{"id":9927,"date":"2014-07-18T11:34:52","date_gmt":"2014-07-18T15:34:52","guid":{"rendered":"http:\/\/www.portlandmonthly.com\/portmag\/?p=9927"},"modified":"2014-07-22T10:55:04","modified_gmt":"2014-07-22T14:55:04","slug":"the-zombie-diaries","status":"publish","type":"post","link":"https:\/\/www.portlandmonthly.com\/portmag\/the-zombie-diaries\/","title":{"rendered":"The Zombie Diaries"},"content":{"rendered":"

July\/August 2014 | view this story as a .pdf<\/a><\/p>\n

They came to my house, didn’t wear my pajamas, and didn’t take my vodka.<\/h3>\n

By Colin W. Sargent<\/p>\n

\"Zombie-Diaries\"<\/a>Ray Wise has starred in everything from Cat People<\/em> to Twin Peaks<\/em>, Robocop<\/em>, Mad Men<\/em>, and Girl With the Tramp Stamp Tattoo<\/em>. Now he\u2019s starring in my house at 155 Western Promenade, wearing PJs that look disturbingly like mine, walking up the stairs to shoot a scene in Kyle Rankin\u2019s Night of the Living Deb<\/em>.<\/p>\n

Have you ever met someone who seems more comfortable in your surroundings than you do?<\/p>\n

Please consider this cautionary tale if ever you plan to open your home to a feature-film crew shooting a zombie romantic comedy. By now, the talented cast and characters of this film are well known in the Forest City. I hope these diary selections can slip us past the Fourth Wall that separates an audience from the cast, because there\u2019s an exciting creative dimension in between. It\u2019s been a rare opportunity for me to see my house, and even myself, through vastly different eyes.<\/p>\n

INTERIOR, MANDERLEY, DAY. It\u2019s the Friday before shooting begins at our house at 155 Western Promenade, the 1922 Georgian Revival home my wife and I have been restoring since we bought it in 2008. The house is nicknamed \u201cManderley\u201d after the mansion in the Hitchcock movie Rebecca<\/em>.<\/p>\n

SCOTT TAYLOR, location manager, scouting from room to room with an air of satisfaction, surveys my library with our books, hard-bound copies of 28 years of Portland Magazine,<\/em> and my prize Zuber mural showing the Boston panel from Views of North America<\/em>: \u201cThis is the office of the most egotistical man in Portland, Maine.\u201d<\/p>\n

I gulp. \u201cIn the movie, you mean.\u201d<\/p>\n

Sunday Morning, June 22. Shooting begins. 6:18 a.m. I am intent upon hiding the liquor from the film people, not because I\u2019m thinking they\u2019ll steal it but because it looks so weird that I keep this much. I have half of it loaded in the car. But this kid, this Fast and Furious<\/em>-looking kid who\u2019s among the first four people I\u2019ve opened the house to, has somehow found a way, in just two minutes, to go upstairs, find his way down a service corridor, come down our back stairs, and knock over and break a bottle of merlot I\u2019ve put there for just a second. It\u2019s not just a strike, it\u2019s a miracle. Amid jagged glass, a purple pool blooms incriminatingly.<\/p>\n

Scott: \u201cDo you have a dust pan?\u201d<\/p>\n

Fifty people have now trailed through the building, with walkie talkies and big long steps like they\u2019re walking outdoors. Many wear black sweatshirts with hoods and wake-up hair. They\u2019re like a road crew, only they\u2019re all former National Merit semifinalists or something. Lots of bandanas and beards unless they\u2019re one of the younger, callow guys. So many from everywhere and therefore nowhere. They\u2019re walking Indian file, and now they have headsets on, looking around curiously. They\u2019re all wedding planners. It\u2019s hard not to join the line except this is my house. I know what they\u2019re going to see.<\/p>\n

Except I don\u2019t. What I see is invisible to them, and vice versa.<\/p>\n

Now tripods and a million man purses. Some of the people roll up the bottoms of their bluejeans and wear tight black tee shirts. Yellow suitcases. Black suitcases.<\/p>\n

