Pam here. I meant to squeeze in one more review before the end of the year, but as you can see, I didn’t quite make it. In honor of the holiday season (well past, by now), I wanted to pick a movie that wasn’t great, but wasn’t as bad as some of the spectacularly awful movies that MMT has reviewed. The question was, which movie to pick? Then I thought of a movie that I saw once, during summer vacation when I was nine years old. Back in those days, there were only a few TV channels, and they often showed older movies to fill up times when not many viewers were watching. Summer vacation could get pretty boring during periods when all of my friends seemed to be out of town at the same time, and watching old movies helped pass the time. I saw some real stinkers during the summer when I was nine, but I vaguely recalled liking this one. All I could remember about it was that there was time travel and witchcraft in it, so I figured it was ripe for MMT’s attention. So let’s get started, and we’ll see how good my nine-year-old taste was.
This movie was directed by Roger Corman, somebody I had never heard of when I was nine years old. MMT has reviewed some other Roger Corman movies (The Wasp Woman, Creature from the Haunted Sea, and X: The Man with the X-ray Eyes, for instance). Some of them were bottom-of-the-basement cheapies, and some, like X, were better. I couldn’t remember this movie very well, but I recalled it as being one of the cheaper ones. Turns out that this was accurate. Oh, and before I get started, I have to tell you that the title is misleading. There aren’t any zombies in this movie.
The opening credits are superimposed over dancing flames. The actors are people you probably haven’t heard of unless you watch a lot of B-movies, with the exception of Billy Barty who, as you might expect, plays an imp. The Devil himself gives a brief introductory speech, letting us know that we’re going to see his work in action and cluing us in that this isn’t a comedy, although you probably already figured that out.
His Satanic Majesty
Spooky music follows, and we see a young woman sauntering through fog at night. She resembles Annette Funicello and is dressed modestly enough in a skirt and a blouse, but when she leans against a lamppost and pulls out a cigarette, it’s pretty obvious that she’s not a schoolteacher. She’s improbably named Diana Love, and she’ll be the main character of this movie.
Our Heroine
A hand comes out of nowhere to light her cigarette, then grabs her by the wrist and leads her away. Far from being upset, she smiles and goes along. This looks ominous to me, but in fact, as we see in the next scene, she’s being taken to the “American Institute of Psychical Research.”
What do psychical researchers want with a streetwalker? Not what you’re thinking. One of the researchers, the one who grabbed Diana, believes that he can put her into a trance and bring back her memories of past lives. But why a prostitute? The researcher who brought her in believes that prostitutes don’t have any willpower, so she’ll be the perfect subject. (While he’s talking, Diana casually rifles through the pocket of a coat hanging in the room and helps herself to an expensive-looking cigarette case.) This researcher, with the equally improbable name of Quintus Ratcliff, tells an older-looking man that he plans to keep Diana in a trance for two days. The older man is Dr. Olinger, the head of this institute, and he points out to Quintus that this could kill her. You’d think that as the head of the institute, he could stop this experiment if he wanted to, but for some reason he feels that he has no choice but to let Quintus proceed, and Quintus duly puts Diana under. Diana is getting paid a whopping 500 dollars for her two days in a trance, and it doesn’t appear that Quintus has bothered to tell her exactly what risks are associated with his experiment.
Quintus has crazy eyes
After a few minutes, Diana begins speaking in French, and from what I can make out, it sounds as though she was a member of the French aristocracy at some point in the past. (How have the mighty fallen.) However, Quintus feels that she hasn’t gone far enough back into history, and he keeps talking to her. Eventually she begins squirming and pulling at the heavy bracelet she’s been wearing since we first saw her, and when the next scene opens, she’s wearing a standard low-budget-movie “medieval” dress. It appears that she’s even worse off than she was when she was walking the streets in modern times, because she’s now in a cell with chains around her wrists and is being called a “witch” by a torch-carrying jailer.
Bet she's sorry she let Quintus talk her into this
As if that wasn’t bad enough, the jailer also informs her that she’s going to be beheaded sometime in the near future, along with two other witches. To make matters yet worse, he grabs her and tries to kiss her. Luckily, help is at hand from an unlikely source: her future incarnation is aware of what’s going on and coaches her to hit the jailer with her chains, grab his keys, unlock her chains, and escape. This she does successfully.
