1. The fight over the R rating given to the Weinstein Co.’s Bully is intensifying, and as many rally around the film, it’s looking like it will be released without a rating. Getting slightly less attention, as any non-shirtlessness story tied to Matthew McConaughey will, is the NC-17 rating given to Killer Joe for violence and sexuality. Meanwhile, Lionsgate UK (ding!) trimmed seven seconds from The Hunger Games to drop the restricted age limit from 15 to 12.

2. Iran cancelled a planned celebration of Oscar-winning director Asghar Farhadi, with no indication why, but Farhadi still says he loves Iran and will never leave. Well, except maybe to make films, and he thought Paris looked like a good place for that. He might notice while he’s there how France has celebrated Oscar-winning actor Jean Dujardin.

3. The Guardian’s David Cox says Hollywood is courting older viewers now who don’t want special effects-laden blockbusters (ah, so that’s why John Carter bombed…or did it?). But theaters are still courting youth and their ever-present mobile phones, and Hollywood is offering any number of ways to watch movies on handheld devices, including wristwatches. (Somehow I don’t think a movie-viewing wristwatch is something I should get grandpa for his birthday this year.)

4. Wal-mart announced its “disc to digital” service for Ultraviolet, which could be make-or-break for UltraViolet, but Peter Kafka thinks it will be a tough sell given the various restrictions and inconveniences that come with it. But as a recent ruling against DVD-ripping technology Kaleidescape indicates, restrictions and inconveniences are the rule right now.

5. Nielsen stats say over half of US households have current gaming consoles in the home and gaming on mobile and tablet platforms is on the rise, and it looks like we’ll also have a new Xbox as an option by 2013. If we end up unhappy with our Xbox games, apparently we can sue the FTC over them, as gamers frustrated with the ending of Mass Effect 3 have done, though the game’s executive producer defends the ending and other perceived failings of the game.

6. More interesting stats courtesy of Nielsen: More women than men are blogging, and just over half of bloggers are parents with under-18 kids in the house. That might be related to why so many are impatient with slow-loading websites. But just imagine how tough it is to be a blogger in one of the Internet Enemies countries.

7. We’re not quite sure yet if tablets are hurting e-reader sales, and we’re not quite sure yet about how Kindle Singles are selling or how much money authors can make from them exactly, and we’re not quite sure yet if the Department of Justice has a case to make against publishers for colluding with Apple, and against Amazon, on e-books prices or even what e-books should cost. But we’re getting there.

8. A UK college student is being extradited to the US to face copyright infringement charges for hosting links to pirated media on his website. This is leading to a larger conversation in the UK over extradition laws, reaching all the way to the highest offices in each land.

9. Yahoo is suing Facebook over patents. Facebook says it’s disappointed and plans to fight back, though some expect Facebook to eventually settle or outright buy some of Yahoo’s patents.

10. Some of the finer News for TV Majors posts from the past few weeks: Luck Cancelled, Community Ratings, 2011 Ad Revenue Down, BBC Downloads, CW Shortens Delay, Return of The Killing, Amazon-Discovery Deal, Viacom Blog, Aereo Countersues, Netflix Branding, Mad Men & Weiner, Pay-As-You-Go Service, Teens Watching More, New UK Channel, Netflix & Apple, Ownership Rule Countered, Death of Cable.

1. The Academy has issued new provisions for future documentary Oscar nominations, including eliminating committee determination of nominations and adding a rule that a doc has to have been reviewed by the New York Times or LA Times to qualify (intended to prevent TV docs – *side eye at HBO* – from horning in on a film award). The latter has drummed up controversy, but Michael Moore insists it’s all good. Unrelated to this controversy but related to the Academy, the organization’s chief executive Dawn Hudson is under major fire.

2. IndieWire highlights 2011’s studio box office trends, as well as what happened at the specialty box office, which was apparently so much that it required a second part. Midnight in Paris led specialty grosses, while it was a down year overall for animation. British Prime Minister David Cameron wants UK filmmakers to shoot for topping one of these box office revenue lists in 2012. And the number of studios backing films that will make such lists is reduced by one, as Lions Gate has acquired Summit, thus putting The Hunger Games and Twilight series under the same banner.

3. Warner Bros. is getting tough about its DVD rental window delay, and while Netflix has caved, Redbox and Blockbuster are poised to fight. Unfortunately, Blockbuster is also poised to die. While Netflix is cooperating with Warner Bros. on DVDs, it is pulling out of the Warners-backed UltraViolet, which has yet to take off, though now Amazon and Samsung are trying to help out.

