#Facebook Ads Budget

[thebigunit]

[madhukumarc]

What is the difference between a daily budget and a lifetime budget in a Facebook campaign?

The difference between a daily budget and a lifetime budget in a Facebook campaign lies in how the budget is spent over time.

Daily Budget:

With a daily budget, you set the maximum amount you're willing to spend on the campaign per day. Facebook will aim to evenly distribute this budget across each day of the campaign.

Lifetime Budget:

A lifetime budget, on the other hand, allows you to set the maximum amount you want to spend over the entire duration of the campaign.

Facebook then optimizes the spending based on when it's likely to be most effective, which can result in uneven daily spending.

Expert’s Tip:

“If you have the chance and the budget to conduct small pilot strategy tests, then do it. I suggest investing 20% of your budget on new and optimal opportunistic actions to explore and 80% on tried and true” - By Kristin Gallucci Consultant & Fractional CMO, Modern Marketer, Semrush Social Media 2024 Trends Report

In essence, a daily budget controls spending daily, while a lifetime budget controls spending over the entire duration of the campaign.

Ultimately, the better option depends on your campaign's specific needs and objectives.

Here's related information that you may also find helpful – Marketing Spend Statistics [Time to make informed decisions].

[mdzs-owns-my-ass-i-guess]

Since MXTX said HuaLian live until the modern times, have some random headcanons:

Hua Cheng keeps being an interior decorating king so of course his and Xie Lian's home is tastefully decorated for every season and holiday. However, that doesn't stop Xie Lian from occasionally adding the fugliest item ever because he got emotionally attached to it in the store. "It was all by itself, San Lang, nobody wanted it... i know what that feels like better than anyone..." and now they're both sniffling holding an ugly styrofoam pumpkin in the middle of the fall decor isle of Ikea.

The stray animals food budget is off the charts but it's nobody's fault all strays are immediately drawn to Xie Lian and he has to feed them cause he "knows what it's like to be hungry". This does not just include cats and dogs but also rats, raccoons, several bird species and at least one coyote.

Speaking of budgets, the financial control authorities are lowkey on Hua Cheng's case because he is still stinking rich but nobody knows where the cash is coming from. They think Ghost City is the name of some shady mafia establishment and are trying to find dirt on Hua Cheng but there is literally nothing there and it eats the government alive.

Xie Lian occasionally dumpster dives in places where he knows they throw perfectly salvageable things. Hua Cheng cries every time it happens but he stands watch so the police doesn't arrest his husband for it.

In the same vein, Xie Lian insists on recycling literally everything. They have those different colored trash bins and everything, and every time Hua Cheng places an item in the wrong bin, Xie Lian gives him a disapproving look that has the ghost king crumble.

They have so many house plants. It's like a little jungle in their living room but the air is so crisp.

They keep several scrapbooks of paintings, pictures, letters etc from all the people they met to remember them even hundreds or thousands of years after those people have passed away. Even if they now have access to phones and other media for storage, they keep up the tradition of using scrapbooks and notebooks anyway.

Xie Lian is actually up to date with memes and internet slang but has embraced being a cringe Facebook grandpa and is now committed to the persona. Hua Cheng finds this hilarious (he runs a very well maintained beauty channel and a side channel on swords where Xie Lian features in every video and geeks out about their sword collection. They have a golden button and a very large following).

Hua Cheng has a 25 step skincare routine and only uses the fanciest brands of products for literally everything. Xie Lian still swears by 8 in 1 shampoo and somehow has clearer skin. Hua Cheng is both enamored and scandalized about it.

Hua Cheng is a very big fan of acryllics and lets Xie Lian pick the base color every time. Xie Lian takes this task very, very seriously and tries to coordinate it with any activities/events they have planned so Hua Cheng stays being stylish.

Hua Cheng has a portable Dyson Airwrap with him at all times because one time a kid said his hair looks like a wet dog.

Xie Lian is not allowed to get a job because every time he tried to along the decades he became a cautionary tale somehow.

[supernovafics]

series masterlist | last part — next part

pairing: modern!college!steve harrington x fem!reader, bestfriend!eddie munson x fem!reader

word count: 2.9k words

warnings: explicit language, nothing else really?

summary: your life goes back to normal— how things were before you knew steve— and it’s fine (or at least that’s what you keep telling yourself)

CHAPTER SIXTEEN | ❝𝒇𝒓𝒂𝒈𝒎𝒆𝒏𝒕𝒔 𝒐𝒇 𝒕𝒊𝒎𝒆❞

Spring Semester 2017

“This is how villain origin stories are born,” Robin said with a loud sigh as she closed her laptop for the time being. “Apartment hunting. Why does this suck so much?”

“Because everything’s severely out of our price range,” You responded, looking up from your own laptop. “Also, there are barely any three-bedroom options.”

“And the ones that are available and in our budget are very shitty,” Vickie added and you nodded in agreement.

The three of you were sitting on the carpeted floor in your dorm room. Living together for the next school year had been jokingly and playfully talked about in the very early stages of your friendship with Robin, but then as the months passed, it settled into an idea that actually became serious; mainly because of how much sense it made. And then Robin introduced you to Vickie and another friendship, and roommate, was born. 

Eddie was also set as a fourth roommate for a bit, but then he told you that he and Chrissy decided to live together for junior year, so it became settled that it would only be you, Robin, and Vickie. Which sounded great, and you were already excited about it since you hated living alone, but the apartment-hunting part quickly proved to be a lot more of a nuisance than any of you had expected.

“Fuck it, let’s just do a four-bedroom, then,” Robin said, shrugging. “There are a bunch more options for those, anyway. Like, the one I showed you guys yesterday. That place was perfect.”

“Did I miss the moment when our fourth roommate magically appeared?” Vickie asked, a playful smile on her face. 

“We can easily find someone else in one of those, like, Facebook group things.”

“That’s honestly not a bad idea,” You responded, already going to pull up Facebook on your laptop. 

Robin smiled. “Thank you. I always have great ideas.”

Vickie gave her a look. “Do I need to mention the ‘donating blood to get concert ticket money’ idea you had a week ago?” 

“No, that’s okay. We don’t need to discuss that low point.” 

You were the one who showed them Talia’s posting on one of the “searching for roommates” groups. She seemed nice and interesting and both Robin and Vickie thought so too. The three of you put together a quick message— briefly introducing yourselves and that you were looking for a fourth roommate— and sent it.

“Okay, fourth roommate, check,” Robin said once you pressed send. “Now, we have to get the place that I showed you guys yesterday.”

You laughed a little. “Let’s wait until she actually says something, Rob.”  

.・。.・゜✭・.・✫・゜・。. .・。.・゜✭・.・✫・゜・。

Spring Semester 2018

Initially, it felt equivalent to a family meeting. Well, more so what you imagined a family meeting would be like because the four of you never actually had to have one before. 

But then, it actually felt like you were giving some sort of speech or presentation because of the setup. Robin, Vickie, and Talia were on the couch and you were standing in front of the TV and explaining everything to them. 

You kept in most of the details— you and Steve agreeing to fake date, your feelings for Eddie being the reason behind it all, and how it was only meant to go until Spring Break. 

