As my friend and I argued for the third time this week about whether or not Aiden was the best boyfriend Carrie had (he's so not), I couldn't help but wonder, are we addicted to Sex...and the City? Here are some signs that you might be:
1. You become outraged when someone claims Aiden > Mr. Big:
In what universe?!
2. And when someone tries to convince you that your love life is not "just like Carrie's":
WHAT DO YOU EVEN KNOW? HE'S TOTALLY MY BIG.
3. When your friends suggest a SATC marathon:
4. When your friends suggest literally anything remotely social:
5. When you look outside and know you have to brave the polar vortex:
I'll just stay in bed and watch some Sex and the City.
6. When someone tries to tell you that they're the Carrie of their group:
7. When this no longer seems like an unreasonable fashion goal for a night out (did it ever?):
8. Whenever you hear anyone say "abso-fucking-lutely":
9. When you realize you've been quoting this show for 17 years.
And it's still relevant (and you're not an old maid; you're still thirty-faux).
10. When you hear there might be a third movie, and you're excited and dreading it all at the same time:
You'll talk about it nonstop and your boyfriend will just never get it.
11. When yet another of your friends gets engaged and you fake happiness, but really you're mentally ordering 6 more cosmos:
I'm sure your love is not as strong as mine and this martini's.
12. When your boyfriend asks if you ever just stop watching SATC?
13. When your hobbies include shopping, judging people, brunch, and cocktails:
14. When your idea of exercise perfectly aligns with Ms. Bradshaw's:
"Gym" is the dirtiest word in the English language.
15. When someone you know says they've never seen Sex and the City:
Steal an HBOGO password and get your ish together!
So, are you addicted to Sex and the City?
Yeah, we thought so.
Hate watching a show can come about multiple ways. Perhaps at first the TV show was good then jumped the shark, but you keep watching because you already invested so much time in it. Perhaps you know from the beginning that the show is frustrating but you keep watching like a bad trainwreck. Perhaps you love the show all throughout but then hate it for the way it ended, changing the way you'll view the reruns forever. Either way it maybe strange, but people do hate-watch shows. Are you looking for something new that will give you conflicting feelings? Here are 5 shows you may love to hate-watch!
1. Pretty Little Liars
This show should give medals to each of its fans for their enormous amount of patience. This is an adaption of a book series about four girls who are getting threatening text messages from an anonymous person that goes by "A". They believe this person is involved with their friend, Alison's death. This show has pretty much accused everyone of being A then disproved each theory. We are pretty sure that whenever this show loses their viewership the answer of who A is will not make any sense due to its over complicated storyline and its constant back-pedaling.
This drama is about a plane that crashes on a mysterious island. A lot of the crew survives, but has no way in reaching the outside world. The show starts off great, but if you ever ask any of its fans they will tell you that most of the questions asked never get answered. If you're more into the journey than the destination then check it out on Netflix!
3. The Secret Life of The American Teenager
This show kicks off with a 15-year-old Amy Juergens (Shailene Woodley) getting pregnant with bad boy, Ricky Underwood's (Daren Kagasoff) baby. This starts a whole lot of discussion about sex and pregancy amongst the young students and their parents. This show was definitely supposed to be a response to shows like 16 and Pregnant, but a lot of the dialogue is cringe-inducing and most of the acting and characters are laughable. Some of the fans were also not happy with the ending of the Amy, Ricky, and Ben love triangle. You can binge watch this show on Netflix.
4. American Horror Story: Aslyum
Now everyone in this fan base has a favorite and least favorite season in this franchise. They all have the same frustrating traits however like killing off characters and bringing them back. Asylum however is the most mind boggling, in my opinion due to many of the characters being treated for mental issues. You're never sure what is real and what is someone's hallucination, and were those aliens?? Not all (or any) of your questions will be answered, but as usual Jessica Lange is great.
5. The Carrie Diaries
This adaption had a death sentence before it even really started. In order to make more money off the Sex and The City franchise this show depicts Carrie Bradshaw (AnnaSophia Robb) that's still in high school, yet trying to make it to the big city and figure out dating. It was an interesting experiment, but never had the magic that made its parent series so great. None of the other characters were included except for Samantha Jones, which was played by Lindsey Gort. Her depiction is certainly a highlight however since you can tell she did her homework and was really able to mimic Kim Cattrall's mannerisms. You can watch the two seasons on Netflix.
What is your favorite show to hate-watch? Tweet us your answers using the Twitter handles below!
Actress Kim Cattrall is giving female fans an insight into what to expect during menopause by sharing her experiences online. The Sex and the City star has teamed up with bosses of pharmaceutical firm Pfizer Inc. to launch TuneInToMenopause.com, which aims to provide information, help and support for middle-aged women going through 'the change'.
