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Miss Andy
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Miss Andy
Film poster
Chinese迷失安狄
Directed byTeddy Chin
Written byRyan Tu
Produced byRuby Lin
Melvin ANG
Chen Chi Yuan
Angelin ONG
StarringLee Lee-zen
Ruby Lin
Jack Tan
Keshap Suria
Kendra Sow
Edited byLiao Ching Sung
Music byMac Chew
Production
companies
More Entertainment Sdn. Bhd.
FengCai Cultural and Creative Limited
Release date
  • March 11, 2020 (2020-03-11) (Osaka)[1]
Running time
108 minutes
CountriesTaiwan
Malaysia
LanguagesMandarin
Cantonese
Malay
Vietnamese

Miss Andy (Chinese: 迷失安狄; pinyin: Míshī Āndí) is a 2020 Taiwanese and Malaysian gender-themed film directed by Teddy Chin, and stars Lee Lee-zen, Ruby Lin, and Jack Tan.[2] It is about a chance meeting between an illegal Vietnamese worker and a transgender woman in Malaysia.[3] The film is Ruby Lin's first foray into film production.

The film premiered at the 15th Osaka Asian Film Festival on March 11, 2020.[1][4] It was released in Taiwan on January 8, 2021.

Synopsis

[edit]

Meet Evon, formerly known as Andy. She is a transgender woman aged 55 years. Making the transition late in life after losing a wife, her job and family, she also becomes subject to prejudice in a society where transgender and gay people face job discrimination and run the risk of being murdered. When she loses her best friend, things look bleak, but a chance meeting with a mother and a son with nowhere to go and nobody to care for them after they escape an abusive relationship changes her life in this melancholy yet hopeful film that shows how tending to the humanity in others and showing kindness are important for making life bearable.[5]

Cast

[edit]
[edit]
  • 沒顏色的花 (Mei Yan Se De Hua - Colorless Flower) sung by Lala Hsu

Release

[edit]
  • 15th Osaka Asian Film Festival (OAFF) - March 11, 2020
  • 19th New York Asian Film Festival (NYAFF) - August 29, 2020
  • Fünf Seen Filmfestival - August 31, 2020
  • Taiwan International Queer Film Festival (TIQFF) - October 11, 2020
  • The Kaohsiung Film Festival (KFF) - October 31, 2020
  • Hong Kong Lesbian and Gay Film Festival (HKLGFF) - November 27, 2020

Accolades

[edit]
Year Award Category Recipients Result Ref.
2018 9th Golden Horse Film Project Promotion MME Creative Award Miss Andy Won [6]
  • FPP is film project matching platform included meetings and workshop, NOT screening.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Miss Andy

View on Grokipedia
from Grokipedia
(Chinese: 迷失安狄; : Míshī Āndí) is a 2020 Taiwanese-Malaysian directed by Teddy Chin. The story follows Andy, a 55-year-old biological male who, after years of internal struggle, undergoes a partial physical transition and begins living as a named Evon, only to face rejection from family, loss of employment, and . The film depicts Evon's subsequent decision to shelter a Vietnamese migrant mother and her young son, which exacerbates her hardships amid economic pressures and legal vulnerabilities in . Starring as Evon, alongside and Jack Tan, the movie premiered at film festivals including the and Queer East, receiving a 6.3/10 rating on based on limited reviews. It highlights the causal consequences of late-life transition decisions, including familial estrangement and material deprivation, within the context of Malaysia's conservative societal norms.

Plot

Synopsis

Miss Andy centers on Evon, formerly known as Andy, a 55-year-old in who, after enduring prolonged internal conflict and the death of her wife, undergoes to affirm her identity as a . This late-life transformation follows years of suppression, during which Evon operated a barbershop alongside her wife, but results in the loss of her livelihood and familial ties. The story's core conflict arises when Evon extends shelter to a Vietnamese migrant mother and her son, undocumented individuals fleeing hardship, in a gesture of amid her own vulnerability. This act draws Evon into a cascade of adversities, including economic strain, social , and encounters with Malaysia's restrictive laws prohibiting persons from presenting as women. Throughout, the film explores Evon's relational dynamics with the migrants, forming a makeshift unit strained by external pressures and internal quests for belonging, while highlighting her grounded perseverance in everyday battles for self-expression against pervasive cultural rejection.

