{"id":512982,"date":"2026-06-27T00:36:39","date_gmt":"2026-06-27T00:36:39","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/512982\/"},"modified":"2026-06-27T00:36:39","modified_gmt":"2026-06-27T00:36:39","slug":"10-best-movies-of-2026-so-far","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/512982\/","title":{"rendered":"10 Best Movies of 2026 So Far"},"content":{"rendered":"

It really is no kind of overstatement to say that the film industry is fundamentally changing right now. There are a lot of metrics for this, but perhaps none more so than the recent box office from the weekend of May 29<\/a>, which saw low-budget indie horror films from directors in their 20s, Backrooms<\/a> and Obsession<\/a>, tower over Star Wars: The Mandalorian and Grogu <\/a>in its second window. This was shocking to most observers, and also a thing of hope and excitement for many. The pandemic left something like a permanent mark on the entertainment business and how we watch movies. Even with outliers like Top Gun: Maverick,<\/a> the Barbenheimer phenomenon<\/a>, A Minecraft Movie <\/a>and some significant Disney wins over the last half-decade, it’s been a constant struggle to bring audiences back to theaters. This recent surge of enthusiasm, particularly for fresh, edgy filmmaking over the familiar, is invigorating.<\/p>\n

The last six months have seen highs and lows at movie theaters, but this time window has been a triumph for fresh and daring films across all genres. There have been some disappointments and bombs, but if there’s a uniting theme in looking at the very best movies released so far this year, it’s originality and freshness. From a dark comedy that sees major movie stars at their edgiest, to horror pictures so successful they’ve shaken the industry, to a British mystery with talking animals, to a crowd-pleasing hard sci-fi blockbuster, these pictures simply gave audiences something different. These are the greatest movies of 2026 so far.<\/p>\n

10 <\/p>\n

‘The Drama’<\/p>\n

\"Robert
\n Robert Pattinson and Zendaya in The DramaImage via A24<\/p>\n

Cleverly marketed in a shroud of mystery, which was the only way to market this pitch-black dramedy that rides on a shocking twist, Kristoffer Borgli’s The Drama<\/a> stars Robert Pattinson <\/a>and Zendaya<\/a> as a newly engaged couple whose upcoming nuptials are rocked by a revelation from the past. Alana Haim, Hailey Gates and Mamoudou Athie round out the supporting cast of a movie whose thematic risk pays off.<\/p>\n

The Drama is sometimes edited and strung together in a way that feels like it’s unsure of itself, but commendable and kind of shocking this movie got made, much less with A-listers, and it’s even more shocking that it’s this good. Zendaya and Pattinson fully embody their characters; their work here is in the top tier of their respective and formidable careers, revelatory in the way you’d hope a smaller film with big stars would always be. The movie has some rough edges and isn’t perfect, but it’s a genuine must-see with a surprising range of emotion. Truly, how many movies manage to be disturbing, hilarious and romantic all at the same time? <\/p>\n

9 <\/p>\n

‘I Love Boosters’<\/p>\n

\"Keke
\n Keke Palmer staring up at a screen in a store in I Love BoostersImage via NEON<\/p>\n

An ensemble cast of Keke Palmer<\/a>, Naomie Ackie, Taylour Paige, LaKeith Stanfield<\/a>, Poppy Liu, Eiza Gonz\u00e1lez<\/a>, Will Poulter<\/a>, Don Cheadle<\/a> and Demi Moore <\/a>star in Boots Riley<\/a>‘s maximalist absurdist satire about a gang of shoplifters at war with a billionaire fashion mogul. An uncompromising financial satire of the horrible realities of present day, the first two acts here are close to perfect, and hilarious throughout thanks to a commitment to Looney Tunes logic from the cast and filmmaker.<\/p>\n

I Love Boosters doesn’t land with the same punch as the director’s 2018 breakthrough Sorry to Bother You<\/a> (not many modern satires have), and it simply loses its way and its stakes in the third act, but it earns its spot here on the strength of its vision. The production design is pretty astounding, and it’s all in service of what might possibly be the funniest film of 2026 so far.<\/p>\n

