{"id":10982,"date":"2019-03-28T11:00:53","date_gmt":"2019-03-28T15:00:53","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvdrama\/tvdrama\/"},"modified":"2019-03-28T16:15:31","modified_gmt":"2019-03-28T20:15:31","slug":"flights-of-fancy","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/","title":{"rendered":"Flights of Fancy"},"content":{"rendered":"

\"\"<\/a>There was a time when sci-fi and fantasy were perceived to be the exclusive preserve of the arcade-dwelling, bike-riding, Dungeons & Dragons\u00ad\u2013obsessed adolescent boys depicted so exquisitely in the Netflix series Stranger Things<\/em>. But that series, together with Marvel and DC Comics adaptations, HBO\u2019s Game of Thrones<\/em> and AMC\u2019s The Walking Dead<\/em>, have helped transform perceptions of geek culture. As the success of events like Comic-Con vividly illustrates, sci-fi and fantasy-based TV series are now capable of attracting significant audiences across gender and age demographics.<\/p>\n

Rola Bauer, the managing director of STUDIOCANAL TV, says, \u201cThere is a definite growth in interest in \u2018what\u2019s out there\u2019\u2014which is probably because \u2018what\u2019s here\u2019 is disturbing and not particularly comfortable at the moment. In our case, we have started production on War of the Worlds<\/em>, a Howard Overman adaptation of H. G. Wells\u2019 timeless story, set in Europe today.\u201d<\/p>\n

Arguably the first great alien-invasion story, War of the Worlds<\/em> was written in 1897. But in Bauer\u2019s view, its narrative themes continue to resonate, making the transition to a modern setting relatively straightforward.<\/p>\n

\u201cIt is an extremely relevant story reflecting our world today as we stagger through global upheaval. The narrative Howard has created is emotional and character-driven. It is a fusion of human drama and science fiction at its best. It\u2019s also a story about ordinary people in extraordinary circumstances\u2014a universal theme that transcends borders.\u201d<\/p>\n

EUROPEAN INVASION<\/strong>
\nHistorically, sci-fi and fantasy-based TV series tended to be led by the American market; so the fact that a Europe-anchored company like STUDIOCANAL is investing in the genre is a sign of how the global market has shifted. But there are also financial implications. So how has STUDIOCANAL constructed a big-budget sci-fi series fronted by the likes of Gabriel Byrne and Elizabeth McGovern? The answer, says Bauer, is co-production, a model she has used with ambitious period pieces like The Pillars of the Earth<\/em>.<\/p>\n

\u201cWe have worked hard on building a major co-production partnership for War of the Worlds<\/em>, made up of Canal+, Fox Networks Group Europe & Africa, AGC Television and STUDIOCANAL. This is completely necessary to deliver a stand-out series\u2014this is 8×60-minutes of cinematic scale production\u2014with an exceptional cast, leading writers and award-winning talent behind the camera. A series of this high caliber demands a substantial budget, and that can only really be achieved these days through a like-minded international production partnership.\u201d<\/p>\n

War of the Worlds<\/em> will debut this year on Canal+ in France, and on FOX in more than 50 countries across Europe and Africa. Bauer is optimistic the series can live on a range of platforms. \u201cCommitment from strong pay-TV platforms enabled the series to be created, but the AGC and STUDIOCANAL teams will be looking to place the drama with the best platform or broadcaster in multiple territories. And we know there is demand from OTT, pay and free-to-air networks.\u201d<\/p>\n

DEMANDING VIEWERS<\/strong>
\nCathy Payne, the CEO of Endemol Shine International, says her company has enjoyed broad-based success with Humans<\/em> on broadcasters such as Channel 4 and AMC. But she stresses that VOD platforms have played a pivotal role in the recent rise of sci-fi and fantasy. Among the titles on Endemol Shine\u2019s slate are Black Mirror<\/em>, which shifted from Channel 4 to Netflix early in its life cycle, and Dark<\/em>, a Netflix original.<\/p>\n

\u201cWhile a genre like sci-fi has always had a very loyal audience, in individual territories such as Australia it can generate small numbers compared to broader offerings,\u201d Payne says. \u201cHowever, global platforms that have the ability to consolidate audiences from many territories can deliver a significant number.\u201d<\/p>\n

In addition to this ability to aggregate genre audiences, Payne says there is an editorial fit between sci-fi and fantasy and VOD. \u201cVOD services provide the perfect environment for binge-viewing, which is often associated with genre fans. Furthermore, straight-to-series production orders can make genre budgets more affordable, and, in general, their premises are set up for multiple seasons\u2014another reason why you see so many on streaming platforms.\u201d<\/p>\n

