DoorDash is buying British rival Deliveroo for $3.9 billion

DoorDash has agreed to purchase British food and grocery delivery service Deliveroo for $3.9 billion, the companies have revealed in a filing with the London Stock Exchange. The acquisition will “strengthen DoorDash’s position as a leading global platform,” the filing said. Deliveroo operates in nine regions, namely Belgium, France, Italy, Ireland, Kuwait, Qatar, Singapore, United Arab Emirates and the United Kingdom. All those regions are new for DoorDash and will give the combined companies access to a total population that exceeds 1 billion people. 

It doesn’t sound like DoorDash is erasing Deliveroo’s brand after it takes over. Instead, they’ll both be part of an “Enlarged Group” operating in multiple regions around the world, giving DoorDash an expanded presence in Europe and giving it an entry into the Middle Eastern market. “Both companies are highly complementary, whether in their geographic footprints or their missions, and I am confident that being part of the Enlarged Group will accelerate the realisation of Deliveroo’s full potential,” Deliveroo chair Claudia Arney said in a statement. 

The acquisition is still subject to regulatory and antitrust approvals. As CNBC noted, though, this marks the end of Deliveroo’s problems as a public company. It has faced a lot of competition and legal challenges after a period of abundance for food delivery services during the COVID-19 lockdowns, and its share prices have plummeted since it went public in 2021. Before the company went public, Amazon took on the UK’s Competition and Markets Authority to become a major investor in Deliveroo. The e-commerce company was the leading investor in a funding round worth $575 million and owned a 16 percent stake in the food delivery service.

This article originally appeared on Engadget at https://www.engadget.com/apps/doordash-is-buying-british-rival-deliveroo-for-39-billion-123005055.html?src=rss 

The Morning After: Remembering the Switch

It’s been eight years since Nintendo released its revolutionary hybrid console, and while many have spent the last couple of those itching for sequel hardware, it’s a good time to recall how Nintendo smashed expectations and continued to forge its own path in gaming, graphical fidelity be damned.

Whether it was its core conceit — a handheld and a TV-connected console — or Nintendo’s continued production line of hit games, which included arguably the best game of the decade, we have a lot to say. And let’s not forget the Switch came before the Steam Deck and the tidal wave of handheld gaming PCs that have appeared in recent years. Nintendo proved people would play triple-A games without being tethered to their TV.

We’ve pulled together some of the Engadget team’s reflections. I love to say “reflections”.

— Mat Smith

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Spotify finally shrugs off Apple’s Apple Store fees

A judge’s ruling this week may have finally ended Apple’s anti-competitive app commissions.

Judge Yvonne Gonzalez Rogers ruled that Apple was using loopholes to circumvent her own ruling against the company from 2021. Companies are wasting no time streamlining payments outside of Apple’s walled garden, and Spotify is the latest to make these changes.

With the latest update available in the App Store, the Spotify app has added external links, so it can advertise lower prices and different tiers without giving nearly a third of its revenue generated back to Apple.

This could be a major change for the App Store ecosystem and Apple’s business if it comes into effect. Developers would no longer have to fork over 30 percent of iOS app revenue to Apple, which could cost the company billions. Spotify and Netflix are among the major companies that don’t allow users to sign up for a subscription through their iOS apps, due to the cut Apple takes.

Continue reading.

Netflix teases Squid Game’s final season

The third season of Squid Game arrives June 27.

Netflix

Netflix has released a teaser trailer for the final season of Squid Game. It suggests that the games restart after a failed uprising led by the show’s protagonist, Seong Gi-hun, or Player 456.

In the teaser, Player 456 is brought back into a room full of players — inside a coffin. When he wakes up, the games resume, players are segregated into groups, mother and son are separated and, curiously, there’s a baby crying by the end of the teaser.

Continue reading.

How to watch Google I/O 2025 and The Android Show

For the first time, Google is breaking out some Android updates into a separate event.

