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When Sony announced that it would no longer be producing physical PlayStation discs from 2028, the response was not positive, to put it lightly. Yes, PC gaming may now be almost entirely digital, and things have certainly been moving in a similar direction with consoles over the last few years, but ceasing production of physical games entirely? It’s a significant step many didn’t want to happen so soon.

PlayStation fans have been vocal in calling out the negatives of Sony’s decision, specifically what this means for game ownership, preservation, and collectors who enjoy buying physical. The company has been reticent to address the backlash, but the comments section of every blog entry, social media post, or trailer release since the announcement is full of anger, pleas to reverse the decision, and glib remarks at Sony’s expense.

For anyone, like myself, who has enjoyed building a collection of physical games over the years across multiple console generations, it’s devastating news.

And I don’t think Sony’s refusal to address any of the feedback is helping matters. Yes, we’ve seen fan uproar dissipate into nothingness with countless hot-button issues in a matter of days in the past — but the vociferous fans don’t appear to be going away right now.

But I think some companies aren’t letting physical games go anywhere either.

A new challenger approaches

“What we've seen and what I have taken from all of the discourse is that there is an incredible passion for physical games and other physical objects. The digital space can never provide the same kind of satisfaction that people get from a tangible good.”

This is the view of Amanda White, co-founder of iam8bit. After starting out hosting pop culture workshops, the company has since produced countless pieces of video game merch and memorabilia over the past 20 years, as well as vinyl releases for popular soundtracks and physical editions for games across several platforms. Yes, they have standard boxed releases for games on PS5, Xbox, and Switch, but the company truly stands out for its jam-packed and reverential physical collector’s editions.

Scroll through the store now, and you’ll see a copy of Lies of P that comes with a wood-carved and hand-crafted marionette puppet, a Blue Prince bundle that includes printed versions of two memorable picture books from the game, and a The Outer Wilds set featuring a traveller’s bag and a replica of Chert’s bandana.

If you’ve played and are a fan of any of those games, you’ll immediately understand the connection between the extras that are included and the game itself, and why people are willing to part with their cash to own something that they can add to a collection, display at home, or carry around with them.

(Image credit: iam8bit)

“We started to realise that there was something that people saw as incredibly valuable in these tangible goods,” Amanda explains of the company’s origins. “These unique tangible goods held memories for them that related to these community experiences they were having.

“So, we want to put in the extraordinary effort required to get the gasps of delight when something lands in someone's mailbox and they open it and experience it for the first time.”

Let's get physical

It’s the same fan passion that drives Limited Run Games: a similar outfit that’s published over 1,000 physical and digital game releases since its inception in 2015. Its motto, ‘Forever Physical’, defines the exact mindset of the PlayStation fans who are disappointed with Sony’s pivot to a fully digital future and what’s lost by moving in this direction.

“I think you're losing a key part of the experience, right?” suggests Brendan Madigan, CFO and General Manager at Limited Run. “Because, obviously, the actual media is a key part of that, and I think that's where we, at Limited Run, have a responsibility to our fans to innovate and to improve the experience.”

“I think where our fans have been clear in what they want is that they want collectible products that hold value, and they want the product to be an experience,” he continues. “I’ve always viewed our product as different from a retail offering anyway, because it's highly collectable, it’s very curated, with tonnes of added features and pack-ins to it. The delivery mechanism will always change…but nothing changes about the core experience that the collector wants to have.”

One thing we do know is that standard code in box isn't really a favourite, certainly for the console buyers.

Nic Ashford, Chief Operating Officer at Limited Run Games

It comes down to the fact that the physical offering from the traditional industry has only grown more sparse over the years. Open a PS5 or Nintendo Switch game box now and you’re more often than not presented with the sad sight of a lonely disc or tiny cartridge set into an empty expanse of plastic. You’re lucky if you get a quick start guide, or a sheet of paper with a DLC code. A full manual? You must be joking.

Similar to iam8bit, the store pages of Limited Run are filled with physical game releases that span the entire range of consoles and generations — from bulky NES cartridges to the slim cases of Nintendo Switch titles.

(Image credit: Limited Run Games)

The products that stand out most, again, are the most recent limited edition launches, with games like Tomb Raider, Silent Hill, and Star Wars Zero Company in beautiful presentation boxes that are filled with soundtrack CDs, trinkets, posters, and other unique extras relevant to the game or its universe.

Sales figures discussed by analysts might paint a grim picture for physical releases, but iam8bit and Limited Run both emphasize just how quickly some of their releases sell out — and how even restocks of older products that were brought back by fan demand are scooped up in no time. The audience and the demand do not appear to be shrinking from their perspective.

Digital is inevitable, but there is hope

As for fans signing petitions trying to convince Sony to reverse its decision, Limited Run’s Chief Operating Officer, Nic Ashford, is unfortunately not hopeful for the outcome they're seeking, but does see what they're standing for as an opportunity.

“Look at the numbers; they're not going to change, they're not going to go back. They can't afford to and it doesn't make sense. But that doesn't mean a company like Limited Run couldn't come in and say, look, we certainly know that 350,000 people want you to keep this going, and it could go up. How about working with us to come up with a solution that works?

“We've got to find the right solution for the number of people who are out there in the minority who still buy physical product,” says Nic. “Some might say, outside the industry, that’s a somewhat flawed business model. But, in fact, it isn't, because those people who seek that type of product will always seek that product out.”

We made it abundantly clear that this is an opportunity – it has to be seen as one.

Nic Ashford, Chief Operating Officer at Limited Run Games

He likens it to this wider push, primarily from younger generations, who want to reconnect to the physical world in our increasing digital age. In the same way that 4K Blu-ray, CDs, and, of course, vinyl, are all in various states of resurgence, it seemed inevitable that video games would also be swept up in this growing demand for and appreciation of physical goods.

“We have, over the last couple of years, set this company up in preparation for this moment,” continues Nic. “Physical is something that we’re intrinsically involved in, and we've been aware that this was going to be coming for several years — practically over a couple of decades. So, we focused on making things more of an experience for the fans and adding value.

(Image credit: iam8bit)

“They are actively going out and seeking a connection with something real, something you can hold, something you can touch, and that you can own. That's encouraging. Today's generation and the next generation of physical buyers are going to be people who have that or grow into that, but they'll have a component of nostalgia in there as well.”

Blowing on the cartridge is here to stay

Nostalgia brings me nicely onto another aspect of why physical games are so important to many — one that grows even more important as gaming and console generations keep moving forward. Preservation.

If you buy a game digitally, then there’s the fear that it could disappear and no longer be accessible at any moment. Sure, Sony isn’t going to turn off PS5 game downloads any time soon, but the PlayStation Store on the PS3 and PS Vita is about to close.

And while the company has promised downloads will be possible “for the foreseeable future,” there’s always the thought in the back of your mind that, eventually, they’ll switch it off for good.

So, being able to scan your shelf or dive into a box and find that old copy of something you’ve been craving to play is clearly a driving factor for many physical game buyers — be it a rare PS1 cult classic like Parasite Eve 2, a slightly dusty but incredibly valuable Conker’s Bad Fur Day N64 cart, or a copy of Pokémon Red on the Game Boy that you last remember playing by the light of streetlamps in the back of a car.

(Image credit: ModRetro)

One company whose goal is to preserve classic games and ensure you can play them as authentically as possible is ModRetro.

It started by launching the Game Boy-inspired Chromatic and just recently launched the M64, a modern take on the Nintendo 64 that I found was a terrific way to play that console’s games in 2026.

“We wanted to basically design these exactly with this core intention to preserve the authenticity of the gameplay experience,” explains ModRetro CEO Torin Herndon. “That's also why we publish games and re-release games, too. In terms of retro games, the collecting of them is a bigger thing than the playing of them, and one of the goals of ModRetro is to make those games playable again and make them accessible again.”

The games and the preservation of those games are the primary reasons why we make these consoles.

Torin Herndon, ModRetro CEO

Original Game Boy and Nintendo 64 cartridges are simply slotted into the Chromatic or the M64 as you would with any standard version of the respective console.

And while some modern quality-of-life touches make things easier or smoother compared to the classic consoles, you’re effectively playing the exact same physical game that you may have owned for years or picked up in a second-hand store earlier that day. With a digital-only future upon us, that won’t be possible.

“The thing that's upsetting to people on the surface is this idea of ownership: that if you don't physically own a game where the game is on physical media, it can easily lose support at any moment. It can effectively be taken away from you in some sense,” says Torin in response to the reaction to Sony’s announcement. “And given that you paid AAA prices for some of these games, that is not a super consumer-friendly option.

“Obviously, these companies don't have a choice but to move away from physical media, because the overall business model of these companies is kind of reliant on having moved away from them in the first place. Most of the physical media that you can buy is actually just a key that allows you to unlock the game and download it.

"That’s another thing that I think is interesting, maybe more interesting even than ownership, is that back in the day these games were baked onto physical media and were more reliably baked before you bought it.”

Overcoming tech challenges

That’s less of an issue when we’re discussing the Game Boy and Nintendo 64 games that ModRetro is focused on, but there will come a point when these same conversations will be happening about more modern games that are reliant on day-one updates and DLC.

The topic is big enough for a different discussion entirely, but it’s a challenge that companies like iam8bit and Limited Run Games also need to be aware of with physical media in the modern era.

(Image credit: iam8bit)

Jon Gibson, co-founder of iam8bit, responds to this by saying: “We've been on the side of positivity always, and we're looking at this from a perspective of, OK, you can't change what you can't change. But how can we pivot to embrace what we do so well and to give fans things that they will enjoy and cherish and love in that physical form?

There’s happiness that comes from seeing those things actualised. When you're that emotionally invested, it's just a beautiful thing.

Jon Gibson, co-founder of iam8bit

“We hope that 20 years from now, 30 years from now, 50 years from now, people are going to find a copy of a game, or a record, or a CD that we minted that they had never heard of and they give it a shot. They pop it into their console, or they put it on the record player. That's really exciting to think about that we helped to give that thing staying power, whereas, otherwise, it might be deleted digitally when a licence expires.”

That optimism is echoed by Amanda. “As John said, we're going to lean into this aspect of what we already do and have been doing for 20 years, and we'll continue to do it. If that means we need to pivot a little bit so that we're making goods that are sitting beside PlayStation products, rather than direct physical PlayStation games, then we'll do that. We’ll still do our best to make those fans happy and build a robust experience around the IP they love.”

What’s clear speaking to iam8bit, Limited Run Games, and ModRetro is that the passion for games is there in abundance, as is the drive to provide their fans of today and in the future with ways to experience and enjoy the games they love in a physical form, not just as the ones and zeros they’re made from.

Apple’s already raising prices on products and services. Is Siri next?

Growing up music-obsessed, my household CD collection was substantial. Along with my own music, it was largely made up of albums my parents had accumulated separately. Like a library filled with books, it unlocked an educational portal on all things music and ignited my respect for the album.

And yes, I use the best music streaming services to satisfy my daily music needs, but I’m still an album-listener, and I haven’t left physical music out of my consumption habits. That said, I’ve always imagined what it would be like to bring the nostalgia of CD-browsing into the digital era. Thankfully, Ricardo Amorim is doing just that with his start-up company Spine Music.

Launching on Kickstarter this fall, Amorim’s inaugural product is the Spine display, a digital music display you can connect to your Spotify, Apple Music, and Tidal account. But what’s impressive about Spine is that it displays all of your saved albums as if they were a CD collection, which you can browse and play through headphones and speakers.

For a company that’s so new, Amorim’s mission is tunnel vision: to reconnect people with music. As he awaits the launch of Spine, Amorim sat down with me to talk about his product in detail and why he thinks it will never replace physical music.

A display that's been years in the making

Images of the Spine Music display are CGI renders, and are subject to change by the time the Kickstarter campaign launches (Image credit: Spine Music)

Spine was unveiled to the world just this year, but for Amorim, it’s something he’s been thinking about for a lot longer. “The idea itself is something I've been kicking about in my head for years," he tells me. "It started off with me wanting to buy something like it, so it wasn’t like ‘this is a company I should start’; it was more ‘this is a product I need because I love streaming’."

