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Lincoln reveals MKC compact crossover ahead of LA debut [w/video]

It used to be that if you wanted a luxury SUV, you had to go big. Just look at the first high-riders released by some of the major luxury automakers - Audi Q7, Cadillac Escalade, Lexus LX - and you'll see what we mean. But since 2009 the small premium crossover segment has grown a whopping 200 percent, so it's no surprise that each has followed up with smaller luxury crossovers. And this is the latest.
At the other end of the utility spectrum from the Navigator, the new Lincoln MKC is based on the Ford Escape (much as the old pseudo-premium Mercury Mariner was), but completely rebodied and luxed up to put it in another league. Although we're still not sold on Lincoln's family fascia, the grille treatment on the MKC is certainly one of the better variations on the theme to date. The Dart-like rear lights dominate the wrap-around tailgate, and the overall shape looks taut and upscale. The same can be said of the dynamically-designed interior, taking the concept revealed in Detroit earlier this year to production fairly seamlessly.
Power will come from a choice of EcoBoost four-cylinder engines with turbocharging and direct injection: a 2.0-liter with 240 horsepower and 270 pound-feet of torque, or a slightly punchier new 2.3-liter with 275 hp and 300 lb-ft. Lincoln didn't disclose what transmission they'll be mated to, but did note that the MKC carries the brand's "signature" push-button gear shifter. It comes standard in front drive, but buyers who upgrade to all-wheel drive (or tick the right box) will also benefit from a new adaptive suspension Lincoln calls Continuously Controlled Damping. Other features include an approach-detection system that lights the car up and projects a Lincoln "welcome mat" on the pavement when you get close to the car, and a "bread-crumbing" feature that lets you track where your vehicle has been.

Lincoln MKC spied in final form

When the Lincoln MKC Concept debuted back in January, it received fairly positive feedback from both Autoblog editors and readers alike, and this bodes well for the production version of the luxury crossover judging by these latest spy shots. Reader Ivan Lo captured a few pictures of some MKC prototypes driving around with minimal camouflage, which gives us our best look yet at the design of this new Escape-based Lincoln.
Based on the spy shots from back in May, we already knew that the production MKC would sport some real door handles, a little side cladding and bigger door mirrors, but these latest shots also show us that the rear quarter windows have been enlarged and the integrated dual exhaust outlets have been replaced by round pipes. This means that the MKC will retain the concept's narrow headlights and what is arguably Lincoln's best execution of its split-wing grille. Even better, the rear view confirms the stylish horizontal taillights will remain intact, as well as the Audi-like wraparound liftgate. Since the entire taillight assembly rises along with the liftgate, redundant lights were also added into the rear fascia.
Unfortunately, the low angle of these spy shots leaves us without a view of the interior, but based on its looks alone, the MKC is shaping up to be a promising vehicle for a brand that so badly needs some fresh metal.

Lincoln's second, more traditional, Super Bowl commercial

For its second Super Bowl commercial, Lincoln Motor Company has stepped away from the Max Ernst-ian surrealism of the "Steer the Script" spot. No Germans, no turtles, no aliens nor alpacas this time, just a 30-second run through the ways in which Lincoln sees the 2013 MKZ as a rebirth of the brand and everything a luxury consumer would want.
The kind of traditional spot that could run any time of year, the only question we had after watching it was: "Wait - was that... Abraham Lincoln?" Along with the press release from Lincoln, you can view the spot below.
If you want a deeper look and criticism into Lincoln's "Steer The Script," ad, have a read of AOL Autos' column: Lincoln's Super Bowl Ad is a Flop, written by Pete Bigelow.