{"id":105716,"date":"2026-01-15T15:25:25","date_gmt":"2026-01-15T15:25:25","guid":{"rendered":"https:\/\/www.europesays.com\/lv\/105716\/"},"modified":"2026-01-15T15:25:25","modified_gmt":"2026-01-15T15:25:25","slug":"frankensteins-2-0-davja-simana-versija","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/lv\/105716\/","title":{"rendered":"\u201eFranken\u0161teins 2.0\u201d. D\u0101vja S\u012bma\u0146a versija"},"content":{"rendered":"

\"\u201eFranken\u0161teins<\/p>\n

\u201eWho wants to live forever\u2026\u201d \u2013 Fredijs Merkurijs to jaut\u0101ja (vai ap\u0161aub\u012bja) jau pirms 40 gadiem. Izr\u0101d\u0101s, t\u0101du grib\u0113t\u0101ju tom\u0113r ir daudz, un tos uzmekl\u0113jis re\u017eisors D\u0101vis S\u012bmanis, veidojot dokument\u0101lo filmu \u201eFranken\u0161teins 2.0\u201d.<\/p>\n

\u201cWho wants to live forever?\/ There’s no chance for us \/ It’s all decided for us\u2026 \/ Kur\u0161 v\u0113las dz\u012bvot m\u016b\u017e\u012bgi? \/ Mums nav nek\u0101du iesp\u0113ju, \/ Viss ir izlemts m\u016bsu viet\u0101\u2026\u201d \u0160\u012bs Fredija Merkurija izdzied\u0101t\u0101s rindas un filma Kalnietis \/ Highlander asto\u0146desmito gadu vid\u016b lauza sirdis un daudziem lika aizdom\u0101ties ar\u012b par nemirst\u012bgo likte\u0146a \u0113nas pus\u0113m. Tikpat daudz, ja ne v\u0113l vair\u0101k lakati\u0146u pieraud\u0101ja filmas Intervija ar vamp\u012bru \/ Interview with the Vampire (1994) skat\u012bt\u0101ji, skumstot par m\u016b\u017e\u012bgai vientul\u012bbai un s\u0113r\u0101m nolemto Breda Pita atveidoto asinss\u016bc\u0113ju. Soci\u0101lais konteksts \u2013 iesp\u0113ja p\u0101rdz\u012bvot savus b\u0113rnus, pieredz\u0113t visu savu draugu b\u0113res, dz\u012bvot nostal\u0123ij\u0101 p\u0113c aizg\u0101ju\u0161ajiem laikmetiem un nesp\u0113t atrast domubiedrus\u2026 \u0161\u012bs nemirst\u012bbas blaknes ir d\u0101sni baroju\u0161as rakstnieku un re\u017eisoru pr\u0101tus. Bet, k\u0101 jau gandr\u012bz vienm\u0113r, \u012bsten\u012bba izr\u0101d\u0101s daudz bais\u0101ka nek\u0101 gotiska kv\u012bru romantisk\u0101 novele vai Kristofers Lamberts ar ilgvi\u013c\u0146otiem matiem.<\/p>\n

K\u0101 v\u0113sta \u012bru nost\u0101sts, 1895. gad\u0101 Margorijai Makkolai s\u0101k\u0101s drudzis, dr\u012bz vien vi\u0146a tika uzskat\u012bta par miru\u0161u un apbed\u012bta. Tolaik izplat\u012bta profesija bija kapu zag\u013ci, tie dr\u012bz vien atraka svaigo kapu un cent\u0101s no\u0146emt Margorijai gredzenu. Tas neizdev\u0101s, zag\u013ci nol\u0113ma pirkstu nocirst, un sieviete no s\u0101p\u0113m atmod\u0101s. Kad Margorija b\u0113ru dr\u0113b\u0113s un ar kapu zemi uz t\u0101m ierad\u0101s m\u0101j\u0101s, v\u012brs, vi\u0146u ieraugot, mirkl\u012b pa\u0123\u012bba. Margorija nodz\u012bvoja v\u0113l ilgi, lai\u017eot pasaul\u0113 v\u0113l vienu b\u0113rnu, bet uz vi\u0146as kapakme\u0146a rakst\u012bts: \u201eMargorija Makkola. Dz\u012bvojusi vienreiz, apbed\u012bta divreiz\u201d. \u0160is bija viens no gad\u012bjumiem, kuru d\u0113\u013c praks\u0113 ieviesa zvani\u0146us pie svaig\u0101m kapaviet\u0101m \u2013 pavediens saist\u012bja zvani\u0146u un apbed\u012bt\u0101 roku, un,<\/p>\n

