{"id":63613,"date":"2019-01-08T19:00:40","date_gmt":"2019-01-09T00:00:40","guid":{"rendered":"https:\/\/newsroom.carleton.ca\/?post_type=cu_story&#038;p=63613"},"modified":"2025-08-19T09:37:32","modified_gmt":"2025-08-19T13:37:32","slug":"conversation-oscars-roma","status":"publish","type":"cu_story","link":"https:\/\/carleton.ca\/news\/story\/conversation-oscars-roma\/","title":{"rendered":"The Oscars: what you may have missed in &#8216;Roma&#8217;"},"content":{"rendered":"\n<section class=\"w-screen px-6 cu-section cu-section--white ml-offset-center md:px-8 lg:px-14\">\n    <div class=\"space-y-6 cu-max-w-child-max  md:space-y-10 cu-prose-first-last\">\n\n        \n                    \n                    \n            \n    <div class=\"cu-wideimage relative flex items-center justify-center mx-auto px-8 overflow-hidden md:px-16 rounded-xl not-prose  my-6 md:my-12 first:mt-0 bg-opacity-50 bg-cover bg-cu-black-50 pt-24 pb-32 md:pt-28 md:pb-44 lg:pt-36 lg:pb-60 xl:pt-48 xl:pb-72\" style=\"background-image: url(https:\/\/carleton.ca\/news\/wp-content\/uploads\/sites\/162\/coversation-oscars-roma-1200w-1.jpg); background-position: 50% 50%;\">\n\n                    <div class=\"absolute top-0 w-full h-screen\" style=\"background-color:rgba(0,0,0,0.600);\"><\/div>\n        \n        <div class=\"relative z-[2] max-w-4xl w-full flex flex-col items-center gap-2 cu-wideimage-image cu-zero-first-last\">\n            <header class=\"mx-auto mb-6 text-center text-white cu-pageheader cu-component-updated cu-pageheader--center md:mb-12\">\n\n                                    <h1 class=\"cu-prose-first-last font-semibold mb-2 text-3xl md:text-4xl lg:text-5xl lg:leading-[3.5rem] cu-pageheader--center text-center mx-auto after:left-px\">\n                        The Oscars: what you may have missed in &#039;Roma&#039;\n                    <\/h1>\n                \n                            <\/header>\n        <\/div>\n\n                    <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"absolute bottom-0 w-full z-[1]\" fill=\"none\" viewbox=\"0 0 1280 312\">\n                <path fill=\"#fff\" d=\"M26.412 315.608c-.602-.268-6.655-2.412-13.524-4.769a1943.84 1943.84 0 0 1-14.682-5.144l-2.276-.858v-5.358c0-4.876.086-5.358.773-5.09 1.674.643 21.38 5.84 34.646 9.109 14.682 3.59 28.935 6.858 45.936 10.449l9.874 2.089H57.322c-16.4 0-30.31-.16-30.91-.428ZM460.019 315.233c42.974-10.074 75.602-19.88 132.443-39.867 76.16-26.791 152.063-57.709 222.385-90.663 16.7-7.823 21.336-10.074 44.262-21.273 85.004-41.688 134.719-64.193 195.291-88.413 66.55-26.577 145.2-53.584 194.27-66.765C1258.5 5.626 1281.34 0 1282.24 0c.17 0 .34 27.596.34 61.3v61.299l-2.23.375c-84.7 13.718-165.93 35.955-310.736 84.931-46.494 15.753-65.427 22.076-96.166 32.15-9.102 3-24.814 8.198-34.989 11.574-107.543 35.954-153.008 50.422-196.626 62.639l-6.74 1.876-89.126-.054c-78.135-.054-88.782-.161-85.948-.857ZM729.628 312.875c33.229-10.985 69.248-23.523 127.506-44.207 118.705-42.223 164.596-57.709 217.446-73.302 2.62-.75 8.29-2.465 12.67-3.751 56.19-16.772 126.94-33.597 184.17-43.671 5.07-.91 9.66-1.768 10.22-1.875l.94-.161v170.236l-281.28-.054H719.968l9.66-3.215ZM246.864 313.411c-65.041-2.251-143.047-12.11-208.432-26.256-18.375-3.965-41.73-9.538-42.202-10.074-.171-.214-.257-21.38-.214-47.046l.129-46.618 6.654 3.697c57.313 32.043 118.491 56.531 197.699 79.143 40.313 11.521 83.459 18.058 138.669 21.059 15.584.857 65.685.857 81.14 0 33.744-1.876 61.306-4.93 88.396-9.806 6.396-1.126 11.634-1.983 11.722-1.929.255.375-20.48 7.769-30.999 11.038-28.592 8.948-59.288 15.646-91.873 20.147-26.36 3.59-50.015 5.627-78.35 6.698-15.584.59-55.209.59-72.339-.053Z\"><\/path>\n                <path fill=\"#fff\" d=\"M-3.066 295.067 32.06 304.1v9.033H-3.066v-18.066Z\"><\/path>\n            <\/svg>\n            <\/div>\n\n    \n\n    <\/div>\n<\/section>\n\n<p><a href=\"https:\/\/www.romamovie.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Roma<\/a>  \u2014 Alfonso Cuar\u00f3n\u2019s powerful film about daily life in Mexico in the 1970s   \u2014 has been nominated for 10 Oscars, including the top prize as best picture of the year. Cuar\u00f3n has been praised for both his technical and storytelling skills and members of <a href=\"https:\/\/www.oscars.org\/oscars\/ceremonies\/2019\" target=\"_blank\" rel=\"noopener noreferrer\">the Academy of Motion Picture Arts and Sciences<\/a> have rewarded him with nominations for direction, cinematography and original screenplay.