{"id":210568,"date":"2025-12-25T17:47:08","date_gmt":"2025-12-25T17:47:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/210568\/"},"modified":"2025-12-25T17:47:08","modified_gmt":"2025-12-25T17:47:08","slug":"anaconda-director-explains-how-that-med-credits-cameo","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/210568\/","title":{"rendered":"Anaconda Director Explains How That Med-Credits Cameo"},"content":{"rendered":"

\n\t[This story contains spoilers for Anaconda<\/a> (2025).]<\/p>\n

\n\tAnaconda filmmaker Tom Gormican<\/a> entered the entertainment industry at a time when more traditional forms of comedy still had sway at the box office. His feature directorial debut \u2014\u00a0the \u201cbromantic\u201d comedy, That Awkward Moment, starring Zac Efron, Miles Teller and Michael B. Jordan \u2014\u00a0made nearly six times its $8 million budget in 2014. Little did anyone know at the time, but that respectable profit margin would soon become the envy of most comedies that were released in subsequent years. Gormican then took his attention to network television, an experience that went so well that he and his creative partner, Kevin Etten, immediately retreated to features, opting to write something that simply made them happy.<\/p>\n

\n\tThat something was The Unbearable Weight of Massive Talent<\/a>, starring Nicolas Cage as a fictional Nick Cage and Pedro Pascal as his billionaire superfan. The meta action-comedy didn\u2019t light up early 2022\u2019s unpredictable box office, but it was very well received among audiences and industry folks. More importantly, Gormican had found his voice as a filmmaker. That win led to him and Etten co-writing Beverly Hills Cop: Axel F in 2022, and then they were hired to \u201creboot\u201d 1997\u2019s Anaconda in 2023.<\/p>\n

\n\t\u201cSomeone asked [co-writer\/producer Kevin Etten and I] after The Unbearable Weight [of Massive Talent], \u2018Do you guys have a take on Anaconda? Are you thinking about this property?\u2019\u2019 And we were like, \u2018Of course, we\u2019re not thinking about Anaconda,’\u201d Gormican recalls to The Hollywood Reporter. \u201cSo we said no initially, but then we thought about it for about a week and came back with the initial pitch. We just said, \u2018If you let us do The Big Chill becomes Anaconda, then we\u2019d be interested.\u2019 And we thought they would be like, \u2018Get the fuck out of here.\u2019\u201d<\/p>\n

\n\tIt turns out that Sony reacted well to their pitch that would combine the meta comedic fun of The Unbearable Weight with horror-thriller elements in between. Paul Rudd<\/a>, Jack Black<\/a>, Steve Zahn<\/a> and Thandiwe Newton play childhood friends whose lives haven\u2019t gone as planned, at least until Rudd\u2019s Griff twists all their arms to finally pursue their adolescent dream of remaking 1997\u2019s Anaconda in the Amazon rainforest. One can surmise that Gormican and Etten were partially inspired by the crushing disappointment that led them to write The Unbearable Weight. Admittedly, Gormican would\u2019ve preferred to make a completely original comedy that doesn\u2019t involve any IP, but unlike in 2014, comedy is now in a place where it needs to be bundled with either a known brand and\/or action\/VFX spectacle.<\/p>\n

\n\t\u201cKevin Etten and I didn\u2019t really want to play in someone else\u2019s sandbox or world. To me, that felt wrong. But at the same time, we make off-the-wall comedies that mix genres, and it\u2019s very, very difficult to get something comedic made now,\u201d Gormican says. \u201cSo that was part of the calculation. We were like,\u2019\u2019How do you do that without comic IP?\u2019 So that led us down the road of making [Anaconda] funnier.\u201d<\/p>\n

\n\tGetting into spoilers, Rudd\u2019s struggling actor character convinces his three friends that he\u2019s somehow secured the rights to reboot Anaconda, however, his obvious lie is exposed when Sony\u2019s authorized Anaconda legacy sequel cruises right past their own boat set on the Amazon River. That leads to third-act and mid-credit cameos from two of the legacy actors who survived Luis Llosa\u2019s 1997 original: Ice Cube and Jennifer Lopez.\u00a0<\/p>\n

