So it’s a good time to get some perspective on what he learned during the experience, and how he deals with the Web at his newish job at Turner’s TBS.

In some ways, O’Brien told fellow Time Warner employee Piers Morgan at the cable industry’s annual convention yesterday, things haven’t changed that much: In an ideal world, he’d like people to watch his show live, when it airs.

But he also knows it doesn’t work that way, at all. And he’s okay with that, and he’s learned to embrace YouTube, Tumblr, Twitter, etc.:

When I got started in the business in ’93, the obsesssion was: Never give anything away. Don’t tell anybody … you want it to be a surprise when they watch the show. You want to tease them, but get them to watch the show.

And what we have found is true is that this is a different generation. It works differently now. You can show them exactly what Will Ferrell did [on O'Brien's show], and get it out there, so there’s no “surprise” …

The days of, “I only want people to experience me at 11, on TBS” — those days are over. The audience is too fragmented, they’re too distracted, and a whole generation is growing up that doesn’t watch television that way.

You can watch the entire 22-minute interview, which moves along quite quickly, below. Thanks to the NCTA for the video.

American Express and Zynga are rolling out a rewards program today that will allow players to earn virtual currency when they spend money in the real world.

FarmVille fans willing to jump through a number of hoops, including signing up for a Zynga-branded prepaid card from American Express, will earn in-game currency, similarly to how consumers earn free airline miles for every dollar spent on an airline-issued credit card.

The rewards program will first roll out in Zynga’s FarmVille game and then will expand to CityVille, CastleVille and other titles over time.

The partnership is smart for American Express since it is working hard to promote Serve, its alternative payment service that is targeting a wider demographic that goes beyond its core business user.

“It opens up tremendous opportunities to address segments of the market that we weren’t able to address with traditional credit or charge products, including the youth or underserved markets,” said Dan Schulman, American Express’s President of Enterprise Growth.

By partnering with Zynga, American Express will be able to pitch the card to a lot of new users.

The two companies started implementing the program five days ago, by offering FarmVille players the chance to visit a Serve-branded farm, where they can earn a virtual tiger. In less than a week, Schulman reports that already 500,000 people have “liked” Serve and have received the tiger.

While FarmVille is one of Zynga’s older properties, it is still one of its most popular, attracting 4.5 million unique users a day.

As I said earlier, it takes a number of steps to sign up.

First, FarmVille fans who visit the Serve farm will be prompted to plant a virtual Serve Money Tree on their farm. Then, they can register to receive a Zynga Serve co-branded prepaid card in the mail. Next, they’ll have to link the card to a bank account, debit card, credit card or cash using a GreenDot MoneyPak.

Only when all the steps are completed will they then be able to use the Serve card anywhere American Express is accepted.

Initially, American Express will reward a consumer’s first five purchases of $25 or more, but over time it expects to expand the program.

Starting later this year, Schulman said the Zynga Serve Rewards program will be able to link to deals inside of the game that can be redeemed in person. For instance, Starbucks could award consumers who have planted coffee crops a chance to redeem a coupon inside the store. Because the offer is linked to the Serve card, the discount will be redeemed automatically and consumers won’t have to remember to print out the coupon.

“It’s a closed loop for Zynga players,” Schulman said. “It’s so very different than what anyone else has done.”

Zynga’s CMO Jeff Karp said the program is not replacing the company’s current rewards program, but rather represents an extension of it. “Our goal is to build and scale the blurring of the lines between the virtual world and the physical world,” he said.

He compared it to other promotions that Zynga has done where it worked with brands, such as 7-11 and Frito Lay.

He said during those promotions, consumers were able to purchase bags of chips or other items, which had codes that could be redeemed inside FarmVille or other games. In those deals, consumers were obviously able to make the mental leap from buying something in the physical world to redeeming credits in the virtual world. Karp said the promotions experienced a redemption rate that was five to 10 times industry averages.

“What’s appealing to these brands is our 292 million monthly uniques, which is providing them with the reach of TV with the effectiveness of online and gaming,” he said.

That’s according to the latest data from the NPD Group’s retail tracking service. Sales of 3-D TVs in the U.S. grew 74 percent in units over last year, with 3-D TVs accounting for 11 percent of all flat-panel sales in the first quarter of 2012, the report says.

But despite the growth in sales, and the fact that some consumers are wowed by 3-D demos, “just 14 percent of consumers … say 3D is a ‘must have’ feature while 68 percent say it’s a ‘nice feature to have they may use in the future.’”

