Chinese brand Haier is launching its latest range of affordable TVs, all boasting 4K resolution.

The new release is being led by the flagship S90 series, which the brand claims will combine “dynamic visuals, immersive audio with ultra-reactive gaming experience”.

This “immersive audio” comes in the form of Dolby Atmos support, delivering “three-dimensional and cinematic audio quality”. The two 10W speakers are employing technology from British hi-fi brand KEF as well.

The S90 uses QLED panel technology with AI picture optimisation, with Haier saying this results in “rich tones and smooth colour transitions”.

In terms of physical connectivity, you will find four HDMI ports, with one supporting eARC. We assume that means the TV can handle 4K/120Hz signals, given its 240Hz DLG feature, but when we asked a Haier representative for confirmation, they couldn’t provide a clear answer.

Haier is also launching the entry-level K85 and the mid-range S80 models. These step-down TVs do not have Dolby Atmos, but they do offer Dolby Audio for “clearer voices and more balanced sound”. The S80 features a QLED panel, like the S90, while the K85 uses a 4K LED backlight.

All of the TVs come with Freely built-in. That gives you access to streaming services such as BBC iPlayer, Channel 4 and ITVX in the UK. Fire TV acts as the smart platform for all the models, offering access to Disney+, Netflix and Amazon Prime Video.

Each range offers slightly different sizing options. The S90 goes from 55- to 85-inches, with the latter being the biggest screen size across all the models. The K85 is available in 43- to 65-inch sizes, and the S80 from 43- to 75-inches.

If you want to get your hands on the 65-inch S90, it will set you back £580. That is certainly aiming at the affordable end of the market, so Haier has TCL firmly in its sights. The S90 is up against the likes of the TCL Q6C, which launched at £649 for the 65-inch model. When we had the TCL set in our test room earlier this year, we praised its excellent picture quality and gaming performance which meant we awarded it a five-star rating.

We are yet to see how the flagship Haier model compares, but its affordable price tag and comprehensive smart platform could spell trouble for the current market leaders.

MORE:

Check out our TCL Q6C review

These are the best budget TVs

And here are the best budget soundbars

American brand Roku has launched its first range of projectors in the UK: the Sharp H272 and the Aurzen D1R.

As their names suggest, the models are launching with two respective hardware partners to “combine advanced projection technology with Roku’s intuitive operating system”.

Richard Halton, Country Manager at Roku UK, claims the projectors are, “bringing the seamless streaming experience Roku users know and love to an exciting new form factor – making big-screen entertainment more accessible than ever”.

The 1080p projectors include Roku’s full app library, including Netflix, Disney+, BBC iPlayer, and HBO Max. The two have also been designed to work when projecting the image onto a screen or wall (we highly recommend the former for the best picture quality).

The Sharp model claims to go up to 120 inches, while the Aurzen entry is a little smaller with a maximum screen size of 100 inches.

The Aurzen D1R is the brighter of the two, offering 280 ANSI lumens, compared to the Sharp H272’s 200 ANSI lumens. These are both on the lower end of the scale, so they will likely perform best in a dark room.

The D1R also has the on-paper edge when it comes to sound, offering two speakers driven by 5W of amplification, which beats the Sharp’s 3W offering. Both come with Dolby Audio, but, unsurprisingly for a budget model, there is no Dolby Atmos on the cards.

There are a few smart features included with both models, which should make setting them up a little easier. These include auto-keystone and auto-focus.

Bluetooth and HDMI connectivity are available, so you could pair wireless speakers, a soundbar, or a subwoofer for “an enhanced home theatre experience.”

You can also access Apple AirPlay support for streaming music, videos, photos, podcasts, and games from Apple devices.

Their designs look fairly similar, with both sporting a white rectangular body with rounded edges.

We don’t have pricing yet, but both will launch in June. With their brightness specifications and streaming offerings, Roku seem to have its sights set on the likes of the Xgimi Vibe One (£219 / $269 / AU$599) projector.

When we reviewed the Vibe One in our test room, we praised its compact design and natural-looking image, which ultimately earned it a solid four-star rating. We'll wait to see the projectors in our test room before giving a verdict, but they could be a strong entry in the budget projector market.

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Here are the best portable projectors

Check out the best projectors right now

These are the best scenes to test your Dolby Atmos system

It's been a busy start to the month for myself and my fellow TV & AV testers.

We've published reviews of the Hisense UR9 RGB Mini LED TV, the BenQ TK705i projector, and the Sony Bravia Theatre Bar 7 + S soundbar system, and we've also been hands-on with the Bose Lifestyle Ultra Soundbar and Denon AVR-X2900H AV receiver.

But what movies and TV shows did we use during testing? And what content has really wowed our team of home cinema experts over the last month? Simply scroll down to find out.

And if you want more of this sort of thing, here are the 42 best Dolby Atmos movie scenes to test your home cinema surround sound system.

War Machine (2026)

Watch the trailer above, and you'll know exactly what you're going to get from War Machine.

That's right; this is a bunch of ooh rah marines, led by Jack Reacher's Alan Ritchson, doing bombastic battle with a massive robot. It's ridiculous, and the seriousness with which the filmmakers and actors have taken the whole thing only heightens that ridiculousness. I love it.

You could say that once you've watched the trailer, there's really no point in watching the full movie, and you wouldn't be denying yourself a great story by taking that approach. You would, though, be denying yourself some brilliantly breathless action with great special effects and a rollicking Dolby Atmos soundtrack.

This is an old-school sci-fi action adventure, and it demands to be played if you have a cherished home cinema system. Bring on the inevitable sequel!

Words by Tom Parsons

Watch War Machine on Netflix

Apex (2026)

If you’ve ever wanted to see Elton John take on the role of the Predator, Apex is for you.

Charlize Theron plays Sasha, a grieving kayaker and rock climber who goes exploring the fictional Wandarra National Park in Australia. Despite being warned repeatedly that she shouldn’t go it alone, she does just that, only to find herself being hunted by Ben (Taron Egerton), a psychopathic stranger with a penchant for The Chemical Brothers.

If you’ve seen Rocketman, it’s hard to see the character of Ben as anything but a creepy Elton John, which in some ways makes him even more terrifying. Egerton is intense, to say the least, which despite the lush, outdoors setting, lends the film a claustrophobic feel that fits the two-hander, cat-and-mouse nature of the plot.

Visually, it’s a treat, helped in no small part by Theron’s commanding performance and ability to do a lot of her own stunts. It’s full of sweeping vistas of stunning cliffs, treacherous gorges and perfect-for-falling-into rivers that will sort the sufficiently detailed TVs from the rest. Even the CGI is integrated pretty seamlessly.

It’s nothing deep, but it’s a very effective thriller with some excellent performances (Theron in particular). Given its visual flair, it’s a shame not to see it in cinemas, but dim the lights, fire up your big-screen TV, and enjoy.

Warning: you’ll never hear Go by The Chemical Brothers the same way again…

Words by Joe Svetlik

Watch Apex on Netflix

The Day of the Jackal (2024)

I’ll be the first to admit that I very rarely have my finger on the pulse of popular television, hence why I’m only now getting around to watching Sky’s highly acclaimed espionage action thriller The Day Of The Jackal.

I’d heard very good things about it when it premiered back in 2024, but it sat on the watchlist until this week; I needed something to watch after blitzing through the hilarious second season of Amandaland on BBC iPlayer, and who doesn’t like a breakneck tonal shift?

The Day Of The Jackal is a tense, high-octane thriller with twists, turns, and some fairly brutal violence. When bullets start flying, and tyres screech in pulse-pounding car chases, it becomes evident that this TV show is at its best when watched with a capable Dolby Atmos soundbar or speaker system.

The cat-and-mouse game played by the titular Jackal (Eddie Redmayne) and MI6’s Bianca Pullman (Lashana Lynch) spans a wide variety of countries, including Germany, Hungary, Spain, France and Estonia, and these locales are often framed with eye-catching establishing shots.

Paired with a handful of action sequences set under the cover of night, this series is best enjoyed on an OLED TV, or at least a set that excels with contrast. Be sure that your TV’s motion settings are also in order, as you’ll want to avoid judder when chase sequences break out, and especially during the sporadic action-packed shootouts.

If you’re a fan of Bond, or are just a thrillseeker looking for a show that also looks and sounds great on your home theatre set-up, then The Day Of The Jackal, available on Sky and Now (I recommend springing for the 4K upgrade if possible), is definitely worth a watch.

Words by Lewis Empson

Watch The Day Of The Jackal on Sky

Daredevil: Born Again (2025)

The original Daredevil series on Netflix quickly cemented itself as top-tier superhero television – and top-tier television in general – by combining thematic ponderings on vigilantism, violence and religion with brutal, well-choreographed, and often one-take fight sequences. So it was a crying shame when it was cancelled after season three as a victim of the streaming wars.

After a rocky road that included fan campaigns, surprise MCU cameos and a first season that was heavily restructured and reshot, we’re now two seasons deep into the Born Again revival on Disney+. And while it doesn’t quite reach the highs of the original series, it’s still easily one of the best Marvel projects in recent years, playing with a bigger budget, more MCU integration and a storyline that has more than a few things in common with the US political landscape right now.

For anyone sick of the multiverse, this gritty, street-level look at superheroism remains highly refreshing, bolstered by standout performances from Charlie Cox and Vincent D’Onofrio, with the latter arguably providing Marvel’s most layered villain.

When Daredevil first premiered on Netflix in 2015, it was one of the first pieces of superhero media widely available in 4K HDR, and it was great for testing dark detail and motion handling thanks to the many dingy hallway fight scenes.

Daredevil: Born Again has a slightly different visual look, but the same still applies here, with a higher-budget, more cinematic production that is great for testing contrast and black levels. A really good lawyer such as Matt Murdock deserves to be seen on a really good TV.

Words by Daniel Furn

Watch Daredevil: Born Again on Disney+

Something Very Bad Is Going to Happen (2026)

Haley Z Boston’s latest horror series for Netflix, Something Very Bad Is Going to Happen, was a surprise hit for me earlier this month. Despite positive press, I went into the series blind, while mounting my usual hunt for anything with similar vibes to Mike Flanagan’s Haunting Of Hill House (which is one of my benchmarks for serial horror shows).

And, after years of disappointment, while I wouldn’t say it reaches the same heights as Flanagan's classic, it comes pretty darned close, offering a tour de force performance both technically and narratively.

The story focuses on soon-to-be bride Rachel (ably played by Camila Morrone) as she travels to a remote mansion in the woods in the run-up to her nuptials. Not to give any spoilers away, the film uses pretty much every tool in the haunted-house toolbox.

Dark, bloody lore that gets more disturbing with every door she opens? Check. Creepy secluded setting? Yep. Weirdo family that clearly isn't quite right, feeding her neurosis with their gaslighting? Present.

Every shot oozes oppressive, creepy terror, with the intentionally dim house and surrounding forest hiding creepy details you can’t un-see. But, like Hokum, which I also saw in the cinema this month, it’s the audio that really steals the show. The series aims to build a sense of dread through constant teasing and subtle, psychological ploys rather than outright jump scares or overt gore – and it’s all the better for it.

It’s a creepy whisper just out of shot, the sound of something menacing behind you, or emanating from the on-screen shadows, that constantly keeps you on edge, doing the heavy lifting. The result is a spine-tingling experience that will delight horror fans.

Words by Alastair Stevenson

Watch Something Very Bad Is Going to Happen on Netflix

MORE:

Here are the best TVs, best projectors and best Dolby Atmos soundbars you can buy right now

If you are on the hunt for a cheap TV to add to your home, there’s a new budget contender on the scene which has just hit the market.

Enter the Sharp Roku QLED, produced in a collaboration between the two wallet-friendly brands. The 50-inch model is claimed to deliver “premium picture quality and intuitive streaming” and offers 4K resolution. It also marks the brands' first joint QLED TV release in the UK.

On top of that, Dolby Vision is on the cards, which they claim “brings out more detail, colour, and contrast, just as the director intended.”

It comes, of course, with the Roku TV operating system built-in. This platform gives you access to streaming apps such as Netflix, Amazon Prime and Disney+. Freeview Play is also available with the new model, bringing with it such apps as BBC iPlayer and ITVX.

Roku says this can all be navigated with an “easy-to-use interface designed for everyday viewing”. There is also the option to use the Roku app, where you can browse TV offerings and use voice commands.

At a launch price of £349 at Curry's, the QLED is certainly targeting the budget end of the market. It does, though, have some stiff competition in the form of the TCL P7K. We tested the 43-inch model (which launched at the cheaper £269), and gave it four stars for its good picture quality considering the cost.

We haven’t tested the 50-inch P7K, but that set also comes in at a lower price than the new Sharp set, costing £329. We will have to wait until we get the new contender into our test room to give a verdict, but its streaming support and budget price tag could make it a solid rival for TCL.

MORE:

Check out our review of the TCL P7K

These are the best cheap TVs

Looking to improve your TV's sound? Here are the best budget soundbars

IMAX has long been the ruling standard when it comes to premium big-screen viewing experiences, but Disney is about to shake up the scene with its own answer, and it's calling in The Avengers to help launch it.

It's called Infinity Vision – like Avengers: Infinity War or Buzz Lightyear's famous catchphrase "To infinity, and beyond!" – and it basically works as a certification for premium large format (PLF) theatres to ensure audiences are getting the "biggest, brightest, and most immersive cinematic experiences".

Disney has provided three fairly vague credentials for what a cinema needs to provide to qualify as an Infinity Vision theatre: "The largest screens for maximum scale"; "laser projection for superior brightness and clarity", and "premium audio formats for fully immersive sound".

While there has been no mention of any specific screen sizes, HDR formats or even Dolby Atmos audio, we presume that these will play a role somewhere, considering that superior brightness and immersive sound formats are distinctly mentioned.

There are also questions as to whether or not this will translate into Disney's home entertainment releases; will we see Infinity Vision support for Disney+ in the future?

While Disney's certification is new, it turns out that hundreds of theatres worldwide already possess the necessary equipment to show supported titles in Infinity Vision. The House of Mouse claims that there are around 375 PLF theatres around the world that, in theory, can already support Infinity Vision.

That might not sound like a lot, but it's a solid foundation for Disney to build upon, although it has some catching up to do with the roughly 1700 IMAX-capable auditoriums worldwide.

As such, Disney is calling in the big guns to help launch its new cinematic format. The 2019 blockbuster Avengers: Endgame will be re-released in cinemas this September in Infinity Vision, as will the latest entry in the franchise, Avengers: Doomsday, when it premieres this December.

Interestingly, this announcement comes after Disney lost out on securing IMAX screens to Warner Bros' Dune: Part Three, which releases on the same day as Avengers: Doomsday.

Regardless, a new premium cinema format coming from the biggest film studio in the world is cause for excitement, especially if you're a Marvel fan.

MORE:

Read our full Disney+ review

And check out the best Marvel movie scenes to test your home cinema

Here are our picks for the best projectors

Cast your mind back roughly ten years, and you'll remember a very different era of streaming.

The modest monthly subscriptions and cancel-anytime promise made these risk-free alternatives to traditional cable and satellite packages, which came with pricey contracts that locked you in for months, and in many cases, years.

There were no ads, and you didn't need a satellite dish either; just a vast library of things to watch via an internet connection.

However, those days are over. The current streaming landscape is fraught with subscription tiers that lock high-quality, ad-free watching behind paywalls, and the number of services is, frankly, out of control.

If you're anything like me, your bank statement likely has, or at one point had, withdrawals from Netflix, Amazon, Apple, Disney and more, all because there have been various shows or movie franchises that I've been watching concurrently.

While I yearn for the simpler and streamlined days when everything was in one place, with one bill, I know we can never go back. So who will save us from the muddled, increasingly expensive world of modern streaming? Ironically, I think it's Sky...

Everything in one place...

Sky's angle for beating streaming confusion is to have everything in one, organised place – that being its Ultimate TV package.

That includes Sky's original channels (including Sky One and Sky Atlantic) and 130 additional ones, as well as Netflix, Disney+, HBO Max, Discovery+ and Hayu (the last of which is being added in July), all for £24 per month. You also get the What Hi-Fi? Award-winning Sky Stream puck as part of this package, too.

While these are the ad-supported versions (I'll touch on that later), some simple calculations show that this is still a pretty great deal.

Now (formerly Now TV) offers up the core Sky channels without needing a Sky subscription, and that costs £9.99 per month for the Entertainment package with HBO Max included. A Netflix Standard with Ads subscription is £5.99 per month, Disney+ Standard with Ads is also £5.99 per month, Discovery+ is £3.99 per month, and Hayu is another £5.99.

Totting that all up, we get to £31.95 per month, which means you get a pretty respectable saving of around £8 per month, or around £192 over the minimum subscription length. There is also the option to upgrade these services individually if you do want the better picture quality and are tired of adverts.

What's better is that this all comes out in one big subscription, meaning you don't have to keep track of when you renewed or joined a service.

Now, there is the caveat that you are locked into a 24-month minimum term contract, so you forgo the option of cancelling a service if you find that you're not using it. Sky is also up front in saying that subscription prices may rise over the contract length, which is something to be mindful of.

While that can be slightly daunting for those who value the flexibility of the streaming model, I have to admit that I've been subscribed to the likes of Netflix, Disney+ and Apple TV for years, and don't see myself ending my streaming subscriptions any time soon.

In fact, using Sky Stream has made me dig even deeper into the services I was paying for, thanks to the handy Sky OS software. It's a dab hand at suggesting content that I'd actually like, and being able to play it directly from the home screen without having to track down which service it's on is, quite frankly, a time-saving marvel.

A couple of missing pieces...

While Sky Ultimate TV has been a mostly superb antidote to the streaming frustrations I've faced, there are a couple of omissions. There are still a couple of services that aren't bundled into this package, those being Amazon Prime Video and Apple TV.

I'm subscribed to both, the former for the upcoming final season of The Boys, and the latter for the likes of Shrinking, Slow Horses and Your Friends and Neighbours, and while it's not the end of the world that I have a couple of free spirited streaming apps to keep track of, it would be nice if they were all neatly tucked into the bundle. That would, of course, bring the price up.

Secondly, as I've previously mentioned, these are the ad-supported tiers of the respective services. This means you have to live with fairly frequent adverts, and give up on a few premium experiences, including UHD streaming and Dolby Atmos.

As frustrating as that is, this is a trend that's been plaguing streaming services for years now, and you have to make the plunge into higher monthly costs if you want the improved picture quality, better sound and ad-free watching on almost all of the services mentioned above.

The perfect alternative?

So, is Sky the perfect answer to the convoluted and expensive world of streaming that we live in? Not entirely, but it's pretty darn close.

I've found myself using my streaming services much more often, and watching hidden gems I didn't even know existed, thanks to Sky OS's platform-agnostic suggestions, and being able to manage almost all of my services in one place makes things much easier and smoother.

While the lengthy contract can be slightly off-putting for those who like to mix and match their services each month, it does sort of prove my point about streaming services coming full circle. The easiest way to access and keep track of these services is by using the very package it sought to challenge.

Overall, I prefer the convenience of Sky's Ultimate TV package over wrangling a long list of subscription services that renew on different days each month, and if you're already shelling out for multiple services each month (and don't plan on dropping any in the immediate future), then Sky's Ultimate TV package is genuinely worth a look.

MORE:

Read our full Sky Stream review

As well as our picks for the best streaming services for movies and TV shows

And check out the best streaming devices

TV manufacturers put a lot of emphasis on innovation, from new OLED technology to integrating Dolby Vision 2. But when it comes to accessibility provisions, progress has not been as fast.

According to the RNID (Royal National Institute for Deaf People)one in three adults in the UK are either deaf, have hearing loss or have tinnitus. And more than two million people in the UK are living with sight loss, says the RNIB (Royal National Institute of Blind People).

Plenty of provisions can be implemented for those with hearing or sight loss. These range from descriptive subtitles (captions that transcribe not only spoken dialogue but also important sound effects, music, and speech identifiers) to assistive listening technology such as Auracast.

The latter works by broadcasting audio that can be picked up by many other devices (such as hearing aids or cochlear implants) without needing to go through a pairing process.

But ultimately what works for one person might not be suitable for another. So are these accessibility features good enough in order to ensure as many people as possible can enjoy the latest TV shows and films at home?

"A lot of jargon"

Charlie Little, Deaf Action's BSL Film Club co-programmer, says that while manufacturers are improving their accessibility offerings, there is still a long way to go.

They are deafblind, and use descriptive subtitles as their “number one access provision" for watching films at home or in the cinema.

Little told What Hi-Fi?: “At home I have a soundbar, which means the audio can be clearer. It’s not always about whether something is loud enough; it’s about whether it’s clear.”

One of the biggest issues for many is that accessibility features are often hidden behind a wall of menus and unclear language.

As Little tells us, “Sometimes these accessibility features are really hard to find out about in the first place, or the actual setting up and navigation of the TV [is hard], especially if you are an older person who doesn't feel as confident with technology.”

They add that Deaf people who use BSL (British Sign Language) can be faced with “a lot of jargon and written information that’s just not very accessible, whether that’s on the manufacturer’s website or within the television itself".

“It feels like such a journey just to get to using that access provision,” Little says.

That’s not to say that there hasn't been an improvement in accessibility in recent years.

Sonos, for instance, worked with the RNID to develop a Speech Enhancement feature with four levels of control that let you adjust dialogue clarity, including one specifically made for those with hearing loss.

It would be encouraging to see more companies following in Sonos's footsteps, and develop new technology in collaboration with the people who need these accessibility features the most.

Streaming has a part to play

It is not just manufacturers who need to improve accessibility provisions – streaming services have a part to play as well.

Until earlier this year, streaming platforms did not have to conform to the same subtitling, audio description and signing requirements that traditional broadcasters follow in the UK.

Now, services such as Netflix, Amazon Prime Video and Disney Plus must ensure that at least 80 per cent of their total catalogue is subtitled, 10 per cent is audio-described, and five per cent is signed.

The largest, mainstream services have four years to meet the requirements, which leaves quite a long wait for those relying on accessible content to watch the latest movies and shows.

Even then, the ratio of content that needs to be signed is low. After all, 22,000 people use BSL as their main language in England and Wales, according to the 2021 Census.

It was partly this lack of provision that led Little, alongside Tomas Gerrard, to create the BSL Film Club in Edinburgh.

Open to all, the BSL Film Club shows movies in an accessible way, followed by a discussion afterwards. Little says: “It’s an inclusive space for people to engage with the film in a way that’s comfortable for them.”

They continue: "We’ve shown things like Alien and Do The Right Thing, which are well-known films but perhaps people have not experienced them on a big screen in an accessible way."

Hopefully, TV manufacturers and streaming services continue to do more, and ensure nobody has to jump through unnecessary hoops simply to enjoy TV and movies in their home.

MORE:

What is Auracast?

What is JBL PartyBoost? Is it the same as Connect+ and Auracast?

These are the best scenes to test your Dolby Atmos sound system

It is undeniable that video streaming services offer a fair few positives. They save a whole lot of space in your home rather than storing a bunch of physical discs, and give you access to a vast array of content at the touch of a button.

But one of their biggest issues comes in the shape of the ever-increasing costs – making their libraries of TV shows and movies ultimately less accessible.

Most recently, Amazon Prime Video's ad-free tier went up by $2 in the US and the platform has also removed 4K content from the package included with a Prime membership.

It is far from the only service hiking its costs, with the likes of Disney Plus, Apple TV, and Netflix all jumping on the price hike bandwagon.

That's why it is particularly exciting to see Netflix's most-watched TV show of all time finally get a physical 4K Blu-ray release, meaning I don't need to keep paying for Netflix just to rewatch my favourite show.

The Duffer Brothers' Stranger Things series was a cultural phenomenon as soon as the first episode hit the small screen back in 2016, and only grew in popularity until it concluded late last year after five seasons.

While some of the early Stranger Things series have had a physical release, this is the first time the whole series has been released in a definitive collector's edition complete with a whopping 25 discs.

That means Stranger Things fans don't have to hang onto their Netflix subscription to re-watch the entire season. This is especially tempting when you consider that you can only get the best picture quality with the more expensive streaming tiers.

The deluxe edition of the set is available for £220 / $270 on 4K Blu-ray or £200 / $250 on Blu-ray. The special edition, which is less comprehensive than the deluxe edition, comes in at £160 / $220 on 4K and £150 / $200 on Blu-ray.

