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New TV features 12-bit processing, peak brightness, anti-reflective screen
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LG Electronics recently hosted an exclusive industry showcase at Los Angeles-based post-production company Picture Shop, giving Hollywood’s top technical minds a first look at the new LG OLED evo AI G6.
The event gathered esteemed cinematic experts, including veteran color scientist Joshua Pines (Blade Runner, The Revenant). He was joined by cinematographer and Johanna Coelho and colorist Tony D’Amore from the award-winning series The Pitt.
Together, the esteemed guests evaluated the consumer display to check whether it truly respects a filmmaker’s original creative intent.
The LG OLED evo AI G6 introduces Hyper Radiant Color Technology, paired with Brightness Booster Ultra.
Together, the features push screen brightness pushing screen brightness up to 3.9 times higher than conventional models.
Additionally, driven by the new α (Alpha) 11 AI Processor Gen3, the television balances these piercing highlights while preserving true blacks and micro-details within deep shadows.
A major talking point for the panel of experts was the G6’s upgraded 12-bit internal video processing pipeline, a significant jump from traditional 10-bit systems.
This architectural upgrade completely eliminates color banding and digital noise across subtle gradations, achieving an image quality profile that reliably mirrors high-end studio reference monitors.
Furthermore, the screen halves ambient light reflection compared to previous generations, earning it an official “Reflection-Free Premium” certification from a global validation body.
Though a smaller movie, it adds much to the DCU lore.
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When Superman premiered last year, it was carrying over a decade’s worth of baggage from the ultra-gritty Snyderverse. It held the promise of a fresh superhero world that emphasizes fun. Now, Supergirl is no different. Whereas Superman was tasked with restarting a dying cinematic universe, Supergirl wants to prove that the former wasn’t just a one-hit wonder, and it does exactly that amid a few struggles.
Though David Corenswet’s Superman does make quite a few cameos in the film, Supergirl is about Clark Kent’s titular cousin. It’s also based on the award-winning book, Supergirl: Woman of Tomorrow, written by Tom King.
Celebrating her 23rd birthday, Kara Zor-El travels to planets with a red sun, the only places where she can get drunk as a Kryptonian. In one planet, she meets Ruthye Marye Knoll, who, after seeing Supergirl’s resilience, asks Kara to hunt Krem, the leader of the Brigands who killed her whole family. Kara initially refuses, but when Krem poisons Krypto, her dog, she goes off on her own to find the Brigand.
As with the original book, Supergirl is a tale of reluctant revenge instigated by a child desperate for it and a more mature mentor who knows better. Despite Kara’s nihilistic tendencies, she believes that revenge isn’t the right path for Ruthye.
It’s your standard fare of a revenge tale, somewhat bordering on a classic Western. In essence, it follows much of the structure of the original book. There are, however, some interesting changes, which may or may not be helpful to the story.
By switching to a more traditional plot structure, Supergirl trades away the book’s fleshed out relationship between Kara and Ruthye. Though Kara still cares for her young protégé, Ruthye has unfortunately been reduced to a fiery platitude, telling people who she is and how much she wants to kill Krem. At one point, Kara even makes fun of her little speech.
Krem, on the other hand, feels much more ferocious. Though the book’s Krem was evil in his own right, he was more of a mundane type of evil, just-an-average-Joe evil. The movie’s Krem is the type you wouldn’t want to meet in a dark alley. He looks like he took a few too many steroids.
On the one hand, these changes make for a smoother film. Though the movie starts off slow, it eventually rolls towards a superhero-level fight at the end. On the other, it loses the message of the original story about the complexities of revenge.
Normally, it’s a compliment to have a movie comparable to a James Gunn movie. There is another side to the coin, though.
Despite being tagged as fundamentally different from the tone of Superman, it’s clear that Supergirl was influenced by Gunn’s vision. There are jokes, random aliens, and a liberal use of older songs. On a micro level, it just doesn’t hit as hard as a Gunn flick, though.
For one, in a Gunn movie, each unnamed alien has so much character that you’d hardly believe that they’re just extras. In Supergirl, background characters, even those with speaking roles, don’t lift up from the screen. They just blend into the background. Likewise, the Brigands, despite how much eviler their actions are, don’t look like anything beyond generic sci-fi villains.
On a larger scale, keeping up with Gunn’s vision makes sense. Supergirl’s take on Kara’s story complements Superman’s story so well. Kara’s origin, explored in the film, contrasts with Clark’s. Ultimately, it helps turn Clark and Kara into fully fleshed out characters, rather than the tired stereotypes of Mr. Goody Two Shoes and his apathetic sidekick.
It also helps that Lobo, played by Jason Momoa, adds an interestingly cosmic element to the universe’s growing cast of characters. Finally spreading his wings away from Aquaman, Momoa has finally found a role perfect for him. He steals all the scenes that he’s in.
Supergirl is not on the same level as Superman. While the latter is Gunn at his absolute best, the former is a Gunn-esque film that drops the original story’s message in favor of a plot friendlier to the big screen.
That doesn’t mean that it’s a bad movie. In fact, it does well to expand the lore started by the first film. Supergirl is still a worthy, albeit smaller, addition to the growing DCU oeuvre.
BlizzCon’s closing act.
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Global K-pop sensation LE SSERAFIM is returning to BlizzCon.
Blizzard Entertainment has announced that the five-member girl group will perform as the closing musical act at BlizzCon 2026. LE SSERAFIM will take the Main Stage on Sunday, September 13 (PT), bringing fans another live performance after its BlizzCon debut in 2023.
