{"id":583708,"date":"2023-07-21T15:00:00","date_gmt":"2023-07-21T12:00:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/justine-bateman-pulling-ai-into-the-arts-is-absolutely-the-wrong-direction\/"},"modified":"2023-07-21T15:00:00","modified_gmt":"2023-07-21T12:00:00","slug":"justine-bateman-pulling-ai-into-the-arts-is-absolutely-the-wrong-direction","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/justine-bateman-pulling-ai-into-the-arts-is-absolutely-the-wrong-direction\/","title":{"rendered":"#Justine Bateman: Pulling AI Into the Arts Is \u201cAbsolutely the Wrong Direction\u201d"},"content":{"rendered":"<div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Welcome to the 223rd episode of\u00a0<em>TV\u2019s Top 5<\/em>,<em>\u00a0The Hollywood Reporter<\/em>\u2019s TV podcast.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Every week, hosts\u00a0<a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/Snoodit\">Lesley Goldberg<\/a>\u00a0(West Coast TV editor) and\u00a0<a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/thefienprint\">Daniel Fienberg<\/a>\u00a0(chief TV critic) break down the latest TV <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a> with context from the business and critical sides, welcome showrunners, executives and other guests, and provide a critical guide of what to watch (or skip, as the case may be).<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    This week, we\u2019re joined by <strong>Justine Bateman<\/strong>, the writer, director and producer who most recently served as a consultant on the use of artificial intelligence for SAG-AFTRA\u2019s negotiating committee. Bateman, who rose to stardom with her twice-Emmy nominated role as Mallory Keaton on <em>Family Ties<\/em>, has a degree in computer <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/sciencee\/\" data-internallinksmanager029f6b8e52c=\"5\" title=\"Science\" target=\"_blank\" rel=\"noopener\">science<\/a> from UCLA and is also a member of the Writers Guild, SAG-AFTRA as well as the Directors Guild. She previously served on SAG\u2019s national board of directors and joins us this week to discuss the AMPTP\u2019s startling response to generative AI. \u00a0<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Other topics discussed in this episode include the future of HBO\u2019s <em>The Idol<\/em>, why prestige comedies often end after three seasons, Netflix earnings as well as NBC and CBS\u2019 rebooted fall schedules. As usual, the episode ends with Critic\u2019s Corner that this week features Dan\u2019s reviews of <em>Minx, Special Ops: Lioness, Praise Petey <\/em>and <em>Command Z.<\/em><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But first, read on for an edited and condensed portion of our interview with Bateman.<\/p>\n<p><iframe loading=\"lazy\" id=\"pmc-protected-embed-2\" class=\"pmc-protected-embed\" width=\"100%\" height=\"200\" src=\"https:\/\/playlist.megaphone.fm\/?e=PMC1674577763\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"true\"><\/iframe><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>You were on the national board of directors for SAG and resigned in 2009 over a contract that you felt didn\u2019t properly acknowledge the shift from old <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a> to new and didn\u2019t honor the guild\u2019s less visible members. How many of the seeds of your frustration from back then do you see as being at the heart of where we are today?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I was working in digital media as a writer and producer. Not many people were convinced that online \u2014 back then it was called made for new media and is now called streaming \u2014 but 90 percent of the business was not convinced that was going to be just a new place to distribute stuff. I was already working in it and I implored the negotiating committee: \u201cWe\u2019ve got to get real estate.\u201d And the AMPTP was saying, \u201cHey, don\u2019t put any restrictions on this; work with us. We don\u2019t know where this is going. We don\u2019t know if we\u2019ll be able to make any money at this at all.\u201d I was hoping that the membership would reject it and recognize it as not being enough. They <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\">app<\/a>roved it so overwhelmingly that I thought, \u201cWhat exactly am I fighting for?\u201d The difference between then and now is people are listening to me and others who are saying that AI is the end of the road. If you give away your consent and compensation, if you want to participate in it \u2014 I personally as a filmmaker have no interest in it whatsoever \u2014 but if you don\u2019t put that as the default for writers and actors in particular, you\u2019ve just given them the keys to the whole house. If they can use 100 years of active performances to train their generative AI models and create their little Frankenstein characters or \u201cactors\u201d you\u2019re over. There\u2019s a lot of other elements \u2014 corporate greed is just out of control \u2014 but that\u2019s the big difference between then and now.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>You\u2019ve been a vocal and fairly absolutist critic of AI, both its encroachment in art, but also into more wider reaching society at large. Was this a fascination of yours before you went back to school and got your computer science degree?