Is Valve’s highly anticipated Steam Machine facing delays, or is it still on track for its mid-2026 launch? With global component shortages disrupting industries worldwide, gamers are understandably concerned about whether these issues might impact the release of Valve’s newest gaming hardware. In this walkthrough, Deck Ready shows how these challenges are influencing production timelines […]
The post Steam Machine Isn’t Late, Pricing is the Real Risk appeared first on Geeky Gadgets.
Your phone’s flashlight works fine until you’re elbow-deep in a car engine bay or fumbling with tent poles in the dark. Then you realize the limitation: you need both hands free, you need the light exactly where you’re working, and you need it to stay there without propping your $1,200 device against something greasy or precarious. The NanoB10 from Gadget On lives in that gap between “good enough” and “actually useful.”
This 3cm titanium flashlight attaches magnetically to your watch strap and rotates 360 degrees once mounted. Nine lighting modes cover everything from finding your keys to emergency signaling, while the dual-magnet system means it sticks to any metal surface at the angle you actually need. The whole package weighs about 24 grams and charges via USB-C. Sometimes the best tool isn’t the most powerful one in your house, it’s the one that’s already on your wrist when you need it.
Designer: GADGET ON
Click Here to Buy Now: $73.5 $102 (28% off) Hurry! Only 19 days left.
24 grams puts this roughly in the same territory as a couple of quarters or precisely 2 AirTags, which means it disappears until you remember it’s there. Anything heavier starts pulling on your watch strap in ways that make you constantly aware something’s hanging off your wrist, which defeats the whole point of EDC gear that’s supposed to integrate into your daily carry without becoming a burden. The dimensions work out to 30mm x 27mm x 13mm, slightly larger than a nickel but thinner than you’d expect given what’s packed inside. Gadget On clearly spent time solving the density problem, cramming a 60mAh rechargeable battery, nine distinct LED modes, and two separate magnet systems into a volume that fits comfortably on a NATO strap without looking like you strapped a bottle cap to your wrist.
Two separate magnets handle different mounting scenarios, and the separation between them solves a problem most magnetic lights never address. One magnet lives in the body itself, letting you slap the flashlight directly onto any ferrous metal surface like a car hood, tool chest, or steel beam. The second magnet sits in the detachable clip, and this is where the 360-degree rotation becomes useful rather than just a spec sheet number. You dock the flashlight onto the clip magnetically, then spin it to whatever angle you need while the clip itself stays fixed to your watch strap, shirt pocket, or backpack strap. You’re no longer stuck with whatever angle the metal surface happens to be at, which is the usual limitation of magnetic work lights that just stick flat against whatever you attach them to.
Most keychain lights give you one brightness level and maybe a strobe if you’re lucky. The NanoB10 delivers four white LED modes at 1 lumen for night-light use, 35 lumens for low tasks, 100 lumens for medium work, and 200 lumens when you need actual throw. Add a white strobe for emergencies, two red LED modes at 2W and 3W for preserving night vision, a red SOS mode, and a 3W UV light at 365nm that’s actually useful for spotting fluid leaks or checking security features. Runtime on the 1-lumen night-light mode hits 15 hours, which becomes relevant when you’re trying to navigate a dark campsite without waking everyone up or need sustained low-level light for reading maps without killing the battery. The 200-lumen high mode obviously drains faster, but you’re using that in short bursts anyway.
Grade 5 titanium costs more than aluminum or plastic alternatives, but you can drop this thing, step on it, or leave it rattling around in a toolbox without worrying about cracked housings or stripped threads. IPX6 water resistance covers rain and splashes but stops short of submersion, which feels like the right tradeoff for something this compact. You’re not taking this diving, but you can use it in a downpour without killing it. The stonewashed titanium finish looks substantially better than the polished options in my opinion, though that’s entirely subjective. What’s objective is that titanium doesn’t corrode, doesn’t scratch as easily as aluminum, and develops a patina over time that actually improves the appearance rather than making it look beat up.