Google’s annual I/O developer conference is coming on May 20, but for the first time, there are two events. The classic I/O 2025 kicks off on May 20, and a week earlier, on May 13, there’s also The Android Show: I/O Edition, a dedicated showcase for, you guessed it, Android.

Google’s I/O keynote will be available to watch on Google’s YouTube channel and right here once the livestream is up on May 20 at 1PM ET. The Android Show: I/O Edition will also go up on Google’s Android YouTube channel on May 13 at 1PM ET — we’ve already embedded it above. Oh, and here’s what we’re expecting to see.

Continue reading.

This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-engadget-newsletter-111534044.html?src=rss 

Netflix teases Squid Game’s final season

Netflix has released its first teaser trailer for the final season of Squid Game. Based on the scenes the streaming service included in the video, the games will be restarted after a failed uprising led by the show’s protagonist Seong Gi-hun, or Player 456. While Season 2 ended on a cliffhanger, it hinted strongly that the rebellion will fail to end the games right then and there. 

In the teaser, Player 456 could be seen being brought back into a room full of players inside a coffin. And after he wakes up, the games resume, players are segregated into groups, mother and son are separated and, curiously, a baby could be heard crying by the end of the teaser. We also get glimpses of Jun-ho as he searches for the island where the games are being held and his brother In-ho, who resumes his role as the games’ Front Man after pretending to be a player in the previous season. 

Squid Game is a Korean survival thriller with themes revolving around class struggle and social inequality. In the story, ordinary people, often buried in debts and desperate to earn money, are locked in a facility where they’re forced to play games. Only one person wins the pot of money players collectively earn by winning games. Everybody else? Well, they die. Seong Gi-hun, the first season’s winner, chose to come back for another round in order to dismantle the organization running the games, and the third season will show the culmination of his efforts. Squid Game season 3 arrives on Netflix on June 27. 

This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/netflix-teases-squid-games-final-season-035721654.html?src=rss 

Gears of War is coming to PlayStation for the first time on August 26

Yet another high-profile Xbox franchise is making the leap to PlayStation. While Halo isn’t yet making the transition, Gears of War is about to join the likes of Forza Horizon 5 in crossing the divide. Gears of War: Reloaded, a remaster of the first game in the series from 2006, is coming to PS5, PC (on the Xbox PC app and Steam) and, naturally, Xbox Series X/S on August 26. However, it’s not making its way to Nintendo Switch 2, at least for the time being.

The game costs $40, though it will also be on Game Pass Ultimate and PC Game Pass on day one. Those who bought the digital version of Gears of War: Ultimate Edition before the remaster announcement will get a free upgrade. Game Pass Ultimate subscribers will also be able to play the third-person shooter on Xbox Cloud Gaming.

The Coalition, an Xbox studio that focuses on Gears of War, worked on the remaster with Sumo Interactive and Disbelief. The game includes all of the Gears of War DLC at no extra cost, including a bonus act for the campaign and all multiplayer features. There will be some characters and cosmetic items that you unlock through progression.

As ever, you can play through the campaign with a friend either online or in classic split-screen co-op. There’s cross-play for all platforms with support for up to eight players in the versus multiplayer mode. If you sign in with a Microsoft account (which isn’t required), you can enable cross-progression. So if you pick up Gears of War: Reloaded on PS5 and play the campaign or multiplayer there, you can continue where you left off on a phone or tablet via Xbox Cloud Gaming, for instance.

Along with “platform-specific features,” Gears of War: Reloaded includes support for 4K HDR visuals, framerates of 60 fps in the campaign and 120 fps in multiplayer modes, Dolby Vision, Dolby Atmos and other visual, audio and performance enhancements. Microsoft is also promising that the campaign will have zero loading screens.

The Coalition has another Gears of War project in the pipeline. During last June’s Xbox Games Showcase, Gears of War: E-Day was revealed. Outriders studio People Can Fly is co-developing the game, which does not yet have a release window.

