News

• Disney+ subscribers in some European countries have lost 4K and HDR support, including basic HDR10 as well as Dolby Vision
• This appears to be the result of a court ruling, with the same kind of patent dispute being the cause of Disney+ losing Dolby Vision previously
• Premium customers are paying more for very little advantage now, but there's no word on a refund or compensation as yet

A few months ago Disney+ removed Dolby Vision in parts of Europe after a patent court ruled against the entertainment company, although it brought Dolby back the following month. But now there's a much more serious removal: 4K and HDR10 are gone for many European customers as well as Dolby Vision, and these are pretty core things you pay for if you have Disney+ Premium.

It appears to be another patent issue. In a statement to FlatpanelsHD, The Walt Disney Company Nordic & Baltic said: "Following a recent court ruling affecting the technology we use to deliver 4K UHD and HDR, we have temporarily removed support for 4K UHD and HDR on Disney+. We are disappointed and share our customers' frustration. We are working hard to restore support as quickly as possible."

We're not sure exactly which countries are affected yet, but it doesn't include the UK (or US) — we'll update with a full list when we can, but it's likely to be the same countries affected by the Dolby Vision removal. The reported list of countries in that case was: Austria; Belgium; Germany; Denmark; Finland; France; Italy; Netherlands; Portugal; Romania; Sweden.

That isn't just frustrating. It's taken away a key reason for subscribing to the most expensive Premium plan (though you will still get Dolby Atmos and the ability to stream to four devices at the same time, and downloads on up to 10 devices).

But still, if you're paying the extra price specifically to upgrade from 1080p to 4K HDR, right now you're paying extra for nothing, there's no sign of any compensation for customers so far.

It's no wonder that many movie fans are moving back to Blu-ray. Between price rises, digital deletion of paid-for titles and external issues such as patent disputes taking away picture quality you had access to until two days ago, it's not a great time to be solely reliant on streaming.

This current issue isn't Disney's fault. The major streaming services have all been targeted by patent owners claiming breach of their intellectual property, and this appears to be another one of those cases; if so, it'll probably be resolved relatively quickly.

But it does make me wonder about the bigger picture here, because I think streaming is in danger of losing what made it so popular as we pay ever increasing prices for what we used to get as standard.

In this particular case the loss of 4K and HDR has been imposed by an external issue. But the highest quality options have been moving upwards into the most expensive tiers for a couple of years now, so unless you pay for the premium subscriptions you don't get the best quality.

That means what used to be a one-size-fits-all offer is now much more complicated and more expensive every year. For example, I'm in the UK, where Disney+ has three plans, only one of which gives you Atmos and 4K. Netflix has three plans too, once again limiting 4K to the most expensive tier.

My previously ad-free Prime Video subscription is so stuffed with ads now it's a hilariously miserable experience with me and the kids swearing at the screen, and Dolby Vision and Atmos became paid-for upgrades two years ago.

I'd bet that if you're reading this you probably subscribe to, or use the ad-funded version of, a music streaming service; they're so convenient that looking for pirated songs is more trouble than it's worth. But can you say the same for the movie streamers?

I don't condone piracy at all. But as someone who's been reporting on digital piracy since the days when Metallica didn't know what a Napster was, I've seen piracy ebb and flow in music and in movies, and it's very clear that no matter how hard you try, no matter how much money and how many lawyers you throw at it, you cannot stop digital piracy. What you can do — what Netflix, the OG streamer, did — is offer a better alternative that makes it unappealing.

In a world where perfect digital copies of movies and TV shows are only a few clicks away, the only way to prevent people pirating is to make your product better in ways that persuade people to pay for it, or to accept the advertising that pays for it.

And to me it looks like only one of the major streamers is doing that: Apple TV+. What I'd love to see is the other streamers doing what it does. What I fear, and which is more likely, is that Apple TV is going to end up doing what they do.