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ja tom\u0113r k\u0101ds atmod\u0101s z\u0101rk\u0101, zvani\u0146a ska\u0146as par to v\u0113st\u012bja \u0101rpasaulei.<\/p>\n<\/blockquote>\n

N\u0101ves un dz\u012bves robe\u017ea, t\u0101pat k\u0101 m\u016b\u017e\u012bg\u0101 dz\u012bve, kurai teju vienm\u0113r l\u012bdzi n\u0101k m\u016b\u017e\u012bg\u0101 jaun\u012bba un skaistums, nodarbina sabiedr\u012bbu ar\u012b m\u016bsdien\u0101s. 2019. gad\u0101 tika ekraniz\u0113ts St\u012bvena Kinga rom\u0101ns Doktors Miegs \/ Doctor Sleep (2013), filmas Mirdzums \/ The Shining (1980) turpin\u0101jums, kur\u0101 jau pieaugu\u0161ais Denijs (lom\u0101 J\u016bens Makgregors) turpina izzin\u0101t savas medija sp\u0113jas, savu mirdzumu. Film\u0101 darbojas ekscentrisku vamp\u012bru grupa, kuri barojas no \u201ctvaika\u201d \u2013 esences, kas izdal\u0101s, sp\u012bdzinot un nogalinot cilv\u0113kus, kuriem piem\u012bt mirdzums. P\u0113d\u0113jos gados viena no popul\u0101r\u0101kaj\u0101m sazv\u0113rest\u012bbas teorij\u0101m, kas skaidro Holivudas seju m\u016b\u017e\u012bgo jaun\u012bbu, ir saist\u012bta ar adrenohromu, par kuru Hantera S. Tomsona gr\u0101mat\u0101 Bailes un naids Lasvegas\u0101 teikts: \u201c\u0160ai vielai ir tikai viens avots… dz\u012bva cilv\u0113ka \u0137erme\u0146a adrenal\u012bna dziedzeri\u201d. Ainu film\u0101 Fear and Loathing in Las Vegas (1998) ir iek\u013c\u0101vis ar\u012b Terijs Giljams, kur\u0161 gan v\u0113l\u0101k skaidroja, ka tas bijis p\u0101rsp\u012bl\u0113ts izdom\u0101jums. Lai gan adrenohroms tiek ra\u017eots organisk\u0101s sint\u0113zes ce\u013c\u0101 vismaz kop\u0161 1952. gada, Amerikas aktu\u0101l\u0101s urb\u0101n\u0101s le\u0123endas v\u0113sta \u2013 lai ieg\u016btu \u0161\u012bs vielas organisko versiju, bag\u0101tie un ietekm\u012bgie, glu\u017ei k\u0101 St\u012bvena Kinga rom\u0101n\u0101, sp\u012bdzina un pat nogalina b\u0113rnus.<\/p>\n

