Exhibit 1.5.15

Currently

I'm teaching a class of high school students about narrative using short stories and film. A lot of it is work I'm familiar with but there's quite a bit I'm not. Among the pleasant surprises so far:


Vigo - L'Atalante

Sturges - The Lady Eve




Fellini - I Vitelloni (Which I'm pretty sure is just Italian for "The Bros")

Exhibit 1.3.9

Need to Figure This Out

So I keep going back and forth on this point, and I can't decide: Did the dinosaur hunter guy from Jurassic Park use his final breath to make a Total Recall reference before being mauled by velociraptors?

Evidence for:

1) Said to a "girl"

2) This girl had been "clever"


Evidence against:

1) He's about to die making it an odd thing to choose as one's final words regardless of the quote's appropriateness in the situation (sort of like if you were stabbed and said, "If it bleeds, we can kill it." before, you know, dying).

2) No other evidence he's a Total Recall fan


Okay, that's pretty much it.

Exhibit 1.3.5

Recycled Content

So I have no car and I'm pretty sure I'm dying, but that didn't stop Laura Eve and I from live tweeting Star Wars: A New Hope. Here it is, the laziest blog post yet from a guy who sometimes just posts pictures of his dog.



* Going to live-tweet Star Wars with @hoostown. I recommend you unfollow me now just like the Rebel Alliance unfollowed Emperor Palpatine.

* Laura Eve guest tweet: Live-tweeting Star Wars with @AdamWPeterson instead of working on my fan fiction piece, "What If Luke Had Picked Up Those Power Converters." *

* Instead of "A New Hope," Lucas should have changed the subtitle to "Star Wars: A PowerPoint with Robots."

* O really, Luke, "sand people are the worst?" Might be time to turn off the Fox News.

* When Alec Guinness says "evil" it has 8 syllables and takes 18 seconds. Usually he's not even done saying it when he has to say it again.

* "We don't serve their kind here." Tatooine is all racists and scrap yards. It's the Mississippi of the Star Wars universe.

* For a decade I've been trying to work "I find your lack of Faith Evans disturbing." into a casual conversation. Preferably on a date.

* I just created my own Star Wars special edition. For about 15 minutes while they're in hyperspace, the movie becomes Rush videos on YouTube.

* I will now live-tweet this Jell-O mousse cup I took a chance on at the supermarket: heavy pudding.

* I'm not saying Darth Vader is a micromanager, but I'm pretty sure he sewed the Death Star's curtains.

* Of course the garbage monster on the Death Star has a name. Also, a backstory. Also, the worst slash fiction ever. http://bit.ly/cB1dpE

* The Storm Trooper training manual includes only one rule: always say "Blast 'Em" before shooting. It's like the Empire's Miranda rights.

* Did Obi Wan really follow through on becoming more powerful after his death? Seems like he sort of just died. Same question, Jesus.

* Despite the planet-destroying starship one guy with a bo staff guards the Rebel base. Still, that system did keep my parents out of my room.

* Luke is a cocky pilot for someone who let C-3PO drive earlier. Vader lost to a guy who throws the keys to a talking little league trophy.

* Laura Eve guest tweet: Luke & Leia making eyes at each other but still not hooking up at the end of the movie makes a pretty good argument for waiting. *

And Star Wars is over. I look forward to going back and revising these tweets with new special effects in 2027. [screen wipe]

Exhibit 1.2.25

Things I Learned from Re-watching G.I. Joe: The Rise of Cobra

Because if you've only seen it once, there's a lot you miss. I mean, I didn't have to watch it twice, but I also didn't have to graduate from high school. I re-watched because I care. Also, because I've already used up all of this month's free articles on The New York Times and I needed to find some way to keep in touch with global politics.

Here's what I learned:

1) Water is flammable and therefore science is a lie.

2) No matter what side of the recent budget crisis you were on, there's one thing on which we can all agree: most of our tax dollars should go to building more army ninjas.

3) In any context, "nano" as a prefix means "dangerous" e.g. Nanobot, Nanopunch, Nanomom.

4) In most contexts, "nano" as a prefix also means "delicious" e.g. Nanotaco, Nanopunch, Nanomallow.

5) If you need a secret lair, the key is to build it as far underground as possible. Unless you don't want your secret lair to be destroyed. The movie offers no solutions for if you don't want your secret lair destroyed.

