{"id":161658,"date":"2025-08-20T17:37:11","date_gmt":"2025-08-20T17:37:11","guid":{"rendered":"https:\/\/www.europesays.com\/us\/161658\/"},"modified":"2025-08-20T17:37:11","modified_gmt":"2025-08-20T17:37:11","slug":"jacob-elordi-oscar-isaacs-frankenstein-interview-makeup-netflix-and-more","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/161658\/","title":{"rendered":"Jacob Elordi, Oscar Isaac’s Frankenstein Interview: Makeup, Netflix and More"},"content":{"rendered":"

\n\tJacob Elordi<\/a> is unrecognizable in \u201cFrankenstein<\/a>.\u201d He\u2019s not the high school jock who struts the halls of \u201cEuphoria\u201d High, the college boy worth killing for in \u201cSaltburn,\u201d the taller-than-life rock star from \u201cPriscilla.\u201d In Guillermo del Toro\u2019s adaptation of the classic horror novel, Elordi is a creature locked in a deadly feud with his maker, Victor Frankenstein (played by Oscar Isaac<\/a>).<\/p>\n

\n\tTo get into character, Elordi spent up to 10 hours in the makeup chair before shooting on the film\u2019s sprawling sets in Toronto and Scotland. \u201cThere\u2019s so many different layers to the costume,\u201d Elordi says of playing the enigmatic monster with translucent skin. \u201cWhen he\u2019s born, he\u2019s wearing nearly nothing. His chest is open and his head is high. Then, as he starts to experience pain, as we do as a teenager, he starts to hunch his shoulders. And as an adult, he closes off.\u201d<\/p>\n

\n\tYet there was one critic who didn\u2019t buy his performance. Elordi, 28, is visiting New York for a Variety cover shoot accompanied by his own creature \u2014 an incredibly mellow golden retriever, Layla. As Elordi rests his head on Isaac\u2019s shoulder to re-create their complicated on-screen bond, Layla receives belly rubs from members of our crew. In fact, Layla\u2019s so Zen that she didn\u2019t even freak out when Elordi donned layers of prosthetics to look like the monster familiar from countless on-screen depictions. \u201cShe loved it, actually,\u201d Elordi insists. \u201cShe didn\u2019t bark \u2014 or feel threatened.\u201d<\/p>\n

\n\tShe\u2019s going to be the only one. Elordi and Isaac are at the center of one of this year\u2019s biggest bets: A spellbinding 149-minute epic that, for months, has been tapped as a major awards contender for Netflix. (Spoiler warning: It\u2019s worth the wait.) Frankenstein is as blue-chip a Hollywood brand as they come, from the 1910 silent film that brought him to the screen for the first time to the forthcoming \u201cThe Bride!\u201d (Maggie Gyllenhaal\u2019s reimagining of the monster\u2019s girlfriend) and \u201cFrankenstein in Romania\u201d (Sebastian Stan\u2019s next big acting swing after \u201cThe Apprentice\u201d). But the level of investment and scale del Toro demanded for the $120 million picture meant that it took three decades and several false starts to bring this beast to life. \u201cI pitched it everywhere,\u201d del Toro says, sighing. \u201cIt\u2019s been my sort of Mount Everest to climb.\u201d \u00a0<\/p>\n

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

\t\t\t\t\t\t\tPlaton for Variety<\/p>\n

\n\tDel Toro\u2019s long journey to \u201cFrankenstein\u201d will come alive on Aug. 30 at the Venice Film Festival<\/a>. There, audiences will first see Isaac\u2019s tour-de-force turn as Victor. He plays the monster\u2019s daddy as a bohemian mix of rock stars, starting with David Bowie; his hair is in a pompadour, and he wears a wide-brimmed hat and long velvet coat. Victor\u2019s laboratory, which in del Toro\u2019s film is housed in an abandoned water tower outfitted with gargantuan glass columns that change in color from emerald green to ruby red as electricity pulses through them, is the stadium stage that allows the inventor to peacock as he creates a new life-form.\u202f\u202f\u202f \u00a0<\/p>\n

