{"id":9283,"date":"2016-10-19T06:12:09","date_gmt":"2016-10-19T10:12:09","guid":{"rendered":"http:\/\/worldscreen.com\/tvreal\/making-history\/"},"modified":"2016-10-24T14:16:54","modified_gmt":"2016-10-24T18:16:54","slug":"making-history","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvreal\/making-history\/","title":{"rendered":"Making History"},"content":{"rendered":"

\"2016-10-19-making-history\"<\/a>Andy Fry analyzes the demand for history documentaries and looks at innovations in the genre.<\/em><\/p>\n

Television audiences love history programming. Ratings for prime-time series such as\u00a0Vikings<\/em>, Wolf Hall<\/em>, Versailles<\/em>,\u00a0Roots<\/em>\u00a0and\u00a0Generation War<\/em>\u00a0prove that. Of course, these are all scripted series. So what does this mean for documentary producers? Is there still a market for factual history programs, or is this important part of the TV landscape suffering at the hands of fictionalized history?<\/p>\n

\u201cHistory documentary is still an important part of the mix,\u201d says Mark Reynolds, the director of factual at BBC Worldwide. \u201cBut the growth in high-end historical drama means factual producers need to emulate what is happening in drama.\u201d<\/p>\n

David Royle, the executive VP of programming and production at Smithsonian Networks, is not troubled by the new wave of scripted historical shows. \u201cThe TV universe is so full of fabricated reality that it\u2019s led to something of a backlash,\u201d Royle says. \u201cToday, a substantial number of viewers crave shows that are not just entertaining but also accurate and informative. Smithsonian Channel strives to meet that demand, and we are constantly looking for strong, dramatic history programs that contain new revelations.\u201d<\/p>\n

Danny Tipping, the director of programming and development at Sky Vision, likewise sees continued demand for history\u2014though more for thematic TV than on terrestrial. \u201cThere are a few high-concept, big-budget history programs on free TV, but the majority of demand comes from the digital channels.\u201d<\/p>\n

One free-TV broadcaster that continues to make significant investments in history content is ZDF. Its commercial arm, ZDF Enterprises, meanwhile, \u201cis selling more history than ever before,\u201d says Ralf R\u00fcckauer, the VP of ZDFE.factual, citing examples such as\u00a0The Ascent of Civilization<\/em>,\u00a0The Celts: Blood, Iron & Sacrifice<\/em>\u00a0and\u00a0Last Secrets of the Third Reich<\/em>.<\/p>\n

R\u00fcckauer says that there is a growing demand for history programming. \u201cIf we look back at the last couple of years, it seems that we are facing fundamental geopolitical and cultural changes: different religions, different values, the [widening] gap between rich and poor as well as old conflicts that seem to reappear suddenly. So people are looking for explanations.\u201d<\/p>\n

ZDF\u2019s passion for history is echoed by its near neighbor and close collaborator, Austrian public broadcaster ORF. Tom Matzek, the deputy head of ORF\u2019s Universum doc strand, says that the broadcaster\u2019s commitment to the genre has increased significantly since the introduction in 2013 of the Friday night Universum History strand.\u00a0 \u201cWe are airing history documentaries around 45 weeks of the year,\u201d Matzek says.<\/p>\n

In the wake of the rise of historical drama, ORF is not tinkering with the format of its history docs, which are typically 52 minutes in length, \u201cbut we are working with the fiction department, [using] some of their creative talent to improve our story\u00adtelling in history,\u201d says Matzek.<\/p>\n

Cedric Hazard, the head of international sales at ARTE Sales until last month, also sees elements of scripted storytelling having an effect on the doc world. \u201cWe have seen less reliance on talking heads and black-and-white archive footage and more emphasis on dramatic reenactments and colorized archive. More than ever you need strong stories, excitement and romance\u2014not the exhaustive, encyclopedic approach of some more academic-style productions.\u201d<\/p>\n

