tealin: (introspect)
The 'vintage' Disney season continues at Picturehouse, now onto films which came out during my childhood. I missed Little Mermaid last week, which I have mixed feelings about – on one hand, I don't think I've seen it in the cinema since I was seven, but on the other, I have seen it on DVD and as such I am not overflowing with regret that I missed seeing it in enormous crystal-clear detail. It's a good film, entertainment-wise, but only just coming out of Disney's 1980s slump in technical and artistic standards.

Despite having seen it on the big screen fairly recently, however, I knew I had to make an effort to go see Beauty and the Beast this week. I cannot overstate the impact it made on my childhood – Hunchback made me want to become an animator (20th anniversary and still no sign of that being rereleased, alas), but purely on the receiving end, a peculiar, bookish, independent 5th Grader getting a Disney movie about a peculiar, bookish, independent young lady was a Big Thing. I probably would have ended up much the same without it, but to have that sort of affirmation at a formative time of life meant a lot. It's experiences like that that make me symathise with the push for representation of minorities in the media – if such a small thing meant so much to me, how much more would an analogous thing mean to someone far further from what's currently considered media-mainstream?

Having watched the video to the point of memorization, seeing this movie again was almost an opposite experience to Jungle Book. I could write about surprising details or things I know now about the production that colour my viewing, but the latter you can find in Dream On Silly Dreamer and the former via an attentive eye and a Blu-Ray player. I'm coming to the end of a short lunch break so I will keep it to this: As much as Beauty and the Beast was a trip down childhood's memory lane, it was also a re-acquaintance with people who were role models and then colleagues. People love to point out how characters are designed and animated to reflect the actors providing the voices, but when I watched this film I was seeing the animators. Anyone who's worked with Ruben Aquino would find him in Maurice, and there is an undeniable Nik Rainieri-ness in Lumiere; somehow Philippe is Russ Edmonds despite being a horse (Russ also animated Phoebus in Hunchback, you may note the similarity), and Glen Keane is all over the Beast if you know what to look for. Most bittersweet of the reacquaintances was James Baxter, though – he supervised Belle when he was quite young, but his scenes stand out by a mile, and it was so good to see his 'handwriting' again. He animates in CG for Dreamworks now and does a very good job of it, but CG smooths everyone out, so that joy of finding the really special sweet in the candy bowl is a thing of the past. It made me a bit wistful to experience it again, but at the same time, there are so many really excellent up-and-coming 2d animators that I hope it will be a future joy as well. It's become clear to me in teaching and animating here in Europe that the sky is the limit and there are dozens if not hundreds of keen and talented people out there raising the bar every day – it's a little personally dispiriting to see it pulled so quickly and so far out of my reach, but fantastically inspiring all the same, and I'd rather be inspired than smug any day.
tealin: (introspect)
2000 - 2008: Too Disney
2008 - 2013: Not Disney enough
2014 - 2016: Too Disney

I've got too much I want to do to take a couple years out and relearn everything, but I kinda feel like that's what I have to do.

Jungle Book

Sep. 4th, 2016 03:23 pm
tealin: (Default)
This afternoon, thanks to Picturehouse's current 'Vintage Sundays' series of animated film screenings, I got to see Disney's 1967 Jungle Book on the big screen for the first time.*

I remember watching it on video a fair bit as a kid, though I don't remember particularly liking it. There was something unsatisfying about it; in retrospect I think it may have been how it was just a loosely assembled collection of episodes strung along a 'must return Mowgli to the Man Village' throughline rather than anything that builds drama or character. I liked the tune of the girl's song at the end, but I didn't like her or her unsettling coquettishness (she's what, eight? even as a small child I knew that was wrong) and I didn't understand why Mowgli had to go live with the humans when anyone would be better off with animals. I also didn't understand why there was jazz in the jungle, or the Beatles, or why the animals had English accents and Mowgli sounded like Beaver Cleaver. And I thought the art style rather too anaemic for depicting a jungle. I think the last time I watched the film all the way through was in high school, but it stuck with me so little I'm not sure.

In the intervening years, I've learned a lot about animation, worked at Disney and learned about its history, and picked up the requisite historical pop-culture background knowledge, as well as some awareness of uncomfortable racial undertones, the British presence in India, and Kipling's motivation for writing the stories. On watching the film again, this did help – though I also wondered if perhaps I knew more about the latter two than the people who made it did.