4. Publishers Weekly highlights 2011’s print bestseller trends, and USA Today says fiction sales were the big story last year, while a post-holiday e-books sales surge is the story now. It sounds like the Nook isn’t benefiting as much as it could from that, while the Kindle Fire could end up stomping other e-reader devices in the end, including the regular Kindle, not to mention other tablets.

5. Music stocks were mixed in 2011, vinyl album sales soared, rock sales were up, and digital sales surpassed physical sales for the first time, but indie labels got just a 12% cut of overall music sales. Most strikingly, only about 2% of the total album releases were responsible for 90% of new album revenue in 2011.

6. You might be tired of reading here about how video game sales in the US are slipping, so I’ll change it up for you: video game sales in the UK are slipping. The Consumer Electronics Show presented some hope for revitalizing the gaming industry, from Nintendo’s Wii U to Microsoft’s Kinect for Windows.

7. Twitter failed to predict the Iowa caucus winner but nailed it in New Hampshire, and the main takeaway is that Ron Paul could totally be the president of Twitter if he wanted. Twitter did pretty good at predicting a health epidemic, but it apparently falls short on fighting against pedophiles.

8. Twitter got mad at Google for incorporating Google+ into search data because it might diminish Twitter’s influence, and Google was all, This is your own fault, jerks. Facebook got snooty about it more quietly. Some think this is a big mistake by Google; others see it as pushing Google ahead in the online identity race. Google+ is growing, but I don’t think it’ll get to 1 billion users by August like Facebook.

9. Around the world in three sentences: Belarusians can no longer access foreign websites and India is threatening China-style controls, whereas in Sweden file-sharing has been recognized as a religion. Text messaging is declining in some countries, and globally, a mere 1% of bandwidth users are consuming half of all the traffic. Apple supplier factories in the Far East are rife with labor violations, as a This American Life segment recently exposed.

10. Some of the finer News for TV Majors posts from the past two weeks: All the TCA posts, Great Television Women, New TVs, iPad Value for Cable, Court Leaning Toward Indecency Regs, 2 Broke Girls at TCA, More Content to Xbox, Netflix’s UK Launch, Moffat & Sexism, Defending Pop Culture Studies, Louis CK’s Lesson, HBO Ends Netflix Discount, Consumer Usage Report, Reality TV Class, Comcast-Disney Deal, Netflix Doubles Up Hulu, Netflix Originals Plan, Viewing Stats, Internet Changing Syndication.

1. AOL has had a year of turmoil, so it’s an interesting time for the company to try and resurrect AIM, which I had forgotten existed. I bet if Jeff Bezos backed it, it would work. In other corporate news, the AT&T/T-Mobile deal is looking doomed, leaving AT&T scrambling for last-ditch strategies; Yelp has filed for a big IPO; and Walmart blew its Black Friday sales online.

2. Brad Jordan says Google+ isn’t trying to directly compete with Facebook, but Google does appear to be making Twitter a target for both social media and news functions. Twitter has more than just that to worry about, as rumors swirl that its office operations are a mess.

3. The online on-demand scene in the UK is heating up: Netflix has signed deals with Lionsgate and Miramax for its 2012 UK launch, while the CEO of competitor FilmFlex says his services are ready for the competition, with a FilmFlex & HMV on-demand partnership and LoveFilm touting a Warner Bros. deal and already beating Netflix at Googling. FilmFlex’s corporate co-owner Sony is also rolling out a PS3 download service in the UK.

4. A new report says 35mm film will be dead by 2015, and A.O. Scott assesses the feeling of loss that’s resulting. Other recent changes to long-standing Hollywood institutions include Universal redesigning its logo to mark its 100th birthday and Sony saying goodbye to James L. Brooks. One thing that never changes in Hollywood? That movies sexualize women.

5. Good film news in places we don’t often hear good film news from: an arthouse theater in Sarajevo is thriving; Erbil, Iraq, which went decades without a functioning movie theater, is now hosting a British film festival; and a Ugandan filmmaker won a prestigious grant to finance a Bicycle Thieves-inspired feature.

6. The Tribune Co. bankruptcy case continues to drag on and seems likely to set precedents for shareholder protections and making people angry about ex-CEO payouts. The company is also struggling with falling revenues, and the Chicago Tribune is boosting home delivery rates as much as three-fold to stay afloat. Some worry Tina Brown is pushing Newsweek toward such doom.

7. Compact discs are dying, and FM alternative rock radio is reportedly declining, which is especially unfortunate because radio is still a dominant source for music discovery. Record labels appear to be holding on to the old ways, as a big chunk of them just pulled out of Spotify, which seems to fly in the face of surveys finding that people will pirate if they can’t easily access what they want.

8. Seems like there’s a war of some sort in each post these days, and this time around it’s music cloud wars, with the arrival of iTunes Match. Google Music has started slow, but could end up being a godsend for independent musicians with its indie hub. Meanwhile, Grooveshark seems likely to end up out of the war.