Aside from the fact that they all seemed shocked to learn that you had feelings for Eddie, their collective thought was that the entire relationship between you and Steve had seemed so real.

“We were just really good at faking,” Was your response to Vickie specifically saying how cute you two had looked together; especially during the one reality TV night where Steve came over and picked the show.

You remembered that night pretty well, but you didn’t remember any specific moments where you had felt as if you and he had to “play up” the relationship or lay the PDA on thick since Eddie wasn’t around that night, so you weren’t sure how that moment was considered a definingly cute one for the two of you. 

“Were you good at faking or was it not really fake?” Robin asked, giving you a certain look. 

“Definitely fake,” You didn’t hesitate to answer because you deliberately didn’t want to think about her question too deeply. “We’re not even really friends, and he just went on a date last night. Hence the Eddie punch.”

Eddie was still sleeping in your bed. When you got back from Steve’s place, you weren’t in the mood to wake him up or tell him to shift over and make room for you, so you spent the night on the couch. 

“Damn, it kinda sucks that we’re never gonna see him again. He was the only one that liked when I made the pumpkin cheesecake cookies,” Talia said.

Vickie laughed a bit. “The only reason we don’t like it is because that's clearly a Fall cookie, Tal, and it's Spring right now.” She then looked as if she thought of something. “Hey, but at least you won’t have to get stuck on a team with Eddie for game night anymore. We’re back to individual stuff or you being the referee.”

Talia smiled. “Thank you for reminding me.”

“Wait, that just made me remember something,” Robin started. “Guys, I need you to please hear me out on this one,” She paused for what seemed like dramatic effect. “I think it's time to bring back Monopoly.”

There was a collective groan that immediately filled the air upon hearing her suggestion. Monopoly was a near friendship-ending game for you all, and it was only meant to be played on the rarest of occasions; which actually meant never. 

You sat down on the small loveseat then, glad that the subject had been shifted and that your speech, mixed with a Q&A, was over. “Robin, why do you wanna ruin all of our friendships?”

She quickly shook her head. “Come on, it’s been months. We’re all much more mature and reasonable adults, and I doubt we’ll have any arguments like last time.” 

Before any of you could respond with any sort of rebuttal, your bedroom door opened and out walked a tired looking Eddie. 

“Somehow, I heard the mention of Monopoly and I’m here to immediately veto that suggestion.” 

Robin rolled her eyes at him. “Go back to sleep, Munson.”

The game night conversation continued, and from there, things were normal. And you didn’t mind the normalcy that your life settled back into over the next few days and then weeks— even though, at one point, the thought of it bothered you and you had missed a lot of the things that came along with fake dating Steve. Now you knew there was no point in missing any of it; in fact, it felt kind of dumb to. 

Your classes got more and more intense during the entire month of April, so there wasn’t that much time to think about Steve or wonder what he was up to. However, the moments you did think of him surprisingly hit hard. 

When you all ended up playing Monopoly at game night, after Robin’s many begs and pleads, you thought about Steve and how different things would’ve been if he was there. You imagined him as a pretty competitive Monopoly player, and felt almost certain that he would’ve either had the biggest rivalry with Robin or formed some sort of alliance with her; she was the one that actually ended up winning after an intense and exhausting seven hours of playing that night. You wished that he could’ve been there. 

And then there were the reminders of him that were left around— his t-shirt that you’d never gotten around to giving back to him, his sunglasses that you didn’t realize you’d stolen until you were finally finishing unpacking your stuff from the Mexico trip, and the bear that he got you for Valentine’s Day that you refused to ever get rid of, but you eventually stuffed Hartford away in your closet instead of leaving him on your desk to make things feel easier. 

Anytime one of those moments happened where you randomly thought about him, you immediately reminded yourself of the rule and simply buried yourself further in whatever school assignment you needed to focus on, or made abrupt plans with Eddie, Robin, Vickie, or Talia. 

It was late in the month when Talia wanted to set you up with a guy from one of her classes, who she claimed would be “perfect for you.” Initially, you were hesitant— more so leaning toward no than yes— but he had the Talia stamp of approval, so you let it happen. She gave him your number and there were a handful of text messages shared between you two that led to a museum date a week later. 

It wasn’t terrible. But, your heart wasn’t in it at all, and neither was your head most of the time. And by the end of it, more specifically as you were in the elevator headed back up to your apartment, you realized that you probably wouldn’t see him again. 

When you walked into the apartment, you spotted Talia in the kitchen and the entire apartment smelled amazing; which, of course, didn’t surprise you at all.

“Hey, what are you making?” You asked as you pulled off your jacket and hung it on one of the empty hooks next to the door. 

“I got bored, so I decided to do a quick roasted chicken. It’s in the oven now,” She said, shrugging as if that was entirely normal. It would never not amuse you how her boredom would always spur on elaborate meals. “So, how was the date?”

“It was fine. Good, actually,” You answered after the briefest moment of hesitation. “He was pretty cool and we had a lot in common and stuff. But, I don’t know… It just didn’t feel right, I guess. My head was in a different place a lot of the time. Thinking about other stuff.”

“About Steve?”

Hearing her say that, surprised you. “What? No. I haven’t talked to him in like a month.” 

She gave you a quick shrug. “That doesn’t mean that you can’t think about him.” 

“I guess that’s true, but I haven’t really thought about him,” You said. It was a small lie that you were okay with telling because you didn’t want to admit or even ponder what it meant that you did think about and were so easily reminded of him sometimes. 

“I’m kind of surprised that you two aren’t friends or something,” She told you as she went to grab something from the fridge. “I don’t think I could do a whole fake dating thing with someone and not, at least, be friends with them after it.”

You leaned back against the counter. “We came up with a bunch of rules when we started it, and that was one of them.”

“To not be friends after?”

“Not exactly that, but pretty much, yeah. The rule was to go our separate ways once the fake dating was done,” You shrugged. “Becoming friends was the last thing on both of our minds when we came up with that since we were basically strangers at the beginning of this. And when we were ending things, we both knew that it would be impossible to be friends after because of all of the lies that started this.” 

She looked at you then. “But we all know the truth now, though. So you two could be friends and none of us would question it.” 

Talia’s words made complete sense and they were something that you should’ve realized and thought about a lot earlier than this moment. You were quiet for what felt like forever because you didn’t know what to say in response. Your immediate reaction was to still say no, you couldn’t be friends with him, but if she followed up and asked why, you knew that you wouldn’t have an answer. 

When the oven started beeping, it felt like a very “saved by the bell” kind of moment. Talia pulled out the chicken from the oven and let the conversation shift from there. “You got back from your date just in time, by the way. You wanna try this?” 

“Of course, I’ll never turn down anything you make.”

You went to your room first to change out of your date outfit and put on some pajamas instead and then you joined Talia back in the kitchen. The chicken was quite literally perfect, which didn’t surprise you, and you retreated to your room for the night after you finished eating, while Talia put on a documentary that she had to watch for one of her psychology classes. 

As much as you tried to focus on anything else as you lay in your bed, you inadvertently spent the rest of the night thinking about Steve— it was too hard not to. 

