{"id":47124,"date":"2026-08-15T18:35:21","date_gmt":"2026-08-15T13:35:21","guid":{"rendered":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/?p=47124"},"modified":"2026-08-15T18:35:21","modified_gmt":"2026-08-15T13:35:21","slug":"lindsey-ryan-disobeyed-the-film-god-laws-making-capsized","status":"publish","type":"post","link":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/?p=47124","title":{"rendered":"Lindsey Ryan &#8220;Disobeyed the Film God Laws&#8221; Making &#8216;Capsized&#8217;"},"content":{"rendered":"<p><script>\r\n  atOptions = {\r\n    'key' : '644b717812d811d6a1c1fc5b6ccd6fa6',\r\n    'format' : 'iframe',\r\n    'height' : 90,\r\n    'width' : 728,\r\n    'params' : {}\r\n  };\r\n<\/script>\r\n<script src=\"https:\/\/www.highperformanceformat.com\/644b717812d811d6a1c1fc5b6ccd6fa6\/invoke.js\"><\/script>\r\n<br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tWhen Lindsey Ryan showed producers an early draft of her script for <em>Capsized<\/em>, everyone was in agreement: She must be insane.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t\u201cAnd it\u2019s true,\u201d the American director laughs over Zoom in late July. We\u2019re catching up ahead of the world premiere of her debut feature film at one of Britain\u2019s most prestigious film festivals in Edinburgh. The weight of taking a competition title to the Scottish capital\u00a0is not lost on her, even if she admits the high-risk (and high-reward) project was quite the feat. \u201cI literally did all the things you\u2019re not supposed to do,\u201d she continues. \u201cIt\u2019s almost a clich\u00e9 to say that. But I had an animal. I had children. I had a boat. I\u2019ve disobeyed the Film God laws.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tIf anything, the Film Gods were totally rooting for Ryan and <em>Capsized<\/em>. It follows an idyllic houseboat trip thrown into disarray when Diane (<a href=\"https:\/\/www.hollywoodreporter.com\/t\/lily-rabe\/\" id=\"auto-tag_lily-rabe_1\" data-tag=\"lily-rabe\">Lily Rabe<\/a>) and her five children (Sarah Catherine Hook <a href=\"https:\/\/www.imdb.com\/title\/tt33045993\/characters\/nm7511512\/?ref_=ttfc_fcr_4_3\" rel=\"nofollow\" target=\"_blank\"\/>of <em>The White Lotus <\/em>fame, Griffin Gluck, Eli D Goss, Ada Bland and Joan Stein) are rocked by revelations of financial strife kept secret by the at times charming, mostly chaotic\u00a0family patriarch, Ray (<a href=\"https:\/\/www.hollywoodreporter.com\/t\/rhys-ifans\/\" id=\"auto-tag_rhys-ifans_1\" data-tag=\"rhys-ifans\">Rhys Ifans<\/a>). At sea and with a choppy holiday ahead of them, they face a struggle to stay afloat, emotionally and financially \u2014\u00a0but not before competing in an epic fishing competition.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tShot on a real boat out at sea, with the children contracted for no more than four hours of filming a day and a dangerously small hamster on deck, some filmmakers might have been a little daunted by what Ryan and her crew were attempting to do. (It certainly didn\u2019t help that the Coast Guard was keeping a keen eye on their every move.) But if anyone was to pull it off, Ryan \u2014\u00a0who grew up in Long Island and could drive a boat before she could drive a car \u2014\u00a0would have been the safest bet. \u201cI have accidentally become the expert boat filmmaker,\u201d she tells <em>THR<\/em>, listing <em>Jaws <\/em>and <em>Gilligan\u2019s Island <\/em>among some of her maritime inspirations. \u201cThe sea theme is very prevalent in my life\u00a0\u2014\u00a0I\u2019m just always called to it. I think that the world is so enchanting. It\u2019s totally an obsession.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<em>Capsized<\/em> is an American indie humming with humor, heart and nuance \u2014 so richly textured you can almost taste the sea salt \u2014 and, as it just so happens, fits perfectly with Edinburgh\u2019s reputation for finding fresh, inventive voices. Below, Ryan talks about luring Ifans and Rabe on board, why her antagonist captures such a specific subset of American culture, and how the current state of the U.S. film industry gives way to some bananas, outside-the-box filmmaking: \u201cWe want stories that are fresh again\u2026 and I think that where there\u2019s a will, there\u2019s a way.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>Your last film, a short called <em>Seasick<\/em>, is also set on board a boat. Do you have a personal attachment to this setting? Did you grow up on the coast?