With the deluxe package, there is a range of extra goodies included, plus beautiful artwork adorning every inch of the box. You will find five double-sided posters featuring original artwork by illustrator Kyle Lambert, an exclusive d20 die, and an art book including original design sketches, concept art, and storyboards. And that's just for starters.

Of course, the 4K Blu-rays should also offer the ultimate version of Stranger Things in terms of picture and sound quality, thanks to the removal of Netflix's streaming compression, but we'll need to watch them ourselves before confirming that.

It's also worth noting that Dolby Atmos sound is only available for series four and five, while the remaining seasons are limited to 5.1 surround sound. That's the same as the Netflix streams, but it's a bit of a shame that the opportunity hasn't been taken to upgrade the previous seasons to Atmos.

The initial cost, especially for the 4K Deluxe edition, feels quite hefty. But, with the landscape of streaming services becoming more and more inaccessible, it is certainly reassuring to be able to hold the series in your hands and know it is yours – and free to watch whenever you so choose.

As Netflix has an ever-rotating selection of movies and TV shows, it's great to see that some of its top series are getting physical releases, ensuring you don't have to increase your monthly outgoings in order to watch your favourite shows whenever you want.

MORE:

Netflix is culling a bunch of its originals

Stranger Things creator Ross Duffer urges fans to set their TV up properly, including avoiding vivid mode like the plague

These are the best Dolby Atmos soundbars

Disney+ has been added to Sky's Ultimate TV package, which can be accessed through Sky Stream or Sky Glass at no extra cost.

Sky Q customers can also access Disney+, provided they have the Sky Signature or Sky Entertainment package, and Sky Essential subscribers who have the Sky Cinema upgrade applied get access to the streaming service for free.

As is the case with Netflix, the version included with Sky TV is the 'Standard with Ads' tier, although customers can upgrade to the Premium tier for £4/month. Cinephiles will likely want to upgrade, as the Premium tier unlocks 4K streaming with Dolby Vision and Dolby Atmos.

Activating the bundled Disney+ subscription is easy. There is currently an icon on the Sky OS home page prompting users to activate their new subscription, and it takes merely a few clicks to get up and running. Sky has also implemented a "get Disney+" voice command, which will also guide you towards the activation process.

But what if you already have Disney+? Existing subscribers can move their current subscription (including their watch history and profiles) over to Sky TV through a linking prompt, which is shown during the sign-up process.

Furthermore, Disney+ content will now be better integrated into the Sky OS platform. Content watched on Disney+ will now show up in the 'Continue Watching' rail for the first time on Sky Stream and Glass, and Sky Q users will notice Disney+ content in the 'Today's Top Picks' and 'Continue Watching' rails.

This is the first phase of Sky TV's streaming expansion, as HBO Max and Hayu will join Disney+ when they launch later this year.

MORE:

Read our full Sky Stream review

I replaced my Apple TV 4K with Sky Stream

Check out our picks for the best streaming devices

As streaming services have surged in popularity over the last decade, we have also seen prices soar and additional tiers used as a way to ramp up subscription costs.

And Amazon Prime Video is the latest service to up its prices, with its ad-free tier going up from $2.99 to $4.99 in the US, starting from 10th April. This tier is also being rebranded as Amazon Prime Video Ultra.

Paying for this tier removes advertisements and gives you access to 4K content. You also get more offline downloads (100 rather than 25), the option of more concurrent streams (five instead of three), and Dolby Atmos audio.

However, this change does mean that 4K UHD content is now locked behind a paywall and no longer available through the 'free' package included with a Prime membership.

The tech giant says, “this structure aligns with other major streaming services while ensuring customers have the flexibility to choose how they want to watch”.

It’s certainly true that Amazon is far from the first company to remove 4K content from the basic tier, with Disney+ and Netflix both limiting 4K video to more expensive package options.

The price increase is only in the US for now but we'd be surprised if it didn't come across the pond to the UK at some point soon.

MORE:

Here is our review of Amazon Prime Video

I pay for Amazon Prime Video, so why am I seeing ads?

Check out our review of Apple TV 4K

Disney+ has started offering Dolby Vision once again in the UK and Europe after it dropped the HDR format last month. Subscribers to Disney+'s Premium tier in those regions can now watch shows and films in the format.

3D Disney+ content has also been restored to the Disney+ app on the Apple Vision Pro headset, as these are available in Dolby Vision.

Disney originally dropped Dolby Vision following a German patent dispute with US firm InterDigital.

Disney confirmed the news to FlatpanelsHD.

"Dolby Vision and 3D support have now been restored on Disney+," it said in a statement. "As a result of a lawsuit at a German patent court, we were forced to make changes to the availability of certain advanced video formats in Germany and other markets.

"We are disappointed that this was necessary, and we share our customers' frustration. We have worked as quickly as possible to implement solutions that ensure viewers the best possible experience on their devices and subscriptions."

In order to watch content in Dolby Vision, you will need to update your Disney+ app to the latest version.

Disney+ has three tiers: Standard and Standard with Ads only offer Full HD picture quality, while Premium has 4K HDR with Dolby Atmos audio.

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German AV brand Loewe has released a range of 4K smart TVs that it claims will combine “advanced picture technologies with an elegant, space-saving design.”

The high-end LED Loewe Vega series targets cash-flush people living in compact spaces, and is available in both 32 and 43 inches. The smaller LCD TV model features 260 LED dimming zones, while the larger screen size boasts 390 zones.

What’s more, the 43-inch TV features a 120Hz VA LCD panel, while the 32-inch model has a 60Hz panel.

With support for a range of HDR formats, including Dolby Vision, Loewe says the models “deliver high brightness, strong contrast, and vibrant, natural colours, ensuring consistent image quality and smooth motion for TV”.

Both TVs run the Vidaa TV platform, giving you access to streaming services including Netflix, YouTube, Disney+ and Apple TV.

In terms of audio, the Vega series features an integrated Dolby Atmos soundbar with 60 watts of Class-D amplification. If you want to hook your own sound system up, there is HDMI eARC connectivity and Bluetooth as well.

From what we've seen, both feature a stylish design as well, featuring an aluminium frame and a rotatable metal table stand with a chrome finish.

The Vega models won’t come cheap, however. With availability expected later this month in the UK, the Vega series is set to cost £1650 for the 32-inch size and £1900 for the 43-inch model.

Even some of the more premium OLED TVs at this size don't match this price, namely the Award-winning 42-inch LG C5, which is available for around £949.

That means there's not really a direct comparison, as Loewe is clearly gunning for the high end of the small TV market. Still, its more premium design and smaller size offerings may well appeal to style-conscious buyers short on space.

In terms of its picture and sound quality, though, we will have to wait until we get it in our test room to find out how it performs.

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Today, I invite you to put on your rose-tinted glasses and cast your mind back to a simpler time, long ago, in which streaming services were heralded as the saviours for those sick of paying through the nose for pricey television subscription plans – Sky TV for example.

It's hard not to think back to the early 2010s and not tear up at the blissful memories of streaming simplicity, when a very modest direct debit left your bank account in exchange for what felt like an infinite library of ad-free content to choose from.

Netflix ruled the roost, capturing the hearts of many when it launched in the UK back in 2012. And it got a welcome 4K upgrade two years later, which split the service into two easy-to-understand tiers – Standard or Premium.

As the years progressed, we had the likes of Amazon Prime Video, Disney Plus and Apple TV take the remaining mainstream spots. At the same time, niche services such as Mubi, Crunchyroll and Shudder delivered content for cinephiles, anime fans and horror fiends, respectively.

Fast forward to today, and those days are well and truly behind us. Streaming services have become the very things they set out to destroy, with rising monthly costs (Netflix Premium now costs a staggering £18.99 per month), and ads forced upon users unless they cough up for the higher-tier options.

It's all a bit of a mess. And, quite understandably, the masses are becoming jaded by the increasing list of services taking up spots on their bank statements. Many feel betrayed by streaming becoming the very thing it set out to destroy.

In the words of Obi-Wan Kenobi from Star Wars: Episode III – Revenge of the Sith: “You were the chosen one! It was said that you would destroy the Sith, not join them! Bring balance to the Force, not leave it in darkness!”

But what's this? Much like Darth Vader's story throughout the Star Wars saga, we have an unexpected tale of redemption on our hands; and it's coming from a truly unexpected and ironic place.

Who is better suited to solve the issue of fragmented streaming services than the very company that is mostly responsible for it in the first place?

That's right, Sky has stepped in with an upgrade to its Ultimate TV package – and it centralises most of our streaming needs into one easy-to-access place.

Sky already bundles in Netflix Basic with Ads with all of its TV subscription packages, but its Ultimate package (which also includes many of its own channels) will now include Disney Plus, Hayu, and HBO Max when it launches in March.

That package will cost £24/month, which seems pretty reasonable if you break it all down. All the services mentioned above are the basic, ad-supported tiers; still, if you were to buy them all separately, you'd be paying £5.99 for Netflix, £5.99 for Disney Plus, £4.99 for HBO Max, and £5.99 for Hayu.

That's a grand total of £22.96 in itself. And that's not factoring in the full Sky library you'll also get access to, including live and on demand content from the likes of Sky Atlantic and the upcoming Sky One relaunch.

Suddenly, Sky doesn't seem a bad option for anyone who is already shelling out for multiple services. And for those who constantly lose track of what they're paying for (myself included), this all comes as one easy-to-manage package.

Admittedly, it doesn't include the likes of Apple TV or Amazon Prime Video, but with Sky advancing its included streaming offerings now, it's not out of the question that we could see these services get added to Sky's roster down the line.

It's an ironic twist in the ongoing story of streaming services. Originally proclaimed as the answers to Sky's pricey packages, it's almost impressive how quickly the likes of Disney, Amazon and Netflix have incinerated their goodwill.

Only time will tell if the streaming landscape clears up or becomes even more convoluted.

Considering we're only a month and a half into 2026 and we already have a new service launching with four separate tiers (thanks, HBO Max), I'm betting on it being the latter. Which is why I'm all for Sky’s simple option to rein in these services a bit and put them all under one roof.

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At first glance, the recent HBO Max news looked like bad news for Sky, but Sky has responded in the best way possible.

The TV giant has just announced a big upgrade to its Sky Ultimate package, which will now include the new HBO Max, Disney Plus and Hayu, on top of the existing Sky and Netflix content.

How much will this cost? A very reasonable-sounding £24 per month.

Consider that the basic Sky Essential package is £15 per month, and this £9 upgrade looks very tempting indeed.

There is a catch, though: the bundled Disney+ and HBO Max subscriptions will, like the current bundled Netflix subscription, be the basic, ad-supported versions.

So, as well as putting up with the adverts, you will also have to do without 4K, HDR and Dolby Atmos.

The good news is that you will still be able to upgrade to the premium versions of each service. You can do this via Sky, and you will only pay the cost of the upgrade. So even those of us who insist on the top quality will save £4.99 on their Disney subscriptions and £5.99 on HBO Max.

Existing subscribers to these platforms can port over their current accounts and still benefit, too.

All in, that makes the new £24 Sky Ultimate package look like very good value indeed.

There’s news for subscribers to Sky's adjacent Now services, too, which will also incorporate HBO Max as part of its £6.99 Entertainment package.

Finally, Sky teased that a new version of the Sky Go app is coming “later this year”. Details are scarce at this point, but the update will, of course, add the look and feel of Sky Glass and Stream’s Sky OS.

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If you're a fan of the Boss and a movie lover, prick up your ears. The biopic Springsteen: Deliver Me from Nowhere will be released on Disney+ near the end of this month, on 23 January.

Set in the 1980s, the film follows the creative process behind Springsteen's album Nebraska as he comes to terms with his troubled upbringing. Jeremy Allen White, known for his work on FX's The Bear and The Iron Claw, stars in the titular role to deliver a performance that Deadline says is “played with conviction and authenticity”.

Audiences have also rated the movie highly, with a solid 82 per cent on Rotten Tomatoes on the Popcornmeter.

It won't come as a surprise to regular readers that many of Springsteen's tracks are frequent visitors in our test room to put a range of hi-fi and home cinema products through their paces.

In fact, we recently put together a guide to our favourite tracks from the Boss to test your hi-fi system. And two of those tracks, namely Highway Patrolman and Atlantic City, come straight from the Nebraska album. That means that the new film should be able to challenge your home cinema system’s ability to portray the tracks with the necessary subtlety and dynamic range.

For those holding out for the physical release of the film, you’re also in luck. Springsteen: Deliver Me From Nowhere will be available to buy on 4K Blu-ray at HMV from 6 February, and you can pre-order now.

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There’s no denying that streaming platforms are taking over the way many of us watch our favourite movies and TV shows, hugely outperforming the success of physical media.

And one of the biggest services on the market, Disney+, is making a move to compete with one of the biggest time thieves – vertical short-form video.

At CES 2026, the streaming platform announced that it will be adding vertical video to its mobile app, similar to TikTok or YouTube Shorts, according to Deadline.

The addition is coming later this year, and Disney says it will feature content across various genres, including sports, news, and entertainment.

Deadline reports that a Disney representative at CES says it aims to create a “personalised and dynamic feed” to turn the platform into “a must-visit daily destination.”

Basically, the company wants you to visit the app every day for a scroll and not just to watch TV and movies.

While this is clearly an attempt by Disney to appeal to younger audiences, it represents something, frankly, quite concerning in my eyes.

Adding this short-form video feature feels like just another form of doom-scrolling to avoid, and feels especially egregious when it is added to the main platform for how many of us watch movies.

Whether it's an episode of Bob's Burgers to unwind from a long day or an epic movie night with Avatar: The Way of Water, switching off and getting truly sucked in to another world is one of the most precious experiences for so many people.

On top of that, this move shows that the brand is increasingly betting big on the mobile app.

Of course, sometimes watching films or TV on your smartphone or tablet is the only option if you're on the move. But, with such a small screen, it's far from the ideal way to watch your favourite content and simply does not present films as the director intended.

We'll have to see whether the vertical video integration will be a success once it is introduced. But I hope users will remember the importance of being able to switch off from short-form video, and keep the sanctity of watching movies on the best screen possible.

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TCL’s flagship TV for 2026, the X11L, is a real tale of the unexpected.

For starters, unlike the top tier of TCL’s 2025 range, it looks as though UK buyers will actually be able to buy the X11L if they fancy it.

It also delivers a technical surprise, though, in that it's sticking with Quantum Dot technology rather than boarding the RGB Mini LED / Micro RGB bandwagon being so enthusiastically embraced by most other TV brands this year.

This isn’t to say that TCL isn’t doing RGB Mini LED at all in 2026 – the brand actually has more than one RGB Mini LED TV range waiting in the wings – but it’s definitely a twist to find ‘QLED’ still sitting at the top of TCL’s new TV pile.

Of course, TCL has long leaned into Quantum Dots more than most, from small touches such as the QD LED badges it incorporates into many of its TV designs, to the epic quantities of QLED panels it produces from its own factories.

Its extensive QLED history, though, is not the only reason TCL has decided that QDs still reign supreme versus RGB Mini LED. The brand also believes that QLED TVs can still be the best performers.

Especially when, as with the X11L, they’re packing TCL’s new Super QLED technology…

Price

Unusually, TCL actually had the X11L ready to buy in the US on the same day it was announced at CES 2026, with prices set at $7000 for the 75-inch screen, $8000 for the 85-inch version, and $10,000 for the 98-inch model.

UK pricing has yet to be confirmed, however.

Design

It's the 85-inch version of the X11L that we were able to spend time with for this hands-on, and the first thing that struck us about it was how slim it is.

Its monolithic shape is just two centimetres deep – substantially slimmer than the bodywork of TCL’s most premium RGB Mini LED TV, the RM9L (hands-on coming soon).

This is actually one reason why TCL favours its Super QLED screens over RGB Mini LED for flagship status, as the latter technology needs more depth in order to minimise the potential for its different red, green and blue LEDs to bleed into each other. We’ll get into this in a bit more detail later.

The slender side panels of the X11L have a premium-looking dark metallic finish, while the bezel around the screen, as you sit looking straight at it, is remarkably slim considering the screen sizes in question.

Build quality appears excellent too, and the design is elevated by a couple of unusual touches: a logo embossed down the screen’s right side saying 'Premium SQD-MiniLED', and the unmissable addition of a full-width integrated ‘soundbar’ that adds two to three inches of grilled elegance to the screen’s height.

This speaker enclosure sports a Bang & Olufsen logo, confirming that it’s the latest result of the TV sound design relationship TCL established with the premium Danish audio brand in 2025.

The X11L’s slim, monolithic shaping makes it ideally suited for wall mounting, but it can also be placed on a pair of large, metal-finished feet if you prefer.

Features

TCL’s new Super QLED TVs do not, sadly, wear capes or have laser eyes. They do, though, feature two significant new hardware innovations that TCL claims take QLED TVs to a whole new level.

First, their QD layers feature a new generation of Quantum Dots developed using new, more excitable (which in TV speak means responsive and efficient) crystal substances.

Second, TCL’s SQD MiniLED TVs use a new super high ‘Ultra’ colour filter.

Put together, TCL says these new innovations deliver five key claimed advantages: a wider colour gamut (TCL claims that the X11L can cover 100% of the world’s most extreme BT2020 colour gamut); the potential to use more local dimming zones than RGB MiniLED screens can due to the relative compactness of Super QLED’s single blue or white (rather than RGB) LED light source; enhanced brightness; slimmer designs than you get with TCL’s current RGB Mini LED technology; and, last but not least, immunity to the colour crosstalk issues it seems that RGB Mini LED displays can suffering with.

This crosstalk issue – which we’ll be on the look out for in our hands-on with TCL’s most premium RGB Mini LED model, the RM9L – is caused by the way the red, green and blue colours emitted by the three LEDs in an RGB Mini LED lighting ‘zone’ can end up scattering and spilling across one another, causing areas of coloured clouding.

For instance, if the light from a red LED crosses over into an area that already contains light from a neighbouring green LED, then you could see brown clouding as the two stray colours mix.

Such crosstalk troubles can apparently be reduced by increasing the RGB LED ‘throw distance’ (i.e. making the TVs thicker), but it isn't an issue for SQD Mini LED TVs in the first place, hence the potential for slimmer designs.

The higher brightness TCL claims for SQD Mini LED screens vs RGB Mini LED is explained by the fact that for the vast majority of the time, not all of the red, green and blue LED chips involved in an RGB Mini LED array will be fully activated at the same time.

For instance, with a relatively pure green hue, the red and blue LEDs will be pretty much dormant. This results in lower overall screen brightness, at least with content that uses fairly stark and pure colours, compared with the SQD Mini LED approach, where every LED ‘chip’ is effectively always fully illuminated by the white or blue LED.

Using a single LED to light each picture zone rather than an RGB LED trio is also the reason, according to TCL, that it’s possible to fit more separately controlled local dimming zones into an SQD Mini LED screen than it is with a same-sized RGB MiniLED screen, resulting in potentially finer light control.

Putting some numbers on all of this, TCL claims that the X11L can hit a huge peak brightness of 10,000 nits, and that it features 20,736 dimming zones – the highest such figure we’ve seen from a consumer TV. Even Hisense’s 116UX RGB Mini LED debutante had 'only' 3584 dimming zones.

Other key features confirmed for the X11L so far include a new Pro edition of TCL’s AiPQ processor, designed to ensure that even today’s relatively limited content can potentially make use of the full range of the TV’s capabilities; native 4K/144Hz gaming support that can be switched to HD/288Hz support via TCL’s Game Accelerator feature; Google TV smarts; support for both of the premium Dolby Vision IQ and HDR10+ HDR formats; support for the IMAX Enhanced format that most Marvel movies are available in on Disney Plus; and support for Dolby Atmos sound.

Picture quality

It took no time at all during our hands-on with the X11L before we started noticing its pretty remarkable picture quality charms.

Its killer combination of 10,000 claimed nits of brightness and more than 20,000 dimming zones delivered a truly spectacular contrast performance, for starters, where inky blacks share the screen with bright highlights that erupt off the screen with an intensity that its RM9L RGB Mini LED stablemate just couldn’t match.

In fact, we can’t recall seeing an equivalent level of brightness from any other screen, bar some of the crazily expensive Micro LED displays that pop up at technology shows every year. Not even the uber-expensive Hisense 116UX gets beyond 8500 nits.

It wasn't just the X11L’s raw brightness that impressed, though. The way it was able to retain most if not all of that peak brightness even when a bright highlight appeared against a near-black backdrop (something that TCL boldly allowed to happen a lot in its X11L demo footage) was incredible to behold – especially as it was achieved while throwing up remarkably little sign of the sort of haloing, blooming or zone ‘flickering’ issues that we’d normally expect to see with a local dimming TV delivering contrast even a fraction as intense as that of the X11L.

The brightness also held up outstandingly well with HDR images that filled the whole screen with bright content, providing a stark reminder of this advantage that LED currently retains over even the latest and brightest OLED screens.

The incredible contrast also held up remarkably well even when looking at the X11L from a wide viewing angle – though there was some mild colour shift from wide angles, and backlight haloing/blooming became a bit more noticeable.

In all of the above image areas, the X11L outperformed the RM9L screen next to it. The only area where the RM9L consistently outperformed (kind of) the X11L was with very pure colours.

Rich red flowers or bright green meadows, for instance, enjoyed purer saturations on the RM9L. A simple side effect, we guess, of the X11L having to mix QD colour filters with a single-colour LED backlight, rather than colours being crafted from pure red, green and blue LEDs as happens with the RM9L’s RGB Mini LED lighting system.

It certainly seemed to us, though, that as predicted earlier, the RM9L’s greater single-colour purity comes at the expense of some brightness versus the X11L.

Perhaps because of its extra dimming zones and brightness the X11L’s pictures also looked slightly sharper and more detailed than those of the RM9L.

Sound quality

The full-width integrated B&O ’soundbar’ attached below the X11L's screen carries left, centre and right channels, while two more speakers in the chassis fire sideways to left and right, and a pair of large, gold-finished rear-mounted woofers provide low frequencies.

The sound produced by all these speakers really did sound excellent in the admittedly highly imperfect surroundings of CES. The soundstage sounded really detailed, but also had a lovely, rounded, harshness-free tone, even at high volumes.

The way the sound was propelled towards us from the forward-facing integrated soundbar created a much more immediate and impactful sound, too, than anything we heard from TCL’s 2025 B&O-toting TVs, while the new woofers deliver seemingly more low-frequency heft than those of any 2025 TCL model, too.

If you really want to take the bass to properly cinematic levels, though, you can add TCL’s new Z100-SW wireless subwoofer.

In the demo session, this extended both the impact and depth of the bass substantially, but did so impressively seamlessly, enjoying a good tonal match with the TV’s integrated sound system and avoiding any obvious frequency response ‘gap’.

Early Verdict

We’re going to need to spend much more time with a finished, production sample of the X11L and our own favourite real world content before we can deliver a final judgment on TCL’s surprising new flagship screen. But the signs so far are looking auspicious to say the least.

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Music and video streaming just keeps on getting more expensive, but this year I think it reached a tipping point. With Netflix, Disney+, Spotify and Apple TV all putting up their prices, the current model seems unsustainable – how much can people really pay for their entertainment?

If you're feeling the pinch, I'll share a trick that can still let you binge yourself silly without paying the same high prices. But more on that later.

The only way is up

In October, Spotify increased its prices for the third time in 15 months. What makes it even more galling is that the firm held the price of its Premium tier at £9.99 for years prior to 2023. You now pay £3 more a month than you did before July 2023 – an increase of £36 a year.

Admittedly you now get Lossless quality as part of the package, which Spotify announced the month before its latest price rise. But it's still a lot more to pay, especially when you consider the other price rises we've seen this year.

Disney+ also raised its prices for the third time in three years. The Standard tier – the cheapest without ads – is now £9.99 a month, but if you want 4K and HDR, it'll cost you £14.99.

In August, Apple TV+ (as it was then known, prior to its name change) raised its prices by £1 a month. That might not seem like a big increase, but how's this for context: Apple TV is now twice as expensive per month as when it launched in 2019. Yowzer.

Rounding out our list, Netflix was the first streamer to hike its prices this year, and by a whopping £2 a month for its Standard tier.

Considering that the average Brit subscribes to 3.3 streaming services, you can see how these costs soon add up.

Unless, that is, you find a way around them.

Pause for thought

Time was you could take advantage of a free trial, but now most services have grown wise to that and eliminated them. But there is another way.

Just cancel one or more of your services for a time. Then wait until there's a decent amount of stuff on there you want to watch, resubscribe, and then cancel again once you've binged it all. It's simple to do, and could save you a packet.

