Apex Recordhunter drone unofficially set a new air speed record of 434 mph
High-speed demonstrator will help develop next-gen military drones
Company targets further records with interceptor drones soon
Germany’s Quantum Systems Group has broken the world airspeed record for an electric drone, hitting speeds of 699km/h (434mph) during internal testing on June 26, 2026.
Though the company is yet to carry out a formal, independently verified attempt at setting a record under the official measurement rules to be recognized by both Guinness World Records and Fédération Aéronautique Internationale (FAI), the speed far exceeds that of the current record holder – 657.59km/h (409mph).
The latest, unverified record was set in straight and level flight, and would represent a 6.3% increase over the current record. Official testing is expected within the coming weeks, the company said in a press release.
Record-breaker is merely a technology demonstrator
Quantum Systems explained that the Apex Recordhunter drone was developed over the past year, but “serves as a technology demonstrator for next-generation high-speed systems” rather than being a commercially viable product. “Several innovations from the project are expected to support future interceptor drone programs,” the company added.
It is a battery-electric, fixed-wing aircraft developed by the firm’s N3XT advanced development team, benefiting from Porsche-subsidiary-supplied V4Smart battery cells.
Of course, the drone and its successors would not target consumer photographer and hobby markets, instead focusing on high-speed interceptors for modern warfare. Quantum Systems says lessons learned from Apex will directly influence future interceptor platforms for real-world defense scenarios.
“Super proud of the Quantum Systems team, showing our engineering ambition across our Group and reinforcing our commitment to developing world leading technologies,” co-CEO Florian Seibel wrote.
Engineers from Quantum’s Ukrainian WIY Drones division also contributed to the program – a noteworthy inclusion because Russia has increasingly deployed high-speed, jet-powered one-way attack drones. Deploying high-speed drones like the one Quantum Systems has developed could be much cheaper and more accessible than sending off expensive air-defense missiles.
Records continue to be broken as rapid development continues
By mid-July, the company also hopes to have set two other records. The first – the highest speed achieved by an FPV interceptor drone carrying a 500g payload – by its STRILA Interceptor. Second, its SPYS drone, gunning for the highest speed achieved by an anti-aircraft class FPV interceptor drone.
These achievements and potential records reflect an ongoing global race to develop faster military drones, but they also underscore the growing relevance of airborne, remote and autonomous weapons in modern warfare.
That said, other electric drones have technically achieved even higher speeds. Tom’s Hardware recently reported of a New Zealand duo who recorded high speeds of 730km/h (453mph) – that Blackbird drone uses sawtooth carbon fiber prop blades.
Despite lacking official recognition, the duo had previously set a record of 626km/h (388mph) in December 2025 with a separate drone, before quickly being overtaken by another record-holder which achieved a higher 659km/h (408mph). Regardless, an 11.7% increase from December’s first record to today’s unofficial record confirms there’s plenty of scope to continue pushing the boundary.
The Mac mini has emerged as an affordable system for agentic workloads
Apple has seen "incredible demand" for the Mac mini and Mac Studio
Apple silicon can handle an agentic AI while other architectures use a GPU and CPU
If you’re looking for the best way to explore and deploy agentic AI without breaking the budget, the Mac mini might be just what you’re looking for.
Apple’s Doug Brooks has expressed enthusiasm for how the Mac mini and Mac Studio desktop computers are capable of handling agentic AI tasks, thanks to Apple silicon, the ARM-based SoC that the company has introduced over the past half decade.
Success with local AI on these machines has been attributed to design choices made before the arrival of advanced LLMs, with the evolution of Apple’s Neural Engine highlighted as a key factor.
How the Mac mini is ideal for agentic AI
The Mac Studio is also suited to agentic AI (Image credit: Future)
Brooks is the senior product manager of Apple silicon, and referred to the “incredible demand” for Mac minis and Mac Studios when speaking to The Deep View before WWDC 2026.
Describing the Mac mini as an “amazing system” that can “tap into the strengths of Apple silicon and unified memory in a very power-efficient way, and increasingly they're delivering compelling price-performance as well.”
The price point of a Mac mini – compared to the more expensive Mac Studio – makes it particularly suited to teams exploring agentic AI but without the budget to pay for tokens and larger systems.
Neural Engine technology dates back to the A11 chip, and its evolution and inclusion within the current generation of Apple chips, and its high-performance, power-efficient compute processes are pivotal in delivering machine learning to the desktop.
As many AI tools were available first on the Mac (or released exclusively for macOS), it seems that upgrading to the latest Mac mini or switching from Windows has been instrumental in demand.
Mac mini: amazing for AI
Apple’s work on AI has seen deployment in everyday use across computers, tablets, and smartphones, and the company has been a leading exponent of hybrid AI, where an agent can “decide what needs to happen locally and what needs to happen in the cloud based on the workload.”
“For agentic workloads, people often want a system that's under their control, isolated from their primary machine, and capable of running 24 hours a day, seven days a week.”
But it is the strength of the Apple Mac mini and Apple Studio – as well Apple’s notebooks – in handling AI that seems to have enthused Brooks the most. He cites security and economics as concerns for developers and creators who are now realising that they can handle AI workloads sitting at their desk – whether using a Mac mini or something more powerful.
Meta is crossing the border to build a data center in Alberta, Canada
The data center will have a 1GW capacity and cost $9 billion to build
It will eventually lead to 300 operational jobs, Meta says
Meta has announced its ambition to build a $9 billion datacenter in Alberta, Canada, with a 1GW capacity.
The project, which was announced in a Meta blog post, is set to be built just outside of Edmonton in Sturgeon County, with the construction expected to take two to three years.
Meta says the data center will support around 3,000 jobs during construction, and then 300 operation jobs when the data center is up and running.
1GW AI-optimized data center
Alongside the data center, Meta has announced that it will improve local infrastructure with a CAD $60 million in roads and water services. The project will also see its electricity usage matched with “100% clean and renewable energy,” with the full costs of the data centers’ energy use covered by Meta.
“This specific location met the factors we typically look for: good access to infrastructure, a robust electric grid and access to energy, a strong pool of talent, and a great set of community partners that helped us move this project forward,” a Meta spokesperson told CNBC.
