{"id":889242,"date":"2026-10-20T20:46:12","date_gmt":"2026-10-20T20:46:12","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/889242\/"},"modified":"2026-10-20T20:46:12","modified_gmt":"2026-10-20T20:46:12","slug":"larry-davids-prognosis-negative-inside-story-on-viral-script","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/889242\/","title":{"rendered":"Larry David’s Prognosis: Negative – Inside Story on Viral Script"},"content":{"rendered":"

\n\tIn May, the New York Times reported<\/a> that Prognosis: Negative, a long-lost script by Larry David<\/a> had emerged on eBay. The story went viral, but what few knew at the time: author Blake J. Harris<\/a> would be unveiling the full backstory in his biography Emperor of Nothing: The Making of Larry David (out on Oct. 20 from HarperCollins), which devotes two chapters to the tale.<\/p>\n

\n\tThese chapters began to take form when Harris came across a 2015 The Hollywood Reporter guest column<\/a> by Marilyn Black, Davids\u2019 former manager who wrote about Prognosis: Negative for THR. \u201cIt wasn\u2019t just that she was his manager, but that she clearly was a good storyteller,\u201d says Harris of connecting with Black. Black recalls one of her first calls when she started shopping the script was to Rob Reiner: \u201cRob flipped out over it, and he thought it was brilliant, and he said he wanted to direct it.\u201d<\/p>\n

\n\tBelow is one of the Prognosis: Negative chapters, picking up after David was left unemployed after the end of Fridays, a Saturday Night Live knock-off that aired on ABC from 1980-82.<\/p>\n

\n\tBy the time Fridays ended, Larry had set aside enough money to survive for about eighteen months.<\/p>\n

\n\t\u201cI\u2019m thirty-four years old and I have some savings for the first time in my life,\u201d Larry explains, \u201cso I start thinking, \u2018Okay, maybe I should invest in a stock.\u2019 And, at the time, it just so happened I knew a guy who had a tip.\u201d<\/p>\n

\n\tTruth be told, Larry didn\u2019t actually know the \u201cguy.\u201d Well, not directly.<\/p>\n

\n\t\u201cI had a friend who had a friend,\u201d Larry clarifies. \u201cHe had a tip, and I knew he had made money in the market.\u201d<\/p>\n

\n\tAs soon as Larry put his savings into this stock, he should have real- ized it was a mistake. Not because he immediately started losing money but because he quickly lost himself. He went from Observant Larry to Obsessive Larry, a guy who had to know\u2014at every moment\u2014the value his stock had last traded at. Fortunately, though, the value was rising, and without lifting a finger, Larry was becoming a wealthier man.<\/p>\n

\n\t\u201cBut then,\u201d Larry recalls, \u201cit started going down.\u201d<\/p>\n

\n\tEven worse, as the stock began to decline, Larry learned that his \u201cguy\u201d was in the hospital and had no way to contact him.<\/p>\n

\n\t\u201cI didn\u2019t know what to do,\u201d Larry laments. \u201cAnd I stupidly held on to it.\u201d<\/p>\n

\n\tAs a result, Larry quickly lost over half the money he had saved. And while years later, Larry\u2019s financial misadventure would yield a silver lining\u2014as it would be the inspiration for an early episode of Seinfeld\u2014 that eventual consolation provided no solace to him in the moment. Mainly because Larry was now unemployed and only had enough saved up for nine more months.<\/p>\n

\n\t\u201cSo that wasn\u2019t great,\u201d Larry admits. \u201cBut then again, hey, at least I wasn\u2019t broke. I mean . . . basically, after Fridays, I was back to where I was before doing the show. Where my life revolved around doing stand-up. The only real difference was that I was now doing it in LA. But with the show over, I had no reason to be there any longer. So I decided to move back to New York.\u201d<\/p>\n

\n\tIN THE TIDY TELLING OF LARRY DAVID\u2019S LIFE STORY, Fridays ended, and Larry moved right back to New York. And it\u2019s true that he eventually did. But before doing so, he remained in Los Angeles for another two years, where he returned to doing stand-up and gradually pivoted from being an onscreen performer to becoming a bona fide screenwriter.<\/p>\n