Echoing Bauer\u2019s point about international co-pros, Payne says it is tough for a linear player in a single territory to fund high-end genre events in isolation. (Humans<\/em>, for example, was a Channel 4 and AMC co-production.) \u201cI would say U.S. networks are the only ones large enough to commission the more expensive genre pieces. More generally, linear channels need co-pros or distributor-deficit-funded models to fill the gap. This is even the case for SYFY U.S. commissions that have often not been fully funded in the U.S.\u201d<\/p>\n

GOING MAINSTREAM<\/strong>
\nChristian Vesper, the executive VP and creative director of global drama at Fremantle, agrees that pure genre pieces tend to sit most naturally with pay TV and VOD, but he says shows with genre elements are creeping into mainstream free-to-air schedules. BBC\u2019s The City and the City<\/em> and SS-GB<\/em> \u201care examples of limited-run series that combine the feel of a procedural drama with heightened genre elements,\u201d Vesper says. \u201cI think it\u2019s a way for creatives to explore new ideas and concepts.\u201d<\/p>\n

He says that a taste for genre-based series continues to be present among Fremantle\u2019s production subsidiaries. \u201cOur Danish producer Miso Film teamed up with Netflix on The Rain<\/em>, a thriller that is set a few years after a virus has wiped out most people in Scandinavia,\u201d says Vesper. \u201cAnd we are in development with the acclaimed director Michael Haneke on a scripted series called Kelvin\u2019s Book<\/em>, kind of a cross between The White Ribbon<\/em> and The Hunger Games<\/em>.\u201d<\/p>\n

Vesper, whose company is currently working with Starz on season two of American Gods<\/em>, agrees that genre pieces often need a big U.S. backer or a co-production arrangement to justify the cost of production. \u201cBut there are lower-budget shows where the skill of the writer can make a world believable without lots of expense on design and special effects.\u201d<\/p>\n

Payne agrees that certain styles of genre TV, like horror and time travel, don\u2019t need to be expensive. \u201cAudience awareness can be generated by platform recommendations. If you look at shows like Dark<\/em> and The Rain<\/em> on Netflix, they are not hugely expensive but perform well.\u201d<\/p>\n

GIRL POWER<\/strong>
\nVesper believes the sector has reinvented itself in a way that makes it more appealing to a female audience. Shows like Wynonna Earp<\/em>, Jessica Jones<\/em>, Orphan Black<\/em> and Supergirl<\/em> all confirm the shift taking place in sci-fi and fantasy\u2014as does CBS All Access\u2019s decision to make Sonequa Martin-Green the lead in its big-budget Star Trek: Discovery<\/em> reboot. No less dramatic was BBC Studios\u2019 decision to cast a woman, Jodie Whittaker, as the lead in the company\u2019s classic time-traveling series, Doctor Who<\/em>.<\/p>\n

Martin Rakusen, BBC Studios\u2019 commercial director for fiction, says that the decision has been vindicated by the success of the show, both at home and internationally. \u201cIt has performed well among its traditional audience, but we\u2019ve also seen growth among female audiences\u2014to the extent the show is fifty-fifty between genders.\u201d<\/p>\n

A long-running free-to-air flagship, Doctor Who<\/em> runs counter to the idea that genre series belong on pay TV or SVOD. For Rakusen, its importance to BBC One is partly due to its heritage. \u201cBut the current interest in genre is also about the need for brand-defining series that can build a loyal audience. And it also plays into broadcasters\u2019 desire to reach young audiences.\u201d<\/p>\n

Outside of Doctor Who<\/em>, Rakusen says genre is \u201ca big part of what we do. We are also involved in Good Omens<\/em>, a co-pro with Amazon based on the work of Neil Gaiman and Terry Pratchett; His Dark Materials<\/em>, Bad Wolf\u2019s adaptation of Philip Pullman\u2019s novels (a co-pro with HBO); and The Watch<\/em>, another Pratchett adaptation, this one for BBC America.\u201d Dracula<\/em> with Netflix and an adaptation of Michael Moorcock\u2019s Runestaff <\/em>series of novels can be added to this impressive list.<\/p>\n

MONEY-HUNTING<\/strong>
\nRakusen agrees with his peers that sci-fi and fantasy \u201cdon\u2019t have to break the bank with Game of Thrones<\/em>\u2013style CGI, but it is rare for them to be made on a domestic license. So we are very active in co-production. We partner with HBO and SVOD and, increasingly, are talking to some European companies about partnerships.\u201d<\/p>\n

Overall, he says, the market is still very focused on \u201cserialized dramas with a single writer\u2019s voice underpinning them. Anthologies and story-of-the-week are tougher propositions. In terms of keeping people engaged, I think it is about characters that people can fall in love with, and expansive worlds that spin off in lots of interesting directions and raise big themes. There is so much to choose from that being visually distinctive is also vital.\u201d<\/p>\n