STYLE AND SUBSTANCE<\/strong>\u00a0<\/strong>
\nBBC Worldwide\u2019s Reynolds believes that distributors looking to invest in history docs need to ask a number of questions before taking a project on: \u201cWhat is the point of telling this story in documentary form? Is there a new insight that will interest the audience? Are there new forms of technology that will help us tell the story in a different way?\u201d<\/p>\n

In many cases, the existence of a successful historical drama about the same subject can be a blessing, says Reynolds. \u201cIt means there is a cultural conversation around that subject matter, a kind of zeitgeist that can help factual producers with their own projects.\u201d<\/p>\n

He cites the example of\u00a0The Vikings Uncovered<\/em>, co-produced with PBS, NOVA\/WGBH\u00a0 Boston and France T\u00e9l\u00e9visions. \u201cThis show uncovered a Viking site in Newfoundland, Canada. It wasn\u2019t attempting to compete with HISTORY\u2019s\u00a0Vikings<\/em>\u00a0drama, but for people who were interested, it was a breakthrough in our understanding of the Viking expansion into North America.\u201d<\/p>\n

Regarding stylistic approach, Smithsonian\u2019s Royle says there is no simple formula that guarantees success. \u201cIt all comes down to the quality of the storytelling and the choice of subject. History at its best is infused with a level of drama and surprises and characters that Hollywood would struggle to invent. Combine that with insights and context and you should have a winner.\u201d<\/p>\n

That said, Smithsonian Channel does have some basic rules of engagement, says Royle. \u201cWe are great believers in relevancy\u2014creating historical content that plays off events on people\u2019s minds. It can be programs that key off anniversaries or relate to popular cultural or news events. We enjoyed great ratings and critical success with\u00a0Million Dollar American Princesses<\/em>. It tells the true stories of the rich American women who married into the British and European aristocracy. We timed it to coincide with [the broadcast of]\u00a0Downton Abbey<\/em>\u00a0and had Elizabeth McGovern [Downton<\/em>\u2019s Lady Grantham] presenting.\u201d<\/p>\n

Smithsonian Channel has also enjoyed success with more contemporary history programs such as Brook Lapping\u2019s\u00a09\/11: Day That Changed the World<\/em>\u00a0and Ursula Macfarlane\u2019s\u00a0Paris Terror Attack: Charlie Hedbo<\/em>. However, Royle adds, \u201cWe will only do these if we have special access to witnesses and powerful archival footage.\u201d<\/p>\n

TIE-INS<\/strong>\u00a0<\/strong>
\nHooks are key, agrees Sky Vision\u2019s Tipping. \u201cAn amazing piece of access or a great discovery are helpful, as is an event you can relate your show to. On top of that, you need to find new ways to tell old stories.\u201d An example of that approach from Sky Vision is\u00a0Mystery Files<\/em>, which looked for answers to historical mysteries.<\/p>\n

\u201cIt pays to have constant contact with academics and [to be familiar with] new forms of technology being used by historians to support their work,\u201d Tipping adds.<\/p>\n

Regarding the way technology can unlock stories, Tipping cites the example of\u00a0The Lost Diary of Dr. Livingstone<\/em>, a Sky Vision show that has aired on PBS in the U.S. and on National Geographic Channels internationally. \u201cThis show used spectral-imaging technology to decipher some faded and illegible notes in Dr. Livingstone\u2019s last field diary,\u201d says Tipping. \u201cIt\u2019s a great example of how you can achieve new insights by applying technological innovations to historical artifacts.\u201d<\/p>\n

Smithsonian\u2019s Royle cites a similar example. \u201cRecently we had a program that hit the front pages of major newspapers,\u00a0The Unknown Flag Raiser of Iwo Jima<\/em>. The production company, Lucky 8, took one of the most famous photographs from World War II and used forensic science and some remarkable historical sleuthing to prove that one of the central characters was not who people thought he was. We\u2019re bringing this film to MIPCOM. It\u2019s a film that has changed the historical record.\u201d<\/p>\n

