{"id":1799,"date":"2017-02-06T20:08:15","date_gmt":"2017-02-06T20:08:15","guid":{"rendered":"https:\/\/geneseymour.com\/?p=1799"},"modified":"2019-06-09T14:18:44","modified_gmt":"2019-06-09T14:18:44","slug":"seymour-movies-oscar-picks-for-2017","status":"publish","type":"post","link":"https:\/\/geneseymour.com\/?p=1799","title":{"rendered":"Seymour Movies Checks for a Pulse in 2017 Oscar Picks"},"content":{"rendered":"

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By the time newspapers and magazines like this one <\/a>tell you something is over, you know it\u2019s already been over for some time. Indeed, newspapers and magazines have been telling themselves they\u2019ve<\/em> been over for so long that you wonder if it\u2019s begun to occur to them yet that they may NOT be over after all. But that\u2019s another subject for another time\u2026<\/p>\n

Anyway, even when I\u2019d published my last movie review in Newsday<\/em> in 2008, much of what Nick Bilton describes in Vanity Fai<\/em>r was already in motion, shredding Hollywood\u2019s serenity so much that even some of its potentates were ready to declare their universe \u2013 and thus, civilization \u2013 dead.<\/p>\n

Actually, it\u2019s the circus that now looks deader than hell.<\/a> And if anything\u2019s to blame for that, it\u2019s whatever\u2019s left of Hollywood, meaning the stunt-heavy blockbusters and tent-pole franchises whose commensurate product can likely be laid end-to end along the Equator. While exhibitors are still feeling terminally, even mortally wounded by the changes wrought by digital technology, I\u2019m pretty sure Fast and the Furious<\/em> sequels will be around to soothe their nerves for a while. In fact, those things may become so self-referential and post-modern that everyone in the cast of The Devil Wears Prada<\/em> will someday be asked to take part in a Very Special F&F<\/em> movie\u2026even La Streep herself. And you know she\u2019ll kill it, even they give her a KIA to drive.<\/p>\n

The Oscars are once again upon us, speaking of self-referential, post-modern rituals. They make everybody, especially the editors of newspapers and magazines, believe Hollywood as it used to be still matters. But as has been the case for decades now, it\u2019s not the movies, but politics and culture that comprise the nimbus of advance buzz. Last year, if you can remember that far back, there was all this chatter about how host Chris Rock would deal with the #OscarSoWhite foofaraw. (Damned well, I thought,<\/a>\u00a0at least.) \u00a0This year, it\u2019s how host Jimmy Kimmel will use his late-night chops to bring the hammer down on the House of Trump and Bannon\u2026and how trolls on either side deal with it. I don\u2019t remember Johnny Carson having to walk minefields like this, beyond the exemplary way he finessed his 1981 opening monologue with that day\u2019s shooting of President Reagan.<\/p>\n

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What about movies? Well, what about them? They\u2019re considered something to distract us from the news, which, as it happens, is how those aforementioned newspapers and magazines have always considered them. The real issue this year, and likely for years to come, is the degree to which the movies still reflect or affect their times. The best still try, as most of the nominees below attest. But do their efforts compel us to leave our homes for the evening, let the kids, pets and plants figure things out for a couple hours and sit in the dark to see what and who we are? Right now, I\u2019d say no, though in the last few weeks, I know many people who took the trouble to see a movie about black women mathematicians struggling with their federal jobs. What the hell. In another week or so, we may hear that the efforts to declare Hollywood dead are also dead. Or we may hear the last death rattle in a year or so. Meanwhile, we watch the Oscars to distract us from the distractions from the distractions planted in our public life\u2026Untie those knots and you\u2019ll know what to expect in 2027, if not sooner.<\/p>\n

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For now, since you\u2019re all still expecting me to drop these things this time of year, here are the picks. As always, predicted winners are in bold<\/strong> and, once again, I\u2019m pulling out a For Whatever It\u2019s Worth (FWIW<\/strong>) addendum whenever applicable.<\/p>\n