The obstacles to greater 3-D penetration are the usual suspects, NPD analyst Ben Arnold says. The overwhelming majority of consumers consider 3-D glasses a drawback to the technology, with glasses-free 3-D still far from being perfected; 14 percent say the lack of 3-D content is a deterrent (though that reason is weakening, as more content creators put out 3-D programs).

Cost is also a factor when it comes to newer, souped-up TVs. NPD says the average prices of 3-D TVs in April were 33 percent lower compared to April 2010, but a recent report from IHS iSuppli says that average prices of 3-D LCD TVs actually crept up a teeny bit from December 2011 to April of this year, to $2,492.

So why buy a 3-D TV if you’re not going to use it for 3-D? Well, for one thing, as noted here, “3-D” has been shifting from the main selling point in TV marketing schemes to an add-on feature that happens to be included in high-tech TV sets, so some consumers are buying 3-D-equipped TVs even if they’ve not totally bought into the tech.

And the underutilization of fancy TVs isn’t really a new thing: Turns out that 3-D engagement levels might be in line with some of the data we’ve seen surrounding “smart” TVs, or Internet-connected TVs. Despite the fact that Internet connectivity is often cited as an important factor for consumers making TV purchases, TechNewsDaily reported earlier this year that only half of all people who own Internet-ready TVs have actually gone online through their TVs.

(Image courtesy of Salminari on Flickr; thought bubble courtesy of AllThingsD)

At least that’s the arc their employers at Discovery Communications have planned for them.

The cable heavyweight has watched the pair progress from bloggers on its “How Stuff Works” site to a duo whose twice-weekly “Stuff You Should Know” audio shows generate more than a million downloads a week.

Now it’s trying to transform them into on-camera talent, by giving them their own series on its Science Channel. And if that works, it wants to repeat the process with other digital natives.

“I think it’s a template,” says Conal Byrne, who oversees editorial operations for Discovery’s digital properties. “We can do more of this.”

Discovery isn’t the only cable network trying to mount TV shows on the backs of popular podcasts. Next month, IFC will start airing “Comedy Bang Bang,” a sketch series based on the (great) weekly improv show of the same name, hosted by writer and actor Scott Aukerman. Next year, the network will do the same thing with Marc Maron, a veteran comedian who revived his career by  interviewing other comedians in his garage.

Those shows revolve around professional entertainers who have been at it for a long time. Clark and Bryant, meanwhile, are writers who can carry on an entertaining conversation. Their podcasts work — the show makes consistent appearances on iTunes’ Top 10 podcast rankings — because they’ve got a gift for turning arcana into an hour of laconic banter. (Recent topics: What Interpol actually does; why your body odor is so unpleasant.)

But they’ve only spent a few minutes in front of the camera, mostly for a couple dozen short clips they shot for Science in the last year or so.

“We started out being terrified by TV,” says Clark. “If you go back and watch our first cable appearance, it’s hilarious. I hadn’t been that scared before in my entire life, and you can see it. I was looking off camera all the time. Chuck was rocking back and forth.”

Adds Bryant: “We’re both really comfortable in that podcast booth, with no windows and no one watching.”

Discovery isn’t rushing them. It has only committed to making 10 30-minute episodes, which are in preproduction now and slated to run early in 2013.

The network won’t talk about the money it’s spending on the project, but based on the pilot it created earlier this year, they won’t be drowning it in cash. The concept is pretty straightforward — the two guys tape a podcast, just like they always do, and the camera goes behind the scenes to illustrate its “fictional life.”

The risk is that what makes podcasts work in general — that sense of conversational intimacy  – will go away. But everyone involved seems aware of that pitfall, and insist they’ll avoid it by making a new show, not a video version of the old one.

“I think one of the mistakes that people do is that they try a television show out of something that exists online, and we never wanted to do that with Chuck and Josh,” says Debbie Myers, Science Channel’s general manager. Discovery wouldn’t provide an embeddable clip of the pilot, but you can get a sense of what they’re up to with some of the interstitials they’ve already shown on Science (see below).

The notion of taking someone who’s popular on the Web and trying to turn them into “real” media stars isn’t new. But while we’ve been talking about the idea since the mid 90s, we still don’t have that many examples. And it’s even rarer for big media conglomerates to harvest their own digital talent — usually because they don’t have much on hand to begin with.

