but i love this line so much and for some reason it just seems apt right now

anonymous asked:

Hello! I was just wondering if you have any ideas on """dale pike's""" Within the Narrative? I don't know what to think of it, because the writing style doesn't seem like fanfic to me and there's enough levels of meta-y things to drown me in. if mofftiss wrote us fanfiction I am going to explode

oh god ‘Within the narrative’ killed me. Oh God. Okay, deep breath. I’ll do the same as I did for ‘The One Word Test’ here, just go through and pick out the most relevant quotes for me as I go along. 

THIS JUST ANALYSES THE INTRODUCTION ‘CAUSE IT GOT LONG. If folk are interested, I could try and pick apart the whole fic if I don’t die from the attempt sos adhflslhgsjlf.

Hope this helps! From the beginning, then?

Okay, so first we have the weird tagging system- why is the fic tagged as both a Tragedy and a Comedy? Well, because of this opening quote from The Three Garridebs: It may have been a comedy, or it may have been a tragedy. It cost one man his reason, it cost me a blood-letting, and it cost yet another man the penalties of the law. Yet there was certainly an element of comedy. Well, you shall judge for yourselves.” See this post by @teaandqueerbaiting!

^I take this to mean we’ve got our ‘comedy’ Garridebs in The Final Problem, the cheap dangling Garridebs brothers gag. We’re still waiting for our truly emotional, true Garridebs scene between John and Sherlock.

Then, we come to the summary and opening notes to chapter 1:

Right, who on earth is Proper Dave? See this and this post by @may-shepard  @laughing-at-the-darkness and @221bloodnun. Proper Dave is a character from the Doctor Who episode Silence in the Library, written by Steven Moffat and directed by Euros Lyn, who also directed The Blind Banker.

Proper Dave is a PILOT (ooh little on the plane in TFP: ‘the driver’s asleep!’) He’s called ‘Proper Dave’ in contrast with another crew member named ‘Other Dave’ because ‘Proper Dave’ was there before him. It’s never twins, Watson. 

I’ve not watched this episode but basically for some reason Proper Dave “acquires an extra shadow”- this means the villains of the episode are attacking him. The Doctor tries to save him but fails, leaving Proper Dave’s “data ghost” to echo his last thoughts:  “Hey, who turned out the lights?”  Side-note: if this is the 4th favourite fic, I wonder where Proper Dave’s 3rd and other fave fics are… ;)

Now, what about the “A boring story” bit? I cannot for the life of me find the quote, but I remember Steven once describing The Three Garridebs as “a very boring story”- clearly tongue in cheek as it’s one of the most iconic moments of ACD canon, even saying in his own foreward to the stories that “you’ll be blinking back tears when the moment comes.” (x) Tagging @waitedforgarridebs in case she knows where the quote is, the resident Garridebs expert. ;)

“about the stuff between the lines.”- well, we’re all very good at finding that. <3

And the notes. Of course, nothing is certain, but to me these only become worthwhile and genuinely funny if you see them as written by someone who’s…well… very much an insider on the show. “Series 4 and 5 spoiler alerts”- that’s very presumptuous of you. ;) Saying they’ve deduced things correctly, including what they’re “probably” going to call the Watson baby– this is so funny if at this point they genuinely hadn’t decided what the baby was going to be called lmao.

Then we get one of the most bizarre meta introductions I’ve had the pleasure of reading:

“Most people think they know what’s going to happen. Perhaps you’ll dismiss this narrative early, thinking it is boring and banal and not worth the distance to that innermost cave. Or perhaps you’ll be too easily impressed and think this is a great story.
Perhaps you’re just looking for a cheap thrill. Well, this one has thrills, but they don’t come cheaply. The Powers-That-Be never gave me any trigger warnings, so I’ll give none to you, save this: Here there be dragons.
In any case, we’re going to follow the rules. Stories have rules, of course, just like chemistry, like biology. Like gravity. Perhaps—if you are an omnivorous reader yourself—you know that there are certain rules that a good story must never break.
It turns out that we’ve been wrong… and right… all along. That’s the beauty of it. That’s what makes this a good mystery.
Back up a bit. Ready the players. Set the stage.”

