Much of the speculation has focused on whether a proper Apple Television monitor product would arrive, what size, shape and features it might present, and how it might integrate with Apple’s cloud services. Vitally, the speculation has also dovetailed with a belief that if and when Apple launches a TV (beyond the Apple TV puck offered today) that Apple will attempt to challenge the cable TV industry with a new subscription-based offering for mainstream TV content.

Will there be a new TV monitor product? What about an updated Apple TV puck? What does this mean for cable TV?

Asked about this at last week’s All Things D conference, Tim Cook was noncommittal, saying only that Apple TV is “an area of intense interest for us.” And that the company is “going to keep pulling this string and see where it takes us.”

In my humble opinion, the entire debate over whether Apple ships an actual TV set and introduces some updated iTunes video package is a complete sideshow for a broader and bigger phenomenon and transformation for how we all use TV, and that this transformation is already being rolled out by Apple.

However, before getting to that, I want to first put to rest the near-term question of whether Apple will launch a directly competitive product to cable TV — e.g., a multi-channel subscription TV product to the leading broadcast and cable content available today.

Apple’s Approach to Cable TV Content on their TV Platform

Apple will not anytime soon launch a competitive subscription video product to cable. There are deep structural and contract rights issues that limit their ability to do so, and Apple does not want to buy their way into premium content from top-tier broadcasters who are collectively making hundreds of billions of dollars worldwide from subscriber fees shared from Multi-Channel Video Programming Distributors (MVPDs such as Cable, Telco, and Sat TV).

Given this, I believe Apple will seek partnerships with the top cable companies for them to open up their APIs for their EPG, VOD libraries and Network DVR infrastructure so that Apple can offer a superior user experience on top of those services, in a carrier/operator independent manner, much as they did with the mobile telephony services of the leading telephony carriers in the world.

In such a model, you’d purchase and use an Apple TV device (more on what the devices will actually be below) and use it in concert with an existing subscription from a TV operator, and access the TV functionality as an App. Yes, cable TV will just be an app among what will be tens and then hundreds of thousands of apps on your Apple TV.

While this is likely the path Apple will pursue in the mid-term, I believe they are unlikely to get any of the very top-tier TV operators like Comcast and Time Warner to go for their proposal. At best we might see an Apple TV EPG App that interacts with linear broadcast streams using CableCard integration with your existing provider which they could more or less do without agreement from the cable operators, but given how much value the cable companies are putting into VOD and Network DVR features, it seems unlikely that Apple would be happy shipping such a limited feature set.

So, if Apple hasn’t “cracked the code” on disrupting how we purchase and consume subscription- and advertising-supported broadcast TV content, what is going to be so revolutionary about Apple’s new TV product?

Reconceptualizing TV as an Application Platform

To understand where I think Apple is headed, one really needs to step back and re-conceptualize how one thinks about TV. In my view, TV is the last screen to fall as a computing platform. What do I mean by this? That we should think of TV screens and monitors as the final frontier in Internet-based software applications, not as devices to watch and consume video content.

Properly conceived, a TV is a large high-definition audio/video rendering device that plays a role in displaying content and related data. While certainly the ideal device for consuming and using video-based content, it is also simply put the largest computer monitor in our lives, and one that very often presents in a social context — the living room, the conference room, the dorm room, the classroom, the retail store floor and shop window. In short, these TV monitors are at the core of all of our major social and economic activities.

And in recognizing the broader role that these monitors play in our lives we can begin to re-conceptualize TVs as not just screens for video, but as a rich computing surface for viewing information, playing games, communicating, learning, shopping and so forth. In the past, when trying to use these screens for non-video applications, we would connect them to a PC or laptop (to present a shared piece of content that a group could discuss or interact on), or connect them to a game console for playing games.

In general, most attempts to evolve the capabilities of the TV monitor into richer computing platforms have failed. There are many reasons, far too many to discuss here, but in short the TV monitor as computing platform has failed because of poor execution on software, software user experience and poor user interaction devices and paradigms.

The iPhone and iPad as Next-Generation TV Computers

It is precisely with this re-conceptualization of TV in mind that I believe Apple has “cracked the code” on TV. Specifically, Apple sees that TV monitors are just that — high-quality audio/video rendering devices — and that the real power lies in application platforms and user interaction devices that can be easily brought to bear on those monitors.

But rather that putting Apple software directly into the TV, they are bringing your existing Apple devices and applications to the TV set without requiring you to buy a new TV monitor. In short, the iPhone and iPad in your pocket or handbag is the next-generation TV set-top box, and it is both highly personal and highly social and capable of bringing hundreds of thousands and soon millions of rich interactive applications and experiences onto your TV set.

