Top 50 Films of the Decade (Part Two)
Why hello there children. So nice of you to return to this website of mine once more in order to see what my favourite films of the decade are.
If you missed part one, click here for that.
Or if you'd like to know what my favourite TV Shows of the decade were, have a good ole' click here.
Now without further ado, let's get back into the swing of things shall we?
24) Before Midnight
Written by Richard Linklater, Julie Delpy & Ethan Hawke
Directed by Richard Linklater
"Do you think it could be tonight that you're still talking about in your 80s?"
The Before trilogy of films is one of the most comprehensive and truthful love stories ever told in film, and to follow Jesse (Ethan Hawke) and Celine (Julie Delpy) for almost twenty years is nothing short of a miracle, especially considering how their relationship started. That doesn't make the events of Before Midnight any more fair. Whilst on a summer vacation in Greece, the couple lose faith and begin to question the relevance of long-term commitments as well as their dedication to each other. Whilst we as an audience only see snapshots of the two together every nine years, it's nothing short of heartbreaking to see two people who were so hopeful and in love become disillusioned with the whole process. It's a testament too to the acting chops of Delpy and Hawke who manage to spout paragraphs of dialogue with the fluidity and realism of improvisation - Jesse and Celine deserve to be happy and any threat to that is taken as a personal attack.
23) Scott Pilgrim vs. The World
Written by Michael Bacall & Edgar Wright
Directed by Edgar Wright
"When I'm around you, I kind of feel like I'm on drugs. Not that I do drugs. Unless you do drugs, in which case I do them all the time. All of them"
A film that no doubt inspired countless teen years and comedic preferences, Scott Pilgrim vs. The World is an impeccable amalgamation of graphic novel and film which continues to be a bar by which many other adaptations are judged. It helps of course that a uniquely talented director such as Edgar Wright is behind the project. His fast-paced and innovative style incorporates all the references and trademarks from Bryan Lee O'Malley's series and successfully transforms it into a non-stop barrage of quips, comedy and colours which bounce around the screen so fast you're in danger of getting whiplash. Scott Pilgrim (Michael Cera's) journey to defeating Ramona Flowers (Mary Elizabeth Winstead's) seven evil exes is often imitated but never bettered, and that's a feat that I can guarantee many will continue to try. The only problem is due to the immediate acceptance of the film as gospel it no longer feels as fresh as it once did, but that doesn't mean every other sequence fails to give me goosebumps.
Written & Directed by Ari Aster
"I never wanted to be your mother"
Another film I didn't fully 'get' on my first watch, I went into Ari Aster's Hereditary amidst the hype calling it the scariest film of all time, and fully expected what the marketing department had successfully duped me into believing was a demonic child story. Instead I got something entirely different. Something I wasn't ready for and didn't quite understand. So on my rewatch I gave myself to it. And I don't think I've been quite the same since. Of course Toni Collette deserves every piece of praise she gets as a mother stretched beyond the end of her rope, but Aster's atmosphere and sheer feeling of dread throughout the entirety of his debut is palpable and indeed disturbing. With all the pieces already in my mind I thought I was safe, and yet the film's eerie soundtrack and euphoria of terror washed over me and scratched an itch that very few horror films have managed to. It's a feeling of helplessness that's only empowered by its sinister finale, with some visuals that I've had to purchase artwork of in order to appreciate fully.
21) T2 Trainspotting
Written by John Hodge
Directed by Danny Boyle
"Choose a zero-hour contract and a two-hour journey to work. And choose the same for your kids, only worse, and maybe tell yourself that it’s better that they never happened"
Growing up in Britain in the late 90s/early 00s meant that it was impossible to avoid the original Trainspotting. Danny Boyle's take on the bad of addicts embedded itself into the zeitgeist and refused to give up and was accepted into your brain automatically. And whilst I enjoyed it very much, I never really felt any real connection to it. Imagine my surprise then, when T2 Trainspotting manages to hit the nail on the head emotionally for me. Whilst they're still addicted to various substances, twenty years onward Renton, Sick Boy and the gang have become obsessed with the idea of the past and instead look towards their feces and death-filled time with heroin nostalgically as the best time of their lives. It's the epitome of survivor's guilt and a harrowing look at the effect of time and how we're programmed into thinking that things always used to be better. It's about missing those friends you had for that one worthwhile snapshot of your life, and how inevitably it all comes to a close and you'll spend the rest of your days trying to recapture that feeling. That's what T2 makes me feel.