\n\t\u201cI saw him much more as an artist than as a scientist,\u201d Isaac says. \u201cI watched a video of Prince going to the [2007] Super Bowl in order to rehearse. And I just basically stole his walk when he\u2019s going up to the stage with his hands behind the back.\u201d In keeping with the rock star theme, del Toro\u2019s direction consisted of telling Isaac: \u201cGive me more Mick Jagger.\u201d \u00a0<\/p>\n

\n\tHanging out in Manhattan on a Sunday in August, Isaac and Elordi flicker with excitement at finally being able to talk about a project that\u2019s consumed so much of their professional lives. Both men are charismatic movie stars who happen to share a secret film-geek disposition. Elordi has flown in from Los Angeles, where he\u2019s shooting the third season of \u201cEuphoria,\u201d which involves a time jump for his character, Nate, into adulthood. Indeed, at 6-foot-5 but hiding it under a gangly posture, the Australian star can seem younger than his 28 years. He sits cross-legged on a couch, wearing Bottega Veneta loafers (with black petals on them), as he sniffles from a cold. A touch awkward, he\u2019s fit to play a creature who doesn\u2019t fit into this world.<\/p>\n

\n\tThe 46-year-old Isaac, born in Guatemala and raised in Baltimore, New Orleans and Miami, draws him out, and the two play off each other like siblings at a family dinner.\u202f \u00a0<\/p>\n

\n\t\u201cYou\u2019re one of my favorite actors in the world,\u201d Elordi tells Isaac, who blushes. Elordi, as a teenager in Brisbane, first discovered his co-star in \u201cInside Llewyn Davis,\u201d the 2013 film directed by the Coen brothers. \u201cI was shitting bricks at the prospect of working with a hero.\u201d \u00a0<\/p>\n

\n\tIsaac was always del Toro\u2019s first choice for Victor, even before there was a screenplay. The two met over a long lunch as del Toro teased out details. \u201cWhen I talked to Guillermo, he was like, \u2018I\u2019m making a feast,\u2019\u201d Isaac says. \u201cAnd he really did.\u201d A year later, del Toro had Isaac come to a hotel room, where he presented the actor with 30 pages from the script, and Isaac performed every part out loud. \u201cI\u2019m just reading all the voices,\u201d Isaac recalls. By the time he got to the last page, \u201cwe were just crying,\u201d Isaac says. \u201cThere\u2019s just so much pain there.\u201d \u00a0<\/p>\n

\n\tBut Elordi was a last-minute addition. When Andrew Garfield dropped out of the project before shooting was set to begin in March 2024, citing scheduling conflicts, del Toro had nine weeks to find a new leading man. He set up a Zoom with Elordi, having been impressed by his performance as a pampered aristocrat in \u201cSaltburn.\u201d The prospect of a meeting left Elordi, a huge fan of del Toro\u2019s, overanalyzing everything.\u202f\u202f\u202f \u00a0<\/p>\n

\n\t\u201cI have this thing which I\u2019m trying to shake, but every time I have to talk to a director I\u2019m up all night,\u201d Elordi says, his voice quickening as he reenacts his nervousness. \u201cYou set your iPhone up and you\u2019re like, \u2018You have to chill.\u2019 But then you think, \u2018Should I just be in a white T-shirt or should I be more dressed up? It\u2019s Guillermo del Toro, so I need to look like I\u2019m educated, but also excited. Should I be in a fedora or have a crucifix?\u2019\u201d\u202f\u202f \u00a0<\/p>\n

\n\tHe didn\u2019t need to worry, or accessorize. Elordi and del Toro were aligned in their interpretation\u202fof the creature, seeing him as an innocent figure captivated by the world around him\u202funtil the people he meets torture, abuse and shun him, leaving him jaded and vengeful. Del Toro mapped out the emotional journey, from trusting fawn to rageful beast, for Elordi to chart. \u201cJacob\u2019s eyes are so full of humanity,\u201d del Toro says. \u201cI cast him because of his eyes.\u201d\u202f\u202f\u202f\u00a0<\/p>\n