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Generative AI can only function if you feed it a bunch of material. In the film business, it constitutes our past work. Otherwise, it\u2019s just an empty blender and it can\u2019t do anything on its own. That\u2019s what we were looking at the time [at UCLA]. Machine learning and generative AI have exploded since then. So, this aspect of it was not a fascination of mine. But when I could see that it was going to be used to widen profit margins, in white-collar jobs and more <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/general\/\" data-internallinksmanager029f6b8e52c=\"3\" title=\"General\" target=\"_blank\" rel=\"noopener\">general<\/a>ly replace human expression with our past human expression, I just went, \u201cThis is an end of the progression of society if we just stayed here.\u201d If you keep recycling what we\u2019ve got from the past, nothing new will ever be generated. If generative AI started in the beginning of the 20th century, we would never have had jazz, rock \u2019n\u2019 roll, film noir. That\u2019s what it stops. There are some useful applications to it \u2014 I don\u2019t know of that many \u2014but pulling it into the arts is absolutely the wrong direction.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Do you remember the exact moment where you had that epiphany because it\u2019s the kind of thing where you hear AI and the initial reaction is always, \u201cThat sounds cool,\u201d and then it shifts into \u201cThat sounds scary.\u201d<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    A friend of mine is a video artist and he did all those violent cut scenes in my film <em>Violet<\/em> that I have in the beginning credits and are interspersed through it. He was posting all this AI-generated animation in January or February. I asked him how much of it he was actually drawing. His answer was none of it. For a very long time, I have been dismayed at the amount of content. I\u2019ve heard from showrunners who are given notes from the streamers that \u201cThis isn\u2019t second screen enough.\u201d Meaning, the viewer\u2019s primary screen is their phone and the laptop and they don\u2019t want anything on your show to distract them from their primary screen because if they get distracted, they might look up, be confused, and go turn it off. I heard somebody use this term before: they want a \u201cvisual mosaic.\u201d When showrunners are getting notes like that, are they able to do their best work? No. And when these companies control the entire pipeline from beginning to end, then you wind up doing what they ask. So I thought, \u201cWhen is tech not going to be center stage?\u201d When I saw my friend\u2019s animation, I got how content is going to end. AI is going to automate content. [It can] customize the project according to years of your viewing history.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>AI didn\u2019t start out as a central issue within the WGA or SAG-AFTRA, but has obviously become one very rapidly. As someone who\u2019s been so involved with the guild negotiations around the subject, what does the AMPTP\u2019s response to both the performers and the writers on the use of AI signal to you?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I was on the board and the negotiating committee with SAG in 2007-08 and SAG asked me to come be an AI consultant on these negotiations. I have been in those rooms for this round, too. I told you the response that the AMPTP had about getting real estate made for new media back in 2007-08 and their response was, \u201cWork with us. We don\u2019t know if there\u2019s any money in this.\u201d When I saw the response to the AI asks from the WGA [this year] was \u201cWe\u2019re not talking about that,\u201d my reaction was that they were already doing it and this is already so far along. Then their asks of SAG-AFTRA \u2014 as far as what Duncan Crabtree-Ireland has revealed \u2014 that they wanted to be able to take background actors, scan them once, pay them a day\u2019s rate, and then use their image for the rest of their lives. I feel a particular responsibility to past actors\u2019 work. Everything that\u2019s in the Minimum Basic Agreements of these unions were fought for by those people in the past. It\u2019s our responsibility now that <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/technology\/\" data-internallinksmanager029f6b8e52c=\"4\" title=\"Technology\" target=\"_blank\" rel=\"noopener\">technology<\/a> exists to protect their work. It\u2019s not our place to say, \u201cSure, go ahead, feed in all of Charlie Chaplin\u2019s work, all of Alfred Hitchcock\u2019s work. Just go ahead and then you can just order up that you want somebody who moves like Charlie Chaplin, looks like Alec Baldwin and has a Spanish accent. When I see that, everything I\u2019m saying is going to happen is exactly what they\u2019re wanting to have happen.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>Editor\u2019s Note: The AMPTP has refuted Crabtree-Ireland\u2019s claim, saying in a statement that the \u201cdigital replicas of background actors may be used in perpetuity with no consent or compensation is false\u201d and that the studios and streamers\u2019 current proposal would \u201cpermit a company to use the digital replica of a background actor in the motion picture for which the background actor is employed,\u201d with \u201c[a]ny other use requires the background actor\u2019s consent and bargaining for the use, subject to a minimum payment.\u201d\u00a0<\/em><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>In the conversations you\u2019ve had with the AMPTP and with people who aren\u2019t in the industry, do you feel like they understand the way that this would impact that lower segment of the acting population or that they\u2019re actually kind of willfully trying to eliminate it?