The project marks Meta’s first data center venture in Canada, and will join a fleet of 32 other Meta campuses across the globe. Alberta was also chosen because of its lenient regulatory environment, allowing the construction to be approved with a comparatively small amount of legwork.
Meta also hopes “to plan for and meet our energy needs years in advance of this data center coming online” by working with Canadian energy services such as Greenlight Limited Partnership, Altalink, Capitol Power and the Alberta Electric System Operator.
The AI capacity offerings from Meta come relatively late in the game compared to industry leaders such as Amazon, Alphabet, and Microsoft, prompting it to undertake an aggressive buildout across the US and elsewhere.
Meta is also reportedly venturing into the cloud computing industry by selling excess capacity at some of its completed AI data centers in order to offset the costs of construction. Meta predicted that it would spend between $125-145 billion on AI and data centers in 2026.
Customers will have to pay extra to make it road legal
A/C comes courtesy of removing the doors
The US is about to get one of the cheapest electric vehicles ever offered for sale, as the Stellantis Group has confirmed that the tiny Fiat Topolino will be available Stateside.
Starting from just $13,995 (plus a $990 destination fee), the compact electric runaround features an equally minuscule 5.4kWh battery pack that delivers just 46 miles of range on a full charge. There's also a distinct lack of creature comforts.
Based on the Citroën Ami, the glorified golf cart is designed to offer a mobility solution for busy European cities, with the model classed as a light quadricycle (category L6e) that sees the law regard it more like a four-wheeled scooter or moped than a traditional passenger car.
FiatFiatFiatFiatFiat
This allows drivers as young as 14 to get behind the wheel in some European countries, and with the lack of a stereo, air conditioning, or an infotainment display (there is a smartphone cradle), the vehicles are about as basic and easy to maintain as they come.
That said, micromobility options like this are on the rise in the USA, where a craze for golf carts seems to be sweeping the nation.
According to a report by Today, residents of affluent neighborhoods are using electric carts for everything from grocery shopping trips to school drop-offs.
Golf cart manufacturer Club Car says the market value has soared from $1 billion pre-pandemic to more than $5 billion today.
Fiat hopes to cash in on this boom, with a range of stylish Topolinos that arguably have slightly more character than your average golf course transportation.
Analysis: Cute, but not really a car
(Image credit: Fiat)
Thanks to its restricted top speed, diminutive proportions, and limited crash safety features, the Fiat Topolino isn't really classed as a traditional "car" in North America.
In fact, should customers want to use it on public roads, they will have to pay for a special conversion kit to raise the top speed to 25 mph and make it street legal on roads with speed limits of 35mph or less.
According to CNBC, Stellantis won't charge extra for this, but a mandatory destination fee of $990 will see the final price increase to $14,985.
The impossibly cute car, which roughly translates to "little mouse" from its native Italian, will also go on sale in the UK, with prices starting from £8,995.
Numerous models and special editions have already been touted, including a Sport edition that adds bespoke wheels, colors, and badges.
Fiat also unveiled a Multiplina concept (see above) that takes the Topolino platform and stretches it to act as "the missing link between a Topolino and a car," according to its maker.
There's no word on when we will see that go into production, but order books for the standard micro machine are already open in most markets.
It should stop modders from disabling the light that lets people know you're using the camera
Meta is also targeting modders on and off its platform
Last month we shared details of reports that Meta glasses were being modded to bypass privacy protections and turn them into secret spy glasses. Now Meta has revealed it will update the glasses’ software to detect whether its light has been tampered with (or destroyed) to prevent recording.
Whenever you take a photo or video with Meta glasses, a white light appears on the front of the glasses to signal to people around you that you’re filming.
For creeps looking to be more secretive with their recordings, this light is a hindrance, but Meta has imposed more basic tamper-proof features since launch. That is, any attempt to use the camera while the light is blocked — such as by a piece of tape — wouldn’t be allowed. The trouble is, modders have found ways to open up the glasses and disable or damage the light and its mechanisms that prevent it from showing, without getting flagged by the system — meaning you can use the camera as you normally would, but without anyone else knowing.
(Image credit: Meta)
This is (to put it bluntly) not good, and when the reports came out, a Meta spokesperson told me that the company was looking into ways to disable this workaround.
They also explained that Meta is working hard to stamp out advertisements for these kinds of services — some of which appeared on its own Facebook Marketplace platform — with its latest announcement explaining this means banning accounts, taking down listings, and taking legal action against people or businesses that tamper with its tech.
Beyond the detail of updating software to prevent tampering, the whole article from Meta is focused on privacy, and crucially how Meta keeps you and others safe.
Thanks to people misusing its tech, the wider notoriety these gadgets are getting again, and reports of contractors seeing recorded images and videos that Meta glasses users might not have fully realized they could see, Meta and smart glasses makers have been facing major privacy questions.
With this article, Meta seems to answer many of them, though we’ll have to wait and see if it can convince users — or if they might be tempted by the rise of cameraless smart glasses.
The only way is cameraless?
(Image credit: Alastair Jennings)
Even Realities, another smart glasses firm, recently announced it has raised $150 million in investment at a $1 billion valuation — not too shabby for a company that only launched its first XR gadget in 2024.
Instead of Meta’s camera-first approach, Even Realities went for a display-first approach. Information is shown visually as green text and basic diagrams to provide features such as AI advice, navigational directions, or a speech appearing on a virtual prompter. Its specs also lack speakers, though that’s not true for all glasses of their kind.
Losing out on the camera is, of course, a major privacy win for some, as there’s no possible way for the glasses to see something they shouldn’t or be used to spy.
The thing is, I think these kinds of glasses are pretty terrible. Having tested a few at home, the ones without a camera just aren’t worth wearing.
(Image credit: Future / Hamish Hector)
Smart glasses, despite being increasingly popular, are in their infancy, which in the tech world means you can expect to pay a fair sum for relatively limited features — that’s the price of being an early adopter. That’s especially true, I’ve found, for these XR glasses specifically, because while they can offer several tools like navigation, on-screen translations, a prompter, and notification pop-ups, their usefulness is pretty limited.
How often do you need a prompter? Or one-way translation tools? In the case of the latter, because these kinds of glasses often have you rely on your phone to set up the translation feature or access other features, you might as well just turn to something like Google Translate — which has conversation modes so that two people can talk and see translations through a single device.
