{"id":239,"date":"2019-01-21T07:35:04","date_gmt":"2019-01-21T07:35:04","guid":{"rendered":"http:\/\/typesandpatterns.com\/blog\/?p=239"},"modified":"2022-12-16T01:22:53","modified_gmt":"2022-12-16T01:22:53","slug":"xena-podcasts-part-1-blind-faith-ulysses","status":"publish","type":"post","link":"https:\/\/typesandpatterns.com\/blog\/2019\/01\/21\/xena-podcasts-part-1-blind-faith-ulysses\/","title":{"rendered":"Xena Podcasts, Part 1: “Blind Faith” & “Ulysses”"},"content":{"rendered":"

\"tenwinters\"<\/a><\/p>\n

It\u2019s been ten years since I first started writing\u00a0essays on Xena, Warrior Princess<\/span>, analyzing the show\u2019s elusive aesthetic approach, and I’ve been out of the fandom since, but I had recently stumbled on the possible solution of a fifteen-year-old mystery about one of the Xena episodes. While researching it, I thought I\u2019d\u00a0 <\/span>look around and see what the Xena fandom was up to these days. As it happens, there\u2019s renewed interest in the show by several podcasters, thanks to a possible reboot. Two of them I\u2019ve begun listening to with interest:<\/p>\n

Xena Warrior Podcast<\/a> is hosted by three film school graduates, and they bring a keen eye to the technical accomplishments of each episode. They can spot the writing and directing techniques that would be important to the people making the show, but which may not be obvious to the rest of us. They watch each episode several times while taking notes, and I make a point of taking notes during their podcasts because they catch things I\u2019ve missed, or never knew in the first place. When they don\u2019t know something, they raise very good questions, which I\u2019ve found are good to follow up on (some of which I\u2019ve tried to, below).<\/p>\n

They also do a very good job of tracking character development, and because they\u2019ve studied screenwriting, they can spot how the writers strive for consistency among all the seeming chaos of this unpredictable show. They have a good eye for story framing and foreshadowing, and they\u2019ve talked about the show\u2019s remarkable consistency, with which I very much agree! Whether or not you find my own take below convincing, they make a compelling case for taking Xena seriously as an underestimated, well-crafted series.<\/p>\n

Xena Warrior Business<\/a> is a lively podcast hosted by Chris Sims, comics writer, and Alison Stock, and include a variety of guests in their line-up for different points of view, and they’ve called out some interesting things on the show I’ve overlooked. Not long ago they had Javier Grillo-Marxuach himself, who had been involved in the most recent\u00a0Xena reboot project, discussing his own approach to reimagining the Warrior Princess (I\u2019ll talk more about that in another post). A frequent guest is Dan Cassino, who writes The Dan Scrolls for their Patreon account, an informative and surprising look at the mythological foundations for the show\u2019s stories. From what I\u2019ve heard so far, he\u2019s provided an intriguing take on how the show\u2019s version of Greek myth compares to actual Greek myth, and provides suggestions on how the myths can be used to help understand and enhance the stories, and even suggests ways to augment the stories using rationales from the original myths. This is the sort of thing I love! Dan has also talked about how the show is actually far more consistent in its use of myth than we would otherwise think. I agree wholeheartedly!<\/p>\n

I\u2019ve been catching up with both podcasts, and not long ago, heard them discuss two Xena episodes that are not considered among the show\u2019s best: Blind Faith<\/span>, and Ulysses<\/span>. One of these is based on myth, though not the way we’re used to, and the other doesn\u2019t seem to be based on any Greek myth at all. They both seem to work against our expectations not only of ancient Greece, but how Xena should relate to them. In my experience, it\u2019s where the show seems to go off its game\u00a0like this that you can discover a lot about its process (I\u2019d say this is true of any work). As good a job as both these podcasts do, it\u2019s difficult to understand fully how these two episodes work without understanding their \u201clogic of aesthetics,\u201d as Rob Tapert would say. Once we do, we\u2019ll see that both episodes actually are derived from the same myth, one which is repeated throughout the series!<\/p>\n

Before we begin: Please keep in mind the following is not about the \u201csecret meaning\u201d of Xena,Warrior Princess<\/span>. Everybody knows what the show\u2019s about. It\u2019s very accessible, by design. But the way<\/i> it\u2019s told, it\u2019s \u201caesthetics\u201d, as I’ve describe it, is not so easy to figure out. Again, that\u2019s true of any creative work].<\/p>\n

