FM-BINUS-AB-FPL-64/R0

123-0515-001
December 2023
Internal Version for BBS Use Only

ARYO BISMO
WENSIN HALIM

A NEW ERA OF TELEVISION: WeTV’s IMPACT ON THE

INDUSTRY’S LANDSCAPE

On a pleasant afternoon in late August 2023, Erin Winata, as the head of operations of WeTV
Indonesia, spearheaded the exploration of new strategies to boost WeTV’s market share in
Indonesia and bolster its standing as the premier Asian entertainment destination among all active
over-the-top (OTT) platforms in the country.

The television industry underwent a profound transformation, driven by rapid technological

advancements and changing consumer behaviors. In this dynamic landscape, WeTV emerged as a
potent disruptor, reshaping the industry and redefining television content consumption. WeTV, a
leading OTT platform, established a unique niche by leveraging innovative programming and
executing strategic digital marketing initiatives.

The advent of digital platforms, streaming services, and social media revolutionized how viewers
engage with television content. Consumers have greater control over their viewing experience,
opting for on-demand content and personalized recommendations. This shift in consumer behavior
disrupted traditional advertising models, compelling industry players to reconsider their strategies.
WeTV has been at the forefront of leveraging digital marketing to captivate and engage audiences
in this new television era. By utilizing data-driven insights, they gained a profound understanding
of consumer preferences, enabling them to tailor their content offerings to specific target
audiences. Through strategic partnerships with telcos and digital platforms. WeTV effectively
reached and connected with viewers, establishing a robust brand presence in the digital landscape.
Furthermore, WeTV’s digital marketing strategies tapped into the power of social media and user-
generated content, fostering a sense of community and interactivity among viewers. By
encouraging discussions, incorporating user-generated content, and leveraging social media
platforms, WeTV successfully cultivated a loyal and engaged fan base, amplifying their reach and
impact.

As traditional broadcasters grappled with these shifting dynamics, WeTV’s success and its impact
on the industry’s landscape served as a compelling case study. This analysis delves into the
strategies employed by WeTV to navigate the digital marketing landscape and tries to understand
the evolving consumer behaviors that fueled their growth by exploring the interplay between digital
marketing and consumer behavior. This case study aims to shed light on the transformative power
of leveraging digital platforms in the television industry and provide insights for other players
seeking to adapt to this new era.

Aryo BIsmo prepared this case from published sources under BCC’s supervision. BBS cases are developed solely as the basis for class
discussions. Cases are not intended to serve as endorsements, sources of primary data, or illustrations of effective or ineffective management.

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123-0515-001 A NEW ERA OF TELEVISION: WeTV’s IMPACT ON THE INDUSTRY’S LANDSCAPE

The Television Industry Evolution

Early Stage of Television Broadcasting

Television broadcasting began in 1928 in Washington, DC, USA. Initially, only a few privileged
people could watch it, and the resolution was low. After World War II, a committee worked on
developing a color system compatible with black-and-white TVs, and color television gained
popularity around 1972. In the 1950s, television became very popular, thanks to lower costs and
new program formats. Magazine programs and TV spectacles helped networks control their
content. Instead of a single sponsor, advertisements were sold in shorter time slots to multiple
sponsors (Stelter, 2010).

Origin of Cable Television

Cable television was originally developed in the 1940s in remote or mountainous areas to enhance
the poor reception of regular television signals. Cable antennas were erected on mountains or other
high points, and homes connected to the towers would receive broadcast signals. In the late 1950s,
cable operators began to experiment with microwaves to bring signals from distant cities. Taking
advantage of their ability to receive long-distance broadcast signals, operators branched out from
providing a local community service and began focusing on offering consumers more extensive
programming choices (esferize.com, 2021).

The Birth of Digital Signal and a New Era

Cable TV grew rapidly and posed competition for local TV stations. In 1972, Home Box Office (HBO)
became the first successful pay cable service, using satellite distribution to reach a nationwide
audience. Other cable providers followed suit (Adage, 2021). In the 1990s, cable operators
upgraded their systems to hybrid networks, offering multiple services through a single wire.
However, analog systems had picture quality issues, prompting the development of better
television formats. The The industry lobbied for a switch to digital TV, which took place in 2009,
allowing broadcasters a transition period. In Indonesia, the switch-off from analog to digital TV
formally began in November 2022 (Mantelmount, 2023).

