8 Essential Steps to Unblocking Creativity

All of us have creative slumps. The question is what do we do with artistic impasses and how do we avoid eternal inertia? Is there any benefit to a slow period or is it indicative of self-sabotage and stagnation? How do we self-correct and get back on course?

Creativity has its ebbs and flows. That is its nature. Yet when this vital force becomes inhibited, we lose traction in our work. We then squander our creative energy and impede productivity. To get back on course, it can be helpful to diagnose the issue and take action.

Usually, there is a combination of inner and outer factors- some minor, some major- that all contribute to resistance. We may be battling powerful inner demons or more insidious things like multi-tasking, lack of focus, and spending too much time doing things we don’t want to do. Here are eight essentials for getting back on course to pursuing your dreams:


  1. Invite Curiosity and Compassion

Beating ourselves up about being blocked will never solve the problem. It will just leave us feeling more defeated. Instead we can invite curiosity and compassion into what is going on. This provides invaluable information that we can leverage.

Sometimes we get blocked because we’re going through a hard time emotionally and have personal issues in our lives that need to be addressed. It’s wonderful when we can channel our immediate feelings into our art but sometimes we need to focus on the problem at hand and to heal. This allows some perspective and distance we can later incorporate back into our work. Regardless, our very “stuck-ness” might be rooted in issues that could be mined for gold.

Compassion invites ease into the creative process because we’re no longer trying to strangle things with our efforts and frustrations. Instead, we’re problem solving.


  1. Distinguish the Business Side of Things from the Creative

When creativity is our vocation this creates tension between creative tasks and administrative ones. We can’t abandon our craft, nor neglect the business aspects required to get our work out into the world. We must do both.

Clarity on how to strike this balance creates more space for creative execution. Marking, raising funds, and tending to details are paramount but they need to be treated as separate from raw creative output. Otherwise, we’ll feel frustrated and unfulfilled when we get too sucked into the business side of things. We need time for the muse as well.

And yes, social media is good for self-promotion but it can also deprive us of precious creative time. Consider only using social media at specific periods during the day or hiring an assistant to help manage it.


  1. Seek Mentors

When it comes to mastering a craft, we want to learn from the best. Seek out professionals whose work you admire when it comes to learning your specific art form. There is always something to learn, no matter where we are on the path. When Jane Fonda was hired on “Grace and Frankie”, she immediately started working with an acting coach despite being a veteran in the field.

Mentorship helps us stay accountable to our goals and saves us time. Why reinvent the wheel if someone who has paved the way before can give us some tips? Not only that, art is collaborative and based on relationships. Mentorship helps foster the relational aspects of the industry that are so vital to success.


  1. Let the Field Lie Fallow

In farming there is the tradition of letting fields lie fallow so the soil can replenish itself before planting crops again. For those of us running on empty, burnt out from work and responsibilities that have left us bone tired, we need periods of inactivity. Without pause, it is difficult to get in touch with our creative impulses, particularly when our lives are moving at such a fast pace that we can barely keep up. Creativity demands periods of down time. This allows us to refill the well and fosters dreamtime. Some of the most innovative ideas come when lounging on the couch, washing the dishes, going for a walk, or reading a novel for pleasure.

There is a story about a goose that laid a golden egg a day. Her owner became greedy and forced her to produce more. Eventually, she stopped laying any eggs.


  1. Explore the Tension Between Surrender and Will

Creating is a weird balance of surrender and will. We need to take action. For instance, a screenplay doesn’t write itself. We have to turn on the computer and type. On the other hand the real magic lies in being receptive to ideas that emerge when we aren’t necessarily “trying” so hard to create. When we push too hard for an outcome, we can strangle the moment- on the page and on the stage.

If you’ve ever surfed, you know that catching a wave requires being out there in the water. You have to suit up, show up, and paddle. However, you actually catch the wave by sensing its momentum and allowing it to propel you. The wave takes you just at the moment when you are in the right position. Then you pop up on the board. Creating is like that. It’s a tension between exerting effort and then letting go.

We work through blocks when we practice “being” in the midst of doing.


