"I take orders from the Octoboss."

The Opposite of Sex

also on May 22, 1998

I remember THE OPPOSITE OF SEX being a big deal indie movie at the time, but it seems mostly forgotten now, mentioned even less often than its widely hated box office competitor GODZILLA ’98. Maybe more than LOST IN SPACE? I had kinda forgotten it too, at least what it was about, but I’m glad I decided to get a refresher on this really funny and kinda sweet dark comedy about a… well, kind of a wild thing, I guess.

Christina Ricci, in her second best movie released on this day, plays Dedee Truitt, a mean and grouchy sixteen year old who runs away from her home in Louisiana to find her grown up, gay half-brother Bill (Martin Donovan, SILENT HILL: REVELATION 3D) in suburban Indiana. She manages to seduce Bill’s younger boyfriend Matt (Ivan Sergei, DANGEROUS MINDS, the tv show of John Woo’s ONCE A THIEF) and uses pregnancy to convince him to steal ten thousand dollars from a safe deposit box and run off with her.

Like WILD THINGS it has betrayals, cheap motels, secret relationships, even a false rape accusation against Bill, who is a high school English teacher. But it’s not really a thriller and it’s not so much about the twists of the plot. It’s about these odd characters, and one way their personality comes out is through the narration by Dedee, which we could say is DEADPOOL style. Like him she’s cynical and likes to bluntly offend and has the ability to understand that she’s in a movie. She’s an unreliable narrator in that she’ll narrate that something happened and then admit she was just fucking with you. She points out when she’s foreshadowing something or using manipulative music choices, adds a split screen when she thinks a scene is boring, refuses to show inside the room when a character she hates is getting laid. She makes fun of movie tropes and gets embarrassed and defensive when she falls into them. She narrates that narration can be used to “cover up all the holes in the plot.”(I actually noticed that being done with off screen dialogue obviously added in post – there’s an occasional low budget scrappiness here.)

It gets serious at odd times. Dedee’s dumbest boyfriend, Randy (William Lee Scott, THE MAGNIFICENT SEVEN) is treated as a joke until the scene where he beats up Dedee. It’s mostly off screen, but Ricci plays it so real that it’s really upsetting to hear her. And then she shoots him and it cuts to his autopsy and medical examiners discussing him having only one ball (a topic she’d already mentioned more than once).

I’ve noticed moments of casual homophobia in some of the other summer of ’98 comedies I’m working on reviews for. That shows where we were at with those issues at this time of Don’t Ask Don’t Tell, when legal same sex marriage didn’t seem like anything that would ever happen and the Ellen coming out episode was recent enough that there’s a joke about it here (possibly added in ADR). Dedee is more flagrantly prejudiced than any of the characters in those movies, talking about Bill as a “homo” and “a gay” and “a fairy” and calling being straight being “normal” and espousing unusual stereotypes about gay men, mostly not-negative ones like that they’re clean or that “gay houses usually sell real quickly because of the recessed lighting and good faucets.” She worries about getting AIDS from drinking cups and first describes Bill as “An actual real life homo. And a teacher. Which is kind of gross, I mean, the combo?”

This is anti-anti-gay humor from gay writer-director Don Roos (his directorial debut after writing SINGLE WHITE FEMALE, LOVE FIELD, BOYS ON THE SIDE and DIABOLIQUE). He also has fun contrasting the younger, more flamboyant lifestyle of piercing enthusiast Jason (Johnny Galecki, I KNOW WHAT YOU DID LAST SUMMER) to more conservative Bill, who just wants to be left alone and doesn’t really give a shit what anyone thinks, even when they think he committed a horrible crime that he didn’t.

Bill is an outstanding character, so dryly funny with deadpan, low energy delivery by Donovan, but also very complex, as we see when dumb, well-meaning Matt calls him out on his bullshit. Everything in his life is a reaction to a character we only see in flashback, his boyfriend Tom (Colin Ferguson, LAKE PLACID 3), who died of AIDS. Tom is the reason Bill has money, which is why he doesn’t have to worry if he loses his job, and why Dedee comes looking for him. He’s the reason Bill found Matt, a boyfriend so different from Tom, so incapable of the same connection, that he doesn’t have to feel like an attempted replacement.