D\u0101vja S\u012bma\u0146a film\u0101 Franken\u0161teins 2.0 ideja par nemirst\u012bbu un atgrie\u0161anos dz\u012bv\u0113 p\u0113c n\u0101ves ir atbr\u012bvota no iracion\u0101l\u0101s un mistisk\u0101s nots, non\u0101kot gandr\u012bz ekskluz\u012bvi zin\u0101tnes lauci\u0146\u0101 ar nelielu politikas piedevu. Ekskluzivit\u0101ti t\u0101pat var pied\u0113v\u0113t ar\u012b interv\u0113tajiem cilv\u0113kiem, transhum\u0101nisma celmlau\u017eiem, apbr\u012bnojamu tehnolo\u0123iju izgudrot\u0101jiem un specifisku biznesu \u012bpa\u0161niekiem. Franken\u0161teins 2.0 ir veidots radniec\u012bgi S\u012bma\u0146a iepriek\u0161\u0113jai dokument\u0101rajai filmai M\u016bris<\/a> (2018), ap izteikti person\u012bg\u0101m, subjekt\u012bv\u0101m p\u0101rdom\u0101m v\u0113rpjot epizodes, kas paskaidro, ilustr\u0113 un pagarina re\u017eisora teikto. Filmas vizu\u0101lais sl\u0101\u0146ojums l\u012bdzin\u0101s elpo\u0161anai, kur ieelpa ir informat\u012bvi uzl\u0101d\u0113tas, bet vizu\u0101li di\u0113tiskas intervijas, kas est\u0113tik\u0101 tuvas report\u0101\u017eai; elpas aizture \u2013 re\u017eisora koment\u0101rs, bet izelpa \u2013 skaisti, j\u0113gietilp\u012bgi film\u0113jumi Amerikas tuksne\u0161ainaj\u0101s ainav\u0101s ar p\u0101rkaltu\u0161iem, m\u016b\u017e\u012bbu pieredz\u0113ju\u0161iem augiem.<\/p>\n

Sv\u0101rstoties starp person\u012bgu eseju un kvalitat\u012bvu interviju virkni, filma nosliecas tom\u0113r uz p\u0113d\u0113j\u0101m k\u0101 noteico\u0161o filmas asi, inton\u0101cij\u0101 t\u0101s v\u0113r\u0161ot l\u012bdz\u012bgas Latvijas intelektu\u0101\u013cu kulta objektiem \u2013 R\u012bgas Laika intervij\u0101m. Un tas ar\u012b nav p\u0101rsteigums, jo filmas Franken\u0161teins 2.0 scen\u0101rija l\u012bdzautors ir \u0161\u012b \u017eurn\u0101la galvenais redaktors Uldis T\u012brons. Pie\u0146emu, ka aizkadra teksts rakst\u012bts p\u0113c filmas uz\u0146em\u0161anas \u2013 tas \u0161\u0137ietami apkalpo (un nevar noliegt, ka dara to eleganti) p\u0101reju no vienas intervijas uz otru, vienlaikus nedodot skat\u012bt\u0101jam \u012bpa\u0161i daudz nor\u0101\u017eu par st\u0101sta paredzamo virz\u012bbu. T\u0101 k\u0101 filmu veido skat\u012bt\u0101jam jau paz\u012bstama superkomanda \u2013 S\u012bmanis, T\u012brons un operators Andrejs Rudz\u0101ts \u2013, pie\u013cauju, ka daudzi sagaid\u012btu vair\u0101k eksistenci\u0101lu p\u0101rdomu, maz\u0101k izzino\u0161u faktu par veidiem, k\u0101 tie\u0161i tiek uzglab\u0101ti sasald\u0113tie \u0137erme\u0146i. \u0160\u012bm specifiski detaliz\u0113taj\u0101m ain\u0101m piem\u012bt raksturs un kr\u0113slains humori\u0146\u0161, par ko, pie\u0146emu, varam pateikties operatoram, kur\u0161 notv\u0113ris kadr\u0101, piem\u0113ram, necilo r\u016btoto vilnas segu, kam ac\u012bmredzot j\u0101pilda termoregulatora funkcija uz kriocisternas ar p\u0101rdesmit \u0137erme\u0146iem k\u0101d\u0101 Krievijas s\u0101d\u017e\u0101. \u00a0<\/p>\n