8 <\/p>\n

’28 Years Later: The Bone Temple’<\/p>\n

\"Ralph<\/p>\n

Whether you loved it or hated it, it’s a real shame that last year’s 28 Years Later <\/a>proved to be so divisive. Surely that response is what led Nia DaCosta<\/a>‘s superior, highly acclaimed follow-up to bomb disastrously at the box office. A considerably higher audience score on Rotten Tomatoes for this latest entry certainly implies those who’ve actually seen it admire it. It’s a bona fide horror cult classic in the making.<\/p>\n

28 Years Later: The Bone Temple<\/a> is easily the strongest film in the quadrilogy since it began with 2003’s 28 Days Later<\/a>, continuing the grisly misadventures of an effectively orphaned Spike (Alfie Williams). It’s a mood piece with philosophical ambitions that doesn’t forget we’re watching it for gruesome thrills. Jack O’Connell<\/a> is unnerving as a cult leader, but an electrifying go-for-broke Ralph Fiennes <\/a>steals the show. DaCosta also deserves a ton of praise for staging better set pieces here than veteran director Danny Boyle<\/a> managed with the predecessor. The only sequel on this list earns its spot with a blend of innovation and good old-fashioned muscular craft.<\/p>\n

7 <\/p>\n

‘Leviticus’<\/p>\n

\"Leviticus-Feature2\"
\n Image via NEON<\/p>\n

Buzzy since its Sundance premiere, Australian writer\/director Adrian Chiarella’s supernatural thriller stars Joe Bird and Stacy Clausen as teenage lovers whose fanatically religious community summon an entity to combat their homosexual desires, an entity that alternately takes the form of the boys themselves.<\/p>\n

Certain corners of the internet have cynically and lazily branded Leviticus<\/a> as “the gay It Follows<\/a>,<\/a>” which really betrays what an affectingly somber affair this slow-burn really is. This isn’t the scariest horror movie you’ll see this year, but it’s often genuinely eerie, occasionally even shocking. It’s perhaps most commendable for the way it weaves together its dramatic and genre elements. Bird and Clausen are terrific, delivering touching, tragic performances that bridge the gap between the horror and coming-of-age genres.<\/p>\n

6 <\/p>\n

‘Blue Film’<\/p>\n

\"Kieron
\n Kieron Moore lying on a bed in Blue FilmImage via Obscured Releasing<\/p>\n

Elliot Tuttle’s microbudgeted queer indie plays out like a black box theater two-hander, with Boots<\/a> star Kieron Moore<\/a> starring as Aaron Eagle, an aggressive and mysterious camboy escort whose latest client (Reed Birney) reveals himself to be Aaron’s former English teacher, with whom he shares a sordid past. This is almost exactly 80 minutes of two people engaged in piercing dialogue that’s uncomfortable, disturbing, and deeply sad in an empathetic way.<\/p>\n

The subject matter here might be radioactive for many, but Blue Film<\/a> is one of the most beautifully written and powerfully acted movies of 2026, eschewing salaciousness in lieu of a kind of exorcism, a need to make peace. Moore and Birney are flat-out superb, and the script reveals stunning emotional and psychological depth within a tight running time. It’s also evocatively shot in a way that masks its low budget while registering as an unshakable dream for the viewer.<\/p>\n

Collider Exclusive \u00b7 Oscar Best Picture Quiz
\n Which Oscar Best Picture
Is Your Perfect Movie?
\n Parasite \u00b7 Everything Everywhere \u00b7 Oppenheimer \u00b7 Birdman \u00b7 No Country<\/p>\n

Five Oscar Best Picture winners. Five completely different visions of what cinema can be \u2014 and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.<\/p>\n

\ud83e\ude9cParasite<\/p>\n

\ud83c\udf00Everything Everywhere<\/p>\n

\u2622\ufe0fOppenheimer<\/p>\n

\ud83d\udc26Birdman<\/p>\n

\ud83e\ude99No Country for Old Men<\/p>\n

\n FIND YOUR FILM \u2192\n <\/p>\n

01<\/p>\n

What kind of film experience do you actually want?
\n The best movies don’t just entertain \u2014 they leave something behind.<\/p>\n

\n ASomething that pulls the rug out \u2014 that makes me think I’m watching one kind of film and then reveals I’m watching another entirely.
\n BSomething overwhelming \u2014 funny, sad, absurd, and genuinely moving, all at once.
\n CSomething grand and weighty \u2014 a film that makes me feel the full scale of what I’m watching.
\n DSomething formally daring \u2014 a film that pushes what cinema can even do.
\n ESomething lean and relentless \u2014 pure tension with no wasted frame.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

