{"id":2109769,"date":"2026-08-24T16:16:24","date_gmt":"2026-08-24T13:16:24","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=2109769"},"modified":"2026-08-24T16:16:24","modified_gmt":"2026-08-24T13:16:24","slug":"yeon-sang-ho-south-koreas-zombie-king-tells-us-the-secret-to-k-horrors-success","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=2109769","title":{"rendered":"Yeon Sang-ho: South Korea\u2019s zombie king tells us the secret to K-horror\u2019s success"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Colony_Korean_Horror.jpg&#8221;]<\/p>\n<article id=\"template-id-2749694\" class=\"post-2749694 tdb_templates type-tdb_templates status-publish post\">\n<div id=\"tdi_65\" class=\"tdc-zone\">\n<div class=\"tdc_zone tdi_66  wpb_row td-pb-row\">\n<div id=\"tdi_67\" class=\"tdc-row stretch_row_1400 td-stretch-content\">\n<div class=\"vc_row tdi_68  wpb_row td-pb-row\">\n<div class=\"vc_column tdi_70  wpb_column vc_column_container tdc-column td-pb-span12\">\n<div class=\"wpb_wrapper\">\n<div class=\"td_block_wrap tdb_breadcrumbs tdi_71 td-pb-border-top td_block_template_2 tdb-breadcrumbs \" data-td-block-uid=\"tdi_71\">\n<div class=\"tdb-block-inner td-fix-index\"><span>Features<\/span><span>Film Interviews<\/span><\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_title tdi_72 tdb-single-title td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_72\">\n<div class=\"tdb-block-inner td-fix-index\">\n<h1 class=\"tdb-title-text\">Yeon Sang-ho: South Korea\u2019s zombie king tells us the secret to K-horror\u2019s success<\/h1>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_subtitle tdi_73 td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_73\">\n<div class=\"tdb-block-inner td-fix-index\">\n<p>The director behind modern classic \u2018Train To Busan\u2019 serves up \u2018Colony\u2019 \u2013 another blood-soaked spectacle for genre fans to savour<\/p>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_author tdi_75 td-pb-border-top td_block_template_2 tdb-post-meta\" data-td-block-uid=\"tdi_75\">\n<div class=\"tdb-block-inner td-fix-index\">\n<div class=\"tdb-author-name-wrap\"><span class=\"tdb-author-by\">By<\/span> Martyn Conterio<\/div>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_date tdi_76 td-pb-border-top td_block_template_2 tdb-post-meta\" data-td-block-uid=\"tdi_76\">\n<div class=\"tdb-block-inner td-fix-index\"><time class=\"entry-date updated td-module-date\" datetime=\"2026-08-24T17:16:24+01:00\">24th August 2026<\/time><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"tdi_77\" class=\"tdc-row stretch_row_1400 td-stretch-content\">\n<div class=\"vc_row tdi_78  wpb_row td-pb-row\">\n<div class=\"vc_column tdi_80  wpb_column vc_column_container tdc-column td-pb-span8\">\n<div class=\"wpb_wrapper\">\n<div class=\"td_block_wrap tdb_single_featured_image tdi_81 tdb-content-horiz-left td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_81\">\n<div class=\"tdb-block-inner td-fix-index\">\n<figure><img decoding=\"async\" loading=\"lazy\" width=\"696\" height=\"442\" class=\"entry-thumb\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Colony_Korean_Horror-696x442.jpg\" alt=\"Colony\" title=\"Colony_Korean_Horror\"><figcaption class=\"tdb-caption-text\">&#8216;Colony&#8217; is director Yeon Sang-ho&#8217;s latest zombie horror. CREDIT: StudioCanal UK<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<div class=\"vc_row_inner tdi_83 article-content-row vc_row vc_inner wpb_row td-pb-row\">\n<div class=\"vc_column_inner tdi_85  wpb_column vc_column_container tdc-inner-column td-pb-span12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"td_block_wrap tdb_single_content tdi_86 td-pb-border-top td_block_template_2 td-post-content tagdiv-type\" data-td-block-uid=\"tdi_86\">\n<div class=\"tdb-block-inner td-fix-index\">\n<p><strong class=\"dropcap big-read-dropcap\">Z<\/strong>ombie movies aren\u2019t supposed to make you cry. And yet in Yeon Sang-ho\u2019s breakout live-action debut <em>Train To Busan<\/em>, about a young workaholic father (played by Gong Yoo) protecting his young daughter (Kim Su-an) from a national outbreak on a packed train, tears flowed as much as blood. It was undeniably <em>Train To Busan<\/em>\u2019s moving emotional content that helped it stand out from the flesh-eating crowd.<\/p>\n<ul>\n<li><strong>Read more:<\/strong> The best films of 2026\u2026 so far!