December 2020 in Summary: Hindsight Is 2020

Happy New Year everybody! I hope you’re all doing well in light of this past difficult year. Either way, we can at least put it behind us and hope 2021 ends up being better.

Films watched in December 2020:

In theaters:

  • <None>

At home:

  • The Twilight Samurai (Yoji Yamada, 2002)
  • Thief (Michael Mann, 1981)
  • All the President’s Men (Alan J. Paluka, 1976)
  • The Wrong Move (Wim Wenders, 1975)
  • Kings of the Road (Wim Wenders, 1976)
  • Bob le flambour (Jean-Pierre Melville, 1956)
  • Ben-Hur (William Wyler, 1959)
  • Traffic (Steven Soderbergh, 2000)
  • Detour (Edgar G. Ulmer, 1945)
  • The Silence of the Lambs (Jonathan Demme, 1991)

Going into this year, I didn’t think the last film I saw in theaters would be in February (it was Portrait of a Lady on Fire, for the record), but here we are. It’s a bit of a shame too because 2019 was a massive improvement over 2018.

I think of The Twilight Samurai as a far more effective version of what Robert Altman attempted with McCabe & Mrs. Miller. That is, while Mr. Altman deconstructed the Western and largely failed, Yoji Yamada does the same for the samurai film and succeeded quite well. In a lot of ways, it harks back to Akira Kurosawa’s legendary film Seven Samurai in that it doesn’t present the samurai characters as unstoppable killing machines, but rather ordinary people and subject to the laws of reality. It’s definitely a great character study set in a time when the days of the samurai were coming to an end. Definitely check it out.

Michael Mann’s Thief, not to be confused with game series, is an interesting early 1980s crime thriller. Mr. Mann would go on to direct Heat, The Last of the Mohicans, and The Insider, and while Thief isn’t as well-known as those films, it was a reasonably solid debut. Also seriously, Razzies, you gave this film, which was scored by Tangerine Dream, a nod for worst music? Get real.

It is said that the pen is mightier than the sword. The typewriter must be pretty darn powerful too because it sure did a great job taking down the 37th President of the United States. Yes, I decided to watch a film based on the original “Gate” scandal: the classic All the President’s Men. It’s a story about how great the press can be when they have a strong ethical center, and is absolutely worth looking into.

After that, I moved back the Wim Wenders’s Road Movie trilogy. The weird thing I’ve noticed about trilogies with a definite continuity is that the third installment tends to be the weakest. I think it’s because in most cases, we’re just waiting for the pieces to fall into place, so there really isn’t any way for the installment to surprise us (The Lord of the Rings provides a very noteworthy exception to this rule). With thematic trilogies, on the other hand, the weakest installment tends to be the second one. In that regard, it makes sense, as the artist would want to make a good first impression and send the trilogy off on a high note.

I say all of this because the Road Movie trilogy conforms to this strange standard. The Wrong Move is definitely the weakest of the three films, though a weak Wim Wenders film is still worthier of your time than, say, the average Alex Garland or Ari Aster film. Indeed, despite its problems, I really dig its quirky energy, almost coming across as a melancholic take on what Wes Anderson usually accomplishes with his canon. Meanwhile, Kings of the Road is arguably the best film in the trilogy. It’s significantly raunchier than either of the two preceding films, but it lends the trilogy a very dynamic quality, and demonstrates that Wim Winders, not unlike Krzysztof Kieślowski, has an amazing talent for being artsy without being the least bit pretentious – something today’s auteurs should study if they want anything other than niche success.

Bob le flambour was made a little bit before the French New Wave began in earnest, but it is nonetheless considered one of its hallmarks. It can be described as a heist film, but it manages to be a highly subversive example of one, which is impressive given that it predates most examples (including the aforementioned Thief). It’s pretty difficult to talk about why it’s so interesting without spoiling it, so just try to find some way to watch the film blind, and I’m sure you will not be disappointed.

This year, I celebrated Christmas by watching the ultimate Christmas film (other than Die Hard): Ben-Hur. Ben-Hur is one of those legendary epics from Hollywood’s Golden Age that tends to come up whenever film enthusiasts discuss the greatest of all time, and this praise is well-deserved. That they were able to accomplish as much as they did using only practical effects makes it quite the technical achievement, and the story has a surprising amount of applicability to it – an amount that you certainly wouldn’t get from a present-day religious film (or at least not Pure Flix).