And this is where Apple AirPlay comes into the picture. Released with a significant upgrade as part of iOS 5 last year, and becoming a core part of OS X this summer, AirPlay allows a user to easily beam any content or application to an Apple TV device. The basic use case is that when your iPhone or iPad sees that an Apple TV is on your network, you can easily beam audio and video directly to the TV. This allows you to browse and discover any media on your Apple iOS device and experience and enjoy it on a TV, including even any videos that you encounter on the Web (assuming they properly support HTML5, HLS streaming and the players detect and surface AirPlay UI).

Already today, there are fantastic iOS Apps that take nice advantage of it — Netflix, MLB At Bat, CNN, MSNBC and dozens of other mainstream video sources can be browsed and selected on an iPad and beamed to the TV set. It’s an effortless and enjoyable experience.

But AirPlay is not just for video; increasingly, it is for any kind of application. In last year’s update to AirPlay, Apple introduced two new and inter-related concepts: AirPlay Mirroring and Dual Screen Apps. AirPlay Mirroring allows you to mirror your iPad (or iPhone) screen onto your TV monitor with ease (if you own an Apple TV, try the following — double click the round home button on your iPhone or iPod and swipe the bottom apps menu to the right once or twice and you’ll see the Apple TV icon, and you can then mirror your device).

This is incredibly powerful. It essentially turns your iPad into a powerful TV Apps platform that can render any application on the TV while enabling the user to use their touch-based device to browse, select, navigate, etc. To fully take advantage of this capability, developers need to create “Dual Screen Apps” that are aware of AirPlay and of the TV screen and the local touch-based iOS screen. And it’s already happening: From MLB, which allows you to use your iPad as a second screen for HD baseball game broadcasts, to games that render on the TV while using your phone or tablet as a controller, to many of Apple’s own native apps like iPhoto and Keynote which present rich interactive interfaces on the iPad while rendering media onto the TV.

TV Apps are here and they’re all about building dual-screen iPad Apps that interact with AirPlay-enabled Apple TV devices.

All of this hangs together if Apple is successful with a broadly distributed device to connect to your TV monitor. Today, that is the Apple TV puck. Even now, it is a highly compelling product — $99 for enabling your TV to become a general purpose app and content platform controlled and used from any iOS (and soon Mac OSX) device. I added one to every TV in my home, and now rarely use my Smart TV embedded OS or my cable TV set-top OS/interface. I’m playing games on my TV with my kids, watching movies, streaming live broadcast TV using authenticated TV Apps from companies like CNN and ESPN, and with dual-screen MLB it is hands down the best way to watch baseball with an iPad App in hand.

While there are clearly bugs and user experience issues with how AirPlay is implemented today (and this is clearly recognized by Apple, who have more or less kept AirPlay features on the down-low), it holds incredible promise and, more importantly, I believe is at the center of Apple’s emerging TV strategy.

The Next Generation Apple TV Device(s)

This brings us full circle to the core question — what will Apple’s next generation TV device products encompass and enable? If my analysis is correct, I believe that this will likely mean that the core focus for Apple will not be on their own TV monitor product, but on continuing to advance a device platform for extending iOS onto TV sets easily, while dipping their toe into the actual TV monitor business as well. What’s critical is that they be able to sell a massive volume of TV add-on devices to consumers who already own HD TV devices, because at the end of the day the core focus is on extending the iOS and iTunes ecosystem onto the TV, and the fastest way to accomplish this is with a commodity add-on peripheral.

At the core of Apple’s NG TV products will be new hardware and new software.

First, Apple will release a new Apple TV add-on product, though I expect that rather than using the current “puck” design it will instead be a thin black bar, perhaps 1 inch tall and 3 inches wide, that can easily mount to the top of almost any existing HD capable TV set. Like the existing Apple TV, it will have HDMI and power jacks on the back, but it will also include a high-def camera built into its face, as well as an embedded iOS environment that provides motion sensing and speech processing.

Second, Apple will also release a TV monitor product as well with identical capabilities as the updated Apple TV add-on device, but in a design and form factor that presents the Apple brand effectively. Why would they do this when it is such an established market with such long replacement cycles? In short, because they can, and it will be gorgeous and include the latest innovations in display technology, and will sell at a premium price that ensures a reasonable gross margin for Apple.

Third, Apple will provide updates to iOS that include significantly enhanced and improved AirPlay functionality, and where AirPlay capabilities become a more front and center aspect of the iOS experience. Additionally, they will release new iOS APIs for dealing with second screen device capabilities such as the new camera and microphone, motion detection and speech recognition. Developers will be encouraged to build iOS apps that are Apple TV ready, using dual-screen features and motion user interaction, among other things.

The Big Picture Isn’t Apple Cable TV, It’s the 500,000 TV Apps Already Here on iOS

Not to beat a dead horse here, but Apple will not, at least right now, re-invent the pricing and packaging and user experience of long-form cable and broadcast TV content, at least not much beyond the iTunes store. In fact, if anything, Apple will recognize that a deeper alliance with TV operators is inevitable (to build on their EPG, VOD and Network DVR APIs), and will push further into providing support for TV Everywhere authentication services in iOS, and evangelize broadcast brands to launch TV Apps for their networks and shows that take advantage of the NG Apple TV model described above. Further, they may seek alliances with the likes of Comcast to launch pure-play over the top (OTT) editions of products like XFinity as TV apps.

