Reviews

it sadly didn't live up to my expectations

I came across this drama in Tiktok where it was heavily hyped as “one of the best xianxia/xuanhuan" which caught my attention because it indeed shows potential. Also I just recently watched PoJ (which some claims that LITC is much better) so at this point I am really expecting a lot. After watching LITC tho, I have to admit that the bar is low lol. Nonetheless, I genuinely enjoyed parts of it as it does have its strengths.

First, the acting of the cast— especially the leads— truly saved this drama for me. However the script and overall character arc/development failed them significantly. If not for the undeniable chemistry between Lu Yuxiao and Hou Minghao, I wouldn't have been convinced by their love story, because what do you mean 25 episodes were spent with continuous lying and deception and unending miscommunication. Their relationship just felt stagnant rather than meaningful.

It frustrated me most that even at the last episodes, there's no depth and proper development with Ming Yi's character. I was waiting for a moment of realization or inner monologue where she understands that lying to Ji Bozai isn’t the solution when in fact he was clearly in love with her, enough to accept all of her. For me, that’s such a major turning point and would’ve added so much depth to their story. Ironically, this kind of development was actually seen between Tianji and Yan Xiao, which solidied their relationship a lot all while emphasizing how much MingZai was lacking. I just hate that MIngZai didn’t get the kind of development and growth they deserve.

And don’t get me started with Situ Ling/Chao Yuan’s character. I was really disappointed. I disliked how the writers forced him into the role of the “true villain” when he never felt like one. What should have been a powerful and emotionally layered plot twist turned out to be so underwhelming. Situ’s villain arc lacked depth and nuance, eventually reducing him to someone driven solely by obsession. Especially, I was expecting his father to be the grand villain after Qibai’s death but even him lacked depth. I honestly don’t know what went to the writers’ head and saw Situ, jumped right into making him as the “true villain” for plot twist, and just called it a day. I’ll forever mourn the wasted potential of Ming Yi and Situ’s bond which could have added so much more complexity of the story, especially with how their story started.

Overall, most of the characters just felt flat for me and I wasn’t able to connect and get attached with them. Despite the cast delivering convincing performances, the writing just failed to support them, making it hard for me to get truly emotionally invested. As much as I wanted to care for them, but with the way their characters were written made it difficult for me. The only moment that genuinely hit me hard was Ershiqi’s sacrifice, and even then, it only fully registered on me when Ming Yi reacted. Even major plot points at the end, where you’re supposed to be mind blown, like the baby-swapping revelation, felt more like a convenient plot devices rather than organic developments driven by characters themselves. While, the plot twist itself was convincing, it still lacked the emotional intensity it should have delivered.

I truly enjoyed the first few episodes, but it just felt dragging due to its pacing as well as the lack of depth of characters, which ultimately caused it to lose its grip on me midway. I wanted to love and grow attached to them but sadly, I couldn’t. That said, I still enjoyed certain parts of this drama, particularly the fight scenes- the one thing that the production did right— it was, if not, the strongest part of the drama. The cast truly performed exceptionally well the OST is genuinely moving.

In the end, I’d still rate this a solid 8, mainly because the casts ate and absolutely hard carried the drama despite its flawed script. For me, this drama definitely fits the description: "promising start, repetitive middle, and a mid ending" It had so much potential— how I just wish it was written and executed better. (If I were to rewatch this, it would definitely just be for the wholesome moments lol)

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Nem toda luz vem sem sombra

Temas
dor emocional, silêncio, trauma, aceitação, amor, vulnerabilidade, solidão, conexões humanas, cura, limites emocionais

Um Amor Que Ilumina, para mim, não foi leve, foi denso… daquele tipo que não se explica tudo, mas se sente.

É um drama que trabalha muito mais no subentendido do que no dito. As dores estão ali, profundas, muitas vezes não verbalizadas, mas presentes o tempo todo. Não tem excesso de explicação, tem presença.

E isso me pegou. Eu gosto quando a história confia no silêncio, quando ela não precisa escancarar tudo pra fazer a gente entender. Aqui, muita coisa acontece no olhar, na pausa, naquilo que não foi falado, mas ficou.