20) Gerald's Game
Written by Jeff Howard & Mike Flanagan
Directed by Mike Flanagan
"Women alone in the dark are like open doors, Jessie, and if they scream for help, who knows what might answer"
Mike Flanagan proved himself as the new master of big-screen horror with Gerald's Game, based on the novel by Stephen King. Whilst on a romantic weekend getaway to spice up their lovelife, Carla Gugino is handcuffed to the bed as her husband prepares. However he suffers a sudden cardiac arrest, and suddenly she's left alone in a cabin in the woods for the weekend trapped on the bed...and she might not be alone. What's startling about this film most of all is its confidence in the pacing. Gugino is on career-best form here as a woman whose sanity is slowly slipping away as she harkens back to a childhood of abuse. Whilst it never relies on jumpscares, the atmosphere alone is fear-inducing enough and Gerald's Game manages to fit in one of the most brilliant and grotesque pieces of body horror I've ever seen on film. Ultimately however, it's a positive story of survival in the aftermath of abuse and the strength it takes to stand up and live a full life afterwards. It's always more fulfilling when your horror story manages to have something important to say.
Written by Justin Benson
Directed by Justin Benson & Aaron Moorhead
"I'm half undiscovered science, a bunch of confusing biochemistry, and some crazy hormones"
Before you begin to think to yourself 'I didn't know George liked so many romance films' I will say both 'hey, you don't know me' and 'Spring features a man falling in love with a woman who is secretly a monster and part of a centuries-old mythos'. Lou Taylor Pucci and Nadia Hilker make for the perfect match on-screen here and help make Spring one of the most innovative and individual films I've seen all decade. Aaron Moorhead and Justin Benson are very quickly becoming two of the best filmmakers working today and whilst any of their releases could have made this list it's the lasting emotional impact of Spring's romance that makes it stand out from the others. The synergy between the romance and horror genres too is always something I'm up for more of - if more filmmakers could make it happen I'd be one happy bunny.
18) Swiss Army Man
Written & Directed by Daniel Scheinert & Daniel Kwan
"Before the internet every girl was a lot more special"
Oh look, it's that movie where Daniel Radcliffe plays a corpse that's still alive and farts a lot. Why yes, it is but that's only partly why it's on this list. Swiss Army Man is one of the most unique films I've ever seen, not just because of its out-there premise but in terms of its positivity in the face of daunting challenges and depressing subject matter too. Paul Dano and Radcliffe have remarkable chemistry, especially considering Radcliffe's enforced still expression. It's a weird tale of friendship as the two bond over relationships and interests - and shares an intense love for Jurassic Park which I can't help but give extra points for. You'll know if it's for you within the first ten minutes, and if you give yourself to it I challenge you not to be charmed off your seat.
Written & Directed by Alex Garland
"It's not destroying. It's making something new"
Much like Under The Skin, what makes Annihilation Stand out amongst the crowd is its refusal to offer a precise form of alien life - it takes every card off the table and presents us with something almost incomprehensible, the way alien life forms should be. Alex Garland's adaptation of Jeff VanderMeer's novel is daunting and unflinching in equal measure. Natalie Portman's Lena is unlikeable and standoffish in the fact that she's surprisingly human. She's intelligent and weary with a lack of compassion for those she meets throughout the film. Whilst this understandably put many audience members off, it's rare for a film of this size to take such thematic and narrative risks and to promote a thought-provoking setting. As a group of female scientists head into 'The Shimmer' - the rapidly-growing area surrounding an meteor crash - they very quickly become part of the incident themselves and come face to face with the effects that these other-worldly life forms give out. Ben Salisbury and Geoff Barrow's soundtrack is the best terrifying accompaniment too.
Written by David Kajganich
Directed by Luca Guadagnino
"Death to any other mother"
Haunted by a Thom Yorke score and destined to be held up against Dario Argento's original masterwork for all eternity, it often feels as though Luca Guadagnino's retelling of a prestigious dance academy run by a cult of witches was always going to have a rough run. With its own distinct style, including a bland and washed-out colour pallette ripped right out the 70s lifestyle instead of the vibrancy that plagued its screens, Suspiria stands outright as one of the boldest and most creatively stimulating horrors in decades. Dakota Johnson, Tilda Swinton & Mia Goth disappear into physically demanding and transformative roles. Contorted limbs and dry blood paint the walls at every sight, with a slow cranking tension that pumps up the dread whilst bolstering the numerous subplots that require repeat viewings. The coven dictated here is unlike one I've ever seen before, and its deep-running melancholy festers within the slowly-thumping heart of this remake that dares to be original and stand side-by-side with its source material.