On the subject of style, ZDF Enterprises\u2019 R\u00fcckauer says, \u201cOften the question is, Am I using the appropriate stylistic technique in a way to tell my specific story the right way? If you want to paint an intimate portrait of Osama bin Laden\u2019s personal life, for example, you can use painted images to create a more abstract or distant point of view. Whereas if you want to show what the daily life of the Celts looked like you will need more reenactments and give the audience a kind of \u2018I was there\u2019 feeling.\u201d<\/p>\n

On top of this, R\u00fcckauer continues, \u201cthere are always different tastes in different countries. In continental Europe, history programming is more fact-driven, whereas the U.K. audience prefers presenter-led storytelling and the U.S. taste is for more action-related and much faster content. If you co-produce history programs, like we just recently did with\u00a0The Celts<\/em>, you need to feed the demands of different markets and create hybrid programs that incorporate the elements requested.\u201d<\/p>\n

When it comes to cutting through the clutter, R\u00fcckauer says shows need something \u201cthat is new, outstanding and spectacular. So we rely on the latest historical and scientific findings only if there is enough proof to really rewrite history\u2014such as new evidence that the Nazis were about to launch an atomic bomb (Last Secrets of the Third Reich<\/em>), or [evidence] that the Wright Brothers were one of the first to conduct the first motorized flight but maybe not the first (First Flight: Conquest of the Skies<\/em>), or the discovery of a subterranean tunnel underneath the pyramids of Teotihuac\u00e1n near Mexico City (Teotihuac\u00e1n\u2019s Lost Kings<\/em>).\u201d<\/p>\n

NEW DIRECTIONS<\/strong>\u00a0<\/strong>
\nBBC Worldwide\u2019s Reynolds offers a similar opinion, stating, \u201cWe can\u2019t just tell the stories in the same way as we did before. We need to make it more dramatic and use the technology at our disposal to bring subjects to life.\u201d<\/p>\n

As an example, he cites the BBC\u2019s\u00a0What Lies Beneath<\/em>\u00a0franchise, which has covered topics such as Rome, Egypt and Stonehenge. \u201cThese shows use satellite archaeology and high-tech remote-sensing tools to peel back the layers of history,\u201d says Reynolds. \u201cRevelations are then presented using CGI animation.\u201d<\/p>\n

The big challenge, says Sky Vision\u2019s Tipping, is finding new ways to engage with audiences. \u201cIn the past, you could have done a film about the best tanks or best planes in World War II. Today you\u2019d probably have to rebuild them and get them running again. This is why science and engineering play a role in history programming.\u201d<\/p>\n

Smithsonian\u2019s Royle concurs, noting, \u201cThere is always demand for programs that include science and new discoveries. We recently launched a major event,\u00a0Behind the Lost Empires<\/em>. It includes programs like Interspot\u2019s\u00a0Lost City of Gladiators<\/em>, which revealed [the remains of] the only school for gladiators ever discovered outside Rome, and\u00a0Pompeii: The Dead Speak<\/em>, for which Lion Television gained special access to a team of forensic scientists who use CT scans to peer inside Pompeii\u2019s plaster casts and study the bones within.\u201d<\/p>\n

Ancient Assassins\u00a0<\/em>is another title that delivers a unique spin on a well-worn subject, according to Barnaby Shingleton, director of factual and entertainment acquisitions at Sky Vision. \u201cThis is a story about elite fighting forces through history,\u201d Shingleton says. \u201cIt combines dramatic reconstruction, documentary filming and expert testimony to tell a story that will resonate with audiences in most markets.\u201d<\/p>\n

Warfare isn\u2019t the only subject that sells, however. \u201cWe are going to market with a ten-part series from Sky\u2019s production team in Milan called\u00a0Artists in Love<\/em>. This looks at great unconventional romances, such as those between Frida Kahlo and Diego Rivera, and Maria Callas and Aristotle Onassis.\u201d<\/p>\n