This article originally appeared on Engadget at https://www.engadget.com/gaming/gears-of-war-is-coming-to-playstation-for-the-first-time-on-august-26-000159326.html?src=rss 

A new ‘Ecco the Dolphin’ game and remasters are on the way

Ecco the Dolphin, the Sega-published game series starring a time-traveling bottlenose dolphin, is making a comeback, according to a new interview in Xbox Wire. The series’ creator Ed Annunziata says that both Ecco the Dolphin and Ecco: The Tides of Time are being remastered, and a third game is in the works.

“Me and the entire original team are going to remaster the original Ecco the Dolphin and Tides of Time games,” Annunziata says. “Then we will make a new, third game with contemporary play and GPU sensibilities.” Ecco the Dolphin was featured alongside games like Tchia and Coral Island for Xbox’s celebration of Asian and Pacific Islander Heritage Month and games that draw “inspiration from API cultures.” For its part, Ecco the Dolphin is about a porpoise, but Annunziata says his goal was always to “create a game that sparked curiosity and respect for the ocean.”

Annunziata tried to get a spiritual successor to Ecco funded on Kickstarter in 2013, but failed to raise enough money to get the project off the ground. He sued Sega for the rights to the original franchise that same year, and ultimately settled with the publisher in 2016, GamesBeat reports. The settlement might be why remasters and a new game can happen in the first place.

While it’s considered a classic for its difficult gameplay and iconic soundtrack, Ecco the Dolphin hasn’t been particularly easy to play legally if you don’t already own it. The game was one of several Sega titles that were delisted from digital storefronts in December 2024.

Annunziata didn’t share further details about either project in the interview, but did point readers to an Ecco the Dolphin website, which currently has a countdown timer that’s set to end on April 25, 2026.

This article originally appeared on Engadget at https://www.engadget.com/gaming/a-new-ecco-the-dolphin-game-and-remasters-are-on-the-way-205338160.html?src=rss 

Apple appeals recent ruling against anticompetitive App Store practices

Last week a federal judge issued a scathing ruling over Apple’s handling of fees for in-app transactions. As promised, Apple has appealed the latest decision in the protracted lawsuit brought by Epic Games over the company’s anti-competitive App Store policies. The initial 2021 ruling attempting to loosen Apple’s grip on in-app sales was all but ignored, as the company went to great lengths in attempting to circumvent the decision.

While the company complied with the judges ruling, it has now filed its promised appeal after it made clear last week that it strongly disagreed with the court’s decision. It remains to be seen if there is any chance for Apple to win the appeal, as Judge Yvonne Gonzalez Rogers sternly reprimanded Apple in her latest ruling.

Her ruling in part read “Apple willfully chose not to comply with this Court’s Injunction. It did so with the express intent to create new anticompetitive barriers which would, by design and in effect, maintain a valued revenue stream; a revenue stream previously found to be anticompetitive. That it thought this Court would tolerate such insubordination was a gross miscalculation.”

It’s not clear what Apple’s legal arguments will be or on what grounds the company is asserting its appeal. While the issue continues to be fought out in court, companies with a large presence on iOS like Epic Games and Spotify have moved quickly to establish external payment methods for their apps. There is every chance that this legal battle could continue for years as Apple continues to defend one of its prime revenue streams and insist on its authority to take a commission from any transactions originating in apps from the App Store.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/apple-appeals-recent-ruling-against-anticompetitive-app-store-practices-191536385.html?src=rss 

Reflections on the Nintendo Switch, the hybrid console that changed gaming

The Switch 2 is nearly here, which means the original Switch is entering its twilight years. It’s been eight years since Nintendo released its revolutionary hybrid console, and while many fans have spent the last couple of those itching for the device to be replaced, now seems like an opportune time to look back at what its legacy may wind up being (while acknowledging that it still has some life ahead of it).

