{"id":307650,"date":"2025-12-09T21:34:18","date_gmt":"2025-12-09T21:34:18","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/307650\/"},"modified":"2025-12-09T21:34:18","modified_gmt":"2025-12-09T21:34:18","slug":"jonathan-bailey-and-cynthia-erivo-talk-wicked-for-good","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/307650\/","title":{"rendered":"Jonathan Bailey and Cynthia Erivo Talk Wicked: For Good"},"content":{"rendered":"

In director Jon M. Chu\u2019s return to the Land of Oz with Wicked: For Good, Cynthia Erivo and Jonathan Bailey watch as Elphaba and Fiyero find home in one another. On screen, it\u2019s a masterclass in chemistry; off it, simply business as usual for two friends who can\u2019t get over each other.\u00a0<\/p>\n

\"Get<\/p>\n

Cynthia Erivo and Jonathan Bailey could talk for days. They don\u2019t need pre-written questions, talking points, or polite warm-ups. If time weren\u2019t their rarest luxury, and it is when you\u2019re two of Britain\u2019s busiest actors leading one of the year\u2019s most feverishly anticipated films while quietly preparing for whatever\u2019s next, they\u2019d happily lose themselves in hours of conversation.<\/p>\n

They speak the same language: same references, same self-deprecating humour, same unshakable sense of Britishness that comes from cutting their teeth in London\u2019s creative pocket. They finish each other\u2019s thoughts, obsess over emotional precision, and never forget to remind one another how much they genuinely adore their friendship. It\u2019s no coincidence, then, that they were cast to bring one of modern theatre\u2019s most charged love stories to life.<\/p>\n

Cynthia and Jonathan\u2019s chemistry is, for no lack of a better word, wicked.<\/p>\n

\"GetCynthia wears jumper TORY BURCH; shoes CHRISTIAN LOUBOUTIN; tights WOLFORD; watch, earrings & rings CARTIER; septum & stud piercings Cynthia\u2019s own (throughout).\u00a0<\/p>\n

This November, the pair return to cinemas with Wicked: For Good, the second act of Jon M. Chu\u2019s technicolour reimagining of The Wizard of Oz. It\u2019s the prequel to the ruby slippers, before they hit yellow brick road, following Elphaba and Glinda on their way to becoming the Wicked Witch of the West and Glinda the Good. Based on Winnie Holzman\u2019s book, with Stephen Schwartz\u2019s cult-loved score, Wicked has long been a Broadway rite of passage. Now, it\u2019s a blockbuster, too.<\/p>\n

Filmed from 2022 to 2024, part two arrives off the back of one of the most dominant press runs in recent memory. If you weren\u2019t living under a rock last year, your feed was likely painted green and pink: Cynthia Erivo and Ariana Grande sweeping through red carpets, riffs, and hijacking the cultural conversation with their otherworldly sisterhood. If the first film was a love letter to girlhood, identity, the messy, the magic, Wicked: For Good comes into its own. This time, destiny takes centre stage. And who better to play its leading man than national treasure and professional heart-melter, Jonathan Bailey?<\/p>\n

On a sunlit London morning, two months before they board the Emerald Express one last time, Cynthia and Jonathan sit down with Wonderland to talk about life beyond Oz. Cynthia, fresh off Susanna White\u2019s Prima Facie, is doing her best not to overthink the next chapter, even as her return to the stage in Kip Williams\u2019 one-woman Dracula draws closer. Jonathan, meanwhile, is savouring the quiet after closing Nicholas Hytner\u2019s Richard II earlier in the summer, before Bridgerton sends him hurtling back into chaos in 2026. Standing on the brink, watching the Wicked storm peak on the horizon ahead of part two, they reflect on time, friendship, and the rush of realising the climb was worth every step.<\/p>\n

\"GetCynthia wears jumper TORY BURCH; shoes CHRISTIAN LOUBOUTIN; tights WOLFORD. Jonathan wears shirt, trousers & belt GIVENCHY<\/p>\n

Jonathan Bailey: Can we start by saying that this must be one of your days off work, right?\u00a0<\/p>\n

