Hello, and welcome to Weird House Cinema. Rewind. My name is Joe McCormick. This week, Rob and I are out, so we're bringing you an older episode of Weird House Cinema for this Friday. This was the feature that we did on Panos Cosmodos's The Viewing, which was an entry in a short film in Germo del Toro's Cabinet of Curiosities series. This episode originally published on August eleventh, twenty
twenty three. Let's get right in there. Welcome to Stuff to Blow your Mind, a production of iHeartRadio.
Hey, welcome to Weird House Cinema.
This is Rob Lamb and this is Joe McCormick, and we've got something a little bit different for you today. Today on Weird House Cinema, we're going to be talking about The Viewing, directed by Panos Cosmodos, which is not a feature film, but an anthology episode in the twenty twenty two Netflix series Germo del Toro's Cabinet of Curiosities. Rob, this was your pick. How did you end up bringing us into this zone?
Well, you know, I certainly of modern directors, Panos is one of my favorite weird directors and certainly someone who's always been in the back of my mind with weird house cinema. I think one of the reasons I dig this selection so much, though, is that it kind of
fills a vital gap in modern genre cinema. I don't know if this will make sense or if this is just like me thinking too long and hard about it, but I feel like this, this movie of the viewing, is in many ways like a B movie creature feature, only without the B movie budget limitations and with everything, you know, some being somewhat subjected to a kind of like cinematic reduction, you know, and concentration of the flavors.
As we've discussed on the show before, B movies of today, at least to me and I think to us to some degree, they lack the luster of those twentieth century B movies. And we've discussed some of the possible reasons why. You know, is it the technical proficiency or lack thereof sometimes in the modern B movies. Is it digital film and digital effects versus practical and film, or do these recent films just feel too contemporary.
I think a lot of modern B movies are too self conscious and not distinctive enough they kind of lack some of the character of the B movies of old and have a level of self consciousness that takes some of the fun out. Like I don't know, I mean, I've never gotten deep into the Sharknado series, but is like, I don't know how much of a drive I feel to watch Sharknado five, but I do kind of want to watch Jaws four again.
Yeah, you mentioned fun, and I think that's another key thing, Like a lot of B movies from the past, that they're fun to watch. This selection. The viewing is, at
least to my taste, a very fun viewing experience. Every time I watch it, I laugh a little bit, I geek out over some of the visuals and the sounds, and I ponder over some of the strange choices that are made, and I think all of those things kind of match up with the sort of suite of experiences you tend to have with older B movies, though obviously to create this nowadays, you've got to spend a lot more money. You've got to throw in, you know, sort
of a mixture of retro esthetics, absurdism. In the case of Panos's film, certainly a heightened commitment to style, and I guess it's understandable when we don't see more films of this nature, because yeah, it's clearly expensive to generate. And I guess at the end of the day, there's kind of like a who is this.
For a question? Yeah, I mean, I don't really know. I feel like his most recent feature film, Mandy, was moderately successful, was it not? Or am I wrong?
Oh? Yeah? Yeah, Yeah, Mandy was successful at least as far as my understanding of its metrics go. You know, it had several different things that sort of propelled it and got people into theaters or certainly checking it out digitally later, be it you know, the whole you know, cage rage aspect of it. You learned to see this really walked out performance from Nicholas Cage or certainly the face melting visuals and sounds of the of the picture. And also it had a very I guess, dependable subgenre
styling to it. It is a revenge film, which is not my favorite genre of film, but it's something that you go into a movie like that you kind of know what sort of ride you're in for, and that helps propel you through it.
Yeah, So maybe the revenge film or other genre trappings might explain part of the success there, but I feel like there is an audience for Panos Cosmodos, oh and for his style driven approach. I mean, so I've seen now, I guess, all of the major film projects of Panos Cosmotos. So he's done two features Beyond the Black Rainbow from twenty ten and Mandy from twenty eighteen, and this Cabinet of Curiosities episode. I've seen all three now, and I
don't know of anything else he's really released. One thing I think they all have in common is that they are primarily texture driven rather than narrative driven. So whereas you assume most filmmaking projects start with the story idea, they start with a script or a story concept, and then they come up with the audio visual elements that are necessitated by that. They come up with sets and costumes and lighting schema and music and other visual and
auditory motifs to serve and enrich the story. I think Panos, I mean, I don't know about the process if it really works this way, but it feels like Panos's movies start with the texture. They start with maybe a vision of a room with sunken couches in a circle with a strange sort of pipe organ chandelier hanging above them, and a revolving table covered in lines of cocaine, surrounded by like mirrored orange radiance and AK forty seven silhouetted
in gold light. And then there's a specific soundtrack to this. You can you know he's hearing it in his head. There's like a chord progression playing in a dark, saturated moge synthesizer tone. Oh. And then you know, for another movie, it's like I'm seeing a biker that's only in shadows, surrounded by pink light, covered head to toe in spikes like a pufferfish, but they're not spikes, they're made of rebar.
Oh.
And there's like a battle between two men wielding ten foot long chainsaws, and so forth and so forth. And it feels like they start with the images and the color palettes, the lighting, the music and all that, and they just kind of fell in a story or the suggestion of a story to link together all of that texture.
I'd say, of the three things, maybe Mandy is the most story driven of his works, followed by this episode somewhere in the middle, and then Beyond the Black Rainbow seems the least story driven in the most kind of texture driven. But in all cases it seems to me like the plot content is secondary to the sites and the sounds. And let me know in a minute if
you disagree with that characterization. But I'll say, at least as far as my perception of his style goes, it's interesting to me that this is not the only film we've covered that feels like it operates this way. But in other cases we for one thing, no, it actually did operate that way in terms of how the film was made, and we know why, and it was because of ruthless concerns about budget and efficiency. So maybe Roger Corman says, oh, hot Dog, we got some stock footage
and some leftover sets and costumes from another movie. We got them on the cheap. Let's throw together a script that can use this footage of a rocket launching and these sparkly coats and this rented mansion in La and
et cetera, et cetera. Panos's movies do not feel like this at all, to the extent that it is actually guided by an ethic of texture first, or production elements first, rather than story first, it feels like a result of a lavish, indulgent passion for the project, completely opposite from the sort of mercenary or efficiency focused attempt to wring every last drop of value out of your rentals and your commissions.