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Best Picture:<\/strong>
\nArrival<\/em>
\n Fences<\/em>
\n Hacksaw Ridge<\/em>
\n Hell or High Water<\/em>
\n Hidden Figures<\/em>
\n La La Land<\/em><\/strong>
\n Lion<\/em>
\n Manchester by the Sea<\/em>
\n Moonlight<\/em><\/p>\n

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Who would have ever believed that in a field that includes a shape-shifting poem with homoerotic overtones about an at-risk man-child in the promised land and a furiously eccentric war movie directed by Mel F**king Gibson that this year\u2019s most polarizing candidate for Best Picture is a candy-colored Jacques Demy homage? People either love La La Land<\/em> without reservation or hate it with extreme prejudice. In at least two cases I know personally, the latter resentment comes from a an abiding and informed devotion to classic American musical comedy. I\u2019ll yield to their passionate knowledge, but the movie still pushed all my happy buttons, even with its overly emphatic jazz-o-philia. (Wake me up when there\u2019s a movie with a heroine obsessed with Albert Ayler or even This Guy<\/a>.) What makes this a slam-dunk for La La Land<\/em> has little to do with whether it is or isn\u2019t a great musical. It\u2019s because it\u2019s a commercially successful product that makes its voters, whether they live in Hollywood or not, feel better about the profession they\u2019re in and the dreams they\u2019ve been peddling for generations. By such criteria, its closest competition is Hidden Figures<\/em>, whose unexpected success and old-fashioned virtues make it a remote possibility, especially given the up-to-the-minute madness of the post-Obama regime. I\u2019m guessing rapture wins out.<\/p>\n

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FWIW<\/strong>: I had pretty much written off 2016 as a kind of \u201cmeh\u201d year for movies. If I had seen Jim Jarmusch\u2019s Paterson<\/em> or Maren Ade\u2019s Toni Erdmann<\/em> (see below) before New Year\u2019s Eve, I might have changed my mind. Both in very different ways evince the abiding influence of John Cassavetes in their respective displays of intimacy and impulse. Along with Moonlight<\/em>, they represent what will count in the very long run for cinema\u2019s evolution over tent-pole corporate franchises and \u201cprestige\u201d product. It\u2019ll take a while, as with every other change we\u2019re waiting for.
\nAlso, I kind of wish whoever floated the buzz about Deadpool<\/em>\u2019s being in this mix made good on the threat; not because I thought it was great or even very good, but because I like the idea of a rude, low-rent movie crashing a high-end party, especially when it had Leslie Uggams saying \u201cFuck you\u201d on-screen to a white person instead of passive-aggressively spitting in somebody else\u2019s cup.<\/p>\n

(2\/21) Still thinking this is how it’ll go, though there was a point early in the game when I thought the math sistahs were beginning to sneak up from behind.\u00a0<\/strong><\/em><\/p>\n

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Best Director:<\/strong>
\nDenis Villeneuve, Arrival<\/em>
\nMel Gibson, Hacksaw Ridge<\/em>
\nDamien Chazelle, La La Land<\/em>
\nKenneth Lonergan, Manchester by the Sea<\/em>
\nBarry Jenkins, Moonlight<\/em><\/strong><\/p>\n

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Chazelle\u2019s already copped the DGA prize, so he\u2019s a front-runner here. But there\u2019s plenty of precedent for the Oscars to zag when the trade awards zig. And I have a feeling about this one, even though it wasn\u2019t that long ago when pundits would have regarded Moonlight<\/em> as too \u201carty\u201d for serious consideration in either Best Picture or this category. I doubt the movie has enough commercial \u201cheft\u201d to win the first. But it seems to have reached the deepest into people\u2019s hearts and if, as I suspect, Jenkins\u2019 quiet assertion of will and insight propels him to become the first African American to win this prize, his victory could have a resounding, transformative impact on American film, and not (only) because of race. It may not bring back \u201ccinema\u201d as we once knew it, but it could be the first pebble tossed into a stagnant lake.<\/p>\n

