{"id":610293,"date":"2024-02-26T12:00:00","date_gmt":"2024-02-26T09:00:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/jenna-coleman-complex-characters-and-no-easy-answers-how-the-jetty-explores-primal-issues\/"},"modified":"2024-02-26T12:00:00","modified_gmt":"2024-02-26T09:00:00","slug":"jenna-coleman-complex-characters-and-no-easy-answers-how-the-jetty-explores-primal-issues","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/jenna-coleman-complex-characters-and-no-easy-answers-how-the-jetty-explores-primal-issues\/","title":{"rendered":"#Jenna Coleman, Complex Characters and No Easy Answers: How \u2018The Jetty\u2019 Explores \u201cPrimal\u201d Issues"},"content":{"rendered":"
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\n Jenna Coleman <\/strong>had \u201cavoided\u201d playing a detective <\/strong>\u2013 until she was app<\/a>roached about playing rookie cop Ember Manning in a scenic lake town in Lancashire in North West England in BBC Studios\u2019 The Jetty<\/em> from creator and writer Cat Jones and Firebird Pictures. <\/p>\n

\n \u201cWhat appealed to me was that the character of Ember was completely there on page one,\u201d she tells The Hollywood Reporter<\/em>. \u201cAlso, it\u2019s a crime thriller, but it\u2019s wrapped up in such a human, emotive, and poetic piece. It is crafted so it has all of the great things of a crime thriller \u2013 turning the page and having all of the beats. But it\u2019s also such a feminine piece that really explores relationships and provokes. It has all sorts of blurred boundaries and is asking a lot of uncomfortable questions without fully answering them.\u201d<\/p>\n

\n The four-part series<\/a>, a Firebird Pictures production for the BBC, is set to debut in the U.K. later this year. BBC Studios, which owns Firebird, is the international distributor of The Jetty<\/em> and is launching it at this week\u2019s annual BBC Studios Showcase in London, which starts on Monday and brings program buyers from around the world to the British capital. <\/p>\n

\n BBC Studios is betting that The Jetty<\/em> can be a global hit, not only because it stars Coleman, best known for playing the timelord\u2019s trusted sidekick Clara Oswald in Doctor Who<\/em>, and because detective thrillers are popular, but also because the show promises to offer a potent mix of entertainment and explorations of such tricky topics as sexual morality. <\/p>\n

\n BBC Studios has only teased plot details, sharing that Coleman\u2019s Ember must investigate \u201cthe link between a fire at a peaceful lakeside holiday home, a podcast journalist investigating a missing persons cold case and an illicit love triangle between a man in his twenties and two underage girls.\u201d Early this year, it revealed a first-look image and said that the protagonist will be forced to \u201cre-evaluate her past, present and the town she has always called home.\u201d It concluded: \u201cAs much a coming-of-age story as a detective thriller, The Jetty <\/em>asks big questions about sexual morality, identity and memory, in the places that #MeToo has left behind.\u201d <\/p>\n

\n The series also stars Archie Renaux (Shadow and Bone<\/em>, The Greatest Beer Run<\/em>) as Ember\u2019s sidekick Hitch, Laura Marcus (Bad Education<\/em>, The Great Escaper<\/em>), Bo Bragason (The Radleys<\/em>, Three Girls<\/em>),\u00a0Amelia Bullmore (Gentleman Jack<\/em>, Vienna Blood<\/em>, Happy Valley<\/em>) as Ember\u2019s mother, Matthew McNulty (Deadwater Fell<\/em>, The Rising<\/em>),\u00a0Weruche Opia (I May Destroy You<\/em>), Tom Glynn-Carney\u00a0(House of the Dragon<\/em>, Dunkirk<\/em>), Ralph Ineson (Nosferatu<\/em>, The Witch<\/em>), Ruby Stokes (Lockwood & Co.<\/em>, The Burning Girls<\/em>) and David Ajala (Star Trek: Discovery<\/em>), among others. The Jetty<\/em> is\u00a0executive produced by Coleman, Elizabeth Kilgarriff of Firebird, of which BBC Studios acquired full ownership<\/a> in 2022, Sarah Wyatt,\u00a0Jones, Marialy Rivas and\u00a0Jo McClellan.<\/p>\n