Originally posted by beamlyus

Originally posted by benedict-the-cumbercookie

Why, why why is this so meta. Why does it read like a set of instructions. It’s so out of place for a fic. Why is either “dismissing the narrative early” or “being too easily impressed” such an apt summary for some reactions to The Final Problem? The stage is set, the curtain rises. Here be dragons. 

We know “the rules” of this story- and we know that The Final Problem broke all of them. Steven and Mark themselves have said the episode was deliberately full of “transgressions.”

They’ve been wrong….(The Final Problem)…and right (every other episode) all along. The mixture makes it the mystery. We need to- and have solved- that mystery: why it was wrong. Because it didn’t end with John and Sherlock together. The rest of the true love story is yet to be told.

you tell me you’re tipsy; i tell you you’re pretty

[jonxsansa, modern au; texting au, ~5k]

for @goodqueenalys, because i read in one of her reblog tags that she could use a pick-me-up this week

(title from “text me in the morning,” by neon trees)

read on ao3

SANSA: I’m so sexually frustrated that I just annihilated my dinner.

MARGAERY: …with your vagina?

SANSA: No, Margaery, not ~with my vagina~

SANSA: I just stuffed my face because I have no other way to deal with my frustration. I’m eating my problems.

MARGAERY: did you do that thing where you insist on fitting a forkful of every entree and side into your mouth all at once?

SANSA: At one point I had half a filet and what I’m quite sure was a whole potato in my mouth.

MARGAERY: i can’t believe you’re single

SANSA: Single and ready to bone.

MARGAERY: i believe the word you’re looking for is MINGLE, you lush

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just one night - michael clifford part 2

so this is by far the most requested piece i’ve ever written so sorry if it doesn’t live up to expectations, but i feel like i finally owed you guys an explanation for that car crash… 

  part 1 

 It had taken you 3 days to leave the house after you’d broken up.

 It had taken you 6 weeks to stop crying every night as you fell asleep alone.

 It had taken you 2 months to send all of Michael’s belongings littered round your apartment back to him.

 It had taken you 5 months to stop your heart racing every time you saw his face on twitter or heard his name on the radio. 

 It had taken you 7 months to finally start to feel a sense of freedom. 

 And only 1 night for all of that to come crashing down. 

 As soon as Michael had walked into your hospital room it had felt like a cruel twist of fate, the one person invading your thoughts seemed to have been drawn to you by them. He couldn’t have known could he? Couldn’t have known he was the reason you were lying in that bed. A part of you said that you shouldn’t blame him, that he had helped by bringing you home and looking after you. But another part of you said that he had known exactly what he was doing, that holding you in his arms again was as fatal as drowning you. As you walked to the bookstore where you worked at weekends, you still avoided driving as much as you could, you replayed the events of that night over in your head again. 

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anonymous asked:

Could you write some Royai? Whatever you'd like, be it domestic fluff or angst or whatever, but I absolutely /live/ for the way you portray their relationship and love your writing style!

Thank you, anon! You’re too kind :) Your wish is my command xD This takes place roughly somewhere inside ep 21, Advance of the Fool. Roy and Havoc are still in the hospital, and Riza’s having trouble erasing the events of Lab Three from her mind.

A raw scream ripped itself from Riza’s throat, and she reached out blindly in the darkness. As she awoke with a start, she found herself tangled hopelessly in her sheets, her legs suspended over the side of her bed as the cloth knotted over her skin. With a jolt she fell spectacularly out of bed, hitting the ground with a great thunk. A concerned whine came from the foot of the bed, and pain spiked at her limbs, waking her up rather rudely. It’s the same one again, every time, Riza thought wearily, sitting up and shivering. She gathered the sheets around her shoulders, and noticed belatedly that her cheeks were wet. Scrubbing her face futilely, she saw Hayate ambling over to investigate, his fluffy head tilted to the side. She ran her fingers through his fur, petting him assuredly, and stood up shakily.

