Review: ‘The Bikeriders,’ starring Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon, Mike Faist and Norman Reedus

June 18, 2024

by Carla Hay

Boyd Holbrook, Austin Butler and Tom Hardy in “The Bikeriders” (Photo by Mike Faist/Focus Features)

“The Bikeriders”

Directed by Jeff Nichols

Culture Representation: Taking place mostly in the Chicago area, from 1963 to 1973, the dramatic film “The Bikeriders” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: A woman struggles to keep her marriage intact as her husband gets more involved in a motorycle gang called the Vandals. 

Culture Audience: “The Bikeriders” will appeal primarily to people who are fans of the movie’s headliners and history-based stories about motorcycle gangs.

Mike Faist and Jodie Comer in “The Bikeriders” (Photo by Kyle Kaplan/Focus Features)

“The Bikeriders” could have been a typical macho movie about a gang, starring actors who are much better-looking than the average gang member. This gritty drama has a lot of predictability, but it avoids some clichés by having a female narrator for an otherwise very masculine film about a violent gang. Jodie Comer gives a standout performance in the role of the movie’s narrator/chief protagonist, who tells the story of this dangerous and dysfunctional American gang from her perspective. “The Bikeriders” had its world premiere at the 2023 Toronto International Film Festival.

Written and directed by Jeff Nichols, “The Bikeriders” is inspired by photojournalist Danny Lyon’s 1968 non-fiction book “The Bikeriders,” which chronicled Lyon’s four years as a member of the Chicago Outlaws Motorcycle Club. The movie takes place from 1963 to 1973, with the story told in non-chronological order. Some viewers might be confused or annoyed by this timeline jumping. The gang at the center of the story is the fictional Vandals, which began in Chicago and eventually expanded to other cities throughout the Midwest. (“The Bikeriders” was actually filmed in Cincinnati.)

“The Bikeriders” structures the narrative by having it in the context of former Vandals insider Kathy (played by Comer) telling the story of the gang to a journalist named Danny (played by Mike Faist) during a series of interviews in 1973. The movie then has several flashbacks to Kathy’s life as the girlfriend and then wife of Vandals member Benny Cross (played by Austin Butler), who becomes increasingly unstable and at risk of dying while he’s in the gang. Kathy is the only substantial female role in the movie. All the other women in with speaking roles in “The Bikeriders” get very little screen time and mostly portray friends or acquaintances of Kathy.

Benny is a typical brooding outlaw, who doesn’t talk much about his past. However, Benny is clear about one thing: He has a passion for motorcycle riding, even though he’s had too many motorcycle crashes by any standard. Benny also has an arrest record, for things such as disorderly conduct, driving without a license, and resisting arrest. After he joins the Vandals, Benny will get involved in more serious crimes.

Benny, who has spent much of his life as a loner, finds camaraderie in the Vandals. The leader of the Vandals is a menacing brute named Johnny (played by Tom Hardy), who expects unwavering loyalty to the gang at all costs. And Benny is a very loyal member. The opening scene in the “Bikeriders” shows Benny getting brutally beaten up by two men in a bar just because Benny refuses their demands to take off his Vandals motorcycle jacket.

There’s a scene in “The Bikeriders” were Johnny says he was inspired to create the Vandals motorcycle club after seeing Marlon Brando in “The Wild One,” the 1953 drama in which Brando has the role of Johnny Strabler, the troublemaking leader of a motorcycle gang. It’s no coincidence that Johnny has the same first name as this iconic movie character. Hardy’s performance in “The Bikeriders” is obviously influenced by Brando’s performance in “The Wild One.” Benny and Johnny form a close friendship, in which Johnny becomes a mentor to Benny.

The other core members of the Chicago chapter of the Vandals are practical-minded Brucie (played Damon Herriman), who is Johnny’s right-hand man; easygoing Cal (played by Boyd Holbrook), who’s originally from California; eccentric Zipco (played by Michael Shannon), who was rejected when he volunteered for military duty for the Vietnam War; fidgety Cockroach (played by Emory Cohen), who is a family man; raggedy Funny Sonny (played by Norman Reedus), who asks to join the Vandals; and best friends Corky (played Karl Glusman) and Wahoo (played by Beau Knapp), who are like the Tweedledum and Tweedledee of the Vandals. There’s also an ambitious younger gang member, who is just called The Kid (played by Toby Wallace), and he has a pivotal role in the story.