6) As a suffix, "nano" means "size of iPod" and nothing else ever.

7) Brendan Fraser will cameo in your movie if he gets to make all of the following expressions: O!, Come on!, [laughing head shake], [motorcycle whee].

8) Chicks who don't like you have been brainwashed.

9) If your evil organization, collective, or confederacy is capable of replacing the president with one of your own men, your other plan that involves picking a fight with an elite task force of international soldiers is probably superfluous if not downright counterproductive.

10) Seriously, Earth, Wind, and Fire was right to leave out water.

Exhibit 1.2.1

Best Movie Quotes to Pretend Are in The Great Gatsby

* "Here's looking at you, kid." -- Tom Buchanan to Myrtle

* "Forget it, James, it's North Dakota." -- Dad Gatsby

* "Love means never having to say you're sorry." -- Daisy

* "It was beauty killed the beast." -- Owl Eyes

* "We're going to need a bigger boat." -- Dan Cody

* "I'm walking here! I'm walking here!" -- Myrtle

* "You had me at hello." -- Nick

* "Nobody puts Baby in a corner." -- Jordan

* "I'll have what she's having." -- Wolfsheim

Exhibit 1.1.20

The Social Network in Stock Photos

Featuring a gorilla as Mark Zuckerberg. In seven acts.



Act 1

"I need to do something substantial in order to get the attention of the clubs. They're exclusive and fun, and they lead to a better life."



Act 2


"We're ranking girls."



Act 3


"As for the charges, I believe I deserve some recognition from this board."



Act 4


"I'm talking about taking the entire social experience of college and putting it online."



Act 5


"It's like a Final Club except we're the president."



Act 6


"You're gonna blame me because you were the business head of the company and you made a bad business deal with your own company?"



Act 7


"If you guys were the inventors of Facebook, you'd have invented Facebook."



The End


♫Baby, You're a Rich Man♫

Exhibit 27.27

What I Did While My Internet Was Down

1) Watched everything Netflix could send me without updating my queue. This is how I learned that the greatest threat to America's bros is wolves. Thanks, Frozen. I don't know why I added you to my queue, I just know that if I see a guy who looks like he might play ultimate frisbee, that bro is going to get eaten by wolves.

2) Learned about foreshadowing. Earlier in the movie, one of the bros says that the worst way to die would be to be eaten by sharks. Later, this bro gets eaten by what the Sioux called "the snow shark." Wolves.

3) Wished he would have been eaten by an actual shark. Watching a shark flop up a ski slope to eat an injured bro would really have made my internet-less night.

4) Promised myself I wouldn't talk to everyone about this movie.

5) Talked to everyone about this movie, at great length, without [SPOILER ALERT]s, including offering theories as to what I would do if stuck on a ski lift with no hope of rescue.

6) Determined the first thing I would do if stuck on a ski lift: not foreshadow any possible deaths, no matter how unlikely, certainly not any involving the North American snow shark.

7) Texted random people about the movie while always misspelling the word skiers.

8) Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back. Waited for people to text me back.

9) Gave up on people texting me back due to my misspellings. Started a screenplay for my own sequel to Frozen but never got beyond the title. Clearly though the title of the sequel should be Frost/Bite.

10) Checked my email 987 times hoping a little one would appear in the spinny circle.

Exhibit 27.26

Things That Entertained Me While My Internet Was Down


Apparently my Netflix queue is making its way through last year's big movies. Please forgive me when I try to engage you in a conversation about Inception in March 2013.

The White Ribbon
Maybe not quite as good as its reputation--or as good as Caché--but still really fantastic. It is not, despite what the trailers suggest, Children of the Corn: Wilhelmine Edition. Well, not exactly anyway. A strangely constructed movie and, like Caché, one purposefully demanding a conversation about what exactly happened.

Brief aside: Is it okay in film to have a narrator then show scenes that narrator could not have possibly witnessed nor known about? I don't care, really, I'm just curious since this is the sort of thing that gets railed about in fiction workshops. I guess the opening where the narrator admits he's not sure he remembers everything correctly is supposed to address this occasional omniscience, but it's still a little weird when other things--like, you know, answers--are only speculated about.