But it won’t matter, because with Apple TV, cable content is just an app. What matters is that soon potentially tens of millions of HD capable monitors will become a screen for the hundreds of thousands of apps running on devices that are already in your hands.

Jeremy Allaire is founder, Chairman and CEO of Brightcove, a leading global provider of cloud-based software used by media companies and marketers for online video and mobile apps.

But that hasn’t happened yet. And it’s possible that even as Web video grows, TV will continue to do just fine.

That’s the thesis of Bernstein analyst Todd Juenger, who made his case to investors earlier this week. Two slides from his presentation sum it up well.

First, he notes that even though eyeballs have moved away from broadcast TV, ad dollars have not (click to enlarge):

Even more important: Though the Web ad business is growing, TV continues to grow, too. And while other old media industries have shrunk, their losses haven’t turned into equivalent gains for the Web (click to enlarge).

But what about consumer spending? After all, Netflix is streaming more than 2 billion of hours of video every three months. That has to cut into TV, right?

Not really, says Juenger, noting that overall TV viewing is still up. Instead, he says, Netflix, iTunes, Amazon et al are eviscerating the DVD business. Important distinction.

And yes, all of this could eventually change, particularly if the digital guys figure out how to break up big cable’s lock on programming. But as we keep pointing out, that’s a very strong lock. It’s not going away anytime soon.

Largely relegated to obscurity decades ago, old-fashioned television broadcasts — over the airwaves and not via cable or satellite — are enjoying an unexpected revival in the digital era.

With an increased array of online-video programming now drawing viewers’ attention, companies are starting to pitch consumers on complementing online video streamed from the Web with broadcast-TV signals as a way to save money on cable subscriptions.

With an increased array of online-video programming now drawing viewers’ attention, companies are starting to pitch consumers on complementing online video streamed from the Web with broadcast-TV signals as a way to save money on cable subscriptions.

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Greenfield, a very sharp media analyst at BTIG, says that 2012 will be the first time we’ll see a true “virtual” cable-company offering in the U.S., where consumers can subscribe to TV delivered over the Web. This is different than the on-demand services that currently exist, like Netflix and Hulu, which offer up programming that’s already been on TV. This will give you access to “real” TV, in real time.

His summary: “While [quality] will not match what you are accustomed to from your traditional [cable provider] (due to Internet congestion), virtual MSO pricing to the consumer will be substantially lower, subscribers will receive a significantly better user-interface/navigation across a wide-array of IP-enabled devices in the home and service will be accessible anywhere in the US, rather than being stuck in a certain region.”

Who/what/where/when? Greenfield’s prediction post (registration required) doesn’t commit to any of that. But it does sketch out the basic “how” framework:

• The “virtual” cable company will have to cut distribution deals with all or most of the big TV channels/programmers, just like the satellite TV guys did in the ’90s. It’s possible that some of the programmers won’t want to play along, for fear of upsetting their existing deals with the cable guys. But just like in the ’90s, as long as the “virtual” company is paying market rates (and likely higher) for the programming, the cable guys can’t really do much about it. (And if they do, they’ll have a lot of explaining to do in Washington: Note that when the Feds blessed the Comcast/NBC deal this year, they required the company to make its programming available to this kind of competitor.)
• All those deals mean that this won’t be “a la carte” cable, where you can get ESPN but not the Disney channel, or vice versa — these will be all-or-none deals.
• And all of the above means that you won’t be getting these channels for next to nothing. Greenfield figures the pricing will be “substantially lower” than what the cable guys currently charge. But since he assumes that the “virtual” cable guys will have to pay at least $40 a month per subscriber for the programming, it’s going to cost at least that much for consumers — he envisions the new guys selling this stuff at “razor-thin” margins, but not at a loss.
• Getting your TV programming from a “virtual” cable company doesn’t mean you’ll be able to tell Comcast or Time Warner Cable, etc., to pound sand — you’ll still be paying them, or someone, for broadband. Greenfield thinks this could actually be a good thing for the cable guys in the long run, because the margins on broadband are much better than in the TV business. And they’ll probably be able to force many customers to upgrade their broadband subscriptions to a higher tier, so they can stream all of that video.

OK. So who might do this?

Greenfield runs through a laundry list of every potential player, including Amazon, Apple, Google and Microsoft, even Wal-Mart. I assume that the most logical step would be for someone who’s already in the video business, but with a limited footprint — like Verizon or Dish Network — to try this out.

But over the phone this morning, Greenfield said he thinks the first player will be someone who’s not in there already, but wants to build another platform that gives them direct access to millions of consumers. Start speculating now!