9. Skyrim is selling well, showing that single-player games still have promise, but more importantly, it has also shown that parody site Christwire has still got it, with its post that Skyrim is teaching its players “homo erotic sex maneuvers.”

10. Some of the finer News for TV Majors posts from the past two weeks: Ratings FAQ, Soap Deals Dead, Value of Black Females, Too Ambitious Series, Online Viewing Study, Daytime Still Viable, Whitney’s Shows, The New Boring, Arrested Development Deal, State of Sony, VOD Ad Loads, TCM for TV, NBC’s Midseason.

Late last year, Ofcom, the United Kingdom’s telecommunications regulatory body, announced something surprising: beginning on February 28, 2011, paid product placement would be permitted on television in the UK.

It may be difficult for those of us familiar with the commercially-mandated American system to imagine broadcasting without product placement.  After all, even early radio featured content sponsored by advertisers, and we’ve since gotten used to seeing the American Idol judges sipping (something) out of their giant Coca-Cola glasses and seeing Jack Bauer drive around in a Ford.  My students love to talk about product placement–in part, I think, because it’s so ubiquitous.  But for the UK, having only recently (compared to the US) allowed commercial broadcasting of any kind, the move toward paid product integrations on television was big news.

Beyond the newsworthiness of the event, however, the restrictions Ofcom developed to govern paid placements provides a fascinating glimpse at the practice itself.  These restrictions include dictating what types of products can be placed, what types of programming are permitted to use product placement, and limits on the way products are used in programming.  Here, I look at one restriction in particular: regulation regarding how products may be presented.   This section of the official guidance notes reveals important issues regarding the logics of product placement, as well as its perceived ills–the UK has made explicit many of the concerns and practices Americans have been implicitly wrestling with for years.

It’s in the “How Product Placements Are Presented” section of the regulations that Ofcom addresses the issue of “egregious” placement.  The guidelines dictate that there must be “editorial justification” for the product placement, which, according to Ofcom, means that “the product must be relevant to what the programme is about. The content of programmes shouldn’t seem to be created or distorted, just to feature the placed products.”  Moreover, the release explains, “Programmes also can’t promote placed products or give them too much prominence. So there shouldn’t be any claims made about how good a placed product is, or so many references to a product that it feels like it is being promoted.”

The fact that Ofcom attempts to mandate the way in which product placement is handled within programming creatively reveals a predominant concern (in the UK and the US) regarding the practice: that advertisements corrupt storytelling.  That writing around advertisements in some way diminishes the creative integrity of television programming.  Indeed, this concern functions as the core of this very column–“egregious” product placement suggests that the ads stand out at the expense of the story being told, that the ads interrupt the writers’ work and the audience’s experience.

(Perhaps it’s too much to hope that some Ofcom executive has been reading my posts and was so turned off by the clunky Toyota placements in Bones that they felt explicit regulation was needed?)

UK broadcasters are, indeed, so tentative about integrating products that the Nescafe placement (for which the company paid £100,000!) was so unobtrusive as to be entirely missed.  The video below shows the segment in question–can you spot the placement?

In the American context, this placement seems almost ludicrous.  One wonders why a company would pay for such a plug, when the machine is barely visible in the background, let alone mentioned by name or used in a productive manner as has become common.  Obviously the notoreity of being “first” was enough to justify this particular instance, but if future placements are expected to be similarly unobtrusive, the utility of the practice has to be questioned.

The UK regulations and the “egregious” instances of product placement in the US, however, set up a false dichotomy, a sense that product placement is an all or nothing prospect.  Either you hide the product in the background of the scene (leaving advertisers unwilling to invest much for the ad) or you draw so much attention to the product that you distract viewers from the stories being told.  Despite the title of my column, and the instances I’ve highlighted here on Antenna, it is my firm belief that product placement does not have to exist on these poles.  Rather, the great majority of placements exist in a happy medium, where advertisers are satisfied that their product has gotten sufficient attention but creative personnel don’t feel like they’ve been used and abused and audiences don’t feel like their programming has been unduly interrupted for an advertisement.

Indeed, I would argue that product placement really must occupy the middle ground in order to succeed.  On either extreme of the spectrum, someone is left dissatisfied–advertisers, storytellers, audiences–to a degree which invalidates the profitability and success of both the ad and the programming.

Although it’s easy to see Ofcom’s strict regulations regarding the nature of product placements as a defensive response to the saturation of the American television landscape with these ads, perhaps regulators, content producers, advertisers and audiences alike need to step back and reevaluate where product placements are taking us (economically and creatively), and whether it’s someplace we want to go.