required, higher brightness.

The combination of these two elements should also create greater colour expression – because the TV can go brighter without the use of a colour-sapping white light, an RGB Mini LED TV should be able to deliver super-bright colours that a standard Mini LED TV cannot.

But those are just the overriding claimed advantages of RGB Mini LED technology as a whole. What makes Sony’s True RGB solution different?

The big thing is, as mentioned, the fact that it’s built upon the more or less revolutionary backlight of the Bravia 9. I wrote about that in detail when I first saw the Bravia 9 prototype way back in 2024, but suffice to say here that it involves the sort of granular backlight control that most rival systems can only dream of.

This so-called ‘XR Backlight Master Drive’ system has been upgraded to ‘RGB Backlight Master Drive Pro’, and it’s this combination of the Bravia 9’s backlighting tech with genuine RGB diodes that makes the Bravia 9 II such a tantalising prospect.

Sony’s claims for the Bravia 9 II are, as you can imagine, very bold indeed. “Unbelievable colour gradation” is promised, for example, with the brand stating that the new model has twice the colour volume of the Bravia 9 Mini LED set, and four times the colour volume of the Bravia 8 II QD-OLED model.

Sony goes on to claim that True RGB is a “best of both worlds technology”, and that the Bravia 9 II is designed to match the “intent and peak brightness of the BVM-HX3110” mastering monitor.

This comparison with the mastering monitor is crucial to the Bravia 9 II’s very existence. Sony’s claimed aim is to deliver a home viewing experience that matches what the content creators signed off in the studio. And it feels that the brightness offered by Mini LED over OLED is vital to this, and that the RGB element is vital to deliver the colour range and accuracy that neither standard Mini LED nor OLED can match.

As ever, Sony isn’t giving out specific numbers for aspects such as dimming zones, but a demonstration involving a 75-inch sample with an exposed backlight allowed me to do some quick counting, and by my calculations, it had 6120 separate LED clusters, which are controlled in groups of four, resulting in 1530 independent dimming zones.

Interestingly, if that’s accurate (and I’ll need more time with a final review sample to be sure), that means the 75-inch Bravia 9 II has 25 per cent fewer dimming zones than the Bravia 9. Sony has long argued that how dimming zones are controlled is more important than how many of them there are, but it is still surprising that the drop is this large.

Where peak brightness is concerned, Sony again won’t be putting specific figures into its spec sheets. But a demo session involving the super-bright Alpha and a measuring device proved (in so much that a manufacturer-led demo session can ever truly ‘prove’ anything) that the Bravia 9 II was hitting the movie’s full 4000-nit peak. And that was in the TV’s most accurate Professional preset.

How much value is there in that sort of brightness when almost no content is mastered to those levels? Sony appears to be of the opinion that the floodgates will one day open and brighter content will become more common.

I’m less sure about that; but having lots of brightness headroom indeed allows for a TV to deliver a better and more perceptually accurate performance in bright ambient light.

Away from the panel technology, much of the Bravia 9 II’s feature set is what we’ve come to expect from Sony TVs – and that means there’s a glaring issue for gamers. That’s right, Sony’s new flagship TV still has just two HDMI 2.1 sockets.

That we are still having to complain about this in 2026, a full seven years since LG launched its first TVs with four HDMI 2.1 sockets, feels faintly ridiculous, and it may put hardcore gamers off the Bravia 9 II regardless of its qualities elsewhere.

Picture quality

Part of my time at Sony HQ in March was spent in demos of exposed backlights, with Sony trying to (and succeeding in) convincing me that its True RGB system is more advanced and more consistent than those of its rivals.

I wrote about that experience last month, though, so here I want to talk about how the Bravia 9 II performs with real content, which I got to experience in a Sony-led demo session and an hour-long session of independent testing, in both cases with a Bravia 9 and a BVM-HX3110 for reference.

In the Sony-led session, I was shown various clips from movies, including Avatar, Black Widow, Monster Hunter and Apex, and throughout, I was deeply impressed by how close the Bravia 9 II’s colours looked to those of the mastering monitor. Where the mastering monitor looked bright and rich, so did the Bravia 9 II, whereas the Bravia 9 at times lost vibrancy, particularly in the brightest parts of the picture.

And while the Bravia 9 is remarkably controlled in terms of blooming, the Bravia 9 II is even better. A lot of this is down to the use of RGB diodes rather than white, because this means that any glow around coloured highlights appears in the same colour as the highlight, which looks far more natural and realistic.

A great example is a small red light against a very dark backdrop in Black Widow. On the Bravia 9, there’s a faint white glow around this, particularly when you view the TV off-axis. But on the Bravia 9 II, this glow is red, and because this looks so natural, you don’t even instinctively recognise it as blooming.

In my independent demo session, I played several of our favourite test clips, from movies including 1917, Pan, Blade Runner 2049, and Alien: Romulus. The Bravia 9 and Bravia 9 II were both in their most accurate Professional picture preset.

Kicking off with 1917, I immediately found it interesting that the Bravia 9 II and BVM-HX3110 mastering monitor both delivered essentially perfect black in the image with the bright movie logo, whereas the Bravia 9 looked a touch grey by comparison.

The opening shot over the French fields, meanwhile, provided a nice illustration of the colour improvements offered by the switch to RGB lighting, with the yellow flowers being reproduced with subtly greater vibrancy from the Bravia 9 II than the Bravia 9.

Skin tones looked better from the new model, too, with just a little more life to them, and the tunics of the soldiers’ uniforms had a slightly richer red/brown hue that the mastering monitor confirmed was more accurate.

The starfield in the opening shot of Alien: Romulus is a nightmarish test for any backlit TV, and it’s one that even the Bravia 9 II struggles to pass entirely convincingly. Somewhat surprisingly, the deep-space background is blacker from the Bravia 9, with the Bravia 9 II appearing to raise the black floor just a touch. To compensate, though, the new model delivers brighter stars and more detailed nebulae, and there’s greater insight into the deep shadows of the unmanned spacecraft.

In terms of colour tone, the Bravia 9 II was much closer than its predecessor to the mastering monitor, too. The Bravia 9’s highlights had a blue/green coolness to them that didn’t look quite right, whereas the Bravia 9 II maintained the cinematic richness that the mastering monitor proved was correct.

These bright white highlights also proved that, while it hasn’t been completely eradicated, blooming is indeed much reduced from the Bravia 9 II. From the Bravia 9, there was a noticeable glow around the white light of the search vessel, whereas the Bravia 9 II reduced this to very faint levels, at least when viewing the TV straight-on – at wider angles, it was a little more pronounced.

As broadly impressive as Sony’s Bravia 9 II backlight controls appeared to be, though, they weren’t completely infallible, and the opening text of Blade Runner 2049 wasn’t handled well.

The first word, which should be bright red, and was from the Bravia 9 and mastering monitor, was pale and grey from the Bravia 9 II. When this was joined by the first paragraph of white text, the Bravia 9 II introduced a pink tint that was quite vivid at the edges and pale towards the middle.

As yet more text was added, the colour became more consistent, but it was still pink where it should have been white, and when the final word, ‘Replicants’, was left on the screen, it was pale and grey where it should have been bright red.

This clip is uniquely challenging for backlit TVs, which is why we use it so frequently, but you would still expect the Bravia 9 II to handle it at least as well as the preceding Bravia 9. That decidedly wasn’t the case. Here’s hoping this is something Sony can remedy before the launch of the new TV.

One other slight surprise was that the super-bright Pan didn’t look markedly better from the Bravia 9 II than it did from the Bravia 9. There was a little more warmth to the haze around the bright sun and a little more highlight detail, but the upgrade wasn’t as pronounced as I had expected.

This is quite possibly a reflection on how well the Bravia 9 already handles this movie than it is a slight on the new model, but it will be interesting to do some more testing with this, and hopefully one or two other 4000-nit movies, once we get a final Bravia 9 II sample in for review.

One final thing to note is that while I didn’t have an OLED for comparison with the Bravia 9 II, we have generally found that even the very best backlit TVs struggle to match the general density, solidity and perceptual three-dimensionality of their OLED equivalents. And nothing I saw during my time with the Bravia 9 II suggested it will overcome this deficit.

That’s not really surprising: this solidity seems to be a result of OLED’s pixel-level contrast control, which no amount of backlight dimming zones will ever be able to match. Still, it’s something to bear in mind if you’re weighing up a backlit TV such as the Bravia 9 II against an OLED set.

Sound quality

While we always encourage the buyer of a new TV also to budget for a dedicated sound system of some sort, not everyone does that. In fact, Sony’s own research suggests that more than 80 per cent of its customers use their TV’s built-in speakers.

It’s little wonder, then, that serious effort has been put into the Bravia 9 II’s sound system as well as its picture quality.

The up-firing beam tweeters of the Bravia 9 remain, but every other element has been redesigned. There are no longer any drivers built into the bottom edge of the set. Instead, everything has been relocated to the same level around two-thirds up the TV, with some firing out and towards the listener, and others (primarily the subwoofers) firing backwards.

Sony has also upgraded the processing from 5.1.2 channels to 5.1.4, and the brand claims the Bravia 9 II has a more accurate Head-Related Transfer Function (HRTF) for better sound positioning, as well as a new crosstalk canceller to help prevent either ear hearing sound intended for the other.

The overall idea is that the sound is more accurately placed and is all more spatially connected to the on-screen action, and in demos, this seemed to work very well. With the Bravia 9, my ears were rather drawn to the trebly sounds coming from the drivers built into the bottom edge, but with the Bravia 9 II, there was much greater overall cohesion.

Playing a clip from Venom, the new model clearly sounded crisper and more dynamic, too, and the audio manifested further up the screen, where the action was taking place. Sony has a reputation for combining this sort of directness with spaciousness, and it seems that the Bravia 9 II will reinforce that, with surround and Atmos effects stretching a fair way around the TV.

One slight flaw that I did notice was that occasionally voices could sound as if they were coming from the sides of the screen. This may be related to me not sitting dead centre during the demo, but it will be interesting to test this further when we get a final production sample in for review.

It’s also true that, as with many previous Sony TVs, the Bravia 9 II sounded a bit bass-light. Sony tends to tune its TVs to be as clean and controlled as possible, which generally means not stretching for the deep bass that can cause distortion. On balance, that’s a good approach; but it does mean that some rival TVs can sound a bit weightier.

One final note to make here is that, while the Bravia 9 II sounded good during demos, that’s by the standards of TVs. I do not doubt that even a moderately accomplished soundbar will smash it for audio quality.

Early verdict

While we will, of course, need to get a final sample in for full testing before we deliver our review verdict on the Bravia 9 II, this excellent level of early access has given me a really good idea of how it performs – and, generally speaking, it’s very impressive indeed.

I think there’s every chance this will prove to be the best backlit TV ever produced, with a combination of 4000-nit brightness, contrast control and colour accuracy that few, if any, rivals can match.

Whether that makes the Bravia 9 II an OLED-beater is harder to judge – not least because we haven’t yet had the opportunity to do that side-by-side testing – but what I’ve seen so far suggests that OLED will still have advantages in several regards, most notably no blooming whatsoever, essentially perfect viewing angles, and a degree of solidity and three-dimensionality that seemingly only self-emissive pixels can provide.

The question, then, will be whether the Bravia 9 II’s advantages, such as higher brightness, more vivid colours, durability and greater size availability, outweigh those of OLED.

We’ll be answering that question just as soon as we get our review sample in for extensive, comparative testing.

MORE:

Check out our Sony Bravia 9 review and Sony Bravia 8 II review

Here are all of the best TVs you can buy right now

Sony has finally announced its full 2026 TV range, and guess what’s missing? That’s right – OLED.

It was long suspected that the brand’s new flagship model would be an RGB Mini LED set to replace the Bravia 9 ‘standard’ LED model. And, sure enough, that’s precisely what we’ve got, in the form of the technically formidable Bravia 9 II.

What I wasn’t expecting, though, was no new OLED in the range at all.

No replacement for the Bravia 8 II is no surprise: Sony works on two-year lifecycles for most of its models, and the company’s awesome QD-OLED set is only a year old.

And I’m beyond expecting a replacement to the A90K, which launched way back in 2022 but appears to have been sentenced to lifetime imprisonment in the warehouses of Amazon, Currys and John Lewis.

I was, though, expecting the Bravia 8 to get a replacement. Now two years old, Sony’s W-OLED model is struggling to justify itself against last year’s LG C5 and the newer C6. Surely a nip-and-tuck upgrade would be worth it, both for Sony and consumers who want meaningful choice when buying a step-down/mainstream OLED TV.

Alas, though, there’s not a single new OLED in Sony’s new range, with all three of its existing models expected to run for at least another year.

And that’s prompted in me a dreadful thought: what if Sony plans never to launch another OLED TV? Sadly, the more I think about it, the more I feel that’s a very realistic possibility.

It’s all about profit, of course, which is understandable; it’s saddening nonetheless.

You see, Sony buys all of the panels for its OLED TVs from its rivals: it buys the W-OLED panels for the A90K and Bravia 8 from LG, and the QD-OLED panels for the Bravia 8 II from Samsung.

This, inevitably, eats into the money the brand can make from these OLED TVs, especially while it tries to compete on price with those brands that both make the panels and sell the TVs.

Meanwhile, Sony’s Home Entertainment division, which is responsible for the design, development and manufacture of its TVs (and home theatre products), is about to become a joint venture between Sony itself and TCL, the latter of which will hold a 51 per cent share.

TCL is, of course, the biggest manufacturer of LCD TV panels in the world. It’s famously uninterested in OLED where TVs are concerned, and while it is in the process of building a huge factory where it will produce OLED panels via inkjet printing, these will be for smartphones, tablets and laptops, at least in the first place.

So, once the Sony/TCL joint venture begins operations at the start of 2027, will it have any interest in buying expensive OLED panels from its rivals so that it can produce Sony OLED TVs from which it receives very little profit? Or will it entirely focus on producing TVs using the in-house panel technology supplied by the TCL side of the merger?

Sadly, it’s not hard to imagine the answer to that one.

Of course, Sony says it is very much not done with OLED, and I sincerely hope that’s true, as I’m yet to test a backlit TV that beats an OLED overall. But Sony also needs to operate as a business, which means making profits. And that, I suspect, means saying goodbye to OLED.

With any luck, I’m wrong, but if the Bravia 8 II really does turn out to be Sony’s last OLED TV, at least it’s an awesome one.

MORE:

Check out our Sony Bravia 9 II hands-on and Sony Bravia 8 II review

Here are all of the best TVs you can buy right now

After months of teasers and snippets of information, Sony’s first line of RGB Mini LED TVs is finally here.

The Sony Bravia 9 II and the step-down Sony Bravia 7 II use ‘True RGB’ technology, which the company claims can offer “up to four times the colour volume of OLED” – and outdo the brightness of Mini LED.

Sony follows a host of other brands that have thrown their hat into the RGB Mini LED ring, with Hisense, Samsung and TCL all delivering their own take on the technology.

Some brands use two-diode LEDs for their RGB models. These employ green and blue diodes that shine light through a phosphor layer to generate colours.

But Sony is using independently controlled red, green and blue diodes, which the brand claims will deliver a more accurate image.

The TVs are also powered by Sony’s proprietary RGB Backlight Master Drive Pro, which the company says, “drives each LED with high precision, improving brightness, reducing blooming, and producing purer colour than conventional Mini LED displays”.

The Sony Bravia 9 II is the brand’s flagship ‘True RGB’ model.

It claims to reach the same peak brightness levels as the BVM-HX3110 mastering monitor, which goes up to 4000 nits. No official figure has been given for either new TV model, but if it goes as high as the monitor, we could be in for a very bright picture.

The flagship model is also powered by "RGB Triluminos Max and Luminance Booster Pro", which Sony claims delivers "smoother gradation, and accurate hues at higher brightness levels".

You can see the pricing of both the Bravia 7 II and Bravia 9 II below.

The TVs should launch in late spring with pre-orders available now. And we should have US and Australian pricing soon.

Both TVs offer Dolby Atmos and DTS:X support, which gives a comprehensive set of surround sound options.

While Sony says both models offer a three-dimensional audio experience, the Bravia 9 II has the edge with the inclusion of up-firing beam tweeters. The company says this delivers more cinematic surround sound with "powerful depth and true immersion".

You will find Dolby Vision support with both models but, like all Sony TVs, there is no HDR10+ on the cards.

They both also employ X-Wide Angle Pro technology, which Sony says means “colours stay consistent even at wide viewing angles”.

Only available with the Bravia 9 II is the Immersive Black Screen Pro feature, which aims to reduce screen reflections.

Both TVs have a central ‘mirage stand’ which uses a layer of clever transparent material to conceal wires under the base of your screen. This isn't available with the biggest screen sizes, however.

RGB LED TVs have already been dubbed as a possible “OLED killer” by many because of the higher colour volume and brightness claims.

We’ll have to wait until we get both models into our test room to see if the proof is in the pudding – but you can read our first impressions in our Bravia 7 II and Bravia 9 II hands-on reviews.

MORE:

All you need to know about RGB Mini LED

These are the best TVs

The best Sony TVs on the market

The Sony Bravia 9 II is perhaps the most impressive backlit TV I’ve ever seen. And yet, after spending time with it in Tokyo a couple of months ago (here’s my Bravia 9 II hands-on), I still don’t think I would swap my OLED for it.

That might sound odd, considering the Bravia 9 II is in many ways exactly what the TV industry has been promising us for years. It’s dazzlingly bright, remarkably controlled, deeply cinematic and, in terms of colour reproduction, genuinely closer to a studio mastering monitor than maybe any other TV I have tested.

In lots of ways, Sony’s new RGB Mini LED flagship feels like a glimpse of the future.

But my time testing it also reinforced something I have long suspected: no matter how sophisticated backlight technology becomes, there may still be certain image qualities that only self-emissive pixels can truly deliver.

To be clear, I’m not writing off RGB Mini LED. Far from it. In fact, I think the Bravia 9 II has every chance of proving to be the best LCD-based TV ever made once we get a final production sample in for a full review.

Nor am I claiming that OLED is objectively ‘better’ in every regard. The Bravia 9 II can hit 4000 nits in its most accurate mode, which is an astonishing achievement, and Sony’s new RGB backlight system appears capable of delivering exceptionally rich, accurate colours at brightness levels that OLED simply can’t currently match.

But the more impressive RGB Mini LED becomes technically, the more I find myself frustrated by the ways in which it still can’t match OLED.

The big one, for me, is solidity.

OLED TVs tend to produce images with a density and three-dimensionality that’s difficult to quantify but immediately obvious when you see it. Objects appear more tangible and more firmly placed within the image. Dark scenes, in particular, have a kind of depth and stability that even the best backlit TVs rarely fully replicate.

My theory – and it is just a theory – is that this comes from OLED’s pixel-level contrast control. Every pixel is independently and precisely responsible for its own luminance, with no need for a backlight system working behind the scenes to decide how bright different areas of the screen should be.

Even the most advanced Mini LED TVs are still, ultimately, trying to approximate that behaviour using clusters of controllable lights behind an LCD layer. Sony’s latest system is probably the closest I’ve seen any manufacturer get, but I’m not yet convinced that any amount of dimming-zone sophistication can entirely reproduce the same perceptual solidity as self-emissive pixels.

Even the most intelligent of backlighting systems can also be caught out in a way that an OLED doesn’t have to worry about, too.

During my testing of the Bravia 9 II, I used the opening text sequence from Blade Runner 2049, which is notoriously difficult for backlit TVs. Here, the Bravia 9 II’s otherwise superb backlight controls visibly faltered, introducing uneven colouring and reducing the intensity of text that should have appeared vividly red.

Now, this was a pre-production sample, and Sony may well improve this before launch. I certainly wouldn’t judge the TV too harshly based on one particularly brutal torture test, anyway.

But the moment still felt telling.

One of OLED’s greatest strengths is consistency. There is very little sense of the TV ‘working’ to create the image. Highlights, shadows and colours simply appear exactly where they should, without drawing attention to the mechanicals behind the picture.

With even the very best backlit TVs, there are still moments when you become aware of the processing and dimming systems juggling competing priorities in real time. And once you notice that, even briefly, you are no longer completely immersed in what you’re watching.

That’s not to say OLED is flawless, of course. OLED TVs are dimmer than the very brightest Mini LED models, and RGB Mini LED’s advocates are absolutely right that the technology can produce more saturated colours at extremely high brightness levels.

I’m just not yet convinced how transformative that advantage is with real-world content.

Most movies and TV shows still aren’t mastered anywhere near 4000 nits, and while extra brightness headroom is undeniably useful in bright viewing environments, the best modern OLEDs are already more than bright enough for most people’s living rooms.

Similarly, greater colour volume is technically impressive, but much of that benefit stems from the ability to maintain colour saturation at very high luminance levels. If content rarely reaches those levels in the first place, the practical gains can feel somewhat pointless outside of demos.

That may change over time, of course. TV manufacturers clearly believe brighter HDR content is coming, and perhaps it eventually will.

But there’s another reason why I think RGB Mini LED matters, and this one is more immediate and convincing to me: screen size.

At 65 and 77 inches, OLED has become relatively attainable. But once you move into truly enormous sizes – 83 inches, 97 inches – OLED remains prohibitively expensive; and models larger than 100 inches don’t even exist.

RGB Mini LED could be the answer to that.

Sony is launching the Bravia 9 II in sizes up to 115 inches, and other brands are going similarly massive with their RGB Mini LED sets (that’s the Hisense 116UX in the photo above). I suspect technologies such as this will eventually make truly gigantic premium TVs far more accessible than OLED ever can. In that sense, RGB Mini LED may end up becoming the spiritual successor to projectors.

And maybe that’s where this all ends up.

For years, the TV industry has searched for a single technology that combines OLED’s contrast and pixel precision with LCD’s brightness and scalability. RGB Mini LED is clearly the closest anyone has yet come to achieving that.

But after seeing Sony’s awesome-looking Bravia 9 II, I’m not sure I believe there will ever be one universal winner.

Perhaps the future of premium TVs isn’t about one technology replacing another entirely. Perhaps it’s about different technologies excelling in different ways, for different people, at different sizes.

At least for now, OLED still feels like the most complete and convincing option for me personally – but I can see why RGB Mini LED might be the better option for others.

MORE:

Read our Sony Bravia 9 II hands-on

Here’s our Hisense UR9 RGB Mini LED TV review

These are all of the best TVs you can buy right now

Sony is on a roll with the sheer volume of products it is delivering at the moment, with the Xperia 1 VIII smartphone and the 1000X The Collexion wired headphones storming the scene earlier this year.

Home cinema fans have not been forgotten either, as there is a range of new TVs hitting the market as well.

That includes the Sony Bravia 7 II, which the brand is presenting as the little brother of the Sony Bravia 9 II. Both of these models are the poster boys of the brand’s first RGB LED TV venture, under the punchy name ‘True RGB’. Sony says this technology offers “up to four times the colour volume of the OLED” and outdoes Mini LED brightness, dubbing it “virtually infinite in colour, brightness and depth”.

Those are strong claims, but how does the technology actually perform? I got a preview of the Sony Bravia 7 II at an event in Sony’s European headquarters. I didn’t get the chance for any serious testing, but it certainly gave me a taste of what will be entering our test room.

Price

Sony has released UK pricing for the Bravia 7 II, which you can find below, alongside the launch pricing for the Sony Bravia 7. We're awaiting US and Australian pricing, but we'll update this table when that information is given to us:

As you might have guessed, the inclusion of the sparkling new technology has resulted in a rise in pricing for this year’s models. We don’t have the pricing for other regions yet, but we can be pretty sure those regions will also see a price hike. It’s also good to see two new sizing options, with the smaller 50-inch and the gigantic 98inch models now added.