The change comes as YouTube beefs up its offerings to compete with broadcast and cable television, complete with original, professionally produced videos. Last month YouTube announced the creation of around 100 online video channels, featuring original programming from A-List talent such as Madonna, Jay-Z and actor Ashton Kutcher.

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Longtime media and Internet exec Bob Pittman has been named CEO of radio broadcast and outdoor advertising giant Clear Channel, the company announced today.

Pittman — who has been chairman of Clear Channel’s media and entertainment platforms after making an investment in the company less than a year ago — will join the board of directors of CC Media Holdings, Clear Channel Communications and Clear Channel Outdoor Holdings, as executive chairman.

Clear Channel’s holdings include a huge parcel of radio stations across the U.S., along with a number of digital properties and a big global outdoor advertising business.

Pittman — the former MTV wunderkind who started in radio at 15 years old as an announcer at a station in his native Mississippi — has not been in a top job like this one since he resigned from the then-AOL Time Warner as its COO in the midst of the botched merger mishegas almost a decade ago.

Since then, Pittman has been doing a range of things, including making canny investments in a variety of Internet start-ups such as Zynga and DailyCandy, and even in a high-end tequila company via the Pilot Group, a New York-based private investment firm.

He made his own investment in Clear Channel last year and has since upped his involvement, which resulted in the latest move to CEO.

“I swore I would never work like this again, but when something gets me this stimulated, I knew I wanted to get into it again,” said Pittman, in an interview with me yesterday. “I think this company has everything it needs to be a great media company in the new media landscape.”

That will include a range of new initiatives, including recent partnerships with Facebook and more.

“We want to move like an entrepreneur and have the assets of a big media company,” said Pittman. “I am an addict for this challenge.”

Here’s the official press release from Clear Channel:

BOB PITTMAN NAMED CEO OF CC MEDIA HOLDINGS

Appointment Underscores Clear Channel’s Evolution to a Fully Realized, Integrated Media, Digital and Entertainment Enterprise

Media Pioneer Will Oversee the Company’s Global Media Properties, including Broadcast, Digital and Mobile, Syndication, Media Representation and Outdoor

New York, NY — October 2, 2011 — CC Media Holdings, Inc. (OTCBB: CCMO), a leading global media, digital and entertainment company, announced today that Bob Pittman will become its Chief Executive Officer. Pittman joined Clear Channel in November 2010 as an investor and the company’s Chairman of Media and Entertainment Platforms. Pittman will join the Board of Directors of CC Media Holdings, Inc. and Clear Channel Communications, Inc.; in addition, he will join the Board of Directors of Clear Channel Outdoor Holdings, Inc., as its Executive Chairman. These appointments are effective immediately.

In his new role, Pittman will oversee the company’s businesses, which include:

Clear Channel Radio, which serves 150 cities through 850 owned radio stations and an additional 100 cities and 4,000 stations through its syndicated Premier Radio Networks products. Clear Channel Radio also includes:

* Clear Channel Digital, which develops and operates iHeartRadio, the free, industry-leading digitalradio product that combines access to all of Clear Channel’s live broadcast and digital-only radio stations as well as user-created Custom Stations. Clear Channel Digital also develops the companion digital products for each radio station brand, including strong social components;

* Media Services for the radio, media, digital, mobile and music industries, including Total Traffic Network, a groundbreaking programming and technology service delivering real-time traffic data to vehicles via in-car and portable navigation systems, broadcast media, wireless and Internet-based services; The Katz Media Group, the leading media representation firm in the US for radio and television stations; and RCS, which provides scheduling and broadcast software for radio, internet and television station in addition to research studies that aid the media and music businesses.

Clear Channel Outdoor Holdings, which is one of the world’s largest outdoor advertising companies with close to one million displays in over 40 countries across five continents. Clear Channel Outdoor includes:

* Americas Outdoor Advertising, which owns or operates nearly 190,000 displays across the United States, Canada and Latin America including operations in 49 of the 50 largest markets in the United States. The Americas businessconsist of various types of displays that include billboards; street furniture; transit displays; the Clear Channel Airports division, which is the premier innovator of contemporary display concepts and currently operates more than 260 airport programs across the globe; mall displays; wallscapes; and spectaculars including Spectacolor, a market leader in spectacular sign displays, with displays located in New York’s Times Square. The Company has been a leader in the development and operation of digital displays and networks across many of its U.S. markets.

* International Outdoor Advertising operates across Asia, Australia and Europe with displays across nearly 30 countries. The International business consists of street furniture and transit displays, billboards, mall displays, wallscapes and spectaculars. Clear Channel International’s street furniture division operates over 3,500 municipal advertising contracts worldwide.

Pittman will also remain a member of Pilot Group, LLC, a New York-based private investment firm.

“On behalf of the Board of Directors, I want to express how delighted I am that Bob has accepted this position,” said Mark Mays, Chairman of Clear Channel Media Holdings. “He has been an invaluable contributor to Clear Channel Radio since last November, and he is the perfect person to take Clear Channel to the next level. I look forward to his leadership of our company.”