GADGET ON debuted the NanoB9 just last year, and managed to gather consumer feedback and knock out their next variant in just months. The base got redesigned for better magnetic hold and stability, machining tolerances tightened up across the body, and they added three more finish options based on user feedback from the previous version. That’s smart evolution because the core concept already worked, it just needed polish. The one-button control includes mode memory, so the light turns on to whatever setting you used last instead of forcing you to cycle through all nine modes every single time you need the flashlight. That small detail prevents the kind of annoying behavior that makes people abandon multi-mode lights entirely.
USB-C charging completes a full cycle in approximately 30 minutes, which aligns with the small 60mAh battery capacity. You’re trading extended runtime for size, but the math works when you consider that 15 hours on low gets you through most realistic use cases before you’re near a USB port again. The charging port sits under a small rubber cover to maintain the IPX6 rating, which adds one more thing to keep track of but beats the alternative of a corroded port that stops working after six months of exposure. The cover is tethered to the body, so at least you won’t lose it immediately.
The NanoB10 comes in five finish options: Wave (blue anodized with wave pattern), Matrix (green anodized), Stone (stonewashed bare titanium), Desert (gold anodized), and Slate (natural titanium). Pricing starts at £54 for the Stone or Slate single-color versions and £66 for the anodized color options, which translates to roughly $70-85 USD depending on current exchange rates. Shipping is estimated to begin in June 2026, with the flashlight and magnetic clip sold as separate items so you can add extra mounting options if needed.
Click Here to Buy Now: $73.5 $102 (28% off) Hurry! Only 19 days left.
The post 9 Lighting Modes, 1.1 Inch Size: This Magnetic EDC Flashlight Saves Effort And Even Saves Lives first appeared on Yanko Design.
David versus Goliath stories captivate us, especially when David brings a slingshot that looks like alien technology. Enter Stavatti Aerospace, a 25-person firm from Niagara Falls taking on Boeing and Northrop Grumman for one of the most lucrative defense contracts in naval aviation. Their weapon of choice? The SM-39 Razor, a fighter design so visually striking it demands a double-take. The triple-fuselage “Batwing” configuration breaks from a century of conventional aircraft architecture, presenting a form that’s more science fiction than traditional aerospace engineering.
The radical design supposedly delivers Mach 4 speed, Mach 2.5 supercruise, and performance metrics that eclipse what defense industry titans are proposing. Stavatti built these ambitions on titanium foam construction and aerodynamic principles that challenge orthodox thinking about fighter design. The catch? Stavatti has never manufactured an actual aircraft. Since opening in 1994, the company has produced concepts, proposals, and computer-generated imagery. Nothing has left the ground. The SM-39 represents either visionary thinking waiting for its moment or the latest chapter in a long catalog of paper airplanes.
Designer: Stavatti Aerospace
Three distinct fuselages merge into a blended wing body that genuinely resembles the vehicle Bruce Wayne keeps in his cave. The central section houses the cockpit while two outer nacelles sweep back at aggressive angles, each tapering to needle-sharp points. From above, the silhouette reads as pure menace. From the side, you see how the bodies integrate into the wing structure rather than sitting on top of it like conventional designs. Variable-camber technology supposedly lets the wing morph its shape for different flight regimes. Stavatti claims this delivers efficiency from carrier deck launches all the way through to near-hypersonic speeds.
Speaking of speeds, let’s talk about that Mach 4 claim. Current fifth-generation fighters top out around Mach 1.8 to 2.0. The SR-71 Blackbird, built with exotic materials and specialized engines for one specific purpose, hit Mach 3.3. Stavatti wants us to believe their turbofan-powered fighter will casually exceed that by nearly a full Mach number while also handling carrier operations, dogfighting, ground attack, and electronic warfare missions. The physics gets dicey here. At Mach 4, ram air temperature at the intake approaches 400 degrees Celsius. The skin heats up enough to glow on infrared sensors from a hundred miles away. Stealth becomes a joke when you’re essentially a flying torch broadcasting your position to every heat-seeking sensor in the battlespace.