The software I’ve found for these types of specs can also be pretty terrible with sluggishness, inaccuracies, and crashes — and if I, as someone who tests smart glasses professionally, have trouble, I can’t imagine what less techy people must think.
Additionally, the green text can be hard to make out on a bright day if you’re outside, making on-screen directions difficult to see.
(Image credit: Lance Ulanoff / Future)
While admittedly more limited feature-wise, the Meta glasses and smart specs like them feel like way better value for money. From Meta specifically, the software is generally very reliable, and more broadly, the ability to snap a photo whenever — either to capture a moment or to provide context for an AI’s response — comes in handy so often.
Even if it isn’t as good as my phone camera, the ability to record a memory, hands-free and without being taken out of the moment, is so utterly delightful.
Yes, there are privacy challenges which need to be hashed out more formally, as even without the ability to record privately there is still plenty of room for creeps to harass people with this kind of gadget, but if you want a pair of smart glasses right now there simply isn’t a better option.
Attention 4K Blu-ray fans! Arrow Films has a huge sale on its 4K Blu-rays, with up to 50% off some discs. You can check out the sale at Arrow Films' site, and there are tons of participating retailers, including Amazon in the US and HMV and Amazon UK in the UK. While stock is slim of some discs, between the different retailers, you should be covered.
While there are loads of options in the sale, I've picked my top discs, all of which I've either personally tested as part of our monthly Blu-ray Bounty column, or some that we even own ourselves at TechRadar.
One of my favorites is Dark City, a disc that looks superb on the best TVs, with rich contrast and black tones. Next is Arrow's version of The Good, the Bad and the Ugly, which is the best the iconic Western has ever looked, with impressive textures and bold colors.
Speaking of bold colors, Heathers is great for showing off your display's color reproduction, as is The Mask, one of my reference discs for testing color and for testing the best soundbars.
For our full thoughts on these discs, check out below. These are just our top picks of discs we've tested ourselves, but there are tons of discs in the sale to check out.
Our top picks from Arrow Video's 4K Blu-ray sale - US
Arrow Video
Dark City 4k Blu-ray
Arrow Video
Westworld (1973) 4K Blu-ray
Arrow Video
The Mask 4K Blu-ray
Arrow Video
The Warriors 4K Blu-ray
Arrow Video
Tremors 4K Blu-ray
Arrow Video
Heathers 4K Blu-ray
Our top picks from Arrow Video's 4K Blu-ray sale - UK
Arrow Films
Dark City 4K Blu-ray
Arrow Films
The Good, the Bad and the Ugly 4K Blu-ray
Arrow Films
Heathers 4K Blu-ray
Arrow Films
Thief 4K Blu-ray
Arrow Films
Tremors 4K Blu-ray
Arrow Films
Westworld (1973) 4K Blu-ray
Why I've picked these discs
Dark City
(Image credit: Arrow Films / Future )
Dark City follows the story of John (Rufus Sewell), a man who wakes up with amnesia to find himself under investigation for murder and being hunted by a group of strange beings known as the Strangers.
Dark City looks superb in 4K. Arrow's restoration delivers crisp, realistic textures and inky black levels, plus, there are plenty of high-contrast scenes that really shine on the best OLED TVs. There's a reason this disc has entered my testing rotation.
The disc has both Dolby Atmos and DTS-HD 5.1 MA soundtracks. Speech is clear throughout, and while there aren't any scenes that will really test your home theater, the score's deep, rumbling bass will at times get your subwoofer working.
Heathers
(Image credit: Arrow Video / Future )
Heathers follows the story of Veronica (Wynona Ryder), a high-schooler part of a popular clique of girls called Heather. Veronica begins to date a rebellious, new student called J.D (Christian Slater), who eventually starts to kill students he doesn't like.
The Arrow restoration of Heathers does an excellent job capturing the oft-gaudy aesthetic of the 1980s. Colors are bold and vivid (especially the Heathers' outfits), and there's plenty of refined detail in people's clothing. Textures have been cleaned up nicely, making everything, including people's hair and skin, look lifelike.
This disc comes with three soundtrack options: DTS: HD 5.1 MA; Stereo 2.0 and mono. I used the DTS: HD 5.1 MA in my testing, and it was clean and clear throughout. There aren't many showcase moments, but still, speech is clear, sound is mapped well and there is some impact to effects like gunshots.
Westworld (1973)
(Image credit: Arrow Video / Future )
Westworld is about an interactive theme park inhabited by androids, where patrons can live out the fantasy of life in the Wild West. Eventually, the androids turn on both the staff and visitors of the park. The movie stars Yul Brynner, Richard Benjamin and James Brolin.
Westworld looks excellent in this restoration from Arrow. Intricate details, such as the parts of a gun, are defined and realistic, while skin looks true-to-life. Colors are also big and bold in places, such as the red of the brothel's walls. Cinephiles will be happy with the level of film grain retained, too.
There are multiple soundtrack options available, including 4.0, 2.0, 1.0 and 5.1. Using the 5.1 for testing, there's some nice detail, demonstrated by the ricocheting bullets which are well mapped to the surround channels. There's a nice, wide soundstage to give different sounds room to breathe, and speech is clear too.
The Mask
(Image credit: New Line Cinema / Future )
The Mask tells the story of Stanley Ipkiss (Jim Carrey), a bank-worker who discovers a supernatural mask that turns him into a super-powered being. The movie helped launch Carrey's movie career, and was the big-screen debut for Cameron Diaz.
While this 4K disc does have fantastic picture quality, (more on that in a sec), really it's the Dolby Atmos and DTS: HD 5.1 MA soundtracks that shine. As the Mask tornadoes around Stanley's bedroom, through the right sound system, the ensuing chaos is precise and accurately mapped, with refined detail. This is true throughout, whether the Mask jumps around or uses cartoon-ish violence. A seriously-impressive sounding disc.
Visually, The Mask looks great too. Color reproduction is this Arrow disc's main strength, with the Mask's yellow suit looking bright and vivid throughout. Textures have a 3D-like level of detail and there's plenty of scenes with strong contrast and deep black tones.