Just two minutes into our conversation, I realized Amorim and I are quite similar. We both appreciate the accessibility and convenience of music streaming, but our attachment to physical music is in our DNA. It’s what keeps us grounded. “I love everything that (streaming) brings me. I love having access to every album under the sun, but I grew up with physical music, and I missed that,” he says, and I get it.

With this in the back of his mind, it all became clear to him, as he tells me, “Surely there's something out there that can bridge that gap.

"I left my job and said ‘you know what, if nobody's making it, then I'll go ahead and make it’. I went on a sabbatical starting last year and took time off to recharge and rethink what I want to do. Then Spine came up again as an idea, and I thought it was the perfect time”.

While Spine is a handy digital music shelf that gives you immediate access to your streaming library, it’s so much more than that for Amorim. “The emotional reconnection with music is what I would like Spine to be able to achieve, but not leaving behind all the benefits that streaming and technology have brought us," he adds.

"I love streaming, but I do feel like if you truly love music and you talk about music and want to move your relationship with it beyond your phone, there are few ways of doing so."

Album-centric with minimal features

With the Spine Music mobile app, you can add and remove albums. You can also curate the order in which your albums appear on the display (Image credit: Spine Music)

Unlike streaming platforms where the user interface is central to the experience, this isn’t a priority for Spine. Instead, Amorim argues that the device’s minimal display encourages higher levels of browsing.

“One core concept of the product is to have no UI. So we designed the whole experience to be about swiping to browse, tap to open, and tap to play," Amorim details, adding "and there are no buttons once you've loaded your library in, it’s just gestures to protect the music”.

The other core concept is to spotlight albums in all their glory, which I raise my glass to. “You can import your playlists, but Spine will behave like a music shelf that displays albums. So, say you import your late-night jazz playlist, it'll pull up all the relevant tracks that are part of that playlist and display that," he tells me.

"There's something different about listening to an album end-to-end that an artist puts so much effort into thinking about. That’s what I wanted to project, hence why there's a deliberate decision in trying to maintain that conceptual connection with a music shelf”. It’s music to my ears.

(Image credit: Spine Music)

But there’s one thing Amorim wants to be clear about: Spine is a display, not a player. When you select an album from your collection on Spine, the rest is done through your streaming service of choice, meaning it doesn’t render audio files.

“Spine will trigger the beginning of an album or play something through your streaming service, and then the streaming service will own the relationship with where it goes to play and so on. Once you have that concept in mind, then it's not about queuing, it's about browsing and starting the listening journey,” Amorim tells me, and there’s one particular reason for this.

“People have invested a reasonable amount of money in their own audio gear and hi-fi gear, so it doesn't make sense to me to try to replace that. I feel like we have a different job to do”.

Physical music is never out of the question

(Image credit: Spine Music )

Just looking at the images of Spine brings back so many memories of seeing my home CD collection lined up in the cabinet — not to mention it looks great in a home audio setup. There’s just one question going through my head, however: will the convenience of Spine prompt users to stop collecting physical music? Amorim doesn’t think so.

“I don't think it tries to compete with physical media in that sense. What I notice is every time someone connects their library to Spine, there's an emotional wave that hits you when you see your music back on the wall again. You can't explain it; you just feel it,” he elaborates, recalling one of his favorite parts about CD collecting.

He goes on. “My nostalgia comes from browsing the liners of the albums. I remember to this day there's a Pearl Jam album that came with a bunch of little Polaroids, I think it was No Code, and I still love that. I miss it. Spine is not going to go there, and I would love for people to still go and buy those albums and experience that themselves”. At the same time, he reemphasizes Spine’s singular goal.

“It's really about reconnecting people with music. I truly believe that the feeling of connection we have with music goes beyond just the pure sound coming off of it. It's the relationships it can start, it’s the conversations it sparks."

Casual discovery and conversations around music have dipped in the streaming era. For most people, listening to an album is enough, but for those who really appreciate music, discourse is vital. This is something Amorim wants to revive.

“I've recently written about bringing back serendipity and casual discovery. You know, it's having friends over, and they start browsing through your collection and saying ‘oh, I remember this album’, or ‘oh I never heard of this one’," he shares.

But as it stands, Amorim’s focus is introducing Spine to the world and developing a new kind of music player, but he believes there’s already room for growth.

“Right now the core focus is music doing one job really well, but I can see potential in browsing books in a similar manner, and potentially even films and TV to an extent," he believes. "It's that sense of curation that comes with a limited amount of space, even though of course you can swipe and keep going.

"But if you're going to put something up on your wall in your home, you're probably going to have a different level of curation than you would if it's something hidden in your phone that nobody can see. So, I feel like that can apply to other types of media at some point,” he says.

There's still a bit of time before users can get their hands on the Spine display. While pre-orders open on Kickstarter this fall, shipping doesn't start until early 2027, so there's still a bit of a wait. So far, Spine looks like a promising device, and I'm fascinated to see how music lovers take to it.

Journalists, human rights advocates and open source analysts recoiled in horror at the initial decision: "The opportunities for abuse and disinfo are literally boundless," said one.

(Image credit: Generated and annotated by NPR)

The best streaming services have added more new movies in August, and even though we're light on the horrors this month, I've still managed to find seven new arrivals.

Prime Video doesn't have any new horrors this month, but thankfully Paramount+ has stepped up in August to bring us one of my favorites. So despite the lighter selections, there's still enough for the macabre among us.

Ready to dive in? Here are my seven horror streaming picks for August 2026.

10 Cloverfield Lane

When: August 1
Where: Paramount+ (US); rent or buy (UK, AU)

Cloverfield is one of the best found footage movies out there, but if you think the follow ups wouldn't be as good, you're mistaken. In fact, 10 Cloverfield Lane is one of my favorite movies and a worthy addition to the series.

Here, Mary Elizabeth Winstead plays a woman who survives a car crash. When she wakes up, she realizes she's been taken in by two men who insist that the outside world is uninhabitable, and they must remain in the underground bunker. It's well worth checking out if you're a fan of the original Cloverfield movie.

Bride of Chucky

When: August 1
Where: Netflix (US); rent or buy (UK, AU)

It's double trouble for Chucky fans this month, as this iconic horror movie sees the murderous doll finding himself a wife. Bride of Chucky is one of my favorites of the franchise, largely due to Jennifer Tilly's great performance as Tiffany Valentine.

Bride of Chucky stands out from the first three movies in the franchise because it relies on self-referential parody and isn't afraid to make fun of itself. In my opinion, it's the funniest entry into the franchise for this reason. So if you want a perfect blend of horror and comedy, it's right here.

Barbarian

When: August 1
Where: HBO Max (US); rent or buy (UK, AU)

Everyone's talking about Zach Cregger's Resident Evil, and his recent feature Weapons won at the Oscars, so now is a great moment to check out his excellent horror movie Barbarian.

It's hard to believe that Barbarian is Cregger's directorial debut because it is terrifyingly good. It starts as a seemingly normal tale of a woman who rents a vacation house, but when she finds out it's occupied by someone else it descends into something entirely unexpected. Believe the hype, it's really good.

Five Nights at Freddy’s 2

When: August 3
Where: Netflix (US, AU), rent or buy (UK)

Get ready for Freddy, because US and Australian audiences can watch horror sequel Five Nights at Freddy's 2 on Netflix in August. Despite being panned by the critics, the movie and its predecessor have received a loyal following of fans, many of whom loved the famous video game series.

If you're among them, then you can relive Five Nights at Freddy's 2 at home, as we follow Abby Schmidt a year after the first movie as she is manipulated by the Marionette, an animatronic from the original Freddy Fazbear's Pizzeria, who is plotting revenge against adults. There's plenty of familiar faces here including two Scream icons Matthew Lillard and Skeet Ulrich.

The Yeti

When: August 7
Where: Shudder (US)

Big monster movie fan? Don't miss The Yeti when it arrives on Shudder, as it looks like a promising directorial debut for filmmakers Gene Gallerano and William Pisciotta which should tick all the right boxes for those needing a creature feature.

Set in Alaska, The Yeti centers around two people who go off in search for their respective missing fathers who have disappeared without a trace. This journey to locate them is dangerous enough with the weather conditions, never mind a huge yeti prowling the area. Sounds like a nailbiting watch.

The Strangers: Chapter 2

When: August 7
Where: HBO Max (US); Prime Video (UK); Binge (AU)

The recent reboot of The Strangers has proven divisive, with some fans thinking it's not as good as the original 2008 movie. But if you can't get enough of these masked villains, you might be interested in watching The Strangers: Chapter 2.

Set in the fictional small of Venus, Oregon, Maya (Madeleine Petsch) survives being stabbed by the strangers, but discovers that they are still hunting and trying to kill her. The locals are acting strange too, so what's up with this small town?

Buffet Infinity

When: August 21
Where: Shudder (US)

Finally, Buffet Infinity might be the most unique horror movie I've seen in a while. It's told entirely through mock television commercials, as we watch two restaurants who are fighting each other for dominance, which ends up spawning cults, sinkholes, and other apocalyptic consequences.

Buffet Infinity is intended to be a satirical look at consumerism, and it certainly caught my interest. If you're in the mood for something different, I highly recommend giving it a go.

Hard to believe, but Beats by Dr. Dre has officially been part of Apple for 12 years now — and the brand itself turns 20 this year. Suffice it to say, it's a brand that has continued to evolve and drastically improve its quality over the years, all while maintaining its cultural relevance.

That second part is the surprising one. When Apple bought Beats in 2014 for around $3 billion, the conventional wisdom was that it had paid a lot of money for a cultural brand, and that the hardware would eventually be folded into Cupertino and quietly retired. Beats Music did get absorbed, becoming Apple Music. Most people assumed the headphones would follow.

Instead, the opposite happened.

(Image credit: Beats)

We've all been out and about and spotted the iconic "b" logo on headphones and earbuds, but we've also seen it on athletes, musicians and celebrities alike — and never more so than this summer. An unannounced pair of Beats over-ear headphones has quietly spent months appearing on some of the world's most photographed athletes, first on Lamine Yamal, then across the FIFA Club World Cup on Antonee Robinson, Lee Kang-in, Jamal Musiala, Ritsu Doan, Kobbie Mainoo, Antoine Semenyo, and Nico Paz, before surfacing at Wimbledon on Aryna Sabalenka and, most recently, on LeBron James.

By the time Sabalenka stepped onto the grounds at Wimbledon wearing a pair, an FCC filing had already confirmed the existence of a real product with a real model number. What it didn't confirm was anything else — no name, no price, no release date. Months of conversation, generated by a company that, as of this publishing, still hasn't announced the headphones at all.

So with Beats turning 20 and 12 years inside Apple, I spent two days inside the brand's Culver City campus — the first and only journalist granted access to the offices and the engineering labs — to understand how it keeps creating these moments.

I expected to see more of the surface of Beats: the campaigns, the partnerships, the customs. I found something considerably deeper. Beats has quietly become a brand that kept its cultural identity while evolving into one of Apple's most sophisticated hardware organizations.

Apple didn't replace Beats

A post shared by Jake Krol (@jake31krol)

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The location tells part of the story. What began as Beats' independent headquarters is today part of Apple's Southern California campus, with the original building still home to much of the audio brand’s team. Just steps away are other Apple organizations, including the relatively new Apple Music building, creating a campus where music, design, engineering, and culture intersect. It's a fitting setting in the Hayden Tract, a neighborhood whose history spans Hollywood production, aerospace, and some of Southern California's most ambitious creative architecture.

And Beats clearly has a bench of in-house resources for making a product. Design, engineering, tuning, and quality all sit within a short distance of one another, across two buildings — the main offices and a separate engineering facility built specifically for the brand.

Past security, though, it feels like a modern office. A massive video wall cycles through Beats campaigns featuring athletes, musicians, and creators. Product photography fills the hallways. Open workspaces stretch across the building. It feels creative, colorful, and unmistakably Beats.

The culture never left it — it grew with it

Oliver Schusser, Apple VP of Beats, Music and Sports

More striking than the office itself were the people inside it. Many of the employees I met had been with Beats long before Apple acquired the company, and more than a decade later they're still designing products, building custom headphones, and shaping the future of the brand. The teams are surprisingly small, and there's a passion for Beats that still feels closer to a startup than to one of the world's largest companies.

