{"id":667657,"date":"2026-10-28T09:06:35","date_gmt":"2026-10-28T09:06:35","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/667657\/"},"modified":"2026-10-28T09:06:35","modified_gmt":"2026-10-28T09:06:35","slug":"meltdown-memories-revisiting-when-the-wind-blows-at-40","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/667657\/","title":{"rendered":"Meltdown Memories: Revisiting \u2018When the Wind Blows\u2019 At 40"},"content":{"rendered":"\n

\"Meltdown<\/a>Photo courtesy of S\u00e9 Merry Doyle\n<\/p>\n

In 1983, animation producer John Coates issued a one-page pitch for a new project developed with executive producer Iain Harvey. The document was typed beneath the sweet, fuzzy letterhead of \u201cSnowman Enterprises,\u201d the then-current name for TV Cartoons\u2019 production wing, which had recently produced the Oscar-nominated animated short based on Raymond Briggs\u2019 illustrated children\u2019s book, The Snowman. The plan, this time, was for a much darker, feature-length adaptation of a 1982 Briggs creation.<\/p>\n

\"When<\/a><\/p>\n

When the Wind Blows was a deadpan, adult-themed comic strip about a homey elderly couple, Jim and Hilda Bloggs, experiencing a nuclear attack. As outlined in the pitch, the 85-minute film dealt with \u201cthe most potent human issue facing us\u2014the human consequences of a nuclear attack.\u201d The pitch went on to describe the tenor of Briggs\u2019 vision: \u201cIn a devastating and comic manner, but totally without rancor or political viewpoint, it attacks the hypocritical manner in which the consequences of a nuclear war are minimized by nearly all governments.\u201d<\/p>\n

To direct the film, Coates enlisted his longtime collaborator Jimmy T. Murakami. The stout and silver-haired Japanese American, Oscar-nominated for his 1967 animated short Breath, had been supervising director of The Snowman (with Dianne Jackson), director of TVC\u2019s \u201cSoft Landing\u201d opening for the animated sci-fi film Heavy Metal (1981), and director of Roger Corman\u2019s live-action Star Wars\/Seven Samurai mashup, Battle Beyond the Stars (1980).<\/p>\n

\"When<\/a>Malcolm Draper, Jimmy Murakami, John Coates \u2013 Credit: Mark Edwards<\/p>\n

Murakami was drawn to the dark wit and trenchant themes of Briggs\u2019 book. Working from Briggs\u2019 screenplay, Murakami roughed out storyboards, and TVC produced a three-minute test. Murakami proposed a bold visual treatment. Inspired by Fleischer Studios\u2019 \u201cStereoptical\u201d or \u201csetback\u201d process\u2014developed nearly four decades earlier for Betty Boop, Popeye, and Superman cartoons\u2014the film physically layered hand-drawn 2D cel animation over stop-motion-animated 3D model backgrounds.<\/p>\n

When the Wind Blows went on to win the Grand Prix at Annecy in 1987. Briggs, Coates, and Murakami are no longer with us, but their work went on to achieve cult status and still lives today in TikTok memes. To mark the 40th anniversary of the film\u2019s U.K. release on October 24, Cartoon Brew persuaded one of its staff writers (who toiled in the When the Wind Blows cutting room) to hunt down other survivors of TVC\u2019s animation crew. Read on, in this special two-part story, to learn from animation art director Richard Fawdry and then-animation assistant Paul Donnellon (now co-founder of Voodoodog) what went down at Meltdown Productions.<\/p>\n

Part One: Backgrounds<\/p>\n

Cartoon Brew (Joe Fordham): Richard, you wore many hats at Meltdown, including animation designer, layout designer, storyboard artist, and art director with Errol Bryant. How did you get started at TVC?<\/p>\n

Richard Fawdry: I joined TVC in 1979. It was my first job out of college. I did a little animation on Heavy Metal, and I was working on a show called Castles (1983) when they made The Snowman. That was exciting to watch because it was evident Snowman was going to be really good. Toward the end of that, I did some uncredited rendering\u2014I\u2019m not going to say which bits because my work was horrendous [laughs]. They were so desperate at the end to get it done, they let anyone work on it.<\/p>\n