The Good, the Bad and the Ugly
(Image credit: Arrow Films / Amazon MGM / Future )
One of the most iconic Westerns ever made, The Good, the Bad and the Ugly follows the Man With No Name (Clint Eastwood), as he, a bandit named Tuco (Eli Wallach), and a mercenary 'Angel Eyes' (Lee Van Cleef) all try to find buried Confederate gold through uneasy alliances and betrayals.
The Good, the Bad and the Ugly looks sensational in Arrow's 4K restoration. Detail is organic and lifelike, particularly in close-up shots, that show every scar, bit of stubble and dirt in full clarity. Color really pops on screen when used, and the movie's darker scenes show rich, inky black tones and powerful contrast.
There are DTS: HD 5.1 MA and DTS: HD Mono MA soundtracks on offer. The 5.1 soundtrack is immersive, with precise effects, such as ricocheting bullets, and there's a good hit of bass during scenes with explosions and the rumble of horse's hooves. Speech is clean throughout and the movie's legendary score is balanced and beautiful.
The Warriors
(Image credit: Paramount Pictures / Future)
The Warriors, an adaptation of Sol Yurik's novel of the same name, follows the story of a gang in 1970s New York named The Warriors. They find themselves framed for murder, and must make their way back across New York and home to Coney Island, while being hunted by thousands of members from rival gangs.
The Arrow version of The Warriors is excellent. Textures have been uplifted and given a much crisper look, but there's still plenty of film grain, to capture the movie's gritty tone. Colors have plenty of punch, shown best in the opening scene by the different gang's colorful uniforms. Contrast is also strong, and there's plenty of scenes to show this, especially in the gloomy subway platforms.
This Arrow disc contains a Dolby Atmos soundtrack (unlike the Paramount release which only has a 5.1 mix) and it's all the better for it. The soundstage is wide and immersive, effects are clear and there's good impact and accurate sound mapping throughout. The best scene to showcase this is as the Warriors fight the Punks in a subway station bathroom.
Thief
(Image credit: Amazon MGM Studios / Arrow Video / Future)
Thief follows the story of Frank (James Caan), a professional safecracker trying to escape his life of crime. It was Michael Mann's (Heat, Collateral) feature film directorial debut.
Another fantastic restoration from Arrow, Thief looks brilliant in 4K. There's plenty of scenes with rich, powerful contrast, and a good amount of film grain present for cinephiles. Detail, such as skin, hair and clothing, all look refined and lifelike.
There are DTS: HD 5.1 MA and stereo 2.0 soundtrack options on offer. I used the DTS: HD 5.1 MA for my testing and there was plenty of nuanced detail, such as the whirring of the sale drill, that were delivered clearly. Tangerine Dream's excellent score is balanced, with big, bold synths and fantastic clarity.
Tremors
(Image credit: Universal Pictures)
Tremors is about a tiny Nevada town being terrorized by a mysterious underground menace, and it's the definition of a cult classic. It's got a really tight script, and ekes all of its production value from being filmed out in beautiful mountains, mixed with some fantastic practical visual effects.
It's a beautiful transfer that uses HDR to deliver nuanced skies, bright highlights in the sun, and the most ridiculously orange blood and monster bits you've ever seen.
The latter is also delivered in gloriously strong detail and texture, as is the dirt of the countryside as it slides around when a Graboid shifts underneath it. There's a nice grainy softness, but this really makes the most of its 4K upgrade. It sounds great too, but it's the visuals I appreciated most, especially when it comes to admiring the monster effects.
IO Interative has regained the rights to its online fantasy RPG, Project Fantasy
Xbox pulled funding from the project, ending its parternship with the 007 First Light studio
IOI will continue working independently on the project, but a studio will be closed down and some workers will be laid off
Last week, 007 First Light and Hitman developer Io Interactive confirmed that it had ended its relationship with an external financial backer for Project Fantasy, which was later revealed to be Xbox (via Bloomberg).
As a result of Xbox pulling out of the deal and amid major restructuring at Microsoft that has seen thousands of layoffs, IOI has announced that it has regained full ownership of Project Fantasy and will continue work on the project independently. However, its Istanbul studio will be shuttered, and an unconfirmed number of workers will be laid off.
"Dear gaming community. Following the end of our external finance partnership on Project Fantasy, IOI has regained full ownership of the project and our IP," the studio said in a statement on social media.
"We will continue to develop and fund it independently amongst our other projects. With this context, we had to find a new balance for the long-term future of the studio, focused on the success of our main internal core titles instead of external projects and potential mobile game derivatives. This has meant making changes as well as proposed changes across our studios: the closure of our Istanbul studio and starting a process to part ways with colleagues who have been a meaningful part of what makes IOI what it is.
"Our immediate focus is on supporting those affected as best we can through this period. If you are aware of any opportunities within your network, we would be genuinely grateful for any support you can offer to any of the talented people across IOI who might be looking for new opportunities."
IOI concluded: "These are hard, but necessary decisions, in order to retain the long-term future of IO Interactive as one of the very few fully independent AAA developer and publisher, as well as to give Project Fantasy the best possible foundation to succeed under our own passion and direction. Project Fantasy is a game, a world, and an IP that we are wholly committed to, and we cannot wait to share the love with you."
Yesterday, Xbox CEO Asha Sharma outlined the company's plan to "reset" and announced it will cut a total of 3,200 jobs, starting with 1,600.
In addition, the company also plans to ditch four studios, including Compulsion Games and Double Fine Productions, which are going independent once more, while Ninja Theory and Undead Labs look for new ownership.
The real highlight here is the adaptive lumbar support that offers consistent support as you shift in your seat. It's not a feature we often see on mid-range and budget office chairs. In our review we called it “an excellent option for those wanting a quality, highly adjustable, and highly supportive chair that will last for years.”
Today's top office chair deal
A highly adjustable ergonomic chair with self-adaptive lumbar support that moves with your body rather than staying in a fixed position. The breathable mesh back keeps you cool over long sessions, and the 4D armrests adjust in four directions so they actually support your arms at the right height and angle for your desk setup.
Our reviewer Collin Probst tested the C7 across full working days and found it genuinely comfortable throughout — no pinch points, no back pain, no need to get up and adjust. Read the full FlexiSpot C7 review for the complete picture.