Are you keen to spend less time staring at a screen, but don't want to sacrifice the practical benefits of owning a smartphone? The “balance” of the Balance Phone is that it’s about halfway between the dumbphones of yesteryear and the attention-grabbing overload of today’s best phones.

Crucially, it is still a smartphone (a basic Samsung one, to be specific), so it solves all the usual dumbphone issues of lacking WhatsApp, maps, and music, but runs a limited operating system called Balance OS that’s designed to help curtail your scrolling habits.

I just spent a week using the Balance Phone as my main device to get a feel for how effective its digital detox features are. Would it help me reclaim my time, be more present, or be more productive? Or would this glimpse into a post-social-media-ban future for kids leave me bored and left out? The answer is complicated.

The Balance Phone is essentially a Samsung Galaxy A37 running Balance's locked-down Balance OS. Balance also offers the lower-spec Balance Phone Kids (a Galaxy A17) and higher-spec Balance Phone Pro (a Galaxy S25), and all three phones cost a touch more than their non-restricted Samsung counterparts. The model I tested for this article was a previous version of the Balance Phone based on the Galaxy A16.

Much like the UK's impending under-16 social media ban, the Balance Phone blocks social media platforms (including X, Snapchat, TikTok, YouTube, Instagram, and Facebook) while exempting messaging services like WhatsApp and Signal.

It puts pretty aggressive limits on your browsing behavior, too, by not only blocking access to adult content, but also stopping adult image searches altogether and even blocking various news websites and blogs (you can’t even use browsers that aren’t Chrome — imagine!).

Yes, I’d actually say that the Balance Phone is one of the most effective solutions for getting you off your phone that I’ve experienced so far.

You can’t remove or alter the OS even if you wanted to, so I reckon it’d be a great phone for getting kids off social media, too. It would make an ideal first phone for younger users, and is super simple and intuitive to use.

In many ways, it’s a phone that’s made not to be used. In the past, I’ve felt Nothing’s handsets were designed to be used less, with their minimalist designs and purpose-driven OS, but the Balance Phone takes the latter to another level.

If you pick the Balance home screen during setup, it’s just a customizable black screen with the names of eight apps (of your choosing) on display. You can get to an app library view with a couple of swipes, but it’s limited by default.

I compared the amount of time I spent on the phone to the previous week on my iPhone 17 Pro — and the difference was huge. My screen time dropped from around 5 to 6 hours a day to under an hour (about 30 to 45 minutes of use). While I’ve been mainly working at home and not using the Balance Phone for navigation, I’ve mainly found myself on emails or reading on the device, as I can still load up apps like Instapaper and Kindle. I’ve not been able to retreat to my usual distractions of TikTok, Instagram or Reddit.

Did it make me more present or productive, though? I think that’s much more debatable. The Balance Phone can force you to change your habits, but that doesn’t mean you automatically change or become more efficient; I found myself still picking up the phone to try to scroll or just do something, even if there was nothing to do on it. And, yes, I found I got a bit more bored during one week of using it. If you’ve been using smartphones for a long time, you’ll find the habits are pretty ingrained.

While I used the Balance Phone, I felt I kept up with reading articles I’d saved in Instapaper or cracking on with the book I’m reading in the Kindle app. But the lack of Reddit and relatively poor browsing experience meant I didn’t read quite as much news, and I did notice all the extra friction for social media apps in both positive and negative ways.

A self-imposed social media ban is great at stopping you from scrolling away your days, but I also found I missed out on some of the more fun aspects of social media. I was out of the loop on some entertaining memes, and my wife ended up gathering a long list of TikToks and Instagram Reels that she wanted to send me during the week. I got these in one big batch at the end of the experiment!

Of course, it’s all just random House of the Dragon commentary and silly cat videos, so arguably nothing serious or important, but it feels like I missed out by not being able to share these things in the moment.

