{"id":1506,"date":"2008-10-01T13:13:43","date_gmt":"2008-10-01T18:13:43","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=1506"},"modified":"2013-07-21T13:00:46","modified_gmt":"2013-07-21T18:00:46","slug":"2009-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2008\/10\/2009-film-log\/","title":{"rendered":"2009 Film Log"},"content":{"rendered":"

January<\/span><\/strong><\/p>\n

The Headless Woman (Martel, 2008)<\/p>\n

Aguirre: The Wrath of God (Herzog, 1972)<\/p>\n

Ossos (Costa, 1997)<\/p>\n

The Wrestler (Aronofsky, 2008)<\/p>\n

Red Desert (Antonioni, 1964)<\/p>\n

Yumurta (Kaplanolgu, 2007)<\/p>\n

Women on the Verge of a Nervous Breakdown (Almodovar, 1988) <\/p>\n

Knife in the Water (Polanski, 1962)<\/p>\n

Summer Hours (Assayas, 2008) <\/p>\n

Romance (Breillat, 1999)<\/p>\n

Jour de fete (Tati, 1949)<\/p>\n

Revanche (Spielmann, 2008) <\/p>\n

Stranger Than Paradise (Jarmusch, 1984) <\/p>\n

Brief Crossing (Breillat, 2001) <\/p>\n

Little Dieter Needs to Fly (Herzog, 1997) <\/p>\n

Revolutionary Road (Mendes, 2008)<\/p>\n

Heart of Glass (Herzog, 1976) <\/p>\n

Broken Sky (Hernandez, 2006) <\/p>\n

Where is the Friend’s Home? (Kiarostami, 1987)<\/p>\n

Time to Leave (Ozon, 2005) <\/p>\n

The Reader (Daldry, 2008)<\/p>\n

Vinyl (Zweig, 2000)<\/p>\n

Distant Voices, Still Lives (Davies, 1988) 35mm<\/span><\/p>\n

News From Home (Akerman, 1977) <\/p>\n

Dong (Jia, 2006) <\/p>\n

And Life Goes On… (Kiarostami, 1991)<\/p>\n

The Long Day Closes (Davies, 1992) 35mm<\/span><\/p>\n

Mommy is at the Hairdresser’s (Pool, 2008) 35mm<\/span> <\/p>\n

Bug (Friedkin, 2006)
\n<\/p>\n

\n<\/div>\n

<\/br>
\nFebruary<\/span><\/strong><\/p>\n

Crimson Gold (Panahi, 2003)<\/p>\n

Through the Olive Trees (Kiarostami, 1994)<\/p>\n

Fitzcarraldo (Herzog, 1982)<\/p>\n

Coraline (Selick, 2009) DP<\/span> <\/p>\n

La Vie de Jesus (Dumont, 1997) <\/p>\n

L’Humanite (Dumont, 1999) <\/p>\n

Twentynine Palms (Dumont, 2003)<\/p>\n

Flandres (Dumont, 2006)<\/p>\n

Milk (Van Sant, 2008)<\/p>\n

Close-Up (Kiarostami, 1990)<\/p>\n

Chungking Express (Wong, 1994) <\/p>\n

Old Joy (Reichardt, 2006) <\/p>\n

La Cienaga (Martel, 2001)<\/p>\n

Last Days (Van Sant, 2005)<\/p>\n

Katyn (Wadja, 2007) 35mm<\/span> <\/p>\n

Crash (Cronenberg, 1996) 35mm<\/span><\/p>\n

Gerry (Van Sant, 2002)<\/p>\n

Snow (Begic, 2008) 35mm<\/span> <\/p>\n

Celine and Julie Go Boating (Rivette, 1974)
\n<\/p>\n

\n<\/div>\n

<\/br>
\nMarch<\/span><\/strong><\/p>\n

Glue (Dos Santos, 2006)<\/p>\n

Sans Soleil (Marker, 1983)<\/p>\n

Code Unknown (Haneke, 2000)<\/p>\n

In the City of Sylvia (Guerin, 2007)<\/p>\n

Presque Rien (Lifshitz, 2000)<\/p>\n

Some Photos in the City of Sylvia (Guerin, 2007)<\/p>\n

Gertrud (Dreyer, 1964) 35mm<\/span><\/p>\n

La Captive (Akerman, 2000) <\/p>\n

Vicky Cristina Barcelona (Allen, 2008)<\/p>\n

Wild Side (Lifshitz, 2004) <\/p>\n

Wonderful Town (Assarat, 2007) <\/p>\n

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Akerman, 1975) 35mm<\/span> <\/p>\n