02<\/p>\n

Which idea grabs you most in a film?
\n Great films are driven by a central obsession. What’s yours?<\/p>\n

\n AClass, inequality, and what people are willing to do when desperation meets opportunity.
\n BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart.
\n CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back.
\n DEgo, legacy, and the terror of becoming irrelevant while you’re still alive to watch it happen.
\n EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

03<\/p>\n

How do you like your story told?
\n Form is content. The way a story is shaped changes what it means.<\/p>\n

\n AGenre-twisting \u2014 I want it to start in one lane and migrate into something completely different.
\n BMaximalist and genre-blending \u2014 comedy, action, drama, sci-fi, all in one ride.
\n CEpic and non-linear \u2014 cutting between timelines, building a mosaic of cause and consequence.
\n DA single unbroken flow \u2014 I want to feel like I’m living it in real time, no cuts to safety.
\n ESpare and precise \u2014 every scene doing exactly what it needs to do and nothing more.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

04<\/p>\n

What makes a truly great antagonist?
\n The opposition defines the protagonist. What kind of opposition fascinates you?<\/p>\n

\n AA system \u2014 invisible, structural, and almost impossible to fight because it has no single face.
\n BThe self \u2014 the ways we sabotage, abandon, and fail the people we love most.
\n CHistory \u2014 the unstoppable momentum of events that no single person can stop or redirect.
\n DThe industry \u2014 the machinery of culture that chews up talent and spits out irrelevance.
\n EPure, implacable evil \u2014 a force so certain of itself it becomes almost philosophical.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

05<\/p>\n

What do you want from a film’s ending?
\n The final note is the one that lingers. What do you want it to sound like?<\/p>\n

\n AShock and inevitability \u2014 a conclusion that recontextualises everything that came before it.
\n BEarned emotion \u2014 I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess.
\n CDevastation and grandeur \u2014 an ending that makes me sit in silence for a few minutes after.
\n DAmbiguity \u2014 something that leaves enough open that I’m still thinking about it days later.
\n EBleakness \u2014 an honest refusal to pretend the world is tidier than it actually is.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

06<\/p>\n

Which setting pulls you in most?
\n Where a film takes place shapes everything \u2014 mood, stakes, what’s even possible.<\/p>\n

\n AA gleaming modern city with a hidden underside \u2014 beauty masking rot, wealth masking desperation.
\n BA collapsing suburban life that opens onto something infinite \u2014 the multiverse of a single ordinary person.
\n CThe corridors of power and science at a world-historical turning point \u2014 where decisions echo for decades.
\n DThe grimy, alive chaos of New York and Hollywood \u2014 fame as both destination and trap.
\n EVast, indifferent landscape \u2014 desert and highway where violence arrives without warning or reason.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

07<\/p>\n

What cinematic craft impresses you most?
\n Every great film has a signature \u2014 a technical or artistic element that makes it unmistakable.<\/p>\n

\n AProduction design and mise-en-sc\u00e8ne \u2014 every frame composed to carry meaning beneath the surface.
\n BEditing and tonal control \u2014 the ability to move between registers without losing the audience.
\n CScore and sound design \u2014 music that becomes inseparable from the dread and awe of what you’re watching.
\n DCinematography as performance \u2014 the camera not recording events but participating in them.
\n ESilence and restraint \u2014 what’s left unsaid and unshown doing more work than any dialogue could.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

08<\/p>\n

What kind of main character do you root for?
\n The protagonist is the lens. Who you choose to follow says something about you.<\/p>\n

\n ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure.
\n BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary.
\n CA brilliant, tortured figure whose gifts and flaws are inseparable from each other.
\n DA self-destructive artist whose ego is both their superpower and their undoing.
\n EA quiet, principled person trying to make sense of a world that has stopped making sense.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

09<\/p>\n

How do you feel about a film that takes its time?
\n Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.<\/p>\n

\n AI love a slow build when I know the payoff is going to be seismic \u2014 patience for a devastating reveal.
\n BGive me relentless momentum \u2014 I want to feel breathless and emotionally spent by the end.
\n CEpic runtime doesn’t scare me \u2014 if the material demands three hours, give me three hours.
\n DI want it to feel propulsive even when nothing is technically happening \u2014 restless energy throughout.
\n EDeliberate and unhurried \u2014 I want dread to accumulate in the spaces between the action.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