You thought about every moment that you had been reminded of him over the past month— how it hadn’t felt like much at first, but when you thought about it all at once, it was a lot. You also thought about what Talia said and why you and he weren’t friends even though it was pretty obvious that you should be— what else could explain why you both had prolonged and dragged out the conversation in his car the night you two “broke up”? Neither of you had wanted to let the inevitable happen. 

All of this was about more than just following the rule to you. Of course, it was about more than just that. 

Deep down you knew exactly why you couldn’t listen to what Talia said— why you couldn’t text him, go to his place, or do anything else to lean into that short-lived friendship you two had that you actually had a feeling was still there— but right then you refused to admit it. 

Instead, you grabbed your phone and put on a random podcast just so you could use the noise to drown out your thoughts and force yourself to fall asleep.

.・。.・゜✭・.・✫・゜・。. .・。.・゜✭・.・✫・゜・。

It wasn’t until a few days before finals that you thought about Steve again. It was kind of hard not to because you ran right into him— or more so tripped over him. 

The campus library during the week before finals week was probably one of the worst places to be, but you were in a last-second search for a book that you needed to do an essay on and you refused to buy it online because, for some reason, it was way too expensive.

Your eyes were trained solely on the spines of books as you searched for the one in particular when you tripped over something in the middle of the aisle. It wasn’t a full-on fall, just a very awkward stumble, but it somehow felt just as embarrassing. 

You let out an abrupt yelp in the middle of your stumble and heard a voice before you even got to see what caused you to trip. “Oh, fuck, I’m sorry.” 

You recognized Steve’s voice immediately and it sent a surprised jolt through you as you turned to look at him. He was leaned back against the long bookshelf with his legs stretched out and there was a textbook opened in his lap. He must’ve just been sleeping because you saw him rub his eyes and let out a quick yawn.

He looked up at you as he crossed his legs under him instead of having them stretched out in the aisle. He seemed as if he was surprised to see you too, but from the look on his face, you could tell that he saw it as a good surprise; you weren’t sure if you could say the same just yet. “Shit, now I feel worse knowing that I just did that to you.”

That got the smallest smile out of you. “Yes, you should feel a thousand times worse for almost ending my life.”

“I’m sorry.” 

“Why are you sleeping here?” You asked. Both of you were keeping your voices low because you were on one of the quieter floors of the library. 

He shook his head. “I’m not sleeping. I was taking a break from studying for a test and just resting my eyes for a second.” 

“So sleeping?”

“A very brief nap,” He corrected.

“Ah, okay, got it,” You nodded, words coming out completely sarcastic. “Sorry for interrupting your very brief nap then.”

“Sorry for almost killing you.”

“Thank you.”

You knew that you should’ve let the brief conversation end there. You should’ve looked away from him then and continued searching for the book you needed to find. But, you didn’t. 

Instead, after the briefest moment of lingering silence between you two, you sat down across from Steve. The book and the essay that you needed to work on became the farthest things from your mind for the time being.

You didn’t have the strongest grasp on what you were doing right then and why you were doing any of it, but you decided not to question it. Instead, you simply did what felt good in the moment. 

You leaned back against the bookshelf opposite Steve and crossed your legs as well. “Hi.” 

He gave you a questioning look at first— maybe he was also expecting the conversation to end in that previous spot; like it would’ve with any other two people who weren’t really friends that had just randomly bumped into each other. 

But then, he was smiling, a genuine Steve Harrington smile that felt really nice to see. “Hey.” 

.・。.・゜✭・.・✫・゜・。. .・。.・゜✭・.・✫・゜・。

a/n: ….. i'm sorry for the cliffhanger !!!!

next part!

taglist (lmk if you want to be added or taken off<333); @eddiernunson , @loulouloueh , @the-aster , @blckburd , @totally-bogus-timelady , @yujyujj , @irhdifartzamfyaa , @mochminnie , @munsonssweets , @blckbrrybasket , @xprloki , @definitionwanderlust , @dwcode , @sun-fiower-seed , @keerysfolklore , @damon-loves-pie , @lodeddiperrodrick , @bisexual-and-intellectual , @munsonburn3r , @negomi123 , @khena , @facexthexsunshine , @seatbacksandtraytables , @suckerfordylansstuff

(if your user is crossed out it means i can’t tag you</3)

[hellenhighwater]

When you’re looking for furniture/decor on Facebook Marketplace (or where ever) are there any specific keywords you search? Or do you just slog through all the posts of boring things until you find something cool?

Generally no, I don't use specific terms. I actually usually go as broad in terminology as possible, and trawl through.

The goal for me is to find a cool thing that someone either doesn't know enough about to know how valuable or rare it is, or someone who wants it gone more than they want to make money on it. For either of those sellers, specific terminology is not something they're likely to use. The one-photo no-description $40 add is the target and has won me some really cool stuff.

I do make a point to open and browse ads for stuff I think is cool that I know I won't buy, just because I know the Facebook datatracking is relentless, and I might as well use it to my advantage.

If you've got budget to burn then yeah, go for the technical terminology for stuff. I just find that usually gets me experienced antiquers who know what they have. And that is, fellow shoppers, the enemy.

[so-i-did-this-thing]

Hello! I hope you're doing well and I'd like to thank you for being the rad trans uncle of Tumblr. I'm in a fuckin' crimson state that's quite unfriendly to trans people and I'm afraid I won't be able to leave until 2028 at the earliest. Might I ask if there's anything you'd recommend doing? Anywho, I hope the leaves were great where you are! Peace!

It's been weird, but I'm glad to be here. :) As for recommendations, well, while you are not in a great place for trans rights, thinking ahead towards a move a few years down the road *is* good. Stuff you should be considering:

Get your finances in order.

Start with making a budget (I like the tool YNAB), tracking your habits, and looking for places to reduce spending. I know that can mean squeezing blood from a stone, but even saving up gas money for a cross-country trip can move up your moving timeline.

You also want to start planning your moving expenses. For example, buying boxes, using a moving service, cost to service your car, calming meds for your pets, etc. Just make a spreadsheet and keep adding as you think of things. Have a rolling total and track against your savings.

Lastly, get your credit score in order. A free service like Credit Karma is fine, but as you get closer to having to apply for rent or a mortgage, sign up with each credit agency and pull your report. Get caught up on any delinquencies asap and do not miss any payments from now until you are moved - missed payments take the longest of ANYTHING to fall off your score.

If you've changed your legal name, make sure it matches with all the credit bureaus. If you feel responsible with credit, ask for a credit line increase every 6 months - that will help with your debt ratio if you are currently trying to pay down a balance. Plan a credit score timeline with a hard stop at least 2 months before you apply for a loan/rent -- after that, no more making any big purchases or applying for new cards. Try to have no more of 10% of your total credit line actually on your cards by the end of your timeline. Aka, if your line of credit is $1,000, you only want $100 on the cards.

2. Start paring down your stuff

Gt crafty hobbies? Stop adding to your stash. Stop it. Start getting rid of broken things, clothes that don't fit, stuff you don't see yourself using, or stuff that is cheaper to sell & buy at your new place, rather than pay to move. If this all feels hard, put the items you're questioning in a box now, and then open it next year and see how you feel. Don't buy anything you wouldn't want to move.

