{"id":17899,"date":"2016-04-18T19:42:25","date_gmt":"2016-04-18T23:42:25","guid":{"rendered":"http:\/\/mookseandgripes.com\/reviews\/?p=17899"},"modified":"2016-04-18T19:42:25","modified_gmt":"2016-04-18T23:42:25","slug":"the-criterion-collection-announces-july-2016-releases","status":"publish","type":"post","link":"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/","title":{"rendered":"The Criterion Collection Announces July 2016 Releases"},"content":{"rendered":"<p>Today The Criterion Collection\u00a0announced their\u00a0July line-up, which includes four new\u00a0releases and two upgrades! This is an exciting line up, with three of my favorite films, and three I&#8217;m anxious to see. Plus, what an astounding release <em>The New World<\/em> is going to be: three blu-rays, featuring three cuts of the film, as well as a book. That&#8217;s amazing!<\/p>\n<p>The blurbs are from The Criterion Collection\u2019s website (so are the links) \u2014 go there to see the details on the supplements.<\/p>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"17916\" data-permalink=\"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/the-in-laws-cover\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-In-Laws-Cover.jpg?fit=348%2C490&amp;ssl=1\" data-orig-size=\"348,490\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"The In-Laws Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-In-Laws-Cover.jpg?fit=348%2C490&amp;ssl=1\" class=\"alignright size-medium wp-image-17916\" src=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-In-Laws-Cover-213x300.jpg?resize=213%2C300\" alt=\"The In-Laws Cover\" width=\"213\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-In-Laws-Cover.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-In-Laws-Cover.jpg?w=348&amp;ssl=1 348w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/>July 5, 2016<\/strong><\/p>\n<p><em>The In-Laws<\/em>\u00a0(1979)<br \/>\nd. Arthur Hiller<\/p>\n<p><em>From <a href=\"https:\/\/www.criterion.com\/films\/28707-the-in-laws\">The Criterion Collection<\/a>:<\/em><\/p>\n<blockquote><p><span style=\"color: #003366;\">Peter Falk and Alan Arkin make for a hilarious dream team in this beloved American sidesplitter. Directed by Arthur Hiller from an ingenious script by Andrew Bergman, <em>The In-Laws<\/em> may at first seem like a generic meet-the-parents comedy, as Arkin\u2019s mild-mannered dentist suspiciously eyes Falk\u2019s volatile mystery man, whose son is engaged to his daughter. But soon, through a series of events too serpentine and surprising to spoil, the two men are brought together by a dangerous mission that takes them from suburban New Jersey to Honduras. Fueled by elaborate stunt work and the laconic, naturalistic charms of its two stars, <em>The In-Laws<\/em> deserves its status as a madcap classic\u2014and has continued to draw ardent fans in the years since its release.<\/span><\/p><\/blockquote>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"17915\" data-permalink=\"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/carnival-of-souls-cover\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Carnival-of-Souls-Cover.jpg?fit=348%2C490&amp;ssl=1\" data-orig-size=\"348,490\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Carnival of Souls Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Carnival-of-Souls-Cover.jpg?fit=348%2C490&amp;ssl=1\" class=\"alignright size-medium wp-image-17915\" src=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Carnival-of-Souls-Cover-213x300.jpg?resize=213%2C300\" alt=\"Carnival of Souls Cover\" width=\"213\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Carnival-of-Souls-Cover.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Carnival-of-Souls-Cover.jpg?w=348&amp;ssl=1 348w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/>July 12, 2016<\/strong><\/p>\n<p><em>Carnival of Souls <\/em>(1962)<br \/>\nd. Herk Harvey<\/p>\n<p><em>From <a href=\"https:\/\/www.criterion.com\/films\/607-carnival-of-souls\">The Criterion Collection<\/a>:<\/em><\/p>\n<blockquote><p><span style=\"color: #003366;\">A young woman in a small Kansas town survives a drag race accident, then agrees to take a job as a church organist in Salt Lake City. En route, she becomes haunted by a bizarre apparition that compels her toward an abandoned lakeside pavilion. Made by industrial filmmakers on a modest budget, the eerily effective B-movie classic <em>Carnival of Souls<\/em> was intended to have \u201cthe look of a Bergman and the feel of a Cocteau\u201d\u2014and, with its strikingly used locations and spooky organ score, it succeeds. Herk Harvey\u2019s macabre masterpiece gained a cult following on late-night television and continues to inspire filmmakers today.<\/span><\/p><\/blockquote>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"17914\" data-permalink=\"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/night-and-fog-cover\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Night-and-Fog-Cover.jpg?fit=348%2C490&amp;ssl=1\" data-orig-size=\"348,490\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Night and Fog Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Night-and-Fog-Cover.jpg?fit=348%2C490&amp;ssl=1\" class=\"alignright size-medium wp-image-17914\" src=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Night-and-Fog-Cover-213x300.jpg?resize=213%2C300\" alt=\"Night and Fog Cover\" width=\"213\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Night-and-Fog-Cover.