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

\t\t\t\t\t\t\tPlaton for Variety<\/p>\n

\n\t\u201cI was like, \u2018OK, I\u2019ll talk to you soon,\u2019\u201d Elordi recalls. As he waited to hear back from the director, \u201cit was the most excruciating nine days of my life.\u201d But Isaac knew Elordi had gotten the role. \u201cGuillermo called me after,\u201d Isaac recalls, \u201clike, \u2018I found him! The creature could be Jesus. But with Jacob, it\u2019s Adam. He\u2019s the first human, and it has that innocence.\u2019\u201d\u00a0 \u00a0<\/p>\n

\n\tPlaying Frankenstein\u2019s creation was the most demanding role of Elordi\u2019s career. To make his early call time, sometimes he\u2019d arrive to the makeup trailer at 10 p.m., staying up all night as he underwent the arduous transformation into a hulking, alabaster thing whose body is a fusion of limbs and organs from different corpses.\u202f\u202f\u202f \u00a0<\/p>\n

\n\t\u201cYou throw time away when you make a film like this,\u201d Elordi says. \u201cI stopped having a clock, and I would just wait till the SUV arrived. That meant it was time to go. I didn\u2019t do breakfast, lunch or dinner, or think in terms of morning, afternoon, night. It was just one time.\u201d\u202f\u202f \u00a0<\/p>\n

\n\tWhen he did have a spare moment, Elordi practiced the creature\u2019s unsteady walk and gestures in front of the mirror in his hotel room. The halting, spastic movements he developed were drawn from butoh, a Japanese form of dance noted for its slow, almost disembodied style. To create the character\u2019s gargling and otherworldly speaking voice, Elordi listened to Mongolian throat singing. \u201cIt\u2019s guttural smooth chanting,\u201d he explains. And he practiced saying his lines with the false teeth he wears for the movie, to get a sense of how they changed his pronunciation. \u201cIt feels like it got hit in the head with a bat,\u201d he says, describing the creature\u2019s grunts early in the film.\u00a0 \u00a0<\/p>\n

\n\tDel Toro warned Elordi about what would be expected of him if he took on the role.\u202f\u201cThis is the sacrament,\u201d he told him during one of their initial conversations. \u201cYou need to get into a holy state.\u201d\u202f\u202fDel Toro\u2019s passion encouraged Elordi to push himself to the breaking point. And the dramatic settings del Toro creates in meticulous detail, from a dreary dungeon\u202fto an opulent estate to\u202fa schooner stuck in the frozen arctic, made shooting \u201cFrankenstein\u201d a singular experience. \u201cGuillermo would say, \u2018This is \u201cThe Last of the Fucking Mohicans,\u201d\u2019\u201d Elordi remembers. \u201cHe was like, you won\u2019t see another set like this again.\u201d\u202f<\/p>\n

\n\tNetflix will give \u201cFrankenstein\u201d an exclusive three-week theatrical release starting on October 17, before debuting it on its service on November 7. The film is certain to generate buzz among this year\u2019s Oscar contenders, and one of the talking points will inevitably center on Netflix producing a project that demands to be seen on the big screen. \u00a0<\/p>\n

\n\tEven the stars of \u201cFrankenstein\u201d want audiences to see it in movie theaters. \u201cIt\u2019s heartbreaking that films like these don\u2019t have full cinematic releases,\u201d Elordi says. \u201cMy great hope is that we get this film in cinemas for as long\u202fas possible. And then, hopefully, that can set a precedent for more films out there.\u201d \u00a0<\/p>\n

\n\tElordi lists one of his favorite moments from the film \u2014 the birth of the creature as the camera pulls back in a sweeping shot, and he imagines theatergoers responding to it. \u201cI want a couple of teenagers kissing in the back to see that and have those memories,\u201d Elordi says. \u201cYou may not have that experience if you\u2019re just at home on your iPad.\u201d\u202f \u00a0<\/p>\n

\n\tIsaac jumps in to stress audiences will have the option to see the film as del Toro intended. \u201cIt is gonna go to the theater for a while,\u201d he says. \u201cI think people will get to see it on the big screen as much as they can. It is such a marvel.\u201d He thinks about it some more. \u201cIt\u2019d be nice to have a communal experience,\u201d Isaac says. \u201cSo yeah, seeing it in a theater would be ideal.\u201d\u00a0 \u00a0<\/p>\n

