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Cadillac rushing update for laggy CUE infotainment system

BMW's innovative iDrive was introduced in 2001, and a dozen years later, automakers are still learning hard lessons about what consumers want in their infotainment systems. In response to owner feedback - and a few media drubbings - about the delayed and occasionally fickle responses of its CUE (short for Cadillac User Experience) system, Cadillac has told Wired that it's going to issue an update this year.
Coming for the XTS and ATS, the new software will mean quicker haptic feedback to driver inputs on the touchscreen and the buttons, and snappier responses on screen. Down the road, Cadillac's VP of marketing says that a different mix of screen controls and hard buttons is "something you'll be seeing in the future" - the system is presently a mix of touchscreen-based controls and capacitive-touch switchgear - there are no knobs or physical pushbuttons to speak of, and the omission of both has proven to be a divisive issue among consumers and industry pundits.
Cadillac hasn't provided a date for when the CUE update will be issued, but it has indicated that the service will be performed by dealers, not sent wirelessly.

Cadillac ad boss is happy controversial Poolside TV ad created debate

Remember Cadillac's controversial commercial for it ELR plug-in hybrid? Did you find it provocative? If so, that's a good thing according to the brand's advertising director, Craig Bierley. First aired during NBC's coverage of the Olympic opening ceremony, the minute-long spot returned to the tele again this weekend, bookending the Academy Awards on ABC. Titled Poolside, the bit was meant as "brand provocation" and whether you enjoyed it or not – sentiment is said to run 3:1 on the pro side – we can probably all agree it fulfilled its role as such. If you were one of those who felt the ad erred on the side of nationalistic consumerism (or what have you), your anger might be somewhat assuaged after reading this article from Advertising Age in which Bierley addresses most of what he believes are misconceptions about the message. For one, the spot isn't aimed at the One Percent, just those who make $200,000 a year. Or, as Craig Bierley, Cadillac's advertising director, calls them, "people who haven't been given anything." Bierley told Advertising Age that the spot doesn't celebrate workaholicsm, instead, "We're not making a statement saying, 'We want people to work hard.' What we're saying is that hard work has its payoffs.'" While our commentors seemed mostly to enjoy discussing the value proposition that is (or is not, depending on your point of view) the Cadillac ELR, the majority appeared to enjoy the commercial. If you were one of those offended, however, let us know if your opinion has changed upon reading Cadillac's defense. If you don't remember what all the fuss was about, scroll below to take another dip in Poolside.

Cadillac Escala Concept shows off a softer side of American luxury

When Cadillac announced that it would be appearing at Monterey Car Week with a stunning, new concept, the news sent a rush of blood to the head. Would it be a CT6 Coupe? A new V-series model? A follow-up to the show-stopping Elmiraj? Tonight, at the beginning of a weekend of festivities to tantalize automotive enthusiasts and aficionados, Cadillac instead showed off a glimpse of reality: the Escala four-door coupe concept. It wasn't behind a flat-white background, but at a futuristic yet modern home nestled in the hills that Cadillac president Johan De Nysschen introduced the Escala as a "point of inflection" for the brand. Keen observers will note that "Escala" is nearly "Escalade," but any similarity between the two vehicles ends there. De Nysschen noted that the four-door is meant to "relentlessly drive this brand back to its place at the pinnacle of premium." "Nothing less will do," de Nysschen said. The Escala is neither as bold as some recent Cadillacs to take the stage, nor as brash. From a distance, it has a wide, muscular stance wrapped in a tailored suit. Up close, it almost resembles a four-door Camaro — perhaps a nod to the work of former Holden design chief and incoming General Motors director of design, Michael Simcoe. De Nysschen described the Escala project as an "opportunity for designers to flex their creative muscle." The Escala seems to have a footprint mirroring that of a Mercedes-Benz CLS-Class, but it feels wider and smaller at the same time. Is the shape derivative? Perhaps, but the Escala's design is less a reflection of a future, incognito Cadillac, and more of a chance for the brand to show off the details that might soon become icons. The Escala's shape may not be earth-shatteringly different, but the truth is in its details. The mirrors are as thin as designer spectacles. The C-pillar offers an opportunity to show off Cadillac's latest take on the Hoffmeister kink. A glass roof adds visual airiness. And a simple "GM DESIGN" badge sits below the side doors, in deference to the stylists who labored to make the Escala different. The most defining element of the concept is the way it utilizes light. There isn't anything blinding about its lighting, but that means you can focus on the shape and appreciate the ambience. The depth of the LED tail lights adds visual length to the Escala and shows where Cadillac's designers placed the most importance. It's contrast and beauty at once.