The Secret in Their Eyes
Sort of an Argentine Memories of a Murder. Definitely more conventional than The White Ribbon, but at its best it's smart and stylish and not nearly as crappy as the trailer suggests. At its worst, it's sort of a really good episode of Law and Order and exactly what its trailer suggests.

Took me awhile but I finally remembered where I'd see the lead actor. He's in Nine Queens, which is a nice Mamet-y con drama from a few years back. Wikipedia tells me he's one of the biggest stars in Latin America. Makes sense. He's sort of Tom Hanks-y.



Flight to Canada
I think I said this on Twitter, but I'm pretty sure I like this better than Mumbo Jumbo, and I love Mumbo Jumbo. Since today I can apparently only compare, I might as well say it reminded me quite a bit of Robert Coover's The Public Burning in its conflation/exaggeration/reinvention of American history. It was written about the same time, too. Something in the air after Watergate? In any case, you should read it.

Exhibit 27.20

Film Criticism

My review of the Swedish adaptation of The Girl With the Dragon Tattoo:

My review of the Swedish adaptation of The Girl Who Played With Fire:



Look, all I'm saying is there might be better languages to use when having conversations about terrible crimes.

It's cool, I can say this because I'm sure it's true.

Exhibit 27.15

Distractions

"Nobody cares but me."

Exhibit 23.15

I Watched These Movies Yesterday Because They Have Long Been in My Netflix Queue and I Always Confused Them Even Though I Had Seen Neither

The 39 Steps
This is the Hitchcock one, a pre-WWII spy thriller which occasionally aims for laughs in a way it probably wouldn't if it were made even a few years later. In 1935, however, audiences apparently wanted a bit of a screwball comedy to go along with their international intrigue. It's not a British The Thin Man by any means, but it's a little strange in retrospect (it's a movie about an unnamed country trying to steal British air defense secrets which I'm sure was all great fun until, I don't know, 1940). It's not broad, exactly, it's just that part of the movie's charm is in ill-prepared but game Canadian getting sucked into the world of spies when he gets accused of murder. He handles himself with good humor, finding time to banter with a blonde and give a good mustache-twitching reaction shot when needed. It's all tight and smart and cute. Hell, maybe it is a British Thin Man. Nothing wrong with that.

The Third Man
I sort of hate Joseph Cotten. Okay, hate is maybe a little strong since I think I've only seen him in two or three movies, but in both this and Citizen Kane he gets the unenviable task of playing a drunk. Unfortunately, being drunk in the '40s seems to have involved a lot of hiccuping and exaggerated slurring. More than that, in both movies Cotten plays sort of a principled sidekick to a bigger man--which would be fine, great even--only Cotten himself comes across as a big man, a bit of a bully type unhappy about being shoved into the shadows. Maybe that's why he drinks. That's more of a personal issue- I should say I do remember liking that scene in the retirement home in Kane--and hardly one that ruined this movie. It's a really good movie. Certainly it's because I watched them in the same day, but it's hard for me not to see The Third Man as The 39 Steps shaken, war veteran cousin. Outside of a cringe-inducing literary reading--certainly relatable--there's very little humor in all the intrigue. Instead of a chummy gamesmanship there are lives being ruined over rashly decided and quickly shifting principles. Everyone always has a side but it might not be the same one they had the day before. There are real implications to these shaky loyalties and one's best move would be to up and leave if only it were possible. In that sense, it's as much a WWII movie as anything involving D-Day. It's also got a great deal--the zither score, Welles's face cut by light, the hands through the grate, the long final shot--that makes it hard to forget. More than that, it lingers as one of the greyest black-and-white movies in my mind.

Exhibit 23.1

The Road

I don't have much to say about the book. It's good. Great, even. You've probably read it. It's the one where a guy and his kid wander around apres apocalypse and do things Oprah likes (which is weird because if there's one thing The Road makes clear it's that chicks can't handle the end of the world). The prose isn't as stylized as some of McCarthy's other work but it's still incredible, capable of making a 270 page book where not much happens seem tight and fraught and inexhaustibly sad.

