{"id":106523,"date":"2020-11-06T20:00:00","date_gmt":"2020-11-06T17:00:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/watch-mank-with-film-summary-and-movie-review\/"},"modified":"2020-11-06T20:00:00","modified_gmt":"2020-11-06T17:00:00","slug":"watch-mank-with-film-summary-and-movie-review","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/watch-mank-with-film-summary-and-movie-review\/","title":{"rendered":"Watch Mank with film summary and movie review"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a25709fa9cdd\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a25709fa9cdd\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-mank-with-film-summary-and-movie-review\/#%E2%80%9CWatch_Mank_Online%E2%80%9D\" >&#8220;Watch Mank Online&#8221;<\/a><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-mank-with-film-summary-and-movie-review\/#Glenn_Kenny\" >Glenn Kenny<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-mank-with-film-summary-and-movie-review\/#Mank_2020\" >Mank (2020)<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"%E2%80%9CWatch_Mank_Online%E2%80%9D\"><\/span>&#8220;Watch Mank Online&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<div>\n<div>\n<div>\n<div>\n<figure><img decoding=\"async\" src=\"https:\/\/static.rogerebert.com\/uploads\/review\/primary_image\/reviews\/mank-movie-review-2020\/Mank_FirstLook_01.jpg\"><\/img><\/figure>\n<\/div><\/div>\n<\/p><\/div>\n<div>\n<section>\n<section>The virtuosic American director David Fincher gets credited with quite a bit, but one quality he\u2019s not credited enough for is playfulness. That\u2019s understandable in a sense, given the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">theme<\/a>s and subjects of his <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">movies<\/a>. Serial killers, obsessive entrepreneurs, master manipulators of reality itself: these and their metaphysics are weighty things.<br \/><\/br><\/p>\n<p> Yet, as to manipulation, so deeply and mordantly treated in Fincher\u2019s last feature film, 2014\u2019s \u201cGone Girl\u201d\u2014that is in a sense a form of play. And so too we can see Fincher\u2019s mastery of film language as a form of play as well. I think the most productive way to look at \u201cMank,\u201d a new film about Hollywood in the 1930s and \u201840s, and about the screenwriter of a particularly famous and iconic work, is to understand it as Fincher\u2019s most playful work.   <\/p>\n<\/section>\n<\/section>\n<\/div>\n<div>\n<section>\n<section>\n<p>It\u2019s right there in the presentation. Fincher and his crew (cinematographer Erik Messerschmidt, editor Kirk Baxter, sound supervisor Ren Klyce, production designer Donald Graham Burt, and many more) are working with state-of-the-art cinematic tools, largely in the digital domain. And with these tools, Fincher constricts himself to a black-and-white image, and even puts little circles in the corners of frames to create the illusion of old-time reel changes. And for all that, this frame through which we see his version of the 1930s is a wide one rather than a nearly square one, hewing to the form first presented by CinemaScope, the wide-gauge celluloid format not introduced to audiences until 1953, the year this film\u2019s title subject died at age 55. Additionally, the black and white here is not a sharp Gregg Toland black-and-white, nor a deep-dark Stanley Cortez black-and-white. It\u2019s not at all a nitrate black-and-white. It\u2019s a creamy, dreamy black-and-white, at times nearly Lynchian.   <\/p>\n<p>So clearly \u201cMank,\u201d which credits Fincher\u2019s journalist\/essayist father Jack Fincher as the screenwriter (although one of its producers, Eric Roth, who wrote Fincher\u2019s 2008 \u201cThe Curious Story of Benjamin Button,\u201d had a hand in scripting, if I read this movie\u2019s attendant interviews correctly) is not trying to recreate the feel of a movie that might have been made during the heyday, such as it was, of the man who is co-credited with writing the screenplay for Orson Welles\u2019 1941 Hollywood groundbreaker \u201cCitizen Kane.\u201d   <\/p>\n<p>So what <em>is<\/em> it doing?   <\/p>\n<p>I\u2019ll be honest with you: after two viewings I\u2019m not yet entirely sure.   <\/p>\n<p>I do know that with Gary Oldman in the title role and a superb supporting cast, Fincher has crafted an entertainment that\u2019s provocative, pointed, ruthlessly entertaining, and in some respects, particularly near the end, a little bit infuriating.   <\/p>\n<p>Whatever it is, \u201cMank\u201d is not, as several have proclaimed, a \u201clove letter\u201d to old Hollywood, or to the movies themselves, and I can\u2019t fathom why anyone would think so. The movie capitol of the United States depicted here is one where almost nobody is happy in their work, or proud of it for that matter. Except maybe mogul Louis B. Mayer, whose pleasure derives from his venality: Speaking of the individual moviegoer, Mayer (played by a very animated Arliss Howard, who is made up to look not just like Mayer, but like Mayer as a wizened homunculus) proclaims: \u201cWhat he bought still belongs to the man who sold it. That\u2019s the real magic of the movies and don\u2019t let anybody tell you different,\u201d He says this to Herman and younger brother Joseph (Tom Pelphrey) as they walk with the mogul to a presentation where Mayer announces salary rollbacks to the group of employees he calls \u201cfamily.\u201d   <\/p>\n<\/section>\n<\/section>\n<\/div>\n<div>\n<section>\n<section>\n<p>But \u201cMank\u201d is not entirely a poison pen letter, either. Fincher\u2019s usual mode of cinematic discourse is on commendable display in the shot depicting writer and Mankiewicz crony Charles Lederer\u2019s introduction to Hollywood: a closeup of the telegram, in Lederer\u2019s hand, containing Mankiewicz\u2019s invitation to Tinseltown (\u201cMillions to be made here and your only competition is idiots,\u201d which is what Mankiewicz actually wrote to Ben Hecht, who unlike Mank practically did make millions). Then the hand goes down, and a painted backdrop on rollers <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">travel<\/a>s from right to left on the lot\u2019s street; the camera moves up to show a big poster reproduction for a current Paramount production, painted on a soundstage wall. Here, the breathless rush of a hive of commerce and maybe art is evoked with commendable cinematic dispatch and imagination.   <\/p>\n<p>As for its title character, the writer Herman J. Mankiewicz, a New York journalist and wit who sought fortune, and found dissolution, in Hollywood\u2014until the prospect of authoring, or co-authoring, what some might call The Great American Screenplay offered a shot at redemption\u2014\u201cMank\u201d does not chronicle his fall from grace. Right off the bat he\u2019s a lost soul.   <\/p>\n<p>Whether with or without honor in Hollywood, he is no prophet. In an early scene of drunken besottedness, he proclaims to his wife, whom he\u2019s nicknamed \u201cPoor Sara,\u201d that \u201cThe Wizard of Oz\u201d is going to \u201csink\u201d MGM. Presiding over a writer\u2019s room full of other Algonquin Round Table types, Mankiewicz places extravagant bets on coin flips while poor brother Joe tries to work on dialogue with a stenographer who seems to have come straight from a side gig at a burlesque show. Summoned to pitch a story to studio executive David O. Selznick and director Josef Von Sternberg, Mank and his merry men troll him with an improvised \u201cFrankenstein\u201d variant.   <\/p>\n<p>Mankiewicz, the man and writer, recollects this, and much more, as he lies bedridden at a remote ranch house, dictating what would become \u201cKane\u201d to a soulful Englishwoman (Lily Collins) who\u2019s got a husband in the war. She, a German housekeeper, and then-Mercury-Theater-overseer John Houseman (Sam Troughton) are the writer\u2019s keepers during his process, and part of Houseman\u2019s mission is to keep the alcoholic scribe dry. To this end, we learn that Orson Welles has gifted Mankiewicz with a private stock of what looks to be whisky but is actually Seconal, to be administered at the end of a day\u2019s work. This movie is manifestly a work of fact-extrapolated fiction, that can\u2019t be emphasized enough. But while the then-24-year-old Welles is referred to as a \u201cWunderkind\u201d throughout, the idea that his expertise extended to pharmacopeia is a particularly ostentatious stretch in this film of stretches.   <\/p>\n<\/section>\n<\/section>\n<\/div>\n<div>\n<section>\n<section>\n<p>In his labors, Herman also recalls a peculiar tangle of relationships. One with Mayer, another with the media magnate William Randolph Hearst (Charles Dance, in an energetic sketch of magisterial rot)\u00a0and his mistress Marion Davies (played by Amanda Seyfried, the only actor in the picture who could be said to extend some affection to an Old Hollywood type), a fine film comedienne who Hearst wanted to transform into a dramatic diva. He entertains these powerful folk, and forms a bond with Davies that leans toward intimacy, and never quite achieves it. He also remembers how Mayer and Hearst conspired to squash the 1934 gubernatorial campaign of Upton Sinclair, the inspired muckraking author whose <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">social<\/a>ist ideals disgusted, and frightened, Hollywood capitalists. Toggling between these remnants of the past and Mankiewicz\u2019s creative efforts\u2014which eventually are speeded to an inspired completion via a smuggled box of real booze, and include a famous bit in \u201cKane\u201d that is an outstanding highlight of what Mank will recognize as his best work\u2014the movie is at its most engrossing and credible. Its tendrils suggest themes from \u201cChinatown\u201d and \u201cShampoo,\u201d and also have slight echoes of Wim Wenders\u2019 \u201cHammett\u201d\u2014a story of a detective writer working on a case of his own.