After that, I saw Steven Soderbergh’s Traffic. In a lot of ways, I kind of think of it as the kind of film Sicario tried and failed to be, tackling drug cartel activities with far more nuance in addition to showing it from more perspectives (Note: in this case, “failed” is relative because I think Sicario is decent – just not the masterpiece critics make it out to be). Benicio del Toro definitely deserved to win that Best Supporting Actor, and if you’re looking for any film with a great ensemble cast, this is the one to check out.

I’m just going to say it – Detour is one of the weakest films that currently has a 100% critic approval rating on Rotten Tomatoes. It’s not a total failure, and if anything it’s remarkably ahead of its time in how it spins a narrative with a very unreliable narrator. However, while pioneers are important, the problem is that I can name several other films that manage to go what Detour is going for far more effectively. Plus, the fact that it’s only 70 minutes long ensures the plot goes way too fast and doesn’t give anything a chance to stick. So, pass on this one.

And finally, rounding out the end of the year, in another case of “How the hell has Red Metal not seen this film?”, I watched The Silence of the Lambs for the first time. Seeing it kind of reminded me of watching Casablanca for the first time in how it’s such an influential film that has firmly embedded itself in pop culture so thoroughly that there were several instances in which I found myself thinking “Oh, that’s where this line is from”. But, it certainly lives up to the hype with Jodie Foster and Anthony Hopkins turning in unforgettable performances. Without a doubt, it is a solid thriller.

Films reviewed in December 2020:

Uncut Gems

Wherein Red Metal continues to backpedal on previous recommendations.

With Uncut Gems, A24 continues to be the masters of winning critical favor while leaving half of the general audience with nothing. Naturally, I figured that just like with Hereditary, the notoriously irascible Owen Gleiberman couldn’t leave well enough alone and would complain about the audience’s supposed poor taste. I’d celebrate my victory, but predicting his reactions is about as mentally taxing as solving the mystery of your average Blue’s Clues episode.

(Aside: I also wouldn’t call Uncut Gems “a new kind of movie” given that Good Time and Mean Streets exist and both manage to be an upper and a downer at the same time. And Berserk, for that matter.)

Unlike Knives Out, the problems with Uncut Gems are a little bit more abstract. It too could be considered an idiot plot, but unlike the case with Knives Out, the protagonist being an idiot feels intentional. It helps that, even at their worst, the Safdie brothers have a degree of self-awareness not possessed by any other most A24 directors. Instead, its main failing primarily boils down to the characters being too unlikable or boring to really make a film out of. It really speaks to Robert Pattinson’s charisma that he was able to carry a film with similarly unlikable protagonist far more effectively in Good Time, but the Safdie brothers ended up overreaching with their techniques in Uncut Gems. At the end of the day, Uncut Gems isn’t bad, but in the face of its superior predecessor, which covered the same stylistic ground far more effectively, it is mostly redundant.


It may not seem so on the surface, but revisiting Looper was quite the bittersweet experience for me (more bitter than sweet). When The Last of Us Part II came out, its director, Neil Druckmann, was derisively compared to Rian Johnson in how he seemed more interested in subverting expectations and pushing buttons than telling a good story. There are certainly a lot of similarities between the two controversial figures whether it’s their egotistical posturing, inability to take constructive criticism, and having rather pseudointellectual, Stannish supporters. I myself compared the two of them in the past, but while they do indeed have a lot in common with each other, there is one major difference between them: their level of potential. Neil Druckmann is, and always has been, only ever exactly as good as the people he surrounds himself with. This is why I don’t think it’s a coincidence that when the abhorrent working conditions of his company caused a 70% turnover rate in personnel, it resulted in his worst game to date. Without Amy Hennig (or even Bruce Straley) to keep him in check, it wasn’t a question of if he would burn out, but rather when. He himself just didn’t possess the charisma or auteur hutzpah required to sell a mass audience on his out-there ideas (and if we’re being honest with ourselves, said out-there ideas were only so in comparison to his own standards; most avant-garde artists would’ve considered them slightly below their own baseline).