WeTV and Its Journey to Disrupt the Television Industry

The conventional TV industry was disrupted by the widespread availability of OTT services.
Consumers, enticed by the flexibility and affordability of OTT subscriptions, began to "cut the cord,"
leaving cable and satellite TV for streaming services. This shift compelled traditional networks to
adjust, and many of them launched their own OTT platforms to stay competitive.

Although WeTV did not start out as a pioneer in the OTT industry, it pursued a different approach
to enter the market and soon became the second top player in the SEA OTT industry. WeTV's
market share approached that of Netflix, the true disruptor and market leader in the television
industry, with a 22% market share for WeTV compared to Netflix's 24% market share in the
Southeast Asia market (Sandberg, 2022) (Bangkokpost, 2022).

Company History
WeTV represented the international brand of Tencent Video, a Chinese video streaming website,
and app owned by Tencent Technology. The app was introduced in April 2011 and stood as one of
China’s major online video platforms. By October 2022, Tencent Video had amassed 120 million
paid subscribers, securing its position as the fourth largest streaming service globally, following
Netflix, Amazon Prime Video, and Disney+ Hotstar. The application allowed users to view a wide
array of series, movies, and variety shows without requiring an account sign-up or subscription
purchase to access the entire collection. Additionally, the Tencent Video platform permitted

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individual users to upload their content, encompassing video clips and independently filmed tapes
(Tang, 2023).

All content uploaded to Tencent Video was automatically accompanied by thirty-second to one-
minute advertisements. Advertising revenue stood as the primary income source for WeTV. In
2012, Tencent Video launched a value-added service named “Hollywood Membership,” granting
subscribers access to selected movie content and an ad-free experience. Furthermore, subscribers
could personalize their Tencent Video accounts. This “Hollywood membership” served as the
precursor to Tencent Video VIP. After a strategic shift, Tencent Video ultimately redefined itself as
a streaming service aggregator providing a comprehensive range of video content, encompassing
not only TV shows and films but also anime, music concerts, live sports, live games, and various
other diversified products. Following the discontinuation of the “Hollywood membership”, Tencent
Video introduced a subscription service named Tencent Video VIP, charging 30 RMB (4.4 USD) per
month and providing a full spectrum of video content on its platform, devoid of advertisements
(Tang, 2023).

WeTV Strategies and Globalization

Tencent Video has always prioritized overseas expansion. China housed just one-fifth of global
internet users. Therefore, if Tencent didn't expand on a global scale, they were bound to lose to
peers eyeing the remaining four-fifths. While Tencent Video was exploring growth in China,
competition among streaming platforms intensified in both China and global markets due to the
expansion of existing competitors and the emergence of new entrants.

U.S. streaming platforms had dominated the Southeast Asia market, propelled by their expansive
content budgets, extensive selection, and Hollywood's enduring prestige. Netflix had led viewership
in Singapore, Indonesia, Thailand, the Philippines, and Malaysia, accounting for 42% of premium
video-viewing time across Southeast Asia. However, this scene shifted in 2019 when Chinese
streaming platforms like Tencent's WeTV entered Southeast Asia. Since then, they had been vying
for a share of the market, offering cheaper subscription fees, acquiring local competitors, and
boosting the production of content that appealed to local audiences (Sun, 2021).

Upon venturing into the market, Erin and her team acknowledged the importance of emulating
their parent company's business model, specifically the freemium model. It was crucial for WeTV
to provide a dual offering, encompassing both free content supported by advertisements and
premium content without any ads. Moreover, commencing with lower pricing than U.S. streaming
services was vital in enhancing their attractiveness to consumers. This is because in Indonesia,
40% of streaming subscribers came from lower-to-middle class income brackets, making
affordability an important factor in winning over consumers. Among all the foreign streaming
platforms in the country, WeTV boasted the lowest fees, starting at just $2.4 a month; Netflix’s
cheapest subscription cost $4.42 (Appendix 1). Its high prices had impacted the streaming giant’s
subscriber base: In the 1st quarter of 2022, Netflix added 20% fewer new users in the Asia-Pacific
YoY% (Kholin, 2023).