We can\u2019t talk about the show\u2019s aesthetics unless we\u2019re willing to consider there\u2019s some kind of strategy at work, at least to a certain degree. To do this, let\u2019s keep a few points in mind:<\/p>\n

    \n
  1. Rob Tapert has stated that he used Robert Graves\u2019 The Greek Myths<\/span> as his unofficial show bible, and that the Xena staff was asked to be familiar with it as well. Graves believed that what we now know as Greek myth is actually the misunderstood remnants of an ancient matriarchal society whose history is now lost. This gave the show\u2019s creative team a unified take on the myths they selected and how they were used.<\/li>\n<\/ol>\n
      \n
    1. Rob played a large role in the shaping of each episode; along with show runner R.J. Stewart, they came up with 90% of the episode ideas, and Rob often supplied a brief summary of each episode for the writing staff. He also supplied reference materials for each episode, including books and videotapes. This approach allowed for the possibility of a consistent aesthetic language to be developed and managed, regardless of who wrote the teleplay.<\/li>\n<\/ol>\n
        \n
      1. Showrunner R.J. Stewart, like Rob Tapert and Sam Raimi, is a writer experienced in using references and templates from movies, tv, and literature as a basis for his stories. He was story editor on Remington Steele<\/span>, a show that shaped each episode around a classic Hollywood movie (since the main character was an actor posing as a detective). R.J. also grew up in Greece, and is familiar with Greek myth and theater, and used Greek plays as often as Greek myth on the show. He either wrote the teleplays, rewrote them, or gave extensive notes on all of them before they went to final draft.<\/li>\n<\/ol>\n

        Both podcasts mentioned confusing or problematic (!) issues with the show that I believe can be addressed by examining the show\u2019s highly referential aesthetic approach. Here are some issues they raised in their podcasts featuring Blind Faith<\/span> and Ulysses<\/span>:<\/p>\n

        Blind Faith<\/span>: Why is the boy called \u201cPalaemon\u201d<\/b>?<\/b><\/p>\n

        Consulting the show\u2019s chief source, Robert Graves\u2019 The Greek Myths<\/span>, we\u2019ll see that Palaemon was Hercules\u2019 name before<\/i> he became famous. In the myths, the hero formerly known as \u201cPalaemon\u201d took the name Hercules after he did penance for killing his family, with his friend Theseus\u2019s help. This is a key point for this show, because it\u2019s a reflection\u00a0of the overall mentor theme in Hercules<\/span> and Xena<\/span>. Again, consulting The Greek Myths<\/span>, this idea of a young awkward upstart idolizing a hero appears to be based on the story of young Theseus, who idolized Hercules and sought to emulate him. As a child he instinctively tried to attack Hercules\u2019 lionskin, thinking it a real lion. References to this can be found throughout Hercules<\/span> (in Centaur Mentor Journey<\/span>), Xena<\/span> (in Adventures in the Sin Trade<\/span>), and Young Hercules<\/span>, to name a few. You might remember Otere as a child improbably challenging Xena in Adventures in the Sin Trade<\/span>, causing Xena some alarm, since she was told Otere would inherit her powers one day:<\/p>\n

        \"sintrade_otere\"<\/a><\/p>\n

        In fact, Xena Warrior Podcast mentioned what I think is a good example of this in Xena<\/span>‘s\u00a0first season episode, Prometheus<\/span>. During a fight scene, both Gabrielle and Hercules pick up rakes to protect themselves. Hercules swings his like a mallet, while Gabrielle looks on from the sidelines with hers, living vicariously through him and Xena, not yet able to fight herself. R.J. Stewart wrote this episode, so if this was indeed a minor motif, he would have likely wanted to incorporate this visual reference\u00a0with Hercules guest-starring:<\/p>\n

        \"herc_gab\"<\/a><\/p>\n

        Palaemon is aptly named because, like both young Hercules and Young Theseus, he seeks fame, and is brash enough to take on anyone. There is something that separates him from those heroes, though. His blindness. This is an important clue to the episode\u2019s source. I’ll talk more about this in the Greek Myth section below.<\/p>\n