The apartment was dark. The only source of light came from the window; the moon was high tonight. White light filtered through the clear panes, flooding her kitchen with its pearly glow. A sudden feeling descended upon her; it felt as though she were being doused with pins and needles. Without warning the images from her nightmares- no, her memory- roared into life across her subconscious: the space around her was white and numbing as she collapsed to her knees and Alphonse moved to guard her; the screeching sound of Alphonse’s armor being ripped off greeted her ears belatedly through her shock and tears; her heart jolted back to life in a rapid tattoo when she heard Roy’s voice, livid and challenging; she struggled against Alphonse’s impossibly strong arms because she had to stop him she had to stop him from turning into a monster; her eyes stung as they roved over his wounds and he insisted that she and Havoc be taken care of before he was; foolish man, foolish foolish man she thought as he choked the words out.

She found herself hunched over and clutching her arms, her hands cramping around her biceps. Wave after wave of dulled fear rolled across her, and Hayate sniffed her anxiously, sitting at her feet. Before she knew what she was doing her feet were moving across the hardwood floor, and her hands were un-clenching from her aching arms and flying to the phone. She dialed his number faster than she could comprehend, pressing the receiver to the side of her head, tangling the cord in her long hair. The phone rang and rang, and Riza remembered with a pang that Roy was still in the hospital. Good thing too, that man will kill himself trying to get better so quickly, she thought, placing the phone back in the receiver resignedly.

She knew very well that calling Roy at a time like this was pointless. Even if she called the hospital and asked to connect to his room, something like that would undoubtedly be reported or investigated, and people would ask questions. A call from Lieutenant Hawkeye was not an option. Maybe I could call in as Elizabeth, she remembered with a jolt. The dread and fear still lingered at her edges, but the remembrance of their coded personas filled her with a new sense of confidence, though it was mixed with strained urgency. She quickly dialed the hospital’s number and waited for them to pick up.

It was only then that Riza realized that it was four in the morning. Is it too early to be calling in? she pondered, curling the cord around her shaking fingers. She didn’t have time to answer herself, for the line picked up after three rings. “Central City General Hospital, how may I help you?”

The voice on the other end of the line was female, pleasant, and much too awake for this hour. Riza cleared her throat, willing her Elizabeth voice to come out correctly. “Helllooooo! Could you please connect me to a patient’s room, doll?” Success.

“May I please ask who’s calling? Who would you like to connect with?” The woman was coolly inquisitive, and Riza didn’t blame her. Not that many people were apt to call at four in the morning.

“I’m so sorry, I’ve forgotten my manners!” Riza trilled, feeling absolutely ridiculous. “My name is Elizabeth Chenko, and Colonel Roy Mustang should be expecting a call from me.”

“All right, ma’am, I’ll connect you,” the woman responded. There was a short series of clicks on the other end of the line, and then it was ringing again. Maybe I shouldn’t call, Riza worried. He’s probably sleeping, and he really needs to-


His voice on the other end of the line made Riza want to simultaneously cry and smile as wide as she could. “Good morning, Roy! It’s your old friend, Elizabeth! How are you feeling?” Her voice cracked on the last word, and every curse word she knew sprung to the forefront of her mind.

“Elizabeth, what a pleasant surprise!” She could hear the exhaustion in his voice, though he tried to mask it with happiness. “It’s lovely to hear from you. But what are you doing up at this hour? Shouldn’t you be sleeping?”

Riza could feel the knots in her stomach loosening, and the feeling of pins and needles subsiding. “Oh Roy, you always take such good care of me.” She forced herself to laugh. “I just thought I’d check in and see how those injuries are healing up.”

“At four in the morning?”

“Why not? I was up anyway- a memory was pestering me pale- and I wanted to see if you were alright,” she finished quickly. She heard a sharp intake of breath from him on the other side of the line. “Is Jean awake? Poke that old chain smoker in the side for me, would you?”

“Havoc’s asleep; they gave him a pretty strong sedative for the pain,” he replied, his voice going soft. Immediately Riza dropped her persona; Elizabeth was starting to annoy her. She was silent for a few moments, and Roy seemed to notice. “What’s wrong? Are you alright?”

“I’m… okay,” Riza said in her own voice. That was pathetic. Taking a deep breath, she grudgingly started to talk. Goodness knows she hated admitting weakness, but Roy needed to know. “I- look, I had a nightmare about Lab Three and I just… needed to hear your voice.”

“I’m fine, Riza, I promise.” His voice was delicate and full of love, and she adored him for it. “I’m just a little banged up, that’s all.”