The feature that sets the C7 apart from cheaper ergonomic chairs is its self-adaptive lumbar support. Most chairs at this price offer a fixed lumbar pad that sits in one spot and stays there whether or not you’ve shifted your weight, leaned forward, or slouched slightly over the course of a long afternoon.
The C7’s lumbar mechanism moves with your micro-adjustments throughout the day, consistently maintaining contact with your lower back rather than losing it the moment you stop sitting perfectly. In our testing, this translated directly to less lower back fatigue over sustained sessions.
The 4D armrests are the other standout feature for the daily work use case. At this price most chairs offer 2D armrests that only go up and down — the C7’s go in four directions (height, width, depth, and pivot angle), which means you can position them to actually meet your elbows where they naturally rest for your specific keyboard and monitor setup. Our reviewer, who is 6’1” with broad shoulders, found them easy to dial in and comfortable for his frame — a useful data point for taller users wondering about fit.
The breathable mesh back addresses the heat issue that plagues many office chairs with solid foam backs. Over an eight-hour day in a warm room, the mesh panels allow air to circulate behind you rather than trapping it, which makes a noticeable comfort difference in the kind of sustained daily use this chair is designed for.
The 90–128-degree recline range is wider than that of most mid-range office chairs, which typically cap out at 110–115 degrees. The full recline position is comfortable for reading or taking a call in a relaxed posture, and the recline tension is adjustable so you can tune how much resistance the chair offers when you lean back.
The up-to-10-year warranty is a meaningful differentiator compared with most mid-range competitors, which ship with 2 or 3 years of coverage. At about $30 per year over the warranty period, that long-term support materially changes the value calculation for a chair you plan to use every day.
One honest note from our best office chairs guide: the C7’s build quality doesn’t match the premium feel of Steelcase or Herman Miller chairs, and the mechanisms — while well-specced — don’t have the same precision glide as higher-end models.
But that's to be expected, and honestly, it never felt like a huge trade-off once we were actually in the seat.
For more of our favorite furniture, we've tested the best office chairs around - and yes, the FlexiSpot C7 is on the list.
The OXS Storm A2 is a wireless gaming headset with support for multiple platforms, including the PS5, Nintendo Switch 2, PC, and mobile.
It has a basic design that verges on anodyne, especially in its dark grey colorway. The X-shaped indents on the sides of the drivers do little to add interest, instead making it look dated.
Thankfully, the headband is far more sleek, and overall it’s much less bulky than many of its rivals. It’s also pleasingly light, and the drivers fold away neatly, making the Storm A2 one of the best PC gaming headsets for portability.
The quality of the materials is also quite good, with most feeling smooth and solid. The padding on the earcups and headband also appear strongly attached.
This padding is reasonably plush and comfortable, too. The headband is more comfortable than many others I’ve experienced, although it’s not quite plush enough to prevent fatigue after long sessions.
The same charge can be leveled at the earcup padding. It’s reasonably soft, but it’s not thick enough to prevent the insides of the drivers from pressing into my ears, which causes aches after a while. However, these aches are quite minor, and I’ve certainly tested more uncomfortable headsets than this.
More impressive is the sound of the Storm A2. There’s plenty of crispness and balance to all frequencies, which makes it a great headset for both gaming and listening to music.
(Image credit: Future)
The surround sound feature is also a must in my opinion: not only does it create a more immersive sense of space, but it adds a much-needed low-end fullness as well.
The ANC function is quite rudimentary, seeming merely to reduce the bass frequencies of ambient sound rather than masking it entirely. This is effective to an extent, but it certainly doesn’t rival the ANC of the best headphones.
It’s also a shame that there’s no software to tweak the sound of the Storm A2 further. This means that you won’t be alerted to firmware updates, either — if any at all were to appear for the Storm A2.
The mic quality is poor, mired as it is by crackling and a low resolution. What’s more, there were times when it seemed to stop working altogether until I powered the headset on again.
Connectivity is mostly good, although Bluetooth pairing can take a little longer than is typical. At least hot-switching between devices is quick and easy.
The battery life of the Storm A2 is also quite good, seeming to live up to OXS’ claim of 70 hours. You can also charge and use the headset at the same time, although the included USB cable is a bit too short to make this practical for many setups.
At just over $100, the Storm A2 represents good value considering its multiple connectivity modes and platform support, as well as its ANC and surround sound modes. Its lack of software and long-term comfort mar its appeal slightly, but if you’re looking for great sound without spending ungodly amounts, you could do worse than the Storm A2.
OXS Storm A2 review: Price and availability
(Image credit: Future)
$129.99 / £129.99 / AU$169
Available now in black and white colorways
Decent price for an ANC wireless gaming headset
The OXS Storm A2 costs $129.99 / £129.99 / AU$169 and is available now in two colorways: black and white. It comes with a USB cable, a 2.4GHz USB dongle (with Type-A and Type-C connections), a detachable microphone, and a leather pouch for storing the headset.
This is a reasonable price for a wireless headset with multiple connectivity modes and ANC. The absence of companion software for further customizations tweaks does put a slight dent in its appeal, though.
For those on an even tighter budget, there’s the OXS Storm G2. This is a much bulkier wireless headset, but it’s still quite light and reasonably comfortable, although the sound is inferior.
For a more premium experience with a host of tweaks at your disposal, consider the Skullcandy Crusher PLYR 720. Aside from all the customizations available via its software and onboard controls, this headset also has the heaviest bass I’ve ever experienced, which can be great when you’re in the mood for it.
OXS Storm A2 review: Specs
OXS Storm A2
Price
$129.99 / £129.99 / AU$169
Weight
10.3oz / 293g
Drivers
40mm full-range Dynamic Drivers
Compatibility
PS5, PS4, Nintendo Switch 2, Nintendo Switch, PC, Mac, Mobile
Connection type
Wireless (2.4Ghz via dongle, Bluetooth 5.4), Wired (USB-C)
In terms of aesthetics, the Storm A2 isn’t particularly noteworthy. The grey colorway of my review unit was a little dour, while the X-shaped indents on the sides of the drivers look a little dated.
There are some nice touches to its design, though. It’s a lot more sleek in its white colorway, and the minimalist design of the headband, which neatly hides the adjustment mechanism, is rather fetching. This mechanism can be a little difficult to slide, but it's not too onerous, and once set in place, it stays put.
