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2019 Maserati Ghibli GranLusso S Quick Spin Review | A mixed designer bag

It's been a minute since we've driven the Maserati Ghibli (our first drive was way back in 2013), the twin-turbocharged, V6-powered smaller sedan from the legendary Italian outfit. In the last couple years, rumors have swirled that the Ghibli would donate its platform to the Dodge Charger and its Challenger and 300 siblings. So, in a sense, our time in Southern California in the 2019 Maserati Ghibli GranLusso S was both a preview of FCA's shared rear-drive sedan future as well as a check-in about how the Ghibli is maturing in general. Not that the Ghibli hasn't evolved in the six years since it went on sale. For 2018, Maserati moved to an electrically-assisted steering rack, mostly to enable driver assistance systems with steering intervention. The V6's output has been bumped in the S, to 424 horsepower. The headlights and grille have been updated, too, to compliment the newer and more aggressive Levante. In Los Angeles, at least, the Ghibli doesn't stand out – the town is lousy with Ghiblis, Levantes, and Quattroportes. Good for Maserati, I suppose, but bad for exclusivity. Nor does the car pop in photos like it does in person. My tester was a metallic, creamy white, which is flat and dull in photos or from far away. That's a shame, because this car has phenomenal contouring. From behind the wheel, the driver's side fender porpoises above the shapely hood. Walking along the side, the curvature of the rear fender where it meets the deep tumblehome of the C-pillar is delightful. Everybody stares at an exotic, but the owner of a Ghibli should feel special contemplating their sheetmetal. This sense of specialness dissolves inside. There are Maserati tridents everywhere, presumably to help you remember that you're looking at the expensive Italian sports sedan you just purchased rather than a riot of low-rent, Chrysler-derived bits. The steering wheel buttons feel cheap and wobbly, the too-shiny center console finish seems synthetic, the prominent lighting and engine start/stop controls to the left of the steering wheel are ensconsed in a dull plastic surround. Some of the aesthetic choices – subjective, yes – are confounding. Take the textile inserts on the seats and door cards. I love the fact that interior designers are playing with textiles, which can be used to great effect. And the pitch here is compelling: an apparently famous Italian designer (Ermenegildo Zegna) used a fancy fabric (mulberry silk) with special weaves and textures.

Drive like a prince: Join us for a walk through Monaco's car collection

Small, crowded, and a royal pain in the trunk lid to drive into during rush hour, Monaco sounds like an improbable location for a huge car museum. And yet, this tiny city-state has been closely linked to car culture for over a century. It hosts two major racing events every year, many of its residents would qualify for a frequent shopper card if Rolls-Royce issued one, and Prince Rainier III began assembling a collection of cars in the late 1950s. He opened his collection to the public in 1993 and the museum quickly turned into a popular tourist attraction. The collection continued to grow after his death in April 2005; it moved to a new facility located right on Hercules Port in July 2022. Monaco being Monaco, you'd expect to walk into a room full of the latest, shiniest, and most powerful supercars ever to shred a tire. That's not the case: while there is no shortage of high-horsepower machines, the first cars you see after paying ˆ10 (approximately $11) to get in are pre-war models. In that era, the template for the car as we know it in 2023 hadn't been created, so an eclectic assortment of expensive and dauntingly experimental machines roamed whatever roads were available to them. One is the Leyat Helica, which was built in France in 1921 with a 1.2-liter air-cooled flat-twin sourced from the world of aviation. Fittingly, the two-cylinder spun a massive, plane-like propeller. Government vehicles get a special spot in the museum. They range from a Cadillac Series 6700 with an amusing blend of period-correct French-market yellow headlights and massive fins to a 2011 Lexus LS 600h with a custom-made transparent roof panel that was built by Belgian coachbuilder Carat Duchatelet for Prince Albert II's wedding. Here's where it all gets a little weird: you've got a 1952 Austin FX3, a Ghia-bodied 1959 Fiat 500 Jolly, a 1960 BMW Isetta, and a 1971 Lotus Seven. That has to be someone's idea of a perfect four-car garage.  One of the most significant cars in the collection lurks in the far corner of the main hall, which is located a level below the entrance. At first glance, it's a kitted-out Renault 4CV with auxiliary lights, a racing number on the front end, and a period-correct registration number issued in the Bouches-du-Rhone department of France. It doesn't look all that different than the later, unmodified 4CV parked right next to it. Here's what's special about it: this is one of the small handful of Type 1063 models built by Renault for competition.

Audi gets Q2 and Q4 badges in trademark swap with FCA

Audi has swapped trademarks with Fiat Chrysler Automobiles to snare the rights to the Q2 and Q4 badges for upcoming crossover SUVs. Audi CEO Rupert Stadler confirmed at the Detroit Motor Show that the automaker had finally persuaded FCA to release the two names that would let Audi lock up the Q1 to Q9 badges for its growing SUV family. Audi already plans to drop the Q2 name onto its MQB-based city crossover five-door this year, while the Q4 badge will slot onto the rump of a coupe-like version of the next Q3. It will also reserve the Q1 badge for a 2018 baby crossover, based around the architecture of the next A1 hatch. The A1 will share a lot of its engineering with Volkswagen's Polo-based soft-roader, dubbed T-Cross in concept form. The German company has also pounced on the naming rights for SQ versions of all of its Q-cars, along with F-Tron to cover the day when it pushes hydrogen fuel cell cars into production. Stadler insisted that no money had changed hands in order to pry the two badges off FCA, admitting that they had "each found something we needed." "We promised each other we wouldn't disclose what it cost, but it was not something they were willing to sell," Stadler said. "We tried to get it years ago and they said 'No, never,' but there is never 'never' in business. ... This year I went back to them with a proposal and we talked and there were some negotiations and then we agreed to it." Those negotiations are believed to have centered on a trademark swap with a Volkswagen Group name that FCA desperately (evidently) wants to use on a Fiat, Alfa Romeo, Chrysler, Dodge or Maserati. Asked if Audi had given FCA a trademark in return for Q2 and Q4, Stadler replied, "Something very much like that, yes." Audi has used Italian names on past concept cars that FCA could be interested in, such as the 2001 Avantissimo concept and the 2003 Nuvolari coupe. The latter was named after legendary pre-war racer Tazio, who won grands prix for both Alfa Romeo and Audi's forerunner, Auto Union. Both are unlikely trade chips, with laws in Europe preventing the trademarking of the names of actual people. There is always "quattro" (Italian for "four"), but after investing nearly four decades locking it in as an Audi all-wheel-drive name, it's just not anything like trade bait.