To increase their brand recognition in the Southeast Asia market, Erin’s operation team worked
along with marketing and production to acquire competitors and build local partnerships across the
region. In 2020, Tencent acquired Malaysian streaming platform iflix. This acquisition not only
allowed Tencent Video to acquire the iflix brand and subscribers but also their talents.

WeTV had also ramped up production of local-language content–especially short-form web series,
beloved for their high-quality plots packaged into easily digestible formats. In Q1 2023, WeTV
Indonesia released over 31 local productions, tailored to local tastes. This localization strategy had
proved popular with Southeast Asia audiences–in the first quarter of 2023, 46% of users streamed
local shows (TheTradedesk, 2022).

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Promotion and Growth

As WeTV increased its investment in original content and enriched its library, it saw a significant
increase in subscribers. By Q4 2022, WeTV Indonesia reported 26 million subscribers. Meanwhile,
WeTV was implementing cost-optimization processes, along with expanding sales channels and
high-quality content and services, to maintain its growth while reducing financial losses. However,
while subscriptions were increasing, WeTV was facing a crisis with overall media advertising
revenues continuing to decline, falling from 25% to 3.2 billion RMB (approximately 469 million
USD) in 2021. By the third quarter of 2022, advertising revenue had dropped again to 2.6 billion
RMB (about 381 million USD) (Shaw, 2020) (KrAsia, 2020).

To recover from this significant drop in advertising revenue, WeTV emphasized the quality and
growth of its membership subscriptions in recent years and embarked on a series of user-focused
reforms. These included using big data and user behavior records, social media word-of-mouth,
and other information to customize its TV and film content better to match the tastes of the
Internet-age audience (Shaw, 2020).

WeTV followed a trend of adjusting its production strategy for the upcoming year based on the
popularity of the previous year's hot titles, aiming to cater to viewers' preferences. During its annual
launch event, held from the middle to the end of the year, WeTV announced the genres, categories,
and sometimes IPs it planned to produce, along with a list of potential cast members, which sparked
discussions online. Additionally, WeTV actively collected real-time feedback from social media
groups, analyzed both positive and negative comments, and monitored viewership of its content.
This data was combined with previous behavioral records to inform the development and
refinement of new proposals and strategies. The goal was to create viral clips for social media
platforms, ultimately increasing awareness of WeTV's content and attracting new users. For
instance, in late 2021, the original series 'Layangan Putus' went viral on TikTok, specifically a scene
featuring the female lead Kinan Aripurnami, portrayed by Putri Marino, questioning her husband's
affair with the now-famous line, "It's my dream, Mas. Not hers." WeTV recognized that a significant
portion of its user base consisted of wives and saw the strong and independent woman image
reflected in Putri Marino's character as something that resonated with this community, encouraging
them to speak up and assert their rights. These viral clips and memorable lines contributed to a
record-breaking 15 million views within 24 hours on the WeTV app, further highlighting the impact
of these clips on user engagement (Kompas, 2022).

In 2023, WeTV released "Mozachiko," an original web series adapted from an online story by Poppi
Pertiwi. The series tapped into the popular trend of #Cegil (Cewek Gila) on TikTok, which referred
to girls who were willing to be in a relationship without a defined status or those in toxic
relationships. This word was also used by netizens to describe girls with unconventional behavior
in a positive way. Leveraging this trend, WeTV created video content featuring Moza, played by
Rebecca Klopper, the eccentric female lead in Mozachiko. Moza's peculiar habit of talking to herself
and displaying extravagant emotions, coupled with the storyline of her pursuing the male lead,
propelled Mozachiko's popularityon TikTok and built-up loyal fans for WeTV.