But Discovery plans to keep Clark and Bryant generating podcasts twice a week, even as they start producing TV. For starters, Discovery is hoping that they’re able to bring some of the 500,000-plus fans who listen to the podcasts over to the new shows. Even adding 20 percent of that fan base would be a big deal for Science.

And finding talent that can work on multiple platforms is part of the reason Discovery plunked down some $30 million for Revision 3, the Web network/studio.

I’m not sure the gut-busting dudes from “Epic Meal Time” are going to be on a Discovery channel anytime soon. But if they do, they’ll already be working for the network.

Amid mounting anger about the capability, at least two are resisting. Fox and NBC both said Wednesday they won’t accept ads promoting the satellite-TV operator’s new digital video recorder that contains the ad-skipping capability.

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The discussions center on a possible partnership for production or developing manufacturing technology for organic light-emitting diode, or OLED, television sets, the people said.

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Capstone analyst Rory Maher thinks so. He’s been polling ad buyers and thinks they may collectively be spending 40 percent more on YouTube than they did a year ago.

He also thinks YouTube’s strategy of grouping its new channels into “genres” — like “women,” “pop culture,” etc. — and selling those as megapackages is attractive to advertisers, and that they’ve at least placed tentative commitments on all 18 packages YouTube is selling.

But those dollars aren’t going to come from TV, Maher thinks. Instead, advertisers will take money they would have spent on other Web ads and move them over to YouTube. That’s still a win for Google, but it’s not the win it really wants.

Last week’s event didn’t win everyone over. Several folks I’ve talked to — including people who are making stuff for YouTube’s channels — say they’re underwhelmed with the actual content they saw onstage at the Beacon Theater.

“It looked like Web video,” one Web video maker told me. That is, it didn’t look like the stuff the TV guys show off at their advertiser events.

Some of the stuff may get close to TV.

YouTube is brimming with pride over WIGS, a series of soapy dramas featuring actresses you’ve heard of, like Jennifer Beals and Julia Stiles (News Corp., which owns this site, had a hand in putting the series together). The teaser trailer they’ve put out looks like a reasonable facsimile of Lifetime, at least to my eyes. And Machinima is planning a series based on Halo, the hit Xbox game, and the few seconds of that they showed looked pretty slick.

It’s more likely that most of the Web video YouTube produces with its channels this year really will end up looking like Web video. But if that doesn’t bother the people who watch it — and there are some 800 million people watching this stuff every month — then it shouldn’t be a problem for the ad guys, either.

Typically at this point in the hardware cycle, he said, the cost of developing new videogames would lead to a loss. But in a conference call with investors yesterday, Riccitiello said revenue from digital content will keep EA profitable.

“In the face of, unfortunately, somewhat of a headwind relative to console, we’re getting top line growth, robust digital growth, robust margin expansion, robust EPS growth, while affording the investment in the next-gen console. I don’t think, going back to our foundation in ’82, that’s ever happened before. So what we are guiding for is entirely unprecedented, and it’s a function of everything we’ve been saying on the call so far. … It’s our hope to be able to accelerate top line through a transition and accelerate bottom line growth through a transition because we won’t be facing sort of negative console compares.”

Nintendo expects to release the Wii U later this year, which will require new games that tap into both the TV and a touchscreen device. Neither Microsoft or Sony have unveiled plans for their respective next-generation hardware systems, the Xbox and PlayStation. Riccitiello did not mention the new consoles by name, and instead referred any direct questions about hardware to Sony, Microsoft and Nintendo.

“We intend to invest $80 million in Gen4 console development in fiscal ’13. We are strong believers that console will return to strong growth, and represent a great opportunity — one that is in lockstep with our digital plans.”

In fiscal 2012, EA generated $1.2 billion in digital revenues, representing a 47 percent increase year over year. In the past six months alone, FIFA 12 — one of the company’s traditional packaged good titles — was able to break $100 million in digital revenues for the first time. This year, it’s predicting digital revenues of $1.7 billion, representing 40 percent of the company’s overall business.

Even though Riccitiello painted a positive outlook, he failed to turn to the tide.

Along with a broader market meltdown, the company’s stock fell 65 cents, or 4.3 percent, at $14.48 a share. At that price, the company’s stock is off more than 40 percent from its 52-week high of $26.13 a share.

During the call, Riccitiello also tried to stress that while Star Wars: The Old Republic is an important title for the company, it is getting an unfair amount of attention by analysts. In the quarter, he said the number of subscribers fell to 1.3 million from 1.7 million when the game launched.

