A new command-line tool published to GitHub consolidates Workspace’s sprawling APIs into a single interface. It also signals how seriously the company is taking the agentic AI moment.

The tool, whose documentation describes it as “one CLI for all of Google Workspace, built for humans and AI agents,” is called gws. It provides unified command-line access to Gmail, Google Drive, Calendar, Docs, Sheets, Slides, Chat, and most other Workspace services.

But the more revealing detail is buried in the instructions: the documentation includes a dedicated integration guide for OpenClaw, the open-source AI agent that went viral in late January and has since become something of a Rorschach test for where agentic AI is headed.

Google’s decision to name-check OpenClaw in official documentation, even unofficial official documentation, is not something companies do by accident.

Why a command-line tool matters for AI agents

The 💜 of EU tech

The latest rumblings from the EU tech scene, a story from our wise ol’ founder Boris, and some questionable AI art. It’s free, every week, in your inbox. Sign up now!

Before GWS, an AI agent that wanted to search a Gmail inbox, pull a file from Drive, and update a Calendar event had to navigate three separate APIs, each with its own authentication flows, rate limits, and response formats. The process worked, but as PCWorld described it, it was “a royal pain.”

The new tool collapses that into a single interface. Every operation produces structured JSON output the format AI agents can parse reliably without the ambiguity that can derail graphical interfaces. Authentication is handled once via OAuth, then inherited by any agent that calls the tool.

The architecture has one particularly elegant feature: gws does not ship a static list of commands. Instead, it reads Google’s own Discovery Service at runtime and builds its entire command surface dynamically. When Google adds a new API endpoint, the tool picks it up automatically.

There is no version to update, no stale documentation to wrestle with. For agents designed to work across long time horizons, that self-updating quality is not a minor convenience; it is a meaningful reliability guarantee.

The repository also includes more than 100 pre-built “agent skills” covering common Workspace workflows: uploading files to Drive with automatic metadata, appending data to Sheets, scheduling Calendar events, forwarding Gmail attachments, and dozens of similar operations.

These are the discrete, composable building blocks that agent frameworks like OpenClaw are designed to chain together.

The OpenClaw connection

OpenClaw’s story has moved fast. The project was published in November 2025 by Peter Steinberger, an Austrian software developer, under the name Clawdbot, a name that drew a trademark complaint from Anthropic.

After a brief stint as Moltbot, it settled on OpenClaw in late January 2026. Within weeks, users had created 1.5 million agents using the platform; the GitHub repository accumulated nearly 200,000 stars. OpenClaw’s premise is simple enough to fit on a business card: AI that actually does things.

On 14 February, Sam Altman announced that Steinberger was joining OpenAI to lead the next generation of personal agents. OpenClaw would move into an independent open-source foundation that OpenAI would support. “The lobster is taking over the world,” Steinberger wrote in his farewell post. “My next mission is to build an agent that even my mum can use.”

Google’s Workspace CLI landing in the middle of that story, with OpenClaw integration instructions in the documentation, three weeks after Steinberger joined OpenAI, is the kind of timing that does not look accidental. Whether it reflects a deliberate competitive response, a coincidental release, or simply developers at Google shipping something that was already in progress is not confirmed.

What is clear is that a major platform company has now built infrastructure specifically to make its apps more useful for the open-source agent ecosystem that OpenAI just acquired the architect of.

MCP and the broader picture

Beyond OpenClaw, gws also functions as a Model Context Protocol server. MCP is the open standard for how AI agents communicate with external tools, originally developed by Anthropic and now adopted across the industry. Running gws mcp exposes Workspace APIs as structured tools that any MCP-compatible client, Claude Desktop, VS Code with AI extensions, or Google’s own Gemini CLI, can natively call.

That MCP support is significant because it means the tool is not merely an OpenClaw utility. It is infrastructure for the entire class of AI agents that is converging on MCP as a standard. Google is, in effect, making Workspace a first-class citizen in the emerging agent ecosystem, regardless of which model or framework is doing the work.