He also has the best introduction, discovering a kid writing “Mr. Truitt Sucks it hard Every Tuesday after yearbook” on the bathroom wall and making suggestions to improve the sentence. Then there’s a high quality punchline that I won’t give away, but it’s delivered by none other than Rodney “Joey from ELM STREET 34” Eastman (never seen in the movie again).

And maybe the most unusual character is Lucia (Lisa Kudrow, IN THE HEAT OF PASSION 1-2), “the sister of Tom the dead guy,” who now lives with Bill and sort of fills the role of nagging wife in a bad marriage. She’s the kind of person who has to be constantly talking, constantly instructing, like when Bill needs to kick a door in she’s backseat door-kicking. “Do it again. Harder!” She doesn’t like Matt or Dedee, is incapable of keeping her complaints to herself, and is very protective and/or possessive of her sweet angel Bill. She’s also a virgin and believes she’s asexual. But her whining is more funny than grating, she makes a good bickering foil to Bill’s attempt to track down his missing boyfriend and half sister, and by the time she reveals her vulnerabilities I actually like her. Also she has one of the lines that made me laugh the hardest, when she storms out from an argument with Bill and Matt.

It’s a cool trick that the story is told by Dedee, but she manages to disappear for a while to let us get invested in Bill and Lucia trying to find her.

Lyle Lovett (who, like Ricci, was in FEAR AND LOATHING IN LAS VEGAS, but only for a second) plays a sheriff named Carl who likes Bill but has to investigate him, and who Lucia holds a grudge against even though he seems very nice. There’s a point where he smiles and he has those squinty eyes and straight chin and I was thinking how old-fashioned handsome he looked before remembering that the big pop culture joke about him at one time was “how the hell did this ugly guy marry Julia Roberts?” Man, people are assholes. But that’s kind of what this is about. Despite all of Dedee’s trickery, ignorance and bad attitude – okay, maybe because of her bad attitude – we end up caring about her. Sometimes people who have been through alot deserve a little slack. They might get better.

I have not determined what it was about summer of ’98 that caused it to have two great, darkly funny movies about teenage girl masterminds seducing different adults and playing them against each other. I suppose that stories like that of Amy Fisher (who in 1992, when she was 17, shot the wife of her 35 year old lover Joey Buttafuoco) had been sensationalized so much in tabloids, on tabloid TV shows and in TV movies that this sort of story became shorthand for “man, America sure is crazy these days” and “can you believe that media? Sheesh!” Both movies do have scenes of zealous local news teams hounding the accused. And maybe by ’98 it had come back around to where you could admit that trashiness is fun if you feel like you’re just a little bit above it.

I took note of a few time-capsuley ’90s things. In Dedee’s bedroom in Louisiana there’s an R.E.M. poster (New Adventures in Hi-Fi). Matt is said to work a night shift at Kinko’s, the national chain of copy shops popular for people who made zines and flyers and stuff. It has since become FedEx Office. A student interviewed on the local news brags about working at Blockbuster Video and that they don’t carry gay porn. (This is when video stores still existed and it was cool to make fun of the biggest, corporatest one that had a reputation for being conservative and censorial.) Dedee delivers a message on an audio cassette. But I think mostly it’s ahead of its time, at the very least in the way it portrays committed gay relationships and a gay community that is not monolithic – it has culture clashes, generation gaps and people who can’t relate to each other at all because they have very little in common.

Kudrow was a major comedy star at the time, in her fifth season of Friends. The year before she’d starred in the beloved (if only in a cult sort of way) ROMY AND MICHELE’S HIGH SCHOOL REUNION. ’98 was the year she won an Emmy for outstanding supporting actress in a comedy series, and she also did a guest voice on The Simpsons. I think it gave her some cred to be in something kinda edgy like this at the same time.

Of course it was much bigger for Ricci, the child star best known for playing Wednesday in THE ADDAMS FAMILY. Here she is one year after remaking THAT DARN CAT and she’s smoking and showing cleavage and causing a physical altercation at a funeral. This was when she started doing grown up indie movies, of which there will be one more this summer (and then John Waters’ PECKER in the Fall).