Cattrall, 58, reveals she was inspired to reveal all about her journey through menopause after having to fake having a hot flash as her iconic character Samantha Jones on the hit TV drama - and later realising her portrayal was nothing like the real thing.
She explains, "One of the episodes of Sex and the City... was Samantha having a hot flash and I, at the time, was not having a hot flash or hot flashes, and so I called my gynaecologist and I asked her to inform me what a hot flash could possibly be like. She did, so I went and we did the scene and I thought, 'Wow, this is great'. I really felt it went over well.
"Then, about two years later, I actually did have a hot flash and I thought, 'Ooh, I wish I could do it again on camera, because it's so much different than you would imagine it could be'."
Michael Jackson's longtime producing partner Quincy Jones has criticised the decision to release a new album of the late star's previously unheard material, slamming it as a purely money-making venture.
Jones, who produced Jackson's huge hit records Off the Wall, Thriller, and Bad, was not involved in the making of the posthumous album Xscape, which topped the U.K. charts on Sunday (18May14) five years after the singer's death. He has now criticised the executors of Jackson's estate for allowing the album to be made, insisting the decision came down to money rather than artistry.
Jones tells Cbc.ca, "Xscape... They're trying to make money and I understand it. But it's about the money. The estate, the lawyers you know - it's about money." When asked whether it bothers him that this material has been released, Jones replies, "Yes, yep," before adding, "But it's not my business any more. It's not our business."
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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If you found out that all this time Adam had been some kind of artificially intelligent supercomputer, you probably wouldn’t be too shocked. But that’s not quite what we mean when we say that the Hannah-Adam story arc in Girls’ third season seems to be telling the same story as Spike Jonze’s fantastic film Her.
If you haven’t seen Jonze’s movie yet, you might want to avoid this recap for fear of spoilers — we’ll tread light on Her’s plot details, but there’s a major element of the film’s conclusion that it’ll be impossible to ignore in this analysis. But just a quick refresher: recent divorcee and anxious shut-in Theodore (Joaquin Phoenix) purchases the latest model of automated operating system (the voice of Scarlett Johansson), who/which advances from digital assistant to conversational comrade to intellectual equal to romantic partner to… well, that’s the rub. The technological makeup of Samantha (Johansson) is so sophisticated that she ascends from her platform as Theodore’s “perfect woman” to an entity well beyond his reach. Quickly, Samantha — once the submissive member of the relationship — outgrows Theodore and moves on to explore new folds of this awe-inspiring universe more befitting to her evolved state of being. It is this very fate that Hannah fears will sweep her and Adam once he nabs a part in the Broadway production of Major Barbara on this week’s episode.
Everyone from Shoshanna to Elijah to Hannah’s bespectacled boss to Patti LuPone confront the idea of Adam landing a role on Broadway with apprehension: “This is the first step in his journey of outgrowing you,” to paraphrase Ms. LuPone, who hits Hannah with this cold hard truth during a conversation about osteoporosis medication that Hannah is repping for Condé Nast. After getting effectively LuPWNED, Hannah allows the dread of Adam’s graduation into the dazzling world of theater to fester within her, growing humbly resentful as Adam invites his charming new actor pal to the gang’s hotel party to regale everyone with folksy stories of things like Idaho.
And although Adam assures Hannah that he’s not going anywhere — that he has no interest in the behind-the-scenes intrigue glamorized by Elijah, or even in “making friends” with his fellow thespians — we already see the changes taking place. Early on in the season, Adam insisted that he didn’t even really want a gig. Now, we see him nervous over auditions, offering to revise his performance for the producers, elated beyond imagination over landing the part. He’s already smitten with the idea of acting. Soon enough, we’ll see Adam fulfilling all of the fears that Hannah was granted by cranky stage legend and non-dog-owner Patti LuPone.
Running parallel to the Hannah/Adam story are two other big character turns this week:Marnie’s breakup with Ray is disappointing. I really wanted to see more of these two! Let’s hope that just because their romantic union is a bust, their story together continues in some form, considering they’re both in such low places — Marnie lowers herself to hugging an old rival and eating pizza in front of a boy (the very thought), and Ray rents Bridget Jones 2 on Netflix, reads Mark Epstein’s Going to Pieces Without Falling Apart, and admits sullenly to wanting a real girlfriend.
