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Oliver Beene aired from March 2003 until August 2004 on Fox.

Oliver Beene was sort of a nerd version of The Wonder Years. It was 1962, and 11-year-old Oliver ( Grant Rosenmeyer) was just approaching puberty. A little on the chubby side, uncoordinated and decidedly neurotic, Oliver tried his best to deal with life at home and at school. His dentist father, Jerry ( Grant Shaud), was hyperactive and distructively competitive, while his not-quite-happy homemaker mother, Charlotte ( Wendy Makkena)had visions of moving up from their middle-class life in Rego Park, Queens.Oliver's older brother, Ted ( Andy Lawrence) was totally wrapped up in sports and girls and tolerated his younger sibling but did little to help him. Oliver went to PS-206, where his best friends were intelligent Joyce ( Daveigh Chase), who frequently nagged him, and easygoing Michael ( Taylor Emerson). Susan ( Amy Bruckner) was the smarty-pants teachers' pet who was hated by all the other students ( and many of her teachers), and Bonnie ( played by Amy Castle in the pilot and Amanda Michalka in the series) was the unattainable girl of Oliver's dreams. When the series returned for its second season, in the winter of 2004, Oliver fell in love with his new neighbor, Elke ( Maggie Grace).

The series was narrated by the adult Oliver ( voiced by David Cross), and there were frequent flashbacks and flash-forwards to emphasize points.

An Article frrom Time Magazine

Look Back In Angst
Sunday, Sep. 15, 2002

If you're anxious about life today, TV this fall is inviting you to journey to a happier time. A time when ketchup was a vegetable, when Saddam Hussein was a strategic ally, when children went to school, teenagers courted and families thrived with no greater worries than the possibility that they might at any moment be incinerated in a global nuclear war.

If programmers are correct, the state of the American psyche is such that suicide attacks and anthrax anxiety have made the cold war seem cozy. TV-series reunion specials last season drew big ratings, attributed to viewers' desire to escape into the past after Sept. 11. The networks are looking to capitalize on this trend with new comedies and dramas that look back to the Kennedy and Reagan eras. On NBC's drama American Dreams (Sundays, 8 p.m. E.T.), set in 1963 Philadelphia, 15-year-old Meg Pryor (Brittany Snow) achieves her dream of dancing on American Bandstand. Fox's Oliver Beene (coming this winter) takes a comedic look at the same era. Two forthcoming shows set in the '80s are a strange manifestation of TV's collective unconscious. In both ABC's drama That Was Then (Fridays, 9 p.m. E.T.) and the WB's sitcom Do Over (Thursdays, 8:30 p.m. E.T.), a salesman in his 30s gets transported back in time to relive high school, fix his parents' marriage, win over the unrequited love of his life and avoid flubbing a speech in front of the school. (Happy teens, apparently, do not become TV writers.)

Do Over executive producer Warren Littlefield, once a programming executive at NBC, knows a thing or two about TV trend chasing. "I'm sure [Sept. 11] was a factor," he says. "We're in a conservative time, where simplification and wish fulfillment are very appealing." The wish on the two '80s shows is essentially an extension of the moving-back-home premise of series like Providence getting to improve your childhood and thus becoming a different and better person as an adult. Do Over plays it more broadly, with plenty of moderately funny pop-culture references. That Was Then plays down the hairstyle humor, opting for a (fairly muddled) romantic-comedy plot in which the hero fights his brother for his high school love. "It's not a nostalgia show about the '80s," says co-creator Jeremy Miller. "It's a nostalgia show about high school."

Dreams, on the other hand, is old-school nostalgia: a misty-lens look at the past that shows how the '60s' social change roiled one blue-collar family: Mom is dissatisfied; Dad feels the patriarchy slipping away; daughter Meg is seduced by the forbidden libidinal beat of Motown. The Bandstand story line, with archival footage courtesy of co-producer Dick Clark, provides a baby-boomer-friendly sound track. (On TV, American history is the history of TV.) Plots about feminism and civil rights flatter us about how far we have come. And the blue-collar, Catholic setting is free of modern jadedness. "It was not a more innocent time," says Dreams creator Jonathan Prince. "I'm not that naive. But maybe we lost something when we gave up that time around the dining-room table."