Cynthia Erivo: Definitely one of my days off, yes [laughs].<\/p>\n

JB: How are you feeling?<\/p>\n

CE: It\u2019s been emotional, to say the least. I feel like I don\u2019t even know a pedestrian word for what I\u2019ve sort of dealt and felt this week.<\/p>\n

JB: Sometimes it\u2019s just not in the vocabulary, right?\u00a0<\/p>\n

CE: Yeah, I don\u2019t really have the words. We\u2019re coming up onto the end of [filming Susanna White\u2019s Prima Facie]. It\u2019s all been pretty intense, but this week sort of upped the ante even more in a way that you never know until you actually get there.<\/p>\n

JB: Obviously, having witnessed your work, so much of it exists in the brain, doesn\u2019t it? I feel like every character and story you choose to tell has this unfathomable depth and challenge. For anyone reading this, it will soon become clear of what exactly you\u2019re doing. But, yeah, it\u2019s incredible to witness from quite nearby.\u00a0<\/p>\n

CE: Thank you. I feel like you have the same capacity. To be honest, I don\u2019t think you ever choose safely. I think that\u2019s something I\u2019ve learned about you, you\u2019ve consistently picked the things that might scare most people. There\u2019s always this sort of running commentary on how special you are at having chemistry with people. But I think we\u2019re minimising the thing you\u2019re actually able to do, which is to find depth in each of these characters and therefore find the relationship that they have with others. And it\u2019s really fun to be a part of that.<\/p>\n

JB: Well, when you think about our very genial friend Jon M. Chu, and the challenge with Wicked, even though I came in a little bit later, it was so apparent very quickly that you could just keep mining. Exactly what you\u2019re just saying. When you really dig in, it becomes about discovery. And that\u2019s what I feel chemistry is about. It\u2019s an alignment. And I do feel that working with you.<\/p>\n

\"GetJonathan wears full look DIOR<\/p>\n

CE: I mean, I really loved working with you. It\u2019s one of my favourite things to have done, and I want to keep doing it. Because there\u2019s a lack of fear. We\u2019re just diving in.\u00a0<\/p>\n

JB: Totally. I even think our Wonderland shoot was an exact reminder of that. Everything feels innately creative, connected.\u00a0<\/p>\n

CE: It feels like a conversation going on all the time, without any words.\u00a0<\/p>\n

JB: Like we\u2019re two little robins in the garden, flying around and always checking in. It\u2019s amazing when you have that alignment.<\/p>\n

CE: I really love Fiyero and Elphaba together. They\u2019re so made for each other and not at the same time, which is what makes them have this sort of frenetic, electric energy.<\/p>\n

JB: I agree. Their magnetism is so strong. And actually, I think they\u2019re spinning, aren\u2019t they? In different ways at the beginning. And the role of Fiyero in the narrative, is really to come in and to be someone so gyroscopic. He\u2019s developed a survival set, really trying to use charm to reflect. And yet everything he says is entirely bleak. But the activation of meeting Elphaba is one that really alarms him.\u00a0<\/p>\n

CE: Yes, they\u2019re spinning in the opposite direction. They\u2019re both going, technically, through the same thing, because they\u2019re covering all the time. And so, because they are covering, I think she sees through him immediately. And that\u2019s also the thing that alarms her. I love the idea that she has a spiel that she does immediately when she meets a person, because she believes she knows exactly what they\u2019re thinking from the get go. But not him.<\/p>\n

JB: And it\u2019s ultimately disarming. And we know that when there\u2019s a crack, something can bloom. I know when people see the second film, they\u2019re just going to be blown away by the fact that it was shot out of sequence.\u00a0<\/p>\n

CE: Yes, totally out of sequence.\u00a0<\/p>\n

\"GetCynthia wears top DIOR; earrings & rings CARTIER<\/p>\n

JB: I had to speak about this yesterday for about an hour, and it\u2019s actually really hard to explain. How could you put into words the feeling of the instinctive knowledge of knowing exactly where your characters are at any point, when the arc is just so phenomenally huge? I mean, there\u2019s probably not a bigger arc in cinematic history.<\/p>\n