In contrast, there’s a good deal of hope in the chilling relapse that overtakes Jessa once her rehab mate Jasper (Richard E. Grant) invades her routine of substance-free boredom, reintroducing her to his brand of excitement. What makes this turn feel so fresh for Jessa is its ready desperation. Although we’ve seen her in the throes of toxicity before, this seems like the closest thing to rock bottom she’s yet to experience, which could be what it takes to rid her of her dark passenger for good. At least maybe the nightmarish Jasper’s presence in her life could wake her up to the severity of her state of being.
Feel free to borrow LuPWNED, by the way.
NBC Universal Media
Spike Jonze's Her is one of he most critically-acclaimed movies out right now. With five Oscar nominations and a Golden Globe win for Best Screenplay, it is absolutely a must-see during this awards season. And parody videos are definitely one way to measure the success of any big moment in pop culture. So, in case you missed them (or just want to see Michael Cera and Jonah Hill together in bed again) here are the best Her parody videos out right now.
Jonah Hill, Saturday Night Live Spoof
Jonah Hill is an Oscar-nominated thespian now, but once he was just a foul-mouthed high school kid in Superbad. This Her parody reminds us of the awkward, adorable bromance between Hill and Michael Cera. Plus, those pants ...
Sex and The City's Samantha Jonze
Because Samantha Jones makes everything better. Everything.
If Her Were A Him
We've got a third-stage artificially intelligent operating system-clinger here.
Even in the world of fake parody trailers, Seth Rogen is hella high.
Joaquin Phoenix And Philip Seymour Hoffman Reunite
"Her" trailer plus Philip Seymour Hoffman from Richard Trammell on Vimeo.
We love Philip Seymour Hoffman, and it's great to see him reunited (sort of) with his The Master co-star, but this one's just scary. Which kinda makes sense, when you think about what any video would be like with a little PSH thrown in.
The Nick Cage Parody You'd Been Waiting For
College Humor is here to remind us that, in case you forgot, Nicolas Cage is a socially acceptable form of insanity.
Warner Bros. Entertainment
Last night's episode, which opened a three-episode arc, began with surveillance footage of a delivery truck pulling up to a car on fire. A person shot at the truck and two people were subsequently knocked out and the assailant then drove off with the truck. Oh, yes, the mystery person was wearing a gas mask.
The show cut to the library, with John Reese (Jim Caviezel) and Harold Finch (Michael Emerson). Apparently the Machine, which is the center of the whole show, has issued 38 numbers. (A brief primer - this machine, which uses all kinds of surveillance footage, issues numbers for people who are in potential danger. It's then up to Reese, Finch and anyone in their network to save these people.) These numbers turn out to be all cops. Hmm.
Detective Lionel Fusco (Kevin Chapman), one of the people Reese and Finch regularly call on, came up to the morning scene of the smoldering car. Reese surprised him by also coming up and presenting a fake badge. It turned out to be a Russian driving the truck; for those who have been following the show, you know that the Russian mob has been intertwined with the mysterious HR, a criminal element of corrupt cops. An element that Fusco used to be part of. Reese and Finch knew that a war is possibly brewing between HR and the Russians, since HR was supposed to give safe passage for the Russians to trade their illicit wares. Reese wondered, "Who lit the fuse?"
This show REALLY does well in going back and forth in time. The footage rewound to Nov. 10 (the show pretty much operates as if it is happening on the very day that it airs). Another Reese/Finch cohort, police officer Joss Carter (Taraji P. Henson), was meeting with Alonzo Quinn - a prominent member of City Hall, the godfather of the late Cal Beecher (a love interest of Carter's) and the head of HR, which Carter now knew from events in last week's episode. She purposely sounded pessimistic when talking with Quinn, saying she was thinking of stepping down from the Beecher investigation. Clarke Peters continued doing a great job of playing Quinn as a sociopath. Quinn left but not before Carter used another technology often featured on the show: She paired her phone with his, so that she could hear whatever calls he makes or receives. She heard him talking with Patrick Simmons, a corrupt cop and pretty much Quinn's right-hand man, to set up a meetup with the Russian Mafia and their big man, Peter Yogorov. They met and of course, Carter was nearby with a directional mike. Yogorov complained that he was more like an errand boy and then said that he was done. Simmons fired a verbal warning shot by saying that they wouldn't provide safe passage for their delivery vehicles anymore, which Carter duly noted. Simmons then told a dirty cop that he wanted him to stake out Carter.
Carter went home and found Reese waiting there. There's always an undercurrent between those two. Reese is very protective, but Carter wasn't having any of it this time. She said that she wanted to be left alone - since the law says he's a criminal and HR knew they work together. Reese seemed to respect that and then as he was leaving, tossed over his shoulder for her to call if she got in over her head. After seeing that the former CIA operative was gone, she took the phone that Finch and Reese contact her on, removed the sim card and smashed it with her gun. Well...that was a statement. Not necessarily a SMART one, but a statement.
