The Samsung Galaxy Z Fold 8 is smaller, cheaper, and has fewer cameras than the Galaxy Z Fold 8 Ultra, but it may end up being the most popular Galaxy foldable to date.
Why? Because its 7.6-inch inner screen has a 4:3 aspect ratio, which is supposedly “the new standard for viewing content,” as Samsung told us in an interview — and if there’s one thing most of us can’t get enough of in 2026, it’s content.
The Galaxy Z Fold 8 Ultra, meanwhile, has an eight-inch inner screen with a 10:9 aspect ratio, which is great for spreadsheets and multitasking, but less brilliant for movies and YouTube videos.
Don’t believe me (or Samsung)? I compared the experience of streaming Netflix, watching YouTube, and scrolling through Instagram Reels on the Galaxy Z Fold 8 and Galaxy Z Fold 8 Ultra — in both portrait and landscape orientations, where possible — to help you visualize the aspect ratio differences between these two devices.
Check out the side-by-side comparisons for each platform below, and let me know in the comments section which phone you’d prefer to use for watching videos. I've also included a roundup of each model's respective size specs for added context.
Samsung Galaxy Z Fold 8 Ultra
Samsung Galaxy Z Fold 8
Dimensions (unfolded):
158.4 x 143.2 x 4.1mm
161.4 x 123.9 x 4.5mm
Dimensions (folded):
158.4 x 72.8 x 8.9mm
81.9 x 123.9 x 9.7mm
Display (unfolded):
8 inches, 10:9
7.6 inches, 4:3
Display (folded):
6.5 inches, 21:9
5.5 inches. 16:10
Netflix
Z Fold 8 (10:16) / Z Fold 8 Ultra (9:21)
(Image credit: Future)
Z Fold 8 (4:3) / Z Fold 8 Ultra (10:9)
(Image credit: Future)
Z Fold 8 (3:4) / Z Fold 8 Ultra (9:10)
(Image credit: Future)
YouTube
Z Fold 8 (16:10) / Z Fold 8 Ultra (21:9)
With either phone in this orientation, expanding the YouTube video automatically switches the orientation to landscape (see the next photo) (Image credit: Future)
Z Fold 8 (10:16) / Z Fold 8 Ultra (9:21)
(Image credit: Future)
Z Fold 8 (4:3) / Z Fold 8 Ultra (10:9)
(Image credit: Future)
Z Fold 8 (3:4) / Z Fold 8 Ultra (9:10)
(Image credit: Future)
Instagram Reels
Z Fold 8 (16:10) / Z Fold 8 Ultra (21:9)
(Image credit: Future)
Z Fold 8 (4:3) / Z Fold 8 Ultra (10:9)
(Image credit: Future)
Z Fold 8 (3:4) / Z Fold 8 Ultra (9:10)
(Image credit: Future)
Verdict
For Netflix and YouTube, the Galaxy Z Fold 8 provides a cleaner viewing experience than the Galaxy Z Fold 8 Ultra in every orientation except 3:4. The black bars above and below the video are noticeably narrower than those on the Galaxy Z Fold 8 Ultra, and there's no awkward pillarboxing (i.e., bars on either side of the video) when using the Galaxy Z Fold 8 in 10:16 (you'll notice that content wraps around the phone's punch-hole camera, which doesn't happen on the Galaxy Z Fold 8 Ultra).
Of course, if you use the Galaxy Z Fold 8 in 3:4, the black bars are much bigger than those on the Galaxy Z Fold 8 Ultra, but Samsung itself admits that this orientation is “more natural for reading e-books or browsing the web,” which gives the smaller device another nice win over the pricier model.
The Instagram Reels-watching experience is pretty similar across both phones, but given the Galaxy Z Fold 8's lighter weight (201g vs 215g), I'd give it the edge here, too.
So there you have it: if watching videos and scrolling through social media is your priority, the Galaxy Z Fold 8 is a better buy than the Galaxy Z Fold 8 Ultra.
Of course, there is much more to both phones than their respective displays — the Galaxy Z Fold 8 Ultra has better cameras, for instance — so I wouldn't jump headfirst into buying one over the other until you've read our full Samsung Galaxy Z Fold 8 Ultra vs Galaxy Z Fold 8 comparison.
Side note: You're not able to watch videos in 16:10 (Z Fold 8) or 21:9 (Z Fold 8 Ultra) on Netflix, nor videos in 10:16 (Z Fold 8) or 9:21 (Z Fold 8 Ultra) on Instagram, hence why these options don't appear in the above comparison.
Kaspersky says empty web pages are watching you, and the research backs up the warning
Over 90% of parked domains now send visitors somewhere malicious, and clearing your cookies will not help
Blank pages are also a problem: many 'Coming Soon' placeholders are quietly fingerprinting your device
Kaspersky has unveiled a rather underreported attack vector which is increasingly being used by threat actors to harvest private data from unsuspecting victims: registered websites that are yet to be developed.
Its warning focuses on parked domains, the registered web addresses that have no real website behind them yet, arguing that the blank screens and "Coming Soon" placeholders users dismiss as harmless are frequently doing work in the background.
The company says simply loading one of these pages can trigger silent collection of a visitor's IP address, approximate location, User-Agent string and cookie identifiers, and that operators go further by building browser fingerprints through other techniques, then feeding the result into advertising networks to assemble targeted profiles without consent from users.
Browser fingerprinting sans the permissions
The mechanics Kaspersky describes are worth understanding, because fingerprinting is the part most readers will not have encountered, and the part that conventional privacy habits do not touch.
For context, a cookie is a file placed on your machine that you can delete, thereby limiting tracking. A fingerprint is not stored on your machine at all. It is derived from how your specific hardware and software combination renders a test image, draws 3D graphics, or processes an audio signal, producing a value distinctive enough to identify the same device across unrelated sites.
Browser fingerprinting, the method used to capture such data within a browser session, is attractive to trackers because it is considerably harder to shake off. A private browsing window prevents your machine from keeping a local record of the visit, but it does not change how your hardware renders the test image, so the fingerprint it produces remains largely the same.
Such domains can also cause more direct damage than selling one's information to advertisers. Kaspersky says threat actors embed scripts that bounce visitors onward to fraudulent platforms, adult content, or online casinos. It flags typosquatting as a particularly acute risk, in which a domain differing from a well-known brand by a letter or two can capture mistyped traffic, landing the user on a phishing page or triggering a drive-by download.
This isn't the first time the problem has been reported, either, as recent research from Infoblox finding that in large-scale experiments, over 90% of the time, a visitor to a parked domain was routed to illegal content, scams, scareware, antivirus subscription traps, or malware.
Kaspersky recommends several ways to mitigate the risk, including avoiding suspicious links, clearing cache and cookies after an unintended visit, and using software that blocks web tracking.
Clearing cookies is worth noting, though: it addresses the cookie identifiers Kaspersky mentions, but by the company's own explanation it does nothing about fingerprinting, because there is nothing stored locally to clear.
Parked domains, including blank pages that appear inert, are now a routine part of criminal infrastructure rather than digital litter and should be treated with caution. At best, you give away more information than you meant to. At worst, you become the victim of an attack you never saw coming.