I have subscriptions to Disney+, Netflix and Prime Video, as well as a Sky Q box. Prime Video and Sky are paid for annually (Prime Video as part of my Prime subscription), and so can't be paused. But there's nothing to stop me cancelling Disney+ and Netflix.

Except for my children, that is. But if it wasn't for them constantly chaining Bluey, Spidey And His Amazing Friends, Is It Cake? and more, I would do it in a heartbeat.

It makes perfect sense. I haven't watched anything on Prime Video since The Assassin back in July, so if I could pause my sub, I would. It would also let me watch at my leisure – with the latest series of Only Murders In The Building, Disney+ dropped new episodes weekly, but if I only reactivated my subscription once they were all live I wouldn't have to wait seven days between episodes.

I could happily go large chunks of the year without Netflix, as Wake Up Dead Man: A Knives Out Mystery is the first thing I've been interested in watching on the service in months. (And yes, I have been able to resist Champagne Problems.)

You don't have to cancel all your subscriptions. You could even cycle through each one at a time, rinsing Disney+ for a month, then Netflix, and so on. By the time you get back around to Disney+, it's bound to have a fair amount worth watching.

So take a deep breath, and hit pause on your subscription. Unless you have to be the first to see a new series, and can avoid spoilers, it's a simple way to save a few pounds. Remember: with streaming services, you're only ever renting the content, it's never really yours to own. And the second you resubscribe, it's all there again, with more besides. It's like you were never gone – but your bank balance says otherwise.

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As we near the end of 2025, I can conclusively say that this year has been a bit of a strange one for streaming services.

Even as we enter the final weeks of the year, we're hearing news regarding the official UK launch of HBO Max, and it appears that Netflix is poised to acquire Warner Bros.

The biggest streaming surprise of 2025 for us, however, came from our very own Awards judging process. We took stock of our favourite streaming services.

After a year of middling content, price increases, and, most crucially, 4K HDR streaming issues, we decided that Disney+ shouldn't take home the Award for "Best video streaming service".

Instead, Apple TV snatched the Award, and for good reason, too. We don't give out a "most improved" Award, but if we did, Apple TV would be a shoo-in, thanks to its much broader library of high-quality content compared to when it launched back in 2019.

I've dabbled in Apple TV (formerly Apple TV+) over the years, watching the likes of The Morning Show, Slow Horses and Silo. However, there's still a lot that I was curious to catch up on, including Shrinking (see our latest edition of Now Showing for my thoughts) and Severance (which I admit I'm yet to watch).

There's also been a new crop of shows for 2025, including The Studio and, most recently, Pluribus; both of which are stellar.

So, with all of this in mind, I decided the slash my Netflix Premium subscription back down to the basic advertisement-inclusive tier that's included with my Sky Stream package.

And I'm happy to report that I don't regret my decision in the slightest.

Truthfully, I've been wary of Netflix's middling content library for quite some time, and locking 4K HDR behind the top tier (which has risen to an astronomical £18.99 per month here in the UK) is a frustrating trend that is sweeping the world of streaming. We have Netflix to thank for that.

Regardless, I'd like to get back to what's making Apple TV my streaming weapon of choice.

The quality of the content on Apple TV seems to be a cut above, probably thanks to the fact that each show has a considerable budget behind it. Selling a boatload of iPhones, iPads and AirPods each year will, of course, allow Apple to boost the budgets of its original programming; however, it's nice to see the company invest that into making high-quality productions.

Everything looks and sounds superbly slick on Apple TV, and with 4K, Dolby Vision and Dolby Atmos included as standard at a fraction of Netflix's asking price for Premium, I can easily forgive the lack of third-party content.

Better yet, the writers, directors and talent that Apple TV attracts are second to none. Take The Studio, for example, which includes an onslaught of A-listers, all of whom shine in their respective roles.

I deemed The Studio to be "one of the best TV shows I've watched in years" during one of our regular What Hi-Fi? Team AV discussions where we discuss what we're currently watching, and I stand by that assessment. Conversely, it's been quite a while since I've felt anything near that for a Netflix Original show.

I've also been pleasantly surprised by the range of content that Apple offers. It's diversified its offerings since launch, meaning there is now a solid range of non-scripted shows and movies. I've just started to tuck into Knife Edge: Chasing Michelin Stars, which is a treat for foodies.

Apple is also leveraging its platforms to involve huge musicians such as Billie Eilish, Mark Ronson and Bruce Springsteen for documentaries and recordings of live performances.

It's been one of the more overlooked services compared to the likes of Netflix, Disney+ and Amazon Prime Video, but I think it's time to change that.

Apple has been working away in the background to expand its content offerings, and in doing so, it's quietly become the best streaming service for your money.

Sure, the services I mentioned above have swathes of third-party content, but as someone who values quality over quantity, I have no qualms about making Apple TV my number one streamer.

Netflix remains on my roster, and I'm sure there are some hidden gems that I'm yet to watch, but it's no longer at the top of my list.

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German brand Metz has launched a 24-inch “portable, rechargeable smart streaming TV” – the 24MPE7002Z – all with an affordable price tag.

The company claims the lightweight Full HD TV is easy to take on the go for the holidays or as a second screen in the home.

Google TV acts as the TV’s smart platform with access to a variety of streaming services, including Netflix, Amazon Prime Video, Apple TV and Disney+. There’s no availability for live terrestrial TV channels or related on-demand content, though.

In terms of sound, there are two front-firing 6W speakers which feature Dolby Digital Plus audio and deliver “exceptional performance”.

There’s a rechargeable battery as well, which Metz claims can deliver more than three hours of uninterrupted viewing on one charge..

Metz further claims that thanks to an anti-glare matte LED screen, the TV can be “placed almost anywhere”, including outdoors. It weighs just 4kg and features an integrated carry handle, so it’s easy to move around when you need.

The 24MPE7002Z is priced at just £299 (around $400 / AU$600), and is available now in the UK. And, with its easy-to-carry design and affordable price tag, this model could be a worthy alternative to a portable projector if you want to save some cash.

Of course, a projector screen can go significantly larger than Metz’s 24-inch model, with the vast majority of portable projectors reaching at least 150 inches.

But they will set you back much more than the price of this Metz model. Take the Xgimi MoGo 4, which we rated four stars when we had it in our test room, which comes in £509 / $499 (around AU$1022). So, for those looking for a way to take movies on the go without breaking the bank, this new Metz TV could prove tempting.

We haven’t had the 24MPE7002Z in our test room yet, however, so we don’t know how it performs. But the reigning champ in our best cheap TVs guide for the 24-inch category, the RCA Roku TV, may prove to be tough competition. This model costs £136 (around $180 / AU$275), making it even cheaper than Metz's offering.

It impressed during testing with its "bright, crisp picture" quality as well as comprehensive streaming smarts for the price. That resulted in a four-star rating overall, and could give the 24MPE7002Z a run for its money.

MORE:

Here's our review of the RCA Roku TV

Check out the best cheap TVs

And these are the best outdoor projectors right now

Black Friday is one of the best times of the year to grab a deal (and doesn't my bank account know it). Fortunately, this stretches as far as streaming services.

And while there's a few different offers floating around the web right now, this Disney+ and Hulu bundle is one of the best ones we've found – and it'll save you over 61 per cent, per month for an entire year.

For just $4.99 a month for 12 months, you can get access to not one but two mega streaming services, a significant drop in price from the usual $12.99 a month.

• View our pick of all the best Black Friday deals

A few things worth noting though; it's the ad-supported bundle, you need to be a new or eligible returning subscriber, and you've only got until 1st Dec to grab this deal.

If all these things align for you, then hurry up before it's too late!

Disney+ is a well-stocked streaming service that Disney fans and more are sure to rejoice about. Bundle it up with Hulu and you've got an astonishing amount of content to enjoy over the holiday season and all the way to the end of 2026, thanks to this 12-month deal.

Rivaling the likes of Netflix, Amazon Prime Video and Apple TV, what Disney+ has that the others don't is exclusivity on Disney content, including Star Wars, Marvel (with a few exceptions), and National Geographic. Throw in Hulu on top of that and you've got additional access to original titles including The Handmaid's Tale and new seasons of Futurama.

For families on Disney+, there's also the vast Disney and Pixar collection of family-friendly content, balanced out with Hulu offering a steer towards more adult-focused titles.

A particularly nice touch on the platform's interface is that each user can navigate this content with their own profile, splitting the content between adults and kids. Simply pick a character for each profile, which can be made child-friendly with bolder icons, and a more colourful, less dense interface populated with more kids' content.

And to watch all these movies and shows, you've got an easy-to-navigate catalog with a banner of featured content and categories with helpful groupings from 'Trending' to 'Throwbacks'. Plus, an easy tab to switch between Disney+ and Hulu content.

The catalog also features plenty of 4K HDR content (some originally mastered, some remastered), which isn't surprising considering Disney has been in the Ultra HD Blu-ray game for years.

In our full review, we said: "Thanks to quality Disney Originals and plenty of exclusive theatrical releases, Disney+ seems to have found its own particular niche and looks very much set to stay living happily ever after in the competitive video streaming world."

So, for just $4.99 a month for an entire year, you can get your hands on Disney+ and Hulu. Yes, you'll have to patiently wait for the ad breaks to pass, but for this money you'll be laughing through the ad breaks instead.

Black Friday quick links

• AirPods Pro 2: $80 off
• Amazon: up to $20 off Fire TV Sticks
• Best Buy: save $1000 on Samsung soundbar
• Bose: save up to $100 on headphones, speakers
• Crutchfield: big savings on hi-fi separates
• Fire TV Stick 4K: save 33% on streamer
• Klipsch: save up to $300 on speakers and subs
• NAD amplifier: save $900 at Crutchfield
• Roku Streaming Stick 4K: was $50 now $39
• Samsung: save up to $2000 on QLED TVs
• Sonos: big money off speaker bundles
• Target: up to 35% off headphones
• Walmart: up to 65% off TVs
• World Wide Stereo: up to 60% off AV

When it comes to streaming services, there's an abundance of platforms to choose from, and it can become pretty expensive fast.

Each one has its own unique offering from extensive libraries to original content, which makes it hard to decide which one(s) to pick.

• View our pick of all the best Black Friday deals

But, in a fairly unprecedented move for one of our favorite streaming services (so much so we even gave it a What Hi-Fi? Award), there's a discount to be had – and it's a really good one.

For Black Friday, Apple TV is available for just $5.99 a month for six months. That's over 50% off its usual price. But, you'll have to be quick as the offer is only available until Dec 1st, for new and select returning subscribers.

But, what do you get in exchange for your money? Well, whilst Apple TV was a little 'late' to the streaming platform game, it's certainly caught up in terms of content.

And while Apple TV still can't quite match other streaming services for quantity, it's a cut above when it comes to quality.

Streaming bitrates for Netflix, Disney+ and Prime Video average between about 10 and 25 Mbps, Apple TV averages around 25 to 40 Mbps, and even stretches to 45 Mbps at times. This results in an all-round better picture quality.

This led our expert testers to say: "Compared with even the best Netflix, Disney Plus and Amazon Prime Video streams, content from Apple TV looks noticeably sharper, cleaner and more detailed."

Whilst picture quality is impressive, so is the content on offer with an increasingly strong roster of original TV shows and movies including Severance, Slow Horses, For All Mankind, Shrinking, Ted Lasso, and Silo.

And while the movie library is a little less extensive, in our full review, we said: "Overall, though, there’s more than enough quality content on Apple TV for most people to feel that they’re getting strong value for money out of their subscription cost."

Sonically, Apple TV delivers Dolby Atmos soundtracks at 786 kbps, in line with rival streaming services, which is still very good in its own right.

We considered $12.99 a month to be a good value price already, giving it a What Hi-Fi? Award as the best streaming service money can buy.

Now that it's just $5.99 for six months, it's even more of a winner in our book. Don't delay though, it's only available until Dec 1st for new and some returning subscribers.

Black Friday quick links

• AirPods Pro 2: $80 off
• Amazon: up to $20 off Fire TV Sticks
• Best Buy: save $1000 on Samsung soundbar
• Bose: save up to $100 on headphones, speakers
• Crutchfield: big savings on hi-fi separates
• Fire TV Stick 4K: save 33% on streamer
• Klipsch: save up to $300 on speakers and subs
• NAD amplifier: save $900 at Crutchfield
• Roku Streaming Stick 4K: was $50 now $39
• Samsung: save up to $2000 on QLED TVs
• Sonos: big money off speaker bundles
• Target: up to 35% off headphones
• Walmart: up to 65% off TVs
• World Wide Stereo: up to 60% off AV

Owning a complete home cinema system is the stuff of dreams, isn't it?

But did you realise you could buy such a thing for a little over £500 this Black Friday?

• Check out all of the Black Friday deals at Amazon
• Richer Sounds Black Friday event
• Sevenoaks Black Friday deals
• Peter Tyson: Black Friday event

Well, it's true! By combining two amazing Black Friday deals – on five-star components, no less – I've built a system that includes a 4K Mini LED TV and a complete Dolby Atmos soundbar system for just £538.

The system

• TCL 50C6KS Mini LED TV: £349 at Amazon
• Hisense AX5125H Dolby Atmos soundbar system: £189 at Amazon
• Total cost: £538

The TV

The TCL 50C6KS is our favourite budget 50-inch TV – and it has the What Hi-Fi? Awards 2025 gong to prove it.

What really wins you over is the picture: deep, inky blacks – rare on a sub-£500 TV – combined with really strong brightness and vivid, convincing colours thanks to its Mini LED backlight and Quantum Dot panel.

Shadows look rich, HDR highlights pop nicely, and there’s a surprisingly good amount of detail even in dark or complex scenes.

On top of that, it supports the full spread of HDR formats – HDR10, HDR10+, Dolby Vision, HLG – so you can access all of your content in the highest possible quality.

Google TV is built in, so all of the big, global services (Netflix, Amazon Prime Video, Disney+, Apple TV, etc.) are ready to go, and TCL has gone out of its way to add all of the UK's main catch-up apps, including BBC iPlayer.

Not that you'll need it, but the built-in sound also over-delivers for the money: surprisingly detailed, decently spacious and with Dolby Atmos support – more than you’d expect at this price.

Sure, it isn’t perfect: the screen is 60 Hz only, so it can't handle 4K/120Hz gaming (though the gaming experience is otherwise very good, it has to be said).

Motion is also a little soft, and on rare, extremely bright highlights, there’s a little clipping or slightly blatant dimming-zone transitions.

But honestly, those felt like tiny trade-offs at the full price of £419, let alone the Black Friday price of £349 at Amazon.

The Dolby Atmos soundbar system

You no longer have to spend a fortune and mix-and-match lots of different components to get a full home cinema system. Instead, you can get it all in one box, and for less than £200.

The one-box system I'm referring to is the Dolby Atmos-friendly Hisense AX5125H.

This isn't just a soundbar, but a full 5.1.2-channel system that includes a soundbar, a wireless subwoofer and two wireless surround speakers.

The result isn’t just louder than your TV’s built-in speakers, it’s genuinely cinematic: Dolby Atmos and DTS:X soundtracks come alive with solid impact, plenty of bass and a sense of space that makes films and shows far more immersive. Importantly, voices remain clear, even during heavy-duty scenes.

For the money, this is simply the most complete surround sound setup you’ll find.

Setup is refreshingly simple: HDMI eARC gets you going in minutes, no fuss. The hardware feels solid, and though the design is no flashy showpiece, it’s compact enough to sit naturally below most TVs (including the TCL C6KS) and doesn’t look toy-ish.

Sure, there are some limitations. The sub can get a little over-enthusiastic now and then, which in the busiest action scenes can make bass slightly boomy and even muddy dialogue a little. And while the package is excellent for movies, for stereo music or nuanced sound-mixes, it doesn’t quite reach high-end levels.

Again, though, those were minor issues at the original price of £249, so they really pale into insignificance with this £60 discount.

Black Friday quick links

• Amazon: browse all of today's best deals
• B&W speakers: save £200
• Bluetooth speaker: 48% off five-star JBL
• Bose QC Ultra Earbuds: save £100
• Bravia 8 TV: save 34% on 55in Sony TV
• Denon AV receiver: save £500
• Dolby Atmos soundbar: down to £299
• ELAC Debut 2: five-star speakers now £199
• Headphones: Sennheiser Momentum 4 now £169
• LG C5 55-inch: lowest-ever price at Richer Sounds
• JBL soundbar: now better than half price
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• Sony headphones: now just £29
• Stereo amplifier: Cambridge Audio now £299
• TVs, movies, home cinema: browse the best deals
• Vinyl: 3 for £66 at Amazon
• Wireless earbuds: Award winners now £75

In a world where streaming is increasingly becoming the main way we watch our favourite movies and TV shows, it can be tricky to decide which service is worth your monthly subscription.

Firstly, there are so many on the market, from big hitters such as Netflix and Disney Plus, to more niche platforms such as BFI Player (for indie films) and Shudder (horror movies).

And with all those options, it can be hard to know which services deliver a great selection of shows and movies but also – if you're like us – with good picture quality and sound.

So we have good news, to help you make that decision. We've spotted an eye-catching deal on our 'best video streaming service', as made office by our recent What Hi-Fi? Awards.

Apple TV (formerly known as Apple TV+) is available for just £4.99 a month for six months, down from its usual price of £9.99.

That saves you a total of £30 for that period before it goes back up to its regular cost. This gives you a decent amount of time to enjoy its offerings and decide whether you want to continue, all at a discounted price.

You can take advantage of this deal if you are in the US as well, as the price has dropped from $12.99 to $5.99 per month.

But what's so special about Apple's streaming platform? First off, its high-quality streaming performance really sets it apart.

It has a higher streaming bitrate compared to Netflix or Prime Video (which averages between 10 and 25 Mbps), as Apple TV averages around 25 to 40 Mbps and can even stretch to 45 Mbps.

We say in our review: "Compared with even the best Netflix, Disney Plus and Amazon Prime Video streams, content from Apple TV looks noticeably sharper, cleaner and more detailed."

We’re not talking 4K Blu-ray levels of crispness and control, of course – discs can exceed bitrates of 100 Mbps, after all – but Apple TV gets closer than any of its mainstream rivals.

In terms of sound, the service delivers Dolby Atmos soundtracks with a satisfying amount of immersion and control.

There are some great shows and movies, too. When it comes to TV shows, it offers the likes of Severance, Black Bird, Platonic, Shrinking, Ted Lasso and Pluribus, all of which have scored highly with critics and audiences.

Then there’s Slow Horses – one of the very best TV shows of the last few years, at least as far as the What Hi-Fi? team is concerned.

Its film offerings are less impressive, however, but films such as Coda, Killers Of The Flower Moon, Tetris and Finch are still on the menu.

If you want to save some cash while getting access to this Award-winning streaming service, this is the time to do it.

Black Friday quick links

• Amazon: browse all of today's best deals
• B&W speakers: save £200
• Bluetooth speaker: 48% off five-star JBL
• Bose QC Ultra Earbuds: save £100
• Bravia 8 TV: save 34% on 55in Sony TV
• Denon AV receiver: save £500
• Dolby Atmos soundbar: down to £299
• ELAC Debut 2: five-star speakers now £199
• Headphones: Sennheiser Momentum 4 now £169
• LG C5 55-inch: lowest-ever price at Richer Sounds
• JBL soundbar: now better than half price
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• Sony headphones: now just £29
• TVs, movies, home cinema: browse the best deals
• Vinyl: 3 for £66 at Amazon
• Wireless earbuds: Award winners now £75

Whether it’s through a single soundbar or a full-fat multi-speaker sound system, Dolby Atmos can provide a great way to experience movies with excellent levels of immersion.

In our test room, we have a range of discs that we use to put a system’s Atmos performance to the test. There's often a common theme among lots of these discs, as they tend to fit into the thriller genre and usually feature their fair share of big explosions and action-packed soundtracks.

Take one of the newest discs to enter our test room – Alex Garland’s dystopian action movie Civil War.

With gunfire and hovering helicopters galore, this film is ideal to see how well a sound system performs when it comes to the feeling of complete immersion that is comparable to your experience in the cinema.

But there’s another genre that is often overlooked when it comes to Dolby Atmos performance, and that’s musicals.

While it does not necessarily challenge an Atmos system in the same way as an action-packed movie such as Thunderbolts or Dune: Part Two, the genre gives it a chance to really add to the immersion of the experience.

A perfect example of this is Wicked, which is the latest film we have added to our 4K Blu-ray rotation in the test room. It’s proven to be a great test disc already, and not just because of its show-stopping songs.

One scene that has been on repeat ever since we got the film in our room is the epic finale where Defying Gravity is performed in all its glory.

For the musical nerds among us, this will need no explanation but let us fill the rest of you in. The musical hit follows Elphaba (portrayed excellently by Cynthia Erivo), a young woman born with green skin who has been mocked and shunned all her life.

When she enrols in Shiz University in the Land of Oz, she doesn’t expect things to be any different. But when she forms an unlikely friendship with Ariana Grande’s Galinda, she thinks she may have found her place.

The finale takes place on the top of a castle's parapet. As the chorus ramps up and the vocals hit soaring high notes, it's a great challenge to see how a system balances this with the brassy yet subtle soundtrack.

And it's not just Wicked that has proved to be excellent Atmos testing material. With Hamilton on Disney Plus, the fact it is a recorded stage performance certainly tests a different aspect of an Atmos sound system compared to more action-heavy films.

The bustle of the audience and their reactions during key moments really help to give the viewing experience that extra layer of immersion and, with the right Atmos system, it feels like you could be seated right next to them.

It's the same reason many people prefer to watch live sports with a surround sound system; it makes you feel like you are there with the crowd.

So when you next want to put your home cinema system through its paces, think about sitting back and getting stuck into an all-singing, all-dancing movie night.

MORE:

Here are the best Dolby Atmos scenes to test your home cinema system

These four thrilling discs have been on repeat in the What Hi-Fi? test room this month

These are the best Dolby Atmos soundbars

China-based brand Xgimi has launched its latest portable projector, the Vibe One, along with a new sub-brand.

The Vibe is being pitched as an affordable, portable option for people looking for a big screen movie watching experience that won't break the bank.

Apollo Zhong, chairman at Xgimi, comments: “With Vibe One, we’re giving users a product that’s simple, fun, and dependable, while still carrying the design DNA XGIMI is known for.”

Featuring auto-keystone and auto-focus, the 1080p projector’s stand can tilt up to 160 degrees making it, in theory, easy to setup on the fly.

It also has a compact design akin to a camping lantern with a carry handle on the top. The only slight concern is that the Vibe One only offers up to 1.2 hours video or four hours music playback according to the company. So, if you're looking to watch any of Martin Scorsese's library of work you'll need a battery pack or mains connection.

In terms of sound, there are two 3W speakers featuring Sound by JBL for “rich, room-filling audio” that doubles as a Bluetooth speaker. As you'd expect for a projector this class, Dolby Atmos is not included.

The Vibe One uses Google TV with built-in Netflix support, plus the usual streaming suspects. That includes Amazon Prime Video, ITVX and Disney+.

It also includes eight Ambient Light Mode colours to help set a "vibe" when using it. You can get the projector in two different finishes: Cloud Ash and Blue Spark (featuring a yellow handle and blue base).

The projector will cost £219 in the UK and $269 in the US on 5 November, although for the latter there is a reduced early bird price of $199 if you pre-order.

Even compared to a similar model from the brand, the Xgimi MoGo 4, that is quite a low price and puts the Vibe One in the entry-level portable projector category.

When we reviewed the MoGo 4 (which launched at £509 / $499 / AU$1399), we rated it four stars for its punchy picture and easy-to-use design.

It certainly seems that Xgimi have continued its legacy with the compact build, but we will have to see how this cheaper projector fares when it comes to its picture.

MORE:

Here's our review of the Xgimi MoGo 4

These are the best portable projectors

And check out the best projectors right now

It’s officially What Hi-Fi? Awards season, which means we have seen a huge variety of different products passing through our test rooms these past few months.

There has been a sea of TVs, speakers and headphones to get through; but one of the categories that has really taken us by surprise is the coffee table projector market. It has historically proven difficult to find a contender that produced a cinematic image while not costing the earth.

But this year has produced an impressive collection of worthwhile projectors in this category, including Epson’s EF-72. It promises to provide “a cost-effective, portable, high brightness and high image quality projection experience for the modern household.”

