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Game of Thrones: Season Seven Premiere – “Dragonstone”

21 Friday Jul 2017

Posted by Ben Whittaker in Game of Thrones, Television Reviews

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A Song of Ice and Fire, Aidan Gillen, Arya Stark, Beric Dondarrion, Bran Stark, Cersei Lannister, Charles Dance, D. B. Weiss, Daenerys Targaryen, David Benioff, David Bradley, Dean-Charles Chapman, Dragonbinder, Dragonstone, Eastwatch, Ed Sheeran, Ellaria Sand, Ellie Kendrick, Emilia Clarke, Euron Greyjoy, Game of Thrones, Game of Thrones Season Seven, Gendry, GoT, House Frey, House Karstark, House Umber, Iain Glen, Ian Whyte, Indira Varma, Isaac Hempstead-Wright, Iwan Rheon, Jaime Lannister, Jim Broadbent, Joe Dempsie, John Bradley, Jon Snow, Jorah Mormont, Kit Harington, Lena Headey, Littlefinger, Maisie Williams, Meera Reed, Myrcella Baratheon, Nell Tiger Free, Nikolaj Coster-Waldau, Old Town, Paul Kaye, Peter Dinklage, Pilou Asbaek, Ramsay Bolton, Richard Dormer, Rory McCann, Samwell Tarly, Sandor Clegane, Sansa Stark, Sophie Turner, Television, Television Review, The Battle of the Bastards, The Citadel, The Faceless Men, The Gravedigger Theory, The Hound, The Red Wedding, The Wall, The War for the Dawn, The White Walkers, The Wildlings, Thoros of Myr, Tommen Baratheon, TV, TV Review, Tyrion Lannister, Tywin Lannister, Walder Frey, Westeros, Winterfell, Wun Wun

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via vox.com

“Game of Thrones” has entered its penultimate season and time is running out for showrunners David Benioff and D. B. Weiss to resolve the remaining story arcs. As such, “Dragonstone” was an episode which focused primarily on putting the pieces in place for the rest of the season and eliminating distractions.

This was most clear in the opening scene, in which Arya (Maisie Williams) poisoned the male members of House Frey as revenge for the Red Wedding. Benioff and Weiss wasted no time in eliminating these characters, starting the season with a cold open and telling the audience that only the main players in the story matter from this point onwards. This is an understandable approach and from a plot perspective it was fitting that Arya was the one to kill the Freys, given that she narrowly missed out on reuniting with her family because of them in season three.

However, whilst the scene made sense in the context of the narrative I didn’t appreciate its execution. I accept that Arya is able to swap faces with people that she has killed, (even though we were never explicitly told how this is possible), but it doesn’t make sense that by swapping faces with another person Arya also takes their voice, their physical dimensions (weight, height, etc.), and their other body parts.

When Arya removed Walder Frey’s (David Bradley) face and revealed her own she did so using his hand – this was clearly shown to the audience and for the life of me I can’t understand why. If you’re going to do something like this then at least make the rules consistent so that I understand what’s happening; don’t expect me to buy in simply because I know I’m watching a television show. The voice and height issues are annoying but I can ignore them because there probably isn’t a better way to film these kinds of scenes, but as a director you don’t have to show me another actor’s hands when they’re supposed to belong to Maisie Williams! Just don’t show the hands!

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via wetpaint.com

I know this seems like a small issue but it took me straight out of the experience and immediately destroyed the excitement I was feeling about the show’s return. I get that most viewers will enjoy the story payoff and that’s completely fine, but personally I can’t separate the content of a television show from the fact that somebody made a decision to include that content when filming and editing, and these considerations are always on my mind while I’m watching.

I will say that the wider issue of how the Faceless Men take people’s faces is one that the series created for itself long before this episode, so at this point they’re stuck, but I think this scene could’ve been done better and it shouldn’t have opened season seven because all it did was remind me about how badly Arya’s arc was handled in season six.