“Twenty years is a long time for any brand to stay relevant, but what makes Beats unique is that the culture never left it — it grew with it,” said Oliver Schusser, Apple VP of Beats, Music and Sports. “The people, the partnerships, the music, the sport — that's not a marketing strategy, that's who this brand has always been. Our job has been to make sure that never changes.”

That continuity is something Matthew Costello, VP of Hardware Engineering at Apple, has watched from the inside. "We were a young company when we got acquired," he said.

"We were very, very small back then." A lot of the core engineering and operations team who were in the building on August 1, 2014 — the day the deal formally closed — are still in it. "What we've managed to do is sort of combine the teams that existed from Beats and sprinkled in some Apple expertise as well on top of that."

My first stop wasn't engineering, though — it was the customs team.

(Image credit: Beats)

Spread across the desks were Studio Pro and Solo headphones unlike anything consumers can buy. Some existed as a single pair, made specifically for an athlete, musician, or celebrity. Others were produced in runs of only a few hundred. One pair featured a rough, cement-like texture across the ear cups. Another experimented with entirely different materials for the iconic Beats "b." Every design felt like an opportunity to try something new.

(Image credit: Beats)

It's a remarkably small team, made up of designers and craftspeople whose job is to experiment — people who hold the relationships with talent, work out what matters to them, and hand that to designers who can play with colors and finishes until there's something worth building.

Chris Thorne, Beats' CMO and head of product, says it runs in both directions. "Sometimes we'll surprise them and say, 'Hey, look what we made for you,' and hopefully blow their mind," he told me. "And sometimes they're in the process, and they come to us and say, 'Hey, I have this idea, this thing's really special to me, is there any way I can make a headphone for that?’"

Upstairs, in a lab of sorts, is a wall holding what I'd estimate is only 10 to 20% of every custom Beats has ever made. There was a pair for Lionel Messi with Inter Miami on one ear cup and Argentina on the other. Another celebrated LeBron James and his son. Others had been built for Kim Kardashian's holiday party.

For Schusser, the wall is proof of something deliberate. "Beats sits at the center of culture, sport, fashion and entertainment, but none of that exists without music as the foundation," he said. "That's the thread that runs through all of it."

Then I spotted something familiar: at a previous FIFA tournament, players wearing Beats had to tape over the logo, since FIFA counts another headphone brand among its partners. Rather than treat that as a problem, Beats leaned all the way into it — and there on the wall were customs with Xs printed over the Beats logo, the restriction turned into the artwork.

(Image credit: Beats)

That's the pattern, and once you see it, you can't stop seeing it. Beats teased the Powerbeats Pro 2 by putting them on Shohei Ohtani. It's doing the same thing right now with the over-ears nobody can buy. Long before consumers ever see a new Beats product, the company has often been putting it into the hands of athletes, musicians and creators, creating conversation months before a launch event is ever scheduled.

It works because of what the brand has come to mean to those people. "Beats transformed headphones from a purely functional accessory into something much bigger," Schusser said. "They became a global status symbol and a cultural icon. You see them embraced by athletes, musicians, and celebrities, and they've become woven into the fabric of hip-hop, sports, and streetwear as an expression of style and identity."

But the customs room is doing something else, too, and it's the part that surprised me most. Many of the colors, finishes, and materials first explored here eventually find their way into products consumers can actually buy. Thorne describes the team as an incubator — an experimentation platform, in his words, that he thinks is genuinely differentiated in the category.

The one-offs are "amazing in process, experimental, with colors and materials, finishes, and all kinds of different ways of looking at a headphone," he said, "that, over time, lead to consumer products that we launch." A texture that starts as a one-off for a single athlete can end up as a retail colorway years later. The room isn't simply preserving Beats' history — it's a research lab, or an experimental playroom, for what the brand sells next.

Walking out of Customs, it would be easy to think of Beats as primarily a marketing operation, but next up I was treated to an inside look at what goes on under the hood.

The other half of the story

(Image credit: Beats)

The engineering building is a separate space, and it's where Beats cements its status as a hardware company.

Schusser put it plainly. "When I talk to people about Beats, they're sometimes surprised to learn how much of what we do is fundamentally an engineering story," he said. "The investment we've made in the hardware — the testing, the tuning, the science behind the fit and the sound — that's not something you see from the outside. But it's the foundation everything else is built on."

There are labs here dedicated to the study of human ears — the same discipline Apple has talked about for AirPods — and the data feeds designs for in-ears like the Solo Buds and Powerbeats Pro 2 as well as over-ears. There's a quality lab lined with machines that test final units and, notably, customer returns. If something's going wrong out in the world, they want to find out why here with a slew of dedicated machines.

(Image credit: Beats)

And then there are the anechoic chambers. Beats has five of them. Two are full-size, big enough to walk into. Once the door shuts and you're standing on the suspended floor, it's quiet enough that you can hear your own heartbeat. They're used for everything from audio quality and active noise cancellation to voice pickup, and one of them houses a mannequin rigged with components that headphones get placed on. There are smaller chambers too, better suited to testing a speaker like the Pill.

(Image credit: Beats)

Down the hall is the listening room and the tuning studio, where every Beats product gets its final voicing.

Costello leads engineering and operations across every Beats product — the earbuds, the over-ears, the cables, the cases, and the Pill. He's been doing it long enough to have watched the brand go from an independent company to an Apple one, and when I asked what had changed and what hadn't, he started with the thing that hasn't.

(Image credit: Beats)

"We've tried to stay true to the roots of the brand," he told me. "As we've evolved the portfolio, one of the things we really focused on was making the products something that both we as Beats and Apple would also be proud of."

The Beats sound, 20 years in

If you've ever dismissed Beats as bass-first, Costello won't entirely argue with you about the early years.

"In the beginning it was super boomy," he said, "and it's sort of evolved from there." The sound signature has moved steadily toward balance since then, though he's clear that it's a negotiation rather than a correction. "It's always balance," he said. "We hear from our customers what they appreciate."

(Image credit: Beats)

What's changed most, he told me, is the speed of that loop. "That's actually one thing that's changed a lot over the last 15 years, which is the real-time responsiveness of customers and the feedback we've gotten. We're able to adapt quickly."

He described the development process as running in two directions at once. "We have both a forward-looking process, which is like tech forward from Apple, where we kind of know what technologies are coming," he said. "But then also we take the feedback from the customers. It's kind of a forward-looking, tech-forward process and also like a reverse-engineering process, to make sure we're improving things as well."

'Everyone said it won't work'

Ask Costello what he's proudest of, and he doesn't name a flagship, but rather says the wingtip on the Powerbeats Fit — the flexible tip that holds the earbud in place.

"When we started ideating that, everyone kind of said it won't work," he told me. The worry was that it sat awkwardly between an earbud and an ear hook: not stable enough, not flexible enough. He loves it anyway. "It's just super seamless and easy, and it's great for fitness, it's great for all-day wear."

To land on that final wingtip, the team worked through hundreds of variants — and that pattern came up more than once. Shrinking the Powerbeats case while keeping the buds securely retained inside it was, in his words, "a science project."

Then there's the Beats Studio Buds, which featured a custom chip — a first for the brand. The decision started with an idea that initially confused people internally when the team first pitched it.

"We took this bet that we would be sort of the dual ecosystem play," Costello said. "When we first started socializing that concept, people were like, 'Well, what does that mean?' And we said, 'Google and Apple together.'"

It worked, and it did something no custom colorway can. It "expanded our addressable market," as he put it — and it's the clearest answer I heard all week to why Apple keeps Beats around at all. Costello describes the whole portfolio as deliberately built to complement AirPods, a project dating back to 2016, and calls it one of the secrets of the last decade.

Beats sells to Android users. Beats sells at price points Apple doesn't. Beats makes sporty, wing-tipped, brightly colored products. Apple's own brand can't do any of that without becoming something else.

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The Studio Buds line produced one more surprise, and it came out of the workshop rather than the roadmap. I spoke with Costello and Thorne together to ask how it happened.

"It actually kind of happened by accident," Costello said. As part of developing any product from the ground up, the team builds a transparent version so they can see what's going on inside. "Both at Apple and Beats, we take both the external form as well as the internals very seriously. So we do a transparent, and we showed it to this guy here, and he had some thoughts about it."

The guy in question was Thorne, standing next to him.

"We kind of take it upon ourselves to ask for the impossible of these guys, and they figure it out," Thorne said. The transparent Studio Buds + he'd been shown "was never made for production or anything," but marketing wanted it immediately and asked whether they could have it as a real product. "It was a very last-minute, crazy ask, but somehow you guys figured it out."

(Image credit: Beats)

"We had to dial it in," Costello said. "We had to make sure everything was in the right place, and everything looked like it was supposed to look, to make it production, customer-ready. But we turned that in a very, very short period of time. It was really fun."

It shipped and was well received, but more interestingly, it changed what came after it.

"Consumers loved it so much because it was really special and unique," Thorne said. "We had great other colors, but they really loved the transparent for Studio Buds +. When we set out to build Solo Buds, we started from a place of knowing we wanted that."

The earbuds with a case that does nothing

(Image credit: Beats)

And that brings us to Solo Buds, priced at $79.99 / £79.99 / AU$129.95, and arguably the best example of how the Beats team thinks. The carrying case has no battery, no charging electronics, and no pairing button — which certainly raised eyebrows, both internally and externally. Solo Buds are ultimately the smallest case that Beats has ever shipped, and that Apple has ever made.

"Everyone was like, 'Why would you do that?'" Costello said. "And it worked. The product is great, and the bud life is really all you need for all-day wear."

What I find genuinely clever is that the decision forces every decision after it.

If the case can't recharge the buds, the buds have to last a full day alone — hence a custom cell rated at 18 hours, better single-charge life than most flagship earbuds. And if the case has no electronics, it can't tell the buds anything, including that it's been opened.

So the solution is a physical switch hidden inside the case, which signals the earbuds to wake, pair, and run their checks the moment you lift the lid. Everything that does the actual work lives on the left and right buds themselves.

What you experience is completely ordinary: open the case near your phone, iPhone or Android, and the pairing card appears. It's also extraordinary because it all happens without any electronics in the case.

What Apple actually gave them

Costello is direct about what the acquisition traded.

Beats kept its identity "from a form factor perspective," he said, while gaining Apple's infrastructure underneath it. Reliability, quality, environmental and wireless performance are now tested exactly as Apple's own products are. "I'm amazed at how far you can walk across a room and still get good, solid Bluetooth performance with our latest today," he told me.

We've been able to keep our identity and do things unique for Beats, but at the same time leverage the incredible capabilities of the Apple system,

Matthew Costello, VP of Hardware Engineering at Apple

"We've learned so much from the teams up in Cupertino, and leveraged the core technologies, the processes, the discipline," he said.

"We've been able to keep our identity and do things unique for Beats, but at the same time leverage the incredible capabilities of the Apple system," he said. "That's been the unlock over the last — now it's almost 12 years."

It didn't happen immediately. "It took some time to sort of find our rhythm," Costello admitted, before adding that the last several years have been the fun ones.

He's also clear about what keeps the team there. "The beauty of being inside of Apple is that it’s a technology marvel," he said. "All the time we are finding new things that we're either exploring and prototyping, or we're able to productize and bring into products."

And what keeps the engineers interested is being handed genuinely hard problems. "Engineers like to solve tough problems," Costello said. "They don't want to do the same thing day after year after year. So we try to find those things that are really landmarks or milestones from an achievement perspective, and then we work backwards from that."

‘Widening the aperture’

The part that seems to energize him most is how far the brand's remit has stretched.

"The advantage we have at Beats is that we can go really wide with different types of explorations," he said. "It makes it a lot of fun to think through different new product categories, new types of products, new products within the category itself. We've got all kinds of crazy ideas."

He put it more simply a moment later: "We've kind of widened the aperture of where the brand can go."

Thorne is more blunt about the appeal of it. "I love to be unexpected, to give something to people, to consumers, that they didn't see coming," he said, pointing to the move into iPhone cases — "I don't think anybody saw that coming, and I love that."