Train of Shadows (Guerin, 1997) <\/p>\n

Lola Montes (Ophuls, 1955) 35mm<\/span> <\/p>\n

The Exterminating Angel (Bunuel, 1962) <\/p>\n

Silence and Cry (Jancso, 1967) 35mm<\/span><\/p>\n

The Round-Up (Jancso, 1966) 35mm<\/span><\/p>\n

Red Psalm (Jancso, 1972) 35mm<\/span><\/p>\n

The Red and the White (Jancso, 1967) 35mm<\/span><\/p>\n

Melancholia (Diaz, 2008) DP<\/span>
\n<\/p>\n

\n<\/div>\n

<\/br>
\nApril<\/span><\/strong><\/p>\n

Southland Tales (Kelly, 2006)<\/p>\n

Hiroshima mon amour (Resnais, 1959)<\/p>\n

Picture of Light (Mettler, 1994)<\/p>\n

The Traveller (Kiarostami, 1974)<\/p>\n

Rosetta (Dardennes, 1999)<\/p>\n

En Construccion (Guerin, 2001)<\/p>\n

The Cruise (Miller, 1998)<\/p>\n

The Wild Blue Yonder (Herzog, 2005)<\/p>\n

RR (Benning, 2007) 16mm<\/span><\/p>\n

Casting a Glance (Benning, 2007) 16mm<\/span> <\/p>\n

13 Lakes (Benning, 2004) 16mm<\/span><\/p>\n

Ten Skies (Benning, 2004) 16mm<\/span> <\/p>\n

The Wind Will Carry Us (Kiarostami, 1999)
\n<\/p>\n

\n<\/div>\n

<\/br>
\nMay<\/span><\/strong><\/p>\n

Mirror (Tarkovsky, 1975)<\/p>\n

Cat Ladies (Callan-Jones) DP<\/span><\/p>\n

Clubland (Geringas, 2009) DP<\/span><\/p>\n

Jackpot (Black, 2009) DP<\/span><\/p>\n

Audition (Pazira, 2009) DP<\/span><\/p>\n

Best Worst Movie (Stephenson, 2009) DP<\/span><\/p>\n

Art & Copy (Pray, 2009) DP<\/span> <\/p>\n

A Hard Name (Zweig, 2009) DP<\/span> <\/p>\n

Rembrandt’s J’Accuse (Greenaway, 2008) DP<\/span><\/p>\n

Objectified (Hustwit, 2009) DP<\/span><\/p>\n

Old Partner (Lee, 2008) DP<\/span><\/p>\n

The Cove (Psihoyos, 2009) DP<\/span><\/p>\n

Antoine (Bari, 2008) DP<\/span><\/p>\n

Star Trek (Abrams, 2009) DP<\/span> <\/p>\n

Nashville (Altman, 1975)<\/p>\n

Fantasma (Alonso, 2006) <\/p>\n

Goodbye Dragon Inn (Tsai, 2003) <\/p>\n

Serbis (Mendoza, 2008) 35mm<\/span> <\/p>\n

Fig Trees (Greyson, 2009) DP<\/span> <\/p>\n

L’Age D’or (Bunuel, 1930) 35mm<\/span><\/p>\n

Wilby Wonderful (MacIver, 2004) 35mm<\/span> <\/p>\n

The Girlfriend Experience (Soderbergh, 2009) <\/p>\n

Julia (Zonca, 2008)
\n<\/p>\n

\n<\/div>\n

<\/br>
\nJune<\/span><\/strong><\/p>\n

Laura (Preminger, 1944) 35mm<\/span> <\/p>\n

Up (Doctor, 2009) 3D<\/span><\/p>\n

Anatomy of a Murder (Preminger, 1959) 35mm<\/span><\/p>\n

Fata Morgana (Herzog, 1971) <\/p>\n

The Thin Red Line (Malick, 1998)<\/p>\n

Twin Peaks: Fire Walk With Me (Lynch, 1992)<\/p>\n

Tulpan (Dvortsevoy, 2008) 35mm<\/span> <\/p>\n

The 13th Letter (Preminger, 1951) 35mm<\/span><\/p>\n

The Man With the Golden Arm (Preminger, 1955) 35mm<\/span><\/p>\n

Advise and Consent (Preminger, 1962) 35mm<\/span><\/p>\n

Chloe (Egoyan, 2009) DP<\/span><\/p>\n

Exodus (Preminger, 1960) 35mm<\/span><\/p>\n

Bunny Lake is Missing (Preminger, 1965) 35mm<\/span><\/p>\n

Blow-Up (Antonioni, 1966) 35mm<\/span><\/p>\n

Last Year at Marienbad (Resnais, 1961)<\/p>\n

Forever Amber (Preminger, 1947) 35mm<\/span><\/p>\n

Amarcord (Fellini, 1973) 35mm<\/span> <\/p>\n