10<\/p>\n

What do you want to feel walking out of the cinema?
\n The best films leave a mark. What kind of mark do you want?<\/p>\n

\n AUnsettled \u2014 like I’ve just seen something I can’t fully explain but can’t stop thinking about.
\n BMoved and energised \u2014 like the film reminded me what actually matters and gave me something to hold onto.
\n CHumbled \u2014 like I’ve been in the presence of something genuinely important and overwhelming.
\n DExhilarated \u2014 like I’ve just seen cinema doing something it’s never quite done before.
\n EHaunted \u2014 like a cold, quiet dread that stays with me for days.\n <\/p>\n

REVEAL MY FILM \u2192<\/p>\n

The Academy Has Decided
\n Your Perfect Film Is\u2026<\/p>\n

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.<\/p>\n

Parasite<\/p>\n

You are drawn to films that operate on multiple levels simultaneously \u2014 that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that \u2014 a film that rewards close attention and punishes assumptions, right up to its devastating final image.<\/p>\n

Everything Everywhere All at Once<\/p>\n

You want it all \u2014 and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point \u2014 because the feeling of being crushed by infinite possibility is exactly what it’s about.<\/p>\n

Oppenheimer<\/p>\n

You are drawn to cinema on a grand scale \u2014 films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important \u2014 to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.<\/p>\n

Birdman<\/p>\n

You are drawn to films that foreground their own construction \u2014 that make the how of the filmmaking part of the what it’s about. Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else \u2014 a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.<\/p>\n

No Country for Old Men<\/p>\n

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil \u2014 implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.<\/p>\n

\n \u21bb RETAKE THE QUIZ\n <\/p>\n

5 <\/p>\n

‘The Furious’<\/p>\n

\"the-furious-xie-miao-joe-taslim\"
\n Image via Lionsgate Entertainment<\/p>\n

Not to be confused with The Fast and the Furious<\/a>, though this coincidentally is also an action film that’s sort of about family, The Furious<\/a> is the action movie to beat in 2026. Seriously, it’s all but unfathomable that any action picture released over the next six months will top this. Kenji Tanagaki’s exhilarating masterclass in escalation stars Xie Miao as a mute handyman whose daughter (Yang Enyou) is kidnapped by child traffickers. It’s a simple, familiar, all-too-effective inciting incident for a blood-soaked Hong Kong action film<\/a> that deserves a far wider release than its gotten. The Furious is perhaps the best film of its kind since The Raid<\/a>, and it will find its audience over time.<\/p>\n

It certainly isn’t perfect. The dialogue is clunky as hell, with many observers theorizing AI dubbing was utilized for the North American release (though, to be clear, this hasn’t been confirmed). The cheesiness really doesn’t really matter though, when what we’re here for is so perfectly executed and relentlessly fun. There’s a symphonic distribution and variation in the action sequences here, and the emotional impetus is irresistible. What the hell’s not to like?<\/p>\n

4 <\/p>\n

‘Backrooms’<\/p>\n

\"Chiwetel
\n Chiwetel Ejiofor in ‘Backrooms’Image via A24<\/p>\n

Frankly, it’s a little surprising that many observers are still drawing a lot of attention to the fact that “YouTubers” are stacking such wins at the movies. This has been the case for years now, and it isn’t a trend. Still, Backrooms stands out as a particularly enormous event film. At 20, Kane Parsons<\/a> became the youngest director to open a film atop the North American box office, with a staggering $118 million worldwide that broke A24’s all-time record. Oscar nominees Chiwetel Ejiofor <\/a>and Renata Reinsve<\/a> star as an alcoholic furniture store owner and his therapist, respectively, who discover seemingly endless, ominous liminal spaces in the store’s basement.<\/p>\n

There are even greater surreal horror movies out there<\/a>, but the interdimensional vision of Backrooms is astonishing and impressively cohesive even without taking the helmer\u2019s tender age into account. Parsons’ technical, even mathematical filmmaking strengths and voice have been on display for years, and Backrooms is a successful marriage with a feature narrative thanks to a minimalist but effective script by Will Soodik. The two lead actors are haunting as people who choose to cope with traumatic pasts in very different, hardly equal ways.<\/p>\n