Instead of bleating on myself, though, I turned to the rest of the Engadget staff to see what comes to mind when they think of the Switch, as just about everyone on the team has played with the console. We’ve collected our reflections below — some take a bigger-picture view, some are more personal, some contradict others’ experiences entirely. There’s plenty more that went unsaid. But I think that’s part of the Switch’s beauty; it’s a device that’s resonated with so many, in so many different ways, in its near-decade on the market.

The Switch embodied Nintendo’s lateral thinking with withered technology

Broadly speaking, you can group Nintendo consoles into two types. On one side you have devices that may be distinctive in certain ways but mostly iterate on a previous success or focus on technical upgrades first — think the SNES, GameCube, Game Boy Color, Game Boy Advance, 3DS and, by the looks of it, the Switch 2. (The N64 and original NES could go either way, but I’d put them here too.) On the other you have machines that are more out there, ones that most obviously represent “lateral thinking with withered technology,” the company’s longtime product philosophy championed by legendary designer Gunpei Yokoi.

These eschew cutting-edge technology for mature, cheaper hardware redeployed in novel ways. The worst of these have been existential disasters for Nintendo (Wii U, Virtual Boy). The best have created new forms of play, experiences you could hardly imagine before but make perfect sense in hindsight (Game Boy, DS, Wii). Not coincidentally, these are the consoles that’ve sold best in Nintendo’s history.

The Switch fell firmly in the latter camp. It didn’t really matter that the chip was from an old Android TV player. It didn’t really matter that the Joy-Cons kind of sucked, with beady buttons and thumbsticks that broke too often. It didn’t matter that there was a paltry 32GB of storage, that the (non-OLED) display was barely usable outdoors, that the triggers weren’t pressure-sensitive or that the kickstand always felt like it’d snap off. In a world that, for better or worse, increasingly demands comfort above all else, it won on sheer force of convenience. No other gaming device had ever gone so far to meet players where they live. And it won on the games, as Nintendo systems often do. Like the Game Boy and Wii, the Switch’s concept was so undeniable that its hardware only needed to be good enough for its time in the sun. So that’s all it ever was. It embodied Nintendo’s lateral thinking, blending unremarkable parts into something playful and brilliant. Jeff Dunn, senior reporter

The Switch saw Nintendo (finally) embrace indies

The Switch was an absolute delight for fans of indie game studios. This was really the first time the company truly embraced smaller developers in a comprehensive way, and it paid off big. The console became the de facto way to experience many of the standout titles of the past generation, including stuff like Celeste, Dead Cells, Hades, Golf Story, Undertale, Stardew Valley and, of course, Hollow Knight.

The hybrid nature of the console led many gamers, myself included, to wait for a Switch release of an indie title. This was before the Steam Deck and its ilk, so there really wasn’t any other way to play most of these games on a portable machine. The company’s sudden support for indies was great for gamers, as we got to play cool stuff, but it was also great for Nintendo. Many of these titles sold really well and gave the company some breathing room between first-party releases. Remember, the Switch was woefully underpowered when compared to other consoles so it couldn’t really run many AAA third-party games. Nowadays, Nintendo loves indies so much that they get their own Direct livestreams. My, how times have changed. — Lawrence Bonk, contributing reporter

The Switch was a haven for the golden age of Metroidvanias

It’s fitting that Metroid Prime 4: Beyond will be the Switch’s swan song. Starting with the release of Hollow Knight a year after the system’s debut, the Switch has been the best place to experience the golden age of Metroidvanias. Between Animal Well, Blasphemous 2, Hollow Knight, Nine Sols and Nintendo’s own contributions to the genre, nearly every great Metroidvania since 2017 has made it to the Switch; in fact, Microsoft even released the Ori series on the console.