        Is Blind Faith<\/span> about \u201ctoxic fandom\u201d?<\/b><\/p>\n

        Palaemon\u2019s interest in Xena, and his vast knowledge of her background, is interpreted by both podcasts (particularly Javir Grillo-Marxuach) as a portrait of \u201ctoxic fandom.\u201d This is understandable, because the show does occasionally depict fans as a bit unhinged in their devotion. Not in this case, in my opinion. Part of this is explained above, but there\u2019s something more:<\/p>\n

        Xena Warrior Podcast mentions how this episode seems to contain Western tropes, and Palaemon in particular resembles the classic young gunslinger who wants to become the best by taking down the best in a duel. Exactly!<\/p>\n

        But this episode isn\u2019t merely borrowing a trope in general; it\u2019s inspired by a specific use of this trope in a film that is focused on reexaminations of Western Tropes, starring Clint Eastwood: Unforgiven<\/span>.<\/p>\n

        Eastwood, famous for his spaghetti western character, The Man With No Name, is an inspiration for Lucy\u2019s portrayal of Xena, no doubt, but this episode borrows another character from this particular film: the Schofield Kid.<\/p>\n

        \"palaemon_schofield\"<\/a>Jeremy Callaghan as Palaemon; Jaimz Woolvett as The Schofield Kid<\/i><\/p>\n

        A boyish gunslinger who tags along with Eastwood\u2019s character in Unforgiven<\/span>, he boasts he\u2019s better than any of them, and has little patience with his more experienced traveling companions, whose gentle demeanor disgusts him. It turns out the Schofield Kid is sight-impaired. He can\u2019t see anything unless it\u2019s right in front of him. He\u2019s all talk, and when he discovers just how ruthless Eastwood can be, he wants no part of the gunslinger mythos.<\/p>\n

        If the title, Unforgiven<\/span>, rings a bell, it should: next season there will be another Western-inspired episode, Forgiven<\/span>, also involving a young person who wants to supplant one of the principle characters, this time Gabrielle. This episode will much more clearly signal its Western influence by ending with a shot inspired by the ending of one of the most iconic shots in a Western film, The Searchers<\/span>: Xena framed by the doorway, unable to enter the house of forgiveness, just as John Wayne, the uncompromising frontier scout, was unable to join in the reunion of the family he brought together. We will see The Searchers<\/span> referenced again, later in season four, in the sequel to The Price<\/span>, Daughter of Pomira<\/span>, which features yet another young gunslinger scenario. And there\u2019s a link to another episode of Hercules<\/span>, towards the end season 5, in Fade Out<\/span>: Hercules says: \u201dWe are who we perceive ourselves to be.” This recalls what Xena says in Blind Faith<\/span>: “We all eventually become what we pretend we are.\u201d<\/p>\n

        Are there any Greek myths used in this episode<\/b>?<\/b><\/p>\n

        I think there\u2019s no doubt, and blindness is the clue to the myth being used. It is the story of the Cyclops, and not just any version, but specifically, Euripides\u2019 play, The Cyclops<\/span>. This play is the only extant ancient Greek comedy to survive, and it combines many of the major metaphors for both Hercules and Xena. Any time you see the idea of blindness (metaphorical or real), sight, eyes, megalomania, Cyclops (including any single-eyed or third-eyed characters), pirates, caves, intoxication, or silly characters resembling satyrs in spirit, you\u2019ll find The Cyclops is the underlying influence and organizing principle. Indeed, this episode is tied in with the following episode, Ulysses<\/span>, both in story and theme.<\/p>\n

        Using Euripides\u2019 The Cyclops<\/span> proves a highly unifying writing tool for a show that often seems to be all over the map, given its unconventional remix of myth and history. It combines comedy, tragedy, and epic drama, and they can often be used in ways that are not immediately recognizable. Looking at Forgiven<\/span>, once again, we\u2019ll see the pirates of The Cyclops<\/span> appearing in the form of the Cilician traders looking to buy the stolen Urn of Apollo (The Whoosh transcript says \u201cSilesian\u201d traders, but I assume this is an error: Silesia is a medieval German district; Cilicia is the land of pirates in the ancient world, and we see Xena playing a Cilician pirate in Destiny<\/span>, not to mention their appearance in Spartacus<\/span>, referenced numerous times on the show). Forgiven<\/span> is another story about blindness, escape and finding one\u2019s place in the world.<\/p>\n

