{"id":24046,"date":"2023-12-31T12:43:38","date_gmt":"2023-12-31T02:43:38","guid":{"rendered":"http:\/\/www.thefatwebsite.com\/?p=24046"},"modified":"2023-12-31T13:54:22","modified_gmt":"2023-12-31T03:54:22","slug":"top-ten-films-of-2023","status":"publish","type":"post","link":"http:\/\/www.thefatwebsite.com\/?p=24046","title":{"rendered":"Top Ten Films of 2023"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n

\u201c2023 was a great year for film!\u201d was not a statement I\nwould have made in October.<\/p>\n\n\n\n

I\u2019ve been writing top ten lists for nearly two decades and\nas a habit, I keep a note of my favourite films of the year in a word doc.  In some of the best years I have had to cull\na list of 20-30 great films down to ten. \nThis year I got to October and my entire list was five films.<\/p>\n\n\n\n

The crazy thing of course is that there are plenty of\nfantastic films that were released in 2023. \nBut they are often hard to track down and\/or released in this insane\nfive week window between late November and mid December when everyone has\nhardly any free time to go to the movies.<\/p>\n\n\n\n

Not to sound like an old man shouting at clouds but it\u2019s crazy\nto me that the blockbuster movie season is effectively eleven months long<\/em>\nand then \u201ceverything else\u201d (not just award season fare but the likes of Godzilla\nMinus One, Saltburn, The Boy and the Heron and The Killer) all get crammed into\nthis tiny release window on a strictly limited run at the end of the year.<\/p>\n\n\n\n

Fortunately, there seems to be a real turning of the tide at\nlong last.  I\u2019ve personally been burnt\nout on super hero films and the relentless grind of big budget sequels for\nyears but the public appetite for a new Ghostbuster or Thor movie felt\nendless.  Until now.  Aquaman 2, The Marvels, Blue Beetle,\nAntman and the Wasp: Quantumania<\/em> all underperformed at the box office in\nspectacular fashion.  Don\u2019t get me wrong,\nI don\u2019t think we shouldn\u2019t have super hero movies at all.  I just think 2 or 3 per year is fine.  Not 20. \nAnd maybe we\u2019re finally reaching a stage where that is the prevailing\nsentiment amongst the broader theatre-going crowds too.<\/p>\n\n\n\n

We\u2019re also hitting a tipping point with streaming and video\non demand services.  There\u2019s too many,\nthe quality of each service\u2019s catalogue sucks because every market is\nfragmented, the original movie content is sub par and we\u2019re also getting a\ndelightful reminder that you don\u2019t really own anything digitally as some\ncontent providers are revoking access to films and tv shows people paid for.<\/p>\n\n\n\n

What do we do about it? \nI don\u2019t really know.  Personally I\nbought over 200 DVDs this year and hardly any of them cost more than a\ndollar.  But I realise I\u2019m a niche\ncase.  I guess lots of people will revert\nto piracy and we\u2019ll enter into a new age of torrenting, Limewire and whatnot.  Lastly, I think its possible we lose a\ngeneration of young people who won\u2019t even be all that interested in movies\nperiod because its too expensive to go to the cinema, too much of the content\nis peddling nostalgia at forty year olds and the streaming stuff sucks for all\nthe aforementioned reasons.<\/p>\n\n\n\n

All of this sounds rather grim but I know there will always\nbe passionate custodians of cinema \u2013 both film makers and enthusiasts \u2013 who\nwill find ways to provide access to classic movies of yesteryear and champion bold\nand creative new films at the box office. \nMy top ten list for 2023 looked pretty dire in October but as I write\nthis in the final days of December, I\u2019ve actually ended up with a really solid\nlist.<\/p>\n\n\n\n

Anyway, that\u2019s enough waffling.  Here it is, my ten favourite films of 2023.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Barbie<\/p>\n\n\n\n

Director:<\/strong> Greta Gerwig
Writers:<\/strong> Greta Gerwig, Noah Baumbach
Cast:<\/strong> Margot Robbie, Ryan Gosling, America Ferrera, Will Ferrell<\/p>\n\n\n\n