Following this scene we saw the White Walkers for the first time this year, bringing winter quite literally with them. This was a visually brilliant scene and it helped to bring home the fact that they are the real threat as we come towards the series’ end. The only issue I had here was that it wasn’t clear if the giant that the camera focused on was supposed to be Wun Wun (Ian Whyte).

The giant had an eye missing which would make sense because Ramsay (Iwan Rheon) took Wun Wun’s eye out with an arrow in season six, and the fact that the scene was one of Bran’s (Isaac Hempstead-Wright) visions means that it could have taken place in a future where the Walkers have gone past The Wall and taken Winterfell (presuming that for some reason Wun Wun’s body hasn’t been burned). However, if the giant was supposed to be Wun Wun then a stupid error was made, because the eye that the giant was missing was the opposite one to the one that Ramsay shot out with his arrow. It’s a small issue because as I said there’s no confirmation that the giant is Wun Wun, but it did look an awful lot like him and it seems coincidental that the giant that was shown was missing one of its eyes.

Bran then woke from his vision to find that Meera (Ellie Kendrick) had dragged him all the way to The Wall. There’s not a lot to say about this scene other than the fact that Hempstead-Wright’s acting is still woefully bad and the character remains as annoying as ever.

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via amazonaws.com

We then cut from The Wall to Winterfell where Jon Snow (Kit Harington) and Sansa (Sophie Turner) disagreed on what should be done with the ancestral homes of the houses that sided with Ramsay in the Battle of the Bastards. Jon didn’t want to punish the children for the crimes of their fathers so he had the new lords of houses Umber and Karstark make oaths of loyalty to him rather than giving the castles to houses that were already loyal to him. I enjoyed this scene because both sides of the argument made sense and they reflected the experiences of the characters making them. Sansa has been influenced by pragmatic thinkers like Cersei (Lena Headey) and Tywin (Charles Dance) so it makes sense that she should have a ruthless edge about her when it comes to politics, whereas Jon has been trained in battle and knows that he must try to keep as many allies as possible in order to win the war to come.

It was a decent scene and I like that Jon and Sansa are challenging one another because they both have a lot to learn, I just think that the tension the showrunners want us to feel isn’t really there as of yet. If we’re supposed to believe that Sansa would side with Littlefinger (Aidan Gillen) over Jon simply because Jon doesn’t respect her opinion then I’m sorry but that’s not going to happen. Sansa’s arc could definitely lead her to villainy by the time the series ends but I think it’s much more likely that she would side with someone she loves rather than the man who killed her aunt and abandoned her with a rapist. I know this is “Game of Thrones” but Sansa siding with Littlefinger doesn’t seem like a twist that would feel earned and therefore it shouldn’t happen.

I also think there’s a bigger issue that this scene presents which is that Littlefinger as a character is completely lost right now. In the past he’s been one of the best schemers on the show and he effectively started the conflict that set the series into motion, so it’s a shame to see him pining over Sansa. There’s still plenty of time for him to come into his own again, but with the War for the Dawn on its way he feels like a character that has run his course on the show at this point.

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via vox.com

In the South, Cersei explained that without the Freys the Lannisters are devoid of allies and in fact have enemies in every direction. There was a lot of exposition in this scene and it was mainly an exercise in reminding the audience about supporting characters and their intentions, but I did appreciate it for what it was. Jaime (Nikolaj Coster-Waldau) and Cersei talked for the first time since Tommen’s (Dean-Charles Chapman) suicide and it was good to see them address the fact that all of their children are now dead.

Then came one of my favourite scenes of the episode in which Euron Greyjoy (Pilou Asbæk) made his claim for Cersei’s hand in marriage. This scene worked for many reasons, the main one being that the character seems to have been given a reset. I wasn’t one of the people who disliked the character in season six, but I was aware that many book readers thought that he was handled poorly and should’ve felt more important on the show. This scene went some way to acknowledging this as Euron came across as a much more charismatic and playful antagonist, delivering the best lines of dialogue in the episode.