Upon seeing our kitchen, a young woman with Tamsyn hair say, \u201cHoly crow.\u201d<\/p>\n

And I imagine a holy crow, an Apache deity maybe, sweeping in from above D.H. Lawrence\u2019s summer retreat in New Mexico. Or something out of Carlos Castaneda.<\/p>\n

\u201cDo we know where we are?\u201d<\/p>\n

\u201cWe\u2019ll be doing makeup in here.\u201d<\/p>\n

\u201cNot too much to do until the art truck arrives. We\u2019re waiting on Jeremy, I guess.\u201d Jeremy White is the production designer.<\/p>\n

\u201cYes, we\u2019re all waiting on Jeremy.\u201d<\/p>\n

The star room in this mansion, really, is the bathroom. \u201cIs there, a\u2026\u201d is the way it comes up in conversation.<\/p>\n

A makeup artist moves some china from the top of a server in our sunroom. \u201cAnything that looks dainty, we\u2019ll evacuate.\u201d She puts her shiny yellow purse where the creamer and sugar were.<\/p>\n

I close my eyes and listen to the Hollywood talk. In California, \u201cOh, that\u2019s great\u201d must mean, \u2018I didn\u2019t ask you to speak. Leave my presence.\u2019<\/p>\n

By 7:03 a.m., I realize the house is way out of control. Speakers move in on big two-tier carts followed by blue tubs and big black camera equipment. Booms. Gaffer stuff. K-tel. Lots of zippers. Duct tape with \u201cCamera\u201d written on it. I get a close look at all the people who are, and aren\u2019t, mentioned at the end of the film when the credits are flying across the screen and stragglers are bobbing among the theater seats, looking for dropped wallets and sunglasses.<\/p>\n

I hear Miles Davis playing downlow music. Holy crow.<\/p>\n

One of these techies is Marc Bartholomew, of Portland. He wears a blue sweatshirt and carries black ghostbuster gear. \u201cI do documentaries. Kyle was looking for local talent. Ben Kahn recommended me.\u201d<\/p>\n

7:12<\/strong>. I catch a glimpse of two blue director\u2019s chairs set up in Manderley\u2019s solarium.<\/p>\n

\u201cJeremy is here!\u201d Hipster hat, blue Allagash shirt with a red Saison dot on it, glasses. Tall, a beard. He runs the art truck. He should stay in Portland. We have plenty of food trucks now. What we need is art trucks.<\/p>\n

7:06<\/strong>. The first time I see a crewmember eating something. It\u2019s breakfast, something in a white plastic bowl with a peel-top.<\/p>\n

7:14<\/strong>. Fast and Furious comes in from the back garden, eating a banana. I later find a banana on my desk. An offering?<\/p>\n

7:15<\/strong>.I decide to do a walkabout.<\/p>\n

\u201cDo we need batteries out there? It\u2019s as bright as shit. Beautiful.\u201d<\/p>\n

\u201cI\u2019m just worried people are going to kick us out.\u201d<\/p>\n

7:20<\/strong>.It\u2019s the first time I hear the word zombie. Because these people aren\u2019t zombies. They\u2019re really actors.<\/p>\n

Scott asks me to move our RED FIAT from our garage to a position in front of the house. I go out there. A huge old rusty bomber of a Cadillac Coupe de Ville\u2013a zombie car\u2013is parked right in front.<\/p>\n

\u201cHere?\u201d I ask Tom Ackerman, the cinematographer. He\u2019s looking at the RED FIAT. \u201cI\u2019ve driven a Fiat 500 before.\u201d<\/p>\n

\u201cIn Italy? In Naples?\u201d<\/p>\n

\u201cNo! On the Amalfi coast with my wife. It was white knuckles there, though, too.\u201d<\/p>\n