<\/li>\n<\/ul>\n<p>Acclaimed South Korean auteur Yeon Sang-ho has made all sorts of films to date, from grim animated features to superhero flicks, but it was <em>Train To Busan<\/em> \u2013 which premiered to raves at Cannes Film Festival 2016 \u2013 that put him on a pedestal with countrymen Park Chan-wook, Bong Joon-ho and Na Hong-jin. With new K-horror <em>Colony<\/em>, he\u2019s returning for his fourth rodeo among the living dead.<\/p>\n<div class=\"td-a-ad id_inline_ad0 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>Importantly, <em>Colony<\/em> isn\u2019t tied to the <em>Train To Busan<\/em> universe, as were the animated prequel <em>Seoul Station<\/em> (2016) and stand-alone sequel <em>Peninsula<\/em> (2020). Nevertheless, it is another expertly made mix of bodily carnage, muscular action and unexpected sentimentality.<\/p>\n<figure id=\"attachment_3964431\" aria-describedby=\"caption-attachment-3964431\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-3964431\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Yeon_Sang_Ho.jpg\" alt=\"Yeon Sang-ho\" width=\"2000\" height=\"1270\"><figcaption id=\"caption-attachment-3964431\" class=\"wp-caption-text\">Yeon Sang-ho at Cannes Film Festival 2026 in France. CREDIT: Michael Buckner\/Variety via Getty Images<\/figcaption><\/figure>\n<p>Talking to <em>NME<\/em> via Zoom from his home country, the director thinks he knows why zombies have ruled horror for well over two decades now as the mainstream monster of choice: \u201cEven as time changes, [zombie movies] always represent the fear we experience at that specific moment. That is why they always feel very fresh.\u201d In our post-pandemic world, it\u2019s hard not to agree. Yeon\u2019s films are almost eerily prescient in their depictions of society riven by paranoia and life-threatening disease. During politically fraught times, survival horror taps into something both primal and contemporary that sparkly vampires and ghosts simply cannot.<\/p>\n<p><em>Colony<\/em> \u2013 about a biotech terrorist unleashing a pathogen at a science conference in order to improve humanity \u2013 is, like <em>The Towering Inferno<\/em> meets <em>Die Hard<\/em> (with zombies). The vast majority of the action \u2013 and this film is action-packed to the rafters \u2013 takes place in a commercial tower block, with survivors banding together to outwit not just the hordes of drooling ghouls but also Koo Kyo-hwan\u2019s maniacal yet perversely utopian baddie. He\u2019s more than just an outcast scientist wreaking havoc. He\u2019s infected himself with the virus and can telepathically communicate with the undead. Hans Gruber could never. Warming to the topic of the zombie movie\u2019s uncanny ability to reflect modern times, Yeon adds: \u201cMy movie <em>Colony<\/em> is more about our current society, in which you have the confrontation between individuality and collectiveness \u2013 the universality of collectiveness.\u201d<\/p>\n<p>Originally, he had no interest in making another zombie film at all, but the story he wanted to tell \u2013 about the slow weakening of personal identity in an age of digital overload \u2013 seemed a natural fit. \u201cOnly after discussing it with my co-writer Choi Gyu-seok, who worked with me on [Netflix show] <em>Hellbound<\/em>, [did I decide to do it],\u201d he says. \u201cWe wanted to go deeper into this theme of collectiveness. We realised the high-speed exchange of information going on nowadays leads to the erosion of individuality in human beings.\u201d<\/p>\n<blockquote>\n<p>\u201cZombie movies are the greatest way to depict social issues\u201d<\/p>\n<\/blockquote>\n<div class=\"td-a-ad id_inline_ad1 id_ad_content-horiz-center\">\n<h5 class=\"taboola-mid-article-title\">Recommended<\/h5>\n<\/div>\n<p>Critics have long picked up on what they see as Yeon\u2019s pessimistic outlook. His animated features <em>Seoul Station<\/em>, <em>The King Of Pigs<\/em> and <em>The Fake<\/em> all present darker visions of life, but he doesn\u2019t agree that qualifies him as one of modern cinema\u2019s miserabilists. \u201cI don\u2019t think I\u2019m pessimistic. I\u2019m not pessimistic in real life\u2026 There is a famous Japanese author I really like [called Keiichiro Hirano]. I will quote what he wrote in the introduction to one of his novels [<em>Tale Of The First Moon<\/em>]: \u2018All human beings have inside themselves a demonic side. In order to speak or see the humanist aspect of oneself, we also have to go deep through the demonic side we all have in us.