“So while I understand there’s an enormous amount of interest, I don’t know that it warrants as much as what we’re seeing right now,” he said, according to a SeekingAlpha transcript.

The final highlight from the call was when Riccitiello questioned how much Zynga paid for OMGPOP and its hit title Draw Something, which was No. 1 for a short period of time. He didn’t actually name the two companies, but it was implied.

“Right now, what I’m starting to see is valuation expectations that assume that these things are all hockey stick moving up and to the right with no end in sight, and I think those are bad assumptions,” he said. “Some of them will work, some of them won’t, but they can’t all be worth the multiple that I’m seeing in the market right now.”

That’s according to the latest TV Tracker report from IHS iSuppli, which eyes the prices and specifications of TV sets in the U.S. market.

Prices of flat-panel TVs climbed an average of $78 between December and the end of April, the report says, from an average cost of $1,119 — the largest increase during any four-month period in the U.S. TV market over the past year.

Last month, average pricing for U.S. flat-panel televisions, including LCD and plasma sets, reached $1,248, and average prices of 3-D LCD TVs in April rose 3 percent to $2,492.

The price surge contradicts reports from late last year that suggested TV prices could drop in the first half of this year.

“LED-backlit LCD panel prices will likely continue falling in 2012, but at a much slower pace than in the second half of 2011, which will slow retail price erosion,” NPD DisplaySearch said.

Part of the reason for the price surge: Features. The report notes that high-end features like Internet connectivity in “smart” TVs and LED screens have contributed to an 11.4 percent climb in flat-panel prices since December 2011.

Even if consumers weren’t actively looking to buy a fancy TV with all the bells and whistles — because as I noted during the Consumer Electronics Show this past January, some features like 3-D are taking a backseat, and consumers have been somewhat slow to adopt this technology — they may have been persuaded to buy something more expensive.

Retailers have been shifting their strategies and looking to “upsell” customers, iSuppli says.

“Retailers are working to convince buyers to move up to either a larger-sized TV or to one using LED-backlit panels,” the report says, noting that the cost of upgrading to a bigger-screen TV has been greater than the upgrade cost of going with the same-sized screen, but in LED. “The larger price premium for upgrading to a bigger TV size indicates the market was aware that buyers were willing to shell out more money to obtain larger-sized sets over a similar-sized TV model with LED backlighting.”

For consumers that have held off but are still in the market for a new TV, it’s not all bad news: In the second quarter of the year, sellers are expected to close the price gap between certain features, to maybe a 10 percent premium per feature. Which means some buyers might be able to have their big-screen smart TV and eat their 3-D LED, too.

(Photo courtesy of Flickr/Best Buy CA)

The search giant is set to invest in Machinima, one of the most popular networks on YouTube, via a funding round that should close within a month. Machinima focuses almost exclusively on YouTube videos for and about videogame players, and generates more than a billion views a month.

People familiar with the round tell me it should end up raising more than $30 million, and will value the company at around $190 million, post-funding. No comment from Google or Machinima.

Google will be one of several investors backing Machinima in this round. And even if it put in the entire amount itself, it wouldn’t be material for a company that did $8.1 billion last quarter.

But the move has significant symbolism, because it’s the first time Google has openly backed a content company by taking an equity stake. YouTube is spending more than $100 million on its much-publicized channel program, but it is writing those checks as loans to content makers, and it recoups the money via ad sales.

The deal may ruffle some feathers among other video makers, some of whom already complain that YouTube favors Machinima and a handful of prominent content partners. And people familiar with the funding round tell me that at one point Google considered routing the investment through its Google Ventures arm to try to allay those concerns.

The counter to that argument: Why shouldn’t Google back content producers who make stuff for its properties? After all, YouTube is trying to become more like TV. And most of the big TV networks own their own studios outright.

The company is pulling back the covers (a bit) on its plans to produce kids’ shows and sitcoms via its “Amazon Studios” unit, which has already been dipping a toe into the movie business. Word of the new push leaked out earlier this year, via hiring notices — such a useful way to track a secretive company! — and now Amazon is ’fessing up.

A bit. Amazon Studios head Roy Price won’t discuss his budget, or the number of shows he intends to make, or a timeline for getting them on the Web. But he is willing to sketch out a couple of notions:

• Like the movie effort, Amazon is soliciting scripts for new productions via the Web, and will pay out modest fees — $10,000 for an option, $55,000 if a show gets produced, plus possible royalties — for stuff it likes.
• The big difference between his TV effort and his movie effort is that Amazon intends (with some exceptions) to actually make the shows, and distribute them via its own “Amazon Instant Video” offering. (For the movie effort, Amazon is feeding scripts it likes to Warner Bros., which will decide what to do with them.)
• Price says the shows he does make should look and feel like “real” TV shows, with commensurate production budgets.

