Reviews

A very sweet high-school J-BL

The relationship between Hioki and Watarai was very sweet, although it was once again fuelled by Watarai having been madly in love with Hioki long before they met.

Don’t get me wrong, I enjoy plots where the characters already have feelings for each other – however, when all dramas follow this route, it becomes annoyingly predictable. While it didn't stop me from liking this one, I wished it had a bit more originality.

I appreciated that we got to see elements of the Four Heavenly Kings. Although most of them were secondary characters, they didn't fade into the background. My only complaint is – why do they always have such cringe-worthy nicknames?!

Lastly, I liked that none of these characters were gullible, fragile, or emotionally stunted. Even though Hioki took a while to recognise Watarai’s feelings, it wasn’t because he couldn’t process those emotions; he simply didn’t believe that someone like Watarai, one of the FHK, would actually like him. This was refreshing, especially considering how cliché the plot already was!

Overall, I thought this was really enjoyable. It’s also short and easy to watch, with a straightforward plot and likable characters that keep us engaged throughout.

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A Meaningful Journey that is Heartwrenching!!

This is the story of a deposed teenage king, stuck in a village, unaware of his untimely demise!!

Set in the 15th century, “The King’s Warden” imbues a story of friendship between a deposed king and a humble village chief. The movie dwells deeper into their relationship as each of them comes to terms with the King’s unlikely death. Park Ji Hoon embodies the sickly, weak teenage King Lee Hong Ui who was later demoted to Prince Nosan and exiled to Cheongnyeongpo, Yeongwol. The small village barely has the necessary facilities to house a deposed monarch. The scheming minister, Han Myeong Hoe sends the deposed King to that small village hoping he will commit suicide. Unbeknownst to him, the villagers rekindle his desire to live and protect his subjects. As he rises in rebellion, Han Myeong Hoe uses this pretext to execute him. As you follow Prince Nosan’s journey with the villagers, you comprehend his kind nature and his protective nature. He is humble and loves spending time with the illiterate villagers, as he teaches him.

Read the complete article here-

https://kcdramamusings.wordpress.com/2026/04/30/the-kings-warden-movie-review/#more-2403

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Veil of Shadows.... is not that bad?

Okay. My second work of GJM. I personally don't think it was bad. At the start of the drama, I really did not think that I would enjoy the drama. It has so many plot twists that I was struggling to keep up. Matter of fact, I almost dropped it on the 6th episode. But, one thing that really really upset me was the use of artificial intelligence. Yes, a lot of dramas use it nowadays, but I'm disappointed at how much it was used in VOS. I really think it would have been better without it, but that's just a personal opinion. The use of CGI was balanced though.


Story:
I love how they incorporated Chinese folklore into the drama. Besides that, the plot is so all over the place. Xiaowei was introduced like she was the MAIN antagonist and some secret "ninja-hiding" fox and the sixth episode is the last we saw of her? Are we serious? There were so many characters that were introduced under the impression that they were very important, but they're so forgettable. I had a friend of mine who introduced me to this drama, and after watching it, I wanted to make some small talk with her about it. I talked about Xiaowei, Yu Shengwei and Han Ba, and she looked at me with a confused expression and asked me who they were. Mind you, this friend of mine was non-stop sending me VOS edits for days. I felt so confused as so many actors play so many characters! And some of them were given names, but it turned out to all be the same person?? Tian Jiarui and Yan An was worked to the max with how many characters they were playing. The arc where Lu Wuyi goes into the soul of Ji Ling's doll will never not be confusing to me. Does that mean the world is still in a time loop? Because if LWY cut off her tail WHEN she went into the doll, why doesn't that make changes to the original timeline?? I'm also confused on how Ji Ling and Wu Shiguang's master suddenly rose from the dead. Like, did I miss something??? I heard rumors that there was going to be a sequel so I really hope the plot wont be as messy.