3. Start your research

Make lists of towns that look promising. See how their local government works. Check the local reddits and facebook groups to get the vibes. Make lists of "must haves" and "nice to haves" at the state, city, neighborhood, and even house level. Get an idea for what the cost of living will be in your new place. Decide what your deal-breakers will be.

4. Work on your job skills

Four years is a lot of time to improve yourself for a good salary hike. It's a lot of time to get marketable for remote jobs, which will broaden your opportunities to live where you want. If remote work interests you, start looking at job listings and note the requirements. Make a plan to be qualified within 3 years.

5. Make a bucket list of things to do in your current state

There must be some good things about your state. There were in mine. Afford yourself grace and do some fun things that you might not have the chance to do again when you move. Hang out especially with local friends and family you care about.

6. Keep an eye on what's happening wrt trans rights.

Follow trans pundits and your local trans rights orgs. Get in the habit of learning what's going down in your municipality, down to the school board level. Be prepared to have to adjust your moving timeline if shit hits the fan.

7. Stay on top of your healthcare and legal stuff

No passport yet? Apply now. Forgetful about getting your HRT renewed? Set reminders and work hard to stay on top of everything. As you get closer to moving, research healthcare options in your new home and get appointments lined up asap.

8. If you're selling & buying a house, be prepared for it to take nearly a year

Seriously, it can take forever for everything to work out. Work with realtors in your new state who specialize in remote sales & relocations. Start repairing your current place by year 3 and start packing months in advance of the final move.

tldr; Treat the next 4 years like you're at college and your degree is Getting the Hell Outta Dodge. Plan as much as you can with to-do lists and spreadsheets, with some kind of monthly goal at first, then weekly and daily goals as your move approaches. It can feel overwhelming, but knowing *now* that you are going to move means you can plan as much as possible and reduce the amount of panic-decisions.

Good luck!

[possumcollege]

NOBODY needs to be defending these people. Major publishers, studios, streaming services, Tesla, Apple, Adobe, Amazon, social media companies- there isnt a single altruistic bone caught in their teeth. Profit from the output of exploited and captive labor IS their product now. When their contacts look like the one in question, the company is clearly stating that shareholders are the customers, not us!

Why else would it be anything but a stupid idea for Amazon to just nuke the majority of Comixology's self-published titles when they consolidated their services? If our experience was really foremost in their minds, why would they repeatedly purge, censor, demonitize, bury, and delete popular accounts with robust followings if not to allay the moral brainworms of shareholders and investors?

Forfeiting rights to our IP is not a "shitty deal," it's surrendering any potential ability to make money off of your own creative work. It's selling your property to a board of accountants to pitch into a portfolio. It's theirs to trot out as long as it's profitable and bury the instant its projected profit dips too close to the cost of maintenance. Hell, we've seen services drop popular series just because their projected profits started to flatten out! Mothballing it also has the added bonus of removing it from the market to further minimize potential competition. Like how there just weren't spider man movies for ages because the owner of the property didn't think it was worth developing but worth too much to sell.

They will make more money from suing you for trying to reclaim IP they mothballed than you did selling it to them in the first place. I guaranteee their budget for lawsuits is a lot deeper than the one they pay their "original" artists from.

By virtue of being a big, profitable, corporation, "their" IP is going to have an astronomically higher value in a court of law than any individual creator. The financial "damage" will be higher for infringing on their copyrights than any amount you can claim on your own. When it becomes theirs, their connections, their infrastructure, their reputation makes it an asset with much more value than you or I can possibly claim. So if you try to steal a bite back from them it's a bite of a *potentially* multimillion-dollar series. In their eyes, they bought the totality of your work, which you agreed was worth the price they gave you. It's value becomes more dependent on who owns it than whether it's even good.

You may not have the same potential to become flash-in-the-pan, short-term succesful without their resources, but you will still own your rights to distribute, alter, preserve, promote, and negotiate your share if you still own your work. That is worth everything as a creator who is passionate about what you've made and committed to protecting it.

The most effective power we can exercise as artists is our ability to say, "no" when someone else wants to pay us a disadvantageous fraction of our worth. You may lose potentially lucrative opportunities but "opportunities" presented by companies like Facebook or Twitter, whose real product is a platform for ads and data collection, with content as bait, are not opportunities to thrive on as independent artists. This specifically is an opportunity for the company to acquire property.

The myth that the publisher's strength is something for us to exploit, without them getting the lion's share is a trap that they feed from at will.

People like the poster up top are opportunists who see the process as a pipeline towards trading low-investment content for financial treats and maybe a share of ad revive. They're stalking horses for companies to exploit more talented but less experienced artists who are facing a daunting and overwhelming market where their work becomes harder and harder to show, let alone sell. A quick deal may feel like a win but it's selling the cow to save money on bottling the milk. Artists like this serve the publisher by making it seem like signing away your rights are just a necessary part of the game. However it's a game they are playing with exceedingly cheap stakes that weren't going to succeed on their own merit. So what if Mr. Business Perspective loses rights to his sexy Mario Bros. parody to a huge company? The point was always to unload it because it's a product, a bartering chip, a trinket. He's a Business Man, so he sees tactics that maximize profits to the business as maximizing their ability to buy whatever shiny tripe he cranks out. The business is his customer, not the reader. The business is his ally, not the creative community. Fuck him and fuck anyone who tells you the exposure is worth a damn if you don't retain rights to your work.

[briarrolfe]

Recently, I was sent a job listing. It called for a graphic designer "to produce direct response static & video ads for various social media channels, such as Facebook, TikTok, Snapchat, and YouTube." So, even though it was asking for a graphic designer, it wasn't a graphic design job—it was an advertising/social media/videography job. The career I've dedicated eight years of my life to is the bit the ad referred to as 'static'.

Ever since, I've been thinking about this idea that video is the future, and also I have been (not coincidentally) extremely depressed. Not to be all "you kids and your phones," but...

In advertising, your consumer's attention is money. Video is THE most attention-demanding form of advertising and therefore the most bang for your buck. It's why Facebook fudged their own stats for the effectiveness of pivoting to video so aggressively in the first place. If your consumer is reading something—a magazine, a poster, a book, something on their phone—then they're still listening, and if something else demands their attention, they'll just look up. If they're listening—to somebody talking, to music, to a podcast—then their eyes and hands are free to do whatever they like. They can look at the world around them, which involves many forms of competing visual advertising.

Video is a media form that doesn't stop. It keeps talking when your consumer looks up, and then keeps moving to grab their visual attention again. The best method for advertising is one that a consumer has to exert energy to not pay attention to.

(—This is why I hate video so much as somebody with ADHD. When my dopamine and blood sugar are low, focusing past someone playing TikTok audio is hard enough for me that it hurts. I've never had the same problem with radio or with like... idk, billboards. And TV is kind of bad, but at least it makes predictable sounds, whereas every person who films a TikTok with sudden screams or yelling in it is, in my opinion, going to hell.)

This is why the UI for platforms like TikTok and Instagram have autoplay, algorithms that disappear things you've seen so quickly, no scrub bars, and don't have skip or pause buttons. Your consumer has to keep their phone in hand to keep swiping or scrolling to properly engage. If that consumer can't stop a video or go back, then the platform can train them not to look up until the video is over. Anxiety that a user will lose their place or not be able to keep up with what is happening is part of what keeps them from looking away.

