{"id":6414,"date":"2015-10-01T15:17:05","date_gmt":"2015-10-01T19:17:05","guid":{"rendered":"http:\/\/worldscreen.com\/tveurope\/french-connection\/"},"modified":"2016-01-27T15:19:15","modified_gmt":"2016-01-27T20:19:15","slug":"french-connection","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/","title":{"rendered":"French Connection"},"content":{"rendered":"

Steve Clarke provides an in-depth look at the latest developments in the French media sector.<\/em><\/p>\n

In an era of smart technology, binge-viewing and on-demand content, TV watching has changed beyond all recognition\u2014except, perhaps, in France.<\/p>\n

At 9 p.m. on an average Sunday evening, it\u2019s commonplace for French families to gather in their sitting rooms and watch TV together. Are they enjoying a reality show or an entertainment format, or maybe a hit U.S. drama like Game of Thrones<\/em> or The Walking Dead<\/em>? No, they are viewing a French movie, and doing so on a traditional terrestrial network.<\/p>\n

In 2014, 42.5 percent of all films broadcast on French TV were French, according to CNC (Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e). Meanwhile, Hollywood movies accounted for 37.4 percent of films shown on French TV. The local movies, however, generated the largest audiences.<\/p>\n

SPEAKING FRENCH<\/strong>
\n\u201cLast year three of the top ten most popular programs on French TV were domestically produced feature films,\u201d says John-Paul O\u2019Sullivan, an analyst for Europe at SNL Kagan.<\/p>\n

\u201cThere was one American series, The Mentalist<\/em>, in the top ten and one reality show, a local adaptation of The Voice<\/em>. Miss France, the beauty competition, was a top-ten program. So was the TF1 flagship cop show Profilage<\/em> (Profiling<\/em>). Despite declining audiences for the historic channels like TF1, French movies can achieve a 50-percent share of viewing, as up to 13.5 million people tune in.\u201d<\/p>\n

His colleague Mohammed Hamza, TV and video analyst for Europe at SNL Kagan, adds, \u201cThe French are very culturally minded. Unlike in the U.K. and Holland, there is less of a shopping culture [in France]. Local content is high quality and there is no shortage of it. STUDIOCANAL produces a lot of high-end content.\u201d<\/p>\n

The French remain a nation of TV addicts. Make no mistake, they still love imported drama, especially crime shows, and not only American ones. In 2014 the first season of the British thriller Broadchurch<\/em> was a big success for France 2.<\/p>\n

The levels of TV consumption per person in France are higher than the global average, according to Jonathan Barnard, the head of forecasting at ZenithOptimedia.<\/p>\n

The allure of TV may reflect the grim state of the French economy. It grew by just 0.6 percent in the first quarter of 2015 following zero growth the previous quarter.<\/p>\n

Last year the typical French viewer spent 243 minutes a day watching TV. This was up on 239 minutes in 2010. Worldwide viewing declined, says ZenithOptimedia, from an average of 196 minutes a day in 2010 to 184 minutes in 2014. \u201cConsumption of TV is holding up well in France,\u201d Barnard observes.<\/p>\n

Nevertheless, the media agency suggests that French TV viewing peaked in 2013 at 244 minutes a day. This is predicted to decrease to an average of 234 minutes a day by 2017.<\/p>\n

To put this into context, even in the online age TV remains the biggest of all French media by a considerable margin. In 2014 French people spent on average 113 minutes a day on the internet\u2014less than half the 243 minutes occupied by TV consumption. \u201cWhen people have less money, they are likely to stay in and watch TV,\u201d says Barnard.<\/p>\n

WINDS OF CHANGE<\/strong>
\nThis is not to say the French TV market is immune to the changes\u2014prompted by digital fragmentation, online platforms and the growth of HD channels\u2014that are affecting all mature TV markets. In recent years, competition for eyeballs has mushroomed in France. Alongside this trend, the advertising market broadly continues to flatline.<\/p>\n

French TV advertising is doing marginally better than the overall advertising market, which is expected to shrink by 0.1 percent per year between 2014 and 2017, according to ZenithOptimedia.<\/p>\n