  1. Go Where the Juice is!

Sometimes we’re blocked because we’ve lost our passion for a project. When this happens, it can be helpful to explore something that excites us instead. This doesn’t mean that we’ll never complete what we start. We need to finish projects even when the going gets tough and tedious. However, sometimes we need a shot of vitamin B. Moving in a different direction might supply this boost.

Tracking where there is artistic desire and pleasure is helpful. We don’t need to know why we’re drawn to certain projects. Sometimes our most creative ideas come out of left field. Be open to surprises! This is the beauty of the Mystery.


  1. Keep the Train Moving

I’m a huge fan of the Nike commercial, “Just do it!” Often what we most need to do is to lace up our sneakers and get our butts out the door. Momentum is essential for moving through creative blocks. No matter how much we might be prone to procrastinating, we must keep the train moving. If this is as struggle for you, have an accountability partner. Schedule tasks and times to do things. Despite the block, keep moving. Even if you have to take a break from one project, work on another one. Or, if you’re super stuck, try creating in a different medium for a while. Just keep doing something. This primes the pump.

It can also be helpful to note that the root word of discipline is “disciple.” Instead of viewing discipline as drudgery and rigidity, think of it as sacred. We when our devoted to our craft we engage with the Divine.


  1. Conceptualize Your Life as a Work of Art

Even though we all might dream about Oscars and fame, creativity is a process, not a product. Furthermore, creativity is inherent in all aspects of our lives: building and maintaining relationships, raising children, making meals, growing a garden, even getting dressed! Keeping this perspective reminds us of how vital creativity is to our wellbeing. It is our life force.

Not only that, creativity allows us to organize the chaos of our lives- and to make something of beauty from it.

Our lives are works of art. We get to call the shots- if we maintain this perspective. As Albert Einstein once said, “Logic will take me from A to B– imagination will take me anywhere.”



Ready to unblock your creativity? Join Lise Porter at her “Unblocking Creativity” Panel (followed by a tea party) for Raindance LA!



Lise Porter is an actor, writer, speaker, and licensed psychotherapist living in Los Angeles. She has contributed extensively to the mental health field and speaks nation-wide. She has been published twice in the International Journal for the Arts in Psychotherapy, writing on the topic of drama therapy. Her book, Own Your Life: How Our Wounds Become Our Gifts is available on Amazon. You can learn more about her at www.liseporter.com.











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Tweet Sets Hollywood Atwitter

Netflix pays big bucks for Twitter-inspired movie project.

What do Grammy winner Rihanna, Oscar winner Lupita Nyong’o, writer-director Ava DuVernay, and HBO star Issa Rae have in common?

A social media meme…
And a big honking movie deal.

All in about one month’s time.

The whole thing started with this tweet:

Which led to this tweet:

Which led to this tweet:

Which led to this tweet:

Which led to this tweet:

Which led to this:

Which ended up with this:

For background:

Entertainment Weekly


Hey, screenwriter. I can pretty much guess what you’re thinking…

Fuck. Here I am slaving away on a spec script for six months, obsessing over my characters and themes and page count and white space and all of that shit. And in a little over a month, a project gets a thumbs-up based on a God damn tweet?

If you can manage to step away from the ledge for a moment and consider this rationally, you have to admit that original inspiration — which actually goes back to this Instagram post two years ago — is actually pretty genius:

They look like they’re in a heist movie with Rihanna as the tough-as-nails leader/master thief and Lupita as the genius computer hacker.

For better or worse, we work in an industry where the combination of high concept and talent are just about the only asset which the studios will even glance at apart from their obsession with pre-branded content and franchises. So we have to give it up for the author of that initial conceit.

As far as the food chain which led from one celebrity Twitter account to another, welcome to the New World. It’s networking of the virtual kind and it’s self-evident given the nature of this deal that it can work.

My takeaway is the same old same old: Story ideas are EVERYWHERE! We just have to keep our eyes open and our ears peeled.

And out tweets atwitter.

Waitaminute! What if in the sequel, Margot Robbie, Elizabeth Olsen, and Elle Fanning are a rival grifter gang hellbent on cutting in on Rhianna and Lupita’s action…

Netflix, you know where to reach me.

Tweet Sets Hollywood Atwitter was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story - Medium

Tuesday, May 23 Filming Locations for Stitchers, Dead Girl Detective Agency, Mr. Robot, Divorce, & more!

