HBO presented its new series, “Funny or Die Presents”, a compilation of clips from the comedy video Website FunnyOrDie.com, at midnight last Friday.

Created by former SNL comedian Will Ferrell and writer Adam McKay in 2007, the site averages over 7 million individual video hits a month and has birthed such viral smashes as Landlord and “Between the Ferns”  with Zach Galifianakis.”

A combination of content created by Ferrell, McKay and their famous friends, as well as user-generated videos, FunnyOrDie.com has found success in producing videos quickly at a mass rate. HBO is hoping this internet hit will translate to television screens – returning their investment from the 2008 deal in which they bought a piece of the site for reportedly around $10 Million.

While the link between television and the internet has been existent for years, the connection has moved primarily in one direction – television content becoming available for viewing online. Although television services have offered internet access, it’s been used mainly to view other television series and movies, not content generated specifically for the web.

However, considering HBO’s new programming as well as Verizon Fios’ new capability to offer access to Facebook and twitter via television, recently there’s been much movement in the opposite direction.

YouTube made the jump to television last year, first launching for Nintendo Wii and PlayStation 3 users in January before then going widespread with YouTube XL in June.   And Viacom is using Atom.com content to test content before running it on Atom TV, which runs on its MTV and Comedy Central Networks.

In light of HBO’s new web inspired series and the nearly eight months since the launch of YouTube XL, how long it will take before we see a television series inspired by YouTube content? If “Funny or Die Presents” is any indication of things it may not be very long.

So, finally, tomorrow’s the day – Tiger will speak. Ninety days after his world was turned upside down – or rather uncovered – Tiger Woods will face the media and, according to his agent, begin to make amends.

Will Elin be standing by his side, as Vanessa stood by Kobe’s side?  Will we be able to see scars on his face? And, of course, what will he say?

What we do know is that it will not be a media zoo – at least not in the room. As with everything with Tiger (except his … um… appetites), it’ll be tightly controlled. There will be no questions taken, just Tiger talking. Three wire services – Associated Press, Reuters and Bloomberg – will be there.  Only one camera will be in the room to provide live satellite coverage.

Over the last couple months, I’ve told some friends – only half-joking – that Tiger should become the first golf villain. Go all in… be the bad guy of golf. If the goal is pure profit, there’s plenty of sponsorship dollars available on that side of the occasion. You want to be a pioneer? Well, that is somewhere no one has gone before.But he probably won’t do that.

So, here’s some unsolicited advice for the previously perfect man:

Don’t read a script. People want to hear you speak from the heart, and reading doesn’t accomplish that. You can have some notes, but if you’re reading off a piece a paper or using a teleprompter, you’ve failed. If we get a vanilla apology that we could’ve gotten three months ago, it’ll do more harm than good.

Don’t have your handlers with you. This is obviously an orchestrated event, but if it looks too orchestrated, it won’t be believable. You need to be standing on your own and face the world. If your wife is there, great. If not, nobody else. (Hint: tell Rachel to stay home).

Don’t hide behind PR words. Please don’t tell me this has been “a challenging time.” Don’t tell me you’ve “committed indescretions.” Speak plainly and don’t hide behind politician-style euphemisms.

Tell me something I don’t know. The inclination in these situations is always to say as little as possible. We always preach that a primary goal in crisis communications is to minimize the story. Well, we’re a bit past that. You need to give us something of substance.

Demonstrate some sacrifice. I’m talking about the Masters. Don’t play in it. That’ll show me you’re serious. If all you’ve done is skip a couple of pre-season tournaments but are coming back for the Grand Daddy, I’ll just assume you were never serious about making a true sacrifice. If you play in the Masters, you’re not getting me back. I’ll know that this is just the latest scene in the Truman Show that is your life.

Of course, maybe none of this will happen. Maybe he’s going to announce that he’s getting a divorce. Maybe he’ll retire from golf. Even if it’s just the first public step back to reclaiming his family and reclaiming his career, the road is long.

As Stuart Elliot advertising columnist for the New York Times, wrote on Sunday, many of Super Bowl XLIV’s commercials focused on the familiar, by providing Americans with a comforting sense of nostalgia during tough economic times. Viewers enjoyed fan favorites, from the majestic Budweiser (now InBev) Clydesdales to the wise-beyond-their-years E-Trade babies.