Lots of wiggle room in all of this. So the big news is that Amazon is formally declaring that it’s in the original video business — just like Google, Hulu, Netflix, Yahoo and lots of other tech guys.

Not surprisingly, Price doesn’t want to talk about Amazon’s place in that newly formed constellation. But he does point out that this isn’t the first time the company has started making its own media. Amazon has already launched its own book-publishing business, and has started poaching “real” authors for that effort, and that has traditional book publishers terrified.

Hard to see Hollywood freaking out about this right now — particularly when they’re making a ton of money selling Amazon their old shows. But if this ever takes off, that could change.

But people are still watching a whole lot of TV — perhaps as much as ever. So the more nuanced answer is that some people are swapping out the Web for TV, some of the time. And other times Web video consumption may end up leading to more TV-watching.

Here’s some evidence supporting that idea: New data from Bernstein Research that tracks TV viewing habits for Netflix streaming subscribers. It shows a drop in kids’ TV viewing — but an increase for networks like AMC and FX. Presumably that’s because Netflix users are discovering old episodes of shows like “Mad Men” and “Sons of Anarchy” on Netflix, which is prompting them to watch new episodes of those shows on cable.

This chart shows a dropoff for programming on kids’ networks like Disney and Nickelodeon:

And this chart shows spikes for AMC whenever the network shows new episodes of shows that have old episodes on Netflix:

Bernstein put its research together using data from TiVo users. So on the one hand the numbers are pinpoint accurate, since they’re tracking actual TV usage. And, on the other hand, it may not be representative of the entire country.

Still, it makes intuitive sense, and certainly syncs up with the way the Web gets used in our house: Our kids are unaware you can do anything with an iPad other than watch “Backyardigans” and “Dinosaur Train.”

Meanwhile, I just plowed through the first four seasons of “Breaking Bad” on Netflix (and iTunes) last month — and am going out of my mind waiting for the fifth season to start on AMC this summer. Let’s cook!

Except that’s not true at all: The Web offers advertisers a slew of creepily effective targeting mechanisms, but they only work for some stuff, some of the time. An ad on the Web may do a better job of reaching its audience than, say, a magazine ad. But that doesn’t mean it does a good job.

Example: Here’s data from Nielsen, via Bernstein analyst Carlos Kirjner, which tracks the accuracy of a recent ad campaign by “a manufacturer of women’s personal care products.” It was supposed to target women between the ages of 25 and 54. But most often it didn’t — the most accurate publisher got the ads in front of the right people 40 percent of the time. Overall, the campaign only hit the target 25 percent of the time. And nearly half the time — 47 percent — the ads got served to men.

Kirjner uses the anecdote to bolster his bullish case for Facebook, which he thinks can do a much better job of targeting than regular sites can, because it knows so much more about its 800 million-plus users.

Maybe. I’ve noticed that Facebook has stopped sending me ads that offer to get me a job at the CIA, or to meet Christian singles in my area, so that’s good. Right now, it’s showing me a banner for the McDonald’s Angus Deluxe, which is more accurate, since I do like food. But not that food.

The Web’s sorta-close, sorta-not targeting problem hasn’t hampered Google, obviously. But that’s because Google’s search ads respond directly to your input and your intent. Now, Facebook, Google and everyone else are going after the branded ads that dominate TV, where the really big money lives. And if they want to get bigger bites of that, they’re going to have to get more accurate.

Who wants to haul their discs to a store — and take out their credit card — to do something that should work at home, for free?

BTIG Research’s Rich Greenfield has the same take, more or less. But Greenfield has actually gone ahead and tried the service out (registration required), and he thinks the experience itself is … really good:

“We believe Vudu is a very well done iVOD/EST service and, at worst, Vudu will gain far greater consumer awareness from the industry’s disc-to-digital marketing campaign.”

I still think the overall concept is flawed here. If Hollywood wants people to embrace this idea, which is designed to promote high-margin movie purchases instead of lower-margin rentals, it shouldn’t involve travel and an upfront payment.

And some of the fine print will trip people up, as well. As I noted last month, Walmart’s scheme comes with some important asterisks, like the fact that Disney/Pixar titles won’t work, and that iPad users can only stream the files to their machine, and can’t download them.