Yeah, there's a real commitment to vision with these pictures, and I love that it has thus far been sustained because when Beyond the Black Rainbow came out, I loved it. It's just a film you can just breathe in. And then came Mandy, and then came this, and like each time, I'm afraid things are going to get less weird, They're gonna maybe become more concerned with these other aspects of
cinematic storytelling. But thus far, no, it's been It's been the weirdness, the visuals and you know, the sites and sounds well beyond anything you've tested that come first.
And to be clear, I don't know that this is how Panos operates. It's just that's how the product feels in the end. I mean it's it's entirely possible. They do start with the script and then just something about the way, you know, the way he realizes the sights and sounds of that story are so strong they sort of take take the pilot's chair in the actual viewing experience.
But then this got me thinking about, well, what are the common themes in the narrative content the stories of panos Cosmodoss movies, And they seem to me to all represent a dual infatuation with, but also deep suspicion of the mini strands of the psychedelic and New Age American counterculture of the sixties and seventies. So you've got murderous cults of Manson type hippies. You've got demonic bikers that
deal drugs from hell. You have utopian alternative healing institutions that turn into psychotic prisons, like the premise of Beyond the Black Rainbow is sort of like an Esslin Institute workshop took hostages and turned them into psychic assassins. You've got hallucinogen use that is portrayed with a kind of glamorous horror. It's a double edged sword. It's very alluring, but it also causes people to lose their minds and
sometimes their souls. And the viewing in particular has a character who seems to me to be modeled on personalities associated with the Stanford Research Institute, which we've talked about on the show before, but basically, you know, a sort of research program famous for claiming to have found scientific evidence of paranormal powers like telekinesis and remote viewing, sometimes associated with other figures in the broader New Age movement,
and this character in the Viewing is explicitly portrayed as a charlatan. And in general, it seems like Panos's vision is one that's like obsessed with these sort of hippie and New Age concepts, but also views mind expansion in all its forms as something that is beautiful and appealing but often is a false promise that leads to suffering and chaos and destruction. Yeah.
Yeah, I think that's very fair. I guess some of it is also probably rooted in an exploitation cinema, Like certainly when you think of Beyond the Black Rainbow, instantly reminded of Blue Sunshine, which is very much a you know, post hippies sort of aging out hippies, the exploitation film about Oh, well, you know that that acid you took years ago, Well it turns out it'll make you into a bald psychopath. Now, so watch out and think twice about all the things you did ten or fifteen years ago.
We may have to do Blue Sunshine one day on Weird House. One of my favorite aspects of it is that, if I remember right, doesn't all your hair fall off at once? Yes, it happens in an instant. It's like a wig that comes off. It's not gradual.
Yeah. That's an interesting film starring Zalman King.
Yeah, but I like that once it becomes clear in that movie that it's the acid that's turning people into to like kill zombies, then you're trying to do a kind of detective thing of weight. Can we remember who took the acid at this party like twenty years ago?
Yeah. The big difference between Blue Sunshine and the works of Panos because Modos, though, I think, is that Blue Sunshine doesn't really, as I recall, doesn't really do much to give you, like even a semi glamorous idea of what the psychedelic experience could be like, like not even like an exaggerated dreamlike cinematic quality to it. Whereas Panos
is going to dip into both wells. As you said, you know, there's going to be something alluring and other worldly about it all, but also there's going to be this dark side.
Though interestingly, at least to me, while the narrative content has this kind of tight obsession on like sixties and seventies hippie and new age themes, I feel like the texture that he's drawing from is time shifted a little bit later than that, Like there's overlap, but it goes
a little bit further into like the eighties. The kind of sights and sounds that he seems to be most sourcing from sort of a late seventies and eighties club lighting and synthesizer bath in a way, kind of a tech noir element.
Yeah. Yeah, and you certainly know you're watching a Penisklismatos film, certainly thus far based to a large degree on the colors and the light and this like searing sense of the lights, so like it's like the dead lights, you know, shining out of his pictures at you. I think some of these are called panos flares. I think that's his his I think I picked it up somewhere. That's his name for some of these these flares you see in his films.
I don't know specifically what that refers to, but there are very distinctive types of panos shots like he loves a car racing through the dark in the night with the dials illuminated, glowing in the dark, and like synthesizer music playing, or like a character in silhouette just like just absolutely washed and colored light from behind so you can't really see their features, but you just see the outline and behind them. It is like an orange sun or a pink sun.
Yeah, and another big aspect of is a certainly in play and beyond the black Rainbow, and also in play in this film to a large extent, is a kind of I would say, very like Queludian pacing at times. And I think maybe that can be that can maybe be a barid entry for some viewers who really want something that's gonna really snap and move quickly, like things are not necessarily gonna move quickly in one of these films. It's gonna it's gonna be like a slow burning feeling.
There's gonna be maybe some some some time spent like watching a weird character actor like calmly emote for a while, which which I love, but yeah, may not be everyone's cup of tea.
Oh, I totally agree. No, that's another distinctive panos thing. His films, I would say, in comprehensively lack momentum, both in terms of the overall plot and in terms of the moment to moment experience of the scenes. Like in the individual scenes. Uh, there's a lot of so like when characters are talking to each other, there's a lot
of kind of stopping and starting dialogue. A lot of dialogue scenes do not really kind of like build an intensity and have an exchange of power like you know, your dialogue writing coach would say you're supposed to have, but they work in a totally different way. They're more just kind of painting a weird picture of interactions rather than escalating drama. That's not true of every scene, but
that's very often true. And then I would say overall, yeah, there are the movies do build up towards something, but they don't have that kind of relentless, snowballing feeling where it's like, oh, I've got to see what happens in the next scene. You you have to kind of like submit to one of these films and say like I'm just ready for it, and I think it's a very
fun and rewarding experience. But it Yeah, they don't pull you with that like Page Turner thriller quality, whatever the movie equivalent of that is.
Yeah, this one, I have to say. When I saw it for the first time, I went in without I think, even having seen a screenshot from it. I just I knew that it was Panosco's mottos and that I was going to be on board for it, but not knowing anything about even what the plot was or what the viewing referred to, it did feel very unsafe, you know, like I just really didn't know what kind of story this was going to be, and it's not entirely clear for a large portion of the runtime what kind of
story it's going to ultimately be. It's not really into the last say, twelve minutes of the like just less than an hour runtime, that things really come to a head.
I Mean a lot of this thing is just characters doing drugs. Yeah, it's true.