Perhaps. But Dreams' cloying earnestness makes jadedness look attractive. If you weren't convinced kids were different in 1963, we see the spun-sugar Meg actually skip across a hopscotch grid on the way home to watch Bandstand. The historical references are clumsy: a son arguing with his father declares, "Kennedy says it's time for new dreams and new frontiers!" Speaking of J.F.K., the pilot begins on a snowy day in November, setting up the hackneyed loss-of-innocence climax so obviously that you half expect a TV to crackle, "And in other news, President Kennedy will be assassinated in three days."

The more satirical Oliver Beene acknowledges that the '60s were not all cheap catharsis and the Mashed Potato. Whereas American Dreams' touchstone is Bandstand, Beene's is Lenny Bruce, who is the idol of the 11-year-old protagonist (Grant Rossenmeyer). The pilot finds the family hunkering in a basement bomb shelter during the Cuban missile crisis, with the parents squabbling over who will dispose of any bodies they find outside. ("It's always me!" Mom grouses. "Doing the dishes, washing the windows, burying the dead!") "I think any warm and fuzzy image of the past is wrong," says creator Howard Gewirtz. "I was around back then. There were dysfunctional families. If anything, the world situation was more threatening."

And back then, we joked about it if not on TV, then in movies like Dr. Strangelove. (TV worked more elliptically, through cold-war anxiety parables such as those on the Twilight Zone, which, by the way, returns this fall on upn, hosted by Forrest Whitaker.) If a writer turned Beene's bomb-shelter scene into a bioterror scare in a sitcom set in the present, it wouldn't make it past the first-draft stage at a major network. Perhaps that's the hidden value of cultural nostalgia. It hints that the past was not better but worse than today, allowing us to exorcise forbidden thoughts about the present. Why do we believe the past was a happier, safer place than today? Maybe simply because we survived it. And because we didn't have love handles back then.

Already Dreams' Prince is chafing at critics' "trying to make a big deal of the trend. 'In the shadow of 9/11,'" he says, "'are people looking back for comfort?' Well, yes. Shouldn't they be? That's what [TV] is supposed to do." (Yes, NBC promoted Dreams heavily during its Sept. 11-anniversary coverage.) These shows aren't alone. Besides the Twilight Zone, this season offers remakes of such cold-war fare as Family Affair, Dragnet and The Time Tunnel. Hairspray has brought a campier take on the early '60s to Broadway. And, as Littlefield notes, "Who was the big winner at the box office? Spider-Man."

If it's true, though if we really are backtracking culturally out of anxiety that's not necessarily something to be proud of. America's defiantly edgy, offensive, on-to-the-next-new-thing pop culture is part of what defines us in the world (and, often, what enrages our enemies). Is running into the warm skirts of the past what a vital, confident nation does? The networks, of course, have smaller concerns, namely that television trend chasing often ends up several months behind the national mood. Even Littlefield predicts, "There will be a show that cuts against the [nostalgia] grain and will be a huge success." In other words, the networks may so exhaust the retro trend du jour that viewers look for something completely different and new. And that really is the oldest story on TV.

A Review from The New York Times

TELEVISION REVIEW; When Doctors Smoked And Hair Was Lacquered

Published: March 6, 2003

Superiority, not discovery, is the real appeal of time travel: the fantasy that a person can go back to a more primitive time and outwit the locals with new gadgets and modern ideas.

Be it in Mark Twain's ''Connecticut Yankee in King Arthur's Court'' or Mr. Peabody and Sherman's Wayback Machine from ''The Bullwinkle Show,'' time travel conceits are as tempting to comedy writers as they are to science-fiction fans. Television writers are particularly susceptible to filtering an era through contemporary preoccupations. The NBC drama ''American Dreams'' is set in the 1960's soon after John F. Kennedy's assassination, while ''That 70's Show'' on Fox takes a more lighthearted look at the disco decade that followed.

''Oliver Beene,'' a new Fox sitcom that begins Sunday night, is set in middle-class Queens in 1962 and draws much of its humor from vanished mores: a pediatrician chain-smoking during an examination, cars without safety belts, women's lacquered hair flips. The sitcom follows the comic torments of Oliver Beene (Grant Rosenmeyer), a pasty 11-year-old caught between a smooth, sex-starved teenage brother, Ted (Andrew Lawrence), and his neurotic parents, Charlotte (Wendy Makkena) and Jerry (Grant Shaud of ''Murphy Brown'').