I knew that coming in with this adult perspective was going to change the film for me; I also knew that seeing it in the cinema would make a big difference, though I didn't know what to expect from that. Here is how it went )

Luckily the emotional side, which had left me so cold as a child, has been saved by an external force: not to deliver any spoilers, but the finale of Cabin Pressure makes allusion to Jungle Book, and because the former handles character arcs and emotional lives so much better than the latter, all I had to do was graft in the feelings as instructed and voilà! Some semblance of depth. Pure pixie dust.

Next week is The Little Mermaid ... I actually know people who worked on that one, should be interesting in an entirely different way ...

*Perhaps not strictly true: I was born at the end of the era in which Disney periodically re-released classic films, and I know my parents took me to a few of those, though I don't particularly remember Jungle Book being one of them.
tealin: (Default)
Dear Guys,

I admire you. I respect you. I've studied your work, and in some incredible cases, actually got to work with you. You're kind, intelligent, talented people, with stories to tell and a passion for your craft. But I've just about had it with the hand-wringing over the death of traditional animation.

I graduated animation school a month after traditional animation 'died' the first time (at Disney, anyway; it followed everywhere else shortly after). I worked other animation-related jobs through the years when most of the commercially produced hand-drawn animation in the world was being pumped out of sweatshops in the Philippines, to fill the spaces between Saturday morning ad breaks as cheaply as possible. I jumped on the moving train the first time Disney brought 2D 'back to life', and for three glorious years you had to put up with really excited young whippersnappers like me learning the ropes of the old ship, then after that either jumping ship or getting pushed off when Disney changed its mind and 'killed' 2D again.

Brothers, I come to bring you the good news: 2D is not dead. 2D LIVES! It's just not living at Disney! Disney does not hold the power of life and death over the medium, YOU DO! If you want there to be 2D animation in the world, DO SOME 2D ANIMATION! You have the power, you have the skill, God knows you have the experience, the only thing stopping you is your moping! Yes, Disney gave up on 2D, and yes their abandonment of that legacy is sad and possibly short-sighted and all that. But if you look at it another way, did they not also ... set it free? Would Jamie Lopez have made Hullaballoo if he were still at Disney? (No: he pitched it and they turned it down.) Would Glen Keane have made Duet? Would Andreas Deja be making Mushka? Not only has the talent been freed up, but you don't have to compete with Disney anymore! Back when Disney was The Main Game, they even called the shots of the competitors: woe betide any film that couldn't be mistaken for a Disney film. Now you can do ANYTHING! There isn't a monolith for people to compare it to!

Since I left the studio, I have been working almost nonstop on hand-drawn productions, and have had to turn down at least as much work as I've been offered. I keep being asked by recruiters if I can recommend anyone, and I keep having to tell them that everyone I know is busy. There is so much traditional animation happening – high-quality, too! – that it would make my 2002 head spin. You just need to lift your head up out of the Valley to see it. If you think I'm being foolishly optimistic, remember when we were in the Pit of Despair and you all shut your office doors and Negative Nellie grumbled away in the cold dark cubicle? That was me! If stepping out of the dungeon and seeing the real state of the wider animation world has changed me this much, it can you, too!

I really wonder sometimes whether it's animation you miss, or the six- and seven-digit salaries and being treated like a star. Well, the 2D of today can't bring you the star treatment or big bucks, so if that's what you're after, then find another job that will bring it – your killer animation skills and experience can translate into so many other jobs, if you bend your stiff neck and apply yourself. If you price yourself out of the burgeoning 2D job market, or refuse to take a gig that isn't exactly what you want, then ego is your problem, not the medium. However, if you really genuinely miss traditional animation for its own sake, then please, please, make yourself known; we need you. It takes a couple weeks tops to learn Flash well enough to animate, a few days for TV Paint – not as fun as paper, maybe, but talk about instant gratification! Come, brothers, and join the revolution! We're taking hand-drawn animation back from the bosses and bringing it to the people ourselves! It never belonged to the studios in the first place, they just convinced us it did, and if you continue to believe them then you're letting them win. After all they've done to you, you're going to let them win?

Well, now, I've got to go make some coffee and settle down to another 12-hour day of making drawings come to life, because animating is the best job in the world and I'm not letting it go softly into that dark night. Who's with me?