\n\tPulling off the latter appearance had ongoing scheduling challenges, but when test audiences reinforced that a Lopez appearance was warranted, Sony, as they\u2019re known to do, moved mountains to help Gormican swing last-minute additional photography involving Lopez. (Like Cube, she plays herself, and approaches Black\u2019s character, Doug, to take over directing duties for the legacy sequel that was torn to shreds by an anaconda in the third act.)<\/p>\n

\n\t\u201cI was finally able to shoot her cameo a month ago on Nov. 17. It was the very last thing we did,\u201d Gormican says. \u201cI was finishing up my final mix when I went to shoot it, and I dropped it into this [mid-credit] sequence that I was having built to accommodate it. I never thought it was going to ultimately materialize, but it did.\u201d<\/p>\n

\n\tBelow, during a recent conversation with THR, Gormican also discusses whether Ananconda (1997) actors Jon Voight and Owen Wilson were ever close to cameoing, as well as how the funniest scene in the 2025 film emerged during post-production.<\/p>\n

\n\t***<\/p>\n

\n\tIt sounds like Sony initially wanted a prototypical reboot of Anaconda until you guys pitched your wild take. Clearly, it won them over in the end, but did the concept of Sony being a character give them some early pause?<\/p>\n

\n\t(Laughs.) I think they had [justified] pause about this, but we heard from the producers after the fact that they\u2019d heard 50 or 60 takes of Anaconda as a straight reboot. Someone then asked [co-writer\/producer Kevin Etten and I] after The Unbearable Weight [of Massive Talent], \u201cDo you guys have a take on Anaconda? Are you thinking about this property?\u201d And we were like, \u201cOf course, we\u2019re not thinking about Anaconda. I don\u2019t know what we would do with it. \u201d So we said no initially, but then we thought about it for about a week and came back with the initial pitch.\u00a0<\/p>\n

\n\tWe just said, \u201cIf you let us do The Big Chill becomes Anaconda, then we\u2019d be interested.\u201d And we thought they would be like, \u201cGet the fuck out of here.\u201d But as [Sony Pictures president] Sanford Panitch said after the pitch: \u201cI actually really like that idea. I think it\u2019s really cool and fun.\u201d We then talked about how to keep it out of the Hollywood zeitgeist. As you know, people in this town are so freaked out about anything that\u2019s meta or inside baseball. It\u2019s a relic of a couple decades ago where social media didn\u2019t give everybody super familiarity with the way movies work and the behind the scenes and all the things that we know about now.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tPaul Rudd, Jack Black and Director Tom Gormican on the set of Anaconda (2025).<\/p>\n

\t\t\t\t\t\t\t\t\tSony Pictures<\/p>\n

\n\tI appreciate your honesty about the franchise. I\u2019m so used to hearing filmmakers say that they grew up with a lunchbox of whatever franchise they\u2019ve expanded. But it doesn\u2019t sound like you were a devout fan of Anaconda.<\/p>\n

\n\tI was not.\u00a0<\/p>\n

\n\tWho is?\u00a0<\/p>\n

\n\tYeah, I know. It\u2019s fun and funny and campy, so I do have a soft spot for that [1997] movie that came out my senior year in high school. I remember it fondly, but I don\u2019t have some crazy reverence for it. It still has its own cult following, and Kevin Etten and I didn\u2019t really want to play in someone else\u2019s sandbox or world. To me, that felt wrong. But at the same time, we make off-the-wall comedies that mix genres, and it\u2019s very, very difficult to get something comedic made now. So that was part of the calculation. We were like, \u201cHow do you do that without comic IP?\u201d So that led us down the road of taking [another] genre and making it funnier.<\/p>\n

\n\tIt used to be that you could sell comedy in and of itself, but now it has to be packed with something else.<\/p>\n

\n\tYeah, straight comedy has been almost impossible to sell the last seven or eight years.<\/p>\n

\n\tDid you watch any of the straight-to-SyFy sequels just for the sake of curiosity?\u00a0<\/p>\n

\n\tYeah, we\u2019ve seen them all. We used to have references in the film to Anacondas: The Hunt for the Blood Orchid [aka Anaconda 2], but everyone was like, \u201cWhat is that?\u201d So we were like, \u201cAlright, let\u2019s just reference the original.\u201d<\/p>\n