However, generating viral marketing posed a significant challenge. The calculation of data doesn’t
always match user preference. Most of the title acquisitions did not match the profile of WeTV’s
audience. Hence, the content that the team was promoting was unable to attract either new user
nor old users to reactivate. Out of the numerous Chinese contents released by WeTV, which
mirrored Tencent Video's offerings, less than 5% garnered audience recognition. Unlike K-drama,
which already boasted a massive fan base and popularity among Indonesian users, C-drama
struggled to achieve a comparable level of appeal. Additionally, WeTV's local productions (WeTV
Originals) didn't consistently align with user preferences.

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Various restrictions from actors, production houses, and agencies further limited the efforts that
Erin and her team could invest in promoting these titles. This challenge was exacerbated when the
content had already completed production and the storyline lacked the necessary allure to captivate
new users. With each new release of a WeTV original, the operation and marketing teams would
orchestrate dramatic and conflicting scenes, sparking conversations across several social media
platforms, and driving traffic to the app's downloaded landing page. However, these efforts resulted
in a modest influx of traffic. Moreover, given the substantial time gaps between popular WeTV
original title releases, maintaining user retention became a formidable task for Erin and her team.

Global Expansion
As part of WeTV’s business strategy, the company initiated its 3X (eExpansion - Extra Experience
- Exclusivity) approach, which played a vital role in WeTV’s ongoing business growth. Collaborating
with local content creators, production houses, and broadcasters was a significant step for WeTV
to obtain exclusive content rights and sell their own web series content rights to Free-to-Air (FTA)
channels. On October 15, 2021, Tencent Holdings Ltd, through its subsidiaries, acquired PT MD
Pictures Tbk (FILM) stock, accounting for 14.62% and valued at IDR 695.47 billion or USD 46,225.
This move demonstrated WeTV's strong commitment to investing in high-quality creative content
to expand in the Indonesian market (Tahir, 2021). WeTV also partnered with one of Indonesia's
major Telco companies, Telkomsel, to offer bundling services, combining mobile data and WeTV
VIP subscriptions. Additionally, collaborations were established with Indonesia's largest Wi-Fi
provider, Indihome, to integrate the WeTV application into their Set-up-Box (STB). Furthermore,
in April 2023, WeTV Indonesia successfully collaborated with My Republic, an internet provider,
aiming to expand beyond mobile apps and establish a presence on television, considering the
annual growth rate of smart TV penetration by 0.82% (newswire, 2023).

WeTV, serving as the exclusive Tencent Video overseas online distribution platform, had the
privilege of accessing substantial user data to allocate creative resources effectively. This process
was guided by audience interaction, relying on audiences to provide timely opinions and reflect
their interests and tastes. WeTV aimed to offer products that aligned with the aesthetic
expectations of viewers and promptly satisfied their preferences and demands for specific cultural
commodities. WeTV continuously innovated by developing interactive in-app features such as
stories, allowing users to upload their own content showcasing parts or highlights of WeTV content.
This content was monitored and studied by WeTV to understand most users' preferences and
identify potential viral scenes. WeTV also introduced several interactive features like flying
comments (Appendix 2), enabling people to watch videos while giving their opinions that were
displayed along with the series, without needing to scroll to check other users' comments. Periodic
feature developments, like Ramadan games launched during the Ramadan period, encouraged
user engagement. All these efforts were aimed at keeping users active within the app and providing
an enhanced experience for WeTV users (Yee, 2023).

WeTV, being a mixed-funded OTT service, not only enhanced the experience for its users but also
extended this experience to its clients through advertising campaigns on WeTV. Users' journeys
with WeTV were diverse, and to ensure that client brands achieved their campaign objectives,
various incentives were created. These incentives included series sponsorships, after-production
sponsorships, floating icons, splash (open app ads), pre-roll, bumpers, banners, sponsorship
banners, and pop-up icons, each serving a different purpose and campaign objective (Appendix 3).
These models aimed to boost campaign clicks and views by showcasing different campaigns on
each user's journey. This not only protected WeTV's interests as an intermediary platform but also
indirectly benefited the platform by understanding viewers' behaviors related to watching ads,
clicking on ads, and overall ad consumption. Consequently, the level of advertising revenue was
closely tied to user behavior and the number of subscribers.

