{"id":881,"date":"2012-10-10T20:47:23","date_gmt":"2012-10-10T19:47:23","guid":{"rendered":"https:\/\/www.blackadderhall.com\/?p=881"},"modified":"2012-10-10T20:47:23","modified_gmt":"2012-10-10T19:47:23","slug":"extract-from-new-blackadder-book","status":"publish","type":"post","link":"https:\/\/www.blackadderhall.com\/?p=881","title":{"rendered":"Extract from new Blackadder book"},"content":{"rendered":"

Source: Telegraph.co.uk<\/a><\/p>\n

Read an extract from JF Roberts’s new book, The True History of the Black Adder, which explores the final series of the BBC comedy set during the Great War.<\/h2>\n
\n

By early 1989, the\u00a0Blackadder<\/em>\u00a0writers Richard Curtis and Ben Elton had already agreed on the setting for their hero\u2019s fourth full incarnation,\u00a0Blackadder Goes Forth<\/em>, moving into the 20th century.<\/p>\n<\/div>\n

\n

The team were contracted to begin recording in the late summer. With Tim McInnerny back in the fold after skipping a series, and Stephen Fry and Hugh Laurie as full-time players, alongside Rowan Atkinson (Blackadder) and Tony Robinson (Baldrick), the new line-up was just one way in which the latest series would be the ultimate distillation of everything that had gone before.<\/p>\n<\/div>\n

\n

Though there was no question at the time of this being a finale, by bringing the Blackadder family so close to the modern day, everybody involved knew that this would not be just any other series.<\/p>\n<\/div>\n

\n

One of many differences was the fact that, with the First World War in their sights, the writers decided that historical research was a necessity, for the first time. \u201cWith Blackadder two and three, we weren\u2019t particularly respectful of the periods, but I don\u2019t think we were really into any blatant howlers,\u201d Elton says. \u201cObviously, with the First World War we had a very different approach.\u201d<\/p>\n<\/div>\n

\n

Ribbing the attitudes of centuries gone by was one thing, but finding humour in the deaths of 35 million people within living memory was not a task that anyone could countenance. \u201cWe read lots of books about it,\u201d Curtis says. \u201cThey were interesting, because all the stuff we wanted to write about, which was sort of the clash of the classes, and getting stuck in a small confined space, was funny. All the people coming from communities where they\u2019d never bumped into posh people, and vice versa, and all being so gung-ho and optimistic and enthusiastic\u2026 The first 100 pages of any book about the First World War are hilarious \u2013 and then everybody dies.\u201d<\/p>\n

Laurie says: \u201cIt was a really peculiar and bold thing to try and make a comedy out of, but I think ultimately a very sympathetic and respectful one. Even though the characters were absurd and moronic at times, it never disrespected their courage or their sacrifice.\u201d<\/p>\n

\u201cOf all the periods we covered it was the most historically accurate,\u201d says Atkinson. \u201cWe may have exaggerated the characters and what happened to them, but it is very difficult to exaggerate the absurdity and horror of the First World War. It may sound ridiculous for someone to face a court martial for shooting a pigeon, but madder things happened in reality. Towards the end of the war 30 soldiers were court-martialled and shot in France by our own side for not wearing a hat in the trenches. It is so absurd nobody would ever believe it.\u201d<\/p>\n

Robinson says: \u201cWe\u2019d always said that more than anything what we\u2019d like to do would be to create a series that was very claustrophobic, where the five or six of us who were the performers were trapped in a space. And what better way to feel that notion of claustrophobia than to set it in the trenches?\u201d<\/p>\n

\u201cGood sitcoms, so the wisdom goes, are set in places where people can\u2019t get out,\u201d the producer John Lloyd continues. \u201cPorridge<\/em>\u00a0in prison; inFawlty Towers<\/em>, Basil\u2019s trapped with a ghastly wife that he can\u2019t escape from and a business which is going bust but which is his only livelihood. And we set ours in a trench dugout where there\u2019s only two ways to escape \u2013 one is forward to the German guns, the other is backwards to the British firing squads.\u201d<\/p>\n

Having begun the dynastic saga by chickening out of active service at Bosworth, finally a Blackadder was going to war, whether he liked it or not. This didn\u2019t actually make Captain Blackadder brave, just in the wrong place at the wrong time, although Atkinson did sense a change with each dynasty. \u201cIn the first series, Blackadder was just an idiot. In the second series he was dashing but weak. As the butler, he became cleverer and nastier. This time he is less cruel and more careworn.\u201d<\/p>\n