\n\tThis pivot happened slowly and\u2014like most major changes in the arc of Larry\u2019s life\u2014it happened unintentionally. Because originally, after Fridays, Larry did what he was supposed to do: look for new jobs in film and television.<\/p>\n

\n\tThat was, after all, what his now-former Fridays castmates were doing. Mark Blankfield, for example, booked a guest spot on Taxi and a starring role in a made-for-TV spinoff of The Jerk. Likewise, Michael Richards scored guest spots on hit shows like Cheers, Night Court, and Miami Vice, and even a recurring role on St. Elsewhere.<\/p>\n

\n\tLarry, however, had less luck, booking only a few seconds of screen time in a forgettable studio film, Second Thoughts, as well as an equally uncelebrated role in a low-budget indie film, Can She Bake a Cherry Pie?<\/p>\n

\n\t\u201cMy character didn\u2019t even have a name!\u201d Larry says about his role in the latter, in which he\u2019s credited as merely \u201cMort\u2019s Friend at Caf\u00e9.\u201d And, as Larry notes, \u201cMort wasn\u2019t even one of the leads!\u201d<\/p>\n

\n\tHad Larry been hoping to become Hollywood\u2019s next heartthrob, this post-Fridays period would have been concerning. But the lack of opportunities enabled Larry to focus on more important things.<\/p>\n

\n\t\u201cAt that point,\u201d Larry recalls, \u201cI\u2019m back to performing [stand-up] every night. Doing clubs in LA. And at the same time . . . I have my days back. So, I start working on a [movie] script that was called Prognosis: Negative.\u201d<\/p>\n

\n\tPrognosis: Negative was a dark comedy centered around a protagonist, Leo Black, who bore more than a little resemblance to 1970s Larry David. Like Larry, the character lived in New York City (an apartment in Hell\u2019s Kitchen); like Larry, the character drove a limo (chauffeuring an old woman with failing vision); and like Larry, the character was a neurotic hypochondriac who was plagued so deeply by feelings of remorse that it made committing to anything all but impossible. Especially romantic relationships\u2014which led to the underlying question that powered Prognosis: Negative: How can a man with deep-seated commitment issues survive in a world where he\u2019s constantly pressured to settle down and live happily ever after?<\/p>\n

\n\tFor real-life commitment-phobes like Larry, there seemed no good answer to this question. But for the protagonist of his script, there is suddenly a glimmer of hope midway through the first act, when he over- hears a doctor discussing the declining health of a recent ex-girlfriend.<\/p>\n

\n\tCOLLEAGUE<\/p>\n

\n\tSo what is the prognosis?<\/p>\n

\n\tDR. BURNELL<\/p>\n

\n\tNot very good . . .Ten months . . . at the most.<\/p>\n

\n\tUpon hearing this horrible news, Larry\u2019s protagonist has an epiphany: If he were to win back his terminally ill ex-girlfriend, he could have a loving relationship without having to actually honor a lifelong commitment.<\/p>\n

\n\t\u201cIt\u2019s brilliant, right?\u201d Richard Lewis says about Prognosis: Negative. \u201cI remember when he told me the idea and I just thought, \u2018That\u2019s a great premise!\u2019 And then I read it. Wow!\u201d<\/p>\n

\n\tIn addition to a strong premise, Larry\u2019s script featured many of his future trademarks: witty, natural-sounding banter and selfish-but- relatable behavior that spirals out of control. Moreover, for fans of Seinfeld and Curb, the script also included early incarnations of incidents that would resurface in one way or another in those shows, like getting banned from a fruit stand, pretending to hold an elevator door open, or lying about being a volunteer for the Big Brother program.<\/p>\n

\n\tIt really was a strong script. But without a literary agent or manager, Larry didn\u2019t really know what to do with Prognosis: Negative. So naturally, Richard Lewis wanted to help.<\/p>\n

\n\t\u201cLook,\u201d Lewis told Larry one night at the Improv, \u201cif I knew a good manager for this sort of thing, I\u2019d introduce you in a heartbeat.\u201d<\/p>\n