Meta rebuilt storage systems after slow data repeatedly stalled expensive AI GPUs
SSD caching dramatically reduced AI dataset loading times from hours to minutes
Meta replaced complex metadata lookups with a faster unified storage architecture
Meta says storage systems have failed to keep pace with AI computing power, creating delays that leave costly GPUs waiting instead of processing workloads efficiently.
According to the company's engineers, storage bottlenecks remain a major cause of GPU stalls, increasing operating costs while slowing research progress and extending development timelines.
To address those delays, Meta redesigned its storage architecture, arguing that faster movement of data can unlock greater value from expensive AI hardware investments.
Meta rebuilds storage architecture to keep GPUs working
Meta's engineers explained that the company operates hundreds of exabyte-scale storage clusters supporting Facebook, Instagram, Reality Labs, Meta AI, advertising systems, databases, and internal data warehouses.
Those services rely on a foundational storage layer called Tectonic, which manages object storage, file systems, block devices, and data placement across HDDs and SSDs.
The company has increasingly shifted from traditional file storage toward BLOB storage because massive AI datasets require unified access methods with significantly higher performance.
When GPU servers request information from storage, repeated metadata lookups across several layers create latency that interrupts AI training pipelines and delays overall processing.
Meta responded by rebuilding the metadata subsystem into a unified schema backed by ZippyDB while allowing clients to retrieve data directly from storage servers.
Instead of routing every transfer through application servers, the redesigned software uses an embedded client capable of streaming information directly from the Tectonic storage layer.
To support distributed AI deployments, Meta placed regional BLOB-storage systems beside GPU clusters, reducing delays associated with transferring information across distant infrastructure.
It introduced distributed caching using unused GPU host memory, producing an average cache hit rate of 80%, while metadata became accessible within 1 to 2 ms.
The engineers further added hedged reads alongside dynamic concurrency controls, stating that "the new BLOB-storage stack is now capable of serving AI workloads without causing GPU stalls."
SSD caching cuts hours from AI data ingestion
Meta examined lengthy delays experienced before AI training even began, when researchers transferred enormous dataset snapshots from BLOB storage into regional GPU facilities.
Instead of loading every dataset directly from slower storage drives, Meta created multiple cache layers that keep frequently used data much closer to GPU servers.
That approach introduced multiple caching layers, using GPU memory as L1, SSDs inside GPU hosts as L2, and regional flash-backed BLOB storage as L3.
Traditional HDD storage remained the authoritative data source, while faster cache layers supplied frequently requested information before slower disks became necessary during processing.
Meta’s redesign produced sharp gains in ingestion speed, cutting a previous 150-minute loading process down to just 10 minutes.
A separate job that once required 89 hours to complete now finishes in just over three hours from start to finish.
Citrini analyst Jukan notes that high-capacity storage has traditionally been judged mainly by its cost per terabyte of capacity alone.
He argues that idle GPU time can outweigh any savings gained from cheaper storage if data arrives too slowly each day.
This suggests that the cost of flash storage is economically rational whenever eliminating idle time costs more than the flash itself each hour.
When Sony announced that it would no longer be producing physical PlayStation discs from 2028, the response was not positive, to put it lightly. Yes, PC gaming may now be almost entirely digital, and things have certainly been moving in a similar direction with consoles over the last few years, but ceasing production of physical games entirely? It’s a significant step many didn’t want to happen so soon.
PlayStation fans have been vocal in calling out the negatives of Sony’s decision, specifically what this means for game ownership, preservation, and collectors who enjoy buying physical. The company has been reticent to address the backlash, but the comments section of every blog entry, social media post, or trailer release since the announcement is full of anger, pleas to reverse the decision, and glib remarks at Sony’s expense.
For anyone, like myself, who has enjoyed building a collection of physical games over the years across multiple console generations, it’s devastating news.
And I don’t think Sony’s refusal to address any of the feedback is helping matters. Yes, we’ve seen fan uproar dissipate into nothingness with countless hot-button issues in a matter of days in the past — but the vociferous fans don’t appear to be going away right now.
But I think some companies aren’t letting physical games go anywhere either.
A new challenger approaches
“What we've seen and what I have taken from all of the discourse is that there is an incredible passion for physical games and other physical objects. The digital space can never provide the same kind of satisfaction that people get from a tangible good.”
This is the view of Amanda White, co-founder of iam8bit. After starting out hosting pop culture workshops, the company has since produced countless pieces of video game merch and memorabilia over the past 20 years, as well as vinyl releases for popular soundtracks and physical editions for games across several platforms. Yes, they have standard boxed releases for games on PS5, Xbox, and Switch, but the company truly stands out for its jam-packed and reverential physical collector’s editions.
Scroll through the store now, and you’ll see a copy of Lies of P that comes with a wood-carved and hand-crafted marionette puppet, a Blue Prince bundle that includes printed versions of two memorable picture books from the game, and a The Outer Wilds set featuring a traveller’s bag and a replica of Chert’s bandana.
If you’ve played and are a fan of any of those games, you’ll immediately understand the connection between the extras that are included and the game itself, and why people are willing to part with their cash to own something that they can add to a collection, display at home, or carry around with them.
(Image credit: iam8bit)
“We started to realise that there was something that people saw as incredibly valuable in these tangible goods,” Amanda explains of the company’s origins. “These unique tangible goods held memories for them that related to these community experiences they were having.
“So, we want to put in the extraordinary effort required to get the gasps of delight when something lands in someone's mailbox and they open it and experience it for the first time.”
Let's get physical
It’s the same fan passion that drives Limited Run Games: a similar outfit that’s published over 1,000 physical and digital game releases since its inception in 2015. Its motto, ‘Forever Physical’, defines the exact mindset of the PlayStation fans who are disappointed with Sony’s pivot to a fully digital future and what’s lost by moving in this direction.
“I think you're losing a key part of the experience, right?” suggests Brendan Madigan, CFO and General Manager at Limited Run. “Because, obviously, the actual media is a key part of that, and I think that's where we, at Limited Run, have a responsibility to our fans to innovate and to improve the experience.”
“I think where our fans have been clear in what they want is that they want collectible products that hold value, and they want the product to be an experience,” he continues. “I’ve always viewed our product as different from a retail offering anyway, because it's highly collectable, it’s very curated, with tonnes of added features and pack-ins to it. The delivery mechanism will always change…but nothing changes about the core experience that the collector wants to have.”
One thing we do know is that standard code in box isn't really a favourite, certainly for the console buyers.
Nic Ashford, Chief Operating Officer at Limited Run Games
It comes down to the fact that the physical offering from the traditional industry has only grown more sparse over the years. Open a PS5 or Nintendo Switch game box now and you’re more often than not presented with the sad sight of a lonely disc or tiny cartridge set into an empty expanse of plastic. You’re lucky if you get a quick start guide, or a sheet of paper with a DLC code. A full manual? You must be joking.
Similar to iam8bit, the store pages of Limited Run are filled with physical game releases that span the entire range of consoles and generations — from bulky NES cartridges to the slim cases of Nintendo Switch titles.
(Image credit: Limited Run Games)
The products that stand out most, again, are the most recent limited edition launches, with games like Tomb Raider, Silent Hill, and Star Wars Zero Company in beautiful presentation boxes that are filled with soundtrack CDs, trinkets, posters, and other unique extras relevant to the game or its universe.