<\/p>\n\n\n\n<p>Despite its popularity   \u2014 Roma had limited theatrical release but is available for streaming on <a href=\"https:\/\/www.netflix.com\/ca\/title\/80240715\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix<\/a>  \u2014 the film contains some subtle but important elements that have been largely ignored by critics so far.<\/p>\n\n\n\n<p>Two of these elements are Mexico\u2019s political context in the early 1970s and the ongoing conditions that have characterized domestic workers\u2019 lives since. <\/p>\n\n\n\n<p>The main character of <em>Roma<\/em> is Cleo (played by Yalitza Aparicio, who was nominated for best actress), a domestic worker based on a woman named Liboria Rodr\u00edguez (known as Libo) who worked for Cuar\u00f3n\u2019s family when he was a child.<\/p>\n\n\n\n<figure>\n            <iframe loading=\"lazy\" width=\"688\" height=\"407\" src=\"https:\/\/www.youtube.com\/embed\/6BS27ngZtxg?wmode=transparent&amp;start=0\" frameborder=\"0\" allowfullscreen=\"\"><\/iframe><br>\n          <\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h2 id=\"who-were-los-halcones\" class=\"wp-block-heading\">Who were <em>Los Halcones<\/em>?<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>Cuar\u00f3n situates <em>Roma\u2019s<\/em> characters amid significant historical events: the fight of some Mexicans for social progress and their opposition to a political, authoritarian regime that worked to maintain its privileges through various means.<\/p>\n\n\n\n<p>One of these means is exemplified in the film by the character Ferm\u00edn \u2014 Cleo\u2019s boyfriend (played by Jorge Antonio Guerrero) who belongs to the paramilitary group <em>Los Halcones<\/em> (The Hawks).<\/p>\n\n\n\n<p>We know now by <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\">various direct sources<\/a> and United States government declassified documents that high-ranking Mexican government officials <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">secretly organized<\/a>, financed, <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-35.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">trained and armed<\/a> various groups, including <em>Los Halcones<\/em>, to help quash social movements in the late 1960s and early 1970s.<\/p>\n\n\n\n<p><em>Los Halcones<\/em> were composed of around 2,000 young men, aged 18 to 29, <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\">distributed in squads<\/a> of 200 members each.<\/p>\n\n\n\n<p><a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The squads\u2019 leaders were middle-class university students<\/a> who, for their participation, received free education, weekly stipends and the promise of a bright future in the ruling Revolutionary Institutional Party (PRI).<\/p>\n\n\n\n<p>The assailants and hit-men were <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\">gang members<\/a> and <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-38.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">working class<\/a> and unemployed young men. They were paid half of what the leaders received.<\/p>\n\n\n\n<p><em>Los Halcones<\/em> <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-35.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">were also trained by Mexican military and police personnel<\/a> who, <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">subsidized by USAID<\/a>, <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-01.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">had previously received training<\/a> at the International Police Academy in Washington.<\/p>\n\n\n\n<figure class=\"wp-block-image align-center\"><img decoding=\"async\" src=\"https:\/\/images.theconversation.com\/files\/252756\/original\/file-20190107-32145-4g9xh.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip\" alt=\"The Oscars: what you may have missed in Roma\"\/><figcaption class=\"wp-element-caption\">\n              <span class=\"caption\">A scene from the award-winning \u2018Roma.