Much of the story is told in voice-over, which Oliver provides as an adult looking back. The show resembles the 1980's hit ''The Wonder Years,'' but it has a crueler tone. It also relies on flashes of fantasy la ''Ally McBeal'': the skinflint father, a dentist, looks at a potential client and hallucinates that her mouth is a cash register.

Fox scheduled the show between ''The Simpsons'' and ''Malcolm in the Middle,'' signaling the network's high hopes for it. ''Oliver Beene'' has a little of the arch knowingness of ''The Simpsons,'' but it is mostly propelled by the broad satire found on ''Malcolm.'' But shows set in the past, even harmless sitcoms, have an obligation to be somewhat historically accurate, a small price to pay for the bountiful possibilities offered by the past.

The writers commit all kinds of minor anachronisms. In one episode, Oliver gets teased by an older bully who tells him he shouldn't wear a red sweater. ''You're really more of an autumn,'' the friend says. In 1962 cosmetics companies had not yet invented the marketing device of dividing women's complexions by season.

Trying to make conversation with a black couple new to the neighborhood, the mother says she saw Bill Cosby do his stand-up routine on ''The Ed Sullivan Show.'' Mr. Cosby did not appear on ''Ed Sullivan'' until 1964; in 1962 he performed on ''The Andy Williams Show.'' It is a minor slip but easily checked. (They could, for example, have asked Bernie Mac, who has his own show on Fox and has often told interviewers that he decided to become a comedian at the age of 5, when he saw his mother cry, then laugh as she watched Mr. Cosby on Sullivan's show.)

Other anachronisms on ''Oliver Beene'' are more puzzling. The premiere episode revolves around the Beene family's attempt to become members of the exclusive Capri Beach Club. All the little details are right -- the car fins, terrycloth-lined shirts, Jackie Kennedy hairdos -- but the club is clearly made out to be a WASP enclave. The women are tall, blond and horsy; members guzzle martinis, and they have last names like McCabe. There is a touch of Mrs. Robinson: Wendie Malick of ''Just Shoot Me'' has a cameo as a country club vamp seeking to lure Oliver's brother, Ted. The Beenes, however, seem to be lower-middle-class Jews. (This is revealed somewhat obliquely in another episode when they serve matzo balls to a black family.) In 1962 they would not have been considered for membership in a club for German Jews, let alone a club of wealthy Protestants.

This oversight would be innocuous except that the writers seem intent on weaving the prejudices of the era into the comedy. One of Oliver's best friends is effeminate, perhaps the youngest gay character on television today. When Oliver inadvertently breaks the arm of the new kid, the first black child to attend his public school, he is labeled a racist and is shunned by all. His parents invite the boy's parents for dinner to make amends, and after some misunderstandings quickly find common ground. It is something of a reach to posit that a racial conflict could have been handled so efficiently in 1962. It makes the writers' decision to airbrush out the anti-Semitism that was far more quotidian in that milieu in that era all the more intriguing.

Anti-Semitism was such a strong and longstanding taboo in Hollywood that many television writers may, perhaps unconsciously, avoid the topic even today.

There have been television shows that have dealt with Jewish identity, from ''The Goldbergs,'' which began in 1949 (Philip Loeb, the actor who played the husband, Jake, a tailor, was blacklisted and committed suicide in 1955), to ''Bridget Loves Bernie,'' a comedy that was pulled in 1973 after a year, partly because of protests from religious groups opposed to the cheerful depiction of a mixed marriage. In 1991 CBS scheduled ''Brooklyn Bridge,'' a gentle, short-lived sitcom about a Jewish family in the 1950's.

Today anti-Semitism still makes only flickering appearances in a television universe awash in depictions of religious biases, racial conflicts and cultural collisions.

''Oliver Beene'' has funny, slapstick moments, but it also has loftier aspirations. Perhaps inadvertently, the show suggests that there is still a lingering gentleman's agreement in Hollywood to ignore the one last hate that dare not speak its name.

Fox, Sunday night at 8:30, Eastern and Pacific times; 7:30 Central time

Directed by Jeff Melman; Howard Gewirtz, creator and executive producer; Steven Levitan, executive producer. Produced by DreamWorks Television in association with 20th Century Fox Television.