But one particular ad from an unlikely source, stood out from the classics for many audience members watching commercials during the third quarter: Google’s “Parisian Love” ad turned the familiar Google search page into an ad that had viewers doing double-takes, primarily because Google never advertises on TV (except for a few cable spots for its web browser chrome) and it had rarely done any brand advertising to consumers.   During and after the game, the spot was widely, tweeted, blogged-about and re-posted on a variety of social media sites including facebook, twitter, and linkedin.

The ad was as simple as Googling “Google Super Bowl Ad.” Literally. Designed to show the power and user-friendliness of Google’s search engine, “Parisian Love” documented an American’s successful quest for love in Paris–as implied through the queries he typed into Google’s search bar. Viewers watched as phrases that ranged from “study abroad paris france,” to “impress a french girl,” to “churches in paris,” to “how to assemble a crib,” appeared in the search bar, bringing up pages of results. The searches demonstrated Google’s versatility by exhibiting its ability to recognize and correct incorrect spelling for search terms, as well as to transform entries such as “what are truffles” and “translate tu es trés mignon” into helpful results.

Though Google’s Ad may have taken viewers by surprise, it also likely seemed familiar to YouTube users. As Google CEO Eric Schmidt wrote on Google’s official blog, “Parisian Love” began as part of a series of online videos Google created, and had actually been on YouTube for three months. So how did it end up on TV during the Super Bowl? “We liked this video so much, and it’s had such a positive reaction on YouTube, that we decided to share it with a wider audience,” Schmidt wrote.

For those who did not see the ad on YouTube before Sunday, tech blog readers and people who follow Schmidt (ericschmidt) on Twitter would have had access to some clues from the social media rumor mills.  At 4:16 p.m. on Saturday, Schmidt tweeted, “Can’t wait to watch the Superbowl tomorrow.  Be sure to watch the ads in the 3rd quarter (someone said “Hell has indeed frozen over).”

So it turns out that maybe the ad wasn’t so unpredictable or unfamiliar after all and viewers who discovered “Parisian Love” while watching the Super Bowl may have been some of the last people to find out about the ad–rather than some of the first. Perhaps this is a sign that social media sites like YouTube will expand their uses beyond generating buzz and awareness, and will begin to serve as testing grounds for ads that will pop up again in the near future.  Who knows, maybe next Super Bowl we’ll all be able to expect the unexpected.

This blog is going to take the high road and will avoid joining the masses in evaluating the best and worst Superbowl ads. In this post, we’re not even going to review the publicity rewards and pitfalls of “Undercover Boss,” which aired for the first time last night.

Instead, today’s lesson will focus on the timeless act of reporting the TV news. At a time when social media is king and companies like Twitter and Facebook are rapidly expanding their fiefdoms, TV reporters have become more fixed in their ways then ever before. This statement rings true when you watch British comedian Charlie Brooker’s mock delivery of the TV news (warning: video contains some profanity). So maybe we’re not taking the high road after all, but the video is worth a look:

First, we had the Coors Light Twins. Now, we have the Contact Lens Twins. They’re blonde, twin models. They touch. They hold hands.

In 2004, then-33-year-old twins, Diane and Elaine Klimaszewski were hired to be the Coors Light Twins    And they made an instant hit. Their careers have skyrocketed and they’re now successful models and entrepreneurs.

They weren’t the first buxom blondes to hawk products. Nor was Coors the first to use sex to sell. Scantily clad women (and men) have appeared in print, online and on TV for as long as each media type has existed. They’ve sold shower gel, vodka, coffee beans, rum , and subs.  Basically, anything and everything.

But, contact lenses? Acuvue hired twin models, Kelly and Sabrina Aldridge  to film a 30-second TV ad for their product Acuvue Advanced. The 23-year-old models from St. Petersburg, Florida are actresses on the TV show “8th and Ocean.” Take a look and see if you notice anything: Acuvue TV Commercial

Okay, now let’s begin.

At 0:03, they touch; At 0:16, they hold hands; and at 0:18, they are close enough to kiss:

Sex sells, and surely this isn’t a novel concept.  What’s novel is that this marketing tactic is now being applied to a product as seemingly innocent as a contact lens.   Will it work?  Is it too much of a stretch?  Or is this a sign of things to come?  In my opinion, just like TV crews can’t get enough of babies and puppies, the general public can’t turn away from good old fashion sex-appeal.