The appearance also comes ahead of the group’s upcoming U.S. tour. Blizzard teased that the performance will make it a “Perfect Night” for fans attending the convention at the Anaheim Convention Center.
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LE SSERAFIM debuted in 2022 under SOURCE MUSIC, a label of HYBE. The group is composed of Sakura Miyawaki, Kim Chaewon, Huh Yunjin, Kazuha Nakamura, and Hong Eunchae.
The group’s name is an anagram of “I’m Fearless,” reflecting the confidence that has defined its music since debut.
This won’t be LE SSERAFIM’s first crossover with Blizzard. The group previously collaborated with Overwatch 2, bringing themed cosmetics and a special event to the hero shooter.
BlizzCon is Blizzard Entertainment’s annual community celebration. It brings together fans of World of Warcraft, Diablo IV, Overwatch 2, and other Blizzard franchises for game announcements, developer panels, esports, cosplay, and hands-on experiences.
Passes for BlizzCon 2026 have already sold out. However, Blizzard says tickets may still become available through the Tixr public resale marketplace.
Fans can learn more about LE SSERAFIM’s appearance on Blizzard’s official blog.
What happens when a tablet enters the toy box?
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Toy Story 5 is the funniest the series has been for me, even if it might end up being one of its more forgettable entries. Toy Story 3 is still the franchise’s most profound when it arrived 15 years after the original film and spoke directly to an audience that had grown up with Andy. It gave people the kind of nostalgia and continuity they were ready for.
So, when Pixar finds an angle through the takeover of iPads and the Roblox-ification of childhood, we are primed with a very predictable premise. The toys are no longer competing only with time or growing up. They are competing with screens that know how to keep a child looking.
Whether that is a genuine attempt to stay relevant or simply another way of keeping the franchise alive, it is hard not to admire the idea.
What lingers is its lens on connection and what holds us together as the world keeps changing, even in the whimsy of a child. And the end credits song, Taylor Swift’s “I Knew It, I Knew You,” which carries us back to her country-pop roots.
Aside from the introduction of tech play, the first sequence already makes it clear that Jessie (Joan Cusack) is taking on a larger emotional role here. Woody (Tom Hanks) gets some time to polish his boots before eventually being pulled back into the chaos with the rest of the gang. Buzz Lightyear (Tim Allen) gets caught in his own strange space-age mess with the kind of high-speed toy panic this franchise loves to stage.
Bonnie (Scarlett Spears) is basically the new Andy now, except her childhood has more tabs open. She still transforms the gang into unwitting characters from different genres and eras in 2D treatment when she plays. But, she’s also feeling ostracized and pressured by screen-ager friends.
Sitting nearby is Lilypad (Greta Lee), a frog-shaped smart tablet bright enough to make the toys look a little dimmer. It looks exactly like one of those iPads with a green, funky case that you see kids carrying around at family functions. It is one more thing to play with and one more little world calling her name. The toys are still there, but now they are waiting between notifications and an attempt at sabotaging batteries.
When all these attempts go wrong, the gang’s plan is to find Bonnie a friend who can still meet her in imaginative play. 
What Bonnie goes through as an eight-year-old is a reality for a lot of kids whose screen time stretches beyond moderation. In some ways, it feels a notch higher than Gen Zs and Millennials spending most of the week glued to work laptops while still trying to carve out time on a Sunday to “live a life.”
The inevitability of tech play is announced like an impending doom when Bonnie spots the twins she wants to play with lolling on a couch in a bleak living room, their faces looking washed in the glow of their phones. It’s more unsettling than Sid’s vicious grin in the first film, or Lots-o’-Huggin’ Bear’s refusal to redeem himself in Toy Story 3.
Bonnie’s friends even plan a sleepover just to end up on their Lilypads, not going a day without talking to each other face-to-face. It’s a room filled with excited kids slowly drained of energy by the devices in their hands. It’s strange enough that the kids packed into LAN parties and computer shops of our time, armed with the most creative trash talks, suggest a healthier version of real-world connection.
By the end, what keeps the film from becoming too preachy is that Lilypad is not treated like a Lots-o’-Huggin’ Bear by-product. The toys still matter, but the tablets do too. One gives shape to touch and make-believe, and the other opens up a metaphysical escape. Parents need to understand that it’s a matter of finding the balance between enough screen to discover new worlds. And enough real life for their kids to remember how to build one themselves.
I lost touch with toys years ago, so I tried to make the story’s angle make sense through my grief for the glossies and magazines that raised me. I thought about the Filbar’s and grocery newsstands I grew up nagging my parents to take me to. Now Filbar’s fully houses collectibles and toys, which is its own little irony.
The magazines left us. At least my favorites did. Now they survive as digital flipbooks on my iPad, which surprisingly works for my tactile self. Though these devices can never recreate the wrinkling of a spine that suggests I probably loved my mags too hard. I do love the illusion of turning the pages and being able to carry it everywhere. It does act like a thread to my younger, more idealistic self. Which, for me, is an important kind of connection.
And maybe Toy Story 5 circles around the idea. That we never really lose the essence of fun and connection, even if the world changes. It is an innate thing to us. We may go to our screens to virtually meet people, then we come back to the small shared spaces where the sense of belonging is tangibly real.
Right now, fun lives in both the AFKs and in the realms of social media—half-present, half-elsewhere, but wholeheartedly connected.
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