In terms of content, ORF stays away from some subjects, says Matzek, because other broadcasters have already covered them in detail. \u201cZDF is so strong in World War II, it doesn\u2019t make sense for us to develop stories in that area. But we try to have a full range of epochs and approaches, from biopics to turning points in history. For us, variety is the key to success.\u201d<\/p>\n

Examples featured in the Universum History strand include\u00a0Europe Divided: Cold War Chronicles<\/em>,\u00a0Winnetou: The Real Story<\/em>\u00a0and\u00a0Gonsalvus: The Real Beauty and the Beast<\/em>, a co-pro that saw ORF partner with epo-film, Smithsonian Networks and ARTE.<\/p>\n

\u201cAs a small player we have to play to our strengths,\u201d says Matzek, \u201cso areas like espionage are an opportunity given Austria\u2019s pivotal position in history. But as we build up our brand we aim to increase the number of partners and subjects we work with.\u201d<\/p>\n

LENGTH MATTERS<\/strong>\u00a0<\/strong>
\nARTE France primarily deals in 52-minute documentaries, \u201cthough the channel has explored two-part productions in which one film deals with the history of a subject and the other looks at the current situation,\u201d Hazard says. \u201cIt\u2019s a way to understand what is going on in places like Korea and Iran.\u201d<\/p>\n

The channel is also exploring 26-minute episodes as a way to reach new audiences. \u201cWe made a series called\u00a0The Great Greek Myths<\/em>\u00a0that is entirely animation,\u201d says Hazard. \u201cIt focuses on the subjects of power, sex and betrayal that are a key part of those myths. We are also working on a series that looks at historical characters such as Jack the Ripper.\u201d<\/p>\n

ORF\u2019s Matzek says his audience seems to prefer seeing a new subject every week. \u201cWe find the audience drops quite a lot if we schedule a three-part series week after week. So for us, a multipart series works better if each episode can be aired as a stand-alone story. That way we can broadcast it across the year. Or we may broadcast two episodes back to back the same night.\u201d<\/p>\n

Playing with episode length is also helping producers target younger audiences. After all, history programming has long been regarded as being inherently older-skewing. To attract younger audiences, Smithsonian\u2019s Royle advises, \u201cStart with color. We do believe there is a younger audience for his\u00adtory, but young viewers have a low tolerance for black and white. We are so convinced of the importance of color that we are making a commitment to producing quality colorized archival shows.\u201d<\/p>\n

THE YOUNG ONES<\/strong>\u00a0<\/strong>
\n\u201cWe are also convinced younger viewers don\u2019t want to feel they are being lectured,\u201d Royle continues. \u201cWe\u2019ve enjoyed success with a raw style of filmmaking\u2014programs that don\u2019t have talking heads and narration but let the footage speak for itself. Tom Jennings\u2019s\u00a0MLK: The Assassination Tapes<\/em>\u00a0is an example. It won the Peabody Award, and we are planning shows in the same style. I believe it worked because it has the same rawness you see on the internet\u2014it feels like history unedited.\u201d<\/p>\n

Sky Vision\u2019s Tipping says computer gaming might provide a way to entice younger viewers into the genre. \u201cGames like\u00a0Assassin\u2019s Creed<\/em>\u00a0are set in very realistic settings. So maybe there is an opportunity to create connections with games that bring younger viewers to history programming.\u201d<\/p>\n

Hazard, meanwhile, calls for producers to use \u201ca quicker pace, fast-cut editing, animation and graphics. It\u2019s almost like introducing the aesthetic of a video game.\u201d<\/p>\n

In response to changing viewing habits, R\u00fcckauer says ZDF\u00a0 has produced short content for digital platforms. \u201cWe recently launched season two of\u00a0Moments of History<\/em>, which is now a library of 200 three- to four-minute short films on central themes of history. In addition, if a client requests more than just a linear 52-minute program, ZDFE.factual can provide further material such as short films out of our Contunico [clips] library or even VR. We are just about to build up a library of VR 360\u00b0 shots, and we started with a special on volcanoes.\u201d<\/p>\n