Acting:
Perfection to the tiniest bit. The casting was perfect and the chemistry between TJR and JJY was so entertaining and perfect. I might now be a little obsessed with Xia Zhiguang after his performance here. He nailed every emotion to the tiniest details, and you could tell in his eyes that he was yearning. Wish he sang an OST for Veil of Shadows though. This is also my first JJY drama, and her acting didn't disappoint. TJR did a great job too, easily going to be big in the future. I almost thought he was some underground veteran actor, but he only recently made his debut and he's already exceptional. Will be tuning into his future works. Not the actor/actress's fault, but I really felt that the main leads shouldve been TJR and JJY. We barely get much stuff from WSG and WWY, and the main couple should've been them.


Music
TJR and JJY's singing blown me away. I find myself playing the OST on repeat because IT IS THAT GOOD. VOS did not disappoint with the OST and I was blown away by TJR's singing. He really is an ace. Exceptional acting and beautiful singing.


I'll make sure to rewatch this after my watchlist has cleared down, but an OK drama for me. I really like the outfits though especially for JJY. I'm very excited for the sequel, just hope the plots.... can uhh lessen a bit.

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Threw in the towel

I’m a huge fan of IU’s work, especially the funny and heartwarming HOTEL DEL LUNA and the absolutely brilliant MY MISTER. So it makes me sad to report that this series, PERFECT CROWN, is far from perfect. I finished Episode 3 and (like many others on this site and elsewhere) dropped it.

The problem isn’t so much with IU’s acting as it is with the character she portrays--a vapid, self-centered, arrogant narcissist. I just didn’t like her and didn’t want to spend more time in her company.

It’s possible to create a multi-faceted, slightly villainous, FL who’s intriguing, enticing, and even likable–but the writers didn’t do that here. Maybe she shows another side later in the drama, but I can’t wait around to find out. Sorry.

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the fluffiest bl series ever

This is the best heartwarming bl series I've ever watched. I thought this series is just overrated that's why I didn't start watching it soon but then I thought to give it a try and I just fell in love.
the casting was great, chemistry was also amazing.
there was no cringey things at allll trust me
and if you think that duang was cringe then you're just jealous nothing else.
every series gave me butterfly on my stomach. there was not even one episode where I didn't feel butterfly in my stomach.
it was just too perfect and I didn't had to skip the singing part. both of their voices were soooooooo goooooodd instead of skipping I just wanted to listen more when they were singing.
and there was not too much nc which was a good thing and the nc scenes felt pretty natural.
duang had a cute personality and qin's personality was pretty cool
and they showed a good family scene were they wanted to show that money can't buy love from children for parents, parents need to give love and care to get love in return. but one thing felt incomplete that they only gave duangqin a happy ending but others didn't get it, Jamiemarvis' ending was kinda odd because they didn't became boyfriends
and I thought tong and pae will be a couple but they didn't focus on that.
overall a great series with cute story, good music, not traumatic series. it's a must watch series so you should just go and watch it.

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GARBAGE

iren’s Kiss? Nah—this was straight up Misogyny’s Kiss wrapped in a glossy drama poster.

Let’s start with our so-called male lead. This guy isn’t a detective, not a cop, not even remotely qualified—he’s basically an insurance agent who somehow thinks he’s the Commissioner of Seoul Police. Bro sells policies door-to-door but interrogates people like he’s about to file charges. The audacity is actually impressive. You half expect him to flash a badge, but nope—just vibes and delusion.

And the female lead? She commits the ultimate crime: existing while attractive. That’s it. That’s her offense. The entire plot bends over backwards to punish her for being beautiful, as if that automatically makes her suspicious, manipulative, or somehow responsible for every creep orbiting her. Random men act entitled to her attention, her time, even her feelings—and the show just… rolls with it. No real critique, no pushback, just uncomfortable normalization.

Even worse, the male lead—yes, the endgame guy—is part of the problem early on. Throwing accusations, acting paranoid, judging her with zero evidence. And we’re supposed to root for this? This is the romantic payoff? That’s not character development, that’s selective amnesia.

The pacing doesn’t help either. The release schedule killed whatever little momentum it had. By the time a new episode dropped, you’d already forgotten why you were supposed to care. It’s the kind of show that might’ve worked better as a binge—dump all episodes at once and maybe the nonsense blends together enough to be tolerable.