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Night-and-Fog-Cover.jpg?w=348&amp;ssl=1 348w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/>July 19, 2016<\/strong><\/p>\n<p><em>Night and Fog <\/em>(1955)<br \/>\nd. Alain Resnais (1955)<\/p>\n<p><em>From <a href=\"https:\/\/www.criterion.com\/films\/238-night-and-fog\">The Criterion Collection<\/a>:<\/em><\/p>\n<blockquote><p><span style=\"color: #003366;\">Ten years after the liberation of the Nazi concentration camps, filmmaker Alain Resnais documented the abandoned grounds of Auschwitz and Majdanek in <em>Night and Fog<\/em> (<em>Nuit et brouillard<\/em>), one of the first cinematic reflections on the Holocaust. Juxtaposing the stillness of the abandoned camps\u2019 empty buildings with haunting wartime footage, Resnais investigates the cyclical nature of humanity\u2019s violence against humanity, and presents the devastating suggestion that such horrors could occur again.<\/span><\/p><\/blockquote>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"17913\" data-permalink=\"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/a-touch-of-zen-cover\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/A-Touch-of-Zen-Cover.jpg?fit=348%2C490&amp;ssl=1\" data-orig-size=\"348,490\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"A Touch of Zen Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/A-Touch-of-Zen-Cover.jpg?fit=348%2C490&amp;ssl=1\" class=\"alignright size-medium wp-image-17913\" src=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/A-Touch-of-Zen-Cover-213x300.jpg?resize=213%2C300\" alt=\"A Touch of Zen Cover\" width=\"213\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/A-Touch-of-Zen-Cover.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/A-Touch-of-Zen-Cover.jpg?w=348&amp;ssl=1 348w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/>July 19, 2016<\/strong><\/p>\n<p><em>A Touch of Zen<\/em>\u00a0(1971)<br \/>\nd. King Hu<\/p>\n<p><em>From <a href=\"https:\/\/www.criterion.com\/films\/28791-a-touch-of-zen\">The Criterion Collection<\/a>:<\/em><\/p>\n<blockquote><p><span style=\"color: #003366;\">\u201cVisionary\u201d barely begins to describe this masterpiece of Chinese cinema and martial arts moviemaking. <em>A Touch of Zen<\/em> by King Hu depicts the journey of Yang (Hsu Feng), a fugitive noblewoman who seeks refuge in a remote, and allegedly haunted, village. The sanctuary she finds with a shy scholar and two aides in disguise is shattered when a nefarious swordsman uncovers her identity, pitting the four against legions of blade-wielding opponents. At once a <em>wuxia<\/em> film, the tale of a spiritual quest, and a study in human nature, <em>A Touch of Zen<\/em> is an unparalleled work in Hu\u2019s formidable career and an epic of the highest order, characterized by breathtaking action choreography, stunning widescreen landscapes, and innovative editing.<\/span><\/p><\/blockquote>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"17912\" data-permalink=\"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/muriel-cover\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Muriel-Cover.jpg?fit=348%2C490&amp;ssl=1\" data-orig-size=\"348,490\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Muriel Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Muriel-Cover.jpg?fit=348%2C490&amp;ssl=1\" class=\"alignright size-medium wp-image-17912\" src=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Muriel-Cover-213x300.jpg?resize=213%2C300\" alt=\"Muriel Cover\" width=\"213\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Muriel-Cover.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/Muriel-Cover.jpg?w=348&amp;ssl=1 348w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/>July 19, 2016<\/strong><\/p>\n<p><em>Muriel, or The\u00a0Time of\u00a0Return<\/em>\u00a0(1963)<br \/>\nd. Alain Resnais<\/p>\n<p><em>From <a href=\"https:\/\/www.criterion.com\/films\/28635-muriel-or-the-time-of-return\">The Criterion Collection<\/a>:<\/em><\/p>\n<blockquote><p><span style=\"color: #003366;\">Alain Resnais\u2019s <em>Muriel, or The Time of Return,<\/em> the director\u2019s follow-up to <em>Last Year at Marienbad,<\/em> is as radical a reflection on the nature of time and memory as its predecessor. The always luminous Delphine Seyrig stars as an antique shop owner and widow in Boulogne-sur-Mer, whose past comes back to haunt her when a former lover reenters her life. Meanwhile, her stepson is tormented by his own ghosts, related to his service in France\u2019s recently ended war in Algeria. Featuring a multilayered script by Jean Cayrol, and inventively edited to evoke its middle-class characters\u2019 political and personal realities, the fragmented, emotionally powerful <em>Muriel<\/em> reminds viewers that the past is always present.