<\/p>\n<p>Mankiewicz\u2019s isolation (underscored potently by, among other things, a poignant music score by Fincher regulars Atticus Ross and Trent Reznor) gives Fincher the opportunity, in the movie\u2019s last third, to concoct discrete narrative modules in which Mankiewicz is visited by various personages who entreat him to abandon his folly. Hearst is still a powerful man, and can ruin him. But Mankiewicz clearly doesn\u2019t believe he can be ruined any further than he already is. And now, in fact he wants to be known for <em>this<\/em> work.   <\/p>\n<p>Which leads to his final confrontation with Welles. For as long as \u201cMank\u201d holds the great filmmaker at arm\u2019s length, it\u2019s on solid ground. But the movie doesn\u2019t cover itself in glory when Welles comes center stage to balk at Mankiewicz\u2019s request for credit. It is true that, in his initial contract with Mercury, Welles\u2019 lawyer included a \u201cfor hire\u201d clause stipulating that the writer would receive no credit at all. The real-life negotiations that earned the writer the credit we see in the titles for \u201cCitizen Kane\u201d are sufficiently dry that they would not make good \u201cdrama.\u201d So here we are given a violent Welles reaction.   <\/p>\n<\/section>\n<\/section>\n<\/div>\n<div>\n<section>\n<section>\n<p>The problem isn\u2019t with actor Tom Burke, who does a better than fair approximation of Welles in that era. The problem is the petty material with which he has to work. Certainly there are sufficient real-life examples of Welles waxing indignant and\/or truculent to have provided the filmmakers with good models; but what they come up with here sorely lacks. (As do the rationales of the characters working for Welles. At one point fussy Houseman, played extra fussily by Troughton, says of his boss, \u201cDon\u2019t be fooled, he\u2019s a showman, busker, reveling in sleight of hand.\u201d Come on. This is like the bit on \u201cSCTV\u201d with John Candy doing Welles on a \u201cMerv Griffin Show\u201d parody saying that in showbiz you need something to fall back on\u2014\u201cfortunately I have magic.\u201d)   <\/p>\n<p>And because of the richness of \u201cKane\u201d itself, turning over the argumentation of this particular scenario about a part of its making (the movie proper ends before the first scene of Welles\u2019 movie is shot, after all) reveals some curiosities. If you\u2019re a man whose idealism and sense of social justice has been trampled by dark forces ruled by a ruthless media tycoon, and you contrive to get a form of payback by writing a movie about that tycoon, wouldn\u2019t it stand to reason that you include the relevant precipitating incident <em>in<\/em> that movie? Charles Foster Kane is never shown steamrolling a socialist\u2019s gubernatorial campaign; rather, it shows him losing his own bid, on what we can infer was a progressive platform, because of his own personal indulgences and some attendant political blackmail. And Kane refuses to accept any attendant humiliation stemming from this course of events because he can afford to. Some pieces of this movie\u2019s puzzle aren\u2019t an entirely comfortable fit.   <\/p>\n<p>Nevertheless, when the movie swings, it brings you with it. A walk and talk between Herman and Hearst at their introduction to each other happens while Hearst is traveling on a gigantic camera dolly, overseeing a Davies picture. The staging, shooting and editing here represent Fincher at his most inspired, creating an undercurrent of exhilaration even as we are aware that we\u2019re witnessing crummy people doing crummy things.<\/p>\n<p>While watching \u201cMank,\u201d I was reminded of an essay the critic and filmmaker Kent Jones wrote for <em>Film Comment<\/em> in 2016, called \u201cThe Marginalization of Cinema.\u201d Specifically, its opening: \u201cAbout a year ago, a director I know invited me to watch a movie on one of the old Hollywood lots. As we were strolling to the screening room, we passed a little gathering of elegant business-casual types seated at makeshift outdoor tables, casually listening to one of their ilk delivering a casual talk. And just as we walked by, we caught the following remark: \u2018We have a little saying around here: \u201cF*ck the director.