7:30<\/strong>. I see Kyle. The eye of the storm. He has time to talk calmly with everybody. He\u2019s not wearing tech gear. He\u2019s Lord Nelson walking the deck. He stops and watches the costumer air-iron Ray Wise\u2019s blue PJs in our butler\u2019s pantry on a rolling hanger. There\u2019s no need to ask whose PJs they are. \u201cThey are so lame,\u201d Kyle laughs, watching them get smooth. I don\u2019t tell him I have a pair just like them.<\/p>\n

7:40<\/strong>.\u00a0 A techie says, \u201cThey were expecting me, Kyle.\u201d He holds up one of our plastic Cameron-tartan drink coasters in the sun room. Kyle says, \u201cCameron clan?\u201d<\/p>\n

\u201cHow did you get into makeup?\u201d one of the actors asks as he slides into a chair for his zombie makeup.<\/p>\n

\u201cI watched movies when I was a kid,\u201d Cameron says.<\/p>\n

\u201cI have a blue shirt. Should I wear a blue shirt or a black shirt?\u201d<\/p>\n

\u201cThere\u2019s going to be blood on it. You\u2019re infected, not dead.\u201d<\/p>\n

Another actor, in another chair.<\/p>\n

\u201cI\u2019m not having a reaction, am I?\u201d<\/p>\n

\u201cWell it didn\u2019t get in your eye.\u201d<\/p>\n

Scott sweeps by. \u201cOh. So you have a front-row seat to the ghoulishness.\u201d I know that\u2019s not why he\u2019s talking to me. \u201cUm, I forgot to ask you. Do you have a WiFi password we can use?\u201d<\/p>\n

More people flood in. \u201cZombie extras.\u201d<\/p>\n

\u201cJust have them sit in the garden.\u201d<\/p>\n

A guy walks in. \u201cHey, Cameron, do you know where a bathroom is?\u201d<\/p>\n

\u201cIt\u2019s over there.\u201d<\/p>\n

Then the guy says into his mike, \u201cI know, I know. It\u2019s the GFI that keeps tripping.\u201d<\/p>\n

\u201cAcross that hall there,\u201d Cameron Dortsch says.<\/p>\n

\u201cCameron\u2019s a family name of mine,\u201d I tell him. \u201cThose are my valuable plastic coasters.\u201d<\/p>\n

A person I\u2019ve seen everywhere is talking on her head set. She walks while she talks, like on the West Wing<\/em>. \u201cSend them to me,\u201d she says into her mike. Who are you?<\/em> I hear a tinny voice in her headset ask her. \u201cKate is me.\u201d<\/p>\n

Zombies out in the back garden, talking.<\/p>\n

A single person is standing in the dark living room, checking a cell phone.<\/p>\n

\u201cHow many gallons of fake blood?\u201d<\/p>\n

\u201cWe have 200 gallons of fake blood,\u201d Cameron says.<\/p>\n

EXTERIOR, front of Manderley, 8:20 a.m. A guy walks up.\u00a0 \u201cDo you have a bucket and a sponge? We need to wash that RED FIAT out front.\u201d<\/p>\n

Now this is starting to work out! I tell him to look in the basement tool room.<\/p>\n

He\u2019s wearing a blue shirt with blue jeans, the dreaded Canadian Tuxedo. That\u2019s probably why he\u2019s been tapped to wash the car. With a headset on. Seriously, there are at least 50 people wearing headsets.<\/p>\n

CHAD NICHOLSON, a producer, has sunglasses and a cowboy hat on. Standing on the Prom across the street from the house, he assembles his shooting crew for a huddle:<\/p>\n

\u201cWe\u2019re in this beautiful house. We do not want anybody to rush. We want to keep things as breakless as possible. We have fireworks.\u201d<\/p>\n

Tom, cinematographer: \u201cWe can\u2019t underestimate how lucky we are to be in this house. Everything in there you should consider to be absolutely untouchable. We\u2019d thought of using a house in California like this but didn\u2019t dare dream about trying to make that happen. If you need to move something, we\u2019ll ask. Everything that\u2019s going to move, Jeremy will do it. It\u2019s a big house, but it\u2019s also very small. For example, the second-floor landing.\u201d<\/p>\n