\n\tAs luck would have it, Lewis did end up helping Larry in this instance. Because around this time, Lewis started dating a woman named Marilyn Black, who had the clout, connections, and know-how to get Larry\u2019s screenwriting career off the ground.<\/p>\n

\n\t\u201cI was hanging out at the Improv a lot,\u201d Marilyn explains. \u201cAnd this was, I would say, the golden age of comedy. You had Jay Leno and Bill Maher and Roseanne [Barr] and my client, Rick Overton, and Robin Williams. It was just an incredible time. And at some point, I started dating Richie Lewis, which is how I ended up meeting Larry.\u201d<\/p>\n

\n\tLike many girlfriends throughout history, Marilyn wound up spending a lot of time with her boyfriend\u2019s best friend.<\/p>\n

\n\t\u201cThere was nothing more fun than hanging out with Richard Lewis and Larry David,\u201d Marilyn recalls. \u201cAnd eventually, Richie tells me, \u2018Larry has just written a script called Prognosis: Negative and could use somebody who\u2019s well connected and has chutzpah to help him sell it.\u2019\u201d<\/p>\n

\n\t\u201cIt\u2019s the greatest script I ever read!\u201d Lewis assured Marilyn.<\/p>\n

\n\t\u201cRichie really went out of his way to talk up Larry\u2019s script,\u201d Marilyn notes. \u201cWhich wasn\u2019t a surprise, he really cared about his friend. But the truth is I thought Larry was hilarious and I was happy to read anything he\u2019d written.\u201d<\/p>\n

\n\tOn January 26, 1983, Larry gave Marilyn a copy of Prognosis: Negative.<\/p>\n

\n\t\u201cI read it and flipped out!\u201d Marilyn recalls. \u201cI told him it was bril- liant. I mean, not only was it hilarious, but it had such a unique point of view. It was immediately clear to me that Larry was an original, you know? One of those rare writers whose voice can\u2019t be replicated.\u201d<\/p>\n

\n\tMarilyn thought that Prognosis: Negative was a work of genius and its author was basically the love child of Mel Brooks and Woody Allen. \u201cI became his manager,\u201d Marilyn says. \u201cTechnically, I was his manager for writing and acting. But, you know, he wasn\u2019t doing very much acting back then. Though I did send him out on some auditions! But really, the main thing, especially at the beginning, was for me to go out and sell Prognosis.\u201d<\/p>\n

\n\t\u201cI didn\u2019t really know how these things were supposed to go,\u201d Larry says about the ensuing process. \u201cBut Marilyn seemed to know what she was doing.\u201d<\/p>\n

\n\t\u201cLooking back,\u201d Marilyn reflects, \u201cI really am amazed at how many heavyweights I knew! I got that script to everyone. And I mean everyone.\u201d<\/p>\n

\n\tWhen shopping a script, there are two types of \u201ceveryone\u201ds to approach: producers (who, ideally, will want to option the script) and \u201ctalent\u201d (like actors or directors, who, ideally, will want to \u201cattach\u201d themselves to the script, thereby making the project more enticing for buyers). Since Hollywood is a place where nobody really cares about anything until someone else cares about it more, Marilyn wanted the widest net possible, so she simultaneously approached both talent and producers. Though, from the get-go, there was one name in mind who she believed would be the perfect fit for Prognosis\u2014someone who was both talent and a producer: Rob Reiner.<\/p>\n

\n\tReiner, at that time, was at an interesting crossroads. As an actor, he was already world-famous for his breakout role as the do-gooder son-in- law Michael \u201cMeathead\u201d Stivic on CBS\u2019s hit show All in the Family\u2014a role that, over the course of nine seasons, earned him five Emmy nomina- tions (including two wins). One would imagine that after 180+ episodes as a top-tier supporting actor, Reiner\u2019s next step would be to find a TV show of his own to star in. But he had something else in mind.<\/p>\n