        \"schofield2\"<\/a><\/p>\n

        We have visual evidence that Palaemon is playing the role of the single-eyed, single-minded braggart, because he wears the mark of the Cyclops for all to see, a slash across his right eye that has just nearly missed leaving him with one eye. We can see on his boyish face everything we need to know about his backstory, why he\u2019s so determined to be the best, and why he\u2019d want to make sure nobody ever got that close to him again. This is a frequent visual motif on both Xena and Hercules: we\u2019ll often see characters with unique eye-patches or make-up involving one eye.<\/p>\n

        Ulysses<\/span>:\u00a0Why was Ulysses called Ulysses, not Odysseus, in this episode<\/b>?<\/b><\/p>\n

        And while we\u2019re at it, why did they portray him the way they did, and not like the hero of the Odyssey as we remember it? Was he simply miscast?<\/p>\n

        We can find the answer, once again, in The Greek Myths<\/span>. Robert Graves ends his two-volume series with his unusual interpretation of The Odyssey<\/span>. He cites the theory of nineteenth century author Samuel Butler (author of Newhon<\/span>), in which he speculates that Homer did not actually write The Odyssey<\/span>; it was instead written by a Sicilian princess, who appears in her own work as the character of Nausicaa (both podcasts talk about how the Homeric epics are now being reinterpreted with feminist retellings, but Xena<\/span> was the first to do so. In fact, Samuel Butler and Robert Grave beat them all by 100 years–Xena<\/span> was the first to pick up on their ideas, though). Graves\u00a0believes that the original Odyssey<\/span> tales (possibly written by Homer) was rewritten into the epic we now know by an author Graves refers to as \u201cNausicaa,\u201d a noblewoman who incorporated local Sicilian matriarchal myths in order to make Odysseus more of a gentleman, more respectful of the matriarchy, and less like the sort of fellow we see in The Iliad<\/span>, not to mention, the way he’s portrayed by Euripides in his plays, as a ruthless schemer. The version we now regard as The Odyssey<\/span> has all sorts of scenes that would never appear in The Iliad<\/span>, such as Odysseus being unusually deferential to the ladies.<\/p>\n

        In other words, Graves says, there are not one, but two main characters in The Odyssey<\/span>, to which he gives two different names: the first is \u201cOdysseus<\/i>,\u201d the version written by Homer, and the second is \u201cUlysses,<\/i>\u201d the character that Nausicaa (i.e., the actual female author) turned into a gentleman more to her liking. Therefore, the character we see in the episode Ulysses<\/span> is Nausicaa\u2019s version, \u201cUlysses,<\/i>\u201d the nice guy. Indeed, the version Xena meets is not the hero of the Iliad<\/span>, but a much safer, more presentable version, perhaps too sanitized for someone like Xena. For this reason, it\u2019s been said the actor was miscast, because the romance between him and Xena does not seem credible (especially compared to the bad boys she seems to prefer). I wouldn\u2019t blame the actor, though: the concept is to blame, and I\u2019m fine with that. It works for me. This Ulysses is much more Gabrielle\u2019s style (at this stage, anyway), and why not? According to Rob Tapert, there were plans to establish her as the real author of The Odyssey<\/span>\u2014like Nausicaa, she appears in her own epic work (i.e., the Xena scrolls)!<\/p>\n

        Both she and Xena meet Ulysses on the beach, which is where Nausicaa (the character) met him as well, in The Odyssey<\/span>, and he seems a little too perfect for words. A great fighter, a great guy, self-assured, knows all the right moves, respectful, domesticated, and no baggage (or so he thinks)!<\/p>\n

        But The Odyssey<\/span> isn\u2019t the only source, here. We are once again under the influence of Euripides\u2019 The Cyclops<\/span>: blindness (or single-mindedness, in the form of Ulysses\u2019s newfound obsession for Xena), a satyr-like figure (Gabrielle vomiting like a drunkard), and if you\u2019re wondering why there\u2019s pirates menacing Penelope, instead of suitors, it\u2019s because pirates are the ill-doers in Euripides\u2019 play: the play begins after\u00a0Dionysus had been captured by them, a scene we will see replayed in season two\u2019s Destiny<\/span>.<\/p>\n