CE: I think in a way, even though these two characters are sort of iconic in their name, people may have underestimated quite how much depth they both have. I\u2019ve really relished playing her and discovering who she is, and I found myself getting really protective of her. There is the sort of grand idea that she knows she\u2019s different, so she has to go alone. But I think she\u2019s also really human. And when we talk about these big ideas, of someone being really different, and being able to help other people feel really confident about themselves, and being able to own your difference, it sort of removes the human part \u2013 the work that has to be done in order to get to that place, which can sometimes be really painful and scary and hard. Which I think both of them have to do in a way, to be honest.<\/p>\n

JB: And that\u2019s what I\u2019m so proud about Fiyero and Elphaba, because we get to see every step [of their relationship]. I wonder if one day there\u2019ll be a seven minute YouTube edit, and it will be, I don\u2019t know what song it will be, maybe Shostakovich, but you\u2019ll just see every single step of the way these people discover each other\u2019s beauty.\u00a0<\/p>\n

CE: What I love about them is that they don\u2019t let each other off. They make it really hard for one another. They push each other and test each other constantly. And I love how we\u2019ve done this duet, you really have to follow the thought process [to understand them]. You have to watch them discover each other. You have to watch them also discover what this other person has done to shift them. There\u2019s this constant sort of like re-modelling in oneself\u2026<\/p>\n

JB: Yes, coming in-and-out of focus. They\u2019re not enemies to lovers, really, but they\u2019re, I don\u2019t know what actually maybe supersedes a trope in terms. But, excuse the pun, they\u2019re looking for the green light all the time.\u00a0<\/p>\n

CE: [Laughs]<\/p>\n

\"GetCynthia wears dress ALBERTA FERRETTI; earrings & rings CARTIER<\/p>\n

JB: Can we just talk again about the fact that\u2026 you\u2019re filming your fourth project this year?<\/p>\n

CE: Yes, I think so. I filmed Children of Blood and Bone, I filmed a samurai movie called Karoshi, and I\u2019m in the middle of filming Prima [Facie] now. Then we\u2019re back on the road with [Wicked]. And I wrote a book, released an album, hosted the Tonys, sang at the Oscars. And did a whole symphony tour.\u00a0<\/p>\n

JB: The majority of times I\u2019ve spoken to you, it would be like, seven in the morning in America, when you\u2019ll be like, \u2018Oh, I just did a red-eye because I was performing in, like, Baltimore last night\u2019 and you\u2019d be just going straight to rehearsals because you also did Jesus Christ Superstar, let\u2019s not forget! Which was mind blowing.\u00a0<\/p>\n

CE: Oh my God, I did.\u00a0<\/p>\n

JB: And [knowing] your process, I know that every single one of those will have been approached with the full 100% capacity of a standard artist. And every single one of them, it\u2019s got such a specific craft.<\/p>\n

CE: It\u2019s very strange, because I feel like sometimes my brain can be quite fractured because I can\u2019t be doing more than one thing at the same time. I remember when I was at rehearsal for Jesus Christ Superstar and I needed to get ready for, I think it was a concert or something, and someone had asked me for information about it, and I said, \u2018I need you to leave me alone,\u2019 because I can\u2019t think about the concept right now, I\u2019m thinking about Jesus Christ Superstar.\u00a0<\/p>\n

\"GetCynthia wears dress ALBERTA FERRETTI; earrings & rings CARTIER. Jonathan wears shirt BRUNELLO CUCINELLI<\/p>\n

JB: And that is because you are so completely in the pocket of every creative decision. That\u2019s the other thing to say about your work. [\u2026] I remembered before starting the [Wicked] tour last year, you sent me your album and I was listening to it in Bali. I remember thinking, [this] is so palpably honest and connected. So I totally can understand that it\u2019s such a talent, beyond just the craft, to be able to use your time in a way.<\/p>\n

CE: I feel like you [approach things] with more freedom than I do, which is something I wish I could learn. There\u2019s something so open and vast about the way you welcome the things you want. It\u2019s really thrilling.\u00a0<\/p>\n

JB: I will tell you the thing that I really learn is, how extraordinary producers can be. I very nearly wasn\u2019t in Wicked. But I just had a feeling after meeting Jon M. [Chu], when you were cast and Ari[ana Grande] was cast, that this was going to be a real opportunity to define the art of storytelling with song. And, because I did Wicked, it\u2019s changed the way I see everything.\u00a0<\/p>\n