It appears that there was only one jailer in the prison, and Medieval Diana gets out clean, although the jailer sounds the alarm once he revives. Poor Diana is running through a wooded area, in the fog again and pursued by the jailer’s buddies, when she encounters a mounted knight in full armor. He chases her, but she has the presence of mind to get off the path and go through the trees where the horse can’t follow, and she escapes the knight.
I’ve already noticed that this movie isn’t strictly historically accurate, and it becomes even less so as Diana comes across a 19th-century horse-drawn hearse in the middle of the woods. The hearse is accompanied by a gravedigger named Smolkin, who is singing a humorous song to the tune of “Four-and-Twenty Blackbirds.” (“Four-and-twenty landlords, dinner for the worms…” is what he sings, if you must know). While Smolkin is occupied with his ditty, Diana sneaks into the hearse and opens the coffin. Just then the knight arrives, still looking for Diana. The knight is conscientious. He looks inside the hearse, sees no sign of Diana, and even goes so far as to open the coffin. No Diana in there, either, at least as far as he can see, and he backs out of the hearse and orders Smolkin to seal the coffin before burying it. The sound of nails being hammered in causes Diana much anguish because she – are you ready for this – is in the coffin and has pulled the (mercifully fresh) corpse on top of her! Still, keep in mind that she’s in line to be beheaded if she’s caught, which calls for desperate measures, and I only hope I’m never this desperate. As an aside, a look at IMDb shows that the corpse here wasn’t a dummy, but a (live) man named Paul Blaisdell. His specialty was actually designing and creating monsters and special effects, although he did sometimes play the monsters he designed.
There’s some suspense now as we see Smolkin drive off in the hearse, with the lid of the coffin now nailed down. (A glimpse of the coffin shows that it has very modern handles.) Still not a peep from Diana, but Smolkin keeps singing his dubiously-humorous song as he goes. He will continue to sing similar songs throughout the movie. I wonder if these songs were put in to lighten the atmosphere just a little and keep the movie out of Ed-Wood-weird territory? Possibly. But now we see some Spooky Doings. As Smolkin leaves, two birds on a nearby tree turn first into cats, then into a man and a woman.
Although these two people clearly have genuine supernatural powers, the woman at least appears to be benevolent. She sees a man on horseback passing by, and hails him as “Pendragon.” They evidently know each other, and when Pendragon tells her that he’s looking for proof of Diana’s innocence, she tells him to ask Smolkin. It seems that there were claims that Diana bewitched Smolkin, but neither Pendragon nor the woman believe that Diana did this, and the woman wishes Pendragon well on his search. However, once he’s off, we learn that the woman, whose name is Livia, isn’t so nice after all. Once Livia’s back with her male companion, she tells him that she’s the one who accused Diana of being a witch, because Pendragon is Diana’s boyfriend and she wants Diana dead so she can have a chance with Pendragon herself.
Back at the hearse, Diana is struggling to push the corpse off her (ick), when Smolkin halts and prepares to dig the grave. Just then, up rides Pendragon. Smolkin admits to Pendragon that he’s bewitched, but he has no idea who did it. He says that it could have been Diana, but it could have been somebody else instead. Smolkin seems remarkably nonchalant about his bewitched state. Pendragon isn’t satisfied with Smolkin’s statement, but he has other things to do, and he rides off and leaves Smolkin to keep on digging.
Poor Diana never does manage to get herself out of the coffin, but when Smolkin finally finishes digging, stops his humorous songs, and manhandles the coffin toward the grave, Diana can’t stop herself from crying out. Instead of screaming and running away, which is what I would have done under these circumstances, Smolkin grabs his shovel and pries open the coffin. The understandably-traumatized Diana clutches him around the neck and begs him to help her. If indeed Diana bewitched him, he bears her no grudge, and he helps her out of the coffin. (There’s no sign of the coffin’s original inhabitant, and when you see the entire coffin, it’s not big enough to have held two people.)
Diana is desperate, but she isn’t hopeless. She tells Smolkin that she’s to be executed at dawn, but if she can manage to hide until after dawn, she’ll have a year before she can be executed, and during that time, she hopes to prove her innocence. But, she adds, before the dawn comes, there will be a witches’ Sabbath at midnight. Um, if Diana isn’t a witch, how does she know this? Also, I’ve never heard of any medieval country that had such a law about the execution of witches, but this one must, because Smolkin promises to take Diana to a place where “none save Satan himself” can find her.