The RGB LED projector claims to offer up to 1000 lumens of brightness, and a screen size of 150 inches (measured diagonally). In terms of streaming, the EF-72 is powered by Google TV which includes access to most of the usual streaming suspects including Netflix, Disney Plus, Apple TV and Amazon Prime Video.

It will set you back £1150 / $1000 (around AU$2845), placing it firmly in the premium coffee table projector category.

But what did I actually learn from my days of testing out this projector with my colleagues? I won't spoil the full review but I can say there’s certainly a lot to like about the EF-72. It is, though, far from perfect.

Without further ado, read on to find out what we liked about the Epson EF-72 as well as what we were not too keen on.

Like: warm, balanced picture performance

If you’re spending your hard-earned cash on a projector, you obviously want the picture performance to be worth your time. And the Epson EF-72 ticks a lot of boxes in this category.

After a bit of tinkering with the picture settings, we find the image looks detailed and cinematic.

While watching Dune: Part Two on 4K Blu-ray for example, we say in our review that “the projector does a good job of capturing the warmth of the scene while still keeping her skin tone natural right down to her subtle freckles.”

There’s plenty of warmth to the image, too. This becomes clear with Kingdom of the Planet of the Apes as flaming torches held by the chimpanzees look vivid against the dark background, and the green leaves in the forest appear earthy and natural.

This all results in a pleasingly solid picture performance that is very easy to live with.

Dislike: rivals go darker and brighter

As we said, however, the Epson EF-72’s picture performance is far from perfect. We find that the projector is playing it safe when it comes to portraying both the deepest blacks and the brightest highlights, which results in an image that could be a little more exciting.

This becomes especially clear when we compare the picture quality with the EF-72’s main rival – the Hisense M2 Pro.

The Hisense projector (which comes in with a cheaper price tag of £1299 / $1299 / AU$2495) offers a more engaging overall image that manages to go both brighter and darker. When watching No Time To Die, as Bond walks across white rocks in the Italian countryside, for example, the Hisense provides more subtlety between the different shades.

That’s not to say that the Epson does not achieve a cinematic image, but rivals such as the M2 Pro do produce a more dynamic overall look.

Like: clear dialogue from built-in speakers

But what about its sound performance? The projector features just one in-built 10W speaker, which does manage to produce clear vocals for both movies and music.

When watching Dune: Part Two, as Timothee Chalamet’s Paul Atreides and Stilgar have a heart-to-heart in the desert, the projector makes their voices sound natural and tonally balanced, with a reasonable amount of bass to portray the emotion of the scene.

Many built-in projector speakers don't tend to produce a particularly crisp vocal performance, so it's good to see that the Epson model bucks this trend to some extent.

Epson says you can use the projector as a dedicated Bluetooth speaker, too, and the clear vocals continue when we test it with a variety of tunes.

Still, the EF-72 is not without its faults in this area…

Dislike: lacks dynamic range and immersive surround sound

Even though the Epson model manages to keep vocals clear, the single speaker does struggle to push the sound far out from the body of the projector which results in a localised audio performance.

That makes it sound quite detached from the action on-screen, and can detract from the excitement of the scene.

Another drawback of the Epson's sound system is its lack of dynamic range which also adds to its overall flat and uninteresting audio.

A classic bass stress tester we use in our test room is Chapter 2 of Bladerunner 2049, which reaches very low frequencies. While the Epson EF-72 does not distort here as many sound systems do, it’s quiet and just can't reach the bass levels required to deliver the scene’s tension.

It's not the worst sound we have heard in a coffee table projector, but it certainly doesn’t blow us away. That's why we strongly recommend pairing the Epson with a soundbar when watching TV or movies.

Like: sleek and premium-looking design

But let's end on a positive: the Epson EF-72's design has a luxurious and easy-to-use feel that adds to the premium experience.

The top of the projector has a pleasing overall tactility with a smooth wooden top that comes in an oak colour, and a fabric covering for the sides.

It's easy to take from room to room thanks to its compact and lightweight body, although it can't quite be considered a portable projector as there is no built-in battery.

On the base of the projector's body is an LED ambient light display. You can select a range of different ambient light modes that are ideal if you don’t want to sit in complete darkness while watching.

This is especially refreshing considering the majority of projectors tend to resemble a fairly uninteresting black or white box with not much character.

MORE:

Here's our full review of the Epson EF-72

And check out of our thoughts on the Hisense M2 Pro

What Hi-Fi? Awards 2025 winners revealed!

The Hisense M2 Pro (aka the Hisense M2TUK Pro) is one of the latest wave of coffee table projectors aiming to offer movie fans a home-cinema-in-a-box experience.

What makes it interesting is that it is by far one of the smallest and lightest we’ve seen, weighing a very portable 3.9kg.

Add to this competitive pricing, and the M2 Pro becomes an alluring prospect for any movie fan looking for a decent projector that’s quick and easy to use on the fly for the odd movie night, without needing to be a permanent fixture in the lounge.

But, with the market increasingly choc-a-bloc full of rival products, many of which have fallen just short of earning that hallowed fifth star from our reviewers, is this enough to make the M2 Pro succeed where others have failed?

Here’s what we found after thoroughly putting it through its paces in our viewing rooms.

Price

The Hisense M2 Pro sits in the lower-mid segment of the coffee table market, costing £1299 / $1299 / AU$2495 at launch. Since then, its price has already dropped, with many retailers offering it for £999 in the UK at the time of publishing.

And while that’s still a lot compared to most portable units, including the £509 / $499 Xgimi Mogo 4, which more casual projector buyers may also be considering, it’s actually quite competitive in the realm of more 'serious' models.

The price places it firmly below the five-star BenQ X3100i, for example. This costs £2099 / $2399 / AU$3599. Hisense's step-up sibling, the Hisense C2 Ultra, is also considerably more expensive, launching with a hefty £2499 price tag.

It also lets it hit a currently under-served segment of the market, with the only direct rival we’ve tested recently that’s like-for-like being the four-star Epson EF-72, which costs £1150 / $1000.

Build

The Hisense M2 UK Pro ticks all the right boxes from a design standpoint.

It’s a small, unassuming box, with a spherical glass lens at its front and speakers at its sides, and it's bolted onto a square swivel stand.

The stand is hinged, which makes it easy to adjust the angle of the image. There's also a common thread adapter in the base, which opens up the possibility of mounting the projector to the ceiling.

A few years ago, these swivel designs weren’t in vogue, with most makers assuming you’d get a separate stand or relying on switches on the bottom, most of which only had one angle and height option.

So, unless the stars aligned and it sat naturally at the exact angle and height you needed, at whatever distance you placed it, things weren’t optimal, even with auto correction. The M2 Pro does, of course, have that, too, in the shape of Hisense's custom AutoMagic AI Adjusting System 2.0.

The unit’s 1.0 to 1.3:1 throw ratio is also suitably flexible to let it function in most living rooms and bedrooms. This lets it throw up a 65-inch image at distances between 1.4m and 1.9m.

From there, screen size grows in line with the amount of space you give it until capping at 200 inches at a 4.4m-5.8m throw distance. Optical zoom functionality also lets you scale down as required.

The combination works a treat, with the auto correction in particular delighting our testers. Within minutes of plugging it in, we had managed to get the image perfectly projected onto our screen.

As an added perk for those who want to store it out of sight when it’s not in use, the M2 Pro even comes with a carry/storage case, which is a nice touch that shows a lot of thought has been put into its design.

This remains the case with its small but intuitive remote control, which comes with a backlight – something most projectors at its price don’t have, despite their focus on being used in dim conditions.

Features

The M2 Pro is packed with a fairly reasonable specifications sheet that should tick all the boxes for its intended market, at least if films and TV shows are your primary focus.

The headline feature is its use of Hisense’s Trichoma Laser technology. This is a fancy way of describing the DLP light source it uses, which aims to improve picture quality using three individual lasers to create the red, green and blue parts of the image. We’ve seen this on numerous other projectors, including last year’s Hisense C1.

This, plus AI wizardry provided by its image processing, lets the M2 Pro deliver 110 per cent coverage of the BT.2020 colour gamut favoured by creatives and a 0.9 Delta E score (anything below 1.0 is considered pretty amazing by home cinema standards).

But before you get too excited, as ever, Hisense has kept quiet about what specific settings are required to hit those levels of accuracy.

For people unwilling to invest in a projector screen (something you really should do, as it makes a big difference to picture quality), there’s also AI-powered colour correction, which aims to make the M2 Pro work better when used with a plain wall.

Brightness levels are also impressive, with a claimed peak of 1300 lumens. This is 300 lumens higher than its direct rival, the Epson EF-72, which peaks at 1000 lumens. This potentially makes it better suited to the sort of bright environments that a semi-portable projector might be expected to perform in.

HDR support is superb, with the M2 Pro working with all four of the currently available formats: HLG, HDR10, HDR10+ and Dolby Vision.

The use of Hisense’s VIDAA platform is also, generally, a positive. The OS is intuitive to navigate, not as ad-heavy as many rivals, and includes the BBC iPlayer app in the UK. Most rival projectors use the Android/Google TV platform, and precious few manage to deliver the iPlayer app.

Add to this support for all the usual suspects, including Netflix, Disney+, Amazon Prime Video, Apple TV+, and it will serve most people’s needs – especially in the UK, where Freely is also supported.

The sound system supports the Dolby Audio and DTS Virtual X surround-sound formats, but Dolby Atmos isn’t on the cards. This isn’t a dealbreaker, though, as that’s to be expected on a projector in this class.

There are a couple of minor annoyances to contend with, however.

First, it has rather limited physical connectivity. Around the back, you’ll only find one HDMI 2.1 input, a single USB 3.0 and a power connector. That’s it. So if you want to connect a Blu-ray player and games console, you’ll have to be willing to swap cables in and out fairly regularly.

The other minor point of interest is that, despite featuring what Hisense refers to as an HDMI 2.1 socket, the M2 Pro doesn't support gaming at 4K/120Hz. This is normal for projectors at this level, but the mention of HDMI 2.1 raised our hopes.

Instead, it will only run games at a max of 60Hz in 4K, which will be a minor annoyance for gamers, as current generation consoles won’t be able to run at their max refresh rates in 4K.

An enhanced game mode offering the ability to run games at higher frame rates (up to 240Hz) in 1080p softens the blow for gamers a little.

The other thing to point out is that this is of course not a native 4K projector. Like pretty much all of the projectors we’ve tested under £4000 / $4000, it uses pixel shifting to get up to 4K.

This is a clever trick where a projector shoots out two overlapping lower-resolution images to artificially create a single 4K image. In the past, it’s been a big issue as the results were very mixed, but recent advances mean performance is now a lot better, despite native 4K still being superior.

Picture

Paired with our trusty Oppo UDP-203 4K Blu-ray player, the M2 Pro proves to be a solid performer after a few tweaks to its settings.

Out of the box, it is a little too heavy-handed in its native settings. Playing one of our new favourite test scenes from Thunderbolts, motion handling is a bit off, with characters’ movements feeling artificial and too floaty, with contrast and colour temperatures also too aggressive.

Thankfully, things rapidly improve when we switch to the projector’s Filmmaker Mode. All we find necessary to change from there is to select the lowest Film setting for motion processing and the Warm 2 colour profile.

Once done, the projector performs nicely, delivering a consistent performance that never pushes beyond the M2 Pro’s capabilities, which makes for a nicely immersive and more mature home cinema experience than we had expected.

Skin tones in particular hold a nice warmth, but never deviate into overcooked territory in the way that past Hisense projectors, including the C1, have. Yelena and Bob’s faces retain detail and look lifelike even in challenging mixed-light scenes.

Our only minor quibble is that there are very brief moments when the rainbow effect occurs during some panning shots – though it is, thankfully, infrequent.

Dark detail is also reasonably well handled, with Hisense avoiding falling victim to the common mistake of trying to overcompensate for a projector’s naturally imperfect black level by cranking the contrast too high, making the picture look unintentionally like a Frank Miller comic in the process.

This means there’s a decent amount of detail in the soldiers’ pitch black uniforms, despite there being some minor black crush.

We switch to our Alien: Romulus test disc, whose opening scene is incredibly difficult for many TVs to handle in terms of dark detail.

Some fine details of the space nebula are lost, parts of the spaceship suffer from black crush, and the projector misses some subtle details that are clearly visible on the more expensive BenQ X3100i, but the Hisense still does an admirable job overall, particularly given its price.

The ship’s edges are suitably defined, as are details such as the ridges in its metal hull, which are lost and oversoftened on many rivals, including the Xgimi Horizon Ultra. This lets it retain a sense of three-dimensionality despite the slight imperfections.

The M2 Pro continues to punch above its weight as we move to Civil War. During a scene in which a car races through a burning forest, the flames have a wonderful hue of red and an intensity that makes them suitably distinct from the silhouette of the background forest.

During a panning shot, the movement of a squadron of helicopters looks smooth but authentic, with no ghost frames or artefacts creeping in as they swoop into Washington.

Colours continue to pop but retain their realism as the film transitions to a night-time battle. There’s a nice amount of contrast, and tracer bullets across the night sky look fantastic, retaining a precisely controlled burn. Buildings look nicely sharp, too, all helping to create a truly immersive experience.

It’s only when we swap over to the more expensive BenQ X3100i that we see radically improved results. Here, there’s more detail in the darkest and brightest areas, with everything from explosions to characters’ faces in difficult mixed light holding a smidgeon more detail.

This remains the case when we move to our Pan test disc, which is our peak brightness stress test due to the film’s atypically high 4000 nits mastering. The Hisense does an excellent job, with highlights in a blob of water in the sky retaining a pleasing range of colours and every ripple looking sharp and three-dimensional.

But it hasn't got quite as much contrast in the skyline as the BenQ, and there’s undeniably some detail lost in the sun, which comes across as pure white rather than very slightly red and orange.

But, again, considering the disparity in price, the Hisense’s performance is to be applauded, and it's surprisingly competitive.

This adds up to make the M2 Pro one of the best performers we’ve seen in its class when it comes to picture quality.

Sound

The M2 Pro has a 2.0, 10W in-built speaker system. Unlike its fancier C2 cousin, this is a purely Hisense system – there’s no partnership with JBL or any other audio specialist.

And for standard TV viewing, or as a basic unit to keep the kids entertained, it's generally fine – in some ways even good, at least by in-built speaker standards.

The unit produces a surprising amount of sound volume for such a small package. Even in its standard setting, the twin speakers offer enough clarity and separation to keep voices and background noise separate enough for comfortable viewing while we stream an episode of Schitt’s Creek.

Playing Oppenheimer, characters’ voices are clear, but the background string section slightly intrudes during certain intense parts. Switching to Theatre mode rapidly improves things, and dialogue and the soundtrack stay in their respective lanes.

Moving to a nighttime battle scene during Civil War, the M2 Pro continues to do an admirable job.

Though it's only a stereo set-up, the sound of helicopters entering a military camp has a clear sense of direction, and there’s a decent amount of volume – to the point that anything above 25 sounds too loud in our listening rooms

It deals with this demanding, noisy scene well, offering each sonic part suitable space. At the start of the scene, the hushed whispers of characters creeping through the pitch black street are audible while the background gunfire offers some sense of directionality and bite.

But as the scene grows more intense, the system loses its composure. A haunting guitar track pushes the speakers too hard, causing distortion to creep in.

The engine noise of incoming helicopters also pushes the low end too hard, creating some distortion, and the sound generally lacks the heft to do it justice. The engine noise is flabby and lacks suitable definition.

Sibilance creeps in as a violent gun battle ensues, both in the sound of the bullets flying across the screen and characters screaming over it.

The combination of an underpowered low-end and a sibilant high end creates a thin, at times acidic, quality during the most intense parts of the battle.

This adds up to make it good by small, coffee table projector standards, but not perfect.

Verdict

The Hisense M2 Pro isn’t perfect. But by focusing on making all the right compromises and delivering a consistent, balanced home movie experience, it gets more right than it does wrong.

This adds up to make it one of the best coffee table projectors on the market. Offering solid picture quality, excellent app support and a wonderfully easy set-up process, it ticks all the right boxes for its target market.

Unless you’re willing to spend a lot more, you’ll struggle to find a better projector.

SCORES

• Picture 5
• Sound 4
• Features 5

MORE:

Read our review of the Xgimi Horizon Ultra

Also consider the BenQ X3100i

Best projectors: budget, 4K and ultra-short-throw

Disney Plus has received a substantial app update, bringing a fan-favourite streaming service from across the pond to the UK and Europe.

The media titan has previously labelled its mature content (such as Shogun, The Bear, and Alien: Earth) under the Star brand outside of America; however, Star has now been replaced with Hulu, which has been a popular subscription service in the United States since its launch in 2008.

All shows that were previously released under the Star banner have seemingly been switched to Hulu, and there is a new Hulu tab on the home screen, which will take users to a content hub exclusively consisting of Hulu programming.

Hulu integration seems to have already been applied to Disney Plus in the UK, as we have verified using a Google TV device; bear in mind that devices using other operating systems could still be awaiting this rollout.

Hulu will also be integrated directly into the Disney Plus app in the US next year, as the two currently separate services will be merging.

Furthermore, Disney appears to be preparing for an update to its user interface with a more modern design to coincide with Hulu's global rollout.

We don't yet know exactly what the streaming service will look like in the UK and Europe. However, early images from the US version of the streaming service depict a new, larger featured content banner at the top that plays snippets of new releases.

A new menu bar at the top of the home screen will allow for quick access to Disney+, ESPN and Hulu content, as well as a For You tab, which is home to your personalised recommendations.

The franchise tabs have been relocated to their own content rail, with Disney, Pixar, Star Wars, Marvel and National Geographic content hubs all featured, along with matching animated background art.

There's no word yet on when this redesigned operating system will be rolled out, but we'll continue checking our TVs and streaming devices and report back.

MORE:

Read our full Disney Plus review

As well as our Apple TV+ review

And check out our picks for the best streaming devices

When we first reviewed Apple TV+ in the spring of 2020, we praised its picture and sound quality but criticised its relative lack of content and device compatibility.

More than five years on, it's now known as just 'Apple TV', and it’s still the best-performing mainstream streaming service from an AV perspective. And although Apple’s approach means the catalogue is still much smaller than that of rivals, the quality of the available content is very strong indeed.

Apple TV is now available on pretty much every device, too, and it’s still significantly cheaper than Netflix and Disney+ if you care about 4K, HDR and Dolby Atmos, which we most certainly do.

It’s about time for a full reassessment, then.

Price

While most of the streaming big boys now have a dizzying array of subscription tiers, Apple TV has just one that costs £9.99 / $12.99 / AU$15.99 per month.

That gets you an ad-free experience in 4K HDR and with Dolby Atmos sound.

Netflix and Disney+ are both available for less than that, but only with adverts, potato picture quality and restricted sound options.

To go ad-free and enjoy equivalent picture and sound quality to Apple TV, Netflix will set you back £18.99 / $24.99 / AU$28.99 per month, while Disney+ is £14.99 / $18.99 / AU$20.99.

Amazon Prime Video works slightly differently: if you combine the Prime Video-only subscription with the top-up ad-free subscription, which also gives you access to the best picture and sound options, it comes out at £8.98 / $11.98 (in Australia, you can’t subscribe to Prime Video without the broader Prime subscription, so the price there is AU$12.98).

Of course, cost and value are different things, and the relatively low price of Apple TV (at least compared with Netflix and Disney+) reflects its smaller content catalogue.

Content

While Netflix and Amazon license movies and TV shows from other studios to bolster their respective streaming catalogues of original content, Apple TV hosts only exclusive productions.

It’s the same approach that Disney takes, but Disney, of course, has several studios under its umbrella and a back catalogue that stretches decades into the past. In contrast, Apple has been creating and amassing its ‘Originals’ for a relative blink of an eye.

In other words, the content catalogue of Apple TV is much smaller than that of its rivals. As mentioned at the start, though, the quality of that content is now very high, especially against the occasionally endless-seeming sea of rot that regularly appears on Netflix and Amazon Prime Video in particular.

Apple is especially strong on TV shows, with the likes of Severance, Black Bird, Platonic, Shrinking, The Studio, For All Mankind, The Afterparty, Prehistoric Planet, Silo, Ted Lasso and Criminal Record all scoring highly with critics and audiences.

Then there’s Slow Horses – one of the very best TV shows of the last few years, at least as far as the What Hi-Fi? team is concerned.

The movie selection is less impressive: films such as Coda, Killers Of The Flower Moon, Tetris and Finch prove that there’s quality on there, but it doesn’t take long to run out of well-rated flicks.

Overall, though, there’s more than enough quality content on Apple TV for most people to feel that they’re getting strong value for money out of their subscription cost.

It’s worth noting that most versions of the Apple TV app also contain Apple’s pay-as-you-go store for movies and TV shows (still sometimes referred to as the iTunes Store).

This is the very best place to buy and rent movies for streaming, but it’s not part of the Apple TV subscription, so it doesn’t fall within the scope of this review.

Device compatibility

It took a while, but the Apple TV app is now available on pretty much every device that also has Netflix, Amazon Prime Video and Disney+. In fact, of all the TVs, smart projectors and streaming sticks we’ve reviewed over the last two years, only one or two haven’t had it.

What’s more, you can now subscribe to Apple TV and access its content through the Amazon Prime Video app, which is a great backup option if your device doesn’t have a native Apple TV app.

One thing to note, though, is that while Apple TV performs well across all devices (at least all those with which we’ve tested it), they don't all make use of the highest-quality streams.

Picture

And it’s those high-quality streams that really set Apple TV apart from its rivals.

While the streaming bitrates of Netflix, Disney+ and Prime Video average between about 10 and 25 Mbps, Apple TV averages around 25 to 40 Mbps, and even stretches to 45 Mbps at times. This is because Apple applies less compression to its streams, and the result is all-round better picture quality.

Compared with even the best Netflix, Disney+ and Prime Video streams, content from Apple TV looks noticeably sharper, cleaner and more detailed. There’s less banding (unsubtle steps where a colour’s shade changes) and less picture noise, and the result is a crisper overall image.

Playing See, one of Apple TV’s most sumptuous streams, there’s an awesome depth and solidity to the epic landscapes, excellent shading across the board, including in skin tones, and a very impressive combination of thrilling contrast and subtle shadow shading.

We’re not talking 4K Blu-ray levels of crispness and control, of course – discs can exceed bitrates of 100 Mbps, after all – but Apple TV gets closer than any of its mainstream rivals.

Only Sony Pictures Core can beat it for picture quality, and only when it’s accessed via a Sony TV. That’s also less of a streaming service and more of a store for Sony Pictures movies.

Even when Apple TV is accessed via the app on non-Apple devices, which don’t always have access to the highest-bitrate streams (estimates suggest some are capped at about 25 Mbps), there’s a sheen to the delivery that is rarely matched by rivals.

This may be at least in part down to the glossy way in which Apple’s content is produced – there’s of course no way to be sure, seeing as the content is exclusive to its own service – but whatever the reason, the result is highly enjoyable.

The vast majority of Apple TV’s content is available in 4K with Dolby Vision, and this is broadly the format in which it looks its best, but a well set-up TV will do a great job with the fallback HDR10 option, and the service even now supports HDR10+ for that additional, contrast-boosting dynamic metadata. Great news for Samsung TV owners in particular.

Sound

While Apple TV has no technical advantage over rival streaming services when it comes to sound quality, with all of them delivering Dolby Atmos soundtracks at 768 kbps, the general audio delivery is still very good in its own right.

During the opening chase in Fountain Of Youth (yes, it’s a dreadful film, but boy is it nicely produced), the Atmos soundtrack fills the room with the sounds of bustling Bangkok.

There’s detail everywhere, and effects sweep precisely around the soundstage. Tonally, there’s good balance, too, with clean treble, weighty bass and clear, fairly textured midrange.

Across Apple TV’s offering, there’s perhaps a little too much smoothness and politeness. We find ourselves longing for a more solid punch from explosions and gunfire, and more reach to dynamic range.

This is a common theme with streamed movies and TV shows, though, and only physical media is significantly better in these regards, thanks to its uncompressed, super-high-bitrate audio.

Verdict

While it still lacks the vast catalogues of its rivals, Apple TV’s content offering is much bigger than it once was, and the quality of its recent Originals is arguably superior.

But what really impresses (assuming you’re of an AV nerd persuasion) is the quality of the presentation, particularly in terms of picture. None of its direct rivals can match it, and if you access the app via an Apple TV 4K, it’s streets ahead.

Add the highly accessible price, and Apple TV has become a real winner in our book.

