Koenigsegg Agera RS Chimera combines technologies from Agera RS, CC850, and Jesko. An Agera RS platform features the engine from the Jesko and the simulated manual gearbox from the CC850. Development took three years, thanks to software and hardware integration challenges. A "chimera," for the uninitiated, is described as a mythical creature whose anatomy comes from multiple animals, creating a hybrid of two or more creatures' best bits. It's also the name of the latest one-off creation from Koenigsegg, and it's certainly apt; the Koenigsegg Agera RS Chimera is an amalgam of technologies from the decade-old, record-breaking Agera RS, the fascinatingly innovative CC850, and the awe-inspiring Jesko - which just recently set four new acceleration records. There's also a hint of Regera in here, which had some impressive records of its own. As reported by Mr. JWW, the strictly one-off special edition was commissioned by FIA President Mohammed Ben Sulayem, and both he and one of Koenigsegg's engineers arrived at the same name. Let's take a closer look and see exactly why this is a hybrid, even though it's not electrified. Three Cars In One The Chimera was originally a regular Agera RS and one of several Koenigsegg megacars owned by Ben Sulayem, but he asked Christian and the team to initiate a special project on his behalf. Around the same time, the extraordinary Koenigsegg CC850 was revealed at Monterey Car Week 2022, introducing the innovative Engage Shift System (ESS). This was based on the already astonishingly fast nine-speed Light Speed Transmission, with new actuators and sensors added to enable the simulation of a manual transmission without a physical link between the shifter and the gearbox. Like the rest of the world, the FIA boss was enamored by this novel technology, and as a wealthy 'Egg collector, he asked for it to be put into his special Agera-based project. Christian pondered this and ultimately decided to fulfill the request, in the process turning Ben Sulayem's special edition into something of a development mule for the ESS. But unlike the CC850, the Chimera got the larger turbos of the Jesko, enabling around 1,280 horsepower on regular gas and up to 1,600 hp on E85. That means this is an Agera RS with a CC850 transmission and a Jesko engine. On paper, that sounds simple, but the reality was anything but... Three Shifting Experiences Took Three Years To Combine According to a video from YouTuber and Koenigsegg distributor Mr. JWW, this development process took three years and required the relocation of the battery, new mounts for the powertrain, new harnesses, new software and controllers, and even a new infotainment system. To ensure all the electronics worked seamlessly was a challenge, but then Ben Sulayem asked for another layer of intricacy, requesting that paddle shifters be added, like in the Jesko Absolut and Jesko Attack. In the CC850, you could only switch between the simulated manual mode and fully automatic shifts, but now, the Chimera's development has unlocked manually operable paddles, which have now been added as the only option you can add to a CC850. There was also significant relocation and redesigning of suspension components, with parts from the Jesko and the Regera forming the subframe and elements of the suspension, respectively. A new scoop for the new transmission's cooler was also added, but it looks like it was always planned. Christian von Koenigsegg says this is a true one-off, saying that it would be cheaper and easier to start something all-new from scratch than to mix new and old technologies again, and that it's simply "too much work" to tackle a retrofit project. The Chimera is not completed just yet, as there are still subtle elements to refine, such as the bite point of the clutch pedal, but these minor issues will surely be resolved soon. It's an amazing feat, combining three hypercars in one, and we can't even fathom how Koenigsegg will top this in the future, but we don't doubt that Christian and his team will continue to do just that.

July 9 (Reuters) - Lucid Group (LCID.O), opens new tab will recall about 5,251 of its 2022-2023 Air luxury sedans due to a software error that could cause a loss of power, according to a notice from the U.S. National Highway Traffic Safety Administration published on Tuesday. The regulator added the EV maker will also recall about 7,506 of its 2022-2024 Air luxury sedans due to an issue with a coolant heater that could fail to defrost the windshield. Lucid had released an over-the-air software update in June as a fix for the software error and a separate update to identify a high voltage coolant heater failure and provide a warning to the drivers of the affected vehicles. The company had reported second-quarter deliveries above market expectations on Monday, as price cuts helped boost demand for its luxury electric sedans.

From the perspective of the two major markets of the United States and China, the autonomous driving industry has fallen into a low tide in recent years. For example, last year, Cruise Origin, one of the twin stars of Silicon Valley autonomous driving companies and once valued at more than $30 billion, failed completely, its Robotaxi (driverless taxi) operation qualification was revoked, and autonomous driving models have been discontinued. However, as a new track with the deep integration of digital economy and real economy, automatic driving is a must answer: on the one hand, automatic driving will accelerate the process of technology commercialization and industrialization, and become an important part of the game of major powers; On the other hand, autonomous driving will also promote industrial transformation and upgrading by improving the mass travel service experience, seeking new engines for urban development, and injecting new vitality into the urban economy.