Os personagens carregam histórias pesadas, daquelas que nem sempre são compartilhadas, às vezes nem com quem está ao lado. E o mais bonito pra mim é como o drama trata isso com respeito, sem pressa de resolver, sem forçar cura instantânea.

Porque nem toda dor quer ser resolvida rápido. Algumas só querem ser reconhecidas.

O amor aqui não vem como solução mágica. Ele aparece mais como presença, como um espaço onde, aos poucos, a pessoa pode começar a se aceitar, com tudo que carrega.

E isso tem uma beleza muito real. Não é um drama fácil, nem pra assistir, nem pra digerir. Mas é sensível, profundo e honesto.
No final, eu fiquei com uma sensação silenciosa, quase íntima.

Às vezes iluminar não é tirar a sombra…
é aprender a conviver com ela.

Impressão final, um drama intenso e emocionalmente profundo, que fala de dores não ditas e da força da aceitação, daqueles que não fazem barulho, mas ficam.

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Stunning to Look At, Harder to Believe

Initially, this show felt like a solid 9/10 for me, gorgeous cinematography, an array of very attractive leads, and that signature artistic style I’ve come to expect from this director. Visually, it absolutely delivers. But by the time the final episodes rolled around, my rating had slipped to an 8… honestly, closer to a 7.

The problem is that the storytelling just doesn’t hold up under all that beauty. I knew the director’s aesthetic and thematic style going in, and those elements didn’t disappoint. But the narrative itself felt thin, especially in the second half. The female lead, who starts off as a strong, capable, independent woman, slowly drifts into Mary Sue territory and not because she’s powerful, but because the writing stops challenging her in meaningful ways.

And don’t even get me started on the villains’ “deaths.” Plot armour so thick it might as well be bulletproof steel. You cannot convince me that being shot in the chest and falling off a city wall somehow results in… survival? I get that they may be trying to stay faithful to the source material, but at least make it believable.

Overall, it is stunning to look at and has moments of brilliance, but the uneven writing and unbelievable character outcomes hold it back from being truly great.

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Entre o que o mundo espera e o que o coração escolhe

Temas
amor, amadurecimento, diferença de idade, pressão social, carreira, autoestima, família, escolhas, recomeço, autoconhecimento

Encontre-se/ Find Yourself, foi aquele combo delicioso de leveza com verdade. Parece só uma comédia romântica moderna… mas quando você vê, já está pensando na vida.

A história gira em torno de relacionamentos, mas não daquele jeito idealizado. Aqui entra tudo, diferença de idade, pressão da sociedade, cobrança da família, insegurança, carreira… o pacote completo da vida adulta real.

E eu gostei muito disso. Porque não é só sobre se apaixonar. É sobre sustentar escolhas.

A protagonista me pegou justamente por isso. Ela não é perfeita, ela oscila, duvida, tenta acertar e às vezes complica o simples, como a gente. E isso deixa tudo mais próximo, mais possível.

Tem um charme leve no drama, momentos divertidos, situações que dão aquele sorrisinho de canto de boca, mas ao mesmo tempo ele vai cutucando questões importantes, tipo, até onde a gente vive o que quer… e até onde a gente vive o que esperam da gente?

E relacionamento aqui não é só romance. Tem amizade, tem família, tem trabalho, tudo se cruzando, mostrando que a vida não separa as coisas em caixinhas organizadas.

Eu terminei com aquela sensação boa de evolução. Não só dos personagens, mas quase como se a gente também fosse lembrado de algo importante.

Que encontrar alguém é ótimo…
mas se encontrar primeiro faz toda a diferença.

Impressão final, um drama leve, atual e cheio de reflexões sobre amor e vida adulta, daqueles que começam como romance e terminam como espelho.

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Não é sobre encontrar o jade, é sobre quem você se torna na busca

Ambição, identidade, poder, destino, resiliência, lealdade, escolhas, pertencimento, segredos, ruptura, amor, obsessão, dualidade.
Assistir Busca de Jade/ Por Você, para mim, foi uma experiência daquelas que começam como história… e terminam como reflexão.

