New York City Mayor Eric Adams told reporters that for decades he carried in his wallet a photo of his friend, Officer Robert Venable, who died in the line of duty in 1987. When The New York Times asked to see the image in February 2022, the mayor showed a photo that appeared weathered and aged. But, the Times reported Thursday, that photograph was created by Adams’ staff shortly after he claimed to have carried it for years.
A person familiar with the matter informed the Times that the mayor’s employees...
A person familiar with the matter informed the Times that the mayor’s employees...
- 7/6/2023
- by Peter Wade
- Rollingstone.com
Exclusive: Merle Haggard’s life may be made into a feature film. Gmh Productions has optioned the script Done It All, about the life of the legendary country singer/songwriter/musician, written by Cinderella Man scribe Cliff Hollingsworth. The project, named after one of the country legend’s hit songs, was developed in conjunction with Carl Cooper, a friend who Haggard put in charge of helping to develop a movie about his life with the screenwriter. The idea for the…...
- 4/12/2016
- Deadline
Blockbuster – the one-time giant in the home video rental business which went bankrupt last September – was bought at auction this past week by Dish Network for $320 million. According to Dish, it intends to combine its wireless technology with Blockbuster’s brand name recognition, studio relationships and digital rights to re-establish Blockbuster as a player in the direct-to-home market against Netflix and newer contenders like Amazon and a Warner Bros. online rental service to be offered on Facebook.
However this plays out long-term, the auction buy is the last page in a final chapter begun back in September when Blockbuster busted. To trot out the old cliché, it’s the – everybody now — end of an era.
The business Blockbuster used to be in seemed revolutionary in its day, though it seems almost quaint now; come Friday, some delegate from the family would trot to the neighborhood video store hoping to get...
However this plays out long-term, the auction buy is the last page in a final chapter begun back in September when Blockbuster busted. To trot out the old cliché, it’s the – everybody now — end of an era.
The business Blockbuster used to be in seemed revolutionary in its day, though it seems almost quaint now; come Friday, some delegate from the family would trot to the neighborhood video store hoping to get...
- 4/10/2011
- by Bill Mesce
- SoundOnSight
Chicago – Universal Home Video is releasing a wave of titles timed for Father’s Day gifts. Some of their choices - “Field of Dreams,” “Fletch” - seem like logical picks for a better HD daddy day than another striped tie while others seem chosen purely because they have the word “Men” or “Man” in the title - “Children of Men,” “Cinderella Man,” “Inside Man”.
Most are pretty good and some are great. Pick your favorite and give it to your Blu-Ray pop.
“Inside Man” will be released on Tuesday, June 2nd, 2009.
The other five titles were released on Tuesday, May 26th, 2009.
“Children of Men”
Photo credit: Universal Synopsis: “No children. No future. No hope. In the year 2027, eighteen years since the last baby was born, Clive Owen portrays an unlikely champion of the human race when he is asked by his former love, played by Julianne Moore to escort a...
Most are pretty good and some are great. Pick your favorite and give it to your Blu-Ray pop.
“Inside Man” will be released on Tuesday, June 2nd, 2009.
The other five titles were released on Tuesday, May 26th, 2009.
“Children of Men”
Photo credit: Universal Synopsis: “No children. No future. No hope. In the year 2027, eighteen years since the last baby was born, Clive Owen portrays an unlikely champion of the human race when he is asked by his former love, played by Julianne Moore to escort a...
- 5/26/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
DVD Playhouse—May 2009
Paramount Centennial Collection Paramount Studios releases two more classic titles from its library on special edition DVD: The Man Who Shot Liberty Valance is John Ford’s last masterpiece (although he would go on to direct two more very good films) from 1962: about an Eastern lawyer (James Stewart) who travels west only to find primal brutality in the form of sadistic bandit Liberty Valance (Lee Marvin, great as always) and pragmatic brutality in local rancher Tom Doniphon (John Wayne), each two sides of a coin that represent a way of life slowly dying out as Stewart’s modern brand of civilization tames the West. A perfect film, period. Howard Hawks’ El Dorado is essentially a remake of his earlier classic Rio Bravo, with John Wayne, Robert Mitchum and a young James Caan as lawmen joining forces against corrupt cattle barons. Great fun. Two disc sets.
Paramount Centennial Collection Paramount Studios releases two more classic titles from its library on special edition DVD: The Man Who Shot Liberty Valance is John Ford’s last masterpiece (although he would go on to direct two more very good films) from 1962: about an Eastern lawyer (James Stewart) who travels west only to find primal brutality in the form of sadistic bandit Liberty Valance (Lee Marvin, great as always) and pragmatic brutality in local rancher Tom Doniphon (John Wayne), each two sides of a coin that represent a way of life slowly dying out as Stewart’s modern brand of civilization tames the West. A perfect film, period. Howard Hawks’ El Dorado is essentially a remake of his earlier classic Rio Bravo, with John Wayne, Robert Mitchum and a young James Caan as lawmen joining forces against corrupt cattle barons. Great fun. Two disc sets.
- 5/12/2009
- by Allen Gardner
- The Hollywood Interview
In boxing lore, there have been few comeback stories as inspirational as the precipitous fall and equally dramatic ascension of Depression-era fighter James J. Braddock.
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
- 6/21/2005
- The Hollywood Reporter - Movie News
In boxing lore, there have been few comeback stories as inspirational as the precipitous fall and equally dramatic ascension of Depression-era fighter James J. Braddock.
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
- 6/16/2005
- The Hollywood Reporter - Movie News
Being In America has been good for Paddy Considine. The English actor, who stars in Jim Sheridan's In America, is in negotiations to make his major studio debut starring opposite Russell Crowe in Universal Pictures/Miramax Films' period boxing project Cinderella Man. Ron Howard is directing and producing along with Brian Grazer and Penny Marshall. Cinderella Man tells the tale of real-life heavyweight boxing champ Jim Braddock (Crowe). During the 1930s, Braddock was an aging boxer who made a comeback while trying to provide for his family during the Depression. Considine would star as Hank, Braddock's best friend and fellow dockworker. Considine joins a cast that includes Renee Zellweger, Paul Giamatti and Craig Bierko. Written by Cliff Hollingsworth, C. Gaby Mitchell and Akiva Goldsman, Cinderella Man is a Universal/Miramax co-production of an Imagine Entertainment presentation. Universal is distributing domestically, with Buena Vista International handling international distribution for Miramax. Considine is repped by Writers and Artists Group International and ICM London. For In America, Considine has been nominated for a British Independent Film Award, a Golden Satellite Award and joins his castmates for a SAG nomination in the outstanding performance by a cast category.
Renee Zellweger has found her Cinderella. in Russell Crowe? Variety reports that the Oscar-nominated actress has signed on to co-star opposite the hunky Australian in Ron Howard's Cinderella Man. Brian Grazer will be producing the film, which is currently slated for spring start and is a Universal-Miramax co-production . just like Zellweger's upcoming Bridget Jones: The Edge of Reason; both films will be distributed domestically by Universal and overseas by Miramax. Word has it the actress has accepted a package deal for both films that will bring her $21 million. In Cinderella Man, Zellweger will play the wife of boxer Joe Braddock (Crowe), the Depression-era boxer who gained fame by surviving . and winning -- a grueling 15-round match against heavyweight champion Max Baer. Akiva Goldsman, who worked with Howard and Crowe on the Oscar-winning A Beautiful Mind, has done a second rewrite of script, which was originally done by Cliff Hollingsworth and then rewritten by Charlie Mitchell.
- 7/9/2003
- IMDbPro News
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