the lighthouse video essay

What the hell did 'The Lighthouse' even mean?

This post contains spoilers for The Lighthouse

The Lighthouse is a beautiful, baffling, hypnotizing wild ride. The events that take place defy the confines of plot summary, let alone any clear explanations for what it all means.

But that doesn't mean there isn't lots to gain from trying.

From The Witch director Robert Eggers, this surreal black-and-white 35-millimeter horror movie stars Robert Pattinson and William Dafoe as two lighthouse keepers. Pattinson's character (who we'll refer to as Ephraim to make things simple, though even that's a question) is the new temporary wickie (or assistant) to Dafoe's more senior Thomas Wake.

The two hours of madness that follow ensures you leave the film not knowing which way is north or south. There's no single "correct" way to understand what happens in The Lighthous e. But we'll do our best to be a beacon of light guiding you through the darkness of this storm.

The more surface-level explanations

While The Lighthouse 's ambiguity and allusions lend themselves to all sorts of metaphorical deep-dives, there's also a few more straightforward reads. Or rather, as straightforward as this movie gets.

The first is that Ephraim lost his mind waiting out the big storm, so most of what takes place after the night the ship doesn't come is happening inside his head. Sure, there's wacky stuff before then too. But most of it can be chalked up to Ephraim dreaming or fantasizing or being paranoid.

Reality only starts going topsy-turvy after the night Thomas gets Ephraim drunk for the first time. There's an argument to be made that whatever home-brewed liquor (or eventually kerosene) they're drinking also poisons their minds, which could very well have caused the hallucinations that follow.

What ultimately drives our protagonist to madness is up for debate though too, as well as whether Thomas deliberately manipulated him into it.

Getting stuck on that godforsaken island with the worst company and weather Is enough in itself. But there's also an indication that, Moby Dick -style, Ephraim became so obsessed with getting access to the lighthouse that it leads him to murder after a total break from reality.

The movie also implies that our unreliable narrator was never of sound mind even before arriving on the island. As Thomas argues, the lumber "accident" that led to the foreman's death at Ephraim's previous job was more likely a deliberate murder.

Regardless of how it happened, the guilt from this death seems to weigh on Ephraim to the point of driving him over the edge. He dreams about drowning under logs at the beginning of the movie, and later during his most unhinged moments, he sees flashes of the man killed. Also, the way he eventually kills Thomas with an ax calls back to Ephraim's previous occupation as a timberman.

Thomas is right about one thing, though: Ephraim definitely took this awful and secluded job on the island because he's on the run. But as he soon discovers, he can't outrun the prison of his own guilty conscious.

Pattinson prefers this read on the story, with Eggers telling Den of Geek that, "Robert Pattinson said to me before agreeing to this, ‘I don’t want to make a movie about a magical lighthouse. I want to make a movie about a fucking crazy person.’”

It's also just as likely that both Thomas and Ephraim are having a shared delusion. Or (and we'll touch on this more later), you can see Thomas and Ephraim as representing two parts of the same person.

Dafoe's Thomas is sketchy from the start too. We start to question whether he's deliberately pushing Ephraim into insanity after hearing of how his last wickie died. Thomas could've murdered him or driven him to take his own life.

Ephraim finds the previous wickie's decapitated head in a fishing net, so Thomas is now faced with a witness to his crime. After that scene, he keeps trying to gaslight Ephraim into not trusting reality, getting him constantly plastered, filling his mind with paranoid delusions, and making him question even time itself.

In the scene where Thomas runs at Ephraim with the ax, he tells an alternate version of events where he's actually the crazed ax murderer before then destroying the lifeboat that was his only chance at leaving to tell authorities the real story.

Why would Thomas keep killing his assistants? Well Ephraim later finds his superior's notes filled with lies about him misbehaving, and the suggestion that the company fire him without pay. Maybe, Thomas is simply after some more cash.

Or maybe it's just some sick game he plays over and over again (until now).

The homoeroticism and Jungian symbols

If anything can be said to be "obvious" about this movie, it's the undeniable and mounting homoerotic tension between Thomas and Ephraim. Actually, homoeroticism is embedded into the symbol of the lighthouse itself too.

"It was pretty explicit in the script. The script said the lighthouse looked like an erect penis," Pattinson said in a HuffPost interview .

Eggers expanded on that to say say the queer subtext was always at the heart of the movie's central relationship, but that "[t]he whole thing is about power dynamics, so it is about Willem pushing, pushing, pushing, pushing, pushing. And there’s pent-up anger and pent-up erotic energy and pent-up smells. Where is that breaking point?"

But the two's sexuality, Eggers said, isn't a binary (gay versus not gay). It's less about exploring human sexuality or sexual orientation, and more about the questions that those homoerotic sexual overtones represent from a broader Freudian perspective.

There's a lot of heteronormative stuff too, like Thomas humiliating Ephraim by forcing him to do all the more "feminine" domestic duties, which leads him to even say that he didn't sign up to be anybody's wife.

Meanwhile, Thomas gets exclusive, in a way, with the phallic symbol of the lighthouse. He constantly refers to the lighthouse as she/her, equating her to a better wife than any living woman. According to Dafoe, the homoeroticism of the film does speak to some aspects of identity and what it means to be a man:

"Toxic masculinity! They’re pushing each other’s buttons out of fear and out of threat of who they are. And they’re both guilty. They have a sense of guilt, of wrong. There’s no moral judgment in this story. It’s just to watch these two guys struggling to find a way to survive themselves, really... It’s a simple story, but it’s got existential roots and identity things and things about masculinity and domination and submission. And for better and for worse. Then you see it flip-flop and it’s kind of cool."

As Eggers summarizes at the end of the interview, everything he writes is "Jungian-inclined" — meaning he's working with symbols and archetypes that psychoanalyst Carl Jung described as part of the collective unconscious.

"We hammer it home with vaginal keyholes and phallic lumberjack tools and logs," he said.

From the Jungian perspective, Thomas and Ephraim could even represent different aspects of the same person's psychology. Thomas is like the bestial id giving in to all his basest desires and Ephraim is like the ego, conscientious of social norms and struggling to maintain civility. This is all supported by the fact that we learn Ephraim's real name is also Thomas (or Tommy).

