{"id":2695905,"date":"2026-11-02T16:18:06","date_gmt":"2026-11-02T21:18:06","guid":{"rendered":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/fahrenheit-451-at-60\/"},"modified":"2026-11-02T16:36:41","modified_gmt":"2026-11-02T21:36:41","slug":"fahrenheit-451-at-60","status":"publish","type":"post","link":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/fahrenheit-451-at-60\/","title":{"rendered":"\u2018Fahrenheit 451\u2019 at 60"},"content":{"rendered":"<aside class=\"mashsb-container mashsb-main mashsb-stretched\"><div class=\"mashsb-box\"><div class=\"mashsb-count mash-medium\" style=\"&quot;\"><div class=\"counts mashsbcount\">8<\/div><span class=\"mashsb-sharetext\">SHARES<\/span><\/div><div class=\"mashsb-buttons\"><a class=\"mashicon-facebook mash-medium mash-nomargin mashsb-noshadow\" href=\"https:\/\/www.facebook.com\/sharer.php?u=https%3A%2F%2Fwww.conservativenewsdaily.net%2Fbreaking-news%2Ffahrenheit-451-at-60%2F\" target=\"_top\" rel=\"nofollow\"><span class=\"icon\"><\/span><span class=\"text\">Facebook<\/span><\/a><a class=\"mashicon-twitter mash-medium mash-nomargin mashsb-noshadow\" href=\"https:\/\/twitter.com\/intent\/tweet?text=&amp;url=https:\/\/www.conservativenewsdaily.net\/breaking-news\/?p=2695905&amp;via=ConservNewsDly\" target=\"_top\" rel=\"nofollow\"><span class=\"icon\"><\/span><span class=\"text\">Twitter<\/span><\/a><a class=\"mashicon-subscribe mash-medium mash-nomargin mashsb-noshadow\" href=\"#\" target=\"_top\" rel=\"nofollow\"><span class=\"icon\"><\/span><span class=\"text\">Subscribe<\/span><\/a><div class=\"onoffswitch2 mash-medium mashsb-noshadow\" style=\"display:none\"><\/div><\/div>\n            <\/div>\n                <div style=\"clear:both\"><\/div><\/aside>\n            <!-- Share buttons by mashshare.net - Version: 4.0.47--><p>Fran\u00e7ois Truffaut\u2019s 1966 film version of Ray Bradbury\u2019s 1953 novel Fahrenheit 451 represented a notable break for the director. Though he had made contemporary stories and period pieces through the mid-1960s, this film placed him in a speculative future where firefighters seize and burn books. Its being Truffaut\u2019s first color film and his only English-language picture were noticeable but superficial changes; the <a href=\"https:\/\/www.conservativenewsdaily.net\/breaking-news\/manhattan-sees-record-21-office-vacancies\/\" title=\"Manhattan sees record 21% office vacancies\">real shift<\/a> was its futuristic premise.<\/p>\n<p>Truffaut described the movie as a fable or moral tale, and he treated the story less as speculative science fiction than as a means too comment on pressing contemporary issues. For him, the film amplified a real-world problem-censorship and book burning-by imagining it taken to an extreme.Bradbury himself pointed out that the burning of books has recurred throughout history, so the act was not purely fantastical.<\/p>\n<p>Oskar Werner plays Guy montag, a firefighter whose job is to raid homes and incinerate illicit books. Initially dutiful and unreflective-almost mechanical in his work-Montag treats books as worthless rubbish and participates in their routine destruction. Truffaut staged these scenes so that the book burnings feel ordinary and bureaucratic rather than dramatic events.<\/p>\n<p>Although the film includes futuristic elements (jetpack-equipped firefighters, monorails, a distinctive fire engine), Truffaut shot it in England amid familiar settings-countryside, suburbs and Tudor homes-so the dystopian trappings often sit awkwardly alongside the everyday. Truffaut said that elaborate sci-fi effects were difficult and risked seeming ridiculous; the result is a portrayal of a society in transition in which the future is encroaching on a recognizable present.<\/p>\n<p>Truffaut emphasized the sentimental value of physical books-their bindings, covers and smell-and it is indeed through his relationship with Clarisse (Julie Christie) that Montag awakens to reading. Christie also plays Montag\u2019s conformist wife, underscoring the contrast between mindless complacency and curiosity. As Montag becomes consumed with literature, he hoards forbidden books, only to have them destroyed by his superiors-Tolstoy and Nabokov among them-accompanied by Bernard Herrmann\u2019s operatic score.