“Bob Pittman brings a long history as a brilliant innovator and brand builder — from his days as a very successful radio programmer, creator of MTV and CEO of MTV Networks to his work helping to drive the phenomenal growth of AOL and his successful investments in other digital, media and technology companies. He has already generated a renewed sense of confidence and direction not only at Clear Channel, but across the entire radio and media landscape,” said Scott Sperling, Co-President of THL Partners.

“I’m thrilled we were able recruit Bob into the CEO role at Clear Channel. He is the perfect fit to lead this incredibly powerful media platform. He embraces creativity, and has given employees the motivation and freedom to innovate, take risks and succeed,” said John Connaughton, Managing Director of Bain Capital. “He thinks big, is not afraid of change and is intensely focused on driving new businesses, expanding our creative talent and maximizing the full value of Clear Channel’s extraordinary assets, ideas and people.”

Pittman’s appointment comes on the heels of several industry-leading achievements by Clear Channel Radio this past year. In March, the company acquired digital music company Thumbplay for its state-of-the-art technologies as well as its technology and product teams. Last week, Clear Channel hosted the iHeartRadio Music Festival, the largest live concert event in radio history, which marked the official launch of the New iHeartRadio, which combines more than 850 of the nation’s most popular live broadcast and digital-only radio stations from 150 cities with user-created Custom Stations. iHeartRadio was one of the few highlighted new products at Facebook’s f8 conference on September 22nd, where it was recognized for its technology and cutting-edge social integration.

Additionally, Clear Channel has demonstrated its unique national promotional capabilities through significant relationships with record labels and social media leaders, and forging relationships with partners like Microsoft, Facebook, Zynga, Toyota and HP that reach further and deeper than advertising.

“Over the past year, I’ve had the unique opportunity to look at the Clear Channel people and assets up close and have found myself increasingly drawn to the company, to the point where the chance to get even more deeply involved has just become irresistible,” said Pittman. “I know first-hand that we have great people and the assets that allow them to do great things. We are so much more than just transmitters and broadcast towers — we leverage our local brands, personalities, strategic relationships and programming expertise to create unique experiences that forge real connections with consumers across our multiple platforms.”

Pittman continued, “I look forward to continuing to work closely with John Hogan and the Clear Channel Radio team to grow our company as we strengthen relationships with our consumers, advertisers, artists, labels and partners, nationally and locally — and I’m excited by the opportunity to work with Ron Cooper and William Eccleshare to help them make the most of our outdoor advertising potential by tapping into Clear Channel’s assets as a whole. I believe we have the technologies, the physical infrastructure, the content and, most importantly, the people to market to consumers better than any other media company in the world.”

My Twitterstream was dominated by snarky play-by-play, and the rest of the Web was doing the same thing. Even the New York Times and The Wall Street Journal put Grammy liveblogs on their homepages.

So now it might be nice to head online and actually see–and hear–what I missed. No dice.

The official Grammy site, run by the National Academy of Recording Arts & Sciences, has plenty of clips, but none from the CBS broadcast itself–it’s all backstage, or red carpet or other footage I don’t care about. CBS.com doesn’t have anything, and neither does TV.com, CBS’s mini-Hulu.

Meanwhile, Google’s YouTube, the place where I really expect to see clips, is doing a very good/frustrating job of keeping the site scrubbed free of amateur uploads. You can find some stuff, but it takes work, and the quality is poor, and I’m pretty sure it’s getting removed quickly after it goes up.

So while I really want to see Arcade Fire’s performance–my Twitter pals were ecstatic about it–right now the only thing I can find is grainy footage of  Lady Gaga doing yet another Madonna…homage. This may or may not be available by the time you read this:

[UPDATE: Ask, and you shall receive! For now. Thanks to @colinparksfried, @tdotjdot and @nolaschott]

A CBS rep notes that Grammy performances “aren’t typically available online due to rights clearance issues,” and I’m sure that’s true. Any given song can have lots of different owners, and getting all of them to agree to put it on the Web can be a huge hassle. On the other hand, it’s not an insurmountable challenge–that’s why we have Vevo.com, a Web site dedicated to nothing but music videos.

Left unsaid here is that big live events like the Grammys are now TV’s most valuable commodity, and the people who produce big live events continue to struggle with the Web. But more and more of them are getting it–even the very uptight NFL is putting highlight videos up on its site while the games are in progress.

The Grammys are already being augmented very nicely by the Web, which provided it with endless free promotion last night. But now that the live event isn’t anymore, you’d think the music industry, which can use all the promotion it could get, would be pushing very, very hard to let people see what they missed last night.

Who knows. It might even prompt someone to, you know, buy some music.

NBC will find out. Its Local Media unit, which owns 10 stations around the country, is integrating Twitter into its programming, bringing a select group of Twitterers to chat about the day’s news within the broadcasts themselves.