But give Walmart credit for a digital product that seemingly does at least some of what it ought to do, right out of the box. Greenfield has a seven-minute walk-through of the process (spoiler: contains no violence, nudity or adult themes), if you’re interested:

Asa Mathat / AllThingsD.com

Or, at least, that was the undertone of eBay’s conference call yesterday.

The company reported strong first-quarter results, beating both top- and bottom-line projections. It also raised guidance for the year, and said its business is stronger than it has been in five years.

“Our marketplaces business has turned the corner, shifting from defense to offense, and is delivering accelerating results,” said eBay’s CEO John Donahoe in the call.

This morning, the San Jose company’s stock was up nearly 16 percent, soaring to $41.58 a share. The rally easily pushes the company’s stock past its previous 52-week high of $38.18.

A number of years ago, eBay had hit rock bottom, sort of like Yahoo or AOL today.

Since then, Donahoe has been working hard to reinvent the entire eBay.com experience. He says the first quarter results are the first indication that the work is starting to pay off.

“It’s a significantly improved experience, and it’s not just current users, but it’s new users, who are coming to eBay and saying they really like it — maybe they haven’t been here in 10 years, but they are saying ‘Wow, this is different,’” Donahoe said in an interview. ”The pace of innovation is accelerating.”

The revival was fueled by a new TV advertising campaign around the holidays that had the tagline “Get it new, get it now,” which highlighted the company’s fixed price business. During the quarter, the company’s fixed priced business grew 18 percent. The company said the number of new buyers on the site also was up 9.5 percent in the quarter.

The company’s first quarter revenues totaled $3.3 billion, an increase of 29 percent year over year. For the same period, net income totaled $570 million, increasing 20 percent.

The strong results were attributable to the turnaround in its marketplaces business, but also PayPal and the recently acquired GSI Commerce division.

During the quarter, PayPal revenue increased 32 percent year over year to $1.3 billion, and GSI generated $715 million in merchandise sales, up 26 percent over the same period a year earlier.

In addition to conducting a turnaround, eBay is also aggressively pushing into new markets.

With PayPal, it’s rolling out new payments services, like mobile payments and in-store payments at check-out. With the help of GSI and a new division called X.commerce, the company is also concentrating on building tools that third-party offline and online retailers can use to more effectively compete against Amazon.

It is both of those businesses that Donahoe is tremendously excited about.

Yesterday, I reported that Square, which is a start-up in the mobile payments space, was attempting to raise capital at a $4 billion valuation — providing some validation to a similar PayPal product called Here.

“What I’m enormously excited about is I think PayPal Here has real capabilities that are even better than Square’s,” he said. “I think there’s enormous growth in that sector.”

Do whatever you want on Saturday night, and on Sunday morning, you can see all of the show online, legally, for free. Your cyber-pals will have already told you which clips you should seek out, and NBC has gotten so good at this that it now hires a “social media marketing” firm to seed the Internet with embeddable highlights.

Easy. Except when it’s not. Periodically, NBC ends up in a position where it can’t use the Internet to distribute its TV show, because someone complained about a copyright issue after the show aired.

And that’s apparently what happened this weekend to this excellent “Game of Thrones” parody, which you can see on Gawker but not NBC or Hulu.  (The clip stays up on Gawker, apparently, because either no one complained or because Gawker hasn’t listened to their complaints; I’ve asked Nick Denton and company for clarification.)

So who griped? Not us, say HBO’s reps, and that makes sense, since the clip is first and foremost a great ad for the pay channel.

“Rights issue,” says NBC, without elaborating. So the best guess here is that someone who owns the rights to the “Game of Thrones” soundtrack complained.

That soundtrack comes from LA-based Varèse Sarabande, which specializes in film scores and soundtracks, and is distributed by Universal Music Group. I’ve asked Universal to confirm that the label complained, so we’ll see. But it’s a pretty good bet, because music rights are almost always the cause of this kind of thing.

That’s because music is particularly difficult to clear, even by byzantine digital media rights standards. Each song is composed of two elements, the recording and the underlying composition, and each one of those elements can have multiple owners and … ugh.

Amazing anything gets cleared, ever. And for a show that gets built on the fly, like SNL does, every week, even more amazing.