Two more flashbacks were woven through the episode dealing with Carter and her ex, Paul, at different junctures in time - eight years ago and five years ago. Eight years ago, Paul was a defiant man who refused to get help for his PTSD during military service. Carter had enough and made him leave. At first he was defiant and even went to her home and sat with their young son. He got angry when she told him he still needed help and even smashed a lamp, causing her to reach for her gun. He left, angry. Then the five-year flashback showed that he HAD gotten help and while he knew it was too late to repair their relationship, he wanted to be there for them.. and he left her his number to call if she needed help. This all played a part in the end .
Flash forward to present day, with Carter and Fusco sitting near a dock. Carter had been shutting Fusco out, but her former partner reached out after she had lost her current partner in a shooting. Fusco was trying to figure out how everything happened, but Carter, who had actually been there, diverted his attention. After Fusco left, she made a phone call...which turned out to be to Carl Elias (Enrico Colantoni), an ally only in the sense of keeping one's enemies closer than one's friends. Elias, who had been in hiding, paid a visit to Yogorov, which was awkward because Elias had killed Yogorov's dad. After convincing Yogorov that he hated HR more than him, he left an incriminating file for Yogorov to pore over.
After Carter got a confirmation phone call from Elias and told him to lay low, a recent cohort, Samantha Shaw (Sarah Shahi), met with her unbeknownst to Reese and Finch (because they would have had a collective aneurysm) and brought a satchel of guns. That led up to the scene with the burning car and delievery truck. It was Carter who did it. Later, Reese and Finch saw the footage and after sussing out that it was a female, thought it was Shaw. Turns out Shaw spilled the beans that it was Carter, leaving both Reese and Finch in a state of consternation
An angry Yogorov called Quinn, accusing him of the theft of the truck. Quinn tried to play cool, but the mobster threatened him. This was interspersed with Carter on a nearby rooftop overlooking Quinn's office.
While Carter was busy, Reese went to her house (he tends to ignore personal boundaries) and found it empty but located a bulletin board with her HR list. Reese called Finch and then got a call from Carter. She asked him to trust her, which he did, reluctantly. Afterwards, Simmons called Quinn and while they were conversing, Carter shot out his window with a sniper gun, making him think it was the Russians, setting the stage for an all-out war, a war that Finch said favors HR, since they have the law on their side.
There were scenes of Russian men being rounded up by HR and then Carter went to a cornered Yogorov and warned him. The only solution? Have her arrest him, a point she punctuated by holding up handcuffs.
This was a half hour's worth. The writers do NOT dilly-dally, which makes a very fast show. It felt like an hour's worth of excitement had been crammed in that shorter span.
The second half-hour began with Yogorov in holding under a fake name. Carter said that he shot at Quinn and that she knows Quinn is head of HR. She also said that Quinn HAS to go down and needs him to sign a statement as such. The carrot that she dangled was moving his brother, who HR has in Rikers as leverage, to a safer facility. Yogorov bit, but not before warning her to be careful which judge she chose to get a warrant on Quinn, since there's a lot of money moving around. Carter assured him that she had done her due diligence.
Carter surprised Fusco outside his place and after some back and forth on the subject of trust, she admitted that she's protecting him and gave him the key to a safe deposit box that has everything on HR. Hey, if that's not trust, I don't know what is. Fusco was so moved at this that he wanted to help and ran upstairs to get equipment, but of course Carter ditched him, since she needs to be the lone wolf.
HR had the mobsters at a shipyard and were all set for some gunplay. Reese and Shaw were at the scene, hiding. But just as the HR cops pulled their guns out, the FBI came screeching in. After a brief conversation, they found drugs in the trunk of a high-ranking HR cop's car. Fusco called Reese to say that Carter ditched him.
Carter called a judge for a warrant, but after he agreed to, he hung up and called Quinn. Oops. Right then I had a vision of the ancient Knight Templar in Indiana Jones and the Last Crusade: "You have chosen...poorly."
Before heading to the judge, Carter called Paul and had a heartfelt conversation with both him and her son, who was staying there. After hanging up, she drove to the judge, who escorted her to his living room, where Simmons, Quinn and several other dirty cops were waiting. With guns. Quinn had to have a little speech, and Carter got him to keep talking...for them to record his words on his own phone (Knight Templar: "Oops. You chose wisely! Wisely!") and in that moment of stunned silence, Reese burst in through the doors like the Terminator, guns ablaze. Carter managed to grab Quinn, who got winged by a shot, and managed to drag him outside while he defiantly kept saying that this was the worst mistake she ever made. A cop car came screeching into the driveway, but Reese shot out its engine and they made their getaway while the cop took cover behind his car door.