Eraserhead (Lynch, 1977) 35mm<\/span>
\n<\/p>\n

\n<\/div>\n

<\/br>
\nJuly<\/span><\/strong><\/p>\n

Margin For Error (Preminger, 1943) 35mm<\/span> <\/p>\n

Such Good Friends (Preminger, 1971) 35mm<\/span><\/p>\n

Une femme est une femme (Godard, 1961) 35mm<\/span><\/p>\n

Sex is Comedy (Breillat, 2002)<\/p>\n

Alphaville (Godard, 1965) 35mm<\/span><\/p>\n

Jules and Jim (Truffaut, 1962) 35mm<\/span> <\/p>\n

The Nun (Rivette, 1966) 35mm<\/span><\/p>\n

Act of God (Baichwal, 2009) DP<\/span> <\/p>\n

Sign of Leo (Rohmer, 1959) 35mm<\/span><\/p>\n

Duplicity (Gilroy, 2009) <\/p>\n

Pierrot le fou (Godard, 1965) 35mm<\/span><\/p>\n

Down By Law (Jarmusch, 1986)<\/p>\n

Vivre sa vie (Godard, 1962) 35mm<\/span> <\/p>\n

Cache (Haneke, 2005)<\/p>\n

INLAND EMPIRE (Lynch, 2006)<\/p>\n

Judex (Franju, 1963)<\/p>\n

Simon of the Desert (Bunuel, 1965)<\/p>\n

Harry Potter and the Half-Blood Prince (Yates, 2009) DP<\/span><\/p>\n

Melinda & Melinda (Allen, 2004) <\/p>\n

Bruno (Charles, 2009)<\/p>\n

Shadows (Cassavetes, 1959)<\/p>\n

Faces (Cassavetes, 1968) <\/p>\n

Public Enemies (Mann, 2009) DP<\/span><\/p>\n

A Woman Under the Influence (Cassavetes, 1974)<\/p>\n

For All Mankind (Reinert, 1989) <\/p>\n

The Killing of a Chinese Bookie (Cassavetes, 1976) <\/p>\n

Days of Heaven (Malick, 1978)<\/p>\n

The Hurt Locker (Bigelow, 2008)<\/p>\n

Lola (Demy, 1961) 35mm<\/span><\/p>\n

Paris nous appartient (Rivette, 1960) 35mm<\/span><\/p>\n

The Third Man (Reed, 1949) <\/p>\n

Cria Cuervos… (Saura, 1976) <\/p>\n

Divine Intervention (Suleiman, 2002)
\n<\/p>\n

\n<\/div>\n

<\/br>
\nAugust<\/span><\/strong><\/p>\n

Where Lies Your Hidden Smile? (Costa, 2001)<\/p>\n

Playtime (Tati, 1967) 35mm<\/span> <\/p>\n

The Piano Teacher (Haneke, 2001) <\/p>\n

Turning Gate (Hong, 2002)<\/p>\n

Gloria (Cassavetes, 1980)<\/p>\n

The Forsaken Land (Jayasundara, 2005)<\/p>\n

Le Beau Serge (Chabrol, 1958) 35mm<\/span><\/p>\n

In Praise of Love (Godard, 2001) 35mm<\/span><\/p>\n

Don’t Touch the Axe (Rivette, 2007) 35mm<\/span><\/p>\n

Husbands (Cassavetes, 1970)<\/p>\n

L’Enfance-nue (Pialat, 1968)<\/p>\n

Symbiopsychotaxiplasm: Take One (Greaves, 1968)<\/p>\n

Suzanne’s Career (Rohmer, 1963)<\/p>\n

My Night at Maud’s (Rohmer, 1969)<\/p>\n

Parade (Tati, 1974)<\/p>\n

Landscape in the Mist (Angelopoulos, 1988)<\/p>\n

The Garden of Delights (Saura, 1967)<\/p>\n

Tetro (Coppola, 2009)<\/p>\n

The Romance of Astrea and Celadon (Rohmer, 2007) 35mm<\/span> <\/p>\n

Eyes Without a Face (Franju, 1960)<\/p>\n

Woyzeck (Herzog, 1979)<\/p>\n

Bad Company (Eustache, 1963) 35mm<\/span><\/p>\n

Santa Claus Has Blue Eyes (Eustache, 1966) 35mm<\/span><\/p>\n

La Collectioneuse (Rohmer, 1967)<\/p>\n

Les Enfants Terribles (Melville, 1950) 35mm<\/span> <\/p>\n

Before Sunrise (Linklater, 1995)<\/p>\n

Before Sunset (Linklater, 2004)<\/p>\n

The Leopard (Visconti, 1963) 35mm<\/span><\/p>\n

Adieu Philippine (Rozier, 1962) 35mm<\/span><\/p>\n