The mythological, metaphorical, and magical answers

Now that we've gotten through the more grounded readings of the movie, let's dive headfirst into what the many mythical and literary allusions sprinkled throughout The Lighthouse could mean.

On the Moby Dick front, similar to the whale, the lighthouse can be seen as a symbol for man's hubris in trying to overcome or conquer nature's most powerful forces. Lighthouses were designed to help ships navigate the dangers of the sea. A man-made North Star guiding sailors through the darkness and storms, lighthouses give us a false sense of security to cling to as we faces the unknown.

In the scene at the end when Ephraim finally gets to gaze into the lighthouse, the literal darkness of the black-and-white film is eradicated by its blinding light. It illuminates a face filled with mad relief, joy, and exhilaration — like Ephraim finally found the answer to all the existential uncertainty he's faced on the rock.

On the subject of the final sequence, man's hubris, and light, Eggers told Vox that he wrote Ephraim to represent the Greek mythological figure of Prometheus and Thomas as Proteus.

Known as the champion of humanity, Prometheus created man from clay and also defied Zeus by stealing fire from the gods to gift it to humanity. Much like the last shot of the movie, Prometheus' punishment for this theft is to be chained to a rock as he's eaten alive by an eagle, a torture that lasts all eternity since he's immortal and can never truly die.

Often people analyze "fire" in this legend as a metaphor for knowledge, with literal light standing in for the "illumination" or "enlightenment" of mankind. Again, that relates back to the lighthouse as a symbol for how man uses knowledge to invent ways to keep darkness, death, and the unknown at bay.

Throughout the film, Ephraim is constantly both fighting against and being entranced by deadly forces of nature, whether it's the storms or sirens. Those moments stand in contrast to all the man-made machinery he's tasked with maintaining, whether it's the steam engine keeping the lighthouse going or his many attempts to keep the elements like water or dirt from destroying the house.

Thomas as Proteus makes a lot of sense, too, since Proteus is an old, prophecy-telling ocean god who serves Poseidon, and who Homer called the "Old Man of the Sea." Thomas isn't just the perfect archetype of an old seafaring man; he also makes that uncannily accurate prediction for how Ephraim will die at the end of the movie.

He might've even cursed Ephraim to this fate in that moment — all because the younger man didn't like his cooking. It's probably the same curse he put on the wickie who died before Ephraim. Proteus also represents the unpredictable shifts in tides and sea storms, which gives credence to the theory that Thomas brought on the storm that kept them both stranded on that island.

We haven't even mentioned the influence of H. P. Lovecraft, which is all over this movie as the director admitted in several interviews. The tentacled creatures and sirens we see throughout indicate that the island could be home to the Deep Ones, ancient Lovecraftian sea gods who mate with humans to create entire hybrid species.

All in all, what the mythological and literary illusions all add up to is the theme of man's eternal battle with forces of nature much more powerful than them. When faced with all these existential threats, we seek to regain power over the unpredictability of nature by any means necessary.

Even if that means killing your only companion with an ax for the privilege of looking at a light.

Jess is an LA-based culture critic who covers intimacy in the digital age, from sex and relationship to weed and all media (tv, games, film, the web). Previously associate editor at Kill Screen, you can also find her words on Vice, The Atlantic, Rolling Stone, Vox, and others. She is a Brazilian-Swiss American immigrant with a love for all things weird and magical.

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Waves crash, birds scream, and rain pounds. Robert Eggers ’ “The Lighthouse” wants to drive you a little mad. It’s not just a film about two people on the edge of sanity, it uses sound design and filmmaking tools to push you there too. It has the feel of watching someone else’s nightmare, and it’s not one that’s going to end well. While it’s ultimately a bit too self-conscious to provoke the existential dread and true terror of the best films like it, it’s still an impressive accomplishment thanks to Eggers’ fearlessness and a pair of completely committed performances.

Life is bleak for Thomas and Ephraim from the first gloomy frame of “The Lighthouse.” And I mean gloomy . This is a movie that will be listed as “black and white” but would more accurately be called “gray.” There are few distinct blacks or whites in a film that looks like an overcast evening even during the day. It opens with the two men, played by Willem Dafoe and Robert Pattinson , arriving to work a shift at a lighthouse on the edge of the world. Thomas, played by Dafoe, is the older one and the boss of the operation. He orders around Pattinson’s Ephraim, making sure he takes care of all of the daily duties like cleaning and repairing but always reminding him who’s in charge. Thomas refers to Ephraim in diminutive terms like “lad” and orders him around when he’s not telling a long-winded story, or farting. 

Ephraim toils and troubles all day, develops a rivalry with a seagull, and is forced to listen to Thomas’ tall tales over dinner before his boss heads up to the light that Ephraim has been denied. Not only does he start to become obsessed with what exactly happens at the top of the lighthouse, but he has increasingly terrifying visions between bouts of self-gratification and back-breaking labor. A film that is already in experimental territory from its opening scene gets more and more surreal, allowing us to question which one of these guys will go crazy first and what the repercussions will be. “The Lighthouse” takes on the tenor of a slow-motion car crash, from which you know there will be no survivors. This is not a buddy movie, but one that reminds us that nothing may be scarier than being stuck with someone you can’t stand.

Dafoe does what sometimes feels like a salty dog caricature—if they ever do a live-action “Simpsons” movie, he’s the man for the Sea Captain—but it’s a captivating performance. As the old-timer of the two, Dafoe’s Thomas gets to remain tantalizingly vague for a while in that we’re not sure if he’s just a jerk or someone actively trying to destroy the person making him beans. He's hysterical and annoying in equal measure. 

And Pattinson is even better. In a long line of daring performances recently (“ The Lost City of Z ,” “ High Life ”), this may be his best work. He imbues Ephraim with desperation, the reasons for which are revealed later, that makes his plight more tragic. He doesn’t just need to survive, he needs this job to climb out of the hole of life. He needs the light. He needs success. Pattinson throws himself entirely into the role and it’s fun to watch.