THE OPPOSITE OF SEX was well reviewed, and Ricci got a Golden Globe nomination for best actress in a comedy (she lost to Gwyneth Paltrow in SHAKESPEARE IN LOVE). Roos definitely became a director to keep an eye on. So what happened? Maybe it was his sophomore directing job, BOUNCE (2000), starring Ben Affleck and Gwyneth Paltrow in a romantic drama with a queasy underlying premise about him not telling her that he gave his airline ticket to her husband when he died in a plane crash. It looks like it didn’t lose money, but I seem to remember it being widely panned and seen as a flop. Since then, Roos has only directed HAPPY ENDINGS (2005) with Kudrow and THE OTHER WOMAN with Natalie Portman and Kudrow, which was completed in 2009 and not released until 2011, at which point it got bad reviews.

On the other hand he wrote MARLEY & ME (huge hit) and, like so many, has found more of a voice in TV, creating and writing Web Therapy starring Kudrow, which started as a web series and then went to Showtime for four seasons. I could go for another Don Roos movie, though, if he’s ever up for it.

This entry was posted on Monday, June 11th, 2018 at 12:13 pm and is filed under Comedy/Laffs, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

36 Responses to “The Opposite of Sex”

  1. I haven’t seen this one since it came out, but my feeling at the time was that it was over-reliant on and overpraised for Deedee “telling it like it is” – a line that cruel people and casual bigots still hide behind. So I didn’t think its putdowns were as funny as it thinks they are, but maybe there’s some truth to its observations of these characters. It’s definitely a good cast.

    I enjoyed BOUNCE at the time (have no idea what I’d think of it now), but I tend to like movies introduce a “queasy premise” and then go all in with it. Which is why I’m a Farrellys fan.

  2. I recently thought of this movie again (Another one of those weird telepathy blips that I sometimes seem to have?), but since it’s kinda obscure-ish, it’s a bit hard to come by these days. I used to own it on VHS, so maybe it’s still in my basement. Can’t remember much about it, to be honest, other than really enjoying it the two times that I saw it (the last time was at least 18 years ago).

  3. I never forgot about this one, but I’m also a big Martin Donovan fan since his days of collaborating with Hal Hartley (especially SIMPLE MEN-that’s a good one, if you’re into movies with nothing but great dialogue and a Sonic Youth song). As much as I liked it at the time, tho, it’d be a hard re-watch just coz of how unpleasant Ricci’s character is.

  4. I haven’t seen this one since it came out on VHS, but I remember enjoying it, even if most of the subplots Vern just described are kind of fuzzy. I’ve always been a big Christina Ricci fan, so it was cool to see her enter her indie faze at the end of the 90s. I keep on waiting for her 21st century career renaissance.

    Also, New Adventures in Hi-Fi is the one REM masterpiece that’s somehow overlooked. What’s up with that?

  5. If I remember right, this movie and Very Bad Things introduced me to the concept of trailer fatigue. By the time both came out I had seen the preview for each so many goddamn times that i was annoyed by the very idea of either’s existence. I’m glad to hear this one has aged well, though. Can’t imagine the same can be said for Very Bad Things.

    Also, Mark, Im not sure if you’re making a joke or not, because this site once had (and still occasionally has?) a section called Vern Tells It Like It Is. But the tone was much more “world-weary takes on the issues of the day” and not “this subjective conclusion i drew from my own life experience must therefore be a universal truth,” which, I agree, is what most people who claim to be ‘just calling it like i see it’ are really saying

  6. I wasn’t making a joke, but also didn’t make that connection. No shade was intended to our host (who really does tell it like it is), though I obviously should have found a different way of phrasing that. You know the types I mean. :P

  7. I do indeed! And yeah I doubt it’ll cause any offense, it definitely made me chuckle.

  8. Oh hey, this movie! I remember liking it but, like most movies in the post-Tarantino indie jibber jabber boom, I haven’t seen it since. So many movies from this era that were considered the cutting edge of cool that nobody’s talked about in 20 years. Which is a shame, because there’s something loose and raw and shaggy about this era that was completely supplanted by the slick packaging of the Sundance films that would replace them. Maybe this director didn’t get as much work afterward because he made an actual movie with a personal stamp and not a showreel designed to get him a bigger job. You can’t watch this movie and think “This guy has just the skill set needed for the next Spider-Man reboot” even though, obviously, we would all watch that. You watch it and think “This guy should just keep doing his own thing.” And that seems to be a death sentence nowadays.