Visual lindo, trilha que envolve, emoção bem construída, nada jogado. O drama não fica no raso, ele vai cavando, com calma, deixando tudo fazer sentido ao longo do caminho.

E aí entra o ponto que mais me pegou, o tal do “jade”. Porque não é só sobre o objeto. O jade ali é símbolo. De valor, de essência, de algo que precisa ser merecido, não apenas encontrado. E quando eu entendi isso, tudo ficou mais interessante, a busca deixou de ser externa e virou interna.

Todo mundo ali está atrás de alguma coisa. Poder, amor, reconhecimento, pertencimento. Mas no fundo, cada um está tentando encontrar quem é, ou quem quer ser.

E é aí que entram as duas camadas da história que eu adorei.

De um lado, o marquês e a açougueira, construção, escolha, crescimento, humanidade.
Do outro, o “vilão” e sua amada, intensidade, desvio, obsessão, um amor que atravessa limites.

Não é uma história ou outra. É um espelho.

Começam em pontos parecidos, mas mostram caminhos diferentes. E isso pra mim é o coração do drama, não é o destino, são as decisões no meio do caminho.

E quando chega o final… eu sei que dividiu muita gente. Mas pra mim fez sentido.

Porque o drama já tinha entregado tudo antes. O final não vem explicar, vem provocar. Não fecha mastigado, fecha coerente com tudo que foi construído.

Quase como se dissesse, eu já te mostrei tudo, agora sente e entende.
E eu gosto disso. Gosto quando a história respeita quem está assistindo.
Saí com uma sensação forte, não é sobre quem encontrou o jade.
É sobre quem se tornou digno dele.

Impressão final: um drama intenso, bonito e cheio de camadas, que usa a busca como metáfora da própria vida, porque no fim, o verdadeiro tesouro nunca foi o objeto, sempre foi a transformação no caminho. E se...

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i have the feeling that i ended up having a déjà vu

i have the feeling that i ended up having a déjà vu 🤔. ah, i know: i watched exactly a k-drama last year with the same plot and the same premise. but i remember that, there, the guy worked almost for free for the ghosts and still managed to make some money 💰 it’s inevitable we work to earn money.
but here, i don’t get it: why isn’t the main character making any money? not even a little? not a single coin? 🤔

on the other hand, that would be bizarre. a ghost doesn’t have a credit card or money saved. unless they left some amount while alive, but then that would basically be theft. the bank would call the police immediately! a stranger withdrawing money from someone else’s account? that would be simply absurd.

i don’t know anything about law or advocacy, because i’ve never needed it, but it’s normal for you to have some money. the guy, from the beginning, was completely broke. he lives with his mother, then “borrows” (without her knowing) her money and, overnight, already has a place to practice his vocation. so far, so good.

now i ask myself:

how is he going to make money?

who is going to pay the bills?

the ghosts, maybe? 🤔

the guy wrote a script and didn’t research a damn thing. “oh, but it’s fiction.” so what? there are limits to fiction. you don’t write something without knowing at least a little bit about how things work.
not to mention the exaggerated and kind of embarrassing acting. yes, embarrassing. i felt sick i laughed. i thought i was laughing at something he did, but in the end i was laughing at the acting.
ah, and not to forget the synchronicity with which the two lawyers take cases. are they working telepathically? 🤔 or are the ghosts bringing the cases to both of them?

because, honestly, it feels like something written by someone who doesn’t even know what they wrote.

i dropped it. and i felt free when i did that. it was a true liberation. i had more things to say, but i’m not having my best day.

even so, i recommend it… for those who don’t mind some weirdness or like something completely outside logic.

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Sunglasses After Dark

Whilst “Branded to Kill” can be seen as the most obvious breaking point in the relationship between Seijun Suzuki and the Nikkatsu production system, “Trapped in Lust” appears to sit within an even deeper, almost subterranean continuum, where that same rift resurfaces in other forms, adapting to a production context that has since changed.

It is no coincidence, after all, that behind the project we once again find Atsushi Yamatoya, who was already one of the writers of “Branded to Kill”, and who here - as well as playing the role of Takagawa- is involved in a reworking that feels more like a detour than a real remake.

