Imagine my delight when a friend & colleague posted a note to my Facebook wall alerting me to the fact that Katy Perry had appeared under what looked to be a replica of the classic “The More You Know” star, made famous in the NBC PSAs of our youth.

Below is an example, a 1990 Will Smith PSA on the benefits of staying in school.

And here is Katy Perry performing “Firework” during Sunday’s Super Bowl halftime show:

And, because the internet is awesome, here’s a side-by-side comparison…

…and a mash-up:

As a scholar of media conglomerates and the logics that govern their operations, I have found the entire event immensely fun.  The question I got peppered with (well, if you count three friends’ comments as “peppering”) had to do with whether or not I thought Perry’s production was an example of planned cross-promotion, as the Super Bowl aired on NBC this year.

The short answer is that I don’t know.  I do know NBC was very quick to take advantage of the situation, tweeting out the “More You Know” logo at 7:23pm Eastern–a tweet that has been retweeted over 4000 times, typically with comments like “Nicely played, NBC!”  That tweet alone helped people make the connection between Perry’s performance, the PSA series, and NBC. Although many people of a certain age are likely to remember the PSAs, it’s quite likely that they would not remember them to be an NBC product.  NBC’s quick thinking (or advance knowledge and planning, perhaps) aided in closing the loop to take full advantage of the cross-promotional opportunity.

The long answer is that I don’t care, and you shouldn’t either—because NBC definitely doesn’t.  I’ve been grinning about this all week, because it beautifully illustrates something crucial to understanding the nature of cross-promotion: it doesn’t matter if it’s pre-planned or not, and it works better when it doesn’t appear to be arranged.

Like all forms of product integration, where advertisements are embedded within content, cross-promotion works by appearing “natural” and “organic” to that content.  When Jimmy Fallon has stars of NBC TV series on The Tonight Show, it’s an instance of cross-promotion, but it wouldn’t necessarily strike anyone as odd because Jimmy Fallon has lots of stars on The Tonight Show.  The star’s appearance on Fallon offers a potential double win for NBC; the star may draw fans to The Tonight Show, and the appearance might draw Fallon fans to the star’s series.  And that, of course, is the logic behind cross-promotion.  The risk NBC takes in engineering these opportunities is that if the audience feels duped, or like the network is trying to trick them, they might be turned off—but that sort of reaction is highly unlikely if the cross-promotion is thoughtfully conducted and unobtrusive.

And therein lies the beauty of Katy Perry’s ride on the “The More You Know” star at Super Bowl XLIX: it appeared to just happen with no forethought.  That sense of happenstance was a huge win for NBC, as audiences got to feel smart by noticing it, tweeting about it, commenting on Facebook, or saying something to their friends at the Super Bowl party.  That reward coupled with an accompanying nostalgia for an era when NBC was enjoying the height of their must-see-TV glory days imbues the entire incident with a rosy glow for audiences and, in turn, for the network.  Just as the appearance of an NBC star on Fallon offers a potential double win for NBC, so does a situation like this.

If it was pre-planned, it was an absolutely genius move made even better by no one from Perry’s camp or NBC stepping forward to claim credit for thinking of it.  If it wasn’t pre-planned, NBC got really lucky with Perry generating nostalgia for a PSA campaign that they could link to their network.  And whoever was manning the Twitter account on Sunday deserves a bonus.

I can hear the higher-ups at NBC now, gleefully counting up the many folks who ventured to YouTube to look up videos of 1990s PSAs, only to be flooded with warmth and affection for the bygone days of the network.  “Oh man…remember when NBC had Friends?  And ER?  And Fresh Prince of Bel-Air?”  NBC remembers, and they’re glad that now you do too.  And it’s all because Katy Perry rode a star around a football stadium on national TV.

First came the awkward placement of the HP TouchPad into the season premiere of The CW’s Gossip Girl.  Leaving aside the oddity of these characters using the TouchPad rather than the iPad, the promotion garnered attention because HP decided to get out of the PC business (including killing the very technology used by Serena) several weeks before the GG premiere.

As Advertising Age reports, this is the problem of the production schedule–placement deals are worked out months in advance, and sometimes by the time they air they’re already out of date.  The Ad Age piece cites Modern Family‘s spring 2010 integration of Toyota, a promotional effort that came to fruition at precisely the same time as Toyota’s massive recall PR nightmare.  In the case of both HP and Toyota, these promotions were developed into the storyline and filmed up to nine months in advance of their airing, making any changes in the final months an impossibility.