Sales figures discussed by analysts might paint a grim picture for physical releases, but iam8bit and Limited Run both emphasize just how quickly some of their releases sell out — and how even restocks of older products that were brought back by fan demand are scooped up in no time. The audience and the demand do not appear to be shrinking from their perspective.
Digital is inevitable, but there is hope
As for fans signing petitions trying to convince Sony to reverse its decision, Limited Run’s Chief Operating Officer, Nic Ashford, is unfortunately not hopeful for the outcome they're seeking, but does see what they're standing for as an opportunity.
“Look at the numbers; they're not going to change, they're not going to go back. They can't afford to and it doesn't make sense. But that doesn't mean a company like Limited Run couldn't come in and say, look, we certainly know that 350,000 people want you to keep this going, and it could go up. How about working with us to come up with a solution that works?
“We've got to find the right solution for the number of people who are out there in the minority who still buy physical product,” says Nic. “Some might say, outside the industry, that’s a somewhat flawed business model. But, in fact, it isn't, because those people who seek that type of product will always seek that product out.”
We made it abundantly clear that this is an opportunity – it has to be seen as one.
Nic Ashford, Chief Operating Officer at Limited Run Games
He likens it to this wider push, primarily from younger generations, who want to reconnect to the physical world in our increasing digital age. In the same way that 4K Blu-ray, CDs, and, of course, vinyl, are all in various states of resurgence, it seemed inevitable that video games would also be swept up in this growing demand for and appreciation of physical goods.
“We have, over the last couple of years, set this company up in preparation for this moment,” continues Nic. “Physical is something that we’re intrinsically involved in, and we've been aware that this was going to be coming for several years — practically over a couple of decades. So, we focused on making things more of an experience for the fans and adding value.
(Image credit: iam8bit)
“They are actively going out and seeking a connection with something real, something you can hold, something you can touch, and that you can own. That's encouraging. Today's generation and the next generation of physical buyers are going to be people who have that or grow into that, but they'll have a component of nostalgia in there as well.”
Blowing on the cartridge is here to stay
Nostalgia brings me nicely onto another aspect of why physical games are so important to many — one that grows even more important as gaming and console generations keep moving forward. Preservation.
If you buy a game digitally, then there’s the fear that it could disappear and no longer be accessible at any moment. Sure, Sony isn’t going to turn off PS5 game downloads any time soon, but the PlayStation Store on the PS3 and PS Vita is about to close.
And while the company has promised downloads will be possible “for the foreseeable future,” there’s always the thought in the back of your mind that, eventually, they’ll switch it off for good.
“We wanted to basically design these exactly with this core intention to preserve the authenticity of the gameplay experience,” explains ModRetro CEO Torin Herndon. “That's also why we publish games and re-release games, too. In terms of retro games, the collecting of them is a bigger thing than the playing of them, and one of the goals of ModRetro is to make those games playable again and make them accessible again.”
The games and the preservation of those games are the primary reasons why we make these consoles.
Torin Herndon, ModRetro CEO
Original Game Boy and Nintendo 64 cartridges are simply slotted into the Chromatic or the M64 as you would with any standard version of the respective console.
And while some modern quality-of-life touches make things easier or smoother compared to the classic consoles, you’re effectively playing the exact same physical game that you may have owned for years or picked up in a second-hand store earlier that day. With a digital-only future upon us, that won’t be possible.
“The thing that's upsetting to people on the surface is this idea of ownership: that if you don't physically own a game where the game is on physical media, it can easily lose support at any moment. It can effectively be taken away from you in some sense,” says Torin in response to the reaction to Sony’s announcement. “And given that you paid AAA prices for some of these games, that is not a super consumer-friendly option.
“Obviously, these companies don't have a choice but to move away from physical media, because the overall business model of these companies is kind of reliant on having moved away from them in the first place. Most of the physical media that you can buy is actually just a key that allows you to unlock the game and download it.
"That’s another thing that I think is interesting, maybe more interesting even than ownership, is that back in the day these games were baked onto physical media and were more reliably baked before you bought it.”
Overcoming tech challenges
That’s less of an issue when we’re discussing the Game Boy and Nintendo 64 games that ModRetro is focused on, but there will come a point when these same conversations will be happening about more modern games that are reliant on day-one updates and DLC.
The topic is big enough for a different discussion entirely, but it’s a challenge that companies like iam8bit and Limited Run Games also need to be aware of with physical media in the modern era.
(Image credit: iam8bit)
Jon Gibson, co-founder of iam8bit, responds to this by saying: “We've been on the side of positivity always, and we're looking at this from a perspective of, OK, you can't change what you can't change. But how can we pivot to embrace what we do so well and to give fans things that they will enjoy and cherish and love in that physical form?
There’s happiness that comes from seeing those things actualised. When you're that emotionally invested, it's just a beautiful thing.
Jon Gibson, co-founder of iam8bit
“We hope that 20 years from now, 30 years from now, 50 years from now, people are going to find a copy of a game, or a record, or a CD that we minted that they had never heard of and they give it a shot. They pop it into their console, or they put it on the record player. That's really exciting to think about that we helped to give that thing staying power, whereas, otherwise, it might be deleted digitally when a licence expires.”
That optimism is echoed by Amanda. “As John said, we're going to lean into this aspect of what we already do and have been doing for 20 years, and we'll continue to do it. If that means we need to pivot a little bit so that we're making goods that are sitting beside PlayStation products, rather than direct physical PlayStation games, then we'll do that. We’ll still do our best to make those fans happy and build a robust experience around the IP they love.”
What’s clear speaking to iam8bit, Limited Run Games, and ModRetro is that the passion for games is there in abundance, as is the drive to provide their fans of today and in the future with ways to experience and enjoy the games they love in a physical form, not just as the ones and zeros they’re made from.
Growing up music-obsessed, my household CD collection was substantial. Along with my own music, it was largely made up of albums my parents had accumulated separately. Like a library filled with books, it unlocked an educational portal on all things music and ignited my respect for the album.
And yes, I use the best music streaming services to satisfy my daily music needs, but I’m still an album-listener, and I haven’t left physical music out of my consumption habits. That said, I’ve always imagined what it would be like to bring the nostalgia of CD-browsing into the digital era. Thankfully, Ricardo Amorim is doing just that with his start-up company Spine Music.
Launching on Kickstarter this fall, Amorim’s inaugural product is the Spine display, a digital music display you can connect to your Spotify, Apple Music, and Tidal account. But what’s impressive about Spine is that it displays all of your saved albums as if they were a CD collection, which you can browse and play through headphones and speakers.
For a company that’s so new, Amorim’s mission is tunnel vision: to reconnect people with music. As he awaits the launch of Spine, Amorim sat down with me to talk about his product in detail and why he thinks it will never replace physical music.
A display that's been years in the making
Images of the Spine Music display are CGI renders, and are subject to change by the time the Kickstarter campaign launches (Image credit: Spine Music)
Spine was unveiled to the world just this year, but for Amorim, it’s something he’s been thinking about for a lot longer. “The idea itself is something I've been kicking about in my head for years," he tells me. "It started off with me wanting to buy something like it, so it wasn’t like ‘this is a company I should start’; it was more ‘this is a product I need because I love streaming’."
