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Does it make sense to bring Kamarda back to Milan instead of acquiring Fülkrog?
This topic came up for me after I watched a youth highlights clip late at night and then immediately switched to a Milan match replay. It really hit me how different the conversations are when we talk about young players versus experienced ones. With Camarda, there’s excitement and emotion, almost like watching someone grow up in front of your eyes. With Fullkrug, it feels more practical and short-term. I remember similar debates in the past where fans argued heart versus logic, and sometimes those choices shaped entire seasons. That’s why I’m curious how people see this one.
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Choosing the Right CRO Partner
What matters most to you when choosing an eCommerce conversion rate optimization service like ConversionRate.store? Is it measurable uplift in conversion rate, structured A/B testing, UX and funnel analysis, or long-term revenue impact? How would you evaluate success after 3–6 months of working with a CRO agency?
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Daeron Daeron
Jan 12
For me, the most important thing when choosing an eCommerce conversion rate optimization service like https://conversionrate.store/ecommerce-conversion-rate-optimization-services is measurable results — real increases in conversion rate and revenue rather than vague promises. A structured A/B testing plan and deep UX/funnel analysis are essential because they show how improvements are identified and validated. I’d evaluate success after 3–6 months by tracking not just CvR uplift but also average order value, repeat purchase rate, and ROI relative to the CRO fees. Clear reporting and communication are a must too.
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Entertainment Economics" blog on Wedding Singer site – interesting take?
Read their new post "Entertainment Economics: From Broadway to Digital Gaming Revenue". It compares how Broadway ticket sales (still king but slow growth) stack up against streaming, gaming, and digital live events. Mentions how jukebox musicals like The Wedding Singer benefit from nostalgia IP while gaming revenue exploded past $200B globally. They argue live theatre needs to lean into "event" experiences (immersive, social, shareable) to compete. Thoughts? Does this ring true for touring shows in 2026?
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werder werder
Jan 09
I read the post and thought it offers a solid industry overview of how live theatre fits into the broader entertainment market today. The comparison between Broadway’s steady but slow ticket sales and booming digital sectors like gaming and streaming makes sense — especially with gaming revenue topping massive global figures. Using nostalgia IP, like The Wedding Singer, to attract audiences feels smart, but I agree that theatre needs to be more of an “event” experience in 2026: immersive, social, and shareable. Touring shows that lean into that will likely stay competitive. Worth a look! source
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From a practical angle, I don’t think it has to be a strict either-or choice, but I get why the comparison exists. Camarda represents potential and continuity, while Fullkrug is more about immediate structure and experience. When I read https://sempremilan.com/few-goals-lots-of-games-missed-what-questions-does-fullkrug-answer-for-milan, it helped frame why Milan might still look outside instead of relying fully on youth. I’ve seen young talents rushed too quickly at other clubs, and that rarely ends well, so some balance between patience and support from experienced players can really matter.