Also on the market at roughly the same level is the LG C6; that OLED’s 65-inch model launched at £2500 / $2699 / AU$3999, and we gave it a dazzling five-star verdict, praising its rich picture quality and brightness.

Design

The Bravia 7 II is a bit of a departure from its predecessor in terms of design, especially with its stand. Instead of sporting two separate feet at the bottom, there is a ‘mirage stand’ which offers a transparent strip of plastic to conceal wires under the base of your screen.

There wasn’t much to hide when I saw the TV in action at the showcase, but it created a decent illusion that there was no clutter beneath the set. The stand is available with all of the Bravia 7 II models, with the exception of the 98-inch model.

There’s a brand-new remote control with this model as well. It looks sleek yet practical, and features a backlight so you can use it easily while watching movies in the dark. It can also be recharged via a USB-C port and is made from 80% recycled plastic.

As a whole, the TV feels sturdy and well built. It has a plastic bezel around the screen, where the more expensive Bravia 9 II uses metal, so it feels slightly less premium to the touch in comparison. Despite that, the Bravia 7 II offers a sturdily designed screen.

Features

Also a new addition for this line is Sony’s X Wide Pro feature, which the brand claims to allow “colours [to] stay consistent even at wide viewing angles”. To test this, I tried watching the screen from some fairly challenging angles: brightness and colour vibrancy levels remained impressively strong.

This is a noticeable improvement over the Bravia 7, as we found that backlight blooming became more noticeable if you have to watch the TV from a wide angle.

As mentioned, the Sony Bravia 7 II is offering ‘True RGB’ technology. At its core, RGB Mini LED places independent red, green and blue LEDs into an optical lens behind an LCD panel. This differs from Mini LED technology, which uses blue LEDs that must be converted to red and green (recently, this has most widely been achieved using Quantum Dots). That should, in theory, lead to a brighter performance and a wider colour gamut than OLED and Mini LED.

Sony has not gone into a whole lot of detail on the nitty-gritty, but we do know the sets feature “new backlight drive” technology.

When asked about the number of dimming zones and maximum brightness levels, Sony’s representatives kept schtum about the details. All it has said so far is that it will offer “exceptionally high peak brightness” and “precise luminance control”.

The TV is also powered by Sony’s proprietary RGB Backlight Master Drive Pro, which “drives each LED with high precision, improving brightness, reducing blooming, and producing purer colour than conventional Mini LED displays”.

Samsung, Hisense, LG, Philips and TCL are also launching TVs this year featuring their own take on RGB Mini LED, so we think it's fair to say that Sony has its fair share of competition in this space.

The Sony Bravia 7 II supports Dolby Vision, but there is no HDR10+ on the cards. That’s the same story for all Sony TVs on the market, but it's still a bit of a shame for those looking for comprehensive HDR support.

Sony is also offering “Studio Calibrated” modes for streaming platforms, including Netflix and Amazon Prime Video, which should adjust the picture depending on what service you are using.

Audio-wise, Sony has outfitted the 65-inch model that I saw with two full-range drivers and two subwoofers, creating a total audio power output of 40W. Sony has been very clear that this arrangement differs depending on the screen size, with the larger screen options slated to sport beefier built-in sound systems.

At the back of the TV, you will find four HDMI ports, including two full-bandwidth HDMI 2.1 sockets. Having just two seems like a bit of a shame, especially considering one doubles as your HDMI eARC socket for connecting external audio devices.

Hisense's UR8, a competing step-down RGB Mini LED TV, has four full bandwidth sockets, as do Samsung and LG's upcoming RGB Mini LED sets.

Picture

I saw the Bravia 7 II briefly in action, side by side with the rival LG C6. Both of the sets were in the Vivid picture mode, though, and I didn’t get a chance to fiddle around with the settings to get them to my liking. That makes it hard to judge, and we will need to wait until we can test the TV in our own test room before we make a verdict.

But we can certainly get a glimpse of how the Bravia 7 II performs from the showcase. When watching a scene from Angry Birds, Red’s feathers look colourful and punchy. There is a little more detail in the feathers of the round bird compared with the C6 as well. The shadow detail in his furrowed black monobrow is a little clearer with the LG model, however.

Switching to Aladdin, as our hero makes his way around a spice market, there is a solid sense of three-dimensionality, which gives the scene an immersive feel. It’s also an impressively bright picture, especially when put head to head with the LG OLED, and there is not much difference between the two from this first look.

As I said, this brief glimpse is not enough to comment properly on the picture quality, but it still looks popping and detailed, judging from the Vivid mode.

Sound

Unfortunately, I didn't get to hear a peep from the Sony Bravia 7 II. When sound was played, it was through the newly announced Sony Bravia Trio soundbar package (which we should get to hear in our test room soon).

What we do know is that Sony’s AI-powered Voice Zoom 3 is included with the new model, which lets you customise the volume of voices and ambient audio. The brand is also offering “evolved” 3D Surround Upscaling, which it says can expand stereo into wider 3D surround.

When we reviewed the 55-inch Sony Bravia 7, we found that it creates a “soundstage that projects nicely away from the TV’s physical chassis” and we called it “very good for a TV in this price category”. Hopefully, Sony maintains this strong audio performance with the next generation.

Early verdict

It’s too early to give a verdict on the Sony Bravia 7 II, and we will have to wait until we get the model in our test room to give a thorough review.

Sony’s launch into ‘True RGB’ is certainly an exciting proposition, and our first look at the TV shows that it offers promising vibrancy and three-dimensionality.

We will have to see if these strong first impressions hold up after our thorough review process.

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Check out our review of the Sony Bravia 7

This is our LG C6 review

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“Four stars! For an LG OLED!?” That was the reaction from many people when we published our original LG G6 review just over a month ago.

As reviewers, we are always unbiased, but we do get why the star rating caused such a kerfuffle.

LG’s OLEDs have been among the best of the best for many years, as the number of What Hi-Fi? Awards they've won demonstrates. So we've all become accustomed to them being awesome, almost by default.

Seeing a four-star LG OLED, especially this year, when Sony isn’t expected to unveil a new flagship OLED and Panasonic is only set to launch one, more affordable OLED, isn't ideal for anyone in the market for a new OLED TV.

In fact, I’d go so far as to argue there’s never been a worse time for the G-series to stumble. Especially, when the issues we encountered around its slightly grey black level and over-aggressive peaks made it hard to recommend, over the now cheaper LG G5, let alone the Product of the Year-winning, Sony Bravia 8 II from last year.

As we said in our review: “LG seems to have dug its heels in on the idea that brighter (and more colourful) is better with the G6 [...] But this new focus brings fresh weaknesses, most notably to black depth and cinematic authenticity.

“The raw materials are clearly here and, with some more considered tuning, the G6 could be among the best in class. As it stands, though, this feels like one step forward and another step back for LG’s flagship OLED range.”

No one likes being the bearer of bad news, but that was the reality, which is why we couldn't recommend it to anyone after an "as the director intended" TV experience.

And while we’re yet to test the Samsung S95H or Philips OLED911, based on our experience with previous sets, which have shown the engineers have a vivid flair when it comes to tuning, this LG fumble could leave a big hole in the market.

Thankfully, there is a silver lining.

Since our review was published, LG has been in touch, promising that the problems we encountered were due to issues with the software – issues that have supposedly been fixed in a newer version. So, understandably, LG wants us to test it out.

This is why, right now, we have a new LG G6 sitting in our test rooms, next to our reference LG G5 and Bravia 8 II, complete with the new software, ready for testing.

Next week, myself and TV and AV editor Tom Parsons will be doing a Groundhog Day (or a Palm Springs, if you prefer), re-testing the G6, to see if the new software does indeed fix the issues we found.

So watch this space. And if you’re thinking about buying a new flagship OLED, wait a little longer to see if LG’s flagship series can regain its five-star lustre.

We’ll be updating our review with our latest findings once we’ve finished running the new review unit through our rigorous comparative testing process. It's far from guaranteed that we will see any improvement but we're always willing to check and be sure.

If you have any questions ahead of us re-testing the G6, drop a comment on this page, and we’ll do our best to get you an answer.

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Ok, I'll admit it, I'm usually a bit of a sucker when it comes to buying new video game consoles.

I'll stand my ground for a couple of months, maybe a year or two if I'm feeling particularly stubborn. But after seeing the latest games available with shiny new graphics – not to mention some, ahem, *gentle* encouragement from friends, I'll usually cave and purchase the latest offering from the world of gaming.

So when Nintendo finally announced a sequel to the Switch, the second-highest-selling console of all time, this seemed right up my street. Nintendo is a brand I have a high amount of childhood nostalgia for, and for the first time, all of their iconic series would be playable in 4K HDR – starting with Mario Kart, no less, which hadn't had a fully-fledged sequel in over a decade.

So why am I holding out on the Switch 2, even though the price has been confirmed to rise in the future? Well, it's partly Nintendo's fault.

Ever since the Japanese gaming giant launched the revolutionary but underpowered Nintendo Wii, the latest in audio-visual technology has never been their main concern. The original Switch was a fine console, but it capped out at 1080p HD at a time when its rivals were making the move to 4K.

So it was a nice surprise when Nintendo announced the Switch OLED, an updated model with the premium panel technology available in handheld mode. As someone who already owned the original Switch, I initially felt little reason to pay full price once again just for a screen upgrade, but it seemed like a shrewd move from Nintendo.

But then I saw it in action. Catching my eye by chance at a family Christmas, I was immediately drawn in by the vivid colours, sharp contrast and overall premium look of the new OLED screen. Every time I went back to play my regular Switch, the LCD screen couldn't help but look dull, washed out and a tad lifeless.

So I took the OLED plunge – and never looked back. Despite the Switch's technological limitations, games always looked slick, bright and punchy. It was often preferable to playing on my much bigger, but admittedly non-OLED TV, even if handheld mode was capped to 720p.

When the long-awaited Nintendo Switch 2 was announced, however, Nintendo surprised some by making big strides in terms of power and performance. Resolution was bumped up to 4K in docked mode and 1080p in handheld, with support for HDR and 120 fps support in both. But there was one notable downgrade – the handheld screen was LCD, likely in a bid to keep costs down.

And during a recent gaming session with a friend, I was finally able to compare the two screens side by side. What was immediately noticeable was that the Switch 2's screen was notably bigger – 7.9 inches compared to my Switch OLED's 7 inches, making the OLED model look rather diminutive. The swathe of other improvements – 1080p resolution, VRR and HDR10 support – also played their part, with Switch 2 games in particular looking incredibly detailed, smooth and crisp.

But, especially when playing two Switch 1 games side by side – the majority of the library at this point – there was a slight lack of pop on the Switch 2. When it came to contrast and colour, the self-emitting pixels of the Switch OLED won out, with colours jumping off the screen and no backlight leaking brightness into black scenes. Perhaps I'm in the minority, but I preferred my Switch OLED – it felt like more of an immersive experience, rather than just looking at a screen.

As with most consoles, the Switch 2 will eventually get a mid-generation refresh, most likely with an OLED screen (or maybe a rival format like RGB Mini LED). Perhaps then I'll finally make the switch – but for now, it's a dim prospect.

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Sony's latest AV-focused flagship smartphone is here: meet the Sony Xperia 1 VIII.

It’s good news for audio fans as, like the brand's previous offering, the Sony Xperia 1 VIII includes a 3.5mm headphone jack, which is quite a rarity in smartphones and claims to "support high-quality audio using wired headphones."

It has enlisted the help of the firm's Walkman division once again to boost audio quality on this new handset.

Sony has also improved the full-stage stereo speakers, which the brand says will produce deeper bass and extended high frequencies.

The new smartphone's 6.5-inch, Full HD+ (1080 x 2340) OLED display has been tuned by Bravia, and it features a 120Hz dynamic refresh rate too.

It can also automatically adjust the brightness and colour of the display according to the environment, with Sony claiming it delivers a “bright display even under sunlight”.

If you are looking at the VIII and VII editions side by side, then the immediate difference is in the camera design. Instead of having the camera lenses in a vertical line as with its predecessor, the new Xperia model features a raised camera square containing three lenses.

There are plenty of AI features packed into Sony’s latest release, including an AI camera assistant which “suggests creative expressions based on the scene recognised”. If you don’t want artificial intelligence poking around with your photography, however, there is the option to switch it off.

The brand is also implementing a new ORE-inspired design, which has a textured feel like rough stone. This comes in Graphite Black, Iolite Silver, Garnet Red and Native Gold colour finishes.

In terms of chipset, owners of the Xperia VIII will be looking at the Snapdragon 8 Elite processor (backed up by 12GB of RAM and 256GB of storage). If you choose the Gold edition, which is available in select countries in-store, then you have the option of upgrading to 16GB RAM and up to 1TB of storage.

Sony also claims you can get two days of battery life from the phone, thanks to the 5000mAh battery.

The new model is launching at the same price as its predecessor in the UK, setting you back £1399 for the 256GB version and £1849 for the 1TB Gold version. When we had the Sony Xperia 1 VII in our test room, we were impressed by its detailed audio and balanced picture. Its limited HDR format and frustrating operating system quirks held it back from true greatness, but it still received a four-star rating overall.

The previous Sony phone was outshone by the five-star Samsung Galaxy S25 Ultra, so it will be intriguing to see how the new model compares.

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Here is our review of the Sony Xperia 1 VII

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I will keep playing music through my phone's speakers for this very simple reason

Here it is, folks: our first full review of an RGB Mini LED TV.

We have previously run extensive hands-on tests of a couple of RGB Mini LED TVs – most notably the huge Hisense 116UX – but, due to their astonishing sizes and prices, we’ve had to do the testing outside our own facilities. In our world, that’s not a full review, so those TVs haven’t received star ratings.

The 65-inch Hisense UR9 we have before us today is designed to address the size and price issues that have until now prevented more people from hopping on the RGB Mini LED bandwagon.

This set, then, is leading the mainstream RGB Mini LED charge. And, while it’s a fair way short of perfect, particularly next to a flagship OLED TV, the UR9 is an impressive TV in its own right and a tantalising glimpse at the technology’s long-term potential.

Price

Price is always a hugely important factor whenever we test a product, but it’s particularly crucial to how the Hisense UR9 will be viewed.

In the UK, the launch price of £2999 places the 65-inch UR9 in the same category as flagship OLED TVs such as the new LG G6 and last year’s Award-winning Sony Bravia 8 II.

In Australia, though, the AU$3999 price puts the Hisense UR9 up against step-down OLEDs such as the LG C6.

Most interestingly (and confusingly), while the announced launch price in the US was a super high-end $3500, when the TV actually arrived in shops, the tag was a vastly cheaper $2000, placing the UR9 in an entirely different category, below even step-down OLED models.

Essentially, then, this Hisense is a rather different proposition in each of those three regions. Seeing as we are UK-based and it’s a UK sample we’re reviewing, though, it’s the UK price that we are primarily working with here. And that means the UR9 is going to have to face off against the mighty Bravia 8 II QD-OLED.

Design

The Hisense UR9 is not one of those modern flagship TVs that disappears into your living room.

At 4.5cm thick, it’s decidedly chunky by current premium TV standards, particularly next to the impossibly slim OLED models with which it competes on price.

The rear panel is completely flat, though, which makes the UR9 fairly tidy for wall-mounting, and the overall build feels solid and substantial.

The TV’s general styling is perfectly pleasant, too, though it stops short of being genuinely luxurious. Bezels are slim enough, the dark metallic finish is smart, and the overall aesthetic is clean and restrained, but the UR9 lacks the slick elegance and premium flair of rivals such as the Sony Bravia 8 II and Samsung S99H/S95H.

Hisense has made some nice, practical decisions, though.

The centrally mounted pedestal stand has a relatively narrow footprint of around 42cm, making the UR9 easier to place on narrower furniture than many similarly sized rivals. It also offers two height positions, allowing you either to keep the screen sitting low and tidy or raise it slightly to create extra clearance for a soundbar.

Rows of tiny perforations run down both sides of the set, while larger openings line the top edge. These house the UR9’s side- and up-firing speakers, which form part of its integrated Devialet sound system.

Overall, then, the UR9 is more functional than fashionable – a practical, purposeful TV rather than a particularly glamorous one.

Features and specs

The headline feature here is, of course, the UR9’s RGB Mini LED backlight.

Unlike a conventional Mini LED TV, which uses a white backlight shining through a colour filter layer, the UR9 instead uses separate red, green and blue Mini LEDs to generate colour directly. In theory, this approach allows for both greater brightness and more precise colour reproduction.

Hisense claims peak brightness of up to 3500 nits for the 65-inch model we’re testing here, alongside 980 local dimming zones and a native 170Hz panel, all driven by the company’s Hi-View AI Engine RGB processor.

Gamers are generally very well served – with one unusual caveat. Unlike most premium TVs, which have four HDMI sockets, the UR9 has just three. These are accompanied by a PC-gaming-friendly DisplayPort connection – something that remains extremely rare on TVs.

Is a DisplayPort connection more valuable than a fourth HDMI socket? We have our doubts, but to a small number of very committed PC gamers, it may be very useful.

All three of the HDMI sockets are 2.1-specified, though, with support for 4K/170Hz (and the console-friendly 4K/120Hz), VRR and ALLM. Some brands, including Sony, still offer just two HDMI 2.1 sockets on their TVs.

The UR9’s input lag is decent rather than exceptional. We measured 32.5ms at 60Hz in the standard Game mode, though enabling the Refresh Rate setting reduces that figure to a more respectable, though far from groundbreaking, 24.6ms.

The UR9 supports every significant HDR format currently in use – HLG, HDR10, HDR10+ and Dolby Vision – plus the intelligent Dolby Vision IQ and HDR10+ Adaptive variants that respond to ambient room lighting conditions.

It is also IMAX Enhanced certified, and the UK version of the TV features an anti-reflective, anti-glare screen coating that proves fairly effective at combating bright-room reflections.

Audio specifications are unusually ambitious by TV standards, too. The UR9 features a Devialet-tuned 4.1.2-channel speaker system with dedicated up-firing drivers, plus support for both Dolby Atmos and DTS:X soundtracks.

In the UK and Australia, the UR9 runs Hisense’s own VIDAA smart platform, while the US version instead uses Google TV.

VIDAA still isn’t the prettiest smart system around, but it’s fast, responsive and logically laid out. App support is broadly very good, too, with all of the major streaming services and UK catch-up apps present and correctly supporting the relevant picture and sound formats.

There are, however, a few frustrating omissions. Most notably, the Apple TV app lacks access to the Apple TV store and users’ purchased libraries, so it can’t be used for movie purchases and rentals. That’s a real disappointment, as Apple’s pay-as-you-go store is the best around.

While far less important for a TV, it’s worth noting that music streaming support is sparse, too, with Spotify, Tidal, Apple Music and Qobuz all absent. There are no cloud gaming apps, either.

The inclusion of Freely is welcome, though, as it allows live TV channels to be streamed over the internet without an aerial connection.

Picture quality

The Hisense UR9 makes a superb first impression. In fact, perhaps the most impressive thing about it is just how rarely it behaves like a traditional backlit TV.

Before getting into that, though, some setup advice is required, because the TV’s default HDR settings do it few favours.

When first fed HDR10 content, the UR9 automatically switches into its HDR Energy Saving mode which, despite its name, is surprisingly aggressive. Colours skew cool and bluish, motion processing is overly intrusive, and the overall image looks unnatural and overcooked.

HDR Standard and HDR Dynamic are similarly best avoided, both pushing sharpness, brightness and processing much too hard.

Thankfully, Filmmaker Mode proves far more successful. It delivers the most accurate and balanced picture of the available presets, and it quickly becomes our preferred overall option.

Interestingly, though, IMAX Cinema is also unusually compelling. While its underlying settings appear almost identical to those of Filmmaker Mode, it consistently produces a noticeably brighter and punchier image without obviously compromising balance or naturalism.

As a result, we would stick with Filmmaker Mode for dark-room and purist viewing, but happily switch to IMAX Cinema during the daytime or whenever we fancy a little extra visual intensity.

Once properly configured, the UR9 is an extremely accomplished performer.

Play 1917 on 4K Blu-ray, and the opening logos immediately demonstrate just how well controlled the TV’s backlight system is. Blooming around the bright white text is minimal, black depth is strong, and colours look rich, warm and nicely cinematic.

More importantly, the local-dimming system generally goes about its business without drawing attention to itself. Throughout our testing, the UR9 almost never exhibits the flickering, brightness pumping or visibly shifting backlight behaviour that can make many Mini LED TVs distracting.

That consistency quickly emerges as the UR9’s defining strength. While many bright Mini LED TVs constantly remind you that they are dynamically manipulating a backlight behind the scenes, the Hisense instead achieves a broadly very composed, stable and natural delivery that often feels surprisingly OLED-like.

Blade Runner 2049 showcases this particularly well. Black depth is consistently strong, shadow detail is excellent and subtle blooming is tightly controlled. There’s also impressive richness and stability to colours, especially reds, which look wonderfully pure and saturated without drifting into pink or magenta tones.

Extra-bright HDR material suits the UR9 especially well, too. Pan looks spectacular here, with dazzling highlights and bold, vibrant colours that comfortably outgun the Sony Bravia 8 II for outright brightness in many scenes. Sunlight bursting through clouds and glinting off the fantasy scenery of Neverland is delivered with real punch and intensity.

Crucially, though, the UR9 generally achieves this brightness without sacrificing balance. Skin tones remain natural, and there’s a pleasing cinematic warmth to the image – and it doesn’t drift into gaudiness.

Motion handling is strong, too. The default Film setting is decent enough, but switching Motion Enhancement to Clear results in noticeably smoother pans without introducing the distracting soap-opera effect or processing artefacts that such systems often create.

The notoriously difficult Matera cemetery and chase sequence from No Time To Die is handled particularly well, with impressively little judder to the panning shots and clean rendering of drifting smoke and rapid camera movement.

Dropping down to standard-def and SDR, our Kiss Kiss Bang Bang DVD is reproduced with pleasing warmth, strong detail and impressively clean upscaling. Colours are arguably pushed a touch too hard at times, but the overall presentation remains highly enjoyable and consistently cinematic.

For all of the UR9’s strengths, though, direct comparisons with a top-tier OLED TV still reveal the limitations of even this undeniably refined RGB Mini LED model. Despite its impressive local-dimming system, the Hisense simply cannot match the pixel-level contrast control of the Sony Bravia 8 II.

Extremely bright highlights against deep black backgrounds are sometimes handled slightly conservatively, presumably to avoid blooming. Perhaps counterintuitively, those bright white logos against pitch-black backgrounds appear more intense and impactful on the Sony OLED than on the much brighter, on paper, Hisense.

More significantly, the OLED TV produces a more solid and perceptually three-dimensional image across the board. Objects and characters stand out from their surroundings with greater depth and dynamism, while subtle gradations within clouds, shadows and highlights appear more convincing and refined, creating a more rounded look.

This isn’t a new phenomenon: we have documented that extra solidity you get from OLED plenty of times previously, most notably when we used the Sony Bravia 8 OLED as a comparison in our Bravia 9 Mini LED review. But it bears repeating for those who are choosing between an OLED and a backlit TV.

Viewing angles are another clear OLED advantage. While the UR9’s picture performance doesn’t entirely fall off a cliff when you move off-axis, the sweet spot in which it performs at its very best is surprisingly narrow.

And while the UR9 usually keeps blooming impressively well controlled, especially for a backlit TV, particularly torturous scenes can still expose its limitations.