The logic, he said, starts with what people tell them. "Whenever we can make a great product that we think is differentiated from something that's in the market, we talk to consumers about it, we look at insights and data, we hear from them in social — what products are they interested in, what do they feel is missing out there. And when we see that opportunity, we like to experiment there."

He's also clear that none of it has to be audio at all. The brand can move into other areas, he told me, as long as it goes "always through the lens of Beats style, design, and color.”

Beats’ USB-C and Lightning cables trickle down the durability and speed of Apple's own, in fun colors and more sizes. Maybe most importantly, they brought down the price. These are fairly premium cables, with strong woven outers and rigorous testing against snapping, at reasonable money.

What comes next

(Image credit: Beats)

Now, as this feature publishes, Beats has not said a single word formally about the forthcoming over-ear headphones that have been spotted on athletes and celebrities. When I pressed, Schusser coyly said, "I can't say too much, but what I will say is — we have the ability to introduce our products in ways that are creative and unexpected, and we're very excited about what's coming."

That's not giving much away, but I have my own thoughts on these very customizable-looking premium cans. Given that the Studio Pro is already on the market, Beats is likely setting its sights on Apple's own AirPods Max, Bose's QuietComfort line, and Sony's WH-1000XM6, among several others. It's a crowded market, but judging by the many styles we've seen — and fingers crossed that a bit of the customs team's work is trickling down to consumers — Beats might be poised to deliver its signature sound in an athlete-approved, hopefully more durable over-ear that can be mixed and matched.

I'd also hope these push Beats' audio quality further, doubling down on active noise cancellation and transparency, and potentially taking a page from competitors by powering them with dual chips inside. Time will tell, but considering the teases have already started, I'd suspect we see them before the end of 2026.

And you can bet they'll support both iPhone and Android. Even though Apple owns and operates Beats, it's clear the company wants the brand to continue growing — whether that means catering to its own users who want fun colors, bold sound and unique looks, or reaching people who want something platform-agnostic.

So now, 20 years on since inception and over a decade within Apple, I think it's clear the Cupertino-based tech giant was right about the acquisition. Apple is letting Beats be a cultural brand as much as an audio company, one that still inspires copycats, but that also knows that while it could rest on its laurels, it's being pushed to go further — whether that's entirely new categories like cases and cables, bringing down the price of its signature sound, re-entering spaces it once exited, or starting something fresh.

Time will tell, but I think Beats will let the beat go on, and on.

ChatGPT Voice changes using the AI chatbot into something more akin to the fictional digital aides familiar from books and movies. And it gets even better once you know how to steer it.

It's tempting to treat ChatGPT Voice like a smart speaker, but it's not really the same thing. You can do much more than asking one question, waiting for the answer, and then stopping. You can shape the conversation just as much as the information. Here are five easy ways to get more out of ChatGPT Voice, along with the prompts and habits that help the conversation feel smoother and smarter.

1. Tell it how to listen before you start talking

(Image credit: Future)

As useful as vocal conversations with ChatGPT are, one reason some people avoid it is because of how it sometimes seems to jump the gun in responding while you're forming your own thoughts. Setting expectations at the start of the conversation works well to counter that, however.

It's worth spending a few seconds describing how you want the conversation to work before getting into the meat of it. You might say that you are practicing for an interview and want to finish each answer before receiving feedback, or that you will say a code word like "full stop" when it's ChatGPT's turn.

Even more subtle things are adjustable. You can ask it to slow down, speed up, use shorter sentences, or adopt a calmer speaking style. Voice settings also allow you to change voices and, depending on your account subscription level, adjust intelligence levels for different conversations.

Giving ChatGPT those ground rules helps it adapt its behavior instead of trying to guess when you have stopped speaking. Talking at your own pace makes the whole interaction feel much more relaxed and human.

2. Give it a role before you ask a question

Relatedly, it's helpful to set up a persona or point of view for ChatGPT to take on when using ChatGPT Voice. It sets up broad assumptions about what you're hoping to get out of the conversation without requiring any drawn-out discussion. For instance, if you want to discuss travel advice, ask ChatGPT to set itself as a local tour guide. Or give it a couple of sentences describing who you think (or fear) might be conducting an interview with you when you practice.

Even just asking it to become a patient French tutor who waits for you to finish each sentence before correcting your pronunciation could smooth the path toward fluency.

The role provides context before the actual question arrives. That means the answers naturally become more focused, and the follow-up questions tend to make more sense because ChatGPT has a clear perspective to work from.

3. Take your hands off the keyboard

(Image credit: OpenAI)

One of the most impressive ChatGPT Voice capabilities is how you can run tasks on your computer by voice without constantly reaching for your mouse or keyboard thanks to the updated ChatGPT desktop app for Mac and Windows. The app offers not only the usual, conversation-centered Chat format, but the coding-focused Codex, and the newer ChatGPT Work setup, which is designed for more complex, multi-step projects that involve gathering and organizing information.

Crucially, Work can interact with files stored on your device, meaning ChatGPT Voice can actively help you get things done rather than just discuss them.

You do need a subscription to ChatGPT Plus, Pro, Business, or Enterprise to access the Work feature. Then, when you open the ChatGPT app, you can choose Work instead of Chat or Codex. Create a new task, press the Voice button or use your voice shortcut, and grant microphone access when prompted. Explain what you want to achieve and point it to the relevant folders for where to look and where the final result should be saved. ChatGPT will ask for permission to view files, capture your screen, or use accessibility tools, and get permission from you before any important actions are carried out.

The more precise your instructions, the better the results. Rather than asking ChatGPT to "help me plan my trip," try saying, "Open my Italy Trip folder. Read the hotel confirmations, train tickets and attraction bookings, then create a day-by-day itinerary in a new document. Highlight any scheduling conflicts and save the finished itinerary in the same folder." You can use the same technique for comparing insurance documents, summarizing a semester's worth of lecture notes, or turning a folder of recipes into a categorized cookbook complete with an ingredients index.

4. Ask it to think out loud with you

Voice works especially well when you stop treating it as a question-and-answer machine. It's much more useful as an engaged sounding board listening while you think through a decision. Talking through the options often reveals ideas that never appear in a typed prompt.

To get ChatGPT Voice on that track, you can request that it compare possibilities instead of recommending one immediately when brainstorming. Tell it to discuss the strengths of each option before reaching a conclusion. The AI will point out pros and cons in as much detail as you want, and endlessly refine the options for as long as you want.

And speaking naturally means it is also much easier to interrupt with new information or change direction halfway through the discussion. Voice conversations are particularly good at handling those small detours that happen in real life.

5. Ask for a recap

(Image credit: Shutterstock)

Voice conversations can wander in unexpected directions, particularly when you are brainstorming or planning something complicated. Before ending the conversation, it's useful to review what was discussed, especially for longer chats. You can ask ChatGPT to summarize the discussion and highlight the most important conclusions from your talk to both remind yourself and cement matters with the AI.

If you're planning a trip or preparing for a presentation, for instance, a short spoken recap reinforces the key points, and if something sounds wrong, you can correct it immediately instead of discovering the mistake later.

Voice is already one of ChatGPT's more enticing features for when the speed and mobility of talking aloud is a higher priority than being able to see the responses written down. With a little forethought, ChatGPT Voice becomes a genuinely helpful conversational partner for a lot longer than it takes to dial a phone.

Passwords are the first line of defence for almost everything we do online, and they're still the thing most of us manage the worst. Reused logins and guessable variations are exactly what credential stuffing attacks feed on, which is why you need a good dedicated password manager.

You'll need a good one though, and one of our top password manager picks has just become significantly cheaper.

For a limited time only, Keeper Security is offering 50% off its Personal and Family plans for its award-winning password manager. The discount applies to your full first year, so now is a better time than ever to make the switch.

For a limited time only get 50% off Award-winning Keeper Security Password Manager Personal and Family PlansView Deal

Why Choose Keeper?

Keeper has been dedicated to keeping people's information secure on the web for over a decade and has consistently been among the top password managers recommended by our reviewers here at TechRadar, and our in-depth Keeper Security review concluded that its superb security credentials and broad array of features make it a winner for anyone looking to improve their web safety.

Keeper operates what they call a "zero-knowledge architecture", which means absolutely no one, not even Keeper themselves, can see your encrypted data and what's stored in your vault. You can be sure your passwords are safe with Keeper.

Then, when you consider that the Family plan covers five separate users, with a fully private vault, plus 10GB of secure file storage, the 50% off discount on family and personal plans is hard to resist!

Try Before You Buy

If you'd rather try before committing, and not just take our word for it, that's completely fine! Keeper Security offer a free 30-day trial with no payment details required, which is long enough to move your logins over and see if it's the password manager for you.

But if you already know you need one of the best password managers, half price on the plan you'd have picked anyway is a rare deal, so grab it while its live!

More from Tech Radar

• Keeper Review: pros & cons, features, ratings, pricing and more
• Keeper Security discount codes
• How to turn your home into a digital fortress using identity theft protection, parental controls, and antivirus

House of the Dragon season 3 doesn't have long left to deliver on the action spectacle front. Indeed, only two more episodes of the Game of Thrones prequel's latest installment remain, so we're going to get the endlessly teased Battle of Tumbleton before it ends, right?

Considering House of the Dragon 3's mid-season trailer confirmed we would, that's a given — but will we get to see it in this week's chapter, or is it being held back for the season 3 finale? That, I don't know. What I can tell you, though, is when the high-fantasy show's next entry will be released, so read on to learn more.

What is the launch time for House of the Dragon season 3 episode 7?

Episode 7 of House of the Dragon's latest season will launch at 6pm PT / 9pm ET on Sunday, July 26 in the US and Canada.

Where viewers in other nations are concerned, it'll premiere on Monday, July 27 — and the below release times are when you'll need to tune in to see it as soon as it goes live:

• US — Sunday, July 26 at 6pm PT / 9pm ET
• Canada — Sunday, July 26 at 6pm PT / 9pm ET
• UK — Monday, July 27 at 2am BST
• India — Monday, July 27 at 6:30am IST
• Singapore — Monday, July 27 at 9am SGT
• Australia — Monday, July 27 at 11am AEST
• New Zealand — Monday, July 27 at 1pm NZST

Where can I watch House of the Dragon season 3 episode 7?

A knight's watch has come to an end. #HOTD #CristonCole pic.twitter.com/nTteGYVp3RJuly 27, 2026

Just like every other episode of season 3, this week's entry will air on HBO Max, aka one of the world's best streaming services.

Warner Bros. Discovery's (WBD) super streamer isn't available worldwide, though, so some of you will have to locate it on another streaming platform or TV network. To help you out, the list below reveals where you can catch it in your neck of the woods. You're welcome in advance:

• US — HBO and HBO Max
• Canada — Crave
• UK — HBO Max, Sky Atlantic, and Now TV
• India — JioHotstar
• Singapore — HBO Max
• Australia — HBO Max
• New Zealand — HBO Max

When does the season 3 finale of House of the Dragon come out?

What'll become of Rhaenyra in next week's finale? (Image credit: HBO)

Unless HBO (aka the WBD-owned network that oversees Game of Thrones' TV adaptations) unexpectedly brings the season 3 finale's release date forward, it'll drop in early August.

For US and Canadian readers, it'll launch on Sunday, August 2. Everyone else will be able to watch it on Monday, August 3.

The world’s most famous MMMORPG is officially joining the world’s best TTRPG, as Wizards of the Coast just revealed that World of Warcraft will get an official Dungeons & Dragons release later this year — letting you bring Azeroth’s species, locations, bosses, and player builds to your table.

The gameplay expansion is due to launch as part of D&D’s Season of Champions on November 17, 2026, and it kickstarts a new-ish approach for the tabletop game — one that arguably borrows the most controversial aspect of Wizards’ other hit game, Magic: The Gathering. However, you won’t catch me complaining.

Because while the promise of nine new and updated subclasses, seven WoW dungeons to explore, over 60 spells to play around with among so many other additions is exciting, two words might overshadow this launch as they tease the arrival of plenty more otherworldly tie-ins (It has already told us Star Wars is coming down the line).

