{"id":1419,"date":"2019-02-21T14:19:15","date_gmt":"2019-02-21T14:19:15","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=1419"},"modified":"2024-02-23T17:02:39","modified_gmt":"2024-02-23T17:02:39","slug":"academy-awards-2019-who-will-win-who-should-win-and-who-was-left-out","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2019\/02\/21\/academy-awards-2019-who-will-win-who-should-win-and-who-was-left-out\/","title":{"rendered":"Academy Awards 2019: Who Will Win, Who Should Win, and Who Was Left Out"},"content":{"rendered":"\n
\"\"
naked golden men<\/figcaption><\/figure>\n\n\n\n

It\u2019s easy to hate the Academy Awards. It\u2019s a shallow, vapid, and bloated showcase of rich and beautiful people congratulating themselves for jobs well done. It\u2019s all about popularity, people-pleasing, and political correctness\u2014not about rewarding the films that have broken the most ground artistically. It\u2019s all about pretending to celebrate the accomplishments of a creative industry by highlighting its most competitive and destructive aspects.<\/p>\n\n\n\n

Did I get everything covered? Good. To sum up all the indie\nhipster arguments, the Oscars are a celebration of movie-dom that almost always\nseems to choose the safest and most obvious films to celebrate year after year.\nCould there ever truly be such a thing as a \u201cbest\u201d director, actress, or movie?\nOf course not. But competition breeds interest, interest breeds money, and, in\ncase you haven\u2019t been paying attention, that\u2019s what we all know movies are really <\/em>about.<\/p>\n\n\n\n

So, why bother? Why bother watching, why bother reading, why\nbother showing any interest in these ridiculous, inflated awards with a\nbloated, hideously dated ceremony? It\u2019s partially habit and it\u2019s partially a\nvicarious thrill. More than anything, it\u2019s because the Oscars are essentially a\npolitical race for Hollywood that helps determine what types of films are going\nto be made in the years to come (box office numbers might have a little\nsomething to do with that, as well, but that\u2019s another story). <\/p>\n\n\n\n

That coveted golden statue somehow provides more validation than almost anything in Hollywood, and validation is what movies need to get produced in the first place (though, again, box office numbers might also play a small part in that). Long story short, the Oscars are still important whether we like them or not because of how they affect the business they represent\u2014no matter how unwittingly ironic that representation may be.<\/p>\n\n\n\n

So, without further ado, here\u2019s our breakdown of the major categories (picture, acting, directing, writing). This doesn\u2019t suggest that any one category is more important than another (or more deserved of airtime during the ceremony), but these are the categories in which I\u2019m most informed, have seen all the nominations, and have the most to say.<\/p>\n\n\n\n

\"\"
Mahershala Ali and Viggo Mortensen in Green Book<\/figcaption><\/figure>\n\n\n\n

BEST PICTURE NOMINATIONS<\/strong><\/p>\n\n\n\n

BlacKkKlansman<\/em><\/p>\n\n\n\n

Black Panther<\/em><\/p>\n\n\n\n

Bohemian Rhapsody<\/em><\/p>\n\n\n\n

Green Book<\/em><\/p>\n\n\n\n

The Favourite<\/em><\/p>\n\n\n\n

Roma<\/em><\/p>\n\n\n\n

A Star Is Born<\/em><\/p>\n\n\n\n

Vice<\/em><\/p>\n\n\n\n

WHAT WILL WIN<\/em>: Green\nBook<\/em><\/strong><\/p>\n\n\n\n

This one\u2019s a bit of a draw, with many predicting Roma <\/em>to take the prize. While crowd-pleasers like A Star is Born, Black Panther, <\/em>and Bohemian Rhapsody <\/em>all stand a fighting chance, the safest bet is most likely Green Book. <\/em>While there\u2019s no denying it\u2019s a very good film featuring two of the best performances of the year (Mahershala Ali and Viggo Mortensen), it\u2019s also the kind of film the Academy loves to reward. It tackles important topics without hitting too hard and also makes us feel good in the end. It\u2019s a well-made film designed to reach mass audiences that also has something to say. In other words, Green Book = <\/em>Oscar Gold.<\/p>\n\n\n\n