In 2007, on the eve of the meltdown in Western European economies, the French TV advertising market was worth \u20ac3.6 billion. By 2013 it had fallen to \u20ac3.2 billion. In 2014 the figure was still \u20ac3.2 billion. In the last quarter of 2014, TV advertising picked up. The trend was confirmed in the first three months of 2015. ZenithOptimedia is forecasting growth in French TV advertising of 0.2 percent for the period from 2014 to 2017. Broken down, this represents growth of 0.3 percent this year and 0.2 percent in 2016.<\/p>\n

This fall\u2019s Rugby World Cup, which kicked off in September, was expected to give a lift to the market. French elections later this year will help, too; there are votes for regional politicians. Similarly, next year\u2019s Summer Olympics in Rio de Janeiro are expected to stimulate the ad market. France T\u00e9l\u00e9visions and CANAL+ have the rights.<\/p>\n

However, \u201cthe underlying French economy is weak, and there is a lack of confidence in the business community,\u201d says ZenithOptimedia\u2019s Barnard. \u201cPeople don\u2019t expect the recovery to be sustained, and that holds back investment in advertising.\u201d<\/p>\n

He adds, \u201cThe French advertising market is deflationary. Advertisers can maintain their targets without increasing spending.\u201d<\/p>\n

In the TV sector, DTT is where the growth lies. The segment is ahead of the economy as a whole. DTT advertising increased by 2.2 percent in 2014 and is expected to increase by 2.3 percent this year.<\/p>\n

This uptick, however, came from a low base. It is a result of the newer channels taking money from legacy analog channels.<\/p>\n

Overall, advertising revenues on the traditional analog channels were down by 0.6 percent last year. This compares with a forecast decline of 0.4 percent in 2015. \u201cThere\u2019s been a bit of an improvement,\u201d says Barnard.<\/p>\n

Meanwhile France\u2019s well-established public-service channels, under the umbrella of France T\u00e9l\u00e9visions, are financially challenged\u2014albeit not to the extent of the U.K.\u2019s BBC.<\/p>\n

DTT arrived relatively late in France. So did Netflix, which launched in September 2014. But, paradoxically, the French VOD market is crowded. The \u201cgrandes chaines nationales\u201d\u2014TF1, France 2, 3 and 5, ARTE, CANAL+ and M6\u2014remain dominant, even as their share of viewing continues to slowly decline. In 2007 the heavyweights secured an 83-percent peak-time viewing share. By 2014 this had declined to 64 percent, much of it due to the massive inroads made by the free digital terrestrial channels; these networks increased their share from below 6 percent to 24 percent in the same period.<\/p>\n

Since the end of 2012, all the main French TV networks have launched their own DTT spin-offs. The new additions increased the 19-channel T\u00e9l\u00e9vision Num\u00e9rique Terrestre (TNT) offer to 25, covering all of France. Digital switchover was completed in November 2011.<\/p>\n

TF1 and M6 each debuted one new channel apiece, devoted to drama and family programming, respectively. DTT operators NRJ and NextRadioTV were given the green light for the female-skewing channel Ch\u00e9rie HD and the documentary service RMC D\u00e9couverte. Also launched in 2012 was the sports channel L\u2019Equipe HD, originating from the sports daily L\u2019Equipe<\/em>, and an independent channel promoting diversity, an issue at the top of French media regulator CSA\u2019s agenda. Pay TV is led by CANAL+.<\/p>\n

WHAT\u2019S HOT<\/strong>
\nFiction, including feature films, remains the leading program genre in terms of content and viewing. Audience measurement firm M\u00e9diam\u00e9trie calculated that the free-to-air national channels, including TF1, France 2, France 3, France 5, M6, ARTE, D8, W9, TMC, NT1, NRJ12, France 4, D17 and Gulli, aired 39,100 hours of drama in 2014.<\/p>\n