In the meantime, Livia is off to a nearby pub, the Gabriel’s Horn, where she’s greeted as a regular. Livia is, of course, attired in medieval garb even more accurate than Diana’s.
Authentic medieval high-heeled sandals
Authentic medieval dress, makeup, and hairstyle (and bra!)
Authentic medieval zipper
The innkeeper is also aware that there is to be a witch’s Sabbath that night, and he’s prepared protection: cornflowers, wolfbane, chicken bones, snakes, frogs, amulets, and even garlic. No witch will pass his door tonight, he states confidently. He is, as it happens, wrong about that, as we know when we see Livia pick up a bulb of garlic and hand it to a pointy-eared little man (?) under the table, who promptly bites into it.
Typical local?
At this point, Pendragon walks into the inn, asks for ale, and goes upstairs. He’s in his room sculpting a head in clay (!) when Livia slithers in. She apparently has no respect for art and interrupts his endeavors by trying to kiss him. He pulls free, but she doesn’t give up easily, and as she tries to kiss him, she points out that Diana is as good as dead already, so he might as well get somebody else – her, for instance – lined up as a replacement. He seems unenthusiastic about her suggestion and pushes her away when she tries to kiss him. He also tells her that he suspects she had something to do with Diana’s predicament, and with that, we return to Diana in the hearse.
Smolkin pulls up, lets Diana out, and points her toward a light in the distance. He tells her to follow it to a house where she may be safe. She isn’t too happy about the “may” part, but what choice does she have, after all? She does manage to reach the house, where she’s spooked when someone opens a window and looks at her, whereupon she returns briefly to the modern day where she’s the experimental subject again.
Despite Diana’s shrieks and struggles, Quintus refuses to release her from her trance, and Dr. Olinger refuses to intervene. Very shortly, Diana’s back to medieval days and its dangers. The person who scared Diana proves to be an elderly crone, whose cackling voice alone suggests evil. So does her appearance – she looks like a close relative of the Wicked Witch of the West. She leads Diana inside, and then we return briefly to Pendragon and Livia.
They’re still in Pendragon’s room at the inn, and it seems odd that given Pendragon’s earlier disdain for Livia, he’s allowed her to make herself at home in a rather modern-looking armchair. Not only that, he lets her stay in the room while somebody brings in what he openly says are the designs of the towers and passageways where Diana is imprisoned. Clearly Pendragon doesn’t know that Diana has escaped. It’s unclear at this point if Livia knows, since she may or may not have seen Diana in the hearse as it and Smolkin passed by her.
Back now to Medieval Diana, who is kneeling and praying as the crone threatens to turn her into an owl to catch mice for her (the crone’s) cauldron. I think it’s safe to say that the crone really is the witch she appears to be. The crone then reveals some interesting information: she was at the trial and heard Livia claim that she saw Diana cast a spell on Smolkin. In the short term, this seems to be good news for Diana, as the crone believes that witches should help other witches. The crone also states that she has some conjuring to do, which may or may not be good news for Diana. And with that, the crone is off to the inn, cackling as she goes.
When you look like this, what can you do other than be a witch?
The innkeeper isn’t exactly pleased to see the crone, but he does let her in. He tells her that Pendragon and Livia are upstairs, and she must know that Livia doesn’t mean Diana any good, because she asks the innkeeper to call Pendragon down and not tell Livia anything about her visit. Once he’s there, she tells him where Diana is and sends him off to her. We find out that the crone’s name is actually Meg Maud, and once Pendragon’s off, she goes upstairs to have it out with Livia. There’s some back-and-forth between the two, and Meg Maud informs Livia that she – Meg Maud – is also a witch, but she’s a better witch than Livia because Livia had to trade her soul to become a witch, but Meg Maud managed to keep her soul when she became a witch. So there, Livia!
Livia retaliates by picking up a knife and slicing it across the neck of the clay head Pendragon was working on, thus causing both Modern Diana and Medieval Diana, who’s still at Meg Maud’s cottage, to gasp and grab their throats. So does this mean Pendragon’s a witch, too? But for now, we leave the two quarreling witches and watch as Pendragon reaches Meg Maud’s cottage, where’s he’s greeted by a happy Diana.