Those elongated outer nacelles look sleek in CGI but imagine the torsional loads during a 9G turn. You’re talking about tremendous stress on the attachment points where they meet the central wing structure. Conventional aircraft concentrate mass along a single fuselage spine for good reason. Spreading things out multiplies the engineering challenges exponentially. Stavatti’s answer involves titanium foam, a material with impressive strength-to-weight ratios in theory. In practice, nobody has built a supersonic fighter from it because manufacturing consistent, reliable structural components at scale remains a massive hurdle.
The elephant in the room is just the money. Stavatti pulls in about $3 million annually, reportedly from venture capital, government incentives, and IP sales. That budget wouldn’t cover the coffee bill at Boeing’s fighter division. The company has zero prototypes, zero test flights, zero production experience. The Navy hasn’t even confirmed receiving their F/A-XX submission. Meanwhile, Boeing and Northrop Grumman have actual sixth-generation fighter programs with actual hardware being tested at actual classified facilities.
That being said, the SM-39 Razor does look absolutely fantastic. That counts for something in an industry where form follows function to an extreme degree. Wild unconventional designs sometimes break through. The Northrop flying wing became the B-2 Spirit. Skunk Works turned crazy ideas into the U-2 and SR-71. But those programs had serious funding, experienced teams, and institutional backing. Stavatti has renderings and ambition. Beautiful concepts deserve appreciation as thought experiments. Treating them as legitimate competitors requires suspending disbelief past the breaking point.
The post The Navy’s Batwing Fighter Jet Promises Mach 4 Speed… But It’s Still Just A Concept first appeared on Yanko Design.
From the street, this Adelaide cottage keeps its composure. It presents itself as calm, familiar, and almost reserved, another quiet presence in a suburban streetscape. But crossing the threshold reveals an entirely different energy. Designed by Sans-Arc Studio, this art deco-inspired addition transforms the home into a space that is playful, expressive, and deliberately designed around how its young owners like to live and entertain.
The extension announces itself subtly from the outside. Wrapped in a clean white facade, it avoids loud gestures while still feeling intentional. Deep window reveals lined in black introduce contrast and rhythm, adding a graphic sharpness to the exterior. These recesses are not merely aesthetic; they also shade the interior, reducing glare while allowing light to filter in thoughtfully. The result is an exterior that feels both refined and quietly dramatic, simple in form, but rich in detail.
Designer: Sans-Arc Studio
Inside, curves take over. One of the more understated yet memorable moments is a custom corner bench tucked beside a window. Its curved timber base and slim upholstered cushion are a gentle nod to art deco design language, where form and elegance coexist. More than a stylistic flourish, the bench offers a comfortable place to sit, pause, and look out toward the backyard, an everyday moment elevated through thoughtful design.
At the heart of the addition is the kitchen, conceived not as a secluded workspace but as a social anchor. Hosting is clearly central to how this home functions. The kitchen opens itself to conversation, movement, and connection, allowing the homeowners to cook without stepping away from their guests. A tiled accent wall brings light and texture into the space, catching reflections throughout the day and reinforcing the sense of warmth and character.
Rather than erasing the past, the project carefully weaves old and new together. A long kitchen island extends through the original cottage and into the new addition, doubling as a dining table. This linear element physically and visually stitches the home together. In the extension, the dining area drops slightly below the island, a subtle level change that defines zones without interrupting flow. It is a quiet architectural move that makes the space feel dynamic while remaining cohesive.
Running alongside the dining area is a timber shelving unit designed as both storage and display. Here, the homeowners’ collection of Italian and Czech glassware, books, and German pottery becomes part of the architecture itself. Bright yet restrained colors and sculptural forms animate the space, turning everyday objects into storytelling elements that reinforce the home’s playful aesthetic.