Here’s a look at some of the movies and TV shows filming on location on Tuesday, May 23, 2017: Filming in California TV Series: Dead Girl Detective Agency  Location: 506 S Grand Ave, Los Angeles (7:00 AM — 10:00 PM) TV Series: Saint Judy Stars: Michelle Monaghan Location: 201 S Santa Fe Ave, Los Angeles (7:00 AM — 10:00 PM) TV Series: Stitchers Stars: Emma Ishta Location: Halfway House Cafe, Santa Clarita TV Series: Ray Donovan Stars: Liev Schreiber Location: Sony Studio, Los Angeles TV Series: The Fosters Stars: Maia Mitchel Location: Warner Brothers Studio, Los Angeles  Filming in Illinois Movie: Widows Stars: Viola Davis Location: 290 E Chestnut St, Chicago  TV Series: Easy Stars: Jane Adams Location: 2058 W 101st St, Chicago  Filming in New York‏ Movie: You Can Choose Your Family Stars: Jim Gaffigan Location: Euclid Ave, Hasting-on-Hudson Credit: @Hastings10706 TV Series: Alex Strangelove Stars: William Ragsdale Location: Eastchester Lake Isle Park TV Series: Shades of Blue Stars: Jennifer Lopez Location: 9th St and 27th Ave, Astoria TV Series: Jessica Jones  Stars: Krysten Ritter Location: believe they are filming in studio, will try to confirm during the day TV Series: The Marvelous Mrs. Maisel Stars: Rachel Brosnahan Location: W 44th St and 6th..

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On Location Vacations

Wonder Woman Movie Promo Starring Supergirl, Lynda Carter and More!

New Supergirl extended Wonder Woman movie promo featuring Lynda Carter and Terri Hatcher. Check out the Wonder Woman movie promo here!

Supergirl extended Wonder Woman movie promo featuring Lynda Carter and Terri Hatcher

A new Wonder Woman movie promo featuring Supergirl‘s Melissa Benoist, Chyler Leigh, Terri Hatcher and Lynda Carter just premiered on The CW. You can check it out in the player below. The Wonder Woman movie promo features Supergirl in some very familiar boots, with her sister Alex (Leigh), the President (Carter who played Wonder Woman in the 1970s TV series) and Rhea (Hatcher). It’s all to promote the film opening on June 2.

RELATED: Explore Wonder Woman Props, Costumes and Fan Art

Before she was Wonder Woman, she was Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when an American pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers…and her true destiny.

Wonder Woman stars Gal Gadot (The Fast and the Furious films, Batman v Superman: Dawn of Justice), Chris Pine (Star Trek), Robin Wright (The Girl with the Dragon Tattoo, Netflix‘s House of Cards), Danny Huston (Clash of the Titans, X-Men Origins: Wolverine), Ewen Bremner (Exodus: Gods and Kings, Snowpiercer), Saïd Taghmaoui (American Hustle), Elena Anaya (The Skin I Live In), Connie Nielsen (GladiatorNymphomaniac: Vol. I) and Lucy Davis (Shaun of the Dead).

Directed by Patty Jenkins, Wonder Woman is being produced by Charles Roven, Zack Snyder and Deborah Snyder, with Richard Suckle, Stephen Jones, Wesley Coller, Geoff Johns and Rebecca Roven serving as executive producers. Wonder Woman opens in theaters on June 2, 2017.

Check out the Wonder Woman movie promo below and let us know what you think! Are you guys excited for the film? Let us know in the comments or tweet us @ComingSoonnet.

The post Wonder Woman Movie Promo Starring Supergirl, Lynda Carter and More! appeared first on ComingSoon.net.


Shooting Day-for-Night on a Micro-Budget Feature

On my second micro-budget feature film – Frettin’ – I tackled a technique I had never tried before: day-for-night shooting. With the low light capability of the latest DSLR cameras (like the Sony A7), you CAN shoot at night with minimal light. But, if you don’t want the inconvenience of a night time shoot, or you don’t have the latest low-light camera, day-for-night could be the way to go.