Pendragon and Diana snuggle by Meg Maud’s fireplace, and Pendragon says he’ll take Diana to the tavern, where she’ll be safer. This seems like a very poor assumption on Pendragon’s part, especially since as far as he knows, Livia is still there, and combined with the clay head of Diana he made, it makes me wonder if Pendragon is the nice guy Diana thinks he is. I was also wondering why Meg Maud suddenly decided to help Diana, but a little more conversation back at the tavern between her and Livia suggests that Meg Maud wants to save Diana to prove that she’s a more capable witch than Livia.
Pendragon and Diana reach the tavern, and luckily for them, by the time they get there, Livia and her pointy-eared little familiar have left to prepare the banquet for the Witches’ Sabbath. It turns out that the charming venue for the Sabbath is the graveyard we’ve already seen, and Livia presses Smolkin into service to help get the graveyard neat and tidy. Livia brags to him that she’ll be standing at Lucifer’s right hand at the Sabbath, but for now she’s more humbly occupied in sweeping the area where the feast is to be held. Smolkin destroys her smug mood by reminding her that in order to be Queen of the Sabbath, she’ll have to present Lucifer with a freshly-severed human head. Livia had completely forgotten about that, and Smolkin adds that it can’t be just any old freshly-severed head, it has to be the head of someone important. (He has an excellent reason for stating this, as Livia’s first impulse was to help herself to his head.)
We now rejoin Pendragon and Diana as they enter the tavern. Meg Maud greets them, and Pendragon leaves Diana in her care while he goes off to find Smolkin. Pendragon doesn’t say why he wants to talk to Smolkin, and in any case, Livia is still there with Smolkin and casts an illusion that makes Pendragon believe that Diana has been recaptured. So off Pemdragon goes back to the tavern, but unfortunately not before he lets Livia know that Diana is (or was) at the tavern. Livia and the imp transform into bats (nice skill to have!) and follow him, with Smolkin sneaking along after them.
I wish I could do this
Back at the tavern, Meg Maud fortunately decides that she and Diana must go back to the cottage just an instant before Livia and her imp show up. Livia is severely bummed to find Diana gone, but she recalls that she still needs a freshly-severed head to get in good with Lucifer, so she picks up a conveniently-placed axe and cuts off the innkeeper’s head. Mercifully we’re not shown any of the resulting gore.
Meg Maud and Diana are nearly back at Meg Maud’s cottage, when they run into Smolkin. Smolkin gives them the news, which I’m sure they already know, that Livia and her imp are looking for Diana. He also tells the something they don’t know: Pendragon is heading for the prison Diana escaped from earlier, in hopes of rescuing her. We then see that once there, Pendragon enters the prison by means we aren’t shown, and he punches out a guard who tries to capture him.
We’re going to have to wait a little while before we find out what Pendragon does next, because the next scene is in the “present,” where Quintus is just realizing that Diana has changed her past. Since she’s escaped the prison, at least for now, she probably won’t die at dawn, so the future Dianas will no longer exist. Quintus has a plan to fix this, which is to go back to the past and make sure Diana dies as she was scheduled to do. I’m not sure why he thinks it’s so bad that Diana’s future existences will be changed, since she certainly isn’t doing too well in her current one, but his mind is made up.
But back to Pendragon, who has left the prison after finding that Diana’s not there after all. He quickly runs into the ubiquitous Livia, who proclaims her love for him, but says that she understands that he loves Diana and will never love her. Furthermore, she’ll use her witchy powers to save Diana because Pendragon loves her so much. If I had just tuned into this movie and hadn’t seen how Livia acted before, I’d believe her, so I guess we can’t fault Pendragon for falling for this. However, Livia adds that there’s one tiny little thing Pendragon must do. In order for Livia to use her powers, Pendragon must sell his soul to the Devil. Pendragon hesitates a few seconds, but he agrees. He seems to have forgotten that mere hours before, Livia gave him completely incorrect directions about where Diana was, so even though he may not have figured out that Livia isn’t sincere in her willingness to help Diana, there’s obviously some doubt about her competence.