This scene also served a purpose from a narrative perspective as Euron promised to deliver a gift to Cersei in order to prove his usefulness. This gift could be any number of things, but the main theories flying around on the internet right now are that Euron will bring either Tyrion (Peter Dinklage), Ellaria Sand (Indira Varma), Gendry (Joe Dempsie), or Dragonbinder to Cersei.

When I watched this scene I thought it was supposed to be obvious that Euron was talking about Tyrion because the episode entitled “The Gift” in season six referred specifically to everyone’s favourite Lannister. This would make sense because in the teaser for episode two there are fight scenes which seem to be taking place at sea, presumably between the Greyjoy fleet and Daenerys’ (Emilia Clarke) fleet. Still, with that said Ellaria also appears in the teaser with Daenerys and was responsible for the death of Myrcella (Nell Tiger Free) so she would be an equally pleasant gift for Cersei. I think either of these options would be interesting, but personally I hope that the gift isn’t Dragonbinder as I don’t think the show needs to introduce any more objects or characters into the story at this point.

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via bigthink.com

Speaking of introducing unnecessary characters, we then cut to Sam (John Bradley-West) in Old Town. These scenes felt very alien on a show like “Game of Thrones” but I will admit that they were fun in their own way, even if they did go on for far too long (a bit like this review). It’s good to see some world-building on the show even though we don’t really have time for it, and Jim Broadbent is a great addition to an already stellar British cast.

Nevertheless, at this point Sam is more of a plot device than he is a character and having him act as comic relief doesn’t hide that fact. He’s on the show to read books and find out information rather than having other characters discover things naturally, cheapening reveals which should feel important. The fact that he’s sending Jon a raven telling him about Dragonstone is cool because it means that we’re going to see Jon and Dany interact, but it still feels incredibly forced.

When these scenes were finally over the focus was once again on Arya. I’m very conflicted about this scene because I think it might have been my favourite of the episode but I also think that Ed Sheeran’s appearance considerably devalued it. The thing I liked about this scene was that it felt like it was there to develop Arya as a character and to build on the opening scene, allowing us as audience members to question whether or not Arya was right to do what she did to the Freys. Arya was allowed to let her guard down and enjoy herself because the Lannister soldiers welcomed her and were genuinely friendly, which is rare on “Thrones”, but this also played into the fact that many of the people that she killed earlier might have acted in the same way in a similar situation. It reminded us that soldiers fight wars that they didn’t start and that many of them just want to live normal lives, even the ones who kill good people. In this sense I thought it was a clever scene and it was fun to watch because it wasn’t clear what was going to happen.

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via timedotcom.files.wordpress.com

On the other hand, Ed Sheeran’s appearance in the scene made me question whether or not it was written for Arya at all. The fact that the scene started with him singing and proceeded to do a close up on his face made me feel very uneasy, and I think it was a very badly executed cameo. He was an unnecessary distraction in an otherwise awesome scene and I don’t understand why he had to be there. The fan base and the audience are already established so the showrunners didn’t need to go out of their way to tarnish their credibility. If Sheeran wanted to appear that’s fine – he’s a big name and a cameo doesn’t hurt – but he shouldn’t have been centre stage in the way that he was. Again, I want to make it clear that I liked the scene, but Sheeran definitely made it worse.

After the break we saw the team-up of The Hound (Rory McCann), Beric Dondarrion (Richard Dormer), and Thoros of Myr (Paul Kaye) make their way north. This was one of the better sequences of the episode and it was smart of the writers to show how far The Hound has come by having him revisit an event from his past. A lot of character development happened in this scene as Sandor overcame his fear of fire, looking into the flames and having a vision of a battle involving the White Walkers which was seemingly taking place at Eastwatch (where the Wildlings are headed). He also showed remorse for leaving the man and his daughter to die in season four and by burying them paid homage to the Gravedigger character in the books. This was a well written scene and although the character went from A to B pretty quickly I think this is something we’ll have to accept from the show going forward.