<\/p>\n<p>The film\u2019s critique goes beyond a simple condemnation of censorship. The authorities\u2019 motive, as voiced by Captain Beatty, is to flatten inner life by keeping people continually amused and distracted-so they won\u2019t get stirred by powerful ideas. Truffaut shows citizens numbed by trivial entertainments: people obsessed with their reflections or self-comfort rather than engaged with literature\u2019s deeper worlds.<\/p>\n<p>Viewed from today\u2019s vantage point, the supposedly futuristic elements of Fahrenheit 451 resonate with contemporary concerns: our reliance on screens, selfies and AI, and a growing cultural illiteracy.the film\u2019s most astonishingly improbable depiction-at least to modern viewers-is the Book People, who commit entire texts to memory to preserve them from fire. The film\u2019s closing, with a boy reciting a passage in a mournful tone, leaves an elegiac feeling about what\u2019s been lost.  <\/p>\n<p class=\"readmore\">\n    <button onclick=\"showReadMore()\" id=\"readmorebtn\">Read more&#8230;<\/button>\n<\/p>\n<hr id=\"line\">\n<span id=\"more\"><\/p>\n<div class=\"c-blog-post__content s-wysiwyg s-wysiwyg--blog\">\n<div style=\"margin-bottom:30px;\" id=\"elevenlabs-audionative-widget\" data-height=\"90\" data-width=\"100%\" data-frameborder=\"no\" data-scrolling=\"no\" data-publicuserid=\"cb0d9922301244fcc1aeafd0610a8e90a36a320754121ee126557a7416405662\" data-playerurl=\"https:\/\/elevenlabs.io\/player\/index.html\" >Loading the <a href=\"https:\/\/elevenlabs.io\/text-to-speech\" target=\"_blank\" rel=\"noopener\">Elevenlabs Text to Speech<\/a> AudioNative Player&#8230;<\/div>\n<p><script src=\"https:\/\/elevenlabs.io\/player\/audioNativeHelper.js\" type=\"text\/javascript\"><\/script>                            <\/p>\n<p class=\"has-drop-cap wp-block-paragraph\">At first glance, Fran\u00e7ois Truffaut\u2019s 1966 adaptation of Ray Bradbury\u2019s 1953 science fiction novel <em>Fahrenheit 451<\/em> might be considered, for its maker, the ultimate departure.<\/p>\n<p class=\"wp-block-paragraph\">To start with, the film evokes a future world\u2014a world in which firemen confiscate and then incinerate printed material, especially books. For Truffaut, this sort of setting contrasted sharply with the milieus he had favored since the start of his career. His films, through the mid-1960s, were either urgently contemporary\u2014such as his 1959 debut about a Parisian adolescent, <em>The 400 Blows<\/em>, or his 1960 Frenchification of a crime novel by the American writer David Goodis, <em>Shoot the Piano Player<\/em>\u2014or aglow with the fading light of days gone by, such as his 1962 dream of bohemia at the time of the Great War, <em>Jules and Jim<\/em>. <\/p>\n<p class=\"wp-block-paragraph\">That <em>Fahrenheit 451<\/em> was also the first film Truffaut elected to make in color was a significant but ultimately superficial feature; so is the fact that it was his lone film in English. Its conjuring of the future was the real divergence. Until his death in 1984 at age 52, Truffaut would again burrow into the past (1975\u2019s <em>The Story of Adele H.<\/em>; 1978\u2019s <em>The Green Room<\/em>) and toil in the present (1968\u2019s <em>The Bride Wore Black<\/em>; 1981\u2019s <em>The Woman Next Door<\/em>), but the closest he ever came to resuming his involvement with science fiction was his appearance as the kindly scientist Lacombe in Steven Spielberg\u2019s <em>Close Encounters of the Third Kind<\/em> (1977)\u2014a genuine sci-fi epic, albeit one set in relatively more contemporary times than Truffaut\u2019s fable.<\/p>\n<p>                         <!