\u2019<\/span><br>\n            <\/figcaption><\/figure>\n\n\n\n<h2 id=\"an-attack-on-mexican-democracy\" class=\"wp-block-heading\">An attack on Mexican democracy<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>On June 10, 1971, <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\">around 10,000 demonstrators<\/a>, <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/\" target=\"_blank\" rel=\"noopener noreferrer\">mainly students<\/a>, marched to demand improvements to Mexico\u2019s democratic, economic and social conditions.<\/p>\n\n\n\n<p>In <em>Roma<\/em>, Cleo and others pass these demonstrators on their way to a furniture store. They also pass, in a depiction of real life, a long row of riot police trucks and idle police officers, while <em>Halcones<\/em> patiently wait at the corner.<\/p>\n\n\n\n<p>Armed with canes and M1 and M2 rifles, <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Halcones<\/em> attacked demonstrators<\/a>, producing the second bloodiest event in modern Mexican history (<a href=\"https:\/\/slate.com\/culture\/2018\/11\/roma-corpus-christi-student-massacre-el-halconazo.html\" target=\"_blank\" rel=\"noopener noreferrer\"><em>El Halconazo<\/em><\/a>), only after the <a href=\"http:\/\/news.bbc.co.uk\/2\/hi\/americas\/7646473.stm\" target=\"_blank\" rel=\"noopener noreferrer\">Tlatelolco massacre of October 1968<\/a>.<\/p>\n\n\n\n<p>It is estimated that around 120 people were killed and hundreds more injured, including <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\">children, women and seniors<\/a>. Although the military and uniformed police <a href=\"https:\/\/www.youtube.com\/watch?v=wO_1E1cwzmM\" target=\"_blank\" rel=\"noopener noreferrer\">knew beforehand about the attack<\/a>, they <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-40.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">stood by and did nothing<\/a>.<\/p>\n\n\n\n<h2 id=\"masculinity-and-violence\" class=\"wp-block-heading\">Masculinity and violence<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>Ferm\u00edn belongs to the second-tier group of <em>Los Halcones<\/em>. In the hotel, he confesses to Cleo: \u201cI owe my life to martial arts [to <em>Halcones<\/em>]. I grew up with nothing, you know?\u201d<\/p>\n\n\n\n<p>Portraying the real <em>Halcones<\/em> youth, Ferm\u00edn\u2019s participation offered him certain social mobility but only in exchange for committing atrocities.<\/p>\n\n\n\n<p>Some young men\u2019s allegiance to <em>Los Halcones<\/em> and their corrupt decisions were thus mediated by class aspirations, ideology and violence.<\/p>\n\n\n\n<p><em>Los Halcones\u2019<\/em> violence also <a href=\"https:\/\/nsarchive2.gwu.edu\/NSAEBB\/NSAEBB91\/mexstu-38.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">manifested in gender violence.<\/a> This is depicted in <em>Roma<\/em> when Ferm\u00edn dismisses his paternity and threatens to beat Cleo and their unborn daughter if she insists on looking for him.<\/p>\n\n\n\n<p>Moreover, despite his low-class background, Ferm\u00edn ends the scene yelling \u201c<em>gata<\/em>\u201d at Cleo, an upper class-based insult aimed only at domestic servants,  reflecting the latter\u2019s low ascribed social status.<\/p>\n\n\n\n<h2 id=\"domestic-workers-in-mexico\" class=\"wp-block-heading\">Domestic workers in Mexico<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>A second element that has not been widely discussed, which <em>Roma<\/em> touches on, is the historical conditions of domestic workers.<\/p>\n\n\n\n<p>As of June 2018, there were <a href=\"http:\/\/www.beta.inegi.org.mx\/contenidos\/saladeprensa\/boletines\/2018\/enoe_ie\/enoe_ie2018_08.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2.2 million domestic workers in Mexico<\/a>. Around 95 per cent are women, mostly young and middle-aged (<a href=\"https:\/\/www.conapred.org.mx\/index.php?contenido=noticias&amp;id=5427&amp;id_opcion=446\" target=\"_blank\" rel=\"noopener noreferrer\">some are even children<\/a>).<\/p>\n\n\n\n<p>In 2010, <a href=\"https:\/\/www.inegi.org.mx\/programas\/ccpv\/2010\/\" target=\"_blank\" rel=\"noopener noreferrer\">58 per cent of Indigenous women in the Monterrey Metropolitan Area were domestic workers<\/a>. Many  migrated from the countryside to the city. This means that, as Indigenous migration researcher <a href=\"http:\/\/www.scielo.org.mx\/scielo.php?script=sci_arttext&amp;pid=S0185-39292013000200004\" target=\"_blank\" rel=\"noopener noreferrer\">S\u00e9verine Durin asserts<\/a>, domestic work is strongly shaped by ethnicity.