Rian Johnson, on the other hand, actually demonstrated a lot of potential with his early works and could easily have become one of the greatest auteurs of his generation. His problem isn’t that he was forced to run before learning how to crawl like Mr. Druckmann. Instead, his problem is that that he let the success go to his head, and soon became the darling and beneficiary of an increasingly apathetic critical circle that left itself extremely susceptible to confirmation bias. This bad combination of factors led to him becoming a poster child for the American scene’s myriad shortcomings along with their worst, most self-absorbed excesses.

However, when I look back on Looper, I don’t see the deeply insecure social media troll he would later become. Instead, I see a fledgling indie talent who could have easily used the promising-but-flawed Looper as a springboard to bigger and better things – much like Wes Anderson with Rushmore. Under better circumstances, Rian Johnson would have gone on to become an auteur genius in the same league as Quentin Tarantino or Steven Soderbergh. But, alas, it wasn’t to be. Instead, we ended up in the timeline where Rian Johnson would take all of the flaws present in Looper and dial all of them up to eleven for The Last Jedi (before dialing them back down to eight for Knives Out). As such, I would say his parallel in the video game industry isn’t Neil Druckmann as much as it is Phil Fish. Both are artists who showed a lot of promise early on only to completely blow it when their inflated egos and complacency granted to them by the enabling critics ultimately proved to be their undoing (which would make Oasis their musical equivalent).

Rian Johnson may be a favorite among cinephiles, but he is, in practice, his generation’s Paul Schrader in how he is hailed as a genius despite having a very spotty track record – one I wouldn’t expect from someone of his stature (though funnily enough, Rian Johnson has the exact opposite problem as Paul Schrader in that he’s a legitimately good director, but a journeyman-level writer). Until he learns from his mistakes and gets good, Mr. Johnson will never be anything other than one of the absolute biggest wastes of potential in the history of filmmaking.

A year ago, I said that Knives Out was the best of Rian Johnson’s films, but now I think that distinction should go back to Looper. Like the films that came after it, it doesn’t make any sense whatsoever when you take a second or two to think about it, but I invariably have more respect for the failed storyteller than I do the failed preacher, hence why, unlike The Last Jedi or Knives Out, I can at least give Looper an honorable mention (not that Looper is a failure, but you get my point). Indeed, the weird aspects of Looper come across more as the result of its high-concept nature rather than laziness and that “Everything I do is genius” attitude Mr. Johnson would later adopt. It may not have gotten a straight recommendation from me, but I will say it is by far the most timeless of his 2010s artistic canon (or most 2010s science-fiction, really), so if you’re looking for a science-fiction piece that doesn’t make you think too hard and isn’t a disguised soapbox used by its author to scream at their audience with a megaphone about how much technology/intellectuals/humanity/anyone who isn’t them suck, it may be worth your while.

Featured articles:

Redout – Review – Apparently, a redout is what happens when a body experiences a sufficient enough negative g-force to cause blood to flow from the lower parts of the body to the head. It’s also the name of a futuristic racing game that Nepiki reviewed this month.

Guacamelee 2 – It’s a little ironic how the 2010s was arguably the best decade for Metroidvanias, yet both Metroid and Castlevania were out to lunch during that time. Matt of Nintendobound talks about Guacamelee 2, which is considered one of the indie hallmarks of the decade.

5 Films Reflecting the Tension Between Artistic Types and the ‘Bourgeoisie’ – Artists can be a weird bunch, can’t they? It’s like when they achieve success, they conclude the masses’ tastes must be inferior. That disconnect has resulted in some interesting films, though, and on Vigour of Film Lines, five narratives using it as a focal point are discussed.

A Love Letter To My Favourite Steampunk Game: A Love Letter to Final Fantasy VI – My knowledge of Final Fantasy only extends to the first six installments, but reading Pinkie’s take on the sixth installment was definitely enjoyable.

Literary Sins: The Firestarter to Stephen King’s Flame – That Stephen King is quite the prolific guy, isn’t he? Amanda Hurych takes a look at Firestarter, which isn’t one of his more well-known stories, but seems to offer the occasional interesting story beat.

Live-action film retrospective (2020) – I’m not the only one detailing the films I’ve seen – AK of Everything Is Bad for You has given his two cents on three films he has seen: Parasite, The Death of Stalin, and Ex Machina. Between one of the best films of the 2010s, one I have yet to see, and one of the biggest disappointments of the 2010s respectively, it appears to have been quite the rollercoaster ride.