\u2019\u201d This literary influence \u2013 Yeon also namechecks surrealist author Kafka and Greek fabulist Aesop during our chat \u2013 is apparent in <em>Train To Busan<\/em>, <em>Seoul Station<\/em>, <em>Peninsula<\/em> and <em>Colony<\/em>, as well as his other works, in that they often have characters making difficult choices with dangerous outcomes for themselves and others. That darkness within can energise a person or lead to their destruction.<\/p>\n<p>Yeon\u2019s zombie films are distinctly South Korean. The director attributes this to his homeland\u2019s need to make horror appeal to a broader audience. \u201cThat is why the messages in Korean zombie films are very clear,\u201d he says. \u201cThe [unique] themes, and the fact we mix genres, are [what mark] Korean zombie movies out from other zombie movies.\u201d It\u2019s why <em>Train To Busan<\/em> made audiences bawl. It wasn\u2019t just a film about zombies on a train \u2013 a reworked <em>Snakes On A Plane<\/em>, in other hands \u2013 it was the story of a man proving his worth as a father. \u201c<em>Train To Busan<\/em> is a zombie movie, but at the same time a disaster movie, an action movie and a family drama,\u201d says Yeon. \u201cYou can have a mix of different genres.\u201d<\/p>\n<figure id=\"attachment_3964429\" aria-describedby=\"caption-attachment-3964429\" class=\"wp-caption alignnone\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-3964429\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Colony_Horror.jpg\" alt=\"Colony\" width=\"2000\" height=\"1270\"><figcaption id=\"caption-attachment-3964429\" class=\"wp-caption-text\">\u2018Colony\u2019, directed by Yeon Sang-ho. CREDIT: StudioCanal UK<\/figcaption><\/figure>\n<p>If <em>Train To Busan<\/em> was a cross-sectional look at society trapped on a speeding locomotive, <em>Colony<\/em>\u2019s use of vertical space functions like a lab experiment. Yeon chose the location \u2013 a multi-level corporate building \u2013 because it symbolised a glass container in a scientist\u2019s lab. \u201cYou\u2019re not interested in what is outside. You analyse only what is in the glass container,\u201d he says. It\u2019s quite a cold way of looking at the world and it\u2019s what gives <em>Colony<\/em>, like Yeon\u2019s other work, a certain bleakness. \u201cI think about what makes us human, what humanity is, and I wait and try to have this chemical reaction come from the setting,\u201d he adds.<\/p>\n<div class=\"td-a-ad id_inline_ad2 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>With <em>Colony<\/em>, Yeon has now made four gripping, high-energy films in the same genre. Might he have had his fill now? \u201cZombie movies are, I think, the greatest way to depict the social issues of their [respective] time,\u201d he muses again. Perhaps that\u2019s what makes his films stick out. Like George A. Romero, whose 1968 masterpiece <em>Night Of The Living Dead<\/em> boasted a political conscience along with its shocking scenes of cannibalism, Yeon\u2019s take on the genre also has plenty of that thing zombies really love: brains.<\/p>\n<p><em>\u2018Colony\u2019 is in UK cinemas on August 28<\/em><\/p>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_tags tdi_87 td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_87\">\n<div class=\"tdb-block-inner td-fix-index\">\n<ul class=\"tdb-tags\">\n<li><span>Related Topics<\/span><\/li>\n<li>Horror<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<div class=\"wpb_wrapper td_block_wrap vc_raw_html tdi_89 \">\n<div class=\"td-fix-index\">\n<h3>You May Also Like<\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"vc_column tdi_91  wpb_column vc_column_container tdc-column td-pb-span4 td-is-sticky\">\n<div class=\"wpb_wrapper\">\n<div class=\"td-a-rec td-a-rec-id-sidebar  tdi_92 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class=\"tdb-block-inner td-fix-index\">\n<p><strong class=\"dropcap big-read-dropcap\">Z<\/strong>ombie movies aren\u2019t supposed to make you cry. And yet in Yeon Sang-ho\u2019s breakout live-action debut <em>Train To Busan<\/em>, about a young workaholic father (played by Gong Yoo) protecting his young daughter (Kim Su-an) from a national outbreak on a packed train, tears flowed as much as blood. It was undeniably <em>Train To Busan<\/em>\u2019s moving emotional content that helped it stand out from the flesh-eating crowd.<\/p>\n<ul>\n<li><strong>Read more:<\/strong> The best films of 2026\u2026 so far!