{"id":186065,"date":"2025-11-17T22:44:14","date_gmt":"2025-11-17T22:44:14","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/186065\/"},"modified":"2025-11-17T22:44:14","modified_gmt":"2025-11-17T22:44:14","slug":"i-need-to-own-my-worth","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/186065\/","title":{"rendered":"\u201cI Need to Own My Worth\u201d"},"content":{"rendered":"

\n\tLucy Liu<\/a> is not in Los Angeles much these days, but she\u2019s trying to take advantage of a small window to promote Rosemead, her long-gestating passion project which hits a few theaters starting on Dec. 5. The movie, which premiered in Tribeca before receiving honors at festivals in the likes of Locarno, Belfast, and Miami, has resulted in some of the best reviews in Liu\u2019s career, backed by descriptors like \u201ccareer-redefining\u201d and \u201ctowering.\u201d (THR\u2019s review<\/a> says she \u201ctransformed,\u201d while praising the film around her as \u201cintimate and forceful.\u201d) But it has not been smooth sailing: The movie took years to make, due to difficulties in financing, and it struggled to find a distributor despite the strong reviews (Vertical ultimately acquired domestic rights).<\/p>\n

\n\t\u201cEven if a movie like Anora<\/a> was made for $6 million or whatever it was, you can put $90 million into [the marketing and awards campaign] \u2014 and we literally don\u2019t have 90 cents,\u201d Liu says with a smidge of winking hyperbole, leaning on a couch in a West Hollywood hotel room. \u201cIt\u2019s kind of heartbreaking to talk about something really important when you don\u2019t have much.\u201d<\/p>\n

\n\tYou sense Liu is talking about both the project\u2019s contents and what they represent in her own life as an actor. The groundbreaking star of such smash action franchises as Charlie\u2019s Angels and Kill Bill<\/a> is movingly stripped down in Rosemead as Irene, a Chinese immigrant and widow battling a terminal illness while raising her son, Joe, who is schizophrenic. The film is based on a true story and cuts to the heart of experiences of alienation and mental health in immigrant communities. Liu found the project cathartic \u2014 if also a potent reminder of the boxes the industry has kept her in for decades.<\/p>\n

\n\tLiu says she hasn\u2019t had a starring vehicle in a film like this over her entire career. She has stayed busy \u2014 in addition to those iconic film series, she\u2019s done award-winning work on TV series including Ally McBeal<\/a>, Southland<\/a> and Elementary<\/a> \u2014 and she has not given up. But a few years ago, she had a wakeup call about her place in Hollywood and how she\u2019s been treated over the years. Rosemead may mark a new beginning, with major projects starring Liu now in development. But as she shares over our frank, emotional conversation, it\u2019s been forged out of some tough times.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t\u2018Rosemead\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Vertical<\/p>\n

\n\tIt\u2019s exciting to see you in a role like this. I know you fought for it \u2014 this was not an easy movie to get made.\u00a0<\/strong><\/p>\n

\n\tWe got it made after many, many years \u2014 16 different investors. \u201cWell, here\u2019s 10 cents and here\u2019s another $20,\u201d hoping that maybe it has a legacy after. But even after we made the movie, it was like, \u201cDoes anyone want to distribute it?\u201d Everyone\u2019s like, \u201cHow is it going to fuel us? What\u2019s our kickback?\u201d It does come down to finances. And I started doing indies. I was lucky enough to fall into the commercial world \u2014 but those are kind of more side-salad roles. They\u2019re not necessarily roles that would challenge me or tap into my potential.<\/p>\n

\n\tThis is your first producing credit on a narrative feature. Clearly you learned some hard lessons in trying to get this movie made and sell it. How did you find the experience overall?<\/strong><\/p>\n

\n\tGrueling. Seeing the sausage get made and then seeing all of the shenanigans behind the scenes, you think you\u2019ve traversed such a long distance, but really you\u2019ve just moved the needle a little bit. It\u2019s disappointing. It can be disheartening, but when you have so much persistence and fight still left in you, you can keep understanding it because I\u2019ve seen the other side of it. I know what the machine is. I know what a proper press junket is. I know why they bring certain people onto a project because they can foresee, \u201cOkay, this person has this many followers, so let\u2019s bring them in.\u201d<\/p>\n