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FWIW:<\/strong> We didn\u2019t get a gratuitous Clint Eastwood nomination this year, which is too bad because for a change, I thought he deserved one for Sully,<\/em> its stacked-deck attitude towards federal authority notwithstanding. He still wouldn\u2019t have won, but it was still one of the leaner, sturdier products to come from his workshop bench.<\/p>\n

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Best Actor:<\/strong>
\nCasey Affleck, Manchester by the Sea<\/em>
\nAndrew Garfield, Hacksaw Ridge<\/em>
\nRyan Gosling, La La Land<\/em>
\nViggo Mortensen, Captain Fantastic<\/em>
\nDenzel Washington, Fences<\/em><\/strong><\/p>\n

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The SAG decision to go with D-Money here proves that Hollywood \u2013 or whatever\u2019s left of it \u2013 would like nothing better than to reward its most formidable male box-office star with a third gold statue. I don\u2019t think the performance is top-grade Denzel, which isn\u2019t entirely his fault given he was also doing double-duty as the movie\u2019s not-half-bad director. But just as the one he got for Training Day<\/em> compensated for the one he didn\u2019t get for The Hurricane<\/em>, this one will nicely suffice as recompense for the one he deserved for Flight<\/em>. (His crowning achievement, as I\u2019ve said before.<\/a>)<\/p>\n

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FWIW:<\/strong> Affleck\u2019s performance is by far the best in the bunch and he would be lapping the field by now if it weren\u2019t for a dark patch on his past<\/a> that will not go away easily or quietly. Pretty sordid, but it still wouldn\u2019t ruin my weekend if he ended up winning anyhow.<\/p>\n

(2\/21) ….though there hasn’t been all that much buzz in the air about Affleck’s past since the nominations were announced. (We’ve had too many other things buzzing in the air lately.) This could mean there’s still a chance he could overtake D. But I’m keeping my piece where it is.<\/strong><\/em><\/p>\n

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Best Actress:<\/strong>
\nIsabelle Huppert, Elle<\/em><\/strong>
\nRuth Negga, Loving<\/em>
\nNatalie Portman, Jackie<\/em>
\nEmma Stone, La La Land<\/em>
\nMeryl Streep, Florence Foster Jenkins<\/em><\/p>\n

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If the front-runner for supporting actress were competing in her proper division (see below), this would be a runaway no-brainer, even with La Streep riding a high tide of good feeling over her State of the Union address at the Golden Globes. Given the rapacity overwhelming the government\u2019s executive branch these days, I wouldn\u2019t put it past the Academy to toss her another party favor to go with the three she already has, even though this title role of hers is, essentially, a supporting performance. (A reverse ringer, if you will.) People adore Stone, but despite her SAG prize, it doesn\u2019t feel like her time yet. Negga was the best thing about her movie, which is too small a vessel to deliver her to the Promised Land. This leaves two of the most magnetic faces on the planet and while I think Portman\u2019s performance here is much more deserving than the one for which she was previously honored, Huppert is the super glue holding together a movie with so much on its mind (and in its spleen) that it would all shatter in sharp fragments from all the attendant weight without her \u00e9lan and sinew.<\/p>\n

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FWIW:<\/strong> Amy Adams deserved consideration here for carrying the smart, but slight Arrival<\/em> than she did for making the best out of the overrated Nocturnal Animals<\/em>. But the more egregious oversight was Annette Bening\u2019s deeply moving, intricately detailed rendering of a middle-aged mom in 20th Century Women.<\/em><\/p>\n

(2\/21) People are still hyping Stone as the front-runner and I’m thinking that the reason everybody’s shortchanging Huppert is that movies-with-subtitles don’t have the presence they once enjoyed on these<\/strong>\u00a0shores. Not all that long ago, however, a French actress did shock the system by beating out a very strong field in a foreign-language film\u00a0<\/a>. So there’s precedent here that doesn’t require going back to Sophia Loren or even Anna Magnani.\u00a0<\/strong><\/em><\/p>\n

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Best Supporting Actor:<\/strong>
\n Mahershala Ali, Moonlight<\/em><\/strong>
\nJeff Bridges, Hell or High Water<\/em>
\nLucas Hedges, Manchester by the Sea<\/em>
\nDev Patel, Lion<\/em>
\nMichael Shannon, Nocturnal Animals<\/em><\/p>\n

