Webkinz sneaks in advertising for kids

Posted on December 19, 2007 at 8:00 am

Webkinz is the most popular online site for children. If they buy a Webkinz toy, they can log onto the site where a virtual version of the toy will appear. Any real-life accessory they buy will show up on the site as well. They can create environments for the toys online and interact with the toys and each other. It can be a creative and satisfying experience and teach them some rudimentary programming skills. I do not approve of the way it keeps kids coming back by requiring them to continuously care for the pet if it gets “sick” because they forget to feed it, but I had considered it a fairly benign activity — until, without letting parents know, they began to accept advertising. According to the Campaign for Commercial-Free Childhood, “Webkinz, the most visited virtual world for children in the United States, is currently promoting the film Alvin and the Chipmunks. In addition to banner ads, the site is encouraging young users to actively engage with the movie by purchasing specially designed chipmunk costumes and food for their virtual pets. Bee Movie – a film that partnered with McDonald’s, General Mills and Brachs and has dozens of licensed products – was promoted in a similar way.” The CCFC has set up a site for parents who want to complain to Webkinz CEO Howard Ganz.

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Commentary

Baby Einstein = Baby Couch Potato

Posted on December 16, 2007 at 8:39 am

The fastest-growing “audience” for media has been babies under age two. Even though the American Academy of Pediatrics recommends against them and all academic evidence has shown that it takes babies two to three times as long to learn something from television than it does to observe it in person, that they are at the same time soporific and stimulating, and that they interfere with direct interaction and development of self-soothing skills, they continue to be marketed with names like “Baby Einstein” and “Brainy Baby” to persuade parents (and grandparents and baby shower gift-givers) that these are good for children.
In 2006, The Campaign for a Commercial-Free Childhood filed a complaint with the Federal Trade Commission.

Companies such as Baby Einstein and Brainy Baby have capitalized on parents’ desires to give their very young children a leg up on learning and development by deceptively and falsely marketing their videos as educational and beneficial for infant development. For example, Baby Einstein claims that with its Baby da Vinci video, “your child will learn to identify her different body parts, and also discover her five senses… in Spanish, English, and French!” Brainy Baby claims that “the educational content of Brainy Baby can help give your child a learning advantage!”
These claims are deceptive and false in violation of the Federal Trade Commission Act. The claims are deceptive because no research or evidence exists to support Baby Einstein and Brainy Baby’s claims that their videos are educational or beneficial for very young children. In fact, preliminary research suggests that television is a poor tool for educating very young children. They are false because research indicates that television viewing by children under three negatively affects cognitive development. Furthermore television viewing has been linked to sleep irregularity in babies and obesity in preschoolers. Finally, experts are concerned that television may be harmful for infants and toddlers because it displaces brain stimulating activities with proven developmental benefits, such as interaction with parents and siblings and
creative play. Baby Einstein, Brainy Baby, and other infant-video producers’ claims influence consumer purchasing decisions and decisions about their infant’s media usage. These choices directly impact the health and safety of thousands of very young children and put them at risk for significant harm. For these reasons, the CCFC calls on the Commission to take prompt action to prevent consumers from being misled into purchasing infant videos and to protect thousands of infants and toddlers from the potential harms caused by early television viewing.

They were supported by the American Academy of Pediatrics, which has consistently recommended against any “screen time media” for babies under age 2.

Research on early brain development shows that babies and toddlers have a critical need for direct interactions with parents and other caregivers for healthy brain growth and the development of appropriate social, emotional, and cognitive skills. These infant videos are marketed under the guise of being educational. The company names alone, Brainy Baby and Baby Einstein, are proof of the marketing strategy. There is no current evidence to prove that these videos help infants and toddlers in an intellectual or developmental way. Parents should know that their babies will develop just fine without watching these videos.
The reality is that parents play the videos to give themselves some time to do other household chores, like cooking dinner or doing laundry. However, they shouldn’t be led to believe that it helps their baby.

Disappointingly, following some toning down of the advertising claims, the FTC ended its investigation. But the original (disproven) claims persist on the websites of retailers like Amazon. Beware.

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Commentary

While the writers are on strike

Posted on December 15, 2007 at 10:46 pm

John F. Kennedy once advised, “Never pick a fight with those who buy ink by the barrel.” He meant that you cannot win an argument with people who publish newspapers and have all the ink, paper, and readers to make their case. Today, that might be extended to caution those who pick fights with people who have access to YouTube. Dozens of videos have been uploaded, everything from footage of the picket lines (with guest appearances by supportive stars, who know better than anyone how important writers are) to advocacy pieces. One of the best has old-timer Irv Brecher, screenwriter of classics like Meet Me In St. Louis, explaining why they deserve to be paid for ancillary rights — and noting that he needs a job.

The studios may find that viewers have some very appealing alternatives to watching reality shows (which are not covered by the strike) and reruns. A couple of good places to try:

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Commentary Reviews Shorts

God Still Loves Us/I Am Legend

Posted on December 14, 2007 at 9:35 am

Thanks so much to LoveBean2 for pointing me to this fascinating viral marketing intiative for I Am Legend.

They’ve sponsored a contest to document the “God Still Loves Us” message. The intended message is “go see ‘I am Legend,'” but it still takes on a power of its own, both in the website forums and in the video submissions.

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Commentary

Interview with “Kite Runner” star Khalid Abdalla

Posted on December 14, 2007 at 8:00 am

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Khalid Abdalla stars in “The Kite Runner,” based on the world-wide best-seller by Khaled Hosseini. The book, the first-ever Afghan novel published in English, was a word-of-mouth sensation. It is the story of Amir, who left Afghanistan as a child following the Soviet occupation and returns during the time of Taliban control to find the son of his childhood friend. Abdalla, a Cambridge-educated actor of Egyptian heritage, plays Amir as an adult.
You have an extensive background in theater. How is it different preparing for appearing on screen?
It all came about by accident, just like my getting into acting in the first place. With acting, it was a teacher who came up to me one day and invited me to audition for a part and with “United 93” it was a case of them looking for actors of my descent in London. My background’s in theater but both mediums are about story-telling. You’re trying to find the best way to tell the story. From a director’s perspective it’s very different but for an actor it is very similar. There was a bigger difference between “United 93” and “Kite Runner” than between theater and movies. In “United 93” our average take was 20 minutes, but in “The Kite Runner” the longest one was an hour and 15 minutes. We used two cameras and variety of tricks in continuity. But the actors had to sustain the performance for a much longer time, as we do in theater.
One thing that is a huge difference is with a play you have to rehearse with a sense of the rhythm of the entire piece. That’s one reason you have to rehearse so long. With a film you have to concentrate on each scene and the majority of the rhythm is made by the editing so that in some ways frees you. But in both you find a performance essentially the same way. It always starts off badly, gets going, then slips a little bit. In film you start with a master shot, then cover it. It follows the rhythm of a rehearsal. You’ve always got to find it in a way that is sustainable relative to the whole.
You share the role of Amir with Zekeria Ebrahimi, who plays your character as a child. Did you coordinate at all in creating the character?
We didn’t go out actively to create a thruline, the “how do you hold a cup of tea” sort of thing, but we were around each other a lot. I watched the whole of that section on the set and I learned to fly a kite with him. There was the power of suggestion as well. We play the same story and that story carries both of us. You read me through the experience of one, having left my country and two, having gone through that history with Hassan. When you see me in the bar having the conversation with my father when he says, “I wish Hassan were here,” how I respond to him. You also see Amir begin to stand up to his father.

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Interview
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