\n\t\u201cAfter All in the Family went off the air,\u201d Reiner says, \u201cI wanted to make films. I wanted to direct . . . [but] at the time, people in television were looked down upon by movie people. You were second-class citizens if you did television.\u201d<\/p>\n

\n\tGiven the then-difficult transition from television to film, not to mention the difficulty of jumping from actor to director, Reiner struggled to find the right project. And the project he wound up working on\u2014his directorial debut\u2014was a pretty risky venture: a fake documentary about a fictional rock band that Reiner co-wrote with three friends and then filmed over the course of only five weeks. Even riskier, the so-called script that Reiner and his friends had written didn\u2019t actually contain any set-in-stone dialogue; rather, it was just a series of scene outlines that were then brought to life through improvisation. All this to say, there was a lot of uncertainty around Reiner\u2019s upcoming mockumentary, This Is Spinal Tap.<\/p>\n

\n\t\u201cAt the time,\u201d Marilyn explains, \u201cnone of us knew what to expect with Spinal Tap. So I thought, \u2018Hey, this is great timing! Because if it\u2019s a flop, then Rob will want something new to get involved with, and if it\u2019s a hit, then Prognosis would be the perfect follow-up!\u2019\u201d<\/p>\n

\n\tGetting Prognosis to Reiner was easy, but getting him to read it required some finesse, since she\u2019d recently slipped him a (not-very- good-in-retrospect) script of her own, which made him hesitant to read anything more from her. But Marilyn was insistent, making it clear that this script was written by a real writer: an incredibly talented, fresh new voice.<\/p>\n

\n\t\u201cHow \u2019bout this,\u201d Marilyn suggested. \u201cJust read the first five pages. And if you don\u2019t already love it, then don\u2019t bother with the rest.\u201d<\/p>\n

\n\tThis strategy paid off. Reiner called back the next morning. He loved the script, so much so that he was already open to the idea of at- taching himself to it. This felt like the best-case scenario, until Reiner then added, \u201cI think I know the perfect person to direct this.\u201d<\/p>\n

\n\t\u201cI remember thinking, \u2018HUH?!\u2019\u201d Marilyn explains. \u201cThe whole point of getting it to Rob was so that he would direct!\u201d<\/p>\n

\n\tThe problem, though, was that as much as Reiner loved Prognosis, he just wasn\u2019t sure that this should be his follow-up film\u2014kicking off an almost comical level of uncertainty from Reiner that would become a running theme over the next few months.<\/p>\n

\n\t\u201cHe changed his mind many times!\u201d Marilyn groans.<\/p>\n

\n\tAlthough Reiner remained uncertain if he wanted to direct Prognosis, he was certain that he wanted to be involved as a producer. And, as he would often remind Larry and Marilyn, if he didn\u2019t direct, then he knew the perfect guy: his mockumentary collaborator Christopher Guest.<\/p>\n

\n\tLarry admired Reiner, so he was open to this possibility. Meetings were set, introductions were made, and various creative permutations were discussed\u2014all while Larry and Marilyn continued meeting with other producers, including the Academy Award\u2013winning actor-turned- producer Richard Dreyfuss, who had read (and loved) Prognosis: Negative. The meeting that ensued went perfectly fine, but it quickly became clear that Larry and Dreyfuss had different creative visions for the film. Whereas Larry imagined a dark comedy that prioritized laughs over drama, Dreyfuss saw it more as a coming-of-age story. In fact, at one point Dreyfuss even declared that Prognosis could be \u201cthe next Risky Business.\u201d And though Dreyfuss repeatedly told Larry how much he loved the script, he also insisted that it needed a \u201cbig rewrite\u201d (which, from Larry\u2019s perspective, seemed like a conclusion that contradicted the compliment).<\/p>\n

\n\tIn the grand scheme of things, the meeting between Larry and Dreyfuss was not particularly significant. But it was somewhat indicative of how almost all of Larry\u2019s other meetings would play out, which, over and over, went something like this:<\/p>\n

\n\tPRODUCER: We love your script!
LARRY: Oh yeah?
PRODUCER: It\u2019s one of the best things we\u2019ve read in years!
LARRY: Why thank you!
PRODUCER: But, of course, we can\u2019t make your movie.<\/p>\n