So nothing to do here, I guess, but shrug. Things are a lot better than they were way back in 2005, when NBC was befuddled by “Lazy Sunday” and YouTube. And at least Saturday Night Live’s writing staff can still point us to the Gawker clip, which has racked up some 300,000 views in the last couple days.

iStockphoto | A-Digit

You’re not that special. Turns out you might fall into a category of digital consumers just like yourself.

IBM’s new Digital Consumer report, which surveyed 3,800 adult consumers in China, France, Germany, Japan, the United Kingdom and the U.S., showed a large increase in usage of digital devices and content services over the past few years, with 78 percent of consumers calling themselves digital device adopters this past year. It also identified four distinct personalities when it comes to digital consumption:

Efficiency Expert: This is the digital consumer who uses digital devices and services to simplify things. They use the fewest devices but still access the Internet via mobile phones, send emails rather than letters, use Facebook to communicate with people, watch video on demand at home and shop online. However, some surveyed still prefer in-store shopping to online.

Content King: There’s a reason why it’s “king” and not “queen.” This category is composed mostly of males, but represents just 9 percent of the global sample. According to Saul Berman, global strategy consulting leader of IBM’s Business Services division, these digital consumers are the gamers, the newshounds, the movie buffs. “They prefer everything to be connected to their console or TV, often watch TV shows online, they regularly download their media and play games with people online,” Berman said.

Social Butterfly: Some 15 percent of consumers surveyed reported that they frequently maintain and update social-networking sites. This group has a strong female skew, with a high frequency of digital consumption. They might own fewer devices, but they maintain more social-networking profiles, they visit these sites several times a day, they’re “tagging” others on sites, and they’re often viewing what friends are posting.

Connected Maestro: This group is indicative of where the future is headed, Berman believes. About 35 percent of those surveyed take a more advanced approach to media consumption by using mobile devices and smartphone applications to access games, music and video, or to check news, weather and sports. They use instant messaging. They own the greatest variety of digital devices, and they combine some of the behavior of a Content King and a Social Butterfly. This group also has a slightly male skew and, as Berman said, “the majority of this group say they now read digital books over printed ones.”

Interestingly, the study notes that age is no longer the most distinct segmentation when it comes to putting digital consumers into boxes. A full 82 percent of digital adopters are now between the ages of 10 and 64. “Contrary to popular belief, not all early adopters are college age; in actual fact 65 percent are aged between 55-64,” the study notes.

“Making tech simple for that audience is a key factor,” Berman said, “and they’ve seen the benefit in potential by watching people who were the initial early adopters.”

That still doesn’t necessarily mean you’re off the hook in terms of setting up printers and fixing the Internet when you’re visiting home for the holidays.

Readers: Which category do you fall into?

(Image: iStockphoto | A-Digit)

And now it appears the e-commerce giant has even more plans in the works.

A Wells Fargo Equity Research note distributed this week writes: “A key discovery this month is that Amazon has plans to expand the Prime membership benefits beyond the Amazon.com platform.”

The note points to a number of job descriptions, disclosing that Amazon is creating a “Prime Expansion” team, tasked with driving awareness of the Prime program and expanding the scope of its benefits, geographically and on and off Amazon.

So what areas or new benefits might Amazon be expanding into?

It’s not clear, and an Amazon spokesperson did not return emails seeking comment.

But first, let’s throw out the areas where Amazon won’t be expanding to — other online retailers. Today, Amazon sells pretty much everything under the sun, so it would be very hard for it to find a retailer that would be comfortable with letting Amazon run its loyalty program, even if it does mean offering perks like free shipping.

“I think any retailer would have to have their head examined if they allowed themselves to be a customer-acquisition tool for Amazon Prime,” said Mike Golden, president of ShopRunner. “Especially if it’s under the assumption that Amazon won’t compete with them. Because people have been proven false every single time.”

Of course, Golden has his biases.

ShopRunner, which includes eBay as an investor, operates a service — much like Prime — that offers shoppers free two-day shipping across a variety of retailers, including Toys “R” Us and PetSmart, for $79 a year.

But even if other retailers are out of the question, there are still some opportunities Amazon could be pursuing. For instance, it could work with other delivery services that don’t compete with Amazon.

ShopRunner has already demonstrated this through a partnership with Domino’s Pizza, which provides free delivery to ShopRunner members. Other scenarios with national scale could include Ticketmaster or Fandango, which have service fees at checkout.

Another internal program that Amazon is working on that could be a candidate for Prime is free access to Amazon Locker, which allows consumers to pick up packages from secure mailboxes at 7-Eleven. The lockers address a segment of the market that can’t receive packages at their homes because people work during the day and there’s nowhere for a delivery to be dropped off, or because it’s likely to get stolen.