    Anybody watch the long interview with Rob Cohen on the HURRICANE HEIST disc? He really breaks down the numbers in an eye-opening and heartbreaking way. He estimates that the studios only make about 48 films a year—total. How many of those are franchises? Half? More? That means maybe twentsomething films of even moderately original content get made that have a chance to reach a large audience. That doesn’t give very many directors a shot. How many of those will ever get the chance to build an idiosyncratic body of work? If you didn’t establish yourself as an auteur back in the days when people cared about that sort of thing (like Fincher or Aranofsky or Nolan, who might be the last of this breed) you don’t have a chance to develop a style before you get swallowed by the machine, if it doesn’t spit you out entirely. How many times have you thought about a debut film you loved and wondered what happened to the director, only to find that he’s just directing TV these days? Which is nice work if you can get it, but not really doing much for us auteurists out there.

    It’s not a pretty picture, but I guess I’ll just keep supporting the stuff I love. It needs all the help it can get.

  9. I watched it. I feel like the studios won in this regard. I remember when TOMB RAIDER was coming out, I was telling people I was excited because I really liked the director (ditto for THE PREDATOR). Most common response I get is ‘I really wonder… does it really matter who the director is anymore? I don’t think it does.’ I argued in favor of the directors and writers but was shut down. That makes me sad, the general audience is now trained to believe a Studio or Producer is the real brain and talent behind their favorite movies anymore. I tried arguing that THOR: RAGNAROK and the GUARDIAN OF THE GALAXIES would not have been made that way by any other director and I was told it didn’t matter, they would have turned out the exact same if anyone else was in the writer and director chair.

    Maybe using joe-six-packs as an example is a bad example but I think it is a bit. I remember growing up and casuals being excited or at least interested in what that Timmy Burton, Terry Gillium, and Tarintino feller were up to next. I started noticing during the early AICN days of fandoms seemingly just watching smaller movies so they can fan-cast what comic book movie said indy-director would be good for. ‘HUMAN CENTIPEDE was really interesting, loved to see what that guy would do with AMBUSH BUG.’

    I’ve started to blind-buy a lot of smaller indy DTV action movies to help support them. Many ask me why don’t I just rent them just in case I’m not big into them (arguably a lot of those asking don’t understand the concept of buying movies because why you ever watch a movie more than once?) and I tell them I want to support them and if I do convince anyone to watch one of these things (EXTREMELY rare) they just go and pirate it anyways.

    Since I’m a nerd I feel I’m partially to blame for the climate of ‘IPs and ONLY IPs’ so I’ve been trying to do my best to support smaller more original fare like I did back in the day to make up for it. I don’t see us getting out of it anytime soon though. Recently came across some message board people bitching about the new THUNDERCATS cartoon. After pointing out that maybe 35-40+ year olds should maybe not give a shit what they are doing to THUNDERCATS, I pointed out that if we refuse to make new stuff for the current younglings, they can at least make them into something they’d care about (mentioned I grew up a huge NEW TEEN TITANS comic book fan and I’m perfectly okay with the current generation having TEEN TITANS GO! instead of MY Titans) and I was given e-stares of why WOULDN’T they make a cool and more mature THUNDERCATS for them to watch?

  10. Larry Sternshein

    June 12th, 2018 at 8:56 am

    You should buy Gridlocked Geoffrey

  11. Speaking of HURRICANE HEIST, I would like to apologize——to Rob Cohen and to the world and to all of you who recommended it——for not seeing it in the theater. I didn’t know it was the kind of movie where out of nowhere the hurricane would have a scary skull face like in THE MUMMY or some shit and then it wouldn’t do it for so long that you’d assume you imagined it and then it would happen again at the end and you’d nearly shit yourself laughing. If I could turn back time, I would do everything different.

