{"id":124696,"date":"2025-04-26T07:14:59","date_gmt":"2025-04-26T07:14:59","guid":{"rendered":"https:\/\/teknomers.com\/en\/director-gavin-oconnor-confirms-development-of-the-accountant-3\/"},"modified":"2025-04-26T07:14:59","modified_gmt":"2025-04-26T07:14:59","slug":"director-gavin-oconnor-confirms-development-of-the-accountant-3","status":"publish","type":"post","link":"https:\/\/teknomers.com\/en\/director-gavin-oconnor-confirms-development-of-the-accountant-3\/","title":{"rendered":"Director Gavin O’Connor Confirms Development of The Accountant 3"},"content":{"rendered":"

What tonal challenges did Gavin O\u2019Connor face while developing The Accountant 2<\/em>?<\/strong>
\nHow does O\u2019Connor incorporate real-world issues like human trafficking into the film\u2019s narrative?<\/strong>
\nWhat are the key themes surrounding brotherhood explored in The Accountant 2<\/em>?<\/strong>
\nHow did O\u2019Connor ensure the film maintains a balance between serious subject matter and humor?<\/strong>
\nWhat does O\u2019Connor envision for the future of the Accountant<\/em> trilogy?<\/strong>
\nHow did the production team create a positive atmosphere on set for The Accountant 2<\/em>?<\/strong>
\nIn what ways did the filmmaker refresh the character dynamics without repeating elements from the first film?<\/strong>
\nHow does the setting of California influence the production of The Accountant 2<\/em>?<\/strong>
\nWhat significance does the character of Christian Wolff have in relation to the themes of love and connection?<\/strong>
\nWhat inspired O\u2019Connor\u2019s deep commitment to the Warrior<\/em> franchise and its potential series?<\/strong> <\/p>\n

\n

Gavin O\u2019Connor walked quite the tonal tightrope on The Accountant 2<\/em>. <\/p>\n

In 2018, the filmmaker initiated development on a follow-up to his Ben Affleck-led sleeper hit from two years earlier. Alongside franchise screenwriter Bill Dubuque, they decided to tackle human trafficking inside a buddy action-comedy about Christian (Affleck) and Braxton Wolff\u2019s (Jon Bernthal) fraternal reconnection. O\u2019Connor was well aware of the \u201ctall tonal order\u201d in front of him, but after his previous Affleck drama, The Way Back<\/em> (2020), opened in theaters just five days before the pandemic shut down the country, he knew he also wanted to give audiences some theater-friendly popcorn entertainment. <\/p>\n

The sequel\u2019s story still has some of the darker undertones of the predecessor, namely in the form of a central mystery involving a fractured Salvadoran family that fled the MS-13 gang violence of their native El Salvador for the States. The subplot bears at least some resemblance to the current headlines about the family of Salvadoran migrant Kilmar Abrego Garcia, and O\u2019Connor admits that it\u2019s been bizarre to see his long-gestating sequel become this relevant in real time. (The nature of Affleck\u2019s autistic vigilante accountant character has its own newfound relevance, as well.)<\/p>\n

\u201cIt\u2019s not new that people are determined to leave the violence and poverty of that country to come to America and start a new life. It\u2019s a country that Bill and I had read about and researched, and it just felt like the right place,\u201d O\u2019Connor tells The Hollywood Reporter<\/em> in support of April 25\u2019s theatrical release. \u201cShining a light on it and putting that up on screen was just really important to me. But it was very tricky, tonally, to straddle that line and still try to make a fun movie.\u201d<\/p>\n

O\u2019Connor is determined to complete an Accountant<\/em> trilogy, and he\u2019s confident that the threequel won\u2019t take the better part of a decade like the sequel. <\/p>\n

\u201cWe always intended it to be a trilogy, and we\u2019re having conversations [with Amazon], so it will not be another nine years before we do our third one,\u201d O\u2019Connor stresses. \u201cChris [Affleck] needs to find love. So I want to be able to give Christian that by the end of the third movie.\u201d<\/p>\n