Repulsion (Polanski, 1965)<\/p>\n

Duelle: une quarantaine (Rivette, 1976)<\/p>\n

Head-On (Akin, 2004)<\/p>\n

Inglourious Basterds (Tarantino, 2009) 35mm<\/span><\/p>\n

I’m Not There (Haynes, 2007)<\/p>\n

Hukkle (Palfi, 2002)<\/p>\n

Cria Cuervos… (Saura, 1976)<\/p>\n

Martyrs (Laugier, 2008)<\/p>\n

Taxidermia (Palfi, 2006)<\/p>\n

Donkey Skin (Demy, 1970)<\/p>\n

Kill Bill, Vol. 1 (Tarantino, 2003)<\/p>\n

Kill Bill, Vol. 2 (Tarantino, 2004)
\n<\/p>\n

\n<\/div>\n

<\/br>
\nSeptember<\/span><\/strong><\/p>\n

The Forest For the Trees (Ade, 2003)<\/p>\n

Zodiac: Director’s Cut (Fincher, 2007)<\/p>\n

L.A. Confidential (Hanson, 1997)<\/p>\n

The Happiest Girl in the World (Jude, 2009) 35mm<\/span><\/p>\n

Face (Tsai, 2009) 35mm<\/span><\/p>\n

Dogtooth (Lanthimos, 2009) 35mm<\/span><\/p>\n

Vision (Von Trotta, 2009) 35mm<\/span><\/p>\n

Independencia (Martin, 2009) 35mm<\/span><\/p>\n

Irene (Cavalier, 2009) DP<\/span><\/p>\n

The White Ribbon (Haneke, 2009) DP<\/span><\/p>\n

Let Each One Go Where He May (Russell, 2009) 16mm<\/span><\/p>\n

The Father of My Children (Hansen-Love, 2009) 35mm<\/span><\/p>\n

All Fall Down (Hoffman, 2009) 35mm<\/span><\/p>\n

Petropolis (Mettler, 2009) DP<\/span><\/p>\n

In Comparison (Farocki, 2009) 16mm<\/span><\/p>\n

Police, Adjective (Porumboiu, 2009) 35mm<\/span><\/p>\n

Moloch Tropical (Peck, 2009) 35mm<\/span><\/p>\n

Karaoke (Fui, 2009) 35mm<\/span><\/p>\n

Wild Grass (Resnais, 2009) DP<\/span><\/p>\n

Soul Kitchen (Akin, 2009) 35mm<\/span><\/p>\n

Lebanon (Maoz, 2009) 35mm<\/span><\/p>\n

White Material (Denis, 2009) 35mm<\/span><\/p>\n

Lourdes (Hausner, 2009) DP<\/span><\/p>\n

The Wind Journeys (Guerra, 2009) 35mm<\/span><\/p>\n

Ajami (Shani & Copti, 2009) 35mm<\/span><\/p>\n

I Killed My Mother (Dolan, 2009) 35mm<\/span><\/p>\n

Les Derniers jours du monde (Larrieu, 2009) 35mm<\/span><\/p>\n

Carcasses (C\u00f4t\u00e9, 2009) DP<\/span><\/p>\n

I Am Love (Guadagnino, 2009) 35mm<\/span><\/p>\n

To Die Like a Man (Rodrigues, 2009) 35mm<\/span><\/p>\n

I Am Not Your Friend (P\u00e1lfi, 2009) 35mm<\/span><\/p>\n

Spring Fever (Lou, 2009) 35mm<\/span><\/p>\n

Trash Humpers (Korine, 2009) DP<\/span><\/p>\n

Women Without Men (Neshat, 2009) DP<\/span><\/p>\n

Crab Trap (Navia, 2009) 35mm<\/span><\/p>\n

Hadewijch (Dumont, 2009) 35mm<\/span><\/p>\n

Odete (Rodrigues, 2005) – 5.6<\/p>\n

Antichrist (Von Trier, 2009) – 6.5<\/p>\n

Close Encounters of the Third Kind (Spielberg, 1977) – 5.7<\/p>\n

Mammoth (Moodysson, 2009) – 1.8
\n<\/p>\n

\n<\/div>\n

<\/br>
\nOctober<\/span><\/strong><\/p>\n

Passe ton bac d’abord (Pialat, 1979) – 5.9<\/p>\n

Liverpool (Alonso, 2008) – 7.3<\/p>\n

Mother (Bong, 2009) – 68<\/p>\n

The Man Who Wasn’t There (Coens, 2001) – 7.4<\/p>\n

Home (Meier, 2008) – 7.6<\/p>\n

Oporto of My Childhood (de Oliveira, 2001) 35mm<\/span> – 6.3<\/p>\n

Eccentricities of a Blonde-Haired Girl (de Oliveira, 2009) 35mm<\/span> – 6.9<\/p>\n

