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How do you adapt 'Don Quixote'? According to playwright Octavio Solis, by drawing inspiration from El Paso

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How do you adapt 'Don Quixote'? According to playwright Octavio Solis, by drawing inspiration from El Paso

Octavio Solis had taken on an impossible task.

Could he, the mighty Mexican American playwright from El Paso who had conquered stages across the country, adapt the behemoth tome that is Miguel de Cervantes’ “Don Quixote” for the stage?

The Spanish literary classic has befuddled would-be adaptors across all mediums. Artists at Disney tried for more than 80 years to crack the story; Orson Welles famously worked on his unfinished movie adaptation until he died. Solis, however, was undeterred. He diligently studied the material, reading through the entire novel twice before writing a single word. In 2009, his take, simply titled “Quixote,” debuted at the Oregon Shakespeare Festival. In 2017, an updated version set in modern-day Texas premiered in Dallas. Solis thought both runs were fine, maybe even good, but not quite right. Something was missing.

It wasn’t until Eric Ting, the artistic director of the California Shakespeare Theater at the time, approached him for another production. This time, however, the story didn’t just need an update— it needed an overhaul.

”You need to pry that book from [Cervantes’] cold dead fingers and make it yours,” Ting told him. Solis needed to do what he did best: He needed to write about himself. He needed to write about the border.

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It was an overzealous, deeply religious drama teacher who introduced Solis to theater his sophomore year at El Paso’s Riverside High School in the 1970s. Sensing his knack for language, she invited him to audition for the school play. Solis blew off the auditions as long as he could, but the pious teacher threatened to fail him if he didn’t show up.

Solis did not want this. He thought the theater kids were weird — they held hands and prayed before rehearsals. He wanted to be a football player like his younger brothers, but he couldn’t read the plays and never knew which way to run. Art class, his second choice, already had too many students. As a result, he found himself onstage, auditioning for a part in “The Diary of Anne Frank,” a play he had never read about a girl he had never heard of. He tried to tank the audition but had no such luck. He was cast as Peter Van Damme, one of the eight people who hid with Anne in her attic, and her eventual boyfriend.

Solis was reticent, but reading the words in that first rehearsal turned him from a reluctant student of drama to a full-fledged radical for theater. The El Paso world around him crumbled and warped. He was transported just by reading aloud the words on the page . It was transcendent, he says.

“After that I just kept thanking my teacher,“ Solis said. “I was like whatever, I’ll praise Jesus as long as you want me to, as long as I get to be on that stage.”

As Solis fell further down the acting rabbit hole, the support and encouragement from his acting teacher turned into concern. Doing drama in high school is fun and silly, something that you do to honor God. As an adult, in unholy universities, it was a different story.

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“They warned me that there’d be a lot of drugs, premarital sex, homosexuality, wantonness and ungodliness,” he says. “And they were right!”

Solis headed to Trinity University in San Antonio to study acting and playwriting. During his junior year, he traveled to England to study the man he hoped to become: William Shakespeare.

High on the Bard and back stateside, Solis moved to Dallas to continue studying and writing plays. All of his early work, however, was distinctly not about Mexicans or his life experience. Our stories, he thought, could not be high art.

“I didn’t see plays that revealed that part of my culture, so I didn’t write about it,” he says. “I was young and stupid.”

A popular series of plays he wrote and produced caught the attention of Teatro Dallas, which asked him if he’d write a play about Mexicans and Día de Muertos for the company.

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“I was astonished,” he says, unable to comprehend that someone wanted a play about people like him and that there was an entire community of Latinx theater makers out in the universe, waiting to collaborate. That year —1988 — he wrote what would become his breakthrough hit, “Man of the Flesh,” a comedic, Mexified adaptation of another Spanish classic, “The Trickster of Seville.” The show was widely produced for years and Solis’ Latinx theatrical world continued to expand.

“I haven’t looked back since,” he said.

Now 65 and living on a farm in southern Oregon with his wife, some goats and chickens, Solis has created a career out of works that reflect the Mexican American experience. He’s racked up a mountain of awards, including recognition from the Kennedy Center and the National Endowment for the Arts. He even nabbed a gig with Pixar, consulting on its 2017 animated hit “Coco.“ His oeuvre has been produced from Hartford to Houston, and is known for seamlessly blending political and cultural discourse along with the magical and crude.

“His plays have incredibly erudite moments,” says KJ Sanchez, a theater professor at the University of Texas in Austin and a director who worked with Solis on his adaptation of “Don Quixote.” “He also can write a great fart joke.”

It’s that mix as well as his specificity to the Tejano experience, says Sanchez, that makes Solis one of the most important writers of the new American theater canon. “He is next in that lineage from Eugene O’Neill to August Wilson.”