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To establish exclusivity for WeTV users, various products were designed exclusively for VIP users.
These included fast-track and express packages, allowing users to pay an extra cost for watching
a series up to the final episode while other users were still in the midpoint of the story. WeTV
created various exclusive offerings and engagement opportunities through fan meetings, signed
photocards, and VIP merchandise boxes for their loyal users.

The Market and Gen Z

Indonesia’s over-the-top (OTT) market grew at a rate of 27% annually, projected to reach US$1.5
billion by 2026. With a robust 40% year-over-year growth in OTT consumption, Indonesia led
Southeast Asia as OTT became the primary form of entertainment, providing access to favorite
shows across devices anytime, anywhere (Statista, 2023).

Ad-supported OTT witnessed rapid adoption, with over 50 million individuals relying on ad-
supported OTT in Indonesia. This marked a 25% increase in ad-supported viewership from the
previous year, making Indonesia the most ad-tolerant market in Southeast Asia. Forty-two percent
of Indonesians were willing to watch four or more ads for each hour of free content (TheTradeDesk,
2022).

With millions relying on ad-funded content, OTT became a valuable channel for brands seeking to
capture the limited attention of consumers. Professionally produced, premium content offered
advantages for brands, leading to a significant improvement in brand recall of OTT ads.
Approximately 35% of OTT viewers recalled the advertised brand, compared to 23% in the previous
year (TheTradeDesk, 2022).

The study underscored a shift where viewers turned to OTT instead of traditional TV for their
preferred shows. The disparity in viewership preference between OTT and traditional TV for favorite
shows widened from 13% to 22%, notably led by Gen Z with a 27% gap, indicating the increasing
disconnect younger generations felt with traditional TV (TheTradeDesk, 2022).

Fifty-one percent of OTT viewers comprised Gen Z and millennials, aged between 16-34 years.
This demographic not only captured the attention of advertisers but also showcased strong loyalty
to OTT content, dedicating 4 hours or more daily to OTT content consumption. They played a
critical role in brand loyalty and acted as trendsetters for all age groups.

In response to this trend, several local companies like GoPlay, Vidio, and Mola.TV emerged to meet
the specific preferences and needs of the Indonesian audience, following a business model akin to
WeTV (Shaw, 2020). Particularly, Vidio, a subsidiary of Surya Citra Media, adopted a "money
burning" marketing strategy. Vidio dotcom produced numerous original series that aired
continuously throughout the year. In 2022 alone, Vidio aired 30 original titles, attracting male users
through its sports channel. Vidio secured the top spot in terms of download and in-app revenue
for OTT in Indonesia in 2022, surpassing WeTV and VIU, claiming first place (Appendix 4) with
exclusive broadcast rights for the World Cup.

VIDIO emerged as WeTV's primary competitor, adopting the same freemium business model. They
further diversified their offerings, featuring not only original web series but also extending to their
TV channel and 'sinetron,' which gained immense popularity, particularly among Indonesia's
middle-aged female viewers. Additionally, VIDIO pursued a distinct strategy for the original series.
In contrast to WeTV's selective approach regarding content acquisition and a strong focus on the
return on cost (ROC) aspect, VIDIO heavily invested in amassing a significant quantity of original
series. They even secured exclusive rights to stories from well-known writers for three years, each
deal amounting to $3000 per story, ensuring ownership of the intellectual rights to these narratives.

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Simultaneously, international players like Netflix, Disney+, VIU, and Amazon Prime Video entered
the market, offering a wide range of international content and venturing into the production of
local content. Disney+ differentiated itself with its Marvel and Disney IP, while Netflix and VIU
focused on Korean content, the most popular content in Indonesia.

In a study analyzing content country of origin, Korean content emerged as the most popular OTT
content in Indonesia. Fifty-seven percent of OTT viewers chose Korean content as one of their top
two genre preferences, with its popularity notably high among female viewers (Appendix 5)
(TheTradeDesk, 2022). Meanwhile, WeTV's target audience consisted of 70% females within the
age range of 18 - 34.

