A leader in almost everything tech and home-office related for over 40 years, Swiss-founded Logitech offers a vast array of products, including keyboards, consoles, webcams, and tech gear made especially for education, business, and gaming. We at WIRED know the company’s wares well (obviously), so we’ve found the latest Logitech promo codes and deals to save on any type of tech purchase.

Logitech makes seriously great Bluetooth keyboards, keyboard cases, and smart pencils that made our Best iPad Accessories list. We also named the Logitech Pro X 2 the best gaming headset in our wireless headphones guide. If you want to keep the spirit of playfulness alive, fellow F1 enthusiast (and senior editor of product reviews) Parker Hall raved about Logitech’s high-tech wheel, pedals, and seat racing simulation set to help you become the Lewis Hamilton of your gaming fantasies. Check out these Logitech discounts we’ve found to help you ball (technologically) on a budget.

Get a Free Gift With Select Purchases at Logitech

Right now, Logitech wants to reward you for choosing them, with tons of free gifts with select purchases at Logitech. These Logitech deals include major savings, like a free Logitech Desk Mat when you buy any two Ergo Products, ($23 value), or a free Logitech Accessory Case when you purchase a Crayon & Combo Touch Case ($30 value). There are tons of savings on accessories, like a free Wooden Headset Stand when you buy a qualifying Logitech Zone Headset, ($40 value), or a free MX Keyboard Sleeve when you purchase a qualifying MX Mini Keyboard ($30 value). Plus, you can claim a free 6-month Perplexity Pro membership, worth $120, when you buy an eligible MX Series, Ergo Series, or iPad Keyboard case over $119.

Save up to $100 On Refurbished Premium Gear

The Logitech outlet is one of the best ways to save big on your important tech purchases on premium gear with exclusive gear. With the outlet, you’ll find like-new refurbished devices and limited-time favorites to shop before they’re gone forever (so be sure to check often and act soon!). Some of the best deals we’ve seen so far include: $50 off a refurbished X56 HOTAS VR flight simulator controller, $60 off a refurbished G715 wireless gaming keyboard, and $20 off a refurbished Folio Touch for iPad Air and Pro models.

Tips and Tricks for More Logitech Discounts

Even if you don’t have a promo code on hand, Logitech has plenty of ways to save, with free shipping on orders of $29 or more (a super-easy mark to hit). Many products also qualify for a gift with purchase, so take advantage of a free MX travel case, keyboard sleeve, or 1 month of Adobe Creative Cloud. And for a limited time, when you buy one product, you can get a second for 25% off.

With an array of helpful products for students, Logitech is making it easier to get all this game-changing tech. Students can get a 25% discount on products after registering and verifying their student status with UNiDAYS.

{​Logitech 20% Off: Students & Heroes

Logitech wants to benefit as many people as it can, with a 20% discount for some of our most valuable community members who can benefit from this important, but sometimes pricey tech. That’s why Logitech is offering a 20% Logitech promo code discount of 20% off for heroes and students—this includes students, teachers, medical professionals, military, and first responders. Just verify your status to get the Logitech discount code.

25% Off Logitech Gaming Gear

Logitech G Play Days sales event is a celebration of all things gaming. During the Logitech G Play Days sales event, you’ll save with exclusive promotions and score 25% off select gear for a limited time. So whether you (or a friend) is in need of a new gaming headset or wants to upgrade your keyboard, there’s gear (and discounts) for every type of gamer.

Shop Trending Logitech Products

As mentioned, Logitech has nearly every type of tech product needed for productivity in your office or school, but also has some really innovative tech products for home and gaming. Looking to get serious about your WFH (or gaming) setup? Logitech’s MX Keys S Advanced Wireless Illuminated Keyboard is a bestseller because of its portability, ergonomic design, and cheap price point. The bestselling MX Vertical Advanced Ergonomic Mouse is occasionally discounted, so save your hand the cramps and carpal tunnel (while saving some coin, too).

Asus’s latest gaming monitor is a little smaller than usual. The ROG Strix XG129C, announced on Friday, is a 12.3-inch touchscreen IPS display that’s intended to be a sidekick for a larger main monitor, similar to the 14.1-inch secondary display in the 2020 Asus ROG Zephyrus Duo 15. It’s a slightly smaller competitor to Corsair’s Xeneon Edge, which has a 14.5-inch display, but the same 720p resolution.

Asus says the XG129C covers 125 percent of the sRGB color gamut and 90 percent of the DCI-P3 color gamut. It also comes with a one-year subscription for the hardware monitoring tool AIDA64 Extreme, which would usually cost $65. Besides acting as a performance monitor for your PC, sidekick displays like this can also be handy as an extension for streaming or editing setups, much like Elgato’s Stream Deck.

Along with the little XG129C, Asus also announced the ROG Strix OLED XG34WCDMS, a 34-inch RGB Tandem QD-OLED gaming monitor. It features a 280Hz refresh rate and a 3440 x 1440p resolution, and, according to Asus, covers 99 percent of the DCI-P3 color gamut. Asus has not yet officially announced pricing for either display.

TV has long been an industry based on eyeballs. Now media companies are winking more at feet.

