#analyzing performance

[parnavi-8milesolution]

How to Boost Your Online Presence with Digital Marketing

Discover effective strategies to enhance your online presence through digital marketing. Boost visibility, attract customers, and drive growth. Learn more!

Introduction

According to recent reports, the digital advertising industry in India witnessed substantial growth, reaching a market size of nearly 300 billion Indian rupees in the year 2022. This represents a significant leap from the market size recorded in the year 2016 source: statista.com

In today's digital age, having a strong online presence is essential for businesses of all sizes. Digital marketing offers a wide range of strategies and techniques that can help boost your online visibility, attract more customers, and drive business growth. In this article, we will explore various ways to enhance your online presence through effective digital marketing strategies.

Table of Contents

Understanding the Importance of Online Presence

Developing a Comprehensive Digital Marketing Strategy

Building a User-Friendly Website

Implementing Search Engine Optimization (SEO)

Creating Engaging Content

Leveraging Social Media Platforms

Harnessing the Power of Email Marketing

Embracing Video Marketing

Engaging with Online Communities and Influencers

Utilizing Pay-Per-Click (PPC) Advertising

Analyzing and Measuring Performance

Keeping Up with Digital Marketing Trends

Incorporating Mobile Optimization

Enhancing Customer Experience through Personalization

Conclusion

1. Understanding the Importance of Online Presence

In the digital landscape, having a strong online presence is crucial for businesses to succeed. It allows you to reach a wider audience, increase brand awareness, and establish credibility in your industry. A robust online presence also enables you to connect and engage with potential customers, driving conversions and sales.

2. Developing a Comprehensive Digital Marketing Strategy

To boost your online presence effectively, it's essential to develop a comprehensive digital marketing strategy. Start by defining your goals and target audience. Conduct thorough market research to identify the platforms and channels your target audience frequents. Then, create a roadmap that outlines the specific tactics and techniques you will employ to achieve your objectives.

3. Building a User-Friendly Website

A well-designed and user-friendly website is the foundation of your online presence. Ensure that your website is visually appealing, easy to navigate, and mobile responsive. Optimize it for fast loading speeds and ensure that the content is relevant, informative, and engaging.

4. Implementing Search Engine Optimization (SEO)

SEO plays a vital role in improving your online visibility and driving organic traffic to your website. Conduct keyword research to identify relevant keywords and incorporate them naturally into your website's content. Optimize your meta tags, headings, and alt tags with relevant keywords to enhance your website's search engine rankings.

5. Creating Engaging Content

Content is king in the digital world. Create high-quality, engaging, and informative content that resonates with your target audience. Publish blog posts, articles, videos, and infographics that provide value and address your audience's pain points. Incorporate relevant keywords to improve search engine rankings and share your content across various platforms to maximize its reach.

6. Leveraging Social Media Platforms

Social media platforms offer immense opportunities to boost your online presence. Identify the platforms that align with your target audience and develop a strong presence on them. Regularly share engaging content, interact with your followers, and leverage social media advertising to reach a broader audience. Utilize analytics tools to measure the effectiveness of your social media efforts and make data-driven decisions.

7. Harnessing the Power of Email Marketing

Email marketing remains one of the most effective strategies for nurturing leads and driving conversions. Build an email list by offering valuable incentives such as exclusive content or discounts. Segment your email list based on customer preferences and behaviors to send personalized and targeted messages. Craft compelling subject lines and content to encourage email opens and click-throughs.

8. Embracing Video Marketing

Video marketing has gained significant popularity in recent years. Create engaging and informative videos that showcase your products or services, provide tutorials or demonstrations, or share customer success stories. Publish your videos on platforms like YouTube, Vimeo, and social media channels to increase your online visibility and engage with your audience on a deeper level.

9. Engaging with Online Communities and Influencers

Active participation in online communities and collaboration with influencers can greatly enhance your online presence. Identify relevant online communities and forums where your target audience interacts and contributes valuable insights and expertise. Build relationships with influencers in your industry who can endorse your brand and expose it to a larger audience.