“I would hardly call stab and burn wounds being ‘just a little banged up’, Roy,” she scolded lightly. Cheeks burning slightly, she changed her tone. “Just promise me you’ll get the rest you need, alright? You need to heal up. Don’t go running around.”

“I thought I was the one that was supposed to be giving orders?” Roy asked, a hint of playfulness in his voice now.

Riza laughed quietly, and she marveled at how relaxed she was. The panic she had felt earlier was nearly gone, and she was grateful for that. “Well seeing as you’re currently bedridden and I’m your second in command I think I have the right to make some decisions for you.”

It was Roy’s turn to laugh. “Well, I can’t exactly argue with that,” he murmured. All Riza wanted to do was fly through the phone and hold him gently in her arms. She wanted to run her fingers through his soft black hair and kiss his wounds away. The ache she felt for him was incredibly strong, and it took everything in her power for her to not abandon all reason and go to him.

“You’ve gone away again.” Roy’s voice brought her back down to earth, back to reason.

“I know. I’m sorry. I just wish…” She trailed off, unsure of how to end that sentence. I just wish I could be with you? I just wish you were here with me? The sheets shifted around her as she rubbed her forehead. Neither of those options seemed adequate enough to describe the expansive sea of longing she harbored for him, but lucky for her, he seemed to understand.

“I know,” he replied, his voice soft. “I do, too.”

That simple affirmation simultaneously abated the ebb and flow within her and made it surge to unfathomable heights. The silence stretched out before them again, and both of them just listened to one another breathe on either end of the line. For now, the fear and sharp dread seemed to be gone from her, and she knew it was all because of him.

Finally, Riza knew that they had to stop talking. “We should probably go,” she started. “We both need the sleep and we don’t want people poking their noses in our business.”

“You’re right,” Roy replied, and she could hear the stark reluctance in his voice. “It’s back to our charades tomorrow.”

Riza hated that they always had to hide everything they felt for one another while they were working or in public, but she knew he was right. “Just like always,” she said, resigned to their fates. Before she could think, she stammered, “I love you. Goodnight, Roy.”

“Goodnight, Riza. I love you, too.”

The other end of the line went dead, but to her surprise, Riza was just fine. Just hearing his voice had infused her with the strength and peace she desperately needed. Hands no longer shaking, she set the phone back down into the receiver, and drew the sheets tightly around her shoulders. Hayate followed her dutifully back to her bedroom, where she carefully rearranged the blankets on her bed and slipped beneath them. Her whole body was warm with love and contentment, and for once, her mind wasn’t buzzing. It’s all thanks to you, Roy, she thought, just as she drifted off to sleep.

When Riza awoke the next morning, she relished the fact that she had had the best two hours of sleep she could remember. The gorgeous golden glow of the sunrise filtered through her window, painting all the dark spaces in her apartment a welcoming yellow. That light reminded her vividly of a day long ago, one where she’d found herself up very early, and a certain alchemist’s apprentice had found her atop the roof, gazing at the sun as it ushered in the new day. As she clung to that memory, she could hear his voice in her head, and for now, that was all she needed to conquer the day.

The Man Who Would Be King

I’m still doing my rewatch of S5, but it’s taking longer than I expected and I really wanted to do The Man Who Would Be King by itself since it is such an amazing episode, and to me marks the first real deliberate nod to a potential relationship between Dean & Cas. And not just in parts, but the whole episode. It really is the story of how Cas loves Dean. And, just to really make it even more awesome, it was both written AND directed by Ben Edlund, so it’s not like there was some disconnect between the writing and the direction. It is all pretty pure. So here it is, giffed and everything. I’m also going to apologise for the length. I’ve been working on this for about a month now, and it got a little out of hand.

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Taylor Swift's Debut Album Turns 10: A Track-by-Track Retrospective of 'Taylor Swift'

Taylor Swift has always been Taylor Swift. She came upon the music world 10 years ago today (Oct. 24) with her debut album – Taylor Swift – with a fully formed idea of herself as an artist, despite being a mere 16 years old.

With her debut, she proved the power of country music – specifically, its confessional storytelling – to reach teen girl audiences on a massive scale. As a result of its success, she helped make country cool again and gave young women a voice in music. She subsequently brought country storytelling to her pop crossover, used her market leverage to stand up to streaming services, and parlayed gossip-magazine interest in her love life into hit songs that may have been about certain other famous people.

