This lengthy, two-and-a-half minute spot, which first aired in September 2000, creates the sense that The WB network was a destination. But unlike NBC’s “Come on Home” promotional series, The WB is not luring viewers home for a night of family viewing, rather here the network narrows in on the youth market inviting them—not onto the couch—but rather into the party already in progress every night during primetime on The WB. This type of network campaign pushes the envelope on “Come on Home” or even ABC’s “Still the 1” promos by building cross-series interaction between characters. The stars of Buffy, Charmed, Roswell, Popular, Dawson’s Creek, The Jamie Foxx Show, 7th Heaven, and Sabrina the Teenage Witch all intermingle, gathering together for (oh, what a) night of fun-filled, high-energy, non-alcohol clubbing. (This cross-series promo strategy was digitally replicated a few years later by HBO, and was used this past season for a series of 30 second spots on the USA Network.) As they wander through the club, the actors are somewhat isolated by age. Interesting, while the 7th Heaven tweens (and therefore tween audiences) get to play with the teens, the adult actors are separated out. Needless to say, while teen Buffy might be in love with a vampire seventeen times her age on Buffy the Vampire Slayer, in this world adults like Shannon Doherty and David Boreanaz only play with adults. Unless, of course, you happen to be Jamie Foxx. The WB’s popular “urban” night of programming seems to create trouble for this promo. Jamie Foxx sits alone—clearly too old, and perhaps too black?—for this under-age, virtually all-white party. Not everyone is invited; nor is everyone eager to join, or enter, the club. This, in many ways seems to speak to Joseph Turow’s notion in his book Breaking up America of “electronic gated communities.” Single adults may come, but as the tag-line says, the night is young: no parents are allowed. And for some adults watching this promo, while they might recognize the song, they might feel similarly uninvited, and uninterested in joining the party. While most of the promo offers an image of a sanitized, insular space where kids play dominos, spray seltzer on each other, and dance in large groups, the song tells a much more provocative tale. “December 1963,” (here remixed by pop star Vitamin C to “December 1993”) speaks of a young man’s first sexual experience, and in this way, the idea of a youthful seduction plays right into The WB’s hope that they can attract their audiences. The final series of close-up shots of the most networks most popular stars plays into this sexualized enticement. And for its core audience—those of us who loved the best of what The WB offered—the seduction worked. In fact, it still does. Oh yes, I still remember September 2000.