An exceptionally strong list this year. I\u2019d be happy with any of them walking away with the prize. I\u2019m also pretty sure that Moonlight\u2019<\/em>s all-but-ecumenical embrace will carry Ali to the podium. It\u2019s his year \u2013 and it\u2019s still only the beginning for him.<\/p>\n

(2\/21) In an earlier draft, I alluded to the dark arts of Harvey Weinstein that, when deployed in Oscar campaigns, can yield envelope-popping surprises. Given such history, it shouldn’t surprise anybody \u00a0that there have been tremors out there over the possibility of Dev Patel coming up on the backstretch. I still say\u00a0<\/strong><\/em>Moonlight’s got a lot more power than people believe and Ali’s killer acceptance speech at the SAG Awards may have sealed his prize in dry ice. \u00a0<\/em><\/strong><\/p>\n

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Best Supporting Actress:<\/strong>
\nViola Davis, Fences<\/em><\/strong>
\nNaomie Harris, Moonlight<\/em>
\nNicole Kidman, Lion<\/em>
\nOctavia Spencer, Hidden Figures<\/em>
\nMichelle Williams, Manchester by the Sea<\/em><\/p>\n

\"fences\"<\/a>
\nPeople much smarter than I have put forth my own theory as to how this happened: Someone near and dear to Viola Davis\u2019 heart told her that though her turn in Fences<\/em> is layered in gold, she shouldn\u2019t have to once again undergo the pain of watching a grand, over-the-top Meryl Streep impersonation of an imperious British woman (Margaret Thatcher in 2011\u2019s The Iron Lady<\/em>) bigfoot the lead-actress Oscar away from a can\u2019t-miss Davis performance (that same year, in The Help<\/em>). Hence, there\u2019s no real harm in her campaigning in this category since she\u2019s not necessarily top-billed, right? It wouldn\u2019t surprise me if the person dropping this hint in Davis\u2019 ear was her Fences<\/em> director and co-star who has often said, given that he has both, that there\u2019s no real difference between lead and supporting Oscars; they\u2019re both for acting, they\u2019re both the same height, weight and color, and what else needs to be said?<\/p>\n

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FWIW:<\/strong> Just this. Michelle Williams\u2019 minutes in front of Manchester by the Sea<\/em>\u2019s cameras were the most meaningful, heart-rending minutes I\u2019d seen from any actress last year beyond those of Davis herself. To these eyes, it\u2019s unfair that Williams\u2019 raw, resonant performance has to take a back seat to a larger, more sweeping one from someone who I now consider to be, indisputably, a goddess. Yes, I said it before and I\u2019ll say it again: VIOLA DAVIS IS GOD…but Michelle Williams is pretty great, too, and deserves a clear, smooth ride to glory of her own someday.<\/p>\n

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Best Original Screenplay:<\/strong>
\nHell or High Water,\u201d<\/em>
\n La La Land<\/em>
\n The Lobster<\/em>
\n Manchester by the Sea<\/em><\/strong>
\n20th Century Women<\/em>
\nAlways a bad idea to bet against Kenneth Lonergan in this category, especially when he seems to have reached a new, fresh peak here.<\/p>\n

FWIW:<\/strong> If Lonergan or his script weren\u2019t on this list, I\u2019d incline towards Hell or High Water<\/em>, which wouldn\u2019t have stood out so conspicuously if the movie had been made in 1980, or even 1970, instead of 2016.<\/p>\n