As indicated previously, American drama is crucial to the mix. \u201cU.S. series are very popular in France,\u201d says Bertrand Villegas, a co-founder of The WIT. \u201cIt\u2019s more than The Mentalist<\/em>, although Simon Baker is a big star in France. The CSI<\/em> franchise, Grey\u2019s Anatomy<\/em>, Elementary<\/em> and Hawaii Five-0<\/em> are all strong performers. ABC\u2019s police procedural Castle<\/em> is a big show for France 2.\u201d<\/p>\n

It says a lot about the popularity of American scripted shows that The Mentalist<\/em> remains one of the most-watched programs on French TV. In the U.K. it is rare to find a single American show in the top 100 network programs.<\/p>\n

For years U.S. drama has been a mainstay of the most-watched French channels. Local producers have found this depressing and demoralizing, especially since France has a generous public support system for TV and film production.<\/p>\n

FAVORED FICTION<\/strong>
\nOf late, however, French scripted shows are beginning to challenge their U.S. rivals. \u201cThe success of domestic drama is growing on France 2, with shows such as Chefs<\/em> and Les T\u00e9moins<\/em>,\u201d says Avril Blondelot, international research manager at M\u00e9diam\u00e9trie. \u201cIn 2010 American series like The Mentalist<\/em>, House<\/em> and Criminal Minds<\/em> were leading ratings charts. In 2014 The Mentalist<\/em> is still there, but in the top three are the French shows Profilage<\/em> and Nos chers voisins<\/em>.\u201d<\/p>\n

Profilage<\/em>, the well-travelled TF1 series that launched in 2009, continues to perform well despite intense competition. The program\u2019s audience has grown year on year, peaking last December when the series finale attracted an average of 8.6 million viewers and a 31.2-percent share. When TF1 demoted MasterChef<\/em> to digital channel NT1 earlier this year, the broadcaster replaced the cooking contest with reruns of Profilage<\/em>.<\/p>\n

Another prime-time hit TV drama is the more recent Chefs<\/em>, the story of a young offender who leaves prison to work in a Paris restaurant. The series features French actor, screenwriter and director Clovis Cornillac. Chefs<\/em>, which made its debut in February, has achieved an average audience of 4.4 million (an audience share of 17.1 percent) for France 2.<\/p>\n

A further example of the move towards French-made fiction is the success of the noir thriller Les T\u00e9moins<\/em> (Witnesses<\/em>),\u00a0 starring Thierry Lhermitte, for France 2; its premiere won an audience share of 17.4 percent.<\/p>\n

Of the big terrestrials, youth-skewing M6, owned by RTL Group, is the most vulnerable to the myriad viewing options that emerged in recent years. In 2014, M6 recorded its lowest audience share since 1991. Signs of the broadcaster\u2019s troubles included the decisions to axe Israeli entertainment format Rising Star<\/em> and relegate high-profile drama Empire<\/em> to niche station W9.<\/p>\n

\u201cM6 needs to find some new hits,\u201d explains The WIT\u2019s Villegas. \u201cThe channel has not invested in locally-produced scripted shows. M6 used to do better in the days when French versions of reality shows like Supernanny<\/em> and Come Dine with Me<\/em> were very popular.\u201d<\/p>\n

OTT ARRIVES<\/strong>
\nIt is the lack of a strong library of French fare that appears to be limiting Netflix\u2019s success in the French market. Outside France, Netflix\u2019s marketing is based on the global appeal of high-end U.S. drama. Think of the landmark remake of the BBC\u2019s House of Cards<\/em> starring Kevin Spacey and the buzzy hit Orange Is the New Black<\/em>. In France, however, domestic pay box CANAL+ secured House of Cards<\/em>. \u201cIt\u2019s not easy for Netflix in France,\u201d says M\u00e9diam\u00e9trie\u2019s Blondelot. \u201cThere were a lot of local players already in place when Netflix entered the market.\u201d<\/p>\n

With a three-year holdback on digital rights and strong competition from rival VOD platform CANALPLAY, establishing Netflix in France looks unlikely to be easy. SNL Kagan\u2019s Hamza points to the stipulation that features can\u2019t air on VOD services until three years after their pay-TV run. \u201cThere is pressure on French regulators to do something about the situation,\u201d explains Hamza.<\/p>\n

