{"id":10189,"date":"2026-04-23T18:35:15","date_gmt":"2026-04-23T18:35:15","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/"},"modified":"2026-04-23T18:35:15","modified_gmt":"2026-04-23T18:35:15","slug":"cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/","title":{"rendered":"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian"},"content":{"rendered":"<p>From An Almost Perfect Affair to Mr Bean\u2019s Holiday, there\u2019s nothing the festival enjoys more than seeing itself on screen. The next season of The White Lotus is tapping into that rich tradition \u2013 can it capture the C\u00f4te d\u2019Azur\u2019s peculiar magic?<\/p>\n<p>Some years ago, the Guardian decided to boost its Cannes coverage by having <a href=\"https:\/\/www.theguardian.com\/film\/video\/2009\/may\/18\/cannes-film-festival-video\">a video crew accompany<\/a> its regular festival reporters. At the meeting prior to the festival, I explained why this bright idea wouldn\u2019t work. Cannes was a fortress and it wasn\u2019t going to let us shoot anywhere. The security was too tight, the bureaucracy too byzantine. It would be a colossal waste of time and money. You couldn\u2019t just run around Cannes pointing a camera at people.<\/p>\n<p>It turned out I was wrong. Cannes didn\u2019t care. It let us shoot everywhere. We shot on the street, on the beach and on the roof of Le Palais des Festivals. We dragged a sand-smeared rubber dinghy into the five-star Carlton hotel and asked famous actors to sit in it for an interview. We filmed on the carousel in the park and in the pavilions by the sea. The only resistance we encountered came from the steward of a billionaire\u2019s yacht. The steward was perfectly happy to allow us free run of the deck, but he wanted his palms greased with a few hundred euros.<\/p>\n<p> <a href=\"https:\/\/www.theguardian.com\/film\/2026\/apr\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself\">Continue reading&#8230;<\/a>\u00a0<\/p>\n<p><a href=\"https:\/\/www.theguardian.com\/film\/2026\/apr\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself\" target=\"_blank\" class=\"feedzy-rss-link-icon\">Read More<\/a><img decoding=\"async\" src=\"https:\/\/i.guim.co.uk\/img\/media\/0e98fd310f550adb341683a9f6a81ead9d4f1d83\/375_0_3750_3000\/master\/3750.jpg?width=140&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=94cf58274d1db1ffad9b8836acf261f1\" title=\"Cannes did camera: how the film festival loves to watch itself\" \/><\/p>","protected":false},"excerpt":{"rendered":"<p>From An Almost Perfect Affair to Mr Bean\u2019s Holiday, there\u2019s nothing the festival enjoys more than seeing itself on screen. The next season of The White Lotus is tapping into that rich tradition \u2013 can it capture the C\u00f4te d\u2019Azur\u2019s peculiar magic? Some years ago, the Guardian decided to boost its Cannes coverage by having&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":10190,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-10189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Cannes did camera: how the film festival loves to watch itself Culture | The Guardian - Cultural Left<\/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:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian - Cultural Left\" \/>\n<meta property=\"og:description\" content=\"From An Almost Perfect Affair to Mr Bean\u2019s Holiday, there\u2019s nothing the festival enjoys more than seeing itself on screen. The next season of The White Lotus is tapping into that rich tradition \u2013 can it capture the C\u00f4te d\u2019Azur\u2019s peculiar magic? Some years ago, the Guardian decided to boost its Cannes coverage by having&#046;&#046;&#046;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/\" \/>\n<meta property=\"og:site_name\" content=\"Cultural Left\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/culturalleft\" \/>\n<meta property=\"article:published_time\" content=\"2026-04-23T18:35:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i.guim.co.uk\/img\/media\/0e98fd310f550adb341683a9f6a81ead9d4f1d83\/375_0_3750_3000\/master\/3750.jpg?width=140&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=94cf58274d1db1ffad9b8836acf261f1\" \/>\n<meta name=\"author\" content=\"Administrator\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@culturalleft\" \/>\n<meta