Just two minutes into our conversation, I realized Amorim and I are quite similar. We both appreciate the accessibility and convenience of music streaming, but our attachment to physical music is in our DNA. It’s what keeps us grounded. “I love everything that (streaming) brings me. I love having access to every album under the sun, but I grew up with physical music, and I missed that,” he says, and I get it.
With this in the back of his mind, it all became clear to him, as he tells me, “Surely there's something out there that can bridge that gap.
"I left my job and said ‘you know what, if nobody's making it, then I'll go ahead and make it’. I went on a sabbatical starting last year and took time off to recharge and rethink what I want to do. Then Spine came up again as an idea, and I thought it was the perfect time”.
While Spine is a handy digital music shelf that gives you immediate access to your streaming library, it’s so much more than that for Amorim. “The emotional reconnection with music is what I would like Spine to be able to achieve, but not leaving behind all the benefits that streaming and technology have brought us," he adds.
"I love streaming, but I do feel like if you truly love music and you talk about music and want to move your relationship with it beyond your phone, there are few ways of doing so."
Album-centric with minimal features
With the Spine Music mobile app, you can add and remove albums. You can also curate the order in which your albums appear on the display (Image credit: Spine Music)
Unlike streaming platforms where the user interface is central to the experience, this isn’t a priority for Spine. Instead, Amorim argues that the device’s minimal display encourages higher levels of browsing.
“One core concept of the product is to have no UI. So we designed the whole experience to be about swiping to browse, tap to open, and tap to play," Amorim details, adding "and there are no buttons once you've loaded your library in, it’s just gestures to protect themusic”.
The other core concept is to spotlight albums in all their glory, which I raise my glass to. “You can import your playlists, but Spine will behave like a music shelf that displays albums. So, say you import your late-night jazz playlist, it'll pull up all the relevant tracks that are part of that playlist and display that," he tells me.
"There's something different about listening to an album end-to-end that an artist puts so much effort into thinking about. That’s what I wanted to project, hence why there's a deliberate decision in trying to maintain that conceptual connection with a music shelf”. It’s music to my ears.
(Image credit: Spine Music)
But there’s one thing Amorim wants to be clear about: Spine is a display, not a player. When you select an album from your collection on Spine, the rest is done through your streaming service of choice, meaning it doesn’t render audio files.
“Spine will trigger the beginning of an album or play something through your streaming service, and then the streaming service will own the relationship with where it goes to play and so on. Once you have that concept in mind, then it's not about queuing, it's about browsing and starting the listening journey,” Amorim tells me, and there’s one particular reason for this.
“People have invested a reasonable amount of money in their own audio gear and hi-fi gear, so it doesn't make sense to me to try to replace that. I feel like we have a different job to do”.
Physical music is never out of the question
(Image credit: Spine Music )
Just looking at the images of Spine brings back so many memories of seeing my home CD collection lined up in the cabinet — not to mention it looks great in a home audio setup. There’s just one question going through my head, however: will the convenience of Spine prompt users to stop collecting physical music? Amorim doesn’t think so.
“I don't think it tries to compete with physical media in that sense. What I notice is every time someone connects their library to Spine, there's an emotional wave that hits you when you see your music back on the wall again. You can't explain it; you just feel it,” he elaborates, recalling one of his favorite parts about CD collecting.
He goes on. “My nostalgia comes from browsing the liners of the albums. I remember to this day there's a Pearl Jam album that came with a bunch of little Polaroids, I think it was No Code, and I still love that. I miss it. Spine is not going to go there, and I would love for people to still go and buy those albums and experience that themselves”. At the same time, he reemphasizes Spine’s singular goal.
“It's really about reconnecting people with music. I truly believe that the feeling of connection we have with music goes beyond just the pure sound coming off of it. It's the relationships it can start, it’s the conversations it sparks."
Casual discovery and conversations around music have dipped in the streaming era. For most people, listening to an album is enough, but for those who really appreciate music, discourse is vital. This is something Amorim wants to revive.
“I've recently written about bringing back serendipity and casual discovery. You know, it's having friends over, and they start browsing through your collection and saying ‘oh, I remember this album’, or ‘oh I never heard of this one’," he shares.
But as it stands, Amorim’s focus is introducing Spine to the world and developing a new kind of music player, but he believes there’s already room for growth.
“Right now the core focus is music doing one job really well, but I can see potential in browsing books in a similar manner, and potentially even films and TV to an extent," he believes. "It's that sense of curation that comes with a limited amount of space, even though of course you can swipe and keep going.
"But if you're going to put something up on your wall in your home, you're probably going to have a different level of curation than you would if it's something hidden in your phone that nobody can see. So, I feel like that can apply to other types of media at some point,” he says.
There's still a bit of time before users can get their hands on the Spine display. While pre-orders open on Kickstarter this fall, shipping doesn't start until early 2027, so there's still a bit of a wait. So far, Spine looks like a promising device, and I'm fascinated to see how music lovers take to it.
“It’s not red,” IBM’s design center manager patiently explained. “It’s magenta.”
The safety function officer wasn’t buying it. Between his fingers, he held up a small, rubbery disc that looked like a pencil eraser. “You know it’s red and I know it’s red,” he said.
The design manager didn’t back down. He insisted that what the man held was indeed magenta. The safety officer called his boss. The boss called Tom Hardy, Design Program Director at IBM. Hardy didn't flinch.
“It’s not red. It’s magenta.”
It was one of the boldest lies ever told in tech. And it made the ThinkPad iconic.
Years later, Hardy relayed the incident in an interview with Laptop Retrospective, detailing the design origins of the TrackPoint, the input stick resting in a central position of the ThinkPad keyboard since 1992.
Instantly recognizable today, the little red nub remains core to the ThinkPad’s identity. For anyone working in design, its history serves as a lesson on creative control and innovation.
Every designer knows red on black is a classic combination. So, for Hardy’s team, it was a no-brainer choice when first tasked with adding the TrackPoint to the system.
However, at the time, IBM instituted a strict color-code. For control systems like the TrackPoint, the standard was blue. Playing by the rules, the team toyed with that. According to Hardy, “it just didn’t sing like red did.”
They switched back to red. But there was a major problem with that.
Red was reserved for emergency power shutdowns. It’s the kill-switch color. Hardy knew, even then, the safety team had to approve the color scheme. There was no way they’d let it ship with a red cursor control. That simply wasn’t the way it was done.
Rather than fight and inevitably lose that battle, the designers got creative.
They scrapped every trace of ‘red’ in the documentation. They replaced it with ‘magenta’.
“The safety guys,” Hardy explained, “They may not know what magenta is, but they’ll know it’s not red.”
They may not know what magenta is, but they’ll know it’s not red.
Soon, the parts came in, labeled as magenta. No-one looked twice at them until the safety official snooped on a box of TrackPoints and demanded to know who approved the color for non-power related functions. He didn’t get an answer he liked. He threatened to shut down the whole production line.
Hardy got involved shortly after. Corporate on corporate combat ensued, arguing over the subjective difference between magenta and red. “The next stop in the line,” Hardy reminded them, “It goes to the CEO.”