Cast and characters

Principal roles

stars as Evon (formerly Andy), the film's central figure, a 55-year-old woman whose portrayal anchors the narrative's exploration of and hardship in a Malaysian setting. Her performance has been noted for its depth and authenticity, conveying resilience amid societal challenges. plays Sophia, a character connected to Evon's earlier life, providing emotional support and contrast to the protagonist's isolation. Lin's role contributes to the interpersonal dynamics central to the story's relational themes. Jack Tan portrays Teck, a figure influencing key decisions in Evon's journey, emphasizing relational tensions in the Malaysian-Taiwanese cultural backdrop. His performance highlights the film's focus on human connections amid adversity. Kyzer Tou appears as Kang, adding to the ensemble's depiction of community and conflict, with roles underscoring authentic representations of diverse experiences. These principal performances collectively drive the emotional intensity of the characters' interactions.

Production

Development and financing

The development of Miss Andy began prior to 2018, when director Teddy 's project was selected for the Golden Horse Film Project Promotion, an initiative supporting emerging cinema. , transitioning from to directing, centered the script on the experiences of a middle-aged woman navigating late-life transition amid familial and societal pressures in , drawing from observed realities without idealizing the process. The film emerged as a co-production between and Taiwanese teams, enabling resource sharing across borders for a narrative addressing in a conservative context. Malaysian producer Lay Jin Ong, founder of a production outfit focused on social-issue films, spearheaded financing and championed LGBTQ+ themes in regional output, building on prior works like Shuttle Life (2017). Funding faced hurdles in Malaysia's restrictive environment, where portrayals risk under Islamic guidelines and cultural norms, prompting reliance on Taiwanese co-financiers and private backers to mitigate domestic investor reluctance. This approach allowed completion around 2019-2020, prioritizing empirical depiction of transition's causal hardships—such as employment loss and —over narrative softening.

Filming and technical aspects

Principal photography for Miss Andy occurred primarily in , utilizing urban and everyday settings in and surrounding areas to ground the narrative in authentic local environments reflective of the characters' marginal existence. Director Teddy Chin adopted a restrained stylistic approach, prioritizing subtle performances through a predominance of mid- and shots that foregrounded actors' facial expressions and emotional nuances over broader dramatic compositions. This understated technique, described as quiet and performance-driven, avoided overt flair in favor of intimacy achieved via selective framing. Cinematographer Feng Hsin-Hua handled the visuals, delivering a handsomely lensed look that complemented Chin's direction with clean, focused imagery suited to the 's modest production scale. The technical execution emphasized realism through these choices, aligning with the Malaysian-Taiwanese co-production's intent to evoke everyday cultural textures without elaborate setups.

Soundtrack

The original score for Miss Andy was composed by Mac Chew, a Malaysian composer known for his work on films including Supercop (1992). Chew also served as music director, contributing to the film's understated auditory landscape that prioritizes narrative realism over prominent musical interludes. A key featured element is the theme song "No Color Flower" (沒顏色的花), performed by Taiwanese singer Lala Hsu (徐佳瑩). Composed by Mac Chew with lyrics by Ge Dawei and arranged in collaboration with Hsu, the track underscores the protagonist's emotional journey and was released as an official music video in December 2020. The song's melancholic tone, featuring Hsu's vocals over minimalistic instrumentation, aligns with the film's exploration of personal transformation and societal isolation. No additional licensed or diegetic songs are prominently documented in production credits, suggesting a restrained approach to music that relies primarily on Chew's score for atmospheric support during key transitional scenes.