name=\"twitter:site\" content=\"@culturalleft\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Administrator\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/\"},\"author\":{\"name\":\"Administrator\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#\\\/schema\\\/person\\\/94cf8075fda504f02a6c2fba01de1a33\"},\"headline\":\"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian\",\"datePublished\":\"2026-04-23T18:35:15+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/\"},\"wordCount\":253,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/3750-7xKxro.jpg\",\"articleSection\":[\"Uncategorized\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/\",\"url\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/\",\"name\":\"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian - Cultural Left\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/3750-7xKxro.jpg\",\"datePublished\":\"2026-04-23T18:35:15+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#primaryimage\",\"url\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/3750-7xKxro.jpg\",\"contentUrl\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/3750-7xKxro.jpg\",\"width\":140,\"height\":112},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/2026\\\/04\\\/23\\\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#website\",\"url\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/\",\"name\":\"Cultural Left\",\"description\":\"Culturalising Democracy - Democratising Culture\",\"publisher\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#organization\",\"name\":\"Cultural Left\",\"url\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/wp-content\\\/uploads\\\/2023\\\/11\\\/cropped-CYLTURALLEFTLOGOGOOD2023.png\",\"contentUrl\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/wp-content\\\/uploads\\\/2023\\\/11\\\/cropped-CYLTURALLEFTLOGOGOOD2023.png\",\"width\":484,\"height\":190,\"caption\":\"Cultural Left\"},\"image\":{\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/culturalleft\",\"https:\\\/\\\/x.com\\\/culturalleft\",\"https:\\\/\\\/www.tiktok.com\\\/culturalleft\",\"https:\\\/\\\/www.instagram.com\\\/culturalleft\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/#\\\/schema\\\/person\\\/94cf8075fda504f02a6c2fba01de1a33\",\"name\":\"Administrator\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0c0d5f0a3d7f6884da2d98fe3f64332dca5d4ff5b0898d8656adccc76a4d90a5?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0c0d5f0a3d7f6884da2d98fe3f64332dca5d4ff5b0898d8656adccc76a4d90a5?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0c0d5f0a3d7f6884da2d98fe3f64332dca5d4ff5b0898d8656adccc76a4d90a5?s=96&d=mm&r=g\",\"caption\":\"Administrator\"},\"sameAs\":[\"https:\\\/\\\/culturalleft.org\\\/cl\"],\"url\":\"https:\\\/\\\/culturalleft.org\\\/cl\\\/author\\\/administrator\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian - Cultural Left","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:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/","og_locale":"en_GB","og_type":"article","og_title":"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian - Cultural Left","og_description":"From An Almost Perfect Affair to Mr Bean\u2019s Holiday, there\u2019s nothing the festival enjoys more than seeing itself on screen. The next season of The White Lotus is tapping into that rich tradition \u2013 can it capture the C\u00f4te d\u2019Azur\u2019s peculiar magic? Some years ago, the Guardian decided to boost its Cannes coverage by having&#46;&#46;&#46;","og_url":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/","og_site_name":"Cultural Left","article_publisher":"https:\/\/www.facebook.com\/culturalleft","article_published_time":"2026-04-23T18:35:15+00:00","og_image":[{"url":"https:\/\/i.guim.co.uk\/img\/media\/0e98fd310f550adb341683a9f6a81ead9d4f1d83\/375_0_3750_3000\/master\/3750.jpg?width=140&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=94cf58274d1db1ffad9b8836acf261f1","type":"","width":"","height":""}],"author":"Administrator","twitter_card":"summary_large_image","twitter_creator":"@culturalleft","twitter_site":"@culturalleft","twitter_misc":{"Written by":"Administrator","Estimated reading time":"1 