“To be honest, when I found out the patriarchy wasn’t just about horses, I lost interest.”<\/em><\/p>\n\n\n\n

One of my favourite organically driven movie events of the year was the \u2018Barbenheimer\u2019 phenomenon which saw audiences flock to the big screens to see two totally disparate yet equally wonderful films in Barbie<\/em> and Oppenheimer<\/em> which released on the same day in July.<\/p>\n\n\n\n

I know Greta Gerwig is a talented filmmaker who has already amassed an impressive filmography at the age of just 40 but I think even the most optimistic fan couldn\u2019t have imagined what she would accomplish with Barbie<\/em>.<\/p>\n\n\n\n

On face value I\u2019ve seen firsthand with my daughter that it\u2019s a well crafted comedy caper that can enthral and hold the attention of its natural target audience \u2013 young girls who like Barbie dolls \u2013 but it wouldn\u2019t have become the cultural phenomenon that it did without its social commentary on feminism and masculinity which made this movie \u201cBlack Panther<\/em> for white women\u201d and also a source of much anguish for right wing culture warriors and their followers.<\/p>\n\n\n\n

I rewatched the film again this month and it was just as much fun the second time around.  It\u2019s funny, perfectly paced and has a terrific soundtrack.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Evil Dead Rise<\/p>\n\n\n\n

Director:<\/strong> Lee Cronin
Writer:<\/strong> Lee Cronin
Cast:<\/strong> Mirabai Pease, Richard Crouchley, Anna-Maree Thomas<\/p>\n\n\n\n

“Mommy’s with the maggots now.”<\/em><\/p>\n\n\n\n

I still remember that for the longest time after the original Raimi directed Evil Dead<\/em> trilogy, it felt like we would never see a new project get off the ground.  Now here we are in 2023 and the Evil Dead<\/em> brand feels like its in a very good place indeed.<\/p>\n\n\n\n

This new chapter doesn\u2019t feature Bruce Campbell and is more of a spiritual successor to the original films.  Directed by Lee Cronin, Rise<\/em> is a fantastic edge of your seat horror-comedy that captures the essence of the first two Evil Dead<\/em> movies in supremely confident fashion.<\/p>\n\n\n\n

A family in Los Angeles become trapped in their apartment\ncomplex after an earthquake blocks off the exits and things quickly escalated\ninto a desperate struggle for survival when single mother Ellie becomes\npossessed by a demon.<\/p>\n\n\n\n

Evil Dead Rise<\/em> is a film made by people who clearly understand the fundamentals of good storytelling and specifically how to navigate the tricky horror-comedy sub genre.  It\u2019s a simple story but the delivery is exceptional and I totally bought into this film from the opening minutes.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Talk to Me<\/p>\n\n\n\n

Directors:<\/strong> Danny and Michael Philippou
Writers: <\/strong> Danny Philippou, Bill Hinzman, Daley Pearson
Cast:<\/strong> Ari McCarthy, Hamish Phillips, Kit Erhart-Bruce<\/p>\n\n\n\n

“I let you in.”<\/em><\/p>\n\n\n\n

Talk to Me is an Australian-made horror film made by two people (Danny and Michael Philippou) who made their name running a Youtube channel called RackaRacka.  It is crafted so wonderfully by these young talents that shouldn\u2019t possibly be this good this early in their careers.  I\u2019ve been a vocal supporter and advocate for this film ever since I saw it, constatly badgering everyone I know to go see it. <\/p>\n\n\n\n

The premise of the film is that a group of ne\u2019er-do-well\nteenagers have found a demonic hand that, when grasped and the phrase \u2018I let\nyou in\u2019 is uttered, it allows the person to become possessed by a spirit.  But a rule is established that the possession\nshould only last for 90 seconds or they run the risk of being psychically\ndamaged.<\/p>\n\n\n\n