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Solis reckons he’s written at least eight plays about El Paso. The rest, he says, riff on the themes he associates with the city: alienation, disenfranchisement, reckoning with ghosts of the past and desperate love. Though he doesn’t live in El Paso anymore, Solis visits often. It’s different nowadays, he says. The isolation he remembers as a child has mostly evaporated into the desert, replaced by thriving communities of artists and writers, both online and in the city. Tim Hernandez, Dagoberto Gilb, Rosa Alcalá, Benjamin Alire Sáenz— the names of the El Pasoan writers rattle off Solis’ tongue with ease.

“El Paso has become a mecca for Latino writers.”

Solis threw out “Quixote“ and started over, racing to finish in time for the premiere less than a year away. He thought about his mother, who had recently begun battling dementia, and realized his Quixote, now a professor named Quijano, was also in the throes of a mental crisis, conflating his own life with the adventures written in Cervantes’ book. The leading men of the show traded their donkey and horse for a paletero cart and a big wheel bike with a horse skull attached. Instead of fighting windmills, Quijano fights the giant white surveillance balloons that patrol the West Texas skies. Solis wrote songs, incorporated Tejano folk music, added border-specific Spanglish and a generous amount of what he calls “scatalogical humor” and made significant changes until it was nearly time for the show to premiere. The curtain raised on the newly titled “Quixote Nuevo“ at Cal Shakes in 2018. Finally, Solis thought, his adaptation was complete.

Big, bawdy, political, serious and very fun, the show opened to rapturous reviews. “An instant classic,” raved the San Francisco Chronicle. Then, the calls for more productions came. In Houston it was called “a groundbreaking update.” In Denver, “a celebration of classic literature and Tejano culture.” “Quixote Nuevo“ has yet to be published and will have been produced by at least eight major theater companies by the end of the spring, far and away the most for any Solis work. Last fall, the play was performed on the South Coast Repertory’s Segerstrom Stage in Costa Mesa.

“I have been so proud of how this play has taken over the country,” said Ting.

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Last week, “Quixote Nuevo“ opened in Seattle. Dámaso Rodriguez, the new artistic director at Seattle Rep, says the production, which was programmed before he arrived, was part of the reason he was so excited to take the job.

“I know that Octavio is often framed as a Chicano playwright, but he’s one of the most significant playwrights in the U.S. independent of identity,“ Rodriguez said.

After Seattle, the show heads to Portland.

Solis says it’s been wonderful to see all the Latinx communities in these disparate cities come out to see themselves and support the show. The audience, even if they’re not Mexican, and even if they’ve never been to El Paso, he says, can find universal truths in the work.

“El Paso isn’t a place anymore,” he says. “It’s a state of mind.”

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Luis Rendon is a Tejano journalist who lives in New York City and writes about South Texas food and culture. He’s been published in Texas Monthly, Texas Highways and the Daily Beast. You can find him on Twitter/X @louiegrendon and Instagram @lrendon.

Entertainment

Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

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Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.

The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.

Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..

“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.

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Representatives for Soho House and Vichique Maya were not immediately available for comment.

Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.

After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”

According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”

She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.

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“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.

The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”

She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”

When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”

Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.

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In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.

However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”

In February, the plaintiff said that she was forced to quit her job.

One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.

It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.

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In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .

Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

“Mercy”

(Thriller/Crime: 1 hour, 39 minutes)

Starring: Chris Pratt, Rebecca Ferguson, Kali Reis

Director: Timur Bekmambetov

Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)

Movie Review:

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“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.

Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.

Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.

All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)

“Return to Silent Hill”

(Horror: 1 hour, 46 minutes)

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Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange

Director: Christophe Gans

Rated: R (Bloody violent content, strong language and brief drug use.)

Movie Review:

“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.

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Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).

Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.

Grade: D (Do not return to see this.)

“Sentimental Value”

(Drama: 2 hours, 13 minutes)

Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning

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Director: Joachim Trier

Rated: R (Language, sexual reference, nudity and thematic elements)

Movie Review:

“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).

This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.

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Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.

“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.

Grade: A- (Any motive valuable movie.)

“In Cold Light ”

(Crime: 1 hour , 36 minutes)

Starring: Maika Monroe, Allan Hawco and Troy Kotsur

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Director: Maxime Giroux

Rated: R (Violence, bloody images, strong language and drug material)

Movie Review:

“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.

Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).

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For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.

French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.

Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).

Grade: C- (Just cold and dark.)

More movie reviews online at www.valdostadailytimes.com.

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

As the media industry took stock of Paramount Skydance’s startling acquisition of Warner Bros. Discovery, one question lingered on the minds of many in the news business and beyond: What will this mean for CNN?