15) The World's End
Written by Simon Pegg & Edgar Wright
Directed by Edgar Wright
"It never got better than that night"
A film I continue to stand up for since its initial release, the third part of Simon Pegg/Nick Frost/Edgar Wright's 'Three Cornetto' trilogy after Shaun of the Dead and Hot Fuzz is typically considered the weakest entry. But that's only because it's strengths lie where they didn't in the others. For example Pegg and Frost swap roles here, with Frost acting the straight man to Pegg's rambunctious and childish Gary King as he assembles a group of his old school mates to try their luck at a pub crawl in the town they all grew up in. Of course things aren't how they used to be, and when the gang stumble upon a conspiracy that puts their lives in danger they're forced to continue the crawl and keep drinking in order to avoid suspicion. Steeped in literature and artistic references as opposed to film/television ones, and with a more sombre tone and emphasis on action thanks to Wright's developed skills on Scott Pilgrim, The World's End is definitely the black sheep of the family. But it's the commitment to the more serious themes at play and Simon Pegg's best performance of his career that make this one a deeply personal affair even when it's cramming dozens of jokes down your gullet throughout the first half.
Written & Directed by Christopher Nolan
"You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don't know for sure"
After a period of stagnation, Inception made the modern blockbuster feel comfortable being intelligent again. Following Leonardo DiCaprio's Dom Cobb as he assembles a team to infiltrate the dreams of a wealthy business owner and convince him to hand over the reigns to his father's company, Christopher Nolan's bafflingly original premise is put to full use in this sci-fi action epic. Everyone knows the beats by now. Hans Zimmer's pounding shrieks. The rotating corridor fight. The luxurious locations and over-the-top set pieces. It's Nolan's own calling card and represents him at the top of his game. By playing with the notion of time and bending reality the film's consciousness is opened up tenfold and remains just as thrilling now as when I first saw it. Whilst Marion Cotillard's Mal Cobb provides a biting antagonist and devastating backstory, it's Zimmer's score that continues to break my heart during that damn final shot even now.
13) The End of the Tour
Written by Donald Margulies
Directed by James Ponsoldt
"I think being shy basically means being self-absorbed to the extent that it makes it difficult to be around other people"
It's strange sometimes to think the lengths I'll go in order to watch a film that's essentially one long conversation. There's several on this list itself. When the amalgamation of screenwriting talent, tonal filmmaking and performances is right is superseeds things like acts and narrative rules to occasionally become something majestic and poignant. Jesse Eisenberg and Jason Segel expertly recreate the days that Rolling Stone journalist David Lipsky and author David Foster Wallace spent together after the publication of his book Infinite Jest. It's pure compassion in a world without the distinct American cynicism that 9/11 brought on as two blossoming friends share their wisdom with one another. Segel's Foster Wallace deserved more recognition for his layered tenacity and dry lingering depression as the two embark on a small road trip that illuminates both their lives. I knew barely anything about the topic before the film, and loved it enough to seek out whatever I could of David Foster Wallace's work.
12) Don't Think Twice
Written & Directed by Mike Birbiglia
"Your 20s are all about hope. And your 30s are all about realising how dumb it was to hope"
I think I'm in the gradual come-down of the hope phase of my life. There's an overwhelming urge, always has been, to believe that at some point in my life I'm going to at least do something that may matter to some people, somewhere. That's what I've always wanted. But the fact is people are fickle and shallow and always want what they don't have. You could be attaining that life goal already and making dozens, hundreds of people laugh and still feel pointless in what you do because you compare yourself to others. Mike Birbiglia's Don't Think Twice follows a tight-knit group of friends who are also an improv comedy troupe struggling to make ends meet. When one of their members hits the big time and lands a role on national television, the realistic fallout is almost too much to comprehend. It's a bittersweet and endearing tale of the challenges friendships go through thanks to career and life choices, and one I try not to think about all too often.