WITH: Grant Rosenmeyer (Oliver Beene), Grant Shaud (Jerry), Wendy Makkena (Charlotte), Andrew Lawrence (Ted), Daveigh Chase (Joyce), Amy Castle (Bonnie), Taylor Emerson (Michael) and David Cross (voice of adult Oliver).

Correction: March 8, 2003, Saturday A listing of credits on Thursday with a television review of the first episode of the sitcom ''Oliver Beene'' misidentified the director and included an actor erroneously. The director was Michael Spiller; Jeff Melman has directed other episodes. Amy Castle was in the pilot film but not in the first episode.

An Article from The New York Times

COVER STORY; Close Encounters of the Fictional Kind

Published: March 9, 2003

THE Fox comedy series ''Oliver Beene'' is a throwback in almost every way. Set in the 1960's, it is flavored with period references to everything from bomb shelters to the new host of ''The Tonight Show,'' Johnny Carson. It also pays homage to sitcom classics like ''Leave It to Beaver'' and ''The Wonder Years.'' But that is not why ''Oliver Beene'' seems to be flouting the current tendency of network television toward the contemporary and hip. The most daringly backward step for this show, which has its premiere on Fox tonight at 8:30, may simply be that it is, in fact, a situation comedy.

That animal is now something of a rarity for television networks increasingly in the thrall of the reality show. Just the idea of trying to entertain Americans with scripted lines spoken by a cast of actors has a certain act-of-defiance quality about it. One senior network programmer recently went so far as to call reality television ''the new comedy,'' suggesting that the younger viewers most networks crave simply have no interest in conventional comedy anymore and only want to see their real-life contemporaries get into embarrassingly funny situations in contrived reality shows.

Howard Gewirtz, the veteran comedy writer who created ''Oliver Beene,'' said he hoped that he was not sending his much loved little creation out into a dark night. ''I have to believe that there will always be a need for good storytelling,'' he said. ''This other stuff is not elevating or memorable. It's disposable. It's fast food.''

Besides, he argued, ''Oliver Beene'' is a reality show of sorts. After all, it's about his own family.

Like Oliver, Mr. Gewirtz grew up in Rego Park, Queens, with a big brother (his was Ed; Oliver's is Ted) and a dentist father, portrayed in the show by Grant Shawd, perhaps best known as Miles Silverberg, Murphy Brown's fictional producer.

Despite having a professional as the head of the household, the Beene family is decidedly downscale and unrefined. They don't fit in when they try to join the local swim club, partly because Dad simply hates to tip.

Oliver, played by Grant Rosenmeyer (one of Ben Stiller's sons in ''The Royal Tenenbaums''), is short, round and intensely awkward. He has one heavy-weight pal, Neal, who is an incorrigible hypochondriac, and another, Michael, who breaks some new ground as a best friend whose homosexuality, though not overtly stated, is highly likely. (He's the most fabulous boy in school, with great taste and a fondness for Judy Garland musicals.)

Oliver's adventures with his brother have a Beaver-and-Wally feel, especially because Ted has a friend with a decidedly Eddie Haskell personality. All of the escapades are narrated by the grown-up Oliver (the comedian David Cross) - a technique, Mr. Gewirtz acknowledged, that would conjure up comparisons to the former ABC hit ''The Wonder Years.''

A more discerning ear may also recognize an older, no less significant, connection: ''Jean Shepherd's America'' and other PBS films based on Shepherd's childhood reminiscences. Mr. Gewirtz said he was definitely influenced by stories like ''Phantom of the Open Hearth,'' in which Shepherd, who did the narration himself, captured his own forlorn childhood in a zany family headed by a growly oddball father. ''My mother used to listen to Shepherd on his old radio show every night on WOR in New York,'' he said. ''That voice was so memorable.''

Mr. Gewirtz, who has written for shows like ''Taxi'' and ''Wings,'' said he struggled to find a concept for his own comedy series - until he settled into thinking about his own youth and how funny that might really be to recount. ''It's one of the things they always say to writers, but it took me until age 50 before I really realized it's best to write what you know,'' he said.

The writing came remarkably easily for that reason, he said. The hard part was finding an actor who could play Oliver. Mr. Gewirtz said he and the other producers looked at countless young actors and despaired of ever finding anyone who would work until Mr. Rosenmeyer walked in. He was only 10 years old, but Mr. Gewirtz said he was ''such a naturally gifted actor that he nailed the part right away.''