Fox Corp. is the backer of some of TV’s most-watched programs including Sunday-afternoon NFL games and “The Masked Singer.”  Earlier this week, however, it released a report touting not the number of people who see its shows, but rather the fact that ad campaigns from certain fast-food chains seen by viewers on its broadcast network drove foot traffic to restaurants by 81% over audiences who did not. The data comes from a Fox home brew of more than 20 different sources that gauge consumer activity and response, and there is some expectation on the part of big media companies that proof of what are being called “outcomes” – actions taken as the result of having been exposed to ads — may become a bigger part of ongoing discussions between Big TV and Madison Avenue.

“In the future, we need to start really leaning in on how well we perform from an outcomes perspective, versus just measuring impressions,” says Kym Frank,  senior vice president of ad sales research for Fox Corp., during a recent interview.

Will TV back away from the TV ratings upon which it has relied for decades? In conversations taking place across the industry, executives say they hope that the idea will succeed. Some talks will grow more earnest over the next few weeks, as TV networks and streamers try to sell billions in advertising during the sector’s annual “upfront” market, which kicks off Monday with the first of a series of glitzy presentations to advertising agencies and would-be sponsors.

“I feel like that’s the next wave,” says Bobby Voltaggio, president of U.S. ad sales, platform monetization, at Warner Bros. Discovery, who adds; “Impressions remain important, but maybe not as much as they were in the past.” He envisions a new system shaping up within two to three years that puts new emphasis on connecting ads to business results. A survey of 300 industry executives by iSpot, one of the measurement companies hoping to make more of a business in tracking outcomes, found 53% of respondents cited them as the most critical measurement standard, while only 9% thought measurement of individual programs was.

Much of the prevailing sentiment has been spurred by years of growing frustration with current measurement of TV audiences. For decades, billions of dollars in advertising have been transacted on Nielsen ratings that tabulate how many people saw a TV program or commercial, and, also on how many people of a certain age or gender did as well.

Hollywood’s recent streaming wars, however, have cast all kinds of doubts on the value of such totals. More people watch their favorite dramas, comedies, movies and reality shows at times of their own choosing — only sports and some live events seem able to buck the trend — and new technology gives advertisers the ability to place commercials according to finer characteristics, like geographic location, income, or  likely interest in a product such as  box of diapers or a new car. Suddenly, big audiences are harder to come by, and advertisers instead must work harder to persuade individual viewers during personal binge sessions.

Besides, a new generation of advertisers at home with digital media are more interested in response rates, website visits and requests for more information. These are things that can be tracked more easily online, as opposed to the old-school TV set that once stood at the center of most families’ living rooms. One advertiser might want to drive visits to a car showroom, while another might want to send out a brochure about travel to a new theme park or hotel. A third could seek to sell tickets to the opening weekend of a new movie.

“I think the conversation is shifting from who saw an ad to what happens afterwards,” says Alan Moss,  vice president of global sales for Amazon Ads. “It’s really about engagement. It’s about results. And agencies are increasingly focused on how they connect those spots to real outcomes.”

TV companies have been working on this stuff for years. In 2017, the former Discovery Communications joined with Fox News, the former A + E Networks, the former AMC Networks, the former CBS Corp., and Disney ABC Television (the corporate name changers show how quickly the industry has been scrambled by streaming and new technology) to pursue a trial of new technology that sought  to tie exposure to video ads to an actual customer action. The project was code-named “Thor,” and TV executives hoped to gain credit for delivering customers to restaurant and car-dealer showrooms. Since that time, A&E, Paramount and others have unveiled their own efforts to connect views of ads to making the sponsor’s cash register ring.

Some work has been hard to miss. In 2024, Fox and Netflix agreed on a deal that examined how much social-media activity was generated by a two-minute segment during one of the network’s Sunday-afternoon football telecasts that featured director Zack Snyder and augmented-reality scenes from the streamer’s movie “Rebel Moon.”

Like everything having to do with measuring media audiences, change won’t happen at the click of a mouse. “Outcomes are subjective,” says one media buying executive. “What an outcome is for one ad is different from another one.” Some media companies might like to use them more because doing so might prop up prices that have begun to sag as traditional Nielsen ratings erode. “Do outcomes come up more? Absolutely,” this executive says., “Do I think it will drive tons of incremental spending? I don’t think so.”

TV executives agree that they must come up with concepts that can work across the industry. “Obviously, we’re not going to work with an auto and sell a car. Right? But we can work with an auto, and drive feet to the lot. We can work with a QSR and drive limited time offers, sales for them at the geographic level,” says Evan Adlman, executive vice president of commercial sales and revenue operations for AMC Global Media.

One measurement company that provides third-party data for most media audiences and is backed by industry standards is already keeping tabs on “outcomes.” It’s Nielsen.

The company already offers measurement of outcomes and has been working to incorporate those efforts into Nielsen One, the system currently used to determine viewership of TV programs across linear and digital screens. Executives at Nielsen don’t see TV ratings going away, however, because impressions remain an apples-to-apples way of comparing one TV or streaming program to another. Because different advertisers set a variety of business goals for themselves, using outcomes only would give rise to a chaotic scenario in which one show must compete for foot traffic, ticket sales, coupon orders and more, depending on what the sponsor demanded. Such terrain seems impossible to conquer.  