(Image credit: Wizards of the Coast / Blizzard Entertainment)

This World of Warcraft expansion will kickstart D&D’s Universes Beyond era. And whatever you think of UB in Magic, it’s easily most at home in this Dungeons & Dragons form.

A multiverse of wonder

For the uninitiated, Universes Beyond is the branding used in Magic: The Gathering to denote cards featuring an IP that Wizards hasn’t developed. It has brought us game pieces featuring characters and places from Lord of the Rings, Jurassic Park, Marvel, and soon Star Trek, among plenty more.

I love it. I first picked up the TCG because of its tie-ins (after seeing D&D and Stranger Things inspired cards), and having heard designers like Mark Rosewater talk so passionately about their approach to Universes Beyond card design, I can’t help but mimic their infectious joy.

Though I can’t pretend the whole community shares my feelings.

(Image credit: Wizards of the Coast / Blizzard Entertainment)

Whether it’s because UB now makes up three of every six sets released each year and the bloat some believe this many releases in general adds, the higher costs that come with UB products compared to in-universe expansions, or simply a dislike for the external IP and a belief its vibe doesn’t gel with Magic’s, you can find many reasons for Universes Beyond hatred.

Dungeons & Dragons, however, should dodge a lot of these community complaints. In fact, I could see the Universes Beyond expansion being widely loved by the community.

Above and Beyond

For a start, if anyone hates this approach, they can ignore it. This same strategy has been suggested by Wizards to folks who dislike UB in Magic: The Gathering, but outside of fan-made formats like Planar Standard it’s simply not viable — in competitive formats you have to follow the meta. In Commander you have to accept that your opponents will play the legal cards they want to play.

In D&D, however, the game is designed for you to pick and choose what is/isn’t incorporated into the world. Some DMs ban certain subclasses, or only accept a small selection of spells. In contrast, others (like myself) will invite not only all official content but plenty of homebrew sources to their tables.

(Image credit: Wizards of the Coast / Blizzard Entertainment)

Speaking of, either through unofficial fan creations or official adaptations created using the free Open Game License / System Reference Document (which allows folks to create their own 5e-compatible content using the core Dungeons & Dragons rules) there’s already a lot of external IP ready to access — either in roundabout ways like through Steinhardt’s Guide to the Eldritch Hunt’s Bloodborne inspirations, or in more explicit capacities like Doctors and Daleks.

I think we’ve all also played in a game where someone has taken inspiration from pop culture to build a character. I’ve built a tarroka deck-wielding Fire Genasi Bard to recreate X-Men’s Gambit, and in one of my earliest D&D games two people at the table were clearly playing fantasy Han Solo and Chewbacca (and will likely love the offical Star Wars expansion D&D is offering up after WoW).

Entering D&D’s weird world of roleplaying can be a tough experience at first, so being able to lean on familiarity, especially in an official capacity like Universe Beyond, makes the game more accessible and also simply helps players have the fun they want to have.

That’s already the approach for in-universe expansions. There’s Greyhawk for high fantasy lovers, Dark Sun if you want a more mature, violent setting, Spelljammer if you want a space-themed adventure, and Strixhaven if you want to enjoy magic school drama, to name a few.

Wizards of the CoastWizards of the CoastWizards of the CoastWizards of the Coast

We’ll have to wait and see how D&D’s approach to Universes Beyond evolves over time, but I don’t see any downsides.

It’s a game all about creating the adventure you want to have. Universes Beyond won’t change that. If anything, it should only make that goal a heck of a lot easier for so many players.

Wizards of the Coast announced new adventures coming from big franchises. CNET’s top TTRPG nerds weigh in.

When you download an app from the Apple App Store or Google Play Store, you assume the environment is heavily moderated and entirely safe. Unfortunately, we recently completed an audit of mobile VPNs that reveals significant privacy and security risks.

Our evaluation identified apps on both app stores that put visitors at risk of unencrypted traffic, hidden redirects, and active scareware.

The best VPNs will invest heavily in bug bounties and secure, authenticated web infrastructure. But there are a significant number of mobile VPN apps that leave you exposed to phishing and malware before you even install the app.

Insecure protocols and obscured links

The biggest concern we found surrounds encryption enforcement. We found that 339 Android links (5.3%) and 188 iOS links (6.8%) use plain, unencrypted HTTP instead of secure HTTPS. This includes massively popular apps like Oryx VPN (which boasts over 1 million downloads) and Stealth Shield VPN.

So what?

Clicking a plain HTTP link allows network eavesdroppers or man-in-the-middle (MitM) attackers to intercept, manipulate, or inject malicious content into the traffic between you and the developer's site.

But the security holes don't stop at missing encryption. The audit uncovered several other severely obscured URL formats being approved, such as:

• URL Shorteners: Multiple store listings rely on shorteners like shorturl.at and the Yandex-based clck.ru. This deliberately conceals the final destination domain, making it impossible for users or automated URL security scanners to evaluate link safety prior to clicking.
• Raw IP Addresses: Some listings use raw numerical IP addresses instead of domain names. This bypasses domain-based web filtering, SSL certificate validation, and public DNS reputation systems, effectively making connection security impossible to verify.
• Direct PDF Links: We found privacy policies pointing directly to downloadable PDF files (13 on iOS, 1 on Android). PDF documents can execute embedded JavaScript, trigger automated local file downloads, or easily exploit PDF reader vulnerabilities on your device.

Active threats: scareware and malicious redirects

The most alarming discovery is that clicking a link on an official Apple or Google store page can lead to active cyber threats.

When developers abandon their apps, their official web domains often expire. It seems that actors are actively purchasing these expired domains specifically to exploit the existing app store traffic. In fact, our audit verified multiple active store listings containing domains that now host fake antivirus popups and ad redirects.

Users who trust these official app store links are tricked into viewing fake security warnings. These scareware popups are explicitly designed to coerce panicked users into downloading genuine malware to "fix" a fabricated virus.

In other instances, store links point to totally irrelevant and unvetted environments. Official links were found pointing to deleted Twitter handles, empty Facebook and Instagram pages, payment portals like Cashpay Iraq, and even Chinese opera sites.

Directing users to external messaging platforms like Telegram or abandoned social accounts bypasses web security standards entirely, exposing users to unmoderated third-party chat environments and severe impersonation risks.

How to protect yourself

Its important that, regardless of inbuilt measures, consumers take matters into their own hands to some extent to navigate these listings safely. Always inspect link targets closely before blindly tapping on a developer website.

You should verify that the destination uses a secure HTTPS connection, and remain on high alert for obscured formats like raw numerical IP addresses or randomized link shorteners that conceal the true domain.

Furthermore, you should actively decline unexpected PDF downloads. Avoid opening direct PDF links from store pages, as these files may contain embedded JavaScript or exploit reader vulnerabilities. If tapping a privacy policy suddenly prompts an automatic file execution or download, block it immediately.

Finally, if an official app store link leads to a virus warning or requests system scanning permissions, recognize that it is a fabricated scareware scam designed to coerce you into downloading malware. Do not click anything on the page; close your browser tabs immediately to protect your device.

The bottom line

Gaps in outbound link verification across the App Store and Google Play Store mean active security threats and unencrypted traffic can still slip onto mobile VPN product pages.

When we approached Apple and Google on our findings, Apple declined to comment on the record. Instead, we were pointed towards its safety guidelines and app review processes. A Google Spokesperson did comment, saying, "We are looking into this. When made aware of an app that violates our policies, we will review the apps in question and take appropriate action."

We also reached out to both Oryx VPN and Stealth Shield VPN, neither of which has returned to us with a response at the time of publication.

Ultimately, the lesson is that you must apply the same strict web security precautions inside official app stores as you would when navigating the open web.

When CD Projekt Red finally announced The Witcher 4 was in development and dropped the first cinematic trailer at The Game Awards 2024, showcasing Ciri in all her butt-kicking glory, I jumped out of bed at midnight and did a backflip. Like most fans, I've been waiting for a new Witcher game for over a decade, and the news that the sequel will star Ciri on her own adventure easily made the game shoot up my most anticipated role-playing games (RPGs) list.

While the game is still in active development and there's no release date at this time, CDPR showcased a tech demo last year, offering an early glimpse into the Unreal Engine 5.6 features that will be used in The Witcher 4. It was confirmed that the demo wasn't actual gameplay, but rather an example of the cutting-edge technology, Unreal Animation Framework and Nanite Foliage rendering, that will power the game. Still, it's clear that CDPR has a huge ambition for the sequel.

The Witcher 3: Wild Hunt is a massive game, and as a certified fantasy RPG lover, I've spent hundreds of hours across multiple playthroughs exploring it as deeply as possible; so we should expect something similar for The Witcher 4, though I expect the graphical fidelity and attention to detail to be more impressive.

Game director Sebastian Kalemba and executive producer Gosia Mitręga have previously confirmed that the upcoming RPG will feature new regions never before seen in a Witcher game, but fans should expect a map size "more or less" the same as The Witcher 3's.

(Image credit: CD Projket Red)

"The map is definitely more or less when it comes to size, the amount of quests, more or less the same," Kalemba said at the time. "Again, the game is going to be big. But also, the ambition of the entire team is huge. So first and foremost, we want to deliver a super compelling experience.

"Again, quality over quantity. But definitely, what we can promise: Yes, this game is going to be pretty big. It's going to be big compared to everything we've prepared so far..."

I won't lie and say I'm not looking forward to getting lost in the world of The Witcher 4; sprawling landscapes, intricately built cities, hidden dungeons, all wrapped in a sense of realism and reactivity that the Polish studio is best known for? I'll be there day one. That being said, as impressive as a highly detailed fantasy open world can be, it's hard not to worry about the game's launch.

We've seen the same song and dance before. Ambitious open-world RPGs launching in a sorry state, hindered by performance issues, bugs, and crashes, and CDPR's games are no exception.

The Witcher 3, while an exceptional experience today, launched with plenty of instability bugs, and while it took a while for the game to overcome them, it's the studio's futuristic action-RPG Cyberpunk 2077, in particular, that is remembered in history for having one of the worst game launches of all time.

(Image credit: CD Projekt Red)

If you didn't play the game when it released in 2020, let me briefly set the stage. It's 2013, and CDPR just released the first Cyberpunk 2077 cinematic teaser trailer, sparking overwhelming excitement among the studio's fanbase. But it wasn't until five years later that the official trailer was released, promising an expansive and interactive Night City, complex NPC routines and crowds, and incredible levels of character and gameplay customization. It was all the internet seemed to talk about.

It was the most anticipated game ever at the time, and excitement levels hit an all-time high when, in 2019, it was revealed that actor Keanu Reeves would star in the game, as well. An April 2020 release date was set, but the game was delayed twice, until Cyberpunk 2077 finally launched in November 2020. And... it was disastrous.

There were many factors that led Cyberpunk's terrible launch, many of which were down to crunch and rushed time management schedules, marketing promises that set expectations too high, and pressure from executives to release the game on last-gen consoles, which the studio was forced to work on until the very last moment.

"After three delays, we as the Management Board were too focused on releasing the game," said former CDPR president and joint CEO Adam Kiciński at the time, "We underestimated the scale and complexity of the issues, we ignored the signals about the need for additional time to refine the game on the base last-gen consoles. It was the wrong approach and against our business philosophy. On top of that, during the campaign, we showed the game mostly on PCs."

You couldn't ignore the performance issues that persisted, making the game largely unplayable on console; they were so bad on PS4 and PS5 that Sony issued full refunds and temporarily removed the game from the PlayStation Store, and it didn't return until a year later.

Miraculously, Cyberpunk 2077 experienced a renaissance, and over the years, CDPR delivered on its promise to fix the game and release a steady stream of significant patches that smoothed out the critical performance issues plaguing it across all platforms. Those updates even included new content, improved gameplay features, and the critically acclaimed Phantom Liberty expansion. Now, despite all its launch woes, it's regarded as one of the best RPGs you can play today.

While CDPR managed to save Cyberpunk in the end, I don't want The Witcher 4 to have to suffer the same fate at launch. Even though the studio has switched from its in-house REDengine to Unreal Engine 5 for this project, which boasts specialized tools that offer better stability, Unreal Engine isn't without its faults; I think it's in its best interest to address PC and console optimization first over an impressive and massive open world that could cause problems down the road.