When Kathy tells the story of the Vandals from her perspective, she is at various times sassy, jaded, nostalgic or heartbroken. “The Bikeriders” follows her journey from being relatively straight-laced and naïve about gang life to becoming so involved in gang life, it becomes very difficult for her to leave, out of fear of getting assaulted or killed. Most of the conflicts in her marriage to Benny are about how she wants him to leave the Vandals, but he stubbornly refuses.

The first time Kathy meets Benny, it’s 1963, and he’s playing pool at a bar that is a regular hangout for the Vandals. Kathy and Benny lock eyes in the way that people do in a movie that makes it obvious that they’re eventually going to get together. Benny and Kathy exchange the type of banter where they’re intensely attracted to each other but they want to play it cool.

And the next thing you know, Kathy is on the back of Benny’s motorcycle while they ride around town. Kathy says in a voiceover about the first time she rode on a motorcycle with Benny: “I have to admit, it took my breath away.” Benny is portrayed as a scruffy and tough James Dean type, who constantly has to prove to others that he’s more than just a pretty face.

At the time Kathy meets Benny, she already has a live-in boyfriend named David (played by Michael Abbott Jr.), who’s about 10 years older than Kathy. But Kathy’s relationship with David doesn’t stop Benny from pursuing Kathy. After Benny drops Kathy off at her house on the first night they meet (which is the first time an annoyed David sees Benny), Benny decides he’s going come back later and wait across the street for the entire night and part of the next day to see Kathy again.

This stalking would be a red flag for a lot of people, but Kathy is charmed and thinks it shows Benny must really be into her, even if she thinks Benny is a little unhinged and obsessive. These personality traits also apply to how Benny feels about the Vandals. Eventually, there comes a time when Kathy wants to choose between her and the Vandals.

Benny doesn’t have to say a word to David or get in a fight with David to literally drive David away. There’s a scene where David is very unnerved by seeing Benny waiting across the street, soon after Benny met Kathy. David storms into the house, has a brief but angry argument with Kathy, and then announces to Kathy: “We’re done!” David drives off in his truck with his possessions and is never seen in the movie again.

Kathy in 1973 is then seen smirking when she tells journalist Danny about what happened next between her and Benny: “Five weeks later, I married him.” The rest of “The Bikeriders” shows the ups and downs of the marriage of Kathy and Benny as he becomes involved in deadly crimes with the Vandals. The movie shows the expected fight scenes and gang rivalries.

The Vandals open up chapters in other cities (Milwaukee is mentioned the most), but Johnny has difficulty managing so many different chapters as the overall leader of the Vandals. Johnny doesn’t really want to admit he’s losing control of a rapidly expanding gang with various agendas, but other people see flaws in Johnny’s leadership, so there are inevitable power struggles. A few gang members occasionally challenge Johnny to replace him as the leader of the Vandals. Johnny gives these challengers a choice to fight him with their fists or with a knife.

“The Bikeriders” doesn’t have a lot of surprises but can maintain viewer interest because of the talented cast members’ performances. Comer and Hardy (who are both British in real life) have accents in this movie that will get different reactions. Comer’s Midwestern twang sounds very authentic and actually makes her plain-spoken, often-sarcastic storytelling have more resonance. Hardy (who’s doing yet another role as a mumbling tough guy) has an American accent that sounds a lot more contrived, although at this point Hardy has mastered the type of character who looks like he could hit someone and hug the same person within a span of seconds.

Butler’s depiction of Benny isn’t outstanding, but it’s not terrible either. Is he convincing as a gang member? The scenes where he’s on a motorcycle or being a “bad boy” lover to Kathy are better than his scenes where he’s in gang-related fights. Benny could have easily been the narrator of “The Bikeriders,” but writer/director Nichols wisely chose to avoid such a predictable perspective. Benny’s obsession with the Vandals is a hint that there’s a huge void in Benny’s life that isn’t fully explained.

It’s perhaps the biggest flaw of the movie: Benny is just too mysterious. He’s not exactly a gang member with a heart of gold, but the movie wants to keep people guessing until the very end: Is Kathy or the Vandals gang the one true love of Benny? The answer comes at the end of “The Bikeriders,” which isn’t a groundbreaking movie about motorcycle gangs but it’s satisfying enough for people who want to see a version of gang life with people who mostly look like Hollywood actors.