She is, in fact, so ubiquitous in pop culture now that it’s hard to remember a Swift-free landscape just a decade ago. When Big Machine Records released Taylor Swift, full of suburban-teen longing and angst, the boys Swift was singing about were unknown fellow high schoolers (or figments of her adolescent fantasies). Those feelings, packaged up with twangy melodies and classically structured songwriting, spawned five consecutive chart hits, including “Tim McGraw” and “Teardrops on My Guitar,” and scored Swift a Best New Artist Grammy nomination.

Aside from its strong commercial performance, Taylor Swift served as an honest introduction to what we’d get from Swift for the next 10 years. If you don’t like her now, well, it’s not like she hasn’t been telling us precisely who she is since the beginning. From the very first single, “Tim McGraw,” which is also the album’s opening track, Taylor Swift shows Swift’s obsession with the impermanence of relationships – an astounding number of her songs foresee the end of a relationship, a future without it, often when it’s just beginning. But tracks like “Picture to Burn” also betray a bitter streak when she’s scorned. She’s a Romeo-and-Juliet romantic who’ll push you off the balcony if you betray her.

It’s a character she’d hone on the follow-up, Fearless, through Speak Now, the poppier Red, and the very pop 1989. As her love interests became more famous, she switched the name-dropping from fan-girling over Tim McGraw to subtly hinting that lyrics might refer to Jonas Brother here or a One Directioner there. She became, essentially, the perfect pop star of our time, a mastermind of tabloid publicity with the country-honed storytelling chops to feed the narrative through song.

And it all began with Taylor Swift being Taylor Swift on Taylor Swift.

1. “Tim McGraw”

Swift wrote the song in math class during her freshman year of high school, humming the melody to herself while thinking about her boyfriend at the time. She knew they were going to break up when he went off to college in the fall; they shared a love of McGraw. And thus she came up with the marketing gimmick that likely helped the song break through – the unknown newcomer name-dropping a successful artist in her genre. It was presumably unwitting, though given Swift’s savvy since then, you never know; from a 2016 perspective, this technique looks like a precursor to her now-legendary ability to spin tabloid romances into coy hit songs. As a single, it hit the Billboard 100, peaking at No. 40, and established Swift as a singer-songwriter to be reckoned with. The video demonstrated that she was young and pretty and relatable, showing her in lush, romantic scenes straight out of a swoony teen romance. These were tropes that would serve her dear-diary approach in the future.

2. “Picture to Burn”

Welcome to another of Swift’s defining song types: the woman-scorned track. She’d later perfect this art form with the chanting and drumbeats of “Bad Blood,” but the country-radio translation here includes some electric guitar, banjo, and a “stupid old pick-up truck you never let me drive” (not to mention a bit of excessive twang in Swift’s vocal delivery). Oh, and here’s a lyrical nugget she’d also return to many times to come: “Go ahead and tell your friends I’m obsessive and crazy.” The blessing of Swift as a lyricist is that she admits she’s a bit intense in relationships – it’s this emotional vulnerability and self-awareness that make her a great lyricist, even if she sometimes denies these qualities in interviews.

3. “Teardrops on My Guitar”

This track’s chorus serves as nothing less than a thesis statement for Swift’s songwriting: “He’s the reason for the teardrops on my guitar.” So specific that the object of her affection has a name – Drew – and yet so universal: the boy you love loves someone else. So perfectly tuned to teen longing. No wonder it was the best-performing single from the album, peaking at No. 13 on the Hot 100. The guitar of the title also has the nice, subtle effect of underscoring Swift’s identity as a songwriter – she's not just a teen star singing adults’ lyrics.

4. "A Place in This World"

“I’m just a girl … tryin’ to find a place in this world.” This is the last time Swift could believably sing such a regular-kid statement, and surely her fans ate up every word. I’m here from the future to tell you, Taylor, that you will do okay.

5. “Cold As You”

Not a total dud, but hardly a standout. On the emotion spectrum, it hits a mushy spot between the wistfulness of “Teardrops on My Guitar” and the anger of “Picture to Burn,” without an interesting unifying concept like “Tim McGraw.” With lines like, “you do what you want ‘cause I’m not what you wanted,” she’s working out wordplay skills that will later serve her better on songs such as “Mine” and “Red.” But at this ballad tempo, we need something more to grab onto than, “I’ve never been anywhere cold as you.”