\n\tThere\u2019s an art and there\u2019s a science to it, and I don\u2019t know if it\u2019s a good thing to know that or not, but as a producer you see the minutiae of it and you really understand how impossible it is to get anything made. Even Cillian Murphy\u2019s movies recently are just phenomenal, but it was incredibly hard to find Small Things Like These on streaming. I literally typed the entire movie into my search and it still didn\u2019t pop up! What else can I do? I finally was able to watch it \u2014 and also watch Steve, both phenomenal \u2014 and yet: What\u2019s going on?<\/p>\n

\n\tBut you\u2019re an actor who\u2019s been in this industry for a long time, who\u2019s been in big movies \u2014 I\u2019d think at least some people would be excited by the prospect of you getting to do something totally different, right?\u00a0<\/strong><\/p>\n

\n\tBut it\u2019s a complicated world. Does it have, what\u2019s the shiniest thing right now? I don\u2019t know that. They said the movie would not have been made if it weren\u2019t for me. But also at the same time, when I\u2019m not doing what I\u2019ve been tailor made for \u2014 action or other things that they\u2019re used to seeing me do \u2014 maybe it\u2019s not as shiny. If it was this big action and had all the heroics, it would be more \u2014<\/p>\n

\n\tMarketable, maybe.<\/strong><\/p>\n

\n\tYes, you can say that. It\u2019s like a commodity.<\/p>\n

\n\tI was trying to think of another role where you played a character speaking this much Mandarin.<\/strong><\/p>\n

\n\tThis would be the only one, yeah. I\u2019ve done it in, like, guest roles, but not to this degree.\u00a0<\/p>\n

\n\tWhat was that like? Even just emotionally, it must be a whole different way in.<\/strong><\/p>\n

\n\tYeah. It\u2019s funny because for O-Ren [in the Kill Bill movies], I learned Japanese for that, and there was also a way in \u2014 it changed the way that I held myself. Going back to this language that I grew up with and spoke only when I was younger, it brought me back to a memory of a smaller person \u2014 a smaller feeling that I had. There was an access to a vulnerability that has been locked away for many, many years. The language greets a softer side of this woman. Her language crossover to English also allowed for more vulnerability. She was expressing herself but wasn\u2019t truly being heard.<\/p>\n

\n\tDo you feel like a different kind of actor coming out of an experience like that?<\/strong><\/p>\n

\n\tIt\u2019s really cathartic. It\u2019s a touchstone because I feel like it\u2019s always been in there. I just haven\u2019t had any opportunities to tap into it. I mean, to think that I\u2019ve been in this business for over 30 years and now have the first leading role like this is kind of crazy. I did not know that until somebody pointed it out on the team. I\u2019ve never really looked at myself in that way. I was just like, \u201cI\u2019m working. I\u2019m really enjoying this role. I can bring something to this character no matter how big or small it is, I can relate.\u201d But yeah, \u201cI didn\u2019t think about it until somebody mentioned it and I was like, that\u2019s sad.\u201d<\/p>\n

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\t\t\t\t\tLucy Liu in \u2018Rosemead\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Vertical<\/p>\n

\n\tWhat does that say, to you?<\/strong><\/p>\n

\n\tI think it says a lot about diversity, or what you said earlier about marketability \u2014 what\u2019s going to sell and what they see as selling. We\u2019re products, like what they believe is going to sell \u2014 it\u2019s a science. People are crunching numbers, but also maybe we\u2019re small potatoes, being the underdog always, or being underestimated. I don\u2019t work from a place of deficit, but I see where they will place me. I\u2019m coming from a place of strength, but I also know where they\u2019re trying to put me.<\/p>\n

\n\tIt sounds like you recognized Rosemead as a real opportunity. Did that change your process at all? It had to have taken a lot out of you.\u00a0<\/strong><\/p>\n