The Switch was my favorite place to play many of those games. With their often simpler graphics, most Metroidvanias were a perfect fit for the system. For example, Hollow Knight and Metroid Dread run at a flawless 60 frames per second and look great on the system, especially on the OLED model with its ability to produce inky blacks. The Switch’s portability is also a huge boon for these types of games. They’re great for short pick up and play sessions, and even better for longer ones when you can get lost in their worlds. — Igor Bonifacic, senior reporter

In praise of the Switch Lite, the handheld console for everyone

When I think of the Switch, the first object that comes to mind is my coral Switch Lite. No fancy OLED screen, no detachable controllers, no TV input mechanism and a maximum resolution of 720p, all wrapped up in an adorable, handheld, candy-colored package. For me, this is a highlight of the ninth console generation. The Switch Lite is effective because it’s simple: It comfortably fits in most people’s hands (ahem, Steam Deck), it offers a large selection of indie and mainstream games, its screen is just big enough, it travels well and it’s cute as hell. The audience for the Switch Lite spans children to adults, commuters to work-from-homers, and its popularity demonstrates some deep truths about what we actually love in video games. Turns out, photorealistic graphics and uncapped framerates are less important than solid game design and innovative mechanics.

I’ve owned a full-fat Switch and a Lite for years, and while I enjoy playing Mario Kart 8 with friends on the couch, nothing beats the intimacy of curling up with my little Lite. Perhaps it’s not surprising that Nintendo, the creator of the Game Boy and its numerous iterations, knows how to make a fantastic handheld console, but it’s still supremely satisfying. I’m excited about the Switch 2, sure, but the debut console — 8-inch display, detachable gamepads and all — is only responsible for half of that feeling. The other half is on pause and smothered in pastels, patiently waiting on the announcement of a Switch 2 Lite. — Jessica Conditt, senior editor

The Switch is a lesson to all developers, everywhere

Ever since I’ve been able to see how much memory a single Chrome tab uses, I’ve been obsessed with elegance. Not in the ballgowns-and-tuxedos sense, but to pursue efficiency as a form of art, to use self-imposed limitations to surpass anyone’s expectations. It may have been a brightly-colored games console, but the Nintendo Switch was a masterpiece of elegance.

It’s not that modern-day Nintendo has ever really gotten into the bigger-number-is-better wars but then, as now, people were sniffy about the Switch’s power. After all, it was using a modified and, crucially, downclocked version of NVIDIA’s Tegra X1 system on chip. It wasn’t long before everyone started (kinda) joking their smartphones could beat the console in the power metrics.

Compared to the competition? Pfft. The Xbox and PS4 were smog-billowing big rigs next to the Switch’s carbon-fiber bicycle with only one crossbar. And yet, of the three, it’s the console I’ve spent the most time playing during this whole generation. Because for all it lacked in graphical clout, it never seemed to miss out where it counted.

That’s testament to Nintendo squeezing so much damn power out of the Switch, and its willingness to put the work in. Yes, you can get Call of Murder Simulator with ultra-realistic blood spatter on the other two consoles, but it’s not as if there weren’t plenty of demanding titles on this platform too. I can call to mind games like Doom Eternal and The Witcher 3, not to mention top-tier games from the last generation, like Bioshock and Portal.

And that’s before you got to masterpieces like Breath of the Wild and Tears of the Kingdom which are, shockingly good given the hardware they’re running on. Yes, there was the odd frame drop in the latter title, but when you think about what that game was doing, a frame drop was more than forgivable. Fundamentally, the Switch is a lesson to all developers everywhere that they should be disciplined to do a lot more with a lot less. — Daniel Cooper, senior editor

The Switch had me dreaming of a higher-fidelity Hyrule

Apologies in advance if this comes off as another gamer saying Nintendo should make more powerful consoles. That’s not what I’m saying, I swear. Nintendo hasn’t chased the PlayStation or Xbox in graphics power for multiple console generations; it clearly has different priorities. And the art style and attention to detail in its first-party games is nearly unmatched. Rarely have I played any of Nintendo’s games and thought “this could use more pixels” or more “realistic” graphics.