-- \/22404337467,3946880\/theamericanconservative-Leaderboard-Top -->                         <\/p>\n<div id='div-gpt-ad-1742316429780-0' style='min-width: 300px; min-height: 50px; max-width: 100%; '>                         <\/div>\n<p class=\"wp-block-paragraph\">As it happens, in a 1966 interview collected in the book <em>Truffaut on Cinema<\/em> (2017), he described <em>Fahrenheit 451<\/em> as just that\u2014\u201ca fable, a moral tale.\u201d This raises the question as to whether the film\u2014despite its jetpack-wearing firemen and monorails\u2014should be characterized as science fiction at all. As Truffaut told it, his attraction to the film was not a matter of speculating about times to come\u2014the impetus for so many great science fiction films, from Fritz Lang\u2019s <em>Metropolis<\/em> (1927) to Franklin J. Schaffner\u2019s <em>Planet of the Apes<\/em> (1968) to Stanley Kubrick\u2019s <em>2001: A Space Odyssey<\/em> (1968)\u2014but attending to present concerns in a novel context. \u201cCensorship of books, in fact, is a current issue, and not simply a theme in science fiction,\u201d Truffaut said in that same interview. \u201cBooks are being burned every day across the world, and <em>Fahrenheit<\/em> interested me because it pushed this book-burning tragedy to an extreme degree.\u201d <\/p>\n<p class=\"wp-block-paragraph\">In other words, <em>Fahrenheit 451<\/em> was fantastical only in imagining the widespread formalization of book-burning rather than the act itself, which, as Bradbury himself explained in a 2002 interview on the film\u2019s DVD release, was common throughout history. \u201cOver the years, I\u2019ve read about the various libraries of Alexandria burning three or four <a href=\"https:\/\/www.conservativenewsdaily.net\/breaking-news\/erickson-a-profound-unique-event\/\" title=\"ERICKSON: A Profound, Unique Event\">thousand years ago<\/a>, I think twice by accident, once on purpose,\u201d Bradbury said. \u201cAnd then in China, I heard rumors of burnings of libraries and books, and Hitler, of course, in Germany in the early \u201930s.\u201d<\/p>\n<p class=\"wp-block-paragraph\">The film stars Oskar Werner as Montag, among the firemen who ransack residences rumored to contain books before his curiosity about, and eventual devotion to, literature leads him to renounce his vocation. As the film opens, Montag is presented as a slick figure\u2014Werner\u2019s dour, unsentimental countenance peaks through his dark helmet\u2014who executes his task not with the urgency of the firemen of old (the men who, some speculate, once put out blazes) so much as the dutifulness of a garbage man. In the opening scene, as the firemen plunder an apartment in which books have been secreted away inside a light fixture and behind a TV screen, Montag comes across as neither enthusiastic nor dubious. \u201cBooks are just too much rubbish,\u201d he says half-heartedly but unquestioningly. And the burning of them has become as routine as pest exterminations, although those who have books, unlike those who are beset by roaches, are in violation of the law and flee to avoid arrest.<\/p>\n<p class=\"wp-block-paragraph\">Yet Truffaut chose to film this future world in a recognizably old world. The movie was photographed (by Nicolas Roeg, later the director of <em>Walkabout<\/em> and <em>Don\u2019t Look Now<\/em>) in England, and its few dystopian flourishes\u2014the monorail, the strangely designed fire engine, the basic concept of a book-burning squad\u2014stand out amid the countryside, the suburbs, the Tudor houses that look of their own time, not the future. <\/p>\n<p class=\"wp-block-paragraph\">\u201cThere is practically only one science fiction scene, that of the flying men who are searching for Montag as he is trying to escape,\u201d Truffaut said in the interview in <em>Truffaut on Cinema<\/em>. \u201cScience fiction effects are very difficult to create, and often risk appearing ridiculous.