\u201cOne of the things I love about series four,\u201d Curtis says, \u201cis that strangely I think Baldrick gained meaning. You know, he\u2019d just been a fool and a butt the whole way through, but there was a remarkable thing that happened right at the end of that series, when he did suddenly seem to represent the working man.\u201d<\/p>\n

Fry\u2019s character, General Melchett, although undeniably Colonel Blimpish, would go on to personify the dangerous ignorance of First World War high command like no other comic creation. \u201cYoung people playing old people are funny,\u201d says Fry. \u201cBecause I was young and I was playing a General, it was somehow funnier than if I\u2019d been the right age to be a general. With\u00a0Blackadder\u00a0<\/em>the last thing you want is to take it too seriously. The audience relishes the sight of an actor enjoying himself. They like to see the gargantuan imbecility of it.\u201d<\/p>\n

He adds, however, \u201cThe Melchett in series four was a very different character to the one in two, he was much, much more aggressive, much more insane, much more powerful. He was really, for almost the entire series, the source of power. And he represents the absolute insanity of the war. Without being too pompous about\u00a0Blackadder<\/em>, it does I think illustrate perfectly the nature of that grotesque war.\u201d<\/p>\n

McInnerny was lured back with the promise of the series\u2019 second all-new character, Blackadder\u2019s weaselly and sycophantic equal. \u201cDarling and Blackadder are kind of the same really,\u201d Elton says, \u201clower-middle-class sort of semi-gentlemen. But obviously one of them has managed to connive his way on to the staff, and the other one\u2019s bad-lucked into the trenches.\u201d<\/p>\n

As McInnerny recalls: \u201cIn the initial rehearsals, he wasn\u2019t even called Darling, he was called Captain Cartwright, which is kind of dull. I mean, I didn\u2019t even know who he was and couldn\u2019t get an angle on him.\u201d<\/p>\n

\u201cDarling is, I think, one of the great comic creations,\u201d says Lloyd, \u201cand it came from an actor\u2019s determination to carve himself a place here.\u201d<\/p>\n

Fry continues, \u201cTim was a bit distressed because his character seemed to be nothing. He was called Cartwright, and I suggested, in a rare moment of brilliance, that maybe he should have a really silly name that was a constant torment to him\u2026 And suddenly this character was born out of nowhere, just because of the name!\u201d<\/p>\n

McInnerny\u2019s transformation into the captain completed the strongest line-up of any\u00a0Blackadder<\/em>\u00a0series, but as the writers may have reflected even at that early stage, Darling\u2019s genesis did not augur well for a smooth production.<\/p>\n

As Fry recalls: \u201cI remember saying to Hugh and Rowan and John, \u2018What will happen in six months\u2019 time when a taxi driver says to you, \u201cOh, thoseBlackadders<\/em>, I bet they\u2019re fun to make, aren\u2019t they?\u201d Will you go \u201cYes, marvellous fun!\u201d?\u2019 And they all said, \u2018No! We\u2019ll be honest and say they\u2019re hell!\u2019\u201d<\/p>\n

\u201cThe producer is supposed to be the person who makes sure that inspiration doesn\u2019t turn into complete filthy anarchy. Unfortunately, we had John\u2026\u201d Robinson says. \u201cWe workshopped every word, every exclamation mark! Although we didn\u2019t have the 12 writers you would have for\u00a0Taxi\u00a0<\/em>or\u00a0Cheers<\/em>, you had people in the room who were doing exactly the same kind of thing that those writers on an American show would do. We were constantly challenging every single gag, the structure of every scene \u2013 we even put additional characters in sometimes. So there was a lot of tension between the writers on the one hand, and the producer on the other, who was, as it were, the representative of what the actors were saying. And it was very good, but it could be quite upsetting sometimes.\u201d<\/p>\n

\u201cI can\u2019t tell you how profoundly competitive that environment is,\u201d says Robinson, \u201cbut I contributed like mad. I think whenever I’m in a corner I always get noisy. Being the only grammar-school boy among that incredibly talented group of highly articulate performers, and having left school at 16, and not having been to university, there was a sense in which they always felt very different from me, really rather exotic, and yet in a way, not really kind of tuned in to the real world, because they all talked so elaborately. And I think that probably helped me with Baldrick.\u201d<\/p>\n

As Curtis acknowledges, there was only one place\u00a0Blackadder Goes Forth<\/em>\u00a0was ever going to end up. \u201cIt was the condition on which we wrote the series. In a way it had been the arrow shot off at the beginning, that it was always going to land in No-man’s-land\u2026 In a way, that set us free to be as disrespectful as we wanted to be at the beginning, because we were going to be respectful, or at least truthful, at the end.\u201d<\/p>\n