Pattinson, Dafoe, and an angry seagull may be the stars of “The Lighthouse” but this is a film that’s constantly calling attention to the choices of its director and creative team. From the decision to shoot it in gray 4:3 ratio to heighten the claustrophobia to the non-stop cacophony of noise—it feels like if they don’t kill each other, the waves or storm will—“The Lighthouse” is a sensory assault. It’s an easy film to admire with both in its ambition and execution, but there’s a creeping sense that it doesn’t really add up to much more than a bit of a self-aware poke in the eye, and the film doesn't quite stick the landing to make that feeling go away. Sure, that kind of experimental provocation is fun in its own twisted way, but it feels like a missed opportunity to be more than just "fun." With its incredible level of detail, “ The Witch ” transported us back to its era and made its horror tangible. There’s nothing tangible here. If you try to put your hands on “The Lighthouse,” it slips through your fingers.

Although maybe that’s the point. Maybe this is just Eggers’ existential version of a salty dog tale told on the high seas—the urban legend of a couple of guys stuck on a lighthouse who drove each other insane. Anyone searching for more than that does so at their own peril. Be careful not to crash on the rocks. 

This review was filed from the Toronto International Film Festival on September 6th.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

The Lighthouse (2019)

Rated R for sexual content, nudity, violence, disturbing images, and some language.

110 minutes

Willem Dafoe as Thomas Wake

Robert Pattinson as Ephraim Winslow

Valeriia Karaman as Mermaid

• Robert Eggers

Cinematographer

• Jarin Blaschke
• Louise Ford
• Mark Korven

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Pioneering the Future of AI-Enhanced Storytelling

The Lighthouse

A masterful psychological thriller bent on gaslighting and murder

The Lighthouse is a masterful modern-day Greek tragedy from writer/director Robert Eggers. Substituting William Dafoe for Proteus (the godly knowledge-keeper) and Robert Pattinson for Prometheus (the Titan punished for stealing fire from the gods), this black-and-white thriller sucks you into the madness of the human condition—and does so through a well-balanced and capable narrative structure.

Gaslighting is a Psychological conflict bred from manipulation and co-dependency. Chasing after your brother like a homicidal ax-wielding maniac is a Physical conflict borne from gross misinterpretations and survival instincts. This balance of conflict finds a home in an Objective Story Domain of Psychology and a Relationship Story Domain of Physics .

The two remaining Domains—Universe and Mind—divide evenly between Thomas Wake (Dafoe) and Ephraim Winslow (Pattinson). Wake, as the Protean sea god, provides the influence of one having treasured knowledge. Ephraim, like the Promethean Titan, allows us to share in the visceral experience of one jealous of that position—envious enough to do whatever it takes to steal mythical "fire" from the Gods. This juxtaposition of an Obstacle Character Domain of Universe against a Main Character Domain of Mind , alongside the previous Domains, completes the model of the Storymind.

Ephraim's jealousy stems from a guilty conscience. Suspecting that he could have done more to save his previous foreman's life, Winslow (really, Thomas Howard) forms his new position into one of self-imposed exile—punishment for his past sins. Driven by this Main Character Problem of Order , Howard perceives this hellhole as justice for his crimes ( Main Character Focus of Equity . He self-flagellates himself as a matter of recourse ( Main Character Direction of Inequity ).

Wake, on the other hand, finds himself driven by an Obstacle Character Problem of Inertia . The old man, like all gods, cares only for maintaining his position over those who look up to him. Confronted with the reality of his shortcomings (an Obstacle Character Focus of Actuality ), the supreme being engages in deception and falsification (an Obstacle Character Direction of Perception ).

Match Wake's Focus and Direction of Actuality and Perception with Howard's Problem of Order, and you strike a recipe for disaster through gaslighting. Internally, Howard's drive is to maintain his mental construct; externally, Wake provides psychological release through the construct of master and servant. That dual drive of Order allows Wake to shift what is happening (Actuality) into a moment of doubt as to what appears to be happening (Perception).

The Lighthouse is a cautionary tale turned into a whole story. Tales warn; stories argue. The crucial narrative Element of Chaos ties both subjective and objective points-of-view into a thought-provoking Premise generated from Subtxt:

::premise Everyone suffers the tragic consequences of understanding what it means to exist, when you get out of your way and manifest bedlam. ::

Is this not the purpose of the Promethean myth? Is it not argued to the fullest and proven to be valid within the context of The Lighthouse ?

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Welcome to our Colossus Movie Guide for The Lighthouse . This guide contains everything you need to understand the film. Dive into our detailed library of content, covering key aspects of the movie. We encourage your comments to help us create the best possible guide. Thank you!

What is The Lighthouse about?

In The Lighthouse , the unsettling psychological descent of its two main characters into madness and isolation is explored through a series of symbolic and allegorical elements. The film presents themes such as power dynamics, self-destruction, and mankind’s struggle with nature, as well as the relentless pursuit of knowledge that ultimately leads to ruin. The isolated, claustrophobic setting of the lighthouse serves as a catalyst for the characters’ insanity, as they grapple with their personal demons, guilt, and the profound loneliness of their existence. The Lighthouse also explores the implications of toxic masculinity, as the characters engage in futile attempts to assert dominance over one another, which only hastens their undoing.

Movie Guide table of contents

• Robert Pattinson – Ephraim Winslow/Thomas Howard
• Willem Dafoe – Thomas Wake
• Valeriia Karamän – the Mermaid
• Logan Hawkes – the real Ephraim Winslow
• Max Eggers – Writer
• Robert Eggers – Writer and director

The ending of The Lighthouse explained

In the climactic ending of The Lighthouse , viewers are left with a potent sense of ambiguity and unease, as the film resolves its most prominent themes while simultaneously leaving room for interpretation. This powerful denouement not only deepens the experience of the film but also invites the audience to ponder the deeper meaning of the characters’ actions, relationships, and the symbolic elements that permeate the narrative.

At the heart of The Lighthouse lies the theme of isolation and its psychological toll. The two characters, Thomas Wake and Ephraim Winslow, are confined to a remote lighthouse, cut off from the rest of the world. As the film progresses, their descent into madness becomes increasingly evident. The final scenes serve as a culmination of their psychological unravelling, forcing the audience to question the nature of reality, identity, and the fragility of the human psyche.