Francisca (de Oliveira, 1981) 35mm<\/span> – 5.7<\/p>\n

Superstar: The Karen Carpenter Story (Haynes, 1987) – 8.3<\/p>\n

Humpday (Shelton, 2009) – 6.8<\/p>\n

Drag Me To Hell (Raimi, 2009) DP<\/span> – 6.7<\/p>\n

The Forest For the Trees (Ade, 2003) – 7.5<\/p>\n

Fish Tank (Arnold, 2009) – 4.9<\/p>\n

I’m Going Home (de Oliveira, 2001) 35mm<\/span> – 7.4<\/p>\n

The Red Shoes (Powell & Pressburger, 1948) 35mm<\/span> – 6.4<\/p>\n

Benilde, or The Virgin Mother (de Oliveira, 1975) 35mm<\/span> – 8.1<\/p>\n

The Baxter (Showalter, 2005) – 5.9<\/p>\n

The Romance of Astrea and Celadon (Rohmer, 2007) – 8.0<\/p>\n

Our Beloved Month of August (Gomes, 2008) – 7.5<\/p>\n

Rumba (Abel, Gordon, & Romy, 2008) – 6.8<\/p>\n

The GoodTimesKid (Jacobs, 2005) – 6.5<\/p>\n

Esther Kahn (Desplechin, 2000) – 5.9<\/p>\n

The Straight Story (Lynch, 1999) – 6.3
\n<\/p>\n

\n<\/div>\n

<\/br>
\nNovember<\/span><\/strong><\/p>\n

Bright Star (Campion, 2009) 35mm<\/span> – 4.7<\/p>\n

The Limits of Control (Jarmusch, 2009) – 5.8<\/p>\n

Who’s Camus Anyway? (Yanagimachi, 2005) – 7.0<\/p>\n

Man With a Movie Camera (Vertov, 1929) 35mm<\/span> – 9.1<\/p>\n

Dogville (von Trier, 2003) – 8.3<\/p>\n

Ruhr (Benning, 2009) – 7.6<\/p>\n

After Last Season (Region, 2009) – 3.1<\/p>\n

Women On the Verge of a Nervous Breakdown (Almodovar, 1988) – 7.8<\/p>\n

Clue (Lynn, 1985) – 5.6<\/p>\n

Eternal Sunshine of the Spotless Mind (Gondry, 2004) – 8.1<\/p>\n

The Fly (Cronenberg, 1986) – 8.4<\/p>\n

Images of the World and the Inscription of War (Farocki, 1989) – 4.7<\/p>\n

Donnie Darko (Kelly, 2001) – 4.3<\/p>\n

Rear Window (Hitchcock, 1954) – 9.2<\/p>\n

Fantastic Mr. Fox (Anderson, 2009) DP<\/span> – 7.4<\/p>\n

The Shining (Kubrick, 1980) – 6.7<\/p>\n

The Headless Woman (Martel, 2008) 35mm<\/span> – 8.2<\/p>\n

La Cienaga (Martel, 2001) 35mm<\/span> – 8.5
\n<\/p>\n

\n<\/div>\n

<\/br>
\nDecember<\/span><\/strong><\/p>\n

Devils On the Doorstep (Jiang, 2000) – 4.6<\/p>\n

Home (Meier, 2008) – 7.2<\/p>\n

The Umbrellas of Cherbourg (Demy, 1964) 35mm<\/span> – 8.0<\/p>\n

A History of Violence (Cronenberg, 2005) – 7.6<\/p>\n

Precious: Based on the Novel Push by Sapphire (Daniels, 2009) – 3.0<\/p>\n

