Tesla cancels Cybertruck in Australia and NZ after 7 years of deposits
Tesla has officially cancelled the Cybertruck for Australia and New Zealand. Reservation holders are getting emails today telling them their orders are void and their deposits will be refunded.
Australians started putting down A$150 to reserve the electric pickup in November 2019. That’s almost seven years of waiting for a truck Tesla now says it won’t build for them. […]
Australia wasn’t a small market on paper. A crowdsourced survey of reservations from 2020 put it third behind the US and Canada, with about 3% of all Cybertruck reservations. Tesla never confirmed regional numbers, but by 2023, crowdsourced tracking put total Cybertruck reservations at around 2 million.Tesla quietly closed the Australian reservation page in May 2022 and replaced it with a “Get updates” button. It didn’t refund anyone at the time. People who had already reserved just kept waiting.
Then in 2024, Tesla shipped a Cybertruck down under for a display tour, and Elon Musk told shareholders that year: “We might be able to certify it for other markets sometime next year.” Next year came and went, and the truck never got a right-hand-drive version.
That’s the core problem. The Cybertruck is built only in left-hand drive. Australia, New Zealand, the UK, and Japan all need right-hand drive, and Australia also requires certification under its own design rules. That’s a big bill for a truck with a truck that is already having demand issues in North America.
Not bad news, to be honest. I’m unlikely to ever encounter one if it did go on sale here, given how rarely I go anywhere, but I know what the roads in Sydney—which are bad enough as they are—would be like with them taking up even more space…

Opted for some more Paul Naschy tonight; as the title suggests, this is one of his Waldemar Daninsky films, and an authentic 
Apparently it’s not actually true that Tony Todd negotiated a fee of an additional $1000 every time he got stung by a bee in that scene, which would’ve netted him another $25k or so, but he would’ve deserved it if he had done. Candyman stems from a Clive Barker story I haven’t read (haven’t yet got to the second half of Books of Blood), but despite that I did wonder a few times while watching the film if it wouldn’t be better as a short story than as a film… though you would’ve missed out on Todd’s amazing voice if it hadn’t been made into a film, so. As I said a few posts ago, I’m limiting myself to first-time watches this month, and I’m also trying to knock a few “big” titles off the watchlist too… you know, ones that most people into horror who aren’t me have already seen years ago and I’m preposterously late to… and I watched Candyman tonight cos I was under the impression it was one of the more major gaps in my horror knowledge. Was it, though? I liked it, but I think I was hoping for more from it. Candyman struck me as a film with evident aspirations to be something other than just your regular slasher; 
If there’s one thing I’d never have expected from a Jess Franco film, it’s a Robert Bresson joke. And yet that is essentially how this one begins… fortunately Franco soon remembers this is a film by him, and so even references to classier films and filmmaking (to say nothing of humour; the rest of the film is played fairly straight) go out the window almost immediately; The Diabolical Dr. Z. is nothing if not a Euro-exploitation B film, and a fair example of that sort of thing. This is kind of an early version of She Killed in Ecstasy, in some respects; in that film it’s the wife of the experimenting doctor who takes revenge for his death, and in this one it’s the doctor’s daughter. However, in this case she’s employing her late father’s mind control technology to do so, which is a twist the latter film avoided (Soledad Miranda was enough by herself there); the film struck me as a bit giallo-ish apart from that, though that might be because of Daniel White’s score which sounds awfully similar to some of the music on a DVD compilation of giallo trailers I have… Dr. Z. is also blessed with camerawork by Alejandro Ulloa, alas that he never worked with Franco again cos Ulloa could’ve elevated some of his later works if this is indicative (he would also have films by Lucio Fulci, Sergio Corbucci, Eugenio Martin and Paul Naschy to his credit). It’s not a film about which there’s an awful lot to say, really, and that’s perfectly fine. It’s a Monday night, I don’t need anything heavy, I need an efficient Euro-exploitation B film, and Dr. Z. gave me what I was looking for on that front.



You must be logged in to post a comment.