This is also a reason to be suspicious of why so many tech companies are obsessed with VR in general. A phone that people have to hold and look at and listen to is pretty good, right? But they can ultimately still put it down when an ad plays. It would be way better if we could put the advertising somewhere that tracks and follows their eye movements so that they literally can't look away.

We all know that text is still a better, faster, and more information-dense delivery system. Sometimes I see people mourning the pivot to video because it's a worse way to consume information. They're right! It is! But social media platforms have NO INTEREST in providing their users with like, actual reliable information. If they did, then social media companies would have no interest in AI.

(—This is also why they have no interest in fighting misinformation on their services. People who get radicalised are very engaged platform users. And the people who radicalise them come with massive budgets for ad spend.)

All social media platforms want is to get consumers hooked on their content so that they'll continue to deliver ad revenue. Video is the best way of achieving that. That's why we're all pivoting to algorithms and video. That's why Tumblr Live exists and Snapchat miraculously has not died.

Anyway. I chose to become a graphic designer.

[lonestarbattleship]

September 3, 2023 Update from the Battleship Texas Foundation

"DRY DOCK TOURS

On the Deck of Battleship Texas

Dry Dock Tours are BACK! Discount available for those who return. For more information please visit: battleshiptexas.org/drydock

Dry Dock staff hang reproductions of the historic "Come on Texas!" banners across the gangway.

SHIP REPAIRS

TORPEDO BLISTERS - The new torpedo blisters are a slightly different design and square off at the bottom below the waterline. This design change will make the new blisters easier to maintain increasing their longevity.

The last of the torpedo blister plates are being added. (Starboard)

COATING - The inside of the blisters, and the ship's hull will be coated to protect against possible corrosion.

The bottom of the torpedo blisters that will now be exposed to the water have been cleaned and prepped. Doubler plates will go over these areas.

This docking keel has been cleaned and primed.

Doubler plates have already been added in some areas where the torpedo blisters once were.

Primer added to the end of one docking keel.

Repairs made to the ship's stern near the keel.

LEAK TESTING - All welds continue to be tested for leaks. They are done via vacuum box, dye penetrant or magnaflux depending on the area.

DECK REPAIRS - Gulf Copper's yard workers have concluded repairing the deck on the ship's Signal Bridge and have begun working on the deck above, the Navigation Bridge. A part of the deck repairs includes sand blasting the underside of the underside and painting on a coat of primer.

Scaffolding used to repair the superstructure of Battleship Texas.

Scaffolding used to repair the superstructure of Battleship Texas. Repairs have been made to the deck, bracing, and supports.

Dock Tour staff man the 40mm Bofors!

AFT FIRE CONTROL TOWER - Work continues in the AFCT as the old grating that was installed in 1988 has been completely removed and replaced with a steel deck. Small repairs to the bulkhead are currently ongoing as the plan is to have it look as it did in 1945.

Work continues on the ship's aft fire control. (New decking, doors replaced, etc)

Work on the ship's aft fire control. The doors will be added back, and if the budget allows, the windows too.

The door that is supposed to be on each side of tower has been opened.

The door that is supposed to be on each side of the Mower has been opened up again.

Live, Laugh, And Flood your Torpedo Blisters

Visit our website at: battleshiptexas.org"

Posted by Hunter Miertschin on the Battleship Texas Foundation Group Facebook page: link

[thatdisasterauthor]

AI and the Bursting of the Social Media Bubble: How to Survive as a Creative

I've been wanting to put my thoughts on AI and Social Media into a more collected format, so I've written up a longer post on it on my blog on my website, and I'm sharing it here as well.

---------

Let’s face it, being a creative is becoming a rougher and rougher ride lately, especially if you’re a creative who grew up on the internet. A lot has changed in just the last year. The downfall of Twitter, the rise of AI. For awhile there we had a golden age of social media platforms that could really help us build our audience and careers, only for that all to start evaporating seemingly overnight, leaving a lot of creators stranded and disoriented. Look on any site right now and you’ll find creators terrified of losing everything to AI, creators terrified of losing their audience if their main social media presence gets shut down or banned, creators completely unsure of how to navigate the industry with half their tools taken away.

It sucks.

But, at the same time, as quick as it feels, this has been a long time coming. The social media bubble has been primed to burst for awhile now. What made social media a great tool for creators in the beginning was its authenticity. Social media was social. You found people you liked, you followed them, and you saw what they posted in the order they posted it. There were no games. No tricks. Ads that were present were less intrusive, less targeted, and less frequent. People weren’t as determined to play numbers games with who could get the most followers, the most likes, the most most most. An independent creator or small studio might sell to you, but you knew there were people behind those products. You knew there was a person who cared, who just wanted to show you the neat thing they made, not drive up their metrics or try out all those Cool Tricks they learned in a business psychology class.

Then big companies said “hey, we want a piece of that pie too,” so they started hopping on to social media as well. But it didn’t work for them, not the way it did for independent creators, because it wasn’t authentic. It was marketing. There wasn’t a person who cared behind the screen, it was some kid hired fresh out of school and handed a brand standards packet and told to make it work. They didn’t care about really connecting with people, they cared about sales and sales alone.

The big companies didn’t like that it wasn’t working for them, oh no. People should be giving them attention too!!!1! So the shift began. Ads got more targeted and more frequent. Algorithms grew in size and scope, driving people towards content they never asked for or showed any real interest in, barely showing things that people had actually followed at all. Social media stopped being social. It became marketing media and, as a consequence, small creators got buried in the deluge. Some gave up, some did their best to trundle along doing what they could, and some tried to play the game under its new rules only to have their audience still evaporate because, without a huge marketing budget, the corporate method doesn’t work at all. A few got lucky and went viral, rising to the top without having to play by the rules, but many of those struggled to maintain it and crashed back down soon after.

Then there’s the homogenization. Facebook bought Instagram. TikTok exploded in popularity, so Youtube added Shorts and Instagram added Reels. Twitter added longer and longer content options, despite being a micro blogging site. Patreon took off, so everyone started adding paid content options. Social media sites were so terrified of someone doing better than them that they all became exactly the same. Before, you had an account on every site because they each did something different. They each had their own value. But now they’re all the same, so why bother having multiple accounts if you can accomplish the same thing on each one? These companies have shot themselves in the foot by no longer offering anything unique, then got mad that they were bleeding and blamed their users even though they were the ones holding the gun.

And, of course, Twitter is over there bleeding out on the floor. Plenty of social media sites have risen and fallen over the years—Myspace, DeviantART, to name a couple—but Twitter is the first one to be so maliciously and quickly taken out with a shot to the head. Almost overnight creators have lost a major source of connection to literary agents, art directors, job boards, and just a generally vibrant network of other creators and supporters. A few contenders tried to step into the ring to replace Twitter, but all seem to have fizzled out within a few months.