The movie, however, is interesting insomuch as it follows the book perfectly, is beautifully imagined, and adds absolutely nothing to the world. All of that makes it fairly hard to hate or even dislike. If anything, I suppose I might even say I liked the movie in terms of it having done exactly what I would have wanted the movie to do. Unfortunately, what I wanted it to do was something profoundly boring, a kind of failure of my own imagination in wanting only ashy skies and leering marauders. Of course, the book had already given me those images only now I got to see what they would look like with Aragorn in the frame and Cheetos product placements. I got to have the old man turned from something strange and intellectually menacing to Robert Duvall, America's favorite wily grandfather.

There's a lot of complaining about any film adaptation of a novel but rarely is the complaint that it follows the book too closely. And I'm not even sure if that's what happened here. No Country for Old Men seemed to treat its source material with similar reverence yet the end result seemed to please everyone. Perhaps it's because that book was supposedly a screenplay before it was a novel before it was a screenplay. Perhaps it's because the Coen brothers are better filmmakers. Perhaps there was just more to work with than the sparse, empty world of The Road. In any case, the problem here is not that there is a movie of The Road but that I wanted to see it. And I wanted to see it exactly as how I saw it when reading the book. Then I did see it and it was skillful but empty. Worse, I will now always see it that way. That old guy is forever Harry Hogge.

Maybe I've been grading too much, but hours after leaving the theater I wished I had some physical representation of the movie so I could write "Why do you want this to exist?" on it.

Exhibit 22.13

A comprehensive list of things in the movie G.I. Joe that were silly, physically impossible, cameos from the guy who played Steve Nebraska in The Scout, vaguely racist, childhood defiling, problematically unaware of the laws of physics, problematically unaware of how ice floats, problematically set in 17th century France, irrationally costumed in rubber masks that had lips, not at all subtle in their winking at the old cartoons, ballistic missiles shot down with snow mobiles, starring a guy with a tiny head, unnecessarily Scottish, places we're expected to believe those guys from 17th century France named a prisoner Destro, summations of the plot only recently summarized only this time done in a Scottish accent, betrayed a stunning lack of knowledge about the U.N.'s role in the world, unexplained holes going deeper into the Earth when we were already pretty deep underneath the Earth, continuity errors, being tracked by beacons of the tracking variety, timely statements on the continued problem of racial profiling, national landmarks that got all Independence Dayed, chased, no really ballistic missiles shot down with snow mobiles, scenes in which the word 'nano' was said more than three times, Sienna Miller, unexplained instances of a small white child growing up alone on the streets of Tokyo, Dennis Quaid telling someone within a tenth of a percentile how awesome they are at being a G.I. Joe, problematically reinforcing the notion that the filmmakers have never seen water or ice and possibly not steam, a dude in a holograph physically interacted with an object in a way that seemed to need some sort of explanation like what is he seeing on his side of the transmission and what did he doing to the nanoweapons case holding the nanowarheads was it something that would make them more or less nano, or a Wayans:

1) Storm Shadow would totally wail on Snake Eyes

Exhibit 19.14

Old Pictures of My Friend Ryan Review Summer Blockbusters

Up

Exhibit 19.6

Old Pictures of My Friend Ryan Review Summer Blockbusters

Terminator Salvation

Exhibit 18.23

Old Pictures of My Friend Ryan Review Summer Blockbusters

Star Trek

Exhibit 18.19

Old Pictures of My Friend Ryan Review Summer Blockbusters

X-Men Origins: Wolverine

Exhibit 17.20

The Searchers

Someone requested my thoughts on The Searchers and since I didn't see anything interesting while driving to work today, I figured why not. I'm here to please.

Despite what you may be thinking based on some recent posts, this is actually the first John Wayne movie I've ever seen. I had to look up some of his characters' names for a project, posted the character names, was told to watch The Searchers, watched The Searchers, was told to write about The Searchers, and now I'm writing about The Searchers. This has all taken place within a week or so. Like I said, I'm here to please.

Here's the trailer if you'd like to watch it, but I should tell you it gives away maybe the best scene of the movie and, if you know what to look for, the ending.

Lusty slice of history? Sign me up.

So it's not in any way lusty, but it is a great movie, sort of an earlier, American Southwest Lawrence of Arabia in visual style and something much more modern in its dark, somewhat meta conflict which rests entirely on antagonizing the audience's expectation of John Wayne-the-guy-who-plays-heroes with John-Wayne-the-guy-playing-a-racist-jerk. I know nothing about film, so I'm sure this kind of against-type casting existed before, but I can't think of an earlier example. I certainly can't think of a time it's worked this well since (it usually ends up lifeless [see Hanks, Tom, The Road to Perdition] or silly [see Carrey, Jim, The Number 23. Actually, don't. I certainly didn't]).