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tYeah. It\u2019s funny. I have accidentally become the expert boat filmmaker. (<em>Laughs<\/em>.) Even [in] my early work, when I was experimenting and when I got my first camera, every piece I\u2019ve ever made is on a boat in the middle of the ocean and every single time I do it, it\u2019s insane. Why don\u2019t I just try something on land? (<em>Laughs<\/em>.) And then somehow I find myself on a boat again. <\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tBut I grew up in a big fishing family and where I\u2019m from in Long Island, just outside of the city, it\u2019s called the South Shore of Long Island. So I grew up always being on the sea, always being on a boat. I was a deckhand in one of my earlier jobs. So the sea theme is very prevalent in my life, for sure. I\u2019m working on this other big project that, of course, is seafaring the Atlantic coast. A crazy story. That\u2019s big and exciting, but I love anything with the ocean and maritime themes.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>Do you think you\u2019ll keep that as a running theme through your filmography now?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tI do. I\u2019m just always called to it. I think that the world is so enchanting. It\u2019s an obsession. It\u2019s totally an obsession. There are ideas for me that are outside of the seafaring, maritime setting, but any time [something on the sea] comes up, it\u2019s always a project that feels so near and dear. But I love movies that have these really unique backdrops and then you get to explore characters. It often ends up being a maritime thing for me, but I also love a desert landscape. Really unique environmental geographies are what I\u2019m drawn to for sure, and water probably being the north star of it all.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1920px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((1080\/1920)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2026\/08\/FotoJet-2026-08-12T125813.050.jpg?w=1920\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"1080\" width=\"1920\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">The cast of Lindsey Ryan\u2019s \u2018Capsized.\u2019<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Courtesy of EIFF<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>When you were honing your craft and working towards becoming a filmmaker, who or what projects were formative for you in this genre?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tMy most obvious is <em>Jaws<\/em>. That movie, for me, is perfection. I love <em>Jaws<\/em> with such a passion. It\u2019s terrifying, and I just remember being so gripped. [I remember] watching that movie young, being terrified of the water from that moment after, and just falling in love with the textures of that too \u2014 a seaside community, interesting characters. That\u2019s everything: getting to meet the wacky characters of a place. I\u2019m trying to think of another. [<em>Mutiny on the Bounty<\/em>] I really loved. Marlon Brando did something so interesting in that movie, and I remember feeling like his performance was a new wave of performance for actors. He brought this contemporary thing to this otherwise very theatrical film. This is gonna be such a crazy answer, but <em>Gilligan\u2019s Island<\/em>. I continuously go back to the colors of that, the way that it feels campy and nostalgic and trapped on an island. So [I\u2019m] definitely influenced by the major nautical movies and all this early Spielberg stuff for me.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>It must pose quite the logistical headache, filming on a boat. Is your job made more practically difficult?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tI mean, I learned to drive a boat before I could drive a car. I\u2019m fortunate that people in my life had boats and [I\u2019m] able to tell where I am because I know what buoy I\u2019m off of. I speak the language of the water in such an interesting way, and there\u2019s no doubt that that has been an extreme benefit in shooting out at sea. Because I\u2019m super familiar with what it\u2019s going to take. But it does pose an interesting challenge because then you find yourself the expert amongst your film crew, and you\u2019re trying to direct and have your creative necessities. But then with <em>Capsized<\/em>, we had a marine coordinator, and they were a good partner, but even still, their experience lacked on the filmmaking front. So there\u2019s this interesting gap that I kept finding myself filling of like, \u201cOh guys, we can\u2019t run this scene because the water\u2019s shallow right here. So we have two minutes of time before we\u2019re running aground.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThere are just things that you need to know about boats, and I feel like you could apply that logic across any obscure craft or hobby. Like even with a familiarity of boats, the challenges that come within the environment being ever-changing is really difficult \u2014\u00a0add kids and an ensemble cast to that and it\u2019s next-level challenging.