So yeah, that kind of brings me to my elevator pitch is that this is essentially House on Haunted Hill, except instead of money and ghosts, it's drugs and face melting encounters.
Now, Rob, is this one where you were saying that the trailer spoils the ending.
I wouldn't say the trailer spoils anything, per se. I just I kind of wanted for you something akin to my experience with it, where you didn't know exactly what was going to happen.
Well, based on your recommendation, I did not watch the trailer. I just went in cold, and I'm glad I did. Yeah. I liked not knowing where it was going. Yeah.
So this is gonna be twenty five seconds of trailer audio, So if you want to skip it, skip ahead about twenty five seconds. Let's have a listen, good evening tonight.
I'm going to gift you in eight Transcendence at the greatest expense asmarizing.
All right now, if you would like to experience the viewing before we proceed with the discussion here well as of this recording, the only way to experience it is as the seventh episode of Germeal Do Toro's Cabinet of Curiosities, as you mentioned earlier, on the streaming platform Netflix. But I really hope it does get a physical release at some point, either on its own or as part of this series, which, as we were just talking to JJ about,
I think it's I think it's it's rather good. It's it's varied, it has some has a couple of other high points as far as my taste go. And also I think there's there's a nice variety. Like some of the the episodes are more thoughtful and character driven. A couple of them are certainly more tales from the crypt ish in their you know, their basic structure. You know, here's a terrible person. He's become involved with some sort of supernatural element and he's going to get his.
This is the only episode of this I've actually seen, so if I watch more, I may come back to it in October. Be good seasonal viewing. I don't know if they're going to do another one.
I don't know that they've said one way or another. I think Del Toro has said that he's interested in heading it up, but I think I saw a quote where it was like, but if it doesn't happen, I'll also be a little bit relieved because it's a lot of work, So fingers crossed. All right, let's talk about the people involved here. So we'll start at the top here with Panos Cosmotos, the director and one of the writers on this piece. Born nineteen seventy four Italian Canadian
film director and screenwriter. He's the son of director George P. Cosmotos, who lived nineteen forty one through two thousand and five, who himself gave us such weird films as nineteen eighty threes of Unknown Origin and nineteen eighty nine's Leviathan.
I didn't realize that connection until right before we came into record, but that'll come up again in a minute.
Yeah, he's also he's also he also brought to brought us some some mainstream action films like Rainbow Rambow rather First Blood Part two. Yeah, Cobra from nineteen eighty six, that's another stallone, and Tombstone from nineteen ninety three, the popular Western Panos, by the way, who would have been I think eighteen at the time, has a credit on that film some sort of like assistant video operator in
the second unit. So, as we've been discussing, Panos's own writing and directing debut was twenty ten's Beyond the Black Rainbow, followed by the Nicholas Cage helmed revenge horror movie Mandy, And then comes the Viewing, which I feel takes a slightly more absurdist approach and also dials down like the number of things he's trying to accomplish in the picture while still going just all in and all out on its main set pieces.
Yeah, I would say, And this may just be in part due to its shorter run time, but the viewing takes us on fewer wild turns on the journey than his other two movies do, but the turns that are taken are just as wild. Yeah.
As for his next film, I believe it is set to be something titled Necrocosm. I don't know that we really know anything about what this is going to consist of, except that it's supposedly going to be more of a sci fi film, So I'm excited to find out what it could possibly be.
Now.
His co writer on this is Aaron stuart On. I'm not sure about the dates for this writer, but he was one of the co writers of Mandy, alongside Panos and one Casper Kelly. He was also a staff writer on the twenty twenty two series The Witcher Blood Origin, and as a director, he directed a couple of Decembrist videos as well as a video for Death Cab for Qtie.
Now getting into the cast here, Yes, heading this up, playing the character Lionel Lassiter is Peter Weller born nineteen forty seven American actor and director who's acting or goes all the way back into the early seventies and he's still active today. He started out on Broadway, then did some TV, did a little bit of film, and then starred in George P. Cosmatos's nineteen eighty three psychological thriller of Unknown Origin, a movie I have not seen, but
I've heard good things about. It's a psychological horror film about a man who becomes aest with killing a rat that's infesting his home.
I don't know. That sounds like a premise of like a comedy. You know, this guy's like, oh, this rat's driving me crazy.
Yeah. I mean it's one of those those plots that could go either way, but anyway. So that was eighty threes of Unknown Origin. Then in nineteen eighty four he played the title role in the Adventures of Buckaroo Bonzai Across the Eighth Dimension, which of course has a deliriously weird cast and is a well known weird cult film. In nineteen eighty seven, he became a RoboCop, a role
he would play again in nineteen nineties RoboCop. Two. Other films of note, at least to us, include The Yeah, the nineteen eighty nine underwater horror sci fi film Leviathan, which was also directed by George Picos, Mottos, Cronenberg's Naked Lunch in ninety one, Screamers in ninety five that's based on a Philip K. Dick short story called Second Variety.
And he's done more and more TV work in recent decades, including Sons of Anarchy, Star Trek Enterprise, He's done some Batman voiceover work, and as a TV director, he's been rather prolific there as well. Since the mid nineties, I believe, directed numerous episodes of such shows as Homicide, Life on the Street, Sons of Anarchy, and more.
You know, I first came to love Peter Weller as RoboCop and as Buckery Bonzai, as well as in some relatively I think kind of cold performances in B movies, like you mentioned the eighty nine underwater horror thriller Leviathan, where in that movie, one of the main things I remember is he wears a hat so stiff it should have still had the price tag stuck to it. Like you know, he's playing this like underwater drill rig manager, but it's this hat that's like the brim has never
once been gripped by a human hand. But yeah, in a lot of these movies I'm familiar with, he's you know, playing the handsome cool as a cucumber leading man. But in his later career, Peter Weller has really aged into a totally different kind of performer, a sort of reptilian character actor who if they were remaking the Super Mario Brothers movie today in the style of the one with Bob Hoskins, I think Peter Weller would be an excellent
choice to play Dennis Hopper's King Koopa. This man, he so easily inhabits the role of a character who has experienced beyond pleasure and pain, beyond good and evil, and you could easily make high quality Sawyer family furniture out of him.
Yeah, he's really fun in this as an immoral, vampire esque rich, beyond conscious reclose. It would be benefactor of artists and academics. It seems like a role he really gets to ease into and have a lot of fun with.
He plays a living mummy who encourages you to sin.
