Driving Lamborghini’s $600,000 Ultra-Powerful Plug-In Hybrid - Kanebridge News
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Driving Lamborghini’s $600,000 Ultra-Powerful Plug-In Hybrid

By JIM MOTAVALLI
Mon, Jul 29, 2024 9:38amGrey Clock 4 min

No longer are supercars powered strictly by muscular V8 and V12 engines, producing a mighty roar as they burn gallons of gas at a ferocious rate. Today’s entries can have hybrid, plug-in hybrid, or pure electric drive. But they’re still awesomely fast, with neck-snapping acceleration.

The new Lamborghini Revuelto, a novel form of plug-in hybrid, puts out an eye-opening 1,001 horsepower (with 739 pound-feet of torque) via a combination of three electric motors (two on the front axle) and a mid-mounted—and exposed to the elements—V12 that, by itself, produces 825 horsepower. It manages to produce more power with some beneficial weight loss. That’s coupled to an eight-speed dual-clutch automatic (with manual paddles) and a 3.8-kilowatt-hour battery pack (with LG cells) that gives the Revuelto five or six miles of all-electric travel.

Hybrid drive in the Revuelto is not so much to achieve better fuel economy, though that’s one result, but is primarily a way of boosting power output as needed. It also yields all-wheel drive. Sales started early this year, and Lamborghini plans to produce about 1,500 to 1,600 Revueltos annually (with the supply limited by the company’s ability to produce its carbon-fiber structure). The inventory is sold out until 2026. As is true of many supercar companies, the SUV is the biggest seller—Lamborghini produces about 5,000 Urus SUV models each year.

The Lamborghini Revueltos in convoy in the Hudson Valley.
Lamborghini photo

The list price of the 2024 Revuelto is US$604,363. As tested, with the biggest option being US$13,100 for the special greyish paint, the bottom line was US$681,258. Lamborghini handed over the Revuelto keys at the 140-acre Wildflower Farms resort in Gardiner, N.Y., for a 90-minute drive around the scenic Hudson Valley. Although the car is capable of a stated 217 miles per hour in the right context, it was still huge fun to drive it at much more moderate speeds on the curvy local roads.

Matteo Ortenzi, product line director for the Revuelto, explained that having two motors up front increases the opportunity for effective torque vectoring, which improves handling by delivering power to the individual wheels as needed. “The feel is of a lighter and more powerful car,” Ortenzi says. “We didn’t build the Revuelto just to say we did a hybrid.”

As in other hybrids, the Revuelto returns power to the battery on deceleration, a process called “regenerative” braking or in Ortenzi’s words, “using negative torque.” After the 90-minute drive, the Revuelto still had a 90% charge. Lamborghini doesn’t think owners will need to plug it in often, though it provides a charging cord. The charge portal is actually under the front hood, a “frunk” where the car has its limited luggage space.

A row of Revueltos with scissor doors up.
Jim Motavalli photo

Entering through the vertically opening scissor doors requires some agility, but soon becomes second nature. Leg room is good, and the bolstered seats hold the driver in firmly—a good thing considering the speeds and g-forces the car can achieve. The gauges are brightly digital, with huge single-digit numbers for the gear selected. There’s an 8.4-inch touchscreen mounted centrally, and a third 12.3-inch unit for the passenger. The start-stop button is under a military-grade protective cover.

The drive started in EV mode, yielding a quiet getaway that didn’t disturb resort guests. Small dials on the dash control the driving modes. Città (city) is for city electric, Strada (street) for comfortable cruising, Sport (self-explanatory), and Corsa (race, for total performance).

All the modes were sampled, but Strada was a nice balance of performance and driving pleasure. Sometimes using paddles seems not worth the bother, but in the Revuelto the big flippers provided instant gear changes and a nice feeling of control. Slowing down, the transmission acts on its own to downshift. Everything works together: the tight steering (with rear-wheel steering, too), the firm but not harsh suspension, and the hugely reassuring carbon-ceramic brakes. The engine barks out a very Italian song. It’s quite a driver’s car, though not one that can take the family to Disneyland.

The Revueltos engine is exposed to the elements.
Jim Motavalli photo

In the classic muscle car, huge V8 engines were stuffed under the hoods of regular passenger vehicles, sometimes without much thought as to how the powerful result would get around corners or stop. The Revuelto, despite that fearsome 1,001 horsepower, seems to have been fully engineered to handle what it puts on the ground. It can reach 62 miles per hour in 2.5 seconds, with the driver in firm control.

Plug-in hybrids like the Revuelto are a big step toward battery EVs. Lamborghini showed the Lanzador, a fully electric concept car, during Monterey Car Week in 2023 . Exactly when a production model will appear is unclear. “It’s not when, but how,” Ortenzi says. “The world doesn’t need just another electric car; it needs an electric Lamborghini.”



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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.

By Kyle Smith
Thu, Mar 20, 2025 3 min
Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.

Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.

Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.

Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”

After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.

Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.