The climactic scene in which Winslow finally enters the lighthouse’s lantern room symbolizes his desperate pursuit of enlightenment and truth. Throughout the film, Wake jealously guards the lantern room, denying Winslow access and fostering an air of mystery and allure. When Winslow finally gazes upon the light, it is an emotionally charged moment that represents his attainment of forbidden knowledge. However, instead of satisfaction or closure, he is met with agony and despair. His scream as the light envelops him signifies the unbearable weight of truth, which ultimately proves to be his undoing.

This pivotal moment reinforces the theme of man’s futile struggle against the forces of nature and the unknown. In their isolated environment, Wake and Winslow are pitted against a vast, indifferent sea that threatens to engulf them. Throughout the film, they are shown battling the elements, but it is clear that they are fighting a losing battle. The chaotic tempest that rages around them in the final act further underscores the idea that mankind is ultimately powerless in the face of nature’s might.

In addition, the ending of The Lighthouse serves as a resolution to the power struggle between Wake and Winslow, which is another prominent theme in the film. The characters’ relationship is marked by a constant battle for control, with Wake dominating Winslow through both physical and psychological means. When Winslow kills Wake in the final act, it symbolizes his ultimate rebellion against this authority. However, this act of defiance comes at a great cost, as Winslow’s actions lead to his own destruction. The film thus questions the price of freedom and autonomy, suggesting that they may come at the expense of one’s sanity and humanity.

The final image of Winslow, lying on the rocks and being devoured by seagulls, represents the bleak culmination of his journey. This gruesome scene is a striking visual metaphor for the corrosive effects of isolation and obsession. Winslow’s transgression in seeking the light has led to his utter degradation, as he is consumed both literally and figuratively by the darkness he sought to escape. This haunting image leaves the audience with a sense of profound unease, inviting them to contemplate the implications of Winslow’s tragic fate.

In conclusion, the ending of The Lighthouse effectively resolves the movie’s most prominent themes, leaving the audience with a potent sense of ambiguity and disquiet. By exploring the consequences of isolation, the struggle for power, and mankind’s futile battle against the forces of nature, the film encourages viewers to reflect on the deeper meaning of these themes and their implications for the human condition. The ultimate fates of Wake and Winslow serve as stark reminders of the destructive potential of obsession and the fragile nature of the human psyche when pushed to its limits.

The Lighthouse is a compelling exploration of the darker aspects of human nature, and its enigmatic conclusion invites the audience to grapple with the weighty questions it raises long after the credits have rolled. By refusing to provide easy answers, the film challenges viewers to confront the uncomfortable truths it exposes and to consider the broader implications of its characters’ tragic fates. In doing so, The Lighthouse continues to provoke discussion and debate.

The themes and meaning of The Lighthouse

The danger of isolation.

Isolation is a fundamental theme in The Lighthouse . The story begins with the arrival of two lighthouse keepers, a young man named Ephraim Winslow and an older man named Thomas Wake, on a desolate island. The two men are assigned to tend to the lighthouse for four weeks, with no other human presence or external communication. This isolation is visually represented through the film’s black-and-white cinematography and claustrophobic 1.19:1 aspect ratio, which encapsulates the characters’ entrapment on the island. Moreover, the film’s sound design, which prominently features the sound of crashing waves, wind, and the constant foghorn, further emphasizes the characters’ detachment from the outside world.

As the days pass, the isolation begins to wear on both characters. Winslow, who initially sought the solitude of the island to escape a troubled past, gradually succumbs to paranoia and hallucinations. Wake, on the other hand, is a veteran lighthouse keeper who appears to be hiding a supernatural secret within the lighthouse’s lantern room. He warns Winslow of the dangers of isolation and the curse of the seabirds, which represent the spirits of dead sailors. Winslow’s increasingly disturbing visions, including those of mermaids and tentacled monsters, demonstrate how isolation can lead to the deterioration of one’s mental state.

The Role of Masculinity

Another theme that pervades The Lighthouse is masculinity. The film explores various facets of manhood, including vulnerability, strength, and the performance of gender roles. This theme is apparent from the beginning when Winslow and Wake engage in a power struggle over the division of labor. Wake asserts dominance by assigning Winslow to the more physically demanding tasks, such as shoveling coal and maintaining the lighthouse’s exterior, while he reserves the more prestigious duty of tending to the light itself.

Masculinity is further emphasized through the characters’ physicality and mannerisms. Winslow, for instance, is shown chopping wood and performing manual labor, while Wake is often depicted smoking a pipe and regaling Winslow with tales of the sea. This dynamic shifts when the characters begin to drink alcohol heavily, which leads to the gradual breakdown of their carefully constructed masculine facades. Winslow is shown sobbing in Wake’s arms during a particularly emotional scene, while Wake loses his stoicism and becomes more vulnerable as the film progresses.

Winslow’s initial reluctance to show emotion and vulnerability is a key element of this theme. His inability to cope with the guilt of his past actions ultimately leads to his psychological unraveling. Additionally, Wake’s manipulation and domineering behavior contribute to the toxic environment, as he uses his authority to maintain control over Winslow.

The Struggle for Power

The struggle for power is a central theme in The Lighthouse . Throughout the film, the characters vie for dominance, both physically and psychologically. This power struggle is most apparent in the characters’ interactions surrounding the lighthouse’s lantern room. Wake forbids Winslow from entering the room, claiming that only the senior lighthouse keeper can tend to the light. This prohibition only serves to fuel Winslow’s curiosity and intensifies his desire to access the room. The lantern room symbolizes power and control, and the film gradually reveals that Winslow’s obsession with the light stems from his yearning for autonomy and escape from his troubled past.

The struggle for power is also evident in the characters’ shifting relationship dynamics. As their isolation intensifies, the characters become increasingly hostile and manipulative, resorting to physical violence and psychological warfare in their quest for dominance. This culminates in a chilling scene where Winslow forces Wake to act like a dog, a symbolic representation of the power imbalance between the two men.

Additionally, the struggle for power is manifested through the characters’ encounters with the supernatural. The mysterious presence in the lighthouse’s lantern room, which Wake seems to worship, represents a higher power that both men are desperate to access. Winslow’s hallucinations, particularly those involving the one-eyed seagull and mermaid, can be seen as manifestations of his subconscious desire to gain control over his environment and escape his past. In the end, Winslow’s pursuit of power leads him to a tragic downfall, as he finally gains access to the lantern room only to be consumed by the overwhelming force of the light.