<\/span><\/p><\/blockquote>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"17911\" data-permalink=\"https:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\/the-new-world-cover\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-New-World-Cover.jpg?fit=348%2C490&amp;ssl=1\" data-orig-size=\"348,490\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"The New World Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-New-World-Cover.jpg?fit=348%2C490&amp;ssl=1\" class=\"alignright size-medium wp-image-17911\" src=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-New-World-Cover-213x300.jpg?resize=213%2C300\" alt=\"The New World Cover\" width=\"213\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-New-World-Cover.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-New-World-Cover.jpg?w=348&amp;ssl=1 348w\" sizes=\"auto, (max-width: 213px) 100vw, 213px\" \/>July 26, 2016<\/strong><\/p>\n<p><em>The New World<\/em>\u00a0(2005)<br \/>\nd. Terrence Malick<\/p>\n<p><em>From <a href=\"https:\/\/www.criterion.com\/films\/28713-the-new-world\">The Criterion Collection<\/a>:<\/em><\/p>\n<blockquote><p><span style=\"color: #003366;\">This singular vision of early seventeenth-century America from Terrence Malick is a work of astounding elemental beauty, a poetic meditation on nature, violence, love, and civilization. It reimagines the apocryphal story of the meeting of British explorer John Smith (Colin Farrell) and Powhatan native Pocahontas (Q\u2019orianka Kilcher, in a revelatory performance) as a romantic idyll between spiritual equals, then follows Pocahontas through her marriage to John Rolfe (Christian Bale) and her life in England. With art director Jack Fisk\u2019s raw re-creation of the Jamestown colony, Emmanuel Lubezki\u2019s marvelous, naturally lit cinematography, and James Horner\u2019s soaring musical score, <em>The New World<\/em> is a film of uncommon power and technical splendor, one that shows Malick at the height of his visual and philosophical powers.<\/span><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>Today The Criterion Collection announced what it will be releasing in July 2016. <a href=\"http:\/\/mookseandgripes.com\/reviews\/2016\/04\/18\/the-criterion-collection-announces-july-2016-releases\"><u>Read the full post<\/u><\/a>.<\/p>\n","protected":false},"author":1,"featured_media":17911,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"libsyn-item-id":0,"libsyn-show-id":0,"libsyn-post-error":"","libsyn-post-error_post-type":"","libsyn-post-error_post-permissions":"","libsyn-post-error_api":"","playlist-podcast-url":"","libsyn-episode-thumbnail":"","libsyn-episode-widescreen_image":"","libsyn-episode-blog_image":"","libsyn-episode-background_image":"","libsyn-post-episode-category-selection":"","libsyn-post-episode-player_use_thumbnail":"","libsyn-post-episode-player_use_theme":"","libsyn-post-episode-player_height":"","libsyn-post-episode-player_width":"","libsyn-post-episode-player_placement":"","libsyn-post-episode-player_use_download_link":"","libsyn-post-episode-player_use_download_link_text":"","libsyn-post-episode-player_custom_color":"","libsyn-post-episode-itunes-explicit":"","libsyn-post-episode":"","libsyn-post-episode-update-id3":"","libsyn-post-episode-release-date":"","libsyn-post-episode-simple-download":"","libsyn-release-date":"","libsyn-post-update-release-date":"","libsyn-is_draft":"","libsyn-new-media-media":"","libsyn-post-episode-subtitle":"","libsyn-new-media-image":"","libsyn-post-episode-keywords":"","libsyn-post-itunes":"","libsyn-post-episode-itunes-episode-number":"","libsyn-post-episode-itunes-season-number":"","libsyn-post-episode-itunes-episode-type":"","libsyn-post-episode-itunes-episode-title":"","libsyn-post-episode-itunes-episode-author":"","libsyn-destination-releases":"","libsyn-post-episode-advanced-destination-form-data":"","libsyn-post-episode-advanced-destination-form-data-enabled":"","libsyn-post-episode-advanced-destination-form-data-input-enabled":false,"libsyn-post-episode-premium_state":"","libsyn-episode-shortcode":"","libsyn-episode-embedurl":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[798],"tags":[],"coauthors":[505],"class_list":["post-17899","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/mookseandgripes.com\/reviews\/wp-content\/uploads\/2016\/04\/The-New-World-Cover.jpg?fit=348%2C490&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/pqqvZ-4EH","jetpack_sharing_enabled":true,"jetpack_likes_enabled":false,"_links":{"self":[{"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/posts\/17899","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/comments?post=17899"}],"version-history":[{"count":2,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/posts\/17899\/revisions"}],"predecessor-version":[{"id":17917,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/posts\/17899\/revisions\/17917"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/media\/17911"}],"wp:attachment":[{"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/media?parent=17899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/categories?post=17899"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/tags?post=17899"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/mookseandgripes.com\/reviews\/wp-json\/wp\/v2\/coauthors?post=17899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}