11) A Ghost Story
Written & Directed by David Lowery
"What is it you like about this house so much?"
I remember initially being very upset with this film because the primary concept was something I had written down in my library of neverending notes. But David Lowery made a beautiful picture that even in my wildest dreams I never would have been able to come close to. Yes, it's the film where Casey Affleck walks around with an old-fashioned ghost sheet for the entire movie silently whilst Rooney Mara eats a pie in silence for almost five minutes. But it's all about time. A Ghost Story outlives the concept of its title and goes on to become a lingering probe of emotion and how it festers. It might just technically be the saddest film ever made. It's also beautiful and touching visually in ways that few other filmmakers are able to accomplish, though its slight presentation will always be enough to put more than a few audience members off.
Written & Directed by Matthew Holness
"Mother, Father, what's afoot? Lonely Possum, black as soot. Mother, Father, where to tread? Far from Possum, and his head. Here's a bag, now what's inside? Does he seek, or does he hide? Can you spy him, deep within? Little Possum, black as sin"
Garth Marenghi himself is responsible for one of the boldest and most disturbing horror films of recent times. Based on his own short story, Matthew Holness' Possum is almost void of dialogue and mostly features a tormented Sean Harris being tormented by a spider-like marionette puppet operated by himself. It's the definition of a festering nightmare too. Holness knows the limitations of the genre, and keeps the frightening imagery short and sweet, tantalising you with images that linger in the brain long after the credits roll and come to replay in the middle of the night. It's a dark and dirt-covered film like a demented nursery rhyme with soulless landscapes that represent a time of nothing. An exercise in how abuse can change the world of someone with rich symbolic imagery that will forever be some of the most standout vignettes I'll ever seen in a horror film.
9) The Lobster
Written by Efthimis Filippou & Yorgos Lanthimos
Directed by Yorgos Lanthimos
"Don't cry Elizabeth, you should thank me. Now you'll have a limp and be more like your father"
In a world where single people are given 45 days in order to find a new partner or else they'll be turned into an animal of their choice and released into the wild, it's difficult to imagine anything in The Lobster being quite as absurd as its premise. But then you hear the stilted, matter-of-fact dialogue and run-on sentences that almost every character has the misfortune of talking with. You see the haphazard physical comedy done with about as much grace as a one-legged ballet dancer and take a single look at the moustache on Colin Farrell's face. It's a world of the absurd. Yorgos Lanthimos plays everything up to his strengths here, highlighting the weirdness of the situation and contrasting it with the acceptance of its subjects and it's truly fascination, hilarious and creepy in equal measure. Attach whatever satirical angle you want to it, but The Lobster is a disguise that suits almost any occasion.
8) Toy Story 4
Written by Andrew Stanton & Stephany Folsom
Directed by Josh Cooley
"I was made to help a child. I don't remember it being this hard"
PIXAR closed out the perfect trilogy with Toy Story 3 in 2010, and then had the sheer audacity to add the perfect epilogue within the same decade. An epilogue that wisely chooses to close off Woody's story in a way that's both satisfying and expertly touching to all those who've grown up with him. I've written about why I think Toy Story 4 works so well here, but long story short I think it's down to the simplicity of the story it's trying to tell. The fact that the film released on the day that, essentially, any remnant of my childhood or adolescence was over was kind of the nail in the coffin for me emotionally. Toy Story has always been one of two films I hold the closest to my heart at all times, and to see the characters bow down with such grace at the finish line is something I never thought possible. I'll always remember my time with Woody and Buzz, two of my oldest friends, as they accompanied me across my journey to...well...consciousness I suppose. We all got lucky with this extra entry. Knowing the lonely cowboy isn't so lonely anymore makes it the best ending possible.
7) Call Me By Your Name
Written by James Ivory
Directed by Luca Guadagnino
"You're too smart not to know how rare, how special what you two had was"
17-year-old Elio (Timothée Chalamet) lives with his archaeologist professor father, but when 24-year-old student Oliver (Armie Hammer) stays for the summer as his assistant, the two fall desperately in love in a tale of desire and passion against the backdrop of Northern Italy in 1983. It's a beautiful film in every sense of the word too. Luca Guadagnino's direction elevates every beautiful landscape and sun-drenched colour of the landscape and passes it through Elio and Oliver, whilst Sufjan Stevens' soundtrack pinpoints the fresh feeling of everything between them. Transcending the age gap and same-sex of the central couple, Call Me By Your Name is never not about the melancholy and passionate love shared between two people as it burns brightly over the course of a limited period. Every viewing ushers in new tiny details, whether it be of culture or character that only add more labish brush strokes to the canvas; it's a film that keeps on giving right up until its heartbreaking final image.