MORE:

Read our review of Disney+

Also consider Netflix

Read our Amazon Prime Video review

Best streaming devices: smart TV sticks and boxes chosen by our experts

More and more coffee table projectors have come onto the home cinema market in the last few years. Though they are proving increasingly popular, the category has a tough balance to strike.

A coffee table projector must be flexible enough in its abilities to adapt to different viewing conditions, small and light enough to be moved between rooms and packed away when not needed, and sonically capable enough to deliver at least relatively cinematic audio – all while keeping the price as accessible as possible.

Inevitably, no model will tick absolutely every box – it’s all about picking the right combination of compromises to deliver the most satisfying overall experience.

The latest model to attempt this is the Epson EF-72, which is part of the brand’s new Lifestudio Flex series.

Epson says the projector provides “a cost-effective, portable, high brightness and high image quality projection experience for the modern household”.

That certainly sounds promising…

Price

Launching at £1150 in the UK and $1000 in the US, the EF-72 is up against some tough competition. That’s about AU$2845 in Australia, but is not currently available in this region.

Our favourite projector at this level, the BenQ W1800, will set you back a little less, with a price tag of £1099 (around $1379 / AU$1915). This 4K projector has a less stylish design but received a What Hi-Fi? Award last year for its impressively cinematic picture.

Another model to consider is the Hisense M2 Pro, which comes in at £1299 / $1300 / AU$2495. Our full review of this one will be published soon, but we did have it on hand for comparisons with the Epson.

Build

The majority of projectors, coffee table or otherwise, often resemble a rather uninteresting box. But Epson’s lifestyle projector really stands out from the crowd.

The EF-72’s body is supported by a sturdy stand and base.

From the base of the exposed body, you can select a range of different ambient light modes that are ideal if you don’t want to sit in complete darkness while watching.

Users can touch the top of the projector to change the LED light display, and hold to dim or turn it off completely. This is obviously not going to add to its home cinema performance, but it’s a neat feature that adds to its premium feel.

The EF-72 has a pleasing overall tactility with a smooth wooden top that comes in an oak colour, and there's a fabric covering for the sides. The compact and sturdy design makes it easy to take from room to room, but it’s a stretch to call it a portable model as it does not have a built-in battery.

You can tilt the projector upwards to 90 degrees and downwards by 15 degrees, so you can display content on the ceiling, floor or at an angle with a screen size up to 150 inches.

The throw ratio is 1.20:1, which is fairly common at this level, but there are models available that need less space. In our test room, for example, to fill our 100-inch screen (measured diagonally), we had to set the projector about 107 inches (8.9 feet / 2.7m) back.

Features

The flexible design makes for a fairly easy set-up, with features such as zoom shift, auto-shape correction and corner adjustment all available.

There’s also wall colour correction if you don’t have the budget for a dedicated projector screen (although we heartily recommend budgeting for one).

The EF-72 uses RGB LED technology, and Epson says it offers up to 1000 lumens of brightness.

Epson describes the EF-72 as a 4K projector, but it’s worth noting that this is achieved through pixel shifting, rather than a native 4K resolution. However, this approach to delivering 4K content has proved effective many times in the past, including recently with the excellent EH-QB1000.

Powered by Google TV, the EF-72 offers most of the usual streaming suspects, including Netflix, Disney Plus, Apple TV+ and Amazon Prime Video.

While Channel 4 is available for UK residents, BBC iPlayer wasn't during testing. Epson says it’s working with the BBC to get it added but, frankly, we’ve heard this sort of thing from several projector manufacturers over the years, and precious few manage to get iPlayer on board. In short, we’ll believe it when we see it.

Note that although you cannot purchase pay-as-you-go movies and TV shows on the Apple TV app, you can still access your Apple TV library, so it’s just a case of making the purchases through another device, such as your phone.

The EF-72 supports HDR10 and HLG, but you won’t be able to watch content in Dolby Vision.

Dolby Atmos sound isn’t supported by the projector’s built-in sound system, either, though it can be passed out to a compatible sound system via the HDMI eARC port.

The only other physical connection is a USB-C socket, but you can also send tunes to the Epson via Bluetooth (more on that later).

Picture

We find that the default Standard preset setting doesn’t provide us with the most cinematic image, as the picture has an artificially vivid quality.

Switching to either Cinema or Natural, however, offers a much warmer and more immersive image.

There are a lot of further adjustments you can make in the picture settings, which will be a bit overwhelming for casual viewers, particularly as they are not typically labelled with much of a description. Still, the level of adjustment available will appeal to some of the more serious cinephiles out there.

We kick off our serious testing with Dune: Part Two on 4K Blu-ray, and the Epson EF-72 proves itself to be a detailed and cinematic performer.

As Zendaya’s Chani looks out onto the sun-bathed desert, the projector does a good job of capturing the warmth of the scene while still keeping her skin tone natural right down to her subtle freckles.

Moving to Kingdom Of The Planet Of The Apes on Disney+, we find that the Epson EF-72 handles motion well, striking a good balance between smoothing the worst judder and not adding an unnatural effect to the movement.

The swooping aerial shot of a golden eagle finding its way back to its nest, for example, maintains a consistently smooth delivery while still keeping the more natural movement of the camera. There is the option to adjust the frame interpolation as well, so you can fine-tune this to your liking.

The colours with this disc look pleasingly punchy and warm, while still being nicely balanced. Flaming torches held by the apes look fierce and vivid against the dark background, and the green of the leaves in the forest later on appears earthy and natural.

Broadly speaking, the Epson offers a distraction-free performance, although we did spot one instance during testing when the contrast changed unexpectedly, which was rather jarring.

We only experienced this once during many days of testing, but if you encounter it more frequently, turning off the Adaptive Luma Control in the advanced settings solves the issue – though this does darken the image slightly, so it should be avoided if possible.

The Epson EF-72 has a few other shortcomings, too. The projector falls short in portraying the deepest blacks and the brightest highlights. It rather feels as if Epson has decided to play things a bit safe, trading strong contrast for balance and consistency. That's fine in some ways, but there are rivals that offer both.

Despite not delivering the deepest blacks, shadow detail is also somewhat lacking. For example, when watching No Time To Die on 4K Blu-ray, the EF-72 struggles to define Bond’s dark tie against his slightly darker shirt, and said shirt’s creases are all but invisible.

We compare the Epson with the Hisense M2 Pro, and the difference in performance when it comes to brightness and shadow detail is obvious, with the Hisense proving an immediate step up. Bond’s tie, for example, is much more visible between the dark shadows.

Still, while the EF-72 is somewhat less dynamic than the best in class, its picture is easy to live with thanks to its balanced, warm, and generally cinematic delivery.

Sound

Epson has worked with Bose on the EF-72’s audio, but there’s only a 10W sound system built into the projector’s stylish case.

Again, we get the feeling that Epson has played things rather safe: the sound is inoffensive, but it’s also rather flat and uninteresting.

After testing all of the audio presets, we opt for the Cinema setting, which provides the widest and most cinematic soundstage of all the options.

With Dune: Part Two, as Timothee Chalamet’s Paul Atreides and Stilgar (played by Javier Bardem) have a heart-to-heart in the desert, the projector makes their voices sound natural and tonally balanced, with a reasonable amount of bass to portray the emotion of the scene.

We then put the projector through its paces with the infamously deep Chapter 2 of Blade Runner 2049 on 4K Blu-ray. While the Epson EF-72 does not distort here as many sound systems do, it’s quiet and lacking the dynamic range required to deliver the scene’s tension.

Perhaps unsurprisingly, that single, low-powered speaker struggles to push the sound far out from the body of the projector, resulting in a rather localised delivery that’s fairly detached from the on-screen action.

Epson also encourages you to use the projector as a dedicated Bluetooth speaker, so we send it some tunes to test this out. With both Lord Huron’s The Night We Met and Euro-Country by CMAT, the vocals are clear until the tracks get more complicated and the voices get somewhat lost in the mix.

Again, the delivery is inoffensive, but even a budget Bluetooth speaker will do a better job with your music. For movies, we strongly recommend pairing the Epson with a soundbar, even though that will mean putting up with some unsightly cabling.

Verdict

Overall, Epson’s EF-72 offers a rich and cinematic picture that is very easy to live with. Its warm colours and natural motion processing are sure to please, and the ability to fine-tune the settings will appeal to serious cinephiles.

That said, we find that no amount of tweaking and tinkering results in the dynamism that we have come to expect at this level, and the sound is far too small-scale for images this large.

A decent option in the land of coffee table projectors, then – but not the best…

SCORES

• Picture 4
• Sound 3
• Features 4

MORE:

Read our review of the BenQ W1800

Also consider the Epson EH-TW7100

Best projectors: budget, 4K and ultra-short-throw

BenQ is adding two new 4K coffee table projectors to its offerings which are designed for “easy, high-quality entertainment in modern living spaces”, according to the brand.

The company says that the TK705i and TK705STi projectors are both ideal for gaming as well as “immersive” movie nights and are the latest in a sea of coffee table projectors to appear this year.

They can reach 3000 lumens of brightness which supposedly produces “vivid images even in rooms with ambient light.”

In terms of setup, the models offer a variety of shortcuts in the hope of making the process easy. That includes auto-keystone, auto-focus, and an auto Cinema Mode. The digital zoom feature is only available with the TK705STi, however.

For smaller spaces, the TK705STi adds a short-throw option for viewers to project an image up to 150-inches from about 8.7 feet (2.7 metres) away from any wall.

The projectors are powered by Google TV with access to all the usual streaming suspects including Netflix, Amazon Prime Video, and Disney Plus.

There are some pretty neat specifications for gamers, too. With an “ultra-low” input lag of 5ms at 4K/60Hz, both projectors offer ALLM and one HDMI 2.1 socket.

Turning to the audio offerings, the new projectors offer two 8W speakers but there is no Dolby Atmos on the cards here. Both of their designs resemble a grey box, with an adjustable foot on the bass that can be retracted.

The launch of these two projectors comes shortly after the company’s launch of the BenQ GV32 – a smaller model aiming at the portable market.

BenQ has a pretty impressive track record when it comes to its past models, with the BenQ X3100i projector holding the current title as the best premium in our best projectors guide.

We were impressed with this model in our test room, praising its excellent all-round picture quality and good gaming specs. Despite wishing there was 4K/120Hz or Dolby Vision support, we gave the X3100i a five-star rating for its overall performance.

At a price of $1799 (around $1337 / AU$2725) and $1999 (around $1485 / AU$3030) respectively, the TK705i and TK705STi are targeting this same premium projector market. We are yet to get either of the new models into our test rooms, but our current frontrunner could face some serious competition.

Both will be available to buy from early October in the US, but it’s unclear as of yet whether they will be hitting the shelves in the UK or Australia.

MORE:

This dinky new portable projector offers “incredibly flexible viewing” – and could be one to watch

Here's our review of the BenQ X3100i

And check out the best projectors right now

It's Halloween this weekend, and if you don't have any trick-or-treating duties, what could be better than spending the colder autumn nights watching some horror-tastic films from the comfort of your living room?

Devout TV show bingers can get their Hallow’s Eve entertainment with the second season of Blumhouse's wildlife-doc-with-a-twist, Nightmares of Nature - Lost in the Jungle (Netflix); the latest Family Guy Halloween Special (Disney+); and the sophomore season of adult animated musical series Hazbin Hotel (Amazon Prime Video).

But this list is all about some of the latest movies and feature films you can stream, rent or buy from streaming giants Netflix, Amazon Prime Video, Apple TV and Disney+ (along with free, ad-supported service Tubi) that will scare you silly. These picks include a brand-new remake of a '90s cult classic, the return to streaming of one of the boldest modern horrors in recent years, and one of the most anticipated films of the year.

Watch on Apple TV

28 Years Later (2025)

One of the most anticipated films of 2025 (as far as the What Hi-Fi? team is concerned) is now available to stream at home, and if you didn't manage to catch it at the cinema, we would urge you to check out 28 Years Later for a must-see horror watch.

As the title suggests, 28 Years Later takes place 28 years after the outbreak of the ‘rage’ virus that turns people into mindless, bloodthirsty animals (definitely not zombies) that wrecked UK society as a whole and put the British Isles under strict quarantine. The story is focused on 12-year-old Alfie, who ventures out of a remote island community for the first time to the infected mainland, and all that he encounters.

Written by Alex Garland and directed by Danny Boyle (who helmed the original 28 Days Later from 2002), this first entrant in a new trilogy of post-apocalyptic horror takes some wild swings and ingenious creative and narrative decisions, along with a meditative, somewhat melancholic atmosphere that is all at once tense, beautiful and harrowing.

Watch on Netflix

The Elixir (2025)

The latest from Indonesian horror master Kimo Stamboel (A Thousand Days, Macabre, The Queen of Black Magic) sees a fractured family escape a zombie outbreak after one of their herbal medicine business’s innovative elixirs goes terribly wrong.

Looking to build on the strong reputation of Asia’s recent zombie flicks, led by the likes of Train to Busan, One Cut of the Dead and The Wailing, Netflix’s upcoming The Elixir looks like an epic thrill ride defined by Stamboel’s proven passion for gorgeous visuals and gory violence.

Watch on Amazon Prime Video

Prevenge (2016)

In her directorial debut, Alice Lowe (Garth Marenghi's Darkplace, Sightseers) plays Ruth, who is seven months pregnant with a demonic fetus that inspires a homicidal rampage from within her.

It’s as wacky as it sounds, not least as Lowe was actually heavily pregnant during the shoot. Beneath the grizzly violence and unrelenting deadpan humour is a metaphorical exaggeration of the emotional baggage and apprehension brought about by pregnancy and the prospect of motherhood. A cult gem.

Bodies Bodies Bodies (2022)

This 2022 A24 release is a lot smarter than its "rich 20-somethings' party game in a mansion goes awry" premise might suggest, and certainly worth a watch if you fancy your horror with a generous sprinkling of dark comedy. Specifically, Gen Z satire.

With shocks and twists aplenty and generally well-acted characters that you can truly love to hate, Bodies Bodies Bodies is fun and fresh, and an aspirational role model for all the other ‘dumb teen’ movies that fail to land.

Us (2019)

After his brilliant breakout movie, Get Out, landed with such aplomb, director Jordan Peele had the tricky task of treading similarly scary yet funny tones and socially relevant narrative themes with his next project.

As it turns out, he nailed it with Us, another stylistically and thematically bold horror masterpiece that this time explores American privilege and the country’s socioeconomic inequality.

Us sees the film’s protagonists, Adelaide (Lupita Nyong'o) and her family, terrorised by a group of murderous doppelgängers. It's a smart and superbly acted apocalyptic sci-fi thriller that really gets under your skin.

Companion (2025)

A creative, AI-themed horror that hits all the right notes and guarantees a wild ol’ bloody time, Companion is probably the most fun you’ll have with a genre movie released this year. Really, that’s all you need to know – indeed, it’s probably best to head into this one at least partially blind.

But what we will say is that the AI theme shouldn’t put off any members of the anti-AI army – Companion is more about human toxicity than any technological one – and (providing you avoid spoilers!) you should expect to be kept guessing throughout. You’re in for a ride here – enjoy it.

Watch on Disney+

The Hand That Rocks The Cradle (2025)

Sure, releases of modern remakes of horror (or any genre) classics tend to incite the kind of trepidation one may feel on their first day at a new job, but watch the trailer to this year’s upcoming The Hand That Rocks The Cradle and tell me you aren’t already won over by Mary Elizabeth Winstead’s seemingly spot-on performance as the cold, cunning, devious nanny. A match for Rebecca De Mornay’s depiction in the original 1992 psychological thriller? Maybe.

The fact that it’s directed by Mexican filmmaker Michelle Garza Cervera, whose debut feature film, body horror Huesera: The Bone Woman, was given two thumbs up by horror critics a few years ago, also inspires confidence in the modern makeover. We’re curious to see how this one stacks up.

Watch on TUBI

For subscription-free Halloween fun? We would be remiss not to bring to your attention a couple of highlights from the Terror on Tubi lineup, a curation of horror treats that are available to watch on the free service this Halloween month.

Saloum (2021)

A horror-action movie that we can’t describe better than The Guardian, which called it a “slick gangster horror in wild west Africa”.

It follows a group of legendary mercenaries who are shot down after extracting a drug lord from Guinea-Bissau and forced to take refuge in a nearby holiday camp, where dark secrets about the inhabitants, and themselves, are soon revealed.

Smart and unsettling from beginning to end, Saloum was the most original genre movie we watched in the year of its release.

R.L. Stine’s Pumpkinhead (2025)

This new Tubi Original (exclusive to US viewers) is directed by Jem Garrard (Slay) and is based on a short story from Stine’s 1990 Nightmare Hour children's horror collection.

It follows a young Sam’s fight alongside his new friends to get his brother Finn back when, shortly after moving to a new town, he disappears and everyone forgets he existed. This has all the makings of an ‘80s coming-of-age horror gem.

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10 of the best Halloween tracks to test your hi-fi system

Tired of your subscription services getting more expensive? Too bad, because Disney Plus is about to introduce yet another price increase, with the US first to face the pricier monthly bills from the Hollywood titan.

The streaming service, which is home to TV shows and movies from some of the biggest franchises, including Star Wars, Alien and the Marvel Cinematic Universe, isn't a stranger to price increases; it has previously upped its subscription prices in 2024 and 2023.

This latest price hike will take effect on the 21st of October 2025, with more regions expected to see a similar increase soon after. So, what will be the cost of the service with this latest pricing revision?

The ad-supported entry-level tier (currently $10/month) will go up to $12/month, whereas the premium tier (which unlocks 4K Dolby Vision streaming with Dolby Atmos audio) will increase from $16/month to $19/month.

Disney-owned streaming platform Hulu will follow, with its ad-supported subscription ($10/month at the time of writing) going up to $12/month. Furthermore, ESPN Select – which is a sports-focused streaming subsidiary of Disney – will go from $11 to $12/month.

Disney hasn't officially shared pricing information for the rest of the world, but if previous price increases are any indication, we can expect to see the UK, Europe, and other territories follow suit in the near future.

Streaming continues to become an increasingly costly option for film and TV fans – which is why we will continue pointing you towards the best 4K Blu-ray players. They continue to deliver the best picture and sound, and you have the security of your content not suddenly disappearing; it's a win-win.

MORE:

Read our full Disney Plus review

Check out our picks for the best OLED TVs

As well as the best Dolby Atmos test scenes

Projector brand BenQ is launching the GV32 – its most recent portable model that the company says will provide the “ultimate laid-back entertainment experience”.

“Laid-back” can be taken in the most literal sense here, as the 120-inch screen can be projected onto the ceiling as well as a more traditional screen.

This is made easier with the GV32’s adjustable angle options and tiltable body. There are also automatic screen correction, digital zoom, and keystone correction features which BenQ says provide “precise alignment with minimal effort”.

The projector is powered by Google TV with access to all the usual streaming suspects including Netflix, Amazon Prime Video, and Disney Plus. It can reach up to 500 ANSI lumens of brightness and, while there is no native 4K support, the 1080p projector does support HDR10 and HLG.

The BenQ is set to launch at around $599 in the U.S in October. There's no word on cost or availability for the UK and Australia yet, though.

Like the previous models in its GV series, BenQ's latest sports a circular body with a small footprint which the company says delivers “incredibly flexible viewing”. It is also employing an LED light source, much like the BenQ GV31 which has now been retired.

In our review of the GV31, we were impressed by its rotatable design as well as its decent black levels. We did find the picture offered limited brightness, though, which ultimately earned it a four-star review.

We are yet to get the GV32 in our test room, but the performance of its siblings certainly bodes well, especially as it is using the same dinky chassis.

MORE:

Here's our full review of the BenQ GV50

And check out the best portable projectors

And this is our review of the BenQ GV31

Streaming services have become needlessly complex over the past couple of years. First, there's the sheer volume of options on the market.

Then there's the fact that most have a new confusing tier system that locks features behind pay walls with little to no warning; I'm looking at you, Amazon Prime Video.

With the likes of Netflix, Disney Plus, Prime Video and Paramount Plus all vying for your monthly direct debit, it can be hard to know which service is the best one to go for.

Even the big UK broadcasters are throwing their hats in the ring, as I found out when a Channel 4+ advert kindly spoiled the episode of The Great British Bake Off that I was watching – rude.

With crucial AV features including 4K, HDR, and Dolby Atmos now being locked behind the "premium" subscription tiers, I'm starting to get rather frustrated with the whole streaming business, and I'm willing to bet that it's not just me either.

That's why I've been evaluating which services to keep and which ones I'm better off without, and it's reminded me of one overlooked service that hasn't fallen victim to the modern streaming woes.

Ironically, this service is backed by one of the largest and most influential technology firms in the world.

Yes, I'm talking about Apple TV+, a service that many consider to be closed off and not worth their money compared to the likes of Netflix, which features enough content to spark a 45-minute debate about what to watch every single time the app is opened without fail.

Now, I can't dispute that Apple's content library seems like a bit of a letdown on paper, but Apple TV+ is the epitome of "quality over quantity" in my books. It's also improved hugely over the years since its launch, meaning there are plenty of shows and films to choose from.

Its content library includes the likes of Severance, which I've been told to watch more times than I can bear to count (It's on my list), as well as Slow Horses, Silo, The Morning Show, Shrinking and The Studio.

The final one is one of the smartest, best-produced, and funniest shows I've seen in a very long time – hence why it just won a record-breaking 13 Emmy Awards in its first season.

And because it's Apple, which happens to make quite a lot of money selling iPhones, Macs and AirPods, if you weren't aware, the production values of these shows are second to none.

I've watched these shows on everything from my Sony A80L OLED TV to my iPhone 16, and they look glorious on practically every screen thanks to their slick production.

Best of all, Apple hasn't succumbed to this subscription tier system nonsense. It's £9.99 / $12.99 / AU$15.99 per month, with ad-free viewing in 4K with Dolby Vision HDR and Dolby Atmos audio – simple.

Now, that has risen in price since it launched in 2019, when it was £4.99 / $4.99 / AU$7.99. However, compared to Netflix's egregious price hikes, which means a plan with those same features is now £18.99 / $24.99 / AU$28.99 per month, I'm willing to cut Apple some slack.

If you're tired of Netflix and Disney Plus, and have been resisting the temptation to check out some of the shows I've mentioned above, I'd highly recommend ditching those services for a month and seeing what you think of Apple TV+.

Best-case scenario, you'll find a great new series to get invested in. Worst case, you'll save yourself some cash this month and can resubscribe to those services at any time.

MORE:

Read our full Apple TV+ review

And check out our Apple TV 4K (2022) review

As well as our picks for the best streaming devices

The 65-inch C7K (known as the QM7K in the US) arrives on our test benches on the back of a remarkable run of TCL TV form across a wide range of price points and screen sizes.

It’s fair to say, then, that the auspices for the C7K are seriously good. Can it really keep TCL’s good times rolling, though, when its large screen and promising feature count come at such a (relatively) low price?

Pricing

The TCL C7K’s price is definitely one of its star attractions, with the 65-inch model we’re testing costing just £899 / AU$1595. This TV is known as the QM7K in the US, where it launched for $1500 but is now available for around $900.

That makes it significantly cheaper than the recently reviewed C8K model that sits above it in the 2025 TCL TV range.

Yes, there are plenty of 65-inch TVs out there these days that are cheaper than £899, but you’ll be very hard pushed indeed to find any of those cheaper models getting even close to matching the C7K’s feature set and, as we’ll see, performance.

If 65 inches isn’t quite right for you, the C7K is also available in sizes ranging from 50 inches all the way up to 115 inches. Bear in mind that the different-sized versions of the TV will have slight specification differences, such as the number of dimming zones. We have already reviewed the 98-inch TCL C7K, though, and it’s excellent.

TCL also produces a Q7C model which, the company says, is identical to the C7K in all ways but one: the Q7C doesn’t have the anti-reflection film that the C7K does. Given how much such elements can affect picture quality, this review shouldn’t be seen as also covering the Q7C.

Design

The C7K looks and feels exactly like what it is: a premium TV being sold for a barely even mid-range price. Its screen is wrapped in a slick, narrow brushed-metal trim, behind which a narrower black back section protrudes to provide room for the new Bang & Olufsen multi-channel speaker system to breathe.

The screen sits on what appears to be the same metal central desktop mounting plate as the one provided with the C8K, and this stand attaches to the screen using the same wide-neck-with-detachable-cover arrangement into which you can ‘tidy’ all your cabling.