Yeah, but very convincing and charismatic. And I think we're talking we're talking about this beforehand, like how many actors today can can use the word daddy O in a fixture and it's still come off as cool.
And suave, you know, Oh yeah, you yeah.
The comparison to Dennis Hopper, I think is key, Like this is a role you could it would have been a different Linel Lassiter. It would certainly would have had a different energy to it. But Dennis Hopper could have played this role as well.
Yeah, that would have been a more high strong line Lassiter, I think, But yeah, I could see.
That all right. Lionel Lassiter has an attendant. He has a couple of attendants, but he has a doctor that attends to him by the name of doctor Zara played by Sophia Boutella born nineteen eighty two, French Algerian actress, dancer and model. If you're not sure who I'm talking about, if if you saw picture of her, you would recognize her. She's been in twenty fourteen's Kingsman, The Secret Service, twenty sixteen Star Trek Beyond. I think she has a lot
of makeup on in that one. She was in twenty seventeen's Atomic Blonde, and she was in twenty seventeens The Mummy, in which she plays the Mummy battling Tom Cruise. She's the Mummy in that Mummy movie. All right, yeah, so she's on posters in all.
Does she defeat Tom Cruise in the end? I hope so?
Yeah, Yeah, I think so. I think she defeats him, wraps him up, stores him away, and takes over the world. I never saw it, but that's my assumption because they didn't do anything else with that series, so it must have wrapped up. She's also going to the star in Zack Snyder's upcoming sci fi film Rebel Moon, and looks like she's prominently featured on the posters for that. But in this she comes off like a like a total vampire,
a total seductress. In fact, when I first started watching this, I just assumed that both Doctor Zara and Line Lassiter must be vampires. That must be where this episode is going. Turns out that's not the case, but there's still a vampire quality to these characters. Yeah.
She has a clear fascination with power and evil that you can sort of almost like feel in her mouth when she talks about it all right.
We also have a character by the name of Randall Roth played by Eric Andre born nineteen eighty three American comedian, actor, and musician. Probably best known, I guess, depending on your age and you know what your interests are, but probably best known for Adult Swim's The Eric Andre Show or his role on the second season of HBO's The Righteous Gemstones. Oh yeah, but he's popped up in a lot of things over the years, and also, of course he has
a stand up career, he does music. I think that I'm probably, like, not generally the target audience for his comedy, So I wasn't sure going into this film for the first time exactly what sort of performance we'd be in for. But I ultimately thought he was great in this. He's able to lean into the more absurd and energetic aspects of the script, like when this character is like screaming or running, you know, he does a great job with that.
But I also thought brought a lot of believer ability to the character in the quieter moments.
Oh yeah, maybe I am more the target audience of his comedy. I don't know. I kept expecting him to reply to Lionel lassiter, saying, I don't trust like that. It is always surprising to me to see Eric Andre in roles where he's actually playing a scripted character. I guess because on the Eric Andre Show, his personality is like an extreme weather event. It's just totally uncontrollable and chaotic, and it seems hard to believe that he could actually
just like say his lines and be in character. But of course he can, and he's quite good at it. I really really enjoyed him in season two of The Righteous Gemstones, and I think he's great here too. Yeah.
Yeah, A real treat, all right. The next actor of note here playing the character Charlotte G is Charlene Yee born nineteen eighty six American actor, comedian, musician, and writer. I believe they have improv and musical roots. Their first film role was two thousand and sevens Knocked Up from Judd Apatow, and they worked with him on some other projects as well. Their voice work includes such Cartoon Network shows as Steven Universe and We Bear Bears.
I think this character is interesting because it is a very modest and socially awkward scientist character who is surrounded mostly by hedonists and other various siniesthetes.
M yep, yeah, yeah, as we'll get to it. There's a part where everyone gets their favorite drink, and Charlotte's favorite drink is just a ginger ale. But I assume a really good one, like one of those that comes in a nice bottle and you know, doesn't have a lot of like crazy artificial sweeteners in it. We can really taste the ginger.
I too appreciate a high quality ginger ale.
But anyway, this, yeah, this is a fun Performance's adorable, awkward, believable in many many nice ways, like as we'll get into. The dialogue in this at times I think has an intentional clunkiness to it. Yes, and it's interesting to see which performers are able to breathe more life into those lines and which and the ones that I'm not going to say can't but but don't perhaps due to artistic choices. So I tended to believe Charlotte is a character which I think pays off in the end.
Oh yeah, all right.
We also have Steve ag playing Guy Landon, who is kind of a grumpy caricature of a popular novelist I don't know who in particular. This might be patterned after. It's not it's not a Stephen King type character, but it's it's some sort of popular novelist who maybe is not putting out as successful of work as he did in previous years.
Well, I'm trying to think what novelists in the seventies would be showing up on a lot of late night talk shows. Is this supposed to be Norman Mahler or something? Maybe? Maybe?
So Now Steve ag is an actor that's going to going to be familiar to a number of view born nineteen sixty nine, another noted comedic performer, best known to many for his recent work on some of the James Gunn DC shows and films. I haven't watched any of those, but I think he has a recurring character on those. I know him mostly from his role as Steve, one of the neighbors I believe on the Sarah Silverman program
that ran two thousand and seven through twenty ten. He's also done a lot of voice work as well, because his very distinctive work, and like I say, is definitely a great comedic performer and can breathe a lot of life into a comedic role.
He plays a role that conspicuously swears a lot.
Yes, Yeah, swears a lot, And I think ultimately has kind of like a B cinema feel to it because this is the character, this is the character where the clunkier lines of dialogue feel intentionally clunky.
Yes, but in a way that.
Kind of works.
He talks kind of like a like he was written to sound like a detective in a in a hack seventies cop movie.
Yeah, it's definitely one of the performances in the film. Every time I watch it, I kind of like, I kind of kind of think it over a lot, and I'm like, what is what is it about this this performance that like why does it feel this way? You know? And and I kind of go back and forth onto what degree it works, And I think I'm landing currently in the area that it that it absolutely works, but it is it's supposed to have this kind of B cinema clunkiness to it.
Now.
We also have a character by the name of tard Reinhard, played by Michael Fario, Canadian actor with extensive Shakespearean theater credits. His TV credits include Himlock Grove, Rain and Chucky The Child's Play TV series. He has a recurring role on that. Yeah, in this he's what a fraudulent psychic? Was that what you would say psychic?