But watching it weekly? Painful. You start noticing all the cracks, all the lazy writing, all the weird messaging.

Final verdict: 2/10.
Yes, it’s “watchable” in the same way junk food is edible—but don’t pretend it’s good for you.

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your typical okay type drama... dragged frrr

wanted to watch a modern drama cause I watched wuxia drama one after another...so for a change I went for something light...cause most of the well known modern drama's I've already watched...I thought this would be a good one...but to my surprise or should I say to my shock I was halfway bored and I only remember watching the drama at 2x and just wanting to finish it so this drama won't be eyeing me from corner to be not able to finish after wasting so much of my time on it.... acting was good but was dragged and the mention of mathematics in every single ep had my sleep triggered....

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I’ll Jump with You, Even Without the Sun

Had I Not Seen the Sun (Part 1) is not an easy watch, and it never pretends to be. It is raw, dark, and emotionally heavy, weaving together love, hope, trauma, and violence in a way that can feel almost too real at times. Consider this a gentle warning, because some moments are deeply triggering. But if you are willing to sit with discomfort, the story offers an immersive experience that lingers long after the credits roll.

The drama opens with a striking premise. Li Jen Yao turns himself in, calmly confessing to being the infamous Rainstorm Killer. He recounts his crimes in chilling detail, yet refuses to explain why he did them. He then agrees to an interview with journalist, Chou Pin Yu. Their initial encounter is unforgettable. A simple glance between them becomes charged with tension and curiosity, almost like time pauses just to let that moment breathe. Tseng Jing Hua brings a quiet magnetism to Jen Yao, balancing a smirky charm with something warmer underneath, while Chiang Chi’s wide-eyed, searching gaze makes Pin Yu instantly compelling. That first meeting alone was enough to keep me seated.

From there, the narrative begins to blur lines between reality and something more elusive. After meeting Jen Yao, Pin Yu starts experiencing vivid dreams and unsettling visions involving him and a mysterious schoolgirl. These sequences are eerie and intentionally disorienting. The lighting choices, often tinted in pinks and purples, feel a bit dated and occasionally take you out of the moment, but they still contribute to the overall sense of unease. Some of her visions, especially the more intimate ones, are strange to watch, yet they reinforce the central mystery. You are not always comfortable, but you are always curious.

As the story shifts further into the past, the emotional weight deepens. Jen Yao’s life is defined by chaos and pain. His father’s gambling addiction and violence cast a long shadow over his childhood, while his mother clings to false hope that things will change. You can feel his frustration, his helplessness, and the quiet desperation of wanting to escape a life that offers no light. And then Chiang Hsiao Tung enters, almost like sunlight breaking through a storm. Played with effortless charm by Moon Lee, she embodies warmth, innocence, and possibility. Her presence softens Jen Yao’s world, giving him something he has never truly had before.

The drama leans heavily on symbolism, particularly through the imagery of moths, butterflies, and the sun. Hsiao Tung, like a butterfly, represents freedom and lightness, moving through life with joy and curiosity. Jen Yao, like a moth, is driven by intense emotions, drawn to light even if it risks burning him. Between them is the sun, a symbol of hope and purpose, something bright enough to guide them both. It is a simple metaphor, but the drama uses it effectively to deepen their connection.

Their relationship unfolds with a tenderness that feels almost fragile. The closer they get, the more you start to worry about what might happen next. And that sense of dread is not misplaced. When Ouyang Ti enters the picture, the tone shifts sharply. His obsession and cruelty push Jen Yao into a corner, forcing him into situations that are difficult to watch. By this point, the drama becomes emotionally exhausting in the best and worst ways. It demands your attention, but it also tests your limits.

A brief escape to Taipei introduces a quieter chapter, where Jen Yao, Hsiao Tung, and Lai Yun Chen share moments that feel like a pause before everything falls apart. Yun Chen is a complicated presence. Her coldness toward Jen Yao can be frustrating, but it gradually reveals itself as a form of protection, rooted in her own pain and her love for Hsiao Tung. This arc feels almost peaceful, yet there is an underlying tension that makes it clear this calm will not last.