I’m not a trained lighting cameraman, just a micro-budget filmmaker who does what he can with the camera to tell my stories. So, on my second micro-budget feature Frettin’, I researched day-for-night techniques and then shot those ‘night’ scenes in the day on a Canon 60D. Here are some tips for getting convincing day-for-night set-ups:

1. On the camera settings dial the colour temperature to the lowest Kelvin setting (around 2500). This will give you an instant blue hue straight out of the camera. Less post-production grading means less opportunity for the picture to start falling apart at the edit stage.

2. As we can’t change the shutter (this must be at 50 degrees to give us that ­­­­slightly blurred film look) use a variable neutral density filter to cut out more daylight. Remember, we’re trying to mimic how we would shoot at night: so that means aperture wide open (or close to wide open), hence a shallow depth of field. The variable ND filter helps us to get there.

3. Underexpose by a couple of stops – make the shadows darker. Don’t just expose normally and then think you can crush the blacks in post-production. Best to darken the image in-camera so your images don’t break apart in the edit. I guess this applies to those shooting 1080p. If you’re shooting 4K RAW, you can push the image further in post. But, how many micro-budget filmmakers are shooting 4K RAW right now? I had to get my head around this fact: YOU HAVE TO LOSE SOME DETAILS IN THE SHADOWS if you want the night-time effect. I had to tame the perfectionist in me. So, you might as well bite the bullet and lose some shadow detail right there and then while you’re on location shooting. Perfectionism? Pah. Let it go, let it go! Unless you’re an owl or Riddick, you’re not going to see all the shadow detail; a glimpse of detail, yes, maybe a glint in the eye, but you need to let shadows be shadows.

4. This next one is counter-intuitive, but it can work: the sun is your friend! Shoot with the sun on your actor’s face. When the shot is graded, the sunlight highlights can look fantastic, like subdued moonlight. If you shoot in the shade, the final graded shot can look flat and muddy, with no ‘moonlight’ highlights. It sounds counter-intuitive, but shooting day-for-night in the sun can work wonders.

A variant on this is to shoot under some foliage, like tree canopies, so you have a dappled light source – some highlights, some shadows. This can work out really well. What doesn’t work is NO sunlight at all. When a shot with NO direct sunlight is graded, it can look muddy and flat.

One last point on shooting day-for-night and using the sun as your friend – block your action so the sun is behind your actors, so they have a back light. This back light will help separate them from the background. Back lighting is key for any kind of shooting, and can particularly help in day-for-night shooting.

Final word on using the sun as a light source – as with normal daytime photography, shooting at midday with the sun right overhead will not produce great results. Shooting close to the golden hours could also help you to sell the day-for-night gag better, too.

5. Most birds don’t fly at night, so be very careful when you’re framing shots with the sky in the background.

6. Add a practical light source within the frame to sell the gag – car headlights, a house light, a candle. Be wary of getting passing cars or streetlamps in shot, too. In reality, at night, they would emit an artificial light source.

7. Finally, add post production grading. Crush the blacks even more with your exposure control. Add more blue hue with the colour wheel to supplement the blue colour cast you’ve already got by dialing down the Kelvin setting. De-saturate the colours. If you need extra help, the artificial graduated filter vignettes can help darken areas where there’s too much sunlight spill, or where you have a lot of sky that’s not selling the effect.

8. Oh, and a second ‘finally’ – in the edit, sell the scene with your audio: night time ambiance (city nightclub/owl in rural areas etc).

9. Oh, oh. A third ‘finally’ – sometimes, you just have to accept that you can’t fake a day-for-night sequence. On my third feature, Slasher, I wanted to shoot my main character following some other actors around a town at night, and also inside a moving car at night. The street lights, the shop windows, the passing cars would ALL have light sources (window displays/headlights etc). In this instance, the audience would see the deception, as no practical light sources would be in the frame. In this instance, I had to actually shoot at night; I used my fastest lens, portable lighting and a camera that gives good results in low light conditions.

10. Oh, oh, oh. A fourth finally – don’t trust your editing set-up’s computer monitor. Export the day-for-night scene and see how it plays on a TV screen. And also please do this – export and see how it plays on a tablet and laptop screen. There can be a huge disparity between how day-for-night scenes play on different playback devices. You have to grade the final scene for the weakest link in the ‘viewing chain’; in my experience, a tablet screen. You have to think: where will my film most likely be viewed?

