{"id":701256,"date":"2026-06-13T07:02:18","date_gmt":"2026-06-13T07:02:18","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/701256\/"},"modified":"2026-06-13T07:02:18","modified_gmt":"2026-06-13T07:02:18","slug":"8-actors-who-damaged-their-own-careers","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/701256\/","title":{"rendered":"8 Actors Who Damaged Their Own Careers"},"content":{"rendered":"

It’s a tale as old as time. An actor lands a breakout role<\/a>, becomes an overnight sensation, and suddenly finds themselves at the center of Hollywood. But while getting famous is hard, staying famous is even harder. Not everyone knows how to handle the pressure that comes with stardom. Sometimes it’s a string of terrible movie choices<\/a> that slowly chips away at a career. Other times, it’s an actor who forgets that people are paying attention to everything they say and starts creating controversy for absolutely no reason.<\/p>\n

In this list, we’re looking at eight actors who seemed to have it all. They had hit movies, critical acclaim, millions of fans, and careers that looked untouchable. But through a series of bad decisions and public controversies, they managed to single-handedly derail their own careers. Let’s take a look at them.<\/p>\n

8 <\/p>\n

Rachel Zegler<\/p>\n

\"Rachel
\n Rachel Zegler as Lucy Gray Baird in the arena in The Hunger Games: The Ballad of Songbirds and SnakesImage via Lionsgate<\/p>\n

Rachel Zegler<\/a> burst onto the scene when Steven Spielberg<\/a> cast her in the 2021 remake of West Side Story<\/a>. That’s a once-in-a-career launching pad. But the warning signs came early. When she was left off the guest list for the 94th Academy Awards, she publicly guilted them on social media until they invited her. Next, she appeared in Shazam! Fury of the Gods, and she openly admitted at the film\u2019s premiere that she\u2019d only taken the role for the payday.<\/p>\n

But the real controversy arrived with Snow White<\/a>. While promoting the film, Zegler criticized aspects of the 1937 animated classic and described the prince as a stalker. She also emphasized that the new version would focus less on romance and more on Snow White becoming a leader. Those comments sparked a massive backlash online. Fans, critics, and even the son of the original film’s director publicly criticized what they saw as disrespect toward one of Disney’s most beloved stories. Zegler had become the personification of everything people disliked about modern Hollywood. She also found herself at odds with co-star Gal Gadot after publicly weighing in on the Israel-Palestine conflict, creating even more unwanted headlines. When Snow White finally arrived, it became one of the biggest box office bombs in Disney’s history, and fairly or unfairly, much of the blame landed on Zegler’s shoulders.<\/p>\n

7 <\/p>\n

Brie Larson<\/p>\n

\"Brie
\n Brie Larson as Carol Danvers looking at an object offscreen in The Marvels.Image via Marvel Studios<\/p>\n

Brie Larson<\/a> was an Academy Award-winning actress who was just as comfortable carrying a small indie drama as she was headlining a massive action blockbuster. After winning an Oscar for Room<\/a>, she seemed destined for an even bigger career, and Marvel handed her the keys to the kingdom by casting her as Captain Marvel. At the time, the MCU was the biggest franchise on the planet, and Larson was being positioned as one of its new leading faces. But as her profile grew, so did the attention on her public comments. Many fans felt she frequently made remarks that came across as dismissive toward men, which alienated a large portion of the audience that Marvel movies depended on.<\/p>\n

Things only got worse during the press tour for Avengers: Endgame, where Larson appeared passive-aggressive toward her male co-stars and bragged about doing her own stunts. As the clips spread online, the negative perception surrounding her continued to grow, and major acting opportunities seemed to become less frequent. Her big chance to turn things around came with The Marvels<\/a>, which was essentially a make-or-break moment for her career. However, the movie turned out to be a critical and commercial failure and became the lowest-grossing film in Marvel Studios history. Larson still works steadily and recently voiced Rosalina in The Super Mario Galaxy Movie, but she is no longer getting the kind of high-profile roles that once seemed guaranteed.<\/p>\n

6 <\/p>\n

Shia LaBeouf<\/p>\n

\"Shia
\n Shia LaBeouf getting interrogated in DisturbiaImage via DreamWorks<\/p>\n