Of course, though, Simmons got a picture from the police car dashboard. and directed that the image of Reese, Carter and Quinn be distributed to EVERYONE. Including criminal elements. The episode ended there...which was good, since I almost permanently whitened my knuckles during the last 10 minutes.
The wheels are rolling and it's going to be VERY interesting to see what happens in the next two episodes.
Former Sex And The City star Cynthia Nixon had no idea her popular U.S. TV series inspired spin-off The Carrie Diaries, even after its star, Annasophia Robb, introduced herself as the lead character. The Emmy-winning series starring Sarah Jessica Parker ended its six season run in 2004, and went on to spawn two feature films, and although Nixon reprised her role as attorney Miranda Hobbes in both movies, it seems as if she's left the show behind her.
Robb, who plays the younger version of Parker's Carrie Bradshaw, tells Vanity Fair she ran into Nixon at a Broadway show in New York City and excitedly introduced herself to her TV counterpart's best friend, but didn't exactly receive the reception she was looking for.
Robb recalls, "I was at the counter, and I went, 'Oh, hi, I'm on The Carrie Diaries show. I'm a big fan'. It was just kind of one of those New York run-ins. But she had no idea, which is the best part."
While Nixon may not be aware of the reboot, co-star Kim Cattrall recently lauded actress Lindsey Gort, who plays the teen version of Cattrall's iconic character, Samantha Jones in The Carrie Diaries.
With the second edition of Rookie Yearbook coming out on Oct. 1, it’s hard not to recognize 17-year-old Tavi Gevinson as a fixture in pop culture. Girl gets invited to New York Fashion Week, goes to Lena Dunham for advice, is a Forbes "30 under 30" and has even been a guest on Late Night With Jimmy Fallon.Jeff Vespa/WireImageYou can envy her, but Gevinson’s success in the blogging world and her eventual twitter fame and opportunity to gallivant with some of Hollywood’s biggest stars didn’t drop into her lap one night. For the better part of three years Gevinson worked on her fashion blog Style Rookie, started when she was a pre-teen. As she grew older and was faced with those issues everyone experiences when beginning high school and maturing as teenagers, she couldn’t find a website that truly catered to the actual, real lives of people her age. “I felt like there wasn’t a magazine or website for teenagers that spoke to me or had the kind of stuff I’d be interested in reading, and I knew I couldn’t be the only one,” she said. Topics covered on rookie.com include anything from sex, religion and feminism, to body image and bullying. “These things were becoming relevant in the lives of the people around me, my friends and other girls,” Gevinson says. The online zine has grown from 30-40 writers to about 80 currently and for Gevinson, the route to a print publication, Rookie Yearbook, was a natural one. “There were certain fashion magazines that I collected every issue for years, so I think just a selfish part of me wanted that,” she said. “I also think that we attract the kind of readers who appreciate that — who like being crafty and really give a lot of value to their favorite movies and books.”But like rookie.com, the Yearbook is very much about the writing.“There were just so many pieces on the site that I felt ‘these can’t just exist in pixels, and float around cyberspace,’ they needed to be documented in this more tangible way.”Rookie Yearbook One, which came out last September, was the first in what Gevinson hopes will be a four-part series. Her knowledge from the initial publishing experience has helped her and her team this time around, allowing her to take a more hands-on part of the process. Also differing from the first, the second edition will be a bit more gender-neutral both in design and content.And, although rookie.com is aimed towards teenage girls, that doesn’t stop some guys from taking a peek at it every once in a while.“I’ve been very happy to get a number of emails from guys being like, ‘I never understood why girls felt that way or felt offended by that and now I do’,” said Gevinson. “Some guys are like, ‘I like this even though I’m a guy and I relate to it’...because ultimately we’re all people.”Even if she could use a little more sleep some days, Gevinson’s drive is fueled by her readers. “Girls will say ‘this helped me when I was feeling suicidally depressed’ or a few girls have said ‘that one article your writer penned has helped me get over an eating disorder or convinced me to get help’...that’s the most you can hope for with something like this. That’s really the most gratifying part,” she says.When the going gets tough for Gevinson, like it does for all high schoolers, she reflects back on TV star Rashida Jones' words from one Rookie interview: “it doesn’t get better, but you get better.”“You never get to a point when things are totally fine and you have to let yourself mess up,” she says.Rookie Yearbook Two comes out Oct. 1 and can be purchased on Amazon.
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