\n\tNearly 20 years ago, del Toro\u2019s \u201cFrankenstein\u201d was set up at Universal, the home to all the seminal 1930s monster movies, until the studio got cold feet. Even after del Toro\u2019s \u201cPan\u2019s Labyrinth\u201d became an international hit, winning three Oscars, executives were deterred by the gargantuan budget and the idiosyncratic take on \u201cFrankenstein,\u201d which reimagines the story as a layered family drama instead of a standard horror film.\u00a0<\/p>\n

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

\t\t\t\t\t\t\tPlaton for Variety<\/p>\n

\n\tYears passed, with \u201cFrankenstein\u201d lying eerily quiet; in 2018, del Toro returned to the Oscars with the best picture sweep for \u201cThe Shape of Water.\u201d When the director signed a first-look deal at Netflix in 2020, the company\u2019s co-CEO, Ted Sarandos, asked him about his bucket-list projects. They included \u201cPinocchio\u201d \u2014 the classic story of a wooden boy that del Toro made\u202finto a 2022 stop-motion animated film set in fascist Italy \u2014 and \u201cFrankenstein,\u201d which Netflix greenlit for a hefty price.\u202f\u202f\u202f \u00a0<\/p>\n

\n\tIf there was ever a project to justify a $120 million budget, it\u2019s this one \u2014 a story ambitious enough to imagine what lies between life and death. Published in 1818, Mary Shelley\u2019s novel, \u201cFrankenstein; or The Modern Prometheus,\u201d depicted a scientist who experiences the tragic consequences of playing God. Over the ensuing two centuries and change, the book has been adapted as an iconic monster movie (1931\u2019s \u201cFrankenstein\u201d), played for laughs (1974\u2019s \u201cYoung Frankenstein\u201d) and reimagined as a steamy bodice ripper (1994\u2019s \u201cMary Shelley\u2019s Frankenstein\u201d). At the heart of most of these films is a warning about the dangers of disruptive technology. \u00a0<\/p>\n

\n\tDel Toro\u2019s film, which reconfigures the essential elements of Shelley\u2019s story into something wholly original, is primarily interested in the psychological damage that parents can inflict on their children.\u202fHis Victor is the product of a coddling mother (Mia Goth), who dies young and leaves him emotionally adrift, and a domineering father (Charles Dance), who molds him into a brilliant but heedless inventor.\u202fVictor\u2019s tragic flaw is that instead of learning from his abusive upbringing, he treats the creature as an unwanted child. \u202f \u00a0<\/p>\n

\n\t\u201cThe usual discourse of Frankenstein has to do with science gone awry,\u201d del Toro says. \u201cBut for me, it\u2019s about the human spirit. It\u2019s not a cautionary tale: It\u2019s about forgiveness, understanding and the importance of listening to each other.\u201d\u202fIt\u2019s a story that del Toro first fell in love with watching James Whale\u2019s \u201cFrankenstein\u201d as a kid growing up in Mexico. The young Guillermo wasn\u2019t drawn to Victor Frankenstein, but to the outsider: a flat-topped monster with bolts on his neck. \u201cHe was out of place in the same way that I felt as a kid.\u201d\u202f\u202f \u00a0<\/p>\n

\n\tLike many of\u202fdel Toro\u2019s films, \u201cFrankenstein\u201d is a monster movie in which\u202fhumans are the real villains, and the\u202fbeasts they fear are the true victims. Del Toro told Elordi and Isaac that he was as inspired by telenovelas and opera as he was by Gothic horror stories. \u202f\u202f \u00a0<\/p>\n

\n\t\u201cIt\u2019s through the prism of this intense Latin American point of view,\u201d Isaac says. \u201cIt\u2019s\u202fthis decidedly European story told with\u202fa very un-European approach. There was one moment when\u202fI was looking at the monitors and seeing this castle in Edinburgh, and all this sumptuousness. And I was like, \u2018Is it too much?\u2019\u201d Isaac playfully puts on a heavy Spanish accent to mimic his director. \u201cAnd he\u2019s like, \u2018Cabr\u00f3n, there\u2019s a reason why my Victor is played by\u202f\u00d3scar Isaac Hern\u00e1ndez!\u2019\u201d\u202f\u202f \u00a0<\/p>\n