Why is the movie called The Lighthouse ?

The Lighthouse explores themes of isolation, madness, and the human struggle for power and control. The title of the movie not only refers to the physical structure that serves as the primary setting, but also carries deeper symbolic meanings related to light, darkness, and the human psyche.

On a literal level, the lighthouse is a maritime navigational structure that emits light to guide ships and sailors in their journey through treacherous waters. In the film, the lighthouse serves as the workplace and living quarters for the two protagonists, who are tasked with its maintenance. Their isolation from the outside world quickly takes a toll on their mental health, driving them to the brink of insanity. In this sense, the lighthouse becomes a physical representation of confinement and the negative consequences of extreme isolation.

However, the title also signifies a deeper meaning by drawing upon the metaphysical nature of light and darkness. The lighthouse’s light symbolizes truth, knowledge, and enlightenment, while the surrounding darkness represents ignorance, fear, and the unknown. Throughout the film, the characters constantly struggle with their own darkness, as they grapple with their sanity and personal demons.

The lighthouse itself is a beacon of hope amidst the darkness, a source of guidance for lost souls. Yet, only one of the characters is allowed access to the light, asserting power and control over the other. This struggle for control is a prominent theme within the movie. As the characters vie for dominance, the lighthouse becomes a metaphor for their quest for power, knowledge, and ultimately, a sense of self-worth.

Specific moments in the film emphasize the importance of the lighthouse’s symbolism. For instance, when one character finally gains access to the light, he is overcome by a mixture of awe and horror, as if the truth is both mesmerizing and terrifying. This scene highlights the double-edged nature of knowledge and the dangers of seeking absolute truth. The light exposes the character’s deepest fears and vulnerabilities, further emphasizing the dual nature of the lighthouse as both a source of illumination and a catalyst for madness.

Another pivotal moment occurs when the characters are confronted by a massive storm. As the storm rages, the lighthouse’s light becomes their sole hope for survival. In this context, the lighthouse symbolizes the thin line between life and death, and the ultimate fragility of human existence. The storm also serves as a metaphor for the characters’ internal chaos, with the lighthouse acting as a physical representation of the struggle to maintain sanity in the face of overwhelming darkness.

Important motifs in The Lighthouse

The film is set on a remote, storm-ridden island, and the characters are isolated from the rest of the world. This isolation intensifies the tensions between them and heightens the viewer’s sense of unease. The motif of isolation is also represented by the claustrophobic confines of the lighthouse and the characters’ sparse living quarters, which contribute to the suffocating atmosphere.

The Lighthouse is steeped in mythological symbolism, drawing on various mythic traditions, including Greek, maritime, and Christian. For example, the character of the older lighthouse keeper can be seen as a representation of Proteus, a Greek sea-god, while the younger character can be likened to Prometheus. The film also incorporates sea lore, such as mermaids and sirens.

The Lighthouse explores the duality of human nature, presenting its two main characters as opposing yet complementary forces. This duality is evident in the characters’ roles (mentor and apprentice), their appearances (old and young), and their behaviors (dominant and submissive). The motif of duality is further emphasized by the black-and-white cinematography, which creates stark contrasts between light and dark.

The lighthouse’s light itself is a central motif in the film, symbolizing knowledge, power, and the characters’ obsession with it. The light takes on an almost mystical quality, captivating the younger character and driving him to extreme lengths to access it. The light can also be interpreted as a metaphor for enlightenment and self-discovery.

The Lighthouse chronicles the characters’ psychological decline as their isolation, power struggles, and obsessions take their toll. The film employs a variety of techniques to convey this descent, such as unsettling visuals, disorienting sound design, and increasingly erratic behavior from the characters.

Questions & answers about The Lighthouse

Was the mermaid real what did she represent.

In The Lighthouse , the mermaid’s existence is left ambiguous, which adds to the overall mysterious atmosphere of the film. Whether she is real or not, the mermaid serves as a symbol of desire, lust, and the unattainable. She is a manifestation of the two main characters’ repressed sexual desires and their longing for companionship.

The mermaid also represents the alluring and dangerous aspects of the sea, as well as the treacherous nature of the lighthouse’s remote location. The seductive power of the mermaid is evident in the way she lures Ephraim and Thomas, causing their eventual unraveling. The mermaid’s haunting presence throughout the film create a sense of dread and desire that plays a significant role in the psychological tension between the characters. The fact that the mermaid’s existence remains uncertain only adds to the film’s surreal and unsettling nature, leaving viewers to question the reliability of the characters’ perceptions and experiences.

The mermaid can also symbolize the forbidden knowledge that the lighthouse’s light seems to hold. As both men yearn to access the light, they are simultaneously drawn to the mermaid’s mysterious allure. By intertwining these elements of desire and danger, the mermaid becomes a powerful metaphor for the psychological battles that the characters face in the film.

What did the seagull represent?

The seagull in The Lighthouse represents the supernatural and the bad omens that come with it. According to Thomas’s beliefs, seagulls are reincarnations of dead sailors, and it is considered bad luck to kill one. The persistent and aggressive nature of the seagull that torments Ephraim throughout the film signifies the characters’ growing paranoia and inner turmoil.

Additionally, the seagull can be seen as a manifestation of the characters’ guilt, particularly Ephraim’s, as his past actions and decisions start to weigh heavily on him. The death of the seagull marks a turning point in the story, as it ushers in a series of unfortunate events that further drive the characters into madness.

The seagull’s presence can also be interpreted as a symbol of the characters’ inability to escape their past mistakes and sins, as the bird constantly hovers around them, reminding them of their guilt. The seagull’s symbolism extends beyond the mere representation of bad luck—it embodies the inevitability of fate and the psychological torment that comes with being trapped in an isolated, unforgiving environment. The constant presence of the seagull reinforces the film’s bleak and oppressive atmosphere, contributing to the overall sense of dread and unease that permeates the story.

What happened with Thomas’s previous assistant?