\n\tAlthough each producer verbalized it differently, the reason they felt this way primarily boiled down to two concerns. One was Prognosis: Negative\u2019s perceived lack of marketability. Because, as the thinking went, comedies were supposed to be about unlikely heroes who overcome long odds and learn valuable life lessons along the way. This was, after all, the tried-and-true formula that spawned box office hits like Stripes, Police Academy, and Mr. Mom.<\/p>\n

\n\t\u201cThat was always something that I hated about movie scripts,\u201d Larry says. \u201cThe idea that characters are supposed to go on some big \u2018journey\u2019 and learn all these ridiculous \u2018lessons\u2019 along the way. I mean, I don\u2019t know anybody like that! Whose life is like that?\u201d<\/p>\n

\n\tIn addition to Larry\u2019s aversion to writing a cookie-cutter comedy, producers were also scared off by Larry\u2019s \u201cunusual demands.\u201d<\/p>\n

\n\t\u201cTypically, when a script is purchased,\u201d Marilyn explains, \u201cthe producer can basically do whatever they want with the script.\u201d<\/p>\n

\n\tOftentimes, the process still involves the original writer\u2014with the producer giving notes and the writer implementing those changes to the best of their ability. Sometimes, though, if the producer feels that the original writer is no longer a good match for the project, they\u2019ll hire a new one to implement their vision. Most writers (understandably) hate the second scenario. Larry, however, hated both scenarios and wanted it contractually written that no one could change a word of his script except for him.<\/p>\n

\n\t\u201cBut what if you die?\u201d a producer once asked.<\/p>\n

\n\t\u201cThen you\u2019re out of luck!\u201d Larry cheerfully replied.<\/p>\n

\n\tWhile most managers would have likely nudged Larry to ease up,<\/p>\n

\n\tMarilyn believed that Larry was a true one-of-one and to try to change him would have been a betrayal of his talent.<\/p>\n

\n\tThe first serious, albeit unlikely, suitor for Prognosis: Negative was Barry & Enright Productions. For the first thirty-plus years of the company\u2019s history, their focus had been making game shows like The Joker\u2019s Wild and Tic Tac Dough. But in 1980, founders Jack Barry and Dan Enright felt like they had \u201cmastered the game show business\u201d and \u201c[wanted] to branch out.\u201d<\/p>\n

\n\tBranching out involved taking a gamble on a risqu\u00e9 sex comedy, Private Lessons. And that gamble paid off handsomely when the movie quickly made back ten times its budget. So, feeling emboldened, Barry & Enright brought in a producer named Mike Wise to help the company expand their scripted business.<\/p>\n

\n\t\u201cMike Wise was one of the first people I shared Prognosis with,\u201d Marilyn explains. \u201cAnd he flipped for it!\u201d<\/p>\n

\n\tNot only did he love it, but his new company\u2019s newfound focus meant they were young and hungry in a way that made them willing to take a chance on Larry and his vision.<\/p>\n

\n\t\u201cSo I told Mike [Wise], \u2018That\u2019s great! Make us an offer!\u2019\u201d Marilyn recalls. \u201cAnd then, you know, he hemmed and hawed about not having a lot of money for development. Well, okay . . . then I suggest you get some money and come back to us with an offer!\u201d<\/p>\n

\n\tIn the meantime, another serious suitor had entered the picture: David Susskind, a veteran producer with a reputation for making commercially viable higher-brow films like A Raisin in the Sun and Alice Doesn\u2019t Live Here Anymore. Given this mandate, it wasn\u2019t a surprise that Prognosis resonated with him, but it was surprising that he was willing to pay $200,000 for the script.<\/p>\n

\n\tIn the world of screenwriting, $200,000 wasn\u2019t going to break any records. But it was an unusually high amount to pay for someone\u2019s first screenplay, and more than that, it would have been life-changing money for thirty-six-year-old Larry David.<\/p>\n