CE: I have to say, I always tried to sneak [in], because I\u2019m not in [Wicked part one\u2019s musical act] \u201cDancing Through Life\u201d, and watch what\u2019s going on, because I really could not understand how all of that was in your brain. I think people don\u2019t realise how long the piece is. It\u2019s an epic, huge number that goes on for a really long time, and you\u2019re moving all the time. That\u2019s a lot of choreography to remember and not easy either. And more than learning the choreography and learning the piece, is the fact that Fiyero is still all in it. Everything is meant, nothing is by accident. I don\u2019t want to spoil it, reveal too much. But you know that the movement isn\u2019t just movement. The movement is part of the story.\u00a0<\/p>\n

JB: It\u2019s like an echo. And a reminder that everything in this process and with the huge task of this film, is about an opportunity. I love, and I know you do too, the sort of academic, artistic challenge [of Wicked], which is just beyond. And I know for you, it was longer, partly because you had so much more time in the beginning. But the task was huge, and every single decision you make every day, it\u2019s also linked specifically so you can deliver [your] Elphaba.<\/p>\n

\"Get\u00a0Jonathan wears shirt GIVENCHY<\/p>\n

CE: It was so crazy because I had also looked at the image of witches in time. We all think of the witch with a wart on her chin or a wart on her nose. And I was like, what does it look like when someone exaggerates a thing they\u2019ve seen? So those freckles were sort of a gateway into what people have seen of her when she\u2019s older. So there\u2019s a freckle above my lip, there\u2019s a freckle on my nose, there\u2019s a freckle on my chin. These are beauty spots and freckles, but they have been exaggerated to become warts. It\u2019s the little, tiny things.\u00a0<\/p>\n

JB: And that\u2019s also evidence of what is beautiful about your creative process. And also then the ripple effect of working within a studio that gets that. It\u2019s also that reminder, which I know we all feel deeply, to respect every iteration of Oz and Wicked as well.\u00a0<\/p>\n

CE: Absolutely.<\/p>\n

JB: The first time I was in the same room as you, you were singing, sitting on a mattress on the floor outside of RADA. And my friend was in [this play] with you, and you sang this song, and I remember then it was like\u2026goosebumps. Since then, our paths have been, sort of, flying around the same places. And I have witnessed so much. My goodness me, what a joy and a privilege to be able to just see your level of artistry and craft. That is something that is fascinating about a musical performance.<\/p>\n

CE: Yes, and you don\u2019t see it. It looks really easy.<\/p>\n

JB: And I do think \u2013 this is me being in awe as well \u2013 knowing the work that goes into it, it should never be underestimated.<\/p>\n

CE: I actually love the work that goes into making something feel easy. I\u2019ve always had this weird sense of wanting to make sure that whoever\u2019s watching can sit back and be like, \u2018Oh, I can sit in this, I know this person\u2019s taking care of me, I don\u2019t have to worry\u2019. And so I can go with the emotions.<\/p>\n

\"GetJonathan wears shirt DIO<\/p>\n

JB: And that\u2019s the bliss also of the process of preparation. I\u2019ve got to a point now where, even though I know what the next thing will be, I sort of don\u2019t want to even allow myself to know that I\u2019m definitely doing it until I can swallow dive in. Even with the press tour last year, I was thinking, \u2018Right, I need to learn Richard II. I\u2019ll probably learn a monologue in LA, maybe when we go to Mexico, I\u2019ll learn scene two.\u2019 As if that was even possible. So I was going around the press tour with this pressure, and I\u2019m just learning how to somehow quieten that and just trust. When you\u2019re learning verse and language as brilliant as that, you do have to just go with it. And [then you have] two weeks [to prepare], and you just go under. It\u2019s such a joy. And it\u2019s so painful.<\/p>\n

CE: You might be indirectly speaking to me right now, because that was fully my intention to take my Dracula script, and just keep reading, keep learning, and do the whole thing. But part of me is wondering, is that actually gonna happen?\u00a0<\/p>\n