Was that your doorway into When the Wind Blows?<\/p>\n

Fawdry: That\u2019s right. I did cleanup on Jimmy\u2019s storyboards. I then went away for a year to get married. I was on an island when I got a phone call to come back. That\u2019s when they announced how they were going to shoot the backgrounds. Before I went away, I\u2019d done a plan of Jim and Hilda\u2019s house to help with traditional painted layouts. When I returned, I discovered that someone must have found that handy as a starting point for the model backgrounds.<\/p>\n

\"When<\/a>\u2018When the Wind Blows\u2019 Storyboard \u2013 Credit: BFI<\/p>\n

What was it like working with Jimmy Murakami?<\/p>\n

Fawdry: Out of all the directors I\u2019ve worked with, he was the most enterprising with all the different techniques that he came up with for the film. He was very easygoing, but he knew what he wanted. He was in control all the time. And he was quite firm.<\/p>\n

Paul, you met Jimmy when you were at school in Ireland. How did that happen?<\/p>\n

Paul Donnellon: Jimmy had a studio in Dublin doing commercials. I was at the Institute of Art, Design and Technology, the only one doing animation on their graphic design course when Jimmy visited as a lecturer. I became his stalker. For a year, I worked for free at his studio, helping out in my spare time, and I used to go on shoots. When I graduated from IADT, Jimmy took me to London. It was my first job. I\u2019d never been to London before. It was mad, in crowded Soho.<\/p>\n

How did the idea of shooting miniature backgrounds come about?<\/p>\n

Fawdry: Well, Jimmy did that lot. On Heavy Metal, he directed the opening sequence with a car falling down from space, where he shot a live-action car. As a live-action director, he liked to set up a camera. So, even though the house was in miniature, he set up all the scenes how he wanted.<\/p>\n

Donnellon: He also told me he loved the Fleischer Superman cartoons from the 1930s that had real model sets. That influenced him, I think.<\/p>\n

\"When<\/a>Credit: Loraine Marshall
\n\"When<\/a>Credit: Loraine Marshall<\/p>\n

The \u201cA.R.S.\u201d photo-background process has been well documented\u2014with Peter Turner and lighting director Ken Friswell on the model shoot, making 17,000 glossy, 12-by-10-inch 3M prints pin-registered for Peter\u2019s rostrum camera at TVC. What do you remember about that\u2014and was \u201cA.R.S.\u201d really an acronym, or Pete\u2019s rude joke?<\/p>\n

Donnellon: [Laughs] I don\u2019t know. Martin Howard was the photo man who used to come into TVC. He organized all the printing.<\/p>\n

Fawdry: There was a cost consideration to that. I remember it was going to be \u00a3100 or \u00a3500 per [painted] background, and when they added it up, doing the photo prints was \u00a375,000. So, it was half the price to print photo backgrounds.<\/p>\n

Donnellon: They printed black-and-white Xeroxes of the photographs so the animators wouldn\u2019t ruin them. We ended up getting Xeroxes punched and registered for each background. The line tests all had Xerox backgrounds of photo plates, which gave them a \u201cXeroxey\u201d look with the line test on top.<\/p>\n

Fawdry: Yes, that was important for moving shots.<\/p>\n

Did either of you attend the miniature shoot?<\/p>\n

\"When<\/a>Richard Fawdry, Paul Donnellon<\/p>\n

Fawdry: I visited once. All I remember is they had some really nice food.<\/p>\n

Donnellon: Oh, yeah, they had a buffet, and [production coordinator] Anne Goodall was there. Jimmy took me because I was his assistant. We spent ages there [10 weeks]. It was interesting because they had the model on a big turntable. To get a moving shot, they rotated the set frame by frame. It wasn\u2019t motion control. It was an ancient [hybrid Bell\/Mitchell] camera from 1916.<\/p>\n

Who built the miniatures?<\/p>\n

Fawdry: That was Errol Bryant. I went to his house while he was building those. His whole house was full of models that he was making. My friend Joan Ashworth made little stuffed dolls of Jim and Hilda [used for blocking].<\/p>\n