“The 20″ starts this week on NBC’s Washington, D.C., and New York stations, and you can see a demo of what it looks at the bottom of the post. But it’s a pretty straightforward concept: Use Twitter to find 20 (get it?) newish, youngish talking heads to liven up the show.

And that’s supposed to set up a virtious cycle–the Twitterers that NBC features already have people paying attention to what they’re saying, so perhaps their offline followers will tune in to see them on TV, too. And exposure on TV should increase “The 20″‘s online following. Repeat.

A couple of thoughts:

• Lots of people are already watching TV and using social media at the same time. But it’s pretty hard to effectively integrate Web/social commentary into TV news. Think of that weird CNN segment that used to feature women reading blog posts out loud, or TweetDeck’s awkward appearance on multiple TV news reports last month. And when news anchors read people’s tweets aloud on “The 20″ segment below, that seems odd, too. But the other part of the bit, where the commentators actually show up on TV, via Skype, and start commentating, is a much more promising notion.
• NBC does seem to have done a pretty good job of finding interesting people to bring on their shows. Or at least they have by my self-interested standards: I’m already following about a third of NBC’s New York crew (congrats, Anil).
• Regardless of how this plan turns out, it’s interesting to see NBC working to bring a younger, tech-savvy demo back to its local news broadcast. That’s a switch from an earlier strategy, where Comcast’s broadcast unit essentially gave up on trying to get Web users to pay attention to its TV news, and set about creating a local news site that more or less ignored the stations altogether.

Untitled from Peter Kafka on Vimeo.

Twitter tonight overflowed with a meme that just about everyone can participate in and appreciate: #lessambitiousmovies. There have been more than 26,000 tweets using the hashtag in the last day, according to tweet indexer Topsy, and tonight the fad made the Twitter top trends list in the U.S.

This latest craze involves punning on an existing movie title to make it a little more ordinary, and appending the hashtag #lessambitiousmovies.

Some of my favorites: “The Devil Wears Zara,” “The Sound of Muzak” and “Saving Private Ryan 15% on his Auto Insurance by Switching him to GEICO.”

The most popular submission, at least according to Topsy, is “Being John Stamos” from Twitter user @jennyjohnsonHi5, with 225 retweets.

It doesn’t seem to be just the techies I follow that are playing along. Here’s celeb host Ryan Seacrest’s timely contribution: “Black Duck.”

Unlike the news items and celebrity names that often dominate Twitter trends, #lessambitiousmovies is actually sort of creative. But it’s far from the first hashtag game; another recent example was #fatindiebands, which also played off an easily replicable formula.

According to Twitter engineer Dana Contreras, the first #lessambitiousmovies tweet appears to have been “Scott Pilgrim vs The Room #lessambitiousfilms” on Jan. 3 from Toronto artist Rob McCallum, who has just 488 followers.

McCallum tweeted Wednesday evening, “I started it last night when I couldn’t sleep and it’s gotten right out of hand!…I don’t know how to feel! Cheers! I’m away to hide under some coats and plan my next move.”

Confused by all those options? There’s also a basic RunKeeper app that has enough tracking and reporting features for many users and has always been free. I wrote recently about its social features.

Apple recently said RunKeeper Pro was one of its top-grossing apps of 2010. FitnessKeeper, a small Boston-based start-up that just raised $1.1 million in funding, wouldn’t disclose revenue or download numbers, but said it has been cash-flow positive every month since it was founded two-and-a-half years ago.

The company announced this week it would take down one part of its pay barrier from now through the end of January, giving away RunKeeper Pro for free during New Year’s resolution season.

Launched yesterday on iPhone, that promotion has already been highly successful, with 171,000 RunKeeper Pro downloads yesterday on the iPhone, more than 10 times as many as it gets in a normal day. The app is currently quickly climbing the Apple App Store charts, now at No. 5 in the free app category (it was No. 12 this morning). The promotion is also launching on Android this afternoon.

And as of this writing, it’s only New Year’s resolution time in about half the world.

Qualcomm once had high hopes for the service. However, Jacobs acknowledged at a Churchill Club event last week that, outside of certain live events such as sports, it probably makes sense to offer mobile TV via on-demand streaming, rather than as a broadcast.

To be fully eligible for the rebate, customers must have purchased and activated the service, though there is also a form for those who didn’t even make it that far.

Qualcomm doesn’t want your unit back (apparently, it doesn’t want a bunch of FloTVs, either). Instead, the company’s Web site lists some recycling options. Or you could always keep it as a collector’s item–an early adopter badge of glory.

It’s worth noting that your service gets deactivated once the refund is processed, so on the off-chance you are still watching your Flo, you might want to wait until March to send in your form.

While the news has been be out there for a month, Miramax officially confirmed this morning that former News Corp. exec Mike Lang was named CEO of the Hollywood movie company.

What will be interesting about that for digital content players will be to see exactly what the man who was deeply involved in deals to buy the Myspace social networking site and also create the Hulu premium video service will do with Miramax’s rich trove of more than 700 award-winning films, including “Shakespeare in Love” and “Pulp Fiction,” in its movie library.