(Image credit: CD Projekt Red)

The Blood of Dawnwalker director Konrad Tomaszkiewicz, who also directed The Witcher 3: Wild Hunt, recently spoke to TechRadar Gaming about Rebel Wolves' upcoming dark-fantasy RPG, explaining that the game wouldn't exist if it weren't for the experience of former The Witcher 3 and Cyberpunk 2077 developers.

Since the game has so many "complex choices and consequences, with so many unique mechanics," he explained that the team built on what it learned at CDPR. He also confirmed that the team prioritised optimization at the start of development to avoid the same launch issues as The Witcher 3 and Cyberpunk 2077.

"We learned how to approach the optimization of the game," he said. "When we started work on The Blood of the Dawnwalker, we already had people working on the optimization of our game all the time, right from the beginning.

"We didn’t want to be in a situation where we deliver a great game, but there are problems when we release it on consoles or some performance problems."

This is exactly what CDPR needs to do to avoid a messy Witcher 4 launch. Of course, the talented developers should take all the time they need to build the worthy Witcher 3 successor they dream of, but the magic of that experience will be lost if the game releases in rough shape. Focusing on optimization and ensuring that the game runs on current-gen and PC first and foremost, with no major performance issues, should be the priority.

CDPR recently confirmed that The Witcher 4 is in full production and recent comments from CDPR technical writers Jarosław Ruciński and Adrian Fulneczek (via GamesRadar) revealed that the studio is focused on documenting the technical process of its new games, something it wasn't able to do with older projects and which led to major development problems for games like Cyberpunk 2077.

"The future looks really promising for us," Fulneczek said of The Witcher 4 and Cyberpunk 2. "We learned our lesson. We've got some new requirements, especially a new definition of 'done'. So as you know, any project, any game goes through development stages, and right now, every stage ends with a gate. Part of the requirements to pass that gate is the documentation, which wasn't the case before."

Ruciński added, "Unlike in the past, now, today our knowledge isn't locked between specific teams' permissions. It's a shared asset. If a team working on, let's say, The Witcher figures out a solution for a specific issue, the Cyberpunk team can see it, benefit from it, take it into their own code, modify it probably a little bit."

He explained that "problems aren't being solved multiple times by different teams, and also that if a breakthrough happens on one of the projects, the whole company benefits."

While not necessarily a direct comment on performance optimization, I'm cautiously optimistic that this means CDPR has taken lessons learned from Cyberpunk's launch to deliver a Witcher 4 launch experience worth remembering, positively this time.

When Paul Moore heard the European Commission President saying that the EU age verification app will “give children a safer start online,” he was unconvinced.

"Bypassing the latest EU age verification app (2026.07-1) with a Chrome extension," he later posted on X. And it wasn’t the first time.

With over 20 years of experience under his belt, Moore managed to bypass the app back in April, right after the Commission first launched it. Combined, his experiences have led him to a straightforward conclusion: "anonymous age verification doesn't work."

While the process he used to bypass the verification system doesn’t undermine people’s privacy, Moore believes the long-term impact of its ineffectiveness will.

"All it is an escalation path being drip-fed, bit by bit under the guise of child safety," Moore told TechRadar. It won’t just be about proving your age. "The next step will be proving who you are," he said.

The EU’s 'privacy-preserving' approach

(Image credit: Pixabay)

Most of the current age verification methods, which require scanning national ID documents or biometrics, put people's sensitive data at risk. (Think, for example, of the data breach that affected Discord’s age verification provider and exposed 70,000 people's government IDs and personal data last year.)

For that reason, there's a growing sense of urgency to find a solution that helps people prove their age without collecting sensitive information. And the European Commission argues that it has found it.

Drawing on the framework of the COVID-19 certificate app, the Commission came up with a template for a privacy-first, open-source tool that EU member states can use to build their own national apps.

The process — which is part of the bigger European Digital Identity Wallet (EUDI) project — leverages zero-knowledge proofs (ZKPs) and verifiable credentials (VCs) to verify someone's age without sharing sensitive information.

In other words, your phone scans your ID and stores that data locally. Websites will then ask users to scan a QR code via the app to prove they are old enough to access certain content.

A European Commission spokesperson told TechRadar that online services won't receive any personal information about the users, saying: "The age proof simply confirms whether the user meets the age requirement."

Moore doesn’t dispute the privacy credentials of the process. Perhaps worse, he just doesn’t think it will work.

Why the EU age verification doesn't work

While the EU age verification blueprint sounds like a welcome improvement compared to the current approach, the advantages don't hold up.

That's because Moore says age checks have to be tied to a person’s identity to be trustworthy. "The second you strip the identity away from how old somebody is, a person can't answer that question," he said.

Since the April launch, the tool's security credentials have even been improved, but Moore says the issue isn’t a bug but the entire process, criticising the latest efforts as mere "security theater."

How Moore bypassed the app

Bypassing the app wasn't difficult. In fact, Moore says he built two Chrome extensions on Claude in minutes.

The first extension he built replicated the Android app, but with the ID checks removed. This meant he could skip the need for a user to scan a document entirely.

"It detects the QR code automatically (when presented by a website) and passes verification," Moore explains, adding that the process is entirely automated with no need to interact with the Chrome extension once installed."

This week, Moore went further and built a Chrome extension that can capture the QR code from a website and automatically forward it to a remote, automated phone to get a genuine signature in seconds.

#EU #AgeVerification unfixable bypass:✅ Automate the device✅ Detect and relay the QR code⏱️ Push to GitHubOnce an age verification QR code appears, it will detect & automatically relay to a legitimate device that completes the verification remotely.If a "technically… https://t.co/O0Z0BpCOs8July 31, 2026

Known as an 'automated relay bypass,' these attacks mean nothing in the process is faked, making prevention almost impossible.

"Even after they enable all other protection mechanisms, both will continue to work," Moore said.

The EU’s response

When asked whether any steps were taken to prevent circumvention, a European Commission spokesperson said: "We of course rely also on parents and caretakers to check what children are doing online," adding that the app's goal is "avoiding the unintended exposure of kids to inappropriate content."

Yet, according to Moore, lawmakers' focus is misdirected. He said: "What [lawmakers] are missing is that the threat actor isn't a third party; the threat actor is the user.

"They don't want age verification in the first place, so they are going to look for ways to bypass the system. And if the system can be bypassed by design, they will do it."

Deciding not to impose a new law or technology simply because it could be bypassed is unlikely to convince lawmakers. But the problem may extend beyond an ineffective system.

In fact, Moore fears that the app's inevitable ineffectiveness could push lawmakers to turn to more invasive checks and an erosion of people's privacy.

Next step? Our identity

(Image credit: Francesco Carta fotografo/via Getty Images)

When Moore says the concept is broken, he is calling out what he sees as a fundamental flaw in the EU age verification framework's design: client-side trust.

The app is more privacy-preserving than passports and face scans because the data won’t leave the user’s device. But this may be exactly why its implementation is bound to fail. If nothing leaves the device, Moore explains, there is no way to trust or verify what has been obtained.

This creates a problematic catch-22 for European lawmakers. When this ‘anonymous’ app fails to keep kids off restricted sites, Moore contends that Brussels is unlikely to simply give up on its flagship safety initiative and drop privacy-preserving practices altogether.

"For them to push ahead with it under the guise of child safety is an escalation path to say we've tried this; the natural route is now you've got to prove your identity," Moore told TechRadar.

It’s clear that age verification is here to stay, despite continuous outcry coming from privacy advocates, technologists, and data scientists who warn it may do more harm than good.

For Moore, the danger is that what’s marketed as a privacy-first breakthrough today may ultimately be used to undermine privacy tomorrow.

Blu-ray turned 20 this year, and although streaming is now the way most people watch films, physical media is dead is far from dead. Collectors are still buying Blu-rays for their new restorations, special features or limited-edition packages — and younger audiences are discovering the value of owning their films rather than dealing with your favorites disappearing on your all the time.

History lesson

Blu-ray replaced DVD in the mid-2000s. Named after the blue-violet laser it uses to read data, it offered high-definition video and much greater storage capacity. In 2016, Ultra HD Blu-ray was introduced, which added 4K resolution and HDR.

Throughout this article, when industry experts refer to “Blu-ray”, they're generally talking about that latest version, Ultra HD Blu-ray, as it's still considered the highest-quality consumer format for watching films at home.

So if people still want to watch movies on discs at home, is there a Blu-ray successor on the horizon to offer something new?

Every major home video format before it has eventually been replaced. VHS gave way to DVD, then DVD gave way to Blu-ray. As someone who appreciates the quality of Blu-ray films but isn't an expert in the technology behind them, I assumed there would be a straightforward plan for something to come supplant them. Maybe an 8K Blu-ray? Maybe another physical format I've never heard of because home cinema is an interest of mine rather than my specialism?

But after speaking to analysts, hardware manufacturers and the organization behind Blu-ray itself, I discovered that most of them don't think another disc is coming. In fact, there’s no obvious "next format" about to be unveiled, and I wanted to find out why.

(Image credit: Future)Why Blu-ray still has loyal fans

To understand why the future of Blu-ray is such an interesting topic, it's worth first getting to grips with why people still buy it. And the top reason came up in every conversation I had: ownership.

"Ownership matters more now than it did in 2005. When you buy a disc, you own that film. It’s yours, permanently, in its best possible form, sitting on your shelf whenever you want it,” says Victor Matsuda, Chairman of the Blu-ray Disc Association, the group behind the development of Blu-ray.

He tells me that people are switching on to the fact that most of what we “buy” digitally today is really a license that can change or disappear. His comments come shortly after Sony removed over 500 purchased movies from people's accounts without compensation, and right at the same time as Disney+ was forced to remove 4K and HDR support in many countries.

“We frequently hear complaints about people losing access to content they thought they’d purchased, and there have even been lawsuits brought on exactly this issue,” Matsuda says. “A disc doesn’t have that problem. Nobody can reach into your home and take it back.”

I've spoken to many physical media collectors over the years, and ownership is almost always the first thing they mention. But the second reason is quality. Ultra HD Blu-ray is still widely considered to be the best technology for watching films at home.

"20 years ago, Blu-ray set the standard for what a movie should look and sound like in the home, and it’s a standard both consumers and the industry recognized,” Matsuda tells me. “Ultra HD Blu-ray remains unsurpassed as the best overall experience for consumers.”

He explains that this has been the case even as streaming services have rolled out 4K and HDR. “The respective Blu-ray formats became the benchmark they chased, and in my opinion they still haven’t caught it. Blu-ray and Ultra HD Blu-ray remain the reference,” Matsuda says. “A stream can approximate it, but the disc carries the full, uncompressed picture and sound with nothing thrown away to fit a data cap.”

Olivier Semenoux, Europe head of GTM and Product Management at TCL Electronics, explains that much of that comes down to bitrate. "Blu-ray can be coded up to 128Mbps because that's the disc's technical limit,” he explains. “Streaming is a different story, most popular platforms cap out natively around 25Mbps, with some going up to 40 or 80Mbps.”

Unfortunately, the latter is very rare — when it comes to the big streamers, 16 to 18Mbps is the maximum you can expect.

This means that Ultra HD Blu-rays carry significantly more data per frame than a typical stream, meaning less compression and what you see at home is more of the original picture and sound being preserved. It's one of the reasons discs continue to set the standard for anyone who really loves home theater.

Variations of the same argument came up repeatedly in conversations with manufacturers too. I spoke with Rob Jones, President of Magnetar, a manufacturer of high-end 4K UHD Blu-ray and universal disc players. “When consumers invest in physical media, they get ownership, content preservation, and quality control,” he says. “While streaming is incredibly convenient, it cannot match physical media when it comes to that combination.” Jones says that’s what continues to drive Magnetar’s investment and development in this space.

But that doesn't necessarily mean streaming and Blu-ray are in competition. One of the more surprising things I heard was that several companies see them as complementary rather than competing technologies.

"We see many customers choosing both formats," Kenichi Ikenoue, Head of Strategic Planning at Panasonic Consumer Europe, tells me. "They enjoy the convenience of streaming for everyday viewing while turning to physical media when they want the highest picture and sound quality or want to own their favorite films."