Netflix had 500,000 subscribers in France by the end of 2014, compared with 3.3 million in the U.K, according to IHS.<\/p>\n

The platform has high hopes for the arrival of the French-language crime drama Marseille<\/em> (created by the Parisian novelist Dan Franck, co-writer of the critically acclaimed miniseries Carlos<\/em>), hyped as a Mediterranean version of House of Cards<\/em>.<\/p>\n

\u201cNetflix\u2019s impact on more traditional TV platforms in France is likely to be slow,\u201d insists Barnard at ZenithOptimedia. \u201cNetflix is unlikely to depress overall viewing levels at linear services in the near future.\u201d<\/p>\n

This is potentially good news for pubcaster France T\u00e9l\u00e9visions, whose two main channels, France 2 and France 3, achieved audience shares of 14.1 percent and 9.4 percent, respectively, in 2014. In 2010, the networks\u2019 shares were 16.1 percent and 10.7 percent.<\/p>\n

\u201cThere are huge funding difficulties for France T\u00e9l\u00e9visions,\u201d says Mathieu B\u00e9jot, the executive director of the trade association TV France International (TVFI). He notes that the French license fee, of \u20ac136, \u201cis one of the lowest in Europe.\u201d<\/p>\n

France T\u00e9l\u00e9visions is funded by a mix of license fees (70 percent of income), advertising (banned after 8 p.m. since 2009) and public funding (around 7 percent of income).<\/p>\n

On the agenda of the pubcaster\u2019s new president, Delphine Ernotte, who started work in August, are digital expansion and negotiations with the government to alleviate the financial pressure. The strength of French labor unions prevents job cuts\u2014apart from those triggered by voluntary retirement. (Compare this to the BBC, which has announced a round of layoffs to cope with its funding challenges.) As such, Ernotte will have to seek out other ways to tackle her budget shortfall.<\/p>\n

In such an economically challenged but culturally proud and insular country as France, the opportunities for co-production are limited. Recently, however, there are signs of new activity that go beyond French collaborations with their French-speaking Belgian neighbors. Many in France hope its prestigious production sector can emulate the Scandinavians and initiate dramas that are big hitters in the global market.<\/p>\n

TRAVELING ABROAD<\/strong>
\nPay-TV outlet CANAL+ is a regular co-production partner with a distinguished track record, thanks to shows like The Tunnel<\/em> and Borgia<\/em>. In May an ambitious new project was announced with the working title The Young Pope<\/em>, starring Jude Law as a fictional pontiff who is Italian American. His co-star is Diane Keaton. CANAL+\u2019s collaborators are HBO and Sky.<\/p>\n

ARTE, too, is investing in scripted shows, France 2 was a partner on BBC Worldwide\u2019s Death in Paradise<\/em> and TF1 is on board STUDIOCANAL\u2019s international co-pro Crossing Lines<\/em>.<\/p>\n

Production costs are such that for premium serialized drama, co-funding is essential, but one dilemma for French co-producers is whether to make the shows in French and limit their international appeal or film in English to maximize international traction.<\/p>\n

In the past year or so, the biggest co-pros have included CANAL+\u2019s English-language Versailles<\/em>, budgeted at around \u20ac27 million and reputed to be the most expensive French TV series ever; and The Last Panthers<\/em>, a co-production with Sky that will have its world premiere at MIPCOM.<\/p>\n

\u201cTo avoid the classic Euro-pudding, it is important to have a lead partner, rather than four or five partners,\u201d TVFI\u2019s B\u00e9jot says.<\/p>\n

This is not a problem for French filmmakers and their captive Sunday night audiences.<\/p>\n","protected":false},"excerpt":{"rendered":"