Of course, the company’s TV ratings generate millions each year from Nielsen clients, which include Netflix, Roku, Amazon, NBC and Fox. The company may have less impetus to shake up the current infrastructure, however, than the video companies do.

The industry must work harder to make outcomes stick. “We’re all trying to make our own way. But in the future, we kind of have to all do this together. We can’t have measurement in a vacuum. That is not a currency,” says Fox’s Frank. “So if outcomes become the currency, we have to kind of all row in the same direction.”

Gabé Doppelt was born in South Africa, raised in London, worked in New York and became the ultimate L.A. power broker — first as the maître d’ at Jeff Klein’s Sunset Tower, then as the global membership director at his San Vicente Clubs. She began her professional life as an assistant for legendary media maven Tina Brown at Tatler in 1979. She then made her way to New York and eventually bounced between the coasts as an editor for Vogue, W, Mademoiselle and The Daily Beast, finally leaving media in 2014 for a career in hospitality.

She returned to Manhattan last year to oversee the launch of SVC’s West Village outpost, in the former Jane Hotel. It was meant to be an eight-month gig. “Within a week of landing in New York, which by the way was in the middle of a snowstorm, I knew there was no way I was going back,” explains Doppelt.

It’s a good thing she settled in so quickly because the task facing Klein and crew required full focus: San Vicente West Village opened last March in a redbrick building built in 1908, fresh out of a massive overhaul. Steered by designer Rose Uniacke, the club features a restaurant (with head chef Nicholas Ugliarolo), drawing room, sushi room, disco, billiard room, screening room and nine well-appointed rooms and suites. To say the opening was warmly embraced is an understatement. The New York Times reported that it was “greeted with a sense of urgency that is second only to the future of democracy.”

“Opening a club in New York is quite intense because New Yorkers certainly let you know when they’re not happy. They’re a little more forgiving in L.A.,” says Doppelt. “Any new property has the same problems; things you think will go well don’t and things you think are going to be a shit show are always perfect. That’s the nature of the beast in any business.”

The first three months were a blur. She landed in New York, and the next night, the club opened exclusively for an afterparty for SNL50: The Homecoming Concert, a star-packed celebration attended by Lady Gaga, Cher, Jason Momoa, Anya Taylor-Joy, Donna Langley, Bryan Lourd and Lorne Michaels. “We hit the ground running,” Doppelt recalls. “The next night we hosted a hardhat party for existing members and friends so people could see the club even though it wasn’t finished. Then we went dark for a month to finish all the aesthetics. We opened in March and it took three months to find our rhythm.”

A year later, San Vicente West Village is in its groove. As global membership director, Doppelt curates who gets in and she borrows a quote from her boss to explain how they anoint new members. “We’re slow growers. It’s very easy to be greedy and we could take everybody who applies and we would be, I don’t know about successful, but we’d be rich,” she says. “Success isn’t measured in rich. There’s a great quote of Jeff’s that goes, ‘Just because you’re rich, that makes you interesting?’ We don’t care about that. For us, power isn’t money and that’s the last thing we’re looking for.”

Her old editorial chops also kicked in. Her cheeky, “quasi-monthly” in-house newsletter has been such a hit with members, it may be worth the price of entry. (Initiation fees range from $3,000 to $15,000, with annual dues of $1,800 to $4,200.) In her notes “from The Directrice,” she updates insiders on the club’s comings and goings — literally: “A member jettisoned for yelling out to a high-profile VIP very much in the news right now, ‘Hey XX, is that really you?’ ” reads one. “We pride ourselves on respecting every member’s privacy so there were no second chances here. Bye.”

Doppelt’s unvarnished missives were inspired by New York restaurateur Keith McNally, who posts his nightly reports to much fanfare on Instagram. “It’s really funny and brutally honest,” she praises. “He really calls people out and he doesn’t edit.”

Doppelt’s started as personal notes but she grew boring of writing about herself and noticed how members liked tattling on one another. So, she started doing it, too. Her epic Valentine’s Day rant had tongues wagging for weeks. “To the two members who, on multiple occasions found your way to a higher floor bathroom between courses for an ‘amuse bouche,’ the literal translation being a ‘mouth amuser’ … we know who you are. … Please note we do have rooms, and as members, you receive the reduced member rate, so please check with the front desk if you feel the need to indulge in extracurricular activities while in the club.” The horny members did not lose their memberships, since Doppelt prefers to discipline with suspensions or warnings.

Thanks in part to Doppelt’s methods and long-standing relationships, SVC has become one of, if not the hottest private club in New York. And it’s got Doppelt and Klein already thinking about what’s next: “Of course we’re ravenously hungry to do another.”

But where? First, Doppelt has extended her New York stay for at least another year and after that, she won’t say. “We love New York. We love Europe. Maybe London, maybe Paris. We don’t know. We love buildings. So, wherever we find the next crumbling old lady.”

This story appeared in the May 6 issue of The Hollywood Reporter magazine. Click here to subscribe.