(Image credit: Future)Why 8K isn’t the answer

If Blu-ray still has loyal fans, isn’t the next step an 8K successor? That's what I expected to find, as someone who isn't deep on movie production. Instead, almost every expert I spoke to questioned whether there was any need for a successor at all.

"Honestly, I don't think so, at least not right now," says Victor Matsuda. "From a BDA [Blu-ray Disc Association] perspective, we don't see anything from content creators or consumers to indicate a need for a new format. They’re both extremely satisfied.”

There are signs elsewhere that the industry isn't preparing for another optical disc format either. In 2025, Sony announced that it was ending the production of recordable Blu-ray discs, MiniDiscs and MiniDV cassettes, saying that there would be "no successor models". Now, while that decision applies to blank recording discs rather than pre-recorded movie discs, it seems to reflect a broader shift away from consumer physical media formats.

One obvious reason for a new format would be 8K support, which is a format that would theoretically offer four times the resolution of today's 4K discs. But that wasn't what the experts I spoke to had in mind.

"The resolution race is interesting, but I don't see 8K finding a place with consumers anytime soon," Matsuda says. "The content community, meaning the Hollywood studios, produces its content in 4K and has stated their intent to continue doing so. Additionally, a number of manufacturers have dropped 8K from their lineups."

Jones agreed that 8K isn't ready for the mainstream, but says the challenge goes beyond content. It's also about the wider home theater ecosystem. "8K is a distraction until it's mainstream and the ecosystem simply does not justify it," he says.

He points out that an 8K player wouldn't just require 8K discs, but would also depend on compatible TVs, projectors, AV receivers and processors. "In order to sit down and experience 8K content, a viewer's entire home entertainment chain needs to support 8K," he says. "A consumer would need to replace every single link in their entertainment chain with a component capable of supporting 8K, which is impractical at best."

And it seems as if lack of demand isn't the only reason experts are sceptical. Some argue we've reached the point where higher resolutions matter much less than other improvements we can make to picture quality. "HDR and wide colour gamut make a far bigger difference to perceived picture quality than resolution does," Semenoux tells me.

Which means the challenge facing an 8K Blu-ray isn't just about a lack of content or compatible hardware; it's that the improvement itself may not feel significant enough to justify an entirely new format.

That's exactly how Mark Vena, CEO and Principal Analyst at SmartTech Research, sees it. "Frankly, an 8K Blu-ray would be a technical feat in search of a commercial problem to solve,” he says. “There's still little native 8K content, 8K TV adoption is modest and streaming platforms will almost certainly meet mainstream demand before another optical format ever reaches critical mass."

In other words, it’s not as if we’re all sitting around waiting for a new format to happen, it’s more that it doesn’t really have a reason to exist.

(Image credit: Future)What creates a new format?

Vena’s point made me realize I'd been thinking about this the wrong way. Every major home video format solved an obvious problem. DVD improved on VHS by offering non-degrading video and the capacity for extra features. Blu-ray improved on DVD with the space for higher-quality video. And now we have Ultra HD Blu-ray, which improved on Blu-ray's quality further.

Crucially, each of those steps solved a real technical problem. But right now, there isn’t a real problem that a successor to Ultra HD Blu-ray could actually solve.

Matsuda explained this to me using a framework from his time as a product planner that he calls "needs" and "seeds". A "need" is a problem consumers or the industry want solving. A "seed" is a new technology that has the potential to create that demand in the future.

"I don't see a compelling driver for a new format at the moment," Matsuda says. "I think it's unlikely that a new format would arise out of consumer demand as there doesn't appear to be an expressed need. Similarly, Ultra HD Blu-ray continues to deliver content that takes full advantage of display technologies so I don't see a need arising from the industry side."

Matsuda says that could change. "From a seed standpoint, companies may have some technologies in development that could plant those seeds,” he explains. “But in my view, if a driving factor ever prompts a new physical format, it will most likely be the emergence of content the internet infrastructure simply can't deliver at scale without compromising quality. As long as streaming can handle what people want to watch, I don't see any real pressure for a new disc."

So a technological breakthrough on its own wouldn't be enough, a new format would also need the entire industry to then build around it.

Panasonic’s Ikenoue makes the same point from a more commercial perspective. "A successor format would also depend on significant investment from film studios and content providers. New hardware alone would not be enough. The content ecosystem would also need to support a new format. For the moment it is difficult to see the requirement for a successor."

A successor wouldn't just need a better disc, there’d have to be a need to even build that better disc in the first place. Only then would studios create the content, manufacturers would build the players, TV makers would support it and consumers would decide if it was worth upgrading. But right now none of the experts could identify a good enough reason.

What if the successor isn’t a disc at all?

That doesn't necessarily mean Blu-ray is the end of the story. Optical storage technology is still evolving. Companies are developing discs capable of storing far more data than today's Blu-rays, but the key thing is that they're aimed at archiving data on an enterprise scale rather than at home entertainment. Which means they aren’t about to become the next movie format that you’ll buy.

Instead, several people I spoke with pointed towards a future where the successor to Blu-ray isn't about discs. "If Blu-ray has a successor, it may not be something you can hold in your hand," says Mark Vena. Rather than another physical format, he believes the future lies in premium digital delivery through high-quality, studio-certified, lossless downloads stored locally on home servers or network-attached storage.

"This is why the real successor to Blu-ray, for most consumers, is not another disc at all," he says. "It's the combination of ultra high bitrate streaming, cloud libraries and AI-powered video optimization that's closing the quality gap."

So maybe the future isn't about replacing Blu-ray with another physical format but instead preserving the quality of audio and visuals that enthusiasts value about Blu-ray without even needing a disc in the first place.

(Image credit: Future / Max Langridge)

One possible future is already beginning to emerge. Kaleidescape, a company specializing in premium digital movie delivery, offers downloads with bitrates to match what Blu-ray is capable of, preserving much more picture and audio quality than traditional streaming services while still providing the convenience of instant access.

Kaleidescape even recently launched a new 'Cinematic 4K' format for movies, which it says will offer even higher-quality bitrates for video, promising over 100Mbps of average bitrate (not maximum), which it compared to 60Mbps of average bitrate for 4K Blu-ray in its own marketing materials.

"In 10 years, the highest-quality movies at home will be delivered digitally, not on disc," Tayloe Stansbury, chairman and CEO of Kaleidescape, tells me. "Consumers will expect instant access, reference-quality presentation, and technology that evolves with each generation of content. That's the future Kaleidescape is building today."

However, for many fans of Blu-ray, the biggest hurdle here is still ownership and Kaleidescape's technical proficiency doesn't address that. It's a digital storefront, and the same concerns of losing access to things you've bought still applies.

Kaleidescape told me that its priority is delivering the best possible digital collecting experience rather than addressing licensing, and it declined to comment on people's increasing concerns about this side of buying movies.

Digital purchases may be able to close the gap on quality, but until they can offer the same promise of permanence as a disc, then physical media will continue to offer something digital can't.

Blu-ray remains resilient

When I first started researching this story, I thought I'd be talking to experts about the technology that’s waiting to replace Blu-ray. But instead, I learned the future is a little more complicated than that.

Every home video format in the past has reached a point where its limitations became too impossible to ignore. But Ultra HD Blu-ray appears to be in a different position. According to the people building and supporting the format, there isn't an obvious problem left for another new type of disc to solve. It still delivers the highest quality experience available to most consumers and continues to attract collectors who are willing to invest in physical media.

Looking at recent sales numbers, the Blu-ray market is much healthier than I expected. Mark Frampton, Senior Commercial Marketing Manager at Elevation Sales, a film sales and distribution company, says the format has remained remarkably resilient.

"We’re forecasting 2026 to be another year where the market stabilizes. Catalogue [older releases] has been very strong and only 2% down year-on-year. This is driven by collector’s editions and steelbooks, particularly on 4K Ultra HD which remains a format in growth."

In other words, older film releases are continuing to sell well, with premium collector editions helping to keep the market strong — and it's not just older enthusiasts buying discs today.

(Image credit: Future)

“Although the core buying audience is still people over 35, we’re increasingly seeing younger audiences entering the market,” Frampton tells me. “People aged between 25 and 34 are the second biggest buyers of Blu-ray. But Gen Z and Younger Millennials (aged between 14 and 30) who are experiencing ‘digital fatigue’ are becoming highly engaged in the format as well."

The wider industry paints a similar picture. Kath Summersgill, Group Joint Head of Sales at Key Production Group, a music manufacturer that specializes in producing physical media, points to figures from the Entertainment Retailers Association showing continued growth. "The current state of the physical movie market is incredibly encouraging, with ERA’s 2025 figures showing Blu-ray sales increased by 19.5%,” she says.

Now, these surprisingly healthy numbers don’t mean Blu-ray discs will be around forever. Streaming will continue to improve, premium digital libraries will become more sophisticated and companies like Kaleidescape are already demonstrating that top-quality movies don't necessarily need to be on a disc.

All of this means another physical format may never arrive. Instead, the next chapter for home theater could be digital — but there's a long way before collectors would be ready to trust digital libraries.

For now, at least you know you won't have to worry about buying your favorite movies yet again on another new disc format in the future.

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Artificial intelligence is fast becoming a game-changer for cybersecurity, with new frontier models such as Claude Mythos and OpenAI's GPT-5.5 demonstrating their capabilities in hunting software vulnerabilities and evaluating how they can be chained to harm an organization.

But these models have proven to be a double-edged sword, with both companies disclosing incidents where their models have escaped sandbox testing and compromised other organizations.

Couple this with how threat actors are turning to AI to increase their own skill in breaching organizations at an industrial scale, and you are presented with a bleak picture for the future of cybersecurity. But the best resilience is to adapt, and make sure those at the top can make the right decisions at the right time.

AI as a tool for defense and resilience

The latest challenge threat actors are presenting for businesses is their ability to match the skill of state-sponsored groups. The tactics, techniques, and procedures (TTPs) of these groups are being bolstered by the adoption of AI tools. Jailbreaking allows groups to use legitimate AI models to perform reconnaissance and research at scale, as well as the ability to modify and improve existing malware and attack vectors.

A recent IBM report found that since 2025 there has been a 44% increase in cyber-attacks exploiting public-facing applications, a 40% increase in vulnerability exploitation, and a 50% growth in the number of active ransomware operators. Much of this is the result of attackers adopting AI tools into their workflows.

Professor Julian Richards is a leading expert in intelligence and security who held senior roles in intelligence analysis, training program design, and strategic liaison at the UK's Government Communications Headquarters (GCHQ).

I spoke with Professor Richards on the effects AI is having on the threat landscape, how defense strategies can adapt, and where training can be best applied to keep businesses one step ahead.

• What does cyber resilience really mean in a world where AI is being leveraged by threat actors to compromise businesses at a level that matches the craft of state-sponsored groups?

It is indeed the case that highly advanced techniques, the likes of which were previously the preserve of advanced states, are now readily available to a range of threat actors. This is partly because of thefts of highly advanced exploits such as ETERNALBLUE and their resale on the dark web.

Cyber resilience is about a range of approaches, however, which go beyond the technical into human layer factors. Keeping the response dynamic, diversified and creative will offer opportunities for resilience.

• Has the age of saving and storing vulnerabilities for later use passed, and how are defense strategies changing in regard to the rapid exploitation of vulnerabilities?

Almost certainly not, and experience from potentially parallel worlds such as that of cryptography tell us that exploits can remain productive for multiple years after their exposure.

Many threat actors are investing heavily in HNDL (harvest now, decrypt later); and a widened notion of "harvest now, exploit later" is also on the menu. Again, a reverse view offers opportunities for defenders.

AI can be used, for example, to more comprehensively and dynamically map and analyse attacks, even where they are mutating and evolving rapidly. This allows for more immediate and dynamic response.

• How are active defense strategies shaping the protection of businesses and their infrastructure, and what challenges are businesses experiencing with implementing these strategies on aging and legacy infrastructure?

As above, dynamic and active defense strategies are sensible and increasingly necessary. As with all areas of cybersecurity however, there are good and bad products on the market, and good and bad investment decisions being made.