Episode 8 marks a turning point that is both beautiful and devastating. The intimacy between Jen Yao and Hsiao Tung is portrayed with such care that it makes what follows even harder to bear. When Hsiao Tung confronts Ouyang Ti in an attempt to help Jen Yao, her courage is heartbreaking because it is also naive. What happens next is brutal. Even within the limits of censorship, the drama does not hold back. The violence is depicted in a way that feels disturbingly real, leaving a lasting impact not just on the characters, but on the viewer as well.

What lingers even more are the quiet moments that follow. Jen Yao walking Hsiao Tung home, her refusal to blame him, and the minimal words exchanged between them carry an emotional weight that is hard to describe. It is in these small, restrained scenes that the drama truly shines. The aftermath is just as difficult, especially in how Hsiao Tung’s parents respond. Their reactions feel misguided and frustrating, adding another layer of pain to an already devastating situation.

Despite everything, the story finds moments of fragile comfort. One of the most striking comes when Hsiao Tung admits she once considered ending her life. Jen Yao’s response is simple yet profound. He does not try to stop her or offer empty reassurances. Instead, he tells her that if she jumps, he will jump with her. It is not a solution, but it is companionship in its most absolute form. In a drama filled with darkness, that line feels like a small, flickering light.

The ending of Part 1 is bittersweet in the most painful way. Jen Yao spends years in juvenile detention, missing a promise that meant everything. Yet Hsiao Tung keeps her side of it, leaving behind traces of a love that refuses to fade. It is a quiet, devastating conclusion that feels both complete and incomplete at the same time.

This drama took me a long time to finish, partly because I needed breaks to process what I was watching. It is not something you casually binge. It demands emotional investment and, at times, emotional endurance. Saying that I enjoyed it does not feel quite right. But I can say that it moved me, unsettled me, and stayed with me. If you are looking for something light, this is not it. But if you are drawn to stories that explore love and trauma with unflinching honesty, Had I Not Seen the Sun (Part 1) is an experience worth having.

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boring

start was good I really thought he had amnesia but found later he is faking I dislike this it could've been better if it really happened and he faked only for sometime that is deceiving, then he treats her like slave, after living together he leaves without informing, so he did all this and FML forgives him so easily, and kiss scene was way too early at ep 5 ? the eps are so long ? why at 5 already? and when he tries to get her back she forgives easily?it becomes boring there's no slow burn no development no interaction and kiss already? what is left to watch then ? and also too much crime I had to skip it FML coworker stalks, harass, kidnap,hit ml etc that was so long , the drama is really boring, the korean one similar plot is better

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Can anyone explain the purpose of the breakup scene in Episode 1 for the FL? It almost feels like it exists just to show that she can date a rich man without being labeled a typical gold digger—only to get dumped without any emotional reaction. And then later, we’re supposed to believe that this time with the ML, she’s genuinely in love? The emotional setup just doesn’t land.

This drama had real potential, but it gets dragged down by poor direction and weak scripting.

At its core, the story idea is strong, and the cast is clearly capable. But instead of building on that, the show actively undermines its own strengths. The actors feel restricted, almost forced into awkward, unnatural performances.

The ML is written as a poker-faced, emotionally flat character—so limited that he comes across as boring and lifeless.
The FL is especially frustrating: in Episode 1, she’s confident, intelligent, and capable. By Episode 2, she’s reduced to a petty, almost clueless damsel in distress. The shift is jarring and feels like a complete betrayal of her character.
The SML is barely given anything meaningful to do, reduced to a decorative, fangirl/idol-type presence.

Episode 1 actually worked well. It had balance—comedic village scenes with the ML, strong professional and personal moments for the FL, and lively supporting characters that gave the story warmth and energy.

They already made the ML a cardboard character, and then gave him that “hero” entry on what looks like a kid’s toy tractor. Instead of adding charm, it just made everything more unintentionally funny.
Then Episode 2 completely falls apart.

The FL’s behavior in the village becomes painfully cringeworthy, the ML turns into a permanently grumpy statue, and the SML fades further into irrelevance. The pacing is choppy, the direction feels simplistic, and even moments that are supposed to be funny just don’t land. When even chaotic chicken scenes fail to get a laugh, something is clearly off.