WHAT SHOULD WIN<\/em>: The\nFavourite<\/em><\/strong><\/p>\n\n\n\n

Yorgos Lanthimos\u2019 daring and darkly comedic The Favourite <\/em>is easily the most\noriginal and memorable film on this list, though Alfonso Curon\u2019s\nepic-yet-intimately-told Roma <\/em>is just\nas deserving for its vivid photography and wholly effective minimalistic\napproach.<\/p>\n\n\n\n

WHAT WAS LEFT OUT<\/em>: First Reformed<\/em><\/strong>,<\/em> If Beale Street Could Talk<\/em><\/strong>,<\/em> Leave No Trace First Man<\/em><\/strong>,<\/em> Sorry to Bother You<\/em><\/strong>,<\/em> Tully, The Front Runner<\/em><\/strong><\/p>\n\n\n\n

Obviously, genre entries like Mandy <\/em>or Bad Times at the El Royale <\/em>(personal favorites from last year) never stood a chance at being nominated. The most notable films that were shut out of the race are Paul Schrader\u2019s First Reformed, <\/em>Barry Jenkins\u2019 If Beale Street Could Talk,<\/em> Damien Chazzelle\u2019s First Man, <\/em>and Debra Granik\u2019s Leave No Trace<\/em>. All of these films exhibit qualities the Academy used to celebrate before it became overly concerned with pleasing every studio in town and every individual in America. <\/p>\n\n\n\n

\"Adam
Adam Driver and John David Washington in BlacKkKlansman<\/figcaption><\/figure>\n\n\n\n

BEST DIRECTOR\nNOMINATIONS<\/strong><\/p>\n\n\n\n

Alfonso Cuaron for Roma<\/em><\/p>\n\n\n\n

Pawel Pawlikowski for Cold\nWar<\/em><\/p>\n\n\n\n

Yorgos Lanthimos for The\nFavourite<\/em><\/p>\n\n\n\n

Spike Lee for BlacKkKlansman<\/em><\/p>\n\n\n\n

Adam McKay for Vice<\/em><\/p>\n\n\n\n

WHO WILL WIN<\/em>: Alfonso Cuaron<\/strong> for Roma<\/em><\/strong><\/p>\n\n\n\n

It\u2019s looking very likely that Alfonso Cuaron will be named the director of the year, especially considering how aggressively Netflix is campaigning their first Oscar-darling epic. This isn\u2019t a bad thing, as his work on the film is the most refined and mature he\u2019s done to date. There is a slight chance the Academy might just reward him for his cinematography (Cuaron is also nominated for being his own Director of Photography), though he\u2019s probably a shoo-in for both.<\/p>\n\n\n\n

WHO SHOULD WIN<\/em>: Spike Lee<\/strong> for BlacKkKlansman<\/em><\/strong><\/p>\n\n\n\n

Cuaron and Lanthimos are equally deserving this year, so it\nwould be justified if either of them takes home the prize. However, it\u2019s Lee\u2019s\nfirst nomination\u2014and who knows if he\u2019ll ever get another one? Though BlacKkKlansman<\/em> does not necessarily\nrepresent his best work, we all know the Academy tends to reward for their past\nmistakes (like not even nominating him for Do\nthe Right Thing <\/em>or Malcolm X<\/em>), so\njust give Lee the Oscar now when he has the chance!<\/p>\n\n\n\n

WHO THEY LEFT OUT<\/em>: Melanie Laurent <\/strong>for Galveston<\/em><\/strong>, Paul Schrader <\/strong>for First Reformed<\/em><\/strong>, Barry Jenkins<\/strong> for If Beale Street Could Talk<\/em><\/strong>, Debra Granik<\/strong> for Leave No Trace<\/em><\/strong>, <\/em>Boots Riley<\/strong> for Sorry To Bother You<\/em><\/strong><\/p>\n\n\n\n