However, in late 2017 I was engrossed in two games: Horizon Zero Dawn on the PS4 and The Legend of Zelda: Breath of the Wild for the then recently released Switch. As fate would have it, both games came out in March, and while Horizon got plenty of positive reviews, it was a bit buried by the hype around Breath of the Wild and its radical reinvention of how a Zelda game plays. And while the two have their fair share of differences, the commonality of exploring a gorgeous and vast open world where you could go to almost anywhere you can see made me think how much I’d love it if Nintendo went all-in on a console and Zelda title that could provide fidelity like in Horizon Zero Dawn.

I’m not saying I need human-realistic characters in a Zelda game — the art direction in Breath of the Wild is great. But the forests, mountains, deserts, caves and rivers in Horizon are perhaps the most beautiful rendering of the natural world that I’ve ever seen in a game. Combining the endless exploration of Hyrule in Breath of the Wild with a Hyrule that looks as good as the world in Horizon does would be an incredible combo, even though it’s not something I’m holding my breath for. That said, the Switch 2 seems like a much more capable console, and you have to imagine the next Zelda game will look a bit different than the last two. Surprise me, Nintendo! — Nathan Ingraham, deputy editor

The Switch changed me from Nintendo skeptic to Nintendo superfan

Before the Switch came out, I knew there were people who proudly wore their Nintendo fandom, but I could not understand their fascination. I think that was because I’d never had my own Nintendo hardware. Every experience I’d had of the company’s games before the Switch was on a console that belonged to a friend, roommate or significant other. That meant as a player, my experience was almost entirely based on casual hangout games like Mario Kart and Mario Party. Later on, as I began writing about games, my professional opinion was that Nintendo made money by manufacturing scarcity with limited releases and a dubious attitude about preservation.

Given all the mid-to-bad feelings I had about the company, I don’t remember why I decided to buy a Switch for myself. It was about a year after the hardware debuted, so maybe I’d seen enough positive buzz that I was ready to see what all the fuss was about. Whatever the reason, I’m so happy I wandered into the store to finally acquire my first Nintendo console that fateful day.

Since then, I’ve spent hours in Super Mario Odyssey, gleefully searching every corner of each world for sneaky hidden moons. I logged even more time in Breath of the Wild, exploring Hyrule as an escape from the doom of COVID in the real world. I’ve logged multiple hundreds of hours uncovering the intrigues of Garreg Mach Monastery and leading my students into battle with Fire Emblem: Three Houses. And you don’t even want to know how many hundreds of hours I’ve spent clearing out pills in Dr. Mario. A bunch of titles that I’d now consider my favorites came from my time playing on the Switch.

I’m sure that if the SNES or the N64 had been my true introduction to the world of Nintendo, I’d have similar warm fuzzies about those generations of games. But the way my timeline has gone, the Switch is the one that introduced me to this joyful and delightful gaming ecosystem. So I see you, Nintendo fans. And now I am one of you. — Anna Washenko, contributing reporter

The Switch was the console I always wanted – until it wasn’t

I was desperately hoping for a console like the Switch before it was announced by Nintendo. That time, I was mainly gaming on the Nintendo 3DS and the PS Vita, until I discovered the Vita TV and realized that I prefer being able to play my handheld games on a bigger screen sometimes. I remember playing Fire Emblem Awakening on the 3DS and thinking of how it would be so much better if I could get a bigger view of the battlefield.

When Nintendo released the Switch years later, it was everything I wanted. You can take your game with you anywhere and then play it on the TV when you’re home? Perfect. The Vita TV wasn’t as seamless, since I had to move memory cards to and from the handheld Vita to play the same game.

Now, years later, my life and my eyesight have gone through some big changes. I no longer play games if I can’t play them on the TV. That means for games that have both a Nintendo and a PlayStation version, I almost always get the one for PlayStation, since it has better graphics and overall quality.