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I think they get it. Don\u2019t forget, AI isn\u2019t doing this to us. People using AI to eliminate jobs, that\u2019s who\u2019s doing this in every sector. People really understand that concept because it\u2019s happening in their worlds, too. \u2026 The idea that you want to [use AI to] make things easy for us? Go solve the homeless problem. Go use generative AI to clean the ocean. So, is generative AI coming in the entertainment business to make better films? No. It\u2019s to more cheaply regurgitate the past. And frankly, audiences have been conditioned for this; look at all the sequels, reboots and remakes.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Mark Ruffalo made the point that this was a good argument to consider looking more to the indie world, to get out from under the sway of the studio\u2019s companies that are so much a part of what the AMPTP is. You amplified that and echoed that. And that\u2019s where you\u2019ve done a lot of your work. Your feature was not a studio feature. Where does it leave the business? And is it your business to worry about where that leaves the David Zaslavs and Bob Igers of the world?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I wish we had the <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/en.wikipedia.org\/wiki\/United_States_v._Paramount_Pictures,_Inc.#Termination_of_the_Paramount_decrees\">Paramount Decrees<\/a> in a more substantial way where the Department of Justice said to the studios that they owned the entire pipeline: you make it, you are the exhibitors, you have the cinemas, and there\u2019s no competition possible here. So, they made them choose. You want to own cinemas or do you want to do the work? <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/en.wikipedia.org\/wiki\/Financial_Interest_and_Syndication_Rules\">Fin-syn<\/a> rules were the same thing that we had for TV. The FCC said you can\u2019t own the whole pipeline and could either make the show or have a network, which do you want to do? And when the fin-syn rules went away in 1993, you had NBC making an NBC show and then putting the reruns on Bravo, which NBC owns.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Right, it opened the doors for networks to vertically integrate with their own studios and make and own and distribute all of their own content, which has been mirrored by streaming services.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    The FTC had open comments this morning and we all spoke [and asked them to] please come back in. This is your <em>raison d\u2019etre<\/em>. Come on in and break these companies up. We\u2019re negotiating against not just the biggest companies in our business, but the biggest companies in the world and arguably in all of history.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>You\u2019re running for the WGA West board \u2014<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Because I\u2019m on the DGA Western Council, I found out that it is their rules that you can\u2019t be on two boards. So maybe the next go around. I like being on the DGA Western Council. Maybe I\u2019ll wind up on the DGA board. I don\u2019t know.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>There was a point earlier this summer where it looked like Hollywood\u2019s three big unions, the writers, directors and actors, could all go out on strike at the same time. That didn\u2019t happen as the DGA took a deal with the AMPTP. Do you think that there was a missed opportunity there by the DGA?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I think they negotiated for what they feel covers their members. I\u2019m not mad at them for that. If you have minimum staffing requirements already in your MBA, and then on top of it, you say none of those minimum staffing requirements can be fulfilled by anything but a human, I think in their minds, that covered keeping their members. What I would have liked to see, and maybe this can be done legislatively and\/or done with any restrictions that SAG gets, is this what I said earlier about restricting the ability for the AMPTP to just feed in all these past directors\u2019 work. I don\u2019t think that is our place to allow. I think we need to block that. I would have liked to have had that in the DGA agreement. But like I said, if you have that in SAG agreement, it takes care of it for the directors because if you can\u2019t get all those actors that you want to feed in to sign off, you can\u2019t feed the whole film in.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>How did you vote on the DGA deal?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I voted against it because I was hoping for those kinds of protections. But that wasn\u2019t what the majority of the membership was seeking. I feel a personal responsibility to protect past directors\u2019 work and I will look to find other ways to accomplish that.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>The WGA, SAG-AFTRA and DGA are all in an election year and there is also this pressure for solidarity. What have you learned about what the challenges are of that and how has that impacted the conversations that you\u2019re having with people out on the picket line?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    You have leverage in a negotiation if they need you. I do believe this is the last time any guild on its own will have any leverage. I believe in three years when our contracts are up again, I don\u2019t think any one union is going to have any leverage at all. In three years, we need to negotiate together in order to have any leverage. In fact, I\u2019m hoping even the IATSE and Teamsters can somehow get on our election cycle so that all five of us can say, \u201cIf you still want to do real human filmmaking, you have to step up and give each of these guilds what they need.