Though she never had a chance at being nominated, I was most impressed last year by Melanie Laurent’s directorial touches on her beautiful-yet-hard-boiled adaptation of Nic Pizzolatto\u2019s novel, Galveston<\/em>. Paul Schrader is the most glaring omission, however, for his career-best work helming the flawless First Reformed<\/em>. <\/p>\n\n\n\n

\"Ethan
Ethan Hawke in First Reformed<\/figcaption><\/figure>\n\n\n\n

BEST ORIGINAL\nSCREENPLAY NOMINATIONS<\/strong><\/p>\n\n\n\n

Deborah Davis and Tony McNamara for The Favourite<\/em><\/p>\n\n\n\n

Paul Schrader for First\nReformed<\/em><\/p>\n\n\n\n

Nick Vallelonga, Brian Currie, and Peter Farrelly for Green Book<\/em><\/p>\n\n\n\n

Alfonso Cuaron for Roma<\/em><\/p>\n\n\n\n

Adam McKay for Vice<\/em><\/p>\n\n\n\n

WHO WILL WIN<\/em>: Nick Vallelonga, Brian Currie<\/strong>, and Peter Farrelly<\/strong> for Green Book<\/em><\/strong><\/p>\n\n\n\n

Green Book <\/em>is very likely to be the Academy sleeper-favorite of the year for the reasons listed above. It won\u2019t be a crime if this happens, but there is an outside chance the Academy could do the right thing and reward Schrader for the quality of his career-encapsulating First Reformed <\/em>screenplay.<\/p>\n\n\n\n

WHO SHOULD WIN<\/em>: Paul Schrader<\/strong> for First Reformed<\/em><\/strong><\/p>\n\n\n\n

This is almost needless to say now, given the above\nstatements. Schrader deserves the prize not only for his disciplined and\nflawless work on First Reformed, <\/em>but\nalso for his entire underrated career and influence on modern filmmaking. <\/p>\n\n\n\n

WHO WAS LEFT OUT<\/em>: Boots Riley<\/strong> for Sorry to Bother You<\/em><\/strong>, Diablo Cody<\/strong> for Tully<\/em><\/strong>, Drew Goddard<\/strong> for Bad Times at the El Royale<\/em><\/strong>, Jonah Hill<\/strong> for Mid90s<\/em><\/strong>, Sam Levinson<\/strong> for Assassination Nation<\/em><\/strong><\/p>\n\n\n\n

Boots Riley\u2019s ingeniously inventive and scathingly satirical screenplay for Sorry to Bother You <\/em>is the most overlooked in this category. Probably too dangerous for the Academy\u2019s tastes, this would have been the most-fitting slot to at least acknowledge the film\u2019s brilliance.<\/p>\n\n\n\n

\"\"
KiKi Lane in If Beale Street Could Talk<\/figcaption><\/figure>\n\n\n\n

BEST ADAPTED\nSCREENPLAY NOMINATIONS<\/strong><\/p>\n\n\n\n

Joel & Ethan Coen for The Ballad of Buster Scruggs<\/em><\/p>\n\n\n\n

Charlie Wachtel & David Rabinowitz and Kevin Willmott\n& Spike Lee for BlacKkKlansman<\/em><\/p>\n\n\n\n

Nicole Holofcener and Jeff Whitty for Can You Ever Forgive Me?<\/em><\/p>\n\n\n\n

Barry Jenkins for If\nBeale Street Could Talk<\/em><\/p>\n\n\n\n

Eric Roth and Bradley Cooper & Will Fetters for A Star Is Born<\/em><\/p>\n\n\n\n

WHO WILL AND SHOULD\nWIN<\/em>: Barry Jenkins<\/strong> for If\nBeale Street Could Talk<\/em><\/strong><\/p>\n\n\n\n

The Academy blew it with this movie by not nominating it for\nBest Picture and for not honoring its director\u2014but they should know to make up\nfor it by rewarding it in this category.<\/p>\n\n\n\n

WHO WAS LEFT OUT: Debra\nGranik & Anne Rossellini<\/strong> for Leave No Trace<\/em><\/strong>, Josh Singer <\/strong>for First Man<\/em><\/strong>, Matt Bai & Jay Carson & Jason Reitman<\/strong> for The\nFront Runner<\/em><\/strong>, <\/em>Lynne Ramsay<\/strong> for You Were Never Really Here<\/em><\/strong><\/p>\n\n\n\n