The Storm A2 is uncluttered in terms of its controls, too. There are no fancy dials here, just four buttons: three on the left driver for volume and power, and a button on the right for toggling ANC, Passthrough, and surround sound functions. All buttons are quite small, but they’re easy to locate by touch and press while wearing the headset.
Build quality is also quite good. The various materials feel smooth and premium, and the joins are solid. The fabric padding of the earcups and headband is neatly and strongly attached, too.
(Image credit: Future)
The microphone is also well made. It has a gooseneck design, which means it can be bent into any shape you like. It’s easy to bend yet stable once in place, although there are certain positions that it refuses to adopt. It’s also relatively short, which does limit its versatility; you’ll struggle to get it dead in front of your mouth, for instance.
The whole headset is very light with a slender profile. You really could wear it out and about, while the agile folding design makes it easy to pack away into a bag.
This lightness helps with comfort, too, as the Storm A2 doesn’t weigh your head down. Its fit is quite snug and stable, while the earcups and headband are sufficiently padded to provide short-term comfort.
For long sessions, though, the thinness of the padding in these areas can cause minor aching. And in the case of the drivers, the thin padding failed to prevent the insides of the drivers from pressing against my ears, making the Storm A2 feel more like an on-ear rather than over-ear headset.
There’s no companion software or app for the Storm A2, which is a shame. Many other gaming headsets feature this, allowing you to adjust certain settings and tweak the sound. Such software usually delivers firmware updates as well, which makes its absence here even more concerning.
(Image credit: Future)
OXS Storm A2 review: Performance
Surprisingly crisp and clear audio
Lacks the immersion of fully enclosed headsets
Poor mic quality
The Storm A2 offers impressive audio. All frequencies are clear and balanced, while the bass is full and punchy without being overbearing or causing distortion. This makes the Storm A2 great for gaming, listening to music, and watching movies.
Audio effects and atmospheric sounds in Resident Evil Requiem, for instance, came through clearly, while the surround sound feature helped to impart a greater sense of space. It also made the overall sound noticeably fuller, adding far more low-end, so I always had this mode enabled. When I played Counter-Strike 2,gunshotswere rendered with plenty of punch, while reloads were crisp and the direction of footsteps was easy to discern.
However, since the drivers don’t enclose your ears as much as other headsets, owing to that aforementioned thin padding, audio is less immersive than it otherwise would be, as if sound is leaking out of them a little.
There’s a slight background hiss at all times as well, regardless of whether I had ANC enabled or not. This was most noticeable when playing on the PS5, but it was also present on the Switch 2. Fortunately, this isn’t game-ruining since it’s easily masked by in-game audio most of the time, and I didn’t notice it at all when connected to my Android phone via Bluetooth.
(Image credit: Future)
The ANC feature does a reasonable job of negating outside sound, although it seems to merely cut the lower frequencies of ambient sound. More sophisticated ANC technology that's included in premium headsets and headphones does a better job of masking all kinds of frequencies and sounds from the listener’s environment. The Passthough function fares better, allowing outside sound to come through clearly.
Perhaps the worst aspect of the Storm A2, though, is its mic. The quality is poor, with audible crackles and a low resolution. Also, it failed to even register on my PC as an input on one occasion, while the toggle for turning the mic on and off (achieved by double-tapping the power button) seemed to stop working. Thankfully, a simple restart of the headset seemed to fix these issues, but they’re concerning nonetheless.
I didn’t have any connectivity issues with the Storm A2, though. In addition to my PC, it connected to my PS5 with the same ease as the best PS5 gaming headsets. Pairing with my Android phone and Switch 2 took a little longer than is typical for Bluetooth headsets and headphones, but not long enough to be a problem.
Hotswitching between Bluetooth and 2.4GHz connections was also quick and easy, merely requiring the holding of the ANC button for a second to cycle between them. You can also connect to devices over USB, which also charges the Storm A2 at the same time, something that can prove very useful. The included USB cable is quite short, though, so you’ll need your device close by. What’s more, neither ANC nor surround sound works with a wired connection.
OXS claims that the Storm A2 has a battery life of 70 hours. Based on my testing, I’m inclined to believe this figure, since I managed to use it for several days straight without charging.
Should I buy the OXS Storm A2?
Buy it if…
You want versatile connectivity Multiple connectivity options allow you to connect to numerous platforms, while hotswitching between them is quick and easy.
You want clear sound Whether you’re gaming, listening to music, or watching videos, the Storm A2 is clear and full, especially with surround sound enabled.
Don't buy it if…
You want the best mic The mic on the Storm A2 is perhaps its greatest weakness, sounding low res and sometimes failing to function correctly.
You want to customize the sound Aside from ANC and surround sound, there aren’t any adjustments for the audio, since there’s no accompanying software.
OXS Storm A2 review: Also consider
If you don’t like the sound of the OXS Storm A2, try these alternatives instead:
OXS Storm A2
OXS Storm G2
Skullcandy Crusher PLYR 720
Price
$129.99 / £129.99 / AU$169
$79 / £62 (about AU$123)
$269.99 / £229.99 / AU$449.99
Weight
10.3oz / 293g
9.9oz / 282g
0.78lbs / 354g
Drivers
40mm full-range Dynamic Drivers
50mm full-range dynamic drivers
40mm
Compatibility
PS5, PS4, Nintendo Switch 2, Nintendo Switch, PC, Mac, Mobile
PlayStation, PC, Nintendo Switch, Mobile
PC, Xbox Series X/S, PlayStation 5, Nintendo Switch, Android, iOS
Skull-HQ (PC), Skullcandy mobile app (Android and iOS)
OXS Storm G2 An even more affordable wireless headset, the G2 is a lot larger than the Storm A2, but it still manages to keep the weight down. It doesn’t sound as good, either, but it still offers an enjoyable sonic experience.
Skullcandy Crusher PLYR 720 This is a lot more expensive than the Storm A2, but it has a lot more features, better levels of comfort, and a bass response that’s stronger than any headset I’ve experienced before. It’s certainly a lot bulkier than the Storm A2, and its open-backed design means people around you will hear everything you’re doing.
I tested the Storm A2 for several weeks, during which time I used it for gaming, watching streams, and listening to music. I used all of its features, too.