They also had models for interstitial scenes of a B-52 bomber, an ICBM rocket, and a nuclear submarine\u2014did Errol make those, too?<\/p>\n

Fawdry: Yes, he made all those. I remember when they brought back that film\u2014it was either the bomber or the submarine\u2014it came up to camera, it looked really good\u2014and then it went bonk on the camera lens. They were really well made.<\/p>\n

\"When<\/a>Credit: Loraine Marshall
\n\"When<\/a>Credit: BFI
\n\"When<\/a>Credit: Loraine Marshall
\n\"When<\/a>Credit: Loraine Marshall<\/p>\n

I was impressed by how the house had a painterly finish like Raymond Briggs\u2019 drawings. Was that Errol\u2019s doing?<\/p>\n

Fawdry: Yes. That was a huge amount of work. I believe Errol had some help, maybe from his wife, and he sent away for details like cutlery. He was also a background artist [on this film, Heavy Metal, and Watership Down (1978)].<\/p>\n

\"When<\/a>Credit: Loraine Marshall
\n\"When<\/a>Credit: Loraine Marshall
\n\"When<\/a>Credit: Loraine Marshall
\nPart Two: Animation<\/p>\n

To appreciate how this 40-year-old movie was made, we should note that every frame of Jim and Hilda was hand-drawn and painted\u2014correct?<\/p>\n

Donnellon: Yes. It was all inked by hand, wasn\u2019t it, Richard?<\/p>\n

Fawdry: Yes, we had lots of inkers at TVC. And the characters were animated on twos.<\/p>\n

Were the model backgrounds also shot on twos?<\/p>\n

Donnellon: Yeah, they shot the model on twos, but then they printed every second photograph to save money on the prints. Except panning shots and camera moves [characters and backgrounds] were animated on ones, weren\u2019t they, Richard?<\/p>\n

Fawdry: They had to be; otherwise, they\u2019d strobe.<\/p>\n

\"When<\/a>\u2018When the Wind Blows\u2019 Models \u2013 Credit: BFI
\n\"When<\/a>\u2018When the Wind Blows\u2019 Models \u2013 Credit: BFI<\/p>\n

TVC had a superstar lineup of animators. Back then, I was surprised by how many Canadians there were. They were a great bunch, but how come?<\/p>\n

Donnellon: Sheridan [College in Ontario] was the best animation school at the time. I now think Gobelins [School of Imagery] has the lead in Paris; they have trained so many really good animators. Jimmy was always moaning about U.K. animators. He liked Canadian animation because it wasn\u2019t clich\u00e9d, or he thought they had more acting ability\u2014I don\u2019t think that was necessarily true, but Jimmy thought that way.<\/p>\n

\"When<\/a>Artist Unknown \u2013 Credit: Mark Edwards<\/p>\n

Do you recall who animated which sequences?<\/p>\n

Fawdry: Yes, I made a list. Malcolm Draper did the early scenes in the bus, and with Jim at home with Hilda [saying \u201cCrumbs!\u201d] at the threat-of-war announcement. Dave Unwin did Jim painting the windows, which I thought was lovely. Tony Guy did a lot of wonderful work with Hilda ironing and saying, \u201cIt\u2019s going to be drafty with no doors.\u201d He was animation director on Watership Down, a really good animator.<\/p>\n

Donnellon: Who was the man who developed his line tests in a bucket? And he lived in Stroud?<\/p>\n

Fawdry: Dave Unwin and Tony Guy lived there. But I believe you\u2019re thinking of Harold Whitaker. He did scenes just after the bomb. Harold was probably one of the best animators ever. He worked on Animal Farm (1954), and he wrote a textbook on animation [Timing for Animation, co-authored with John Halas in 1981]. His timing and acting were the best.<\/p>\n

Bill Speers was another Canadian. He lived on a barge at Canary Wharf. He did the scary scenes just prior to and including the three-minute warning\u2014from Jim saying, \u201cWho\u2019s in charge now?\u201d to Hilda saying, \u201cThe cake will be burned.\u201d<\/p>\n