The way these bored teenagers treat this hand not as a relic\nto be feared but as a fun novelty at parties felt so authentic to me and was\npart of what hooked me into the story so firmly in its riveting opening twenty\nminutes.<\/p>\n\n\n\n

What elevates Talk to Me<\/em> to greatness though is the surprising themes that surface later in the film as the characters deal with grief, guilt and anxiety over connecting with their parents.  Although the film has an outlandish central conceit, I thought the filmmakers allowed the characters to show an emotional depth and sense of introspection that is rare for this genre.<\/p>\n\n\n\n

An absolutely sensational debut feature.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Past Lives<\/p>\n\n\n\n

Director:<\/strong> Celine Song
Writer:<\/strong> Celine Song
Cast:<\/strong> Greta Lee, Teo Yoo, John Margaro<\/p>\n\n\n\n

“You dream in a language I can’t understand. It’s like there’s this whole place inside you I can’t go.”<\/em><\/p>\n\n\n\n

Past Lives is a debut film from writer-director Celine Song and tells the story of two young Korean teenagers – Nora and Hae Sung – who form a strong bond that feels as though it could develop into something romantic but is abruptly upended when Nora and her family emigrate to New York.<\/p>\n\n\n\n

The two resume communication online and quickly become\nemotionally intertwined once more but their lives seem constantly askew.  There is a longing to meet from both sides\nbut university studies, military conscription and their professional careers,\nall conspire to keep them apart.<\/p>\n\n\n\n

As they grow older, enter into relationships of their own,\nthey drift in and out of communication until finally a moment presents them with\nan opportunity to meet face to face.<\/p>\n\n\n\n

Past Lives<\/em> is a tender, heartfelt film with captivating leads that have the perfect chemistry for the tale that Song is weaving.  The film is a brisk 90 minutes, handled with a deft touch and never feels overwrought.<\/p>\n\n\n\n

A sweetly constructed modern romance that I encourage anyone to seek out.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The Killer<\/p>\n\n\n\n

Director:<\/strong> David Fincher
Writers:<\/strong> Alexis Nolent, Luc Jacamon, Andrew Kevin Walker
Cast: <\/strong> Michael Fassbender, Tilda Swinton, Charles Parnell<\/p>\n\n\n\n

“Stick to your plan. Anticipate, don’t improvise. Trust no one. Never yield an advantage. Fight only the battle you’re paid to fight.”<\/em>
<\/p>\n\n\n\n

One of my favourite scenes of any movie in 2023 is The Killer<\/em> which opens with a gag that has a ten minute long run up.  Nothing about the film\u2019s promotional material, the trailers or the initial reviews prepared me for the fact that this is one of the funniest dark comedies in recent memory.  It\u2019s not really the type of film I can ever recall David Fincher dabbling in and yet here we are.<\/p>\n\n\n\n

Structurally, the film is astonishingly simple.  So simple that when it lays out its cards in the opening act, you might be tempted to think there\u2019s a twist coming or that there might be more to it.  But the pleasures of The Killer<\/em> come from the journey with the unnamed hitman played by Michael Fassbender, and not the final destination.  Fassbender really shines with his understated performance that dwells heavily on the weird idiosyncrasies of being a professional killer.  There\u2019s a real back-to-basics feel about both his performance and Fincher\u2019s direction which is decidedly muted by his standards.<\/p>\n\n\n\n

This film was not on my radar at all coming in to 2023 and it ended up being one of my favourites.  I had a great time with it.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Oppenheimer<\/p>\n\n\n\n

Director: <\/strong> Christopher Nolan
Writers:<\/strong> Christopher Nolan, Kai Bird, Martin Sherwin
Cast:<\/strong> Cilian Murphy, Emily Blunt, Matt Damon, Florence Pugh<\/p>\n\n\n\n

“Now I am become Death, the destroyer of worlds.”<\/em><\/p>\n\n\n\n

Oppenheimer<\/em> is a superb biographical thriller about J. Robert Oppenheimer, the father of the atomic bomb.<\/p>\n\n\n\n