And, he says, the job isn\u2019t over at the end of each episode or series. \u201cWe look closely at licensing, social, digital content,\u201d says Rakusen, \u201cbecause you have to keep up a dialogue with fans all the time.\u201d<\/p>\n

Dan March, the managing partner of Dynamic Television, says his company \u201cloves developing sci-fi shows because [these] audiences have been underserved for years\u2014especially in Europe. OTT and pay-TV channels realized that a couple of years ago and are now capitalizing. Netflix, in particular, is focusing on genre programming more and more, which is extremely effective counter\u00adprogramming to mainstream series on linear networks.\u201d<\/p>\n

Another part of the appeal, he says, is that science fiction is such a broad genre. \u201cIt\u2019s an umbrella for supernatural, creature, post-apocalyptic, fantasy, space and true science fiction, among others. So all the subgenres create a broad array of storytelling opportunities. For example, Z Nation<\/em> (creature\/post-apocalyptic), Wynonna Earp<\/em> (supernatural) and Van Helsing<\/em> (vampire) are all sci-fi shows but are quite different from one another. If we had three crime shows, chances are they\u2019d have more similarities.\u201d<\/p>\n

Another upside, he argues, is that sci-fi\u2019s audience appeal is broader than most industry insiders might expect. \u201cThe audience is more gender-even than people realize, and sci-fi viewers range from 18 to 64-plus. They are more content-driven than demographically defined, and they are also extremely loyal and smart.\u201d<\/p>\n

Having said this, he stresses that the genre is not easy to finance, in part because of the hit-and-miss record of free-to-air networks. \u201cThey have dabbled, but not always successfully. Their target audience is broad and sci-fi has always been viewed as niche, so I think big linear channels have either experimented and failed to capture the audiences they need, or are just not willing to try.\u201d<\/p>\n

This, says March, presents challenges when developing and producing science-fiction shows. \u201cFor an independent company like ours, the challenge with financing sci-fi shows is that from a distribution perspective, they are acquired by cable channels with niche audiences and lower budgets. This puts more pressure on us to find co-production partners and to be very smart about the risks we can take, knowing free-TV linear channels are not the likely buyers. And with OTT services shifting their investment into original productions, our financial model on sci-fi shows can no longer safely assume that the OTTs are potential buyers.\u201d<\/p>\n

ASIAN LORE<\/strong>
\nWhile fantasy series are picking up in Europe, they\u2019ve long been a staple in Asia. India is a prolific producer of long-running fantasy and mythology-based series funded by the domestic broadcasters for local audiences. The distribution arms of those broadcasters are now eager to bring these shows to international screens.<\/p>\n

\u201cWe have seen a resurgence in fantasy\/costume drama series, including historical, supernatural and horror stories,\u201d reports Debkumar Dasgupta, the senior VP and business head (syndication) at Viacom18\/IndiaCast Media Distribution, which represents series like the Colors hit Naagin<\/em>. \u201cSet against larger-than-life backdrops and with mysticism at the core, this genre instantly finds a connection with viewers.\u201d<\/p>\n

Star India has a selection of costume dramas with mythological themes on its slate, including Mahabharat<\/em>, Chandra <\/em>Nandini<\/em> and Siya Ke Ram<\/em>. Gurjeev Kapoor, the president of distribution, notes, \u201cMythological content like Mahabharat<\/em> has enjoyed stellar viewership in countries like Thailand and Malaysia. The initial response to Siya Ke Ram<\/em> (Sita and Ram<\/em>) in Russia a few months ago has also been very encouraging.\u201d<\/p>\n

A WORLD AWAY<\/strong>
\nDynamic\u2019s March takes the view that strong storytelling is the key criterion in making a successful show, rather than large budgets and a huge spectacle. \u201cIf Game of Thrones<\/em> weren\u2019t built on one of the greatest story structures ever told, all its spectacle wouldn\u2019t be enough to sustain the audience it has rightfully earned. The fundamentals of great story\u00adtelling apply to sci-fi as much as any genre. Great ideas are built on strong structure, compelling characters we want to root for, or against, and layers of conflict in a unique and engaging setting. This doesn\u2019t always have to be cost-prohibitive; character conflict doesn\u2019t have to include a dragon destroying an empire.\u201d<\/p>\n

One way in which genre is distinct from many other forms of drama, however, is its emphasis on world-building, says March. \u201cThe challenge in developing an exciting series is not the hero or relationships, but the world-building\u2014creating the rules that exist in this sci-fi world and understanding its logic and consequences.\u201d<\/p>\n

This emphasis on world-building probably explains why most successful genre productions are based on books or comics. To those already mentioned could be added SYFY\u2019s adaptation of Lev Grossman\u2019s The Magicians<\/em>, MTV\u2019s The Shannara Chronicles<\/em> (based on novels by Terry Brooks) and Amazon\u2019s upcoming Lord of the Rings<\/em> production (which has a five-season commitment). The risk with shows that don\u2019t have this preexisting structure is that they can run out of steam or collapse in on themselves after one season.<\/p>\n