And McInnerny recalls the looming threat of the final big push: \u201cThe world-weariness of Blackadder was something kind of extraordinary. He was beaten down, he wasn\u2019t necessarily going to win every time, and knew he wasn\u2019t. Which gave it a kind of darker edge, I think\u2026 The extraordinary thing was that there really was only one plot, which was \u2018how can we get out of here?\u2019 I mean, every episode. But at the back of your mind, you think, \u2018They can\u2019t get out of it every week, they\u2019re not going to be able to get out of it\u2026 Oh, they\u2019re not going to get out of it.\u2019\u201d<\/p>\n

As a valedictory theme for Blackadder\u2019s last reincarnation, swapping the military rank-related episode titles for Weston & Lee’s 1915 hit\u00a0Good-bye-ee<\/em>\u00a0was an inspired move, leaving little doubt in the minds of those who read the synopsis for the conclusion in the television listings before settling down to watch on November 2 1989, that this was the end of the road for the anti-hero.<\/p>\n

And yet, as Blackadder\u2019s last desperate escape plan unfurled (pretending to be mad by putting two pencils up his nose and his underpants on his head), there was still hope that the scheming cad could somehow pull through.<\/p>\n

For the cast and crew, however, the knowledge that such hope was fruitless made for a uniquely difficult week of recording. Laurie recalls: \u201cIt had as its backdrop the greatest tragedy of modern man, and that gave the thing a poignancy and a texture that few other things I\u2019ve been involved in have had, or could have had.\u201d<\/p>\n

Atkinson concurs: \u201cI do remember throughout the whole week of rehearsal leading up to\u00a0Good-bye-ee<\/em>, and indeed the recording of the episode, having this nasty knot in the pit of my stomach, which reflected the dilemma of my character.\u201d<\/p>\n

Nevertheless, there was the best part of half an hour of laughs to be had before any conclusion, and at last, the episode attained the truly claustrophobic atmosphere desired by Lloyd for so long, as the old comrades awaited their fate.<\/p>\n

As the doomed soldiers waited for dawn, there was the traditional excess of jokes which would be trimmed out of the broadcast version, such as the dialogue before the celebrated debut of Baldrick as war poet:<\/p>\n

Edmund: Hang on, Baldrick, you can\u2019t even write!<\/p>\n

Baldrick: I remembered it in my head, sir.<\/p>\n

Edmund: I cannot believe that there is room in that tiny cavity for you to remember both your name and a poem.<\/p>\n

Baldrick: I think there is, sir!<\/p>\n

Edmund: All right, fire away, Baldrick.<\/p>\n

Baldrick: Who\u2019s Baldrick, sir?<\/p>\n

Edmund: You are Baldrick!<\/p>\n

Baldrick: Oh yes, that\u2019s right \u2013 Bald-rick!<\/p>\n

Edmund: Now, recite the poem.<\/p>\n

Baldrick: What poem would that be, sir?<\/p>\n

Edmund: No, look, forget who you are. [He does so.] Now let\u2019s hear the poem.<\/p>\n

Baldrick: … \u2018The German Guns\u2019, by\u2026 Me.<\/p>\n

\u201cWhen Ben gave me the script with Baldrick\u2019s poem on it, I just went, \u2018Thank you!\u2019\u201d Robinson grins, and Fry adds, of the Tommy\u2019s proud rendition of the word \u201cBoom\u201d 14 times: \u201cIt is fine poetry; this was the age of modernism, after all. So Baldrick was perhaps the leading modern poet of his age.\u201d<\/p>\n

Lloyd says, \u201cSuddenly they\u2019re all together, except for Melchett, and enmities have to be patched up, because at the end of the day, they\u2019re all probably going to get killed. The comedy starts to drain out of it in the most horrific way, there was this very odd feeling that you\u2019ve lost control of it.\u201d<\/p>\n

Right up until the very final few lines, with the four unlikely comrades lined up before the trench ladders, there\u2019s still hope that a typical Blackadder \u2013 or even Baldrick \u2013 cunning plan could be waiting around the corner until Darling\u2019s breathtakingly tragic outpouring of misplaced joy, \u201cThank God! We lived through it! The Great War: 1914 to 1917\u201d, finally knocks the wind out of the hopeful viewer.<\/p>\n