3 <\/p>\n

‘The Sheep Detectives’<\/p>\n

\"Hugh
\n Hugh Jackman as George the shepherd petting one of his sheep in The Sheep DetectivesImage via Amazon MGM Studios<\/p>\n

By far the year’s best family-friendly interspecies murder mystery, The Sheep Detectives<\/a> is an increasingly rare kind of bird, a mid-budget film made with A-list talent that offers something for audiences of all ages. Craig Mazin<\/a> adapts Leonie Swann’s novel Three Bags Full, about a herd of Irish sheep attempting to solve the murder of their shepherd. The ensemble cast includes Hugh Jackman<\/a>, Nicholas Galitzine<\/a>, Nicholas Braun<\/a> and Emma Thompson<\/a>, with the vocal talents of Bryan Cranston<\/a>, Julia Louis-Dreyfus<\/a>, Chris O’Dowd <\/a>and Regina Hall<\/a>.<\/p>\n

The visual effects here were make-or-break for the final product, and they’re Oscar-worthy. It really isn’t overhyping Sheep Detectives to say Mazin deserves to be considered for this adapted script, too. Ultimately, the film is much less frothy and far deeper than you’d expect a movie called The Sheep Detectives to be.<\/p>\n

2 <\/p>\n

‘Obsession’<\/p>\n

\"Nikki
\n Nikki (Inde Navarrette) smiling with blood on her face and body in ‘Obsession’Image via Focus Features<\/p>\n

The success of Backrooms, and especially its mad opening weekend, can be attributed in part to great marketing. The phenomenon of Obsession can be attributed entirely to word of mouth. All but overnight, Curry Barker is the hottest name in horror cinema<\/a>, thanks to this shoestring-budgeted fantasy fable about a monkey paw wish with horrifying consequences. A $750,000 budget looks like far more thanks to clever filmmaking across the board, from unnerving and darkly atmospheric cinematography and art direction, admirably silence-heavy sound design to Barker’s own taut editing. Michael Johnston and breakout star Inde Navarrette also deserve a lot of credit for a perfect tone that constantly leaves you unsure if you should be screaming, laughing, or maybe crying in despair.<\/p>\n

Obsession is a rare breed, delivering freakouts that are already plastered all over the internet on top of a narrative that’s more provocative and disturbing, even grandly tragic, the more you think about it. It’s full of timely observations of modern dating, and it’s also a fundamental morality play, where the villain isn’t really the villain. We’re only six months in, but this is your horror movie of the year, in a historic year for horror, and it will end its box-office run as one of the most profitable films ever made.<\/p>\n

1 <\/p>\n

‘Project Hail Mary’<\/p>\n

\"Ryan
\n Ryan Gosling in a ship in ‘Project Hail Mary’Image via\u00a0Amazon MGM Studios<\/p>\n

Project Hail Mary<\/a> is by far the most tactile blockbuster film in recent memory, at a time when so many pictures with big budgets feel oddly airy and disposable. It’s stunningly shot for IMAX and full of practical effects of varying scale, and Daniel Pemberton’s hopecore original score is perhaps the year’s most inventive. This tactility is all in service of a winning hard sci-fi story<\/a> with tons of heart and just the right amount of imaginative leaps. Ryan Gosling<\/a> stars in Chris Lord and Phil Miller’<\/a>s adaptation of Andy Weir<\/a>‘s novel about a washed-up middle school science teacher who wakes up in deep space with no memory of how he got there.<\/p>\n

The nature of the premise lends itself to a non-linear narrative, and Drew Goddard<\/a>‘s excellent script builds a formidable emotional potency over a near-three-hour runtime that never feels its length. The journey is the destination, and Project Hail Mary’s surprises are best experienced going in completely cold if you haven’t read the novel. Everything in this blockbuster rides on the back of a grounding, physical, funny and soulful performance from Gosling that’s frankly on an entirely different scale from anything he’s ever done. Project Hail Mary is made with timelessness in mind, but it’s also the right movie at the right time.<\/p>\n","protected":false},"excerpt":{"rendered":"It really is no kind of overstatement to say that the film industry is fundamentally changing right now.…\n","protected":false},"author":2,"featured_media":512983,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[146,85,46,397],"class_list":["post-512982","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-entertainment","tag-il","tag-israel","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/512982","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=512982"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/512982\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/512983"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=512982"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=512982"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=512982"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}