A Prophet (Audiard, 2009) – 4.8<\/p>\n

La Antena (Sapir, 2007) – 2.1<\/p>\n

The Gleaners and I (Varda, 2000) – 8.5<\/p>\n

The Box (Kelly, 2009) – 3.9<\/p>\n

Double Take (Grimonprez, 2009) – 5.1<\/p>\n

Milk of Sorrow (Llosa, 2009) – 5.6<\/p>\n

Taste of Cherry (Kiarostami, 1997) – 7.2<\/p>\n

Munyurangabo (Chung, 2007) – 5.9<\/p>\n

Tales from the Golden Age (Mungiu, et al, 2009) – 4.8<\/p>\n

Drama\/Mex (Naranjo, 2006) – 6.1<\/p>\n

You, the Living (Andersson, 2007) – 4.5<\/p>\n

Spider (Cronenberg, 2002) – 3.8<\/p>\n

City of Life and Death (Lu, 2009) – 5.0<\/p>\n

Michael Clayton (Gilroy, 2007) – 5.7<\/p>\n

Fargo (Coen, 1996) – 8.3<\/p>\n

Tropic Thunder (Stiller, 2008) – 5.3<\/p>\n

The Wizard of Oz (Fleming, 1939) – 8.2<\/p>\n

Avatar (Cameron, 2009) 3D<\/span> – 5.7<\/p>\n

Greetings From the Woods (Karlsson, 2009) – 2.3<\/p>\n

Up (Docter, 2009) – 3.5<\/p>\n

Where the Wild Things Are (Jonze, 2009) – 6.4<\/p>\n

Avatar (Cameron, 2009) 3D<\/span> – 6.0<\/p>\n

Letters to Father Jacob (H\u00e4r\u00f6, 2009) – 3.2<\/p>\n

The Prestige (Nolan, 2006) – 8.1<\/p>\n

Inglourious Basterds (Tarantino, 2009) – 8.0<\/p>\n","protected":false},"excerpt":{"rendered":"

January The Headless Woman (Martel, 2008) Aguirre: The Wrath of God (Herzog, 1972) Ossos (Costa, 1997) The Wrestler (Aronofsky, 2008) Red Desert (Antonioni, 1964) Yumurta (Kaplanolgu, 2007) Women on the Verge of a Nervous Breakdown (Almodovar, 1988) Knife in the Water (Polanski, 1962) Summer Hours (Assayas, 2008) Romance (Breillat, 1999) Jour de fete (Tati, 1949) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1506","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/1506","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/comments?post=1506"}],"version-history":[{"count":18,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/1506\/revisions"}],"predecessor-version":[{"id":8127,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/1506\/revisions\/8127"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=1506"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=1506"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=1506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}