Mr. Rosenmeyer had turned 11, exactly the age of his character, by the time the series was given a definite air date. Originally scheduled to be part of the Fox schedule last fall, ''Oliver Beene'' was pulled back before the season began, leading to speculation that the network might be less than enthusiastic about it. Mr. Gewirtz said nothing could be farther from the truth. ''We've had nothing but encouragement from Fox,'' he said. The network originally ordered six episodes but liked what it was seeing and ordered four more. Then it gave ''Oliver Beene'' perhaps the most significant endorsement possible: it scheduled the show in the time slot following its comedy titan, ''The Simpsons.''

Mr. Gewirtz accepted the placement as an honor but said he recognized that ''it's a mixed bag.'' Shows placed in the wake of huge hits are expected to perform well enough to retain most of the audience they inherit. Those that don't usually do not last too long.

But, he added, ''I'm still happy we're there.''

He is also happy to be introducing a comedy, even in a landscape that seems to have suddenly grown hostile to them. ''I hate to be traitorous,'' he said, ''but in this environment you have to put on something special. If you put on another formula show, then I don't think people will be eager to see it. But I think the autidence will always respond to something good. I would be very surprised if even the kids who like this reality stuff did not respond to good storytelling.''

An Article from State Magazine

television: What you're watching.
Beene of Queens
Can Fox's new sitcom live up to the comic legacy of its neighborhood?

By Virginia Heffernan
Posted Monday, March 17, 2003,

The late actor Carroll O'Connor spent 30 years denying that Archie Bunker's reactionary politics on All in the Family were his own. O'Connor, who like Archie came from Queens, N.Y., once said that his father "disliked talk like Archie's he called it lowbrow."

The conviction that bigotry is lowbrow and tolerance is classy is among the local ordinances that make a working-class neighborhood like Queens a beautiful place for a sitcom. All in the Family established this set-up in 1971, and Dear John, the short-lived Cosby, and The King of Queens have since exploited it with varying success. The best of these shows, All in the Family and The King of Queens, complicate things by suggesting that, since ordinary Joes rule the borough, it's pretension itself that's intolerable. Bigotry, of some kind, is basic; it's honest.

Today we welcome Oliver Beene (Fox, Sundays, 8:30 p.m. ET), the latest comedy set in Queens. Possibly to increase Beene's viability as a contender for the canon, the show's creator Howard Gewirtz who had a hand in The Larry Sanders Show, Bosom Buddies, and Taxi has set it in 1962, before left-wing Meatheads even started fighting with their fathers-in-law and well before the Museum of Modern Art and new polyglot immigrants shook the borough's status as a time capsule in which postwar social dynamics were meticulously preserved.

In the first two episodes, the Beenes, a white family of uncertain ethnic origin, aim to shake their lowbrow habits and affecting familiarity with permissive cocktail culture: adultery, therapy, and alcoholism. But Oliver (Grant Rosenmeyer), the awkward 11-year-old son, helps to steer his family out of pomposity. Here in Queens, beer, snow cones, and the human butt are the hard facts of life. The Manhattan regime with its liberal mores is for showoffs. Vulgarity is truth.

On last week's pilot, the Beenes try to join a country club that offers gin, cabanas, and a Graduate-like sexual initiation for Ted (Andrew Lawrence), Oliver's handsome older brother. Charlotte (Wendy Makkena), Oliver's mother, has practiced her laugh in advance of the family's debut; predictably, what she comes up with is a grating bray. Jerry (Grant Shaud), her husband and a dentist, sees the club as a chance to drum up business. Oliver has to choose between chasing a girl in the sunshine styling himself as a happy American habitu or embracing his awkwardness by playing Parcheesi with pallid, unassimilated geeks. Finally, the family goes bust when Jerry moons the membership.

On Sunday, the show again pursued the theme of class advancement: Jerry and Charlotte go to dinner in Great Neck at the mansion house of an old friend, Mitch, who has made it big in the lighting business. Hearing about the pal's several houses and dude ranch for his race horses Jerry's head blows off. (Surreal Malcolm in the Middle-style interludes are used to little effect.) Finally, Jerry and Charlotte contrive to steal a Faberg egg and are caught, just as Mitch is about to make them a present of a brand-new car. Punished for their climber ways, the couple drives back to reality in their clatter-trap jalopy.