For the final push, an extra \u00a310,000 had been spent on creating No-man\u2019s-land in a separate studio, away from the audience who could only watch on the monitors. Lloyd remembers, \u201cThe actors were alone, in the dark, with a single assistant floor manager, and had to go over the top, with real explosions going off around them. After the first, shocking take, the studio audience and the production team were stunned into silence, but [the director] Richard Boden and I felt it could be done a bit better.\u201d<\/p>\n

It was five to 10, and they had one last chance to get the shot right. John spoke into the floor manager\u2019s earpiece, but the reply came from Rowan himself, in \u201cshattered\u201d tones: \u201cI\u2019m sorry,\u201d came the voice, \u201cbut we can\u2019t do another one, it\u2019s just too horrible.\u201d \u201cWhat do you mean, you\u2019re not going to do it?\u201d \u201cIt\u2019s really the most frightening thing I\u2019ve ever done, and we\u2019ve all agreed we\u2019re not going to do it, and I\u2019m very sorry.\u201d And with that, the line went dead.<\/p>\n

\u201cIt was one of the lowest points, I think, of my television career,\u201d Lloyd admits, \u201cthinking, \u2018The end of this amazing series, and I’ve just screwed it up!\u2019\u201d<\/p>\n

Seeing the raw footage of the cast stumbling towards the camera, awkwardly striding towards eternity, it\u2019s easy to see why the editing team had worries. However, Lloyd says, \u201cEach person in that room, as I remember, made at least one contribution to the ending sequence.\u201d<\/p>\n

Chris Wadsworth, the editor, was chief among them. \u201cIt was so obvious that we had so little material to work with, we had to really slow the pictures right down in order to stretch them in time, but that produced an incredibly good effect with the flashes which were going over on the right of the picture, and the debris that falls over Rowan. In slow motion, this suddenly achieved a grandeur which was not obvious in the full motion.\u201d<\/p>\n

Lloyd continues: \u201cIn the editing suite we played the tape of Howard Goodall playing the theme on a piano, recorded in a gymnasium; a liquid, lonely sound. Then the editor said, \u2018What if we played this shot in slo-mo?\u2019 \u2018Oh, that\u2019s a good idea.\u2019 \u2018And if the music\u2019s slowed down as well it suddenly becomes stronger.\u2019<\/p>\n

\u201cSomeone then suggested taking out the colour, draining it out to black and white. And the production secretary said, \u2018I know. We could have some poppies. I know where there\u2019s a slide of poppies.\u2019\u201d<\/p>\n

Boden had always hoped to end on a poppy motif, and helped to select just the right still of bucolic peace, while someone from sound selected birdsong to complete the effect.<\/p>\n

Wadsworth recalls the first time he mixed between the drained battlefield and the poppy field, and says, \u201cIt was a Yes immediately \u2013 this was a moment.\u201d So, Lloyd proudly says, \u201cThere were about five or six people contributing bits and when you put it all together, blow me down, it\u2019s the most moving thing you\u2019ve ever seen. It\u2019s extraordinary and to this day I feel a fantastic privilege that I was allowed, as it were, in the room where something as wonderful as that happened.\u201d<\/p>\n

And so, with the series beginning broadcast just as these final touches were being put in place, the team could breathe a sigh of relief that theBlackadder\u00a0<\/em>legacy would not be tarnished \u2013 but they couldn\u2019t have predicted the unparalleled reaction\u00a0Blackadder Goes Forth<\/em>\u00a0would get from the British public, who hadn\u2019t anticipated that the series would reach its apotheosis on such a note of pathos and sincerity.<\/p>\n