(2\/20) While we’re here, do you guys mind if I ramble a little about this notion, stubbornly persistent these days, that a movie is somehow handicapped for being a “downer”? First, who can tell me what the Greatest American Play ever written is? (Let’s not see the same hands…) Right.\u00a0<\/strong><\/em>Long Day’s Journey Into Night.\u00a0Oh, you thought it was\u00a0<\/em>Death of a Salesman or\u00a0<\/em>A Streetcar Named Desire? Well, fine, but is there a “feel-good” number among that group? I thought not. O’Neill’s play comes in first for me because whenever I see a production<\/em> of<\/em> Long Day’s Journey Into Night\u00a0I may find the story it tells unbearably depressing. But I walk away from it invigorated by its artistry, its raw dynamism and, above all, its rich and humane sense of character. I’m not saying\u00a0<\/em>Manchester By The Sea\u00a0<\/strong>is somehow equal to\u00a0<\/em>Long Day’s Journey…in achievement. But it is animated by the same insistence on taking people as they are and acknowledging life’s travails and defeats…and somehow staying alive anyway. It’s the artistry, not the content, that brings me up. And if the rest of us can only see movies in terms of how their stories make you “feel” at the end rather than how those stories are forged in the first place, then we’re in worse shape than I thought…with no end in sight. And THAT, in case you’re confused, is the real downer here. \u00a0<\/em><\/strong><\/p>\n

Best Adapted Screenplay:<\/strong>
\nArrival<\/em>
\n Fences<\/em>
\n Hidden Figures<\/em>
\n Lion\u201d<\/em>
\n Moonlight<\/em><\/strong><\/p>\n

This one\u2019s tough; very competitive and perhaps subject to the caprice of the four winds. Still betting on the deep reserves of good will towards Moonlight, but never underestimate the dark arts of Harvey Weinstein to finagle something-or-other for Lion.<\/em><\/p>\n

(2\/20) See Supporting Actor above…<\/strong><\/em><\/p>\n

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Best Foreign Language Film:<\/strong>
\nLand of Mine<\/em>
\n A Man Called Ove<\/em>
\n The Salesman<\/em><\/strong>
\n Tanna<\/em>
\n Toni Erdmann<\/em><\/p>\n

Donald Trump\u2019s travel ban made this a cause-celebre, <\/em>given Asghar Farhadi’s refusal to attend the ceremony. So I guess it’s a no brainer, though otherwise, as I indicated earlier, it\u2019d have been Toni Erdmann<\/em>\u2019s to lose.<\/p>\n

FWIW:<\/strong> All that said, The Salesman<\/em>\u2019s also a very good movie and deserves whatever it will get for whatever reason.<\/p>\n

(2\/20) Still hedging, though, just a little on Maren Ade’s behalf. People REALLY love goofy\u00a0<\/strong><\/em>Toni.\u00a0<\/strong><\/p>\n

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Best Cinematography:<\/strong><\/p>\n

Arrival<\/em>
\n La La Land<\/em><\/strong>
\n Lion<\/em>
\n Moonlight<\/em>
\n Silence<\/em><\/p>\n

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Any of you guys know that Linus Sandgren was the DP on David O. Russell\u2019s last two movies along with The Hundred Foot Journey<\/em>? I was neither overwhelmed nor underwhelmed with the latter, but I remember it looking a lot better than it actually was. His peers have already acknowledged him and they\u2019ll continue to do so here.<\/p>\n

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Best Original Score:<\/strong>
\nJackie<\/em>
\n La La Land<\/em><\/strong>
\n Lion<\/em>
\n Moonlight,<\/em>
\n Passengers<\/em><\/p>\n

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The juggernaut rolls on \u2013 mainly because there\u2019s no evidence here that it shouldn\u2019t.<\/p>\n

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Best Animated Feature Film:<\/strong>
\nKubo and the Two Strings<\/em>
\n Moana<\/em>
\n My Life as a Zucchini<\/em>
\n The Red Turtle\u201d<\/em>
\n Zootopia<\/em><\/strong><\/p>\n

\"Zootopia\"<\/a><\/p>\n

Outside of what many have declared the presumptive (and deserving winner), the only one of these I\u2019ve seen is Kubo<\/em> and it\u2019s REALLY an amazing movie! Still for reasons having to do with The Way Our Lives Have Been Lately, a movie about inter-species travails in an urban setting is Right On Time, along with being surprisingly well wrought.<\/p>\n

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Best Documentary Feature:<\/strong>
\nFire at Sea<\/em>
\n I Am Not Your Negro<\/em>
\n Life Animated<\/em>
\n O.J.: Made in America<\/em><\/strong>
\n 13th<\/em><\/p>\n

