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For EV drivers, realities may dampen the electric elation

The Atlantic, a decades-old monthly journal well-regarded for its intelligent essays on international news, American politics and cultural happenings, recently turned its attention to the car world. A piece that ran in The Atlantic in October examined the excesses of the GMC Hummer EV for compromising safety. And now in its latest edition, the magazine ran a compelling story about the challenges of driving an electric vehicle and how those experiences “mythologize the car as the great equalizer.” Titled “The Inconvenient Truth About Electric Vehicles,” the story addresses the economics of EVs, the stresses related to range anxiety, the social effects of owning an electric car — as in, affording one — and the overarching need for places to recharge that car. Basically, author Andrew Moseman says that EV life isn't so rosy: “On the eve of the long-promised electric-vehicle revolution, the myth is due for an update. Americans who take the plunge and buy their first EV will find a lot to love Â… they may also find that electric-vehicle ownership upends notions about driving, cost, and freedom, including how much car your money can buy. "No one spends an extra $5,000 to get a bigger gas tank in a Honda Civic, but with an EV, economic status is suddenly more connected to how much of the world you get to see — and how stressed out or annoyed youÂ’ll feel along the way.” Moseman charts how a basic Ford F-150 Lightning electric truck might start at $55,000, but an extended-range battery, which stretches the distance on a charge from 230 miles to 320, “raises the cost to at least $80,000. The trend holds true with all-electric brands such as Tesla, Rivian, and Lucid, and for many electric offerings from legacy automakers. The bigger battery option can add a four- or five-figure bump to an already accelerating sticker price.” As for the charging issue, the author details his anxiety driving a Telsa in Death Valley, with no charging stations in sight. “For those who never leave the comfort of the city, these concerns sound negligible," he says. "But so many of us want our cars to do everything, go everywhere, ferry us to the boundless life we imagine (or the one weÂ’re promised in car commercials),” he writes. His conclusions may raise some hackles among those of us who value automotive independence — not to mention fun — over practicalities.

This is what a 3D-printed liquid metal Ford Torino looks like

Artist Ioan Florea has encapsulated a 1971 Ford Torino with 3-D-printed liquid metal transferred onto the car using technology that he developed, and the result is a stunningly shiny, seamless design.
"The surface has the highest coefficient of reflectivity never achieved before," Florea told us in an e-mail, using "nano-materials and nano-pigments that create an internal three-dimensional structure and dictate the polymer how to behave." Sure... We'll leave it to him to make any more 3-D-printed liquid metal-transferred art pieces.
Florea grew up in Romania, and the motivation behind picking the old Ford as his canvas came from his childhood memories of what an American car is - "big and wide and fascinating," he says - and the European name of the car itself, which it shares with an Italian city.

Ford's J Mays feels vindicated by Fusion reception

It's hard to think back now, but the same man overseeing the design of the 2013 Ford Fusion also presided over a rather lackluster period in Ford design, highlighted by vehicles like the Five Hundred and Freestyle. With the redesigned Fusion receiving high praise, J Mays tells Automotive News that he feels vindicated from criticisms suggesting he's not a daring enough designer.
When Mays took over as lead of design in 1997, he admits to having quite an ego ("My head would barely fit through the door some days. I've long since gotten over myself") and the workload to match. With the Blue Oval's portfolio full of premium brands like Aston Martin, Jaguar, Land Rover and Volvo at that point, along with the bread-and-butter Ford, Lincoln and Mercury models, Mays certainly had quite the challenge.
It was in the mid-2000s that Mays took over just the premium brands, and took on the new title of Chief Creative Officer. At the time, Mays endured some criticism for looking backwards to retro styling, rather than setting a new standard for American car design - criticism that Mays says he is free from with the all-new Fusion.