The C7K is robustly built, and since it’s quite a bit slimmer than the C8K, it is arguably the more attractive of the two – especially if you’re looking to wall hang your TV.

The C7K doesn’t get the same premium silver metal-finished remote control the C8K has, but the elongated black handset provided still bears a premium brushed metal-style finish (even though it’s really all plastic). It feels comfortable to hold, too, the buttons are numerous but helpfully well spread out, and there are direct access buttons for Netflix, Prime Video, YouTube, TCL Channels (a curated selection of streamed TV channels) and Disney Plus.

Features

There’s far more to get through here than you have any right to expect for the price.

Starting with those headline-grabbing facts that, despite its affordable price, the C7K’s screen is illuminated by Mini LEDs rather than the usual large ones, and that these Mini LEDs are organised into a remarkably numerous 1008 independent dimming zones.

Add to this a claimed peak brightness of 2600 nits, and you’ve got some core specifications that most really high-end TVs would struggle to match.

We’ve been around the block enough times to know, though, that it’s not just how many Mini LED dimming zones you’ve got; it’s what you do with them that counts.

That is where TCL’s new AIPQ Pro picture processor will hopefully play its part, controlling those dimming zones and Mini LEDs with enough intelligence to ensure they boost contrast and general light control without drawing undue attention to themselves.

The C7K joins all the other new 2025 TCL TVs we’ve seen to date in deploying a whole ‘Halo Control’ suite of new hardware and software technologies to deliver better dark-scene consistency.

This sees the features we have mentioned already joined by other innovations such as new super-condensed LED lenses claimed to focus light more effectively and stably; a new six-crystal light-emitting chip reckoned to deliver nearly 30 per cent more brightness and more than 30 per cent more energy efficiency; the introduction of Polyimide to the liquid crystal molecules to make their microstructure more controllable; and 16-bit bi-directional screen control delivering 65,000 levels of precise light control.

This isn’t even the full extent of the innovations TCL has introduced to the C7K’s new CrystGlow WHVA panel, but we’ll leave it there before your eyes start to glaze over. And because the resulting picture quality is what really matters in the end.

The C7K’s connections are good for a TV in its price range. Four HDMIs lead the way, as we’d expect of a premium TV, and these are backed up by a single USB port, an optical digital audio output, an ethernet port and the now obligatory wi-fi and Bluetooth (v5.4) wireless connections. The wireless connectivity includes Apple AirPlay and Chromecast support.

It’s slightly disappointing that only two of the C7K’s HDMIs support high frame rate gaming, rather than all four of them, and that one of these gaming-friendly HDMIs has to do double duty as the only one equipped with the eARC HDMI technology required to ship sound – including lossless Dolby Atmos and DTS:X – to compatible soundbars and AVRs.

Most premium TVs provide more than one USB these days, too, though that matters much less.

Most households will be more than content with the C7K’s connections overall – and we shouldn’t forget that this is a 65-inch TV that costs only £899.

The C7K scores major brownie points with us for supporting all four of the key high dynamic range formats: HDR10, HLG, Dolby Vision and HDR10+.

In fact, it even supports the versions of Dolby Vision and HDR10 that can adapt their picture presentation to the ambient conditions in your room, and its Dolby Vision support further extends to a low-latency Dolby Vision Game mode.

Other gaming features include support for 4K feeds at frame rates up to 144Hz – and that frame rate support remarkably (and arguably a bit pointlessly at the moment…) jumps to 288Hz using TCL’s Game Accelerator technology, provided you don’t mind the resolution dropping to Full HD.

VRR is supported right up to the 288Hz maximum, and there’s support for the AMD FreeSync Premium Pro VRR system as well as the core HDMI one. TCL’s screen will automatically switch into its fast-response Game mode when a game source is detected, rendering 60Hz game graphics in this mode in just 13.2ms.

As we’re seeing with most mid-range and high-end TVs these days, the C7K lets you call up a dedicated Game Bar main menu screen when a game source is detected, from which you can check information on the incoming game signal and activate such game aids as an onscreen crosshair, a system for brightening just the darkest parts of the image, and support for the super-wide aspect ratios supported by a few PC titles.

Smart features on the C7K are provided by Google TV, complete with support for the Google Assistant voice-recognition system. TCL has also seen to it that its version of Google TV includes all of the UK’s main terrestrial broadcaster catch-up TV services – something that regular Google TV systems fail to do.

It’s a pity, perhaps, that there’s no support for Freeview Play or Freely, but all the key individual UK broadcaster catch-up apps are present and correct.

Last but not least on the C7K’s extensive feature list is its all-new Bang & Olufsen sound system. This replaces the brand’s previous Onkyo collaboration with new high-fidelity speaker designs fed by 60W of power and capable of handling both Dolby Atmos and DTS:X soundtracks.

Picture quality

With the 98C7K having already shown us that TCL’s new C7K range can deliver the goods even on a screen as big as 98 inches, it’s no great surprise to find that the more modestly sized 65-inch C7K is at least as good.

Particularly stellar for its price is its contrast. On the most basic contrast level, it can deliver both extremely intense, vibrant HDR peaks by sub-£1k 65-inch TV standards, and some of the deepest and most neutral, natural-toned blacks and dark scenes the mid-range LCD TV world, at least, has to offer.

What’s more, it’s able to deliver its light and dark extremes on screen simultaneously, without either significantly compromising the other. By which we mean that shots where bright highlights stand out against dark backdrops appear without distracting light halos around them; the bright objects in such shots aren’t heavily dimmed to achieve that lack of haloing; and for the most part, blacks remain as inky as they do with uniformly dark shots.

Throw in excellent shadow detail reproduction (the C7K is actually slightly better in this respect than the more overtly punchy C8K) and an almost complete absence of either fluctuating dimming zones or noticeable jumps in brightness during cuts between bright and dark shots, and you’ve got a brilliantly effective and, thanks to its consistency, immersive backlight system that punches well above the TV’s weight.

The C7K’s impressive brightness holds up strikingly well even when an HDR shot fills the whole scene with intense light, too, looking at least twice as bright with such shots as even the best new OLED TVs can – further contributing to the excellent consistency of the C7K’s HDR images.

The brightness and contrast both play their part, too, in the C7K’s precociously brilliant colour performance. In its Standard picture preset, colours across a huge spectrum look radiantly beautiful, combining vivid intensity with a level of blend and tone subtlety that feels too good to be true on a TV as affordable as this.

The colours the Standard mode produces might not be particularly accurate to established video standards, but every tone looks impeccably balanced against the rest, painting extremely enjoyable – and believable – worlds for anyone not obsessed with true-to-creative-intent accuracy.

If you are obsessed with true-to-creative-intent accuracy, even after witnessing the splendours of the 65C7K’s Standard preset, then worry not: the C7K’s Filmmaker Mode delivers pictures that follow the established HDR and SDR standards impressively closely. They do this, too, without ending up looking drab or washed out, as can be the case with the Filmmaker Mode on LCD TVs with less impressive ‘native’ screen talents.

As part of our C7K tests, we ran it side by side with the step-up C8K, and we were startled to see during this head to head that the C7K’s colours actually look slightly richer and more rounded in its Standard preset than they do on the C8K – perhaps because the C7K’s slightly reduced brightness versus the more expensive C8K doesn’t put its Quantum Dot colour system under quite so much strain.

The head-to-head also shows, though, that the 65C8K delivers slightly more effective colours in its Movie and Filmmaker Modes than the C7K.

The excellent subtlety of the C7K’s light and colour handling helps it deliver impressive sharpness with native 4K sources, while the latest AiPQ processor also upscales HD sources to the screen’s 4K pixel count very handily, adding sharpness and density without exaggerating noise or creating significant unwanted processing side effects.

The C7K retains its clarity excellently when required to handle 24fps motion too, suffering pleasingly little with either hardware judder or resolution loss over moving objects.

There are a couple of niggles with the C7K’s pictures to report. A small patch of yellowish colour sometimes creeps in just below the middle of the top black bar when watching wide aspect ratio films (though we suspect this might be an isolated issue with our review sample), and occasionally, slightly too much detail is revealed in dark areas, revealing faint traces of noise along with the ‘correct’ shading information.

That’s basically it on the negative front, though. The 65-inch C7K is, overall, every bit as excellent a performer for its money as every other 2025 TCL TV that has come through our doors so far.

Sound quality

As with the C8K, the C7K’s audio isn’t quite as all-round brilliant as its pictures. The new Bang & Olufsen influence is enjoyably evident both in the extremely clean and prolific detailing the speakers present with good film soundtrack mixes, and in the way it can hit trebles other TVs cannot reach without sounding whiny or harsh.

The midrange is nice and open, too, providing plenty of room for soundtracks to ebb and flow, as well as helping vocals sound well-rounded and reasonably contextual.

The main problem is that the speakers don’t lean into low frequencies as enthusiastically and effectively as they deal with the higher end of the spectrum. So bass doesn’t reach as deep as trebles reach high, and what bass there is is delivered a bit too politely. This results in a slightly treble-heavy presentation where background and ambient sound effects can sometimes draw more of your attention than they should.

Exceptionally dense soundtrack moments, such as the swelling score during the extreme close-up of an eye opening near the start of Blade Runner 2049, sound slightly more swallowed and condensed than they do on the more powerful C8K, and very deep and extended bass sounds also exhibit a little chuffing and buzzing interference that the 65C8K typically avoids.

Despite these niggles, though, the C7K’s sound is good overall for a TV in its price range. It’s just not quite as good as that of its step-up sibling, and leaves room for improvement next time round.

Verdict

TCL has done it again. The C7K follows the C8K and C6KS in scarcely putting a foot wrong – and once again it does so at a price that also makes it outstanding value.

SCORES:

Picture 5

Sound 4

Features 4

ALSO CONSIDER:

• TCL C8K review
• Amazon Fire TV Omni Mini LED review
• LG QNED93 review

It seems like every film is getting a 4K Blu-ray release but there's one that I've been patiently waiting for – and I've been waiting a while. The good news is that my patience has finally paid off.

Tron: Legacy is finally getting the high-quality physical release that it deserves, meaning I can, at last, take in every pixel of this bonkers sci-fi movie and see it at its very best.

The sequel to the 1982 cult classic wasn't received particularly well when it was released 15 years ago, sporting a Rotten Tomatoes score of 51 per cent, but I consider it to be an underrated gem.

Is the story weak? Yes. Is the CGI de-aged Jeff Bridges one of the most uncanny things ever put to film? Also yes. But it's a visual feast, and its soundtrack is absolutely legendary, which is why I like it.

Call me shallow, but I don't need a compelling story for a bunch of rogue computer programmes battling it out inside a video game world; I came for the Light Cycles and Disc Wars, which are sure to dazzle in 4K HDR on my Sony A80L OLED TV.

Before the disc arrives, Disney Plus is your best bet for watching this movie, or you can buy it on standard DVD and Blu-ray, though you're limited to 1080p SDR at the absolute maximum here.

The new 4K Blu-ray release, which bundles in the standard Blu-ray version of the film, is set to feature sharper visuals with HDR support in that all-important Dolby Vision format, which Disney is thankfully back on board with.

I watched Tron: Legacy on Disney Plus just a few nights ago in preparation for Tron: Ares, which is set to release next month, and while I was mostly dazzled by the visuals (which hold up surprisingly well a decade and a half later), I did find a few issues that I hope to see ironed out on the new physical release.

There appeared to be some banding and blockiness to the black computer programme "sky", and I could tell the image was missing just a bit of punch and sharpness. I'm hoping that the 4K Blu-ray's much higher bitrate and resolution will address these issues, and I can't wait to see this film shine in Dolby Vision.

However, this may be one film in which the sound is more important than the visuals – I could watch Tron: Legacy with my eyes closed and have an equally enjoyable experience. That's almost entirely due to the exceptional score by French DJ duo Daft Punk.

Every time the score kicks into high gear, the film feels nothing short of electric, and that's even the case with Disney Plus' compressed audio. A lossless audio track is, therefore, bound to make it even better, and Dolby Atmos is on board to enhance the rapturous sci-fi sound effects that are featured throughout the film.

With Daft Punk now unfortunately out of action, Nine Inch Nails have taken up responsibility for Tron: Ares. While the band has huge shoes to fill, Trent Reznor and Atticus Ross have been responsible for some of the best film scores in recent memory, including The Social Network and Challengers, as well as the Watchmen television series.

But let's not get ahead of ourselves. Thanks to the Daft Punk soundtrack and stunning visuals, not to mention the Dolby Vision and Dolby Atmos treatments, I am looking forward to the Tron: Legacy 4K Blu-ray becoming a much-used test disc for TVs and home cinema products. It's due for release on 29th September.

MORE:

Check out our picks for the best Dolby Atmos test scenes

As well as the best scenes to test surround sound

We asked the top AV engineers to recommend their favourite movie test scenes

If you are a subscriber to any of the major streaming services out there, you will most likely have noticed that there has been a crackdown on password sharing outside of households.

Disney Plus, for example, automatically sets up a 'Household' for your account based on the devices you use and your 'primary residence'. So if you try to login from a different place, it will ask you to verify your account using a one-time passcode.

That makes it much trickier to share your account with multiple people, especially when you have family members not living in the same place.

And, with the new university year starting back up again very soon, you might be wondering how to get your child access without having to create a brand-new account.

Luckily, we have spotted a nifty solution that could save you a few bucks as well.

Some streaming services offer an Extra Member feature where you can add another user for a lower price than creating a separate profile, all with access to the same video and audio quality as you.

With Disney Plus, adding this extra will cost £4 / $7 per month if you have the Standard with Ads account (note that this tier is not available in Australia) , and £5 / $10 / AU$8 for both Standard and Premium subscription. This is quite the saving when you consider that the Premium account subscription will set you back £13 / $16 / AU$18 per month.

There are some caveats to be aware of, as there always is with these things. You can only have one Extra Member, and they must live in the same country as the account holder.

Netflix offers a similar feature and if you have the Premium subscription you can add up to two extra members costing £5 / $9 / AU$8 each per month.

So, if you are looking for a way to give your kid the best streaming experience possible while away from home without forking out a load of extra cash, this could be the way to go.

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Disney Plus is secretly the best streaming service for music fans – here's why

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Check out the best portable projectors on offer

I first watched Alien 32 years ago. I'm 43 now, which means that, yes, I was indeed just 11 years old when I got my first horrific taste of H. R. Giger's glorious xenomorph.

I blame my school friend Owen and his mum's very relaxed approach to parenting.

But despite (or perhaps because of) the nightmares, I was instantly obsessed with the series, and I think I must have watched Aliens at least once every year since then.

It's that second movie that's my favourite. I appreciate that Alien is more worthy, and objectively probably the better movie, but Aliens is just more fun and faster-paced, and that makes it more rewatchable, at least for me.

I actually like all of the movies, with the exception of Alien 3, which is just so infuriatingly dull. Yes, I have seen both cuts, and I maintain that they're both pants.

The others are all flawed. Very flawed in the case of Resurrection. But they each also have strengths, from Resurrection's high-octane action scenes to Prometheus's fascinating world-building and Covenant's creep and gore.

And I love Romulus. I could absolutely do without some of the more overt callbacks (I physically squirmed when android Andy said that famous line of Ripley's), but it's a lot of fun, and that finale is so incredibly tense.

Needless to say, I was very excited about Alien: Earth, the very first Alien TV show, which is available through Disney Plus in the UK.

Well, three episodes in (I'll be watching episode four tonight), it's delivering on almost all counts.

There's the gore (the eyeball alien-infected cat, the costume party rampage) and the stressful intensity (Morrow's escape in episode one, Joe being stalked by the xenomorph) for which the franchise is renowned, but there are also new concepts, such as the new hybrids and cyborgs, and we get to see how Earth became the "sh*thole" that Ron Perlman told us about in Resurrection.

But while I'm very much enjoying the content of Alien: Earth, I'm finding the presentation a bit of a letdown.

I've got no complaints about the picture, which is delivered in Dolby Vision in crisp, contrasty and detailed fashion, at least by the standards of streamed TV.

But the audio is lacking. Firstly, and most obviously, the soundtrack is delivered in Dolby Digital 5.1 rather than Dolby Atmos.

For a flagship, blockbuster sci-fi show in 2025 to be delivered without Atmos is baffling, and we know from experience that the threatening atmosphere of the Alien movies is vastly enhanced by 3D audio.

5.1-channel audio can still sound great, though, and the sound designers have done a good job of delivering an atmospheric surround sound experience, with creepy effects coming at you from all angles.

The problem is that there's a distinct lack of dynamics.

This is most noticeable in the series' trademark screechy soundtrack moments, which leap from the score in the movies and make your heart stop for a second.

They have, of course, been deployed for the TV series, but they don't so much leap from the score as blend into it, to the extent that you barely notice them.

This lack of dynamic range obviously affects the action sound effects as well, from the alarms in episode one to the pulse rifle fire in episode two. It's all just a bit flat.

The dynamic range isn't stunted enough to entirely spoil my enjoyment, but it combines with the lack of Dolby Atmos to create a sense of missed opportunity.

So much of the fear and intensity of the Alien movies comes from the sound design – the surprising, jarring strings and the feeling that the xenomorph could be anywhere – and the TV show isn't quite on a par in this regard.

One suspects that a decision was made to compress the dynamic range for TV viewing, in much the same way that songs are compressed for the radio, but that would be a real shame if so.

It does perhaps suggest that the eight-episode series will be released on 4K Blu-ray after its run on Disney Plus. Maybe then we will get the dynamic Dolby Atmos soundtrack we deserve.

I should probably wait for that before I finish the series, but I'm afraid there's not much chance of that – I'm just too invested at this point.

MORE:

Here are the best Dolby Atmos scenes to test your system (and impress your friends)

These are the best Dolby Atmos soundbars you can buy right now

And here are the best surround sound systems

I have spent the last three days measuring TVs.

That's obviously not unusual for a TV reviewer, but this time I wasn't measuring dimming zones, input lag or peak brightness – I was measuring energy use.

It's something I've wanted to do for a long time, and the plan is to introduce power draw figures to some of our reviews in the future, but our first annual Sustainability Week was the kick up the backside that I needed to actually make a start.

Now, measuring the energy use of something like a TV is a very time-consuming process – you need to connect an energy meter and let it run for a while, and I wanted to test various different aspects – so this is only the start of the research, but it has already produced some results that surprised me.

SDR vs HDR

I first wanted to find out whether different content types affected power draw, so I played seven different 10-minute clips through the 65-inch LG G5 and Sony Bravia 8 II in our test room, and the 65-inch Sony A95L that I use at home.

Those clips were the 4K Blu-ray of the super-bright Pan, which I ran in HDR10; the far-less-bright Blade Runner 2049 on 4K Blu-ray, also in HDR10; Toy Story 4 in 4K and Dolby Vision from the integrated Disney Plus app; the 1080p, SDR Blu-ray of True Grit; an episode of the latest series of QI from BBC iPlayer in HD; the very first episode of the Mr. Bean TV show, in standard-def from Amazon Prime Video; and 10 minutes of Sky Sports News, sent from a Sky Stream puck.

That gave me a lot of data, but I'm not going to go into that in detail now, partly because I'm saving it for a future feature, but mostly because it's only really interesting because of where it sent me next.

You see, the measurements suggest that the source and resolution make little difference to the amount of power the TV uses – the only thing that really makes a difference is whether the content is in HDR or SDR, with HDR content using less power when in the least processed modes, but more power in modes such as Dynamic or Vivid.

That makes sense when you think about it. It's brightness that uses power, and in modes such as Filmmaker (or Professional in the case of Sony), HDR will be brighter than SDR.

But in broadly brighter modes, particularly Standard or Dynamic/Vivid, the TV will bring SDR content up to HDR-like brightness levels, and will employ additional processing for that task (as well as all of the additional processing those modes tend to involve), hence SDR content will then use more power than HDR.

Filmmaker Mode (or equivalent) can save energy (and money)

What I really got obsessed by, though, was the overall power draw of different picture presets.

It was clear that the brighter modes would use more power, but how much more? And how much more would that extra energy cost?

So, I did yet more testing on my Sony A95L at home, as well as some research on how much the average household uses its TV, what the HDR/SDR content split is like, and how much electricity currently costs.

First up, the power draw of the four main presets, which are, from least to most processed, Professional, Cinema, Standard and Vivid:

According to Ofcom, in 2024, the average Brit spent just over 4.5 hours watching TV and video content per day.

Of this 4.5 hours, 84 per cent was through the TV set (as opposed to a smartphone, tablet, etc), so about 3.75 hours (3 hours and 45 mins) of watching content through the TV per day.

So, in a normal year, we're looking at 1369 hours of TV viewing.

Ofcom doesn't produce figures on HDR vs SDR (at least, not that I've seen), but Philips last year told me that its data shows that only 4-8 per cent of viewing through its "high-end" range, which includes all of its OLED models, is in HDR.

Let’s say, because the What Hi-Fi? audience is undoubtedly more passionate than average, that our readers watch 8 per cent HDR content. That would be 110 hours of HDR viewing per year, and 1259 of SDR.

Let's look at the energy use figures for the different modes on an annual basis, then, based on 110 hours of HDR and 1259 hours of SDR:

I don't know about you, but kWh mean very little to me – what I wanted to know is how this translated to monetary cost.

For the purpose of the UK energy price cap, the current average electricity cost is 25.73p per kWh.

So let's turn those above energy figures into pounds and pence by multiplying them by £0.2573:

As you can see, over the course of a year, the Professional preset of my 65-inch Sony A95L (which, again, is very similar to the Filmmaker Mode of other TVs) will cost roughly 25 per cent less than the Standard preset that many people will default to.

But spare a thought for those people who think they need to turn everything up to 11 and choose the Vivid mode: they could save £25 a year by switching to Professional.

As an aside, this testing reminded me just how horrible modes such as Vivid and Dynamic are. Garish, blinding and horribly noisy, you couldn't pay me £25 to use it on my TV for a week, let alone a year.

Professional/Filmmaker is where you get the most cinematically authentic delivery with most TVs. So, to my mind at least, it's better as well as cheaper.

But is your TV cheaper to run than your kettle?

Now, while I know I should be, I'm not someone who really has much idea of how much energy is used by the various appliances around my home, so I was taken aback when Ketan Bharadia (What Hi-Fi?'s Technical Editor) suggested that a TV only uses about as much power as a kettle.

Well, I set about doing another round of testing, and he's broadly correct.

While the data doesn’t seem terribly reliable, it’s suggested that Britons boil the kettle an average of 4 times per day, so that would be 1460 times in a typical year.

Let’s say (optimistically) that they’re boiling just 500ml each time – that’s the minimum for a lot of kettles and generally considered enough for two mugs of tea or coffee.

My kettle (a Kenwood Mesmerine ZJM811OR, if you must know) uses 0.069kWh to boil 500ml of tap water.

Multiplied by 1460 hours, that’s 100.74kWh per year, at a cost of £25.92 using the price cap average.

That's less than running my Sony A95L in Professional mode for a year, but only by £4.

The A95L is a 65-inch, flagship-grade OLED, too, so will use more power than most. There's every chance that many people are spending more each year running their kettle than their TV.

That's something that will require lots more data to prove, though, so expect more energy usage data on our TV reviews in the future.

In the meantime, give Filmmaker Mode (or your TV's equivalent) a go – it might save you some money as well as give you the best, most authentic picture quality.

MORE:

Here are the best TVs you can buy right now

Check out all of our Sustainability Week coverage

‘Great sound shouldn’t cost us the planet’ – how Cambridge Audio wants to make hi-fi green

This new TV trend championed by Hisense and Samsung is a huge win for sustainability – now I wish every TV manufacturer would join in

Flip phones are in fashion, the latest Fantastic Four blockbuster is taking the box office by storm, and Oasis are on tour; hard to believe it's somehow 2025 and not the noughties.

Flip phones, however, look quite different nowadays, as evidenced by the Samsung Galaxy Z Flip 7, which we have before us today.

The company’s foldable line has come a long way since its inception with 2019’s Galaxy Z Fold. Six years on from that experimental stage, the Korean tech giant treats these bendy smartphones with the same reverence as its long-running Galaxy S lineup.

It seems to have learned a lot since its first generation, which makes the Z Flip 7 one of its most compelling foldable smartphones to date. That’s good news indeed, considering it’s following two particularly excellent handsets from the brand.

Last year’s Z Fold 6 proved to be one of the biggest surprises of the year, thanks to its impressive display and audio performance, while the video upscaling feature introduced on the Galaxy S25 Ultra ensured a five-star score for that premium handset.