It makes me wonder: we can all agree social media is addictive, but a blanket ban ignores that it’s something enjoyable in moderation, too. I expect that if I actually used the Balance Phone full-time, I’d still want to use a normal tablet or laptop where I can reply to messages on Instagram and watch YouTube videos, to be honest.

If you want your phone to be restricted to the apps you need to communicate, listen, read, plan and navigate, the Balance Phone does the job well. You can load up your calendar, books, messaging apps, music, email and maps, but no video apps, social media or anything with infinite scroll.

And, because the Balance Phone is ultimately a phone that’s not meant to be used, it really is best for digital minimalists. If you’re already trying to give up social media and are comfortable with the extra restrictions, you’ll get on with the enforced digital detox. I think it also could function well as a work phone. You can put Slack, Gmail, Outlook, and the like on it, and then just stick to using it in the office.

We can all agree social media is addictive, but a blanket ban ignores that it’s something enjoyable in moderation, too.

Overall, I found it highly effective at limiting my screen time. And that’s why I’d also recommend it for kids. As a first phone, the Balance Phone is ideal and mirrors the coming social media ban and adult content restrictions for children. So, it works for kids and serious detoxers (for more child-friendly phone recommendations, check out our guide to the best phones for kids).

However, the lack of adjustability to its limits makes the Balance Phone harder to recommend for everyone else. It would be interesting if it had a little more nuance for app time limits or focus modes at particular times of day, for instance.

And a quick word on the phone's hardware: while the fingerprint scanner, underlying OneUI base software and simple Balance OS are all solid, the weak performance of the lower-end models makes the Balance Phone a little harder to recommend. The Samsung Galaxy A16 phone I tried was seriously slow and laggy, even when simply opening and switching between apps, and while the newer Galaxy A37 version will almost certainly offer better performance, I'd keep your expectations low.

Still, even for kids, I’d recommend the Galaxy A37 option over the cheaper Galaxy A17, as it’s just that bit more likely to keep you going for longer. Adults should consider the Balance Phone Pro, too, even if just because the cameras on the Galaxy S25 are leagues ahead of those on the other two models (it also has a slightly smaller 6.2-inch screen size).

Would you consider using a distraction-free phone like the Balance Phone? Let us know in the poll or comments below.

Trust has become the world’s most vulnerable infrastructure, yet most people don't realize we're already at war to defend it.

Every online interaction, phone call, password reset, remote job interview, and even a pickup or delivery now raises the same basic question: is the person on the other side really who they say they are?

Global businesses and governments in the AI era face a war where identity is the weapon, the attackers are invisible, and the battlefield is the infrastructure we rely on for daily connected life. AI has accelerated fraud and made sophisticated deception accessible to any bad actor.

Criminal rings, nation-state adversaries, and even ordinary people can now make fraud attempts against people and businesses at massive scale. Often, the money they take funds other criminal activities, or even military programs for rogue states.

Socure’s own network saw an 8,000% increase in AI-accelerated fraud over the past year, a number that firmly demonstrates that fraud has evolved from back-office risk to strategic business threat.

Most people would be shocked by how unsafe their identity actually is. Major data breaches have exposed private and sensitive information like names, addresses, birth dates, phone numbers, emails, and more. And fraudsters aren’t starting from zero anymore. AI can be used on top of real data to create hyper-realistic deepfakes and synthetic identities that can’t be caught through traditional fraud signals.

I spent more than a decade in the U.S. Army, with much of that time in Special Operations. There, I learned what asymmetric threats look like up close. AI-accelerated fraud has the same hallmarks: low-cost attacks, fast adaptation, distributed networks, and targets that don’t even realize they’re under attack until the damage is already done.

Our fraud fighting research team at Socure discovered one fraud operation that purchased 340 domain names, created more than 24,000 fake identities, and launched more than 35,000 identity attacks on a single company in a matter of weeks. The ring avoided traditional linkages: no repeated emails, phone numbers, addresses, or other notable identifiers tied the attacks together. The pattern only became visible by connecting the infrastructure behind the attacks.