Fighting his corner, he tells them, will be famed industrial designer Richard Sapper who created the classic ThinkPad design, as well as corporate graphic design consultant Paul Rand, the man behind the IBM logo. Both are color experts.
Even as the back and forth continued, Hardy’s team had linked up with the advertising team. The ad agency had poured millions of dollars into a campaign that was ready to launch. “So hot,” the adverts said with a close-up on the new TrackPoint, “We had to make it red.”
It was enough to make the safety team think twice. Later that day, an email was sent. It said: ‘Make them red.’
They’ve been the same iconic color ever since.
It's no secret I'm a massive ThinkPad fan ever since I got my paws on a T431s, but check out the best business laptops my team and I have tested.
It starts on the 4 Train, that straight-run subway line from Grand Central to Yankee Stadium, where I start to notice the red shirts. By the time I reach the massive gray stadium, people are circling the Bronx Bomber’s edifice like thousands of red ants, all queuing up for a rare baseball season sight: football (soccer) in Yankee Stadium.
Most of the shirts are for Premier League side Liverpool FC, but there's a smattering of Wrexham kits. Some of them look threadbare, and none feature the club’s newest sponsor: Firefox. The travel and away kits were unveiled just days before — too soon for die-hard fans to show their support for the team and its well-known but, by some measures, marginal web browser.
Walking through Babe Ruth Plaza, I follow behind the red shirts until I’m lined up behind fans who have come from as far as Arkansas and California to witness the pre-season match. None are musing about Firefox’s new Wrexham sponsorship or how Mozilla (Firefox’s parent) took over from United, which itself took over from TikTok.
The Reynolds effect
(Image credit: FX/Disney Plus)
The scrappy Welsh club enjoys outsized notoriety thanks to its owners, actors and entrepreneurs Rob McElhenney and Ryan Reynolds, and the popular Hulu docu-series Welcome to Wrexham, which recounts the club’s rise from the ashes and ascent to, as of last season, just short of Premier League status.
While we wait to enter the stadium, the Liverpool team arrives late — following a day of storms and flight cancellations — on a pair of giant red touring buses to hearty cheers from the crowd. Everyone knows Wrexham, but the fans seem to be with Liverpool.
As we file in, I have time to think about the connection between Wrexham and Firefox. The kits, which I view later in person and on the field, are quite fetching. On top of the bold, red stretchable fabric is the iconic Firefox flame. It makes me think of the heat Mozilla hopes to generate around its best-known product.
The fit, though, between a scrappy football team and a portal you use to navigate the web, seems tenuous and as ill-fitted as the rectangular pitch they’ve somehow jury-rigged onto the baseball diamond. A covered home plate, third base, and right field jut out awkwardly, and much later a fan tells me the pitch looked kind of messy and maybe not a great experience for some of the players.
Lance Ulanoff / FutureLance Ulanoff / Future
It’s not that I don’t understand why Mozilla tied its sails to Wrexham. As I write this, Firefox sits, according to StatCounter, at 3.4% of the global browser market share. By contrast, Chrome has 69% and Safari almost 16%. Put another way, the browser wars are over.
It's not that Firefox is irrelevant, but it's not as relevant as it once was. There was a time, maybe 15 years ago, when I was firmly in the Firefox camp. I’d adopted it because I was working with so many developers, who were all using the leaner and (some thought) meaner platform. It was built on the premise of openness, running counter to Internet Explorer (RIP) and the fast-growing Google Chrome.
Over time, though, it started to suffer from the same resource-hogging issues as Internet Explorer. I eventually gave it up and migrated to Chrome, then had a dalliance with Microsoft Edge and have now settled on Chrome on the desktop and Safari for mobile. If I’m being honest, I stopped considering Firefox years ago.
(Image credit: Lance Ulanoff / Future)
The most obvious answer
As the team took the makeshiift pitch and the stands filled with red shirts, I waited for Mozilla’s relatively new CEO Anthony Enzor-DeMeo and CMO John Solomon to arrive so I could quiz them about product plans and Mozilla’s dive into AI.
Enzor-DeMeo joined Mozilla in 2024 after stints at Roofstock, Better, and Wayfair. In each, the admitted nerd appears to have held positions relating to products, technology, and engineering. Solomon comes to Mozilla from Apple and Beats.
(Image credit: Lance Ulanoff / Future)
When Enzor-DeMeo finally does arrive, he looks younger than I expected and has a sort of nervous energy. It’s been a busy few days with a lot of interviews, and when I try to ask about Mozilla and AI, he tells me he doesn’t want to do any more. Still, he’s open and affable, explaining that he’s a die-hard It’s Always Sunny in Philadelphia (Rob McElhenney is a series star) fan, so much so that when someone else says they love the show, he asks them to name their favorite episode and then, without waiting for an answer, tells us his.
Still, Enzor-DeMeo was not a closet fan of the beautiful game. Instead, Solomon, who comes from the much more culturally connected Beats brand, suggested this partnership. Enzor-DeMeo watched Reynold’s Welcome to Wrexham doc and thought, “Oh, this makes a lot of sense.”
(Image credit: Lance Ulanoff / Future)
I stared at him, wondering what he saw that I didn’t. Sure, a partnership with the Red Dragons, as Wrexham are also known (I even spotted their red dragon mascot wandering the pitch and hugging fans) makes some sense. You know, fire, dragons? And this would be Wrexham’s second tech sponsorship after TikTok, which was widely featured in early seasons of Welcome to Wrexham. Mozilla confirmed that as they film the new season, we will see the Firefox brand on display in some fashion.
I looked at Enzor-DeMeo, who was still enthusiastically talking about It’s Always Sunny in Philadelphia, and asked him, “What’s the throughline from Firefox to Wrexham?” Enzor-DeMeo smiled and quickly answered, “Underdog.”
The only thing that would’ve made the moment more perfect is if an announcer suddenly screamed, “Goooooaaaallll!” But I got it.
(Image credit: Lance Ulanoff / Future)
It's never just about money
If you’ve never seen the documentary, Wrexham AFC was the disintegrating center of a hardscrabble town that, despite over 150 years of footballing history, had been largely forgotten and fallen to the fifth tier of the English league system. Achieving Premier League status, a feat they very nearly accomplished last season, seemed impossible. Until Reynolds and McElhenney arrived.
Sure, there are people unhappy with the way celebrity and money have throw off the balance of a well-worn system, but if you watch the doc, you know that it was never enough to throw money and fame at it. It’s a very human story with equal measures of failure and success.
Firefox is surely the underdog in the browser game. Built on its own Gecko browser engine, it stands apart from Google, Apple and Microsoft, which all have a profit motive in having you use their platforms. Mozilla’s parent organization is non-profit, and although the Mozilla Corp, under which Firefox lives, is for-profit, its revenues are used to fund the non-profit effort.
Like its competitors, Firefox has AI features, letting you access the AI chatbot of your choice in a sidebar, and using AI to help you organize tabs. It does, though, seem a bit less interested in force-feeding AI.
Still, underdog status is no guarantee of a Cinderella story, and as the game drags on with countless missed shots and a handful of fouls, I wonder if Wrexham can embarrass Liverpool in front of its US fans. A moment later, Liverpool manages at roughly 60 minutes in to sail one over the outstretched arms of Wrexham substitute goalkeeper Callum Burton.