One important caveat: Google’s documentation explicitly notes that gws is “not an officially supported Google product.” It is published as a developer sample, meaning there are no guarantees of stability, security, or ongoing maintenance at the level of a production service. For individual developers and experimenters, that is a manageable risk.

For enterprises considering deploying AI agents against live Workspace data, it is a meaningful limitation, particularly given the ongoing concerns about OpenClaw’s security model, which a Cisco research team found vulnerable to data exfiltration and prompt injection via malicious third-party skills.

What Google is signalling

Addy Osmani, Director of Google Cloud AI, has framed his team’s focus as building infrastructure for agentic systems, those capable of generating command-line inputs and managing structured outputs across complex workflows. The Workspace CLI fits that vision directly.

The broader pattern is legible. Microsoft has Copilot Tasks. OpenAI now has the architect of OpenClaw. Google has its own Gemini agent stack, and now a CLI that makes its most widely-used productivity suite readable by any agent that speaks JSON and MCP.

The competition for where enterprise AI agents live and what data they can reach is accelerating, and the battleground increasingly looks like the infrastructure beneath the applications, not the applications themselves.

For now, gws is a GitHub repository with a caveat. But the 14,000 stars it accumulated before most journalists noticed suggest that developers who build agents for a living already understand what it means.

Looking for the most recent regular Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle and Strands puzzles.

Today’s Connections: Sports Edition features a mix of topics. As a Minnesota Vikings fan, the green group came quickly to me. If you’re struggling with today’s puzzle but still want to solve it, read on for hints and the answers.

Connections: Sports Edition is published by The Athletic, the subscription-based sports journalism site owned by The Times. It doesn’t appear in the NYT Games app, but it does in The Athletic’s own app. Or you can play it for free online.

Read more: NYT Connections: Sports Edition Puzzle Comes Out of Beta

Hints for today’s Connections: Sports Edition groups

Here are four hints for the groupings in today’s Connections: Sports Edition puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.

Yellow group hint: Rocky Mountain High.

Green group hint: Upper Midwest division.

Blue group hint: Speed demons.

Purple group hint: Leading the team.

Answers for today’s Connections: Sports Edition groups

Yellow group: A Colorado athlete.

Green group: NFC North cities.

Blue group: Types of racing.

Purple group: Coach ____.

Read more: Wordle Cheat Sheet: Here Are the Most Popular Letters Used in English Words

What are today’s Connections: Sports Edition answers?

The yellow words in today’s Connections

The theme is a Colorado athlete. The four answers are Bronco, Buffalo, Nugget and Rockie.

The green words in today’s Connections

The theme is NFC North cities. The four answers are Chicago, Detroit, Green Bay and Minneapolis.

The blue words in today’s Connections

The theme is types of racing. The four answers are BMX, drag, horse and stock car.

The purple words in today’s Connections

The theme is Coach ____. The four answers are Carter, K, Prime and speak.

At CanJam NYC 2026 this past weekend, Grell’s latest design, the Grell OAE2 open back headphones, made their U.S. public debut. The $599 model builds on the original OAE1 and continues Grell’s pursuit of tonal accuracy, mechanical precision, and long-term listening comfort. The open back over ear design incorporates a newly optimized dynamic driver and an acoustically refined housing intended to improve airflow and project a more speaker like soundstage presentation in front of the listener.

If you’ve spent enough time walking the halls at hi-fi shows, you know the routine. Every year a handful of startups promise they’ve reinvented the wheel and that what you’re about to hear will change everything you thought you knew about speakers or headphones. You nod politely, sit down, listen for a few minutes, and try not to roll your eyes when the demo playlist inevitably lands on Diana Krall, the Eagles, or Norah Jones.

But when the name on the badge is Axel Grell, you stop joking around and actually pay attention.

Grell is hardly another “trust us, it’s revolutionary” startup voice on a crowded show floor. Before launching his own brand, the veteran headphone engineer spent decades at Sennheiser, where he was responsible for developing some of the most respected high end headphones of the past few decades. Small German company. You might have heard of it. They also make a decent strudel.