Pendragon must sell his soul at the Witches’ Sabbath, which will be in an hour or two. But help may possibly be on the way, as in the present, Quintus is preparing to send himself back to the Middle Ages. We’ll have to wait to see if he makes it, but back in the past, Pendragon accosts a passing knight, knocks him unconscious, and helps himself to the knight’s chainmail, face-concealing helmet, and horse. Meg Maud is preparing to go to the Sabbath, to spy on the activities and see if she can come up with something to save Diana. Diana is left at Meg Maud’s cottage in the care of Smolkin.
But the Sabbath is now starting, and Livia is carrying the innkeeper’s head to present to the Devil, as Pendragon stands by silently.
What does the Devil want with a severed head, anyway?
The Devil (see first picture above) duly appears. He seems to approve of the head, and he’s in a generous mood. He promises Livia and the other witches money, food, and security all their lives, and what’s more, he’s going to throw them a party, complete with dancers and music for entertainment. The dancers aren’t everybody’s cup of tea.
I can see this is going to be a fun party
Once the dancing is over, the Devil gets down to business. Livia brings Pendragon to him and explains the situation. The Devil promises that if Pendragon signs up with him, he’ll arrange for Diana to be rescued. Pendragon is just about to sign, but just then, up steps a knight who advises Pendragon to bargain first. Guess who the knight is? It’s Quintus!
The Devil recognizes Quintus immediately, which makes me wonder just who Quintus really is. Probably not a close friend of the Devil, though, because Quintus tells Pendragon not to sell but to rent his soul to the Devil for a month. Neither Livia nor the Devil likes this, but Quintus promises that if Pendragon will come with him, he’ll help Pendragon rescue Diana, and Pendragon won’t have to make any kind of bargain with the Devil. Pendragon agrees, and off the two go, with Pendragon’s soul still his own. Quintus has of course been listening to Modern Diana’s recitation, and he, unlike Pendragon, knows that Diana hasn’t been recaptured but is back in Meg Maud’s cottage. Livia and her imp turn into bats again and fly off after them. I wonder how hard it is to learn to turn into a bat?
Meg Maud has just returned to her cottage after spying on the Sabbath, and she gives Diana and Smolkin the good news that Pendragon didn’t sign up with the Devil, so Diana can relax now. Pendragon arrives shortly, and he and Diana compare stories. Pendragon learns that Livia lied to him about Diana being recaptured, and Diana learns that there’s a strange knight riding around who bears a strong resemblance to Quintus. Medieval Diana doesn’t quite know why she’s afraid of Quintus, but she knows that somehow he’s a threat to her. (Modern Diana was in the room when Quintus was telling the doctor that he was going to go back in time to make sure Medieval Diana died on schedule, and somehow the knowledge must have seeped back to Medieval Diana.)
Meg Maud instructs Smolkin to hide Pendragon and Diana in the woods, and off they set in Smolkin’s hearse. Pendragon and Diana both have done an awful lot of running around in the few hours during which the action has taken place, and it seems as though it’s going to be a while before they have a chance to rest. Quintus, Livia, and the imp arrive at Meg Maud’s cottage at about the same time, and Quintus invites himself in, closing the door in their faces. He’s honest enough to inform Meg Maud that he comes from the future, which she accepts with a surprising lack of surprise. They converse for a little, and Quintus explains to her that he came back to rescue all the future Dianas, for if Medieval Diana doesn’t die at the coming dawn, there will be no future Dianas. What? This doesn’t make any sense. There should be more future Dianas, even if they aren’t quite the same as they would have been if Medieval Diana had been executed on schedule. Does he mean that people reincarnate only if they’re executed? If so, were all the future Dianas executed, too?
However, Meg Maud appears to accept this, but no sooner than she does, Quintus undergoes an abrupt change of heart, and tells her that he doesn’t really care what she (Meg Maud) does. She can save Medieval Diana or let her be executed, it makes no difference to him. I can’t figure out what brought this about, and I’m not sure what Meg Maud is planning to do, but she does tell Quintus to follow her as she runs off into the woods to find Diana.
So, what is going to happen to the two lovebirds? If you’ve been paying attention, you’ll know there’s a lot of people milling around in a small wooded area, and they begin to come together. Diana, Pendragon, and Smolkin are together, then Quintus turns up, and Meg Maud appears shortly after. Then comes Livia, who arrives in the form of a cat but transforms into herself upon arrival. And finally, the Devil himself turns up, complete with the trident he was holding in the opening scene. (Why does he carry a trident around with him?) The Devil is planning to sit back and watch the debate on what Diana should do.