<\/li>\n<\/ul>\n<p>Acclaimed South Korean auteur Yeon Sang-ho has made all sorts of films to date, from grim animated features to superhero flicks, but it was <em>Train To Busan<\/em> \u2013 which premiered to raves at Cannes Film Festival 2016 \u2013 that put him on a pedestal with countrymen Park Chan-wook, Bong Joon-ho and Na Hong-jin. With new K-horror <em>Colony<\/em>, he\u2019s returning for his fourth rodeo among the living dead.<\/p>\n<div class=\"td-a-ad id_inline_ad0 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>Importantly, <em>Colony<\/em> isn\u2019t tied to the <em>Train To Busan<\/em> universe, as were the animated prequel <em>Seoul Station<\/em> (2016) and stand-alone sequel <em>Peninsula<\/em> (2020). Nevertheless, it is another expertly made mix of bodily carnage, muscular action and unexpected sentimentality.<\/p>\n<figure id=\"attachment_3964431\" aria-describedby=\"caption-attachment-3964431\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-3964431\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Yeon_Sang_Ho.jpg\" alt=\"Yeon Sang-ho\" width=\"2000\" height=\"1270\"><figcaption id=\"caption-attachment-3964431\" class=\"wp-caption-text\">Yeon Sang-ho at Cannes Film Festival 2026 in France. CREDIT: Michael Buckner\/Variety via Getty Images<\/figcaption><\/figure>\n<p>Talking to <em>NME<\/em> via Zoom from his home country, the director thinks he knows why zombies have ruled horror for well over two decades now as the mainstream monster of choice: \u201cEven as time changes, [zombie movies] always represent the fear we experience at that specific moment. That is why they always feel very fresh.\u201d In our post-pandemic world, it\u2019s hard not to agree. Yeon\u2019s films are almost eerily prescient in their depictions of society riven by paranoia and life-threatening disease. During politically fraught times, survival horror taps into something both primal and contemporary that sparkly vampires and ghosts simply cannot.<\/p>\n<p><em>Colony<\/em> \u2013 about a biotech terrorist unleashing a pathogen at a science conference in order to improve humanity \u2013 is, like <em>The Towering Inferno<\/em> meets <em>Die Hard<\/em> (with zombies). The vast majority of the action \u2013 and this film is action-packed to the rafters \u2013 takes place in a commercial tower block, with survivors banding together to outwit not just the hordes of drooling ghouls but also Koo Kyo-hwan\u2019s maniacal yet perversely utopian baddie. He\u2019s more than just an outcast scientist wreaking havoc. He\u2019s infected himself with the virus and can telepathically communicate with the undead. Hans Gruber could never. Warming to the topic of the zombie movie\u2019s uncanny ability to reflect modern times, Yeon adds: \u201cMy movie <em>Colony<\/em> is more about our current society, in which you have the confrontation between individuality and collectiveness \u2013 the universality of collectiveness.\u201d<\/p>\n<p>Originally, he had no interest in making another zombie film at all, but the story he wanted to tell \u2013 about the slow weakening of personal identity in an age of digital overload \u2013 seemed a natural fit. \u201cOnly after discussing it with my co-writer Choi Gyu-seok, who worked with me on [Netflix show] <em>Hellbound<\/em>, [did I decide to do it],\u201d he says. \u201cWe wanted to go deeper into this theme of collectiveness. We realised the high-speed exchange of information going on nowadays leads to the erosion of individuality in human beings.\u201d<\/p>\n<blockquote>\n<p>\u201cZombie movies are the greatest way to depict social issues\u201d<\/p>\n<\/blockquote>\n<div class=\"td-a-ad id_inline_ad1 id_ad_content-horiz-center\">\n<h5 class=\"taboola-mid-article-title\">Recommended<\/h5>\n<\/div>\n<p>Critics have long picked up on what they see as Yeon\u2019s pessimistic outlook. His animated features <em>Seoul Station<\/em>, <em>The King Of Pigs<\/em> and <em>The Fake<\/em> all present darker visions of life, but he doesn\u2019t agree that qualifies him as one of modern cinema\u2019s miserabilists. \u201cI don\u2019t think I\u2019m pessimistic. I\u2019m not pessimistic in real life\u2026 There is a famous Japanese author I really like [called Keiichiro Hirano]. I will quote what he wrote in the introduction to one of his novels [<em>Tale Of The First Moon<\/em>]: \u2018All human beings have inside themselves a demonic side. In order to speak or see the humanist aspect of oneself, we also have to go deep through the demonic side we all have in us.