There’s no victory for the underdog this time, but it’s the pre-season, and Wrexham and its new sponsor Firefox should have many more chances to win on the pitch.
Amazon plans to launch 5,105 satellites to support new mobile networks
The filing with the FCC highlights voice, data, emergency services, and Internet of Things support
Amazon Leo already has over 390 satellites in orbit, enough to launch the plans ahead of the full deployment
Amazon has confirmed its “low Earth orbit” (LEO) satellite network has submitted an application to the Federal Communications Commission (FCC) to deploy a constellation of 5,105 satellites which will provide voice, data, messaging, emergency services access, and Internet of Things support for under the Amazon Leo Direct-to-Device (D2D) project.
The application follows Amazon’s merger with Globalstar, acquiring the US satellite telecommunications company’s operations, infrastructure, and global licenses and authorizations.
This step into orbit will see Amazon Leo’s existing satellites work alongside the Globalstar HIBLEO and C-3 satellite constellations, kicking off early D2D project support ahead of approval for the full network of comsats.
High-speed, low-latency
Much like Starlink, the Amazon Leo network is intended to bridge the connectivity gap between cities and remote communities. It aims to deliver high-speed, low-latency broadband for domestic and enterprise markets, as well as governments, with consumers gaining connectivity via the Leo Nano, Leo Pro, and Leo Ultra high-performance antennae. Meanwhile, mobile devices with satellite-capable chipsets can connect to the satellites without an additional antenna.
Apple iPhones and Apple Watch models are also supported, under a previous agreement to collaborate with Apple. Amazon Leo already delivers data for Emergency SOS, Messages, Find My, and Roadside Assistant to iPhones.
Other partnerships have also been announced that feed into the D2D project. “Telecom operators like Vodafone, DirecTV, Herotel, and Australia’s National Broadband Network [...] it plans to continue working with mobile network operators and other partners to deliver on its long-term vision for space-based connectivity.”
Beyond offering connectivity to remote locations, D2D can enable data support for global fleet management, remote operations for supply chains, and IoT connectivity.
Amazon Leo’s satellites
Following initial deployment in 2025 with 80+ launches with Arianespace, Blue Origin, SpaceX, and United Launch Alliance, Amazon Leo is aiming at 5,105 low Earth orbit satellites. These units are connected using optical links, capable of high-speed data transfer, with secure gateways networked across the planet, with fiber connectivity.
The D2D satellites are intended to operate across five orbital “shells” – essentially five groups that share the same altitude and inclination. Three shells will cover the mid-latitude, one shell will cover the high-latitude, and the fifth providing coverage for “near-polar” zones. Mid-latitude zones are the world's most heavily populated regions (North America, Europe, parts of Asia, and southern/central Africa) while the high-latitude coverage aims to deliver high speed internet to the Arctic and sub-Arctic circles.
With increasing demands for mobile data, not just for remote working but also Internet of Things applications, Amazon Leo could prove to be the solution that facilitates home and workplace automation around the world – assuming, of course, that it gets that FCC approval.
Normally, when my TikTok FYP causes me to experience an extreme case of FOMO, I do something I regret. That's ranged from buying something cheap and tacky on TikTok Shop to queueing for hours to get sub-par food at a restaurant that influencers say is my area's "best-kept secret".
But that losing streak has ended with The Odyssey in 4DX.
If you've been active on social media in the last two weeks, you might have come across the many viral videos of cinema-goers having popcorn knocked out of their hands while their chair moves at a million miles a minute in Troy, and being sprayed in the face during one of the many seen featuring Odysseus (Matt Damon) at sea.
At first, I thought these clips were performative. I hate the idea that filming in theaters has become as commonplace as it has (which is why I won't be sharing any of those clips here), but surely watching The Odyssey in 4DX isn't like a very dark log flume at Six Flags... is it?
After giving into curiosity and getting myself a ticket, I can happily confirm that the TikToks don't lie. Not only do I think that my 4DX-perience was my favorite cinema visit of 2026 so far, but having seen The Odyssey in three different formats — standard DCP, IMAX 70mm, and now 4DX — I can confirm that 4DX wins out by a long shot.
Before you think I've taken too many Greek beatings to the head — surely Christopher Nolan's original IMAX format is superior? — let me explain my thinking. Here's what you need to know about 4DX, my review of the movie in this format, and the five most brutal scenes, which on their own are, I think, worth the price of your ticket.
The Odyssey in 4DX: the basics
4DX screenings feel almost as few and far between as IMAX 70mm. There are a relatively few 790 screens worldwide, meaning that if you don't live in a big city that has one, you'll have to add the cost of a trip to the admission price.
That price is also the most premium of the three formats. I'm based in the UK, and the cost of my three options for watching the The Odyssey is as follows:
Standard screening: £16.99
IMAX 70mm screening: £26
4DX screening: £28
In the US, the prices will look something like this:
Standard screening: $12–$20
IMAX 70mm screening: $25-$35
4DX screening: approx $35
I've left out a few other formats that I haven't seen The Odyssey in, including 70mm, IMAX and Superscreen. It's also worth pointing out that thanks to my beloved Cineworld membership, I only had to pay out an additional £6 for my 4DX screening on top of the monthly direct debit.
Do I think the full price is worth the experience? Yes and no. The cost of 4DX is extortionate, and I don't think the experience would work for a first-time viewing — you'd be too busy worrying where your nachos have gone to keep up with whether Robert Pattinson is Antinous or Agamemnon.
Having said that, I think it has to be done once. As I'll explain below, I think 4DX makes for an ideal second or third viewing of The Odyssey, and I feel quite smug that I've had the chance to experience being enlightened by the Gods (of cinema tech).
What social media has got wrong, though, is the idea that The Odyssey in 4DX is a "three-hour rollercoaster." While you're getting a lot of bang for your buck in terms of movement and effects, a lot of the movie's scenes allow for the stillness you'll feel in desperate need of.
As someone who got battered relentlessly from beginning to end while watching Top Gun: Maverickin 4DX, and was worried because she'd forgotten her travel sickness tablets before heading to Ithaca, this was a welcome surprise.
However, ladies — please don't make my mistake and wear a dress or skirt. I'd recommend long pants, a supportive sports bra. I'd also recommend a minimal amount of snacks, and a maximum amount of drinks; there's ample time and space to go to the bathroom, I promise.
Don't forget: you'll be in control of some of the effects yourself. You can choose to turn water on or off at any time, and you can lean forward to avoid any unwanted back damage during fight scenes.
Review: 4DX allows The Odyssey to compensate for its lack of heart and emotion
(Image credit: Universal Pictures)
My biggest problem with The Odyssey isn't just that it's clearly not Nolan's best movie, but that there's next to no heart or emotion in it.
From a technical perspective, the new film is a genuine masterpiece. Cinematography, score, performances, production design… everything, and everyone, is firing on all cylinders.
But even with all of those things in place, nothing comes through the screen enough to touch your heart. You'll absolutely be impressed… but moved? It's not like you're really rooting for anybody to reunite (and if you are, chances are they'll end up dead).