        The final reference to The Cyclops<\/span> is at the very end: Xena tells Gabrielle: \u201cThis is Ulysses\u2019 story.\u00a0 And for years the people of Ithaca will talk about how he bent that bow.\u00a0 It\u2019s the way it should be.\u201d The Cyclops\u2019 name is Polyphemus, which means \u201cfame.\u201d In the play (and The Odyssey<\/span>),\u00a0Odysseus had told the Cylcops his name was \u201cNoMan.\u201d Xena (again channelling Clint Eastwood\u2019s \u201cMan With No Name\u201d) takes Ulysses\u2019 role as “NoMan” as well! This idea of fame will be a recurring one on the show.<\/p>\n

        Other myths can be found here, too, though they are not clearly labelled: The encounter with the Sirens is not just from The Odyssey<\/span>, but from\u00a0the story of\u00a0Jason and the Argonauts (The Argonautica<\/span>) as well. The Sirens are in both stories, but they overlap here, when Xena sings like a siren to distract Ulysses from their seductive power\u2014that\u2019s from The Argonautica<\/span>, not The Odyssey<\/span>. Dan Cassino mentions that the Sirens are not trying to seduce him, they are telling him his future, i.e. telling him the story of The Odyssey<\/span>. This is how it happens in the epic poem, but in this episode Ulysses has an interesting response to them, not in the original story: He says: \u201cThey are calling me\u2014to ecstasy!\u201d We might at first think in terms of sexual seduction, but I think it is more likely he is describing the shaman\u2019s ecstatic out-of-body experience:<\/p>\n

        Shamanism is part of the show\u2019s interest in the evolution of religion (as was stated on the show\u2019s dvd commentary for Adventures in the Sin Trade<\/span>, which featured shamanism), and we can find numerous examples of this in the series. Indeed, the same connection between shamanism, The Odyssey<\/span>, and Jason and the Argonauts can be found again later on, in season five\u2019s Them Bones, Them Bones<\/span> (a sequel to Adventures in the Sin Trade<\/span>): There are shamanic rituals aplenty on that episode, and the cave lair of Ch\u2019iah, the Northern Amazon mystic, is located in the \u201cScherian caves\u201d. This isn\u2019t mentioned in the dialogue, but it\u2019s in the script, and was part of the press release when the show was first aired. The name of these caves has no other origin than Scheria, which is another name for the land of Nausicaa, where Odysseus (Ulysses), first came to shore after escaping from Calypso. This episode also references the film Jason and the Argonauts, by borrowing from its skeleton fight, brought on by Xena\u2019s shamanic traveling as a shaman and encountering Alti.<\/p>\n

        To put it more simply: Them Bones, Them Bones<\/span> takes the same ingredients of Ulysses<\/span> and rearranges them to tell another story of a perilous return home: this time, it\u2019s Amarice finding a home with the Northern Amazon tribe, and Xena, Gabrielle, and Eve fleeing the wrath of the gods, as Ulysses did. It\u2019s a brand new myth woven out of existing ones.<\/p>\n

        \"ulysses\"<\/a><\/p>\n

        John D’Aquino as Ulysses; Rachel Blakely as Penelope<\/p>\n

        There\u2019s another brief moment at the end of Ulysses which possibly ties in with Blind Faith<\/span>: Gabrielle had been taught how to wave like a royal in Blind Faith<\/span>, and we now see Ulysses stoically embracing his responsibilities as king, tilting his hand delicately just like Gabrielle did, along with his queen, Penelope (who, just as stoically, had to run the kingdom for the past twenty years). Like Xena, he\u2019s fulfilling his destiny, not his desire.<\/p>\n

        Epilogue: Lost Mariner<\/span> & A Comedy of Eros<\/span>\u00a0<\/b><\/p>\n

        Ulysses<\/span> is the first of three water-related episodes, and of three which have Xena standing in for Athena (Ulysses<\/span>, The Price<\/span>, Lost Mariner<\/span>), all of these\u00a0sharing themes and influences. The next one, The Price<\/span>, shares attributes with this episodes, which I\u2019ll talk about in a later post, but I want to mention Lost Mariner<\/span> here because Xena Warrior Podcast makes a very good point: they see Lost Mariner<\/span> as almost a remake of Ulysses<\/span>. The story has many of the same elements; they even point out that there\u2019s almost a Greek \u201csubtext\u201d to the episode. Yes! Greek myth subtext exists throughout the series: sometimes it\u2019s maintext, but just as often the elements are recombined and reused consistently to give the story of Xena the feeling of a genuine Greek myth, as well as a structure that otherwise would not hold together as well in the absence of a coherent chronology.They also suggest that Lost Mariner<\/span> does a much better job in portraying the Odysseus we remember from of The Odyssey<\/span>, so perhaps Lost Mariner<\/span> is meant to fix the mistakes of Ulysses? No, I think we’re just seeing the other side of the coin:<\/p>\n