JB: There was a book at school about a girl who slept with a calculator under her pillow, and she just got really good at maths. I\u2019ve always secretly thought, even carrying a tote bag, is that enough?<\/p>\n

CE: Is that enough? [Laughs]<\/p>\n

JB: Can we also talk about your return to the stage, in this extraordinary \u2013 yet again \u2013 challenge. [Coming back to the theatre after your screen projects], does it feel like the end of a chapter for you?<\/p>\n

CE: It feels like it might be the end of a book, and we start a new one, you know what I mean? Because it feels really full circle. I haven\u2019t been back to stage for such a long time. Since 2015\u2019s The Color Purple. The first time I really did anything that felt like a stage was Jesus Christ Superstar, and that was only three nights. So this is probably the first time I\u2019m going back to a theatre, on stage to do a lengthy run of sorts. And I\u2019m fucking petrified. I really am. I\u2019m very scared. But I\u2019m also like \u2013 I don\u2019t know, is this sadistic of me \u2013 but I\u2019m really excited about it as well. It\u2019s absolutely nonsensical and insane, and I kept trying to resist it for the longest time.\u00a0<\/p>\n

JB: You just can\u2019t escape these roles.<\/p>\n

CE: It just wouldn\u2019t leave me alone. And I couldn\u2019t get it out of my mind. I was like, \u2018This is so crazy, this is insane.\u2019 And then I saw the tape from the original version, which was done in Australia. And I was like, \u2018Let me just wait, because there\u2019s so much coming right now, I have Wicked coming up. I don\u2019t know how I will get to that. I don\u2019t know how I\u2019ll get there. And the first movie came out, and they were still interested. We were still having conversations, and at this point, The Picture of Dorian Gray [another play by Kip Williams] had come out, and I thought, \u2018This is either going to make me run in another direction or really confirm that I have to do this.\u2019 I went to see Sarah Snook, and I was like, \u2018Oh shit\u2019.<\/p>\n

\"GetCynthia wears dress ALBERTA FERRETTI; earrings & rings CARTIER. Jonathan wears shirt BRUNELLO CUCINELLI<\/p>\n

JB: And you just slipped your fake teeth on.<\/p>\n

CE: And that was it. I knew I was gonna do this. I knew it. I was like, \u2018I don\u2019t have a choice in this matter.\u2019 And then I sat with Kip, and the second he opened his mouth, the second he started talking about it, I was sold.<\/p>\n

JB: Isn\u2019t that funny, though? When you meet these people, and you\u2019re like, \u2018I\u2019m going wherever you go\u2019. Few things I want to say about this. It speaks to your craft and your talent, and how far you\u2019ve journeyed, to know that a one person show of Dracula is the only thing that can make you scared. And the other thing is the opposite of fear, [which is] also true in Wicked. The people are going to be so excited to come and see you after your extraordinary career, but particularly these last few years. For them to go and sit in the theatre with you, for an hour or two\u2026 the joy is going to be huge. Even I\u2019m excited, but I get to speak to you. You\u2019re a storyteller in everything you do, and now you\u2019re going to actually be able to get the people in. My God, in the world that we live in now, to be able to speak in a room full of people, it\u2019s the most radical act.<\/p>\n

CE: But I felt that way about you going to do Richard II. I was like, is he mad? How is he? How are you doing this? I\u2019m exhausted for you.\u00a0<\/p>\n

JB: You know what, my body is still reminding me every day of that. I can\u2019t work out if it\u2019s a bit of Scarecrow, it\u2019s a bit of \u201cDancing Through Life\u201d, or it\u2019s a bit of performing soliloquy in the round.<\/p>\n

CE: Well, I think it\u2019s a bit of everything.\u00a0<\/p>\n

JB: I\u2019m gonna be hunched over and tiny in about nine years time, and you\u2019ll be able to pick me up and put me in your pocket and carry me around.\u00a0<\/p>\n

\"GetCynthia wears jumper TORY BURCH; tights WOLFORD; earrings & watch CARTIER. Jonathan wears full look GIVENCHY<\/p>\n