John McGuire was Australian and did scenes of Jim and Hilda in the shelter. He had the derring-do attitude of an adventurer, a buccaneering spirit. He got me the job at TVC, actually. And then, when I was still at college, he asked me to design some characters, and he left the country before he paid me! [Laughs] But he came back and paid me what he owed me. There was a rumor he was sick. I remember his assistant, who was also a Canadian, told me John was worried about his health. As it turned out, sadly, John died of cancer.<\/p>\n

\"When<\/a>Credit: Richard Fawdry
\n\"When<\/a>Credit: Richard Fawdry
\n\"When<\/a>Credit: Richard Fawdry
\n\"When<\/a>Credit: Richard Fawdry<\/p>\n

Was it John McGuire who made that fantastic dessert for the TVC Christmas party? That trifle had more rum in it than trifle!<\/p>\n

Fawdry: Yes, that was a proper trifle.<\/p>\n

Donnellon: I remember Roger Mainwood. He went on to direct Ethel & Ernest [the 2016 animated feature from Raymond Briggs\u2019 memoir].<\/p>\n

Fawdry: That\u2019s right. Roger animated the very first scenes with Jim reading the newspaper in the library and coming back from shopping to buy a set square to measure the angle of the \u201cinner core or refuge\u201d [bomb shelter]. Hilary Audus did scenes where Jim walks up the pathway to the house and inside their hallway. Jo Harrison\u2014n\u00e9e Fryer\u2014did exteriors with Jim and Hilda walking in their garden before and after the bomb [and Jim as a truck driver in the Blitz, with other scenes by Michael Salkeld and Vanessa Clegg]. And Stephen Weston was a fantastic animator. He did the bomb blast.<\/p>\n

Steve also did the flying sequence on Snowman, but the bomb sequence was something else. It was extraordinary how Steve animated geometric objects. Do you know how he did that?<\/p>\n

Fawdry: He used models so he could turn them around [for perspectives]. I remember the models were plastic because he used one as an ashtray. Steve worked at the top of TVC, up in the attic, and at some point he stubbed a cigarette out in his model and it started a fire [laughs]. He used to blow things up. He filmed lots of explosions as reference for the bomb. Or maybe that was an excuse! He did that with [TVC in-house film editor] Taylor Grant. They enjoyed themselves.<\/p>\n

It surprised me when they rendered that bomb sequence with a raw, scratchy quality\u2014what inspired that choice?<\/p>\n

Fawdry: It was something to do with [documentary] footage they had of a nuclear explosion. They took that as reference for the effects of the blast on houses, trees, and other things. At least, that\u2019s how it looked to me. And then they rendered it to show the tremendous heat in the blast.<\/p>\n

Donnellon: Yeah, they shaded that on paper, Xeroxed it onto cels, and then they rubbed bits off the cels to distress it. I remember Steve doing something with a Brillo pad [dishwashing scourer] to scratch up the surfaces.<\/p>\n

Fawdry: That\u2019s right. But no sheep were hurt in this film.<\/p>\n

\"When<\/a><\/p>\n

When the blast hits, you had a fantastic sequence, Richard, that I always thought was so quintessentially you\u2014where Jim and Hilda\u2019s old wedding photos come alive in a sweet and nostalgic way. How did you translate that from Raymond Briggs\u2019 drawings?<\/p>\n

Fawdry: That sequence wasn\u2019t in Raymond Briggs\u2019 book. It was another of Jimmy\u2019s inspired ideas. He briefed me verbally with a quick outline, no drawings, and I went ahead and drew Jim and Hilda\u2019s past, trying to keep to Raymond Briggs\u2019 style. Loraine Marshall [and Milly McMillan] then rendered that to look like old photos.<\/p>\n

Donnellon: You also animated Monty [World War II Field Marshal Bernard Law Montgomery]. Was he in that sequence?<\/p>\n

Fawdry: Oh, I animated Monty for another scene. I did that after I finished all the animation layouts. And, of course, you worked on the Russian with Joe Ekers.<\/p>\n