In conclusion, you can successfully shoot day-for-night on a 1080p DSLR camera for about a tenner – the price of a cheap variable neutral density filter. It worked for me on my second feature film Frettin’, and it could work on your project, too.

The trailer for Lee’s second feature film Frettin’, where these day-for-night techniques were employed, can be found here.

Words by Lee Price

Lee has written for children’s television (including episodes of Sooty and Bob the Builder) and has made numerous short films, on digital and 16mm film. His first self-funded feature film ‘Neville Rumble’ (made with Richard Miller) is available now in the US on Google Play and Microsoft Stores. His second micro-budget feature film ‘Frettin’ has been completed. His third feature film ‘Killing With Alice’ is in pre-production with Bradgate Films. His fourth feature film Slasher is in the final stages of principal photography.

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Nicole Kidman really, really doesn’t like surprises


Nicole Kidman talked about her impending 50th birthday on the Graham Norton Show on Friday night, and she had a warning for her husband and party-planner-in-chief Keith Urban. 

«I actually break out in a coldsore if I have a surprise,» says Kidman. Urban says he has a lot of stuff planned, but he’s aware of her dislike of surprises. 

«I did have a surprise party once when I was 30 and it was so shocking to me because people had come from overseas and they’d set it all up and people walked in and I broke out in a coldsore […] Like, on the spot,» she said. 

Kidman explained that she had been speaking on the phone to her father who said her mother was «in the garden» in Australia, but moments later she walked into a room in Montana, U.S. Read more…

More about Nicole Kidman, Watercooler, and Videos

How to Edit a Film Score to Best Serve Your Story

Sound design is extremely challenging, but these tips should help put you on the right track.

In most cases, indie filmmakers don’t have the budget to hire someone to score their films. This means that you miss out on the benefit of having a score specifically designed to match what’s going on up on screen, so you will have to figure out a way to do it with a piece of music that already exists. Though this is challenging, Kris Truini gives you a few helpful tips on how to pull it off, even if you don’t have much experience working with music, scores, and soundtracks.

Truini shares a bunch of great tips in the video, but perhaps the most important one is this: the score/soundtrack should serve your story, not the other way around. In other words, the pacing of the edits in a scene should be more important than that of the music.

Read More

No Film School

Watch: Excellent Animated Short ‘Coke Habit’ About Soda Addiction

Coke Habit Short Film

«Sometimes it was 8 cans in a day. It was way, way too much.» Stop drinking soda! It’s very bad for your health. How many of you are addiction to pop/soda? In America, it’s a very common thing, as we all grow up drinking it and enjoy it so much that we can’t help but enjoy soda all the time. This animated short film, titled Coke Habit, tells the story of one man named Mike explaining how his addiction to soda became a major problem when he was in high school. This is indeed a very important health PSA, but it’s also a very creative and unique short film with some impressive animation. I love the color palette, and I love how it all flows. It’s short, sweet (no pun intended) and good work I want to share as filmmaking that impressed me. ›››

Continue reading Watch: Excellent Animated Short ‘Coke Habit’ About Soda Addiction


Crafting Virtual Reality Experiences for Social Change and Impact

For the first time in history, virtual reality can give us an opportunity to more efficiently and sustainably change public perception. VR is a powerful medium for empathy building, allowing the audience to feel what it’s like to walk in someone else’s shoes. We caught up with Catherine Feltham, VR filmmaker at WaterAid, to discuss her work on 360 films and VR experiences for social change and impact.

Raindance: You’ve managed a variety of film projects for charity campaigns and most recently ‘Aftershock’ has been a great success. Could you tell us about the reactions you’ve been receiving?

Catherine: Aftershock is WaterAid’s first project in 360 video and it’s been a pretty exciting journey!  We are still in the rollout phase with the project and are constantly learning from it. Before we set out to create Aftershock, which was made in collaboration with HSBC through their eight-year global Water Programme, we felt strongly that we wanted to create a film that would be viewed and ‘experienced’ within a headset rather than online as a 360 film.  Therefore our campaign is all about giving people the opportunity to experience the film and our work, whether it be in their own living room using a free Aftershock cardboard headset, or at an event or festival where we’ve installed Samsung Gear VR headsets.