6) Three Billboards Outside Ebbing, Missouri
Written & Directed by Martin McDonagh
"...did you really say 'begets'?"
As darkly funny and blisteringly brilliant as In Bruges but with a higher emphasis on raw emotion, Martin McDonagh's Three Billboards Outside Ebbing, Missouri is a towering achievement of character development and entertainment. Frances McDormand commands the screen as the mother of a raped and murdered teenager whose crime is still unsolved in a small backwoods town. Her refusal to speak softly or handle the situation with grace is defiant in the face of the authorities, lead by Woody Harrelson's Chief Willoughby. After advertising the failure of the local police force across three billboards in town, so begins a domino effect of bigotry, compassion and death that burns everyone it touches. Sam Rockwell's detestable Officer Dixon is a highlight, and whilst his arc of redemption has caused contention in the eyes of the film's detractors I feel as though it makes perfect sense thematically. As a film about revenge and atonement for actions it speaks loud and clear, almost as loud as how you will laugh throughout it.
5) Blade Runner 2049
Written by Hampton Fancher & Michael Green
Directed by Denis Villeneuve
"Pain reminds you the joy you felt was real"
I firmly believe, in some definition of the word, that Blade Runner 2049 might be a perfect film. The visuals, production design and effects are all working overtime to extend the original dystopian beauty of Ridley Scott's original masterwork. The screenplay from Hampton Fancher and Michael Green manages to avoid the hundreds of caveats a film like this could fall victim too whilst also managing to tell a powerful and impactful story that makes sense on a narrative level for the world. Denis Villeneuve's direction is tight and grandiose in equal measure making the most of the gorgeous world whilst landing the beats needed to tug at your emotions. Then there's the performances too. Ryan Gosling's 'K' is a lone wolf that deserves better, whilst Harrison Ford is more alive when bringing back Deckard than he has been for years. Almost every scene has standout moments that would make numerous 'best-of' lists were they in lesser films, and on almost every level imaginable I can't imagine this sequel ever being considered less than brilliant.
4) It's Such a Beautiful Day
Written & Directed by Don Hertzfeldt
"On his way to the bus stop, Bill saw somebody he recognised walking towards him, but he couldn't remember his name"
Don Hertzfeldt's work always manages to transcend description. One thing's for certain though, you'll either laugh or cry or both. It's Such a Beautiful Day is an extension of his short films about a stick figure named Bill as he struggles with a memory that's escaping him alongside nightmarish visions that sometimes keep him awake at night. Impossibly philosophical and simplistic in nature, the whole thing is an hour of delightful musings on the world and its purpose which quickly turn sour due to Bill's unknown illness. The same way in which Bill's brain seizes up, your chest and hope will too. Hertzfeldt knows how to defy expectations even in the experimental form and plays with form and presentation in order to hammer in complete and utter isolation or disturbing remnants of depression. Bill doesn't deserve any of this. But because we as a people manage to form a connection with stories we fall victim to those that abuse such power.
3) Inside Out
Written by Pete Docter, Meg LeFauve & Josh Cooley
Directed by Pete Docter
"Take her to the moon for me, okay?"
At the time of Inside Out's release, there was a growing concern that PIXAR had lost their spark. By focusing more on sequels to waining degrees of success, it seemed as though the studio had lost their originality. Whilst that fear is still present today (though looking hopeful), Inside Out proved that not only could they harken back to the days of brilliance last decade but move forward with emotionally mature and stories that deserved to be told. Set inside the mind of a young girl named Riley as she's forced to move out of her childhood home, the film follows the emotions in charge of her brain. Joy (Amy Poehler) and Sadness (Phyllis Smith) are separated due to a freak accident and desperately try to make their way back to the control room in order to help Riley get back on track emotionally. The simplest concepts are usually the best and this is no exception. Inside Out not only works as a story but as an educational piece for children (and most adults) on how emotions are supposed to be valued and treated with respect. This is without even commenting on the dozens of other insanely creative concepts the film manages to jam-pack into Joy and Sadness' journey, including a concept about the Hollywood industry of dreams that's strong enough to be a feature by itself. Still, it's a remarkable achievement in emotional maturity and required viewing.