\n\tTo bring the creature to life, Victor turns his laboratory into a grotesque chophouse, filling it with severed arms, legs, heads and torsos that he hacks away at and screws together as blood and viscera cake every surface. And when he does emerge, the creature is a killing machine, dispensing with sailors, hunters and even a pack of wolves by cracking open their skulls. Yet del Toro doesn\u2019t see the film as a scary movie.\u202f\u201cRidiculous as it may sound, I see it as a biography of these characters,\u201d he says.\u00a0<\/p>\n

\n\tAs in many adaptations of the story, Victor is a brilliant scientist who realizes too late that he cannot control the creature he has created. But this is also the most Freudian interpretation of Shelley\u2019s \u201cFrankenstein\u201d yet.\u202fWhen not railing against religion and social conventions, Victor is constantly nursing a glass of milk. Goth\u2019s character may be off-screen, but she isn\u2019t far.\u00a0<\/p>\n

\n\t\u201cGuillermo would always be like, \u2018He wants that lechita,\u2019\u201d Isaac says. \u201cWhen everything goes wrong, he just wants that mama\u2019s milk.\u201d\u202f(To drive the point home, Goth plays both Victor\u2019s mother and Elizabeth, the woman he falls in love with who happens to be betrothed to his brother.)\u202f\u202f\u202f \u00a0<\/p>\n

\n\tDel Toro\u2019s adaptation of the 207-year-old story feels modern, but his approach is old school. In Toronto, the \u201cFrankenstein\u201d crew built 360-degree versions of both the lab and the ship on which Victor and the creature have their final confrontation. Some directors would have used a green-screen and computers to cut costs, but del Toro felt it was important to assemble a world for his actors to inhabit. \u201cI want real sets,\u201d del Toro explains. \u201cI don\u2019t want digital. I don\u2019t want AI. I don\u2019t want simulation. I want old-fashioned craftsmanship. I want people painting, building, hammering, plastering.\u201d<\/p>\n

\n\tAfter \u201cFrankenstein,\u201d Elordi underwent another transformation to portray Heathcliff in Emerald Fennell\u2019s \u201cWuthering Heights.\u201d As he channeled the Emily Bront\u00eb antihero earlier this year outside London, he was shocked when a grunt escaped from his own throat.<\/p>\n

\n\t\u201cIt was one of my first scenes,\u201d Elordi says with a laugh. \u201cThe other actor said something, and I went \u2018Wwooouuuugh!\u2019\u201d He re-creates his deep groan from the del Toro movie \u2014 wounded and childlike. \u201cBecause I had learned to respond to everything with a grunt. Something was still there.\u201d<\/p>\n

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

\t\t\t\t\tGuillermo del Toro and Oscar Isaac on the set of \u201cFrankenstein\u201d
\n\t\t\t\t\t\t\tKen Woroner\/Netflix<\/p>\n

\n\tDespite the momentary identity crisis, Elordi has moved on and has several projects in the can. Indeed, \u201cFrankenstein\u201d will be premiering at a busy time for both its stars. After the Venice gala, Isaac will fly to Telluride to screen a secret documentary that involves him. Then he travels back to Venice for the debut of \u201cIn the Hand of Dante,\u201d a mob drama directed by Julian Schnabel. Over the course of his career, Isaac has moved seamlessly between franchises such as \u201cStar Wars\u201d and \u201cX-Men\u201d and auteur-driven fare like \u201cEx Machina.\u201d (When asked if he\u2019d return as Poe Dameron, he borrows a line from \u201cThe Simpsons\u201d in a high-pitched child\u2019s voice: \u201cI\u2019m a Star Wars.\u201d Then he says, \u201cYeah, I\u2019d be a Star Wars again if there was something good to do with that.\u201d)<\/p>\n

\n\tIsaac says there\u2019s no grand strategy behind his choices.\u202f\u201cIt\u2019s just about \u2018Is there something in a film that I love enough that when that alarm goes off in the morning, I\u2019m ready and wanting to go to work?\u2019\u201d he says. \u201c\u2018Is there enough in it to pull me across the finish line?\u2019\u201d \u00a0<\/p>\n