Cillian Murphy delivers a convincing and brilliant\nperformance as Oppenheimer \u2013 an exceptional theoretical physicist but also a\nflawed and conflicted human who wrestles with the human cost of his\nparticipation in the Manhattan Project.<\/p>\n\n\n\n

Not being a history buff I was only ever familiar with the certain aspects of Oppenheimer<\/em> that had seeped into popular culture \u2013 his famous quote and his involvement in the Manhattan Project \u2013 but I was completely unaware of his political leanings, his interactions with Einstein, his extramarital affair with Jean Tatlock or the political persecution he faced from Atomic Energy Commission leader Lewis Strauss.<\/p>\n\n\n\n

Oppenheimer<\/em> the film is a dense, detailed and impressive work.  It\u2019s an ambitious film that chronicles many warts-and-all details of his life but despite being heavy with exposition, it still feels like it has plenty to offer artistically thanks to Nolan\u2019s impressive production that mostly uses practical effects and Jennifer Lame\u2019s wonderful editing that skilfully weaves together multiple time periods and dozens of characters into a coherent narrative.<\/p>\n\n\n\n

The supporting cast is also a highlight of Oppenheimer<\/em> with an impressive ensemble including the likes of Matt Damon, Rami Malek and Kenneth Branagh.  For my money, Florence Pugh as Jean Tatlock and Robert Downey Jr as the vindictive Lewis Strauss are amongst the highlights here.<\/p>\n\n\n\n

Oppenheimer<\/em> is a wonderful film on its own merits but in the current climate of heightened global tensions, it also feels prescient and a timely cautionary tale.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Killers of the Flower Moon<\/p>\n\n\n\n

Director:<\/strong> Martin Scorcese
Writers:<\/strong> Eric Roth, Martin Scorcese, David Grann
Cast:<\/strong> Lily Gladstone, Leonardo DiCaprio, Robert De Niro<\/p>\n\n\n\n

“Can you find the wolves in this picture?”<\/em><\/p>\n\n\n\n

Even in his autumn years, its wonderful to see a filmmaker\nas accomplished and storied as Martin Scorcese continue to evolve his craft.<\/p>\n\n\n\n

Killers of the Flower Moon<\/em> is a lengthy crime drama about a series of murders of wealthy Osage Nation members – a community of oil-rich Indigenous Americans.  This formidable narrative, which clocks in at over 200 minutes, has a very deliberate and methodical pace but remains engaging thanks to the superb performances of the central cast (Lily Gladstone in particular) and the beautiful cinematography.<\/p>\n\n\n\n

What interests me in particular about Killers of the Flower Moon<\/em> is that on paper, it looks like a familiar Scorcese production with the presence of De Niro, DiCaprio and Robbie Roberston (a composer he has collaborated with eleven times) but in actuality, the film is quite a thematic departure from his best known work.  Killers of the Flower Moon<\/em> explores America\u2019s history of colonization and is largely focused on the Indigenous experience, a perspective almost entirely absent from his other works.  Whats even more impressive is that Scorcese nails it.<\/p>\n\n\n\n

Killers<\/em> is brutal, and at times a very tough watch, but it also feels utterly authentic. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The Holdovers<\/p>\n\n\n\n

Director:<\/strong> Alexander Payne
Writer:<\/strong> David Hemingson
Cast:<\/strong> Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa<\/p>\n\n\n\n

“Life is like a henhouse ladder. Shitty and short.”<\/em><\/p>\n\n\n\n

I\u2019ve followed and admired the films of Alexander Payne (Election, Sideways, Nebraska<\/em>) for many years and after a rare misfire a couple of years back with Downsizing<\/em>, I\u2019m glad he\u2019s back to his very best with The Holdovers<\/em>, a heartwarming and beautiful holiday season film about a bad tempered professor played by Paul Giamatti who gets saddled with the job of minding students who don\u2019t have any family to return to over Christmas break.<\/p>\n\n\n\n

