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Carlos Ghosn's rise and fall — and dramatic flight — streams in August

It turned out that Carlos Ghosn was not the perfect CEO after all.  On the run for nearly five years and living in exile in Lebanon for part of that time, Ghosn’s story — he was the former global chief of Nissan and Renault — and his subsequent dramatic escape from Japan is the stuff that Â… well, documentaries are made of. On August 25, Wanted: The Escape of Carlos Ghosn, a series in four parts, will begin streaming on Apple TV+. This new screen story (there have been others previously) hones in on his rise to fame, his multiple arrests for financial misdeeds and his made-for-Hollywood escape from Japan. Ghost had contacted a former Green Beret and was hustled out of the country by private jet in December, 2019, hidden in a musical instrument box. originally designed to hold a trombone. Ghosn has lived in Lebanon, where he has citizenship, ever since. To this point Lebanon has refused requests to extradite him. The Apple TV+ documentary will cover all of this, with never-before-seen footage and interviews. Mike Taylor, the former Green Beret who helped Ghosn escape, will tell his side of the story alongside Ghosn and others. The film has been executive produced by James Gay-Rees and Paul Martin from Formula 1: Drive to Survive. GhosnÂ’s background puts perspective on the story. He worked for 18 years with Michelin North America, where he was ultimately appointed as chief executive in 1990. In 1996, he joined Renault, and played a pivotal role in the alliance formed between Renault and Nissan. In mid-2001, he was appointed as NissanÂ’s new chief executive, and by 2005 he was running both Nissan and Renault. But in 2018 he was arrested at the Tokyo International Airport on allegations of under-reporting his salary and misusing company assets. He was subsequently arrested three more times on similar charges. He was held in and out of Japanese prison through much of 2019 before he was released on bail that April, eight months before his escape. Ghosn recently filed a lawsuit against Nissan, seeking more than $1 billion from the company. He accuses the automaker and others of defamation and fabricating evidence. Related video: This content is hosted by a third party. To view it, please update your privacy preferences. Manage Settings.

A car writer's year in new vehicles [w/video]

Christmas is only a week away. The New Year is just around the corner. As 2014 draws to a close, I'm not the only one taking stock of the year that's we're almost shut of. Depending on who you are or what you do, the end of the year can bring to mind tax bills, school semesters or scheduling dental appointments. For me, for the last eight or nine years, at least a small part of this transitory time is occupied with recalling the cars I've driven over the preceding 12 months. Since I started writing about and reviewing cars in 2006, I've done an uneven job of tracking every vehicle I've been in, each year. Last year I made a resolution to be better about it, and the result is a spreadsheet with model names, dates, notes and some basic facts and figures. Armed with this basic data and a yen for year-end stories, I figured it would be interesting to parse the figures and quantify my year in cars in a way I'd never done before. The results are, well, they're a little bizarre, honestly. And I think they'll affect how I approach this gig in 2015. {C} My tally for the year is 68 cars, as of this writing. Before the calendar flips to 2015 it'll be as high as 73. Let me give you a tiny bit of background about how automotive journalists typically get cars to test. There are basically two pools of vehicles I drive on a regular basis: media fleet vehicles and those available on "first drive" programs. The latter group is pretty self-explanatory. Journalists are gathered in one location (sometimes local, sometimes far-flung) with a new model(s), there's usually a day of driving, then we report back to you with our impressions. Media fleet vehicles are different. These are distributed to publications and individual journalists far and wide, and the test period goes from a few days to a week or more. Whereas first drives almost always result in a piece of review content, fleet loans only sometimes do. Other times they serve to give context about brands, segments, technology and the like, to editors and writers. So, adding up the loans I've had out of the press fleet and things I've driven at events, my tally for the year is 68 cars, as of this writing. Before the calendar flips to 2015, it'll be as high as 73. At one of the buff books like Car and Driver or Motor Trend, reviewers might rotate through five cars a week, or more. I know that number sounds high, but as best I can tell, it's pretty average for the full-time professionals in this business.

The mood at this year’s Paris Motor Show: Quiet

The Paris Motor Show, held every other year in the early fall, typically kicks off the annual cavalcade of automotive conclaves, one that traverses the globe between autumn and spring, introducing projective, conceptual and production-ready vehicle models to the international automotive press, automotive aficionados and a public hungry for news of our increasingly futuristic mobility enterprise. But this year, at the press preview days for the show, the grounds of the Porte de Versailles convention center felt a bit more sparsely populated than usual. This was not simply a subjective sensation, or one influenced by the center's atypically dispersed assemblage of seven discrete buildings, which tends to spread out the cars and the crowds. There were not only fewer new vehicles being premiered in Paris this year, there were fewer manufacturers there to display them. Major mainstream European OEM stalwarts such as Alfa Romeo, Fiat, Nissan and Volkswagen chose to sit out Paris this year, as did boutique manufacturers like Bentley, Aston Martin and Lamborghini. This is not simply based in some antipathy on the part of the German, British and Italian manufacturers toward the French market — though for a variety of historical and societal reasons that market may be more dominated by vehicles produced domestically than others. Rather, it is part of a larger trend in the industry. Last year, Mercedes-Benz announced that it would not be participating in the flagship North American International Auto Show in 2019 — and that it might not return. Other brands including Jaguar/Land Rover, Audi, Porsche, Mazda and nearly every exotic carmaker have also departed the Detroit show. Some of these brands will still appear in the city in which the show is taking place, and host an event offsite, to capitalize on the presence of a large number of reporters in attendance. And even brands that do have a presence at the show have shifted their vehicle introductions to the days before the official press opening in an attempt to stand out from the crowd. In many ways, this makes sense. With an expanding number of automakers, with diversification and niche-ification of models and with wholesale shifts that necessitate the introduction of EV or autonomous sub-brands, there is a growing sense that, with everyone shouting at the same time, no one can be heard.