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via bustle.com

Finally, the episode culminated by turning its attention to Daenerys, first by having Jorah (Iain Glen) ask about her at the Citadel and then by showing her arrival on the shores of Dragonstone. This final sequence was excellent, with the decision to omit any dialogue until the final seconds enhancing it as a whole and giving the moment a distinctly epic fantasy feel. It’s a big moment in “Game of Thrones” because we’ve been waiting for Daenerys to arrive in Westeros since the very first episode, and it was one which was worth the wait in my opinion. I think this is one of Emilia Clarke’s best performances in a “Thrones” episode because she takes her time to let the character breathe; to take in the scenery and convey the significance of the scene to the audience. I can take or leave the dialogue at the end – ‘shall we begin’ is a bit on the nose for me – but I loved the sequence and it concluded the episode on a high note which is always important for a weekly television show.

So, overall I enjoyed “Dragonstone” for what it was. Season premieres are always difficult to get right, so whilst I had issues with its execution I appreciate that a lot of work was done to advance the plot and entice the audience back into the world of Westeros. It was a disjointed episode because we had a lot to get through and key characters are still geographically separated for now, but I expect that as the season progresses people will either die or come together to make for an easier viewing experience.

7/10

Game of Thrones: Season Six Preview – Part Two

24 Sunday Apr 2016

Posted by Ben Whittaker in Game of Thrones, Television Reviews

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Aidan Gillen, Alfie Allen, Alliser Thorne, Arya Stark, Balon Greyjoy, Braavos, Bran Stark, Breaking Bad, Brienne of Tarth, Carice van Houten, Cersei Lannister, Cleganebowl, Daario Naharis, Daenerys Targaryen, Dean-Charles Chapman, Dorne, Dothraki, Dragons, Drogon, Ellaria Sand, Emilia Clarke, Euron Greyjoy, Finn Jones, Game of Thrones, Game of Thrones Season Five, Game of Thrones Season Six, George RR Martin, Gregor Clegane, Gwendoline Christie, Hafthor Julius Bjornsson, Hizdahr, Ian McShane, Indira Varma, Jaime Lannister, Jaqen H'ghar, Joel Fry, John Bradley, Jon Snow, Jonathan Pryce, Jorah Mormont, Khal Drogo, King's Landing, Kingsmoot, Kit Harington, Laura Pradelska, Lena Headey, Littlefinger, Loras Tyrell, Maisie Williams, Margaery Tyrell, Mark Addy, Meereen, Melisandre, Natalie Dormer, Nikolaj Coster-Waldau, Patrick Malahide, Peter Dinklage, Pilou Asbaek, Qarth, Quaithe, Ramsay Bolton, Richard Madden, Robb Stark, Robert Baratheon, Robert Strong, Roose Bolton, Rory McCann, Sandor Clegane, Sansa Stark, Sophie Turner, Spain, Stannis Baratheon, Stephen Dillane, Television, Television Review, The Faith Militant, The Gravedigger Theory, The Greyjoys, The High Sparrow, The Hound, The Mountain, The Red Woman, The Sand Snakes, The Sons of the Harpy, The Unsullied, Theon Greyjoy, TV, TV Review, Tyrion Lannister

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This preview will contain spoilers for everything that has happened on the series so far, as well as some book plot points that haven’t appeared on the show and two well-documented fan theories.

The Greyjoys

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The Greyjoys haven’t really been done justice on the show so far, with Theon’s (Alfie Allen) resentment of his father and jealously of his sister being our main connection to their storyline. This year it seems like this might change, as Euron (played by Pilou Asbæk), the younger brother of Theon’s father Balon (Patrick Malahide), has been introduced. (SPOILER ALERT) In the books Balon dies in a fall, but there’s speculation that in fact his death was an assassination at the hands of Euron, which is all but confirmed by the season six trailer. This, as well as the kingsmoot which will follow, could make the Greyjoys a much more important family on the show than they have been in previous seasons.

King’s Landing

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The first thing that comes into everyone’s minds when they think of King’s Landing is the ongoing battle between Cersei (Lena Headey) and The Faith Militant’s conniving leader The High Sparrow (Jonathan Pryce). Last year’s shaming ceremony was clearly a big deal for both characters, and it will likely start a war between them in upcoming episodes – still, that war will probably be fought mainly by Robert Strong, aka Zombie Mountain (Hafthór Júlíus Björnsson), and the Sparrow’s many followers.