We worked hard at creating an experience that was playing to the strengths of the medium from the outset and this has paid off in the reactions we’re getting to the film.  For example, by using methods like eye contact to give the viewer intimate connection with Krishna, our central character at the start of the film, people have responded with comments like “very impressive, immersive and brings you right into the community.”

By experimenting with perspective and point of view we attempted to increase the audience’s understanding of particular situations, for example, by placing them at the centre of a community meeting or looking down steep paths that women have to carry water up to get it to their homes. By doing so we have gained empathy from our audience and been able to provide them with insight into what it might be like to be in the shoes of someone else.

“Watching the women bring the water up the hill was my favourite scene. It really showed the tricky terrain and the challenges to get the water to where it is needed.”

By giving the viewer access to an environment they have most likely not experienced themselves (a community damaged in devastating earthquakes) and letting them learn about a story behind the headlines of such a disaster, we have been able to demonstrate how progress is taking place in communities like Kharelthok and also showcase WaterAid’s approach of working in partnership – from local partners and communities to the organisations that fund our work. Through the HSBC Water Programme, we have reached more than 1.6 million people with safe water and 2.5 million people with sanitation over the last five years. The Programme also provided vital support to our long-term earthquake recovery efforts in Nepal.

“A key takeaway for me was that it’s possible to create change, and that working with communities is key.”

One of the most rewarding parts of distributing Aftershock has been seeing its ability to connect with such a wide range of audiences. We’ve managed to engage with all of WaterAid’s target audience segments, from school children and young people, to digital natives and global citizens to parents, partners, industry and grandparents!  It’s also been interesting to observe how you can hold someone’s attention for nine minutes in a headset, at a time where attention span online is trickier to hold.

We’re excited over the coming months to learn more about the different supporter journeys we can take people on after watching Aftershock.

How efficient has the project been in increasing engagement in contributing to charitable causes?

There’s no doubt that VR and 360 videos have been helping charities and NGOs increase engagement in the issues we’re working to raise awareness of.  The medium allows us to bring our supporters closer to our work than has ever previously been possible as well as offers an exciting way of reaching out to new audiences, perhaps those less traditionally interested in international development or charity.  In addition, it is a really powerful way of communicating with sector professionals, potential partners and donors, and at influential events as we have seen.

“Much more immersive than I imagined. Really brought everything to life in a way that I didn’t think would be so vivid. Insightful and one of the best ways I’ve seen a sustainability story told.”

The medium also enables an element of participation from those you are filming with which excites me, as it allows communities and partners a greater stake in the storytelling process.  By working closely with Krishna on how to tell his story viewers have commented on the authenticity they feel from hearing him tell the story and seeing candid moments like when he’s at the shop with friends, for example.

I think the challenge now is in understanding how to create suitable supporter journeys for audiences of VR and also being able to continue to excite and inform new audiences once you’ve got their attention.  In addition, working with partners like HSBC on projects like this creates huge opportunity for reaching wider audiences. We look forward to working more with them this year on this project.

What are the next projects you would like to work on in 2017?

That’s a tough one! I’d love to see some strong examples of AR being used for storytelling in 2017.  It feels like it’s been a bit of a buzz term for a little while without many examples behind it so I’ll be watching that space.

In terms of VR, WaterAid has committed to continuing to promote Aftershock for the majority of this year as we’ve noticed that these experiences have a much longer shelf life than a typical film as they can be used with so many different audiences and for a range of reasons.  The film can be used to specifically talk about our work in Nepal, or more broadly to introduce someone new to WaterAid and our approach.  We want to ensure that as this is our first project we really get the most back from it and test it in different ways before diving into another big production so that we can take our learnings from the project and apply them to any future VR/360 projects on this scale. That being said I think there are some exciting quick turnaround content opportunities with the Samsung Gear 360 camera I’m keen to explore, as well as the more interactive elements with the new controller for the Gear VR.

Join Catherine for our Raindance VR Masterclass on Monday, May 22 to learn more about crafting VR experiences for social change and impact. Reserve your spot here

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