\u201cWe\u2019re also moving into VR,\u201d says Smithsonian\u2019s Royle. \u201cAnd although our first VR productions are not history-based, it\u2019s only a matter of time.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Andy Fry analyzes the demand for history documentaries and looks at innovations in the genre.<\/p>\n","protected":false},"author":1,"featured_media":9284,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[],"class_list":["post-9283","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","pmpro-has-access"],"yoast_head":"\nMaking History - TVREAL<\/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\/tvreal\/making-history\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Making History - TVREAL\" \/>\n<meta property=\"og:description\" content=\"Andy Fry analyzes the demand for history documentaries and looks at innovations in the genre.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvreal\/making-history\/\" \/>\n<meta property=\"og:site_name\" content=\"TVREAL\" \/>\n<meta property=\"article:published_time\" content=\"2016-10-19T10:12:09+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-10-24T18:16:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvreal\/wp-content\/uploads\/sites\/12\/2015\/09\/2016-10-19-making-history.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1\" \/>\n\t<meta property=\"og:image:height\" content=\"1\" \/>\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\/tvreal\/making-history\/\",\"url\":\"https:\/\/worldscreen.com\/tvreal\/making-history\/\",\"name\":\"Making History - TVREAL\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#website\"},\"datePublished\":\"2016-10-19T10:12:09+00:00\",\"dateModified\":\"2016-10-24T18:16:54+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvreal\/making-history\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvreal\/making-history\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/making-history\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvreal\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Making History\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvreal\/\",\"name\":\"TVREAL\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvreal\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvreal\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7\",\"name\":\"World Screen\",\"description\":\"The leading source of information for the international media business.\",\"url\":\"https:\/\/worldscreen.com\/tvreal\/author\/admin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Making History - TVREAL","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\/tvreal\/making-history\/","og_locale":"en_US","og_type":"article","og_title":"Making History - TVREAL","og_description":"Andy Fry analyzes the demand for history documentaries and looks at innovations in the genre.","og_url":"https:\/\/worldscreen.com\/tvreal\/making-history\/","og_site_name":"TVREAL","article_published_time":"2016-10-19T10:12:09+00:00","article_modified_time":"2016-10-24T18:16:54+00:00","og_image":[{"url":"https:\/\/worldscreen.com\/tvreal\/wp-content\/uploads\/sites\/12\/2015\/09\/2016-10-19-making-history.jpg","width":1,"height":1,"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\/tvreal\/making-history\/","url":"https:\/\/worldscreen.com\/tvreal\/making-history\/","name":"Making History - TVREAL","isPartOf":{"@id":"https:\/\/worldscreen.com\/tvreal\/#website"},"datePublished":"2016-10-19T10:12:09+00:00","dateModified":"2016-10-24T18:16:54+00:00","author":{"@id":"https:\/\/worldscreen.com\/tvreal\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7"},"breadcrumb":{"@id":"https:\/\/worldscreen.com\/tvreal\/making-history\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worldscreen.com\/tvreal\/making-history\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/worldscreen.com\/tvreal\/making-history\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worldscreen.com\/tvreal\/"},{"@type":"ListItem","position":2,"name":"Making History"}]},{"@type":"WebSite","@id":"https:\/\/worldscreen.com\/tvreal\/#website","url":"https:\/\/worldscreen.com\/tvreal\/","name":"TVREAL","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worldscreen.com\/tvreal\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/worldscreen.com\/tvreal\/#\/schema\/person\/48d5d8caeca98083bf34512b4ce8c4c7","name":"World Screen","description":"The leading source of information for the international media business.","url":"https:\/\/worldscreen.com\/tvreal\/author\/admin\/"}]}},"_links":{"self":[{"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/posts\/9283","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/comments?post=9283"}],"version-history":[{"count":0,"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/posts\/9283\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/media\/9284"}],"wp:attachment":[{"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/media?parent=9283"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/categories?post=9283"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldscreen.com\/tvreal\/wp-json\/wp\/v2\/tags?post=9283"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}