The bomb-test sequence in Oppenheimer is a great example. From the UR9, there’s a slight general greying to the image, plus some visible glow around isolated spotlights in the darkness. The opening starfield of Alien: Romulus, meanwhile, reveals that the UR9 cannot simultaneously maintain truly inky blacks and perfectly intense star highlights in the way an OLED can.

To be clear, the Hisense performs well in these scenes by LCD standards, and many owners may never notice such shortcomings during normal viewing. But they do prevent the UR9 from truly matching the effortless contrast precision and dimensionality of the best OLED TVs.

Sound quality

Developed in partnership with Devialet, the UR9’s 4.1.2-channel speaker system delivers a surprisingly expansive and full-bodied presentation by TV standards, with particularly impressive width and height effects.

The Theatre sound mode is the most immediately striking of the available presets, producing a presentation that extends well beyond the physical boundaries of the TV and creating a convincing sense of spaciousness with Dolby Atmos soundtracks.

There’s decent bass depth, too, and the UR9 maintains good composure at high volumes, avoiding the harshness and distortion that can afflict many flatscreen TVs when pushed hard.

The overall presentation is smooth and rich in character, which makes the UR9 an easy and enjoyable listen over long viewing sessions.

It isn’t perfect, though. Dynamics are a little stunted, and action scenes lack some of the punch and excitement they deserve, while dialogue could be projected with greater clarity and emotional expression.

The Theatre mode also slightly overplays its hand at times. While its extra spaciousness is undeniably appealing, it introduces a faintly diffuse and echoey quality to voices, along with a slight sense of delay that makes speech sound less natural than it should.

As a result, we find ourselves preferring the Standard sound mode for most content. It still sounds pleasantly spacious and open, but delivers dialogue with greater focus and cohesion while maintaining good weight and scale.

Ultimately, while even a modest dedicated soundbar will comfortably outperform it, the UR9’s audio system is better than that of most TVs, even at this lofty level.

Verdict

In several ways, the Hisense UR9 is one of the best backlit TVs we have ever tested.

Most of the time, you’re not even made aware that it is a backlit TV, so good are its black levels, its control of blooming and its consistent, flicker-free contrast.

While it is possible to trip up the backlight, it’s quite hard to do so, and many buyers may never see an unsightly bloom in their period of UR9 ownership.

But while this first mainstream RGB Mini LED TV is broadly mercifully free of the flaws that generally afflict backlit TVs, it still can’t match the overall picture quality of the best OLED models.

The pixel-level contrast control of OLED brings benefits in several areas. There are the notably brighter highlights on very dark backgrounds that even accomplished backlit sets, such as the UR9, are too cautious to go all guns blazing with for fear of blooming. There are the almost flawless viewing angles, too, which the UR9 is a long way from matching.

The biggest thing, though, is the generally more solid, more perceptually three-dimensional image that OLED provides. Next to the Bravia 8 II, the Hisense UR9 simply looks flatter, less dynamic and less impactful.

Ultimately, as enjoyable and technically impressive as the UR9 is, we can’t think of a good reason you would buy it over a flagship-grade OLED, and that’s the level at which Hisense is pitching it – at least in the UK.

Of course, if you are someone who has a flagship-level budget for their next TV and a general aversion to OLED, the Hisense UR9 should be right around the top of your list.

If you’re a UK buyer, it’s probably a good idea to wait and see if we get a massive US-style discount before placing an order, though.

SCORES

• Picture 4
• Sound 4
• Features 4

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Where have all the Panasonic OLEDs gone? If you’re asking that question, you’re not alone.

We have had a wave of emails flood in from you, our eagle-eyed cinephile readers, pointing out that it’s pretty much impossible to buy most models, unless you’re willing to go second-hand.

And, blow us down, you are right. Richer Sounds, Peter Tyson, John Lewis, Sevenoaks Sound and Vision, Amazon and more all seem to have run out of stock of most of them. This is certainly strange, as Panasonic TVs usually remain on sale for at least a year, sometimes two, after launch.

In fact, going through all the usual suspects, we found it next to impossible to find many sizes of the firm’s current-generation Panasonic Z95B and Z90B OLEDs in stock. The 48-inch Panasonic Z90B, which not only impressed our reviewers enough to earn a five-star rating when we reviewed it less than a year ago, but also went on to win a What Hi-Fi? Award, is particularly hard to find.

We reached out to our contacts at the big AV retailers as well as Panasonic itself to find out what’s going on with its current-generation OLEDs. Sadly, the news isn’t great.

Commenting off the record, every store spokesperson we spoke to had pretty much the same response when we asked when and if the TVs will go back on sale: “We don’t know.”

When we went to get information straight from the horse’s mouth, Panasonic was similarly wary to give any concrete information, simply telling us that it has nothing to share about the OLED drought.

We haven’t, then, had any official word on the cause. It could be they are just really popular and sold out fast. Or, possibly more likely, it could be to do with the supply chain, and imminent deal with Skyworth. This will see the Chinese brand take over production, research and development, and sales of Panasonic TVs in numerous territories, including the UK and Europe.

We have chased for further information and will update this page when we hear back, but whatever the answer, the loss of two great TVs so soon is undeniably a bummer, especially the smaller Z90B.

While the 42-inch LG C5 is still a good alternative, there’s a reason we recommended the Z90B over it: the Panasonic set offers better picture quality. Losing it so soon after launch is more than a little disappointing, especially with the football World Cup, which will have many of us glued to our sets, coming up.

Fingers crossed we get good news about Panasonic stocks soon. If not, you can check out our picks of the best OLED TVs we have fully reviewed, recommend and can confirm are still on sale, using the attached guide.

We also expect to get a number of this year’s new sets, including the smaller LG C6, Samsung S90H and Samsung S95H, in for testing soon. So the gap left by the Z90B may well get plugged in the not-too-distant future.

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Samsung is making a statement with its 2026 TV lineup. The company is shifting things around in its range, moves which include demoting Neo QLED to its mid-range in favour of the new RGB Micro LED panel technology. And there are even more OLED options to choose from than in previous years.

With all of these exciting TVs primed to launch, Samsung kindly invited me to view some of its latest products before they officially hit the shelves. And this time, I managed to get some in-depth time with three of its latest premium TVs.

While I have seen some of the models mentioned here today in action at CES, and on a visit to Samsung’s headquarters in South Korea, this time I was allowed to sit with the TVs for an extended period, change the settings, and even play some reference discs straight from our AV testing room.

With that in mind, here's a quick roundup of my thoughts from hands-on looks at three of Samsung’s latest premium TVs…

RGB Micro LED could be a winner…

The first TV I spent time with yesterday was also the most fascinating model from Samsung’s new lineup. The R95H uses the brand’s new RGB Micro LED (which seems to be its version of RGB Mini LED) panel technology, and the initial signs are very promising.

I saw this TV at gargantuan sizes at CES, including 115- and 130-inches, but this time around it was the more real-world 65-inch model on show. While pricing wasn’t shared, I’m willing to bet that this will be a more attainable option to experience the latest panel tech compared with the huge TVs mentioned above.

Using a medley of reference clips we often use for testing, from films including Oppenheimer, Blade Runner 2049 and Pan, I got a flavour of what this TV can do. It’s safe to say that I walked away rather impressed.

A tricky nighttime scene from Oppenheimer demonstrated this TV’s local-dimming capabilities; I struggled to see any blooming, and black levels were remarkably good for a backlit TV.

At the other end of the scale, the blindingly bright Pan looked superb on this TV, with rich colours and dazzling highlights. There was also a sharpness and solidity to the picture that could – and I stress could, as we need more time with the set to cement this claim – give OLED a run for its money.

We'll need to assess this TV in our home cinema testing room to settle on a final verdict, but I certainly felt that this set left a strong first impression.

The S90H looks good, but my biggest question remains…

Sitting in the middle of Samsung’s premium TV range, the S90H is the closest rival to the five-star LG C6 that I have seen so far. Samsung set this TV up in a very brightly lit hotel room with all of the curtains open – and there was a reason behind this.

For the first time since Samsung introduced the display coating on the S95D, Glare Free is being introduced on the step-down models in the company’s range, which includes the S90H. And you’ll find it on every screen size, from 42 to 83 inches.

While it was unquestionably effective at combatting reflections and diffusing ambient light, it did disperse the light in a way that seemed to introduce a touch of greyness to blacks (this was most noticeable in the letterboxing bars of 21:9 content). However, this felt a reasonable tradeoff, and it certainly gives this TV an edge for daytime viewing.

That being said, Samsung remained coy on a hot-button issue relating to this TV, which is why I still have my reservations. Once again, the company refuses to clarify which OLED panel is inside this TV. While we have it on good authority that the S90H uses a WOLED panel, the previous generations of this TV have been subject to an “OLED panel lottery” in which Samsung used WOLED and QD-OLED panels interchangeably.

While the company maintains that the panel doesn’t matter, and that users will get a top-notch picture experience regardless, we know that these panels perform differently when it comes to brightness and colour reproduction; therefore, this remains a potential sticking point with the latest entry into the S90-series.

S99H: a unique OLED flagship?

At the top of Samsung’s range is the S99H, frustratingly called the S95H in the US. This might be the most interesting-looking flagship OLED TV we’ve seen so far this year.

The design is the most striking aspect of this set: it features a metal backplate that invokes the look of Samsung’s popular The Frame range TVs. On top of this plate is the OLED display, designed to appear as if it is floating. As a result, this TV really looks like nothing we’ve seen before.

It is designed to be wall-mounted, making it a competitor to LG’s W6 Wallpaper TV, although the benefit of the S99H is that it can also be configured to sit on a TV stand if needed.

We know that this TV uses a QD-OLED panel in its 55- to 77-inch sizes, but Samsung Display doesn't currently make QD-OLED panels in the 48-inch and 83-inch sizes that the TV is also available in.

During my demo time with the TV, the benefit of QD-OLED was certainly evident, as this TV presented an image that combined dazzling brightness and rich colours, alongside the superb contrast that we have come to expect from OLED.

Brightness improvements seem to be evident across the board with this new range, and I was impressed by both the Filmmaker Mode and Movie Mode picture presets with these TVs.

Further testing is, of course, required for all of these sets, so stay tuned for our full reviews coming soon.

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And check out our picks for the best Mini LED TVs

This week, we updated our best OLED TV buying advice, replacing the 48-inch Panasonic Z90B with the 42-inch LG C5 as our main recommendation for people tight on space.

Normally that would be a cause for celebration. In most instances, we only ever add a new set to our buying guides when we have found something better to recommend, after all.

That’s a key reason so many of our advice pages have entries that have been there for months, or even years in some very rare cases. If it’s still the best, regardless of its age, we’ll keep recommending it.

And to be clear, the 42-inch LG C5 is an excellent small OLED TV. That’s why we gave it a five-star rating and What Hi-Fi? Award last year. If you want a Cliff Notes summary, here’s the verdict from our review:

“The 42-inch LG C5 is the best small OLED TV we’ve tested this year. Like its predecessors, it offers a near-flawless feature set and solid, sharp, immersive picture quality, neatly packaged in a small room-friendly frame. The only minor issue remains its audio, which, while fine for casual viewing, isn’t powerful or precise enough for immersive movie watching. Plan for a soundbar in your budget, if you don’t already have one.”

The issue is, despite all its perks, it’s not the best small OLED we have tested in the past 12 months. That honour went to the also Award-winning, slightly larger 48-inch Panasonic Z90B.

We confirmed that when we ran all the small OLED TVs we had head-to-head during last year’s Awards season. The reason is simple: at the time, it offered the best picture quality of all the TVs in the room.

Though it wasn’t the brightest, it offered the most even-handed performance, with colours and movements looking wonderfully natural. So, unless you were a gamer with numerous consoles and PCs requiring multiple HDMI 2.1 sockets, it was our main recommendation.

As we said in our 48-inch Panasonic Z90B review:

“From sparkling desert dunes in sci-fi epics to cars thundering across a race track and heated conversations behind closed doors, every scene we threw at this set looked wonderfully authentic and weighty. If you want a 48-inch OLED TV and value cinematic authenticity, the Panasonic Z90B is currently the one to get.”

The only reason we have stopped recommending it is that stock appears to have evaporated atypically early, making it near impossible to buy, unless you’re willing to grab a second-hand or display set.

We have asked retailers and Panasonic if any new stock will appear, and why it has sold out so fast, and we will keep you updated on what we find out.

Either way, while we think the 42-inch LG C5 is still more than enough OLED for most movie fans tight on space, its ascension to our buying guide isn’t the same cause for unbridled celebration it might normally be. And the early loss of the Z90B isn't a good thing for buyers in general. There are very few good, small OLED TVs around in general, after all.

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RGB Mini LED is the TV industry’s big push for 2026.

That doesn’t necessarily mean it’s about to become the best or most popular display technology – but it is the one being marketed most aggressively, with some brands even positioning it as an OLED killer.

I’ve now seen a fair few RGB Mini LED TVs in action, and I’m not yet convinced. The headline benefits – higher brightness and greater colour volume – are fairly clear, but they don’t obviously outweigh OLED’s core advantage: self-emissive pixels.

As I recently reported, LG says “OLED is still king” – though given that its business is deeply tied to OLED panel production, that stance isn’t exactly surprising.

More interesting, then, is the view from Philips.

Danny Tack, Senior Director of Product Strategy and Planning at Philips, which is launching its own RGB Mini LED TV this year, puts it plainly: “We think OLED still is better.”

That aligns with what I’ve seen so far – and Tack boils the difference down to one simple point:

“This [Philips’ MLED981 RGB Mini LED TV] has 11,520 zones, but OLED has, like, 8.2 million zones – because every pixel is a zone. [That means] we can still have much deeper black, more accurate black.

“Although [the MLED981] is pretty good, pretty well tuned, and there are so many [dimming] segments, there will still be, here and there, a danger of a halo, and a border of the dimming zone.”

That’s the crux of it. Even with thousands of dimming zones, Mini LED still can’t match OLED’s pixel-level precision – so issues such as blooming and imperfect blacks don’t disappear entirely.

Philips is a particularly useful voice in this debate because it produces TVs across all major panel technologies. And Tack, in particular, has a reputation for prioritising picture quality over all else.

So why launch an RGB Mini LED TV at all?

As with LG, the answer is largely about size and price. As Tack explains, the MLED981 is aimed at “somebody who wants a big screen size, good picture quality, and a more affordable price – the bigger the screen size, the more affordable Mini LED is over an OLED.”

Accordingly, Philips is (at least initially) launching the MLED981 only as an 85-inch model – the size at which OLED prices rise sharply and become truly out of reach for most buyers.

Mini LED also still has two notable advantages: brightness and colour volume.

“You could say also in terms of full-screen brightness, Mini LED is better than OLED – 800 nits versus OLED, which is now reaching 450 nits – so under bright conditions, this might be a better offer,” Tack says.

“Colours [are also] a bit more intense, but then again, at an angle, compared to OLED, less so. There are lots of pros and cons.”

In other words, RGB Mini LED absolutely has its place – particularly if it’s a very big, very bright, and relatively affordable TV that you’re after.

But on balance, Philips’ view is clear – and it’s one I share: right now, OLED remains the benchmark for overall picture quality.

Could RGB Mini LED overtake it? Possibly – perhaps even this year. Sony, in particular, is talking a big game with its True RGB technology.

For now, though, OLED remains the TV technology to beat.

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Here's why I think the Philips OLED951 could be the TV of the year

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There are certain things you always remember, no matter how many spins around the sun you’ve done.

For me, there’s the death of Optimus Prime in the ’80s Transformers animated film, the time my brother kicked me in the nuts so hard I got a nosebleed; and seeing an OLED TV for the first time.

The year was 2012, and I could still make it from one end of the Las Vegas convention centre during the Consumer Electronics Show (CES) without a toilet break. Ahh, to have a 20-something-year-old’s bladder again…

I had been assigned to cover LG’s wares at the show that year. Top of the list was a new 55-inch giant OLED TV. Sure, there had been OLEDs at past shows. But they were dinky by comparison, and I hadn’t had a chance to check them out. So I was going in fresh.

As always, LG made a big song and dance about the technology, so I probably should have been more excited than I was at the time. Truthfully, slightly knackered from the flight and cantankerous over the ever terrible wi-fi in the show’s press room, I didn’t believe any of the hype until I actually saw it.

And there was one big reason for that. Even in the less than ideal show conditions, a disappointing HD resolution and terrible test footage, it delivered something I’d never seen a TV do before: deliver perfect blacks.

In AV terms, what then ensued was that love at first sight scene every romcom seems to have. The sound of other visitors screaming and grunting as they pushed past morphed into birdsong, and the stench of stale beer (at least that’s what I hope it was) was replaced with the smell of freshly cut grass. It was magical.

Since then, right up to the present day, while we have sometimes had our four-star tiffs, OLED and I have managed to keep that spark alive.

What’s the secret to our longevity, you ask? Well, it’s pretty simple: with its perfect blacks, OLED still gives me something no other TV or projector can.

That’s why, even though I will wholeheartedly recommend LEDs and Mini LEDs to people on a budget, or those with certain specific requirements, if a serious cinephile asks what the best option is, from a pure performance and picture-quality perspective, I almost certainly point them to an OLED.

When an OLED is watched in a dark room, with a decent sound system, the added contrast and oomph the blacks give, when deployed with finesse, is magical. This is a key reason the TV Product of the Year winner at the What Hi-Fi? Awards has generally been an OLED for more than half a decade.

But it’s also why this year, in particular, I’ve had some pretty loud alarm bells go off. For reasons unbeknownst to me, TV makers seem not only to have forgotten the importance of OLED’s black levels, but are instead focused on boosting another key metric: peak brightness.

Before regular readers say anything, yes, I am aware OLED TV makers chasing a high nit count isn’t anything new. In fact, you could argue the craze started back in 2022 with the launch of QD-OLED on the Samsung S95B. But here, the focus was as much on improving colours as it was “fixing” OLED’s perceived weakness, its inability to offer as high operating and peak-brightness levels as LED, especially Mini LED, rivals.

For me, the overt focus on brightness over all else only really started gaining proper pace with the arrival of Micro Lens Array, LG Display’s short-lived rival to QD-OLED. It's a technology which has since been replaced by Primary RGB Tandem OLED.

It was MLA that sparked the ongoing nit wars, where every TV maker seems to be fighting to have the highest figure possible, regardless of whether it actually improves the picture (at least in my mind).

We have detailed why this is problematic before, but the short version is that peak brightness is important, but only one of many ingredients that make for tasty picture quality. If you add too much to the pot, you risk ruining the flavour; as with most things, balance is key.

The reason I am particularly concerned now is that, while I had seen the fight for brightness take away focus from other aspects of OLED sets’ performance before – MLA’s tendency to lose colour volume in low-light scenes, for example – the black level was generally left alone.

That changed in 2026 when we saw not one but two new TVs that didn’t nail blacks, pass through our test rooms.

First was the LG C6, which felt like a minor blip, with certain scenes looking a smidge grey until we adjusted the Near Black Detail settings. As we said in our review:

“The Near Black Detail adjustment proves particularly useful, too. Out of the box, the C6 occasionally prioritises shadow detail slightly over absolute black depth. In the opening moments of Alien: Romulus, for example, the blackness of space can appear just a touch raised compared with the LG C5. Dropping Near Black Detail to -1 neatly restores the sort of inky blacks OLED fans expect.”

Then the issue was repeated – to a far worse degree – on the LG G6. We found: “It seems as though LG has chosen to raise the black floor slightly, perhaps to increase shadow detail, but we regularly find that what should be perfect black looks slightly grey.”

And we then couldn’t fix it, with the -1 Near Dark Detail still looking a touch grey and -2 removing some dark detail.

To be clear, they are still good (great in the C6’s case) TVs. But my alarm bells are in full warning mode; I really hope it isn’t the start of a trend for OLED TVs in 2026. This is a brilliant TV tech that, in my mind, should continue to play to its greatest strength, rather than continue chasing Mini LED-level peak-brightness numbers.

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It’s early days for 2026 TVs, with some brands (Sony, for one) yet to reveal their full ranges – but I’ve already spotted a front-runner for TV of the year, and it’s probably not the model you’re expecting.

The model I’m talking about is the Philips OLED951.

In picture terms, this is Philips’ flagship TV for 2026, and while many brands seem to be taking a fairly evolutionary approach to their OLEDs this year, Philips is really pushing the boat out.

On paper, it ticks almost every box: picture performance, gaming features, spectacular flourishes and future-proofing.

Of course, there’s no guarantee that the on-paper promise will translate to real-world perfection, and we’ll have to conduct a full review before we can deliver our verdict on that.

But, having now briefly seen it in action, I think there’s a good chance the OLED951 can really deliver.

Here, then, are seven reasons I think this Philips flagship OLED could end up being the TV of 2026.

It’s an OLED

An obvious one this, but the Philips OLED951 is… well… an OLED.

That’s a good thing in my book. The RGB Mini LED invasion is upon us, and there are some very good RGB Mini LEDs already out and on the way (including one from Philips), but I’m yet to see any evidence that the technology’s various strengths are a match for the pixel-level contrast control of OLED.

Perfect black pixels next to bright white or coloured ones make for unbeatable contrast, which has benefits right across the picture, particularly in terms of solidity and perceived three-dimensionality.

An OLED-beating RGB Mini LED TV might one day materialise – I’m open to that – but I predict that in 2026, at least, the best TV will be an OLED.

Brighter than the LG G6

We’ve written plenty of times about how brightness is a long way from the most important thing for a TV to deliver.

Still, lots of brightness headroom can be useful for a TV to deliver the goods in a brightly lit room. It also adds a degree of future-proofing, just in case Hollywood suddenly starts mastering lots of movies to 4000 nits (something I see very little evidence of, for what it’s worth).

Brightness isn’t going to be an issue for the OLED951, though, because Philips claims it can hit a peak brightness figure of 4500 nits, and a full-screen brightness of 400 nits.

Those are improvements over last year’s already very bright OLED950 of 800 and 50 nits, respectively.

Those figures, if achieved, will also make the OLED951 a good deal brighter than the LG G6, which shares a ‘Meta 4.0’ Primary RGB Tandem OLED panel with it – something that Philips says is down to its unique picture engine.

But will those figures be achieved? Having seen the OLED951 running against the OLED950 (see the photo above), it certainly looks like it. The OLED951 looked so much brighter that the figures given actually seem conservative.

And this isn’t just brightness for the sake of brightness, either, because, as we’ve seen in our own testing, when increased brightness is combined with OLED’s perfect black and pixel-level light control, the result is even greater contrast, which, as mentioned above, tends to make images look more solid and three-dimensional.

That was certainly the case in the side-by-side demo – the OLED951 really popped.

Four HDMI 2.1 sockets and custom settings for every game

Finally, Philips’ flagship OLEDs (and most of its other models, in fact) will have four HDMI 2.1 sockets.

These will all be able to accept gaming signals of up to 4K/165Hz, complete with VRR and HDR, including in the Dolby Vision format.

Sure, LG and Samsung have been offering OLEDs with four HDMI 2.1 sockets for years, but when combined with everything else the OLED951 offers (more of which I’ll get to), that still makes it a tantalising proposition for gamers.

Another feature that will appeal to gamers like me is the ability to customise settings for individual titles.

These settings can be designed to improve the picture (extra brightness and vibrancy for Rocket League, perhaps, and a darker, broodier presentation for Alan Wake II), give you an advantage over online rivals (through an onscreen crosshair or enhanced shadow detail, for instance), or deliver geeky gaming info such as the current frame rate.

If you’re a gaming picture quality obsessive, that’s very neat.

Ambilight and AmbiScape

Look, I know it’s not to everyone’s taste, and I certainly don’t think it makes sense for all content, but Ambilight – which extends the onscreen action onto the wall around the TV in the form of coloured light – remains a spectacular feature.