On the heels of the Gossip Girl awkwardness came the two most recent episodes of NBC’s The Sing-Off.  For the past two weeks, contestants competed with their interpretations of a current chart-topper and a 1960s hit.  The latter was being used as a cross-promotional opportunity for the network’s The Playboy Club, which aired in the 10 p.m. Eastern slot directly following the a cappella competition.  The end of the first episode featured host Nick Lachey exhorting, “If you enjoyed our ’60s songs, be sure to stick around for more of the decade and watch The Playboy Club, coming up next!”

When news of The Playboy Club’s demise came the following day, the promotion seemed like an awkward but charming moment, but this week’s episode of The Sing-Off–filmed over a week prior, mind you–was almost uncomfortable.  As the ’60s performances commenced, Lachey addressed his costume change by noting that the slick suit he was wearing had come from The Playboy Club‘s costume department.  As I fought the giggles (thinking that the costume department was probably happy to get rid of it as they cleaned house), it got even more awkward–at the moment Lachey finished this comment, a graphic appeared on the bottom of the screen, informing viewers that up next was Prime Suspect.

These two virtually concurrent instances of awkwardly out-of-date product integrations reveal two key truths about the nature of television advertising.  First, that the television production schedule requires a great deal of pre-planning on the part of advertisers, studio executives, and writers.  Second, that as product placement and cross-promotion become the norm due to ad-skipping with DVRs, DVDs, and online streaming, we’re not only going to see more integrations, but more moments when those placements just don’t work by the time they hit the air.

In the meantime, let’s get Serena and Blair some iPads, and hope next week’s episode of The Sing-Off doesn’t feature a cappella versions of songs about workplace romance.

For the past three seasons, Army Wives has projected its white, privileged image—with an abundance of white chicks and officers and a dearth of minorities and enlisted men.  It has also done a fine job of minimizing the apparent threat to or discomfort of the troops/families who have been manning the two American wars for nearly a decade.  Deployments run short.  Telephone conversations are extremely easy to come by.  Special Ops soldiers are on and off of the base (and seemingly home more often than long-haul truckers).  Money might be a little tight, but no big deal.  Child care is never an issue.  Officers’ wives and enlisted men’s wives just rally around each other, become best buds, and help each other out in all circumstances (protocol be damned).   For the most part, images of trauma—emotional or physical—have been done away with quickly (PTSD = a one or two week problem, tortured prisoners aren’t really in that bad of shape, injuries are minor and really just mean that soldiers get to come home sooner, so no worries).  Anything really unfortunate on the show will likely happen to someone who is not a regular and might very likely be an ethnic minority.  For the first three seasons, main characters (constantly deployed) have been spared any extreme trauma.  Its flag waving, soap opera, Little Mary Sunshine quality makes it a fascinating fictionalization of today’s international conflicts and a polar opposite to Stephen Bochco’s short-lived, violent, politically ambivalent Over There.

I have found these narrative patterns somewhat disconcerting (though predictable).  What I find most interesting about Lifetime’s development of the show both on and offline is their use of non-diegetic cast appearances at military spaces (e.g., online PR spots with cast members at VA hospitals, deployment ceremonies, Red Cross events, etc.), integration of country music stars into storylines (e.g. Wynonna, Shelby Lynne, Jack Ingram), giveaway hookups with NASCAR, Avon, and Big Lots, and online spaces developed specifically to bring together real-life army wives.  The show/network seems to illustrate nicely the opportunities available to today’s television bigwigs as they try to hawk their wares.  While the show seems to strongly avoid any gleam of the reality of wartime, the folks at Lifetime are doing a fine job using today’s online opportunities to make an appearance of class diversity and a concern for military families and their realities.  I find this to be one more fascinating example of the ways in which media convergence encourages multiple divergent readings and a widened sense of marketability.  That said, I admit this season—which ends next weekend, I believe—has offered a little more excitement, with divorce (although so far, little concern for money woes and the army wife being booted off of the post) and a traumatic brain injury for one of the main characters (of course the woman).  Next week almost everyone will be shipping off to Afghanistan for a year.  I’ll be waiting excitedly to see how the 2011 army wives deal with their spouses’ absences (and might start a pool regarding how long it takes the husbands to really come home.  Perhaps they are counting on Obama decreasing troop levels to shake up deployments and bring the men back into the main narrative.).