Themes and analysis

Portrayal of late-life

In Miss Andy, the Evon, formerly Andy, transitions to living as a at age 55, shortly after her , leading to immediate and estrangement from her son and broader in Malaysian society. The narrative frames this late-life shift as an authentic expression of long-suppressed identity, deferred for decades to fulfill roles as a husband and father, with transition portrayed as essential for personal fulfillment despite ensuing hardships. Evon's experiences underscore rapid material and relational costs, including and isolation, while suggesting resilience through new makeshift with sheltered migrants. Empirical research on late-adult transitions, however, reveals frequent associations with precipitating life stressors like bereavement or identity crises, rather than a linear resolution of enduring incongruence, with biological realities of —such as immutable reproductive anatomy and hormonal baselines—persisting unaltered by social or medical interventions. Qualitative studies of older individuals indicate that transitions often coincide with mid-to-late-life disruptions, potentially amplifying rather than mitigating underlying psychological drivers like unresolved , as evidenced by elevated baseline rates of depression and trauma in this demographic prior to any change. Documented outcomes contrast the film's optimistic undertones by showing persistently poorer physical and metrics among older post-transition adults, including higher , stress, and burdens compared to peers, with surgical interventions carrying amplified risks like complications from age-related frailties. While short-term rates after gender-affirming procedures are reported as low (0.3%–1% in clinic-followed cohorts), long-term data for late-onset cases remain sparse and methodologically limited by high loss-to-follow-up, underreporting due to , and selection biases in affirming-care studies, which may inflate persistence by excluding ers. Critics of predominant research paradigms, noting institutional tendencies toward confirmatory findings, highlight potential overestimation of efficacy, with some surveys indicating rates up to 8%–13% overall and higher unresolved dissatisfaction in adults navigating comorbidities like or cardiovascular decline post-hormonization. These patterns suggest caution regarding causal assumptions of transition as curative for older individuals, where empirical contrasts reveal sustained elevations in risk and quality-of-life deficits relative to non-transitioning controls.

Social discrimination and cultural context in Malaysia

, as a Muslim-majority nation where is the official religion and constitutionally tied to Malay ethnic identity, enforces conservative norms rooted in Islamic and customary practices. courts in all 13 states have enacted laws since the 1980s criminalizing and gender nonconformity among , often under offenses like indecent behavior or imitating the opposite sex, with penalties including fines, imprisonment, and mandatory rehabilitation. These provisions apply primarily to the Malay-Muslim population, comprising about 60% of Malaysians, creating a dual legal system where federal civil law coexists with state-level Islamic edicts that prioritize binary roles derived from interpretations of (Islamic law). Transgender individuals, particularly mak nyah (a Malay term for male-to-female transgender persons), face systemic barriers amplified by this cultural framework, including familial rejection, employment exclusion, and physical violence. Empirical surveys indicate high discrimination prevalence: a 2020 Williams Institute study found that while 54% of Malaysians support legal protections against transgender discrimination, real-world enforcement lags, with transgender Muslims reporting routine harassment by religious authorities and police raids on gatherings. In Southeast Asia, broader data from Human Rights Watch documents correlate religious conservatism with elevated risks, such as 70-80% of transgender respondents in regional studies experiencing verbal abuse or job loss due to gender expression, though Malaysia-specific metrics highlight Sharia-driven interventions like forced conversions as unique intensifiers. Housing discrimination is prevalent, with landlords citing moral objections, and healthcare access limited by providers' reluctance under fatwas viewing transition as haram (forbidden). The film Miss Andy illustrates these constraints through its depiction of late-life transition amid familial and societal ostracism, reflecting authentic pressures in urban where ethnic enclaves reinforce conformity. Yet, such portrayals risk overemphasizing perpetual victimhood; counter-evidence from ethnographic accounts shows adaptive resilience among communities, including informal networks for economic survival, though these are undermined by legal rather than inherent biological . Visibility via cinema has marginally advanced awareness—public discourse post-release noted increased empathy in non-Muslim segments—but Sharia dominance sustains causal barriers, with convictions like the 2015 jailing of nine transgender women underscoring enforcement's over progressive shifts. Balanced assessment requires noting source biases: advocacy reports from groups like , while data-rich, often frame issues through a universalist lens that downplays Islam-specific theological rationales for binary norms, potentially inflating reformist narratives against entrenched cultural realism.

