Remember when you had to wait until the commercial break to be bombarded with brand marketing? Probably not, since product placement has been a Hollywood addiction since the 1980s.Ever since Steven Spielberg featured Reese's Pieces in 1982's E.T. (after being turned down by short-sighted M&M reps), brands and content creators have embraced product placement as a sort of commercial symbiosis.This Wednesday, we'll be tackling the issue of product placement at #adweekchat, a one-hour Twitter conversation open to all. Join us at 2 p.m. Eastern for a lively discussion of the best, worst and weirdest examples of product placement in TV, movies and video.In the meantime, enjoy revisiting a few of the more iconic moments of product integration (some paid, some not) that have helped to shape how writers and producers weave brands into their storylines—with mixed results:
In what has become a rite of spring, CBS on Thursday announced it has renewed 18 series for next season.
Fox’s freshman hit Sleepy Hollow wrapped its first season in grand fashion, drawing its biggest ratings in months with a two-part cliffhanger finale.
NBC once again coasted to an effortless victory Monday night, as The Voice-Blacklist battery thumped the broadcast competition.
Months after taking the homegrown show to market, CBS has secured a complex series of syndication deals for The Good Wife.
CBS failed to capitalize on the promotional muscle of the Super Bowl, as Monday night’s prime-time lineup showed very little growth versus the most recent Monday roster of first-run episodes.
Fox’s pitch-black new crime drama The Following on Monday night became the first freshman series of the class of 2012-13 to actually improve on its premiere ratings.
NBC won the first ratings skirmish of the 2012-13 broadcast TV season, as The Voice and Revolution ran the table against CBS’ comedy-drama stew.Per Nielsen live-plus-same-day data, NBC ran away with the demo, averaging a 3.9 rating among adults 18-to-49. CBS took second with a 3.2, followed by ABC (2.3), Fox (1.8) and Univision (1.5).
The 10 o’clock broadcast drama tottered further down the road to oblivion this season, as not a single series in the time slot finished among Nielsen’s highest-rated programs.
Already packed like a rush-hour subway car, Monday night became even more dangerously overcrowded with the return of Dancing With the Stars.Back for its 14th cycle, ABC’s competition series averaged 18.8 million viewers and a 3.5 in the adults 18-to-49 demo, marking a significant 34 percent drop versus last spring’s opener.