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>And in <em>Capsized<\/em>, this were no effects or anything. You filmed aboard the boat the whole time?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe whole thing was practically shot, which was pretty big for a first-time filmmaker \u2014\u00a0to be pushing the practical shooting of it all. I had the greatest producing team on this film, Paul Mezey and Sam Scolarici, Dan Janvey and our other producers [too]. But Paul and Sam were the best duo in letting me have the craziest thought and being like, \u201cOkay, well let\u2019s see how close we can get to actually what is in this crazy person\u2019s mind.\u201d And for me, you can\u2019t capture the sea. The way that the sun hits the side of your boat and creates a harsh sunlight, the way that it glimmers on the water\u2026 There\u2019s so much about that experience and the textures of that are so important to me.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>When did you know this story was going to be your first feature film?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tI just was like, \u201cOf course I have to make this movie.\u201d I\u2019ve known people that have these houseboats, and Long Island is such a specific place. The patriarchy is very strong out here in a very interesting way, [and] you can observe it in one of three marriages. It\u2019s like an old piece of society\u2019s fabric that maybe just continues to carry through very strongly in Long Island. I just became obsessed with this idea of these women sustaining these insane behaviors, especially of the fishermen, that rough, gruff type. What really got under my skin was just watching all of these women battle these battles and the feminine perspective on what it is to realize that you don\u2019t have to [put up with] that. The setting of being on a boat and what that does to a family dysfunction story\u2026 I liked the idea of not letting them run any further because you\u2019re literally trapped on the last phase of this journey together.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>Well, one of my questions is about Rhys\u2019 character and his marriage to Lily\u2019s. He\u2019s completely dismissive of her, but there\u2019s this odd debt of gratitude she feels she owes him. There\u2019s an emotional trapping just as much as a physical one.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tYeah, and the cost of organizing around one person\u2019s gravity. I think that dynamic is transferable across so many things. Friendships have this in an interesting way \u2014\u00a0maybe there\u2019s that one person in a friendship group [who] can just control everyone in the room because you know you\u2019re avoiding the fight, or you don\u2019t want to deal with that person\u2019s psyche a bit.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tLily Rabe and Rhys Ifans do such an incredible job. They\u2019re both such amazing actors. The way that they respond to each other and the way that Diane slowly has this metamorphosis, by way of her daughter helping her get there\u2026 And parenting your parent, that was a big theme for me too. Like, when you become an adult, it\u2019s the first time you see your parent as an adult, and what does that look like? What does it look like when you realize, \u201cOh, my parent is a flawed person and I never realized it.\u201d How does that shape you?<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>And Ray is the antagonist of this film, but I suppose the thing with these men is they are also charming and charismatic. By the end, is he a man beyond redemption? Maybe not. How did you want to frame that?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThat\u2019s a very keen observation because that\u2019s exactly what I intended. That was a really, really tricky thing to to navigate too because you\u2019re constantly calibrating so many of the characters, and when you have an antagonist, finding that balance of when are we enjoying him and when are we just withstanding him [is difficult]. It was about finding these moments, like when Ray is doing the Ray thing and he found them a way to be at this beautiful yacht club and enjoy this vacation, and then in the same day he blows it all up and they have to go. Ray is his own worst enemy in every situation. And I think that the duality of this movie is it\u2019s not black and white. He\u2019s not all good and he\u2019s not all bad, and I think that like you can feel that thread in every interaction with Ray. You\u2019re just getting to root for him, and then he does the Ray thing, and you\u2019re like, \u201cJeez, Louise, come on!