Steve Clarke provides an in-depth look at the latest developments in the French media sector. In an era of smart technology, binge-viewing and on-demand content, TV watching has changed beyond all recognition\u2014except, perhaps, in France. At 9 p.m. on an average Sunday evening, it\u2019s commonplace for French families to gather in their sitting rooms and …<\/p>\n","protected":false},"author":1,"featured_media":6435,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[76],"tags":[],"class_list":["post-6414","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features"],"yoast_head":"\nFrench Connection - TVEUROPE<\/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\/tveurope\/2015\/10\/01\/french-connection\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"French Connection - TVEUROPE\" \/>\n<meta property=\"og:description\" content=\"Steve Clarke provides an in-depth look at the latest developments in the French media sector. In an era of smart technology, binge-viewing and on-demand content, TV watching has changed beyond all recognition\u2014except, perhaps, in France. At 9 p.m. on an average Sunday evening, it\u2019s commonplace for French families to gather in their sitting rooms and …\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/\" \/>\n<meta property=\"og:site_name\" content=\"TVEUROPE\" \/>\n<meta property=\"article:published_time\" content=\"2015-10-01T19:17:05+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-01-27T20:19:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tveurope\/wp-content\/uploads\/sites\/14\/2015\/10\/French-feature-TVEurope-e1453924811356.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1290\" \/>\n\t<meta property=\"og:image:height\" content=\"881\" \/>\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\/tveurope\/2015\/10\/01\/french-connection\/\",\"url\":\"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/\",\"name\":\"French Connection - TVEUROPE\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tveurope\/#website\"},\"datePublished\":\"2015-10-01T19:17:05+00:00\",\"dateModified\":\"2016-01-27T20:19:15+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tveurope\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tveurope\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"French Connection\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tveurope\/#website\",\"url\":\"https:\/\/worldscreen.com\/tveurope\/\",\"name\":\"TVEUROPE\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tveurope\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tveurope\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7\",\"name\":\"World Screen\",\"description\":\"The leading source of information for the international media business.\",\"url\":\"https:\/\/worldscreen.com\/tveurope\/author\/admin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"French Connection - TVEUROPE","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\/tveurope\/2015\/10\/01\/french-connection\/","og_locale":"en_US","og_type":"article","og_title":"French Connection - TVEUROPE","og_description":"Steve Clarke provides an in-depth look at the latest developments in the French media sector. In an era of smart technology, binge-viewing and on-demand content, TV watching has changed beyond all recognition\u2014except, perhaps, in France. At 9 p.m. on an average Sunday evening, it\u2019s commonplace for French families to gather in their sitting rooms and …","og_url":"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/","og_site_name":"TVEUROPE","article_published_time":"2015-10-01T19:17:05+00:00","article_modified_time":"2016-01-27T20:19:15+00:00","og_image":[{"width":1290,"height":881,"url":"https:\/\/worldscreen.com\/tveurope\/wp-content\/uploads\/sites\/14\/2015\/10\/French-feature-TVEurope-e1453924811356.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\/tveurope\/2015\/10\/01\/french-connection\/","url":"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/","name":"French Connection - TVEUROPE","isPartOf":{"@id":"https:\/\/worldscreen.com\/tveurope\/#website"},"datePublished":"2015-10-01T19:17:05+00:00","dateModified":"2016-01-27T20:19:15+00:00","author":{"@id":"https:\/\/worldscreen.com\/tveurope\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7"},"breadcrumb":{"@id":"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/worldscreen.com\/tveurope\/2015\/10\/01\/french-connection\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worldscreen.com\/tveurope\/"},{"@type":"ListItem","position":2,"name":"French Connection"}]},{"@type":"WebSite","@id":"https:\/\/worldscreen.com\/tveurope\/#website","url":"https:\/\/worldscreen.com\/tveurope\/","name":"TVEUROPE","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worldscreen.com\/tveurope\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/worldscreen.com\/tveurope\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7","name":"World Screen","description":"The leading source of information for the international media business.","url":"https:\/\/worldscreen.com\/tveurope\/author\/admin\/"}]}},"_links":{"self":[{"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/posts\/6414","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/comments?post=6414"}],"version-history":[{"count":0,"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/posts\/6414\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/media\/6435"}],"wp:attachment":[{"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/media?parent=6414"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/categories?post=6414"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldscreen.com\/tveurope\/wp-json\/wp\/v2\/tags?post=6414"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}