What's so great about it here is that Wayne seems completely unaware his character is a bad guy. Obviously he did know, but it's clear that Wayne sympathizes with him to such a degree that it would be uncomfortable if Wayne weren't so damn likable. As I said before, I've never seen a John Wayne movie, hate the guy's politics and his behavior during the Red Scare, and don't have a lot of interest in his vision of America or masculinity--I'm, you know, a wimp--but there's undeniably something big about the man and it's something that seems to exist outside of what he says or does. And believe me, I hate buying into this guy. I'd love to be contrarian here, but it's true. John Wayne had me at his first, "That'll be the day."

It's his presence outside the character that greys the movie, and it's almost impossible to imagine a movie with the same mechanics today. It's maybe as simple as the fact that the studio system doesn't create stars in the same way--although god knows they try every so often:

Movie Executive #1: Shia LaBeouf?
Movie Executive #2: Shia LaBeouf!

Or maybe it's something Marlon Brando did. Certainly The Searchers is riding the anti-hero wave:

On the Waterfront - 1954
Rebel Without a Cause - 1955
The Searchers - 1956

Thankfully, we just haven't been living in an era that wants Superman for a long, long time and in The Searchers John Wayne is Superman turned bitter after choosing the wrong team (in this case, the South in the Civil War). And so it's not just that Wayne is playing against type, it's that he's playing the death of his type. A once great man reacting to the end of his era with violence and hate.

For some reason, John Ford sought to soften the blow of this portrayal with laughter. There's a lot of comedy in The Searchers and it's all very broad--a cartoony simpleton, pratfalls, misunderstandings with (hilarious) consequences. There's absolutely no reason for any of this to be in the movie, but it's there nonetheless. The only thing odder than its existence is the fact that it's actually funny more often than not. Still, it's completely disposable and unwanted, scenes that most people probably forget when remembering the movie.

(The Searchers is apparently the AFI's greatest Western of all-time. Fair enough. It is quite awesome and I don't know anything about Westerns. But I do know it would be hilarious to take some of these comedy scenes and insert them into, say, Unforgiven. Watching Clint Eastwood and Morgan Freeman have a surprisingly girly fight played for laughs? Yes. Yes indeed).

Last thought: And maybe it's just because of how inherently unassailable Wayne is, but I think there's an argument could be that the character Ford objects to most is Ward Bond's Reverend Captain, who is both the local priest and the local marshall. While he's as complex as the rest of the characters here, even Wayne seems to hate the power and hypocrisy at work when these two roles combine in one man. Considering the movie was made at the end of the McCarthy-era, it's easy to see Bond's character, and not Wayne's, as the real anti-hero. Wayne is going to die and take his character flaws with him, leaving behind nothing but a son-figure who represents the opposite of what Wayne believes in. But men like Bond and their "good-intentioned" facism aren't going anywhere.

Exhibit 17.6

Plot Synopsis Of A Showtime Action Movie That Captivated Dave, Tyrone, And I As Remembered One Month Later


The movie opens with a team of poorly concealed soldiers rappelling down a hill they could probably walk down, but the rappelling lets us know they are highly trained in all of the military arts (except concealment). Our team forms a perimeter around a terrorist base camp oddly appropriately located in Southern California Afghanistan where a stripper/spy has been taken hostage. A fake closeup/computer simulation let's us know her captor is unimaginatively called The Bombmaker. I don't know how else to describe the computer thing. Just know there is a lot of beeping and, I think, some faux-night vision. Still, it's day. That's why you can see those 15 to 20 soldiers spending the better part of an hour disconnecting their rappelling cables over by the hill where the Afghan kids go sledding.

Anyway, our hero infiltrates the camp, frees the girl, and spends 20 seconds turning around while a suspiciously Anglo terrorist fumbles with his kalishnikov. I think I actually went to the bathroom and came back during our exceedingly un-agile hero's maneuver. Still, Worthington P. Terrorist III gets a knife to the chest in the end. Our hero grabs the girl and oddly leaves The Bombmaker alive. We never see him again. Na, I'm kidding. We totally see him again.

