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Jerry Seinfeld doesn't love Sarah Jessica Parker's new Country Squire in latest CiCGC

Comedians in Cars Getting Coffee has finally returned for its fourth season of combining Jerry Seinfeld, a miscellaneous celebrity and a cup of java. But rather than fondly remembering some older piece of automotive machinery, this time around, Seinfeld is utterly unable to keep his hatred of Sarah Jessica Parker's 1976 Ford LTD Country Squire from coming out to hilarious effect.
However, Parker has such a high level of infectious enthusiasm for her recently purchased Country Squire that she seems to win over Seinfeld by the end - at least a little bit. For most of their time together, the two of them drive around Manhattan and the suburbs waxing nostalgic about what things were like when these wagons were ubiquitous.
Since this is actually SJP's car, she and Seinfeld trade off driving duties, and the image above should give you some indication of Seinfeld's reaction to the Sex and the City star behind the wheel. It seems this '70s land yacht might be a little too much for her to handle in New York traffic. Regardless, she is absolutely in love with her Ford.

National Geographic Channel balances Ford F-150 on four coffee mugs

Proving that there is still something to be learned on television these days, National Geographic Channel recently introduced a new series called Duck Quacks Don't Echo. On the first episode of this science/comedy show, host Michael Ian Black proposes the idea that a truck can be supported with a ceramic coffee mug under each wheel - yes, he says that the entire weight of a truck can be balanced on just four coffee mugs.
Looking to find out whether this is fact or myth, the show uses a regular cab Ford F-150, weighing in at 4,800 pounds, and four average coffee mugs. Lowered onto the mugs, the idea is quickly put to the test. Can the cups hold up under 4,800 pounds? If so, what, exactly, would it take to break them? Scroll down below to find out.

Landau yachts: The history of Lincoln's Designer Series

The Lincoln Designer Series was introduced in 1976, at the end of the imposing Mark IV Continental generation. Four big-name fashion designers of the era – all-American country clubber Bill Blass, psychedelic Italian pattern-maestro Emilio Pucci, venerable French jewelry-maker Cartier, and a la mode French fashionista Hubert de Givenchy – were asked to slather their elegance on LincolnÂ’s personal luxury coupe. This experiment was a wild success. According to documents uncovered in the Lincoln archives – with the incomparable guidance of official brand historian Ted Ryan – the Designer series “accounted for more than 27% of Mark IV sales” shortly after its introduction. It was such a runaway hit, that it continued on throughout the even larger Mark V generation (incidentally, the longest coupe ever produced by Ford Motor Company), and didnÂ’t really peter out on these big two-doors until the early 1990s.   But the true history of the series well predates the era of opera windows, crushed velour and wire wheel covers. “If you take a step back even further, when Ford purchased Lincoln in 1922, Edsel Ford was put in charge of the company. But more than that, he helped establish the first design studio at Ford,” said Ryan. The basic Model T didnÂ’t take much design. Lincoln was different. Edsel is famed for his quote. “Father wanted to make the most popular car, I wanted to make the best.” The specific genesis of the Designer Series, however, came along as a result of a long-term personal connection with the marqueÂ’s first chairman. “Edsel Ford had a relationship with Cartier, and correspondence going throughout the 1920s and '30s,” Ryan said. “His personal cards and stationery were always ordered from Cartier.” This enduring link wasnÂ’t formalized until the late 1960s. “I found in product development files, in 1967, that Ford had gone to Cartier for a special 1970 Cartier Continental coupe,” Ryan said. According to internal documents, this package would include unique interior leather/cloth/vinyl surfaces and trim, modified dials, and a Cartier jewelry box, as well as golden plating on the steering wheel ornament, dial face ornaments, keys, C-pillar ornaments, door monograms, and dashboard plaque. “Think of that. A car that never was, that could have been,” Ryan said, wistfully. Some Cartier magic did get glossed on Lincolns in the late 1960s.