1990 Rolls-royce Corniche Iii Convertible, 1 Of 452 Made Worldwide Over 3-yr Run on 2040-cars

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Top Gear has an Extra Gear problem | Episode Review

When the BBC announced Extra Gear, I was excited. As an avid fan of show's like The Talking Dead – companion show to AMC's hit The Walking Dead – a behind-the-scenes look at my favorite motoring show sounded promising. But with the fifth episodes of each show, I'm worried that Top Gear is suffering to keep Extra Gear interesting. We'll start with Chris Evans, inarguably the most heavily criticized member of the new Top Gear team. Evans is progressively less shouty and more comfortable filming while driving in each episode – the fifth is no different. He's almost likable in the Zenos E10 video, like a ginger James May, and he delivers accurate and eloquent driving impressions. The review is entertaining, until Extra Gear shows the producers cut a huge element – an old-versus-new sprint around the Race of Champions circuit at the Olympic Stadium in London. Former Formula 1 ace David Coulthard would drive a Caterham 360, while current F1 pro Daniel Riccardo rocked the Zenos. If the entire premise of Evans review is that the Zenos E10 is the newest of the new for British super-lightweight track toys, why did the producers decide to leave a race against the segment's standard bearer for Extra Gear? It's a baffling move, cutting a segment of the film that reinforces Evans' excitement over the Zenos. Rory Reid's Jaguar F-Type SVR piece is excellent. Fifty five years to the day after Jaguar test driver Norman Dewis raced to the Geneva Motor Show in a second E-Type for display, Reid would attempt the same feat in an SVR. If he failed, Jaguar wouldn't have a car to display. Dewis made the 750-mile trip with 13 hours of notice, and Reid would need to do the same. It's a brilliant, simple premise that reminded me of Jeremy Clarkson's so-called "Race against God" in a Jaguar XJ, way back in season 16. The history of the challenge and Dewis' gravelly commentary add gravitas. But the entire film goes by so fast. It's longer than Evans' Zenos video or Harris' BMW M2 film, but at less than ten minutes, Reid and the SVR deserved more screen time. Extra Gear poured salt in that particular wound with a great segment featuring Norman Dewis that deserved to be in the main show. Reid takes the famed test driver for a spin around the Dunsfold track, then, instead of the comedian of the week, the hosts interview Dewis on Extra Gear's couch.

Grey Poupon to air new version of famous Rolls-Royce ad, this time with car chase [w/video]

Grey Poupon mustard will revive the concept behind its famous Pardon Me commercials with a new ad that will air only once on television during this Sunday's broadcast of the Academy Awards.
The original spot, which showed two one-percenters sharing the condiment between their Rolls-Royces at an intersection, first aired all the way back in 1981, and variations of it continued up through 1997. Kraft, owner of the Grey Poupon brand, is hoping that reviving the commercial will boost sagging sales and raise the mustard's profile with a younger generation of fancy folk.
So why are we talking about this on Autoblog? Because the new version of the ad won't end with a polite passing of the bottle. Rather, we're told a car chase ensues when the Grey Poupon's owner doesn't get it back. We're assuming the two cars in question will again be a pair of Rolls-Royce sedans, probably Phantoms unless they go with more vintage model years.

Rolls-Royce Wraith Luminary Collection gets celestial headliner

Rolls-Royce has announced a new bespoke collection for its Wraith 2-door luxury coupe that is highlighted, literally, by a headliner full of glittering shooting stars. It's called the Wraith Luminary Collection and its production will be limited to just 55 examples. The car is like its own planetarium on wheels, thanks to a starlight headliner concocted by the folks at the Rolls-Royce Bespoke Collective in Goodwood, West Sussex. It's a handwoven configuration of 1,340 fiber-optic lights mimicking the night sky — and even the occasional shooting star — and it takes 20 hours to configure. Rolls-Royce says eight shooting stars fire at random, mostly over the front seats. Open up the suicide doors and you'll see the celestial theme continued inside the cabin. Tudor oak wood veneer, sourced from forests in the Czech Republic and chosen for its depth of color and grain structure, is back-lit by 176 LED lights that permeates through intricate perforations in the veneer that form another starlight pattern at the touch of a button. "Linked to the controls of the starlight headliner, the cabin's veneer surrounds Wraith's occupants in an ambient glow of light," the luxury marque says. Outside, the Luminary Collection comes pained in Sunburst Grey with rich Saddlery Tan-colored lines hand painted along the bonnet and side body, a color scheme inspired by "the heady shade of the golden hour's sunrays" and referencing the interior leather color scheme. It's also echoed in the center of each wheel. Cockpit seats come trimmed in the same tan leather, while rear seats feature a contrasting Anthracite leather or an available Seashell color for the leather, matched by a two-tone steering wheel. The seats get contrasting piping and stitching tying the colors together. Also new is a hand-woven stainless steel fabric, a new technique for luxury goods borrowed from industrial uses, for the center console and door panniers. Each swath is made up of strands between 0.08 and 0.19 millimeters in diameter and takes three days to produce in a clean-room environment. Finally, the collection features stainless-steel tread plates engraved with the words, "Wraith Luminary Collection — One of Fifty-Five." Prices weren't announced, befitting the brand's aura of exclusivity, but the Wraith starts at a mere $320,000.