\n Coleman, Jones and Kilgarriff, in a conversation with THR<\/em>, said they leaped at the chance to develop a show with a strong, but complex female lead character who must deal with tricky themes and issues and does so in a way that is close to life.<\/p>\n

\n Coleman worked with Kilgarriff before on Amazon thriller series Wilderness<\/em>. And Kilgarriff tells THR<\/em> she \u201cwanted to work with Cat for quite a long time, and I\u2019d been sort of stalking her from afar\u201d until Jones sent a one-page pitch for The Jetty<\/em> to Firebird, and they finally had a project to work on together.<\/p>\n

\n \u201cWhat was really appealing was that it\u2019s a detective show,\u201d Kilgarriff recalls. \u201cThe audience loves crime thrillers, but it\u2019s about using that as your way into a world and finding what it is you really want to talk about, whilst entertaining the audience. The other thing that we\u2019re always looking for is that iconic character at the center. That was so clear from day one in terms of Ember. So we just worked together to sort of build the show.\u201d<\/p>\n

\n The dark questions and issues addressed in\u00a0The Jetty<\/em> were just what Jones enjoys tackling as a writer. \u201cI\u2019m so interested in [these topics] and detective dramas are so interesting because people want to examine human behavior in its most extreme form,\u201d Jones says. \u201cI used to work in the prison service. I was looking at people who had done these really extreme things and going, \u2018I\u2019m not capable of that but I\u2019m capable of a version of that.\u2019 Exploring the difference between what I\u2019m capable of and what you are is really, really interesting.\u201d<\/p>\n

\n Her lesson from the experience: \u201cYou come to the conclusion that there are no bad or good people \u2013 just bad and good choices.\u201d The Jetty<\/em> gave her a chance to pick up this theme. \u201cDetective films are all about exploring that and exploring one aspect of who we are right now. It just so happened that I wanted to explore men and women and how they relate to each other, and how attitudes change or don\u2019t change,\u201d she explains. <\/p>\n

\n How difficult is it to write about such issues as sexual consent and grooming? \u201cIt\u2019s quite difficult because they\u2019re complex issues,\u201d Jones tells THR<\/em>. \u201cAnd there aren\u2019t easy answers to questions of how you keep women and girls safe. When you\u2019re dealing with sexual relationships, you\u2019re dealing with essentially primal stuff. How do you keep people safe within something that\u2019s kind of primal? That\u2019s really, really complicated, and I think we want there to be really easy answers to all of that stuff. So it\u2019s hard, and it\u2019s confronting, but I think that\u2019s a good thing. People will have very different opinions about the things they see, and I think that\u2019s a good thing because that promotes dialog about those things.\u201d <\/p>\n

\n Coleman also felt this tension while acting as her character Ember. \u201cThe way Cat wrote it is probing, it\u2019s uncomfortable because it confronts you and asks the questions without an easy answer,\u201d she tells THR<\/em>, lauding the writer for <\/strong>combining fun and entertaining elements with challenging issues in the series. \u201cWhat I enjoyed so much about Ember is that her good character traits are also her flaws \u2013 her pride and her beating down the door and not being able to give up, and her arrogance in certain ways. All of those traits that are her best bits are also her flaws. So we see her turning in on herself all the time. We really see her in so many extreme, complex, emotional segues.\u201d<\/p>\n

\n Kilgarriff agrees. \u201cJenna said it: her positives are also her faults in lots of ways. But you would want Ember to turn up to the crime scene if something had happened to you. And I think that\u2019s so important to the audience. So, there are lots and lots of layers going on. There\u2019s lots of complexity.\u201d<\/p>\n

\n That also includes, just like in real life, humor amid the drama. \u201cEmber goes on a big journey across the four episodes. We don\u2019t let her off the hook at all. But she is always quite badass. And she\u2019s really funny,\u201d Kilgarriff says. \u201cShe is that person who might say the wrong thing, but you just love her, because she\u2019s just so cool.\u201d<\/p>\n