\n\t\u201cOf all the clients I ever had,\u201d Marilyn says, \u201cLarry was probably the one who cared the least about money. For him, it was always just about the creative. But when that two-hundred-thousand-dollar offer came in, even Larry was like, WHOA!\u201d<\/p>\n

\n\t\u201cIs this for real?\u201d Larry asked Marilyn.<\/p>\n

\n\t\u201cIt is!\u201d she celebratorily replied.<\/p>\n

\n\tThroughout the 1980s, Marilyn kept a detailed diary of her daily activities. And her entry on this occasion was nothing but excitement:<\/p>\n

\n\t8\/31\/1983 Closed Susskind deal! 9 mo option, 6 mo renewal! Larry Speechless!<\/p>\n

\n\tSpeechless Larry was a rare brand of Larry. And also, in this case, a short-lived Larry. Because when Susskind\u2019s lawyer looked at the deal that had been negotiated, he was flabbergasted by the details.<\/p>\n

\n\t9\/26\/1983 Lawyer not accepting deal. Doesn\u2019t want Larry to have so much control.<\/p>\n

\n\t9\/28\/1983 Deal\u2019s off. Susskind lawyer says: \u201cIt\u2019s too stacked in Larry\u2019s favor. Robert Redford doesn\u2019t get a deal like this!\u201d<\/p>\n

\n\tAlthough the Susskind deal wound up falling apart, it did manage to nudge Barry & Enright\u2019s Mike Wise to finally come in with an offer.<\/p>\n

\n\t\u201cBarry & Enright was willing to pay twenty-five thousand dollars,\u201d Marilyn recalls. \u201cWhich, obviously, was a lot less than what we had been talking about [with Susskind]. So you\u2019d think, maybe, that Larry would be upset or that he\u2019d feel slighted. But as I\u2019m sure you\u2019ve figured out by now, when it comes to Larry, it\u2019s never about the money.\u201d<\/p>\n

\n\tSince it wasn\u2019t about money, one of the things that Larry liked about Barry & Enright was that they really wanted to keep Rob Reiner involved in the project.<\/p>\n

\n\t\u201cThey thought Prognosis would be the perfect follow-up film for Rob,\u201d Marilyn recalls. \u201cPerfect for him to direct after Spinal Tap.\u201d<\/p>\n

\n\tReiner too remained open to this idea\u2014until early screenings of This Is Spinal Tap went so well that Reiner started receiving bigger-budget offers. Nevertheless, Reiner still wanted to be a producer on Prognosis, and now, in light of the surging hype around him, his involvement, even as a producer, brought tremendous value.<\/p>\n

\n\tAnd so, with the pieces falling into place, Barry & Enright optioned Prognosis: Negative in November 1983.<\/p>\n

\n\t11\/10\/1983 We all celebrate Larry signing deal with B & E and Mike Wise at The Ivy. Gave us check for $35,000!<\/p>\n

\n\tIn a town where fortunes are notoriously fickle, and where the lowest common dominator so often wins the day, the sale of Prognosis: Negative felt like more than just the celebration of a script being optioned. It felt like validation of something bigger\u2014almost like the real-life version of a comedy film\u2019s premise, with an unlikely hero overcoming long odds (and lessons, at least in theory, being learned along the way).<\/p>\n

\n\tSadly though, the lesson that Larry would ultimately learn with Prognosis was hardly a new lesson at all. Rather, it would just be the latest twist on what he already knew to be true: Good things are never as good as they appear to be.<\/p>\n

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

\n\tExcerpted with permission from Emperor of Nothing: The Making of Larry David by Blake J. Harris. Published Oct. 20 by HarperCollins Publishers.<\/p>\n","protected":false},"excerpt":{"rendered":"In May, the New York Times reported that Prognosis: Negative, a long-lost script by Larry David had emerged…\n","protected":false},"author":2,"featured_media":889243,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[372846,236,88,15820],"class_list":["post-889242","post","type-post","status-publish","format-standard","has-post-thumbnail","category-celebrities","tag-blake-j-harris","tag-celebrities","tag-entertainment","tag-larry-david"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/889242","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=889242"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/889242\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/889243"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=889242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=889242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=889242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}