And now your room lights can be synchronised with what you’re watching more easily, too. This isn’t an entirely new feature, but previously, you needed Hue bulbs.

Now, thanks to the new AmbiScape feature, lights that conform to the Matter standard will be supported – and there are loads of those. That will make it far more affordable and flexible to get your lounge lights in on the Ambilight action.

Again, this won’t be an upgrade for all content, but play the aforementioned Rocket League, and it’s impossible not to get an extra thrill when a goal creates a flash of brilliant colour right across your room. It works brilliantly for colourful animated movies, too, such as the Spider-Verse series.

Dolby Vision 2

Will Dolby Vision 2 be a big deal in 2026? There’s a strong possibility it won’t be, as we’ve still had no news on actual content in the format.

It is coming at some point, though, and our first looks at it in action have been very impressive, so if you’re buying a TV this year, it’s well worth considering going for a model that supports the format.

That makes Philips’ new OLED951, OLED911 and OLED811 particularly appealing, because they will be the first OLED TVs to support Dolby Vision 2. In fact, they will also support the even more advanced Dolby Vision 2 Max, which adds, among other things, the very interesting Authentic Motion feature.

The Dolby Vision 2 and 2 Max support will be added via a post-launch software update (October is the current ETA), but don’t go thinking that 2026 OLEDs from other brands will follow suit: Dolby Vision 2 also needs to be baked into the hardware, and based on what we’ve been told so far, this hasn’t been done in the case of, for example, LG’s new models.

Excellent anti-reflection tech

Fighting reflections is a key theme in current TV development.

It’s probably fair to say that Samsung is best at it: its top OLEDs suppress reflections incredibly effectively.

But it does this by using a matte panel, and that tends to make blacks look quite grey in a well-lit room.

The new Meta 4.0 OLED panel from LG Display, though, suppresses more reflections than the previous version while still retaining the glossy finish that allows it to produce almost perfect blacks, even in strong ambient light.

According to official figures, the reflectance has been reduced from 0.6 per cent to 0.3 per cent. That doesn’t sound like a huge change, but in reality, it makes a clear difference.

We first saw this new anti-reflection tech in the G6, which massively impressed us with its combination of reflection suppression and deep blacks, and it looked equally excellent in the demo of the OLED951 against last year’s OLED950.

This is one of those things that really comes down to taste, with some people being perfectly happy with the matte look of the Samsung models. I personally prefer the glossy look, though, and the new panel in the LG G6 and Philips OLED951 strikes the best balance of anti-reflectivity and black performance that I’ve so far seen.

Dual Engine picture processing

Those already in the know about Philips’ 2026 TV lineup might be wondering why I’m getting all excited about the OLED951 rather than the OLED911.

After all, everything I’ve written so far also applies to the OLED911, and the OLED911 also has a Bowers & Wilkins sound system that, if form is to be believed, will make it one of, if not the, best-sounding TV in its class.

The reason is that the OLED951 has the Dual Engine version of Philips’ new 10th Gen P5 AI processor, whereas the OLED911 has the single-chip version. This unlocks some extra picture processing features that should further improve certain things, such as bright details and banding suppression.

The difference perhaps won’t be huge – we’ll need to fully test both models to find out – but as someone who subscribes to the ‘all TVs should be partnered with a dedicated sound system’ philosophy, I’ll always choose the potential for better picture quality over a better sound system.

You may feel differently, of course, and that’s fine. If that’s the case, I strongly recommend you read Lewis Empson’s Philips OLED911 hands-on.

That also looks like an excellent TV – but on paper (and from what I’ve seen of it so far), the OLED951 is the one that ticks every box for me.

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No one likes a broken record. So if you’ve read any of my recent rants about TVs and their bizarre focus on nits, I apologise.

But, after helping review the LG G6, the firm’s latest flagship OLED TV, I can’t help myself. Why? Because many TV makers still aren’t listening.

To catch readers up, the LG G6 is a particularly big deal if you’re looking to upgrade to a top-tier OLED TV this year. This is because two key players aren’t expected to release flagship OLED TVs in 2026.

Sony – because its two-year re-release cycle and new partnership with TCL, means it is very unlikely we’ll see a successor to the Award-winning Bravia 8 II arrive any time soon. Panasonic – because it’s selling its TV division to Skyworth and only has one new OLED set arriving this year, the entry-level Z86C (Z85C in mainland Europe).

So if you’re planning on buying a new OLED at this level in 2026, you’re likely only going to be able to pick between the LG G6, Samsung S95H or Philips 911.

And I had high hopes for the LG G6, mainly because, though the company shouted about how the set could go 20 per cent brighter than the outgoing LG G5 at launch, it spent far more time talking about changes it has made to let it offer a more true-to-life picture.

So, unboxing it in our test rooms and plonking it right next to the G5, ready to run our standard suite of comparative tests, I was legitimately excited.

Not to spoil our review, but immediately the TV proved that the first of LG’s claims is true. The TV was noticeably brighter and delivered a truly spectacular performance that will delight fans of blow-your-socks-off experiences.

But the problem is, it does so at the expense of other picture quality metrics that I, and many others, would argue are equally if not more important than brightness.

First up is colour accuracy. Like many of the Mini LED sets I’ve reviewed over the past two years, skylines in particular suffer. For example, during a scene from our Civil War test disc, the skyline is much brighter than what’s on show with the G5, but the G6’s colours look washed out.

The oomph the extra nit count offers comes at the expense of richness, making the scene look flat, by comparison. Honestly, it gave me flashbacks to when I was testing the since-replaced TCL C855K, which suffered from similar issues.

Problems with the G6’s black level continue this theme. Flipping to Sinners, the TV artificially raises the black level in a bid to offer more dark detail. Yes, it adds some detail but, concurrently, it makes parts that are meant to be pitch black look a little grey.

Considering perfect blacks and pixel-level light control are two reasons OLED sets can justify their premium prices, this feels like an odd decision by LG. Again, it’s something I normally worry about with Mini LEDs not OLEDs.

And what’s worse is that there’s no way to fix it. After hours of fiddling with the TV’s settings, including Filmmaker mode, which is meant to turn off all processing, nothing worked.

Yes, people like pop. And yes, the G6 is still a good TV that will delight people who want that punch. But, for cinephiles and more serious movie fans, who value accuracy and consistency, it feels odd, and a move in the wrong direction.

Hence, the need to repeat my rant against peak brightness chasers and pen this piece. Here’s hoping the S95H and OLED911 don’t make the same mistake. It’ll be a bad year for premium OLED buyers if they do.

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We have been eagerly awaiting the UK pricing of LG’s latest stream of OLEDs, and the day has finally arrived. The price tags of the C6, G6, B6, and W6 OLEDs have been unveiled, and it’s great news.

All of the models are cheaper than last year’s OLED entries across all sizes. The most premium TVs will still set you back a fair bit if you are looking to upgrade your home cinema system, but it is a welcome addition to see a slight price drop.

For the LG G6, the pricing is as follows:

As you can see, the latest G6 model is coming in at a lower price than the previous LG G5 models across all sizes. That is especially prevalent with the larger screen sizes, as the eye-bogglingly big 97-inch screen is a whole £9000 cheaper than the G5.

But how does the G6 actually perform? Well, lucky for you, we recently published our comprehensive review of the new OLED.

The 65-inch model scored a solid four-star review after being rigorously put through its paces in our test room. We praised its punchy picture quality and excellent gaming specifications, but colours do look slightly overcooked in a way that could leave cinephile purists feeling disappointed.

We will have to see how the other sizes perform, but its colourful performance with the 65-inch model bodes well.

Next up, here is the pricing for the LG C6:

Once again, the step-down OLEDs' prices are lower than last year's entries.

The 77- and 83-inch versions of the C6 feature Primary RGB Tandem OLED technology for the first time, which could be the biggest C-series upgrade in years. We are yet to get these models in our test room, but we have reviewed the 65-inch entry.

It scored a glowing five-star rating, dazzling with brighter, richer and more refined picture quality. The G6 also improves upon the C5's audio performance, as voices sound a little warmer and Dolby Atmos effects are projected further away from the screen when required to create a greater sense of scale.

But what about the pricing of the LG W6, the brand's newest Wallpaper TV?

• 77-inch LG W6: £4700
• 83-inch LG W6: £6800

LG's art TV provides a store of more than 5000 regularly updated digital artworks that users can use as screensavers. It offers wireless connectivity and integrated speakers, and measures an impressive 9mm in thickness so it can sit mostly flush on your wall.

This is not LG's first Wallpaper TV, with the last iteration coming out back in 2017 in the form of the W7. It launched at a high-end price point, which made it simply unattainable for many, so it makes sense that LG has dropped the price tag for its latest art model.

We got a chance to see the W6 in action at the start of the year at CES, and although we will need to wait until we have thoroughly tested the model to deliver our verdict, we find:

"Black levels look just as deep, rich and neutral, for starters, with no obvious signs under the CES show lights of any green or magenta tinting, even if viewed from the side."

Finally, LG has also released the pricing for its B6 series:

These prices mean the B6 series can offer a genuinely affordable range of OLED TVs from the brand, which will be welcome news for those who cannot stretch to the above models.

The reason LG has been able to drop the pricing so much on an already budget range is thanks to the development of a new SE OLED panel. The majority of the cost saving has been made by removing the pricey polariser.

Without this, the B6 will likely be more reflective than current OLED models, but they should also be brighter than current budget sets, hitting something in the region of 1000 nits rather than the 600-700 nits of models such as the LG B5.

We have yet to test any of the B6 sizes, but keep your eyes peeled for our review of the budget range.

MORE:

Here is our review of the LG C6

And these are our thoughts on the LG G6

Check out the best OLED TVs we recommend

The G6 is the latest incarnation of LG’s wildly popular G-series Gallery OLED, and one of 2026’s most highly anticipated new TVs.

It’s under particular pressure this year. Changes in the TV landscape mean it's one of only a select few new “premium” OLEDs set to launch in 2026, so a lot of eyes will be on it.

And, despite initially impressing our reviewers (at least after a couple of early flaws were fixed), the preceding G5 later came fourth out of four in our 2026 flagship OLED shootout.

The big question, then, is whether the G6 can take LG back to the top of the OLED TV performance pile.

Having thoroughly put it through its paces against both its predecessor and last year’s TV Product of the Year, we finally have an answer to that question.

Price

The 65-inch G6 we’re reviewing has a price tag of £3000 / $3399 / AU$4999. That makes it cheaper in the UK and Australia than the G5 was at launch (£3300 / $3400 / AU$5299), while US launch pricing has remained unchanged.

There's no denying that the G6 is still a very premium TV, but the price drops versus last year are very welcome. It will be fascinating to see if Samsung takes a similar approach with the pricing of its S95H.

As is to be expected, the G6’s launch price is vastly higher than the now-discounted prices of 2025 flagship OLEDs such as the G5, Samsung S95F and Award-winning Sony Bravia 8 II.

But prices should fall quite quickly. LG OLEDs have a reputation for being discounted faster and farther than most rivals.

Design

The LG G6 looks identical to the G5 in nearly every way. So much so that we frequently had to check the serial numbers of the two when setting them up on our test benches to make sure which was which.

The TV is mainly designed to be wall-mounted, hence the picture frame-style design, but the 55- and 65-inch versions are available with a stand if you prefer. The versions without the stand come with a Zero Gap wall mount instead, which allows for the TV to be mounted more or less flush against the wall.

But while the design certainly delivers on the promise of the ‘Gallery’ designation, it’s rather too familiar at this point, having barely changed since 2020’s GX. The upcoming Samsung S95H is a far more exciting take on the same concept.

Despite this minor qualm, the G6 is functionally sound and nicely unobtrusive. Our sample came with the pedestal stand, and while that doesn’t have a swivel mechanism, it’s sturdy and indicative of the set's generally excellent build quality.

The stand’s two height options and a fairly thin and flat plinth also make it generally easy to place a soundbar in front of the TV without blocking the screen.

The only big gripe is the lack of changes to the remote. It remains a chunky, cheap-feeling, plastic affair that doesn’t feature backlighting or USB-C charging – two things we’ve come to expect of a set at this level.

Motion controls still feature, adding some occasionally useful point-and-click functionality when navigating the set’s menus, but even so, the remote feels in need of a proper overhaul at this point.

Frustratingly, many markets were treated to a new LG TV remote last year, but the UK still has to make do with the old model.

Features

Like its design, the G6 doesn’t change the key ingredients in LG’s current OLED recipe. At its heart, you’ll find a Primary RGB Tandem OLED panel. That’s the same tech we saw in last year’s G5.

For those unfamiliar with it, Primary RGB Tandem uses a ‘four-stack’ panel structure to try and help an OLED offer higher peak and operating brightness levels, while retaining colour volume and accuracy, even during low light scenes – an area its predecessor, micro lens array (MLA), struggled with, especially against Samsung’s rival QD-OLED technology.

The only technical change to the panel is the inclusion of a new Reflection Free Premium display certification, which promises to reduce reflections to less than 0.5 per cent – meaning it should work better in less than ideal conditions with lots of stray, reflection-causing light.

But, while the fundamental panel tech remains largely unchanged, the inclusion of a new Alpha 11 Gen 3 AI processor means LG is quoting some pretty palpable improvements for the G6.

For starters, the chipset’s new Hyper Radiant Colour Technology system means that the set can offer “20 per cent higher” peak brightness levels than the already dazzling G5.

But more importantly, as peak brightness is one of many screen-quality metrics, the tech also aims to allow the G6 to offer better colour accuracy and a generally “more lifelike” picture. Finally, motion handling, upscaling, tone mapping and audio processing are also meant to be better thanks to the new silicon.

On the subject of audio, the G6 comes built in with Dolby Atmos FlexConnect functionality. This is a hot ticket item that aims to let the TV automatically connect to compatible speakers, including the LG Sound Suite we recently reviewed, to create a surround sound package.

The tech includes the ability to use the G6’s built-in speakers as the central channel, and clever room and viewer location optimisation powers. Though the tech is in its infancy, it’s a nice touch that gives the G6 an element of future-proofing.

However, there is one minor, pigmy-sized elephant in the room when it comes to next-gen Dolby tech. Specifically, the G6 doesn’t support Dolby Vision 2 (“the future of home cinema”, if Dolby is to be believed) – and it seems fairly unlikely that it ever will.

For now, as we’re yet to see any content mastered in the format, it’s not a deal breaker. But it is a minor concern for those who tend to keep their TVs for five years or more, especially as Philips has confirmed its 2026 flagships will support the standard, as will several non-OLED sets from TCL and Hisense.

LG has hinted that it may add the functionality via an over-the-air update at a later date, but the lack of certainty is still a minor frustration considering the G6’s price. People paying this amount don’t want a TV that’s out of date within a year. Though until we see the benefits of Vision 2, we want to emphasise that it's a minor gripe. We don’t currently know how big a deal Vision 2 is in general.

The supported standards remain Dolby Vision, HDR10 and HLG, meaning outside of Vision 2, the only other noticeable absence is HDR10+.

The TV’s broader feature set is, like that of all of LG’s recent flagships, more or less flawless. WebOS 26 supports pretty much every app you can think of, ranging from Now to Apple TV, Netflix, Disney+ and Amazon Prime Video, all of which are present and work correctly. We’re also pleased to see it continue to support niche streaming platforms, including the anime-focused Crunchyroll and Hidive.

Gaming functionality lives up to LG’s strong track record, with all four HDMI 2.1 inputs offering up to 4K/165Hz gameplay with VRR and ALLM, and Dolby Vision Gaming HDR supported.

LG has also added more game-streaming features, including a new low-latency interface and a dedicated controller developed alongside popular gaming peripherals manufacturer Razer, which can be connected directly to the TV – though this is sold as an optional accessory.

Picture

So what difference does a piece of silicon and general spruce make for a flagship OLED? Quite a lot, as it turns out.

Powering up the G6 next to the G5 in both sets’ out-of-the-box settings, the new OLED immediately reveals a focus on two things: selling quite how bright it can go, while simultaneously increasing the amount of dark detail on offer. And on paper, this makes sense, letting you get a more dynamic, punchy image with eye-catching peaks traditionally reserved for Mini LED sets, coupled with the pitch blacks OLEDs are famous for.

And it does make a very strong opening impression. Running our tried and true Civil War 4K Blu-ray, the entire screen burns brighter than any previous OLED we’ve tested, with the American countryside scene offering palpably higher peaks and more vibrant colours. Dark parts of the surrounding foliage offer more detail, too, with every leaf and twig looking sharper and clearly visible.

Even compared with last year’s other Primary RGB Tandem OLED and QD-OLED flagships, the G6 is significantly brighter. The picture offers noticeably more eye-catching spectacle as a result.

And, while we’re not convinced this makes the picture more lifelike, as LG promised, the new focus is, in many ways, a positive. If pop’s what you value, make no mistake, the G6 will delight.

But as the film switches to the next shot, issues creep in. The helicopter’s flight looks too smooth, with it bouncing rather than cutting through the sky. More pressingly, some detail, especially subtle gradients of reds and oranges in the setting sky, is lost, as the set pushes the brightness at the expense of richness, making it look slightly flat.

Traditionally, we’d have put this down to using the out-of-the-box Standard picture setting. Nearly all the TVs we review are overly aggressive with their processing here. But switching to Filmmaker Mode, while the positive aspects of the picture remain and some issues are mitigated, to our surprise, the G6 continues to over-brighten parts of the picture.

We also continue to experience jarring over-saturation, with greens in particular proving problematic, adding an air of artificiality not present on the G5 – which is a surprise given Filmmaker Mode’s focus on offering an as-the-director-intended experience.

The issue becomes even more apparent when we switch to our Pan test disc, which remains our go-to brightness stress test thanks to its atypical 4000 nits mastering. Once again, the G6 is clearly brighter than the G5 and our Product of the Year Award-winning Sony Bravia 8 II, but the pop comes with a slight loss of colour volume and at a clear expense of accuracy.

Going through every picture mode, even after tweaking the settings for hours, we can’t settle on a combination that we’re happy delivers the authentic, accurate picture we would expect, which is a great shame for those who value accuracy over razzmatazz.

We end up settling on Filmmaker Mode with TruMotion set to the subtle Cinematic Movement option, and Dynamic Tone Mapping switched off, as the best compromise – but we’re still left unsatisfied.

Our 4K Blu-ray of Sinners, in fact, illustrates another issue. While the G6 produces a generally wonderfully immersive experience, with the dark night-time speakeasy oozing atmosphere and the vampires’ eyes, brooding in the fields, holding spectacular malice, we find that skin tones tend to look a little green and, more disappointingly, that the darkest parts of the picture simply aren’t dark enough.

It seems as though LG has chosen to raise the black floor slightly, perhaps to increase shadow detail, but we regularly find that what should be perfect black looks slightly grey.

We experienced the same issue with the step-down LG C6, but this could be more or less fixed by changing the Near Dark Detail setting from 0 to -1. This doesn’t quite do the trick with the G6, though, which still looks a little grey. Pushing down to -2, though, removes too much dark detail in its quest for deeper black. Ultimately, as with the picture settings in general, we struggle to find the perfect balance.

That isn’t to say that the black depth vs shadow detail issue is a huge one. On the contrary, not everyone will notice it without the benefits of a side-by-side comparison, but as we watch the opening of Alien: Romulus, we’re frustrated by the need to choose between perfect blacks and detail levels.

While the G6 is rather bombastic in its delivery of HDR content, it’s noticeably more considered with SDR. Playing our old faithful Blu-ray of True Grit, the differences between the G6 and G5 are subtle, and it becomes immediately more apparent that they’re from the same family of TV.

The G6 upscales the film with suitable care, retaining its intentionally grainy, Spaghetti Western feel without flattening it or adding noise. Characters’ stitched, thick cotton clothes are nicely sharp and detailed, and there’s a pleasingly light touch that is missing from the TV’s HDR performance. Here, it feels as though the G6 is carefully improving the experience, while remaining true to the source material.

Sound

Audio quality is a key area in which LG’s flagship OLED TVs have struggled to impress in our review rooms for the past few years. And, while we’re not reaching for the party streamers with the new G6, there’s no denying it is a step in the right direction.

Playing an iconic scene in Sinners, where Sammie, aka “Preacher Boy”, performs the blues, the G6 delivers a noticeably fuller, more robust sound than the G5, which offers up a thin and hollow rendition by comparison.

The guitar’s plucked strings have some bass to them, and Sammie’s wailing vocals are nicely audible and separate from background noise.

As the medley grows, adding new tracks to the mashup, the set delivers a decent sense of directionality, with each addition swooping in as the camera carves a path through each room and musical era.

But it’s still a good deal short of perfect. The low end isn’t powerful enough to deliver the oomph you need to do the scene justice, and the delivery lacks the precision to handle the vocalist's wailing vibrato, which is nearly entirely lost.

The TV also struggles to maintain a rhythmic and tonal hold on proceedings as ever more musical strands are added, and in the end, it becomes more of a cacophony rather than the intended complex medley.

This theme continues as we switch to chapter two of Blade Runner 2049. The speakers’ low end is too weak and flabby for the scene’s synth track, which occasionally sounds more like a child blowing a raspberry, rather than a booming synthetic growl.

Ultimately, while the G6 is certainly an improvement on the G5, it’s still a long way short of rivals such as the Sony Bravia 8 II and Philips OLED910, and is even beaten by certain step-down OLEDs, such as the Sony Bravia 8.

In fact, we’d say the C6 sounds better than the G6, which makes us wonder if the Gallery design is the biggest cause of LG’s G-series sonic struggles.

As ever, though, our criticisms of TV audio quality need only be taken into account if you’re ignoring our strong advice that any new TV should be partnered with a dedicated sound system.

Verdict

LG seems to have dug its heels in on the idea that brighter (and more colourful) is better with the G6. The set feels quite different to past G-series models as a result, delivering a memorable, punchy experience that immediately catches your eye.

For those after a bombastic home cinema experience, this makes the LG G6 a good TV; one capable of offering a strikingly bright, punchy picture with vivid, vibrant colours.

But this new focus brings fresh weaknesses, most notably to black depth and cinematic authenticity. The raw materials are clearly here and, with some more considered tuning, the G6 could be among the best in class. As it stands, though, this feels like one step forward and another step back for LG’s flagship OLED range.

SCORES

• Picture 4
• Sound 3
• Features 5

MORE:

Read our review of the Sony Bravia 8 II

Also consider the LG C6

For last year's model, see our LG G5 review

Read our Samsung S95F review

Best TVs: flagship OLEDs and budget Mini LED sets tried and tested

Sony has just officially announced its first RGB Mini LED TVs, under the punchy name 'True RGB'.

Actually, that's not entirely true: what Sony has announced is the 'True RGB' name and some broad info on the technology, such as the fact it features true, independently controlled red, green and blue diodes, and that it will feature "new backlight drive" technology.

What Sony hasn't announced is specific models, specs, release dates or pricing – that info will come at a later date.

Despite that rather odd situation, I have actually already seen the flagship Sony True RGB TV in action at Sony's Tokyo HQ – and in quite some detail.

I've seen it running side-by-side with a Bravia 9, with the backlights of both TVs exposed; I've seen it running against RGB Mini LED TVs from rival brands, again with the backlights exposed; and I've even seen how it handles real movie content alongside a Bravia 9 and Sony's mastering monitor.

That's pretty unprecedented access to a pre-release TV, and it's illustrative of Sony's confidence in its RGB Mini LED push.

Broadly speaking, I think that confidence is very well placed, but I do have a couple of reservations.

Before I get to the meat of the hands-on experience, though, some housekeeping: while I'm free to write about my impressions of the True RGB TV's performance, I'm not currently allowed to go into detail about the technology behind it, beyond what I've already said about it featuring true red, green and blue diodes in the backlight.