In his compelling analysis, ‘Il Fiore e Il Serpente’ (2022), Beniamino Biondi devotes a section to Yamatoya, also mentioning three different screenplays that formed the basis for “Branded to Kill”, although, curiously, he merely touches upon “Trapped in Lust”.

We are in the midst of the pinku eiga and roman porno season – that cinematic realm where the body becomes the central element, both an exposed surface and a narrative device. Yet precisely where one might expect greater freedom of expression, the film immediately introduces a more ambiguous tension.
Sex, in fact, is never truly liberating. It is obviously ever-present, pervasive, almost obsessive — yet progressively stripped of meaning, as if, by inertia, it continued to exist even after having lost its purpose.

Hoshi, the main character played to perfection by Genjiro Arata, navigates this system as a figure already broken. A rising killer, driven by a desire for recognition that coincides with his climb to the top of the organisation, he soon finds himself caught up in a decidedly complex dynamic that ultimately overwhelms him.

The character of Mayuko (the voluptuous and alluring Moeko Ezawa) — an apparently faithful wife, but in reality a pawn of the organisation — introduces an element of structural ambiguity right from the start: there is no relationship that is not, to some extent, constructed, manipulated or prearranged.
His (apparent) elimination, however, does not result in what might be seen as a strengthening of the protagonist, but rather marks a rupture. It is as though, just at the moment when the body should (and could) re-establish itself as the centre of the action, something ends up breaking irrevocably.

The resulting impotence — made all the more evident in his encounter with Yumeko (Nozomi Yasuda), the young prostitute at the hotel — is not merely a narrative element, but a genuine deviation from the system: desire, stripped of his ‘object’ and, at the same time, of its mystery, is transformed into an automatic gesture, a function incapable of producing any meaning whatsoever.

It is no coincidence that Hoshi spends almost the entire film behind a pair of sunglasses, worn regardless of whether he is indoors or outdoors, or whether it is day or night: it is as though his gaze, filtered and obscured, ends up conveying an inevitably distorted view, a reflection of a cinema in which reality is no longer simply shown, but is constantly obscured, distorted and re-enacted.

As was already the case in "Branded to Kill", a recognisable structure is present here too: there is always an organisation, rules are followed, and a hierarchy is in place. But it is precisely in the relationship with these rules that the film finds one of its most significant turning points.

Hoshi’s fault lies not so much in the mistake itself, but in the return. In returning to the scene of the crime, in reopening what ought to remain closed. It is an act that disrupts the system’s internal balance — and lays it bare. From that moment on, the climb is no longer merely ambition, but a form of attraction towards the point where the mechanism seizes up, becomes visible, and turns inevitable.

It is in this context that some of the film’s most unsettling characters emerge.
The ruthless and sadistic killers Mario and Saigo form a dual, almost unreal, certainly hallucinatory presence: a seemingly fragile female doll juxtaposed with a rigid, armed, silent body. Only later does the apparatus reveal itself for what it is: a simulated identity and mechanical bodily artificiality, a sort of Cronenberg-esque hybridisation.

Even once revealed, the effect does not fade. A sense of unsettling continuity remains, as if the body could now be broken down, reassembled and manipulated without any stable point of reference. It is precisely through these figures that violence takes on a further dimension: no longer a source of tension, as is typical of noir, but a repeated, almost abstract function.

The deaths follow a pattern that borders on the grotesque — bodies frozen in baffling, ambiguous poses, even the act of defecation abruptly interrupted (a pure homage to Suzuki, worthy of the finest Abel Ferrara) — whilst the narrative seems to constantly veer away from a linear progression. Curious musical and choreographic interludes, featuring Crazy Horse-style dancers who are stripped down and seemingly out of context, do not interrupt the narrative, but rather throw it off balance.

In Hoshi’s journey, this gradual loss of coherence results in an ambiguous transformation. Having eliminated his opponents, though physically scarred — blind in one eye — the protagonist seems to regain a form of ‘vigor’, but this recovery does not amount to a genuine restoration. Rather, it is the final stage of a process: the body returning to function just as everything else has ceased to make sense.