Donnellon: Yes, bursting through the door. I did all the inbetweens on that.<\/p>\n

Paul, I know you were close with people in the layout team, weren\u2019t you?<\/p>\n

Donnellon: Oh, yeah. Giorgio Mardegan, John Watkiss, Dassos Petrou. Das had a blazing row with Jimmy about three-point perspective. They argued for ages about some technical Renaissance idea of perspective\u2014both were correct, but using different terms. John Watkiss did storyboards and layouts. He was too good an artist to draw Jim and Hilda as pinheads, so in his drawings he gave them proper skull shapes. John did concept work for Disney\u2019s Tarzan (1999). He was also a very famous comic book artist [The Sandman (1992)]. He was 55 when he died.<\/p>\n

Dianne Jackson\u2014who also sadly died too young\u2014had another highlight of the film: Hilda\u2019s dream, which showed Hilda\u2019s inner life of naughty little cherubs. Do you remember how she animated that, and were you part of that, Richard?<\/p>\n

Fawdry: No, that was all Dianne\u2019s. Jimmy was quite surprised when he got that back. He asked her about it, and she said, \u201cOh, you wouldn\u2019t understand, you\u2019re not a woman.\u201d It was very personal to her. She did that by drawing straight onto paper, I think in crayon. I\u2019m wondering now if Jill Brooks, the wife of Stuart Brooks, might have helped. But I didn\u2019t storyboard any of that. Dianne did that on her own.<\/p>\n

That was especially lovely with Roger Waters\u2019 music. Roger was one of many famous people who visited TVC. Do you remember that celebrity parade?<\/p>\n

Fawdry: Yes, [actors] Sir John Mills and Dame Peggy Ashcroft came to visit, and we showed them storyboards. Jeremy Isaacs, the chief of Channel 4, stopped by. And Paul and Linda McCartney. I remember Paul stroking Joe Ekers\u2019 long, frizzy hair. He\u2019d worked with Joe before on Rupert and the Frog Song [a music video directed by Geoff Dunbar in 1984].<\/p>\n

\"When<\/a>Album cover of When the Wind Blows Original Motion Picture Soundtrack.<\/p>\n

Was it Joe who did some funny sketches of Jim and Hilda?<\/p>\n

Donnellon: I think so. There was a wall where people would stick drawings. There was one of them in the bathtub together.<\/p>\n

\"When<\/a>Art Director Errol Bryant With Rude Sketches (foreground) \u2013 Credit: Mark Edwards<\/p>\n

Moving quickly past that, I have to ask: What do you think has kept this film in public consciousness after 40 years?<\/p>\n

Donnellon: I think Russia going to war with Ukraine has brought it back, and the threat of nuclear war. Do you remember, Richard, when the Chernobyl disaster happened [April 26, 1986]? We were scared because it was all about radiation coming in and acid rain in Wales.<\/p>\n

Fawdry: Yes. I do remember when d\u00e9tente happened [Gorbachev mellowing Soviet relations with Europe], I was thankful and relieved, like the rest of the world, but that was just before When the Wind Blows\u2019 release, and I think Russia\u2019s reduced hostility affected the impact of the film. There were protests against the film because some people thought we were \u201canti-bomb.\u201d Well, the story is about using a bomb, and that was what it\u2019s meant to be: a deterrent. I couldn\u2019t understand the uproar.<\/p>\n

How do you two look back on the film, and have you shown it to your kids?<\/p>\n

Donnellon: Richard and I went to a screening last year. In June 2025, there was a \u201cBleak Week\u201d festival of depressing films here in London. It was really good to see it fresh. I\u2019ve not shown it to my sons yet. My wife says if our boys are annoying, I\u2019ll make them watch it one day [laughs].<\/p>\n

Fawdry: My children haven\u2019t seen it either, and they are 37! I do look back on the film with pride. It was great making friends, and the camaraderie was good. We\u2019ve stayed friends since then. It\u2019s still one of the few adult animated films made here in the U.K.<\/p>\n