My Top 5 Games of 2020 – Xtensive Game Reviews makes an end-of-year list regarding the best games of 2020 (Spoiler: once again, the indie scene carried most of the weight).

Project G: Godzilla vs. Megalon (1973) – In the next installment of Aether’s Project G, he revisits Godzilla vs. Megalon, which is generally considered one of the goofier films in the series (which is saying something).

Let’s Chat: One Week With the Xbox Series S – The Xbox Series S, which is a totally intuitive name that doesn’t sound the least bit confusing, was recently released alongside the Xbox Series X. A back-and-forth occurs on WC Robinson’s site about how the new console fares in comparison to prior ones.

WW1984: I’m Torn on This One – After much anticipation, Wonder Woman 1984 was finally released this month, and the crowd goes… apathetic. Apparently, it was considered fairly middle-of-the-road, which is a sentiment echoed by Book Beach Bunny. Shame, really – it seemed the DCEU was improving after Shazam!

Marvel’s Spider-Man: Miles Morales (2020) Video Game ReviewMarvel’s Spider-Man is one of the best PlayStation exclusives out there (the only one I’ve given an 8/10 or higher to, in fact), so seeing Lashaan Balasingam’s take on its sequel really has me excited to try it out.

Links to my articles:

Film reviews:

29 thoughts on “December 2020 in Summary: Hindsight Is 2020

  1. Thanks again for the link! There are some great movies in your list this month. I remember seeing All The President’s Men as a student in the 90s — weird to think that we’re a lot closer to that period now than we were then, and probably even further in some ways considering the events of the last four years. I remember The Twilight Samurai being depressing, but also interesting in how it presented the samurai.

    Haven’t seen Ben-Hur recently but from my memory it held up very well. I like a lot of those old epics from the 50s and 60s anyway. As for Pure Flix though, agh. I have no problem with some religious themes in movies or any art, but the bits I’ve seen and other things I’ve heard about them suggest they make the most straightforwardly dumb/preachy films possible. I guess their main goal is preaching to the choir, but if not, I think they’re doing a terrible job at getting anyone else’s attention (at least positive attention.)

    I can also see the parallel between Rian Johnson and Phil Fish. I wonder how self-aware these guys were or are about how their public fits make them look to most of the audience.

    Liked by 1 person

    • It’s what happens when the press values profits over integrity. I heard that for the longest time, news stations actually operated at a loss, which is probably why they eventually became more sensationalized – to rake in the profits. It was pretty timely, though that’s the thing about trends; even the worst ones don’t last forever. Regardless, if the press wants to return to their glory days, they need that mentality back and maybe purge their ranks of psychopaths while they’re at it considering that the profession apparently has a disproportionate amount of them.

      I wouldn’t say The Twilight Samurai was depressing, but it was definitely melancholic. It certainly captured the end of an era.

      Ben-Hur has held up amazingly well with a degree of applicability that Pure Flix, as they are now, is incapable of reaching. They’re probably, from an objective standpoint, the worst film studio out there. I know I’m tough on A24, but if I were reviewing Pure Flix’s catalogue, I would be handing out 1/10s like they were going out of style. Turns out pandering to a vocal minority isn’t the best business strategy. Who knew?

      My guess is whatever self-awareness they had died as soon as their celebrity images were born. Alternatively, they do have self-awareness, but in the Naughty Dog “yeah, we know we have problems, but we’re not going to fix them” sense. Phil Fish fared worse because that kind of annoying, egotistical posturing doesn’t work so well in games, so when he did it, he just burned himself out. Then again, it doesn’t help that, Phil Fish was never really all that mentally stable – even before he became famous, he was rather awkward. Rian Johnson definitely comes across as less crazy, but I can see him burning himself if one of the films he makes isn’t well-received by critics.

      Liked by 1 person

      • I have heard some horror stories about certain people in the national news networks, yeah. I’d guess the large egos that such positions attract, or maybe that they help create, add to that problem.

        I should watch that movie again; it’s been a while. The period it covers is a really interesting one as well.

        Pure Flix certainly seems like the worst studio, at least out of the ones I know. Seeing God’s Not Dead alone was more than enough of them for a lifetime. Again, no problem with religious themes at all, but the way they handle them is just too ridiculous. Considering that vocal minority they pander to, though, I’m not surprised by it.