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\"oj_made_in_america_screenshot_h_2016\"<\/a><\/p>\n

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Let me tell you how old I am: Old enough to remember writing stories about how Ye Olde Academy of Motion Picture Arts & Sciences wouldn\u2019t give so much as a glance to any prospective nominee appearing on television first, no matter how many theaters exhibited it in the intervening months. Such prohibitions, to this reporter\u2019s mind, cost two great performances \u2013 Linda Fiorentino\u2019s in The Last Seduction<\/em> (1994) and Gillian Anderson\u2019s in The House of Mirth<\/em> (2000) \u2013 the nominations and, at least in Fiorentino\u2019s case, the win \u2013 they deserved. I know it\u2019s a far different world now with streams, clouds and those other water-based delivery systems without which not even Meryl Streep can function. I\u2019m still not sure how the rules accommodate those changes. But rather than grouse about past injustices, I can say that if any of these worthy nominees were somehow excluded from consideration for appearing on a small screen first or even second or third, I\u2019d stop writing these things immediately and find a new hobby. (Pez dispensers, anyone? Anyone?) And what do you know? I\u2019ve gone on so long about this issue that I no longer have enough space to explain why I think Ezra Erdman\u2019s epochal inquiry into race in America is far more deserving than Ava Du Vernay\u2019s. I can say that it\u2019ll be far more attractive to Academy voters since the story it tells is, for them, a local story writ grand and lucid.<\/p>\n

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(2\/20)\u00a0<\/strong><\/em>I Am Not Your Negro, however, has made explosive headway through the marketplace since voting began. It may not gather enough steam to make a difference here, but keep your eyes and ears open…<\/em><\/strong><\/p>\n

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Best Original Song:<\/strong>
\n\u201cAudition (The Fools Who Dream)\u201d from La La Land<\/em>
\n\u201cCan\u2019t Stop the Feeling\u201d from Trolls<\/em>
\n\u201cCity of Stars\u201d from La La Land<\/em><\/strong>
\n\u201cThe Empty Chair\u201d from Jim: The James Foley Story<\/em>
\n\u201cHow Far I\u2019ll Go\u201d from Moana<\/em><\/p>\n

 <\/p>\n

I\u2019ll catch hell from somebody for saying this, but I think \u201cAudition\u201d is at or very near the rare-air reaches of Carousel\u2019<\/em>s \u201cSoliloquy\u201d for a musical monologue, nailed down compellingly enough by Stone to, perhaps, make me the fool for dismissing her chances for Best Actress, as noted above. But \u201cCity of Stars\u201d is something at which grey heads can imagine Sinatra taking a swing. And lest we forget, the Academy is still crowded with grey heads.<\/p>\n

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

“Who would have ever believed that in a field that includes a shape-shifting poem with homoerotic overtones about an at-risk man-child in the promised land and a furiously eccentric war movie directed by Mel F**king Gibson that this year\u2019s most polarizing candidate for Best Picture is a candy-colored Jacques Demy homage?”<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[124],"tags":[876,872,658,873,870,867,878,866,842,868,875,877,843,871,874,869,879],"class_list":["post-1799","post","type-post","status-publish","format-standard","hentry","category-movie-reviews","tag-casey-affleck","tag-damien-chazelle","tag-denzel-washington","tag-emma-stone","tag-fences","tag-hidden-figures","tag-isabelle-huppert","tag-la-la-land","tag-mahershala-ali","tag-manchester-by-the-sea","tag-meryl-streep","tag-michelle-williams","tag-moonlight","tag-o-j-made-in-america","tag-vanity-fair","tag-viola-davis","tag-zootopia"],"_links":{"self":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/1799","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1799"}],"version-history":[{"count":10,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/1799\/revisions"}],"predecessor-version":[{"id":2430,"href":"https:\/\/geneseymour.com\/index.php?rest_route=\/wp\/v2\/posts\/1799\/revisions\/2430"}],"wp:attachment":[{"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1799"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1799"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geneseymour.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1799"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}