This is just one example. With AI as a partner, the enemy is evolving quickly, from identity theft farms with hundreds or thousands of phones running scams around the clock, to people coerced into becoming fraud mules for North Korea-linked laptop schemes.

This is a war that most people don’t see, but they are feeling the impacts every day. Fraud breaks trust and the burden of proof is on the consumer. Businesses are suspicious of trustworthy customers, while customers can’t trust most of the messages they receive.

This paradigm forces the entire digital economy to spend more time proving what used to be assumed: that the person on the other side is real.

I know because it has happened to me.

Someone once used my personal information to open a business account at a major bank. I work in this industry. I had frozen my credit and it still happened. I spent weeks calling, disputing, waiting, and wondering what else they might try to do in my name. Even after the matter was investigated and closed, the unsettling feeling always stayed with me.

Beyond the money, the human toll is real. Victims lose time, peace of mind, and trust. In the worst cases, identity crime can lead to a national security crisis, no matter the country. It’s clear why this is a war we have to win.

But the fight is bigger than any one company, or any one country. The lesson I learned in Army Special Operations applies here: it takes a network to defeat a network. You can be the best bank, the best fintech, the best government agency, but if you’re fighting a networked enemy with only your own data, you’re still fighting in a silo.

That is exactly what fraudsters want: each company sees just one piece of the attack, so no one has the ability to connect the dots.

The fraudsters are already organized. The defenders have to be one step ahead and band together. That means lawful, privacy-preserving shared intelligence across global businesses, governments, financial institutions, technology providers, and infrastructure companies.

When one defender sees a fake face, a fake document, a mule pattern, or a fraud ring’s infrastructure, that insight should help protect everyone else.

The urgency is not only about today’s attacks. Quantum computing is on the horizon and it is bound to accelerate fraud even further than AI has. The window to build stronger defenses is closing.

World War Fraud is here. If we fight it together, we win. If we can't come together around a shared understanding of AI-accelerated fraud and its true scale, we risk seeing trust between organizations and people fractured forever.

We've tested, reviewed, and ranked the best identity theft protection.

This article was produced as part of TechRadar Pro Perspectives, our channel to feature the best and brightest minds in the technology industry today.

The views expressed here are those of the author and are not necessarily those of TechRadarPro or Future plc. If you are interested in contributing find out more here: https://www.techradar.com/pro/perspectives-how-to-submit

It's time to bid farewell to July 2026 — and, if you won't be heading out to catch Spider-Man: Brand New Day this weekend, you're going to need something to watch at home instead.

Thankfully, the world's best streaming services have plenty of great-looking new movies and shows for you to check out before Monday arrives once more. Don't delay, then — scroll on to see what you'll be adding to your watchlist ahead of the new working week. — Tom Power, senior entertainment reporter

Gird your loins, people: The Devil Wears Prada 2 is finally available to stream on Hulu and Disney+. As an 11-year old girl who grew up wanting to be Andy Sachs, I can safely say that nothing has changed 20 years later.

This time around, Andy is brought back into the Runway Magazine fold when Miranda comes under fire for printing false information in an article. As the new Features Editor, it's Andy's job to navigate a PR crisis fit for the 2020s, which includes getting a little help from Emily.

With all of the nostalgia and dreamy fashion montages you could hope for, and an new original song by Doechii and Lady Gaga that slaps, I'll be watching this over and again. — Jasmine Valentine, entertainment reporter

• Watch The Devil Wears Prada 2 on Hulu (US) and Disney+ (internationally)

Yahoo! Almost fourh months after it initially landed in theaters, The Super Mario Galaxy Movie has finally made its official streaming debut on Peacock.

Mario's latest animated adventure is way more polarizing than its predecessor, yet it still managed to pull in $1 billion at the worldwide box office. For that reason alone, it's probably worth giving it a whirl — but, seeing as you'll need something to entertain the kids for 90 minutes or so, it's definitely worth putting on.