        Rian Johnson’s Twitter freakout over the poor Last Jedi reviews sure looked Phil Fish-esque in that way, yeah. But I guess it hasn’t been enough yet. At least Fish maybe did have a bit of an excuse there being clearly unbalanced already. Of course, it’s still good that he and Jonathan Blow and these kinds of prima donna developers have become irrelevant. Undertale always seems to come up in this discussion, and that makes a lot of sense, because even Toby Fox alone set an example coming off as pretty humble and grounded that I think other devs are expected to live up to, at least in the indie game realm.

        Liked by 1 person

        • I know there have been times in which we’ve criticized artists for not listening to their audience, but Pure Flix takes that problem to its opposite extreme. It’s pretty clear that the directors they employ don’t have a single creative bone in their body; they’re just at the beck and call of that vocal minority (who are similarly creatively bankrupt), which means their odds of them creating anything halfway salvageable is remote at best.

          It may be a little early to call even now, but I want to say that Undertale was a watershed moment for the indie scene because it completely shattered the “indie ego” that defines personalities such as Phil Fish and Jonathan Blow. Granted, I want to say that the mentality was already on its way out as a direct result of Phil Fish’s meltdown, so future artists likely took it as a warning sign as to what their fate would be if they followed his (or Mr. Blow’s) example. It was like when Nirvana’s Nevermind was released and effectively put an end to the overproduced corporate rock of the 1980s.

          One can be egotistical and attract followers, but Mr. Fish and Mr. Blow aren’t nearly charismatic enough for such an approach to work (neither is Rian Johnson, for that matter). Indeed, it is impossible to overstate how unappealing the indie scene was in the early 2010s as a result of that “indie ego”, so to see it die and get replaced with a much humbler, more approachable mentality was just what the doctor ordered. You’ll probably get some antiquated artsy types lamenting that there aren’t any visionaries in the indie scene as a result, but they’re there; they just value hard work and determination over running their mouths off.

          Liked by 1 person

  2. Pingback: Listening/reading log #15 (December 2020) | Everything is bad for you

  3. This was the year where I discovered the Safdie brothers myself and it was fascinating to see how they explored their characters with such unusual stories about unsuccessful protagonists. I can see why you saw Uncut Gem as a weaker movie than Good Times though. I’m just glad that Good Times gave us a good look at Patterson’s talents and what he could bring to the table in the upcoming The Batman movie. 😀

    Thanks for the shoutout again! I found Miles Morales much more condensed and polished in general, which is the right direction for a launch title, and an excellent teaser for the upcoming Marvel’s Spider-Man 2 too. I do hope you have a blast with it when you get around to it! 😀

    Liked by 1 person

    • This is just speculation, but I think what happened is that, unlike a lot of other indie talent, the Safdie brothers’ debut was not distributed by A24. That might mean that, for Good Time, they still brought their unique energy to their production whereas Uncut Gems falls more in line with a stereotypical A24 feature and was worse off for it (although, to be fair, they debuted before the company was founded). Either way, I definitely stand by what I said; Good Time is the superior film. It’s a shame it barely got any recognition (in fact, I was the only one in the theater watching it when I saw it for the first time) because it’s definitely one of the few unequivocally good A24 films and it really showed that there was more to Patterson’s talents than anyone thought. Then again, I think even at the height of Twilight’s popularity, the detractors still held him in high regard. It’ll be interesting to see his take on Batman, that’s for sure.

      You’re welcome! I thought, to its detriment, that the DLC campaign for the original Spider-Man was a little underdeveloped compared to the main game, which I think managed to have a lot of content without coming across as overstuffed. Nonetheless, it will be interesting to play a game that provides a lot of meaningful content in a comparatively short amount of time; that’s why I consider The Lost Legacy the second-best Uncharted game.


  4. I love your takes on all of these movies, while also admittedly watching less than half of them. I’m sharing this post on my FB gaming page because there are bound to be a couple movie buffs among my very small following. Keep up the good work!

    Liked by 1 person

    • That would definitely be nice, wouldn’t it? Because the pandemic kiboshed my theatergoing plans, it appears as though I’ll have to see all the Oscar-nominated films at home. I at least intend to keep my winning streak when it comes to seeing the “Best Picture” winners before they win alive (which I’ve done every year starting with the 2011 ceremony), though I’ll probably have to marathon them unlike most times where I just have to catch up on a few.