\n\tI didn\u2019t leave anything on the table. It wasn\u2019t saving anything for the next episode or something else. There was no turning back. There was a responsibility to this woman in a way that she did not receive when she was alive. That was to humanize her. The community erased her, and she wanted to be erased herself, in her own words. She was going through such struggles, she didn\u2019t deserve that kind of treatment.\u00a0<\/p>\n

\n\tMany times in my life \u2014 and even in my family\u2019s life \u2014 people wanted us to be erased. I witnessed it with my parents when I was a child: Why did they want us to go back to our own country, or why were we called Jap or Chink or any other slurs? To them it was nothing. But to us, it was like a slash, losing a limb. Every time you hear a slur and that kind of condescension, it has an effect on you as a person from another country and not having a sense of self because of it. Finding myself in this industry is kind of remarkable because I could have not had a voice, and I didn\u2019t have a voice when I was younger. I was incredibly shy and never spoke up and did not want to be seen. My form of protest is working.<\/p>\n

\n\tI do think of you as someone who, over the years, has become pretty outspoken in this industry. Do you not agree?<\/strong><\/p>\n

\n\tI don\u2019t know. I don\u2019t know what I\u2019ve said.<\/p>\n

\n\tI remember a few years ago there was an essay in <\/strong>Teen Vogue<\/strong> about O-Ren in <\/strong>Kill Bill<\/strong>, and <\/strong>you pushed back<\/strong><\/a> on that.<\/strong><\/p>\n

\n\tThat\u2019s right, yes, I did. Somebody sent me the article, originally. I was being called out for whatever reason, perpetuating a \u201cDragon Lady\u201d stereotype. Why isn\u2019t anyone else perpetuating the stereotype when we\u2019re all assassins? I was being depicted as the one who was perpetuating it for the entire country. I was responsible for it. But Vivica Fox or Daryl Hannah or Uma Thurman were not. I don\u2019t even know if they have a word in English for American people. Well, I\u2019m American, but I look like this, so I cannot get away from it.\u00a0<\/p>\n

\n\tIf anything, they were the ones perpetuating that, bringing that term back into the zeitgeist in a moment of absolute terror for Asians with \u201cKung Flu,\u201d the \u201cChina Virus,\u201d the violence and the deaths and the killings in Atlanta. So to me, it was politicized. I don\u2019t think that that character had anything to do with being political. She was a woman who was traumatized by the death of her parents. She had a history.<\/p>\n

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\t\t\t\t\tLucy Liu and Uma Thurman in \u2018Kill Bill\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tMiramax\/courtesy Everett Collection<\/p>\n

\n\tIt\u2019s an example of the level of scrutiny that goes into all of the work that you do and the images that you\u2019ve presented, in a wide array of roles. So then you have to become somebody who knows how to speak on how people react \u2014 or push back on it.\u00a0<\/strong><\/p>\n

\n\tAnd by the way, you can take those roles and you can prescribe them to any of those stereotypes that are laid out for us. Other characters that are strong, that are not Asian, are not Dragon ladies. They are strong lawyers or politicians or mothers or doctors. But if I\u2019m a doctor, then I\u2019m going to be categorized as a super smart, nerdy Asian woman. I can\u2019t get away from it because it\u2019s trailing me because they want to label me.<\/p>\n

\n\tI\u2019m curious how you reflect on Kill Bill. There\u2019s a big re-release coming up next month<\/a>.\u00a0<\/strong><\/p>\n

\n\tIt\u2019s exciting and it\u2019s surprising. It\u2019s a monument, in a way, of time for myself. I remember it so well \u2014 it\u2019s like a milestone. And it\u2019s going to be opening the same day as Rosemead, which is a very different indie movie. It\u2019s a little bit of my own Barbenheimer moment, but very different. I don\u2019t even know how to label that. (Laughs.) O-Ren was somebody who was also cast out, and she was able to say, \u201cDon\u2019t label me. I will decapitate you.\u201d 23 years later, it\u2019s no different.\u00a0<\/p>\n

\n\tWhen you say you remember that time so vividly, what comes to mind?<\/strong><\/p>\n