(No, seriously – I need to know how much coffee to make.)

Viva la animación!


In case anyone is wondering about the gender balance in this letter, I did consider opening it up, but I tried to remember one single female animator despairing about the death of 2D and couldn't: they all seem to have put on their big girl pants and got on with things. The new generation is more than half female and in many cases they're leading the charge, so I'm not worried about them. You go, ladies! Show 'em how it's done!
tealin: (4addict)
Ladies and Gentlemen, welcome to a very special Radio Roundup, a Radio Roundup that has been seven years in the making, a Radio Roundup I have been waiting to share with you since before I even started doing these lists. For lo, in their great mercy and kindness, the Powers That Be at BBC Radio HQ have seen to it that I can share with you now the radio play that started it all – the two hours of audio adventure that launched an obsession and brought you the One Hundred Years Ago Today series and a pile of drawings of dead white guys which you very patiently tolerated. Yes, dear internet, we have at last seen a rerun of ...


I will be posting more on that soon, but if you want to see my flailing in the meantime, there's the Tumblr post for Episode 1, featuring some subtle photo manips, and for Episode 2 with visual aides for some scenes in that episode, from like, actual history.

On with the show ...

Things Fall Apart - The legacy of Chinua Achebe's landmark novel, making me wish some of these people had taught it to me in high school rather than what I got. Better late than never!
Catherine of Aragon: Henry's Spanish Queen - An abridged biography of Henry VIII's first wife, rather poorly done by and didn't she know it. Have I mentioned Wolf Hall?
Ghost Trains of Old England - There are trains that run disused routes for a variety of reasons. This programme has a peek at some of them.
Profile: Anonymous - The hacktivist organisation has recently declared war on ISIS. Who are they, what does that entail, and is it a good idea?
The Dictatorship of Data - Authoritarian regimes of the 20th century collected surveillance of their citizens for the purposes of control. These days we produce so much more data which is so much easier to analyze, and those interested in surveillance have evolved alongside.
In Our Time: The Salem Witch Trials - Thank goodness we are well past religiously motivated mass panics and nothing like this could ever, ever happen again. Ever.
How Islamic is the Islamic State? - People keep saying it shouldn't be called Islamic State because it's neither of those things, but what is the theology that makes them think they are, and why do other Muslims disagree? This programme also goes into their internal logic and motivations, which is interesting and valuable when you generally only get coverage of their bloody deeds. I would like to hear a documentary comparing and contrasting fundamentalist millenarian IS with the thread of fundementalist millenarian Evangelical Christianity you get in the States. Might have to trawl the CBC for that. Speaking of which ...
The Current: God Bless America - Discussing the rise of the Christian right, its paradoxical association with capitalism and the infusion of military rhetoric with religious meaning. Pairs well with the essay Freeing Christians from Americhristianity by John Pavlovitz.
Ed Catmull, inside Pixar - It's a good thing this clip is under 10 minutes or I wouldn't have made it through. Among other things he admits the systemic racism and sexism of the studio apparently without realising. I'll stop there before going into manifesto mode but oh I so could.

M.R. James Stories - M.R. James was a medievalist at Cambridge in the early 20th century, but is best remembered in the wider sphere for his ghost stories, which were often delivered at Christmas parties. Radio 4 Extra often reruns his material around the holidays, and the first crop of dramatisations has just popped up. Of particular interest to me is Number 13 as it takes place in Viborg, and the last time I was there I took some photos )
The Now Show - It's not easy to do a topical comedy show a week after an atrocity, but the Now Show team manages it rather admirably.
Double Acts: Hot Desk - A bit like The Apartment, but with a reception/security desk, and I have never seen The Apartment so that's as far as I can go. Too much a 'mirror up to nature' to be your average romantic comedy, but it's funny and about relationships and by John Finnemore so is delightful regardless. And it's the LAST of the Double Acts! Woe, woe. (There's a new series of Souvenir Programme starting in January so we don't have to weep too long.)
tealin: (Default)

Last week I was emailed by a lovely childcare worker who thanked me for helping to make Frozen. After the initial pang of being reminded of that time, what I first wanted to say was 'I really don't deserve any credit for the film as I hardly contributed to it at all' – which is true; to this day I don't know if any of my work made it down the pipeline, or what use it may have been to anyone if it had. But instead I thanked her for her email, and told her it had been a very difficult film for a lot of the crew, and the fact it turned out to be valued by people is nice to hear.