The fate of Thomas’s previous assistant remains unclear, as the information provided is unreliable and contradictory. Thomas mentions that his previous assistant went mad and died, blaming the supernatural forces surrounding the lighthouse. However, it is also implied that Thomas may have played a role in the assistant’s death, either directly or indirectly. This ambiguity adds to the overall suspense and mystery of the film, and raises questions about the reliability of the characters’ perceptions. As the story unfolds, it becomes increasingly apparent that both Thomas and Ephraim are unreliable narrators, and their accounts of the past become more and more convoluted. This lack of clarity serves to heighten the sense of tension and unease, as viewers are left to question the true nature of the events that transpired.

The uncertainty surrounding the previous assistant’s fate also serves to foreshadow the eventual downward spiral of Ephraim and Thomas’s relationship. It suggests that the lighthouse, and perhaps the mysterious power of the light itself, has a profound impact on the psychological well-being of its keepers, leading them to paranoia, delusion, and even violence. By leaving the details of the previous assistant’s death shrouded in mystery, the film creates an atmosphere of uncertainty that permeates the narrative and keeps viewers on edge.

How much of the movie is in Ephraim’s head?

A significant portion of The Lighthouse may exist only in Ephraim’s head, as his mental state deteriorates throughout the film. The isolation, labor, and harsh conditions contribute to his growing paranoia, hallucinations, and delusions. This blurring of reality and fantasy makes it difficult for viewers to discern what is truly happening, adding to the film’s unsettling and dreamlike atmosphere. As Ephraim’s mental health declines, the lines between his internal struggles and the external world become increasingly indistinct.

This ambiguity is further compounded by the presence of unreliable narrators, as both Ephraim and Thomas provide conflicting accounts of their pasts and their experiences on the island. By keeping the viewer unsure of what is real and what is imagined, the film effectively immerses them in the same disorienting and claustrophobic environment that the characters inhabit. The extent to which the events of the film take place in Ephraim’s mind is left open to interpretation, inviting viewers to explore the complexities of the human psyche and the effects of isolation on mental health.

Why did the light drive the men wild?

The light in The Lighthouse drives the men wild because it represents a source of power, knowledge, and truth that they both desperately crave. This obsession with the light is fueled by the belief that it holds some sort of divine or supernatural power that can grant them insight into the mysteries of the universe. As both men become increasingly fixated on the light, their sanity and moral compasses begin to unravel, leading them down a path of self-destruction.

The light’s ability to drive the men crazy can also be seen as a metaphor for human ambition and the pursuit of forbidden knowledge, as the characters’ relentless quest for the light ultimately results in their undoing. Additionally, the light serves as a symbol of the characters’ internal struggles, reflecting their darkest fears, desires, and insecurities. As they become more and more obsessed with the light, they are forced to confront their own demons, which ultimately leads to their descent into madness.

Now it’s your turn

Have more unanswered questions about The Lighthouse ? Are there themes or motifs we missed? Is there more to explain about the ending? Please post your questions and thoughts in the comments section! We’ll do our best to address every one of them. If we like what you have to say, you could become part of our movie guide!

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A Summary and Analysis of Woolf’s To the Lighthouse

By Dr Oliver Tearle (Loughborough University)

To the Lighthouse was Virginia Woolf’s fifth novel. By this stage of her career, she’d written a couple of more conventional novels, The Voyage Out (1915) and Night and Day (1919); she’d written the novel which is often cited as the turning point in her career as a modernist writer, Jacob’s Room (1922); and she’d written what is probably her most famous novel, Mrs Dalloway (1925), which features a couple of characters who’d featured in The Voyage Out (the action of Mrs Dalloway takes place over one day in June 1923, although there are numerous flashbacks to earlier in the characters’ lives, particularly to the youthful years of the title character).

However, to call  To the Lighthouse  (1927) a ‘novel’ at all is to go against Woolf’s own intentions, slightly: she believed that a new word (‘elegy’ was her own suggestion) more satisfactorily summed up what she is trying to do in this nov… sorry, in this  book , call it what you will.

Summary of  To the Lighthouse

The book is divided into three sections: ‘The Window’, ‘Time Passes’, and ‘The Lighthouse’.

The first section, ‘The Window’, follows  Mrs Dalloway in being set over the course of just one day during the Ramsays’ family holiday on the Isle of Skye. The son, James, wants to take a boat out to the lighthouse (hence the title), but his father, the distant Victorian patriarch Mr Ramsay, isn’t sure the weather will allow it – perhaps tomorrow (but probably not even then).

The second section, ‘Time Passes’, is at odds with the first section in reducing ten years of ‘action’ into a relatively short middle section. Several of the novel’s characters – including Mrs Ramsay herself – die, news of their deaths dropped casually into the narration parenthetically. The War lurks behind this section – that is, WWI.

The final section, ‘The Lighthouse’, sees James – now grown into a young man – finally making the trip to the lighthouse, ten years after he’d originally wanted to make the journey.

Themes of  To the Lighthouse

Perhaps Woolf altered the facts here to suggest the ironic relationship between her ‘three-volume’ novel and the triple-deckers that had dominated the Victorian era, of which  Middlemarch (despite its actual four-volume structure) symbolically embodies. (Sutherland also suggests that the closing words of  Middlemarch are being alluded to here: Eliot’s  magnum opus ends by extolling the value of those who live hidden lives – implicitly, the women who faithfully serve their menfolk.)

Divided into three sections (‘The Window’, ‘Time Passes’, and ‘The Lighthouse’), the novel may, then, be attempting to put us in mind of the triple-decker novels of the Victorian era (which had rapidly died out in the 1890s during Woolf’s childhood). But if we expect a linear, teleological narrative with a clear goal and conclusion, our expectations are to be dashed, because To the Lighthouse is all about delay, repetition, and inaction.

Note that the title, To the Lighthouse , could suggest a journey steadily progressing towards an end goal (compare Woolf’s earlier use of the journey motif in The Voyage Out ), but what the novel actually gives us is a narrative in which that journey ‘to the lighthouse’ is delayed until the end of the novel (and that final section, pointedly titled ‘The Lighthouse’; the preposition has been dropped, but has the trip to the lighthouse really been achieved? It is, after all, years later and the children have grown up).

Thus the novel ostensibly remains a novel with a linear narrative (as its title and three-part structure imply), while at the same time it seems to be straining against the limits or expectations of such a narrative. Note how the novel ends with the lighthouse being reached, and Lily Briscoe finishing her painting (which may be read as a self-reflexive touch on Woolf’s part, since Woolf the literary ‘artist’ is at this moment finishing her portrait of Mrs Ramsay, namely the novel).