\n\tIt was such a time of understanding what it meant to be in a commercial film. Charlie\u2019s Angels had already opened and it was received with such rigor, and there was just a lot of confetti. Ally McBeal was also received well. I\u2019d never tracked what I did, but I was so present then \u2014 and I was so naive in a very positive way. I wasn\u2019t thinking about numbers. I wasn\u2019t thinking about stereotypes. I wasn\u2019t thinking about slurs. I was really present in those characters and able to channel what I really believed they could be.<\/p>\n

\n\tAs time has gone on, there\u2019s not a clean slate. If I did another Samurai movie, they would then reference that; but back then, there was not enough to reference. Their ingredients were all new. Like, it was the first time that a cronut had been created. (Laughs) There was this wonderful ability to be free in your own work. Now, you\u2019re continually being tethered to something that you\u2019ve already done. You can\u2019t get away from something even though you\u2019ve created something new \u2014 and that\u2019s part of life. I haven\u2019t gone out and changed my face; there\u2019s only so much I can do. I cannot turn myself into somebody who looks Caucasian, but if I could, I would\u2019ve had so many more opportunities.<\/p>\n

\n\tThere\u2019s a lot to explore. There are also some limitations. But those limitations I want to own and I want to be proud of. I don\u2019t want to be mean with the way that I look \u2014 I come from somewhere and I\u2019m not going to erase myself to benefit someone else\u2019s review.<\/p>\n

\n\tAfter Kill Bill: Volume Two came out, what did the landscape of work look like for you? The Charlie\u2019s Angels movies had just ended, Ally McBeal had just ended \u2014 so if there were a true lead role to come your way in a movie, it would be right around then. You had just been front-and-center in a bunch of major projects.<\/strong><\/p>\n

\n\tI remember being like, \u201cWhy isn\u2019t there more happening?\u201d It wasn\u2019t like there were incoming calls. I\u2019m not sure what was going on, but I remember thinking that it was such a strange lull. It\u2019s like I almost blacked out. I never really stopped working. I was just on this treadmill. I did some smaller movies that I loved that didn\u2019t really gain much traction, like Watching the Detectives with Cillian. But a lot of the same was coming down the track and I was like, \u201cI don\u2019t want to do that.\u201d\u00a0<\/p>\n

\n\tA lot of movies that came my way, I preferred the male role and not the female role. Or Lucky Number Slevin, an independent film that Paul McGuigan directed, [my role] was originally written for somebody that was Caucasian. The description literally was like, \u201ca perky, bouncy Lindsey knocks on the door.\u201d Know what I mean? It was written there. For a lot of characters that I played like that, I asked them to keep the first and the last names to show that it was written not for somebody who was Asian. Like Alex Munday [in Charlie\u2019s Angels]. They wanted to change the last names of the people. Once I signed on, I said, \u201cNo, you should leave it.\u201d<\/p>\n

\n\tWhy was that important to you?<\/strong><\/p>\n

\n\tBecause to me, that\u2019s a breakthrough. That\u2019s evidence that this was not written for me or somebody who had a last name like mine. It was written for somebody else, and yet I can still be that person, and you should not be able to detect a difference. It should not change the way that you receive this piece.<\/p>\n

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\t\t\t\t\tTaye Diggs with Liu in \u2018Ally McBeal\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tFOX\/Photofest<\/p>\n

\n\tSo you describe this post-<\/strong>Kill Bill <\/strong>period as being on a kind of treadmill of work. The way you\u2019re talking, this clearly changed at some point.\u00a0<\/strong><\/p>\n

\n\tI don\u2019t think things really stopped until the pandemic \u2014 and once everyone stopped, it was really the first time to regain part of myself. I never looked at my history of work. I started to look at myself and where I was in my life and I recognized some of the things that I didn\u2019t look at from my childhood and how I got to where I was. It was more of a personal reflection. I started to realize I need to own my worth,<\/p>\n

\n\tThese projects coming down the pike started to seem like a little bit more of an afterthought. I didn\u2019t want to participate in anything where I felt like they weren\u2019t even taking me seriously. How am I being given these offers that are less than when I started in this business? It was a sign of disrespect to me, and I didn\u2019t really want that. I didn\u2019t want to acquiesce to that.<\/p>\n