* This is an edited extract from The True History of the Black Adder by JF Roberts [Preface, \u00a312.99]<\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Source: Telegraph.co.uk Read an extract from JF Roberts’s new book, The True History of the Black Adder, which explores the final series of the BBC comedy set during the Great War. By early 1989, the\u00a0Blackadder\u00a0writers Richard Curtis and Ben Elton had already agreed on the setting for their hero\u2019s fourth full incarnation,\u00a0Blackadder Goes Forth, moving […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,4],"tags":[16,19,22,23,26,46,47,50,78,82,93,107],"class_list":["post-881","post","type-post","status-publish","format-standard","hentry","category-cast-crew","category-series","tag-baldrick","tag-ben-elton","tag-black-adder","tag-blackadder","tag-books","tag-hard-back","tag-history","tag-hugh","tag-richard-curtis","tag-rowan","tag-stephen","tag-xmas"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p54TBn-ed","jetpack-related-posts":[{"id":857,"url":"https:\/\/www.blackadderhall.com\/?p=857","url_meta":{"origin":881,"position":0},"title":"New Blackadder Book – Just in time for Xmas","author":"admin","date":"30 September 2012","format":false,"excerpt":"Published on October 11th to mark the thirtieth anniversary of the first pilot episode of The Black Adder, The True History of the Blackadder: The Unadulterated History of the Creation of a Comedy Legend\u00a0is the complete history of the series with the co-operation of writers Richard Curtis and Ben Elton,\u2026","rel":"","context":"In "Shop"","block_context":{"text":"Shop","link":"https:\/\/www.blackadderhall.com\/?cat=5"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2012\/09\/ba_book-191x300.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":853,"url":"https:\/\/www.blackadderhall.com\/?p=853","url_meta":{"origin":881,"position":1},"title":"Blackadder The Third – 25th Anniversary","author":"admin","date":"17 September 2012","format":false,"excerpt":"Today marks the 25th anniversary since Blackadder The Third was first aired on television. To celebrate this\u00a0momentous\u00a0 occasion, I will be wittering on about the series on BBC Radio Oxford today. Happy birthday Blacky!","rel":"","context":"In "Series"","block_context":{"text":"Series","link":"https:\/\/www.blackadderhall.com\/?cat=4"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1741,"url":"https:\/\/www.blackadderhall.com\/?p=1741","url_meta":{"origin":881,"position":2},"title":"Blackadder\u2019s Historical Record 40th Anniversary vinyl boxset","author":"admin","date":"19 October 2022","format":false,"excerpt":"Rescued from a dusty shelf in a long-forgotten archive, 'Blackadder's Historical Record' brings the bawdy, brutal and blithering bits of history to life via 24 full-cast TV soundtrack episodes. Housed in an elegant lift-off lid box, all 24 full cast TV soundtrack episodes are lovingly spread over 12 opulent, gold-colour\u2026","rel":"","context":"In "News"","block_context":{"text":"News","link":"https:\/\/www.blackadderhall.com\/?cat=109"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2022\/10\/Blackadders-Historical-Record.png?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2022\/10\/Blackadders-Historical-Record.png?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2022\/10\/Blackadders-Historical-Record.png?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2022\/10\/Blackadders-Historical-Record.png?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2022\/10\/Blackadders-Historical-Record.png?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":870,"url":"https:\/\/www.blackadderhall.com\/?p=870","url_meta":{"origin":881,"position":3},"title":"Biblical Blackadder Uncovered in NEW Book!","author":"admin","date":"7 October 2012","format":false,"excerpt":"source: BBC.co.uk A draft script for a Christmas episode of Blackadder has come to light during research for a new book about the BBC's classic comedy series. Blackadder in Bethlehem sees Rowan Atkinson's character as the owner of the inn where Joseph and Mary seek a bed for the night.\u2026","rel":"","context":"In "Series"","block_context":{"text":"Series","link":"https:\/\/www.blackadderhall.com\/?cat=4"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.blackadderhall.com\/wp-content\/uploads\/2012\/09\/ba_book-191x300.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":407,"url":"https:\/\/www.blackadderhall.com\/?p=407","url_meta":{"origin":881,"position":4},"title":"Blackadder Remastered – The Ultimate Edition","author":"admin","date":"20 October 2009","format":false,"excerpt":"It has been quite a while since I last updated Blackadder Hall; to be honest, there has been hardly anything of great worth to write about so the site has been ticking along on its own for the past couple of years. However, time has come for me to do\u2026","rel":"","context":"In "Shop"","block_context":{"text":"Shop","link":"https:\/\/www.blackadderhall.com\/?cat=5"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":480,"url":"https:\/\/www.blackadderhall.com\/?p=480","url_meta":{"origin":881,"position":5},"title":"Rowan\u2019s blow to Blackadder reunion","author":"admin","date":"12 June 2008","format":false,"excerpt":"CAMERA shy Rowan Atkinson has SNUBBED a Blackadder reunion show, TV Biz can reveal. TV chiefs had a cunning plan to reunite all the cast members of the legendary comedy for its 25th anniversary. But super-private Rowan, 53, will NOT appear even though all his co-stars \u2014 from writers Richard\u2026","rel":"","context":"In "Cast & Crew"","block_context":{"text":"Cast & Crew","link":"https:\/\/www.blackadderhall.com\/?cat=2"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=\/wp\/v2\/posts\/881","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=881"}],"version-history":[{"count":0,"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=\/wp\/v2\/posts\/881\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=881"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=881"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.blackadderhall.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=881"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}