I'm not permitted to discuss other specs either. Or the design. And my photos, which I was only allowed to take in one of the three test rooms, had to be taken from a distance so as not to reveal any of those details.

All of that stuff will be revealed further down the line, of course, but for now, let's just focus on picture performance.

Sony True RGB vs the Bravia 9

The first stop on our True RGB test tour was the room you can see in the image above.

Here, a 75-inch Bravia 9 was placed on the floor alongside a 75-inch True RGB TV. Above each was a sample with the LCD layer removed, revealing the backlight.

Hopefully, you can easily see the profound difference in the way the backlights work.

With the Bravia 9, on the left, you can see that the backlight is only contributing differing amounts of blue light. Shapes are fairly vague, as they largely blend into one another.

With the True RGB TV on the right, the expression of colour from the backlight alone is exceptional, and when combined with granular brightness control, this makes the shapes of the image much clearer.

The way this translates to the actual picture performance is in punchier, richer and more consistent colours. The image from the True RGB model is generally brighter, too, with no discernible loss of black depth.

Sony played demo clip after demo clip, and the degree to which I could discern what was in each image by looking at the True RGB backlight alone was never less than extremely impressive. Take another look at the photo at the top of this page for another great example.

Sony True RGB vs rivals

The second True RGB demo session was all about comparisons with rival RGB Mini LED TVs. I'm not permitted to mention the competitor brands, let alone the specific models, but let's just say they're all pioneers of RGB Mini LED tech – even though they might not use that term in their branding.

Sony's goal here was to illustrate one of its key True RGB claims: that "performance depends on LED density and algorithm, not LED size".

At the sort of density it has achieved with its True RGB TV – around 1cm between LEDs – even a 100 micrometre reduction in size would have "no meaningful impact on picture quality", according to Sony.

Furthermore, the new backlight drive that controls how the LEDs perform is what Sony says really sets its True RGB solution apart from its competitors.

To illustrate this, Sony ran various test clips through its True RGB TV and two of these competitors, with a patch of the backlight of each TV exposed.

With one of the competitors, the backlight would switch from full colour to white once the size of the on-screen image was reduced from 100 per cent to about 80 per cent.

This model's backlight also struggled to express colours during real-world footage. Frankly, most of the time, it was barely more colourful than white.

It also allowed the background colour of an image to badly affect the element in the centre, so a man's face would change colour significantly, based on whether the rest of the image was red, green, blue, etc.

The other competitor fared better in these tests, but it was still far from perfect. Its biggest issue was inconsistency in its handling of different colours: green and red, for example, looked perfect, but colours such as cyan and pink were very pale.

This second competitor's backlight also struggled to express convincing colours with real-world content, though less so than the first.

The Sony True RGB TV performed impeccably through all of these tests. Each bold colour was delivered accurately and consistently, regardless of window size, and the expression of colour with real-world content was stunning.

The "colour shift" was practically non-existent in the image of the man against the various coloured backgrounds, too, and through every demo, the Sony was brighter as well as more consistent and vibrant in its colours.

Sony claims that its True RGB tech is also superior in terms of viewing angles, and this is where the third competitor set came in.

This rival suffered badly with blooming and a loss of vibrancy when viewed off-axis, whereas the Sony remained punchy and controlled at even wide angles.

Sony True RGB vs a mastering monitor

Our final stop on the Sony True RGB tour was a blacked-out room containing the True RGB TV, a Bravia 9 and a Sony BVM-HX3110 mastering monitor. No exposed backlights, no demo material – just real movie content split across the three screens.

Both TVs were in their 'Professional' preset, which is essentially Sony's equivalent of Filmmaker Mode, and is designed to deliver the most accurate picture possible, which really means getting as close to the mastering monitor as possible.

In that regard, the True RGB TV was a clear winner. Its colours were far closer to those of the BVM-HX3110, its viewing angles were much better than those of the Bravia 9, and its blooming was almost non-existent.

The blooming point is an interesting one, I think. While the Bravia 9 is very controlled, the fact that it uses white LEDs means you can get a bit of a white glow around intense coloured highlights on a very dark background, such as the red light in a dark room in Black Widow.

But because the True RGB TV uses coloured light, any glow around highlights is in the same colour as the highlight itself, resulting in a far subtler and more natural effect.

Overall, it was deeply impressive how closely the new True RGB TV emulated the performance of the mastering monitor, while boosting it to a far larger scale, but I do still have a couple of minor concerns about its performance.

First, when Lewis Empson and I reviewed the Bravia 9, we noted that, as a whole, it lacked the solidity, density and three-dimensionality of OLED, and nothing I've seen so far suggests that the True RGB TV is better in this regard.

Ultimately, I strongly suspect these characteristics come from OLED's pixel-level contrast control, which a backlit TV will simply never be able to match.

It's also the case that while the new True RGB TV appears to be able to produce deeper blacks in tricky mixed light images than the Bravia 9 can, it still doesn’t seem able to match an OLED here, either.

Many will argue that True RGB’s advantages over OLED outweigh its disadvantages, and they could well be right. That’s something I’m very much looking forward to putting to the test when we get a final production sample in for comparative testing.

Early verdict

It is worth bearing in mind, of course, that Sony's True RGB TV hasn't even been named yet, so there's likely lots more refinement to come before it hits shops – and before we fully review a production sample in our dedicated test rooms.

And, even at this stage, it looks like a deeply impressive technical achievement that adds 'true' RGB LEDs and next-gen colour control to the envelope-pushing backlighting of the Bravia 9.

Is True RGB an OLED killer? I'm not yet entirely convinced by that, but it certainly appears to take backlit TVs to new, super-vibrant heights – and Sony bringing its picture processing magic and cinematic authenticity to bear in the realm of RGB Mini LED TVs is something to be very excited about indeed.

MORE:

Sony’s ‘True RGB’ TVs are coming – and they were 20 years in the making

Here are all of the best TVs you can buy right now

Sony has announced that its new RGB Mini LED TVs are finally almost here, and they will go by the name ‘True RGB’.

A clear swipe at those brands that Sony deems to be doing this new technology in a less genuine way, ‘True RGB’ is designed to illustrate that this is the real deal.

As Sony not so subtly puts it: "Our goal isn't to be first – it's to be true."

Last month, I visited Sony's Tokyo HQ to get the low-down on the new True RGB TV tech.

During that trip, Neil King, Director of Sony Home Entertainment Europe, explained that, unlike some RGB Mini LED solutions, “we are going to have three independently controllable RGB diodes, and from a colour point of view, it will be true”.

He continued, “We are about accuracy, always about accuracy, so we are going to have precise reproduction to get both the colour and brightness across."

King also added that True RGB is designed to deliver this accuracy in all conditions: "It’s about true vision in any living room environment, so ensuring the consistency of the brightness, the contrast and the colour in whatever room and whatever angle.”

I have seen the brand’s first True RGB TVs in action, but I’m not currently permitted to publish model names, sizes, specs or design information.

But Sony has offered some information on what it feels makes its True RGB technology different to the RGB Mini LED tech of other brands.

First, some (but certainly not all) brands use two-diode LEDs for their RGB models. These actually feature green and blue diodes that shine light through a phosphor layer to generate desired colours.

Sony's True RGB TVs instead use true, independently controlled red, green and blue diodes, which it says deliver that aforementioned accuracy.

Sony also claims that RGB Mini LED TV performance is dictated by LED density and the algorithm controlling them, and not the size of the LEDs.

On the algorithm side, Sony has developed a new backlight drive, which I will be able to detail further at a later date.

And in terms of density, Sony has achieved a spacing of around 1cm between its three-diode RGB LEDs. Each diode is "several hundred micrometres" in size, which is so tiny that, Sony claims, shrinking them by even another 100 micrometres would have "no meaningful impact on picture quality".

In other words, Sony is saying that we shouldn't get carried away by rival brands that claim their TVs have the smallest, or 'micro', LEDs.

Sony is also keen to point out that its True RGB TVs have nothing to do with TV tech fashion, and are instead the culmination of a long-term project.

Indeed, not only did I see its RGB Mini LED tech in prototype form over a year ago, but Sony has been on this journey since 2004, when it launched the Qualia 005 – the first commercially available TV with an RGB LED backlight.

As Yoshihiro Ono, the Head of Sony’s Home Entertainment Business Unit, put it on this more recent visit to Tokyo, “[this] brings together our history, and also our latest innovation”.

In fact, Daisuke Nezu, who is now Senior General Manager of Sony’s Home Product Business Division, points out that his very first assignment at Sony was the Qualia TV.

It’s this experience that Sony feels is key to the superiority of its RGB Mini LED technology.

As JT Austin, Sony’s Technology Manager for Sony North America, puts it, “We’ve really been evolving not only colour but also LED technology for the last two decades, which has all led us to this moment.”

During my visit, which I will be able to write about in detail at a later date, Sony demonstrated its True RGB backlight against two rivals that I’m not allowed to name at this stage, but that have been leading the Mini LED RGB charge up to this point.

By revealing the backlights of all three TVs, Sony was able to demonstrate that one of these rivals was switching its Mini LEDs from colour to white in all but full-screen colour test windows, and that the other was way off with trickier colours such as cyan and pink.

The Sony True RGB TV, on the other hand, looked incredible, with its backlight reproducing the colours required by the image with exceptional accuracy.

Full-screen coloured test windows were vibrant and correct, but the degree to which multiple colours can coexist in complex images (a bunch of flowers, for example) is something else.

You can read more about that in my Sony True RGB first impressions piece, and I will be writing much more on this, including specific models and specs, once further embargoes have been lifted.

MORE:

Check out the full Sony True RGB hands-on

Here are the best TVs you can buy right now

Soundbars and soundbar systems with subwoofers and surround speakers are pretty great home cinema sound solutions. But, however well they perform, they aren’t the real deal.

To get serious home cinema sound, in a dedicated space, it is still very much the case that a full separates system has to be the way to go.

By that, we mean a (necessarily) expensive true 4K projector, backed up by a top Blu-ray player and video streamer, and a sound system comprising a hefty AV amplifier and separate loudspeakers.

Which – who would have thought it? – is what we have for you here. This is a premium home cinema system intended for the serious enthusiast and housed as a permanent fixture in a dedicated screening room.

The one we have all been secretly yearning for, in other words.

The system

• Projector: Sony Bravia Projector 8 (£15,999)
• Blu-ray player: Panasonic DP-UB9000 (£999)
• Streaming box: Apple TV 4K (£149)
• AV amplifier: Marantz Cinema 30 (£3499)
• Speaker system: KEF Q Concerto Meta 5.1 (£2549)
• Total system price: £23,995

The projector

We lead things off with the magnificent Sony Bravia Projector 8 (VPL-XW6100ES). This native 4K laser projector is a worthy successor to the Award-winning XW7000ES.

Sony’s strength with its projectors has always been contrast, and the Bravia 8 is exceptional in this regard.

It delivers stunning black depth – a rarity in the projector world – and ensures that dark scenes, such as the night sky of Gotham in The Batman, are deep and imposing, and refrain from straying into the murky grey seen on many rivals – even some at this price.

The new XR Processor, a version modified from Sony’s high-end OLED TVs, brings features such as XR Dynamic Tone Mapping and XR Deep Black to further enhance light control and detail.

Detail levels are a standout, presenting complex patterns and textures with remarkable fidelity. Colour rendition, too, is superb.

As we say in our review: “skin tones are balanced and well-judged, resulting in a lively yet not overcooked presentation across a range of pigments.

"They’re exceptionally balanced and realistic, too, while also having the necessary punch to draw the eye.

"Speaking of which, the eye at the beginning of Blade Runner 2049 features a stunning array of blues and greens, with a rich presentation that blends the colours in a smooth gradient.”

This projector is great for gamers too, with an improved 2.1 specification on both HDMI sockets. It supports 4K/120Hz signals with Auto Low Latency Mode (ALLM), and it has an impressively low input lag of 12ms.

This is truly a projector that delivers on the promise of a premium, large-screen experience.

The AV amplifier

At the heart of any great home cinema is an AV receiver capable of both refinement and brute force, and the Marantz Cinema 30 delivers in spades. This is a premium unit that justifies its price with an equally premium performance.

The amp’s ability to place sounds precisely in three-dimensional space combines with a knack for producing an absolutely huge and enveloping soundscape.

Detailed sound effects – crumbling plaster, dripping water, an electrical short and a high-pitched alarm – appear from all around you and together fill the room. Importantly, you hear the sounds, not the speakers.

Marantz has tuned this 11-channel amplifier to work beautifully with music as well as movies. A switch to Pure Direct means we can listen to just the front stereo channels, and the delivery is far superior to most AV amplifiers.

It’s quite likely that in a set-up such as this, the amplifier will be hidden away, to do its thing out of sight. If it does find itself out on display, however, this is a rather attractive unit by AV amp standards, with its small ‘porthole’ display.

More importantly, it is very well specified, with a whopping seven HDMI 2.1 inputs that support 4K/120Hz. It would be nigh-on impossible for even the most ardent enthusiast to run out of sockets to plug things into.

The speaker system

And making the most of the Marantz amplifier’s impressive abilities, we have the Award-winning KEF Q Concerto Meta 5.1 Speaker System.

This stylish package is headlined by a pair of five-star Q Concerto Meta standmounts, with support from the Q1 Meta surrounds, the Q6 Meta centre channel, and the formidable Kube 12 MIE subwoofer.

For the full Dolby Atmos experience, a couple of pairs of KEF Q8 Meta Dolby ‘toppers’ will set you back an additional £599 a pair. And in this system, that is certainly a worthwhile investment.

We’re treated to a muscular and rich, yet agile presentation from the Q Concerto Meta system.

This system sounds big and bold, enveloping us in engaging sound from all angles, but it refrains from losing focus and becoming sluggish as a result.

There is plenty of low-end punch, with the subwoofer delivering its gut-punch of low end while remaining in total control. And there’s no flab or waffle here; the KEF Kube 12 MIE delivers a powerful and dynamic low-end kick.

Voices are conveyed with clarity and texture, underpinned by an impressive handling of low-level dynamics. This results in a truly natural and realistic representation of voices with excellent projection, which is aided by how forthright and crisp this centre channel sounds.

It manages to remain well integrated into the system as a whole while it does it, which is impressive indeed. The left, right and centre speakers mesh seamlessly, and these in turn gel with the surrounds, leaving no noticeable gaps in between the channels.

The system’s brilliance, then, lies in its stunning sonic cohesion.

The Blu-ray player

To make the best of the superb projector and the powerhouse (yet subtle when appropriate) sonic package, you will need the best when it comes to sources to feed it.

As ever, we recommend physical media for this whenever possible – a wired connection will pretty much always provide a more stable connection than anything being passed through the air.

That means 4K Blu-ray. Enter the Panasonic DP-UB9000.

The Blu-ray player market has struggled over the past five years or so, with the dominance of video streaming. New players into the market are few and far between. So it’s a good job that the old-timers that are still hanging around are such stunning performers.

The UB9000 offers supreme picture quality, and is a machine that will give sterling service for many years.

The streaming box

It is unrealistic to expect any home cinema to rely on physical media alone, though. Video streaming is here to stay, and picture quality is improving all the time.

The very best, most consistent quality, though, comes from Apple’s remarkably good Apple TV 4K.

We find it to be clearly the best performer compared with its many rivals – which is why it so merits its place in this brilliant home-cinema set-up.

These are the best projectors and best AV receivers you can buy right now

We rank the best surround sound systems

Samsung’s old dominance of the budget TV market has been severely challenged in recent years, most notably by the likes of Hisense and, especially, TCL.

Can the 65-inch U8000F do enough within its measly price to make the Korean brand the king of TV value once more?

Price

In the UK and US, at least, being able to bag a 65-inch Samsung U8000F for £469 / $430 really does look like a potentially huge bargain.

It’s perhaps not quite such an eye-catching deal in Australia, but when all is said and done, even AU$1299 hardly looks excessive for a 65-inch TV with the usually dependable Samsung name attached.

There are, as we’ll come to later, plenty of reasons why this TV is so affordable. These reasons don’t, though, include anything that might automatically disqualify it from being a potentially good performer for its money.

Not surprisingly, in today’s TV world, the strongest competition for the U8000F comes from TCL – in particular from the C7K and C6KS models, the 65-inch versions of which cost in the UK £829 and £479 respectively. The latter model actually adds local dimming and Mini LED lighting to the equation, despite costing more or less the same as the Samsung U8000F.

Design

The 65-inch U8000F is predictably built predominantly from fairly lightweight plastic. This makes it easy to move around, though, and actually, its bodywork still feels decently rigid and robust. That’s helped, perhaps, by the use of some attractively integrated ribbing in parts of the rear panel.

It’s fairly chunky around the back by today’s TV standards, making it a slightly awkward-looking wall hanging option – but you don’t notice its depth so much when it’s mounted on its pair of included feet.

These feet handily just slot and lock into holes on the screen’s underside, without the need for any screws. They’re positioned quite wide apart, however, meaning you’ll need a fairly wide TV stand to accommodate the TV.

The U8000F’s bezel tastefully sits more or less flush with the screen it holds, and is narrow enough when viewed head-on to prevent you from spotting the bodywork’s fundamentally plasticky nature.

The TV ships with two remote controls. One is an old-school looking chunky affair with a full button count, while the other is a much sleeker number with a nice polished finish and much reduced button count. It doesn’t carry a solar panel like the ‘smart’ remotes you get with Samsung’s premium TVs, but it’s comfortable to hold and easy to use.

Features

The panel at the 65-inch U8000F’s heart is understandably fairly basic by Samsung LCD standards. It’s lit by big ol’ regular-sized LEDs rather than Mini LEDs, and its backlighting doesn’t benefit from any sort of true local dimming system. It’s only a native 60Hz panel, too, which may limit its appeal to gamers with 120Hz (or more) consoles or PCs.

Most surprisingly of all, it doesn’t get a colour system built around Quantum Dots. Instead, as with all of Samsung’s U series TVs of the past few years, it gets something called PurColour, backed up by a Crystal 4K processor that’s a good few notches down in power and sophistication from Samsung’s Neo QLED processors.

If this PurColour system can still map colours accurately and subtly, though, it could still be enough to help the U8000F stand out from the budget TV crowd.

The TV supports high dynamic range video, including in the premium HDR10+ format. There’s no Dolby Vision, though; it seems like hell will need to freeze entirely over before Samsung joins most other TV brands in bringing Dolby Vision to its TVs.

The U8000F’s smart features and interface are provided by Samsung’s home-grown Tizen OS. This would normally be fine; Tizen now carries basically every streaming and catch-up TV service almost anyone could want, bar Freeview Play and Freely. You can operate the TV and find content by talking to it, too, via Samsung’s Bixby system or an external Alexa device. It maintains a dedicated Game Hub screen from which you can access streamed gaming apps or any game consoles or PCs you have connected.

Unfortunately, though, the 65-inch U8000F struggles with the demands of the latest Tizen system, typically running very sluggishly when it comes to opening menus, and booting up apps and streaming services.

While the U8000F’s lack of 120Hz support for gaming is unfortunate (if hardly surprising for such a cheap TV), it does have a few other gaming tricks up its sleeve. These include ALLM switching, VRR support and the HGiG system, whereby the TV essentially passes HDR output control to your Xbox or PlayStation console.

The set also takes just 9.7ms to render graphics when running in its Game mode – one of the lowest such figures we’ve measured.

Picture settings, meanwhile, include a Filmmaker Mode, raising hopes of an easily accessible route to accurate picture quality for AV enthusiasts, as well as Samsung’s suite of Picture Clarity tools for making pictures look cleaner and sharper. The Picture Clarity options here, though, do not include a blur reduction system as you get with more premium Samsung TVs; there are only noise reduction and judder reduction components to play with.

The U8000F’s sound is delivered by a fairly basic 2 x 10W sound system, bolstered by Samsung’s Q Symphony and OTS Lite features. Q Symphony lets the TV’s speakers join forces with those in Samsung soundbars, while OTS Lite uses nifty audio processing to try to make specific sounds appear to be coming from the correct part of the screen.

Connections on the U8000F, finally, comprise a trio of HDMI ports, a single USB-A port, an Ethernet port, the RF jack, a CI slot and, of course, wi-fi and Bluetooth wireless options.

Picture

The U8000F is very much a tale of two picture settings, looking very respectable for its money in its Standard mode, but struggling to meet the demands of AV enthusiasts with its Filmmaker Mode.

Starting with the good news, the Standard mode’s pictures immediately look surprisingly bright by budget TV standards. There’s a very clear step up in brightness between SDR and HDR content, as well as a mild expansion in the HDR image’s colour range. Enough in both cases to make HDR look convincing and surprisingly natural – helped by the presence of a surprisingly effective dynamic tone mapping system (a feature that’s by no means a given at the sort of price level the U8000F is operating at).

The TV’s brightness in Standard mode sits alongside some quite respectable black tones for such an affordable TV. This makes dark scenes comfortable to watch, and creates a degree of contrast that again helps to sell the idea that this is a more HDR-friendly TV than most of its similarly priced rivals.

We should stress that we’re not talking about depths of black in dark scenes of the sort you’d get with an OLED or premium LCD TV – there’s always a hint of grey to remind you that you’re watching a fairly affordable LCD screen – but the impact of this is mild by cheap TV standards.

Dark scenes contain plenty of shadow detail on the U8000F, too, avoiding that flat, hollow look so commonly encountered with budget TVs. Especially budget TVs that are as focused on producing a convincing black tone as this Samsung model seems to be.

The U8000F’s pictures are also sharp enough to look definitively 4K – and thanks to some crisp upscaling, this feels pleasingly true with HD sources as well as native 4K.

The sharpness does dip, though, due to some resolution loss over moving objects that none of the available Picture Clarity settings can completely fix (though choosing a Custom setting with Judder Reduction set to level four or five can at least reduce the impact of the screen’s quite strong native judder with 24fps sources).

There are a couple more Standard mode niggles to report as well. First, very bright picture areas can clip a little, meaning they lose subtle shading information and end up looking so stark that they draw too much attention to themselves (though this reduces with Dynamic Tone Mapping active). Second, colours in relatively dark scenes can ‘clump’ a little, so that very detailed areas such as grass or leaves become a bit rough and ill-defined.

You can also sometimes notice a slightly distracting lag between the backlight system dimming and brightening during scenes that feature abrupt cuts between dark and light shots, and finally, there’s a narrow stripe of light leakage running down the left and right sides of the picture – though this is only generally visible in the black bars above and below 21:9 and similar-ratio films. It’s typically too faint to appear where there’s any sort of picture information other than pure blackness on the screen.

While it’s good to find a very affordable TV that is ambitious enough to carry a Filmmaker Mode, unfortunately, that mode isn’t much fun to watch on the U8000F.

Clipping, for instance, becomes quite extreme without any Dynamic Tone Mapping in play, while motion looks both juddery and soft.

Colours feel flatter in Filmmaker Mode, too, and the image generally lacks impact. Perhaps the biggest issue with Filmmaker Mode, though, is that for some reason, perhaps due to its reduced brightness and contrast, dark scenes suddenly reveal multiple areas of backlight clouding at various points across the screen. You can reduce the impact of this if you watch in a little ambient light, but it’s a shame this feels necessary.

Dark scenes look generally a little greyer in Filmmaker Mode, too, and this greyness can also sometimes take on a slightly green or blue tint.

Not everything about the Filmmaker Mode is a bust. Colours look slightly more even-handed and nuanced, which contributes in particular to a touch less colour clumping in densely textured areas. Shadow detail is still strong, too, despite the extra clouding. Ultimately, though, the Filmmaker Mode’s slightly more nuanced feel in some areas isn’t enough to make it the sort of instant cinematic hit that movie fans might have hoped for.