\n\tIt does feel like you\u2019re getting attached to a lot of really cool projects right now, for lack of a better word. You\u2019re leading the Peacock series <\/strong>Superfakes<\/strong>, which the Safdies and A24 are backing, and also Lulu Wang\u2019s new film with Charles Melton, which the Obamas are backing. Do you feel something shifting for you?\u00a0<\/strong><\/p>\n

\n\tI don\u2019t look at myself and analyze it. I think that something is changing, and I don\u2019t know if it\u2019s the perception or I don\u2019t know what it is. I want to work with people that I think are obviously very talented, but more so that are collaborative and kind, because the work is not just the work, it\u2019s also my whole life. The commitment that you make when you work on something is you are erasing that time from your personal life. I don\u2019t want to sacrifice any more time with insanity. There\u2019s enough insanity just from the job itself, from the work and from the commitment to the job, before you even work during the work. I don\u2019t want to feed into the entitlement of what this industry creates.\u00a0<\/p>\n

\n\tYou\u2019re also producing these projects. So that is definitely a shift, where you\u2019re more involved from the ground up.<\/strong><\/p>\n

\n\tAnd you have to fight for that. You have to really give yourself over to it. It\u2019s not a vanity credit, and most people just think we put our name on it, we don\u2019t show up. I\u2019m like, I\u2019m telling you that that\u2019s not the case. Not only do you push to get the credit, but you also have to break that wall down. I don\u2019t think I have enough tools. (Laughs.)<\/p>\n

\n\tDid you know Lulu Wang before? How does that kind of project come about?<\/strong><\/p>\n

\n\tI just got a call saying that Lulu wanted to meet with me, and then we sat down and hung out and talked, and then we went out to dinner after that with her and her husband [Barry Jenkins]. It was so lovely, and I mean, what a dynamic duo they are. I had no idea \u2014 I never really look people up when I meet them, or even after I meet them. They both come from that indie world as well, so there is a creative consciousness that we all feel together. I know that the initiation of this project comes from a very pure creative place. That is enough for me to sign on and be excited about.<\/p>\n

\n\tHave you met Charles Melton yet?<\/strong><\/p>\n

\n\tI have not. She actually reached out to him \u2014 he\u2019s a neighbor of hers \u2014 and he\u2019s like, \u201cI don\u2019t even need to read it if you and Lucy Liu are on it.\u201d I was like, \u201cWow, good for you.\u201d I love it. I love that he\u2019s all in.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tDemi Moore<\/a> with Liu at the 5th Annual Academy Museum Gala last month<\/p>\n

\n\tI saw you were at the Academy Gala with Demi Moore last month. There are some parallels to how you\u2019re navigating this moment right now, getting recognition for your work for the first time in a long while, with what she experienced with <\/strong>The Substance <\/strong>last year. Did you follow that?\u00a0\u00a0<\/strong><\/p>\n

\n\tOh, yes. She\u2019s somebody who\u2019s so able to look into herself in a really deep internal way that is aspirational. I think it\u2019s very hard to do that kind of work, and she does it because she wants to understand. There\u2019s an honesty to her that is the greatest form of protection. I say that because when you\u2019re not honest with yourself or with others, that\u2019s when people can hurt you. I\u2019ve watched her work from the very beginning, and then to know her more and to read her memoir, the fact that she is where she is and how she is is really remarkable.<\/p>\n

\n\tKnowing that her journey has been complicated and storied, I understand that. I understood that from the beginning, when I was going in and auditioning once every three or four months because there was not much out there. She\u2019s somebody who hasn\u2019t even really tapped into her potential, as far as I\u2019m concerned, because she\u2019s got so much more to offer.<\/p>\n

\n\tYou and the <\/strong>Charlie<\/strong>\u2019s company have done a lot together, publicly, over the last few years. There seems to be a real joy in that \u2014 like with Demi at the Academy Gala, for instance.<\/strong><\/p>\n