        You\u2019ll recall I mentioned that Graves\u2019 Greek Myths<\/span> describes two sides to Odysseus\u2019s character: (1) \u201cUlysses,<\/i>\u201d the gentler, polite, matriarchal version created by \u201cPrincess Nausicaa,\u201d authoress of The Odyssey<\/span>, and (2) \u201cOdysseus<\/i>,\u201d the original patriarchal figure of myth. In Lost Mariner<\/span>, we are now seeing the other one, Cecrops, who is modeled on \u201cOdysseus<\/i>.\u201d He\u2019s dangerous, worldly, crafty (he is now with\u00a0the pirates), and also cursed by Poseidon to wander the seas. We see a number of elements from The Odyssey<\/span>, such as Charybdis (which has no business being in the myth of Cecrops), but we also see elements from the Euripides play, The Cyclops<\/span>: there are the pirates, and the comedic presence of Silenus, once again in the form of Gabrielle\u2019s seasickness. There is also the blindness motif associated with the Cyclops: the answer to Cecrops\u2019 dilemma was before him all the time, but he failed to see it. As Xena says: \u201cI guess Poseidon gave it away when he said that Cecrops didn\u2019t know where to look.\u201d What saves Cecrops is the same thing that saved Hercules (in his first episode, The Wrong Path<\/span>)\u00a0and Xena (in both Unchained Heart<\/span> and\u00a0Sins of the Past<\/span>)\u00a0from the wrong path: the no-strings offer\u00a0of friendship by someone who believes in them (in Cecrops’ case, offered by Hidsim\u2019s sacrifice), and, more importantly, followed by the ability to express it (with his own sacrifice to save his crew).<\/p>\n

        Finally, season two ends with A Comedy of Eros<\/span>, which may seem like an odd way to end the season, especially after these three episodes. There is necessity to it, since the season had been shortened to 22 episodes, but there is also a legitimate Greek context to view it in: Euripides\u2019 The Cyclops<\/span> is known as a \u201csatyr\u201d play, a short comedy intended to be viewed after a trilogy of tragedies on the same theme. Perhaps this story about how love is blind can be seen as a kind of satyr play to the three preceding episodes about Cyclops, searching, and blindness in all its forms, in Ulysses<\/span>, The Price<\/span>, and Lost Mariner<\/span>)? Xena Warrior Podcast does mention the possibility, in a later podcast, that the tragic-trilogy-plus-satyr-play comedy pattern of ancient Greek drama may have influence this show\u2019s pattern of drama followed by abrupt comedic tonal shifts. They are correct! Showrunner R.J. Stewart has said that the Greek plays were an influential source for him, and the internal evidence speaks for itself. The Greeks knew the wisdom of ending on a lighter note, and Rob has said he had considered ending the entire series that way.<\/p>\n

        This is the first of three posts\u2014the next will cover Is There a Doctor in the House?<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

        It\u2019s been ten years since I first started writing\u00a0essays on Xena, Warrior Princess, analyzing the show\u2019s elusive aesthetic approach, and I’ve been out of the fandom since, but I had recently stumbled on the possible solution of a fifteen-year-old mystery about one of the Xena episodes. While researching it, I thought I\u2019d\u00a0 look around and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-239","post","type-post","status-publish","format-standard","hentry","category-xena"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/posts\/239","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/comments?post=239"}],"version-history":[{"count":7,"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/posts\/239\/revisions"}],"predecessor-version":[{"id":352,"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/posts\/239\/revisions\/352"}],"wp:attachment":[{"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/media?parent=239"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/categories?post=239"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/typesandpatterns.com\/blog\/wp-json\/wp\/v2\/tags?post=239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}