That sense of joy continues into the bathroom. Expanded from its original footprint, the space is wrapped in small square tiles in a vivid blue, instantly energizing the room. A skylight pours natural light from above, while a curved mirror softens the geometry, echoing the rounded forms found throughout the house. The bathroom feels lively, expressive, and deeply personal, a direct reflection of the homeowners’ desire for spaces filled with personality.
An arched doorway off the dining area gently reconnects the new addition to the original cottage. Acting as both a physical passage and a visual cue, it bridges eras while reinforcing the curvy, art deco-inspired language that defines the project. By embracing color, curvature, and the realities of entertaining, Sans-Arc Studio has created a home that feels generous, joyful, and unapologetically fun, proof that quiet exteriors can still hold bold, expressive lives within.
The post Quiet on the Street, Joyful at Heart! An Adelaide Cottage That Reveals Its Playful Soul first appeared on Yanko Design.
Kris Marszalek, CEO and co-founder of crypto and stock trading platform Crypto.com, has bought an expensive website. In this case it's AI.com, valued at one point at $100 million, which will serve as the online home for his new company of the same name. The website launch is being paired with a Super Bowl ad that will air this Sunday.
AI.com's main offering is an AI agent that "operates on the user’s behalf — organizing work, sending messages, executing actions across apps, building projects, and more." It's a similar concept to what companies like OpenAI, Anthropic and Google are promising with their own agents and agentic features, and notably lacking in hard details. Users can make multiple agents with AI.com and have them do a variety of tasks — the company's press release mentions trading stocks and updating a dating profile, for example — while remaining permission-based and private. It's not clear if AI.com is offering its own AI models or licensing those offered by other companies, but clearly whatever it offers, both for free and via a planned paid subscription, will be flexible.
Like Crypto.com's big push into the mainstream during late 2021 and early 2022, AI.com is arriving at a particularly hype-filled time in the AI industry. Anthropic's Claude Code and Claude Cowork tools have been taken up as evidence that AI might actually make people more productive, so AI.com's decision to push an agent of its own is timely.
Of course, after Crypto.com's big Matt Damon ad in 2021, and Super Bowl ad in 2022, Bitcoin prices hit an all-time low in June 2022. Ironically, Marszalek's AI.com is also launching during a particularly nasty "crypto winter" which has lowered the price of Bitcoin to under $66,000, a steep drop from the $127,000 it cost in October 2025. That's not to suggest the AI.com CEO is a groundhog for deflating hype balloons. More likely, it's a sign that the future of AI could be as unpredictable and volatile as cryptocurrency.
This article originally appeared on Engadget at https://www.engadget.com/ai/the-cryptocom-guy-bought-aicom-and-a-super-bowl-ad-234325394.html?src=rss
Abundance defines the modern football watch party. Chips come in oversized bowls, wings arrive by the tray, and drinks are rarely poured one glass at a time. Yet one essential element of the game day ecosystem has remained painfully under-engineered. The ketchup bottle, small, squeezable, and deceptively fragile, has long been the weakest link in an otherwise well-orchestrated snack spread. And during football’s biggest game of the year, that failure is almost inevitable.
This season, HEINZ decided to redesign the ritual!
Designer: HEINZ
Ahead of the Big Game, the brand has introduced the HEINZ KegChup, a stainless steel, 114-ounce keg filled entirely with its unmistakably rich ketchup. The idea borrows directly from beer culture, a space that solved the problem of running out long ago. Football fans understand this instinctively. When something matters to the experience, it is engineered for scale. It is put on tap!
For decades, beer has been treated as the centerpiece of watch parties, designed for endurance across four quarters. Food, however, has quietly taken on an equally important role. The Big Game is now the second-largest food holiday in the US, with the majority of fans watching from home and preparing their own snacks. Fries, sliders, nuggets, and hot dogs are not just menu items. They are structurally dependent on ketchup. Yet the condiment itself has remained confined to packaging designed for moderation rather than momentum.