10. Utilizing Pay-Per-Click (PPC) Advertising

PPC advertising allows you to display targeted ads to potential customers and drive traffic to your website. Conduct thorough keyword research and create compelling ad copy to optimize your PPC campaigns. Monitor and analyze your campaign's performance regularly, making necessary adjustments to maximize your return on investment (ROI).

11. Analyzing and Measuring Performance

To continually improve your online presence, it's crucial to analyze and measure the performance of your digital marketing efforts. Utilize tools like Google Analytics to track website traffic, user behavior, and conversion rates. Monitor key performance indicators (KPIs) such as click-through rates, bounce rates, and social media engagement. Use the insights gained to refine your strategies and optimize your online presence further.

12. Keeping Up with Digital Marketing Trends

The digital marketing landscape is ever-evolving, with new trends and technologies emerging regularly. Stay updated with the latest industry news and developments. Embrace new technologies, platforms, and strategies that can help you stay ahead of the competition and maintain a strong online presence.

13. Incorporating Mobile Optimization

In the mobile-driven era, optimizing your online presence for mobile devices is essential. Ensure that your website is mobile-friendly, with responsive design and fast loading speeds. Optimize your content for mobile consumption and leverage mobile advertising to reach users on the go.

14. Enhancing Customer Experience through Personalization

Personalization is key to delivering an exceptional customer experience and fostering loyalty. Leverage customer data and analytics to personalize your website content, email campaigns, and targeted ads. Tailor your messaging to address individual customer needs and preferences, making them feel valued and engaged.

15. Conclusion

Boosting your online presence through effective digital marketing strategies is a crucial step in today's competitive business landscape. By understanding the importance of online presence, developing a comprehensive digital marketing strategy, and implementing various techniques such as SEO, content creation, social media engagement, and video marketing, you can significantly enhance your brand's visibility and attract a larger audience. Stay proactive in analyzing performance, keeping up with trends, and embracing new technologies to maintain a strong and impactful online presence.

Q1: How long does it take to see results from digital marketing efforts?

A1: The time it takes to see results from digital marketing efforts can vary depending on various factors such as the strategies implemented, target audience, industry competition, and budget allocated. In some cases, you may start noticing improvements within a few weeks, while for others, it may take several months to see significant results. But if you want to accelerate your digital presence 8 Miles Solutions is here to help

Q2: Do I need to hire a digital marketing agency to boost my online presence?

A2: Hiring a digital marketing agency can provide you with expertise, resources, and a comprehensive strategy to enhance your online presence.  And companies like 8 Miles Solutions are of great help

[powerbikit]

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[poorly-drawn-mdzs]

Archery Nemesis.

[First] Prev <–-> Next

[bi-hop]

having read the manga now... I still think they're t4t but in a new unprecedented fashion. I have no idea what's going on with Laios, but take my hand...

[smartzelda]

Sorry guys I gotta speak my truth on this one

I'm not kidding when I say that I think that blaming shit media literacy from fans on shipping/shippers avoids the actual root of the problem to throw people you can easily throw under the bus (simply because it's not unpopular to consider people who post about ships or ship characters in media as having lesser or derivative tastes by default)

And here's why.

I think when you blame people who are "shippers" or "consume media through shipping lenses", the true root of it all is a mindset problem.

In actually, putting on shipping lenses can be helpful when trying to analyze a piece of media. When analyzing media you're supposed to approach it through a number of mindsets and put on different lenses (both to deepen your personal understanding of the media, and to pick it apart and see what you can find there (whether intentional or not on the author's part)), and different ships can be some of those lenses

When it comes to ships between main characters (for those who are genuinely willing to see what the narrative is showing with their relationship and what it's doing), there are times when analyzing it from a shipping lens may be helpful. As someone from KH fandom, I have seen people come to deeper understandings and pick canon apart in the process of analyzing a relationship that is genuinely integral to the story (platonic or not). I've also seen people get into rarepairs of characters who barely interact or who just suffer little screen time, and I've seen them come to better understandings of those side characters and how they potentially fit into the world of the media simply because people are now focusing on these characters and how they fit into the narrative.

Frankly, I resent the idea that the only way to truly objectively analyze a piece of media is by turning off the part of your brain that gets excited over relationships and individual characters. Don't get me wrong, that is a way to approach a piece of media and a valid one at that, but the truth is that we cannot be free of bias.