World-building aside, another big advantage of working with preexisting IP, according to Fremantle\u2019s Vesper, is that \u201cit makes it easier to walk in and pitch to commissioners. They are confronted with such a deluge of ideas that they welcome the familiar\u2014it just means one less challenge.\u201d<\/p>\n

Endemol Shine\u2019s Payne agrees that preexisting IP can give a series an immediate boost, but also points out that \u201cVOD services have such appetites for fast-turnaround volume, they will seek out all forms of genre, whether original or derived from existing IP.\u201d<\/p>\n

BBC Studios has a rich array of classic genre IP, but Rakusen warns against creative complacency. \u201cIP is a great starting point for writers, producers and commissioners. And it\u2019s especially exciting when you get to work with living creators because you get inside their heads\u2014learning about things that didn\u2019t even make it to the page. But that doesn\u2019t always reduce the challenge of adaptation. The world isn\u2019t static, so you have to be constantly thinking about how to make this iconic IP work for this time and this audience.\u201d<\/p>\n

Pictured: <\/em>BBC Studios\u2019 <\/em>Doctor Who.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Andy Fry explores the emerging renaissance of science-fiction and fantasy shows.<\/p>\n","protected":false},"author":1,"featured_media":10983,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[77],"tags":[1138,628,236,2697,1713,230,2721],"class_list":["post-10982","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","tag-bbc-studios","tag-dynamic-television","tag-endemol-shine-international","tag-fremantle","tag-star-india","tag-studiocanal","tag-viacom18indiacast","pmpro-has-access"],"yoast_head":"\nFlights of Fancy - TVDRAMA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Flights of Fancy - TVDRAMA\" \/>\n<meta property=\"og:description\" content=\"Andy Fry explores the emerging renaissance of science-fiction and fantasy shows.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/\" \/>\n<meta property=\"og:site_name\" content=\"TVDRAMA\" \/>\n<meta property=\"article:published_time\" content=\"2019-03-28T15:00:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-03-28T20:15:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvdrama\/wp-content\/uploads\/sites\/11\/2017\/07\/Fantasy-DoctorWho-419-THUMB.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"319\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"World Screen\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"World Screen\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/\",\"name\":\"Flights of Fancy - TVDRAMA\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#website\"},\"datePublished\":\"2019-03-28T15:00:53+00:00\",\"dateModified\":\"2019-03-28T20:15:31+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvdrama\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Flights of Fancy\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/\",\"name\":\"TVDRAMA\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvdrama\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7\",\"name\":\"World Screen\",\"description\":\"The leading source of information for the international media business.\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/author\/admin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Flights of Fancy - TVDRAMA","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/","og_locale":"en_US","og_type":"article","og_title":"Flights of Fancy - TVDRAMA","og_description":"Andy Fry explores the emerging renaissance of science-fiction and fantasy shows.","og_url":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/","og_site_name":"TVDRAMA","article_published_time":"2019-03-28T15:00:53+00:00","article_modified_time":"2019-03-28T20:15:31+00:00","og_image":[{"width":600,"height":319,"url":"https:\/\/worldscreen.com\/tvdrama\/wp-content\/uploads\/sites\/11\/2017\/07\/Fantasy-DoctorWho-419-THUMB.jpg","type":"image\/jpeg"}],"author":"World Screen","twitter_card":"summary_large_image","twitter_misc":{"Written by":"World Screen","Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/","url":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/","name":"Flights of Fancy - TVDRAMA","isPartOf":{"@id":"https:\/\/worldscreen.com\/tvdrama\/#website"},"datePublished":"2019-03-28T15:00:53+00:00","dateModified":"2019-03-28T20:15:31+00:00","author":{"@id":"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7"},"breadcrumb":{"@id":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/worldscreen.com\/tvdrama\/flights-of-fancy\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worldscreen.com\/tvdrama\/"},{"@type":"ListItem","position":2,"name":"Flights of Fancy"}]},{"@type":"WebSite","@id":"https:\/\/worldscreen.com\/tvdrama\/#website","url":"https:\/\/worldscreen.com\/tvdrama\/","name":"TVDRAMA","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worldscreen.com\/tvdrama\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7","name":"World Screen","description":"The leading source of information for the international media business.","url":"https:\/\/worldscreen.com\/tvdrama\/author\/admin\/"}]}},"_links":{"self":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/posts\/10982","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/comments?post=10982"}],"version-history":[{"count":0,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/posts\/10982\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/media\/10983"}],"wp:attachment":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/media?parent=10982"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/categories?post=10982"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/tags?post=10982"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}