Cable network TNT sent its marketing team in the wayback machine this week to send out a “sneak peek” at a new show, Men of a Certain Age. Which, based on the cast (Scott Bakula, Andre Braugher and Ray Romano) is somewhere in the late 40s to early 50s. Presumably, these men of a certain age made romantic mix tapes for their would-be loved ones in their youth. Or a mix tape to enjoy while driving around. Or, and I’m just guessing here, to enhance getting baked in their mom’s basement.

The “mix tape” is an iconic touch point for anyone of a certain age, especially those who know what a “tape” is. (Was.) These men of a certain age most certainly spent some quality time in mom’s basement making mixes to celebrate love, mourn getting dumped and generally show off their masterful knowledge of hot jams. (For the ultimate example of this male prototype, see John Cusack in High Fidelity.) Naturally, these men are now older, but somewhere deep inside each one, an insecure teenager is dying to find audio perfection.

Which brings me to the marketing experiment that arrived in our snail mail this week (for no apparent reason!). TNT has spent at least a few bucks to create a giant faux tape box containing a tiny-but-heavy rubber “mix tape” that’s really a flash drive that plugs into your computer’s USB port. The drive contains three songs in a play-only Shockwave format (alas, no MP3s) that presumably represent the three men at the heart of the show. I say presumably because I can’t imagine any person on Earth putting “Up Around the Bend” by Creedance Clearwater Revival, “Here I Go Again” by Whitesnake and “The Best of Times” by Styx on the same tape voluntarily.

My expectation is that these songs will play while the three men bond in the car, driving in the perfection that is the Magic Hour (right before the sun sets). Or perhaps while smoking weed they stole from one of their children in the basement. I’m pretty sure they won’t be playing any of these songs while holding a CD player over their heads. I just don’t see wooing the Mrs with Whitesnake.

I’m just guessing, of course, as I didn’t bother to watch the core marketing piece on the tape: a “sneek peek” for the show itself. I just can’t get excited about a show revolving around middle-aged men who like Whitesnake, CCR and Styx. I’m also curious as to how I was targeted to receive this particular piece. The best theory I’ve had to date, based on the name used on the address label: cable cousin (via Time Warner) HBO sold/lent my name to TNT.

I purchased a True Blood tee directly from HBO.com earlier this year, and fully expected to get marketing from at least HBO. They have not disappointed, letting me know every single item that has entered the store related to every show on the air. Every HBO touch has been via e-mail, however.

TNT clearly spent at least some marketing dollars to get attention for their show. The question is, did  it work? Yes and no. No in that I still don’t have any interest in the show, and in fact any chance I might have given it (based solely on the cast) pretty much died when presented with these music choices. (I now have a mash up of “Up Around the Bend” and “Here I Go Again” stuck in my brain. I fear I may go insane!)

On the plus side – at least for TNT – they got exactly what every show desires: a free plug.

This week represents the motherload of all Twitter cycles, as the Twitterati descend upon San Diego Comicon (SDCC). There is a long and glorious cross-over between technophiles and comics/sci-fi/fantasy fans–and SDCC is their harmonic convergence. (It’s so much more than a “nerd prom.”)

The obligatory marketing tool for this year’s SDCC is Twitter itself. Every major media outlet has set up either a general Twitter account for “reporting” or individual accounts for reporters… in many cases, both. Through cross-promotion through traditional media (house ads in magazines), online (”follow us on Twitter” announcements on Websites and stories) and Twitter itself, everyone is attempting to get your attention.

I follow several of them normally, and this week, I’m getting spammed with SDCC coverage. I appreciate the effort, but a vague tweet and link will not get my attention. (The Ausiello Files actually tweeted “I just had a really interesting interview with…” and a link. You had to click to find out who it was.) While this may seem cute and intriguing, I found it cloying. I’m already reading hundreds of tweets. Give me a reason why I should click yours.

What I find far more interesting is the artists themselves. Actors, comic artists, writers, and others all can be found on Twitter, discussing their experiences and providing tips on where to find them. (Heroes alum Brea Grant mentioned she was going to return to a booth unannounced for additional signings after numerous Twitter followers failed to see her during a scheduled signing.) Many artists also share goofy personal photos from the floor that won’t show up in People.

HBO, Showtime, SyFy, and other SDCC-friendly networks are trying out a similiar approach this year, setting up show-specific Twitter accounts for shows represented at the con, including True Blood and Dexter. The accounts focus purely on giving fans insider info about the shows. Show-related panels are announced early enough that fans have a shot at getting to the right hall and scoring a seat. Personal appearances, including some “surprise” appearances at partner booths, are also slip-streamed. It’s a small thing, but it means a lot to fans. And for those who couldn’t get there, videos and other tidbits are posted and linked in a timely fashion.