\u201cAll right. We\u2019ll just get [the two lead actors, Maria Thayer and Michael Cassidy, waiting in our center hallway] out of the chairs and out here and we\u2019ll shoot a film. We\u2019ll be here about a week. We\u2019ll be able to stretch things out by shooting exteriors.\u201d<\/p>\n

Guys are now beside the RED FIAT, covering over the Quirk motors sticker.<\/p>\n

Kyle is wearing an Allagash Brewing shirt. He\u2019s working by watching others work.<\/p>\n

\u201cKyle, do you want some distant zombies in this shot?\u201d As in, standoffish?<\/p>\n

Cinematographer: \u201cLet\u2019s come down with the camera. More, more, more, lovely lovely, lovely. We have an ideal situation here with these trees.\u201d<\/p>\n

Sharklike, a police car goes by. Joggers just \u201chappen\u201d to go jogging by. Now the former president of Bass Shoes drives a moped by. Is he spying? Other people are walking so deliberately and self-consciously across the front of Manderley you know they hope to be discovered as extras.<\/p>\n

I walk back to the garden to chat with zombie hopefuls. \u201cI\u2019m Charlotte Honan,\u201d one of them says. \u201cI\u2019m from Munjoy Hill. I\u2019m going to drama school next year. I want to go to California, but my dad\u2019s from England, so I\u2019ll probably go to England.\u201d<\/p>\n

\u201cHow did you get hired?\u201d<\/p>\n

\u201cI saw shooting in India Street and saw a couple of the guys with cameras, so I just went up to them. They weren\u2019t filming, so they weren\u2019t busy. They brought me over to Michelle. She said, \u2018Drop me an email. Send a picture of yourself. We\u2019ll see if we can get you in.\u2019 I had butterflies all day. I didn\u2019t know what to wear, even though she said just casual attire.<\/p>\n

\u201cMy dad\u2019s from Salisbury. He\u2019s been an actor his whole life. He\u2019s been in many Portland Stage productions. He was the star of The Foreigner.<\/em> That was easily my favorite play at Portland Stage. I\u2019ve performed in many Christmas Carol<\/em>s at Portland Stage. I know both Hannah and Nora Daly. Michael Rafkin is like an uncle to me. I just backpacked through Australia last year. I love Portland, but I do want to get out again. I definitely want to travel again, because I\u2019ve been bitten by the travel bug and that makes me interested in acting again because there\u2019s the chance to go to all these different shooting sites. Meanwhile, I work at Cool As A Moose. I\u2019m 19. You have a beautiful home. Portland Magazine<\/em>, oh, it\u2019s good to meet you. My mom reads a lot of that.\u201d<\/p>\n

Zombies are in my garden. I snap a candid. I guess, don\u2019t smile.<\/p>\n

\u201c37 Apple, Take 2, Mark.\u201d Two people are in the zombie car. The cameras roll. Then Kyle crawls in to talk with them. I walk into 155 Western Promenade and see two of the actors running lines pretty wonderfully. It\u2019s like I\u2019ve walked into the movie. This is way beyond just a read-through. They\u2019re incredibly animated, natural. It\u2019s like they\u2019re already in the can.<\/p>\n

Fast and Furious walks by. His t-shirt says Property of Cumberland Hall, Maine<\/em>. \u201cDo you want some water?\u201d he asks Cameron in makeup. Cameron perks up. \u201cDid they get the energy drink today? I\u2019m not a morning person.\u201d<\/p>\n

In his other life, Cameron works \u201cas a lab assistant in a hospital in California. I\u2019m 30 minutes from Palm Springs, at the Loma Linda medical center. Where they had the baboon transplant?\u201d<\/p>\n

Did they base the movie on that? The Hungry Heart<\/em> or Untamed Heart<\/em> or whatever?<\/p>\n

\u201cYes.\u201d<\/p>\n

9:55 a.m.<\/strong> They\u2019ve festooned 155 Western Prom with patriotic banners Scott tells me the zombies are about to come in through the gate.<\/p>\n