Interpersonal relationships and resilience

In Miss Andy, Evon's primary interpersonal bonds form with Sophia, an undocumented Vietnamese migrant, and her young son, whom Evon shelters after encountering them amid Sophia's flight from an abusive partner. This relationship exemplifies cross-cultural dependencies, where Evon provides provisional housing and emotional support in exchange for companionship, reflecting mutual aid among marginalized groups facing economic precarity and legal vulnerability in Malaysia. These ties humanize Evon's isolation, portraying a fragile chosen family sustained by pragmatic reciprocity rather than unconditional affirmation. The film depicts resilience as emerging from such adaptive coping mechanisms, with Evon navigating daily adversities through these alliances, including shared labor and protection against external threats like or . However, these bonds remain tested by desperation, underscoring causal strains from Evon's late-life transition, which precipitates estrangement from her biological and prior social networks. Empirical patterns in transgender experiences reveal higher rates of relational breakdown post-transition, with family rejection affecting 40-60% of individuals and correlating with elevated risks of isolation, substance misuse, and suicidality. While the narrative highlights prosocial connections as a buffer against marginalization, it risks idealizing them by downplaying documented tendencies toward interpersonal fragmentation; longitudinal indicate that transitions often exacerbate , with rejection serving as a primary mediator of poorer outcomes absent proactive efforts. This portrayal aligns with causal realism in emphasizing practical over ideological narratives, yet contrasts with broader of persistent in such dynamics.

Release

Domestic challenges and censorship

The film encountered substantial regulatory obstacles in owing to its depiction of experiences, which clashed with guidelines upheld by the Film Board (Lembaga Penapisan Filem, LPF) emphasizing moral propriety and alignment with Islamic values predominant in the country. Producers, anticipating outright rejection or mandatory excisions of LGBTQ-related content under LPF protocols reinforced since 2018, forwent submission for domestic classification, rendering the film unavailable for theatrical release within . This preemptive avoidance stemmed from precedents where similar themes prompted bans to safeguard public order and religious sensitivities in a society where such portrayals are legally and culturally proscribed. Official rationales for these restrictions, as articulated through government policies under administrations like , prioritize averting disruptions to social harmony and reinforcing prohibitions on LGBTQ activities, which remain criminalized under Malaysian law. The LPF's mandate requires films to exclude elements deemed contrary to national ethics, often resulting in non-approval for content challenging conservative norms in the Muslim-majority nation. Producer Jin Ong, from , responded by redirecting efforts toward overseas premieres, debuting the film in on January 8, 2021, a more permissive of such narratives. This strategic pivot highlighted inherent production vulnerabilities in environments where regulatory alignment with prevailing religious doctrines curtails artistic expression on marginalized identities.

International distribution and availability

Miss Andy had its international premiere at the on August 29, 2020, where it was screened virtually amid the , marking an early exposure to North American audiences focused on Asian cinema. The film subsequently received its premiere at the Queer East Film Festival on September 25, 2021, at Genesis Cinema in , highlighting its appeal within queer cinema circuits in . Additional festival screenings included the Osaka Asian Film Festival in 2020, further establishing its presence in international film circuits outside . In , the film achieved a theatrical release on January 8, 2021, providing a significant market breakthrough for the Malaysian- co-production amid domestic restrictions in ; this rollout was noted for reaching local audiences interested in LGBTQ+ narratives. While specific figures remain limited, the release underscored niche commercial viability in more progressive Asian markets tolerant of such themes. Streaming availability expanded the film's global reach, with Miss Andy becoming accessible on in select regions, including , thereby bypassing theatrical barriers and targeting international viewers via on-demand platforms. This distribution model catered to its specialized audience in areas supportive of stories, though availability varies by country due to content policies.

Reception

Critical assessments

Critics have praised the performance of as the titular character, describing it as sublime and central to the film's emotional authenticity in portraying a woman's struggles in . Director Teddy Chin's handling of themes related to has been commended for its , contributing to discussions on stigma through realistic depictions of societal barriers faced by individuals and marginalized migrants. The film's aggregated user rating on stands at 6.3 out of 10, reflecting a mixed but generally appreciative response to its grounded exploration of identity and exclusion. However, some reviews have critiqued the narrative for occasional overreliance on melodramatic elements and sappy sequences, which can undermine the otherwise restrained portrayal of real-world hardships by prioritizing emotional appeals over empirical detail. Questionable plot devices have also drawn , potentially straining the film's credibility in representing causal chains of and resilience without resorting to contrived resolutions. These observations highlight a tension between the film's artistic ambitions and its effectiveness in delivering unvarnished causal realism, favoring sources that value substantive evidence of over sentimental framing.