I connected it to my PS5 via the 2.4GHz dongle and to my Android phone via Bluetooth. For the Switch 2, I used a mixture of both these connections, and I connected to my PC via the dongle and via the USB cable. I played a variety of games, including Counter-Strike 2 on PC, Resident Evil Requiem on PS5, and Super Mario Bros. Wonder on Switch 2.
I’ve been gaming for decades, and have used multiple headsets with multiple platforms during that time. I’ve also delved into the world of audio production, so I have experience with monitor and hi-fi headphones. I’ve reviewed other gaming headsets before, including another OXS model, the Storm G2.
The Samsung S95F was our TV of the Year last year, thanks to its excellent picture quality, effectiveness in a bright room and superb gaming capabilities. It edged out the LG G5, the S95F’s flagship rival, for the honors — but needless to say, both these models were top-tier performers and contenders for our list of the best TVs. So I've been relishing testing their successors side by side.
I’ve already tested and reviewed the LG G6, the G5’s successor, and it earned five-stars in my LG G6 review. It’s one of the best OLED TVs I’ve tested this year, especially for bright room viewing (more on that later).
Now, the S95F’s successor — which is called the Samsung S95H in the US, and the S99H in the UK (and there is a separate model called the S95H in the UK, which is different to the US' S95H. Clear? Great…) has arrived in our test room, so I put the S95H/S99H and G6 side-by-side to see which flagship OLED comes out on top.
Colors
Both the Samsung S95H/S99H (left) and LG G6 (right) showcase bold colors, but the S99H made reds in Speed Racer look orange in places, shown in the floors and shelving, while the G6 showed red (Image credit: Warner Bros / Future )
Color reproduction on both these TV’s predecessors has been superb in the past, so I was keen to see how the two new models would fare. I started with Speed Racer on 4K Blu-ray, which I recently reviewed as part of the June 2026 Blu-ray Bounty, and boy, does it have some impressive colors.
With both TVs set to their respective HDR Movie modes (called Cinema Home on the G6) colors are bold, punchy and vibrant on both TVs, perfectly delivering the hyper-saturated, cartoon-esque look of the movie.
Colors practically exploded on screen on both TVs. Looking closer, the G6 has deeper, richer colors which add a more 3D-like effect to the picture, while the S95H/S99H’s are on the more natural side. Blues, greens, purples and yellows appear more true-to-life on the S95H/S99H, while the G6 opts for dazzle.
One thing I found very interesting however was how each TV rendered red. In some scenes, I noticed that the S95H/S99H made these red details look more orange, while on the G6 they had a much more candy-apple red look that felt more accurate to the movie. This was clear in a scene with the red shelves, walls and floors of the Racer family garage, shown above.
The S95H/S99H (left) has higher fullscreen brightness, but the G6 (right) has punchier peak brightness and bolder colors (Image credit: Warner Bros / Future )
In the close-up shot of Speed Racer during a race shown above, the red of his seat and the M logo on his helmet was deeper and bolder on the G6, looking a little pale on the S95H/S99H. For any red tones, I preferred the G6’s saturation: for this movie at least, in these modes.
For the record, in terms of measurements, the S95H/S99H scored 2.2 SDR color accuracy and 99.97% UHDA-P3 and 89.3% BT.2020 HDR color gamut coverage, to the G6’s 2.3 SDR color accuracy, 99.3% UHDA-P3 and 83% BT.2020 color gamut coverage (measured after its most recent update as of July 3rd 2026). So, these two generally measured about the same in these major areas.
When it came to skin tones, I found myself drawn to the S95H/S99H. The G6 clearly favoured red in Cinema Home, hence the deeper reds in objects. To some, the skin tones of characters on the S95H/S99H may have looked a little washed out, but I found the highlighting red tones in people’s faces, such as their cheeks, during close-up shots to be a little distracting.
The S99H (left) has more accurate skin tones, with the G6 (right) favoring red shades in skin tones Lionsgate / Future Both TVs show great color reproduction in La La Land, but the S99H's (left) feel more natural Lionsgate / Future Both TVs do a great job rednering the gradation of the sky in La La LandLionsgate / Future
Switching to La La Land, with both TVs in Movie mode, the more natural colors worked in the S95H/S99H’s favour. At the spring pool party, Mia’s yellow dress was vibrant on both screens with some gorgeous visual pop, but the yellow looked more authentic on the S95H/S99H. In the background, the green bushes were deeper on the G6, which gave them a nice, rich look, but again I felt the softer green of the S95H/S99H suited the movie better.
Later on, a close-up shot of Mia, the G6 again showed off the red tones in her skin, while on the S95H/S99H, her skin tone was uniform, more lifelike. In the ‘City of Stars’ scene, as Sebastian walks along a pier at sunset, both TVs accurately delivered the gradation of the sky, which goes from purple, to orange, to pink, accurately and while the G6 again had that richer look, the S95H/S99H had a bit more punch in the paler tones.
Contrast and dark room viewing
With both TVs set to Movie mode (Cinema Home on the G6), both can easily show a dark movie like The Batman in brightly lit conditions and still have good contrast (Image credit: Warner Bros / Future )
Moving onto darker movies, I started with The Batman, my reference disc for darker scenes. The Batman is a very dim movie (mastered at a max of around 400 nits) so it can be tricky for any TV to accurately display.
As both TVs have effective reflection handling layers (more on that below), I tried out the movie in Filmmaker Mode in a brightly lit room — and of the two, the G6 better preserved richer black tones with crisper textures and contrast. The S95H/S99H was much dimmer, and although the matte screen blocked mirror-like reflections, the movie was harder to watch.
Switching to Movie mode on both TVs, it then became a much closer call. Watching the subway scene, as Batman stands on a dark subway platform, both TVs delivered strong black levels with good shadow detail. The S95H/S99H had the more uniform picture of the two overall in Movie mode.
With both TVs set to Filmmaker Mode, the S95H/S99H (left) shows deeper blacks and more dynamic contrast, but sometimes can crush said blacks. The G6 (right) preserves better detail, but is a little bright (Image credit: Warner Bros / Future )
Switching to darker viewing conditions, and switching back to Filmmaker Mode, the differences between each TV was much more apparent. While both TVs still delivered strong contrast, shown in scenes with bright lights against dark backgrounds such as the Batcave and the crime scene at Mayor Mitchell’s house, the S95H/S99H actually delivered noticeably deeper blacks.