No one has explained to Diana that if she isn’t executed as planned, none of her future selves will exist, but Meg Maud now steps in to enlighten her. She tells Diana that she has a choice: she can die now but will live again in the future, or she can live now until she dies a natural death, but she’ll have no future lives. (My nine-year-old self didn’t question this, and apparently the general audience wasn’t expected to, either, but see above for why this doesn’t make sense.) Pendragon begs Diana to escape, while Livia unsurprisingly urges Diana to let herself be executed. The Devil says that he and Quintus want her to live on in the past so that they can watch the future change. Quintus tells Diana that her future self is “base and devoid of virtue – a wanton woman of the streets,” implying that she probably should avoid the axe as her future self is so awful. (Apparently, we’re supposed to have forgotten that just a few minutes ago, Quintus went to the past because he thought it was vital that Diana die as scheduled to avoid changing the future.) Meg Maud suggests that it might be better for Diana to be executed and escape these wretched times. Smolkin doesn’t say anything directly to Diana, but he agrees that times are terrible now. The Devil is lapping up all of the argument, but he stops gloating long enough to suggest again that Diana avoid the axe and live. So it’s three for escape and two for execution, with Smolkin abstaining but seeming to lean toward execution. What’s Diana going to do?
Diana doesn’t know. She asks Quintus to let her future selves speak, and they one and all beg her to let them live – including Modern Diana, who says that Medieval Diana has made her a changed person and vows that she’ll live a good life if Medieval Diana lets her live. So Medieval Diana knows what she has to do, and after giving Pendragon one last kiss, she runs off to meet the executioner.
Pendragon of course runs after her, after breaking free from Meg Maud and Livia, who both for different reasons want to stop Pendragon. Livia turns into a bat yet again and flies off after Diana. The Devil is now betting with Quintus on whether Pendragon will catch Diana in time. Livia throws a wrench into the works when she turns back into a woman and stops Pendragon. However, the stop is only a brief one, because Livia has time to say only a few words when Pendragon, perhaps overreacting a bit, draws his knife and stabs Livia.
The issue is still in doubt, as the next scene opens when the first of the three witches climbs the scaffold. Her head thuds into a basket, and the second witch is dragged onto the scaffold. Just as the second witch’s head falls, Diana arrives, with Pendragon close behind. The executioner’s axe rises above her neck, Pendragon shoves his way through the crowd, and – he collapses to his knees as Diana’s head falls into the basket.
In the present, Diana wakes up, gets up, and goes over to Dr. Olinger. She tells him that she’s a changed woman now, she’s grateful to her past self for giving her a new life, and she bears no grudge against him and Quintus. But Quintus isn’t around to be forgiven – all that’s left of him is his clothes, lying on the chair he was sitting in when he sent himself back to the past. Back in the past, the Devil gleefully breaks the news to Quintus that with Medieval Diana dead, there’s no longer a link to Modern Diana, and no way for Quintus to get back to his own time. And with that, we end.
Alas, poor Quintus
I have to give my nine-year-old self some credit. This actually is a fairly good movie. Of course, there seems to have been zero historical research done, but that’s also true of better historical movies than this one. The actors are all competent, although none of them ever made it past B movies and intermittent television work. However, Allison Hayes, the actress who played Livia, did become the 50-foot woman in Attack of the 50-Foot Woman. This movie called for something more than mere adequacy on the part of its actors, as much of the dialogue used a stilted, pseudo-medieval style that must have been difficult to deliver so that it sounded as natural as it does in this movie. There was a lot of running around in this movie, possibly to conceal the fact that it was filmed inside an empty supermarket, but there was genuine suspense, too.
However, I do have some issues with it. In addition to the major issue with Quintus’ abrupt change of heart, I also have a couple of minor issues. As Diana wakes up and stands up from the couch she had been lying on, you can clearly see Quintus’ empty clothing one the chair just behind her. I think it would have been much better if this hadn’t been shown until the very end, after Diana tells Dr. Olinger that she’s glad she’s now got a chance at a better life. Also, the movie never did explain why Pendragon was making that clay head of Diana, let alone why Diana reacted when Livia took a knife to it. But overall, it’s really not a bad movie, and I enjoyed watching it again.
Written by Pam Burda in March, 2025.
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