And I think just sort of like a new age movement gear, it seems. So. The character is named Targ Rindheart, and I think this absolutely must be named after Russell Targ, the American parapsychologist and physicist who was famous for being one of the researchers affiliated with the Stanford Research Institute trying to prove the validity of various paranormal phenomena like
remote viewing. And so this character seems to me to be a caricature of first of all, like a combination of paranormal evangelists like Targ and how put off in people, but also of their most famous subject, Uri Geller.
Okay, absolutely, and I think there is some there's there's mention of bending spoons with with one's mind, yeah in this in this film. But yeah, this this is a very pompous and ridiculous, over the top character that's clearly here mostly to just be mocked and for comedic effect, and is successful in that role.
He multiple times caught talking about that which he knows, not like he's trying to opine on architecture and then like he doesn't actually know anything about architecture.
Yeah, a lot of Guy Landon's lines are him just you know, poking fun at or calling this character out on his bs. We also have a character named Hector, who we ultimately don't know much about. He has this great moment where it looks like he's going to tell us his story, but then he gets cut off and doesn't get to tell the story. But Hector is played by Sad Sadiki, Pakistan born actor with TV and film
credits going back to around two thousand and seven. He's popped up on such shows as Nikita, Orphan, Black Star, Trek, Discovery, The Handmaid's Tale, and DC's Legends of Tomorrow.
I like his vibe. I like Hector has a lot of scenes of just kind of standing there looking at the rest of the cast and kind of gently smiling or nodding. Yeah, it's a good vibe.
Yeah, he's I think low Ki the best humorous character in the film. He's used very well.
Wait does he the one driving the van when he tells everybody they have to stop talking and listen to the audio program?
Yeah, yes, I believe he is all right, now, mild spoiler, there will be a creature suit in this film, and the actor in that creature suit is Kevin Keppi, a six ' five character and creature actor whose credits include another installment of Cabinet of Curiosities and also the twenty twenty two movie Smile, in which he plays a character credited as Nightmare Mom. So, like I said, if there's anybody that is in a creature suit in a picture, I always want to call him out because I get
the impression. I'm not sure what all went into making the creature we see later in the film work, but it looks like there's some good physical performance at the heart of it.
Well, you said six five character and creature actor. Did you mean this actor is six foot five inches or you are rating this person six out of five?
No, he's six foot five. So he's like, based on the images I've seen of him, he's like a tall slender man, which you know we've as we've seen seems to work well for a lot of modern physical horror characters.
Like back in the old day, in the gorilla suit days, which you really wanted was more of like a short, thick individual who could really occupy that gorilla suit, and then the gorilla suit still has a place in modern monsters, I think, but it seems like, you know, past few decades, some of the real standouts have been more of the tall, lanky sort. Finally getting to the music on this one, which is the music is always an important part of
Penos Cosmatos film. Beyond the Black Rainbow feature the work of Sonoia Caves, the solo project of Black Mountain synth player Jeremy Schmidt. Mandy featured one of the final scores of Johann Johansen, and this one is scored by experimental electronic artist Daniel Lopatin born nineteen eighty two. He also did the score for twenty nineteen's Uncut Gems, which that's the Adam Sandler film that I thought was depressing but quite good and had a great, great score.
It's a downer and it's highly stressful, but it's a great movie. Yeah.
Absolutely. Le Patten also did twenty seventeen's Good Time, twenty fifteens Partisan, and twenty thirteen's The Bling Ring. I think that was a Sofia Coppola film, and his main solo project is one O Trix point never or OPN. I believe he's signed a warp. I'm not familiar with his discography, but JJ is JJ chimed in here and set a straight on how to pronounce this one O tricks point never. I'm gonna have to have to check it out.
I haven't.
I haven't really checked anything out beyond his work for this particular film, but it's I feel like that the score for The Viewing it has some nice range to it. At times there's kind of this like an Andy's tape loop kind of a thing going on, like some some looped flutes playing. Other times it's like a driving eighties pot feel, or other times, of course, it's glittering synths and much more.
There's also just kind of an eighties bass club loop that plays a bit while they're they're hanging out on the couch.
Yeah, yeah, and and and it's varied in part because this music also makes up the custom soundtrack that linel Lassiter has commissioned for the for his house, so it's a lot of fun anyway. You can find a mashup of all of his music for The Viewing in the track The Viewing Suite, which was released on the Cabinet of Curiosity soundtrack. You can stream that wherever you get your music.
Did you ever get the sense that when Lionel Lassiter was bragging about the things he had people make for him, it was kind of like Panos was in the character bragging about the things he had people make for him for his movie His House.
Yeah, I guess in a sense you could apply that to Panos, but also Gamal del Toro. You know, Gama de Toros, you know, is well known for being sort of like the maestro at the center of the film, bringing on a lot of like very talented individuals to help craft you know, not only the you know, the performance of the roles, but certainly like the all the artistry, bringing in you know, well known illustrators and so forth
to help bring something alive visually. So in a way, Lassiter is kind of like this darker vision of a Panos or a Guillermo. And in a way though that whereas, whereas Panos and Gamaldo Toro are both trying to create something for the world to consume, Lionel Lassiter is creating something entirely for his own enjoyment at least. I mean, he also seems to want to, you know, send people off in the world to do great things, but he also wants some things just for himself.
All right, well, I guess this is the part of the episode where we would normally talk about the plot. But as we talked about earlier, Number one Panos films are not especially plot driven, so I don't think this This doesn't feel like one where it really makes sense to me to recap the plot in minute detail. Maybe instead, I think we should like focus on the series of sets and set pieces that emerge in succession throughout the runtime and discuss how they're used.
Yeah, we have we don't have, well, I said, we don't have very many set pieces in this film, but the ones that we do have are are pretty splendid and we get to spend a lot of time in them.
Now, at the beginning, we get the characters before they go to Lassiter's mansion, gathering in a parking garage, so they all the all the main characters, the four main characters have been summoned to Lassiter's house house on Haunted Hills style with a formal invitation. They don't know each other and they don't know him, though it seems they I think all know about him. He seems to have a reputation for being rich and powerful, though people don't know how he made his fortune.
Yeah, there seems to be. They describe him as being someone that used to see on TV one assumes all the time, and now he's become more reclusive and more mysterious, and yeah, suddenly there's an invitation to attend a viewing at his fabulous Sandpiper House, which you get the impression is like the house itself is famous because it has no doubt been designed by some truly gifted architect, and every aspect of it has been tailored to Linel Lasseter's a specific taste.