\n Coleman highlights that in early creative discussions, the team also agreed on the importance of the place, the location as a character in the show, which was mostly shot around the Rochdale area in Lancashire. <\/p>\n

\n So, the lake featured in the series serves as a metaphor for the depths and complexities of her character and others around her and the realities they are confronted with. \u201cThat image of the lake and water and echoes and memories and the secrets that lie beneath, all of that is so important,\u201d Coleman explains. In that sense, the image of the lake reflects \u201cEmber\u2019s relationship with the past, her relationship with her mother, with her daughter, with the girls in front of her.\u201d <\/p>\n

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Jenna Coleman \u2018The Jetty\u2019<\/span><\/p>\n

Firebird Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n Could audiences see more of Ember in the future? Coleman, Jones and Kilgarriff also addressed that and other issues in a conversation with THR<\/em>\u2018s global business editor Georg Szalai. Read more of what they shared about The Jetty<\/em> below.<\/p>\n

\n Liz, how early did<\/strong> you know that you wanted Jenna for the role of Ember?<\/strong><\/p>\n

\n Kilgarriff<\/strong> I know everyone always says this, but it is genuinely true. We talked about Jenna playing Ember even before I think we had the green light. She\u2019s young but she\u2019s lived a lot in her 34 years. So it\u2019s about finding that person who would bring the gravitas but also the humor because I think the humor was so important. That shines through in the show and in Cat\u2019s writing, and then obviously in the show. So we needed someone who would bring us that. We were very fortunate that Jenna agreed to play Ember. <\/p>\n

\n The show sounds like a deep dive into human psychology\u2026<\/strong><\/p>\n

\n Jones<\/strong> I\u2019m definitely interested in looking at peripheral behavior and the gray area. That\u2019s something I\u2019m keen to do whatever I\u2019m writing. It\u2019s what good detective dramas do: they take you on a journey that is as much about making you as an audience member feel complicit and go, \u201cWho am I and what am I capable of?\u201d We\u2019re not trying to answer questions because we don\u2019t know the answers, because they are really complex questions worth exploring in drama. I would love to think that people might be sitting at home arguing on the sofa. That would make me really happy. Rather than there being any kind of moral absolutes because life is more complicated than that.<\/p>\n

\n Jenna, did you ever find yourself in a scene thinking, \u201cI don\u2019t even know how I would react to this in real life,\u201d and struggling with how to bring your character\u2019s struggle to life?<\/strong><\/p>\n

\n Coleman<\/strong> Yeah, for sure. There were a lot of scenes like that actually. But I knew who Ember was from the moment I turned the page. So if you know who she is, then no matter what situation you\u2019re put in, you\u2019re going to react. When you know the character, you can kind of go anywhere. And again, there\u2019s no right or wrong with that. There were so many brilliant scenes thanks to Cat where there were so many ways to go. <\/p>\n

\n Kilgarriff<\/strong> I feel Ember can sort of do no wrong. She\u2019s also got a good partner. We\u2019ve got Archie Renaux playing her sidekick, Hitch. It\u2019s a very interesting relationship. It starts out very much like, \u201coh God, he needs to learn from Ember,\u201d and Ember is a sort of older sister, teaching him the way. But as we go along, there are moments where he just will say things that make her sort of stop and perhaps second-guess herself a little bit. <\/strong><\/p>\n

\n Coleman<\/strong> That is a dynamic that gives us so much of the humor in the show.<\/p>\n

\n I picked up from descriptions of the series that you were striving for<\/strong> a<\/strong> nuanced portrayal and presenting a really true-to-life way of how people talk and behave\u2026<\/strong><\/p>\n