Amidst the social media meltdown, a new player stomped onto the scene: Artificial Intelligence. It swept in just as quickly as the demise of Twitter and at about the same time. Within just months it went from generating strange blobby horses with too many legs to almost perfectly replicating the styles of well known artists. Which, understandably, made everyone panic. As soon as it was on the scene we saw major publishers using it to create book covers (rather than hire an artist), news sites using it to create graphics (rather than hire an artist), people using it to pump out low quality books to put on Amazon (rather than learning to write themselves), and plenty more. We learned that the data sets these AI were trained on were all stolen art and writing. We watched everyone wave off our concerns and tell us we were overreacting, that this was just the “democratization of art.” Nevermind that a computer doesn’t need to pay rent, or fill the fridge, or pay medical bills.

The AI saga is still ongoing, and likely will be for a long time yet. But this article isn’t about AI in and of itself, so we’ll leave it there.

In the latest development of the social media bubble burst, the RESTRICT act got thrown into the pile. Falsely dubbed the “TikTok Ban,” the RESTRICT act is a vastly overreaching bill that would decimate the internet as we know it. It actually doesn’t mention TikTok at all within the text of the bill, TikTok is just the Trojan horse being used to try and push the bill through. It has, however, garnered vehement disagreement from both sides of the aisle so who knows what will happen there.

That’s where we stand right now. Many social media sites are dying, AI is stealing work, and the government is trying to destroy the internet as we know it. Good times. Good times. So what the hell are us creators supposed to do? Well, there’s a few ways to go about it and a few good ways to protect yourself.

Firstly: remember that you are unique. AI is not actually intelligent, it cannot actually learn, it can just cobble together data with zero actual understanding of what that data means. Only you can come up with your characters, your stories, your designs. Even an AI trained exclusively on your work cannot create the things you will create in the future. An AI can’t know why it’s important to draw seams on clothing to give the shapes more form, it can’t know why it’s important to show not tell in a story, it can’t understand the importance of proper kerning in a logo. Do you think Good Omens (both the book and the show) would have the nuanced characterization it does if there weren’t real people with real experiences behind its creation? Your creations are yours, you learned the things you needed to to bring them to life, you cobbled together dozens of tiny, seemingly inconsequential experiences from your own life to create them, and that is why they will always have value.

Secondly: be authentic. Be excited about your own work. Be a person. Don’t just push your content and shop and sales all the time. Relax. Geek out about a fandom. Share a meme. Get in a lengthy friendly debate about ancient copper merchants. You don’t have to, and shouldn’t, overshare your personal life, but you can and should still be a person. You are not a corporation and trying to act like one, trying to keep pace with what they do, will just hinder you. Being authentic will build trust between you and your audience, and that is key to creating a stable environment. An extension of this: don’t beg. Your audience does not owe you attention. Give them a reason to care and they will, even if it takes awhile.

Thirdly: own your audience. Have your own website, even if it is a simple single page business card website to point people to other places. Make it your hub so that people—fans, art directors, agents, etc.—will be able to find you and reach out to you even if your social media sites go down. Have a newsletter that people can sign up for, and back that data up frequently. Don’t rely on any social media website to hold your following for you, because it can vanish overnight and suddenly you’ll be back at square one. But a CSV of emails backed up onto a couple of hard drives? That’s YOURS. Substack died? Oh well, you backed up the CSV a couple days ago and now you can just upload it to a different newsletter platform and pick up right where you left off.

Fourthly: figure out what kind of creative you want to be. Yeah, some work is going to be lost to AI. Yeah, you’re going to miss out on some jobs because you can’t chat with art directors on Twitter anymore. But there will always be work out there for creatives, even if it is different than you used to imagine. Maybe you won’t be able to get into concept art with a huge gaming company the way you dreamed, but that doesn’t mean you can’t find a great indie studio to work with. Maybe you won’t be able to get a traditional publishing deal because you don’t like their values anymore, but that doesn’t mean you can’t run a great self-publishing campaign on Kickstarter.

Fifthly: support other creators. Share their work. Point art directors their way if you don’t have time for a particular job. Introduce them to your own audience. Boost their commission info posts. Build your network.

Lastly, ask yourself this: are you going to stop consuming content from your favorite creators just because AI exists? Just because Twitter died? Are you going to shelve all your favorite books because AI is out there? Stop looking at art that isn’t made by an AI? No. You’re not. You’re going to keep consuming the things you love, and so will everyone else. Maybe not in the same ways, maybe not in the same amounts, but they will.

One final note: do you know what happened when photography started to become widely available and affordable? Illustrators panicked. If newspapers could just snap a quick photo of the latest news, they wouldn’t need to hire illustrators. If catalogues could photograph their products, they wouldn’t need to hire illustrators. It was a huge shift in the entire industry, and illustrators did lose work. But you know what? A century later, we’re still here. We still have value. We still get work. We still create amazing things that can’t be done any other way. Our ancestors have weathered this storm before, and we will weather it this time, even if we get a little banged up in the process.

If you enjoyed this content, tips are very much appreciated! (But 100% not required!)

[thebigunit]

Budgeting Factors for Facebook Ads vs. Instagram Ads: 6 Key Points

Which platform should receive your social media marketing budget: Facebook or Instagram? Achieve your objectives by learning how to evaluate. However, if you are looking social media services contact The Big unit, we will take care of your business social platform.

[incognita-soul]

hey, i saw in your bio that you work on tall ships and i was wondering if u had any advice.

i’ve been on 2 tall ship sailing trips before (+some dinghy sailing) and got my competent crew recently so i’m pretty inexperienced. on those sailing trips i’ve met young adults who were working on the boats as volunteers. i’d like to be able to volunteer on tall ships one day.

do you have any advice for the best way to gain experience and learn stuff? (if possible on a budget). i’m taking a gap year next year and i’d really like to take the chance to go sailing and get better at it. (i’m in the uk if that’s relevant.)

absolutely no pressure to answer and i’m sorry this is so vague and clueless! anyway, thanks for taking the time to read this. your blog is cool :))

Heya! Thank you, and I'd be happy to give you my two cents! All of my boat experience has been in the US so take my advice with a transatlantic grain of salt, but here goes!

Firstly, two trips and some dinghy sailing and a competent crew cert is actually quite a bit in comparison to your average person starting out in the world of boats, so don't worry about feeling too inexperienced! You're already on a good track. I've been working on tall ships in some capacity for over 10 years and I still don't have any specific certifications (I've got a lot of experience and sea time, I just haven't had time to take any of my courses and exams for actual licensing).

Facebook is (unfortunately) still the best place to network, especially for international opportunities. There are a variety of groups that you can join. I'm personally in Schooner Bums, Tall Ship Opportunities, Women Who Sail, Crew Finder, and a few other private groups specific to the organizations I've worked for. A lot of organizations will post to these groups with job opportunities with specific requirements, so it's fairly easy to get the info you need. I'm sure there are a few groups specific to sailing in the UK. In the US, we have Tall Ships America, which is an organization that provides networking, training, and job opportunities for mostly US based sailors and boats. I'm not sure if the UK has an equivalent organization, but I do recommend even though you are UK based you should peruse their website, especially the Billet Bank, which is where job links are posted:

You're in the UK, so there are a shit ton of boats there but as far as I know most of them are museum boats that don't do a lot of sailing. I will say from personal experience that museum boats with a good volunteer maintenance program are great places to start for establishing a strong set of foundational skills (knots, understanding and maintenance of the rig, carpentry, etc.). You might not get much actual sea time with a museum boat, but you will learn the things that will make you a better sailor. I got into tall ships by working as a historical interpreter and then as part of the sailing/maintenance crew here:

https://www.jyfmuseums.org/visit/jamestown-settlement/living-history/ships#ad-image-0

Most tall ship organizations are based around education, both for the public and for the crew, so it's easy to find a boat with some sort of introductory training program relatively near wherever you live. These range from expensive pay-to-play working vacation type experiences, to paying a fee to participate in a structured comprehensive training curriculum after which you can become long-term crew, to volunteering weekends sanding and oiling blocks in exchange for the opportunity to sail.