\n\tBetween Anaconda (2025) and The Unbearable Weight of Massive Talent, you\u2019ve carved out quite a niche for yourself in meta fiction. Was there much of a grand design behind it?\u00a0<\/p>\n

\n\tWe\u2019re generally drawn to these types of ideas where we\u2019re blending reality and fiction in a referential way. We\u2019re drawn to those things because they feel like interesting narratives, but the grand design was this. We did The Unbearable Weight, which we thought was a very funny way into Nicolas Cage\u2019s life. As I pitched to him, it felt like Dada performance art where he gets to create a version of himself to put out into the world. Then people said, \u201cWe like that. Can you do it on a larger scale?\u201d That\u2019s what they always say. And we were like, \u201cI don\u2019t think so. What do you mean?\u201d\u00a0<\/p>\n

\n\tWe then landed on taking the comedy and action from Unbearable Weight and adding another genre in horror-thriller for an even larger narrative challenge. We want to take giant swings for theatrical movies that seem hard and complicated, and this still seems complicated. We just finished the movie ten days ago, and you think, \u201cI hope we threaded this correctly.\u201d But this felt new to us, and it felt like people would go see it in the theater because it hasn\u2019t been seen ten times in a row.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tNicolas Cage and Pedro Pascal in Tom Gormican\u2019s The Unbearable Weight of Massive Talent.<\/p>\n

\t\t\t\t\t\t\t\t\tKatalin Vermes\/Lionsgate\/Courtesy Everett Collection<\/p>\n

\n\tI asked director Paul King about the Paddington 2 flattery in Unbearable Weight, and while he thought it was a very funny tribute, he, like a lot of Brits, had a tough time processing the compliment. Did you and your co-writer just project your own affinity for that movie onto the fictional Nick Cage?<\/p>\n

\n\tYes, that movie is astounding, and Pedro [Pascal] and Nick thought it was very funny. At one point, a friend of Kevin Etten\u2019s said, \u201cIt made me want to be a better man.\u201d And we were like, \u201cThat\u2019s hysterical.\u201d So we took that line<\/a> and gave it to Pedro Pascal\u2019s character.<\/p>\n

\n\tPaul Rudd and Jack Black make so much sense on paper and on screen that it\u2019s hard to believe nobody has paired them together in a significant way until now. Were they also surprised that they hadn\u2019t starred together in anything yet? [Writer\u2019s Note: Black and Rudd had uncredited roles as Paul McCartney and John Lennon, respectively, in Walk Hard: The Dewey Cox Story. Black also had a small part in Anchorman, but didn\u2019t appear opposite Rudd.]<\/p>\n

\n\tI think they were surprised. Their pairing just felt so natural. Even knowing that, I was like, \u201cNo, that\u2019s not right. They must have starred together in something. It feels like they did.\u201d\u00a0<\/p>\n

\n\tThey actually thought they were playing the same role in Anaconda. Paul was initially attached to the film, and then the film wavered in terms of its viability and whether they were going to pull the trigger or not. Different people came in and out. Jack Black then read the script the night [he received it], and then he called me in the morning to say, \u201cI\u2019m doing the film.\u201d So I told Paul, and he was like, \u201cOh, I\u2019ll call him!\u201d And as they were talking, they both thought they were playing the director character, Doug. Ten minutes into this phone call, Jack said something very funny to Paul, which he relayed to me. He said, \u201cI have to play the director. I can\u2019t play an actor. Look at me! I don\u2019t look anything like an actor.\u201d<\/p>\n

\n\tIf you\u2019re going to pair them together, we thought it\u2019d be funny to have them in reverse roles. Jack is such a talented and sympathetic presence. He\u2019s such an innocent on screen that I thought it would be really nice to have him be the emotional center [and straight man] of the story. Paul \u2014\u00a0who\u2019s usually the straight man and emotional center \u2014\u00a0got to shift over and be a bit of loose cannon as the failed actor of the group. So we tried to make their pairing a little bit different.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tDoug (Jack Black) and Griff (Paul Rudd) in Tom Gormican\u2019s Anaconda.<\/p>\n

\t\t\t\t\t\t\t\t\tSony Pictures<\/p>\n

\n\tBetween Ghostbusters: Frozen Empire and the Jumanji movies, Paul and Jack have both made other franchise films for Sony. Did they volunteer any fun anecdotes for you to use?\u00a0<\/p>\n