\n Jones<\/strong> Yeah, Ember is kind of ordinary and extraordinary at the same time. She\u2019s the person you\u2019d want to turn up. She\u2019s pretty awesome. She\u2019s going to solve the crime. And, more importantly, she gets why it matters, with an emotional level to solve it. But she\u2019s really flawed, and I love that. I love that her flaws are on display and she breaks the rules, but she\u2019s got this really strong moral code and a really strong sense of justice. She protects vulnerable people. And for me, people like that are heroic, regardless of their flaws. I can\u2019t wait for people to see Ember. I think she was a pretty cool character on the page. But what Jenna has done with her is amazing. <\/p>\n

\n You know that thing where you\u2019ve got two friends, and you know when you introduce them, they\u2019re going to love each other. That\u2019s how I feel about audiences meeting Ember. She\u2019s just exactly the person you\u2019d want if you\u2019re in trouble. She\u2019ll sort it out. And she\u2019ll make jokes about it as well. She\u2019s fun to be with. <\/p>\n

\n Kilgarriff<\/strong> That is just Cat\u2019s writing. On the surface, things look very clear. But then beneath that, there are about 100 other things going on, often subconscious or beneath the surface. So they\u2019re quite complex.<\/p>\n

\n Coleman<\/strong> That was so brilliant. There were so many themes, there were so many things at play within Ember, so some things could just hit me and surprise me as the actor. And I think that\u2019s because the writing is so gray and so dense, and there\u2019s so much in it. So, sometimes a scene can take on a completely different life because there\u2019s so much subtext beneath the surface. In the day-to-day, being constantly surprised about what was coming up was like one of the really great things about it.
A big thing for me in terms of dialog is avoiding cliches. I was really conscious. I was like, \u201cNo, I don\u2019t want to put my hands in my pockets.\u201d How do you do that? In Cat\u2019s writing, it\u2019s such a human story. It was just so fleshed out, it was all emotional- and human-led.<\/p>\n

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Archie Renaux <\/span><\/p>\n

Courtesy of BBC Studios\/Joseph Sinclair<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n I heard BBC Studios wants to tell more bold stories of women, and maybe do so in new or different ways. Why do you think audiences have more appetite for such fare?<\/strong> Does that have to do with societal change?<\/strong><\/p>\n

\n Kilgarriff<\/strong> This is something we\u2019ve all talked about a lot, all three of us. I feel female characters even now still can sometimes sit in boxes on television. \u201cThey\u2019re the sort of that one or that one or that one \u2013 the strong woman or the tough woman.\u201d But gender doesn\u2019t really matter if what a character is going through is honest. It does matter, obviously, in terms of lots of parts of our show. But there\u2019s something about the connection with Ember that is just very human. She\u2019s just very human. She just makes mistakes, as we all do. So there\u2019s something that\u2019s very relatable to her and actually all the characters in the show.
That\u2019s the beauty of it because perhaps all of us see something of ourselves in many of the characters. It doesn\u2019t let the audience off the hook. I think you\u2019re sometimes surprised by how you\u2019re feeling about a certain person. And then you have to question that and go, \u201coh gosh, what am I supposed to be feeling here?\u201d
And that\u2019s the joy of it, because there\u2019s no judgment. There\u2019s just presenting human beings and understanding how people go down certain paths. <\/p>\n

\n Jones<\/strong> Historically, I think, people were less likely to accept or want a complex female character. And I remember you\u2019d hear things like, \u201cwill people like her?\u201d Or this idea that certain characteristics were unlikable in female characters, but they would be okay in male characters. And females would either be utterly flawed and irredeemable or kind of angelic, and nothing in between.
But I think we\u2019re getting more accepting. I think that\u2019s general<\/a> to all characters. Once upon a time, in storytelling it used to be the case that if your character was selfish, they were always selfish. But characters are selfish and selfless, and flawed and brilliant, and heroic. You can be all of these things at the same time.
I suppose that there was a feeling that audiences might not be able to orientate themselves. But actually they can because audiences understand that people are complex because they are complex. So, I think we\u2019re getting better with complex characters generally, but female ones in particular.<\/p>\n

\n Liz, Firebird says it is putting storytellers first. How does this play out in your day-to-day work?<\/strong><\/p>\n