minute"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#article","isPartOf":{"@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/"},"author":{"name":"Administrator","@id":"https:\/\/culturalleft.org\/cl\/#\/schema\/person\/94cf8075fda504f02a6c2fba01de1a33"},"headline":"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian","datePublished":"2026-04-23T18:35:15+00:00","mainEntityOfPage":{"@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/"},"wordCount":253,"commentCount":0,"publisher":{"@id":"https:\/\/culturalleft.org\/cl\/#organization"},"image":{"@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#primaryimage"},"thumbnailUrl":"https:\/\/culturalleft.org\/cl\/wp-content\/uploads\/2026\/04\/3750-7xKxro.jpg","articleSection":["Uncategorized"],"inLanguage":"en-GB","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/","url":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/","name":"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian - Cultural Left","isPartOf":{"@id":"https:\/\/culturalleft.org\/cl\/#website"},"primaryImageOfPage":{"@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#primaryimage"},"image":{"@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#primaryimage"},"thumbnailUrl":"https:\/\/culturalleft.org\/cl\/wp-content\/uploads\/2026\/04\/3750-7xKxro.jpg","datePublished":"2026-04-23T18:35:15+00:00","breadcrumb":{"@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#primaryimage","url":"https:\/\/culturalleft.org\/cl\/wp-content\/uploads\/2026\/04\/3750-7xKxro.jpg","contentUrl":"https:\/\/culturalleft.org\/cl\/wp-content\/uploads\/2026\/04\/3750-7xKxro.jpg","width":140,"height":112},{"@type":"BreadcrumbList","@id":"https:\/\/culturalleft.org\/cl\/2026\/04\/23\/cannes-did-camera-how-the-film-festival-loves-to-watch-itself-culture-the-guardian\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/culturalleft.org\/cl\/"},{"@type":"ListItem","position":2,"name":"Cannes did camera: how the film festival loves to watch itself Culture | The Guardian"}]},{"@type":"WebSite","@id":"https:\/\/culturalleft.org\/cl\/#website","url":"https:\/\/culturalleft.org\/cl\/","name":"Cultural Left","description":"Culturalising Democracy - Democratising Culture","publisher":{"@id":"https:\/\/culturalleft.org\/cl\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/culturalleft.org\/cl\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/culturalleft.org\/cl\/#organization","name":"Cultural Left","url":"https:\/\/culturalleft.org\/cl\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/culturalleft.org\/cl\/#\/schema\/logo\/image\/","url":"https:\/\/culturalleft.org\/cl\/wp-content\/uploads\/2023\/11\/cropped-CYLTURALLEFTLOGOGOOD2023.png","contentUrl":"https:\/\/culturalleft.org\/cl\/wp-content\/uploads\/2023\/11\/cropped-CYLTURALLEFTLOGOGOOD2023.png","width":484,"height":190,"caption":"Cultural Left"},"image":{"@id":"https:\/\/culturalleft.org\/cl\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/culturalleft","https:\/\/x.com\/culturalleft","https:\/\/www.tiktok.com\/culturalleft","https:\/\/www.instagram.com\/culturalleft"]},{"@type":"Person","@id":"https:\/\/culturalleft.org\/cl\/#\/schema\/person\/94cf8075fda504f02a6c2fba01de1a33","name":"Administrator","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/0c0d5f0a3d7f6884da2d98fe3f64332dca5d4ff5b0898d8656adccc76a4d90a5?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/0c0d5f0a3d7f6884da2d98fe3f64332dca5d4ff5b0898d8656adccc76a4d90a5?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/0c0d5f0a3d7f6884da2d98fe3f64332dca5d4ff5b0898d8656adccc76a4d90a5?s=96&d=mm&r=g","caption":"Administrator"},"sameAs":["https:\/\/culturalleft.org\/cl"],"url":"https:\/\/culturalleft.org\/cl\/author\/administrator\/"}]}},"_links":{"self":[{"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/posts\/10189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/comments?post=10189"}],"version-history":[{"count":0,"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/posts\/10189\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/media\/10190"}],"wp:attachment":[{"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/media?parent=10189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/categories?post=10189"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culturalleft.org\/cl\/wp-json\/wp\/v2\/tags?post=10189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}