This fan focus shows an awareness of what comicon truly is and isn’t. Yes, it’s a major promotion opportunity for the production companies, comic artists, actors, and so on. But it is also the world’s largest celebration of all things geek, which certainly includes Twitter.

Well, this year, anyway.

Bruno (Sacha) sells his movie

How do you solve a problem like the “Bruno” movie? You let life imitate art. Sacha Baron Cohen pulled off one of the year’s great publicity stunts Sunday at the MTV Movie Awards, in the clip viewed round the world. Susan Boyle who? Between Sunday night and Monday, it was all about the backless chaps and Eminem’s outrage—at least until the target audience discovered E3 had started.

The actual event was not all that shocking for the venue. Howard Stern also ascended in backless chaps from the rafters way back in 1992 to promote Fartman, a movie he never got around to making. Older viewers may also recall Eminem’s 2002 MTV Movie Awards showing, in which he made homophobic comments about singer/producer Moby and attacked Triumph the Insult Dog, essentially throttling a puppet.

Over the top aerial stunts? Homophobic reaction? Mock(?) outrage? In short, we’ve seen this show before. And yet, it worked. Within 20 minutes of the moment airing live on the East Coast, blogs (including mainstream entertainment sites) were buzzing about the confrontation. #Bruno and #Eminem began trending heavily on Twitter. And everyone tried to add the clip to their Facebook.

As the day progressed, bloggers studied the video like it was the Zapruder film. Everyone agreed that Baron Cohen’s descent was carefully planned and rehearsed. But why didn’t Eminem move? There was plenty of time for him (or anyone in that section) to get out of the way, but they all stayed frozen in their seat. Conclusion: He was in on the joke.

By late Monday morning, the Internet had decided, and “sources” had confirmed, that the rapper knew Bruno would be descending into his lap. He just didn’t know it would dressed like a fallen angel from the West Hollywood Victoria’s Secret. We all know the rapper is a homophobe—remember Moby? And the “Bruno” persona is all about bringing out the worst in homophobes for laughs. Match, point, game over.

At least, that’s what the social networkers decided for a couple hours. By late day, yet more insiders (my money is on people from the Universal Studios, MTV and possibly Eminem camps) had leaked that the entire thing had been planned, and everyone knew everything. Yes, even that. The audience had been mass punk’d.

E3, perhaps the only event on the planet save Comicon that could have pushed this out of the Internet zeitgeist, took over the early afternoon. By late afternoon, Bruno and Eminem were overtaken by Left 4 Dead 2, Xbox 360 Facebook integration and other news from the event. By the time you read this, it will be old news.

And it’s almost exactly 24 hours since the whole thing began.

So what did we learn?

1. You can still reach a mass audience in today’s splintered entertainment world. Between 500+ cable networks, Internet radio, iTunes, Hulu and the gazillion social networking sites, it has become almost impossible to reach everyone. The stunt may have been in bad taste and NSFW, but you can bet it was passed around heavily today.

2.Traditional marketing doesn’t always rule. Bruno, a comedy, is set for a July release in the U.S. If this was say, a Judd Apatow release, you would have seen the trailer approximately 10,502 times by now. Yet until just a few weeks ago, Bruno’s only real exposure was a Red Band (restricted) trailer on MySpace. Even with a regular trailer in theaters, you’re unlikely to encounter it with the same painful frequency as say, “Land of the Lost.” The clip of “Bruno” landing face first in Eminem’s lap is likely to stay with you a lot longer than the sleestaks, however.

3.Your target audience doesn’t have to be watching for you to reach them. You don’t have to be a Disney-level marketer to figure out that the squealing young girls who sent Twilighters to the stage time and again are NOT the target audience for either Bruno or Eminem. Nor are they old enough to enjoy either one without an adult to buy the ticket or album. It doesn’t matter. All it takes are a few high-profile blogs and tweeters to describe what happened, often with colorful descriptions of Baron Cohen’s outfit, to get the Internet abuzz. You may not have seen the New Moon cast, but by now, you’ve seen Bruno’s full moon.

As the stunt fades into the distance, the question becomes, “who won?” Well, let’s examine the not-so-scientific evidence:

• Baron Cohen and distributor Universal Pictures will have to wait until July to see if the movie enjoys any bounce, or if people are so over Bruno by then. (Universal expects a small opening followed by long legs, similar to Baron Cohen’s Borat film.)
• Eminem was nowhere to be found on the iTunes top 100s the day after, but his fans might be more likely to buy a physical CD than go to iTunes. Or perhaps they just want to discuss his behavior—his musical performance does not appear to be the topic of conversation. Which leaves…
• MTV, which managed to squeak a buzz-worthy moment out of an overall lackluster, and often dull, show. By cracking down early and often on illicit video postings, MTV controlled where you could go to find the video. I found plenty of places where I could view it other than MTV.com—but the official videos were clearly imprinted and credited to MTV. The network is also no doubt counting on a bounce for future showings. Eminem’s attempt to beat down Triumph the Insult Dog gave a nice bounce for repeat viewings—but that was before the Internet became a television set.