What I didn't tell her was that I have gone out of my way not to see the film. I thought I was getting over it, but that pang when I read her email signified otherwise.

Tealin's Demon Theatre: Monsters' Ball )

"Society Song" is my "Let it Go." It's the song of an intelligent, independent woman who sees through the bullshit around her but rises above it instead of getting suckered in or kicking it in the nads and running away. It's poetic, meaningful, musically and lyrically sophisticated, and charismatic, and it gave me a defiant theme song around which my frustration and spirit could crystallize in a positive, constructive way. I did have riches they could never see, and something better up my sleeve, because four years previously I'd been set free by being given a story that made everything happening at Disney inconsequential, and knew I could leave at any time for a perfectly happy life back in BC. They were trying to manipulate me by assuming that I, as so many others, lived for Disney and would do anything to save my job there, but I was past that, and that was something I needed to hold onto. Another important thing to remember is that vengeance is rarely worth the trouble, and often the best way to get back at those giving you a hard time is to have your own priorities that have nothing to do with them.

I can't say "Society Song" made me leave Disney, the way "Lucky Me" turned my life around in 2007, but it certainly was never far from my mind or my headphones, and its validating effect reset and strengthened my inner compass. It certainly got me through the end of my time on Frozen, and while other trials awaited me, that one didn't bring me down. So, thank you, Sarah Slean, yet again my Angel of Music.

I am a little bit in love with the video for the song but I recommend you listen to it for the first time without watching – it imposes a narrative on what are basically abstract lyrics, so limits one's perception. Then watch the video, because it's fab.


Jan. 30th, 2013 09:46 am
tealin: (Default)

I'm embedding a small version because it looks nice, but the film is best watched full screen with the lights off and the sound up! Click the little gear thing at the bottom of the player, switch it to 1080p, go full-screen, sit back, and enjoy.

Want to know why this time last year my blog was nothing but radio links and OHYATs? THIS IS WHY.

You're welcome.
tealin: (catharsis)
Full disclosure: I work* for Walt Disney Animation Studios (in fact that is where I am typing this, right now) so I have a vested interest in seeing this film succeed, even though I didn't work on it.** On the other, dominant hand, I have never taken the origin of my paycheque as justification to whitewash the movies my colleagues and I make, so bear that in mind when you read the following review.
**I think technically I'm listed as having done so, but it would have turned out exactly the same without me, so I don't know if it counts.

Wreck-It Ralph is really, really good.

It's focused, sharp, just the right balance of irreverent and heartfelt, well-paced, and funny. It doesn't have tremendous dramatic or philosophical depth, nor incisive satirical insight, but it clearly doesn't try to go for these things: it may have a safe comfort zone, but at least it owns it. What's more, you can tell the people working on it seemed to enjoy it; I say "seemed" because I am aware of how exhausting the production was, but the work that made it to the screen could only have been done by people who cared about what they were making, regardless of how much sleep they were getting.

The only real disappointment I had in it was that, for me at least, it didn't stand up to much rewatching. I somehow managed to miss every single work-in-progress screening, so it wasn't until about two weeks before it was wrapped that I saw the whole final version of the movie – this I liked really quite a lot, despite being prepared not to. Only a month or so later the movie was finished and they had the friends-and-family previews, which I went to see because it was in 3D and a lot of the effects shots weren't finished in the previous one. It wasn't any worse than I remembered, but I didn't feel like I got more out of it. This may just be me; I have the same problem with most Pixar movies and goodness knows those are popular enough. I can't even necessarily say it's something lacking, because I enjoyed it thoroughly the first time, and I couldn't hope to put my finger on what isn't there ... but I just don't feel compelled to spend further time with those characters in that world. Considering how few people factor 'rewatchability' into a film's pros and cons, though, this is a minor drawback, and probably only a personal one.

That's it for my review – as a diversion, I would like to point you towards Betsy Sharkey's Ralph review in the L.A. Times, not because of what it says about the film per se, but ... does it read to anyone else like it's got a secret message encoded in it somehow?