For instance, I was watching House MD with my parents circa last year. At some point I started heavily tuning into what was going on with House and Wilson's relationship. My parents, on the other hand, were largely watching casually. They're not thinking of character relationships or getting heavily invested in most characters, they're watching because they like watching. One of them in particular did try to analyze things that were happening in the show as they happened. However, when it came to the scene late in the series where House threw out Dominika's letter approving her American citizenship, my parents could understand that he was doing that because he didn't want her to leave, but not much beyond that. I ended up explaining to them that House's fake marriage for Dominika was an explicit parallel to when Wilson was living with House in the early seasons. Both situations started with House being none too happy about it but ultimately letting them stay, spending a considerable amount of effort getting them to leave/getting this situation to be finally over so he didn't have to deal with it anymore, and then by the time a piece of news comes through that would mean the person in question actually leaves, House hides this news as long as he can. Because he doesn't actually want them to leave and has grown attached. And by doing this he became a self fulfilling prophecy. By reacting to the truth of Wilson and Dominika leaving him the way he does, he seals his fate and they ultimately leave anyways. Maybe I ship Hilson, but becoming open to how their relationship was handled allowed me to transition to doing character studies and recognizing patterns/parallels that I wouldn't have noticed if I didn't particularly care about the characters or their relationship.

Likewise, I've seen mutuals complain about how people who don't like or don't care about certain characters often overlook these characters (what they're actually like and their place in the narrative), while the mutuals in question (by default) are able to come to deeper understanding of what the writers/story is trying to do because they care about this funky guy

You can't eradicate bias when you're engaging in media analysis, but you can consciously put on a range of lenses and observe the media through different povs with the goal of understanding the media better or bolstering your reading of it. And those lenses/povs can include focusing on specific relationships or the perpective of certain characters

And this is why I say it's actually a mindset problem. Shippers and people who have this one blorbo they like a lot aren't inherently terrible "fandom brained individuals" who are the root of media analysis problems. The problem only arises when people's readings/analysis of a piece of media are inherently restrictive/narrow and self centered. Your problem is with people who view a piece of media through a ship they like but don't keep an open mind about it, and whose "media analysis"/views on canon cannot be split from fanon and their comfortability levels. These are the people whose "media analysis" starts and ends with justifying their fanon as canon, whose views on media revolve around sorting characters and relationships into categories they personally enjoy rather than trying to understand what's going on.

Here's another example.

Here we have a fictional ship we'll call uhhhh...Blanebin. this fictional ship I made up on the spot for characters that don't exist named Blane and Corbin

Person A is super into Blanebin. They're part of the main cast of characters and canonically childhood best friends, so person A (as much as they enjoy fanart and fic) is also enjoying analyzing how narratively important to each other they are. Recently, Corbin started dating another character in canon, but Person A is enjoying watching how Blane is reacting to this. "Is this potentially a tell that Blane is jealous or is having complicated feelings about this? What if he was, how would that contextualize his behavior this season? Here's what I think based on how Blane dealt with explicit jealousy last season in a different situation". It's not impossible that person A is still missing further understanding due to their obsession with Blanebin, but at the end of the day this obsession has allowed them to start picking through the characters both in and outside this relationship. It has allowed them to see potential subtext and theorize on what might happen next with these characters' relationship. Not to mention that with addition of Corbin dating someone else, instead of trying to erase this fact or state that Corbin canonically isn't into that person, Person A is trying to factor in how Corbin's current dating life affects his relationship with Blane (irregardless on personal views on the nature of Corbin's relationship with the person he's dating).

Person B is also super into Blanebin. They really enjoy fanart and fic of the characters, love obsessing over their moments together, and just feel like there's really something between the characters. To person B, every moment between them is just further proof that the writers are ship teasing them. But Corbin getting together with someone else this season? Oh that pissed person B off. They cannot believe that even though Corbin and Blane are CLEARLY gay for each other the writers had Corbin get with someone else this season. Perhaps, they think, it was even a decision specifically made to spite fans. How evil of the writers to tease a perfectly good ship and then have them not get together first? They must have been just doing those teases to get views from Blanebin shippers those scoundrels. To Person B, since Corbin started dating someone when he obviously has some chemistry with Blane (even though the series is far from over) means that Blanebin can never get together now and Corbin x person he's dating is ruining Blanebin by existing. In fact, they think, this is terrible writing for Corbin to be dating someone else because they don't like that relationship and don't see the point. Obviously if the writers were good then Corbin would have started dating Blane instead because this was supposed to be the Blanebin show.