Lang left his post as EVP of business development and strategy at Fox Entertainment, including its film studio, broadcast network, sports and cable channel, earlier this year.

BoomTown spoke to him last night about his new job, which came after he advised the group that finally won Miramax–Filmyard Holdings.

“We are trying to take this company to the next level by exploring not only our traditional options, but our digital ones,” he said.

Miramax will not be aggressive in making new movies, but in taking advantage of the sequel rights it has to a number of hits, as well as the existing movies, which include four of the last 15 Best Picture Oscar winners.

“Our strategy is still emerging, but we want to exploit our assets in a variety of ways,” said Lang, who noted that could include everything from subscription deals with online video services, such as Netflix and Amazon, to digital content lockers in the cloud.

“We want people to be able to access our content across multiple medias,” he said. “We’ll take any payment, of course, but we also have to be smart about how we do these things.”

Lang, who has always had a foot in both worlds, said he thinks that digital media could develop similarly to the way traditional media has.

“There is no reason to think that digital will not emulate older media, with different windows in which subscribers watch content,” he said.

But, said Lang, he also thinks there is still life in physical media, such as Blu-ray players.

Since the deal just closed with former Miramax owner Disney, there are no employees yet for the Santa Monica, Calif.-based company.

But once he staffs up, Langs said he hopes to present a different picture of Hollywood to the digerati than the more typical wary hostility.

“Our goal really is we want to send a signal that we are a different company,” said Lang. “Not only about digital, but in being an innovative company.”

Here is the official press release about Lang:

MICHAEL LANG NAMED MIRAMAX CEO

SANTA MONICA, CA–December 8, 2010–Miramax today announced that Michael Lang has been appointed chief executive officer, effective immediately. Lang will be based at the new Miramax headquarters in Santa Monica and will oversee the renowned Miramax film library, which was acquired by Filmyard Holdings on December 3, 2010.

“I have known and worked closely with Mike for almost 20 years and have always respected his talents,” said Richard Nanula, chairman of Miramax and a principal at Colony Capital. “We are confident that he is the right person to lead Miramax in its next phase of growth.”

“I have always admired the Miramax library, which includes many respected titles and award-winning films,” said Lang. “Based on the quality of these assets, I believe bringing new life to this library–by working with traditional and new partners–will be an exciting and unprecedented story of growth and innovation. I am honored by this opportunity, and I look forward to working with my partners as we build a new kind of media company.”

Lang, 45, most recently served as a consultant to Filmyard in its acquisition of Miramax. Prior to that, he was EVP, Business Development and Strategy at Fox Entertainment, responsible for strategic initiatives across News Corp.’s entertainment assets, including Fox’s film studio, broadcast network, sports and cable channels. Lang played key roles in the acquisition of MySpace and the formation of the MySpace Music joint venture, and he led the creation of Hulu, with major broadcast partners. In addition, Lang was involved in Fox’s mobile, digital and video game initiatives. He joined Fox in 2004.

Prior to Fox, Lang served as a consultant on media-related investments. In the late ’90s, he was a founding executive of Z.com. Lang began his career at The Walt Disney Company in Strategic Planning. Lang earned his MBA with high distinction at Harvard Business School and he holds a Bachelor of Arts degree from Claremont McKenna College.

(Full disclosure: News Corp. owns Dow Jones, which owns this site.)

After BoomTown broke the news earlier today that CBS Interactive President Neil Ashe was stepping down from his job, we had a little chitchat as to why and what’s next.

“We were at the end of a successful transition and integration with CBS,” said Ashe about the media giant’s $1.8 billion purchase of CNET Networks in mid-2008, in a phone interview with me. “And so it was time for a breath of fresh air for me.”

What that breath will be, Ashe would not specify yet, because he said he had not actually looked around for a new gig as his contract with CBS was nearing its end.

“I wanted to finish this first,” he said about his job at CBS Interactive.

And what this is, said 42-year-old Ashe, is a “unique combination of Internet native and the power of broadcast media.”

He noted that the “Internet is now electricity–always on and everywhere–which means it is not such a unique thing, and so you can do almost anything.”

When Ashe came to CNET in 2002, he said the company was losing tens of millions of dollars and had to prove to marketers that online ads worked.

“It has definitely not been a straight path from there to here, and we have seen as much confusion as you can throw at us,” he said. “And, if anything now, the pace of change is accelerating.”

• Stuart Feigin, Oracle employee No. 5:

  “There was no version 1 [of Oracle software] because everyone thought, well, no one buys version 1, it’s buggy. So we started with a version 2. Well, our version two was at least as buggy as anyone’s version 1…And I describe those early versions as the roach motel of databases. The data went in, but it didn’t come out.”