Anyway, this is all beside the point. The REAL reason to go see Wreck-It Ralph is for the short film which precedes it, Paperman. I've had my eye on this one for years, since I saw a screening of it in story reels. It was something special in scribbly marker sketches, and it's something special now; however much fuss is made about the technique and the shiny bells and whistles that went into its production, I want to take this opportunity to suggest to the moviegoing public that maybe the reason they like it so much is that it's just an incredibly good film. It's hands-down my favourite thing Disney's made since I got here, and even though it's only six minutes long, I can rewatch this one over and over. (And I have.)

So yes, Paperman and Wreck-It Ralph: At long last a double-bill which delivers on the ticket price. Should you find yourself willing to put my opinions to the test at the local multiplex, I suggest finding the loudest theatre you can – Ralph doesn't really matter much either way, sound-wise, but ironically for a 'silent' short, Paperman is noticeably better with the sound well up. I've seen it in a quieter theatre and it's still excellent, but it doesn't have the transportive power. I prefer seeing Paperman in 2D, mainly because some of the depth in the 3D doesn't make sense to me; Ralph is equally good in both media, though as usual I stopped noticing the 3D about ten minutes in. I do recommend choosing one or the other and seeing them at some point, though; they're good films that deserve a watch.
tealin: (Default)
Living within Disney's sphere of influence, I have seen an awful lot of posters for Katie Couric's new show on ABC, but from day one they have creeped me out rather.

Dear ABC – this does not make me want to watch your show.

Well, actually, it does somewhat, just not in the way you were probably intending, because if the host were in the habit of biting guests' faces off or speaking in Parseltongue, I would tune in, and I don't even have a TV. But then I would be afraid that if I fell asleep while the show was on, she'd crawl out of the screen Ring-style and that would be the last anyone heard of me.
tealin: (Default)

If you live within driving distance of LA and want a chance to see Paperman in the theatre before Wreck-It Ralph comes out, the word is it's going to be playing in front of Cinderella at the El Capitan, August 15-30. It's far and away my favourite thing that's been made in my time at Disney, even though it's just a short; I can't recommend it highly enough.
tealin: (Default)

Usually I'm not a fan of piracy (I keep brewing a post on the subject but have yet to have time or cause to write it) but when distributors refuse to distribute something there are only so many options, so take advantage of this while you have the chance.

Back when Emperor's New Groove was being made, it was a completely different movie called Kingdom in the Sun.. There was music by Sting, and Sting's wife got unprecedented rights to make a documentary about the production of the film. Little did anyone know, when those rights were signed over, the production would turn out to be full of drama and upheaval, and it all got caught on film. Needless to say, Disney wasn't too keen to have their dirty laundry aired, so they released the documentary only to the extent to which they were contractually obligated and then buried it – you can't get it on DVD; I only saw it because people who were in it got a copy and I borrowed one off a friend-of-a-friend, but I did see it, so I can personally attest that you have few other chances to see the blood, sweat, tears, heartbreak, and passion that goes into the production of one animated film in as raw and direct a manner as this.

Someone has stuck their neck out and put it on YouTube – I don't know how long it will be allowed to stay up there, but if you have a spare hour or so, I highly advise you check it out while you can:

tealin: (Default)
I've got a poll up on LJ regarding marketing for Winnie the Pooh. I'd like to get as much feedback as possible, so please do your bit! Non-LJ members are still allowed to participate, so you have no reason not to.
tealin: (Default)
Collider has stills from the new Pooh movie! Which I worked on! Yay! (Two of them are from my scenes, but I'm not going to tell you which two. Mwahahaha.) I am a little baffled by the choice of frames in some cases, as I know the scenes contain some much more appealing and illustrative poses, but ... well, mine is not to question why.

Doesn't stop me doing it anyway.
tealin: (Default)
Thanks to the playlist in the studio's common area* this morning, I have come to the concrete conclusion that all Disneyland music is fundamentally annoying. Especially when heard outside the park.

*which is a short distance from my Cube of Solitude

ETA: I felt like I should add that the scratchy 30s dance music that plays in the Indy ride lineup is actually pretty cool, though it is helped by the juxtaposition in setting. And I smirk enough at the not very family-friendly tune in the Main Street loop that that one doesn't annoy me much either.

Oh, and, say what you like about Haunted Mansion Holidays but the music played outside the Mansion during the season is surprisingly bitersweet.