Yet the action of painting the picture, the experience of artistic creation and the memories and thoughts it entails, have been the important thing for Lily Briscoe: she doesn’t care what happens to her picture once she’s finished it. Unlike Mr Ramsay, she couldn’t be less concerned with questions of legacy or posterity.

Analysis of  To the Lighthouse

Immediately we can see that subjective experience and perspective are key elements of Woolf’s novel. Mr Ramsay sees the world very differently from his wife. However, the two are not so different as they may first appear.

For instance, Mr Ramsay seems to embody the male, patriarchal, linear, and teleological view of the world which nineteenth-century novels had often adopted (where we find out who the murderer was, the man and woman get together, and all loose ends are satisfactorily tied up by the final page): he sees ‘thought’ as something to be understood in a linear fashion, like working through the alphabet from A to Z (there is an autobiographical suggestion here, too, since Woolf’s father, Leslie Stephen, who was the model for Mr Ramsay, was the first editor of the Dictionary of National Biography , now the  ODNB ).

He also spends part of the early section of the novel reciting Tennyson’s ‘The Charge of the Light Brigade’ , which is revealing because this is a Victorian poem by the pre-eminent Victorian poet ( Tennyson was Poet Laureate for 42 years ) but also because it is a poem about the action of charging, moving forward, attacking, progressing.

However, it is also ironic, because the ‘charge’ memorialised in Tennyson’s poem was a futile and self-destructive military action which resulted in the deaths of hundreds of men: the light brigade charged to their deaths.

But the linear, progressive, masculine quality of Mr Ramsay’s reference to this poem is also undermined by the fact that he is constantly repeating the same phrase (tellingly, ‘Someone had blundered’), and is thus caught in a cyclical world of repetition and return which is at odds with the linearity he ostensibly embodies.

Mr Ramsay’s best work also appears to be behind him, and he seems doomed to repeat the same ideas in his later work. He is caught in an ideology of teleological development but cannot develop to any precise ‘end’.

Similarly, Mrs Ramsay’s narrative may embody more ‘feminine’ qualities, with its emphasis on cycles, return, nurturing, and selflessness, but these same qualities also point up her complicity in the Victorian patriarchy embraced by her husband: she is a traditionalist who believes women should be married, wives should serve their husbands, and unmarried men and women should not stay out too late together. In other words, those looking for a clear distinction where Mr Ramsay = linearity and progress and Mrs Ramsay = cycles and returning are sure to be disappointed.

If you enjoyed this analysis of Woolf’s novel, check out our short analysis of her earlier novel,  Jacob’s Room and our introduction to her last novel, Between the Acts .

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To the Lighthouse Thesis Statements and Essay Topics

Below you will find four outstanding thesis statements / paper topics for “To the Lighthouse” by Virginia Woolf that can be used as essay starters. All four incorporate at least one of the themes found in “To the Lighthouse” and are broad enough so that it will be easy to find textual support, yet narrow enough to provide a focused clear thesis statement. These thesis statements offer a short summary of “­­­­­­­To the Lighthouse” in terms of different elements that could be important in an essay. You are, of course, free to add your own analysis and understanding of the plot or themes to them. Using the essay topics below in conjunction with the list of  important quotes from “To the Lighthouse”  on our quotes page, you should have no trouble connecting with the text and writing an excellent essay.

Topic #1: Lily Briscoe

Lily Briscoe is essentially adopted into the Ramsay family during their time on the Isle of Skye. She begins painting a picture of James and Mrs. Ramsay but has trouble completing it while Mrs. Ramsay is still alive. She later finishes it from memory. She is against many of the more traditional views on the role of women. She bristles at Charles Tansley’s opinions about women, while feeling undermined by them at the same time. Examine her character and the role that she plays in the plot. How do her opinions affect her relationships?

Topic #2: The Significance of the Lighthouse

Throughout the novel, there are plans to visit the lighthouse. Yet no one manages to actually make the trip until the third part of the book. How is the idea of the lighthouse significant? In finally making the trip to visit the lighthouse, what have Mr. Ramsay, James, and Cam accomplished? James and Mr. Ramsay have always had a rocky relationship. At this point in the novel, there seems to be a small reconciliation. How does going to the lighthouse bring this about? Is it because Mr. Ramsay was the naysayer in James’s trip to the lighthouse ten years before?

Topic #3: The Matriarchal Death

Mrs. Ramsay’s character is central to the rest of the characters in the book. She is mother to the eight Ramsay children. She is the loving wife and devoted supporter to Mr. Ramsay. She plays hostess to the various guests that are in and out of the Ramsay household during their summer trip. She enjoys being a matchmaker among their acquaintances. When she passes away, many of the other characters are strongly affected. For one thing, no one really visits their Isle of Skye home for ten years. What other changes occur after Mrs. Ramsay dies?

Topic #4: Autobiographical Occurrences

There are many similarities between the life of Virginia Woolf and the characters and events in  To the Lighthouse . Her family’s summer home was similar to that of the Ramsays’. Her parents shared many traits with Mr. and Mrs. Ramsay. Lily Briscoe, like Woolf’s sister, was a painter. Even the scene in which James does not get to visit the lighthouse mirrors a real life occurrence for Woolf’s brother. Examine these similarities. What events and people in Woolf’s life coincide with events and characters in the book? How much influence does Woolf’s real life seem to have on her novel?

