LG OLED65G1 An LG OLED TV, but even better
LG has overhauled its TV tech and even included the UK’S catch-up services this time, only now it’s forgotten something else: legs
£3000 / stuff.tv/65g1
Yes, there’s a lot about LG’S new G1 OLED range that’s new and exciting and intriguing. Yes, LG has made changes to the OLED panel itself, to the operating system you use to interact with it, to the processing protocols that govern picture quality, and even to the remote control. Yet one question still needs answering: Where does LG get the nerve to charge three grand for a television that doesn’t have any feet?
As part of LG’S Gallery series, the OLED65G1 is designed to be hung on the wall. To make this enticing, there’s none of the bulk where the electronics normally go and a consistent depth of just 19.9mm. The wall-bracket doesn’t add any depth either, so it’s completely flush (which is, incidentally, what you’ll need to be to afford it).
The only thing all that doesn’t explain is why LG charges £99 for feet should you want them. Anyway, let’s watch some telly…
My art will go on
The OLED65G1 is minimal and discreetly decorative. The bezel is vanishingly thin (1), there’s no room even for LG branding, and to reinforce its ‘Gallery’ credentials it can display framed artwork while in standby. No arguing with the way it’s built – even the panels covering the cables feel robust.
Hang on to your Evo
LG’S new OLED Evo panel (2) promises brighter, sharper images, and greater power efficiency. It uses an additional green layer, a new ‘luminous’ element and narrower blue and red wavelengths. There’s a new processor too: the
Alpha 9 Gen4.
The day before you game
The new chip includes a big AI element to upscale sub-4k content, and AI Picture Pro, which enhances specific areas of an image for greater impact. If you have a PS5 or Xbox Series X you can rest easy here with four HDMI 2.1 inputs and a lag time of, at worst, 12ms.
GOAT of many colours
Evo makes good on its promises, making this LG’S best OLED TV yet, and watching Thunder Force with Dolby Vision on Netflix only strengthens that case. Every aspect of picture-making is impressive here – colours are vibrant, details sharp, contrasts wide but not unnatural (3).
Creep on movin’
The only area where it doesn’t prove masterful is motion control, where every kind of content requires a different ‘clarity’ setting. It’s an accomplished upscaler, although inevitably there are limits. If you’re watching On The Buses on this, you need to have a look at yourself instead.