\u2019\u201d This literary influence \u2013 Yeon also namechecks surrealist author Kafka and Greek fabulist Aesop during our chat \u2013 is apparent in <em>Train To Busan<\/em>, <em>Seoul Station<\/em>, <em>Peninsula<\/em> and <em>Colony<\/em>, as well as his other works, in that they often have characters making difficult choices with dangerous outcomes for themselves and others. That darkness within can energise a person or lead to their destruction.<\/p>\n<p>Yeon\u2019s zombie films are distinctly South Korean. The director attributes this to his homeland\u2019s need to make horror appeal to a broader audience. \u201cThat is why the messages in Korean zombie films are very clear,\u201d he says. \u201cThe [unique] themes, and the fact we mix genres, are [what mark] Korean zombie movies out from other zombie movies.\u201d It\u2019s why <em>Train To Busan<\/em> made audiences bawl. It wasn\u2019t just a film about zombies on a train \u2013 a reworked <em>Snakes On A Plane<\/em>, in other hands \u2013 it was the story of a man proving his worth as a father. \u201c<em>Train To Busan<\/em> is a zombie movie, but at the same time a disaster movie, an action movie and a family drama,\u201d says Yeon. \u201cYou can have a mix of different genres.\u201d<\/p>\n<figure id=\"attachment_3964429\" aria-describedby=\"caption-attachment-3964429\" class=\"wp-caption alignnone\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-3964429\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Colony_Horror.jpg\" alt=\"Colony\" width=\"2000\" height=\"1270\"><figcaption id=\"caption-attachment-3964429\" class=\"wp-caption-text\">\u2018Colony\u2019, directed by Yeon Sang-ho. CREDIT: StudioCanal UK<\/figcaption><\/figure>\n<p>If <em>Train To Busan<\/em> was a cross-sectional look at society trapped on a speeding locomotive, <em>Colony<\/em>\u2019s use of vertical space functions like a lab experiment. Yeon chose the location \u2013 a multi-level corporate building \u2013 because it symbolised a glass container in a scientist\u2019s lab. \u201cYou\u2019re not interested in what is outside. You analyse only what is in the glass container,\u201d he says. It\u2019s quite a cold way of looking at the world and it\u2019s what gives <em>Colony<\/em>, like Yeon\u2019s other work, a certain bleakness. \u201cI think about what makes us human, what humanity is, and I wait and try to have this chemical reaction come from the setting,\u201d he adds.<\/p>\n<div class=\"td-a-ad id_inline_ad2 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>With <em>Colony<\/em>, Yeon has now made four gripping, high-energy films in the same genre. Might he have had his fill now? \u201cZombie movies are, I think, the greatest way to depict the social issues of their [respective] time,\u201d he muses again. Perhaps that\u2019s what makes his films stick out. Like George A. Romero, whose 1968 masterpiece <em>Night Of The Living Dead<\/em> boasted a political conscience along with its shocking scenes of cannibalism, Yeon\u2019s take on the genre also has plenty of that thing zombies really love: brains.<\/p>\n<p><em>\u2018Colony\u2019 is in UK cinemas on August 28<\/em><\/p>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.nme.com\/features\/film-interviews\/yeon-sang-ho-zombie-k-horror-colony-train-to-busan-3964397&#8243;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/www.nme.com\/wp-content\/uploads\/2026\/08\/Colony_Korean_Horror.jpg&#8221;] FeaturesFilm Interviews Yeon Sang-ho: South Korea\u2019s zombie king tells us the secret to K-horror\u2019s success The director behind modern classic \u2018Train To Busan\u2019 serves up \u2018Colony\u2019 \u2013 another blood-soaked spectacle for genre fans to savour By Martyn Conterio 24th August 2026 &#8216;Colony&#8217; is director Yeon Sang-ho&#8217;s latest zombie horror. CREDIT: StudioCanal UK [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,78],"class_list":["post-2109769","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-nme-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2109769","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2109769"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2109769\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2109769"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2109769"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2109769"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}