How the Grell OAE2 Tries to Move the Soundstage Out of Your Head

One of the biggest limitations of traditional headphones is the so called “in head” effect. Because the drivers sit millimeters from the ear and fire directly into the ear canal, most headphones create a listening perspective where instruments appear to originate from inside the listener’s head rather than from a believable space in front of them. While open back designs can widen the presentation and improve air and separation, they rarely change the fundamental geometry of how the sound reaches the ear. The result is often a presentation that feels spacious but still anchored inside the listener’s skull rather than resembling the externalized imaging produced by loudspeakers.

The Grell OAE2 open back headphones were engineered to address that specific limitation. Instead of following the conventional layout where the driver points straight into the ear canal, Axel Grell designed the acoustic structure so the output interacts more deliberately with the outer ear before entering the ear canal. This approach allows the pinna and surrounding ear structures to contribute to spatial cues in a way that more closely resembles how we hear speakers in a room.

In speaker listening, sound reaches the ear only after interacting with the head, shoulders, and outer ear, creating small timing, phase, and tonal variations that the brain uses to interpret direction, distance, and placement. By preserving more of those interactions inside the headphone structure, the OAE2 attempts to shift the listening perspective forward so that instruments appear positioned in front of the listener rather than inside the head.

The goal is not to artificially exaggerate soundstage width or create gimmicky spatial effects, but to maintain stable imaging, natural treble perception, and controlled low frequency behavior while presenting music in a way that resembles nearfield loudspeaker listening.

For listeners accustomed to the traditional headphone presentation, the perspective can initially feel unfamiliar, but the intention is that the brain adapts to the spatial cues over time, making the presentation feel more natural and less fatiguing during long listening sessions.

German Engineering, Replaceable Parts, and None of That Disposable Headphone Nonsense

Beyond the acoustic design, the Grell OAE2 reflects Axel Grell’s long standing belief that premium headphones should be built to last. Instead of chasing short product cycles, the design emphasizes durability, serviceability, and long term ownership. In other words, the opposite of the sealed plastic approach that dominates much of the modern headphone market.

At the center of the OAE2 is a 40 mm wideband dynamic driver built around a bio cellulose diaphragm, paired with a carefully tuned damping system. Part of that system includes a precision manufactured stainless steel acoustic mesh produced in Germany, which helps regulate airflow and maintain consistent driver behavior. The goal is controlled acoustics rather than brute force tuning, supporting the headphone’s spatial presentation without introducing unwanted resonances or instability.

Construction follows a modular all metal architecture with replaceable components that can be serviced if parts wear out. The idea is simple: headphones should not become disposable because one component fails. Connectivity is equally straightforward. The OAE2 ships with two detachable 1.8 m cables, including a 3.5 mm single ended cable and a 4.4 mm balanced cable, along with a screw on 3.5 mm to 6.3 mm adapter for traditional headphone amplifiers and a protective carry case.

From a technical standpoint, the OAE2 remains close to the OAE1 but with small refinements. The circumaural open back design uses a dynamic transducer rated from 12 Hz to 34 kHz within ±3 dB, extending from 6 Hz to 46 kHz at -10 dB. Nominal impedance is 38 ohms with 100 dB sensitivity at 1 kHz (1 VRMS), making it compatible with portable players while still benefiting from a capable amplifier. Total harmonic distortion is rated at 0.05 percent at 1 kHz and 100 dB, and the headphone weighs 378 g (13.3 oz) without the cable attached. Slightly heavier than the OAE1 by three grams. German engineering apparently does not skip arm day.

The Germans Ran the Numbers. Now We Listen.

Grell kept things refreshingly simple at CanJam NYC 2026. No $30,000 source chain, no mystical demo playlist, and no attempt to overwhelm people with exotic gear. Just three pairs of the Grell OAE2, a few source devices, and a small stack of EarMen ST-Amp headphone amplifiers priced around $400.

