'Sex and the City' Wins 'Whore of the Year' and Other Notable Product Placement Honors
Posted by STV at 5:55 AM on August 19, 2008
The soul-deadening imposition of commercial brands on your moviegoing experience got even more shameless this morning when the oft-overlooked ring of Hell know as "brandcameo" unveiled the winners of its fourth annual Product Placement Awards. You could probably guess at least most of the heavyweight competitors — your Apples, your Fords, your Manolos — from a glance at the last year's worth of releases, but that doesn't make the year's findings any less remarkable in context: The surveyors counted an average of 22.1 brands in each of the 20 films this year to have a No. 1 weekend at the box office. That number is down from 2007, when an average of nearly 25 brands were counted among the year's 32 top releases.

Unlike most adulterous celebrity scandals, the latest claim that
We have noted the
The Daily Mail, that notorious rag that deconstructs celebrity faces and performs detailed analyses of every miniscule wrinkle, 
There's nothing more delicious than a model/journalist (the rarer subgenre of the model/actress, model/musician, model/fashion designer, or my personal favourite, the MAW - model/actress/whatever), so I was thrilled to see Jennifer Hawkins had been given a guest's desk at the Daily Telegraph to write an Bronte-esque missive about
Sex and the City: The Movie—already a sacred Women's Studies text, pored over on campuses throughout the country as the prototypical example of early-21st Century "shoe-me" feminism—has found itself on the receiving end of some of the most petty and vicious critiques of any movie in ages. There was
· Tyra dubs Carnie Wilson's tabloid-documented weight battles "Carnie Wilson's War," mainly because every paparazzi shot of her eating an ice cream cone also features Tom Hanks engaging in witty repartee from behind a highball glass. [
Browsing the latest issue of Entertainment Weekly, we came across Steve Daly's
On a day when feminism in Hollywood swings wildly between pure gender-pandering and