By seeing The Odyssey in 4DX, you become the character that brings the missing emotion. I defy you not to giggle your way through being slammed about on a Bronze Age boat, weep because you can literally feel the pain of Odysseus being shot by arrows, and gleefully lean into every witch-like stroke as Circe (a magnificent performance from Samantha Morton) turns soldiers into pigs.
Frankly, it's all a riot that neither Homer nor Nolan likely expected when they decided to tell this story. As I said earlier, you'll need to see the film while stationary first to fully grasp the nuances and gravitas of the story, but in 4DX you'll feel as bruised and confused as Odysseus did throughout his 10-year journey home. Bottom line: it's so much fun.
The Odyssey's most brutal scenes in 4DX
Any time Odysseus is on a boat
(Image credit: Universal Pictures)
Let's start with the elephant in the room. With Odysseus and his crew taking 10 years to get home to Ithaca from Troy, we spent a lot of time at sea.
For the most part, this involves of some gentle chair-rocking, not the chaotic assault on the senses you've seen on TikTok. With the effects slowed down and used minimally in these instances, you really understand how impactful the slightest spritz of water or well thought-out vibration can be.
Depending on where you're sitting in the theater, the in-seat water effects will perform differently. As I was sitting in the center of the second row of my section, I mostly got soaked on the lower half of my body. If you sit down and there's a black barrier directly in front of you; I'm sorry to say that you'll be taking some direct hits to the face.
Regardless of where you're sitting, a separate effects system in the ceiling rig of the theater, which takes care of rain, snow, smoke and light effects, will make sure that the rest of you is drenched. And even when the waters aren't choppy, for much of Odysseus' journey home he's pelted by rain storms, so maybe save hair-wash day until the day after your screening.
The cyclops
(Image credit: Universal Pictures)
Our first big action sequence in The Odyssey, the cyclops scenes, are the perfect 4DX starter, getting us ready for bigger and better things to come.
Lots of sudden, juddering movements within the seat are used each time the cyclops decides to have some dinner, with additional smoke effects being used depending on how high the fire in his cave is burning. In an ideal world, I'd have liked a bit of cheese smell-o-vision at this point... but we can't have it all.
Things ramps up a level when Odysseus decides that blinding our cyclops with a hot stick is a good means of escaping. Somehow, the cyclops' painful cries — which made me think that my ear drums were going to burst during my first screening — were more palatable to listen to, perhaps because I was being distracted by the sudden whiplash I'd suffered thanks to the stick's movement.
As Odysseus disguises his men as sheep and successfully gets them out of the cave, you can almost imagine the cyclops' gigantic fingers running down your spine. Things take a more violent 4DX turn when Odysseus decides to provoke the creature with a final arrow to the face (I mean... what was the point of that?), leaving the crew to charge towards the boats on the island's coast.
We feel every tumble, misplaced step and unexpected branch-to-head contact that the boys get — but the real fun begins when the cyclops himself enters the water. Performing a belly flop that could have won him a gold medal at the Jackass Olympics, the cyclops' demise is our first real test of the in-seat water system, combined with some severe shaking as his colossal frame hits the sea.
The 7ft soldiers in silver
(Image credit: Universal Pictures)
The action sequence I was the most impressed by (in terms of both production design and 4DX) is Odysseus' next stop on his ill-fated journey. The gang arrives on another island, only to be met by giant soldiers in silver armor, who remarkably were real 7ft-tall actors.
Given that they fight with machetes instead of Greek bows and arrows and swords, expect some serious upper back damage here. Out of every scene in the movie, this one inflicted the longest sustained impact between my shoulder blades, which I could still feel the next day.
What's also really fun here is the use of air bursts. Two 'air jets' are mounted on either side of your seat's headrest, and are used almost every time a Greek soldier shoots an arrow at his target. It feels exactly like the arrow is zooming past you, just without the pain.
4DX also manages to briefly incorporate the use of the snow machine during this scene, as Odysseus and co come across a woodland shrouded in dense mist.
There's a surprising lack of water effects, despite the soldiers clambering back into their boats mere minutes after they first disembarked. Only one of those boats makes it to freedom, but at least you won't be drowned, like the poor souls who didn't make it.
The final storm
(Image credit: Universal Pictures)
The big kahuna, and the moment you've seen plastered all over TikTok, is the final storm. By this, I mean the scene directly after Odysseus has chastised his men for eating Apollo's cattle when Tiresias (James Remar)specifically warned them not to, and their repaired ship heads out to sea once more when the volatile winds clear.
As we know, this was a trap by Poseidon and Zeus, who mean to kill all the men responsible through a fatal storm. Incredibly, the 4DX experience is exactly as brutal as it looks in all of the social media clips.
The special effects go into overdrive, with the audience bombarded by everything bar the snow machine, and the kitchen sink, at the same time. I was holding onto my seat trying to steady myself through severe turbulence, wondering whether I was the first person in history to consume the story of The Odyssey and almost die laughing in the process.
There are shots to your back and sides, water and winds to the face, rain falling onto your head, constant strobe lighting to replicate the weather (definitely not suitable for those with epilepsy) and enough jostling to give you a mild concussion.
A special shoutout must go to the in-seat air jets by your legs, which begin to be utilized shortly before, when Odysseus must steer his vessel between the whirlpool that is Charybdis, and the six-headed monster, Scylla. If you don't have anything covering your legs, they're about to be whipped so hard that they sting.
Then just when we think it's all over, a brief pause in movement lulls the audience into a false sense of security. The boat splits in half as Odysseus' crew sinks into darkness, and we're back to being pummeled to within an inch of our lives. Make sure your snacks are firmly on the floor in the moments beforehand, or risk covering the person next to you in nacho cheese and guacamole as an unexpected additional effect.
This moment alone is worth the £28, in my opinion... what an experience.
Odysseus' homecoming fight
(Image credit: Universal Pictures)
But we're not out of the woods just yet! Before attending my 4DX screening, I wondered if the effects would be limited to scenes with lots of travel in. I'd only seen Top Gun: Maverick andJurassic World: Dominion in the format before The Odyssey, so I didn't have a handle on what happens when you're not flying, driving, or a cretaceous monster.
Turns out, fight scenes are just as thoughtfully rendered to make your back ache for days, even if they're just in a palace hall. Once Odysseus re-fights for Penelope's (Anne Hathaway) hand in marriage at the palace trial, he turns his successfully strung bow on the group of suitors, including Antinous (Pattinson). It's a different kind of chaos, and we're once again immersed in it.
Our seats sway in whichever direction our victim is being attacked from, with our shoulders blades once again jabbed to oblivion as other weapons manage to find their way back into the great hall. The air jets are working 10 to the dozen here, but thankfully just the ones by your head.
There's a particular moment where Antinous breaks an entire chair over Odysessus' back, and it got me thinking that I should really try seeing a chiropractor for the first time. Nothing says 'final farewell' quite like a parting blow that could potentially cause permanent damage — and I wouldn't have it any other way.
Robot vacuums have been around for many years, and modern bots are cleverer and more helpful than ever. But while they are getting more popular, they seem to be struggling to properly break through to the mainstream. See a robot vacuum in someone's house, and you'd probably still remark on it. The aim for robovac brands must be to at some point overtake manual vacs as the general public's dust-sucker of choice — so why isn't that happening?