\n\tI don\u2019t know that many people would be like, \u201cLet\u2019s go to the Gala together.\u201d Most people just want to have the spotlight on themselves, and it\u2019s a lonely place to be, standing there. You don\u2019t know what\u2019s going on. I\u2019m still shy and I\u2019m still really awkward with these social situations. There\u2019s a sense of loneliness to it as well \u2014 it\u2019s so hard to connect when you\u2019re in a situation where you\u2019re sitting at a table and it\u2019s quite formal, and then you get separated after that. So Demi was like, let\u2019s just go together. That generosity of spirit goes such a long way. Having gone in together on the red carpet, it helped me to readjust.\u00a0<\/p>\n

\n\tI haven\u2019t been in L.A. in such a long time. I haven\u2019t lived here in many, many, many years. I just feel sort of out of the loop, and I think I always will feel that way, but I embrace that, and I also know to pay it forward.\u00a0<\/p>\n

\n\tIs this your first time doing the awards season rounds?<\/strong><\/p>\n

\n\tI think so. I mean, I don\u2019t know if we\u2019re there. It took us a while to find distribution that we are getting our legs up, and if people receive it in that way, I would be so thrilled to just have people watch the movie. The heartbreak to me would be that it just got locked in a vault.<\/p>\n

\n\tAs in, you type in the name of the movie and you can\u2019t find it.<\/strong><\/p>\n

\n\t(Laughs.) Or you type the entire names in for the director and the star, and you\u2019re like, \u201cWhere is it?!\u201d This movie is going to run out of budget soon. It plays in L.A. for a week and one week in New York, and that\u2019s about as much funding as we have. When I was younger, I could have really used this movie, and instead I saw a Calgon ad. That was my relationship to being able to see myself on camera or relate to anyone. We\u2019ve obviously come far from there, but I struggled quite a bit when I was younger. We are the underdog because we are limited in our resources, but I feel incredibly proud of the movie, and I want it to be available for people to just be able to access it.\u00a0<\/p>\n

\n\tAn experience like this prods a lot of reflection. When you get a landmark role like this, does it take you back to the beginning of your career at all? Something maybe you wish you knew then?\u00a0<\/strong><\/p>\n

\n\tI don\u2019t think that I could have done the things that I did if I knew all of this. I would\u2019ve come from a place of, probably, rage. It\u2019s better to come from a place of excitement. And honestly, gratitude \u2014 just because there\u2019s so much broken in the system, it doesn\u2019t have to change your belief in the magic of filmmaking. To me, it was a form of escape and a form of understanding. That momentum that I had as a 19- or 20-year-old when I started, not knowing everything else was a beautiful thing. That\u2019s the combustion of a starting out, the accelerator is really the beauty of it. You don\u2019t want it to be tainted too soon.<\/p>\n

\n\tI\u2019ll never lose that magic. I never retired. I never strayed from this business because I love it so much. People talk about how people go in a different direction, and I think that that\u2019s fine. I don\u2019t ever judge people for that. You were talking about Charlie\u2019s: Cameron [Diaz] retired for a while, and her ability to light up a room is like nobody else\u2019s. Drew [Barrymore] has gone down this new path to connect with people \u2014 she\u2019s always been a people person, and now she has a talk show that\u2019s incredibly successful. But I\u2019ve just stayed on this path. This is the path that I choose.<\/p>\n

\n\tRosemead hits select theaters in New York on Dec. 5 and in Los Angeles on Dec. 12, before expanding nationwide on Jan. 9. <\/p>\n","protected":false},"excerpt":{"rendered":"Lucy Liu is not in Los Angeles much these days, but she\u2019s trying to take advantage of a…\n","protected":false},"author":2,"featured_media":186066,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[268],"tags":[104634,102143,434,104635,31592,18,66403,117,19,17,104636,22024,104637],"class_list":{"0":"post-186065","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-celebrities","8":"tag-ally-mcbeal","9":"tag-anora","10":"tag-celebrities","11":"tag-charlies-angels","12":"tag-demi-moore","13":"tag-eire","14":"tag-elementary","15":"tag-entertainment","16":"tag-ie","17":"tag-ireland","18":"tag-kill-bill","19":"tag-lucy-liu","20":"tag-southland"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ie\/115567464918889492","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/186065","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=186065"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/186065\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/186066"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=186065"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=186065"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=186065"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}