The HEINZ KegChup flips that logic entirely. Standing 19.5 inches tall and fitted with a tap-style spigot, the keg is unapologetically excessive. It removes the need to squeeze carefully, ration servings, or keep a backup bottle hidden in the fridge. Instead, it allows ketchup to flow freely throughout the game. Pour, dip, repeat. No interruptions. No halftime shortages.
From a design perspective, the KegChup does more than scale volume. It reframes ketchup as infrastructure. The spigot becomes a visual and functional anchor on the snack table, much like a beer tap at a tailgate. The stainless steel body signals durability and seriousness, while the familiar HEINZ branding ensures the object reads as trustworthy rather than novelty. The result is playful, but grounded in real use behavior.
The product also reflects a feedback-driven design approach. After teasing the concept on Instagram last fall, HEINZ saw nearly 1 million views and thousands of fan interactions, effectively validating the idea before it became physical. That momentum has now translated into a limited rollout, with fans able to enter a social giveaway and sign up for exclusive access ahead of a broader limited edition release planned for the start of the 2026 football season.
In a category often focused on new flavors or packaging tweaks, the HEINZ KegChup stands out by redesigning the ritual itself. It acknowledges a simple truth of football culture. Running out of ketchup can feel like a bigger party foul than a dry keg. By putting its most iconic product on tap, HEINZ is not just solving a supply problem. It is designed for the emotional rhythm of game day, from kickoff to the final whistle.
When the clock is ticking, the crowd is hungry, and the stakes are high, the last thing anyone should be worrying about is whether there is enough ketchup left.
The post HEINZ Put Ketchup on Tap, and Game Day Will Never Be the Same first appeared on Yanko Design.
The Lovegood house appeared in just one Harry Potter film, yet its impact resonates throughout the entire Deathly Hallows storyline. Within those curved walls, Harry, Ron, and Hermione learned the truth about the Deathly Hallows. Within those same walls, they discovered the painful lengths a desperate father would go to save his daughter. The location became synonymous with both revelation and betrayal.
LEGO set 76467 transforms this cinematically significant dwelling into a buildable display piece. The design showcases half of the cylindrical structure, allowing access to meticulously crafted interior spaces across multiple floors. Five minifigures, including Luna in her distinctive purple outfit and a menacing Death Eater, let builders recreate the tense confrontation that defined this chapter of the story.
Designer: LEGO
LEGO’s decision to finally produce this set feels long overdue. The Harry Potter line has given us Hogwarts in every configuration imaginable, multiple iterations of Diagon Alley, the Knight Bus, the Burrow, and even Hagrid’s Hut. But the Lovegood residence, despite its narrative weight in Deathly Hallows Part 1, has remained conspicuously absent until now. Perhaps the unusual architecture made it a challenging prospect. That cylindrical tower, leaning slightly, covered in eccentric vegetation, doesn’t fit the typical LEGO building aesthetic. The cross-section approach solves this beautifully, giving you the iconic silhouette while making the interior actually playable.
At 764 pieces for $89.99, the pricing sits right in LEGO’s mid-range sweet spot. That breaks down to roughly 11.8 cents per piece, which aligns with their standard Harry Potter pricing model. The set measures 29 cm tall, 22 cm wide, and 10 cm deep when completed. For context, that’s roughly the height of a standard wine bottle, so it commands presence on a shelf without dominating your entire display space. The proportions work because the Lovegood house always looked like it defied physics anyway, so the compressed depth of the cross-section design feels authentic to the source material.
They stuck a light brick projector in there that casts images from the Tale of the Three Brothers onto a wall panel. Could they have just printed a tile with the Deathly Hallows symbol and moved on? Absolutely. Did anyone expect them to build a functional projection mechanism? Not really. But here we are. You can actually stage that scene where Xenophilius lays out the entire legend while Harry, Ron, and Hermione sit there processing the fact that they’ve been hunting MacGuffins this whole time. The Erumpent horn sits nearby waiting to explode and wreck everything, because of course it does.