It’s even more disappointing knowing the FL actress has proven her talent in stronger projects. Here, it feels like her abilities have been deliberately toned down to fit a tired “stupid FL” trope. The ML actor also seems capable, but stuck in a role that gives him almost nothing to work with—his only standout moment is a brief flash of personality that lasts barely a second.

To fix this drama:

Let the ML express real emotions—make him human.
Keep the FL consistent with the smart, confident woman introduced in Episode 1.
Give the SML actual depth instead of using him as visual filler.

Right now, it feels like the show is wasting a talented cast. The biggest issue lies with the direction, followed closely by the script.

I ended up dropping it. There’s only so much time, and this isn’t worth it.

Final thought:
This drama doesn’t fail because of its concept—it fails because it refuses to trust its actors and characters. Instead, it forces them into clichés, turning something promising into something frustratingly mediocre

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Sincerity Stuck in "Practice" Mode

“Cherry Magic” is a series with a profound heart that unfortunately gets bogged down by its own hesitation. While the lead actors bring a beautiful sincerity to their roles, the production often undermines that maturity with a frustratingly slow pace and severe tonal whiplash.

Nowhere is the show's inconsistency more glaring than in the secondary couple subplot. While Adachi and Kurosawa operate with quiet, "serious person" sincerity, the friend’s secondary romance descends into over-the-top, slapstick caricature. This frantic, "Jerry Lewis" style of comedy feels like it belongs in a completely different genre, creating a jarring experience that disrupts the delicate emotional atmosphere the main couple works so hard to build.

This lack of maturity extends to the narrative structure itself. The show’s reliance on "practice dates" rather than genuine progression artificially lowers the stakes. By keeping the characters in a state of romantic "rehearsal" for the majority of the series, it often feels like "drama for drama’s sake"—a way to stretch the premise without allowing the relationship to evolve naturally.

For a story centered on the intimacy of literally hearing another person's thoughts, the show is remarkably hesitant to explore actual physical or romantic union. By delaying their official commitment and physical intimacy until the final episodes, much of the middle section begins to feel like filler. The profound mental connection the characters share is often at odds with the "hands-off," almost sterile approach to their actual partnership.

When “Cherry Magic” leans into its quiet moments of character growth, it is a lovely exploration of vulnerability. However, the combination of exhausting slapstick and a narrative that refuses to "get on with it" makes for a fragmented viewing experience. It is a show with a beautiful soul that is too often afraid to grow up.

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I definitely recommend this drama to anyone looking for something very pleasant and comforting to watch. There’s no complicated plot full of twists here - instead, it’s a calm story focused on a healthy relationship between the main characters. Their relationship develops in a natural and steady way. There are no major arguments or dramatic conflicts-instead, we’re given a healthy, almost ideal relationship between two people who are perfectly matched. They’re happy together, deeply in love, able to listen to each other and communicate openly, they trust one another, and they become better people by being together. Once they get into a relationship, they never doubt each other or what they have. Overall, their relationship quickly becomes very sweet, and watching it puts a smile on your face that lasts until the very end. It was a real pleasure to watch them, and their chemistry was very good. Beyond their relationship, we also got to see their individual growth-especially his journey of dealing with the past and maturing, particularly in her career - Nie Xi Guang.

A huge highlight for me, and a perfect conclusion to everything, was the final episode. Starting with the scenes with their daughter, which were wonderful, and ending with showing their growth and professional successes — things they had talked about wanting to achieve throughout the entire drama.

Another big advantage for me were the family relationships. On the female lead’s side: her mom, grandma, grandpa, uncle, and cousin. On the male lead’s side: his mom. First of all, the scenes with all of them were very enjoyable to watch - they usually brought a smile to my face or even made me laugh. Secondly, none of them were against their relationship, which sometimes happens in dramas, so I consider that a huge advantage. A special mention goes to the female lead’s cousin - Jiang Rui. I loved him as a character on his own - he was funny - but I also loved his dynamics with Nie Xi Guang and with Lin Yu Sen.