There’s one more issue to mention, too, that actually affects all of the U8000F’s picture settings: viewing angles. View the TV from really any sort of angle, and the VA panel design causes contrast to take a substantial hit, with parts of the picture that should be black taking on a vivid blue-grey tone. Basically, if your room layout requires lots of people to routinely watch this TV from the side, it’s probably not the TV for you.

Sound

The first thing to say here is that we recommend pretty much always turning the U8000F’s Amplify sound mode on. Without it, the sound tends to feel small and trapped inside the TV.

Even with Amplify mode on, the U8000F’s sound doesn’t exactly shake your foundations. There isn’t much bass depth or presence, and volume levels, even set to maximum, are hardly going to burst your eardrums.

While we might have wished for the U8000F’s sound to give us a bit more, though, what it does give us is actually quite clean and engaging – at least to the extent that the TV seems to understand its speakers’ limitations.

So, bass, while not heavy, seldom distorts or crackles. Treble, while not particularly extended, doesn’t tend to sound harsh or forced. Voices are quite well-rounded and contextualised, and surprisingly, given there are only two speakers in play, the OTS Lite system places voices and spot effects decently accurately in the right place on the screen.

This all makes the sound quite clean and therefore immersive by budget TV standards, making it surprisingly easy to live with.

Verdict

The 65-inch Samsung U8000F is overall a solid TV for its money. It’s up against some stiff and only slightly more expensive competition, and it’s certainly not without its limitations, but provided you aren’t a die-hard cinephile desperately on the hunt for a good Filmmaker Mode, the U8000F’s Standard picture setting actually serves up a cleaner, more balanced, more punchy and above all more consistent performance than most rivals in its class.

SCORES

• Picture 4
• Sound 3
• Features 4

MORE:

Read our review of the TCL C7K

Also consider the TCL C6KS

Read our Mitchell & Brown QLED1811 review

Best TVs: flagship OLEDs and budget Mini LED sets tried and tested

The proposed Sony and TCL joint partnership has taken another step forward today, with the new entity to be called 'Bravia Inc'.

This new name has been revealed as part of an announcement that the TCL/Sony takeover of Sony's Home Entertainment business has moved from the "memorandum of understanding" phase announced in January, to a "legally binding definitive agreements" phase.

I don't know about you, but I think 'Bravia Inc' is a pretty cool name, and it also suggests to me a Sony-first focus that I find encouraging.

And there are other details to be encouraged by if you're concerned about the future of Sony TVs and home cinema.

For starters, while we know that TCL will have 51 per cent control of the new company, whereas Sony will have 49 per cent, Bravia Inc will be headquartered in Sony's Tokyo HQ, and its CEO will be Sony's Kazuo Kii.

And, according to a Sony representative, "the two companies will be considered nearly equal partners".

Yes, I do worry about the "nearly" in that quote, but I think the new company being based at Sony and being led by a long-term Sony staffer are positive signs.

I don't want it to seem as though I don't have respect for TCL's involvement here, by the way, because the Chinese brand of course has a lot to offer, but it's the future of the Japanese legend that I'm most concerned for – and I know many readers feel the same.

As I wrote previously, this merger has the potential to be a good thing for both Sony and TCL, if the qualities of each are leveraged in the correct way.

And, indeed, that does appear to be the plan, with the Sony representative explaining that Bravia Inc will marry "Sony’s high-quality picture and sound technology, premium brand value, and operational expertise, alongside TCL’s advanced display technology, global scale, manufacturing footprint, end-to-end cost efficiency, and vertically integrated supply-chain capabilities."

This is what most of us want: Sony's peerless processing and premium products, boosted by TCL's scale and bleeding-edge hardware.

That quote, though, has given me pause for thought: where does OLED factor into all of this?

TCL, famously, cares not for OLED. Its focus is very much on advanced LED backlighting. More zones, more brightness and, as of 2026, so-called 'Super QLED' tech.

The prospect of Sony getting access to this panel technology at the developmental stage and weaving its magic to produce future flagship backlit TVs is naturally tantalising, but will there also be OLEDs in the range? I'm beginning to doubt it.

The beauty of this partnership from a business perspective is presumably that Sony will have first and super-cost-effective dibs on TCL's panel hardware. Does it also want to be buying notoriously expensive OLED panels from LG Display and/or Samsung Display? I don't think so.

Would the TCL (slightly more than) half of Bravia Inc even allow such a thing? Again, I'm not sure.

There is the possibility that TCL will eventually leverage its new inkjet OLED factory for the production of televisions, but that's far from a sure thing, and there's a question mark over how well-suited inkjet OLED panels are for use in TVs anyway.

All of which has got me wondering: could the Bravia 8 II, Bravia 8 and A90K turn out to be Sony's last OLED TVs?

We may not know for a while yet – Bravia Inc isn't expected to start its operations until April 2027 – but I certainly hope not.

In my eyes, OLED is still the best TV technology, and Sony leaving it behind would be a great shame.

MORE:

Read our Sony Bravia 8 II review and Sony Bravia 9 review

Here are our hands-on impressions of the new TCL X11L, TCL RM9L and TCL C8L Super QLED TVs

And these are all of the best TVs you can buy right now

If you’ve spent any time at all reading the TV reviews here on What Hi-Fi?, you’ll know that panel technology alone does not make a TV.

Even televisions that use the same panel can look vastly different from one another, and that’s before you consider all the other things – such as features, design and sound quality – that might sway a buying decision one way or the other.

When the LG G5 was released last year, it sent the Micro Lens Array (MLA) tech that had been behind its flagship panels for the last two years packing, and replaced it with new, cutting-edge Primary RGB Tandem OLED panel technology.

A few other TVs also bought into this tech – notably the Panasonic Z95B and the Philips OLED910 – and since we’ve already put the LG G5 and the Z95B up against one another, it’s high time we considered how the Philips OLED910 compares with its panelmate too. Let the battle begin.

Philips OLED910 vs LG G5: pricing

Considering the LG G6 is currently prepping itself for the shelves, the LG G5 is now much cheaper than it was at launch (though perhaps not as cheap as it will be in a couple of months).

This price would have brought it much closer to the original price of the Philips OLED910 if a recent price drop from Philips hadn’t widened that gap once again. That is, of course, if you live in the UK or Europe – Philip OLEDs aren’t available in the US or Australia.

We tested both of these TVs at 65 inches, and currently you can pick up that size of the LG G5 for around £2499, while the OLED910 is available for as little as £1799.

The 65-inch G5 has gone as low as £1899 in the past, but we've never seen it available for less than the OLED910.

If 65 inches doesn’t suit your space, you’ll have more choice on size with the G5, which is available in 48, 55, 77, 83 and 97 inches – though it’s worth noting that the 48- and 97-inch sets do not use the Primary RGB Tandem panel, and so therefore will not reach the same brightness levels.

That, perhaps, makes the fewer size choices of the Philips OLED910 less of an issue, with the 55- and 77-inch options, alongside the 65-inch set, most likely covering the screen sizes most people want – and at considerably lower prices.

When it comes to pricing, then, the Philips takes an easy win.

Winner: Philips OLED910

Philips OLED910 vs LG G5: design

Whatever design you prefer is the right answer to which is best, but we’d argue there is more to like about the design of the Philips OLED910 over the LG G5.

The Kvadrat fabric covering the under-screen speaker gives it a stylish, furniture-esque look, and four-sided Ambilight only adds to its flair.

The G5, by comparison, is as slim (2.4cm) and attractive as its predecessors – but it’s a design that has gone unchanged since the G1.

It feels ready for a makeover, but there’s absolutely nothing to dislike here otherwise. The Zero Gap wall mount makes for a super flush fit if you are looking to mount it, but if not, be sure to look out for the version that comes with the tabletop stand – in the UK, that’s currently only available for the 55- and 65-inch versions.

Slim and sleek is all well and good, but we have to pay the OLED910 its dues for its greater aesthetic consideration.

WINNER: Philips OLED910

Philips OLED910 vs LG G5: features

We already know that the LG G5 and the Philips OLED910 share the same super-bright Primary RGB Tandem OLED panel, with peak brightness claims of up to 4000 nits, but what in their feature lists separates them?

For a start, behind those panels are, of course, two different processors – the Philips 9th Gen P5 and LG’s Alpha 11 AI Processor Gen 2. Both are the companies’ most powerful TV chipset, with AI smarts on board that claim to offer a helping hand when it comes to making the picture and sound the very best for what you’re watching.

In the G5, that includes AI Picture Pro and AI Sound Pro, the former covering off a range of picture enhancements, such as AI Perceived Object Enhancer (which aims to boost the three-dimensionality of the picture), AI Super Upscaling and OLED Dynamic Tone Mapping.

LG has also installed an AI chatbot into the G5, which is on hand to help you get your picture how you want it, or solve issues with your TV. For those who don’t feel confident trawling through a settings menu, you can say things such as “my TV isn’t bright enough” to have the settings automatically adjusted.

For the OLED910, the on-board AI helps to classify what it is you’re watching and adapt the picture quality to suit. It also offers similar AI-judged improvements to things such as sharpness, colour vibrancy and contrast, though as always you can turn these off if you prefer.

Elsewhere, the Philips OLED910 continues its commendable commitment to supporting all four of the current HDR formats – that’s HDR10+ and Dolby Vision, alongside the basic HDR10 and HLG.

The G5, by comparison, only supports Dolby Vision, HDR10 and HLG. That covers off the majority of content, in honesty, but the additional support on the OLED910 does keep you covered for absolutely everything, and futureproofed too.

Where the Philips really loses ground is in its connectivity, and this has a particular impact on gamers.

On the LG G5, you have four full bandwidth HDMI 2.1 sockets, all capable of handling 4K/165Hz signals with VRR and ALLM (which covers off the 4K/120Hz max for consoles and 4K/144Hz for fancy PCs), while the OLED910 only has two, with a maximum limit of 4K/144Hz.

One of the HDMI 2.1 sockets also doubles as the eARC port, so you’ll be reduced to just one for your gaming machines if you need it for a soundbar or other sound system. That's not the end of the world if you don't mind any further devices being limited to 4K/60Hz, but it will be an annoyance to many gamers.

We’d also lean towards the LG G5’s webOS platform over the OLED910’s Google TV platform. For us, webOS wins on ease of use and speed, but it also offers a more comprehensive selection of streaming apps, with BBC iPlayer currently missing from Google TV.

It’s closely run in this section, with some wins on both sides. But we think the TV with the best, most impactful features for most users is the LG G5.

WINNER: LG G5

Philips OLED910 vs LG G5: picture quality

Given that both of these TVs received five-star reviews, you can imagine there’s little to grumble about in the way they handle pictures. However, even with the same panel behind them, there are differences in their delivery that might sway your buying decision.

Thanks to that new Primary RGB Tandem OLED panel, the G5 and OLED910 are noticeably brighter than their predecessors, and – most importantly – handle their additional nits well.

Philips does seem to put HDR levels of brightness behind SDR content on all of its picture modes though, which is something we wish was optional, even if it doesn’t impact the overall picture performance.

Colour handling is excellent on both, with punchy and vibrant pictures that clearly benefit from the additional colour volume afforded by this panel. There’s the occasional oversaturation of skin tones in some scenes on the Philips OLED910 that we don’t notice as much in the G5, but overall both sets balance vibrancy and accuracy with few complaints.

Both offer Filmmaker Mode alongside a whole host of other picture options – it’s the picture setting we recommend, since it is the most accurate and usually switches off all additional processing. However, we actually found the OLED910 leaves some of it turned on, mostly for helping the TV to look its best at various levels of ambient lighting.

It’s worth experimenting here and deciding for yourself if there’s any positive impact, but if you’re particularly against any form of added processing, some extra care will be required in the OLED910’s menus to make sure it’s all off.

You can expect sharp, detailed and insightful pictures from both TVs. If pushed, we’d say the Philips gets closer to the solidity and three dimensionism of the Award-winning Sony Bravia 8 II, which is also helped by the OLED910’s better handling of dark scenes – there’s a slight black crush from the LG G5 that means you lose some shadow details in the darkest parts of a picture.

Overall there are some pros and cons for both TVs, but both offer a superb picture with lots to like. We’re chalking this one up as a draw.

Winner: draw

Philips OLED910 vs LG G5: sound quality

While these TVs might come close in picture quality, when it comes to sound quality, there is a clear winner.

The LG G5 offers a 60W 4.2-channel system, while the Philips OLED910 has a 3.1-channel 81W system, produced by B&W, that sits underneath the screen like a soundbar.

Overall, the G5’s performance is disappointing. Even with our preferred Cinema preset, it just isn’t able to dig deep and deliver much bass at all, nor is it very assured with low-level dynamics, meaning dialogue often sounds lifeless and dull.

It’s a really unexciting sound, which means, without a doubt, you’ll need to add to the G5 by way of a soundbar or surround sound system.

However, the Philips OLED910 proves that not all TV sound has to be bad, and manages to deliver a wide, detailed sound, with good effect placement (even with Atmos sounds), impressive weight and a really lovely tonal balance by TV standards.

Dynamics are impressive for a TV too, and there’s a much better handling of low-level dynamics, meaning voices have realism and character, while bigger volume changes are handled well too.

There’s a little softness to deep bass, but you’ll be hard pushed to find a TV that sounds better.

Of course, a good soundbar will be even better, but you’d need to invest in something around the level of the Sonos Arc Ultra for a significant upgrade on what this TV can do.

WINNER: Philips OLED910

Philips OLED910 vs LG G5: verdict

As always, there can only be one winner, and given how close these TVs come in key areas such as picture quality, the value offered by the Philips OLED910 is hard to ignore.

Throw in nice-to-haves such as Ambilight, a pretty great built-in sound system and a living room-friendly design, and that saving over the G5 starts to look even tastier.

However, this particular head to head isn’t cut and dried by any means, and if gaming is a key consideration for you, we might be inclined to recommend the LG G5 because of the additional HDMI 2.1 ports.

The better smart system and full complement of catch up apps is also a mark in the G5’s column, as is that stunningly slim wall-mounted design, which might be worth the additional outlay.

Still, the Philips OLED910 is to be applauded for how much it offers at such a great price.

Getting a 65-inch TV with a performance this good for well under the £2000 mark is nothing short of a bargain. If you choose it as your next TV, we think you’ll be very happy indeed.

OVERALL WINNER: Philips OLED910

MORE:

Read our full Philips OLED910 review and LG G5 review

Here are all of the best TVs you can buy right now

Wondering when we’re going to review the LG G6 OLED TV? Then I have some good news.

A 65-inch LG G6 is sitting in our test rooms right now, plonked next to its predecessor, the LG G5, and our current Product of the Year winner, the Sony Bravia 8 II.

Yes, I’m primed to start running them through our rigorous comparative testing process on Monday morning.

And while I’m 99 per cent excited, thanks to the firm’s step down model, the LG C6, impressing when we tested it a few weeks ago, there’s a tiny part of my brain that’s slightly worried.

Why am I worried, and moaning in general, when I’m about to get paid to play with (review) one of 2026’s most exciting TVs?

Well, it's because I wasn’t the biggest fan of last year’s LG G5.

In fact, if you read our coverage last year, then you’ll know that when we ran a head-to-head test with nearly all of last year’s flagship TVs, including the LG G5, Samsung S95F, Sony Bravia 8 II and Panasonic Z95B, I liked it the least.

While I stand by our five-star review, as the set is holistically great, it was the worst offender for a personal bugbear of mine with modern TVs: its bombastic focus on constantly showing how punchy and bright it could go

Yes, of all the flagship sets in the shootout, the LG G5's image felt the least finessed.

I said as much in a separate op-ed at the time, where I reported a particularly hazardous moment running a scene on our Dune: Part 2 4K Blu-ray test disc: “The image lacked finesse, with the TV raising the brightness across the entire panel, rather than limiting its efforts to the sections it was meant to.

"This is an issue I usually experience on Mini LED sets, which have to charge sections, or zones, of a backlight, but not OLEDs, which offer pixel-level light control. This hindered dynamic range, and the sheer aggressiveness of the continuous jumps in the peaks meant that I found myself wincing.”

Pretty damning stuff and further proof that, as I’ve said multiple times before, TV makers’ current focus on selling a high peak and operating brightness (nit count) as a primary metric for screen quality is misguided.

If you want an “as the director intended” experience, there are far more ingredients to consider: colour volume, colour accuracy, motion handling, and dark detail, to name a few. Just going bright isn’t good enough.

And because of that, I’m hoping LG’s toned things down with the G6 for 2026.

This is especially important as all evidence suggests we’re going to see far fewer new flagship OLEDs appear, thanks to Panasonic selling its European TV business and Sony "partnering" with TCL – a firm which famously thinks Mini LED is better than OLED.

So, if the LG G6 doesn't cut the mustard, buyers hunting for a good new flagship OLED may be out of luck.

Thankfully, despite my minor concern, there is plenty of evidence to suggest LG has learned its lesson.

Yes, the firm did make a big deal about the G6 going 20 per cent brighter than the G5 when it unveiled the TV at the Consumer Electronics Show in Las Vegas in January.

But when we talked to LG representatives at the show, they were equally eager to talk about the refinements it has made to let the G6 deliver a “more lifelike” picture.

Here’s hoping the work’s paid off, as it did on the LG C6. I’ll be finding out next week, regardless.

If you have any questions about the set, drop them in the comments below, or on our social media channels and forums, and I’ll endeavour to get you an answer.

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If you’ve been eyeing up the Award-winning Sony Bravia 8 II for your next TV, but don’t have the budget to stretch to it, taking a look at the other models in the Sony range might feel like a good starting point.

There’s always the hope that the more affordable models have retained some of the flagship greatness at a lower price – but at the very least, that they’ve strived for the same goals when it comes to getting the best picture performance bang for your buck.

However, despite their similar naming conventions, the Bravia 5 and the Bravia 3 are not only completely different panel types to the OLED-packing Bravia 8 II, but also different from each other – so it’s important to step with caution.

While our star rating is always a great indicator of the products we recommend, when you’re comparing two models at quite different prices, it’s good to understand what the differences are between them, and what you’re getting for the extra outlay. Allow us to explain all.

Sony Bravia 3 vs Bravia 5: pricing

Right now, you can pick up the 65-inch Bravia 5 that we tested for around £1299 / $1000 / AU$2695. That’s not a bad price at all for a Sony-branded Mini LED TV with local dimming, and a nice saving from the launch price of £1699 in the UK.

The Bravia 3 is considerably cheaper, and at the time of writing is available for around £849 / $650 / AU$1399. That’s pretty close to its launch price of £899 in the UK (US and Australian savings on RRP are slightly heftier), but we have known this screen size to go as low as £749 during big sales periods.

We'll tackle the question of value through the course of the review. This round is all about which option is cheapest, and that's comfortably the Bravia 3.

WINNER: Bravia 3

Sony Bravia 3 vs Bravia 5: design

It’s fair to say that neither of these TVs are going to be the best choice if you're hoping to wall mount.

In our review, we noted that the Bravia 5 has a rear panel that sticks out further than its competition, which could make it feel a bit clunky and awkward for wall hanging.

When you consider that the Bravia 5 measures 5.8cm deep, and the Bravia 3 measures in at 7.2cm, we’d say that both of these sets lend themselves best to life on a TV stand.

As you might expect for the price difference, the Bravia 5’s overall aesthetic is a little elevated compared with the Bravia 3. Both have relatively slender bezels, but the Bravia 5 sports a tasteful dark grey brushed metal effect finish, whereas the Bravia 3 is unashamedly black plastic.

It feels all the more lightweight when you’re putting it together too, and at least for our taste, the feet on the Bravia 3 lack some of the sophistication of those on the 5.

We do appreciate Sony’s no-screw mechanism on both TVs though, which allows the TV to just slot onto the stand, saving fuss and making setup out of the box really straightforward.

The Bravia 3 does score points over the Bravia 5 for its two-way stand, which allows you to set the feet into either narrow or wide positions to suit your furniture or soundbar requirements.

The Bravia 5’s feet only have one position, but thankfully that is relatively narrow to allow you to place it on most stands without issue. If you have a soundbar though, you’ll just want to check that it can fit in front of the stand – the Bravia 5 does adjust to two different heights to make sure the screen isn’t blocked by adding one.

Overall, although the two-way stand on the Bravia 3 is a nice addition for soundbar owners, we much prefer the design of the Bravia 5, and think it can accommodate a soundbar in the majority of situations.

WINNER: Bravia 5

Sony Bravia 3 vs Bravia 5: features

One of the biggest differentiators between the Bravia 5 and the Bravia 3 is their panel technology – the Bravia 5 is a Mini LED TV with local dimming across 240 zones, whereas the Bravia 3 is a direct-lit LED TV without any local dimming.

That’s going to have a fair impact on its picture quality capabilities, but we’ll come on to that in the next section.

Elsewhere, the processing chip that runs the show is different between the two models, too.

Given the price difference, it’s not surprising that the Bravia 5 has the more sophisticated of the two – Sony’s flagship XR processor, which also powers the Bravia 8 II.

The Bravia 3, on the other hand, uses the older, midrange 4K HDR Processor X1.

What that means in isolation is hard to quantify, given the TVs’ differing features elsewhere. The XR is clearly a more powerful processor that can draw out more by way of picture subtlety and colour accuracy, but how much that would be as noticeable on a direct-lit LED screen with no local dimming is questionable.

In other words, going for a lower-power processor in the Bravia 3 feels like the right choice for its price and capabilities.

As these are both Sony TVs, their HDR capabilities are the same – they both support HDR10, HLG and Dolby Vision, and don’t support HDR10+.

However, of the two, only the Bravia 5 is IMAX Enhanced certified, and it’s also the only one that offers a range of ‘Calibrated’ picture modes to get the best picture quality from the likes of Netflix, Amazon Prime Video and Sony Pictures Core.

Both have Dolby Atmos and DTS:X spatial audio support, though the Bravia 5 has a better sound system to deliver it on.

The Bravia 5 offers 40W of sound across four speakers (two full-range drivers and two tweeters), compared to the 20W across two full-range drivers on the Bravia 3.

If you’re keen to hook up a games console to your TV, the Bravia 3 wouldn’t be the best pick of the two due to its 4K/60Hz panel, with the 4K/120Hz panel on the Bravia 5 making it a much better choice.

The Bravia 5 also has VRR on two HDMI ports, as well as ALLM on all four of them, whereas the Bravia 3 only has ALLM. That makes the Bravia 5 a clear winner for gamers.

Both TVs use Google TV for their smart features, offering a good selection of streaming apps, along with the addition of YouView in the UK for the catch-up services that Google doesn’t offer.

Using Google’s interface also means that both TVs have access to features such as Google Assistant and Chromecast, as well as AirPlay 2. While we did notice a few small glitches initially in the Bravia 3’s handling of the UI, overall, both TVs work smoothly and without issue.

The Bravia 5 also has the compatibility to work with the Bravia Cam, to control the TV by gesture – something the Bravia 3 does not offer.

We don’t particularly value the extra tricks the Bravia Cam adds to the TV-watching experience, particularly considering its £199 / $200 / AU$149 price tag, but if you do, the Bravia 5 is the only set out of the two to get it.

All things considered, it’s not exactly surprising that the Bravia 5 has better features than the Bravia 3, given its higher price tag. However, it’s when you look at the wider market that the winner becomes clear.

The Bravia 5 shoots above its pay grade in many respects, including by being one of Sony’s XR Backlight Master Drive panels. That’s a premium feature found on many of its much pricier TVs that aims to boost picture quality and reduce power consumption by improving local dimming performance.