One of the most important considerations for all businesses is making sure the defense strategy is appropriately tailored in scale and shape to the business itself; and making sure we deal with honest and adept brokers.

• AI is rapidly reducing the timescale between vulnerability discovery and exploitation for both businesses and intelligence agencies. Where do legislated threat disclosure windows play into these shrinking timeframes, and how do you perceive they will evolve?

One of the problems with compliance legislation (or indeed any legislation) is that it moves and updates much more slowly than technology. This will increasingly mean that the challenge described becomes a real problem.

In intelligence, selective disclosure has always been an understood protocol under the rubric of protecting national security, but this may not wash for commercial organisations. Two things will need to happen.

First, compliance legislation in such areas as threat disclosure will have to be written in a way that businesses are protected in fast-moving situations, allowing, perhaps, for post facto disclosure in many cases. Creative regulation and legislation is possible to allow for this.

Second, court cases may have to be brought to challenge overly stringent threat disclosure penalties, and subsequent case precedents will hopefully balance and protect organisations in this fast-moving situation. All of this will require the leveraging of advanced cyber expertise in the areas of law and legislation.

• What are the major blind spots business leaders have when it comes to the latest threats, and what is the role of AI in addressing these problems?

Probably two things, both of which have applied for a long time and are proving remarkably intractable! The first is complacency: "sure this happened to them, but it won't happen to us". Well it probably will.

The second is not understanding the importance of the human factor risk, which continues to be the biggest threat factor. Training, awareness, exercising for crises and internal compliance protocols might be irksome, but they remain crucially important for all businesses.

• What steps can business leaders take to ensure their AI tools are providing accurate intelligence and data while reducing false positives and hallucinations?

Work with reputable cyber threat intelligence suppliers and analysts. Develop expertise such that triangulation (checking across multiple sources and feeds rather than just accepting one source of information) is understood and readily implemented.

Expect the unexpected - in short, all the things that intelligence organisations have had to do since the dawn of time. For larger organisations, this is will mean a continual upskilling of key staff to be at the top of the game of understanding the dynamic threat picture.

• Where can C-suite executives seek support in making key decisions on incident response when defending against threat actors increasingly leveraging AI?

C-suite executives need to upskill themselves to really understand the threats and their dynamism in such a way that they can support everyone in the organisation battling with these issues.

It is still the case that many at the top have either a sketchy understanding of the risk, or see it as something that others in the organisation will sort out. This is increasingly untenable today.

Ultimately, those at the top will have to take the hit when it all goers horribly wrong! What this means is that training, workshopping and exercising through crisis scenarios is as important for the C-suite executives as it is for any other members of the organisation.

As far as Taylor Sheridan shows are concerned, nothing is topping Landman. We all know that the Yellowstone creator is most at home in the Western genre, and we seem to want that from him just as much as he yearns to give it.

But Lioness season 3 is an outlier, and with new episodes dropping from August 2, I can't help but feel it remains that way. Closer in tone to the likes of Tulsa King and Mayor of Kingstown, viewers are thrown into the governmental deep end, following an off-the-books special operative group of the titular name, which is led by hot-headed Joe (Zoe Saldaña).

In season 3, Joe's working life has gone from bad to worse. By the end of season 2, she looked to jack her perilous and secretive lifestyle in for the sake of her husband Neal (Dave Annable) and their two daughters, but a leopard can't change its spots.

Credit where credit is due: without giving anything away, the stakes have been raised fatally high as season 3 takes off. The emotion feels a lot more genuine, and now that there are finally no new team members to contend with, we've got the space and breadth to fully invest in everyone present.

But as always, the bombardment of military jargon and circumstances that a civilian will never understand — and will hopefully never have to — feels incredibly alienating.

I'm also often taken out of the moment when Cody, a character played by Sheridan, is featured in episodes. Does this entire IP exist purely to indulge his fantasies of playing soldier? The answer frequently feels like yes.

Lioness season 3 raises the dramatic stakes — and takes aim at AI along the way

But let's get back to the action. Unlike seasons 1-2, which involved different Middle Eastern conflicts at their centre, Lioness season 3 pushes the focus to the brooding tension between Russian operatives and domestic US forces.

Interestingly, Sheridan wastes no time at all addressing real-life crises, including Gaza-Israel and Ukraine-Russia. It's the latter that gets the most expansion, with war on Ukrainian land forming the backbone of the storyline that will send Joe to the brink... and beyond.

It also allows for us to fully consider how AI and technology are shaping how fights are fought on the ground. Within minutes, Errol (Martin Donovan) is seen telling Kaitlyn (Nicole Kidman) that AI is an undoubtedly bigger threat to us all than the potential end of democracy — and that's just the start of Sheridan's blatant takedown.

Much like we've seen across endless social media clips and news reports, the introduction of drones into a warzone also becomes a point of contention. None of this is an angle to modern warfare that I'd even considered, and I'm both impressed and pleased that Sheridan has created the space for that conversation. The Lionesses are raging, and so should we be.

Even amidst the backdrop of change, our team is as strong as ever, and I continue to be bowled over that the busiest working woman on Earth, Nicole Kidman, has made time for such a heavy screen presence. Personally, I think that speaks volumes about the level of craft Sheridan is operating at, and what Kidman thinks of him in turn.

The action itself is fast-paced and unflinching in who or what it takes prisoner. Deaths happen from the get-go, and Joe quickly finds herself reckoning with two different realities. Things feel elevated from what we've seen in the past, which could often become monotonous and inconsequential.

Sheridan really is his own hero, and I applaud that

(Image credit: Paramount+)

You know how watching enough episodes of Grey's Anatomy starts to make you feel like you could be a doctor just through absorbing so many medical terms? Lioness season 3 somehow has the opposite effect.

I don't think there's been one season of the show yet where I've been able to confidently and succinctly explain the overarching narrative of the show. I've never once watched one of the many CIA boardroom scenes and properly been able to follow along with the plan, strategy, or off-the-books mission.

Partly, I wonder if this is down to my levels of practical intelligence, in the same way you sometimes panic during test conditions. But mostly, I think this is a script issue. The dialogue is (rightly) peppered with so much military terminology, but there's rarely a let-up in it. How is the average person supposed to relate to this, unless they've played a lot of Call of Duty?

But my favorite part of Lioness — which is either a positive or negative, depending on how you look at it — is how the show seems to exist simply to fulfil Sheridan's own desires. Once again, episode 1 contains a hefty dose of Delta Force operator Cody, but this time, he's the indisputable hero.

Again, no spoilers here, but Cody essentially leads a mission that is successful almost solely thanks to his own conspiring, and I think of the little boy who must have played with Action Man figures and wanted a slice of combat for himself.

Sheridan has won just as much as we all have with season 3 (except for the many onscreen casualties), in spite of its flaws. The man is allergic to making outright terrible TV, and for that, we should always be thankful.

As a puzzle nut and fan of all things quizzes, I was unreasonably excited to learn that we now have the power to create crosswords here on TechRadar. So, I've taken it upon myself to bring you the first of what I intend to be a weekly TechRadar Crossword.

I've always enjoyed finding a quiet moment to sit with a crossword as a way to start or end my day — or pass the time while travelling. I actually remember first making some when I was a lot younger and forcing my dad to try and solve them while on holiday. I'm sure he only begrudgingly complied.

It wasn't until the Covid-19 lockdown, though, when I spent many hours watching Cracking the Cryptic on YouTube, that I started doing my best to learn the ins and outs of cryptic crosswords. They've been a lot of fun to tackle.

I've not tried anything as fiendishly difficult for the first outing, though. It's simply a mix of clues related to recent news and everything we know and love here at TechRadar — be that tech, games, streaming, AI, and more — as well as some of my favorite nerdy interests.

There's a leaderboard, so if you're quick, we'll put your name in lights to show off to the world. Let me know if you enjoy it and I hope you'll be back for the next one. I'll likely keep experimenting with clues and the construction over time to make this a fun little weekly challenge. Good luck!

As far as Taylor Sheridan shows are concerned, nothing is topping Landman. We all know that the Yellowstone creator is most at home in the Western genre, and we seem to want that from him just as much as he yearns to give it.

But Lioness season 3 is an outlier, and with new episodes dropping from August 2, I can't help but feel it remains that way. Closer in tone to the likes of Tulsa King and Mayor of Kingstown, viewers are thrown into the governmental deep end, following an off-the-books special operative group of the titular name, which is led by hot-headed Joe (Zoe Saldaña).

In season 3, Joe's working life has gone from bad to worse. By the end of season 2, she looked to jack her perilous and secretive lifestyle in for the sake of her husband Neal (Dave Annable) and their two daughters, but a leopard can't change its spots.

Credit where credit is due: without giving anything away, the stakes have been raised fatally high as season 3 takes off. The emotion feels a lot more genuine, and now that there are finally no new team members to contend with, we've got the space and breadth to fully invest in everyone present.

But as always, the bombardment of military jargon and circumstances that a civilian will never understand — and will hopefully never have to — feels incredibly alienating.

I'm also often taken out of the moment when Cody, a character played by Sheridan, is featured in episodes. Does this entire IP exist purely to indulge his fantasies of playing soldier? The answer frequently feels like yes.

Lioness season 3 raises the dramatic stakes — and takes aim at AI along the way

But let's get back to the action. Unlike seasons 1-2, which involved different Middle Eastern conflicts at their centre, Lioness season 3 pushes the focus to the brooding tension between Russian operatives and domestic US forces.

Interestingly, Sheridan wastes no time at all addressing real-life crises, including Gaza-Israel and Ukraine-Russia. It's the latter that gets the most expansion, with war on Ukrainian land forming the backbone of the storyline that will send Joe to the brink... and beyond.

It also allows for us to fully consider how AI and technology are shaping how fights are fought on the ground. Within minutes, Errol (Martin Donovan) is seen telling Kaitlyn (Nicole Kidman) that AI is an undoubtedly bigger threat to us all than the potential end of democracy — and that's just the start of Sheridan's blatant takedown.

Much like we've seen across endless social media clips and news reports, the introduction of drones into a warzone also becomes a point of contention. None of this is an angle to modern warfare that I'd even considered, and I'm both impressed and pleased that Sheridan has created the space for that conversation. The Lionesses are raging, and so should we be.

Even amidst the backdrop of change, our team is as strong as ever, and I continue to be bowled over that the busiest working woman on Earth, Nicole Kidman, has made time for such a heavy screen presence. Personally, I think that speaks volumes about the level of craft Sheridan is operating at, and what Kidman thinks of him in turn.

The action itself is fast-paced and unflinching in who or what it takes prisoner. Deaths happen from the get-go, and Joe quickly finds herself reckoning with two different realities. Things feel elevated from what we've seen in the past, which could often become monotonous and inconsequential.

Sheridan really is his own hero, and I applaud that

(Image credit: Paramount+)

You know how watching enough episodes of Grey's Anatomy starts to make you feel like you could be a doctor just through absorbing so many medical terms? Lioness season 3 somehow has the opposite effect.

I don't think there's been one season of the show yet where I've been able to confidently and succinctly explain the overarching narrative of the show. I've never once watched one of the many CIA boardroom scenes and properly been able to follow along with the plan, strategy, or off-the-books mission.

Partly, I wonder if this is down to my levels of practical intelligence, in the same way you sometimes panic during test conditions. But mostly, I think this is a script issue. The dialogue is (rightly) peppered with so much military terminology, but there's rarely a let-up in it. How is the average person supposed to relate to this, unless they've played a lot of Call of Duty?

But my favorite part of Lioness — which is either a positive or negative, depending on how you look at it — is how the show seems to exist simply to fulfil Sheridan's own desires. Once again, episode 1 contains a hefty dose of Delta Force operator Cody, but this time, he's the indisputable hero.

Again, no spoilers here, but Cody essentially leads a mission that is successful almost solely thanks to his own conspiring, and I think of the little boy who must have played with Action Man figures and wanted a slice of combat for himself.

Sheridan has won just as much as we all have with season 3 (except for the many onscreen casualties), in spite of its flaws. The man is allergic to making outright terrible TV, and for that, we should always be thankful.