The final confrontation takes place in a stunning, almost Stanley Kubrick-esque setting that is both a fortress and a stage: a concrete building, isolated and surrounded by vegetation, which gradually reveals itself for what it is.: A theatre. The boss offers no resistance. He sits, observes, waits. The gesture that concludes the confrontation is simple, direct, inevitable. And immediately afterwards, something cracks.

Hoshi bows. Not to anyone in particular — perhaps, hypothetically, to an invisible audience; is this, ideally, a breaking of the fourth wall!?

It is at this point that the film ends with a meta-cinematic short circuit: power reduced to the role of spectator, the killer to that of performer, violence to mere representation. There is no victory left. Here too, there is no conclusion, but only the realisation that what we have witnessed was nothing more than a visionary performance taken to the extreme.

Whilst “Branded to Kill” depicted a system that had ceased to function, “Trapped in Lust” portrays what happens when, in place of rules, only the body remains. And even that, inevitably, ends up breaking down.

8/10

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Boyfriend on Demand is one of those K-dramas that doesn’t try to reinvent the genre, but instead focuses on delivering an entertaining and easy-to-watch experience. With a modern premise centered around digital relationships, the series hooks you from the start with its concept: an app that lets you have your “ideal boyfriend.”

And I have to say it… the virtual boyfriend app is really cool . The design, the interface, and the way this digital world is portrayed are quite well done. On top of that, the settings are absolutely beautiful, with a carefully crafted aesthetic that makes every scene visually pleasing.

The story also touches on interesting themes like loneliness and the idealization of love, although it doesn’t go too deep into them. That said, the drama is full of clichés from beginning to end, predictable situations and twists you can see coming… but somehow, they don’t feel too annoying if you go in expecting something light.

The performances do their job well, and the chemistry between the leads works nicely. But to be completely honest… I mainly watched this drama because of my beloved Seo In-guk, and I don’t regret it . His presence always adds something special and makes the experience even more enjoyable.

As for the pacing, it’s quite smooth and perfect for unwinding. It’s not a life-changing drama, but it’s definitely one that keeps you company and gives you some sweet moments.

Overall, Boyfriend on Demand is a light, visually appealing K-drama full of clichés, ideal for relaxing… especially if, like me, you have a soft spot for Seo In-guk .

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Too sweet, REWATCHED

The most sweetest couple ever 😍😍😍 the couple so sweet and so cute, I have moments where my heart can't handle this much sweetness, rare drama where both leads are equally best, the only cdrama which gives real true love feeling, other author should learn from this? they go on so many dates and so many romantic interaction, (while other cdrama they will go only on 1 date that's it and romance disappears in later)and the main screen time is main couple, even the 2nd couple is really slow burn unlike other drama where they start as slow burn but suddenly pregnant or marriage? cdrama lacks romance and sweetness like this ,this is what 90% kdrama look like and feel like, whereas cdrama historical, fantasy, etc all focus on everything except from romance, this is how a romance genre should be
there's enough
romance
comedy
friendship
no unnecessary drama
no dragging
no annoying 2nd couple,the only rare drama where I like 2nd couple too



i had given up on chinese drama 10 years ago when I started kdrama,most kdrama are 10 on 10 but for me chinese is still on level 7 or 8 only this is 10 on 10 for me ,I thought Chinese drama have improved but no still the same only few are good rest the same as 10yrs ago ,this is the best CDRAMA I have watched
She has one of the best high school drama all of them are good I liked it from start till end everything
her every drama is 10 on 10 and y'all rating them 8 seriously? and ratings others drama which are not good at all as 9 ?
this drama is so good and you still have problem with this ? who is giving this less rating ?🙄

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I feel the ML had no significance here, it's all about the FL trying her best to land a job and backfire the conspiracies happening to her.

It's not that I'm complaining, the show was entertaining specially when the FL is strong and has a solution for every trick they play on her but the romance however, is just too plain.

I would have liked it better if it's about achieving your dreams and you know working hard and so... But romance is completely weak here, and the ML appears in less than half of the scenes.