What do you think about setting the meeting of these characters in this dark parking garage at night? Something about that just seems like such a powerful allusion to films of the eighties that seemed to me very obsessed with the parking garage as a threatening atmosphere.
Yeah, yeah, I mean, I guess some of that is what post Watergate, right, that parking garages are where you know, shadier, secretive dealings go on. The parking garage is also the it's the underworld that we have created to allow our
vehicular obsession to take over everything. And it's interesting, this is the the main view we get of the outside world of this film that we do get a wider view at the end of a city of the city scape, but the city scape is also going to be very Parking Deck esque, you know, like sort of just grimy, dismal, concrete, kind of a world devoid of flavor.
Yeah, so we meet the characters. They meet I think it's when Charlotte the astrophysicist arrives and meets the other characters. They sort of introduce each other and they say, what do they all have in common? They don't know each other, but they say they've all been on late night talk shows, and I'm like, oh man, this just seems like so much in the Panos lane. This like seventies New Age lane.
You're imagining people who would show up on a seventies late night talk show to talk about how they've you know, discovered psychic powers are real or something. I'm kind of imagining it's the show where they interview the TV set containing Professor Brian Oblivion and videodrome.
So not even like a second or third guest on say Late Night with David Letterman back in the day, but like somebody you would see on some other strange talk show that is in the even later that comes on after Letterman.
I don't even know if that's a real thing. I have an impression that it was that there were like weirder, sort of more off brand talk shows that would have the like really zany guests and everything. Back then, you know, you got your mainstream I don't know, Dick Cavit and stuff, and then you've got the stuff that comes on late at night. Is that even real? I don't know, but Panos has convinced me that's part of part of history.
I think it may have been the case, especially in markets like LA and New York.
Yeah. Yeah, Like what is in Ghostbusters too? Peter Vinkman runs a weird talk show, doesn't they? And I feel like that must be sort of parodying something that existed. Yeah.
Yeah, I'd be interested to hear from folks who grew up in those media markets that can can speak to that. So anyway, these are characters who they're used to getting the invitation and accepting apparently without really too much thought into the matter, and they have accepted. They say, yeah, I'll go to the Sam Piper House and neat Line Molasseter And so the van has come to pick them up.
Now the van is being driven by the character Hector, and this is the part where they're initially talking as they load into the back of the van and drive along. But at some point Hector tells them to stop talking and they have to listen to it. I think he calls it the audio program, but it's like the Lasstter has some music that they are specifically assigned to listen to on the on the right of the house, more synth music. And I don't know that I like that.
Yeah, I was kind of wondering if at one point it was going they were going to have like some Peter Weller voice over there and that was gonna be the audio program. Then they decided that the synth music work better. But yeah, at any rate, I like it.
No, this is just that this is the music he wants them to listen to. And I think it's somewhere around here that we also first get our glimpse of Peter Weller's character Lionel Lassiter himself, where we see him in an environment just flooded with orange light, with his head almost looking kind of triangular, surrounded by wispy gray or white hair, and he looks like an absolute lizard,
kind of a vampire, kind of a mummy. Or also I thought of a very cific movie analog, which is he looks like the witch in the Stan Winston movie Pumpkinhead.
Hmmm. I think that's that's a strong possibility, because so, I mean, Panos loves his weird colored lights, but he also includes many homages to different films, and you know, this seems kind of like one of those sort of rub the fur films, certainly from the you know, the decades of interest to this filmmaker.
Mm hmm. And I think we've talked about on the show before. Pumpkinhead kind of has some shortcomings in terms of storytelling, but has some great visual flare. There are a lot of scenes with really excellent horror atmosphere and lighting and a good, tall, spindly creature that I think you could compare somewhat to this one later on.
Oh, that's a good point. That's a good point.
But anyway, so they are taken to the mansion, to the Sandpiper House, and they are summoned to this living room with a circle of sunken coaches in the middle of the floor. And I think this room, I again just get the feeling that the vision of this room was a major reason this episode was made, so I think we should describe it in great detail. So it's like I said, in the middle of the room there is a table and it is surrounded by sunken couches with sort of leather what do you call that kind
of stuffed leather backing. And then in the middle of the room there is a chandelier of sorts that looks like an inverted conical mound of organ pipes or maybe like a columnar basalt hanging from the ceiling, so the ceiling slopes inward toward it, and then it forms a kind of almost like a like a nozzle or a nipple in the middle of the ceiling of these like pillars all around. On the floor, there is this decorative motif that's like these big U shaped bins like giant
horse shoe magnets with long bars coming out. It seems kind of a maybe kind of an Art Deco suggestive design. And then the room is a wash in gold and orange light. And then on the walls there are these backlit circular panels that have guns mounted in them. So there's like an AK forty seven that you only see in shadow because it's got gold light blasting from behind it.
Yes, and yet there's a hint of as tech architecture to the whole thing, isn't there.
Yeah, so that's what the character targ says. He's like musing about how it's as tech inspired or something, and is repeatedly called out for not knowing what he's talking about.
Yeah, this whole space is just splendid, Like you when you first roll into it, and as you roll into this this kind of point of view shot, it feels like this is a space you're exploring in the film Baraka. You know, it feels otherworldly and kind of sacred. It also feels like maybe it should be on arracas, you know it. Oh man, it's just such a strange and lovely set.
Now when they first arrive, I think it's interesting that Lasseter's people start a succession of treats which are like it starts with a drink of choice for each person, but progresses into alcohol and drugs that there. It's like a it's almost like a tasting course of different sort of enticements for the mouth, most beverage based and then drug based. So the first thing that they see when they get there is they're asked to sit next to
your favorite drink. So for Targ, it is a beer that he dubs superb, And I was thinking, is beer really Targ's drink? I don't know. But then the funniest one for me is Landon sits down. He tastes something, He's like, wow, it's the perfect screw driver.
Yeah, this is so strange because a screwdriver. I mean, if memory serves screwdrivers just vodka and orange juice.
Right, Yes, that's what it is. That's a I don't want to insult. I mean, you know, if people enjoy screwdriver or whatever, but I think of it that's a utility drink. That's something I think of, like, I don't know, college students drinking. It's it's not usually the kind of thing where people would be like, oh, it's amazing, superb screwdriver.