Shia LaBeouf<\/a> was in Constantine, Disturbia, headlining the Transformers<\/a> franchise, and even being groomed as a possible successor to Harrison Ford\u2019s Indiana Jones. Behind the scenes, though, he was struggling with alcoholism, and it all started spilling into public view. Arrests, fights, rehab stints, and public apologies became the norm. In 2013, he was caught plagiarizing a filmmaker’s work for his short film Howard Cantour.com, and then his apology itself was exposed as plagiarized from a Yahoo Answers post.<\/p>\n

Then came the performance art phase. He appeared at the Berlin Film Festival with a paper bag over his head that said, \u201cI am not famous anymore,\u201d invited people to watch him cry with the bag over his head, and even live-streamed himself watching his own films for 72 hours. In his head, it probably seemed like a provocative exploration of fame, but for everyone else, it was just weird. FKA Twigs later sued him for abuse, Netflix dropped him from awards consideration, and Olivia Wilde cut him from Don’t Worry Darling. His biggest role in years ended up being Francis Ford Coppola\u2019s Megalopolis, which was the Hollywood equivalent of a first-class ticket on the Titanic.<\/p>\n

5 <\/p>\n

Ezra Miller<\/p>\n

\"Barry
\n Image via Warner Bros.<\/p>\n

When Ezra Miller<\/a> was cast as The Flash, they looked destined to become one of the leading faces of the DCEU. Unfortunately, Miller’s mental health began deteriorating rapidly following their parents’ divorce in 2019. They became increasingly isolated and paranoid, started carrying a gun and wearing a bulletproof vest, and became convinced that the FBI and the KKK were out to get them. In April 2020, a video surfaced showing Miller grabbing a woman by the neck and forcing her to the ground. In 2022, they were arrested in Hawaii for filming people without consent and screaming at strangers over the crime of \u201csinging a Lady Gaga<\/a> song.\u201d Weeks later, another video emerged showing Miller throwing a chair at a woman, leaving her with a head injury that required stitches. At this point, every few weeks seemed to bring a new headline that somehow sounded even more unbelievable than the last.<\/p>\n

And then things got even worse. Miller housed several people (including children) at their Vermont farm, which former residents described as a cult-like environment with unattended firearms, ammunition, heavy marijuana use, and Miller referring to themselves as “the Messiah.” The parents of an 18-year-old also sought a protective order, alleging that Miller had manipulated and groomed their child since she was 12. One former resident of the farm explained in an interview that Miller believed the young girl was an apocalyptic Native American spider goddess, Miller themselves the second coming of Jesus, and together they were destined to lead an Indigenous revolution. All of these controversies effectively killed Miller’s career stone dead. They are now considered persona non grata in the industry; far too radioactive for any studios to touch.<\/p>\n

4 <\/p>\n

Dwayne \u201cThe Rock\u201d Johnson<\/p>\n

\"Dwayne
\n Dwayne The Rock Johnson and Michael Kenneth Williams in Snitch.Image via Summit Entertainment.<\/p>\n

At his peak, Dwayne Johnson<\/a> was loved by everyone and was seemingly everywhere at once. He had gone from wrestling icon to Hollywood megastar and built an incredibly successful brand around being the funny, hardworking, humble everyman. Over time, though, people began noticing Johnson’s tendency to exaggerate stories and market himself a little too aggressively. He was caught lying about his daily calorie intake, and eating In-N-Out Burger for the first time, three different times! He even had a clause in his movie contracts ensuring he could never lose an on-screen fight.<\/p>\n

But the real damage came with Black Adam<\/a> in 2022. Johnson made no secret of the fact that he wanted to reshape the DCEU around himself. He refused to connect his character to Shazam (Zachary Levi), who is Black Adam’s actual arch-nemesis in the comics. Instead, he obsessively pushed hard for a multi-film plan building toward a future showdown against Superman (Henry Cavill). He even went over his bosses’ heads to engineer Cavill’s return as Superman in the film’s post-credits scene. But just days after Cavill announced his return, Gunn was named co-head of DC Studios, and the old DCEU was dead. Gunn later went on to say that this was extremely unfair to Cavill, and following the fallout, Cavill even fired his manager, who just so happened to be Johnson’s ex-wife. Black Adam flopped and was buried with the rest of the old DCEU, and Johnson’s carefully built image of the likable everyman took a hit it hasn’t fully recovered from.<\/p>\n