Focus Features will release “The Bikeriders” in U.S. cinemas on June 21, 2024. A sneak preview of the movie was shown in U.S. cinemas on June 17, 2024.

Review: ‘Blue Bayou’ (2021), starring Justin Chon and Alicia Vikander

September 16, 2021

by Carla Hay

Alicia Vikander, Sydney Kowalske and Justin Chon in “Blue Bayou” (Photo courtesy of Focus Features)

“Blue Bayou” (2021)

Directed by Justin Chon

Culture Representation: Taking place in St. Francisville, Louisiana, the dramatic film “Blue Bayou” features a racially diverse cast of characters (Asian, white, African American and Latino) representing the working-class and middle-class.

Culture Clash: A 37-year-old husband/father, who was adopted as a child from Korea by Americans—but he never officially became a U.S. citizen—faces legal problems and police brutality while his American wife is due to give birth to another child. 

Culture Audience: “Blue Bayou” will appeal primarily to people who are interested in movies that tackle issues of parenthood, immigration, national/ethnic identity, racism, police brutality and health problems.

Sydney Kowalske, Justin Chon and Alicia Vikander in “Blue Bayou” (Photo courtesy of Focus Features)

“Blue Bayou” is filled with so many heavy issues, the movie occasionally veers into melodrama territory. However, the cast members embody their characters with such an emotional authenticity that they transcend the movie’s minor flaws. “Blue Bayou” ultimately gives a searing and heartbreaking portrayal of lives damaged by bad decisions and an often-unforgiving government system.

Justin Chon is the writer, director and protagonist of “Blue Bayou,” which tells the story of what happens when a Korean American’s life is turned upside down when his past catches up to him at a time when he’s trying to get his life back on track. In the movie, Chon portrays Antonio LeBlanc, a tattoo artist who lives and works in the Baton Rouge suburb of St. Francisville, Louisiana. Antonio, who is 37, is happily married to feisty and fearless Kathy LeBlanc (played by Alicia Vikander), who is pregnant with her and Antonio’s first biological child together. They already know that the child will be a girl.

Kathy has a precocious 7-year-old daughter named Jessie (played by Sydney Kowalske) from a previous relationship. Antonio has adopted Jessie, who has a very close and loving relationship with both Antonio and Kathy. However, Jessie has a special bond with Antonio, who is a lot like a kid at heart. Kathy is the parent who is more likely to be the family disciplinarian and planner.

For example, an early scene in the movie shows that Antonio, who’s supposed to drive Jessie to school, impulsively lets Jessie skip school one day to spend the day with him. One of the things that Antonio does on this day is take Jessie to his favorite meditative hangout—a secluded swamp area—to show her where he likes to spend some alone time. (This swamp area ends up becoming a pivotal location in the story.) And the movie’s opening scene shows that Antonio has brought Jessie with him to a job interview.

Antonio is the only father whom Jessie really knows. Jessie’s biological father is a St. Francisville police officer named Ace (played by Mark O’Brien), an ex-lover of Kathy’s who abandoned Kathy when she was pregnant with Jessie. For years, Ace didn’t want anything to do with Jessie and Kathy. But recently, Ace has had a change of heart and is trying to get more visitation time with Jessie.

Kathy is very bitter and angry about Ace being a deadbeat dad. She’s extremely reluctant to let Ace spend time with Jessie because Kathy believes that Ace will break Jessie’s heart. Jessie also doesn’t seem very interested in spending time with Ace, who is essentially a stranger to her. Ace has offered to start paying child support, but Kathy doesn’t want his money. She’s a hospital worker but is currently on maternity leave.

Kathy uses Jessie’s apathy toward Ace as a reason to try to limit the time that Ace can spend with Jessie. When Kathy tells Ace that Jessie doesn’t want to spend more time with Ace, he doesn’t believe Kathy. He is growing increasingly impatient with Kathy stonewalling him. Ace has been hinting that he’ll take this matter to family court if he doesn’t get to spend more time with Jessie. In other words, things could get ugly.