In some cases they were too deep, as it did exhibit some black crush, which resulted in loss of shadow detail. In the same subway scene from before, the background became mostly ineligible on the S95H/S99H. On the G6, these same details were preserved, but the picture was much brighter and the darker areas on screen weren’t as satisfying. Despite the black crush, I found myself drawn to the S95H/S99H’s more uniform picture.
With both TVs in Filmmaker Mode, the G6 (right) does a better job showing this scene from Fight Club in a bright room20th Century Studios / Future With both TVs set to Movie mode, it becomes a much closer call20th Century Studios / Future
Next I switched to ‘brighter’ movies with dark scenes, and went back to having brighter conditions in the room. In Fight Club, back in Filmmaker Mode, the G6 had the more impactful contrast and richer black tones.
As Marla and the narrator talk in a dimly-lit shop, the S95H/S99H’s matte screen created a haze effect across the screen, affecting some dark tones and made textures look a little softer. The G6’s glossy screen had crisper textures and deeper blacks with more impactful contrast. But switch to Movie mode and, again, it was a toss up as to which looked better.
Using a scene from space in Alien: Romulus in Movies modes, both TVs delivered rich black tones with a good amount of white stars dotted throughout, something some cheaper TVs I’ve tested can’t reproduce as cleanly. Again, in Filmmaker Mode, the G6 was the more engaging picture with the inky blacks, but the S95H/S99H did a better job handling reflections on this occasion, while still delivering powerful contrast. So let's dig more into reflections and visual punch.
Brightness and reflections
Both TVs deliver bright, brilliant whites with excellent, controlled brightness. A note: the S95H/S99H does not have this red tint in person, it is the matte screen being picked up the camera awkwardly (Image credit: Future)
OLED TVs are getting brighter. Once struggling to hit over 1,000 nits HDR peak some years ago, this is easily surpassed now, on both flagship and mid-range models.
I measured the S95H/S99H as hitting 2,739 nits HDR peak brightness (10% window) in Filmmaker Mode, as well as 449 nits of fullscreen HDR (100% window). In HDR movie mode, the S95H/S99H hit 2,751 nits peak and 450 nits fullscreen.
The G6 in the same modes, after a re-test with a new firmware update, hit a staggering 3,004 nits peak (10%) and 451 nits fullscreen brightness in HDR Filmmaker Mode. In HDR Cinema Home, the G6 hit 2,207 nits peak and 365 nits fullscreen brightness.
How did this translate into real-world scenes? Using some snow scenes from the Spears & Munsil UHD Benchmark, both TVs, set to Filmmaker Mode, showed punchy white tones with plenty of vibrancy, but the G6 had that little bit more depth in some areas. Generally, however, the S95H/S99H had the brighter picture in larger white areas, during a shot of a snow-covered ground or a white sky.
The S95H/S99H's (left) stronger fullscreen brightness in Movie mode is on show in this scene from Fight Club, as the blue sky looks much brighter than on the G6 (right) (Image credit: 20th Century Studios / Future )
In movies, going back to Speed Racer, Speed’s white Mach 5 car and helmet appeared brighter on the S95H/S99H, especially in Movie mode, which makes sense based on the 500 nits peak HDR difference between the S95H/S99H and G6 in that mode.
However, the G6 again had that satisfying glint that drew the eye more. In daytime scenes, the S95H/S99H again showed higher overall brightness, especially in lighter colors like green and yellow. But, the G6’s richer colors sometimes gave it a perceived sense of higher brightness through its boldness.
In another scene from Fight Club, again in Movie mode, as the narrator stands over an overturned car in the day, the clear, blue sky was noticeably brighter on the S95H/S99H. The G6 still showed good brightness, but it wasn’t as impactful as the S95H/S99H.
Both TVs are very effective at reducing reflections and while the S95H/S99H (left) is better at getting rid of them totally thanks to its matte screen, the G6 (right) does a better job maintaining black tones while reducing reflections (Image credit: Future)
I’ve touched on bright-room conditions and reflection handling above, and both these TVs are impressive on this front. The S95H/S99H’s anti-glare screen does an excellent job at eliminating mirror-like reflections, turning them to a haze. While it would beat every other OLED TV in brighter rooms, the G6 is more than a match for it.
When I compared the LG G6 to last year's Samsung S95F for their reflection handling, I preferred the G6, as it did a better job delivering inkier, richer black tones while still eliminating most reflections.
The S95H/S99H is brighter than the S95F, and while this does mean its overall picture quality next to the G6 is improved, delivering more powerful contrast, I still prefer the G6 for bright rooms… in Filmmaker Mode.
In Movie mode, however, it again becomes a very tight call, edged by the G6 for me. I just preferred the preservation of contrast over the out-and-out reflection handling.
Which do I prefer?
(Image credit: 20th Century Studios / Future )
In these tests, the LG G6 proved to have bolder colors, with better black levels and punchier highlights in brighter conditions (still with great reflection handling). The Samsung S95H/S99H showed better skin-tone accuracy, better contrast balance and black tones in dark room viewing, and higher perceived fullscreen brightness.
Deciding between these two TVs is no easy task. Both deliver outstanding picture quality, with their own strengths, and superb gaming experiences. It's never been a closer contest. So torn am I between the two, I’m saying you can’t really go wrong with either. It will come down to price and what you’re looking for — though while I've only focused on picture here, I do know that a lot of people are put off by the huge frame on the S95H/S99H, and that might make the difference.
If you want Dolby Vision HDR, bolder colors and better contrast with richer black levels in a bright room, go for the G6. If you want HDR10+, a more accurate-feeling picture out-of-the-box in a dark room, and a TV that beats the most challenging reflections, go for the S95H/S99H. Honestly, both TVs can do pretty much everything.
If I had to choose one today, it would be the LG G6. Not only does it have the better black level performance in brighter rooms, but right now, it's cheaper in the UK (where I am) and Australia, with a 55-inch G6 costing $2,299 / £2,099 / AU$3,499, while the S95H/S99H 55-inch costs $2,199 / £2,399 / AU$3,999. If I were in the US, or if the prices switch here, I could easily change my mind: it's that close.
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