When the Wind Blows is available on DVD and Blu-ray from the British Film Institute.<\/p>\n

\"When<\/a><\/p>\n

Meltdown Editorial \u2013 A Sidebar With TVC Editor Taylor Grant
\n\"When<\/a>TVC Cartoons, 70 Charlotte Street, W1. Credit Mark Edwards<\/p>\n

As When the Wind Blows took shape in TV Cartoons\u2019 editorial basement, producer John Coates\u2019 longtime in-house film editor, Taylor Grant, ran the studio\u2019s main cutting room upstairs. If I was the meek dormouse down below, Taylor was John\u2019s Mad Hatter\u2014a tall, creative fellow with a rich Canadian accent, wonderful red hair, an artistic eye, and a wicked sense of humor. Taylor kept an eye on me, and at the end of the production, he produced a brilliant music video of David Bowie\u2019s title song, which Jimmy Murakami directed.<\/p>\n

While helping me fact-check my story, Taylor furnished a cavalcade of details. The following are highlights:<\/p>\n

TVC was the creative hub of the animation industry in London for nearly four decades. The studio was the \u2018Fisher\u2019s Folly\u2019 of our time [an expansive home to great talent in 16th-century London]\u2026 It functioned as a significant cultural node within an expanding network of just about anyone in the business of film production at a time that predated the mouse and keyboard\u2014all before closing time on the last years of the \u2018golden age of handmade British animation.\u2019<\/p>\n

During the making of the film, the rendering technique that followed on from The Snowman brought about the first \u2018strike\u2019 in [U.K.] animation employment history by the newly formed rendering crew. Rendering became a recognized skill acquired through experience and the discipline of animating color in much the same way as animating line created the illusion of movement; however, the combination of the two unique skills kept the action in tune with the illustrated narrative of Briggs\u2019 work. TVC inherited the reputation of \u2018rendering color\u2019 by way of the late Jill Brooks (1948\u20132025), who brought her experience of working on the copulating flowers sequence in Pink Floyd: The Wall (1982) to Dianne Jackson\u2019s superbly directed The Snowman.<\/p>\n

\"When<\/a>
\n\"When<\/a>Taylor Grant\u2019s Cutting Room \u2013 Credit: Mark Edwards
\n\"When<\/a>Taylor Grant\u2019s Cutting Room \u2013 Credit: Mark Edwards<\/p>\n

From the start, When the Wind Blows was John Coates\u2019 personal project. When acquiring the rights to The Snowman, John astutely acquired first option on all of Briggs\u2019 work, which in 1979 had yet to be fully appreciated and [was] technically far from easily adapted. Lee Stork, a maverick producer of commercials and short films, often lunched with John at the Gay Hussar [a Hungarian restaurant in Soho], and he gave John the confidence to single-handedly tackle a feature film that had serious social and political overtones. To John\u2019s credit, he remained politically neutral throughout, claiming the film\u2014faithful to Briggs\u2019 book\u2014didn\u2019t need to be associated with any one organization. I thought that was particularly representative of his true charismatic character, which, although affable on the surface, was made of stern stuff. Even though TVC suffered from the lack of support from the anti-nuke movements and seemingly was in the lee of that network, When the Wind Blows fortunately, but slowly, gained the respect of the establishment that later backed the Peter Rabbit series (2012) and two features, The Wind in the Willows (1995) and The Willows in Winter (1996).<\/p>\n

As an aside, When the Wind Blows is dedicated to [seven] children born during the making, one of whom was my eldest son, William. There were many artists I could single out [for praise], but it\u2019s their personalities and talents that make them the mysterious Shakespeares of the golden age whose work will be their mark.<\/p>\n","protected":false},"excerpt":{"rendered":"Photo courtesy of S\u00e9 Merry Doyle In 1983, animation producer John Coates issued a one-page pitch for a…\n","protected":false},"author":2,"featured_media":667658,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[93,61,60,270],"class_list":["post-667657","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-entertainment","tag-ie","tag-ireland","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/667657","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=667657"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/667657\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media\/667658"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media?parent=667657"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/categories?post=667657"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/tags?post=667657"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}