Kathy’s widowed mother Dawn (played by Geraldine Singer), who lives near Kathy and Antonio, is often available to help with raising Jessie. Antonio has told Kathy that his adoptive parents are deceased, and he knows nothing about his biological parents. Dawn has reluctantly accepted Antonio as her son-in-law, because he treats his family with love and respect. However, Dawn gives the impression that she would have preferred that Kathy’s husband be a more “respectable” member of society.

With another child about to be born into his family, Antonio has been looking for a new job that pays more than his current salary as a tattoo artist in a small tattoo shop. It’s later revealed that he’s gotten behind on payments for his tattoo station fees, and his boss Ms. Jacci (played by real-life New Orleans tattoo artist Jacci Gresham) will not advance him any part of his salary. Antonio gets along well with his boss and co-workers, but job at the tattoo shop won’t be enough to support a family of four people.

Antonio’s job interview that opens the movie realistically depicts a lot of the obstacles that Antonio faces when he’s looking for work. He’s an undocumented immigrant. He has a prison record, having been incarcerated for stealing motorcycles, but he hasn’t gotten into trouble since he got out of prison. Antonio is also illiterate, which is something that he doesn’t tell a lot of people unless they need to know. In addition, Antonio has very large tattoos on his neck and arms, thereby automatically disqualifying him for jobs that won’t hire people with noticeable tattoos.

The male interviewer (who is not shown on screen, but is presumably white) is immediately confused by Antonio’s very French last name, which doesn’t match with the type of last name that a lot of people would expect Asians to have. Antonio’s speaking accent is very much from Louisiana, but the interviewer still asks Antonio if Antonio is American. The interviewer’s attitude could be inferred as being racist, because it’s unlikely that Antonio would be asked if he’s American if he were white. Antonio explains that he was born in Korea and was adopted as a toddler by American parents, who raised him in Louisiana.

A bigger issue for Antonio in this interview is explaining his prison record. Although he was in prison for a non-violent crime, he’s still a convicted felon, which is a stigma that makes it hard to find a job with many employers. Antonio says that he’s turned his life around, but the interviewer isn’t willing to take a risk on hiring a convicted felon. When the interviewer finds out that Antonio currently has a job at a tattoo shop, the interviewer tells Antonio that Antonio is better off staying at his current job.

Getting rejected by this interviewer becomes the least of Antonio’s problems. Not long after this interview, Antonio and Kathy are with Jessie in a grocery store when Antonio and Kathy start arguing about Ace having more time with Jessie. Antonio thinks that Ace should be given a chance to redeem himself, while Kathy is against the idea. She’s also upset with Antonio when she finds out that he let Jessie skip school.

It just so happens that Ace and his racist, bullying cop partner Denny (played by Emory Cohen) are in the grocery store too while they’re on patrol duty. Ace and Denny see Antonio and Kathy arguing. Denny, who knows about Ace’s personal problems with Kathy, immediately recognizes Kathy and Antonio. Denny gets very aggressive with Antonio. Because Antonio didn’t break any laws, he starts to walk away with Kathy.

But that isn’t good enough for Denny, who is hell-bent on arresting Antonio. Things quickly spiral out of control, a scuffle ensues, and the next thing you know, Antonio is arrested. This arrest sets off a chain of events that forever alters the lives of Antonio and his family. Without giving away too much information, it’s enough to say that Denny finds out that Antonio is an undocumented immigrant. Antonio and Kathy end up hiring a lawyer named Barry Boucher (played by Vondie Curtis Hall), who is sympathetic but doesn’t gloss over the harsh realities of what could happen to Antonio.

Antonio is bailed out of jail, but he faces mounting legal fees and overwhelming financial pressures, while Kathy is due to give birth in the near future. One day, while Antonio is in a hospital waiting room while Kathy is having an obstetric exam, he randomly meets a woman who’s about the same age named Parker Nguyen (played by Linh Dan Pham) near a vending machine, which is malfunctioning by not dispensing an item after receiving the payment. Parker and Antonio figure out how to get the item from the machine, and then they go their separate ways.

However, it won’t be the last time that Parker and Antonio see each other. In the midst of Antonio’s turmoil, Parker and Antonio become friends with each other. Parker is also an immigrant (she’s originally from Vietnam), and she has a secret that she eventually reveals to Antonio. Her secret gives him a different perspective on the problems that he’s experiencing.