I rounded up representatives from some of the best robot vacuum brands to get their take. I wanted to learn more about the misconceptions that brands are still fighting against, how perceptions of these handy puck-shaped home helpers has changed, and what challenges still remain if robovacs are going to truly hit the mainstream.
Get with the times
"Robot vacuums are gradually being accepted and adopted by the public, rather than being treated as a novel and unrealistic concept," insists Michael Meng, president of the robotic vacuum division at Dreame.
"Admittedly, the market share of robot vacuums is still smaller than that of stick vacuums and upright vacuums, but the trend towards automated, hands-free household cleaning is inevitable," he adds. The problem — as all of my interviewees agree — is that people's perceptions are stuck in the past.
The trend towards automated, hands-free household cleaning is inevitable
Michael Meng, Dreame
"The issue isn't technical — it's psychological," says Faraz Mehdi, a managing director at Eufy. "Many people who've used robot vacuums still associate the category with 'mopping with dirty water' and 'poor carpet cleaning' — real pain points from a few years ago. Today's products are fundamentally different."
(Image credit: Future)
"One lingering misconception is that robot vacuums are still novelty gadgets that wander randomly, get stuck constantly, and cannot clean as well as a conventional vacuum. That perception often comes from earlier generations of the category," says Ricky Ma, the general manager for Europe and America at Roborock.
The biggest opportunity is helping consumers understand that a robot vacuum is not simply a smaller vacuum; it is an automated, intelligent cleaning system
Ricky Ma, Roborock
He continues: "The biggest opportunity is helping consumers understand that a robot vacuum is not simply a smaller vacuum; it is an automated, intelligent cleaning system designed to maintain the home every day and free up their time in a way that no other appliance can compete with."
"Ultimately, the industry's continued growth will depend not only on technological innovation but also on helping consumers better understand how far the category has evolved," adds Dreame's Meng. "Bridging the gap between perception and reality remains one of the most important opportunities for the industry as a whole."
Welcome to the real world
So there are unfair assumptions about modern robot vacuum performance, but there are also genuine issues that still need to be solved. As a robovac reviewer, I'm regularly struck by how simultaneously smart and stupid these bots can be — for every bot raising itself majestically over a tall room threshold, there's another determinedly head-butting a French door.
(Image credit: Future)
I'm in wholehearted agreement with Reena Patel — a floorcare category manager at iRobot, the brand behind Roomba — when she suggests that autonomy and reliability should be the key focus areas.
"While robot vacuums have become significantly smarter, consumers still expect them to navigate increasingly complex environments, avoid everyday obstacles, handle pet hair effectively, and transition seamlessly between different floor types without intervention," she says.
"The goal is to deliver consistently excellent cleaning results while reducing the need for maintenance, ensuring the robot can truly operate as a set-and-forget solution that fits effortlessly into consumers' daily lives."
(Image credit: Future)
Minimal human intervention is one of the hot robot vacuum trends du jour, but it's easier said than done. Mehdi points out that, in the UK at least, plenty of people live in old apartments or multi-story homes, both of which are "historically a nightmare for robots". Throw in challenges like clutter, low-slung furniture, uneven flooring, and mixtures of different floor types, and it's easy to see why people might assume a robot vacuum wouldn't be able to cope.
There are solutions to some of these problems — albeit mostly confined to the premium end of the market. Today's most advanced flagship robots have features like little stilts for vaulting tall thresholds, sensors that identify and respond to different surfaces, and slimline designs that can sneak under furniture.
(Image credit: Future)
However, the challenge is to hone those features to a point where they work consistently and reliably. After all, if, your bot misjudges the height of a space and gets itself wedged, or fails to cross a step on the way back to its dock, and you're not around to bail it out, that can put a pretty abrupt end to the cleaning for the day.
"It’s one thing for a robot to perform well in a demo, but another to perform reliably, day after day, in homes that are busy, messy, and unpredictable," admits Mehdi. "The real issue isn't what the product can do, it's that consumers haven't seen it perform in their own space."
The bigger picture
The robot vacuum market has evolved considerably in the past few years, but so too has what customers are looking for. All my interviewees agreed lofty specs are no longer the route to a customer's heart (or wallet).
"Customers are looking beyond headline suction figures and realize that the performance of robot vacuums is the combination of a lot of features," says Dreame's Meng.
Eufy's Mehdi echoes his sentiments: "A few years ago, the category was often marketed around isolated features like suction power. But consumers are now evaluating robot vacuums much more holistically. People are looking for real cleaning outcomes, not just bigger numbers on a spec sheet."
Users are starting to realize that they can trust robot vacuums to take on more of their household cleaning
Michael Meng, Dreame
Expectations are also rising — a number of the brands I spoke to told me that customers increasingly want bots that can mop as well as vacuuming, and are looking for models with self-maintenance features like dust-emptying, water tank refilling, and mop washing.
iRobot's Patel comments that customers are "more willing to purchase premium robot vacuums to deliver a genuinely hands-off experience".
Dreame's Meng argues that the move from cheap-and-basic to pricey-and-advanced bots reflects a change in perceptions. "Users are starting to realize that they can trust robot vacuums to take on more of their household cleaning."
(Image credit: Future)
Pricier bots might be becoming more popular, but customers aren't willing to splash their cash on just anything. Mehdi at Eufy describes a demand for "flagship-level experiences… at broader price points", noting that even at the upper end of the market, people are "rational about value".
"The market is shifting towards products that deliver meaningful innovation people can actually use and justify paying for," he explains.
As part of this trend, the early adopters who took a leap of faith with a simpler model a few years ago are now ready for something more advanced. "We have observed a significant shift from 'first-time experimenters' to 'sophisticated upgraders'," Roborock's Ma tells me.
These shoppers are seeking out replacements that solve the issues that frustrated them with their first bot. Thanks to design innovations, many problems that plagued early robot vacuums — hair tangling, poor edge coverage and stinky mop pads — are far less common in modern models.
Not your average robovac
Features and price decisions aside, my interviewees have noticed a broader change in purchasing habits — and it's tied to how people see robot vacuums. "More consumers are treating robot vacuums as long-term home automation investments rather than one-off gadgets," says Richard Mou, co-founder of SwitchBot. "They're spending more time comparing ecosystem compatibility, software updates, and after-sales support before making a purchase."
Consumers are treating robot vacuums as long-term home automation investments rather than one-off gadgets
Richard Mou, SwitchBot
Mehdi describes a dovetailing of approaches. At the upper end of the market, he's noticed customers going really in-depth with the research and product comparison, while at the more affordable end of the market, the decision-making process is different.
"There, trust can matter more than technical comparisons," he says. "Ratings, reviews, brand reputation, and recommendations from friends or family are often more influential than specs alone."
"That tells us something important about where the category is today," he concludes. "As robot vacuums become more mainstream, people are evaluating them less like gadgets and more like long-term home appliances."
(Image credit: Future)
So robot vacuums are getting smarter, customers are starting to embrace the modern advancements now on offer, and brands are working to address the pain-points that still linger when it comes to using a robovac in a real, messy, haphazard home.
The fact that people are viewing their robot vacuums as investment purchases rather than short-lived impulse purchases suggests things are moving in the right direction. Perhaps we will yet see a future where, when we see a robot vacuum in the corner of a room, it'll no longer be worthy of comment.