\u201d Yes, logistics may have dictated some of Truffaut\u2019s choices, but the effect is to evoke a society in transition: The future is trying to crowd out the past, but the past\u2014recognizable to us as a normative present\u2014is hanging on in the form of England around the time of Churchill\u2019s death: the coziness of an old house, the comfort of a rocking chair on a porch, the pleasure of picking up a pocket-sized paperback and flipping through its pages. <\/p>\n<p class=\"wp-block-paragraph\">\u201cThe book becomes an object that one cherishes increasingly over time\u2014even the binding, the cover, the smell of the pages acquire great sentimental value,\u201d Truffaut said.<\/p>\n<p class=\"wp-block-paragraph\">Of course, these things have no pull on Montag, who is awakened only by his friendship with Clarisse (Julie Christie), a bright, pixieish, covertly book-hoarding young woman who is a kind of variation on a theme of Montag\u2019s proudly unthinking wife Linda (underscored by the fact that she, too, is played by Julie Christie). When told that Clarisse\u2019s house is not fireproof, Montag says that it is a prime candidate to be torn down. This is modern society\u2019s answer for what it deems outmoded or dangerous, whether books that stir the mind or domiciles that lack indoor sprinkler systems. <\/p>\n<section class=\"c-subscribe-email\" >\n<div class=\"l-container\">\n<div class=\"c-subscribe-email__wrap\">\n<div class=\"c-subscribe-email__head\">\n<h4 class=\"c-subscribe-email__heading\">Subscribe Today<\/h4>\n<h5 class=\"c-subscribe-email__subheading\">Get daily emails in your inbox<\/h5>\n<\/p><\/div>\n<div class=\"c-subscribe-email__form-wrap\">      <!-- Begin Mailchimp Signup Form -->      <\/p>\n<div id=\"mc_embed_signup\">\n<form id=\"mc-embedded-subscribe-form\" class=\"validate\" action=\"https:\/\/theamericanconservative.us4.list-manage.com\/subscribe\/post?u=442e644c01f8e54e26e4ff3f8&#038;id=f7b67cac40\" method=\"post\" name=\"mc-embedded-subscribe-form\" novalidate target=\"_blank\">\n<div id=\"mc_embed_signup_scroll\">\n<div class=\"c-subscribe-email__fields\">              <label for=\"mce-EMAIL\" class=\"u-screenreader-text\">Email Address:<\/label>              <input id=\"mce-EMAIL\" class=\"c-subscribe-email__field\" name=\"EMAIL\" type=\"email\" value=\"\" placeholder=\"Your Email\" \/>              <input id=\"mc-embedded-subscribe\" class=\"c-subscribe-email__submit o-button o-button--red-500 o-button--solid\" name=\"subscribe\" type=\"submit\" value=\"Subscribe\" \/>            <\/div>\n<div id=\"mce-responses\" class=\"clear\">\n<div id=\"mce-error-response\" class=\"response\" style=\"display: none;\"><\/div>\n<div id=\"mce-success-response\" class=\"response\" style=\"display: none;\"><\/div>\n<\/p><\/div>\n<p>              <!-- real people should not fill this in and expect good things - do not remove this or risk form bot signups-->            <\/p>\n<div class=\"u-screenreader-text\" aria-hidden=\"true\">              <input tabindex=\"-1\" name=\"b_442e644c01f8e54e26e4ff3f8_f7b67cac40\" type=\"text\" value=\"\" \/>            <\/div>\n<\/p><\/div>\n<\/p><\/form>\n<\/p><\/div>\n<p>      <!--End mc_embed_signup-->          <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<p class=\"wp-block-paragraph\">It is a measure of Montag\u2019s growth that, his interest piqued by Clarisse, he starts inhaling great books like fresh air amid the flames\u2014and that we wince for him when, his accumulation of contraband reading materials having come to the knowledge of his superiors, his books shrivel and darken in the fire: There goes Tolstoy, there goes Nabokov. The score by Hitchcock collaborator Bernard Herrmann gives the book burning scenes an operatic dimension; certainly, the tracking POV shots and striking use of jump cuts, high angle shots, and even a <em>Vertigo<\/em> dream sequence connote the Master of Suspense\u2019s influence on his prot\u00e9g\u00e9. <\/p>\n<p class=\"wp-block-paragraph\">Although <em>Fahrenheit 451<\/em>, book and film alike, is widely considered to inveigh against censorship, what we can perceive about the authorities\u2019 justification for book burning seems to stem less from a wish to suppress ideas per se as much as to dull potentially excitable inner lives\u2014to guard against people becoming whipped up by too much Dickens. \u201cJust keep \u2019em busy and you keep \u2019em happy,\u201d says Captain Beatty (Cyril Cusack), referring to the mindless diversions that people consume instead of books, including insufferable \u201cinteractive\u201d TV programs. In a few quick scenes, Truffaut shows that when people are denied the chance to inhabit other worlds, they will get lost in themselves: In one scene, a young woman embraces her own reflection in a monorail window; in another, a lady of means pats her own fur coat. These people could desperately use some Austen or Dostoevsky.