So, can the Z Flip 7 hold a candle to these impressive smartphones when it comes to AV duties?

Price

The Samsung Galaxy Z Flip 7 officially starts at £1049 / $1100 / AU$1799 for the 256GB model, though a 512GB model is also available for £1149 / $1220 / AU$1999. Both models feature 12GB of RAM and Samsung’s Exynos 2500 processor.

The Z Flip 7 is priced squarely in the premium sector, then. It’s slightly cheaper than the Galaxy S25 Ultra (£1249 / $1300 / AU$2199), though it's pricier than the Award-winning Apple iPhone 16 Pro (£999 / $999 / AU$1799).

Perhaps the best comparison is with the iPhone 16 Pro Max, which costs from £1199 / $1199 / AU$2149.

Build

If it wasn’t immediately clear, this is a foldable phone, which means that the design itself is a key feature.

This is a clamshell-style flip phone, reminiscent of the flip phones from the early 2000s. That means you can snap the phone shut after a phone call if you’re feeling particularly sassy.

Unlike the flip phones of old, the outer surface of the Z Flip 7 features a 4.1-inch edge-to-edge Dynamic AMOLED 2X display, which can be used to interact with a range of applications or access key information at a glance, such as the weather or calendar entries.

Our favourite use for this display, however, is interacting with the media controls while streaming music. There’s something pleasing about having a palm-sized portable music player, which makes us yearn for the days of iPods.

Unfolding the phone reveals a 6.9-inch Dynamic AMOLED 2X display, which sports a crucial video-focused feature that we’re thrilled to see – a 21:9 aspect ratio.

That’s the classic ratio for movie content. Sony used to be the champion of this, but it has unceremoniously ditched 21:9 for its recent flagship Xperia devices.

Implementing this into a foldable form factor, as Samsung has done, makes a lot of sense, as the long, slender chassis of previous 21:9 phones made them a bit awkward to carry around.

A compact shell that can be folded in half for enhanced pocketability is a smart move that also satisfies our AV priorities.

This is also a particularly slim phone. It's not quite as slender as the razor-thin Z Fold 7, but at just 13.7mm when folded and 6.5mm unfolded, the Z Flip 7 is an unquestionably slender smartphone.

Despite the slim design, Samsung has made sure to keep its latest smartphone rugged thanks to its Aluminium Armour frame, as well as Corning Gorilla Glass Victus 2 covering the fragile glass elements to help reduce the likelihood of scratches or cracks.

The hinge has been upgraded, too, with Samsung touting its latest generation Armour FlexHinge as being more durable than ever before. It also provides a tighter seal when the device is closed, as well as a smoother folding action.

On the subject of the folding mechanism, we should also point out that Samsung has taken huge strides in reducing the screen crease, to the extent that it’s barely noticeable to the eye or the touch.

Finally, with four finishes to choose from – Jetblack, Coral Red, Shadow Blue and Mint – it's a stylish phone too. We have the Shadow Blue model, which looks rather smart thanks to the metallic shine that shifts the colour when light hits it.

The one blemish on the design front is that the Z Flip 7 is an absolute fingerprint magnet, with the internal screen picking up smudges with frustrating ease.

Features

Samsung’s smartphones have boasted famously extensive feature sets in recent years. And they have only grown in the last 18 months, thanks to the unwavering onslaught of AI integration.

The Galaxy AI suite is, as expected, featured on the Flip 7, with the likes of Circle to Search with Google, Live Translation, Writing Assist, and a wide range of photo and video editing tools.

The list seems to grow continually, and Samsung has previously updated existing models with new AI features, so in all likelihood the Flip 7 will become even more AI-ified over time.

Samsung has, in fact, promised to deliver seven years of software upgrades to the Flip 7.

While AI tricks are fine and useful, we’re much more interested in AV performance. The main display features a resolution of 2520 x 1080, with a pixel density of 397ppi.

It’s an OLED display, which is ideal for deep, convincing blacks, and while the 1080p resolution may seem off-putting in a world of 1440p devices, we can assure you that the display is plenty sharp enough.

As we’ve already mentioned, the Z Flip 7 features a 21:9 aspect ratio, which is practically perfect for watching a large variety of films, thanks to the fact that the black letterbox bars are totally eliminated. 16:9 content is where things get a bit trickier, however, as sizable black pillar bars are added to the left and right of the image.

Both the internal and external displays feature Samsung’s Dynamic AMOLED 2X technology, so they support variable refresh rates up to 120Hz. This makes gaming and interacting with the UI feel great, and the screen can intelligently drop the frame rate when it comes to static content; for example, if you’re reading a webpage on your phone.

The cover and main displays are both officially rated at 2600 nits peak brightness, though the main screen gets a major AV boost in the form of HDR10+ support. Practically all of the major streaming services now support HDR10+ content in some form or other, including Netflix and Disney+, which both adopted the format recently.

Dolby Atmos audio is also supported via the phone’s stereo speakers (formed of a downward-firing speaker and the earpiece), as well as through wired and wireless headphones.

There is no headphone jack, unsurprisingly, but you can hook wired cans up to the phone via a 3.5mm to USB-C adapter. Wireless audio is also available over Bluetooth 5.4 with the A2DP and LE codecs supported.

As for the remaining features, the Z Flip 7 sports three cameras in total: a 50MP main lens, a 12MP ultrawide lens and a front-facing 10MP camera. The joy of the Flip series is that you can use the main high-quality camera as a selfie shooter thanks to the cover screen, which can be used as a viewfinder.

Camera performance is solid on the Flip 7, with colourful, punchy and crisp images that should suffice for anyone who carefully cultivates their Instagram profile.

Rounding things out with the battery, Samsung has upped the capacity to 4300mAh, which is apparently the biggest battery in a Z Flip device so far. It claims 31 hours of video playback. In real-life terms, we find that it can easily make it through a day with moderate to heavy use, including music and movie streaming.

Picture

We’ve already established that the Z Flip 7’s main display is particularly well-suited to watching movies in terms of specs and dimensions, but how does its picture performance hold up? We stream a range of content from the likes of Netflix, Amazon Prime Video and Disney+ to the device, and find that it's impressive, but not without flaws.

We find the best results when pairing the device with some cinematic content that fills the 21:9 aspect ratio, such as Mission Impossible: Dead Reckoning on Netflix. Here we find that the Z Flip 7 produces a crisp and detailed image, with a nice sense of three-dimensional depth.

There is tangible detail to the fabric of the suits worn by the gang of operatives, as well as to skin texture. Skin tones are perhaps a touch on the vivid side, but generally speaking, the display handles colours well, albeit not entirely authentically.

Users can choose between a vivid and natural colour preset – we lean towards the latter for our testing, though we do appreciate the ability to tweak the colour temperature in the default Vivid mode. The Natural preset, however, is the more accurate overall.

On motion, we find that a couple of panning shots in Blade Runner 2049 stutter briefly, but broadly speaking, motion is fine. Moving objects, such as Officer K’s scout drone in the opening sequence of the film, glide with relative smoothness.

One area where the Z Flip disappoints is, strangely, brightness. As we’ve established, the display is rated to a peak brightness of 2600 nits, the same as the Galaxy S25 Ultra. However, placing the two handsets side by side reveals that the S25 Ultra is clearly brighter.

In isolation, it’s still evident that the Z Flip 7’s display is quite dim, even with auto brightness switched off and the extra brightness setting enabled. That dimness robs the picture of some of its impact.

Getting back on track, we’re happy with how the Z Flip handles dark details. Areas of Sapper Morton’s farmhouse in Blade Runner 20249 that are bathed in shadow don’t entirely hide the piano, armchair or sofa, allowing us to dig out a good bit of detail here.

While we generally approve of the Z Flip’s picture performance, it doesn’t quite compare to another five-star handset on the market. The iPhone 16 admittedly doesn’t feature a nifty folding form factor, but it does deliver a richer and more cinematic experience.

We prefer the slightly warmer tone that the iPhone delivers, and contrast is also better on the Apple smartphone. It also happens to cost considerably less. Admittedly, those dedicated to the Google operating system likely won’t give the iPhone a second look, but it's worth considering if you’re open to iOS.

Sound

Samsung’s recent batch of smartphones has sounded good, rather than great, and the Z Flip 7 is no exception. Loading Tidal on the phone and plugging in a pair of wired headphones, we find the Z Flip checks plenty of boxes, but it doesn’t necessarily go above and beyond.

Using a range of test tracks from the likes of Hans Zimmer, Aurora, Kansas, Taylor Swift and Hozier, we find that the Z Flip reliably delivers a crisp and detailed sound, with a solid sense of timing.

Voices sound clean and natural, and there is a decent sense of spatial separation between the voices and individual instruments of the test tracks we opt for. Switching on the Dolby Atmos audio feature heightens (pun intended) this effect, with an even more open feel to the sound, though it does lose a touch of focus in the process.

When it comes to dynamics and subtlety, we actually consider it to be better than the pricier S25 Ultra, which can sound strained at higher volumes and a bit flat when the volume isn’t pumped up.

However, it's the iPhone 16 that once again steals the spotlight, as it offers a richer, more natural, and harmonious sound. Instruments feel more textured, and voices are more detailed with greater importance placed on low-level dynamics, resulting in a more emotive performance.

Verdict

Foldable phones have quickly matured during their relatively short time on the smartphone scene, and the Samsung Galaxy Z Flip 7 cements this notion. It’s interesting enough to stir conversation when you whip it out of your pocket, but it’s conventional enough that you don’t have to adjust too greatly if you’re coming from a “normal” phone.

For those looking to make it their new portable movie and music consumption device, we think it’s a solid offering with some thoughtful additions, namely the 21:9 display and the ability to use it as a compact music player when folded.

That being said, the Z Flip 7 just misses the mark on pure picture and sound performance, so stick to the traditional non-flexible smartphones if a five-star AV experience is what you’re after.

SCORES

• Picture 4
• Sound 4
• Features 5

MORE:

Read our review of the Samsung Galaxy S25 Ultra

Also consider the Apple iPhone 16

Read our Apple iPhone 16 Pro review

Best smartphones: the best phones for music and movies

The 48-inch LG C5 is the second smallest option in the company’s current step-down line of OLED TVs – which automatically makes it an interesting beast.

Flagship OLED TVs aren't really produced in sub-55-inch sizes. Sure, there's the new 48-inch G5, but that lacks the Primary RGB panel of its larger siblings, so it doesn't really count as a fully fledged flagship.

All of which is to say that while the C5 range is a step-down line, the 48-inch C5 is pretty much as premium as TVs this size get.

It’s also coming off the back of a hot streak for LG, with two generations of its predecessors not only earning top marks from our reviewers, but then going on to win What Hi-Fi? Awards.

Has lightning struck a third time with LG’s 48-inch C5 OLED TV? Here’s what we found after thoroughly putting it through its paces in our dedicated test rooms.

Price

The 48-inch LG C5 launched at a price of £1500 / $1599 / AU$2499. We’ve recently seen some early discounts that knock the odd hundred off, but you're currently still looking at paying close to full price.

The 48-inch C5's main rival is the identically sized Samsung S90F, which uses the same OLED panel technology. Unsurprisingly, the 48-inch Samsung S90F is priced at launch very similarly to the C5, at £1499 / $1500 / AU$2499.

You can also get the C5 in 42-, 55-, 65-, 77- and 83-inch sizes. The 42-inch LG C5 launched for £1400 / $1399 / AU$2199. Prices then rise in line with the TV’s size, capping at £5999 / $5399 / AU$7999 for the largest 83-inch option.

Build

LG hasn’t rethought the wheel with the C5’s design. In fact, it’s so unchanged that if you put it next to 2022's LG C2, let alone last year's C4, you would probably struggle to spot the difference.

Unlike the 42-inch model, the 48-inch C5 has the same central stand design as the 55-inch version we reviewed earlier this year, which is quick and easy to assemble. Just plonk the stand on the TV's back and secure it with the included screws. Once done, it provides a stable base that will fit on most regular-sized TV cabinets without issue.

Sadly, the stand doesn’t have a swivel mechanism, though this is less of an issue here as the set’s ports are mostly housed on its side rather than back, making them fairly easy to access.

The bigger annoyance is the angled slant and low height of the stand, which can make the positioning of a soundbar tricky. If you do go for a soundbar, you will want to make sure it's a fairly low-profile model, such as the Sonos Beam (Gen 2).

In the US and many other territories, LG has released a new sleek, modernised controller for the C5. But we’re yet to see it in the UK, where a slightly tweaked version of the somewhat long-in-the-tooth Magic Remote is the only option provided.

The controller remains largely unchanged outside of the addition of a new AI shortcut button and a minor tweak that changes the input button so you can control all connected devices with it – including things such as smart lightbulbs – rather than just select which HDMI input you want.

While these changes are fine, we would have liked LG to make bigger quality-of-life changes, adding things such as backlighting and rechargeable batteries – elements that are increasingly common on rival OLED sets we test.

While the pointer functionality, which lets you navigate menus with an onscreen cursor that’s moved with motion controls, is welcome, the remote is clunky to use in low light, which is what most serious movie fans will be doing.

Features

The 48-inch LG C5 is packed to the brim with features, which is particularly impressive considering its small size. But, as with its design, not a great deal has changed since last year.

Starting with the two big elephants in the room: the panel tech remains unchanged and, despite years of asking, there’s still no heatsink.

The panel used remains a WOLED, with the older brightness-boosting Micro Lens Array (MLA) tech seen on last year’s G4 sadly being retired, rather than trickling down to the C-series, as we’d hoped it would this year.

The lack of MLA is a shame, as it does offer palpable brightness improvements based on our testing. But it’s also not surprising, as it has been superseded by the Primary RGB Tandem OLED panel tech that LG Display debuted on the LG G5 at CES in January. MLA is sadly going to the same farm as curved screens and 3D TVs.

Equally, a heatsink could have helped the TV go brighter for longer without risking damage. The omission is particularly noticeable on this size of the C5 which, despite having the same Brightness Booster Engine as the larger models, can't hit the same peak brightness levels.

This isn’t a phenomenon specific to the C5, though. It’s an issue on all smaller OLEDs, due to a combination of factors including pixel aperture and the impact it has on heat management. Pushing the panel too hard can also impact colour accuracy, which is why companies tend to tune smaller sets more conservatively than larger models.

The only big change for the C5 is the use of a newer LG Alpha 9 Gen 8 processor. Like every chipset we’ve seen recently, the Alpha 9 Gen 8 has an overt focus on AI, which LG claims it has leveraged to help the TV deliver more advanced upscaling and holistically improve colour accuracy, audio quality and HDR tone mapping.

Outside of the dedicated AI picture and sound profiles, which can be accessed in the C5’s settings, the only obvious front-facing AI feature it brings is a new chatbot system designed to help you troubleshoot and generally use the set. Through vocal commands, you can do things such as tweak picture settings and ask what a particular toggle does.

The C5 supports the most common HDR standards of HDR10, Dolby Vision and HLG. The only ongoing omission is Samsung’s home-brewed, open-source HDR10+, which is a rival to Dolby Vision and offers similar frame-by-frame dynamic range optimisation powers for compatible content.

Thankfully, the lack of big feature changes is largely forgivable, as the LG C-series was already one of the most feature-packed you could find.

The main highlight remains the inclusion of four, as opposed to the more standard two, full-speed HDMI 2.1 inputs, one of which doubles as an eARC port.

While two HDMIs will be fine for most people, dedicated gamers with multiple latest-gen consoles and a sound system (which will use the eARC port) will really benefit from the C5's four.

Those four HDMI 2.1 sockets all support 4K/144Hz (as well as the more common 4K/120Hz), plus VRR and ALLM. Dolby Vision gaming is also on board and a welcome inclusion for Xbox Series X/S owners.

So all-in-all, if you connect a current generation games console or PC, the unit will run smoothly and as fast as the machine allows – it won’t be the C5 causing the bottleneck.

LG’s webOS 25 software runs the show and is fairly similar to the version we saw on the older C4. The only big addition outside of the AI assistant is a new Xbox app, which lets you stream games directly from the TV and adds the ability to pair a Bluetooth controller directly to the C5. This used to be exclusive to Samsung TVs.

Otherwise, the OS retains its strong app support, with key services including Netflix, Disney Plus, Apple TV+, Amazon Prime Video, BBC iPlayer and ITVX all being supported and running correctly during our checks.

Picture

Powering up the 48-inch LG C5 paired with our trusty Oppo UDP-203 4K Blu-ray player, the set immediately has a different character to both its 55-inch sibling and its key rivals. Watching Dune: Part 2 with the TV’s out of the box standard settings, as often happens, the set tries too hard.

Peak bright areas in the desert stand out too much as the C5 tries to show quite how bright it can go, while colours look a touch too warm. Motion handling is also very heavy-handed, with the fighters looking like dancing ballerinas, rather than aggressive knife-wielding warriors.

Thankfully, things rapidly improve as we fiddle with the settings, eventually settling on Filmmaker Mode, with the lowest Cinematic Movement option on, sharpening and judder reduction off and dynamic tone mapping on. Colour temperature, which is now tweaked using a slider control, rather than the less granular options of before, is left at its default for Filmmaker Mode.

Set up accordingly, the desert retains its sparkle, with the brightest part of the sky shining in a way OLEDs this price from even a few years ago can’t, but with significantly more detail.

Bright shading is strong, too, with a wonderful hue of blue transitioning to orange across the image.

Cloud clusters equally retain their shape, despite the added brightness, showing the difference pixel-level light control can make. Our only minor quibble is that colour temperature still looks a smidgeon too cool, but rapidly shifts the other way when we make minor adjustments.

Motion handling has also now regained its composure, with the actions of the on-screen characters taking on their intended weight, and a difficult scene in which a Fremen fighter launches a missile at an Ornithopter looks accurate, with no ghost frames or awkwardness seeping in.

We move on to one of our new favourite 4K Blu-ray test discs, Civil War. During the heated nighttime battle scene, the explosions look dynamic and truly pop out of the dark sections with zero bloom – as we’d expect from an OLED – but we see colour volume drop slightly, especially in characters’ skin tones.

This is particularly noticeable on close-up shots. While the brightest parts of faces pop and look wonderfully three-dimensional, the darker parts take on a greenish hue, losing all warmth, resulting in a flatter, less natural image than we like.

This is slightly annoying as the set otherwise handles dark scenes admirably. Switching to our Alien: Romulus test disc, the opening scene shows a giant spacecraft slowly creeping out of the pitch black vacuum of space. The image is full of detail with every nook and cranny of the vessel on display, giving us a wonderfully three-dimensional spectacle.

Playing Top Gun: Maverick, the skyline once again looks excellent, full of pop and detail, but an area of the aircraft carrier in the shadows looks slightly flat, losing some definition in areas that look wonderfully sharp on the Samsung S90F we’re testing it against (full review coming soon).

Yet, when we switch to Oppenheimer, the issue doesn’t repeat during a shadow-heavy scene where he is meeting politicians. The skin tones look natural, and the entire picture has a sharp, wonderfully three-dimensional quality, with every stitch of their suits visible.

Moving to our final, incredibly difficult, SDR True Grit upscaling test, the C5 performs well.

During the tricky opening, the dark lights in the night-time farm hold a nicely bright, distinctive spot, with the glow illuminating details well without introducing noise or oversharpening the falling, fluffy snow.

The intentional spaghetti western grain is retained as we move to a brighter scene, with the set not pushing too hard and oversharpening or flattening the very difficult picture.

Ultimately, while the 48-inch LG C5 displays a couple of niggling picture issues, it's superbly competent overall. And many users won't notice those issues at all.

Sound

The 48-inch C5 features the same 2.2-channel 40W speaker system as the outgoing C4.

On a set this size, audio quality is usually one of the main compromises you have to put up with. This is because their smaller dimensions impact how much air the speakers can move around. Based on our testing, this remains the case with the 48-inch C5.

Starting with the set in its standard audio mode, the C5’s performance is distinctly flat, with every part of the sound coming from the centre of the screen. Gunfire and soldiers’ shouts during Civil War lack their intended directional quality.

On top of this, while gunfire never sounds acidic as it does on the S90F, it lacks the bite you’d expect, and explosions in the distance show the C5’s low end doesn’t quite have the heft required to deliver the intended, bone-rumbling effect.

Sadly, this isn’t fixed when we switch to the AI audio mode. LG is making a lot of noise about the C5’s new AI audio powers, with its custom AI Sound mode that aims to “optimise the audio” to its users’ specific tastes. The set-up requires you to click through a process, picking options that “describe your preferences” before optimising the speakers to them.

Here, while the set noticeably tries to separate the frequency range more, it makes each part thin in the process. Gunfire takes on a nasal, fizzy quality, and sibilance creeps into dialogue while the low end all but disappears.

We get the best results switching to the set’s Cinema mode. But even then, the audio lacks definition.

Moving to an intense scene in Top Gun: Maverick, the audio remains flat. The boom of jet engines lacks precision and directionality, and voices aren’t suitably separated from background noise, making some conversations hard to follow.

This makes a soundbar or other speaker system an essential purchase for any serious movie fan planning to pick up the LG C5.

Verdict

The 48-inch LG C5 retains the Korean giant's legacy as one of the top small-ish OLED TV makers, but largely because it sticks very closely to the blueprint that made past C-series sets great, rather than any clever innovation.

If you’re yet to take the OLED plunge, then this is a solid option, especially if you’re short on space or cash-rich enough to justify one as a secondary, bedroom set.

But the lack of progress is beginning to show at this size, and it means that the 48-inch LG C5 isn’t the slam-dunk, no-brainer purchase it used to be – especially with Samsung and Panasonic nipping at its heels.

SCORES

• Picture 5
• Features 5
• Sound 2

MORE:

Read our review of the 48-inch LG C4

Also consider the 48-inch Samsung S90F

Read our LG 65QNED93 review

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

When Molly decides she wants to have more sex, there are two problems: first, she's married. And second, she's dying.

The collision of outrageous sexual exploration with heartwrenching vulnerability and emotion is what makes Dying for Sex such a powerful TV series, earning three Emmy nominations.

Dying for Sex is shortlisted for outstanding limited or anthology series in the 2025 Emmy awards, with star Michelle Williams and the supporting cast also earning acting nominations.

You can watch the series on Hulu in the US and Disney Plus in the UK and Australia. And it's funny to see the series alongside Disney and Pixar cartoons, because it is, shall we say, extremely frank.

Williams plays Molly, who leaves her husband and sets out to find sexual fulfilment while she still can. Although her terminal diagnosis looms over the story, the series is also wickedly funny as it lays bare her sexual misadventures.

Despite the dark subject matter, it's easy to be swept up in Molly's lust for life as her sexual exploration takes her into increasingly ludicrous situations.

This unflinching and non-judgmental look at the absurd messiness of life stops the series from tipping into sentimentality or cliche, instead treating Molly and her desires with respect, curiosity and compassion.

The series is based on a podcast in which the real-life Molly Kochan discussed her sex life, and her experience of terminal cancer, with best friend Nikki Boyer. Kochan died in 2019, before the podcast was released the following year.

In the TV adaptation, Williams plays Molly and Jenny Slate plays Nikki. Slate and Rob Delaney are Emmy-nominated for their supporting roles, while Sissy Spacek delivers a nuanced performance as Molly's mother.

Molly and Nikki’s intimate and often chaotic friendship is the core of the series, full of laughter, disagreement, devotion and heartbreaking vulnerability.

It's a rare TV series that can have you laughing out loud one minute and proper snot-running-down-your-face weeping the next, but that's the spectrum of emotion these close friends experience together.

The inventive and irreverent approach to the painful subject is also mirrored in the visuals.

As Molly's mental and physical state changes, we understand her experience through surreal and sometimes delightfully rude (but never gratuitous) visual flourishes. By the end, Molly reclaims her life, and her death, in a devastatingly emotional finale.

Ultimately, the series is so compelling because it treats not one but two taboo subjects with humour and intelligence.

It's as much about friendship as it is about sex and death, and even in its inevitable conclusion finds joy.

Bold and honest, Dying for Sex tackles the biggest emotions with humour and humanity.

MORE:

One of the year's most intense thrillers is 90% on Rotten Tomatoes and now available to stream at home

I watched every Star Wars film ever made – here's what I learned

I finally tried Dolby Atmos on my PS5 – and it's so immersive that I don't think I can go back

We’re pretty used by now to TVs equipped with Tivo smart systems coming in at the more affordable end of the market.

Even knowing that, though, didn’t fully prepare us for Sharp’s 70GK4245K: a Tivo-toting TV with a 70-inch screen that costs just £489.