<\/p>\n\n\n\n<p>It is not a coincidence then that Cuar\u00f3n\u2019s former nanny Libo or the characters Cleo and Adela in <em>Roma<\/em> are (young) Indigenous women.<\/p>\n\n\n\n<h2 id=\"disadvantageous-labour-conditions\" class=\"wp-block-heading\">Disadvantageous labour conditions<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>Mexican laws <a href=\"https:\/\/legalzone.com.mx\/wp-content\/uploads\/2018\/06\/Descargar-pdf-Ley-Federal-del-Trabajo-legalzone-m%C3%A9xico.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">do not offer domestic workers the same rights and benefits<\/a> that other workers enjoy, such as paid sick days and holidays. They can also be dismissed without warning at any time.<\/p>\n\n\n\n<p>Only as recently as December 2018, <a href=\"http:\/\/www.internet2.scjn.gob.mx\/red2\/comunicados\/noticia.asp?id=5806\" target=\"_blank\" rel=\"noopener noreferrer\">the Mexican Supreme Court determined<\/a> that it is unconstitutional for employers to deny domestic workers access to social security, meaning mainly access to public health services.<\/p>\n\n\n\n<p><a href=\"http:\/\/www.scielo.org.mx\/scielo.php?script=sci_arttext&amp;pid=S0185-39292013000200004\" target=\"_blank\" rel=\"noopener noreferrer\">It is commonplace for domestic workers<\/a> to face low wages, long working hours and no holidays. Some also experience humiliation, mistreatment and discrimination for <a href=\"https:\/\/www.theguardian.com\/cities\/2015\/nov\/10\/empleadas-domesticas-ciudad-de-mexico-luchan-trato-digno\" target=\"_blank\" rel=\"noopener noreferrer\">speaking their Indigenous language<\/a>, wearing traditional clothes, <a href=\"http:\/\/www.revistaterritorio.mx\/el-parque-de-las-gatas.html\" target=\"_blank\" rel=\"noopener noreferrer\">practising cultural customs<\/a> and for their physical traits.<\/p>\n\n\n\n<p>Others experience forced confinement or <a href=\"https:\/\/www.animalpolitico.com\/2017\/03\/trabajadoras-domesticas-impunidad-delitos\/\" target=\"_blank\" rel=\"noopener noreferrer\">sexual abuse<\/a> by the men of the family or teenage sons. Yet, domestic workers are expected to thank their employers for the \u201copportunity\u201d to have a job.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.conapred.org.mx\/index.php?contenido=noticias&amp;id=5427&amp;id_opcion=446\" target=\"_blank\" rel=\"noopener noreferrer\">Only one in 10 women file a complaint<\/a> when they encounter a problem with their employers. <\/p>\n\n\n\n<p>Domestic workers with children also need to make extraordinary arrangements for their own children to be taken care of, meaning prolonged separation many times while they take care of other families\u2019 children. Their caring and affection not only become commodified, but also dislocated.<\/p>\n\n\n\n<h2 id=\"not-really-part-of-the-family\" class=\"wp-block-heading\">Not really part of the family<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>Some employers consider domestic workers as \u201cpart of the family.\u201d However, uneven power relations, class differentials, discrimination and racism make them not really part of the family.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=vAa9dueHtVI\" target=\"_blank\" rel=\"noopener noreferrer\">Cuar\u00f3n mentioned<\/a> that he was forced to recognize several decades later, and only after he started working on <em>Roma<\/em>, that Libo was, first, a woman, and second, an Indigenous woman. He then realized that Libo belongs to a \u201cworld of affective needs, a world of sexual desires,\u201d and also to \u201ca more dispossessed group, a world of injustice.\u201d<\/p>\n\n\n\n<p>In <em>Roma<\/em>, the family members are unaware of the domestic workers\u2019 social and personal lives.<\/p>\n\n\n\n<p>When Cleo is taken to the delivery room, the grandmother, Teresa, is asked by a nurse about Cleo\u2019s second last name, her date of birth and if she has insurance. But Teresa cannot answer those questions.<\/p>\n\n\n\n<p>Cleo picks up after the family dog\u2019s, feeds the family, prepares the kids for school, puts them to bed, washes and irons the family\u2019s clothes and cleans the house. Still, the grandmother ignores everything about Cleo despite living in the \u201csame\u201d house (usually, domestic workers sleep and even eat apart from the family).