Person C despises Blanebin. Don't get them wrong, they've always enjoyed the character's childhood friendship, but they actually have always thought Blane would have been better off with Victoria. They have a lot of moments too! But they're tired of seeing people ship Blanebin. Corbin just got together with someone else, so obviously that's not gonna work out. Plus Corbin and Blane totally has always given person C bro vibes. In fact, person C thinks, sure Corbin and Blane have a close friendship, but people shouldn't be shipping them. Person C likes Blanetoria and Blanetoria can't be canon if Corbin is in the way of it. So Person C likes to read Blanebin as siblings anyways. Sure they're canonically friends, but obviously their friendship turned into brotherhood. This means that nothing can be in the way of Blanetoria and Corbin can keep dating the person he's already canonically dating. Actually, now Blanebin just straight up makes Person C uncomfortable. Don't the pesky shippers understand that Blanebin are sibling coded because they're childhood best friends and that they're important to each other because they're brothers? It's obvious to anyone with eyes.

Sure, ships are involved here, but is the root of this problem shipping? Character A isn't as knowledgeable of other characters in the plot due to this lens they're using, but at the end of the day they're dedicated to analysis. Their love of the characters is pushing them beyond what they like or dislike to try to understand what might be happening through their lens. Not perfect, but they are slowly broadening their horizons. But Person B and C's problems here are their restrictiveness. What is or should be canon to them is tantamount to what they personally like or find comfortable. Is person C actually analyzing the this fake show when they decide to "read" Blanebin as basically canonically siblings (and this all of their moments are totally a bro thing) just because they don't like Blanebin and the idea of them getting together over Blanetoria makes them uncomfortable? Is person B actually analyzing this fake show when their "analysis" of Blanebin goes only as far as asserting it's being ship teased and deciding anything short of canonizing Blanebin is a targeted attack or "bad writing" because it's not what they wanted personally to happen?

This is what I'm talking about. This is the mindset. Shipping isn't the problem. The problem is when people marry fanon and canon to the point where they have a vested interest in superimposing their fanon over canon as "a reading" and trying to make "collective decisions" on what is canon (or what canon is trying to say) based on what does or doesn't make them uncomfortable. The problem is people being restrictive and centering their own likes and dislikes in the conversation, so they can only interact with canon "analysis" wise by deciding what is canon or should be canon "as obviously agreed on by everyone". You can't simply claim you like media analysis. To be able to analyze media and bolster your views on any given canon, you must be open to looking at it through multiple povs, to studying characters without trying to pretend things you don't like don't exist or do like do exist. There is a balance that must be kept between trying to keep objectivity and putting on specific focus/bias based upon the lenses you're putting on. You have to be willing to try to figure out what a media is doing or saying, not saying you're trying to figure out what it's saying while in actuality trying to define the narrative around what people believe it's saying in ways that suit you.

Thank you for coming to my ted talk.

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[tvckerwash]

you know, an interpretation of ct that I don't see that I personally really love is that she's a fuck up. like yes she's cool and she has some good fight scenes, but a huge part of her character is that she makes mistakes. the mistakes that she makes are ones that on their own aren't the end of the world, but she keeps making these little mistakes, and they eventually add up until she's out of room to make any more.

a really good example of this phenomenon in action is the actions she took leading up to her final confrontation with carolina and tex.

strike one, she thought she saw something in the water, but when asked by the leader what it was, she brushed it off as nothing when even if it had been nothing, it would've been smart to tell him what she thought she saw.

strike two, she didn't sense or notice florida's presence when the leader did, and she looks at the leader twice, once as she pulled out her magnums, and again after she did a scan of the room, almost like she was looking at him for guidance before he finds florida and takes him out with one good axe throw.

strike three, she couldn't convince the leader to leave when they had the chance to get away, and her cheap tricks were not enough to hold off either tex or carolina in a fight. they were only good for incapacitating her opponents enough for her to get away, which doesn't work when she has no escape.

ct is not tex, or carolina, or south. she is not a one woman army who can get herself out of trouble when she's stuck in tough situations. she needs people who can watch her back, she need a team who can cover her when she does mess up, and the leader and his team were not those people. she couldn't bring herself to trust them, and they couldn't bring themselves to trust her, and that cost all of them their lives.