\u201d<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1920px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((1080\/1920)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2026\/08\/FotoJet-2026-08-12T125822.539.jpg?w=1920\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"1080\" width=\"1920\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">Lindsey Ryan, director of \u2018Capsized,\u2019 says she felt \u201cinsane\u201d for making the film aboard a real boat.<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Publicity<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>Such a testament to Rhys\u2019 performance too. How did you gather such a wonderful cast, and how can that propel a debut filmmaker?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tWe were really, really lucky to have an amazing casting director, Susan Shopmaker, and my creative producing partner, Sam. We\u2019re together in life too, so it\u2019s a great balance: Her brain understands my brain so so so deeply. I think we had seen Rhys in a few things. We just felt he had this ability to be so charming, and then turn on a dime. And there was something so alive about everything that he does as an actor. Because Ray could be very one note in the wrong hands, and I think Rhys\u2019s ability to just be so complex is what immediately [made us think] he\u2019s our guy and we were really hopeful that he connected with the script, because not everyone wants to play the bad guy. He made a brave choice in doing that and did truly amazing work. Like, he is Welsh. He does an incredible American accent. He sounds exactly like this part of Long Island.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tLily Rabe, I have been a fan of [hers] for so long. She carries so much pathos in her performances. She can give a look that just says everything, and I was super interested in that because Diane is a character who\u2019s been quieted. Diane is a character who\u2019s been tucked away. She\u2019s tucked away her own needs for everyone else around her, and I think Lily has this ability to just compartmentalize a performance, and then find a strength unlike any other. I just knew Lily was going to be the person who can, again, navigate those different hemispheres of the character, and I thought together they would just be electric with their theater backgrounds. And, surely, they were.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>It must have been pretty tricky filming with the kids. A lot of health and safety forms filled out\u2026<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tIt was hard. It\u2019s funny because when we were getting the script in front of people in the early stages, people were like, \u201cOh, this is actually insane. You\u2019re crazy.\u201d (<em>Laughs.<\/em>) And it\u2019s true. I literally did all the things you\u2019re not supposed to do, and it\u2019s almost a clich\u00e9 to say that. But I had an animal. I had children. I had a boat. I\u2019ve disobeyed the Film God laws. What was really challenging is we can only have the kids for four hours a day, and the kids were almost in every single scene. And the boat we shot practically. There\u2019s no removable walls, so it was a real challenge [of] how do we connect the geography of the space when I\u2019m missing half my cast. You have to get inventive.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tAnd then add in the complication of you\u2019re in the middle of the ocean and it takes 40 minutes to get to shore. Like, we can\u2019t be dropping them off. It was very, very, very tricky. And our AD department did such a great job of coordinating\u2026 It was puzzle-piece configuring and it was crazy, but I do think it created an interesting rhythm for the movie that made it fun and exciting. That challenge kept everybody on their toes a bit and as crazy as that sounds, I would do it again.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>I can\u2019t even fathom how much work went into that. I think that energy does translate, and for all of Ray\u2019s flaws, this is an optimistic film. Were you trying to depict a different side to America? <\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tIt\u2019s interesting because Ray\u2019s character is [representative] of such a subculture in America. I think [the film] comments on the financial insecurity and he\u2019s almost a caricature of this type of man in the States. Again, I\u2019ve known so many of these men that\u2019s why he wears the costume for all of them. And in Ray\u2019s optimism is also a big part of the reason why he\u2019s so problematic. So it\u2019s a tough question to answer on that front, just because I feel like American politics right now is such a disaster. I\u2019m an innately optimistic person, and I think that Ray doesn\u2019t necessarily learn the lesson that I think we, as a society, in the States, need to learn \u2014 which is [that] money is not necessarily everything. I think that Ray still being on the boat at the end is almost this stubborn ideal.