6. “The Outside”

This creeps awfully close to pop, aside from the occasional sound of a steel guitar, and it introduces another of Swift’s favorite themes: being an outsider. In this song, she’s literally on the outside looking in at a group of kids, feeling excluded. It’s an idea she’d return to later with lyrics like, “She’s cheer captain and I’m on the bleachers” in “You Belong With Me.” And though she certainly looks more like the cheerleader type, she has said she wrote “The Outside” when she was just 12, feeling shunned for being different – taller than other girls, and more apt to spend a weekend singing at a festival than attending a sleepover.

7. “Tied Together With a Smile”

She opens with a line that feels like it addresses the listener directly: “Seems the only one who doesn’t see your beauty is the face in the mirror looking back at you.” It’s a trick – a good-natured one – that makes a certain kind of pop song extra-appealing, whether it’s Christina Aguilera’s “Beautiful” or One Direction’s “What Makes You Beautiful.” You find yourself singing it to yourself later because the lyrics make you feel great. No one needs this message more than the teen girls who made up Swift’s original fan base: You’re more beautiful and wonderful than you realize.

8. “Stay Beautiful”

Forget Drew from five tracks ago. “Cory’s eyes are like a jungle/He smiles, it’s like the radio.” The similes might be a little messy, but we get it. This paean to a cute boy has the added punch of Swift’s trademark way of always looking at her present life from the sage vantage point of the future: “And when you find everything you’ve looked for/I hope your love leads you back to my door/Oh, but if it don’t, stay beautiful.” This ditty’s light-hearted approach tells us that Future Taylor knows she’ll be just fine without her Cory, and we’ll be just fine without our Corys, too.

9. “Should’ve Said No”

The opening steel guitar riff is basically a sped-up version of the “Tim McGraw” opening, and the lyrics make this song your basic why-did-you-cheat-on-me jam – a less-interesting kiss-off song than “Picture to Burn.” That said, listeners love a good kiss-off song, and this relatively ho-hum track still charted, peaking at No. 33 on the Hot 100 as the album’s final single.

10. “Mary’s Song (Oh My My My)”

Swift’s evocative storytelling gift is back in full force on this one, about a couple who originally meet as family friends at ages 7 and 9 and grow up to fall in love, much to their parents’ delight. The details make the song – turning up creek beds and riding in trucks at 2 a.m. – but you’re right there with her if you’ve ever been in a similar situation. (Mine was named David.) Spoiler alert: This isn’t the last time a guy is going to get down on one knee in the last verse of a Taylor Swift song.

11. “Our Song”

The concluding track pulls out all the tricks. Mellifluous lyrics begging to be sung with a twang: “I was riding shotgun with my hair undone in the front seat of his car.” And then, immediately, the sweetest imagery ever: “He’s got a one-hand feel on the steering wheel, the other on my heart.” The central conceit has Swift lamenting to a beau that they don’t have a song. His answer is beyond romantic: Their song is the sound of him tapping on her window when they’re sneaking out, of her voice on the phone, of him wishing he’d kissed her on their first date, “And when I got home, before I said Amen, asking God if he could play it again.” Then, just when you think it couldn’t get cuter, she adds the meta coda you’ve been waiting for: “I grabbed a pen and an old napkin and I wrote down our song.” It’s the perfect ending to this debut effort – and a hint that there would be plenty of similar songwriting in her future. 

Sharpest of Minds

Here we are friends, the first chapter of Sharpest of Minds.  This series is a sequel to Strongest of Hearts, so I highly recommend reading Strongest before this one.  Enjoy!

Everything had erupted into chaos after Yona’s identity was revealed.  The two competitors immediately released their blades, dropping to the dirt to deliver streams of apologies from deep bows.  Joo-Doh arrived moments later, hoisting the princess off of Hak and escorting her to where her parents sat.  She was worried about her friend, but such thoughts were quickly dashed when she reached the King and Queen.  

Her mother regarded her frostily though she maintained the dignity of a queen, all ice sculptures in flower gardens.  

“Do I dare ask?”

Yona swallowed.

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