Yeah it's And I guess that's why it's so funny, because yeah, I don't even think the proportions are necessary for the screwdriver, like on a lark here, I went to Imbibe Magazine's website, and I was like, Okay, I'm gonna put in screwdriver and see if it comes up, because sometimes they have They'll still have some very simple classic drink cocktail cocktail recipes listed there, but nothing comes up for screwdriver. They're just like, get out of here, looking for a screwdriver.
On this website. Yeah, and so there's that. But then also what the other characters get as interesting. Charlotte gets just a ginger ale I think we mentioned that earlier that says it's a great changerial. And then Frow, Theeric Andre's character, gets some lapsong souchong tea. I don't know anything about that, But Robbie, do you have an opinion on what's the perfect lapsung sou chong?
This is not a tea I have any knowledge off, so I can't. I don't know. There are so many teas and I am only familiar with the very slim selection of them. But I do like the detail where he says it's just the right amount of honey as sweetener. So their host, Lionel Lassiter here seems to have just a supernatural knowledge of what their exact desires are.
I just looked it up. It is real. Lapsung sou chong is a black tea made with camellia sinense sleeves that is smoke dried over a pine wood fire, cold smoked.
M well, that sounds quite good. That yeah. Targ's beer, He's like, it's it's a perfect beer.
It's so cold. Okay, Well, anyway, but like I said, there's sort of a series. It's like it's like a tasting course menu, you know, there is a series of temptations. So after this they are treating, a lassitter comes out and he tells the story of this amazing whiskey from Japan that has survived bombings and earthquakes, and then they
pour it for all of them. And there's a detail about the table that you can just see as one of these like textural details that was was imagined early on that the outer rim of the table rotates around, so like as doctor Zara pours these drinks, they just sort of like get rolled around the table to their recipient.
I've also read it the glasses they drink this whiskey from are supposedly the same glasses that we see in Blade Runner. Oh really, oh, supposedly, I have not I have not fact checked it, but it sounds appropriate. It sounds like the sort of detail that would be present in this film.
Now, as the characters talk in these scenes, I thought that there was something different about the viewing compared to the two Penes Cosmatos movies I've seen, which is that in this one there seem to be a kind of conscious attempt at anti realism in some of the acting and dialogue and characterization, Like this was not true of the two movies, but characters here sometimes speak like they are deliberately avoiding verisimilitude, if you know what I mean, Rob,
There's a kind of like I found it enjoyable, but a kind of awkward, stiltedness and unnatural quality to the rhythm of some of the conversations that plays into the comedy. And this is not something I would say about either of Panos' movies, in which again, in those movies sometimes have an unreal quality, but it's more dream like, whereas this is more a kind of intentional B movie awkwardness. It seems like unique choice here. I don't know what you think about that.
Yeah, I think that's that seems to be part of the intention here that yeah, an intentional B movie awkwardness to at least some of the performances, and I you know, I think it might also you could also look at it from another direction too, and look at like, this is ultimately a film about like people and their desires and the things that they are grasping for, questing after
in life. And two of the characters, really, the two that often feel the like the clunkiest, are also the ones that are the most full of it, Target land and you know they're Landon is just there to sort of like puff up his chest and take things out on Targ. Targ is there to sound brilliant and insightful certainly, you know, despite the fact that his whole identity is tied up in just a lie and just nonsense. And so those are the characters, yeah, that stand out the most with this clunky quality.
Yeah, I agree. And it's interesting to see like how the characters behave in the scene, like so as they're given you know, the drinks and the drugs and stuff. So it progresses from this onto them smoking things and snorting things. And guy Landon's just like on board, he just wants it all and it's interesting targ sort of tries to resist but then gives into it. Charlotte seems to not naturally have a very indulgent personality, but is also just curious in this situation, whereas Roth is an
interesting character because this is the Eric Andre character. He is trying to trying to resist the life of like he's trying to quit smoking. He's trying to resist the life of drugs and alcohol and all that that he is so accustomed to.
Yeah, he knows that that there's a line, and he crosses that line. He's not going to be able to control his consumption, but he has enough self control to sort of stay away from that line, or try to to for most of the runtime here.
But also it's funny throughout this there's this kind of puffery, people building themselves up, like Lasseter and Landon and these people trying to impress everyone else. Lastener, at one point he starts quoting proverbs to encourage everybody else to indulge like he He says, every person has two lives, the person they were before and the person they were after they realized they only have one. I don't know if that's a real proverb, but.
It sounds convincing coming from Lasseter. You're like, yeah, I guess I should have space cocaine because of course, the we learned that doctor Zaras like has this, you know this, this kind of shady background is involved in essentially like mad blood science, and this this space cocaine that she's providing everyone with has like some it's like high grade and has some sort of like blue additive to it that is going to make everyone's experience perfect because ultimately,
as we learn, is here to yes, to pump everybody full of illicit substances, but also to encourage them and to get everybody synced up for a singular experience, the titular viewing of a particular object.
And what is that viewing. Well, he gets them into the chamber to look at the obelisk. Now, I think there are a few rules of the chamber with the.
Obelisk, or one rule, and that is there's no smoking in the obelisk chamber. We do learn this the hard way, But other than that, I think it's just whatever goes. You're allowed to touch the obelisk apparently, and you're encouraged to look at it and to discuss your ideas concerning what it might be.
Well, I like, how did I remember this correctly? That really there is no information on what the obelisk is or where it comes from. Is that right?
Yeah? Lasstor tells us that he obtained it, like at the ultimate cost and at great expense and so forth. That you know, but that's it. And when they ask him, like what is it, He's like, I have no idea. So it's a complete anomaly. There's no if. There's no discussion of oh, well this fell from the sky or this was discovered you know, on the bottom of the ocean or in the deepest caverns of the earth. No, here it is. I have obtained it. Take a look at it. You tell me what you think it is.
Yeah, there is zero information about it except here it is. I have it, and now you're looking at it.
Tests that they've run have been inconclusive. The X rays tell them nothing. But for some reason they do have this idea that you should not smoke around it.
That's just common sense. I mean, So what is it. It's like a large black object with many different surfaces and indentations and projections. In a way, it looks almost like a bit of xenomorph biology.
Yeah, there's kind of a geeger s quality to it. But also it does look like some sort of strange rock. It looks like a space rock, and it's kind of described as such, and I think that's the if you had to guess, you might think, well, this fell from the sky. Clearly, this is some sort of space object. And they start talking about it, and they have everyone's reaction to it is a little different, you know. Guy Linden is like, this is a rock.