2) The Social Network
Written by Aaron Sorkin
Directed by David Fincher
"A guy who builds a nice chair doesn't owe money to everyone who has ever built a chair"
The Social Network arrived at the beginning of the decade and I never quite got over it. I had never seen something quite like it at the time in terms of the merging of dialogue and performance. It was hypnotic in the cinema. I hadn't initially wanted to see it either, a friend and I only ended up there because we weren't old enough to get into Paranormal Activity 2...we dodged a bullet. Still, Aaron Sorkin and David Fincher worked their magic on me with words and structure that I could only achieve if I worked my hardest. It's fascinating to see people's reaction to the film too, with many dismissing it as 'the film about Facebook' when in reality it's about the breaking point of a friendship and the damage control associated with it. Inherently modern in its presentation and storytelling with a processed, haunting score from Trent Reznor and Atticus Ross that manages to set the mood perfectly on the cold winter opening in Harvard, The Social Network I think is going to always be a mainstay in my brain.
Written by Eric Heisserer
Directed by Denis Villeneuve
"There are days that define your story beyond your life. Like the day they arrived"
The best thing about science fiction is that it encompasses all other genres whilst still being defined as such. Why would you simply be okay with a story where the emotional backbone is the sole purpose? Why not add more? Arrival is the best of so many worlds, and is possibly one of the best stories ever told. But the film adaptation of Ted Chiang's short story manages to use its form to its advantage, telling a story about language as well as about hope. There's an overwhelming sense that this is something incredibly special every time I watch the film. Amy Adams continues to be one of the best actors working today in a role that requires her all as a linguist employed by the U.S. Army to communicate with a decipher the language of a visiting alien species. Eric Heisserer's screenplay shuffles information back-and-forth to promote the intelligence of the film which goes from fascinating to soul-destroying. Denis Villeneuve's calculated visuals are breathtaking and handle the alien invasion with as much integrity as old-fashioned Ridley Scott. It's an active film that requires your full attention and deserves it through and through. And I'm probably going to watch it again after finishing this list.
SO long story short...I just like sad films I guess.
Of course there were dozens of films that I wrote down which didn't make the top 50. These included (but were not limited to): Kill List, The VVitch, Bone Tomahawk, Pacific Rim, Crimson Peak, A Cure for Wellness, Game Night, American Animals, Attack the Block, The Grand Budapest Hotel, Isle for Dogs, Moonrise Kingdom, Super 8, Boyhood, Good Time, Cosmopolis, Prisoners, Green Room, Nightcrawler, Thelma, The Wailing, Everybody Wants Some!!, Baby Driver, The Killing of a Sacred Deer, Three Identical Strangers, Wild Tales, The Endless, Ghost Stories, Nocturnal Animals, High-Rise, Logan, Rango, La La Land, Calvary, Toy Story 3, Pride, The Dark Knight Rises, Dunkirk, Looper, First Reformed, A Monster Calls, Birdman, Paterson, Oculus, Django Unchained, Kick-Ass, Shame, Steve Jobs, The Master, Inside Llewyn Davis, Upstream Colour, Mad Max: Fury Road, Train to Busan, The Tree of Life, Mission Impossible: Fallout, Lady Bird, Edge of Tomorrow, Paddington 2, Anomalisa, The Big Sick, Blackfish, Carol, Burning, Eighth Grade, The Handmaiden, Hidden Figures, Knives Out, Locke, Under the Silver Lake, Frank, Resolution, Bad Times at the El Royale, Coherence, We need To Talk About Kevin, Ruby Sparks, Leave No Trace, God's Own Country, A Field in England, Thunder Road, Sightseers, Marriage Story, Once Upon a Time in Hollywood, The Hateful Eight, Roma, Room, Short Term 12, Sing Street, Snowpiercer, Three Identical Strangers, What We Do in the Shadows & Holy Motors.
I'm probably still missing dozens but oh well. Bring on the next ten years. Hope you have a good new year, and thank you for stopping by.
Don't forget to get in contact via firstname.lastname@example.org if you have any questions or writing opportunities. BYE.
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