\n Kilgarriff<\/strong> That does sit at the heart of everything we do. I don\u2019t actually know how it can be any other way. All our shows have very strong creators at the center, and that starts with the writer. The way we work is very much that a writer-creator sits with a very small team. It\u2019s the same with all our shows. It\u2019ll be me and one or two other people and our writer-creator. We build from there. Then we go out and sell to a broadcaster. It\u2019s a very competitive industry. You need to love your show and be very invested in the creator at the center so that you start with the strongest possible foundation.
For me, it\u2019s about the storyteller being part of the process. So I suppose we start from the inside out. There\u2019s our writer-creator as a storyteller at the center. And then everybody involved is bringing different things to how we bring that to the screen. Obviously, Jenna is her own storyteller in lots of ways, in terms of breathing life into the character. So is the rest of our cast. So that story just gets bigger and bigger and bigger. But it\u2019s very important for us that writers-creators, storytellers sit at the heart of things. That\u2019s the only way you get the complexity, the depth, and the authenticity.<\/p>\n

\n Jones<\/strong> Throughout the process, it is about always coming back to the story you want to tell. If you\u2019ve started out from a strong position and want to tell the same story, then it\u2019s great, because you just come back and remind yourself what you wanted to do.
A production is a big beast, and there are lots of people involved. Our job is to just keep reminding people of the story we\u2019re telling. And Jenna\u2019s job is to keep reminding us of the character at the heart of the story we\u2019re telling because that\u2019s a slightly different thing.
It\u2019s quite an interesting thing because as a writer, you\u2019re often watching quite a lot of things. And sometimes you\u2019re exploring particular ideas and you want to hang those ideas on characters. And then if you\u2019ve got a great actor, the actor becomes the expert in that character. And they come back to you sometimes and say, \u201cNo, this is not what this character would do or say here.\u201d And you have to listen to that.
I\u2019m hanging this idea on this character, but Jenna is seeing it from the inside and responding to it in a visceral way. She\u2019s in the character in a way that I\u2019m not. So we\u2019re all champions or guardians of our bit. I\u2019m guarding the story and the ideas and the characters, but Jenna is super focused on Ember.
Of course, you want to absorb other ideas as there are lots of brilliant people involved, but you just have to keep coming back to the story of the character.<\/p>\n

\n Kilgarriff<\/strong> The really important thing I always think about is the heart of the show, the beating heart. We all knew what we were making, that lovely thing where you just go and there\u2019s that trust as everyone is making the same show. The key thing is the trust that everyone is striving in the same direction.<\/p>\n

\n Coleman<\/strong> I felt with this piece in particular there was such an intimacy in terms of our creative conversations and collaborations. The nature of shoots is their unpredictability. I think we had five storms. All of these things happen, and then suddenly, you\u2019re dealing with the day-to-day of production and things shifting and changing. But we used to get these amazing emails from Cat every day, just talking about the themes and the characters and thinking about things like that that always brought us back to the story and to the heart of it. It did very much feel like we all had the same creative vision for it. <\/p>\n

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Jenna Coleman in Firebird Pictures\u2019 \u2018Wilderness\u2019<\/span><\/p>\n

Amazon Studios<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n Could we see more of Ember in the future?<\/strong><\/p>\n

\n Kilgarriff<\/strong> The show works very well, it is very satisfying as a piece, which I think is really important for the audience. Saying that, but I don\u2019t want to give anything away, I would love to see her back again. And I do think the audience is going to respond to her in an incredibly positive way. So, yeah, it would be wonderful. But we don\u2019t know that.<\/p>\n

\n What are people going to call this genre? Northern English Noir? Did you think about genre categorizations?<\/strong><\/p>\n

\n Jones<\/strong> It\u2019s a detective thriller, but it\u2019s just as much a character piece and, I hope, an exploration of grief and memory and how we reinvent ourselves. I hope it\u2019s doing lots of different things. People who want a show that is twisty and turny will love it. But so will people who want to see something complex and probing and go through a complete range of emotions and think about interesting ideas. In that regard, it\u2019s a pretty good character piece.<\/p>\n