Samsung Electronics expects its profits for the three months to June 2024 to jump 15-fold compared to the same period last year. An artificial intelligence (AI) boom has lifted the prices of advanced chips, driving up the firm's forecast for the second quarter. The South Korean tech giant is the world's largest maker of memory chips, smartphones and televisions. The announcement pushed Samsung shares up more than 2% during early trading hours in Seoul. The firm also reported a more than 10-fold jump in its profits for the first three months of this year. In this quarter, it said it is expecting its profit to rise to 10.4tn won ($7.54bn; £5.9bn), from 670bn won last year. That surpasses analysts' forecasts of 8.8tn won, according to LSEG SmartEstimate. "Right now we are seeing skyrocketing demand for AI chips in data centers and smartphones," said Marc Einstein, chief analyst at Tokyo-based research and advisory firm ITR Corporation. Optimism about AI is one reason for the broader market rally over the last year, which pushed the S&P 500 and the Nasdaq in the United States to new records on Wednesday. The market value of chip-making giant Nvidia surged past $3tn last month, briefly holding the top spot as the world's most valuable company. "The AI boom which massively boosted Nvidia is also boosting Samsung's earnings and indeed those of the entire sector," Mr Einstein added. Samsung Electronics is the flagship unit of South Korean conglomerate Samsung Group. Next week, the tech company faces a possible three-day strike, which is expected to start on Monday. A union of workers is demanding a more transparent system for bonuses and time off.

According to Chinese movie ticketing platform Taopiaopiao, the box office for the 2024 Spring Festival holidays surpassed last year's 6.766 billion yuan and entered the top two in the history of Chinese Spring Festival holidays box office. I recently watched three movies, and I think they are all good. However, their overall level is not higher than the movies from last Spring Festival holidays. The higher box office compared to last year reflects the strong potential for movie consumption in Chinese society. Our filmmakers need to make further efforts. The current development of Chinese movies has many advantages. People often complain that our film creation faces various "restricted areas," but in terms of societal topics, the space for Chinese film creation is relatively large and relaxed. For example, Zhang Yimou's film Article 20 shows protest scenes and boldly explores the issue of judicial injustice in depth. A few years ago, the film I Am Not Madame Bovary specifically discussed the sensitive issue of petitioning. Another film, Johnny Keep Walking! which was aired last year, also touches on serious social issues. The breadth and depth of these films' topics lay the foundation for their attractiveness. The improvement of China's basic film production level has played a role in boosting their success, resulting in Hollywood films being collectively pushed off the Chinese box office charts. Now, almost any domestic film can be considered "watchable." The next step is to produce world-class masterpieces and promote the collective advancement of Chinese films on the global stage. The three movies that I watched are YOLO, directed, written and starring Jia Ling, a representative of the new generation of female Chinese directors, Pegasus 2, directed by Han Han and Article 20. They are all realistic-themed films, and the actors who play the main characters have some overlap. Although each of them is good, as mentioned earlier, I personally feel that their overall quality is not as good as films screened during last year's Spring Festival holidays. So I have a feeling that Chinese movies have been spinning in place for a year in such a good market environment. Of course, I am not an expert, so what I say may not be correct, or it may be biased. The production level of Chinese films, in terms of technology, has caught up. Domestic films have surpassed Hollywood in the domestic market through competition, which is a great achievement. However, I hope that this does not mark the beginning of a "decoupling" between Chinese movies and the rest of the world, but rather a turning point for Chinese films to reach a higher level domestically and to go global. This requires Chinese realistic films to not only be loved by domestic audiences but also become increasingly "understandable" to foreigners, allowing them to empathize with us through these films. If Chinese films can gradually go global through market-oriented approaches, it will be a new process for the international community to re-recognize and understand China, and to establish common values between us. The earliest understanding of the US by the Chinese people came entirely from the shaping of news propaganda. Later, American films and TV works entered China, showcasing the rich American society. Now, Western media's portrayal of China is completely stereotyped. If Chinese films and other popular culture do not go global, and if a large number of secular elements from China do not appear on the global internet, the outside world's perception of China is likely to be dictated by Western media for a long time. So I hope that China's excellent film market can incubate outstanding works that are loved and enjoyed globally. Not only should our cultural policies provide greater space, but our internet public opinion should also be more tolerant of the interweaving and mutually influencing between Chinese and Western cultural elements. We should not restrict those elements in Chinese films that can resonate with both Chinese and foreign audiences. For example, comedies should not only make Chinese people laugh, but also be understandable to foreigners. Chinese films need to establish their own big stars, including top-tier female stars. In the past, Bruce Lee and Jackie Chan became famous in the West, but they were primarily seen as "Hollywood stars." It is a more challenging journey for Chinese stars to gain international recognition through their own films. The success of Chinese films and Chinese stars worldwide is definitely a complementary process. The backgrounds of our film stories should also be carefully selected and more diverse, enhancing the visual quality and international appeal of the films. Feng Xiaogang's film Be There or Be Square was entirely set in the US, and later, there was another film called Lost in Thailand, both of which achieved good results. Choosing such backgrounds should be encouraged as one of the approaches. In conclusion, I am delighted by the comprehensive recovery of the Chinese film market, and I also hope that the films nurtured by this market will continue to progress. To achieve this, we need to keep introducing the world's best films and collaboratively cultivate the aesthetic taste of the Chinese people alongside Chinese films. Chinese films have already stood up, but they should not monopolize this vast market. Instead, the Chinese market should serve as the stage for them to expand globally.