\n\t(Laughs.) To their credit, no. I think they have more tact than to do that. They\u2019ve generally had good experiences on their other franchises, which have been really successful for Sony. But I think it did freak out Tom Rothman and the Sony crew. At a certain point, we were like, \u201cIs this okay? Should we talk about this?\u201d And then I said, \u201cYeah, this is the conversation that\u2019s going on. If you\u2019re not incorporating the conversation, you seem insane.\u201d<\/p>\n

\n\tWas Paul reluctant to reveal his secret to being ageless?\u00a0<\/p>\n

\n\t(Laughs.) The red light therapy mask. I felt like I aged four billion years while making this movie in the jungle. I was constantly talking to Paul\u2019s makeup artist and people, going, \u201cYou\u2019ve got to send me this [mask]. I won\u2019t tell anyone, I promise.\u2019\u201d But, yeah, he just defies nature. That\u2019s just who he is. I don\u2019t even think he does anything. It\u2019s just a very Paul thing.<\/p>\n

\n\tI saw a set video of Jack serenading the cast and crew with Paula Cole\u2019s \u201cI Don\u2019t Want to Wait.\u201d In general, it seems like you had a heck of a time wrangling these guys. Did you constantly check your watch on this movie?<\/p>\n

\n\tI kept looking at the AD with absolute fucking panic in our eyes, going, \u201cOh my God, I don\u2019t know how we\u2019re going to get these guys to shoot.\u201d We started using the God mic with speakers so we could be like, \u201cWe need you on your marks. We need to check our shots.\u201d And they\u2019d just keep talking. They\u2019d stand there all day, from day one, talking, talking, talking. I\u2019d then go back to the hotel pool after shooting, and [Paul, Jack and Steve Zahn] would be in the pool talking about nothing. And I was like, \u201cThis is going to end. No one stays friends on movie sets for this long.\u201d But day 45, day 50, they were still in the pool talking about nothing after a full day of filming.<\/p>\n

\n\tJack eventually started grabbing the God mic from the AD and doing karaoke. He\u2019d start singing, and then Paul would grab the guitar that\u2019s on the boat we built. It was just madness and chaos. I was like, \u201cI\u2019m going back to single character movies after this.\u201d They\u2019re all such big, fun performers, and I would get wrapped up in it.<\/p>\n

\n\tThandiwe Newton has always struck me as a serious actor who doesn\u2019t suffer fools gladly. How did she navigate the bedlam?<\/p>\n

\n\tShe handled the boys. She was so adept with these guys. She\u2019s so tremendously talented that I would say, \u201cThere\u2019s a fucking dead boar on Jack Black\u2019s back, and it\u2019s going to press what the audience and what the story will accept in terms of broadness. So every time I cut to you, I need you to ground this story.\u201d And she was like, \u201cOK!\u201d And to her credit, she really understood that mission. When the snake is attacking and you need someone to sell the danger and keep the stakes up, she was the perfect vehicle to deliver that. Comedy deletes your stakes, and the stakes have to feel high for this whole thing to work. The relationship that she has with Paul in the movie also has very little real estate, and she sells you this idea that they should be together. She then gets her big head-butt moment at the end. It had a very dumb setup at the beginning of the movie, but she pulled it all off and really nailed her moments.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tDoug (Jack Black) in Tom Gormican\u2019s Anaconda.<\/p>\n

\t\t\t\t\t\t\t\t\tColumbia Pictures<\/p>\n

\n\tWere you able to shoot the script before your comedic geniuses inevitably strayed in subsequent takes?\u00a0<\/p>\n

\n\tThat was the one thing Tom Rothman said to me when we started. He said, \u201cJust make sure you get the script.\u201d I had to balance it. I had to manage a tone across these scenes where a snake is going to kill someone in one scene, and then they\u2019re talking about their movie and making you laugh in the next scene. I said to the guys, \u201cThe only way to manage this tone is to have you do the dramatic version first, and we\u2019ll see if the situation carries us into some funny territory.\u201d Across those scenes, I could at least modulate performance. Then we\u2019d often lean on the composer, David Fleming, to basically bring us from one tone to the next, and drop you in the scene gracefully. That ended up being the most effective version.<\/p>\n