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>Edinburgh is such a brilliant vehicle for emerging filmmakers. Have you been before? Are you excited?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tI feel so grateful. In a world where we\u2019re all competing for our movies to be seen and made and heard and watched, it is such an immense honor because I\u2019m a huge fan of the kind of movies that get programmed at Edinburgh historically, and I think this year\u2019s lineup looks unbelievably strong \u2014 which I\u2019m nervous about \u2014 and it\u2019s of course nerve-wracking to premiere a film like this in the U.K. I\u2019m curious about the reception of it because of the way it captures America. It\u2019s a very American indie, in a lot of ways.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<strong>Do you feel optimistic about the future of independent film in the States?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tI do. It\u2019s very difficult right now because we\u2019re undergoing a massive transformation in independent cinema. I think that\u2019s where the growing pains are coming from. I think everybody\u2019s responding to something that\u2019s changing in real time under our feet, and it\u2019s hard to get ahead of something when nobody knows which direction is up. Nobody knows what\u2019s unfolding right now, and I think that can lead to a lot of pessimism and frustration and confusion, which I definitely feel. There needs to be some significant change in how we get independent films out there and how we can get audiences. Because I think the distribution pipeline is really, really broken, and the festivals give us all the shot to get there. But even that is getting really hard\u2026 And how do you, as a society, sift through so many talented voices?<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tI still feel super optimistic about independent film. What\u2019s going on with <em>Backrooms <\/em>and <em>Obsession<\/em>, I know everybody\u2019s pointing to that, and I think it\u2019s just a good case of we want stories that are fresh again. I\u2019m not saying let\u2019s go make a bunch of horrors because I think that\u2019s the obvious next step. (<em>Laughs<\/em>.) The industry goes straight to trying to do the same thing and falls back into that same trap. But we\u2019re entering what feels like a golden age and although it could be really hard to raise funds and find partners and stakeholders that really believe in you, I think that where there\u2019s a will, there\u2019s a way. People still want to make art and people still want to be a part of something \u2014 now more than ever \u2014\u00a0that can communicate something to society, to people, to audiences. We\u2019re hungry to feel seen again.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<em>This interview has been shortened and edited for clarity.<\/em>\u00a0The 2026 Edinburgh\u00a0<a href=\"https:\/\/www.hollywoodreporter.com\/t\/international\/\">International<\/a>\u00a0Film Festival runs Aug. 13-19.<\/p>\n<\/div>\n<script async=\"async\" data-cfasync=\"false\" src=\"https:\/\/pl30214220.effectivecpmnetwork.com\/9ab3d4df8a7e1a6171e16ddbf732cc19\/invoke.js\"><\/script>\r\n<div id=\"container-9ab3d4df8a7e1a6171e16ddbf732cc19\"><\/div>\r\n\n","protected":false},"excerpt":{"rendered":"<p>When Lindsey Ryan showed producers an early draft of her script for Capsized, everyone was in agreement: She must be insane. \u201cAnd it\u2019s true,\u201d the American director laughs over Zoom in late July. We\u2019re catching up ahead of the world premiere of her debut feature film at one of Britain\u2019s most prestigious film festivals in&#8230;<\/p>\n","protected":false},"author":1,"featured_media":47125,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2026\/08\/FotoJet-2026-08-12T125839.497.jpg?w=1440&h=810&crop=1","fifu_image_alt":"","footnotes":""},"categories":[6],"tags":[],"class_list":["post-47124","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pics-news"],"brizy_media":[],"_links":{"self":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/posts\/47124","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=47124"}],"version-history":[{"count":0,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/posts\/47124\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/media\/47125"}],"wp:attachment":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=47124"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=47124"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=47124"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}