But aside from that.
tealin: (nerd)
This was intended to be attached to Tangled, but the music rights didn't clear in time, and it didn't test well with non-Disney-nerd audiences. C'est la vie.

I will warn you now, the tune is very sticky ...

By the way, the most excellent documentary telling the story of the studio as it made the movies that shaped the childhood of my generation, Waking Sleeping Beauty, is out on DVD now! It's very well-put-together, almost entirely first-hand accounts, vintage footage, etc. Even if you're not an animation nerd, it could be interesting to watch for anyone who's curious what was going on behind the scenes of the films they saw when they were young. It's quite a story! Personal drama, bureaucracy, David defeating Goliath and eventually becoming Goliath, splinter factions, all sorts of stuff.
tealin: (introspect)
I haven't mentioned Disney's latest animated release on this blog because I am incapable of being objective about it. When it comes to Tangled (formerly Rapunzel) I have what some like to call 'a troubled history,' and others simply sum up as 'issues.' These are of an entirely personal nature and have little or nothing to do with the actual content of the film, rather my experience with its creation, and so aren't relevant to any other member of the audience, and my going on about them would benefit no one (even if I were allowed to do so).

Instead I will tell you about a droll association: I first started at Disney just after Sweeney Todd had been released, and around the time the DVD came out I was working on an animation test with one of the characters in Rapunzel. I had very little time to do what turned out to be some very challenging animation, so I spent some very late nights at the studio slaving away at it while listening to the movie on my computer (and turning around to watch my favourite parts). I often could be found stalking the hallways of Rapunzel art in the wee hours while whistling 'Johanna: Reprise,' a Happy Working Song if ever I heard one. It shouldn't have come as a surprise that the two films became inextricably linked in my mind, but I didn't notice it until they changed direction on the movie and I found myself with a sudden, intense, irrational craving for some Sondheim/Burton bloodletting.

I guess they share a certain preoccupation with hair ...

I saw the finished Tangled on Saturday. On Sunday I watched Sweeney Todd again. It seemed only appropriate.
tealin: (Default)
Happy Friday everyone! Have some new 2D animation!

None of the scenes are mine this time but that is fine – it is a highly satisfactory trailer if I do say so myself.
tealin: (4addict)

Gerald Scarfe (famous cartoonist and production designer on Hercules), Richard Williams (longstanding animation director, most notable for Roger Rabbit), and Brian Sibley (who ... wrote a book?) discuss the life and legacy of Walt Disney. Mr Scarfe also talks a little about working on Hercules, which was interesting for me to hear, knowing the people he's talking about; it's a bit like overhearing stories about your roommate from a stranger they went to high school with. Anyway, it's all very interesting, and Mr Williams is, as ever, very knowledgeable on the animation history side of things.

And then, as I was sitting in my little cubicle that I've made my own world, with the drawings* pinned on the wall which almost say 'keep out,' my little province was invaded by these words:
If you go to the Disney studio – which is very anodyne and very very clean and set up – all of the artists there have got these little cubicles set up, and they've made these little cubicles their own world. They put drawings and pin them on the wall, and almost cover the door with them, which says 'keep out'; that's their little province.
... and I had a very very odd sensation, almost a psychological version of your vision coming back into binocular focus after you've been crosseyed for a while, which I realised was the extremely unfamiliar event of my mind and body being in the same place at the same time. Usually when I sit down at my desk I plug in to Radio 4 and my mind goes and plays in the buttercups and sunshine** of Radio 4 Land, following wherever it takes me, while my body stays and works on my scene, but this morning it led me right back to where I was sitting. Weird.

*Well, I say 'drawings,' one of the things I have pinned on my wall is Sunday's LA Times article on Radio 4. THE CIRCLES, MAN.
**Wellll, more like dimly-lit libraries and jovial dinner parties, unless it's a natural history program...
tealin: (nerd)
The famous Nine Old Men of Disney* (and any number of less glorified but still talented assistants, etc) made a habit of looking at the Sports section of the newspaper for great dynamic poses that they could deconstruct and use to enhance their drawings. Today, we have the internet! Here, in one place, is a large collection of great poses!

Check out the action lines on these puppies! Phwaaar!

And more here, from other matches...

The expressions ain't half bad either.

*who are continually exalted in-house but whose well-documented curriculum of lifelong study and self-improvement is rarely followed, ahem AHEM. [glare]


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