\n Kilgarriff<\/strong> It\u2019s definitely got the noir aspect to it thanks to the weather. It actually looks so beautiful. I have to say it is really beautiful. We talked a lot about the look and the feel, wanting it to be beautiful but not chocolate box, it shouldn\u2019t feel fake, this sort of fake British perfect little town. It shouldn\u2019t in any way feel unreal. There is a beauty to it, but there\u2019s a rawness to it as well, and there is a sort of dark fairy tale feel to it. There\u2019s always something simmering beneath the surface, which I think will be hopefully really, really compelling. It probably has that sort of Scandi noir thing. The location has its own microclimate.<\/p>\n

\n Coleman<\/strong> The rain and the sun came out in the same scene.<\/p>\n

\n Kilgarriff<\/strong> It was tricky, but it feels like it is absolutely a part of the identity of the show.<\/p>\n

\n What kind of<\/strong> support did you have on set given the difficult and tricky issues addressed in the show?<\/strong><\/p>\n

\n Kilgarriff<\/strong> A lot of that is about the prep, isn\u2019t it, Jenna? They\u2019re not coming into the scenes on the day unprepared. There is a lot of conversation that happens beforehand, with Cat, with our director. It was really important for us to have all these conversations upfront and talk everything through, so everyone understands where they are and what they\u2019re doing. And then obviously, you always have an intimacy coordinator as well on the day for any scenes that need that. Generally, it\u2019s just about an openness and a conversation.<\/p>\n

\n Coleman<\/strong> Yeah, and I\u2019d say, whether it was conversations with Cat in the morning, conversations before or on the day, it was a very intimate, collaborative, supportive atmosphere.<\/p>\n

\n Anything else you\u2019d like to highlight?<\/strong><\/p>\n

\n Jones<\/strong> Because there are some quite heavy themes in the show, sometimes I come away from conversations thinking, \u201cI probably should have stressed the fact that I think this is a really entertaining show.\u201d Television has to be entertaining and important for it to work for me. I want to be watching complex characters going on a journey and going through a complete range of motions and think about things. I want do all of that, but it\u2019s going to take me on a ride, you know? And I think this does. I think it\u2019s a thoroughly entertaining watch, as well as everything else.<\/p>\n

\n Coleman<\/strong> What Cat means is it\u2019s also funny.<\/p>\n

\n Jones<\/strong> It\u2019s really funny. I hope so. You\u2019re very funny, Jenna. And she\u2019s a very entertaining character. There are lots of scenes of Ember and Hitch in cars, driving around places. I would love to do a spin-off show of just Ember and Hitch driving around, just talking about things. They\u2019re so entertaining. There\u2019s not enough space to have as many of those scenes as you want.<\/p>\n

\n Coleman<\/strong> I kind of wish we were recording right now.<\/p>\n

\n Kilgarriff<\/strong> It\u2019s really fun watching it in the edit, I have to say. Ember and her mother, I think, Amelia and Jenna, they are fantastic. I can see a spin-off in those two as well. I think lots of people will identify with that relationship. It\u2019s very moving and very funny. So it just feels very real. <\/p>\n

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Amelia Bullimore<\/span><\/p>\n

Courtesy of BBC Studios\/Ruth Crafer<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div><\/div>\n

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Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Jenna Coleman had \u201cavoided\u201d playing a detective \u2013 until she was approached about playing rookie cop Ember Manning in a scenic lake town in Lancashire in North West England in BBC Studios\u2019 The Jetty from creator and writer Cat Jones and Firebird Pictures. \u201cWhat appealed to me was that the character of Ember was completely…<\/p>\n","protected":false},"author":1,"featured_media":610294,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/02\/Jenna-Coleman-Cat-Jones-Elizabeth-Kilgarriff-Split-Publicity-H-2024.jpg?w=1024","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[124783,96490],"class_list":["post-610293","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-international","tag-jenna-coleman"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/610293","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=610293"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/610293\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/610294"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=610293"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=610293"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=610293"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}