However, when you consider the Bravia 3 against other competitors at its price, its specs are disappointing. There are similarly priced TVs that use better panel technology and have local dimming and better gaming features.

For those reasons, the Bravia 5 takes the win here again.

WINNER: Bravia 5

Sony Bravia 3 vs Bravia 5: picture quality

That feeling of the Bravia 5 delivering value for money only continues when it comes to picture performance.

It might be the cheapest Mini LED model in the Bravia lineup, but the picture quality doesn’t feel compromised by its more affordable ambitions – the Sony DNA runs clearly through this set.

In particular, that XR Backlight Master Drive panel does exactly what we’ve seen it do elsewhere, in that it maximises the performance of the backlight, meaning we get impressively bright and well controlled pictures for this price category, with even and consistent blacks and minimal blooming.

It means the Bravia 5 really holds its own in the contrast stakes, which ensures – when combined with its well-judged shadow detail – that both bright and dark scenes look as natural and cinematic as each other.

All this greatness only starts to become compromised in extremely complex HDR shots, or when you watch the Bravia 5 from much of an angle, when its more affordable local dimming mechanism might become more apparent. Overall though, this is a great performer at its price.

Unfortunately, the Bravia 3’s handling of contrast and shadow detail is not such good news. What strikes us most is how the entire picture has an almost grey hue, which means it lacks solidity in blacks from the get go, and makes dark scenes almost unwatchable.

The panel almost seems to glow in darker sequences, losing a lot of detail in the process, but even in scenes with lots of light, the image lacks contrast. This means Sony’s calling card of excellent three dimensionality is largely lost, which is a big hit on our overall picture enjoyment.

Thankfully, the Bravia 3 manages to look much more like a Sony TV when it comes to colour.

As long as you switch from the out-of-the-box settings to Professional mode, colour performance is pretty good, looking balanced and natural, while retaining a degree of believable richness.

The Bravia 5 has a little more flexibility on its presets, thanks to its more sophisticated processing, but ultimately also manages a great mix of punchiness, shading subtlety and balance, even retaining an impressive amount of colour saturation during darker scenes.

Both TVs manage to show off Sony’s talent for motion processing, with sweeping panning shots handled admirably by the Bravia 3. The XR processor in the Bravia 5 will arguably push motion handling that little bit further, by way of subtlety and realism, but there’s no reason for complaint with either set here.

Despite this, the overall picture quality is a clear win by the Bravia 5 – even at the set’s individual price points.

Once again, the Bravia 5 punches above what we might expect at this price, giving 4K images a sense of density, texture and clarity that we are more used to seeing in Sony’s more expensive TVs.

While some of Sony’s famous picture processing is still evident in the Bravia 3, its poor backlight control leads to a loss of contrast and shadow detail that’s hard to forgive. This is an easy win for the Bravia 5.

WINNER: Bravia 5

Sony Bravia 3 vs Bravia 5: sound quality

While we all know that a soundbar or surround sound system will always make your new TV sound its best, both models do a pretty good job for built-in TV audio.

Even with the pretty modest speaker set-up in the Bravia 3, Sony manages to provide impressively clear dialogue alongside a decent sense of low-level dynamics.

Sound even has a good sense of height to it, giving more space to big effects such as explosions or planes flying overhead. Bass could be heftier, but to be honest, the Bravia 3 already outperforms what we have come to expect from a TV at this price.

The Bravia 5 is equally impressive. No elements in a mix pass the Bravia 5 by, yet the processing is also sophisticated enough to ensure no detail takes on more significance than it should.

The four drivers here create a spacious soundstage that offers a good sense of height, with both dialogue and sound effects placed accurately within it.

There’s power to the sound too, but also a level of precision that ensures sound is never distorted.

Like the Bravia 3, it’s lacking a little bass, but we would always take that over too much, and overall find the sound to be precise and immersive. We’re calling this one a draw.

WINNER: Draw

Sony Bravia 3 vs Bravia 5: verdict

From the get-go, this head-to-head might have looked like a shoo-in for the more expensive, better specified, and better reviewed Bravia 5.

But even when you consider both of these TVs’ positions within their respective markets and price categories, it’s hard for us not to recommend – if you are truly torn between the two – that you try to save up the difference and opt for the Bravia 5, or consider a different TV at the Bravia 3’s price instead.

The Sony Bravia 5 follows in the footsteps of the other five-star TVs from Sony’s most recent TV lineup, offering impressive features for its price, a formidable picture performance and a pretty decent sound performance to boot.

By comparison, the Bravia 3 is lacking the features we might expect at this level, and delivers a picture performance we find almost unrecognisable as a Sony TV.

For anyone considering these two TVs, hoping to get Sony’s famed picture processing on a bit of a budget, the clear winner is the Bravia 5. From everything we have seen so far, it’s the clear value proposition in Sony’s current TV lineup.

OVERALL WINNER: Bravia 5

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Sony has just taken the wraps off two new TVs, but if you were expecting a new QD-OLED to replace the Bravia 8 II or a successor to the Bravia 9, you might be disappointed.

That's because these two new models are both budget-oriented – and one of them came out in the US last year.

The genuinely new TV is the Bravia 3 II which, as the name suggests, replaces the three-star Bravia 3.

The good news is that the Bravia 3 II features several upgrades over its predecessor.

The most eye-catching of these upgrades is the introduction of four HDMI 2.1 sockets, which, in combination with the 120Hz panel, means the TV supports 4K/120Hz gaming (plus VRR and ALLM) across all of its HDMI inputs.

That's a first for a Sony TV, and hopefully it points the way towards this becoming standard across the brand's range in the future.

The next major upgrade is the processor: the Bravia 3 II receives the XR Processor, which has until now powered only models from the Bravia 5 and up.

This XR Processor brings with it Sony's XR Triluminos Pro technology for wider colour gamut coverage and the XR Clear Image feature for AI-powered upscaling.

Unlike the Bravia 3, the Bravia 3 II also features Netflix Calibrated, Prime Video Calibrated and Sony Pictures Core Calibrated picture presets, which are designed to deliver the most authentic picture quality from their respective streaming services.

[EDITOR'S NOTE: Sony has just been in touch to clarify that these calibrated modes won't be present on the Bravia 3 II at launch, but will instead be added at an as-yet unspecified later date]

What hasn't been upgraded, at least on the face of it, is the backlight.

Sony refers to the Bravia 3 II as simply having a 'Direct LED' backlight, and makes no mention of local dimming. That leads us to believe it will, like its predecessor, lack any form of local dimming.

In a world in which TCL offers affordable models with backlights that feature Mini LEDs and 1000+ dimming zones, that's undeniably disappointing, even though Sony has a reputation for squeezing the absolute best out of its hardware.

If you're a UK reader thinking that the Bravia 3 II still sounds like a tempting TV proposition, I'm afraid I have some more bad news: it's not currently scheduled to launch in the UK.

Sony says this is something to do with catch-up app certification, which sounds a little strange, but it does at least seem as though there's a good chance the TV will make it from mainland Europe to the UK at some point in the future.

In the regions in which the Bravia 3 II is launching, it will be available in sizes ranging from a fairly bijou (by modern standards) 43 inches, right up to a whopping 100 inches.

Bravia 2 II

Then we have the Bravia 2 II which, as mentioned, launched in the US last year.

As the name suggests, this TV sits below the Bravia 3 II, and it is in fact the new entry point to the Bravia range (there are models further down in Sony's range, but they're not designated Bravia models).

Once again, this is a 'Direct LED' TV, and as you would expect, it lacks the 120Hz panel and HDMI 2.1 sockets of the Bravia 3 II.

The Bravia 2 II also features Sony's X1 chip, rather than the XR Processor.

As with the rest of Sony's Bravia range, the 2 II features the Google TV smart platform, and it has the Sony Pictures Core app built in.

It will be fascinating to see how much the Bravia 2 II launches for in the UK. It will be available in 43-, 50-, 55-, 65- and 75-inch sizes, and in the US, the 65-inch model currently goes for around $700, which seems a little high in comparison with many TCL models.

We'll update this piece with confirmed pricing when we get it, and we will of course be reviewing the Bravia 2 II just as soon as we can get our hands on one.

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Sony has just announced the latest additions to its Bravia Theatre Bar range of Dolby Atmos soundbars (plus two new Bravia TVs). And it’s not quite what we were expecting.

Rather than replace the flagship Bravia Theatre Bar 9 or the step-down Bravia Theatre Bar 8, both of which launched almost two years ago, Sony has decided to launch more affordable models below them.

Bravia Theatre Bar 7

First up is the Bravia Theatre Bar 7, which replaces the long in the tooth, four-star rated HT-A3000.

The Bar 7 has a design very similar to that of the Bar 8 and Bar 9, with a rounded mesh front and a metallic, angular rear.

But while it’s the same height and almost the same depth as its more premium siblings, the Bar 7 is significantly narrower, at 95cm compared with the Bar 8’s 110cm and the Bar 9’s 130cm.

It’s worth noting that this means the Bar 7 is still a good deal longer than the 65cm Sonos Beam Gen 2 with which it seems destined to do battle.

As with the other Theatre Bar models, two feet are included in the Bar 7’s box. These can be used to elevate the Bar 7 just a little so that it can straddle an awkward TV pedestal stand. A wall mount is included as well.

Unlike the Sonos Beam, the Sony Bravia Theatre Bar 7 features dedicated up-firing speakers, one at each end of the top panel. These are full-range Sony X-Balanced designs.

They are joined by a full-range X-Balanced driver at each end of the bar, plus two forward-facing X-Balanced woofers for the left and right channels, a full-range X-Balanced centre speaker, and two tweeters.

And that’s not all – there are four passive radiators for additional bass, too.

Sony then uses its 360 Spatial Audio technology to create an additional five phantom speakers, which are designed to generate a bubble of sound.

This is the basis for the Bar 7’s reproduction of 3D Audio, which it can handle in both the Dolby Atmos and DTS:X formats.

The compact bar is IMAX Enhanced Certified, too, though only when the optional rears and a subwoofer are connected.

Speaking of which, there are two variants of this new soundbar. You can buy the solo Bravia Theatre Bar 7 (also known as the HT-A7100), or you can buy a bundle that also includes the 100W Sub 7 subwoofer.

This bundle is known as the Bravia Theatre Bar 7 + S, or HT-AP710.

Away from movies, there is support for Apple AirPlay and Spotify Connect, but Tidal Connect appears to be absent.

The Bar 7 comes with the same remote as the Bar 8 and Bar 9. It isn’t fancy, but it is better than no remote at all.

Of course, it will be possible to control the volume using your TV’s remote control, and if your TV is a recent Sony, you’ll be able to access more or less all of the Bar 7’s settings and controls via the TV’s onscreen menus.

Want more ways to control and tweak the Bar 7? No problem: it’s also compatible with the very good Bravia Connect app.

This is also where you complete Sony’s ‘Sound Field Optimisation’ calibration, which attempts to adapt the sound to your room and seating position.

As you would expect, the Bravia Theatre Bar 7 is designed to be connected to your TV via HDMI eARC (in fact, this appears to be another new soundbar without a legacy optical input), but unlike many rivals, there is also a dedicated HDMI input, and the soundbar supports passthrough of 4K/120Hz, VRR and ALLM.

Bravia Theatre Bar 5

Sony has also announced a new entry-level model in the Bravia soundbar range.

The Bravia Theatre Bar 5 is a package that contains a compact three-channel soundbar and a fairly bijou wireless subwoofer to make a neat 3.1 system.

Despite the lack of up-firing drivers, the Theatre Bar 5 is able to reproduce Dolby Atmos and DTS:X signals using Sony’s Vertical Surround Engine, which has previously impressed us in models such as the Bravia Theatre System 6.

Unlike the Bar 7, the Bar 5 doesn’t feature HDMI passthrough, but it does have an optical input nestled alongside the HDMI eARC socket.

News subs and surrounds

The two new soundbars are joined by optional new subwoofers and surround speakers, and these are very much flagship models.

The new Bravia Theatre Sub 9 is a gorgeous, sci-fi-styled cube that replaces Sony’s current SW5 flagship subwoofer.

Each half of the cube (it’s not actually a perfect cube, but it looks close enough) features a 20cm aluminium driver.

These are dual opposing drivers that employ phase cancelling to deliver smooth, ultra-deep, distortion-free bass, according to Sony, which also claims a monstrous maximum power output of 600W for the Sub 9.

The Bravia Theatre Sub 8, meanwhile, is essentially half of the Sub 9. It features one of the 20cm aluminium drivers and a claimed power output of 300W.

The new subwoofers are compatible with the Bravia Theatre Bar 9, Bar 8 and Bar 7, as well as the Bravia Theatre Quad.

Thanks to a post-launch software update, you will even be able to pair two of these subs (or two Sub 7s, for that matter) with one of the bars, though the Quad system can still have just one subwoofer.

Finally, the new surround speakers.

The Bravia Theatre Rear 9 speakers replace the RS5s and sit above the existing Rear 8s.

They feature a minimalist, cylindrical design, with a metal ring around the top that matches the metal band around the rear edge of the soundbars.

Each Rear 9 features two 80mm aluminium drivers, one facing forwards and the other upwards (with a bit of a forward-tilting angle), plus a front-firing 16mm tweeter and a side-facing passive radiator.

A swivelling wall-bracket for each speaker is included in the box.

Unfortunately, Sony hasn’t yet given us launch dates or prices for any of this new audio kit, but as soon as we have that information, we will update this story.

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After years of waiting, Sony has finally announced a TV with four HDMI 2.1 sockets, rather than the brand’s usual two.

That makes it the first Sony TV that can handle 4K/120Hz signals from consoles and gaming PCs across all of its HDMIs.

Unfortunately, it’s probably not the model you’re hoping for, because it’s not a flagship OLED or Mini LED set – it’s the budget-oriented Bravia 3 II.

Not that we should be sad about cheaper TVs getting improved specs, of course, but it feels as though the people most likely to have enough gaming machines to need more than two top-spec HDMIs are also the sort of people to have a premium TV.

The Bravia 3 II, though (which is, naturally, a successor to the Bravia 3), is a standard LCD set that lacks not only Mini LEDs and Quantum Dots, but also local dimming of any kind.

That isn’t to say it will be a bad TV. Sony has a strong track record of getting excellent performances out of specs that many consider to be basic, and if it pulls off the same trick again, this could be an excellent option for buyers on a budget – particularly those who are also hardcore gamers.

There’s just one further problem, though: the Bravia 3 II is not currently set to come to the UK.

Sony has given a vague explanation that mentions catch-up app certifications and left the door open to it arriving on these shores in the future, but there are no guarantees.

That’s a shame, naturally, but Blighty-based TV buyers still have reason to be pleased by the Bravia 3 II’s existence – because it’s presumably just the first Sony TV to get the four HDMI 2.1 inputs treatment.

Sony has presumably switched to MediaTek's Pentonic 800 chip for the Bravia 3 II, hence the additional HDMI 2.1 sockets, and there’s every reason to expect this chip to now appear in future Sony TVs.

That's the approach that Philips has taken with its 2026 TV range.

But what will those future Sony TVs be and when will they arrive? We honestly don’t know.

Sony has today announced just the Bravia 3 II and entry-level Bravia 2 II (which is coming to the UK), plus a couple of fairly affordable soundbars and some home cinema accessories.

Is there more to come, or is this all of the new kit that we’re getting from Sony this year? Only time will tell.

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Hisense has just officially confirmed its new TV range for 2026, and, in a surprise to no one, RGB Mini LED models are leading the line.

The Chinese brand was the first to launch an RGB Mini LED TV, in the gargantuan form of last year's 100- and 116-inch UX model. That continues in this year’s lineup, but it is joined by two much more mainstream models.

Those are the UR9S, which will be available in 65-, 75- and 85-inch sizes, and the step-down UR8S, which will come in 55-, 65-, 75-, 85- and 100-inch versions.

Both models of course feature RGB Mini LED backlights, and they are powered by Hisense's new Hi-View AI Engine RGB processor. They also boast an ‘Anti Reflection and Glare Free’ coating.

Hisense says that both of these TVs have a native refresh rate of 180Hz and will support 4K/180Hz gaming – though good luck building a PC powerful enough to take advantage of that.

The key difference flagged by Hisense is in peak brightness, with the U9S hitting a claimed 4000 nits and the UR8S limited to a (still very bright) 3500 nits.

We suspect there will be a difference in the number of dimming zones on each set, too, but this hasn’t yet been confirmed by Hisense.

As with the 116UX, the UR9S has three HDMI 2.1 sockets and a PC-friendly Display Port USB-C socket, whereas the UR8S has four HDMI 2.1 sockets.

Hisense’s partnership with Devialet continues with both TVs, but while the UR9S boasts a 4.1.2-channel sound system, the UR8S has a 2.1.2-channel solution.

One innovative new feature of both TVs is something Hisense is calling ‘KiDoodle’.

This is a second remote that comes in the box and can only be used to access family-friendly content, which seems like a very clever solution to parental controls.

The content that can be accessed via this remote will apparently be curated by real people, too, hopefully meaning that unsuitable stuff won’t sneak through.

Standard Mini LED models

Naturally, there are non-RGB Mini LED TVs below the UR9S and UR8S.

The first of those is the U8Q, which carries over from the 2025 range and received four-star review in our Hisense U8Q review.

Below that are the new U7S Pro and U7S, both available in sizes ranging from 50 to 100 inches.

The U7S Pro has a claimed peak-brightness of 3000 nits, a refresh rate of 165Hz, and the Anti Reflection and Glare Free coating, while the U7S is 1400 nits, 144Hz, and not ‘Glare Free’.

Devialet has also put its name to the U7S Pro’s 2.1.2-channel audio system, whereas the U7S’s 2.1-channel system appears to be Hisense’s own design.

The final model in Hisense’s 2026 range is the new E8S, which still boasts a Mini LED backlight and a 144Hz refresh rate, but is limited to a peak brightness of 600 nits on all versions except the 50-inch model, which, for some reason, can hit a claimed peak brightness of 1000 nits.

And that’s your lot! And it is a lot, isn't it?

What we don’t yet know is when these new models will be available or how much they will cost.

The latter will be particularly interesting to find out, as Hisense has tended towards relatively premium pricing in recent years, whereas arch-rival TCL has maintained its ultra-aggressive approach.

How will the two brands’ ranges line up in 2026? We shouldn’t have long to wait to find out.

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Last week, I was whisked away to Berlin for Philips' Unboxed event, in which the company unveiled its latest range of AV and hi-fi products.

While the retro audio range caught my eye, mostly thanks to the funky designs clad in canary-yellow plastic, my main focus was on the glorious new OLED TV lineup that Philips will be launching later this year.

My personal highlight was the OLED911, a new premium model that utilises LG Display's second-generation Primary RGB Tandem OLED panel technology, supports Dolby Vision 2 Max, and continues Philips and Bowers & Wilkins' partnership with an impressive built-in sound system.

While those attributes are exciting in their own right, there are two features included on this TV that I think make it the perfect gaming TV.

After years of accepting that Samsung and LG would be the only manufacturers to equip their high-end TVs with four HDMI 2.1 sockets, Philips has broken the mould and left the likes of Panasonic, Sony, TCL and Hisense behind.

The OLED911 features four full-bandwidth HDMI 2.1 sockets, all of which support up to 4K/165Hz signals with VRR and ALLM. Frankly speaking, it's about time some of the other manufacturers caught up, but I won't let that spoil my fun, as I'm delighted to see Philips make a play (quite literally) for the Best Gaming TV title.

This now means that users can attach either four consoles (or an HDMI 2.1-equipped streaming device) or three gaming devices and an HDMI eARC-equipped soundbar, without having to compromise on performance. That means gamers who have invested in an Xbox Series X, PlayStation 5, Nintendo Switch 2 and a gaming PC will feel right at home on the OLED911.

It's worth noting that all of Philips new OLED models, including the OLED761, OLED811, and OLED951, will all feature four HDMI 2.1 sockets; but the OLED911 takes the edge by including the Bowers & Wilkins sound system and four-sided Ambilight.

That neatly takes us onto my next point: Ambilight. Philips is adding a huge upgrade to the ambient lighting system this year with AmbiScape, which will allow you to connect your TV to smart bulbs made by a handful of manufacturers (including Philips Hue, Nanoleaf and IKEA) to create an immersive light show that fills your entire room.

As someone who has gamed extensively on a Philips Ambilight OLED TV, I can vouch for how much more immersive and exciting the reactive lighting system makes the experience; so now I'm just picturing my entire room lighting up like some sort of festive gaming grotto.

Pair that with the abundance of HDMI sockets and that Dolby Atmos-touting built-in sound system, and the OLED911 becomes a very tempting proposition to gamers. However, what really seals the deal is the inclusion of a 48-inch model, which could be perfect for smaller dedicated gaming rooms, or even for desktop use.

While we currently believe that this model won't feature the brighter Primary RGB Tandem OLED panel technology, it retains the gaming goods that I'm interested in.

I'll have to wait until June for the OLED911 to launch, but in the meantime, I'll be fantasising about my new dream gaming TV set-up.

MORE:

Read our Philips OLED911 hands on review

As well as our full Philips OLED910 review

And check out our picks for the best OLED TVs

2026 is shaping up to be a very interesting year for OLED TVs. Two Japanese AV stalwarts, Sony and Panasonic, have entered strategic partnerships with huge Chinese corporations to ensure their respective TV businesses can flourish in these uncertain times. And we can't ignore the fact that RGB Mini LED is knocking on OLED’s door as the latest challenger in the panel technology arena.

Nevertheless, this hasn’t deterred European heavyweight TV manufacturer Philips from swinging for the fences with its 2026 TV range, which encompasses a wide range of panel technologies. OLED is still the reference choice in its eyes, but that hasn't stopped it from also launching RGB Mini LED, Mini LED and QLED TVs.

That being said, there was one TV from its range that stole the spotlight at Philips’ (and its parent company TP Vision’s) launch event that we attended in Berlin this week.

The Philips OLED911 is the sequel to the five-star OLED910, a brilliant TV which gave the Product of the Year-winning Sony Bravia 8 II a run for its money when we tested it last year. The new set continues Philips’ close partnership with legendary British hi-fi company (and recent inductee into the Harman International family) Bowers & Wilkins.

With a fresh design, beefed-up panel, and surprising new feature set, could the Philips OLED911 be the TV to watch in 2026? It might just be…

Price

As is often the case with our TV hands-on reviews, pricing hasn't been confirmed for the OLED911. However, we can take an educated guess from the price of the OLED910, which launched at a surprisingly competitive £2199 for the 65-inch model.

You'll notice that we are mentioning only UK pricing; this is because Philips unfortunately doesn't sell this range in the US or Australia. You will find Philips-branded TVs in these markets, but they are manufactured by another company, not TP Vision.

Back to that £2199 price tag. We actually reviewed the OLED910 at £1799, as the TV's price dropped almost instantly it came out; and it has remained there ever since.

Other flagship OLEDs, including the Sony Bravia 8 II and LG G5, have both dropped to similar prices as of late, so this sector of the TV market really is a hot spot.

We are hoping that Philips takes a similar pricing strategy with the OLED911, as some competitors, such as the Panasonic Z95B and, probably, the Sony Bravia 8 II, will be sticking around for the foreseeable future. Price cuts, then, are inevitable.

Build

Philips has a tendency to switch up the looks of its TVs on a yearly basis. Considering that it has a tendency to make the best-looking TVs around from a design standpoint, we take no issue with this.

The OLED911 is no exception; upon first impressions, this TV is a sight to behold.