Meantime, the kids' plot concerns home-alone pranks and a murderous, working-class neighbor. Emissaries of a more cosmopolitan sensibility include Joyce (Daveigh Chase), a smart (Jewish?) friend of Oliver's who's had therapy, and Michael (Taylor Emerson), a tap-dancing kid with a lap dog who we learn in a flash-forward will, at 41, adopt a Chinese daughter with his boyfriend. The cliche of fruitiness is one that even Bunker might have had trouble enjoying.

Oliver Beene has gotten C's and D's from critics, and they're right that its laughs are few. But Wendy Makkena has had very good moments as Charlotte, and TV archivists should take note. The jokes about swinging and gay guys might one day give way to gags about Negroes, Jews, and women's-libbers and the family might crash into the problem that, in Queens, they can't be happy lowbrows and good liberals at the same time. Probably the show will fudge a compromise, but at least the borough will get back to the old fun. If, in fact, the old fun's any fun anymore.

A Review from Variety
Published in February 2004

Oliver Beene
(Series -- Fox, Wed. Feb. 4, 9:30 p.m.)

Filmed in Los Angeles by Steven Levitan Prods. and Gewirtz Films in association with 20th Century Fox Television. Executive producers, Howard Gewirtz, Steven Levitan; co-executive producer, David M. Stern; supervising producers, Michael Shipley, Jim Bernstein; producers, Carter Bays, Craig Thomas, Stephen Lloyd, Jeff Morton; director, Lev L. Spiro; writers, Gewirtz, Levitan;

Oliver Beene - Grant Rosenmeyer
Jerry - Grant Shaud
Charlotte - Wendy Makkena
Ted - Andrew Lawrence
Michael - Taylor Emerson
Joyce - Daveigh Chase
Adult Oliver - David Cross

Lost amid Fox's exultation over "American Idol" is the network's inability to get arrested with some pretty good recent sitcoms, from "Andy Richter Controls the Universe" to the ratings-challenged "Arrested Development." That's all the more reason to take a second look at "Oliver Beene," a clever premise that didn't generate much heat last spring but which returns with two extremely funny episodes beginning this week.
Nostalgic without the bittersweet (and sometimes cloying) flourishes of "The Wonder Years," this single-camera comedy filters the 1960s through a modern lens with occasionally hilarious results. Seeing beyond the cheery innocence of "Leave It to Beaver," the gags range from the obviously gay kid who everyone thinks is a tad eccentric to the title character's parents discovering jazz sounds a lot cooler when you're inhaling the right kind of second-hand smoke.

The show's sly conceit is that the good ol' days weren't as simple as they look when romanticized in black and white, whether it was fear of nuclear Armageddon or a not-so-liberated mentality toward women and gays.

What the latest installments capture most deftly, however, is the sheer silliness of childhood conventions, perhaps most effectively in the second half-hour, where 12-year-old protagonist Oliver (Grant Rosenmeyer) realizes he'll be labeled for life if he allows a distasteful nickname to stick to him.

Meanwhile, the second-season debut, in which Oliver calls "dibs" on a comely exchange student (Maggie Grace), is full of all kinds of Cosby-esque banter about how some mythical kid broke those sacred rules years before. There's also a chuckleworthy subplot featuring Oliver's parents, toothily played by Grant Shaud and Wendy Makkena.

Although overly broad at times, these episodes are more self-assured than what was on display last spring, as if someone passed along the note "JUST BE FUNNY" in big block letters.

Fox certainly has reason to worship at the altar of "Idol," but the real trick will be whether the network can parlay that franchise's ratings largess into shiny new hits. As a result, "Oliver" gets an initial play Wednesday, drafting off that big lead-in, before settling in Sundays between "King of the Hill" and "The Simpsons."

The question is whether "American Idol" can help Fox break the pattern of letting promising live-action comedies die on the vine. If not, the network might face an unwelcome hangover faster than you can say, "Is that your final answer?"

To watch clips of Oliver Beene go to

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Date: Thu June 5, 2008 � Filesize: 11.9kb � Dimensions: 250 x 172 �
Keywords: Oliver Beene


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