  12. I think your instinct to vote with your dollars is the best thing any of us can do, Mr M, as far as encouraging studios to make and promote the type of movies we value and enjoy. Beyond that, I’m actually kind of hopeful that the thirst of the millennials-and-younger set for “content” that represents their lives, attitudes, bodies, and technology in a way they deem to be accurate and acceptable means we’re gonna see Hollywood go through another auteur-oriented paroxysm before much longer. Blumhouse seems very eager to level up their brand after Get Out, and I want to believe that Megan Ellison will eventually be interested in giving blank checks to people other than Paul Thomas Anderson. On the other hand, maybe the dollar will just collapse, and things in Hollywood will get super-duper-scrappy for awhile! (i’m kidding, please don’t let that happen, tentacled overlords; I would be among the first to be culled)

  13. HURRICANE HEIST was so fun. Glad I made it one of the only like three movies I bothered to see in cinemas so far this year. Can’t help but feel if it were released in the ’90s it would’ve been a big hit or at least a moderate hit. Heck, you could change the title to TWISTER 2: THE HEIST and I think you could get away with it. Too bad, as been talking with Stern about lately, the general audience have moved from this type of ridiculous movie.

  14. Stern: I’ll add it to the list

  15. Oh god, I so hope that HURRICANE HEIST will have a TWISTER related name over here! Maybe even TWISTER: UPGRADE.

  16. On a slightly random “who cares but me” note: I remembered earlier today that I in fact own a DVD-ish version of THE OPPOSITE OF SEX. Okay, I recorded it from an indie- and arthouse centric Pay TV channel, but it is on a DVD, so now I don’t have to check the remains of my VHS collection in the basement anymore. (I record up to 10 movies per week from TV, so of course I forgot about it.)

  17. Netflix and other streaming services have the potential to help out young up and coming auteurs. I just wish Netflix weren’t also interested in destroying the filmgoing experience as well. Also, they seem more interested in quantity than quality right now (although there are a handful of really good Netflix and Amazon films).

  18. RBatty: What’s more, both have stated they want to move away from independent and unique ‘smaller’ movies to focus near-fulltime on making the same blockbusters the major studios are making. So very soon, or already, we won’t even have them helping out up and comers.


  19. grimgrinningchris

    June 12th, 2018 at 4:31 pm

    How the hell is it that I am only even hearing of this Hurricane Heist on a TalkBack for fucking The Opposite Of Sex??!? What the shit?

    This sounds like something I need to see immediately.

  20. By this time next year, Netflix will have already completed several Bright sequels, a spinoff TV series that takes place in New York, and a Bright animated kids show. When it gets rebooted in a decade, you will not believe how angry the internet gets about the Orc redesign.

  21. I saw Hurricane Heist opening night.

    Netflix gives exposure to Scott Adkins movies.

    Amazon Prime is the best for older genre movies.

    I am afraid that the younger generation in America hates action movies.

  22. Loved that Coen interview but there’s one thing it doesn’t account for. Look how many movies open every week. There are more studios and distributors than ever picking up the slack. Look at the Box Office Mojo charts year by year. The 90s had like 300 movies per year. We’re at 600-800 now.

    There is a problem with clutter and yet people are going to the movies less. It’s fine for many of those films to be VOD but even then they’re not all gonna get seen.

    Sternshein I agree this generation hates action. I believe the studios trained them to hate it by offering shakycam and cgi. Now action looks as perfunctory as any other scene so why would a generation seek it out?

  23. RBatty: waitwaitwaitwaitwait you mean to tell me they’re redesigning orc guy!? One of the most iconic designs ever and something that is super important to me!? Yeah I still haven’t seen BRIGHT…

    Fred: I want to disagree with you re: action but I think maybe you and Stern are right. Not long ago AVClub’s comments section (I don’t post there just lurk) and me in real life argued how cool it was that Tom Cruise does his own stunts and it was argued back that ‘why would that matter, how does that make a movie better?’ I think the younglings have been trained that if it’s not pre-vised to hell and back and doesn’t look like one of their vidya games it ain’t crap… Now get da hell off mah lawn!!

  24. grimgrinningchris

    June 13th, 2018 at 4:33 am

    I still havenwatched BRIGHT. Is it even worth it?

    Every time it shows up in my options on Netflix, I can’t help but think of that old Jerky Boys where it’s Sol Rosenberg’s voice but supposed to be Gary BabaBooey’s mother instead looking for the hair stylist that ruined the hair of “my beautiful, horse faced boy”… “Let me talk to Bright… put Bright on the phone… How many people do I have to speak to before I get to Bright? Oooooh god…”

  25. I’m pretty sure everybody younger than 30 assumes that every single image that isn’t a talking head shot is all CGI anyway, so they don’t know how to be impressed by the simple pleasures of a well executed roundhouse kick. If it’s all zeroes and ones anyway what does it matter?

