CES 2026 and the move toward wearable robots you don’t wear all day.
Updated
January 13, 2026 10:56 AM
The π6 exoskeleton from VIGX. PHOTO: VIGX
CES 2026 highlighted how robotics is taking many different forms. VIGX, a wearable robotics company, used the event to introduce the π6, a portable exoskeleton robot designed to be carried and worn only when needed. Unveiled in Las Vegas, the device reflects a broader shift at CES toward robotics that move with people rather than staying fixed in industrial or clinical settings.
Exoskeletons have existed for years, most commonly in controlled environments such as factories, rehabilitation facilities and specialised research settings. In these contexts, they have tended to be large, fixed systems intended for long sessions of supervised use rather than something a person could deploy on their own.
Against that backdrop, the π6 explores a more personal and flexible approach to assistance. Instead of treating an exoskeleton as permanent equipment, it is designed to be something users carry with them and wear only when a task or situation calls for extra support.
The π6 weighs 1.9 kilograms and folds down to a size that fits into a bag. When worn, it sits around the waist and legs, providing mechanical assistance during activities such as walking, climbing or extended movement. Rather than altering how people move, the system adds controlled rotational force at key joints to reduce physical strain over time.
According to the company, the device delivers up to 800 watts of peak power and 16 Nm of rotational force. In practical terms, this means the system is designed to help users sustain effort for longer periods, especially during physically demanding activities_ by easing the body's load rather than pushing it beyond normal limits.
The π6 is designed to support users weighing between 45 kilograms and 120 kilograms and is intended for intermittent use. This reinforces its role as a wearable companion — something taken out when needed and set aside when not — rather than a device meant to be worn continuously.
Another aspect of the system is how it responds to different environments. Using onboard sensors and processing, the exoskeleton can detect changes such as slopes or uneven ground and adjust the level of assistance accordingly. This reduces the need for manual adjustments and helps maintain a consistent walking experience across varied terrain, with software fine-tuning how assistance is applied rather than directing movement itself.
The hardware design follows a similar logic. The power belt contains a detachable battery, allowing users to remove or swap it without handling the entire system. This keeps the wearable components lighter and makes the exoskeleton easier to transport. The battery can also be used as a general power source for small electronic devices, adding a layer of practicality beyond the exoskeleton’s core function.
VIGX frames its work around accessibility rather than industrial automation. “To empower ordinary people,” said founder Bob Yu, explaining why the company chose to focus on exoskeleton robotics. “VIGX is dedicated to expanding the physical limits of humans, enabling deeper outdoor adventures, making running and cycling easier and more enjoyable and allowing people to sustain their outdoor pursuits regardless of age.”
Placed within the wider context of CES, the π6 sits alongside a growing number of portable robots and wearable systems that prioritise convenience, mobility and personal use. By reducing the physical and practical barriers to wearing an exoskeleton, VIGX is testing whether assistive robotics can move beyond niche environments and into everyday life. If that experiment succeeds, wearable robots may become less about dramatic augmentation and more about quiet support — present when needed and easy to put away when not.
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From TV to YouTube, the Oscars’ global shift reveals how entertainment, access and platforms are reshaping cultural institutions.
Updated
January 8, 2026 6:29 PM
Youtube app on a mobile device. PHOTO: UNSPLASH
The Oscars are moving to YouTube. Beginning in 2029, the Academy of Motion Picture Arts and Sciences has signed a multi-year agreement that makes YouTube the exclusive global home of the Oscars through 2033. From the ceremony itself to red carpet coverage, behind-the-scenes access and the Governors Ball, the entire experience will live on a platform most people already open every day.
On the surface, it looks like a distribution shift. In reality, it signals a broader strategic reset. For decades, television delivered scale for cultural institutions. Today, reach and discovery live on platforms, not channels. By choosing YouTube, the Academy is quietly acknowledging that cultural relevance today is built where audiences already are. In that context, YouTube is no longer just a place to watch clips but an emerging piece of cultural infrastructure.
What also stands out is how the Oscars are being reframed. This partnership is not limited to one night a year. Alongside the ceremony, YouTube will host year-round Academy programming through the Oscars YouTube channel. That includes nominations announcements, the Governors Awards, the Student Academy Awards, the Scientific and Technical Awards, filmmaker interviews, podcasts and education programs. Instead of a single broadcast moment, the Oscars are turning into an always-on ecosystem.
Accessibility is another central pillar of the deal. The Oscars will be free to watch globally, supported by closed captioning and audio tracks in multiple languages. This is less about nice-to-have features and more about staying relevant in a global, digital-first world. Younger audiences and viewers outside traditional Western markets expect access by default. The Academy is clearly building with that expectation in mind.
There is also a deeper exchange happening between heritage and technology. YouTube gains cultural weight by hosting one of the world’s most established creative institutions. The Academy, in turn, gains technological legitimacy and a clearer path into the future.
That balance extends to how the transition is being handled. The Academy’s domestic broadcast partnership with Disney ABC will continue through the 100th Oscars in 2028 and the international arrangement with Disney’s Buena Vista International remains in place until then. This is not an abrupt break from legacy media but a carefully phased shift. Change is being managed without burning bridges.
“We are thrilled to enter into a multifaceted global partnership with YouTube to be the future home of the Oscars and our year-round Academy programming,” said Academy CEO Bill Kramer and Academy President Lynette Howell Taylor. “The Academy is an international organization and this partnership will allow us to expand access to the work of the Academy to the largest worldwide audience possible — which will be beneficial for our Academy members and the film community. This collaboration will leverage YouTube’s vast reach and infuse the Oscars and other Academy programming with innovative opportunities for engagement while honoring our legacy. We will be able to celebrate cinema, inspire new generations of filmmakers and provide access to our film history on an unprecedented global scale.”
From YouTube’s side, the partnership places the platform firmly in the center of global cultural moments. “The Oscars are one of our essential cultural institutions, honoring excellence in storytelling and artistry,” said Neal Mohan, CEO, YouTube. “Partnering with the Academy to bring this celebration of art and entertainment to viewers all over the world will inspire a new generation of creativity and film lovers while staying true to the Oscars’ storied legacy.”
Google Arts & Culture extends the partnership beyond the ceremony. Select Academy Museum exhibitions and materials from the Academy’s 52-million-item collection will be made digitally accessible worldwide, bringing film history and education onto the same platform.
Taken together, the deal is less about where the Oscars will stream and more about how cultural institutions are adapting to the changing landscape. The Academy is positioning itself to be present year-round, globally accessible and aligned with the platforms that shape everyday viewing.