Awards and nominations

Miss Andy's development project was awarded the MM2 Creative Award at the 9th Golden Horse Film Project Promotion on November 15, 2018, recognizing its creative potential prior to production. The award, presented by the Golden Horse Film Festival organizers, highlighted the film's script and team, including director Teddy Chin and producers and Jin Ong. No major nominations or wins followed the film's 2020 release at principal Asian cinema awards ceremonies, such as the Golden Horse Awards for completed features.

Audience and cultural impact

In , Miss Andy garnered significant audience interest following its theatrical release on January 8, 2021, marking a stark contrast to its absence from Malaysian cinemas due to domestic distribution barriers. The film resonated with Taiwanese viewers through festival screenings and commercial runs, appealing particularly to audiences familiar with cross-strait cultural ties and themes of migration between and Taiwan. Producer Jin Ong noted the positive reception, attributing it to the film's exploration of experiences in a relatable regional context, which drew crowds despite its niche subject matter. Among Malaysian diaspora communities, particularly in and through international festivals like the , the film fostered discussions on familial rejection and resilience faced by mak nyah ( women) in conservative societies. This overseas visibility highlighted underrepresented narratives from , contributing to broader awareness in expatriate circles where direct domestic access was limited. The film's role in Sinophone cinema elevated visibility by centering a late-transitioning Malaysian , one of the earliest such depictions in Malaysian-produced works, prompting academic examinations of local cultural stigmas over universalized tropes. Viewer engagement, reflected in an user rating of 6.3/10 from over 100 assessments, indicated empathy for the character's interpersonal struggles alongside critiques of its portrayal of transition outcomes, with some audiences appreciating the realism of while others questioned the emphasis on acceptance amid evident hardships.

Criticisms and alternative viewpoints

In , the film faced de facto censorship, with authorities withholding domestic release due to its depiction of transgender experiences, viewed as promoting lifestyles incompatible with the country's predominant Islamic moral framework, where LGBTQ identities are not officially recognized. Home Minister stated in March 2024 that films featuring lesbian, gay, bisexual, , or content would not be permitted, as they contradict national values. This stance reflects broader conservative critiques labeling such narratives as endorsing deviance, prioritizing religious and cultural norms over individual gender expressions. Academic analyses of trans representation in cinema have faulted Miss Andy for portraying its as an isolated, atomistic figure severed from broader trans communities, emphasizing solitary struggles after the of her trans confidante while relating primarily to individuals thereafter. This approach, per a 2025 study, neglects emerging trans networks in societies and limits depictions to middle-class perspectives, constraining diverse trans subjectivities. The film's biomedical emphasis—equating transition primarily with —further oversimplifies multifaceted trans lived realities, potentially reinforcing narrow, individualistic narratives over collective or decolonial dimensions. Alternative viewpoints challenge the film's premises by highlighting empirical data on gender dysphoria's causality and outcomes, arguing it causal oversimplifies dysphoria as an innate condition resolvable via transition while downplaying treatable psychological roots or comorbidities. Conservative perspectives emphasize biological , asserting immutable sex binaries and critiquing transition-focused stories for ignoring that suicide rates remain markedly elevated post-treatment—e.g., 75 per 100,000 patient-years among Danish transgender individuals versus general baselines—indicating persistent risks despite affirmation. Longitudinal studies, such as those reviewing European cohorts, affirm no substantial reduction in suicidality following gender-affirming interventions, suggesting underlying factors like disorders require holistic addressing beyond physical or social changes. Left-leaning endorsements of the film for visibility contrast with these right-leaning contentions that such portrayals may inadvertently promote interventions lacking robust causal efficacy.