Debra Granik and Anne Rossellini\u2019s Leave No Trace <\/em>screenplay\u2014based on Peter Rock\u2019s novel\u2014is easily the most overlooked title in this category. The film itself failed to score a single nomination, proving that the Academy is, indeed, quite capable of error.<\/p>\n\n\n\n

\"\"
Regina King in If Beale Street Could Talk<\/figcaption><\/figure>\n\n\n\n

BEST SUPPORTING\nACTRESS NOMINATIONS<\/strong><\/p>\n\n\n\n

Amy Adams for Vice<\/em><\/p>\n\n\n\n

Marina de Tavira for Roma<\/em><\/p>\n\n\n\n

Regina King for If\nBeale Street Could Talk<\/em><\/p>\n\n\n\n

Emma Stone for The\nFavourite<\/em><\/p>\n\n\n\n

Rachel Weisz for The\nFavourite<\/em><\/p>\n\n\n\n

WHO WILL AND SHOULD WIN<\/em>: Regina King<\/strong> for If Beale Street Could Talk<\/em><\/strong><\/p>\n\n\n\n

Again, the Academy needs to save face as much as possible\nfor not acknowledging this film more fully. King\u2019s emotionally devastating and\ndeeply committed performance is one of many great things about it, and it\u2019s the\none the Academy is most likely to reward.<\/p>\n\n\n\n

WHO WAS LEFT OUT: Thomasin\nMcKenzie<\/strong> for Leave No Trace<\/em>, Mackenzie Davis<\/strong> for Tully<\/em><\/strong>, Cynthia Erivo<\/strong> for Bad Times at the El Royale<\/em><\/strong>,\nVera Farmiga<\/strong> for The\nFront Runner<\/em><\/strong>, <\/em>Amanda Seyfried<\/strong> for First\nReformed<\/em><\/strong><\/p>\n\n\n\n

A great group of actresses from some great films were left out of the nominations in this category, but Thomasin McKenzie\u2019s work in Leave No Trace <\/em>is the most curiously absent. Only a teenager, she gives an emotionally grounded and integrity-laden performance that suggests a presence and talent well beyond her years.<\/p>\n\n\n\n

\"\"
Bradley Cooper and Sam Elliot in A Star Is Born<\/figcaption><\/figure>\n\n\n\n

BEST SUPPORTING ACTOR\nNOMINATIONS<\/strong><\/p>\n\n\n\n

Mahershala Ali for Green\nBook<\/em><\/p>\n\n\n\n

Adam Driver for BlacKkKlansman\n<\/em><\/p>\n\n\n\n

Sam Elliot for A Star\nIs Born<\/em><\/p>\n\n\n\n

Richard E. Grant for Can\nYou Ever Forgive Me?<\/em><\/p>\n\n\n\n

Sam Rockwell for Vice<\/em><\/p>\n\n\n\n

WHO WILL WIN: <\/em>Mahershala Ali <\/strong>for Green Book<\/em><\/strong><\/p>\n\n\n\n

As stated a few times before, Green Book <\/em>could very well have a minor sweep at the Oscars this\nyear. Actors also don\u2019t get any better than Ali, and his work in Green Book <\/em>is a continuation of his\nrecent hot streak. As deserved as he is of another Oscar, he should have been\nnominated in the Leading Actor category. Given the size and the weight of his\nrole, promoting him as a supporting actor was obviously a ploy by the film\u2019s\nproducers to increase Ali\u2019s odds of winning.<\/p>\n\n\n\n

WHO SHOULD WIN: <\/em>Sam Elliot <\/strong>for A Star Is Born<\/em><\/strong><\/p>\n\n\n\n

Sam Elliot has been one of the most reliable presences on\ntheater screens for decades. It\u2019s his time. Let\u2019s also not forget how Elliot\ncarries some of the film\u2019s strongest dramatic moments in the simplest, quietest,\nand most effective ways possible.<\/p>\n\n\n\n