But what about Nintendo-exclusive games? These days, I find myself wishing for a Switch without a screen. Just a simple console like the Vita TV with, perhaps, better specs for crisper graphics and less stuttering. Or, if that’s truly not possible, just one that’s cheaper than the full console. (I’m not the only person who’s called for this!) Alas, there’s no version of the Switch 2 coming out without a display. It’s a wish I may have to carry with me for years like my wish for the Switch’s current form factor — I’ll just have to wait and see if it also comes to life. For now, I’ll just keep on playing on my (docked) Switch. — Mariella Moon, contributing reporter

The Switch helped make handhelds feel special again

I got my Nintendo Switch on launch day way back in March 2017 and it’s the only one I’ve ever owned. And even though its Joy-Con started to drift over the years and its Nvidia Tegra X1 chip was already kind of dated from the get-go, I will always appreciate how that thing held it down for the better part of a decade. Plus, thanks to Nintendo’s magic, it never felt like the console was held back by its less powerful hardware.

However, as we begin the transition to its successor, I really want to praise the Switch for reinvigorating people’s interests in handhelds. When it came out, the Nintendo 3DS was already on its last legs while Sony had all but abandoned the Vita. But thanks to the Switch’s ability to double as both a home console and a portable gaming device, it directly paved the way for so many of the handheld PCs on sale today like the ASUS ROG Ally, Steam Deck and more. This reminds me of how awesome it felt as a kid to bring games with me to help pass the time on long road trips or when the dentist would distract me with a Game Boy during cleanings. It’s something that still feels special today even with the proliferation of laptops and tablets, which can’t quite match that level of engagement and portability, and I will forever appreciate the risk Nintendo took when it designed that flexibility into the Switch’s core identity. — Sam Rutherford, senior reporter

This article originally appeared on Engadget at https://www.engadget.com/gaming/nintendo/reflections-on-the-nintendo-switch-the-hybrid-console-that-changed-gaming-192049755.html?src=rss 

Google is reportedly getting back into film and TV with a tech-friendly production initiative

Google plans to start producing its own films and television shows via a “production initiative” called 100 Zeros, Business Insider reports. The company is working with Range Media Partners, a talent management and production company, to identify projects that appeal to younger audiences and could “promote a positive view of [Google’s] products.”

Besides the obvious opportunity for product placement, the larger goal of the initiative is to fund projects that have a positive view of technology, and to get the creative industry interested in using Google’s products. Immersive View, Google’s 3D aerial scans featured in Google Maps, could be a tool it pushes, Business Insider writes. Veo 2, Google’s AI video model, seems like a natural candidate, too. Whichever way the company goes, 100 Zeros already has a movie under its belt: The initiative reportedly helped pay for the marketing for the indie horror movie Cuckoo.

When Engadget reached out to Google for comment, the company shared the X post below, confirming that 100 Zeros isn’t a studio, but was created to help filmmakers incorporate XR and AI into their productions:

This is not a new studio, it’s an initiative driven by our Platforms & Devices team which includes Android. We’re working with Range to assist the creative community in integrating cutting-edge technologies and platforms, like XR and AI, into their filmmaking.

— News from Google (@NewsFromGoogle) May 5, 2025

Google has some experience in the entertainment industry through its defunct YouTube Red Originals program. When YouTube first launched YouTube Red, the subscription service now called YouTube Premium, it did so alongside a slate of original content featuring notable YouTube talent. The program produced a number of shows and films, including popular series that found homes on other streaming services, like Cobra Kai, but never became a true competitor to Netflix. 

100 Zeros doesn’t sound like another YouTube Red, and instead, a more traditional play to make original content and sell it to other distributors — just with a potentially Google-y flavor.

Update, May 5, 3:30PM ET: This article was updated with a social post from Google confirming the existence of its new production initiative.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/google-is-reportedly-getting-back-into-film-and-tv-with-a-tech-friendly-production-initiative-185138762.html?src=rss 

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