<\/p>\n\n\n\n<p>Cleo is \u201cpart of the family\u201d but she is not really part of the family.<\/p>\n\n\n\n<h2 id=\"daily-violence\" class=\"wp-block-heading\">Daily violence<\/h2>\n\n\n\n<p><\/p>\n\n\n\n<p>Overall, <em>Roma<\/em> contains various stories that subtly unveil different forms of violence: poverty, social exclusion and gender-based violence promoted by <a href=\"https:\/\/www.theguardian.com\/commentisfree\/2012\/oct\/17\/difference-between-sexism-and-misogyny\" target=\"_blank\" rel=\"noopener noreferrer\">sexist and misogynistic<\/a> forms of masculinity.<\/p>\n\n\n\n<p>Moreover, domestic workers\u2019 quiet but endless work, which in <em>Roma<\/em> takes over half of the film, hinders uneven power relations mediated by class, gender, age, affection, ethnicity, race and the urban\/rural divide.<\/p>\n\n\n\n<p>These factors intersect to maintain domestic workers, mainly (Indigenous) women, in subordinate positions. They are conveniently imagined as \u201cpart of the family,\u201d but they are never really part of the family, neither in Mexico, nor <a href=\"https:\/\/utorontopress.com\/ca\/not-one-of-the-family-2\" target=\"_blank\" rel=\"noopener noreferrer\">in Canada<\/a>, nor anywhere else in the world.<\/p>\n\n\n\n<p><em>This is a corrected version of a story originally published Jan. 8, 2019. The original story said: \u201cin 2010, 58 per cent of Indigenous women were domestic workers.\u201d It should have said: \u201cIn 2010, 58 per cent of Indigenous women in the Monterrey Metropolitan Area were domestic workers.\u201d<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><\/p>\n\n\n\n<p>This article is republished from <a href=\"https:\/\/theconversation.com\/institutions\/carleton-university-900\" target=\"_blank\" rel=\"noopener noreferrer\">The Conversation<\/a> under a Creative Commons license. Carleton University is a member of this unique digital journalism platform that launched in June 2017 to boost visibility of Canada\u2019s academic faculty and researchers. Interested in writing a piece? Please contact <a href=\"mailto:steven.reid3@carleton.ca\">Steven Reid<\/a> or <a href=\"https:\/\/theconversation.com\/become-an-author\" target=\"_blank\" rel=\"noopener noreferrer\">sign up to become an author<\/a>.<\/p>\n\n\n\n<p><em>All photos provided by The Conversation from various sources.<\/em><\/p>\n\n\n\n<p>&#8212;<br>\n<a href=\"https:\/\/newsroom.carleton.ca\/\">Carleton Newsroom<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/counter.theconversation.com\/content\/109330\/count.gif?distributor=republish-lightbox-basic\" alt=\"The Conversation\"\/><\/figure>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Roma \u2014 Alfonso Cuar\u00f3n\u2019s powerful film about daily life in Mexico in the 1970s \u2014 has been nominated for 10 Oscars, including the top prize as best picture of the year. Cuar\u00f3n has been praised for both his technical and storytelling skills and members of the Academy of Motion Picture Arts and Sciences have rewarded [&hellip;]<\/p>\n","protected":false},"author":410,"featured_media":63614,"template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"cu_story_type":[1623],"cu_story_tag":[],"class_list":["post-63613","cu_story","type-cu_story","status-publish","has-post-thumbnail","hentry","cu_story_type-expert-perspectives"],"acf":{"cu_post_thumbnail":false},"_links":{"self":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story\/63613","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story"}],"about":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/types\/cu_story"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/users\/410"}],"version-history":[{"count":3,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story\/63613\/revisions"}],"predecessor-version":[{"id":63618,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story\/63613\/revisions\/63618"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/media\/63614"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/media?parent=63613"}],"wp:term":[{"taxonomy":"cu_story_type","embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story_type?post=63613"},{"taxonomy":"cu_story_tag","embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story_tag?post=63613"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}