Ar\u012b filmas m\u016bzikai piem\u012bto\u0161ais viegli ironiskais raksturs, t\u0101pat k\u0101 melodiskuma un aton\u0101lu akordu apvienojums, jau s\u0101kot ar pirmajiem filmas kadriem, kuros redzami fragmenti no renesanses m\u0101kslinieka Vitores Karpa\u010do darba Sv\u0113tce\u013cnieku mocek\u013ca n\u0101ve un Sv\u0113t\u0101s Ursulas b\u0113res, pie\u0161\u0137ir mazliet zobgal\u012bgu jeb ap\u0161aubo\u0161u l\u0101di\u0146u re\u017eisora st\u0101st\u012bjumam un sec\u012bgi filmai. Filmas Franken\u0161teins 2.0 m\u016bzikas autors (t\u0101pat k\u0101 filmai M\u016bris) ir \u010dehu komponists Mihals Ratajs, vi\u0146a filmogr\u0101fij\u0101 ir ar\u012b atzin\u012bgi v\u0113rt\u0113t\u0101 Mr. Nobody Against Putin (2025, David Borenstein, Pavel Talankin). Tiesa, m\u016bzikas raksturs filmas gait\u0101 main\u0101s, l\u012bdz\u012bgi k\u0101 re\u017eisora poz\u012bcija<\/a>, kas s\u0101kusies ar skepsi: \u201cRedzot \u0161o cilv\u0113ku p\u0101rliec\u012bbu, pat sava veida aps\u0113st\u012bbu ar to, mans skat\u012bjums s\u0101ka main\u012bties.\u201d<\/p>\n

Z\u012bm\u012bgi, ka filmas izn\u0101k\u0161ana notiek paral\u0113li pasaules lielvalstu attiec\u012bbu eskal\u0101cijai, kas film\u0101 ietvertos ASV un Krievijas sabiedr\u012bbu un ideolo\u0123iju pretmetus liek redz\u0113t v\u0113l as\u0101k\u0101 kontrast\u0101. Krievij\u0101 analogais n\u0101ves kults sasniedz kempisk\u0101ko formu ikgad\u0113j\u0101 forum\u0101 Nekropole, taj\u0101 satiekoties bezgaum\u012bbai ar makabro un absurdo. Zelta z\u0101rki, BDSM un Nakts portj\u0113 iedvesmota b\u0113ru t\u0113rpu modes skate; b\u0113rni, kas aizr\u0101vu\u0161ies ar sp\u0113l\u012bt\u0113m telefon\u0101 turpat l\u012bdz\u0101s apbed\u012b\u0161anas biroju grima speci\u0101listu sacens\u012bbu zonai.<\/p>\n

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

Kaut k\u0101d\u0101 m\u0113r\u0101 \u0161\u012b n\u0101ves tuvuma bezr\u016bp\u012bg\u0101 apzin\u0101\u0161an\u0101s atg\u0101dina Miru\u0161o piemi\u0146as dienu Lat\u012b\u0146amerikas kult\u016br\u0101, tikai \u0161eit, at\u0161\u0137ir\u012bb\u0101 no Meksikas, miru\u0161ie netiek god\u0101ti, t\u0101 ir tikai atrakcija un murgi, ko labi ilustr\u0113 kriocisternu sarga s\u016bdz\u012bbas par cieminiekiem, kuri \u0137erme\u0146u depozit\u0101riju z\u0101k\u0101jot par l\u012b\u0137u noliktavu, jo tos bied\u0113 ideja par sasald\u0113tajiem zombijiem, kas var atdz\u012bvoties un uzbrukt.<\/p>\n

Amerik\u0101\u0146u pieej\u0101 n\u0101ves \/ p\u0113cn\u0101ves \/ nemirst\u012bbas idej\u0101 ir stipri maz\u0101k mitolo\u0123ijas un vair\u0101k biznesa. Nemirst\u012bbas ideja tiek p\u0101rdota kop\u0101 ar stipri p\u0101rliecino\u0161\u0101ku tehnolo\u0123isko risin\u0101jumu k\u0101 putinzem\u0113, turkl\u0101t ir absol\u016bti skaidrs, ka nemirst\u012bbai ir daudz naudas un t\u0101 ir balt\u0101daina. To p\u0101rdod musku\u013coti, atl\u0113tiski cilv\u0113ki ar profesion\u0101li veiktu sejas \u0101das nostiep\u0161anu un nevainojami nopul\u0113tu v\u0113st\u012bjumu sabiedr\u012bbai. Viena no fascin\u0113jo\u0161\u0101kaj\u0101m filmas varon\u0113m ir Nata\u0161a Vita-Mora, cilv\u0113ka uzlabo\u0161anas un ilgdz\u012bves strat\u0113\u0123iju aizst\u0101ve, turkl\u0101t v\u0113l Transhum\u0101nisma manifesta autore. 1950. gad\u0101 dzimu\u0161\u0101s amerik\u0101\u0146u strat\u0113\u0123isk\u0101s dizaineres izskats jau \u0161obr\u012bd ilustr\u0113 pier\u0101d\u012bjumus \u0137erme\u0146a sp\u0113jai ignor\u0113t laika ritumu, bet v\u0113l fascin\u0113jo\u0161\u0101ka ir vi\u0146as paust\u0101 p\u0101rliec\u012bba un tic\u012bba ilgm\u016b\u017e\u012bbai, raksturojot dz\u012bvi k\u0101 arhitekt\u016bru, kur aiz katra pagrieziena gaida p\u0101rsteigums.<\/p>\n