  “For some reason Larry told the Bank of America, I think he told them there were 15 of us when in fact there were five of us. Now I’m not sure why the Bank of America would think differently of you if you’re 5 or 15, but Larry had given them a number, which was a little larger than reality.”

• Bruce Scott, Oracle co-founder:
  “I remember him very distinctly telling me one time: Bruce, we can’t be successful unless we lie to customers.”

  “All the things that you would read in books of somebody being a leader, he wasn’t. But he was tenacious; he would never give up on anything.”

• Gary Bloom, former Oracle EVP

  “I have a theory that Larry’s succession plan for Oracle is he is trying to figure out a way that when he’s six feet under in a grave, he can still run Oracle.”

Sadly missing from the broadcast, my favorite Ellison story/folktale of all time: Back in 1999, he had an enormous boulder installed in the master bathroom at Sanbashi, his Samurai-style home in Woodside, Calif. Ellison reportedly “auditioned” several boulders, pretending to shower in front of them, before settling on the 30-ton stone that would become his “shower rock.”

The deal is the latest in a string of pacts that are fast transforming Netflix into a true Web-based movie channel. With streaming rights to films from Paramount, Lionsgate, Sony, Disney and MGM studios, and a new streaming-only service priced at $7.99 a month, the company is increasingly becoming more competitive with the cable incumbents.

A federal judge in New York has issued a temporary restraining order against FilmOn.com, which has riled up the U.S. TV industry for a couple of months. The four broadcast networks–News Corp.’s Fox, GE’s NBC, Disney’s ABC and CBS–had asked for the order on Nov. 9.

FilmOn argues that the U.S. copyright act allows it to redistribute broadcast programming; Ivi Inc., a Seattle-based company that offers a similar service, makes the same argument.

FilmOn offers a free service that’s supposed to work on conventional PCs, as well as on mobile devices like Apple’s iPad. As of Monday evening it wasn’t clear whether FilmOn had actually taken down the streams, or if the service was simply misfiring, as it has been prone to do.

UPDATE: Here’s FilmOn’s response, issued Tuesday morning:

FILMON.COM, INC. ISSUES RESPONSE REGARDING NEW YORK SOUTHERN DISTRICT COURT’S RULING ON CBS BROADCASTING, INC., ET AL v. FILMON.COM, INC., TEMPORARY RESTRAINING ORDER

Los Angeles, CA – November 23, 2010 –FilmOn.com Inc. CEO and Chairman, Alki David today issued the following statement regarding the ruling made by the New York Southern District Court, which issued a temporary restraining order, in effect pending the court’s decision on if it will issue a preliminary injunction.

“We respect the Court’s decision in this matter and have temporarily ceased retransmission of free network television on FilmOn. In the few weeks FilmOn provided free access to basic television on consumers’ mobile devices, it received more than 30 million individual users. We also garnered dozens of positive reviews about our free service’s quality and ease of use. We have, in essence, shown full proof of concept of the FilmOn delivery system–proving that millions of viewers will watch our superior television service online, all with commercials, adding millions of extra impressions that enhance network’s value to its viewers and advertisers.”

“FilmOn has succeeded in securing partnerships with several independent broadcast channels to be able to keep a compelling live offering online in the near future. Coupled with our own library of content and that of our partners, FilmOn will remain open for business. “

We do expect to bring the major networks back to our lineup in the near future, all in a legitimate and collaborative business model. We have already begun very positive discussions with TV networks affiliates and other content owners to provide our delivery service and measurement analytics to stream their live content online.

Scott Zarin, Zarin & Associates P.C., legal counsel for FilmOn added:

“In addressing FilmOn’s argument that it is exempt from copyright infringement liability as a cable system, the court indicated that it was not convinced–on the facts currently known to it–which this is the case. Although the court issued a Temporary Restraining Order, it is providing FilmOn with an opportunity to elaborate upon its ‘cable system’ argument more thoroughly in a hearing on the Networks’ request for a preliminary injunction.

“FilmOn will be drafting papers in opposition to the Networks’ motion for a preliminary injunction in the coming weeks, with which it expects to submit to the court the opinion of an expert on FilmOn’s technology in order to demonstrate that FilmOn is indeed a cable system. If FilmOn successfully opposes the Networks’ motion for a preliminary injunction, the court’s Temporary Restraining Order–which by law can only remain in effect for a short duration–will be dissolved.”

Owners of the major broadcast-television networks are suing in federal court two start-up companies that stream broadcast TV stations online without their consent, arguing the start-ups are infringing on their copyrights. A judge in New York has scheduled a hearing Monday on the networks’ request for a temporary restraining order against FilmOn.com Inc., while another case against Ivi Inc. could be heard in coming weeks.

Ivi and FilmOn, which grab free over-the-air broadcast signals and convert them to online streams, are claiming their right to distribute the networks under a provision in the U.S. Copyright Act. Seattle-based Ivi is also arguing that Ivi isn’t governed by a separate communications statute that requires cable and satellite companies to negotiate licenses with content owners before transmitting their networks.

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