      You’re welcome! Wonder Woman 1984 seems to be shaping up to be one of those legendary contemporary disasters that make for easy meme fodder, so I can see why it lost you.


  5. Happy New Year!
    Some good films here, The Silence of the Lambs, Ben-Hur (my goodness, I’ve seen that one when I was about 7!) I’d argue about Traffic, didn’t like this too much, though Sicario was really good until the last half hour maybe ;). I must say I don’t like Looper – exactly due to its traits that you recognize as Rian Johnson’s trademark touches (and for the record, I wasn’t blown away by Knives Out either) but I agree that’s definitely the best of his movies that I’d seen. It at least had ambition, and a bit more power in the storytelling department.

    Here’s to many more great movies in 2021!

    Liked by 1 person

    • Thank you! You as well.

      I give the edge to Traffic because there really weren’t any pointless characters unlike Sicario where Emily Blunt’s character could’ve been written out entirely and the plot wouldn’t have changed at all. Had it followed that guy seeking revenge, it would’ve been much tighter. Still, as far as disappointments go, it’s hardly the worst one I’ve experienced.

      I do get why Rian Johnson has a following because he does have a knack for coming up with some pretty interesting ideas, and successful writer-directors tend to be pretty great. Unfortunately, the guy can’t think through his implications to save his life, and his success tends to be in spite of himself, which is precisely why he hasn’t improved in the years since Looper’s debut. A shame, really; he could’ve been so much more.

      More good films, games, and other works in 2021 would be nice!

      Liked by 1 person

      • I think Emily Blunt’s character was supposed to be us, viewers, and in that aspect was secondary to the plot resolution. Not that it entirely succeeded, but it did eased the entry into the world of grey or rather various shades of black 😉

        Yeah, totally agree. Implications are the weakest point, and actually it’s very noticeable in his movies – they are quite enjoyable right up till the resolution which is invariably dissapointing 😉

        Yes to all of these, please!!! 😀

        Liked by 1 person

        • That’s fair enough. I wonder if it’s worth watching again with the foreknowledge of how the story will go because I found there are some films that are actually slightly worse when watching them blind. I think I would still conclude that the ending is pretty weak, though, and that is a major deal-breaker on my grading scale either way.

          Rian Johnson’s weaknesses are pretty consistent across his projects, but I find he tends to cheat himself out of a passing grade long before the ending happens. This even extends to The Last Jedi in that while it did indeed have a terrible ending, it was arguably the least of its problems. He’s not like Neil Druckmann and the rest of Naughty Dog who can never seem to stick the landing gracefully at all; even their best film-game-era effort, Uncharted 2, suffers greatly in the third act (albeit not from a story standpoint). It’s why I don’t think it’s a coincidence that Rian Johnson’s least controversial work, the Breaking Bad episodes he directed, happened to see him at his most supervised (i.e. he didn’t create the show himself and he didn’t write any of the episodes he directed); he seems to function better as a grunt as opposed to a general.


  6. Rian Johnson cast as an insecure social media troll. That makes a lot of sense to me. Which is a shame, because Looper, for all it’s flaws, did at least have the boldness to put itself out there. It confidently was not a conventional work. And that really helped it be as good as it was. The Last Jedi was far less than that, though. All the flaws, but not the confidence, especially in how it was handled post release. And I haven’t been interested in any of his further works, so I can’t speak to that, but it’s still a shame. As you said, he really could have made something more of himself.

    Liked by 1 person

    • I’m not sure how I came up with that description, but I’m glad you liked the way it came out! I definitely think that between the three Rian Johnson films I’ve seen that Looper is by far the most confident (not to mention the most competent). It really stands out from what science-fiction was doing throughout the 2010s and Rian Johnson had a sense of purpose and vision the likes of Charlie Brooker and Neill Blomkamp simply did not possess – one that looked well beyond what was right under their noses. And then suddenly, Mr. Johnson fell in line with that zeitgeist by making the insta-dated The Last Jedi. He could’ve really applied himself and become so much more, but by dancing to the critics’ tune, all of his potential seeped away.

      And I think the best way to sum things up is to put it like this: Knives Out manages to be just as convoluted as Looper without any time travel whatsoever. Think about that for a second.


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