Overall nice, if you skip the forced romance here. I just didn't like the end, i don't know if the version I watched was choppy or is that actually how it ended, but it has a happy end in the novel, but nothing about what happened IRL, which is kinda weird end IMO.

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No romance at all, liars in review section

Starting is good, chinese drama author only know to start well but don't know how to keep it going well,it becomes bad, boring from half of the eps ? i watched till 15 eps and the story isn't focused on romance at all but historical, ml are not bad but not good nothing different, they literally behave life close friends from start till 15 and how are they suddenly going to fall in love now ? when there's no romantic scenes interaction at all ? i thought after being 10yrs in kdrama and avoiding chinese because they're really bad at writing stories ,now I thought they have improved? now feels like they're still the same I hardly rate any drama 10 , these drama completely lack romance ,I read review and started are those fake reviews or what where is comedy in this ? where ? and where is romance? only historical that's it
There's no romance in this ,the romance that didn't exist for 15-20 eps they're probably forced into it later or at end ,it isn't slow burn , they're like friends all the time , comedy is for starting few episodes only ,this one isn't even slight category

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“Great Performances, but Respect Matters More Than the Story”

“𝐈𝐟 𝐲𝐨𝐮 𝐜𝐚𝐧’𝐭 𝐭𝐚𝐤𝐞 𝐜𝐚𝐫𝐞 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐨𝐰𝐧 𝐡𝐞𝐚𝐫𝐭, 𝐡𝐨𝐰 𝐜𝐚𝐧 𝐲𝐨𝐮 𝐥𝐨𝐨𝐤 𝐚𝐟𝐭𝐞𝐫 𝐚𝐧𝐨𝐭𝐡𝐞𝐫?”
- 𝐒𝐞𝐤𝐬𝐚𝐧 (𝐊𝐞𝐫𝐝 𝐏𝐞𝐧 𝐇𝐨𝐧𝐠, 𝟐𝟎𝟏𝟐)

This line from Seksan (2ML) to the Thiew (ML) stayed with me while watching, and It perfectly captures the heart of this drama: love, loyalty, and the moral choices characters face.

What made me start Kerd Pen Hong was P’Kwan, and going in, I expected something within the usual debt, revenge, and misunderstanding genre and it did follow that path. The story revolves around Thew trying to question the will that handed over his father’s assets to Thep, which sets off a chain of conflicts, revenge, and emotional tension between the characters.

There are definitely things I appreciated here. The casting was strong, especially Thep as the villain. Honestly, he stood out even more than the main lead for me. The acting overall was convincing, and the OSTs added a nice emotional layer to the scenes. My favorite character was Thiraphon (2ML), the doctor whose calm, grounded, and someone who brought a sense of balance to the story.

I also liked how the villain’s three wives eventually came together and allowed justice to take its course. Their shift from rivalry to understanding was something I didn’t expect but really appreciated. Seeing Khun Kaew in a good mother role was refreshing too. The female lead’s stubbornness and dignity made her character strong, and while the male lead wasn’t the best initially, I’m glad he showed growth. The drama also did well in showing karma, people eventually faced the consequences of their actions, which I always value.

However, there was something that deeply affected my experience, something I couldn’t simply overlook. Certain scenes in the drama used sacred religious elements, like a Buddha statue in ways that felt jarring and out of place. In our culture, these symbols represent peace, reverence, and calm, so seeing them included in intense or dramatic moments pulled me out of the story. As someone who values my faith deeply, this wasn’t something I could just overlook as “just a scene.” Even if the intention wasn’t harmful, it still crossed a line for me . I truly respect the actors and the story, but for me, honoring these boundaries mattered more than anything, so for me; the production failed in a certain way

That’s why this became the first Thai drama I’ve rated 5.0/10. I genuinely appreciate the effort of the actors and the strength of certain parts of the story, that’s why I didn’t go lower. But at the same time, my respect for my beliefs is something I can’t compromise on, even for a drama I otherwise might have enjoyed more !

Overall, this is a drama with good performances, familiar themes, and some meaningful character moments but also one that didn’t sit right with me on a personal level.

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