The iconic 24-hour cable news network is among the various Warner Bros. assets that would be scooped up by Paramount in a deal announced Thursday that could transform the media landscape.

Paramount has undergone a swift transformation under Chief Executive David Ellison following his family’s acquisition of the company last summer. These changes reached CBS News almost immediately with the appointment of Bari Weiss, the controversial Free Press co-founder, as its new editor in chief.

Bari Weiss moderated a town hall with Erika Kirk, widow of slain conservative activist Charlie Kirk.

(CBS via Getty Images)

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Weiss’ tenure so far has been rocky.

Her decision to pull a “60 Minutes” story about conditions inside an El Salvador prison that housed undocumented Venezuelan migrants from the U.S. received widespread criticism and accusations of political motivation. The network said the story was held for more reporting, and the segment eventually aired.

There was more upheaval last week at the news magazine, when “60 Minutes” correspondent and CNN news anchor Anderson Cooper announced that he’d be leaving to spend more time with his family.

And earlier this year, a veteran producer at “CBS Evening News With Tony Dokoupil” was fired after he expressed disagreement about the editorial direction of the newscast.

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Now, the concern is that similar changes could be in store for CNN, which has long been a target of President Trump’s ire. He has personally called for the ouster of hosts at the network who have questioned his policies.

CNN Worldwide Chief Executive Mark Thompson tried to quell some of those fears, particularly inside his own newsroom.

In an internal memo dated Thursday and obtained by The Times, Thompson urged employees not to “jump to conclusions about the future” and try to concentrate on their work.

“We’re still near the start of what is already an incredibly newsy year at home and abroad,” he wrote in the note. “Let’s continue to focus on delivering the best possible journalism to the millions of people who rely on us all around the world.”

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

(Shannon Finney / Getty Images for Semafor)

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CNN declined to comment beyond Thompson’s memo.

Ellison has said his vision for a news business is one that is ideologically down the middle.

“We want to build a scaled news service that is basically, fundamentally in the trust business, that is in the truth business, and that speaks to the 70% of Americans that are in the middle,” he said during a Dec. 8 interview on CNBC, shortly after Warner said it had chosen Netflix as the winning bidder for its studios, HBO and HBO Max. “And we believe that by doing so that is for us, kind of doing well, while doing good.”

Ellison demurred when asked whether Trump would embrace him as CNN’s owner, given the president’s past criticisms of the network.

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“We’ve had great conversations with the president about this, but … I don’t want to speak for him in any way, shape or form,” he said.

First Amendment scholars have raised concerns about press freedom and free speech rights under the Trump administration, particularly after last month’s arrest of former CNN journalist Don Lemon and the Federal Communications Commission’s pressure on late-night hosts like Jimmy Kimmel and Stephen Colbert.

Press freedom groups have long asked questions in other countries about how authoritarian regimes use their power and “oligarchical alliances to belittle, silence, and punish independent journalistic voices, or to steer media ownership toward … a preferred version of the truth,” said RonNell Andersen Jones, a 1st Amendment scholar and distinguished professor in the college of law at the University of Utah, in an email.

“We see them asking at least some of these questions about the U.S. today,” she wrote.

Apprehension about the merger also extends beyond its implications for CNN and the media business.

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Lawmakers such as Rep. Laura Friedman (D-Glendale), Sen. Adam Schiff (D-Calif.) and Sen. Cory Booker (D-N.J.) have raised concerns about how the consolidation of two major Hollywood studios could affect industry jobs and film and television production — which has significantly slowed since the pandemic, the dual writers’ and actors’ strikes in 2023 and corporate cutbacks in spending.

Sen. Elizabeth Warren (D-Mass.) called the deal an “antitrust disaster” that she feared could raise prices and limit choices for consumers.

“With the cloud of corruption looming over Trump’s Department of Justice, it’ll be up to the American people to speak up and state attorneys general to enforce the law,” she said in a statement.

Already, California Atty. Gen. Rob Bonta has said the merger isn’t a “done deal,” adding that he is in communication with other states attorneys general about the issue.

“As the epicenter of the entertainment industry, California has a special interest in protecting competition,” he posted Friday on X.

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The deal is subject to approval by the U.S. Justice Department. Bonta and other state attorneys general are expected to file a legal challenge to the mega-merger on antitrust grounds.

Ellison addressed some of these concerns in a statement Friday.

“By bringing together these world-class studios, our complementary streaming platforms, and the extraordinary talent behind them, we will create even greater value for audiences, partners and shareholders,” he said. “We couldn’t be more excited for what’s ahead.”

Times staff writer Meg James contributed to this report.

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