\u201d \u00a0<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Right, IATSE and the Teamsters\u2019 deals are up next year.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    The WGA has different needs for its members than the DGA and SAG. There are some overlaps, but I think in three years, [the AMPTP will] just go, \u201cWe\u2019re not really sure we need to meet with you guys. We\u2019re not really sure we need to be signatories anymore.\u201d It depends on what they get. I\u2019d like to know if the legal departments from any of the streamers or the studios have gone to any of these large generative AI companies and asked to see a list of what films have been fed in. Have they gone to them and said, \u201cI want to see if any of our films are on there and if so, you\u2019re going to delete this entire training set.\u201d Because you can\u2019t unwind something like that. But my hunch is that they\u2019re not. The studios are the same companies that would get the FBI to descend on your house and get you arrested for illegally downloading one of their films. It\u2019s the most massive copyright violation in the history of the U.S. These same companies are now hoping that feeding in 100 years of filmmaking and <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a> into generative AI models spins wildly out of control by third parties so they can continue to come to the guilds as they have been and saying, \u201cBut everyone else is doing it, you gotta let us do it.\u201d Why else would you just let these companies do whatever they want with all of your copyrighted material? The studios have lost hold of what their competitive advantage was. And that was their relationships with all of us \u2014 access to the directors, to the writers, to the actors \u2014 and they started chasing that Netflix model and they\u2019ve lost billions of dollars doing that. And now they have it in their minds that they can chase the generative AI tech companies. The spread between what they understand in their jobs and what those companies understand within their jobs, it\u2019s a million miles of space in between those two things. If they start chasing that model, thinking they can compete with that, just light the whole place up on fire because you\u2019ll never win against those companies. They should entrench on their competitive advantage and hopefully it\u2019s not lost completely. And go and get anything that\u2019s copyrighted. You can\u2019t pull it off the models, just get the models deleted if your work\u2019s in there. The fact they haven\u2019t done that indicates that they think they can compete with them and it\u2019s almost comical.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>For much more from Bateman, listen to the whole interview on this week\u2019s\u00a0<\/em>TV\u2019s Top 5<em>\u00a0podcast.<\/em><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>Be sure to\u00a0<a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/plinkhq.com\/i\/1438063915?to=page\">subscribe<\/a>\u00a0to\u00a0<\/em>TV\u2019s Top 5<em>\u00a0to never miss an episode. (Reviews welcome!) You can also email us with any topics or Mailbag questions you\u2019d like addressed in future episodes at\u00a0TVsTop5@THR.com.<\/em><\/p>\n<\/p><\/div>\n<p><script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><\/p>\n<p><script type=\"text\/plain\" class=\"optanon-category-C0004\">\n!function(f, b, e, v, n, t, s) {\nif (f.fbq) return;\nn = f.fbq = function() {n.callMethod ? n.callMethod.apply(n, arguments) : n.queue.push(arguments);};\nif (!f._fbq) f._fbq = n;\nn.push = n;\nn.loaded = !0;\nn.version = '2.0';\nn.queue = [];\nt = b.createElement(e);\nt.async = !0;\nt.src = v;\ns = b.getElementsByTagName(e)[0];\ns.parentNode.insertBefore(t, s);\n}(window, document, 'script', 'https:\/\/connect.facebook.net\/en_US\/fbevents.js');\nfbq('init', '352999048212581');\nfbq('track', 'PageView');\n<\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\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\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/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\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.hollywoodreporter.com\/tv\/tv-news\/tvs-top-5-podcast-justine-bateman-ai-dangers-hollywood-1235540858\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Welcome to the 223rd episode of\u00a0TV\u2019s Top 5,\u00a0The Hollywood Reporter\u2019s TV podcast. Every week, hosts\u00a0Lesley Goldberg\u00a0(West Coast TV editor) and\u00a0Daniel Fienberg\u00a0(chief TV critic) break down the latest TV news with context from the business and critical sides, welcome showrunners, executives and other guests, and provide a critical guide of what to watch (or skip, as&#8230;<\/p>\n","protected":false},"author":1,"featured_media":583709,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2023\/07\/Justine-Bateman-2023-podcast_template-Top5-H-2023.jpg?w=1024","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[144462,70937,144615,138999,134736,142867],"class_list":["post-583708","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-actors-strike","tag-artificial-intelligence","tag-justine-bateman","tag-tvs-top-5","tag-tvs-top-5-podcast","tag-writers-strike"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/583708","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=583708"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/583708\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/583709"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=583708"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=583708"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=583708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}