\n\tDid Jack compose his opening scene? Or did David provide him a cue to mimic ahead of time?\u00a0<\/p>\n

\n\tNo, Jack did that. That was off the cuff. He had a scripted version, but then he started adding the very Jack Black flourishes to it. David was like, \u201cOh God, it\u2019s not in time, and it\u2019s changing keys.\u201d (Laughs.) David is just a wonderful composer and human, and he had his hands full in composing along to Jack.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tClaire (Thandiwe Newton), Doug (Jack Black), Griff (Paul Rudd) and Kenny (Steve Zahn) in Tom Gormican\u2019s Anaconda.<\/p>\n

\t\t\t\t\t\t\t\t\tSony Pictures<\/p>\n

\n\tFilming the \u201cpee-shy\u201d scene must\u2019ve featured more of the madness you referenced moments ago.<\/p>\n

\n\tThat was actually done on a reshoot. We tucked it into the movie after we went back to do some additional photography. Jack was like, \u201cI\u2019m sorry, so he\u2019s peeing on my leg? Which leg?\u201d Then I was blocking it out, and I was like, \u201cPaul, can I just get you to sit down [like a human chair]?\u201d And the guys were like, \u201cWhat is happening right now? How did we sign up for this?\u201d So Jack was lying on the ground and Thandiwe [Newton] was holding his hand and Paul was making himself into a chair for Steve to sit on [so his character could pee], and I was just like, \u201cThis is not a job for adult humans. How could this happen?\u201d (Laughs.) So you start to question yourself and your own sanity, but luckily, it came out okay in the end.<\/p>\n

\n\tThere\u2019s a hilarious joke in reference to franchise movies going into production without third acts, and despite having a third act, the universe found a way to make you experience the very thing you\u2019re mocking. First, you lost your finale location mid-shoot, and then an ultra-rare cyclone wiped out your new location. That said, did you end up liking the new version more?<\/p>\n

\n\tIt\u2019s one of those things where I can\u2019t imagine other endings to the film now. We were an on-location shoot because it wasn\u2019t the biggest budget in the world. We were out in the jungle; we weren\u2019t on stages. We built our boats out in the wild, and that takes a toll. So we had to swap out our ending [after losing the original location] and write an entirely new ending, one that connected to the film the characters made as kids. I then had to prep the new ending\u2019s location until it was destroyed by a cyclone. Then we built it again, shot the new ending and reshot the kids\u2019 movie so that it linked up to the new ending.<\/p>\n

\n\tWhen your story beats connect, it ends up having this cascading effect, and you have to go back and adjust them all. It became this large process where, thankfully, we were able to pull it off. Credit to the production designer, Steven Jones-Evans. I was like, \u201cFind every dilapidated boat we can find, and let\u2019s paint them.\u201d I think he created that entire abandoned boatyard set in eight days. We made the entire thing, and we just dragged in boats from different marinas. So the job he did there was spectacular.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tGriff (Paul Rudd) and Doug (Jack Black) in Tom Gormican\u2019s Anaconda.<\/p>\n

\t\t\t\t\t\t\t\t\tColumbia Pictures<\/p>\n

\n\tIce Cube\u2019s cameo is right before the boatyard sequence. Did his scene have to be reconceived as well?\u00a0<\/p>\n

\n\t100 percent. Throughout the different iterations of the ending, he came in in lots of different ways. I just said, \u201cWe\u2019ve got an abandoned boatyard, so let\u2019s have him collect flare guns. If he\u2019s stuck there on a [ravaged] film set, he would\u2019ve found them as a way to defend himself.\u201d I shot it a little bit like a Western where he shows up in silhouette. We can\u2019t see who he is, and he\u2019s just shooting. And I thought that dropping the guns behind him in a trail would be a very fun, very Cube way to enter the story and save our characters.<\/p>\n

\n\tThere are a few references to Jon Voight in the film. Did you guys ever have the what-if conversation with regard to a cameo?\u00a0<\/p>\n

\n\t(Laughs.) Of course! We would\u2019ve loved to have had a Jon Voight or an Owen Wilson cameo, but the fact of the matter was their characters died in the first movie. The only reason those other returning actors are there is because they\u2019re in the [legacy] sequel of the actual Anaconda movie being made. Of all things, we were like, \u201cOh, that reality is a bridge too far,\u201d so we couldn\u2019t actually have them in there.<\/p>\n