I'm done.
I don't want to look at this thing where And I think most of the other characters, though, I begin to see that there is something special about this. There is something that is that is sort of calling out to them from it.
And then well everything goes off the rails when eric Andre blows some cannabis smoke into it.
Yes, yeah, it kind of inhales the smoke, and then yeah, things get really crazy really quickly. This is like the
last twelve minutes of the of the picture. Here it starts to clearly there's a psychic effect, and he's like, yeah, eric Andre's character is like, I think I broke your rock, dude, And it starts crumbling, cracking open, and a strange substance is in the middle a creature, a substance, some sort of orange gelatinous form, And at this point it reminds one a lot of the Blob, especially the early scenes in both the original Blob and the remake where this
hard rocky substance cracks open and a Blob creature emerges. Only instead of it being kind of like red in color, this one is bright orange.
It is a giant orange wax clam that then from which project a couple of the main features of it. These things that are like horns but sometimes don't appear to be rigid like. They morph between being flexible arms like the arms of an octopus, and then being like the rigid corkscrew horns of a mountain goat.
Yeah, like the horns of a ram or something. Yeah. It the monster in its varied forms. It definitely spoke to me in terms of the Blob, the arc of a covenant, the horns of Golgadaroth, tentacles, slug, antenna, and yeah, some other elements as well. And at the whole time that the whole time though, and a lot of this is also due to, you know, the sound design, the lighting,
everything else, but the creature designed too. It feels completely under otherworldly with all without seeming too much like anything else I've seen in other films. As we've discussed before, with modern monster movies, there can be kind of a sameness, kind of a built by committee quality to it, and this creature or whatever it is feels wholly different. And yeah, there's just a strong, like WTF feel for this entire encounter.
Oh, but there's also so much melting to happen here. It's a melt to remember.
Yeah, so they're scanning. Everybody gets scanned. Everyone in the room is scanned, and then some people start melting. One person's head explodes it and really, ultimately everyone is going to either melt, explode, be absorbed by orange slime, or run screaming for their lives.
Yeah, and obviously we're deep into spoiler territory here. But in the end it is Lassiter who is absorbed by the creature. So the creature like sort of slithers, it like wounds him psychically, and he collapses on the floor. And this is after it has melted. Landing and targ and doctor Zar I think and melt. Yeah, did they
all get melted? By it or they explode, and then it goes up to Lassiter and it takes him within the mass of the wax and then he sort of I guess, becomes the scaffold or the skeleton for this creature to become vaguely humanoid.
Yeah, becomes this And this is where we get the creature suit, because we have a tall bipedal creature with kind of a zombifide face, and the two tentacles remain but on the shoulders, continuing to quest around as if continuing to sense and take in data.
Then Charlotte and Roth they both escape. They make it out, though Roth stops to try to do more drugs on the way out, but they make it out. Oh, Hector comes in. He gets the gold Ak forty seven and tries to shoot the monster, but he is like zapped electrically and explodes. Yep yeap.
The creature clearly has just vast reservoirs of power.
So we see our two survivors like get into an eighties or seventies sports car and then drive away and drive away with such acceleration that eric Andre's like face is rippling like in a wind tunnel. And then they make it out, But then we see the creature with I guess Lassiter inside it. I don't know if Lassiter is thought to in some way still be alive and a part of this creature, or if it's just sort of like used him, like the thing does maybe as
a as a format, as like a template. But now it walks out of the mansion and then we see it like walk into a sewer and then emerge out the other end of the sewer line walking into a big a big like aqueduct, a big what do you call it, like the canals in l A big concrete canal, drainage canal, and it just walks out into there and is now among the people.
Yeah, this kind of again, this kind of like concrete dismal version of LA. And immediately we begin to see lights start to go out in the city as if like it's immense energy and it's a like electrical disturbance is already knocking out power like just by like it doesn't it's hard to figure out what the creature thinks or or wants to get out of this, like like clear it's going to destroy the world, there's no question
about that. The question is does it want to destroy the world or is it just there to record the world, to sense the world, and in doing so will inevitably destroy everything.
Is there a reason for the differential fates of the characters, like why do Landon, Zara, Lassiter, and Rhinehart melt or get absorbed or whatever? And why do Roth and z escape? Is it based on something about them individually? Does it mean something? Do those two in a sense refuse to look at the arc like Indian Marion. I couldn't really tell if there was anything like that, but I wonder if somebody out there has an interpretation of that sort.
Yeah, I'd love to hear what folks think about this the best I could come up with. And I also have to realize that there may be no reason to it. It may just have to do with likability of characters and or coolness of characters, like obviously Laster has to become the monster that sort of thing. But I was also thinking it might ultimate only have to come down to desire and grasping. So the creature is an explorer,
it's questing with its feelers. And so my read is that land and Reinhart and Zara they're found wanting there's something inauthentic about their relationship with the world and their desires in the world. Roth and Charlotte they desire too much, or perhaps their desires are very specific and therefore they're able to get away. But Lassiter, he's in the Goldilocks zone for some reason, perhaps because he has just overarching
general interest in everything. So he's the perfect fit for something that has come to like experience slash record slash destroy the entire.
World perfect it is canon now.
But yeah, that's the viewing, and the lovely thing about the viewing, it's the whole picture. Is like going into the the the Obelisk chamber. There's no smoking, and it's about like, what do you take out of it? What's your interpretation of what transpires? An interpretation is not entirely necessary, but you know, because it's ultimately a wild, weird ride
that I enjoyed quite a bit. But but yeah, it also raises questions and you might well wonder what comes next, And I like a nice open ended, strange like weird ending like this where yeah, our main likable characters have escaped, but it doesn't seem like escape is in store for the world itself.
Right, there's no smoking in the Obelisk Chamber, which is now the entire universe.
Maybe in the sequel, he's just that the creature's going out to find more dope smoke.
That's that's the whole plot. I'd be down for that, right, all right, that's all I got on the viewing.
All right, Well, we're gonna go ahead and close it out here, but we'll remind you that Weird House Cinema occurs every Friday in the Stuff to Blow your Mind podcast feed, and you were you were invited to join us each each week for that. We're primarily a science podcast with core episodes on Tuesdays and Thursday, a short form artifact or monster fact on Wednesdays, and on Mondays we do a listener mail episode, So writ in, wellst We'll read your listener mail and we may read them
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