Payne\u2019s films are almost all comedy-dramas and character studies of men undergoing some kind of midlife crisis.  The best ones tend to have an earthy, realistic quality about them and so it is with The Holdovers<\/em>, which at times feels like a kindred spirit to Dead Poets Society<\/em>, only with the saccharine levels dialled down about four or five notches.<\/p>\n\n\n\n

Although there are many familiar element in The Holdovers<\/em> with Payne\u2019s previous films, I think this is by far his most crowd pleasing film to date.  Most of his earlier films tend to leave the protagonist downtrodden or defeated by the time credits rolled, with experiences that could charitably be called \u2018character building\u2019 at best.  I feel like Payne may finally be softening in his later years as this is one of the first times I can recall where he allows the leads a (mostly) triumphant send-off.<\/p>\n\n\n\n

I\u2019d love to see The Holdovers<\/em> gain a cult following as a holiday season film.  It\u2019s very funny, full of great characters and leaves you with your spirits high.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Napoleon<\/p>\n\n\n\n

Director:<\/strong> Ridley Scott
Writer:<\/strong> David Scarpa
Cast:<\/strong> Joaquin Phoenix, Vanessa Kirby, Tahar Rahim<\/p>\n\n\n\n

“You think you are so great because you have boats.”<\/em><\/p>\n\n\n\n

It\u2019s not quite on the same tier as Oppenheimer<\/em> or Killers of the Flower Moon<\/em> but Ridley Scott\u2019s Napoleon<\/em> is nonetheless a hearty, enjoyable historical epic.<\/p>\n\n\n\n

Joaquin Phoenix plays Napoleon Bonaparte in a film that charts his ascendancy into supreme  military power, his most famous victories on land and sea, and inevitably his downfall.  Much of the inner thoughts of Napoleon are narrated via his letters to his wife Jos\u00e9phine de Beauharnais.  As you\u2019d expect from most historical interpretations of the man \u2013 he is played by Phoenix as a brilliant strategist who is supremely driven but single-minded in his ambitions to a fault.<\/p>\n\n\n\n

The highlights of Napoleon<\/em> are its lavish production values as Ridley Scott (now in his eighties) shows he still has a real flair for capturing large scale combat onscreen.  As you can imagine, the costumes and scenery are also top drawer.<\/p>\n\n\n\n

My only qualm really is that film is very literal in its portrayal and doesn\u2019t offer much room for interpretation or subtext.  But for a $200 million dollar ‘style over substance’ film, it’s a handsomely constructed epic in a genre and of a style that few studios are producing anymore.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Godzilla Minus One<\/p>\n\n\n\n

FILM OF THE YEAR<\/strong><\/p>\n\n\n\n

Director:<\/strong> Takashi Yamazaki
Writer:<\/strong> Takashi Yamazaki
Cast:<\/strong> Minami Hanabe, Ryunosuke Kamiki, Sakura Ando<\/p>\n\n\n\n

It\u2019s a good time to be a Godzilla<\/em> fan.  The King of Monsters turns seventy years old next year and currently is appearing in no less than three different film and television productions in the span of four months \u2013 Godzilla x Kong: The New Empire, MONARCH: Legacy of Monsters<\/em> and Toho Studio\u2019s Godzilla Minus One<\/em>.<\/p>\n\n\n\n

Time will tell how the other projects work out but Godzilla Minus One<\/em> is sensational.  Made on a modest budget of $15 million, Toho have produced a film that has greater energy and spectacle of Hollywood productions with ten times that budget.  This is a film that you need to see in the cinema.  There are sequences in this film \u2013 the chase in the ocean and his initial arrival into Tokyo Bay \u2013 which are jaw-dropping and gave me goosebumps.<\/p>\n\n\n\n

This film has incredible word of mouth and favourable\ncomparisons are being drawn with the 1954 original.  I can\u2019t recall the last time a creature\nfeature such as this had such well written human characters who you grow\nattached to and care for their fate. \nThey\u2019re characterized in pretty broad brush strokes \u2013 a scruffy tugboat\ncaptain with a heart of gold, a brilliant scientist with crazy hair, a hot\nheaded youngster who is keen to see battle \u2013 but the performances are\nuniversally excellent and the screenplay absolutely pops.<\/p>\n\n\n\n