The minifigure roster mirrors the famous Deathly Hallows scene. Harry and Hermione show up in their grim Deathly Hallows gear, not their Hogwarts uniforms. Xenophilius looks appropriately wrecked, which tracks for a father about to betray three teenagers to Death Eaters. Luna appears in purple pajamas because she’s literally imprisoned upstairs during this whole mess. Speaking of Death Eaters, one comes included to represent the threat bearing down on everyone. Then there’s that translucent blue Hare Patronus, part of LEGO’s 25th anniversary collectible series. If you’re chasing the full Patronus collection, you need this set. LEGO knows exactly what they’re doing with that incentive structure.
Available now at LEGO’s standard retail channels, this set fills a gap that honestly shouldn’t have existed this long. The Lovegood house carries weight in the Potter narrative that far exceeds its single-film appearance, and watching LEGO finally commit to that weird cylindrical architecture feels oddly validating. Will it fly off shelves like a Hogwarts Castle release? Probably not. But for people who actually care about Deathly Hallows beyond the surface-level plot points, having Xenophilius’s desperate gambit immortalized in brick form matters. Plus that light projector gimmick will look absurdly cool in low lighting, which might be reason enough to grab it before LEGO inevitably retires the set and secondary market prices get stupid.
The post LEGO Finally Made Luna Lovegood’s House and It Has a Working Light Projector first appeared on Yanko Design.
Apple plans to allow third-party voice-controlled AI apps in CarPlay, Bloomberg reports. Siri is the default voice assistant for things like controlling music and looking up directions, but future AI apps in CarPlay could handle the complicated, open-ended requests Siri can't answer.
The expanded support would let developers like OpenAI or Google offer versions of their ChatGPT and Gemini apps for CarPlay. Similar functionality is possible just by connecting a smartphone to a car over Bluetooth and using an AI app's voice mode, but CarPlay support would presumably make the process a little more seamless.
Not so seamless that it replaces Siri, however. Bloomberg writes that these third-party apps won't be able to replace the Siri button in the CarPlay interface or use their own wake words ("Hey Google," etc.). Instead, anyone who wants to spend a long drive talking to Gemini will have to open the app first. That could cut down on the utility of using one of these apps, but Apple presumably wants to get Siri to a place where CarPlay users prefer it as their in-car assistant anyway.
Apple and Google recently announced that Gemini would power future versions of Siri and Apple Foundation Models, the AI models underpinning Apple Intelligence. The delayed, updated version of Siri Apple introduced alongside Apple Intelligence in 2024 is supposed to be able to take actions on user's behalf, work across apps and understand the context of what's on screen, all things Gemini can currently do. Reports suggest Apple wants to eventually use Google's Gemini models to transform Siri into a proper conversational chatbot, too. That future version of the voice assistant could be right at home in CarPlay.
This article originally appeared on Engadget at https://www.engadget.com/transportation/apple-will-reportedly-allow-third-party-ai-assistants-in-carplay-213432646.html?src=rss
The way life moves on earth, we often undermine the vastness of the universe and the simple fact that whatever we see in it is always already the past. Now, Urwerk has conceptualized a limited-edition timepiece that merges concepts of time and space showcasing the time light takes right from the sun to reach each planet in the solar system. The Urwerk UR-100V “LightSpeed” Ceramic is a timepiece that translates the journey of light across the solar system in a mechanical watch display.
The brainchild of Felix Baumgartner and Martin Frei, co-founders of the Swiss-watchmaker established in 1997, the UR-100V features the company’s iconic satellite display, differing in a way to display propagation of light across the solar system – telling time it takes a sunbeam to reach the eight different planets. So instead of just marking hours and minutes, this watch, with a white ceramic composite case, creates the wandering satellite display into a moving cosmic reference point.