The heroes are in the bombed-out Cadillac, champagne colored and rusty. \u201cYou don\u2019t even know if they\u2019re in there,\u201d she says. \u201cThey\u2019re in there. Trust me.\u201d Meanwhile, behind them, a zombie is lurching toward them across the Prom.<\/p>\n

Now Kyle and Tom, the cinematographer, are on the front walk. The movie is coming inside. They\u2019re talking about \u201czombie cutaways.\u201d The heroes are still in character, even though they\u2019re not shooting film.<\/p>\n

10:15 a.m.<\/strong> Scott materializes. \u201cThere\u2019s this beautiful Chinese robe behind the door in the room with the Chinese bed. Would it be all right if Ray Wise wears that in one of the scenes?\u201d<\/p>\n

Now a man dressed in green and brown moss, like he\u2019s risen from a swamp, stands on the inside of the front gate at 155 Western Prom. The heroes want in. They run some lines with the swamp man. Jeremy shows up with a machine gun. \u201cFire in the hold.\u201d He burps out some rounds from the plastic gun.<\/p>\n

The moss man, let\u2019s call him Moss Ness, now takes the toy automatic weapon and consults with Jeremy. Moss Man turns the gun and aims toward my neighbor\u2019s faux slate roof.<\/p>\n

I meet Laura Lienert, the set designer, who has brought bunting from her family to put on the house. It\u2019s slightly nostalgic. \u2018Old school,\u2019 they\u2019re supposed to connote. \u201cOh, is this your house?\u201d she asks. \u201cIt\u2019s such a beautiful house.\u201d She\u2019s from Annapolis, Maryland, but now she\u2019s a Mainer who lives in Brunswick in a John Calvin Stevens house from the 1880s.<\/p>\n

Lienert cuts flowers from the back garden and takes them to the front of the house, where the zombies are coming, and makes vignettes with our garden furniture. Why didn\u2019t we ever think to do that?<\/p>\n

The light is so perfect\u00a0 and bright blue it almost bounces against the green lawn and bushes. Such a flawless sky you could cut the light with scissors. Manderley is having a good rose day.<\/p>\n

I ask Laura, Scott, and Kyle if they want me to cut the lawn again, thinking about how it might look different if I were to cut it next week, and they don\u2019t think it matters. I feel as though I can see the individual blades of grass growing.<\/p>\n

\u201cRay Wise is going to be here in about an hour,\u201d Kyle says.<\/p>\n

Back in the garden, two zombies, one on one of my lounge chairs, strike up a conversation with me as time takes a holiday between shots.<\/p>\n

\u201cDo you think your neighbors here in the West End are bothered by this?\u201d one of them asks. Blood is spurting from his mouth and eyes. One of the scenes involves a honking car, and he seems authentically concerned.<\/p>\n

\u201cBelieve me, this is just another day on the Western Prom.\u201d<\/p>\n

One of the zombies is a photographer in his other life. This zombie has paid his dues. \u201cI take concert photos,\u201d Jim Pappaconstantine of Woodford Street says. \u201cI worked for Sweet Potato and FACE magazine.\u201d He mentions Stephen King. \u201cI used to collect old books. I had a very old one of his, a literary chapbook called Moth. I went to one of his readings. During Q & A, I held the book up. \u2018Is this one of the earliest things you ever did?\u2019<\/p>\n

\u201c\u2018Let me see that,\u2019 he said. He came down to the audience, took the book, walked back to the lectern, and said, \u2018No. Next question?\u2019\u201d<\/p>\n

Asked why he\u2019s here, the lounge chair zombie says, \u201cI\u2019m Peter Haase, from Waterville. I\u2019m a big fan of The Walking Dead<\/em>.\u201d<\/p>\n

Beside him is Kyle Warnock, a new Portland resident. \u201cI live near Washington and Oxford, close to the Old Port. I\u2019m really into acting. I love being in productions.\u201d<\/p>\n

Back out front, I overhear cinematographer Tom say to his wife, \u201cYou should see the interior of the house. And check out this view. The air smells so good here.\u201d<\/p>\n