    Honestly, I don’t know what people like about movies anymore. They like cliffhangers and they like being agreed with. That’s about it.

  26. I enjoyed BRIGHT for what it is: a high-concept, low-impact buddy action comedy with a fantasy twist. It reminded me of, like, THE GOLDEN CHILD or something: not great by any means but the combination of elements makes it novel at least. Smith has finally aged into a believable badass, and I liked how louche and vicious the elves were. True, they were just your basic modern Eurotrash vampires with pointy ears but it’s still kind of funny that Legolas so rehabilitated the concept of elves that we can see them depicted as superpowered murder machines and not bat an eye.

    Also, to be honest it’s probably my favorite Joel Edgerton performance. I know he gets a lot of love around here for his earthy manliness but seeing him play goofy and defiant and ashamed all at the same time under all that makeup finally made him stand out for me.

    Also it was beamed into ours home from outer space for basically free. All we had to do was push a button and we got a new Will Smith movie. Was it great? No. But under those conditions it doesn’t really need to be.

  27. “Also it was beamed into ours home from outer space for basically free. All we had to do was push a button and we got a new Will Smith movie. Was it great? No. But under those conditions it doesn’t really need to be.”

    I think this is basically what Netflix is betting on, and while I understand that impulse, there’s something about spending ninety million on a movie and expecting people watch something simply because there’s a low bar for entry. I do think that Netflix has the potential to help out up and coming directors, but the few times that I relied on their recommendations without looking at outside reviews, I found myself disappointed. (The two that come to mind are Girlfriend’s Day, which was only a little over an hour in length and still managed to drag, and Jeff Niccol’s Anon, which started off well and then managed to unravel in the second half.)

    Long story short, I have little desire to watch Bright.

  28. Yeah, I realized after I wrote it that this attitude isn’t gonna fly in a few years when netflix is the world’s largest purveyor of filmed content. Right now a Netflix movie is still a novelty. It won’t be for long.

  29. At least we got OKJA out of them

  30. I saw half of bright on an airplane and I never went back to it because I thought it was super boring.

    Also, I’m starting to feel my age now that I’m complaining about the kids and their lack of action appreciation. The weird thing is some of the biggest games out there basically action movies so I think kids prefer to play action movies than watch action movies.

  31. Surprised that hasn’t happened with horror already and think horror ‘may’ head that way as well as I read more and more comments from younglings stating that they think horror is dumb and it’s impossible to get scared when it’s happening to someone else but in a game it’s happening to YOU. That sounds sociopathic to me but I’ve been told that no it is not.

  32. Interesting discussion about the status of indie filmmakers in today’s media climate. I hope it will follow the pattern of the music industry, where the collapse of the rockstar / major label-centric paradigm gave way to a fertile niche-driven underground. Films are more expensive to coordinate and produce than music, though, so I have my fears as well.

  33. grimgrinningchris

    June 14th, 2018 at 4:28 am

    Majestyk- Least favorite performance or not, I have to watch it now. I had no idea Edgerton was even in it.

  34. No, I said it was my MOST favorite performance of his. I’d always thought he was good but a little one-note. This performance has a bit more color to it.

  35. I remember liking this, but I honestly get Opposite of Sex and Happy Endings (the movie) mixed up in my memory. Like I know I saw Happy Endings but now when I look at IMDB none of it looks familiar and I wonder if i really saw it or if I’m conflating it with Happiness. This is further confused by Happy Endings (the show) which I don’t think is related.

    Speaking of TV, Don Roos’ name is all over This is Us as writer/producer, and yes, I’m going to go ahead and be that obnoxious guy who talks about how amazing it is. Because it’s just as amazing as the obnoxious people say it is – it’s a show that can make you cry literally EVERY SINGLE WEEK while never feeling exploitative or like emotional torture porn. A show that’s sensitively written and expertly acted. A show that’s “woke” without being obnoxious about it. It sounds insane, but This is Us is to me now what Star Wars was to me as a kid (in terms of emotional investment in the story and these characters). I always wanted that feeling of rabid fandom for a fictional work again, I never figured it would be for a weekly drama of all things.

  36. I concur with Neal2Zod. This Is Us is fantastic. I’m so emphatic I call it This Is Us, Motherfuckers!

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