3 <\/p>\n

Will Smith<\/p>\n

\"Will
\n Will Smith in a still from Pete Berg’s Hancock.Image via Sony<\/p>\n

Will Smith<\/a> spent decades building one of the most bulletproof public images in Hollywood. The Fresh Prince of Bel-Air launched him, and then Bad Boys, Independence Day, Men in Black, and The Pursuit of Happyness proved he could carry almost any genre. Even when a film flopped, audiences gave him a pass. However, his image began to wobble with After Earth<\/a>, a post-apocalyptic sci-fi film in which Will starred alongside his son, Jaden Smith. The script was weak, Jaden had none of his father\u2019s talent or charisma, and the movie bombed. From there, a series of underwhelming projects like Suicide Squad, Gemini Man, and Bright added to the sense that his A-list star power was fading.<\/p>\n

But the real collapse came when rapper August Alsina publicly revealed he had an affair with Will\u2019s wife, Jada Pinkett Smith, and claimed Will had given them his blessing. Jada later addressed it with Will on her Red Table Talk show, and you could see him shrink in real time as Jada discussed her entanglements, deflected all the blame on him, and he just took it. It was a public humiliation ritual under the guise of “healing,” and the image of the cool Hollywood megastar was completely obliterated. Then came the 2022 Oscars. A joke from Chris Rock about Jada\u2019s shaved head led Will to walk on stage and slap him on live TV. That clip lives forever in the Hollywood hall of infamy. He didn’t look like a man defending his family. He looked like a man unraveling in front of the entire world.<\/p>\n

2 <\/p>\n

Wesley Snipes<\/p>\n

\"Wesley
\n Wesley Snipes as BladeImage via New Line Cinema<\/p>\n

Wesley Snipes<\/a> was a legitimate action icon, and without his Blade trilogy, the superhero genre as we know it might never have existed. But Snipes had a reputation for being extremely difficult on set. On Blade: Trinity<\/a>, he allegedly refused to speak to director David Goyer and communicated only through Post-it notes. In one scene, he refused to open his eyes in protest, and they had to be added digitally in post.<\/p>\n

The career-ending blow, though, came from outside the industry. Snipes had fallen under the influence of fringe tax protestors who convinced him the U.S. government had no legal authority to collect income tax. Acting on these bogus theories, he didn’t file tax returns on millions of dollars between 1999 and 2004. In 2008, he was convicted of three misdemeanor counts of willful failure to file federal income tax returns and served his sentence from 2010 to 2013. When he came back, Hollywood simply wasn’t interested in taking on that kind of legal and personal baggage.<\/p>\n

1 <\/p>\n

Blake Lively<\/p>\n

\"Blake
\n Blake Lively in The Rhythm SectionImage via Paramount Pictures<\/p>\n

Ryan Reynolds<\/a> and Blake Lively<\/a> were the ultimate power couple in Hollywood. High-flying but laid-back Hollywood celebs who never took their fame too seriously. Things changed, though, when she signed on to Justin Baldoni\u2019s It Ends With Us<\/a>. She first came under fire for promoting the movie as a fun, upbeat, girls\u2019 night out, encouraging viewers to wear floral dresses to screenings like it was Barbie. It came across as very tone-deaf to the survivor themes of Colleen Hoover\u2019s book. Behind the scenes, reports started circulating regarding major clashes with Baldoni, with Lively allegedly using her husband’s industry pull to hijack the production and push Baldoni aside.<\/p>\n

Lively even pushed for her own cut of the film to be released over Baldoni\u2019s version, even though his cut scored higher with test audiences. As the public back-and-forth escalated, Lively filed a lawsuit against Baldoni, alleging a hostile work environment and sexual harassment. In April 2026, the judge dismissed the majority of the claims, including every sexual harassment allegation, and she agreed to an out-of-court settlement for zero dollars. She had fallen out of public favor. Soon, past feuds with co-stars like Leighton Meester and Anna Kendrick came back into discussion. Old interview clips also resurfaced, and people began pointing out passive-aggressive moments they had missed before. And just like that, two decades of goodwill were gone in under a year.<\/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","protected":false},"excerpt":{"rendered":"It’s a tale as old as time. An actor lands a breakout role, becomes an overnight sensation, and…\n","protected":false},"author":2,"featured_media":701257,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[236,88],"class_list":["post-701256","post","type-post","status-publish","format-standard","has-post-thumbnail","category-celebrities","tag-celebrities","tag-entertainment"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/701256","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=701256"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/701256\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/701257"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=701256"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=701256"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=701256"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}