<\/p>\n<p class=\"wp-block-paragraph\">So could we. If anything, seen 60 years after its release, the \u201cfuturistic\u201d aspects of <em>Fahrenheit 451<\/em> call to mind our ghastly present, where we outsource our sources of satisfaction to selfies, screens, and AI while we tolerate the populace\u2019s blooming illiteracy. The book scenes that were normative for Truffaut\u2014the things that anchored his movie of the future to reality\u2014now seem so very distant. In 1966, one could likely still fathom the commitment and sacrifice of the Book People, seen at the end of the movie, whose charge is to retain the contents of whole books in their minds\u2014the place no fireman\u2019s blaze can touch. Today, their dedication is the most literally fantastic thing about the movie, and the final words spoken, by a boy supposedly reciting a text by Robert Louis Stevenson, have the quality of a dirge: \u201cAnd he died as he thought he would, as the first snows of winter fell.\u201d <\/p>\n<\/p><\/div>\n<p><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Here is a paraphrase of the provided passage:<\/p>\n<p>Francois Truffaut\u2019s 1966 adaptation of Ray Bradbury\u2019s Fahrenheit 451 can seem, at first, like his most radical break from his usual work. The movie builds a future in which firemen seize and burn printed material, especially books. This stark premise marks a sharp contrast with the kinds of worlds Truffaut had favored earlier-urgent contemporary stories like The 400 Blows and Shoot the Piano Player, or nostalgic visions of the past like Jules and Jim. Although Fahrenheit 451 was his first color film and his only project in English, the real departure lies in the imagined future. After this film, Truffaut would revisit the past or the present in his later work but never again dive into genuine science fiction, aside from a cameo as a kindly scientist in Steven Spielberg\u2019s Close Encounters of the Third Kind.<\/p>\n<p>In a 1966 interview collected in Truffaut on Cinema (2017), Truffaut described Fahrenheit 451 as a fable or moral tale. This invites the question of whether the film should be considered science fiction at all. He said his interest lay not in foreseeing future times but in exploring current concerns within a new frame: censorship, specifically book burning, which he saw as a pressing issue, not merely a sci\u2011fi trope. Bradbury, in a 2002 interview about the film\u2019s DVD release, noted that book burning has occurred many times in history-from ancient Alexandria to Nazi Germany-so the act itself is not unique, only the scale in the story.<\/p>\n<p>The film stars Oskar Werner as Montag, a fireman who raids homes suspected of containing books, yet gradually becomes curious about literature and eventually rejects his role. At the film\u2019s start, Montag appears as a precise, unemotional figure whose delivery of his duties resembles a garbage man more than a hero. Books are dismissed as rubbish, and burning has become as routine as exterminating pests; those with books are criminals and flee to avoid arrest.<\/p>\n<p>Yet Truffaut set this future in a recognizably old world. The movie was shot in England by Nicolas Roeg, and its few dystopian touches-the flying searchers, the quirky fire engine, the book\u2011burning squad-stand out against countryside, suburbs, and Tudor houses that look generically of their own era. Truffaut himself said there is only one substantial science-fiction scene, and that the effects are difficult to pull off without seeming ridiculous. The result is a society in transition: the future tries to supplant the past, but the past-visible as late\u2011Edwardian England around the time of Churchill\u2019s death-persists in familiar comforts: a cozy house, a porch rocking chair, and the simple act of reading a pocket paperback.