Furthermore, the number of OTT viewers watching Western content decreased by 9% compared
to the previous year (TheTradeDesk, 2022). While Korean drama remained the favored genre
among female viewers in Gen Z and millennials, male viewers in Gen Z preferred comedy, action,
and anime content, while male millennials favored live sports content.

In comparison to Korean content, Chinese content segments faced challenges, prompting VIU and
Netflix to invest additional efforts in acquiring high-quality Korean content while also producing
their own original titles. VIU's most popular title in 2023 was "Marriage with Benefits," and Netflix
launched its original film, "The Big 4." Presently, WeTV remains the primary active platform for
localized Chinese content in the Indonesian market, but it is not the sole option for Indonesian
users seeking legal access to Chinese content. iQiyi and Youku, the two main rivals of Tencent
Video, have also ventured into the international market.

Moreover, WeTV primarily employed digital advertising and user-generated content to exhibit
attractive scenes from the diverse content available on the platform. Unlike Netflix and Amazon
Prime Video, WeTV infrequently ventured into the creation of up-to-date TikTok challenges and
memes. There was a rationale behind this choice; after numerous attempts at similar meme
content, Erin realized that such content failed to captivate WeTV followers. The only content that
consistently garnered high engagement comprised short videos showcasing romantic scenes,
although even this formula did not always yield desired results.

WeTV's digital marketing strategy showcased a lack of alignment with the interests and preferences
of Gen Z viewers. Marketing campaigns often fell short in resonating with this demographic,
struggling to capture their attention and engagement effectively. Furthermore, the messaging and
branding utilized in WeTV's digital marketing endeavors failed to convey the unique value
proposition that would have appealed to this specific audience. Consequently, WeTV grappled with
establishing a robust and enduring connection with this crucial demographic, impacting its ability
to expand its user base and retain Gen Z viewers. If youwere Erin, what strategy would you suggest
for WeTV to be the top player in the industry? How to communicate with Gen Z to optimize their
attraction toward WeTV? And from a commercial standpoint, how can WeTV strike a balance
between audience interest and success in this dynamic market relationship to endure over time?

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Exhibits

Exhibit 1. Main OTT Price Point

1. VIU

2. VIDIO dotcom

3. Disney+ Hotstar

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4. HBO GO Asia

5. Netflix

6. WeTV

Source: WeTV Apps

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Exhibit 2. WeTV interactive features

Source: WeTV Apps

Exhibit 3. WeTV ads inventory

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Source: Platforms data

Exhibit 4. APAC Download and In-App Spend Ranking 2022

Sources: Data.ai

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Exhibit 5. Top content genre in Indonesia

Sources: Brandequity.economictimes

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https://pages.thetradedesk.com/southeast-asia-ott-report-2022.htmlYee, Y. W. (2023).
Chinese streaming platforms and chills?. Retrieved from:
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123-0515-001 A NEW ERA OF TELEVISION: WeTV’s IMPACT ON THE INDUSTRY’S LANDSCAPE

About the Author

Aryo Bismo is Doctoral Candidate in the Doctor of Research in

Management program at Bina Nusantara University. He is also a full-time
lecturer and subject content specialist at BINUS University. Previously, he
earned a master’s degree in management from BINUS Business School in
Jakarta, Indonesia. With extensive experience in Marketing and Research,
including roles as a Research Assistant, Research Executive, and Faculty
Member, he has a proven track record of success in the field. Throughout
his career, he has primarily worked with research companies and
universities, inspiring him to develop his experiences into case studies and
research materials for use in his role as a full-time lecturer and subject
content coordinator at BINUS University.

Wensin Halim earned her bachelor’s degree in management of BINUS

Business School, Jakarta, Indonesia. She started her career as a Research
Assistant and then advanced to become a Business Analyst at MarkPlus. She
continued her journey as a Content Operation Specialist and Data Analyst at
WeTV Indonesia, gaining value insights into Marketing and Research in the
Industry. Throughout her career, she has accumulated experience and
expertise in research, marketing and data analysis. This diverse experience
has equipped her with a solid foundation and a comprehensive
understanding of the field.

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