Designer: Urwerk
“Wearing this creation (the UR-100V “LightSpeed” Ceramic) is like carrying a fragment of the universe on the wrist, a miniature vision of the cosmos scaled to human perception,” Martin Frei said about the watch measuring 43mm wide and 51.7mm long. About 14.55mm at the highest point, the UR-100V features Urwerk’s proprietary white ceramic case with silver fiberglass fabric and carbon inserts. The case with a screw-down crown offers durability to the timepiece with cosmic-inspired aesthetics.
The dial has been tweaked to achieve the latter. When the hour satellite leaves the minute track, it follows the path of light, tracing the journey of a sunbeam from the Sun toward the eight planets in our solar system. The astronomical data is converted into mechanical motion with exact scientific data points like 3 minutes required for sunlight to reach Earth or 4.1 hours it takes to reach the farthest planet Neptune.
The UR-100V LS Ceramic draws its power and finesse to pull of the celestial brilliance from the in-house calibre UR 12.02. The self-winding mechanical movement by Planetary Turbine Automatic System beats at 28,800 vibrations per hour and provides the watch with a 48-hour power reserve. Water-resistant up to 5ATM, the Urwerk timepiece features micro-blasted, DLC-treated grade 5 titanium caseback revealing a satisfying sight of a self-winding rotor inside.
The UR-100V LightSpeed Ceramic comes with two choices of strap colors. It’s a textured rubber strap in black or white color. The limited-edition watch is priced at 67,000 CHF (approx. $86,500) and is available on the company’s official website. We are not sure how many units of the watch are going to be available, but we are sure the watch will sell out really fast for its ability to track propagation of light through space.
The post Urwerk 100V “LightSpeed” Ceramic limited-edition watch tracks propagation of light through space first appeared on Yanko Design.
Disney+ subscribers in some European countries have lost access to advanced HDR features like Dolby Vision, TechRadar and FlatpanelsHD report. The issue was first spotted by German Disney+ subscribers on Reddit, but currently also impacts subscribers in Portugal, Poland, France and the Netherlands, according to FlatpanelsHD.
"Dolby Vision support for content on Disney+ is currently unavailable in several European countries due to technical challenges," Disney said in a statement. "We are actively working to restore access to Dolby Vision and will provide an update as soon as possible. 4K UHD and HDR support remain available on supported devices."
If the issue is in fact a technical one, it seems like it could be around for the long-term. Disney has removed any reference to Dolby Vision from its Disney+ video quality support page in Germany. As of now, the company lists HDR10 as its default HDR format, despite Dolby Vision support being a feature of Disney+ for several years now.
FlatpanelsHD writes that the real issue might be legal, rather than technological. A company called InterDigital won an injunction in a German court against Disney in November 2025 because it violated at least one of the company's patents on streaming video technology. The injunction specifically requires Disney to stop violating InterDigital's patent on "a method for dynamically overlaying a first video stream with a second video stream comprising, for example, subtitles." It's not entirely clear how that plays into the company offering Dolby Vision in Europe, but it would explain why subscribers in Germany were some of the first people to notice Dolby Vision's absence.
Engadget has contacted Disney for more information about Disney+'s missing HDR support and whether InterDigital's injunction played a role. We'll update this article if we hear back.
Mentions of Dolby Vision were also stripped out of the US version of Disney+'s video quality support page. InterDigital hasn't won an injunction in the US, but the company is pursuing a patent case against Disney in the United States District Court for the Central District of California. That doesn't necessarily mean Dolby Vision support will be taken from US subscribers next, but it does suggest there's more happening here than just technical challenges.
Update, February 6, 3:44PM ET: The original version of this article included mention of Disney+ losing HDR10+ support in Europe, but Disney says it never offered HDR10+ in that region. The article has been updated accordingly.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/disney-loses-access-to-dolby-vision-in-some-european-countries-193930702.html?src=rss