But, I digress. For those who might not know: this time around, Mario and his allies traverse the cosmos as they attempt to stop Bowser and Bowser Jr from enacting a new masterplan that would see them kidnap Princess Rosalina and drain her cosmic powers to build a super weapon. Expect plenty of Nintendo Easter eggs and references in this multiverse-esque sequel that certainly acts as a jumping off point for a shared Nintendo cinematic universe. — TP

• Watch The Super Mario Galaxy Movie on Peacock

The first of three films that Zendaya and Robert Pattinson appear in this year, A24's dark rom-com drama called, well, The Drama has made its debut on HBO Max.

Starring the aforementioned A-listers, it tells the tale of soon-to-be-newlyweds Emma and Charlie, whose forthcoming wedding is derailed when a particularly dark secret comes to light. The twist in question? Honestly, it's best if you go into the movie knowing as little as humanly possible, because it's such a blind-siding narrative device that it's too good to spoil here. Get it watched ASAP, because I imagine it's all you and your work colleagues will be talking about come Monday. — TP

• Watch The Drama on HBO Max

There are some national tragedies that are so horrifically terrible, history is forever changed. In Scotland and the US, this was the Bombing of Pan Am 103, which is now a Netflix docuseries of the same name.

In a nutshell: on 21 December 1988, flight Pan Am 103 was en route from Heathrow to JFK when a bomb exploded in its hold over Lockerbie, killing all 270 people, including 43 British citizens and 190 Americans, on board, and spawning an international investigation involving local law enforcement and the FBI.

The community of Lockerbie has definitely never been the same since, with the attack leading to the Aviation Security Improvement Act of 1990. Be prepared for a difficult yet emotionally poignant watch. — JV

• Watch The Bombing of Pan Am 103 on Netflix

Batman is back — well, in Amazon's animated TV show, that is. That's right, season 2 of Batman: Caped Crusader has made its Prime Video debut, so fans of the Dark Knight have some new content to consume while the wait for The Batman Part II goes on.

This season, the eponymous vigilante and friends are forced to navigate an increasingly combustible turf war and the arrival of new iterations of the Caped Crusader's packed rogues gallery. Eager to see the Big Bad Bat go up against Joker, Scarecrow, Riddler, and more for the umpteenth time? Caped Crusader season 2 should be your first streaming port of call this weekend. — TP

• Watch Batman: Caped Crusader season 2 on Prime Video

Female police chasing female serial killers? It's almost as if the glory days of Killing Eve are back. This time, the dynamic comes courtesy of Furious, which has already been described by critics as one of the best shows of 2026, which is seriously high praise.

I've got a hunch that this is mostly down to its leads in Shameless' Emmy Rossum, and Lola Petticrew, who was absolutely astonishing in Trespasses and Say Nothing. What's even better is that it's set in the 1980s and allegedly has a vert satisfying payoff. Ticks all of the great crime drama boxes, if you ask me. — JV

• Watch Furious on Hulu (US) and Disney+ (internationally)

We've been without a new Taylor Sheridan show for the first time in 2026 this month, but never fear... Lioness season 3 is here. And, by here, I mean on Paramount+.

Joe continues to walk the line between duty and home as "unseen forces" circle her world. Frankly, I think this means that we should do a fan sweepstake on just how many minutes of each episode she's going to be shouting for. My guess is 42 out of 48 minutes.

What's even more impressive is how Lioness season 3 has managed to retain Nicole Kidman and Morgan Freeman in their supporting roles. That's the brilliance of a Taylor Sheridan series, I guess. — JV

• Watch Lioness season 3 on Paramount+

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!

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.

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.

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."

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.

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.

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.

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.

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.

“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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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.

"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.

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.

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.

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).

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.

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.

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.

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.

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.

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.

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