\n\tIn talking about his own professional choic\u00ad\u00ades, Elordi turns to Isaac: \u201cI love what you just said,\u201d Elordi says. \u201cFor me, it\u2019s like, \u2018Do I need this every single day? Is this consuming my sleep? Is it everything?\u2019\u201d\u202f \u00a0<\/p>\n

\n\tElordi\u2019s turn as Nate in \u201cEuphoria\u201d has been shrouded in secrecy, especially as HBO has been working since 2022 to reassemble the A-list cast that includes Zendaya and Sydney Sweeney. \u201cI was pretty busy,\u201d Elordi says when asked if he was concerned the show wouldn\u2019t return. \u201cBut I will say it\u2019s really nice to be back. It\u2019s been eight years or something since I started. It\u2019s just lovely to see all these people that you\u2019ve grown up with. It\u2019s the same crew, the same cast.\u201d\u202f<\/p>\n

\n\tAnd he\u2019s excited that creator Sam Levinson\u202fis using 65mm film to shoot the new season, a rarity given the prevalence of digital cameras. \u201cVisually, what I\u2019m seeing is incredible,\u201d he says. \u201cIt looks really good.\u201d (He\u2019s not certain if the other characters are also jumping forward in time: \u201cI don\u2019t really know what anyone else is doing. It\u2019s all quite separate.\u201d)<\/p>\n

\n\tBut as he looks ahead to his own life, Elordi longs for another project that will push him as an actor, demanding everything he has and more, just like he experienced on \u201cFrankenstein.\u201d \u201cIt changed me fundamentally \u2014 changed the way that I approach performance and the way that I watch movies,\u201d he says.\u202f<\/p>\n

\n\tWhile making the film, del Toro says he came to believe Elordi was \u201csuperhuman.\u201d Not only did the actor endure grueling hours, but he put his body on the line, running barefoot through a forest and scaling the side of a ship. \u201cNever once did he come to me and complain,\u201d del Toro marvels. \u201cNever once did he come to me and say, \u2018I\u2019m tired. I\u2019m hungry. Can I go?\u2019 And he put in 20-hour days.\u201d<\/p>\n

\n\tBut Isaac says there was one time when even Elordi showed the strain he was under. \u201cIt was like after the eighth take of having to carry Mia through a crowd and down the steps of a mansion,\u201d Isaac says. \u201cHe was like, \u2018Why are we going again, Guillermo?\u2019 And then he said, \u2018OK, just because, you know, I am a person.\u2019\u201d\u00a0<\/p>\n

\n\tPerson or not, the creature prevailed. \u201cAnd then,\u201d Isaac continues, \u201che did it again.\u201d<\/p>\n

\t\tStyling (Elordi): Wendi and Nicole; Styling (Isaac): Jan-Michael Quammie\/The Wall Group; Grooming (Elordi): Amy Komorowski\/The Wall Group; Grooming (Isaac): Tim Dolan\/Tracey Mattingly; Fashion Credits, Elordi (all looks): Bottega Veneta; Fashion Credits, Isaac (cover): Sweater: Miu Miu ; Pants: Calvin Klein Collection; Watch: Cartier; Fashion Credits. Isaac (non-cover images): Coat and Turtleneck: Celine; Pants: Calvin Klein\u00a0\t<\/p>\n","protected":false},"excerpt":{"rendered":"Jacob Elordi is unrecognizable in \u201cFrankenstein.\u201d He\u2019s not the high school jock who struts the halls of \u201cEuphoria\u201d…\n","protected":false},"author":3,"featured_media":161659,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[171,65100,65229,53,93599,67,132,68,30989],"class_list":{"0":"post-161658","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-movies","8":"tag-entertainment","9":"tag-frankenstein","10":"tag-jacob-elordi","11":"tag-movies","12":"tag-oscar-isaac","13":"tag-united-states","14":"tag-unitedstates","15":"tag-us","16":"tag-venice-film-festival"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/115062311989161839","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/161658","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=161658"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/161658\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/161659"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=161658"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=161658"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=161658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}