What many people forget when they think about what will be happening in King’s Landing this year is that at the end of last season Jaime (Nikolaj Coster-Waldau) witnessed his daughter/niece die due to a kiss of death from Ellaria Sand (Indira Varma), which will probably be a more immediate issue when this season opens. I don’t think that Cersei is going to be very happy when her lover/brother returns home from Dorne with her daughter’s corpse accompanying him, so revenge will definitely be on the cards.

There’s also the small issue of the Tyrells, with Margaery (Natalie Dormer) and Loras (Finn Jones) both sitting in a cell. From the trailers it looks like Jaime is going to try to help the Tyrell army in forcing their release, but there’s still going to be a lot of resentment between Margaery and Cersei when the pair are both free. (It seems pretty obvious that Margaery is going to be freed at some point this year because Natalie Dormer has talked about filming in Spain, and filming in Spain wouldn’t be very practical if she’s just going to be sitting in a dark room for the majority of the season).

Cersei just isn’t going to have a great time of it this year unless she has a hell of a lot of luck, because whilst she has a man-mountain (pun intended) as a protector, she also has enemies everywhere and an upcoming trial. The main fan theory relating to this trial is usually called the Cleganebowl, and relates to a possible trial by combat between The Mountain, and his possibly dead brother, The Hound (Rory McCann). The idea here is that Cersei would want to avoid a real trial because she knows that she can’t sway The High Sparrow with riches or cripple him with fear, and would therefore request a trial by combat believing that The Mountain was unstoppable. The faith would then need a champion, with The Hound being a perfect choice if he is still alive because 1) he’s a great fighter, and 2) he’ll want to kill his malevolent older brother.

Of course, in the season four finale it was suggested that Sandor Clegane would succumb to his injuries at the hands of Brienne (Gwendoline Christie), but if fans of the series are to be believed then our favourite Clegane brother is very much alive. The theory that I am referring to here is known as the gravedigger theory, and has been given extra weight by the fact that actor Ian McShane (recently cast on the show) has reportedly said that he will resurrect a well-known character this year. The obvious choice would be Jon Snow (Kit Harington), but it’s pretty obvious that he isn’t the character that McShane is talking about, otherwise we’d be talking about a highly publicised law suit.

Tyrion in Meereen

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In Meereen things have been getting pretty hectic, so I’m hoping that this year they settle down with Tyrion (Peter Dinklage) in charge. I know that the Sons of the Harpy will still be in full swing, trying to oust control back for themselves, but that doesn’t mean that things can’t be a little more political than they were last season.

We don’t know a whole lot about what Tyrion is going to be doing this year, other than trying to rule in Daenerys’ stead (Emilia Clarke), but we do know that he’s going to come face to face with two very angry caged dragons. The trailer also appears to show that there will be a new Red Woman introduced to the story in Meereen, which could be really cool. For me, this is probably the most interesting aspect of the story this season, because it’s something new and I have literally no idea what kind of character she’s going to be. Will she be working with or against Tyrion? Is she going to be tied to other events on the show from the past? I just don’t know, and I can’t wait to find out.

Daenerys vs. The Dothraki

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Finally, we have Daenerys, stumbling her way towards the Iron Throne by flying thousands of miles away in the wrong direction. The scene in the fighting pits last year was one of the most exciting and important yet on “Game of Thrones”, as it proved that Daenerys has a hold of her most powerful dragon and that that dragon isn’t yet large enough to conquer a kingdom.

However, it also left the main contender to the Iron Throne stranded, and at the mercy of a Dothraki horde. Still, this isn’t necessarily a bad thing, because in the books Quaithe (played briefly on the show by Laura Pradelska when Daenerys was in Qarth) cryptically tells Daenerys that ‘to go north… [she] must go south, to reach the west… [she] must go east. To go forward… [she] must go back and to touch the light… [she] must pass beneath the shadow’. This could mean that Daenerys’ backpedalling will be her salvation, and bring her one step closer to the Iron Throne, because she really is right back where she started.