Since you said you are taking a gap year, my advice is look for a short-term comprehensive live-aboard program that gets your foot in the door for staying on as regular crew, potentially even paid crew. Idk any specific ones in the UK, but here's the one that the last boat I worked on offers as an example of what i mean:

If you've got time before your gap year starts, try to find something local, like volunteering for a mueseum like I mentioned earlier, so that you get used to the vocabulary and foundational knowledge of boats. That way you can really get the most out of a more immersive program later on and you won't feel too much like an oversaturated sponge trying desperately to sop up more information even though your brain is leaking out of your ears.

I'm not sure if you're wanting to do tall ships longer term or just something one-off for the gap year, but if you're in it for the long haul just be prepared that it's a lot of hard work for not much financial return. I don't mean to discourage you, it's just good to know that upfront. On Lady Washington we have a saying that "we work on an 18th century boat for 18th century wages."

Unfortunately the tall ship industry is kind of hard budget wise. Most training programs cost quite a bit of money, most jobs are either volunteer or don't pay very well (industry standard deckhand pay in the US is about $1000/month), and most higher level positions require various levels of certifications (for which course and exam fees can run pretty high). You can do it on a budget, especially since most long term positions are live aboard so you don't have to pay for rent or groceries, but if you want to make a career out or it, it takes a lot of years of working for less money than you're worth before you start earning real money back.

Despite all that, working on tall ships is still an incredible and fulfilling experience that I recommend to anyone with a love of the sea and learning practical skills!

Sorry I couldn't give you more specific information, as I have yet to work on any UK boats. Good luck, and please tell me when you find a program that works for you!

[usafphantom2]

NGAD review should end before the end of the year

Fernando Valduga By Fernando Valduga 10/31/2024 - 11:00 in Military

0

Shares

455

Views

Share on Facebook

Share on Twitter

The future of the U.S. Air Force's next-generation fighter jet, the Next-Generation Air Dominance (NGAD), will be decided by the end of the year, the service's top officer said on October 25.

"We intend to have this by December," said the Chief of Staff, General David W. Allvin, at the Conference of Military Reporters and Editors in Washington, D.C. "We also want to be able to influence the Department's Presidential Budget Proposal in February."

As currently designed, the NGAD combat aircraft is a "very expensive and very capable manned platform," Allvin said. The U.S. Air Force paused the project this summer, as it was reaching a point of decision to choose among competing designs to replace the F-22 Raptor. Instead of committing, Air Force Secretary Frank Kendall wanted to make sure that the USAF was not betting its future on a capacity that could be obtained at a lower cost if the requirements were changed.

The design of the NGAD precedes the progress that the USAF has made with the semi-autonomous Collaborative Combat Aircraft (CCA). Allvin said that the Air Force plans to have more than 150 CCAs in service over the next five years.

CCAs do not require life support systems and can be developed for a fraction of the cost of manned fighters. This is raising questions about what the mixture of manned and unmanned aircraft should be.

"NGAD is a family of systems," said Allvin. "A part of the system is the NGAD manned air penetration platform. Some would say it's the continuation of the F-22. ... It is part of a family of systems. This family of systems includes Collaborative Combat Aircraft, which are not manned. But they are already in progress."

The U.S. Air Force is studying its future force design at the same time, driven by China's growing army and its anti-access/area denial strategy in the South China Sea. The manned NGAD platform should be able to penetrate these defenses, but the threat today is greater than it was just a few years ago.

"The ability to say: 'We know that when this platform delivers, it will face the threat' - I think we are less sure about it than we had when we designed it," said Allvin.

"We are now at the point where... if we follow this path, this will be a very, very expensive program," Alvin added. "The question is, with the cost, the capacity and where the threat is, is it the right choice?"

Stoping to consider all the options is not "rolling slowly or stagnating," said Allvin. "I would call this something prudent because, once we pass through this one-way door, it is difficult to change direction."

The U.S. Air Force set the cost of the NGAD at "hundreds of millions of dollars," but Kendall said in September that he wants the capacity of the NGAD on a much less expensive platform: no more than the cost of today's F-35 - less than half the cost of the projected NGAD manned aircraft.

The CCAs were what changed Kendall's thinking. Designed to work closely with the F-35 and B-21 Raider bombers, they could reduce the need for a penetrating fighter jet and make the additional B-21s more attractive to planners. The U.S. Air Force never said that the NGAD would resemble the F-22 or other fighter-type platforms designed to outperform rival fighters. Its mission is to penetrate and suppress enemy air defenses, which can make it more like a smaller and faster stealth bomber.

Would the Air Force consider buying more than the 100 B-21s planned now? Allvin replied: "We didn't take it off the table."

However, developing and fielding manned NGAD aircraft remains a possibility, Allvin said. "I don't like people to have the assumption that, because we are stopping and analyzing, we are moving away from it," he said. "This decision was not made."

A high-level panel, including three former Air Force Chiefs of Staff, a former Vice President of the Joint Chiefs of Staff and two leading civilian experts is reviewing the evidence now and will recommend a way forward in December.

"As we analyze this, we need to understand: 'Is this the best for the cost of what we think the threat will be?' And 'Is this the best way to achieve air superiority?'", said Allvin. "And if we find out that this platform design, as currently instantiated, is the best... we have to figure out how to pay for it."

Source: Air & Space Forces Magazine

Tags: Military AviationNGAD.USAF - United States Air Force / US Air Force

Sharing

tweet

Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in specialized aviation magazines in Brazil and abroad. He uses Canon equipment during his photographic work in the world of aviation.