So hats (pants?) off to a marketing trick that managed to be both smart and stupid at the same time. I for one can’t wait to see Bruno.

I’ve noticed that marketing often wants to toss work “over the wall” to production and then review it when it’s done. In some cases, this takes the form of a PDF of JPG comp, from which production is then expected to deliver a final, flawless e-mail or Web page. Here is why comps fail in most cases as the sole deliverable for hand-offs:

• They typically do not reflect the final copy or layout. In my most recent project, there were several individual mails that were represented in old, out-dated templates and one comp that failed to reflect a desired headline style. If production had looked at the comps, they would have carried over many errors that would then have had to be fixed in review. In my experience, review takes plenty of time just fixing actual production mistakes - you don’t need to extend it correcting errors in the handoff.
• They are poor at conveying notes and small details such as ALT text. And if a detail is missed, the vendor or team member who owns them has to update and then build them out again. This can quickly become a lot of work and delays the process. Or if they are omitted, production may try to guess what you’d want. Do you really want developers guessing what marketing wants?
• They are difficult or impossible to extract copy from. True, you can cut and paste copy from some PDFs, though it’s not always intuitive and, in my experience, more often than not these documents are locked. And it’s not possible with most other types of image comps. You don’t want production retyping the copy you worked so hard to finalize, right? Because that is what they’ll do if they have to.

Comps can be helpful to give production a visual guide, particularly when introducting a new layout or design. But a Word document is a better handoff for copy. For one thing, you don’t want production retyping your text or making guesses about what to use for ALT text. If you expect production to catch every variance from a comp from an e-mail message, you will probably be disappointed.

Your hand-off document should track changes or at least mark them in comments (doing both is best). Try to make the document look as close to the final copy as possible by including images and using table cells to lay them out alongside your copy. Every image should have ALT text and, if they are clickable, a link. (And why not make them clickable – people do click images, often more than text!) Format your text to look like your comp, matching or at least approximating color and size.

Now don’t get me wrong, comps still have their place: They make great redlines. It’s always valuable to include them with detailed layout specs such as gutter widths (if production is building the layout), fonts and color codes in conjunction with a good copy document. Then production can pull the text and links from your Word document and refer to the comp when laying it out and applying the formatting.

The bottom line here is to anticipate how production will use your hand-off documents and work to minimize the back and forth at the end of the process, where things are most likely to slip.

So when I find a code for a free game on my cherry tomatoes container, I’m inclined to give it a try. Though I was a bit dismayed at what I found:

Cherubs Tomatoes Match-3 game (click to play)

This “game” shows a lack of knowledge of the marketer’s target audience, which – as I know from my time working in casual games – is older women. Sure, it’s a Match-3 puzzler but it’s a) extremely dated and b) goes against the expectation of what a free game code should deliver.

Your average housewife has moved beyond the simple online Match-3. Games like Bejeweled Blitz and CSI – The Game are much more diverting than mindlessly matching a few branded icons together. And game codes are more typically redeemed for full-featured downloadable games, not a simple Web game that you don’t really even need a code for (the code directs you, but once you’re there you could share the link to the actual game).

The game does match with the collection of games offered in the Kid Friendly “Fun Zone” but all but the smallest children would be quickly bored by this frail offering. My own 6-year-old is already hooked on Nintendo DS and plays more complex games like Avatar and Kirby. His matching game of choice is the much deeper Pokemon Trozei. In fact, two of the three games currently in the Fun Zone (High Flying Cherubs and Make a Match) are better than this basic Match-3 clone. (The third is a print-a-PDF coloring page.)

There are a few ways this campaign could have been better conceived. The code could have unlocked a more full-featured downloadable game. Nature Sweet might have partnered with a casual game company to create a branded version of a successful franchise, such as a hidden object game (find the hidden Cherubs!) or platformer (Cherub’s jumping adventure in the land of the evil weeds!). Or they could have created a richer version of the Match-3 game with power-ups, leaderboards, and weekly prizes for top scorers.

Instead, the majority of casual game-savvy customers who take the time to enter their codes and play this game will be left with bad tastes in their mouths. Which was probably NOT the campaign’s goal.

So we have relaunched this site as a blog where we can tell you some of what we’re up to and share the unique insights we’ve uncovered to help you navigate the stormy waters of Web 2.0 and beyond.