It’s unclear right now exactly how being with the Dothraki again will help Daenerys, but she could make a similar sort of deal to the one that her brother made back in season one, offering herself in marriage to the new Khal in order to gain an army with which to cross the Narrow Sea. This would still be as dangerous to the rest of the Seven Kingdoms as it was when Robert Baratheon (Mark Addy) was in charge; especially given that Daenerys now also has three dragons and an army of Unsullied by her side.

It would make a lot of sense if Daenerys did propose marriage to the new Khal, because last year she proved that this is something that she is willing to do to improve her chances at taking the Iron Throne, as she married Hizdahr (Joel Fry) despite the fact that she detested him. This would also explain why Hizdahr was killed off so unceremoniously in episode nine of season five.

Nevertheless, it does appear that at the start of the season the Dothraki will mistreat Daenerys – although their actions on the trailer seem tame given their nature – which will probably enrage Drogon, who we know will be flying around the area. What this will mean is again unclear, but I wouldn’t be surprised if we saw a Dothraki BBQ at some point in season six. If this does happen then it wouldn’t necessarily mean that the Dothraki would turn against Daenerys and refuse to back her claim for the Iron Throne, because we know from experience that the Dothraki respect power above all else, and having your dragon-baby burn your enemies alive is a pretty clear display of strength.

My Thoughts on Season Six and The Possibility of Seasons Seven and Eight Being Shortened to Eight Episodes Each

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via buzzfeed.com

With talk of characters and their journeys this season out of the way, I’d like to address a couple of things that perhaps the mainstream “Game of Thrones” audience won’t be aware of right now. The first is that there has been a suggestion that the final two seasons of the show – seasons seven and eight – will be cut down to eight episodes each, sort of in the vein of “Breaking Bad” and its final season. This is a big decision, because it would mean that we as an audience got less “Game of Thrones” than we were expecting, and that storylines would have to be streamlined to allow the main narrative to progress naturally (which I would probably find disappointing from a personal perspective).

However, if this is a creative decision which best serves the story then I’m all for it! The only thing that really matters to me personally is that every character gets the right amount of screen time, and that the series has a significant pay-off at the end, which could still happen in 16 episodes + the 10 that we’ll get this season. Nonetheless, there are a lot of story arcs to wrap up on the show, and I have to admit that I’m a little worried that 26 episodes isn’t enough time to give everyone’s story a respectable conclusion – the last thing that I want is for the rest of the characters to face the same lacklustre end as Stannis (Stephen Dillane) did in season five.

I have to say that I still think that putting the finale on the big screen would be the best way to end the series, and would make everyone involved a tonne of money, but the rational side of me doesn’t believe that this will happen because HBO gets a lot of its money from a subscription model in the US.

As far as my thoughts on this upcoming season are concerned, I think that from a story perspective it has every chance of being the best yet. There are very few plot points that fans can really feel they have a grasp on, due to the fact that the show has caught up with the books, so things should feel even more tense than they already did on a show where (almost) anyone can die.

Nevertheless, there’s still a chance that this season could start a decline if the writers don’t strike the right balance with all the characters and their respective storylines – this was something which I felt was happening last season, so it could become a trend. Emilia Clarke has spoken recently about how she didn’t think that it was possible to fit so much into one season of television as has been slotted into this one, which worries me greatly. I really want things to start meshing together this year rather than become more convoluted, so I hope that when she says that there’s a lot going on she means that there’s lots of excitement within focused narratives, rather than just a lot of content.

In my opinion, “Game of Thrones” is still the best dramatic series on television – it has amazing writers and a committed cast, so I remain confident that my concerns will be quashed by the end of this season.

P.S. I still think that Stannis’ death was really weird last season. I believe that he died, but part of me wonders whether or not we’ll see him again. Melisandre (Carice van Houten) believed that she saw him fighting a great battle when she looked into the fire – what if she saw him fighting for the wrong side? Just a theory, but it’s one that I wanted to have down in writing just in case!

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