Related news

MILITARY

JOINT NOTE: Media specialized in united defense against fake news

11/02/2024 - 11:27 AM

MILITARY

Ukrainian F-16 fighter allegedly slaughters second Russian Su-34

11/02/2024 - 07:57

MILITARY

The dilemma of Austria's fighters

11/01/2024 - 6:47 PM

MILITARY

Northrop Grumman's Pod LITENING completes flight tests in U.S. Navy F/A-18

11/01/2024 - 4:00 PM

MILITARY

Airbus and OCCAR sign update of the A400M contractual structure

11/01/2024 - 14:00

MILITARY

Dutch company AEC Skyline significantly expands the fleet of L-39 Albatros jets

11/01/2024 - 1:00 PM

[amirhamza74]

What are the advantages of digital marketing? Digital marketing offers numerous advantages over traditional marketing methods. Some of the key benefits include: 1. Cost-Effectiveness: Digital marketing is often more affordable than traditional marketing channels like TV, radio, and print. Campaigns can be tailored to fit any budget, allowing small businesses to compete with larger companies. 2. Measurability: Digital marketing provides detailed analytics and reporting, enabling marketers to track the performance of their campaigns in real time. Metrics such as click-through rates, conversion rates, and return on investment (ROI) are easily measurable. 3. Targeted Reach: Digital marketing allows precise targeting based on demographics, interests, behavior, and location. Platforms like Google Ads and Facebook Ads enable marketers to reach specific audiences that are more likely to be interested in their products or services. 4. Flexibility and Agility: Digital marketing campaigns can be quickly adjusted based on performance data. Marketers can experiment with different strategies and tactics without significant delays or costs. 5. Global Reach: The Internet provides access to a global audience, enabling businesses to expand their market beyond local or regional boundaries. E-commerce platforms and international shipping options further support global expansion. 6. Enhanced Engagement: Digital marketing channels, such as social media, email, and content marketing, facilitate direct interaction with customers. Two-way communication allows for better customer relationships and improved customer satisfaction. 7. Personalization: Digital marketing tools allow for personalized marketing messages based on user behavior and preferences. Personalization can significantly improve the customer experience and increase conversion rates. 8. Higher Conversion Rates: Digital marketing strategies like search engine optimization (SEO), pay-per-click (PPC) advertising, and social media marketing can drive highly targeted traffic to websites. This targeted traffic is more likely to convert into leads or sales. 9. Better Customer Experience: Digital marketing enables businesses to provide a seamless and integrated customer experience across various online channels. Techniques such as remarketing and automated email responses can enhance the overall customer journey. hashtag#Overall, digital marketing offers a versatile, efficient, and effective way for businesses to reach and engage with their target audience, leading to increased brand awareness, customer loyalty, and revenue growth.

[goldenpinof]

Ngl I'm kind of scared of the idea of DINOK actually being made into a show. Do you think it would be profitable or even break even? I can't see it attracting a lot of mainstream attention and Dan's/DnP's core audience is not as big as it once was

i'll repeat myself here and say that it all depends on a platform and marketing. marketing can save dinok. but it can also kill it. like, single-handedly. mainstream attention depends on marketing on different platforms (huge budget). audience's attention depends on Dan talking to us on his platforms, consistently (no budget, just time). i'm sure with dinok Dan would be shooting for people outside the phandom, and that makes sense. it just needs to be done correctly, and not at the cost of his main audience.

my selfish ass wants Dan to make something out of it, just to see what he wants to tell us. the AU he created in his head. but, i don't need a show for that, i'd be happy to just read the script. if making a show costs too much money and is too risky, just sell the script. i don't want it to go to waste. it's a huge amount of work, and it would be sad if it never sees the light of day.

wad marketing in relation to dinok under the cut (too much yapping for free)

look at wad as an example. now, it's so clear that their initial strategy was experimental and didn't work, so they changed it halfway through. they also kinda dropped the promo by the European leg and just stopped updating banners in time, and overall started panicking. Dan's attitude and the main message in promo materials were all over the place, with him trying to target the general audience and the locals, meanwhile sometimes talking in riddles, and talking to us (phannies) only in liveshows at the start of each leg. and then the European leg didn't even have that. (i'm simplifying here a lot, i'm just trying to show a general picture). dd, despite having a good concept, failed to gain an audience and make people buy tickets to the show. there was a connection between dd and wad but it wasn't strong enough, and the vibes were a bit different, so it was also confusing people. dd t-shirt had a better promo in that one dd episode than the majority of wad promo clips. you know why? because it was genuine. he was whining about money and it was clear that he hated doing that bit but ffs, it was entertaining. Dan is not bad at promotion, he just needs someone to navigate his negative energy in the right direction. 90% of wad marketing was BORING as fuck. and there was not enough of it in general. wrong platforms, no consistency, boring recycled ideas (remember his clip with the US states? they did the same for ii but in a youtube video. which worked so much better not only because it was "Dan and Phil" but also because it was filmed better, the platform was bigger, and they didn't take it seriously. promoting on your main platform always wins over facebook/instagram/tiktok ads. also, we could engage with a youtube video. that's like a free promo within the phandom. geography can be FUN. wad geography wasn't). promotion doesn't have to be boring. Barbenheimer and Miley and Selena's cross-promotions showed it so clearly. fandoms love this shit, and Dan knows enough youtubers to pull this off. even if not cross-promotion tactics, there are ways to present something in a fun way. make something memeable (he tried in the beginning, but a white board wasn't the most fun tbh), make a promo we could engage with.

thank fuck they bought youtube ads for wad premiere. still fucking up with banners and editing though. and Dan still doesn't talk to his audience to make them buy tickets. like, he is trying, they have bullet points (half of them are coming out from Phil's mouth btw). but Dan making "crying" faces and pleading could be turned into "reasons why i want you to see this show". he wants to cry about how hard it was to make this show happen? about these 2 years of ups and downs? FINE. do it, talk to us, don't brush over the logistics, tell us how proud you are of finally filming the show. tell us why it's so important to you and why you want more people to see it. (Anthony's interview as an example, but make it deeper and without Anthony)

don't make me write a marketing strategy for wad premiere, no one wants that. but omg, it's his child and he doesn't know how to present it to the world. he presented dinok better by making "why i quit youtube". what i'm trying to say is that complaining works. sharing your struggles works. if he is so proud of this show he needs to tell his audience, that didn't see the show, what is it so amazing, brilliant, unique, important and wonderful about it. showing Dan on stage with a microphone isn't enough. it's pretty, but it's boring (i'm still waiting for a full promo clip to drop before Feb 25th). preshow and after-party are good selling points, but it shouldn't be the main thing. Dan is using Phil to sell wad, finally. don't get me wrong, i'm obsessed with it. he should use Phil, and only because of Phil more people are gonna see the show. but now it looks like Dan and Phil brand took the lead and wad is just a passenger. and as someone who witnessed all the stages wad went through to get to February 25th, i want the show itself to shine. it should be the main character, not the after-show or the carpet. how? Dan should talk more about things related to the show. he can go around NDAs, it's his show, his company. just don't drop names and certain numbers.

i need to stop. enough of free promo.

[maireadralph]

Back again with another She-Ra, He-Man and MOTU meet at MCM London on the 26th May (Sunday). The planned time is 1pm - this may change depending on the final MCM events/talks schedule. Please keep a check the event page is over on the Facebook for more details, any updates and changes.

If peeps have downloaded the MCM app from their App Store this meet can be added to your personal schedule and the app will set helpful reminders.

Anyway as usual everyone is welcome, cosplay, nerd gear, He-Man or She-Ra fan - doesn’t matter, just come along, be cool to each other, take photos with consent and have some fun.

Anyway I’ve lost track of how many of these I’ve done…I think this is the 5th or 6th SPOP Meetup over the MCMs here in the UK…it’s super chill. We meet, chat, take some photos, all while having fun and making new fandom friends. For anyone budgeting their social energy levels and time typically between 5-15 people show up and it takes roughly 30-60 minutes (more people usually want more photos taken which is the time)