“Blue Bayou” has ebbs and flows and can be messy—just like life. Therefore, some viewers might lose patience with the way that the movie has a tendency to wander and then get snapped back into suspenseful melodrama. For the most part, the movie depicts people and situations as realistically as possible. The family dynamics between Antonio, Kathy and Jessie are among the highlights of the “Blue Bayou.” The unexpected friendship between Antonio and Parker is also one of the best things about the movie.

However, the movie stumbles somewhat in the last 15 minutes, which crams in plot twists and a “race against time” cliché that might be too contrived for some viewers to take. Despite these plot manipulations, “Blue Bayou” remains authentic in portraying an American immigrant experience that is often not depicted in a narrative feature film: What happens in the U.S. to people who were adopted as children from other countries, and their adoptive parents didn’t take the necessary steps to make these children U.S. citizens?

When Antonio married Kathy, who is a U.S. citizen, the couple did not file the required paperwork to make him a legal resident alien by marriage. A U.S. law passed in 2000 allowed people adopted from other countries as children to become U.S. citizens. However, the law doesn’t apply to people, such as Antonio, who were adopted before the year 2000. “Blue Bayou” has some emotional scenes showing Antonio’s turmoil over wondering what circumstances led to his adoption and why his adoptive parents never bothered to make him a U.S. citizen.

“Blue Bayou” gets its title from a poignant scene in the film where Antonio, Kathy and Jessie have been invited to a backyard barbecue held by Parker’s family. During the get-together, Kathy gets up and sings a karaoke version of Linda Ronstadt’s 1977 hit “Blue Bayou.” The song’s lyrics have added meaning, considering what Antonio and his family are going through at the time this event takes place. (And yes, Vikander does her own singing in the movie. She’s a very good singer with a smoky tone to her voice.)

Because “Blue Bayou” is a story of a family that’s overwhelmed with several big problems within a short period of time, the movie can come across as one big pile-on of drama. But within the context of all of these troubles and agitations are a lot of uncomfortable truths that are faced by many people in real life. What “Blue Bayou” demonstrates so beautifully is that amid all the trauma and stresses, the love of family can provide a resilience that no law can break.

Focus Features will release “Blue Bayou” in select U.S. cinemas on September 17, 2021.

Review: ‘Flashback’ (2021), starring Dylan O’Brien, Hannah Gross, Emory Cohen, Keir Gilchrist and Maika Monroe

June 15, 2021

by Carla Hay

Emory Cohen, Dylan O’Brien and Keir Gilchrist in “Flashback” (Photo courtesy of Lionsgate)

“Flashback” (2021)

Directed by Christopher MacBride

Culture Representation: Taking place in an unnamed U.S. city, the dramatic film “Flashback” features a predominantly white cast of characters (with a few black people) representing the middle-class.

Culture Clash: A man in his early 30s tries to figure out why he’s having confusing nightmarish visions and memories of when he was in high school. 

Culture Audience: “Flashback” will appeal primarily to people who don’t mind watching incoherent movies that are boring.

Maika Monroe in “Flashback” (Photo courtesy of Lionsgate)

The generically titled “Flashback” was originally titled “The Education of Frederick Fitzell.” There are at least three other feature films titled “Flashback,” and this one certainly won’t be considered the best. “Flashback” is an ironic title for this movie because it’s so forgettable. In addition to having an incoherent and nonsensical plot, “Flashback” is exceedingly monotonous and a waste of the film’s talented cast members, who have all been in much better movies.

“Flashback” is supposed to be a psychological thriller, but the only thrill anyone might feel is when this slow train wreck of a movie finally ends. It’s one of those movies that people might keep watching with the hope that it might get better or that the story’s big mystery might reveal interesting answers. But “Flashback” fails to deliver anything intriguing on almost every level.

Written and directed by Christopher MacBride, “Flashback” takes place in an unnamed U.S. city but was actually filmed in Canada. The movie begins with Frederick “Fred” Fitzell (played by Dylan O’Brien) and his wife Karen (played by Hannah Gross) getting some bad news about Fred’s terminally ill, widowed mother (played by Liisa Repo-Martell), who doesn’t have a first name in the movie. Mrs. Fitzell’s physician Dr. Phillips (played by Donald Burda) informs Fred and Karen that Mrs. Fitzell has no more than two days to live.