WHO WAS LEFT OUT: <\/strong><\/em>Jeff Bridges<\/strong>, Chris Hemsworth<\/strong>, and Lewis Pullman<\/strong> for Bad Times at the El Royale<\/em><\/strong>, Christan Slater<\/strong> and Jonathan Pryce<\/strong> for The Wife<\/em><\/strong>, <\/em>Ron Livingston<\/strong> for Tully<\/em><\/strong><\/p>\n\n\n\n

As stated above, Bad Times at the El Royale <\/em>was never going to receive any major nominations this year. However, it would have been nice to see a member or two of its flawless ensemble cast be recognized. Bridges, Hemsworth, and Pullman all give stellar performances that are as emotionally in-depth and off-the-wall as the film itself.<\/p>\n\n\n\n

\"\"
Glenn Close in The Wife<\/figcaption><\/figure>\n\n\n\n

BEST ACTRESS\nNOMINATIONS<\/strong><\/p>\n\n\n\n

Yalitza Aparcio for Roma<\/em><\/p>\n\n\n\n

Glenn Close for The\nWife<\/em><\/p>\n\n\n\n

Olivia Colman for The\nFavourite<\/em><\/p>\n\n\n\n

Lady Gaga for A Star\nis Born<\/em><\/p>\n\n\n\n

Melissa McCarthy for Can\nYou Ever Forgive Me?<\/em><\/p>\n\n\n\n

WHO SHOULD AND WILL\nWIN<\/em>: Glenn Close<\/strong> for The\nWife<\/em><\/strong><\/p>\n\n\n\n

After seven nominations and no wins, it appears that this\nwill be Close\u2019s year. Her performance in The\nWife<\/em> is just as skilled, focused, and full of life as anything else she\u2019s\ndone. The award will simultaneously honor a single great performance and the\nspan of her entire, awe-inspiring career. This one\u2019s a no-brainer\u2014though Olivia\nColman could surprise us.<\/p>\n\n\n\n

WHO WAS LEFT OUT<\/em>: Evan Rachel Wood<\/strong> for Allure<\/em><\/strong>,\nCharlize Theron<\/strong> for Tully<\/em><\/strong>,\nKiKi Layne<\/strong> for If Beale Street Could Talk<\/em><\/strong>,\nJamie Lee Curtis<\/strong> for Halloween<\/em><\/strong>,\nElsie Fisher <\/strong>for Eighth Grade<\/em><\/strong><\/p>\n\n\n\n

A number of great actresses were overlooked by the Academy this year, but Evan Rachel Wood ranks the highest for her work in Allure<\/em>. It\u2019s a jagged, intense, and fearless performance that is in a league in and of itself. Though the emotionally brutal film never stood a chance at being recognized by the Academy, Wood\u2019s performance in Allure <\/em>further proves that she is the most refined and thoughtful actress of her generation.<\/p>\n\n\n\n

\"\"
Rami Malek in Bohemian Rhapsody<\/figcaption><\/figure>\n\n\n\n

BEST ACTOR\nNOMINATIONS<\/strong><\/p>\n\n\n\n

Christian Bale for Vice<\/em><\/p>\n\n\n\n

Bradley Cooper for A\nStar is Born<\/em><\/p>\n\n\n\n

Willem Dafoe for At\nEternity\u2019s Gate<\/em><\/p>\n\n\n\n

Rami Malek for Bohemian\nRhapsody<\/em><\/p>\n\n\n\n

Viggo Mortensen for Green\nBook<\/em><\/p>\n\n\n\n

WHO WILL WIN<\/em>: Rami Malek<\/strong> for Bohemian Rhapsody<\/em><\/strong><\/p>\n\n\n\n

The Academy loves it when an actor proves himself with a role\nwhere he\u2019s obviously not playing himself. An actor who successfully tackles a\nhistorical figure–particularly one that is well known to the public\u2014seems to\nhave the best luck come awards season. The case of Malek\u2019s portrayal of Freddie\nMercury is no exception to this, but that\u2019s not saying he hasn\u2019t earned the\naccolades. Malek captures Mercury\u2019s voice and physicality to perfection, but\nalso brings a deep-seeded pain and vulnerability to his portrayal of the icon.<\/p>\n\n\n\n