The setup was about as straightforward as it gets for a show floor demo. The EarMen ST-Amp offers both single ended and balanced output options, rated at 0.5W into 32 ohms (4V) single ended and 1.85W into 32 ohms (7.75V) balanced, which is more than enough for a 38 ohm headphone like the OAE2. In other words, plenty of clean power but nothing exotic that might artificially inflate the listening experience.

Even the music selection avoided the usual trade show clichés. There were no sacred audiophile demo tracks looping endlessly in the background. Attendees could simply plug in their own phone and listen to whatever they wanted. Which I appreciated. I even spent a little time surfing through German tracks on the playlist. My German is… limited. Although if knowing Yiddish counts as partial credit, I was doing just fine.

A short run through Deadmau5, Daft Punk, and Aphex Twin was enough to get my attention. The OAE2 leans toward a neutral presentation without obvious boosts or dips across the spectrum. Clean, but not the sterile kind of clean that some German designs fall into. Bass is not tuned for exaggerated punch, but the definition and speed are excellent, especially with electronic music that depends on tight timing. The top end is equally well behaved. Detailed and open without any glare or hardness.

Then came the part that really mattered. Soundstage. The presentation is clearly wide, but not absurdly wide in the artificial sense. Think more East River to the IAC Building on the West Side Highway wide, not across the Hudson into New Jersey for chili dogs at Hiram’s wide. More important than width, however, is placement in front of the listener. If Axel Grell’s goal was to push the image outside the head and create what I would call a “nearface” listening perspective about 6 to 10 inches in front of you, the OAE2 largely succeeds.

Switching over to vocals confirmed that impression. Tracks from Amy Winehouse, Billie Holiday, Bjork, and Belinda Carlisle showed the same spatial behavior. Voices did not collapse into the center of the skull as they often do with headphones. Some appeared slightly closer, others further back, but the image remained focused and stable. Never diffuse. Always locked in dead center. And frankly, that was pretty impressive.

The Bottom Line

The Grell OAE2 stands out for one reason: it actually delivers on the promise of moving the soundstage out of your head and placing it slightly in front of the listener. The effect is not gimmicky or exaggerated. Instead, it feels closer to a nearfield speaker presentation with stable imaging and natural placement. Sonically the tuning leans neutral with clean treble, fast and well controlled bass, and no obvious peaks designed to impress in a quick demo.

Comfort was also encouraging. Clamping force is moderate, the headband is well padded, and the overall build quality feels appropriate for a headphone expected to retail for $599 / £499 / €499. Based on our first listen at CanJam NYC 2026, Axel Grell’s latest design shows real promise. A full review is coming later this month once we spend more time with a production unit.

For more information: grellaudio.com

Related Reading:

The hype for Gang of Dragon, the debut game from Nagoshi Studio, may already be getting derailed. According to a Bloomberg report, Chinese tech giant NetEase is going to stop financing Nagoshi Studio starting in May. Bloomberg confirmed the news with the studio’s employees and a NetEase spokesperson.

The report explained that NetEase decided to cut funding to Nagoshi Studio, which was founded in 2021 by Yakuza franchise creator Toshihiro Nagoshi, after finding out the studio needed $44.4 million to complete the project. Bloomberg reported that Nagoshi Studio is trying to find new sponsors but hasn’t had any success so far. The report also added that the studio can continue the project on its own, but would be responsible for paying NetEase for any associated costs to hold onto the brand or assets.

While Nagoshi Studio may have been working on Gang of Dragon since the studio’s creation, the general public got a better look at the title through a trailer announcement during The Game Awards 2025. The action-adventure game set in Tokyo would star Ma Dong-Seok, a South Korean actor who starred in Train to Busan and Marvel’s Eternals. As of now, Nagoshi Studio might be at risk of joining other casualties stemming from NetEase’s executive decisions, like when the tech giant decided to shut down Ouka Studio in 2024.