The news is devastating, of course, but this movie then goes on a long and confused ramble about Fred’s hallucinations and flashback memories. Fred, who in his early 30s, has just started a new job as an information analyst at a company that does data analysis. Fred and Karen, who are happily married, have recently moved to a new apartment. They don’t have children but want to start a family.

Fred’s new job is the type where he has to wear a suit, and he works in a generically bland office in a generically bland cubicle. His boss Evelyn (played by Amanda Brugel) wants Fred to succeed, but recently he’s been slacking off by showing up late. And there’s a big upcoming presentation that he’s in charge of that Evelyn doubts that Fred will be able to handle. Fred assures her that he’s got everything under control.

What’s the reason for Fred being so distracted? He’s been having nightmarish hallucinations that involve memories of people he knew in high school. And some of the people in his hallucinations (which happen at various hours of the day or night) are people who are strangers to him.

One day, while Fred is in his car in an alley, he sees one of the strangers from his hallucinations—a scarred man (played by Connor Smith), who aggressively approaches the car. Fred is able to drive off before anything bad happens. The other strangers who regularly appear in his hallucinations are a tattooed woman (played by Maika Harper), a horned man (played by Ian Matthews), a pierced man (played by Aaron Poole) and a 12-year-old boy (played by Andrew Latter), who likes to wear hoodies.

The boy talks to Fred by saying one word with each sighting, like a message that Fred needs to put together. In one of the boy’s messages, he says, “I’m in your lobby.” When Fred goes to his apartment building’s lobby, he’s led on the type of wild goose chase that this movie is filled with, as time-wasting gimmicks.

One of the people Fred knew from high school was a former love interest named Cindy (played by Maika Monroe), whom Fred hasn’t seen or spoken to in the 13 years since he was in high school. Cindy keeps appearing in his dreams in a scenario where she seems to be in distress and says, “Fred, don’t let me go.” Fred can’t shake the feeling that Cindy is in danger.

He goes home to look at his high school yearbooks and notices that one of the yearbooks has Cindy’s class photo marked over with a dark pen, so that her face isn’t showing. What does it all mean? Don’t expect “Flashback” to give any clear answers.

The rest of the movie is a combination of Fred’s flashback memories, more hallucinations and scenes of Fred struggling with his mental health when these visions become too much for him. Fred goes back to his alma mater Fairgate High School and talks to an elderly schoolteacher named Mrs. Shouldice (played by Jill Frappier), who knew Fred and Cindy when they went to the school. The teacher says that Cindy never graduated because she just disappeared with no forwarding address.

Mrs. Shouldice also mentions the fictional psychedelic pill drug Mercury, and that student use of the drug was like a rampant plague in the school back then. Somehow, this triggers Fred’s memories of his experiences taking Mercury (also known as Merc) with Cindy and two other students he used to hang out with in high school: sleazy drug dealer Sebastian Bellamy (played by Emory Cohen) and eccentric misfit Andre (played by Keir Gilchrist). Does Fred try to find these former classmates? Of course he does.

This movie wastes a lot of time with psychedelic hallucinations that don’t go anywhere. There are also flashback memories to Fred’s childhood when he was a baby (played by Parker Antal and Emmett Antal) and when he was 6 years old (played by Myles Isen), which don’t give much insight into his family background, except to show that his mother sometimes got impatient with him.

Fred’s present-day life is also shoddily written. In several scenes, it’s shown that he likes to draw sketches of people. He even sketches people during boring business meetings. Is Fred’s interest in art explained in the movie? No. It’s one of many examples of how “Flashback” has a frustrating tendency to introduce things that look like it might add depth to the characters or might bring some substance to the story, but it’s just another unnecessary distraction.

The actors’ performances in the movie aren’t terrible, but they look like they’re going through the motions and don’t really have any deep emotional connections to the characters they’re portraying. That’s because the dialogue is just so bland and often terribly written. The movie’s cinematography is frequently cheap-looking and ugly.

And no amount of editing tricks can cover up that this movie is just an insipid, muddled mess. “Flashback” isn’t completely useless though. The movie is so dull that it can actually be used as an effective way to fall asleep.

Lionsgate released “Flashback” in select U.S. cinemas and VOD on June 4, 2021, and on digital, Blu-ray and DVD on June 8, 2021.

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