Filmas veidot\u0101jiem izdevies atrast (un p\u0101rliecin\u0101t piedal\u012bties film\u0101) apbr\u012bnojami kolor\u012btus varo\u0146us, kuru idejas, p\u0113t\u012bjumi un politisk\u0101s aktivit\u0101tes sv\u0101rst\u0101s no komiskas apm\u0101t\u012bbas l\u012bdz revolucion\u0101riem zin\u0101tniskiem p\u0113t\u012bjumiem un tehnolo\u0123isk\u0101m vai biotehnolo\u0123isk\u0101m uzvar\u0101m. Tiesa gan, neko vair\u0101k par \u0161iem cilv\u0113kiem m\u0113s neuzzin\u0101m, k\u0101 vien to, cik vi\u0146i st\u0101sta par sav\u0101m idej\u0101m, bet var jau b\u016bt, ka t\u0101 b\u016btu cita filma.<\/p>\n

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Franken\u0161teins 2.0 pied\u0101v\u0101 oper\u0101ciju galdu, kur sav\u0101ktas da\u017eneda\u017e\u0101das \u0137erme\u0146a da\u013cas, atlikusi to savieno\u0161ana un dz\u012bv\u012bbas iedve\u0161ana.<\/p>\n<\/blockquote>\n

Pagarin\u0101t\u0101s dz\u012bvildzes fantasti, teor\u0113ti\u0137i un prakti\u0137i ir sniegu\u0161i ieskatu sav\u0101 darb\u0101 un n\u0101kotnes prognoz\u0113s; aizkadra v\u0113st\u012bjums ir bijis teicams pavadonis visas filmas gait\u0101, turkl\u0101t turpina jau M\u016br\u012b ies\u0101kto \u2013 t\u0101s ir p\u0101rdomas par vienk\u0101r\u0161\u0101m, ikvienam paz\u012bstam\u0101m bail\u0113m, ar kur\u0101m sp\u0113j\u012bgs identific\u0113ties ikviens \u2013 par m\u016bsu gal\u012bgumu, par n\u0101kotni, kuras aprises \u0161obr\u012bd ir visai satumsu\u0161as. Film\u0101 iztr\u016bkst katartisk\u0101, kopsavelko\u0161\u0101, anal\u012btisk\u0101 posma, ja vien par to neuzskat\u0101m pa\u0161u izzi\u0146as procesu. Piem\u0113ram, p\u0113c epizodes ar biomedic\u012bnas in\u017eenieri Kevinu Voriku re\u017eisors turpina zin\u0101tnieka aizs\u0101kto t\u0113mu, st\u0101stot par transhum\u0101nistes M\u0101rt\u012bnas Rotblotas ieteikumu pamest mirst\u012bgo \u0137ermeni un p\u0101rcelties virtu\u0101l\u0101 pr\u0101ta klon\u0101. \u0160\u012b ilgdz\u012bves versija l\u012bdz ar cit\u0101m raisa p\u0101rdomas par transhum\u0101nisma un dz\u012bv\u012bbas \u0113tikas problem\u0101tiku un izaicin\u0101jumiem, bet filmas veidot\u0101ji \u0161\u0101d\u0101 virzien\u0101 nav devu\u0161ies. M\u0101rcis Auzi\u0146\u0161, LU profesors un kvantu fizikas p\u0113tnieks pirms vair\u0101kiem gadiem rakst\u0101 par transhum\u0101nismu<\/a> atsaucas uz biolo\u0123ijas zin\u0101t\u0146u doktoru Robertu Lorencu K\u016bnu: \u201cK\u016bns saist\u012bb\u0101 ar transhum\u0101nismu aicina aizdom\u0101ties par trim, p\u0113c vi\u0146a dom\u0101m, pa\u0161iem galvenajiem jaut\u0101jumiem. Pirmk\u0101rt, gad\u012bjum\u0101, ja m\u016bsu smadzenes piln\u012bb\u0101 tiktu p\u0101rkop\u0113tas k\u0101d\u0101 cit\u0101 vid\u0113 \u0101rpus mums, piem\u0113ram, datora atmi\u0146\u0101, vai \u0161\u012b kopija saglab\u0101s m\u016bsu identit\u0101ti un tai piemit\u012bs m\u016bsu “es”?\u201d\u00a0<\/p>\n

