Chinese robotaxis due in London next year as Lyft and Uber reveal tie-ups
Chinese robotaxis are due to be on the streets of London next year after the US ride-hailing companies Lyft and Uber announced tie-ups with Beijing-based Baidu to deploy its self-driving technology.Lyft is the third firm to announce plans to introduce self-driving taxis to the UK capital next year, after Uber and Waymo, the main operator of robotaxis in the US.Its ride-hailing services are the major rival to Uber’s in the US and Canada, and this year Lyft expanded into Europe after acquiring the Freenow app in the summer.While Uber had signed a deal to work with Baidu in the summer in other global markets, it had not until now said that the Chinese tech company’s Apollo Go cars were planned for London.It had previously announced its services would be operated with self-driving technology from the UK-US firm Wayve.
Lyft said it planned to start tests with dozens of self-driving Apollo Go cars in London in 2026,News that the Chinese technology company could be the driving force behind London’s autonomous trials next year heightened concerns in some quarters, after warnings that even normal electric vehicles could be used for spying purposes,Security experts warned that Chinese technology dominating the market could increase Britain’s vulnerability,Charles Parton, an associate fellow at the defence thinktank Rusi, said the move posed additional risks to national security, from Beijing exploiting UK dependency on their technology, to harvesting massive amounts of data, and potentially even directly controlling the systems,He said: “The problem is the connectivity of these vehicles.
If the Chinese get a monopoly we’re in trouble, and this is another step to them doing this.“In times of tension or warfare they could turn things off … you are basically allowing them to turn off, stall or crash all the taxis in London, and cause gridlock.”Baidu’s Apollo Go is Asia’s leader in autonomous ride-hailing, operating in 22 cities and providing about 250,000 fully driverless rides a week.David Risher, the chief executive of Lyft, said that Baidu’s RT6 electric vehicles were purpose-built for rideshare and “focused on giving people a reliable, high-comfort ride”.He said its vision for the UK was for a “hybrid network” of autonomous vehicles and human drivers “working together to serve London’s diverse transportation needs now and beyond – from late-night trips home to Heathrow rides, to early commutes across town, and everything in between”.
He said the company was committed to working closely with Transport for London and local authorities “to ensure these vehicles enhance London’s transportation ecosystem”.Uber announced its own plans to use Baidu’s autonomous vehicles in London with a post on X.It said: “Testing is expected to start in the first half of 2026, under the UK’s frontier plan to begin trials for self-driving vehicles.We’re excited to accelerate Britain’s leadership in the future of mobility, bringing another safe and reliable travel option to Londoners next year.”An Uber spokesperson confirmed the Baidu trials would be in addition to those with Wayve.
The race to bring robotaxis to London has been pushed by the UK government, which is looking to pass laws to swiftly open up Britain as a European frontrunner in driverless technology.The announcement by Waymo in October fuelled particular interest, with the company’s robotaxis now well established in San Francisco and expanding to other US cities including Austin, Texas.A major power outage in San Francisco this weekend led to traffic jams caused by stationary Waymo vehicles, adding fresh concerns to official scrutiny of the reliability of the technology.
The Guide #222: From Celebrity Traitors to The Brutalist via Bad Bunny – our roundup of the culture that mattered in 2025
It’s time to look back on a year of Traitors and Sinners, of Bad Bunnies and Such Brave Girls, with the Guide’s now annual roundup of the year’s best culture. As ever, the Guardian is already knee-deep in lists – of films (UK and US), albums (across rock and pop, and classical), TV shows, books and games, and theatre, comedy and dance. Some of those have already counted down to No 1, others will reach their respective summits in the coming days, so keep an eye on the homepage.Our list meanwhile is entirely, unapologetically partial, and definitely not as comprehensive as The Guardian’s many top 50s: there are numerous albums we never got around to hearing, and TV shows we’re still only halfway through. (Pluribus, Dope Thief and Blue Lights, I will return to you, I promise!) But hopefully it should give a flavour of a year that, despite so many headwinds, was a pretty strong one for culture
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Avatar: Fire and AshOut now James Cameron comes down with a case of the Christmas blues, so to speak, as the director’s record-breaking franchise epic returns once more to planet Pandora for more internecine strife and respecting of the splendour of the natural world, rendered in dazzling motion-capture glory.Silent Night, Deadly NightOut now Actor Rohan Campbell graduates from Michael Myers wannabe in the fairly dire Halloween Ends, to main bogeyman Billy Chapman in the latest instalment of the Silent Night, Deadly Night franchise (second remake, seventh film overall, fact fans). Per franchise lore, he witnessed his parents’ murder-by-Santa aged five, and the rest is grisly history.Fackham HallOut now Jimmy Carr turns his hand to screenwriting with this parody of Downton Abbey-type films. Given the actual Downton Abbey films already play as a parody of Downtown Abbey-type films, there may not be much to add, but a cast including Thomasin McKenzie, Katherine Waterston, Damian Lewis and Anna Maxwell Martin are here to give it their best shot
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Dev Hynes’ deeply personal response to his mother’s death embodied the many unexpected shades of grief in pastoral hymnals and post-punk The 50 best albums of 2025 More on the best culture of 2025There’s a lot of grief across the best albums of this year. It’s unsurprising: 2025 has felt like a definitive and dismal break with government accountability, protections for marginalised people and holding back the encroachment of AI in creative and intellectual fields, to cherrypick just a few horrors. Anna von Hausswolff and Rosalía reached for transcendence from these earthly disappointments. Bad Bunny and KeiyaA countered colonial abuse and neglect with writhing resistance anthems. On a more personal scale, Lily Allen and Cate Le Bon grappled with disillusionment about mis-sold romantic ideals
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