This is one of the very, very rare instances where I suspect\nthe majority of the audience will be cheering for the humans and not the\nmonster in the final showdown.<\/p>\n\n\n\n

What gives Godzilla Minus One<\/em> a fresh perspective from the 38 other movie adaptations he\u2019s featured in is the decision to set this film directly after Japan\u2019s surrender in World War 2.  When Godzilla arrives in Japan, it is already devastated by the final days of the war and crucially, the feelings of guilt and shame shape the psyche of the humans as they try to muster the courage and nous to defeat the King of Monsters.  I loved that in Godzilla Minus One<\/em>, when the humans rally to defeat him, it is a collective union of Japanese civilians and not the government that lead the charge.<\/p>\n\n\n\n

In case you couldn\u2019t tell, I adored this film.  It\u2019s an instant classic for me.  It\u2019s one of those films I won\u2019t shut up about for months to come.  In Australia it had a dismally short theatrical run.  But if I spot a boutique independent cinema screening a 9.20pm session on a Sunday, you can bet I\u2019ll be dragging along the first person who answers my messages to that theatre.  You need to see this film.<\/p>\n\n\n\n

Archives<\/h2>\n\n\n\n

Top Ten Films of 2022<\/a><\/strong>  |  Film of the Year \u2013 RRR<\/strong><\/h4>\n\n\n\n

Top Ten Films of 2021<\/a><\/strong>  |  Film of the Year \u2013 The Father<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2020<\/a> | <\/strong>Film of the Year \u2013 The Invisible Man<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2019<\/a> | <\/strong>Film of the Year \u2013 Parasite<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2018<\/strong><\/a>  |  Film of the Year \u2013 BlackKklansman<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2017<\/a><\/strong>  |  Film of the Year \u2013 Get Out<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2016<\/a>  | <\/strong>Film of the Year \u2013 Hunt For The Wilder People<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2015<\/a><\/strong> |  Film of the Year \u2013 Mad Max Fury Road<\/a><\/strong><\/h4>\n\n\n\n

Top Fifty Films of 2014<\/strong><\/a> |  Film of the Year \u2013 Grand Budapest Hotel<\/strong><\/a><\/h4>\n\n\n\n

Top Ten Films of 2013<\/strong><\/a> |  Film of the Year \u2013 Gravity<\/strong><\/a><\/h4>\n\n\n\n

Top Ten Films of 2012<\/a><\/strong>  |  Film of the Year \u2013 The Descendants<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2011<\/a><\/strong> |  Film of the Year \u2013 True Grit<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2010<\/a><\/strong> | Film of the Year \u2013 The Social Network<\/a><\/strong><\/h4>\n\n\n\n

Top Ten Films of 2009<\/a><\/strong> | Film of the Year \u2013 In The Loop<\/a><\/strong><\/h4>\n","protected":false},"excerpt":{"rendered":"

Barbies, the King of Monsters, nuclear physicists and college professors. These are my ten favourite films of 2023.<\/p>\n","protected":false},"author":6,"featured_media":24098,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1802,5],"tags":[600,1961,2389,2836,2877,1133,471,3031],"class_list":["post-24046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-best-of-the-year-movies","category-films","tag-christopher-nolan","tag-godzilla","tag-leonardo-dicaprio","tag-margot-robbie","tag-robert-de-niro","tag-tilda-swinton","tag-top-ten","tag-top-ten-films"],"_links":{"self":[{"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/posts\/24046","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=24046"}],"version-history":[{"count":18,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/posts\/24046\/revisions"}],"predecessor-version":[{"id":24099,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/posts\/24046\/revisions\/24099"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=\/wp\/v2\/media\/24098"}],"wp:attachment":[{"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=24046"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=24046"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.thefatwebsite.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=24046"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}