\n\tI suppose Jon Voight the actor could\u2019ve appeared in some capacity, but it does make more sense to have the actors whose characters survived the 1997 film.\u00a0<\/p>\n

\n\tYeah, essentially, [Jennifer Lopez and Ice Cube] were doing a sequel to their movie, and they were the two survivors.<\/p>\n

\n\tThere\u2019s so many levels to this.<\/p>\n

\n\tYeah, it gets to be a brain buster, but ultimately, who cares? (Laughs.) The reality is we had to keep it consistent, I guess.<\/p>\n

\n\tWas the mid-credit scene cameo with Jennifer Lopez a late addition?<\/p>\n

\n\tThat was also a product of reshoots. We tried to get it as part of principal photography, but we couldn\u2019t make schedules coordinate. We had always wanted a version of her to come in, and we talked about it and talked about it and talked about it. I was finally able to shoot her cameo a month ago on November 17. It was the very last thing we did. I was finishing up my final mix when I went to shoot it, and I dropped it into this [mid-credit] sequence that I was having built to accommodate it. I never thought it was going to ultimately materialize, but it did, and we put it together. So it happened very, very late in the game, but we did have the idea a long time ago.<\/p>\n

\n\tI really admire how agile Sony is. Their hit romcom, Anyone But You, has a similar story as yours. I also covered their new I Know What You Did Last Summer movie in July, and they had just shot a new ending two weeks before that press day.<\/p>\n

\n\tWow, a couple weeks. Sony is a testing-reliant studio, which can be really helpful. And whether the feedback is helpful or not, you, as a filmmaker, get to sit there and go, \u201cPeople are checking out of the movie here,\u201d or, \u201cPeople desire this thing.\u201d And because they allow you to test so much, you\u2019re all on the same page with what might be helpful. If you use testing correctly, you can get a real sense of what you need. And as soon as we knew that we needed that [cameo] and it came to pass, our Sony executive, Maia Eyre, who had been pushing this for a long time, was like, \u201cI think this is going to work.\u201d And in the end, she was right.<\/p>\n

\n\tThis movie is both a meta reboot and a send-up of reboots. Do you think the 25-year emphasis on IP is ever going to slow down? Or has the industry made its bed?<\/p>\n

\n\tI hope it slows down. Original films like Sinners and Weapons were based on original ideas by really, really talented filmmakers, and people went back to see them again and again. Being a comedy, we had to use a piece of IP, but we tried to make a wholly original idea that feels super fun. So I hope we move away from giving people reboots and retreads because it boxes filmmakers in. I don\u2019t blame them. If you want to make a movie nowadays, you have to play that game. But a lot of original ideas have been doing so well that I hope the industry shifts more in that direction so a new era of great filmmakers can emerge.<\/p>\n

\n\tLastly, if the Anaconda characters\u2019 childhood dream is to make an Anaconda reboot, have you now accomplished whatever your version of that was as a kid?\u00a0<\/p>\n

\n\tI think we have. Making this feels like the most child-like fantasy movie that Kevin and I could have ever conceived of. It\u2019s got a monster, it\u2019s got pyrotechniques and it\u2019s got a bunch of old friends. It feels like a kids\u2019 movie with a budget. It has silliness and positivity, but it also has some grounded real-world themes about how it\u2019s never too late to achieve your aspirations. That puts it firmly in our world while still allowing you to have fun like you did as a kid.<\/p>\n

\n\t***
Anaconda is now playing in movie theaters.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"[This story contains spoilers for Anaconda (2025).] Anaconda filmmaker Tom Gormican entered the entertainment industry at a time…\n","protected":false},"author":2,"featured_media":210569,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[21368,61,60,21369,21370,82,109751,109752,263],"class_list":{"0":"post-210568","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-wildlife","8":"tag-anaconda","9":"tag-ie","10":"tag-ireland","11":"tag-jack-black","12":"tag-paul-rudd","13":"tag-science","14":"tag-the-unbearable-weight-of-massive-talent","15":"tag-tom-gormican","16":"tag-wildlife"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/210568","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/comments?post=210568"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/210568\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media\/210569"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media?parent=210568"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/categories?post=210568"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/tags?post=210568"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}