CE: It\u2019s the only way to stop you from moving around [laughs]. You\u2019re picking these pieces that are an emotional slog. They work with the heart and the mind and the soul and then on top, the body has to really give as well. Because it\u2019s connected. I think this is your cross to bear, that the physical is deeply connected to the mental, and that what you discover in a person is not just who they are in their mind, but who they are in their body and how they carry themselves. And that is a really hard thing to do as a person. Not just carrying the DNA of someone in your mind, but carrying their physical tissue around for sometimes years. So I commend you for taking that on, because I can\u2019t imagine what\u2026what do they call it? The scar tissue.<\/p>\n

JB: Well, I\u2019ll show you my right bum cheek next time I see you [laughs]. But also, I\u2019ve had to just take time after doing Richard II. And I\u2019ve really enjoyed it, and it\u2019s such a privilege to be able to. But I wonder what\u2019s in store for you after Dracula? It might be that big holiday. But also, because we\u2019ve sort of been flying through our careers over the years, it\u2019s that thing of going, \u2018Well, I remember really believing that maybe these opportunities wouldn\u2019t come\u2019. And sometimes, taking the biggest and scariest challenge feels like the only way to really pay respects to the moments when you thought this is never gonna happen exactly.\u00a0<\/p>\n

CE: I legitimately remember having a conversation with Ben Platt, during The Color Purple, and he said, \u2018They\u2019re gonna do a film of Wicked and you should play Elphaba\u2019. I thought he was absolutely insane. I thought it was the craziest thing to have said, because I was like, \u2018there\u2019s not a chance in any world that that\u2019s going to be mine. There\u2019s no way I\u2019m ever going to be asked to play this character. Thank you so much for thinking that, but that\u2019s nonsense, and you know it.\u2019 I really did not believe that was going to happen. So to be here, legitimately 10 years later, having completed two of these films is a mind boggling thing.\u00a0<\/p>\n

JB: We\u2019re all shackled by the stories that we are given and told. But my God, can we both speak to this? Those narratives can be completely dismantled, thrown away and blown away. Just one commitment to work and one committed moment to another. You just never know where it\u2019s gonna end up.\u00a0<\/p>\n

CE: Right?<\/p>\n

JB: But what an amazing thing. It\u2019s hard to not really try and spell it out for people who might be reading this interview, to really know that it doesn\u2019t happen overnight.<\/p>\n

CE: And it happens to the people who care. And it happens with the hardest kind of work that you could possibly imagine. But that work comes with such joy and pleasure, because it\u2019s wanted and it\u2019s meant. And it\u2019s concentrated. And I know for you, even in the hardest of the things that you\u2019ve done, because I feel the same way, I would do it over and over again.<\/p>\n

JB: And we\u2019ll do it over and over again.\u00a0<\/p>\n

CE: Absolutely.<\/p>\n

JB: I love that Cynth.<\/p>\n

CE: I love you Jonny, and I love that. We have to keep doing this.<\/p>\n

JB: We\u2019re going to, aren\u2019t we? Priority.<\/p>\n

CE: Yes, let me send you a voice note right now.<\/p>\n

Buy Wonderland\u2019s Winter 25 issue now here.<\/a><\/p>\n

Photography by JUANKR
Styling by Jason Bolden
Words by Sofia Ferreira
Make-up by Joanna Simkin at The Wall Group
Nails by Shea Osei
Grooming by Ben Talbott at The Wall Group
Set Design by Kate Sutton at Maison Mardi Management
1st Photography Assistant Andrew Magurran
2nd Photography Assistant Alex Jos\u00e9
Fashion Assistant John Mumblo
Set Design Assistant and Set Builder Roman Snow
Runner Scarlett Milroy
Videography by Jay Sentrosi<\/p>\n","protected":false},"excerpt":{"rendered":"In director Jon M. Chu\u2019s return to the Land of Oz with Wicked: For Good, Cynthia Erivo and…\n","protected":false},"author":2,"featured_media":307651,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[6491,96,19613,56,54,55,35678],"class_list":["post-307650","post","type-post","status-publish","format-standard","has-post-thumbnail","category-celebrities","tag-celebrities","tag-entertainment","tag-jonathan-bailey","tag-uk","tag-united-kingdom","tag-unitedkingdom","tag-wicked"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/307650","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=307650"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/307650\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/307651"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=307650"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=307650"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=307650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}