Among the other characters I particularly liked was Yin Jie. I could relate to her in many situations, and she was a very positive character. I was hoping we might get more of her on screen, maybe through some kind of relationship with Fang Sheng Yi(?) - that doctor friend of Lin Yu Sen.

As for the second male lead - Zhuang Xu - I’ll admit I expected him to be the cause of a major conflict between the main couple. I was worried he would disrupt their healthy relationship once he confessed his feelings. So I was positively surprised when Nie Xi Guang completely shut him down in episode 30 - it made me like her even more. And even though I wasn’t rooting for him, I do have a soft spot for toxic dynamics, so I can imagine an alternate universe where Lin Yu Sen doesn’t exist and I’d actually root for him, because his dynamic with Nie Xi Guang had the potential to be just as interesting — something I’d definitely enjoy watching :D. I was also hoping for some development in his relationship with Chris, but at the same time I’m satisfied that, after everything he did, he’s still pining for Nie Xi Guang, who moved on and built a life without him - just like the other girls did. Naturally, moving on from him to Ye Rong — I didn’t like her from the very beginning, and that didn’t change until the end. It’s hard to like someone so full of insecurities who makes life difficult for a person who has been kind to her from the start. It’s a shame that most of their college peers never found out about the extent of her manipulations, because she would have faced greater consequences if everyone had turned their backs on her. Still, despite my dislike, I am curious about what happened to her after she left, and we never find that out.

As for the downsides, I didn’t find many, and the ones I did don’t really affect the overall enjoyment of the series:
-> First, I was somewhat disappointed with the storyline involving the female lead’s father - Nie Cheng Yuan. He never fully found out that he had been manipulated by Qian Fang Ping and her daughter Nian Yuan. He did find out part of the truth and kicked them out of the house, but he never discovered, for example, that Fang had been faking her illness the entire time. I was hoping for more drama and emotional impact when the truth came out. I also expected stronger consequences once he realized he had been the one used. Later, we also don’t find out what happens to him (we only get a brief mention of the mother). We also don’t know what happened to them after being kicked out, so overall it feels like wasted potential.

-> Second, the storyline involving the male lead’s father. In one conversation, it was suggested that the male lead’s uncle and his wife were involved in the issues surrounding his father, but then that topic just completely disappeared. No one mentioned it again, even though it seemed quite important - especially since their son was supposed to take over the company. It’s possible this was due to a translation issue, so I’m not treating it as a definite flaw.

-> Third, the plotline about taking over the grandfather’s company. This topic appeared throughout most of the drama, but in the end we don’t know who actually inherited the position. There is a time skip of about 10 years at the end, so the grandfather is unlikely to still hold that role.

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Korean Noir at its most Hypnotic

“Thundercloud Rainstorm” is a polarizing, visceral experience that defies easy categorization. It is a story that is simultaneously gut-wrenching, violent, and undeniably beautiful, anchored by a actor who feels like a generational standout.

As Lee Il-jo, Yoon Ji-Sung delivers a performance of such raw vulnerability that the audience has no choice but to fall in love with him. It is easy to identify with the "rich" character in the story, because, like him, the viewer becomes captivated by his "poor cousin.” Il-jo’s line, “Is it really you? Am I dying?” encapsulates the show's haunting, high-stakes emotional landscape.

However, the series poses a difficult question regarding its use of extreme, repeated violence. While it certainly arouses sympathy, one has to wonder if such painful-to-watch brutality is a legitimate narrative tool or a shortcut to emotional engagement. When violence against a character becomes this central, it risks overshadowing the delicate "warming up" of his partner—an oddly severe loner whose slow thaw provides the show's most interesting psychological arc.

The show’s primary weakness lies in its pacing. The plot device of Il-jo constantly leaving—occurring three or four times—eventually loses its emotional impact. What begins as a poignant reflection of his selflessness begins to feel like narrative filler, a repetitive "stutter" in an otherwise propulsive and magnetic story.

Despite its flaws and its difficult-to-watch brutality, “Thundercloud Rainstorm” is a work of undeniable beauty. It is a hypnotic, painful exploration of how two disparate souls find a way to collide in a harsh world.

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