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To the Lighthouse

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Ask LitCharts AI: The answer to your questions

To the Lighthouse explores time at every scale, tracking the intricate thoughts and impressions within a single lived second while also meditating on the infinity of geologic time stretching back into the past and forward into the future beyond the span of human knowledge. Between these two extremes, the novel presents the different measures of time out of which individual experience is composed. Part 1, The Window, and Part 3, The Lighthouse, occur almost in…

The Meaning of Life

Characters throughout To the Lighthouse question life’s ultimate meaning and supply different answers based on their own perspectives and on the circumstances that surround their questioning. Mrs. Ramsay understands the meaning of life to be family and domestic happiness, while Mr. Bankes and Mr. Tansley understand it to be work and professional success. Mr. Ramsay vacillates between these answers, finding ultimate meaning sometimes in family, sometimes in philosophy. Lily thinks life’s greatest meaning lies in…

The Nature of Interior Life

Written as a stream of consciousness, To the Lighthouse constantly investigates the contours and patterns of human thought through its form and style. While writing within the perspective of a single character, Woolf’s sentences leap back and forth between various impressions, memories, and emotions, formally illustrating the associative nature of an individual mind. Lofty thoughts stand on par with everyday ones. Mrs. Ramsay ’s mind alone leaps between thoughts on the nature of compassion, the…

Art and Beauty

As it examines the nature of interior life, so To the Lighthouse examines the nature of art and beauty, giving credence to commonly accepted understandings even as it puts forth alternative definitions. Weaving in pieces of a Sir Walter Scott novel and the lines from a Shakespeare sonnet, To the Lighthouse showcases the beauty of canonical art masterpieces, and in the person of Mrs. Ramsay , the novel presents a traditional ideal of human beauty…

Though the novel’s stream of consciousness jumps from perspective to perspective, the theme of gender remains in focus as each character considers gender roles and relations from his or her own standpoint. Mrs. Ramsey delights in her womanhood, successfully fulfilling the traditional female roles of caregiver, homemaker, beauty, comforter of men. Lily , on the other hand, resents those same traditional roles, resisting the pressure to fill them and then, when she succeeds in such…

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Celebrating World Lighthouse Day on Andros Island, Greece

Today, on World Lighthouse Day, we celebrate the Tourlitis Lighthouse of Andros, a beacon of Greece’s rich maritime history. This unique lighthouse, perched on a rock in the sea, symbolizes the enduring legacy of the island’s shipping past, reminding us of the vital role lighthouses continue to play in maritime safety and cultural heritage.

On the Aegean island of Andros, Greece, a lighthouse emerging from the water like a strange sea creature is one of the most famous spots on the island.

The Tourlitis lighthouse, which is located at the northernmost extreme of the Cyclades archipelago, has been illuminating the route of seamanship for more than 120 years.

The picturesque and impressive structure is amongst the few in Europe built on a rock in the sea. It was constructed in 1887 and first operated on January 1, 1897. It has a height of seven meters and a focal height of 36 meters with a luminescence of eleven nautical miles.

It was built on a stone column opposite the Venetian Castle of Andros  at a time when the island had already become a major center of Greek shipping.

Following the War of Independence , several refugees from the island of Psara arrived there, and their experience in shipping and trade from Central and Eastern Europe made them wealthy and famous worldwide.

Andros Island, the early shipping center of Greece

Andros emerged as a shipping center following the decline of other traditional shipping centers such as Galaxidi and the island of Hydra.

Andrian merchants were particularly active in the grain trade from central and eastern Europe conducted from the Danube estuary.

Initially locally constructed, Andrian ships were later built on Syros, especially as shipping began the transit to steam.

In the twentieth century, Andros, despite the setbacks of the First and Second World War, was at the top of commercial shipping and economic prosperity. In the early twentieth century, Andriot ship owner Dimitris Moraitis launched the Greece – North America sea route. In 1939, Andros was second in number of ship registrations after Piraeus.

The Second World War caused significant losses on the island both in lives and ships. In the late 1950s, a large emigration wave began both to the major urban centers of Athens and Piraeus, as well as abroad (mostly in the USA), reducing the island’s population dramatically.

Andros lighthouse was destroyed and rebuilt

The lighthouse was destroyed during World War II and was never restored in its original form until 1994, when it was rebuilt with funding from the Goulandris family , one of the most prominent families of the island.

It became the first automated lighthouse in Greece, so there was no further need for an onsite keeper to supervise its function.

Since it was renovated, it has been one of the area’s most significant tourist attractions. It also became the first Greek lighthouse to appear on a stamp.

The Global Significance of Lighthouses

As we observe World Lighthouse Day, it’s important to reflect on the global significance of these maritime sentinels. Lighthouses like Tourlitis not only guide ships safely but also serve as cultural landmarks. In recent years, there has been a renewed interest in preserving these structures, recognizing their historical importance and the stories they embody.

• Preservation Efforts: Around the world, efforts are underway to restore and maintain historic lighthouses, ensuring they remain a part of our maritime heritage.
• Tourism and Education: Lighthouses have become popular tourist attractions, educating visitors about their historical role in navigation and offering unique insights into coastal culture.
• Technological Advances: While modern technology has reduced reliance on lighthouses, they remain crucial for navigation in many parts of the world, especially in remote and treacherous waters.

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Trump and Allies Forge Plans to Increase Presidential Power in 2025

The former president and his backers aim to strengthen the power of the White House and limit the independence of federal agencies.

Donald J. Trump intends to bring independent regulatory agencies under direct presidential control. Credit... Doug Mills/The New York Times

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By Jonathan Swan Charlie Savage and Maggie Haberman

• Published July 17, 2023 Updated July 18, 2023

Donald J. Trump and his allies are planning a sweeping expansion of presidential power over the machinery of government if voters return him to the White House in 2025, reshaping the structure of the executive branch to concentrate far greater authority directly in his hands.

Their plans to centralize more power in the Oval Office stretch far beyond the former president’s recent remarks that he would order a criminal investigation into his political rival, President Biden, signaling his intent to end the post-Watergate norm of Justice Department independence from White House political control.

Mr. Trump and his associates have a broader goal: to alter the balance of power by increasing the president’s authority over every part of the federal government that now operates, by either law or tradition, with any measure of independence from political interference by the White House, according to a review of his campaign policy proposals and interviews with people close to him.

Mr. Trump intends to bring independent agencies — like the Federal Communications Commission, which makes and enforces rules for television and internet companies, and the Federal Trade Commission, which enforces various antitrust and other consumer protection rules against businesses — under direct presidential control.

He wants to revive the practice of “impounding” funds, refusing to spend money Congress has appropriated for programs a president doesn’t like — a tactic that lawmakers banned under President Richard Nixon.

He intends to strip employment protections from tens of thousands of career civil servants, making it easier to replace them if they are deemed obstacles to his agenda. And he plans to scour the intelligence agencies, the State Department and the defense bureaucracies to remove officials he has vilified as “the sick political class that hates our country.”

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