Surely a screen size to price ratio this extreme can’t actually be fun to watch, can it?

Price

It’s still rare for even 55-inch TVs costing under £500 to arrive in our test rooms, yet here we find ourselves staring at a 70-inch screen that costs just £489 (around $660 / AU$1000).

The 70GK4245K doesn’t look like it’s going to be just another ‘it makes a picture, what more do you want?’ budget TV, either.

For instance, its 4K screen can also take in the Dolby Vision high dynamic range format, its audio system can handle Dolby Atmos tracks, and its already content-loaded Tivo smart system is backed up by the latest Freely platform. Truly, our budget TV cup runneth over. So long as there’s also some sort of quality to its pictures, of course.

The 70-inch screen size is pretty rare these days, with most brands offering 65 and 75-inch options instead. Couple this with its ultra-affordable price, and direct competition for the 70GK4245K is hard to find.

If Tivo is the most important thing to you and you can resist the 70-inch screen, Sharp also has a decent little 43-inch Tivo model, the 43GM6245K, that can be yours for under £250, while Bush’s 50-inch 50UT24SB Tivo set is also an engaging all-rounder currently going for £319 on Amazon.

If strong picture quality is more important than Tivo, TCL’s 65-inch 65P755K is very good value at £449 at the time of writing, and as new replacement models are just around the corner, even the 75-inch can be had for just £549 if you get a move on.

Design

It became obvious as we were setting up the 70GK4245K that its build quality is pretty flimsy. Anyone with a sufficient wingspan should easily be able to pick it up and move it around without the need for a second pair of hands. Its bezel is on-trend thin around three of its sides, though, while the slightly wider bottom edge looks glossy enough to just about persuade you that maybe the TV isn’t entirely made of plastic after all.

The rear is fairly chunky by modern TV standards, making it a rather cumbersome wall hanging option. Though VESA wall mounting points are of course present, if that’s really the way you want to go.

The desktop feet provided with the 70GK4245K look OK in a no-nonsense kind of way, but infuriatingly, the only attachment point for them is right out near each bottom corner, meaning the TV can only sit on a bit of furniture that’s almost as wide as the TV. Which is no joke when that TV is a 70-inch model.

The GK4245K ships with a remote control that’s basically as plasticky and lightweight as the TV. A brushed finish for the main front plus a faux metallic look to the central cursor navigation section, though, just about succeed in making the handset look posher than it really is.

Features

We’ve covered the Sharp 70GK4245K’s headline claims already: namely that it delivers a 70-inch screen, Tivo/Freely smarts and Dolby Vision HDR (as well as the core HDR10 and HLG formats of HDR, of course) for the mind-bogglingly low price of £489. More detail is needed on some of those features, though – and, surprisingly, there are quite a few other things going on with this budget set, too.

The LCD panel used for the 70GK4245K appears to be a VA one rather than a low-contrast IPS one, for starters. It’s not clear whether the set is direct or edge lit, though the way some clouding appears over the picture’s edges (more on this later) suggests that it may be the latter. At any rate, there’s certainly no evidence of local dimming going on – which we wouldn’t expect there to be, of course, on such an incredibly affordable TV.

There is a global dimming system at work, however, which Sharp claims can deliver a dynamic contrast ratio of 1,000,000:1. We can tell you now that this is an extremely optimistic figure, mind you, that’s based on mathematical potential rather than real-world performance.

The GK4245K only has a native 60Hz panel, so you’d think there would be no potential for high frame-rate gaming support through any of the provided three HDMI ports. Actually, though, a connected Xbox reveals that the TV can support 120Hz refresh rates – albeit only at 1080p resolution, and without any HDR support. You can retain HDR – including Dolby Vision – with 4K gaming feeds at 60Hz max, just to be clear.

The HDMIs support ALLM switching when a game source is detected, as well as VRR, and input lag in the Game mode is a very snappy 14.8ms.

Other connections include a couple of USBs, an Ethernet port, a 3.5mm headphone jack, an IR remote control extender, an optical digital audio output, and even a blast-from-the-past mini composite video/stereo audio input. Plus, of course, there’s built-in wi-fi to feed the Tivo smart system.

The GK4245K’s Tivo implementation shows no signs of any budget TV-related compromises. It runs as slickly and stably as any other version we’ve seen, and it carries the usual impressive array of apps and sources.

These include Netflix, Disney+, YouTube, Prime Video, Rakuten, BBC iPlayer, ITVX, All4, My5 and the Freely platform, which essentially lets you live-stream many of the TV channels on the Freeview HD broadcast platform – as well as providing on-demand access to many tens of thousands of hours of catch-up programming from Freeview’s main channel providers.

The only really striking absentee from Tivo’s app list is Apple TV+. You can now access Apple TV through the Prime Video app, but the quality of the feeds you get that way doesn’t seem as good as those you get through direct Apple TV apps.

It’s worth adding that Tivo also supports arguably the most straightforward, intelligent and helpful voice recognition/content search system in the TV world.

Surprisingly, finally, the GK4245K carries a few quite premium picture adjustment features. There’s a 10-bit colour feature for smoothing out potential banding in HDR colours, for instance, as well as a pair of customisable Dolby Vision modes on top of the more predictable Dolby Vision Dark and Bright options.

There’s even support for a full calibration thanks to both 2-point and 11-point white balance correction, plus hue, saturation and brightness adjustments for the red, green, blue, yellow, cyan, magenta and flesh tone colour elements.

Picture

The GK4245K’s pictures turn out to be a really pleasant surprise in most ways. For starters, they’re substantially brighter than we’d anticipated based on our experience of other similarly ultra-affordable TVs. This expresses itself in both enjoyably crisp and punchy highlights within HDR pictures, and respectable sustained brightness with full-screen HDR bright shots.

You’re not witnessing by any means the full range and impact of HDR’s light range, to be clear. But you do get enough of it to help pictures look reasonably natural and engaging rather than the dull compromise we’d honestly expected to see. What’s more, while it’s hard to imagine Sharp has equipped a TV as cheap as the 70GK4245K with a particularly clever HDR tone mapping system, HDR pictures feel nicely balanced and don’t suffer excessively with clipping (lost shading and colour tone subtleties) in their brightest parts.

Even more surprising, the healthy brightness the GK4245K manages to find for HDR playback doesn’t come at the expense of convincing dark scenes. The amount of greyness that creeps into parts of the picture that should look black really isn’t excessive at all, despite the screen’s lack of advanced light control tools.

What’s more, provided you don’t use the Dolby Vision Dark picture setting, shadow detail remains abundantly present in even the darkest corners. This helps dark scenes look almost as natural and full of depth and detail as bright ones, resulting in a much more consistent viewing experience than we’d expected to find on such an affordable big-screen TV. Though the ‘almost’ back there is doing some slightly heavy lifting, for reasons we’ll get to in a moment.

Another very pleasant surprise about the GK4245K is how sharp and clean its pictures look. Part of this is a result of the screen’s surprisingly subtle colour handling. There’s no wide colour gamut coverage or Quantum Dots here, yet the screen handles even the most subtle of blends and tonal shifts without the sort of striping, blocking or ‘clumping’ we’d anticipated at this price point. You don’t even need to call in the set’s 10-bit colour emulation feature.

Motion is also handled quite well for such a cheap TV. There’s a touch of blur if a fairly large object moves at speed across the screen, but this never turns into actual smearing or lagginess, and there’s enough finesse in the screen’s shading and enough native sharpness in the core 4K delivery to stop even action scenes from starting to look truly soft.

As well as containing more shading subtlety than expected, colours look consistently balanced, with no tones standing out too strongly against the rest, and no aggressive blue or green wash hanging over proceedings. As with the GK4245K’s brightness, we’re not seeing the full range of tones and saturations HDR can provide, but we’d take a holistic, balanced approach to colours like the GK4245K provides over some more heavily saturated but also gaudy and uncontrolled mess any day.

Add to the mix some surprisingly clean upscaling of SDR sources that holds up even on a screen as big as this one, as well as slightly more forgiving viewing angles than we’d expected, and you can see why we’re such fans of the 70GK4245K’s pictures for its money. The only thing stopping us from giving it five stars, in fact, is something we’ve alluded to a couple of times before: backlight clouding.

Extraneous light creeps into dark scenes in a number of areas – mostly at the screen’s edges, but also in a couple of more central spots. These light pools disappear entirely during bright footage, and they’re really the only significant issue we have with the GK4245K’s budget pictures. But they can be distracting enough during very dark sequences to cost Sharp’s TV one full picture mark.

Sound

The 70GK4245K’s sound can’t repeat its picture heroics. Audio struggles to escape the TV’s bodywork even at full volume, leaving action scenes and dense musical scores sounding quite swallowed and thin.

The way the sound feels trapped inside the GK4245K’s speakers, even with Dolby Atmos mixes, also means dialogue can sound a bit detached from the onscreen action, and given that Sharp’s TV doesn’t produce a particularly compelling midrange, you won’t be shocked to learn that there’s practically no bass presence.

The GK4245K’s sound is at least operating within the limitations of its speakers, though, meaning that even the most bombastic Hollywood moments don’t cause low-frequency distortions or treble harshness. So while we’d have loved much more sheer oomph from the 70GK4245K’s sound, what we’ve got does at least not sound broken.

Verdict

No 70-inch TV costing £489 is ever going to be perfect.

In the Sharp 70GK4245K’s case, that means having to put up with some backlight clouding in dark scenes and an uninspiring built-in sound system.

Putting up with these relatively minor issues is made surprisingly easy, though, thanks to both an excellent Tivo smart system and an overall level of picture quality that really has no business turning up on such an affordable home cinema-sized TV.

SCORES

• Picture 4
• Sound 3
• Features 5

MORE:

Read our review of the Sharp 43GM6245K

Also consider the TCL 65P755K or 75P755K

Read our Bush 50UT24SB review

Best TV: flagship OLEDs and budget LED sets tried and tested

Amazon Prime Day has unexpectedly coincided with a UK heatwave, and with temperatures expected to reach 34 degrees this weekend, now seems like the perfect time to invest in a portable projector.

If you have a BBQ planned and are wondering what to do for entertainment after the burgers have been scoffed, then an al fresco movie night could be the exact thing you need.

We've seen a handful of great deals on portable projectors throughout the Prime Day sales, but there's one I've spotted that I think should be avoided at all costs.

The LG CineBeam Q (HU710PB) is an admittedly stylish little beamer, but it also happens to be quite expensive and not very good.

We awarded it three stars in our full review, citing that its vibrant colours and excellent black levels were an asset, as well as its premium design and built-in webOS 25 streaming platform.

However, it was severely let down by its audio, which we called "wholly inadequate", earning it a meagre one for sound.

Furthermore, it presented a noticeable level of rainbow effect, and many of the included picture presets appeared to lack brightness.

The nail in the coffin, however, was its price, as it launched for an extortionate £1299. By the time we reviewed it, however, it had dropped to £799, which is better but still quite expensive.

Amazon Prime Day has knocked that price down yet again, this time to £609 at Amazon, but I still don't think you should buy it.

If your goal is to set up a cinema in your garden during this hot spell, I'd instead bring the Xgimi MoGo 4 to your attention.

It only officially launched last month, but Xgimi has wasted no time in dropping the price from £509 to £429 at Amazon.

Now, there are some tradeoffs to be aware of with the Xgimi, such as the fact that it's a 1080p projector rather than 4K, like the CineBeam Q.

However, the Xgimi takes the lead thanks to its built-in battery, which delivers a claimed 2.5 hours of battery life in its eco mode.

The LG, on the other hand, has no built-in battery, meaning you'll need to trail an extension cable out to your garden if you do want to use this beamer outside.

The Xgimi also includes Google TV built-in, with access to Netflix, Disney Plus, Amazon Prime Video and more, as well as the ability to cast your smartphone to access unsupported services such as BBC iPlayer and Channel 4.

The Xgimi MoGo 4 actually earned four stars in our review, so you're getting a more versatile and better-performing projector for less, no brainer, right?

MORE:

Amazon: browse all of today's best deals

Sony: new lowest-ever price for the A95L QD-OLED at Richer Sounds

John Lewis: soundbar, Blu-ray and streaming deals

Peter Tyson: big deals on projectors, speaker packages and soundbars

Sevenoaks Sound & Vision: up to £1800 off home cinema packages

It's the final countdown to Amazon Prime Day, meaning we are just hours away from an onslaught of AV and hi-fi deals. The sales will run from the 8th to the 11th of July, with hundreds of pounds off the best TVs. But not every deal will be worth your hard-earned cash.

Take, for example, this early Prime Day deal on a huge Hisense Mini LED TV. The 100-inch E7N, which originally launched for £1999, is down to just £1299 at Amazon.

That's a substantial £700 saving on a comparably substantial TV; however, that doesn't mean it should be the TV you buy this Amazon Prime Day.

For the same price, you can score the 85-inch TCL C805K. This affordable XL TV scooped up a What Hi-Fi? Award last year, and it's priced identically to the Hisense right now. We reviewed it at £1579, but you can save £280 at Richer Sounds currently.

Bigger isn't always better, as shown with this XL TV deal. While we haven't reviewed this particular Hisense, we did review its pricier sibling, the E7N Pro; and we weren't exactly enamoured of it.

It's worth mentioning that the E7N drops a few features from the E7N Pro. Most notably, it doesn't have local dimming, and its peak brightness is 100 nits lower than the Pro model.

Regardless, the E7N Pro proved to be a middling TV at the 75-inch size we reviewed it in. It offers average black levels, but distracting blooming and a dull, flat-looking picture in its supposedly most authentic picture mode.

Based on those findings we don't have high hopes for the standard variant. However, for the same price you can score a huge TV that offers a much more robust picture.

Now, 85 inches is, of course, a step down from the 100-inch screen that the Hisense offers, but it's still pretty huge. Furthermore, we would be willing to accept this compromise, considering the TCL C805K scooped up a five-star review and a What Hi-Fi? Award last year

This TV uses a Mini LED backlight instead of the E7N's direct LED system, meaning you should notice reduced blooming, more convincing blacks and higher peak brightness.

It supports the same HDR formats as the Hisense, including both HDR10+ and Dolby Vision, as well as 4K/120Hz on two of its four HDMI sockets.

Dolby Atmos audio is also on board, and it features Google TV for a wide range of supported streaming apps, including Netflix, Disney Plus, Amazon Prime Video and Apple TV+.

We complimented its spectacular peak brightness, rich colours and impressive light control and contrast in our full review, in which we called this TV "the home cinema bargain of the year"; and that was at full price.

If you're looking for a TV that delivers on big-screen theatrics and don't mind compromising a little on hitting the 100-inch mark, then the TCL 85C805K at £1299 is the early Amazon Prime Day deal for you.

MORE:

Find the best Amazon Prime Day home cinema deals here

Read our full TCL 85C805K review

And check out our picks for the best Mini LED TVs

With Disney Plus and Netflix rapidly becoming the norm for more and more households, it can seem like discs are being left in the dust as our primary means to watch films at home.

This battle between physical and digital media has been weighing on our minds this Home Cinema Week, so we wanted to hear from our lovely readers to settle the score.

Earlier this week, we asked how you watch your favourite movies and TV shows at home. After three days of reading through and compiling your thoughts, here are the results.

You still collect plenty of discs for their better overall quality

As the responses rolled in, it quickly became apparent that your DVD and Blu-ray collections are not going anywhere.

We put out an Instagram poll to see whether streaming or discs would come out on top, and the results were pretty clear.

Out of 60 responses, 43 of you said that discs were your preferred way to watch. There were 12 readers who preferred streaming, though, and the remaining five were on the fence.

A lot of you seem to want to own your most precious movies in a physical form, too. Gregory Pempleton commented via our website:

“When I buy a disc, I know that it is mine, unlike streaming, where the item can disappear at the whim of the provider.”

This sentiment was echoed by many other responders. Eugène de Goeij commented on our original article:

“I watched Dune on Apple TV (bought it), but I liked it so much I bought the 4K disc. The image is a bit more crisp and there are more subtle details in the sound [...] For me, a good movie will always make me buy the 4K disc.”

But streaming is becoming an easier option

Despite this chorus of support for discs, there were still plenty of fans of streaming.

Mark Greenley said that while he buys 4K Blu-ray discs for those "special" films, streaming services have become more common in his household for daily viewing.

“I like streaming and I am signed up to several platforms. As a family, we watch shows and films,” he said.

Some of you also stream movies due to the better availability. For example, Micky Alexandru pointed out via our website that, “there are movies that can't be found [anywhere] but on streaming services.”

What we think

Even though there is quite the range of opinions when it comes to this head-to-head, we agree with our readers that discs tend to outperform streaming when it comes to sound and picture quality.

Because of this, it makes sense to collect firm favourites in the best quality possible. Plus, holding a disc in your hands and knowing you can watch it whenever you want, without worrying if it will be taken off a service, certainly feels like money well spent.

It would be silly to pretend that streaming hasn't simply become easier to access, though.

With most home cinema kit offering built-in streaming services, the option of clicking a few buttons and having instant access to a library of content is very appealing. Also, streaming gives you the opportunity to cancel your subscription anytime if you feel you don’t use it enough.

Still, it is reassuring to see that buying top-quality discs is important for home cinema fans.

MORE:

These are the best Dolby Atmos scenes to test your home cinema setup

Check out the best streaming devices

How to optimise your 4K TV settings for Blu-ray, DVD and TV viewing

Premium German AV brand Loewe has announced the latest addition to its luxury OLED TV lineup, and it's a spin on a TV trend we are seeing more and more these days.

Introducing the 97-inch Stellar, a new screen size for the company's existing flagship TV range. It joins the already available 42-, 48-, 55-, 65-, 77- and 83-inch versions of the Stellar, which we called "one of the most unusual TVs we've seen" when it was unveiled last year, on account of its unique concrete rear panel.

Loewe's new flagship TV is engineered and assembled at its manufacturing plant in its home town of Kronach. It has a premium aluminium chassis and brushed aluminium bezel for a stylish look and solid build.

It also features the magic.light system that launched with the Stellar. This light bar runs along the bottom edge of the TV for an ambient glow, and it can be customised with a range of different colours. Unlike Philips' Ambilight system, it does not react to what's happening on screen, but it does offer a pleasing welcome and goodbye animation.

Other design-led features include a concealed connection panel with cable management built in, and a hidden wall-mounting bracket which allows users to mount their TV flush against a wall for a sleek and modern look.

Unlike the core sizes in this range, the 97-inch Stellar does not sport a Micro Lens Array panel. Instead, it uses a 4K WOLED display – to be expected at this size. Loewe boasts of a strong relationship with LG Display, as it purchases the open-cell OLED panels in order to adjust the manufacturing process to suit its high standards.

The 97-inch Stellar is set to deliver "an exceptional visual performance with peak brightness, extraordinary contrast, and astonishing detail" with support for Dolby Vision IQ also on board.

It appears to be powered by Hisense's Vidaa smart platform, with Loewe's os9 platform running on top. It supports a wide range of streaming services, including Netflix, Disney Plus and Apple TV+, as well as cloud gaming applications such as Blacknut and Boosteroid. There is also an art mode for displaying artwork, and Loewe is proud of the customisability of this operating system.

AI is even mentioned, with AI-backed content recommendations and AI comfort features also referenced, though we're not entirely sure what they do quite yet.

As this is a premium OLED TV from Loewe, we expect a substantial price tag to match. While we don't have UK pricing quite yet, the 97-inch Stellar will be officially priced at a whopping €29,999 when it launches later this month.

Using the power of currency conversion, we make that out to be approximately £26,000 / $35,000 / AU$54,000. Better get saving.

MORE:

Read our Loewe Stellar hands-on review

As well as our picks for the best OLED TVs

And the best TVs overall

You never truly appreciate what you have until it’s gone. It’s true in relationships, it’s true of your own youth, and, of course, it’s true when it comes to novelty childhood snacks. Remember Panda Pops? Sweet, sweet times.

You’ll smirk when I tell you this, but I mean it in all sincerity, that the same truism hit home during the recent coverage surrounding the mediocre, yet wildly popular, fever dream of a blockbuster, A Minecraft Movie.

Few would consider a bearded Jack Black wearing a blue T-shirt and shouting “flint and steel!” to be the basis for a cinematic masterpiece, mainly because it isn't, but it’s not the intrinsic narrative qualities of said brick-based adventure tie-in that have me feeling all misty-eyed.

Instead, it’s been the sense of community, however outlandish and occasionally toxic, that A Minecraft Movie has conjured that has me hankering for a similar experience.

I’ve never played the game or seen the film, but what I have witnessed has been the plethora of videos, memes and news reports covering young audiences getting together at their local cinema and revelling in the delights of communal cinema.

Patrons seem particularly excited whenever there’s a mention of the fabled ‘chicken jockey’ or each time Jack Black pulls out dialogue referencing the original game’s crafting mechanics, invoking rapturous reactions from the real-life, in-house audiences.

I don’t approve of throwing popcorn everywhere or scaring families with young kids, but this explosion of fan-oriented ecstasy following months of anticipation is something I haven’t witnessed since Avengers: Endgame.

It’s people doing what people used to do: going to a cinema and watching a film communally. The multiplexes are dying, nobody leaves the house any more (apparently), and the high street itself has become some sort of barren anachronism from a bygone era.

I should know: the town in which I grew up has its own leisure complex, which once consisted of a bowling alley, a gym, two restaurants and a cinema. Now, only the gym and bowling alley remain, and I'm not particularly confident regarding the longevity of the latter.

As much as I love nailing a tricky spare and blasting my quads in equal measure, the death of the town’s local Empire cinema feels like a loss whose consequences many of us are only just coming to terms with.

Local cinemas such as these are exactly the kinds of places where such communal experiences are to be enjoyed, yet they have become increasingly rare in this age of 65-inch TVs and on-demand streaming. Not that we would discourage you from buying one of the best 65-inch TVs, mind.

Yes, I missed the boat on A Minecraft Movie, but this is the place where I had my own experiences, the ones that really do form happy childhood memories.

This is the place my parents took me to see Pirates of the Caribbean for the first time, the place that I went on a double date to watch the surprisingly excellent 21 Jump Street reboot as a teenager (my mate and I loved it, our dates were ambivalent), and the place that blew my mind as a twenty-something watching Top Gun: Maverick and slightly falling in love with a fifty-something Tom Cruise.

The late great David Lynch made a great point about watching movies on your iPhone which, while it’s a slight stretch, can be applied here. “If you’re playing a movie on a telephone, you will never in a trillion years experience the film. You’ll think you’ll have experienced it, but you’ll be cheated. It’s such a sadness that you think you’ve seen a film on your [expletive deleted] telephone. Get real.”

Okay, so no one’s daft enough to watch, say, Dune: Part 2 on their iPhone and think that it’s the same as watching it at the IMAX in Waterloo, but Lynch’s point is that watching a film is an active experience rather than a passive one, an experience that goes beyond the literal footage that unfolds in front of your eyeballs.

It’s about the screen and the sound, not to mention the building you watch it in and the people you’re with, and that’s not something you can replicate by sitting at home watching Netflix in bed.

I’m of the generation that is old enough to know just what it’s missing, and to be capable of realising the difference between hearing the thunderous howl of Tom Cruise’s R-72 Darkstar nailing its Top Gun test run in a properly kitted out theatre against my TV’s rather poxy in-built speakers.

Yet for younger viewers, glueing themselves to an iPad or iPhone screen might be all they’ve known and, more worryingly considering the struggles of the modern cinema, all they ever will know.

Now that my local cinema has gone, I wish I'd made the most of it. It's become easy to be complacent, to fool yourself in the manner Lynch describes, into thinking you're thinned-out domestic experience was the same as the full-fat cinema version.

Yes, I enjoyed watching Deadpool and Wolverine on Disney Plus, but it was nothing compared with the pleasure of seeing Infinity War at the Clapham Picturehouse with, oddly enough, another ex-girlfriend. Maybe she wasn't as into Marvel movies as I was.

I miss those experiences, and I hope that they're not going to be consigned to the annals of history along with handwritten letters, in-car CD players and basic human decency.

I still want to watch films with my friends and family, be they young or old, rather than cooping myself up alone in my flat to slog through another lacklustre Star Wars spin-off.

Popcorn chucking aside, then, I'm glad a new generation is getting the chance to enjoy such communal reveries. Be it Marvel madness or Minecraft mayhem, there's nothing quite like seeing a movie at your local cinema.

Now that mine has perished, I wish I'd visited more often when I had the chance.

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