So far, Amazon Prime is considered a very successful program that increases loyalty to Amazon.com — for an annual fee. As is typical with Amazon, it does not disclose how many Prime members it has, but Baird Equity Research estimates that there’s somewhere between seven million and 11 million members.

With even more benefits, it will make Prime — and Amazon overall — even harder for consumers to walk away from.

(Image courtesy of www.cicadamania.com)

The upside to this approach is obvious: You conscript/cajole ordinary people into becoming advocates for your brand/show/widget. What could be better?

And the downsides are pretty familiar to lots of marketers, too: If you ask people to comment on your brand/show/widget, you don’t really know what they’re going to say.

So here’s a live example of the pros/cons: A viral video for “Don’t Trust the B– in Apt. 23,” a new ABC show that debuts next week. The clip stars James Van Der Beek, who some of you will remember from “Dawson’s Creek” way back in the 1990s. It showed up on my Facebook page because a couple of my Facebook pals liked it.

So far, so good. And the clip is nudge-wink funny enough, in a “could make it to SNL but won’t make the highlight reel” kinda way.

It’s the commentary that accompanies the video that might give an ABC executive pause. Or maybe not. Maybe any eyeball is a good eyeball. But read on and make your own call:

Worth noting that over on YouTube, which famously has all sorts of unpleasantness roaming free in its comments section, the conversation is PG, PC and very brief — just 8 comments, even though the clip has generated some 29,000 views. Which makes me think ABC or YouTube has been moderating what goes on over there.

Wonder when/if ABC and Facebook will try to do the same.

Market research firm IHS iSuppli said Tuesday that U.S.-bound shipments of flat-panel TVs will drop 5 percent in 2012, slipping to 37.1 million units from 39.1 million units in 2011. And that decline will likely continue for the next few years. By 2013, IHS figures shipments will drop to just below 35 million; by 2015, they’ll be hovering around 34.2 million.

That’s a precipitous drop for a market that has never seen a year-over-year decline, even during the lean years of 2008 and 2009. So what’s behind it? IHS believes two factors are at work here. First, the maturation of the U.S. television market. Second, the industry overestimated demand in early 2011 and flooded the channel with inventory it was forced to discount later in the year.

“The main factor behind the expected slowdown in the U.S. TV flat-panel market during 2012 can be attributed to the TV market reaching a state of maturity for this particular region,” IHS analyst Lisa Hatamiya told AllThingsD. “Flat-panel TVs experienced major uptake since their release because they offered a much slimmer form factor compared to CRT tube TVs and were also easier to place into secondary TV-viewing areas of the household. While 2011’s incredibly low price declines were aimed to boost flat-panel TV sales last year, consumers reacted very positively to this, and the flat-panel TV market reached nearly 39 million units.”

But the industry cannot afford to offer those same low prices this year, said Hatamiya. “So we expect that U.S. TV prices will not experience huge price declines this year, and as a result, shipments will fall 5 percent year over year.”

(Image courtesy of Andidas.com)

The Redmond, Wash.-based company said today that for the first time, Xbox Live users are now watching more movies and TV and listening to music than gamers are using it to play online games.

The recent shift is worth noting given the mind-boggling number of hours gamers are willing to spend online destroying opponents on the battlefield or football field.

Microsoft declined to break down the number of hours spent, but as an example, 3.3 million players logged seven million hours on Xbox Live on the first day alone that Activision’s Call of Duty was available back in November.

What’s more, the growth of entertainment is not at the expense of gaming. Online gaming on the Xbox is up over the past year, too. In fact, Xbox Live usage — spanning gaming and entertainment — is up 30 percent year-over-year.

The shift toward entertainment is not completely unexpected, since Microsoft has been investing heavily in turning the console into a more general entertainment device for the living room. Sony’s PlayStation has a similar emphasis and Nintendo’s upcoming console, the Wii U, is expected to support entertainment applications.

In December, Microsoft rolled out a massive software update to the Xbox that allowed users to control the console using the Kinect. As part of the update, it also began to add more than 40 content providers to the console to increase the catalog of live and streamed TV, movies and music.

As previously announced, Xbox today launched voice-controlled TV apps from Comcast and HBO Go in the U.S., and MLB.TV throughout North America. To access these apps, you must be a subscriber, meaning it is not meant as a cable subscription substitute.