His wife: \u201cI always come to the pretty locations.\u201d<\/p>\n

Scott glides over, after I\u2019ve moved my RED FIAT six times to line up with very precise marks in front of the house. \u201cI\u2019m sorry, Colin, but we\u2019ve looked at light gauge and taken some measurements and now maybe we\u2019re going to use a BLUE VERSA instead.\u201d<\/p>\n

I see the smug little BLUE VERSA driving down Western Promenade. The bitch, with her superior landing ratio, from out of nowhere. \u201cI\u2019m sorry,\u201d Kyle says. \u201cThe red just wasn\u2019t reading right.\u201d<\/p>\n

It\u2019s All About Eve<\/em> all over again! Instead of RED FIAT? How will I break it to RED FIAT? Holy crow, our little RED FIAT is out of the show!<\/p>\n

36 Apple, Take Two, Separate Sticks. Ready, Mark, ACTION [with the BLUE CAR].<\/p>\n

The zombie car pulls up behind Stacey\u2019s car as the cameras glide and pan from a stainless-steel dolly by J.L. Fisher of Burbank, California, on rails across the street, with a big crowd watching. Stacy\u2019s blue <\/em>car. The shot is a wrap. Chad says, \u201cThis was perfect.\u201d He points to the house\u2019s gate, the house itself, the zombie car, the blue car. \u201cRight in the center. Look at the symmetry. Just perfect.\u201d<\/p>\n

12:52p.m.<\/strong> Am I blue!<\/p>\n

12:53p.m.<\/strong> I\u2019m just saying, the zombie extras have been in full face makeup for two hours. They\u2019re starting to look normal to me. Especially when they\u2019re checking their cell phones and eating candy bars to keep their energy up. Particularly two ZOMBIE BOYS who are licking the wrappers, waiting.<\/p>\n

12:57p.m.<\/strong> During an interlude, cars are allowed to drive past 155 Western Prom. I peer through the tinted glass and see that some of the drivers are wearing zombie makeup though they apparently have nothing no more to do with the show than our hapless RED FIAT.<\/p>\n

1:03p.m.<\/strong> Lunch.<\/p>\n

5:40p.m.<\/strong>Ray Wise is being heavily guarded by the filmsters. They revere him so much they even chose Wise potato chips for their cast lunch. I think it\u2019s because he was in Twin Peaks<\/em>, among so many cult shows. I snap a photo of him near our Chinese bed and feel lucky to get this picture, during a rehearsal. From what little I\u2019ve seen, there are at least four people who can act in this show, and Wise is one of them. He almost whispers, but the way he does it is fascinating, as long as they can catch it on audio. He has a really off-putting strangeness. He sits so naturally in my guest room in my son\u2019s souvenir brought back from Hong Kong.<\/p>\n

I remember the first time I ever met Ray Wise, 11 minutes ago. On patrol, I introduce myself to his blank expression, we shake hands, and I say, \u201cIt\u2019s my house.\u201d He says, \u201cWell, it\u2019s lovely,\u201d as if he\u2019s accustomed to being in someone else\u2019s house all the time, and in fact, should I really be here?<\/p>\n

I run into costumer (she doesn\u2019t say costumier<\/em>) Paula Galucci, who is air-drying a second<\/em> set of PJs. When I ask why, she says, \u201cOne set is going to get bloody.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

July\/August 2014
\nThey came to my house, didn’t wear my pajamas, and didn’t take my vodka.<\/p>\n","protected":false},"author":1,"featured_media":9932,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[8],"tags":[84],"class_list":["post-9927","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured","tag-julyaugust-2014"],"_links":{"self":[{"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/posts\/9927","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/comments?post=9927"}],"version-history":[{"count":12,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/posts\/9927\/revisions"}],"predecessor-version":[{"id":9987,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/posts\/9927\/revisions\/9987"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/media\/9932"}],"wp:attachment":[{"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/media?parent=9927"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/categories?post=9927"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.portlandmonthly.com\/portmag\/wp-json\/wp\/v2\/tags?post=9927"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}