The hero and the girl begin to kiss in what I think is the back of the truck they're driving away in (I assume this truck is where they kept the rappelling gear which is really looking less necessary than ever). We learn our hero is Australian. This seems surprising but whatever. So they're making out when the hero opens a briefcase he stole and finds that it's full of money. Cut to a black screen with our Aussie hero's voiceover:

That's when I moved to Las Vegas and founded...

...The Crazy Girls!

I think Dave and I actually high-fived here. We were that excited. Turns out America's greatest spy is actually an Australian and has gotten out of the game in order to manage a strip club. Yep. Anyway, despite being out of the game he's training his strippers to break into houses and steal information. Also, his strip club has a high-tech lair where he can run operations. Otherwise he's completely out of the game. He says this a lot. If there's a game, he's not at it.

Until the CIA asks him to go to a poker game. He's in that one. It's hosted by the guy who finances all of the world's terrorists. I think we get more beeping and green screen, but this time it's okay because it's actually night. So our hero is winning (naturally) when a girl bursts out of the other room. Apparently our financier friend had another poker game earlier and ordered this girl killed because she won. Except they then waited until our financier had yet another poker game to actually do it. Then she escaped. Everyone with me? Good.

So, our financier is going to kill both of them because he hates losing. Or he loves murder. All we know is that he sucks at poker and uses it as an excuse to satisfy his bloodlust. Needless to say, his henchman botches the job. Our very, very slow Aussie hero and the girl go back to his place where she tries to seduce him but fails because he's looking at a picture of his dead family while sitting at a piano and playing wistfully. (!) The girl goes away sad. Then comes back thirty seconds later to try again. His family's angry, Australian ghosts placated by some John Tesh, this time it works.

This is about when Ty comes back. Dave and I excitedly recap the plot. Ty seems dubious. One of us expresses hope that the Aussie beefcake gets naked even though he probably shouldn't. The rest of us express desperate anti-hope. No one thinks about changing the channel.

Also, from this point forward imagine that whenever the scene changes there is an establishing shot of the Riviera hotel and casino. They apparently financed the movie and therefore get about 5 minutes of total airtime. These shots happen whether or not the following scene actually takes place in the casino. It's very odd.

I haven't said much about the actual Crazy Girls. Basically, they all have stripper names and a singular talent that may or may not prove useful. One steals cars. One can make computers do whatever she wants after some very stilted typing. One doesn't talk. I'm serious, one's power is that she doesn't talk. They decide to use their skills (or, in one case, handicap) to infiltrate the financier's hotel room where he is having...wait for it...another poker game. Oh! And he still has the same (white) goon. To recap, our Middle Eastern terrorist financier's goon is able to keep his job despite:

A) Somehow botching the murder of an unarmed stripper locked in a room
B) Then botching killing her again after her first escape
C) Not killing America's greatest Australian spy (this one is sort of understandable)
D) Failing to prevent the stripper from breaking into a poker game she wasn't invited to
E) Not killing her AGAIN when ordered
F) Not sharing an ethnicity or religion with his boss while doing the one job in the world (Terrorist Goon) where this would be listed as a requirement on the Monster.com posting

So our goon (who is presumably in the process of converting to Islam) is 0/5 in successfully executing direct orders. Now, I'm not saying you have to kill him (maybe he's Yusef's adopted brother) but at least hire a second goon. This one is clearly overmatched. If what the beeping green screen thing told us is correct, the financier should have the money.

So the Crazy Girls all retreat to their lair (to what end was this stuff going to be used if our hero didn't get back in the game? I really, really want to know). And...

I fall asleep. I wake up at one point and Dave and Tyrone are still watching as The Bombmaker is doing something. I'm guessing it involved bombs.

The end.

Exhibit 16.19

Dear Octopus Books:

I have a problem. I wore my Octopus Books t-shirt and people kept asking me if I was wearing a t-shirt with my own picture on it. This wasn't the problem. The problem was that I kept saying, "Yes, I am wearing a t-shirt with my own picture on it. Hi, I'm Todd Octopus."

I don't even see the resemblance.


Todd Octopus


Me


Jürgen Prochnow


Thank you for your time,

A.