[piebutt]

ppl 'stocking up' for the one day boycott tomorrow.....

come on. just....come on......

[powerbikit]

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[airenyah]

Hey so do you know where I could find this acting manifesto of yours?

I usually try and avoid publicly expressing my opinion on things like this but I recently saw some people commenting negatively on his acting again and I’m starting to doubt my own judgement.

I’ve truly never had a huge problem with his acting but I keep seeing people using really harsh words to describe his prior and current work. I genuinely think he’s doing a good job in THK but these comments sometimes make me think I’m missing something.

That conflicts with the fact I know at least three people he worked with on THK specifically had positive things to say about his acting too and I trust people who do this for a living to know what they’re talking about for the most part.

I guess I’m just looking for your post to have a more detailed perspective of the opposite viewpoint to “he’s a terrible actor” to help affirm some of my thinking so I’m more confident in my positive opinion of his acting.

Overall though I’m enjoying everyone in this show but for me I’m specifically enjoying the four mains the most. Kudos to them honestly.

(Disclaimer: Obviously everyone is entitled to their opinion but the harshness of some of the opinions took me off guard a little.)

fuck these people. they don't know shit.

(mind you. this manifesto was written based on his performance in just star in my mind and hidden agenda. his 2024 shows weren't even out at that point. in fact, thk hadn't even been publicly announced yet. you can see from the start there is talent in this boy if you actually know what to look out for)

bonus: i rant some more in the last reblog

[remyfire]

If I saw them correctly, the seven flags featured here appear to be the United States, Thailand, Austria, United Nations, Switzerland, Norway, and Indonesia. I might be wrong—they come through so quickly and at differing angles.

It would take an incredible amount of time to really dig into why each of these countries were represented, and I definitely don't have the understanding to do so with confidence in my accuracy. But for context, it is worth noting that at various points from the '50s to the '70s, among other things, the US was responsible for militarizing Austria in anticipation of it becoming "Europe's Korea" during the Korean War, incentivizing and encouraging genocide in Indonesia, and utilized Thailand as their main launching point for the majority of their bombing campaigns in Vietnam.

[sleepless-crows]

i love how in over the moon's lyrics and act: promise's vcr, txt say 오래된 미래, or ancient future. it's such a juxtaposition to describe the future as being ancient or old. but 오래되다 more specifically means "marked by a long duration of time since the start or formation of something". essentially they could be saying that the future they're talking about, that they're finally meeting, was meant to be since long ago. like it's a matter of fate. and they're finally walking towards their tomorrow, their destiny, that they used to run away from, omg these lyrics

[powerbikit]

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[cvstodians]

[muse-write]

Just finished OUaT S2E14, “Manhatten”. AMAZING episode, and the themes of intergenerational trauma are, as expected, clearly on display. In fact, Bae even points this out in one of the last scenes when he and Emma have a conversation about not breaking Henry’s heart (like Gold did to him and he then did to Emma). Henry being the lynchpin, the glue that drives everyone together, the one thing everyone is united on, makes perfect sense. He’s the character who presents a chance for them to make a difference, to begin a fresh slate. He’s related in some way to nearly everyone, and he is the one person they can all agree doesn’t deserve to be hurt (unless Rumplestiltskin does in fact decide to kill him, which he probably(??) will).

[pissmoon]

No one has said 'im not like other girls' unironically since like 2015, it was a purely early 2010s thing and even then it wasnt as big and serious as people make it out to be, it was mostly middle/high school age girls who were bullied for being 'nerdy' and bad at eyeliner. How is this shit even worth 10+ years of useless bad 'feminist' discourse