Paturot pr\u0101t\u0101 D\u0101vja S\u012bma\u0146a filmogr\u0101fiju, gr\u016bti pie\u013caut domu, ka izv\u0113l\u0113t\u0101 filmas vizu\u0101l\u0101 est\u0113tika un t\u0101s narat\u012bva uzb\u016bve b\u016btu steigas vai nejau\u0161\u012bbas rezult\u0101ts. Iesp\u0113jams, t\u0101 ir stilistiska un j\u0113dzieniska nodeva atzi\u0146ai<\/a>, ka \u201cn\u0101ves priek\u0161\u0101 m\u0113s visi esam vienl\u012bdz\u012bgi, t\u0101 ir b\u016btiska un neizb\u0113gama dz\u012bves pieredze\u201d? Neraugoties uz \u0161o (dro\u0161i vien daudziem filmas recepcijai neoblig\u0101to) koment\u0101ru, Franken\u0161teins 2.0 ir intens\u012bva un (piedodiet par v\u0101rdu sp\u0113li) elektriz\u0113ta audiovizu\u0101l\u0101 las\u0101mviela, t\u0101 rad\u012bs neomul\u012bgu drebu\u013cu saj\u016btu gar mugurkaulu, v\u0113rojot ainas no cilv\u0113ka \u0137erme\u0146a izst\u0101des un dzirdot Bena Gertcela sarunu ar pa\u0161a rad\u012bto humano\u012bdo robotu. Bet lai j\u016bs mierina biomedic\u012bnas gerontologa Obrija de Greja apsol\u012bjums par metuzalit\u0101tes laikmetu, kad medic\u012bna nevis pal\u0113nin\u0101s noveco\u0161anos, bet atjaunos cilv\u0113kus. \u0160im r\u0101majam v\u012bram ar Mozus vai Billija Gibonsa b\u0101rdu esmu gatava notic\u0113t.<\/p>\n

Un nosl\u0113gum\u0101 gribu atg\u0101din\u0101t, ka kinematogr\u0101fs ir apsteidzis transhum\u0101nistus sp\u0113j\u0101 ignor\u0113t laika ritumu \u2013 kino ir mums vispieejam\u0101kais m\u016b\u017e\u012bg\u0101s dz\u012bves ekvivalents. <\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"\u201eWho wants to live forever\u2026\u201d \u2013 Fredijs Merkurijs to jaut\u0101ja (vai ap\u0161aub\u012bja) jau pirms 40 gadiem. Izr\u0101d\u0101s, t\u0101du…\n","protected":false},"author":2,"featured_media":105717,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[89,90,35,39,38,36,37,34,40],"class_list":{"0":"post-105716","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-entertainment","9":"tag-izklaide","10":"tag-latvia","11":"tag-latvian","12":"tag-latviesu","13":"tag-latviesu-valoda","14":"tag-latviesuvaloda","15":"tag-latvija","16":"tag-lv"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115899814639797919","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/105716","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=105716"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/105716\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/105717"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=105716"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=105716"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=105716"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}