WHO SHOULD WIN<\/em>: Ethan Hawke<\/strong> for First Reformed<\/em><\/strong><\/p>\n\n\n\n

What\u2019s that, you say? Ethan Hawke wasn\u2019t nominated this\nyear? It doesn\u2019t matter\u2014the Academy members must have all assumed everyone else\nwas voting for him. Anyone who saw the movie knows Hawke gave the most\nemotionally draining and intensely cathartic performance of the year and of his\ncareer. That being said, it would be nice to see Willem Dafoe win for his\nsensitive portrayal of Vincent Van Gough in At\nEternity\u2019s Gate\u2014<\/em>especially considering he has yet to win an Oscar in spite\nof being nominated four times.<\/p>\n\n\n\n

WHO WAS LEFT OUT<\/em>: Ethan Hawke<\/strong> for First Reformed<\/em><\/strong>, Ben Foster<\/strong> for Leave No Trace<\/em><\/strong>, <\/em>Lakeith\nStanfield<\/strong> for Sorry to Bother You<\/em><\/strong>, <\/em>Ryan Gosling<\/strong> for First Man<\/em><\/strong>, Mahershala Ali<\/strong> for Green Book<\/em><\/strong>, <\/em>Nicolas\nCage<\/strong> for Mandy<\/em><\/strong><\/p>\n\n\n\n

Ethan Hawke, damnit!<\/p>\n\n\n\n

\"\"
Isle of Dogs<\/figcaption><\/figure>\n\n\n\n

BRIEF ROUNDUP OF\nOBSERVATIONS AND LAMENTATIONS<\/strong><\/p>\n\n\n\n

Former Terrence Malick and Oliver Stone editor Hank Corwin<\/strong> deserves to take home the trophy for further\npushing his nonlinear, fragmented style in Vice<\/em><\/strong>\u2014<\/em>a flawed film whose strengths were created by its performances and\nby Corwin\u2019s work in the editing room.<\/p>\n\n\n\n

It probably doesn\u2019t have a chance, but in the name of\nstop-motion animation and Wes Anderson<\/strong>,\ngive the Best Animated Feature Film <\/strong>Oscar\nto Isle\nof Dogs<\/em><\/strong>!<\/p>\n\n\n\n

Where in the hell are Three Identical Strangers <\/em><\/strong>and Won\u2019t\nYou Be My Neighbor? <\/em><\/strong>in the Documentary\nFeature<\/strong> category?<\/p>\n\n\n\n

Aquaman <\/em><\/strong>was by no means a masterpiece, but those visual effects<\/strong> were the best part of\nthe movie and deserved some acknowledgement. Speaking of visual effects, even\nif you didn\u2019t like the movie, Welcome to Marwen <\/em><\/strong>deserved some\nattention for its groundbreaking and innovative work in this category, as well.<\/p>\n\n\n\n

In the day of streaming and VOD, let\u2019s get rid of that silly\nrule that says films have to be in theaters for a certain amount of time before\ntheir video release in order to quality for an Academy Award. Mandy\n<\/em><\/strong>suffered the most from this\u2014most notably for the lack of nominations\nfor Benjamin Loeb<\/strong>\u2019s ultra-stylized cinematography <\/strong>and for Johan Johannsson<\/strong>\u2019s beautifully haunting\nand otherworldly musical score<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s easy to hate the Academy Awards. It\u2019s a shallow, vapid, and bloated showcase of rich and beautiful people congratulating themselves for jobs well done. It\u2019s all about popularity, people-pleasing, and political correctness\u2014not about rewarding the films that have broken the most ground artistically. It\u2019s all about pretending to celebrate the accomplishments of a creative […]<\/p>\n","protected":false},"author":2,"featured_media":1422,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-1419","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"_links":{"self":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1419","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/comments?post=1419"}],"version-history":[{"count":7,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1419\/revisions"}],"predecessor-version":[{"id":4396,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1419\/revisions\/4396"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/1422"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=1419"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=1419"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=1419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}