References

  1. https://www.imdb.com/title/tt13005662/
  2. https://asianmoviepulse.com/2020/09/film-review-miss-andy-2020-by-teddy-chin/
  3. https://www.nyaff.org/nyaff20/films/miss-andy
  4. https://queereast.org.uk/programme/miss-andy/
  5. https://www.netflix.com/tw-en/title/81590739
  6. https://lgbtqia-characters.fandom.com/wiki/Evon_%28Miss_Andy%29
  7. https://www.freemalaysiatoday.com/category/leisure/entertainment/2021/05/08/malaysian-lgbtq-film-released-in-taiwan
  8. https://mubi.com/en/us/films/miss-andy
  9. https://genkinahito.wordpress.com/2020/03/18/miss-andy-%25E8%25BF%25B7%25E5%25A4%25B1%25E5%25AE%2589%25E7%258B%2584-dir-teddy-chin-malaysia-taiwan-2019-osaka-asian-film-festival-2020/
  10. https://www.taipeitimes.com/News/feat/archives/2021/01/14/2003750535
  11. https://mydramalist.com/696989-miss-andy
  12. https://www.goldenhorse.org.tw/news/detail/1020?r=en
  13. https://asia.nikkei.com/life-arts/arts/overseas-release-brings-malaysian-lgbtq-film-to-the-screen
  14. https://www.lifestyleasia.com/kl/entertainment/movies/from-miss-andy-to-abang-adik-watch-these-films-by-lay-jin-ong/
  15. https://www.imdb.com/name/nm5998631/
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  17. https://www.imdb.com/name/nm0156809/
  18. https://www.imdb.com/title/tt13005662/fullcredits/
  19. https://www.youtube.com/watch?v=wNf6LIZCabA
  20. https://pmc.ncbi.nlm.nih.gov/articles/PMC4542896/
  21. https://sigmapubs.onlinelibrary.wiley.com/doi/full/10.1111/jnu.12810
  22. https://www.tandfonline.com/doi/full/10.1080/01634372.2024.2339987
  23. https://jamanetwork.com/journals/jamasurgery/fullarticle/2808129
  24. https://pmc.ncbi.nlm.nih.gov/articles/PMC8099405/
  25. https://segm.org/regret-detransition-rate-unknown
  26. https://apnews.com/article/transgender-treatment-regret-detransition-371e927ec6e7a24cd9c77b5371c6ba2b
  27. https://www.thepublicdiscourse.com/2020/02/60143/
  28. https://www.hrw.org/news/2014/11/07/malaysia-court-victory-transgender-rights
  29. https://www.hrw.org/report/2022/08/10/i-dont-want-change-myself/anti-lgbt-conversion-practices-discrimination-and
  30. https://williamsinstitute.law.ucla.edu/publications/opinion-trans-rights-malaysia/
  31. https://www.arcusfoundation.org/wp-content/uploads/2015/08/Im-Scared-to-Be-a-Woman-Human-Rights-Abuses-Against-Transgender-People-in-Malaysia.pdf
  32. https://globalfreedomofexpression.columbia.edu/cases/the-case-of-nine-transgender-women-malaysia/
  33. https://windowsonworlds.com/2020/10/24/miss-andy-%25E8%25BF%25B7%25E5%25A4%25B1%25E5%25AE%2589%25E7%258B%2584-teddy-chin-2020/
  34. https://pmc.ncbi.nlm.nih.gov/articles/PMC5127283/
  35. https://pubmed.ncbi.nlm.nih.gov/27046450/
  36. https://www.tandfonline.com/doi/full/10.1080/27703371.2023.2192177
  37. https://queereast.org.uk/wp-content/uploads/QEFF2021_programme_digital_v1.pdf
  38. https://www.oaff.jp/2020/en/program/t04.html
  39. https://www.thevibes.com/articles/culture/26786/malaysian-lgbtq-film-finds-release-in-taiwan
  40. https://www.goldenhorse.org.tw/fpp/archives/?r=en&search_regist_year=2018
  41. https://www.8days.sg/entertainment/asian/ruby-lin-stay-malaysia-month-new-film-334186
  42. https://www.thehive.asia/2021/05/malaysias-transgender-themed-film-miss-andy-a-hit-in-taiwan.html
  43. https://filmcombatsyndicate.com/the-official-line-up-for-the-19th-new-york-asian-film-festival-is-here/
  44. https://www.tandfonline.com/doi/full/10.1080/15405702.2025.2485483?src=
  45. https://says.com/my/news/home-minister-lgbtq-films-will-not-be-shown-in-malaysia
  46. https://www.researchgate.net/publication/390310057_Representing_trans_in_Sinophone_films_uncovering_local_critical_evaluations_storytelling_performative_marriages_promoting_trans_decoloniality_and_illustrating_transgendered_cis-casting
  47. https://segm.org/transgender_suicide_mortailty_Denmark
  48. https://journals.law.harvard.edu/jlpp/suicide-suicidality-and-pediatric-medical-transition-in-united-states-v-skrmetti-and-beyond/
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