\u201d\u2019 Cue a soft sound of quietly knowing laughter from the casual audience. My friend was momentarily taken aback but finally nonplussed. It was more of the usual. Sort of.\u201d   <\/p>\n<p>That story is reflective of the same-as-it-ever-was Hollywood ecosystem depicted in \u201cMank,\u201d only here it\u2019s more of a chain. The bosses do unto the director, and the director does unto, well, the writer. Again:\u00a0Some \u201clove letter.\u201d\u00a0 <\/p>\n<p><em>&#8220;Mank&#8221;\u00a0will open in theatres on November 13th and premiere on Netflix on December 4th<\/em>.<\/p>\n<\/section>\n<\/section>\n<\/div>\n<div>\n<section>\n<div>\n<div>\n<div>\n<figure>\n<div>\n<figure><img decoding=\"async\" alt=\"Glenn Kenny\" src=\"https:\/\/static.rogerebert.com\/uploads\/user\/primary_image\/glenn-kenny\/featured_Kenny2.jpg\" title=\"Glenn Kenny\"><\/img><\/figure>\n<\/div>\n<div><figcaption>\n<h5><span class=\"ez-toc-section\" id=\"Glenn_Kenny\"><\/span>Glenn Kenny<span class=\"ez-toc-section-end\"><\/span><\/h5>\n<p>Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn.  Read his answers to our Movie Love Questionnaire here.<br \/><\/br><\/p>\n<\/figcaption><\/div>\n<\/figure>\n<\/div><\/div>\n<\/p><\/div>\n<\/section>\n<\/div>\n<div>\n<section>\n<section> <\/section>\n<div>\n<div>\n<p><img decoding=\"async\" alt=\"Mank movie poster\" itemprop=\"thumbnailUrl\" src=\"https:\/\/static.rogerebert.com\/uploads\/movie\/movie_poster\/mank-2020\/large_mank.jpg\" title=\"Mank movie poster\"><\/img><\/p>\n<h3><span class=\"ez-toc-section\" id=\"Mank_2020\"><\/span> Mank (2020) <span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p> <meta content=\"R\" itemprop=\"contentRating\"><\/meta> Rated R for some language. <\/p>\n<p> 131 minutes <meta content=\"PT131M\" itemprop=\"duration\"><\/meta><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<\/div>\n<div>\n<section>\n<section>\n<div>\n<div>\n<article target=\"_blank\">\n<p><img decoding=\"async\" src=\"https:\/\/static.rogerebert.com\/uploads\/blog_post\/primary_image\/video-games\/miles-morales-swings-players-into-the-future-of-gaming\/thumb_MilesMorales_PS5_Combat_Legal.jpg\"><\/img><\/p>\n<p> about 4 hours ago <\/p>\n<\/article>\n<\/div>\n<div>\n<article target=\"_blank\">\n<p><img decoding=\"async\" src=\"https:\/\/static.rogerebert.com\/uploads\/blog_post\/primary_image\/features\/lasting-fright-the-staying-power-of-the-cabinet-of-dr-caligari\/thumb_cab4.jpg\"><\/img><\/p>\n<p> about 4 hours ago <\/p>\n<\/article>\n<\/div>\n<div>\n<article target=\"_blank\">\n<p><img decoding=\"async\" src=\"https:\/\/static.rogerebert.com\/uploads\/blog_post\/primary_image\/festivals\/mr-soul-and-a-most-beautiful-thing-among-nominees-at-critics-choice-documentary-awards\/thumb_CriticsChoiceDocs.JPG\"><\/img><\/p>\n<p> about 23 hours ago <\/p>\n<\/article>\n<\/div>\n<div>\n<article target=\"_blank\">\n<p><img decoding=\"async\" src=\"https:\/\/static.rogerebert.com\/uploads\/blog_post\/primary_image\/festivals\/ebert-symposium-2020-part-3-streaming-today-november-5th-2020\/thumb_2C5DD67D-0B96-4D90-A3EB-DF928F143DBE.JPG\"><\/img><\/p>\n<p> 1 day ago <\/p>\n<\/article>\n<\/div><\/div>\n<\/section>\n<\/section>\n<\/div><\/div>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong>\n<\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/watch-movies-tv-series\/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch Movies &#038; TV Series <\/a>category<\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.rogerebert.com\/reviews\/mank-movie-review-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Watch Mank Online&#8221; The virtuosic American director David Fincher gets credited with quite a bit, but one quality he\u2019s not credited enough for is playfulness. That\u2019s understandable in a sense, given the themes and subjects of his movies. Serial killers, obsessive entrepreneurs, master manipulators of reality itself: these and their metaphysics are weighty things. Yet,&#8230;<\/p>\n","protected":false},"author":1,"featured_media":106524,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[19],"tags":[78916,78914,78915],"class_list":["post-106523","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-watch-movies-tv-seriess","tag-mank-film-summary","tag-mank-movie-review","tag-watch-mank-online"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/106523","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=106523"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/106523\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/106524"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=106523"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=106523"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=106523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}