It takes the established bottom-mounted speaker-bar and dual-feet design of its predecessor, and refines it to look even smarter and more premium. That chin-mounted “soundbar” no longer spans the entirety of the TV's bottom edge. It now takes on the shape of an elongated pill, which stops just short of the full width of the screen, giving the illusion of a trimmer build overall.

The bar comes in two sizes, depending on whether you get the 48- or 55-inch, or the 65- or 77-inch model, respectively. You'll notice that we mention a 48-inch model here: the OLED911 will be the first in this range to come in the smaller screen size.

The metal pill-style feet of the previous model return, and while they aren’t placed at the very ends of the TV, they are still spread fairly wide, meaning a media unit of decent width will be necessary to support this TV.

That, of course, is if you don't wall mount it. And we wouldn't be surprised if a lot of prospective OLED911 customers take this route. Philips has managed to shave this set down to an impressively slender 39.9mm, down from 47.3mm. Marry that slim frame with the four-sided Ambilight system, and you could well say that this TV was practically made to be wall-mounted.

Features

Speaking of Ambilight, the OLED911 has a new trick up its sleeve for fans of the reactive lighting system, which mirrors the action on screen. Philips is introducing AmbiScape, which allows its new Ambilight-equipped TVs to interface with smart light bulbs from various manufacturers (including Philips Hue, Nanoleaf and IKEA) and sync up, turning practically your entire room into an immersive Ambilight landscape; hence, AmbiScape.

Ambilight might not be for everyone, but we’re fairly sure the new second-generation Primary RGB Tandem OLED panel will be to most people’s preferences. Philips claims that this TV can reach a staggering peak brightness of 4500 nits, while the improved reflectivity-reducing qualities of this display (baked in by its originator, LG Display) will help to mitigate more than 99 per cent of on-screen reflections.

Furthermore, this RGB Tandem OLED 2.0 panel can now reach refresh rates up to 165Hz with VRR – and this is where we get onto the OLED911's next best feature. Philips has opted to equip this TV with the slightly less powerful MediaTek Pentonic 800 chipset rather than the Pentonic 1000.

That sounds like a downgrade on paper, but it actually means that the OLED911 has four full-bandwidth HDMI 2.1 sockets, all of which support 4K gaming at high refresh rates with VRR and ALLM. This catapults Philips into the best gaming TV conversation with the likes of Samsung and LG.

Philips has achieved this by moving away from Google TV, and instead opting for Titan OS on its entire 2026 range. This operating system was developed in Barcelona, and Philips has been a key player in bringing it to market as an alternative to Google’s operating system. With this streamlined and less demanding OS, the MediaTek Pentonic 800 chipset becomes more than powerful enough, and the gaming benefits speak for themselves.

Picture processing, however, is handled by Philips’ own 10th Gen P5 AI processor. As the name suggests, AI is integrated deeply into the picture processing here, with some examples including AI HDR tone mapping, and a new AI HDR expansion/restore feature that uses “frame-by-frame analysis to measure the incoming HDR signal and restore the original light output of the content, matched to the peak light output of the display.”

And, if you thought the Philips OLED911 had run out of sleeves up which to hide its tricks, here's where we reveal that this is the world's first OLED TV to support Dolby Vision 2 Max. HDR10, HLG and HDR10+ are also on board, making this among the most versatile TVs around when it comes to HDR format support. The inclusion of the hotly anticipated Dolby Vision 2 makes this one of the most exciting OLED TVs of 2026.

Dolby Vision 2 Max supports the likes of Authentic Motion and Light Sense, on top of the benefits of “standard” Dolby Vision 2. The former adjusts motion in real time to ensure judder is minimised without introducing the soap-opera effect, whereas the latter will take the ambient light of your viewing area into consideration and adjust the picture accordingly.

Last, but by no means least, is the built-in sound system. This is probably the most “hi-fi adjacent” built-in TV sound system we have seen, which makes sense as it comes from legendary British speaker manufacturer Bowers & Wilkins.

The new sound system features dedicated left, centre and right channels, each of which features two new 45mm midrange glass-fibre drivers alongside a 19mm titanium-dome tweeter and a slimmer 75mm subwoofer supported by four force-cancelling passive radiators.

If that built-in woofer doesn’t deliver enough bass for your liking, you can directly hook up an external subwoofer to the TV for more low-end punch.

In total, this system features a combined power output of 81W, with eight dedicated channels of amplification powering each speaker.

Picture

Our time with the Philips OLED911 was mostly spent watching a short clip from the beginning of A Quiet Place: Day One via an Apple TV 4K alongside some of Philips’ bold and punchy demo-reel content. Still, we were able to make some preliminary assessments based on our fairly limited time with the TV.

Our findings here, though, certainly don’t reflect our final verdict on this TV. You’ll have to wait for our full review for that.

Still, the TV appeared to look fairly balanced and cinematic during our demo of A Quiet Place (this clip was played more to highlight the audio capabilities of this TV, which we'll come to), with rich colours that didn’t look oversaturated.

The yellow coat and orangish-red of Lupita Nyong’o’s character, Samira, had a nice touch of vibrancy against the mostly grey backdrop of New York City. The mix of sharpness and contrast also seemed to give a very solid sense of three-dimensionality to the picture.

That being said, during a sequence in which a lot of what appeared to be smoke or dust is kicked up, there was some fairly severe banding on display. This could be due to the lower bitrate of the streamed content, but it caught our eye nonetheless.

Moving on to Philips’ punchy demo content, while we hesitate to call the panning shots of nature and cities particularly natural-looking, they did a great job of highlighting this TV’s capabilities when it comes to delivering punchy colours and dazzling brightness.

The argument that OLEDs aren’t capable of reaching Mini LED levels of brightness is slowly becoming redundant, and the rich, luscious colours mixed with this intense brightness sure do make for a show-stopping debut performance from the OLED911.

Sound

Few TVs on the market can boast the same sonic credentials as the Philips OLED900-range. As we have established, the TV’s sound system was developed by Bowers & Wilkins, and representatives from the British audio company gave us an in-depth look (and listen) at the OLED911’s new speaker setup.

It’s too early to tell if this sonic hot streak will continue with the OLED911, especially with the redesigned speaker enclosure and slimmed-down subwoofer. We will certainly need to test this TV’s sound system thoroughly in our own AV testing room. The early signs, however, are promising.

We saw the 55-inch model, which features the slightly smaller speaker lozenge, yet the sound it produces is anything but small. During that brief demo with A Quiet Place: Day One, we found the sound to be superbly atmospheric, with a spacious sonic field that placed sound effects with impressive accuracy.

A helicopter passing overhead was placed with impressive height, and the sound of a police car’s siren speeding past in the background of the shot moved dynamically from right to left, and extending past the confines of the screen to provide a sense of cinematic scale that we don't often hear with built-in sound systems.

Bowers & Wilkins also demonstrated the OLED911’s sonic capabilities with music, playing Ezra Collective’s God Gave Me Feet For Dancing (feat. Yazmin Lacey). The track’s lively energy was presented with a solid sense of rhythmic drive, while the vocals were clean and clear.

While the overall sound from the OLED911 seemed to be big, bold and crisp, we felt voices lacked a touch of warmth perhaps, although we should stress that the listening space was by no means ideal. Once again, final judgement must wait for when we test this set in our dedicated home cinema room.

Early verdict

In a year with potentially fewer flagship rivals than before, Philips could easily have rested on its laurels and delivered a modest follow-up to the excellent OLED910. We're pleased to see that the company has done the exact opposite.

With a super-bright OLED panel, superb gaming specification, an upgraded sound system, a sleek new design and a bold new take on Ambilight, the OLED911 is shaping up to be a TV that could truly steal the spotlight from the superb Sony Bravia 8 II, as well as, potentially, the upcoming LG G6 and Samsung S95H.

MORE:

Read our full Philips OLED910 review

As well as our Philips OLED760 review

And check out our picks for the best OLED TV

After much anticipation, LG’s Sonos-rivalling premium home cinema system, Sound Suite, launched earlier this month.

As the first such system boasting Dolby Atmos FlexConnect technology, Sound Suite arrived promising revolutionary flexibility in terms of system configuration and speaker placement – and in those regards, it largely delivers.

Unfortunately, LG has also fumbled some of the sonic fundamentals, hence the three-star rating in our reviews of both the Sound Suite H7 soundbar and the Sound Suite system as a whole.

But, having spent two weeks using the Sound Suite system both in our dedicated test room and at home, there are actually lots of things that I really like about LG’s Dolby Atmos home cinema solution.

So let’s spend some time giving praise where it’s due by detailing Sound Suite’s many strengths – before embarking on the less pleasant task of flagging its weaknesses.

Strengths

Excellent Dolby Atmos placement

The way Dolby Atmos is handled is without doubt the Sound Suite system’s most impressive quality.

During Blade Runner 2049, audio adverts float convincingly above the listening position, while environmental effects occupy precise positions within the room. In F1, commentary sits neatly overhead and fireworks spread convincingly across the ceiling.

The system consistently places sounds in very specific three-dimensional locations, creating an impressively immersive Atmos bubble.

Huge cinematic scale

A closely related quality is Sound Suite's ability to fill a room with sound.

From the opening moments of Blade Runner 2049 to the chaotic musical sequence in Sinners, the presentation feels genuinely epic and cinematic. Sound spreads widely across the room rather than appearing confined to the speakers themselves.

Even when the speaker placement isn’t ideal, the system still produces a soundfield that feels satisfyingly expansive.

Oodles of deep, powerful bass

The bundled subwoofer delivers seriously deep and powerful bass.

Impacts, explosions and the heavy smacks of cars colliding in F1 land with tremendous weight, and the system digs impressively deep into the low frequencies.

That bass can occasionally become a little overbearing and lacks some precision, but in terms of sheer depth and presence it’s undeniably impressive.

Loads of punch and energy

The Sound Suite system never sounds timid.

Action scenes hit hard, with plenty of punch helping crashes, gunshots and musical moments feel impactful and exciting.

It may sometimes prioritise brute force over finesse, but if you want your movies to feel energetic and dramatic, LG’s system certainly delivers.

Impressively flexible speaker placement

Dolby Atmos FlexConnect technology is what truly sets the Sound Suite system apart.

Rather than demanding perfectly symmetrical speaker placement, the system analyses where each speaker sits and adjusts the soundfield accordingly. Even in less-than-ideal layouts, it manages to produce a surprisingly coherent and immersive presentation.

It can’t perform miracles, and it's well worth making the effort to place the speakers in the 'correct' positions if possible, but FlexConnect does a remarkably convincing job of compensating for awkward setups.

A stylish soundbar with a useful OLED display

The H7 soundbar itself is an attractive and nicely made piece of kit.

Its clean design looks suitably premium, and the inclusion of a small OLED display is genuinely helpful, clearly showing volume levels, input changes and the currently playing audio format.

It’s a thoughtful touch that many competing soundbars still omit.

Big, stylish M7 surround speakers

The M7 surround speakers are larger than many wireless surrounds, but that size works in their favour.

They look stylish and substantial, and their larger cabinets likely help contribute to the system’s expansive soundstage.

They also integrate neatly with the rest of the system, allowing Atmos effects to move smoothly through the room.

Customisable ambient speaker lighting

LG has added a bit of visual flair with customisable lighting built into the speakers and soundbar.

Through the app you can adjust the ambient illumination to suit your room or mood, adding a subtle cinematic atmosphere to movie nights.

It’s hardly essential, but it’s a fun extra that helps the Sound Suite system feel a little more distinctive.

A sensibly streamlined set of sound modes

Thankfully, LG hasn’t overloaded the system with endless sound presets.

There are just five main options – AI Sound Pro+, Standard, Clear Voice Pro+, Bass Boost and Custom EQ – and most users will find that Standard works best for the majority of content.

The relatively restrained selection makes the system easier to use and reduces the temptation to endlessly fiddle with settings.

A proper bundled remote control

Unlike some rivals that rely entirely on apps or TV remotes, LG also includes a dedicated remote control.

It feels a little light and plasticky, but the buttons are clearly labelled and straightforward to use, making everyday operation simple.

That said, a dedicated Night Mode button would have been a welcome addition.

Weaknesses

A cold and somewhat aggressive sound

While the Sound Suite system excels at scale and impact, it struggles with warmth and subtlety.

Treble and bass reign supreme here, leaving the midrange rather lacking, and there's a forthrightness to the delivery that feels quite shouty.

The overall tonal balance leans towards the cold and aggressive side, which can make the presentation a little fatiguing.

Dialogue can sound brash

Dialogue reproduction is one of the system’s weaker areas.

Voices frequently sound raspy and slightly synthetic, lacking the warmth and natural texture that help speech feel convincing.

Compared with rival systems such as Sonos’ Arc Ultra-based home theatres, voices often feel flatter and less expressive.

Background effects are sometimes exaggerated

The system also has a tendency to push background sounds too far forward.

Ambient noises that should remain subtle occasionally become overly prominent, drawing attention away from the dialogue or main action.

The result can feel slightly unnatural, as though the system is over-emphasising certain elements of the soundtrack.

AI sound processing makes things worse

LG’s AI Upmix and AI Sound Pro+ modes initially sound impressive because they increase scale and weight.

Unfortunately, they also exaggerate background effects and give voices an unnatural, echoey character.

In practice, the Standard mode with AI Upmix disabled delivers the most natural and balanced performance.

No HDMI inputs on the soundbar

While not a unique flaw to the Sound Suite H7 (the Sonos Arc Ultra is another notable culprit), connectivity is more limited than it should be.

The soundbar lacks dedicated HDMI inputs, meaning all sources must be connected to your TV rather than directly into the soundbar.

It’s won't be a deal-breaker for everyone, but those with loads of sources will be frustrated.

No DTS:X support

While not terribly surprising, given how closely LG appears to have worked with Dolby on this debut FlexConnect system, the lack of DTS:X compatibility here is a shame.

While Dolby Atmos is certainly the dominant immersive format, plenty of discs and some streaming services feature DTS:X.

Its absence slightly limits the system’s format flexibility.

The sub and surrounds feel less premium than the soundbar

While the H7 soundbar itself feels nicely built, the other components don’t quite match its premium feel.

The subwoofer and surround speakers feel lighter and less substantial, creating a slight mismatch in perceived quality across the system.

It’s not a huge problem, but it does slightly undermine the premium impression.

Early software bugs

During testing, we encountered a number of frustrating software issues.

Initial setup proved surprisingly fiddly, with each component requiring its own wi-fi connection process and the subwoofer using a different pairing method entirely.

At one point the system also powered on at extremely high volume and refused to respond properly to the remote controls until the app was opened – a genuinely unpleasant experience.

Fingers crossed these issues will quickly be solved via software updates.

No bundle discounts yet

At present, LG isn’t offering any meaningful discounts for buying multiple Sound Suite components together.

Given that the system is clearly designed to be built into a full ecosystem, bundled pricing would make the proposition more attractive – especially considering that Sonos offers big discounts on its system bundles.

As things stand, assembling the full setup feels rather expensive.

MORE:

Read the full LG Sound Suite H7 and LG Sound Suite system reviews

Here are the best soundbars and best surround systems you can buy right now

It’s a turbulent time in the world of OLED TVs, at least when it comes to the business dealings of the big players.

This year we've had TCL buying a 51 per cent stake in Sony’s home entertainment business, and Panasonic selling its European TV division to Chinese firm Skyworth.

But when it comes to the products themselves, the most recent big event for our reviewers was the arrival of the 65-inch LG C6 in our test rooms.

Why? Because after testing the TV and running it head-to-head with its predecessor, as well as a number of Award-winning rivals, it proved to be not just a five-star set but also well worthy of a place in our best OLED TV guide.

Yes, just now the 65-inch LG C6 overcame expectations and entered our list as the recommended new OLED for people who want the latest and greatest hardware.

If you’re wondering why I say overcame expectations, the answer’s pretty simple; when we first saw the 65-inch LG C6 at the Consumer Electronics Show (CES) in Las Vegas at the start of the year, it was one of the least interesting OLEDs in LG’s new range.

Unlike its larger, 77-inch and above, siblings, it doesn’t have a next generation Primary RGB Tandem OLED panel. It just has a basic WOLED.

And while LG has given it a new CPU, the hardware, including its speaker setup and design are largely identical to the older LG C5.

So, all-in-all, a very tepid upgrade at first glance.

But there’s a reason, after 50 years of reviewing AV hardware, that our team of experts remain gainfully employed. Specifically, a specification sheet never tells the full story.

The moment we turned the LG C5 and C6 on in our viewing rooms and ran our standard suite of comparative tests we noticed improvements on the new model.

Despite a fundamental lack of notable hardware changes, the C6 was immediately brighter than the C5, especially while running our Pan stress test. Here, a wealth of detail in the brightest part of the setting sun, lost on the C5, was visible on the C6.

But it wasn’t just the extra nits LG has managed to eke out of the panel that impressed. Colours are better rendered, with characters’ skin tones in particular holding a greater sense of vitality.

But most surprising of all, running our Blade Runner 2049 audio test, despite having the in-built speaker system, optimisations to the tuning and processing help the C6 deliver a much better performance than any other recent LG set we’ve tested.

Bass is undeniably light, with the booming synth track lacking the impact it should, but the speakers manage to avoid distorting and are controlled enough to not completely ruin the scene – an achievement beyond many of the TVs we test, including expensive OLEDs.

The improvements make the LG C6 feel like a proper step forward for the 'step-down' OLED line, rather than the iterative update we expected based on its specifications.

So much so, that our TV and AV editor, Tom Parsons, boldly stated in our review: “The improvements aren’t so massive that an owner of a recent C-series model (or one of its closest competitors) should feel the need to immediately upgrade, but if you are in the market for a step-down OLED, the LG C6 is the new benchmark. And it’s a benchmark that its rivals will find very hard to match, let alone surpass.”

Notice the final part. While it’s too early to tell if arch-rivals Sony and Samsung are up to the challenge, we can safely say they’ll have to come out all guns blazing to do so. A minor update to the models we've already reviewed likely won't do the job.

Either way, we’ve already got a fantastic new step-down OLED to recommend in the shape of the LG C6. Hats off to the LG TV department, you have kicked the year off with a bang!

MORE:

These are the best TVs we’ve reviewed

We rank the best soundbars money can buy

Our picks of the best 65-inch TVs

Original Story 13/03/2026: LG has announced that its 2026 TV lineup and a handful of its 2025 TVs are receiving an audio-focused upgrade.

The latest 3D audio format to hit the AV scene, Eclipsa Audio, has already made its way to various Samsung models (we'll explore this more later), and the technology is now supported, alongside Dolby Atmos, on LG's 2026 TVs, including the C6, G6 and W6.

That’s a wide range of LG TVs, from the OLED lineup to its new RGB Mini LED models. Playback will be supported via both the TV’s built-in speakers and HDMI eARC audio devices, such as soundbars.

The Korean AV giant has also confirmed, via FlatpanelsHD, that a software update is coming to certain of its 2025 TVs as well. It looks as though the G5, C5, C5S and QNED9M will be among the models to receive this update.

Also known as Immersive Audio Model and Formats (IAMF), the 3D audio platform was developed as an open-source alternative to Dolby Atmos.

It is, however, currently not supported on any of the services that provide Dolby Atmos – Netflix, Disney+ or Apple TV – as it is being aimed at content creators on YouTube, allowing them to add immersive audio to their videos.

More interestingly, perhaps, Eclipsa Audio was developed by LG's arch rival Samsung, with Google. Seeing LG apply a feature derived from its biggest rival is a surprising turn of events. Could HDR10+ be next?

MORE:

Read our full LG C6 review

As well as our LG G6 hands-on review

And check out our picks for the best Dolby Atmos soundbars

Last year, I called the LG C5 “the best TV for most people”, and that sentiment certainly rings true for the LG C6, which is an even better TV.

We have just awarded it five stars, and while I won’t give our full review away, the bottom line is that there are loads of picture and sound improvements that LG has been very modest about leading up to the release of this highly anticipated TV.

It’s a terrific TV, and it fixes the few niggles we had with the Award-winning C5; but that doesn’t change the fact that the C-series is, and has been for a while, a little bit of a mess. Thankfully, I love that.

The C-series has always floated around in the mid-range of LG’s OLED lineup. It is more premium and has a better feature set than the B-series, but it doesn't get the top-of-the-line panel technology and sleek design of the G-series. And that’s perfectly fine.

For many years, we championed these Goldilocks TVs, as by our performance-per-pound metric, they offered just the right performance for the asking price.

All that changed last year, however, as the latest generation of flagship OLED TVs – which includes the Product of the Year-winning Sony Bravia 8 II and other five-star sets such as the LG G5, Samsung S95F and Panasonic Z95B – really set themselves apart and justified the additional outlay.

Panel technology has come on leaps and bounds since then, with Primary RGB Tandem OLED and QD-OLED now fully established as the step-up options that deliver richer colours, faster refresh rates, and sublime brightness.

That has never affected the C-series, as the C3, C4, and C5 have all used the “traditional” OLED panels, also known as OLED EX. While there have been incremental brightness bumps and improvements in picture processing and tuning, the C-series has stayed in its mid-range lane.

That changes this year. The C6 now comes with a Primary RGB Tandem OLED, but only in its two largest sizes: 77- and 83-inches. Furthermore, it comes equipped with the flagship Alpha 11 Gen 3 processor, whereas previous models have sported the step-down Alpha 9-series processor.

There was once a time when the G-series and C-series were much more aligned – the C2 and G2 from 2022, for example, used very similar panels and processors. That changed from the C3 and G3 onwards.

It now seems as though LG has gone full circle, which is both confusing and great for home cinema fans who want premium features at a cut-down price. Especially, of course, if you’re looking at the larger sizes with that premium panel technology.

When I caught up with LG at CES 2026, I was told that the 77- and 83-inch C6 models are essentially a “G5 plus”, as they seem to use the first-generation Primary RGB Tandem OLED panel that featured on the G5. They even have the new Hyper Radiant Colour technology, and a slightly lesser version of LG’s anti-reflectivity screen tech that is featured on the G6.

With this in mind, I wouldn't be surprised if prospective TV buyers are umming and ahhing at the decision of whether they should pony up the extra cash for the G6 or save with the C6 and get a lot of what the more premium TV has to offer.

This comparison is less close, it must be noted, at the 55- and 65-inch sizes. The clear distinction with the smaller screens is that the C6 uses a WOLED panel, while the G6 gets Primary RGB Tandem OLED.

That being said, we run into a similar problem again at the smaller end of the scale. The C6 and G6 both come in a 48-inch size, and that, too, essentially sounds like the same TV on paper.

Primary RGB Tandem OLED panels don’t come in this size, meaning both sets use WOLED panels and the Alpha 11 Gen 3 processor. If I were your average TV customer and not clued into the AV world to such an extent, I bet I would head straight towards the cheaper of the two.

Now, there are, of course, going to be differences between the models. I highly doubt – and sincerely hope – that LG is going to simply repackage a C6 into that lovely G6 chassis, whack a higher price on it and call it a day; but we'll need to test these TVs to discern exactly what the differences are between them.

The bottom line is that, as of now, the C6 is in its awkward in-between phase. It reminds me of a plot thread from a little film called Star Wars: Episode III – Revenge of the Sith.

Anakin Skywalker is granted a place on the Jedi Council in that film, but he is not promoted to Jedi Master. Much like how the LG C6 has been upgraded to include a lot of LG’s top-of-the-range tech, but not been granted the flagship title.

With overlapping features and changes between generations that have widened and closed the gap between the mid-range and flagship models, the C-series can feel like a TV that needs to get its act together. Still, considering how amazing the past three generations of the set have been, I don't mind that at all.

MORE:

Read our full LG OLED65C6 review

As well as our LG OLED65G5 review

And check out our picks for the best OLED TVs