<\/p>\n<p>Truffaut valued the book as an object whose binding, cover, and scent gain emotional significance, even though Montag shows little interest in it-until his friendship with Clarisse, a lively, book\u2011hoarding young woman who is played by Julie Christie, helps awaken his curiosity. When he learns Clarisse\u2019s home may be unsafe, Montag sees it as a target ripe for destruction, a sign of modern society\u2019s preference for erasing the old or dangerous, whether books or homes lacking indoor sprinklers.<\/p>\n<p>Montag\u2019s growth is evident as he starts reading voraciously as if the books were air, and we recoil when his hidden volume of literature is discovered by his superiors and burned. The score by Bernard Herrmann gives the book-burn scenes an operatic, Hitchcock-influenced sweep, including tracking shots, abrupt edits, high angles, and a Vertigo\u2011style dream sequence.<\/p>\n<p>Although Fahrenheit 451 is widely treated as a critique of censorship, the authorities\u2019 justification seems to hinge less on suppressing ideas than on preventing people from becoming overly stirred by literature-keeping them occupied with mindless entertainment instead. Beatty suggests that a society kept busy and distracted will be easier to control. Truffaut also demonstrates that when people are denied access to other worlds, they turn inward, gazing at their own reflections or preoccupying themselves with luxury items. In short, a consumer society could benefit from the presence of Austen or Dostoevsky.<\/p>\n<p>Seen from today, the film\u2019s supposed futurism evokes our own world, where selfies, screens, and AI shape satisfaction while illiteracy grows. The book\u2011people who preserve entire texts in memory at the end remain the film\u2019s most fantastical element, and their closing line-delivered by a boy supposedly reciting Stevenson-has the mood of a dirge: \u201cAnd he died as he thought he would, as the first snows of winter fell.\u201d<\/p>\n","protected":false},"author":2691,"featured_media":2695906,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mo_disable_npp":"","fifu_image_url":"https:\/\/tac.imgix.net\/wp-content\/uploads\/2026\/10\/p12_fahrenheit_451_werner_christie_541025017-scaled.jpg?auto=compress&#038;crop=faces%2Centropy&#038;fit=crop&#038;fm=jpg&#038;h=630&#038;ixlib=php-3.3.1&#038;q=80&#038;w=1200","fifu_image_alt":"","footnotes":""},"categories":[548],"tags":[87419,6371,24596],"class_list":["post-2695905","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-conservative-news-daily","tag-bradbury","tag-censorship","tag-dystopia"],"fifu_image_url":"https:\/\/tac.imgix.net\/wp-content\/uploads\/2026\/10\/p12_fahrenheit_451_werner_christie_541025017-scaled.jpg?auto=compress&#038;crop=faces%2Centropy&#038;fit=crop&#038;fm=jpg&#038;h=630&#038;ixlib=php-3.3.1&#038;q=80&#038;w=1200","_links":{"self":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts\/2695905","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/users\/2691"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/comments?post=2695905"}],"version-history":[{"count":3,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts\/2695905\/revisions"}],"predecessor-version":[{"id":2695927,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts\/2695905\/revisions\/2695927"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/media\/2695906"}],"wp:attachment":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/media?parent=2695905"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/categories?post=2695905"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/tags?post=2695905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}