O\u2019Connor\u2019s 2011 film, Warrior<\/em>, continues to be one of the most beloved sports dramas of all time. The MMA story about the Conlon brothers \u2014 starring two then-mostly-unknown leads in Tom Hardy and Joel Edgerton \u2014 underperformed at the box office, grossing $24.2 million against a $25 million budget. However, it\u2019s had a storied post-theatrical afterlife between its near $20 million in estimated DVD\/Blu-ray sales and a consistent presence on premium and basic cable channels, as well as streamers. <\/p>\n

O\u2019Connor previously had a spiritual sequel series set up at Paramount+ and HBO Max, respectively, but both streamers dropped out mid-development, likely due to 2022\u2019s major market correction toward streaming. In any event, the Long Island native still hasn\u2019t given up on one of his dream projects. <\/p>\n

\u201cIf there\u2019s any project I\u2019ve ever had that is so passionately alive in my bloodstream, it\u2019s this TV series. So I\u2019m hoping I find the right home for it,\u201d O\u2019Connor says. \u201cThe DNA of the movie Warrior<\/em> was two brothers on a collision course to fight each other in the Sparta tournament. So the series is called Warriors<\/em> because we took that idea for two men and two women. There\u2019s nothing like it on television, so hopefully someone can see what I have in my head.\u201d<\/p>\n

Below, during a recent conversation with THR<\/em>, O\u2019Connor also discusses why he isn\u2019t optimistic about California\u2019s chances of meaningfully reigniting production, before addressing how a lightsaber ended up in Affleck\u2019s character\u2019s hands. <\/p>\n

\n

In December \u201821, I asked Jon Bernthal about a then-potential Accountant<\/em> sequel, and he wasn\u2019t ready to count his chickens just yet.
\n(Laughs<\/em>.)
\nWas there quite a bit of uncertainty as to whether this would actually happen?<\/strong> <\/p>\n

Yeah, there\u2019s been uncertainty for years. It\u2019s been a very Kafkaesque experience trying to get this movie made, especially considering The Accountant<\/em> did fairly well at the box office, vis-a-vis the [$44 million] budget that we had on that first movie. It was a pretty profitable film, domestically and globally. So, for a myriad of reasons, there was a lot of starting and stopping, and obstacles kept getting thrown in the way. So it wore on all of us, and while we all passionately wanted to make the movie, I think we were all cautious after all the starts and stops. It just never felt like it was guaranteed to happen. <\/p>\n

You really have a knack for telling fraternal stories. Is there a deep-rooted explanation for this? <\/p>\n

I definitely gravitate towards stories of brothers and stories of fathers and sons, so there\u2019s a thematic through-line there. When I look at Warrior<\/em>, that was a very biographical film in so many ways. As a filmmaker, I\u2019m obviously trying to express myself through story. So [Accountant<\/em> franchise writer] Bill Dubuque and I very intentionally wanted to explore the relationship with the two brothers in the second Accountant<\/em> movie. That was always a very important exercise for us. People have asked about Anna Kendrick\u2019s [absence], but she was never intended to be in the second movie. It was always about bringing the brothers together so they can try to fix things with each other. That\u2019s really what we wanted to explore. These are two guys that are searching for human connection and love, which we can all relate to. So I love the idea of exploring stories of brothers, but I\u2019m very far away from Chris [Wolff] in a lot of ways, and I\u2019m very far away from Braxton [Wolff] in a lot of ways. So [The Accountant 2<\/em>] is probably a little less personal than some of my other films in regard to the depth of the characters, but not in regard to the emotional through-line of brothers trying to basically find love with each other and acceptance and understanding and hope. <\/p>\n

You upped the comedy rather significantly from the original. Both of the Wolff brothers have hysterical reintroduction scenes. Was this a way to offset the darkness of the human trafficking story that everybody is investigating? <\/p>\n

That\u2019s a really good question. Yeah, shining a light on human trafficking was something that was really important to me. But predators feasting on the world\u2019s most vulnerable people doesn\u2019t really make for an entertaining movie. When Ben and I made The Way Back<\/em>, the movie opened on a Friday, and the theaters closed on Monday [due to the pandemic]. It was just dead in the water, and it was so heartbreaking. So, yes, as much as I wanted to build the plot around human trafficking, I also wanted to make an exuberantly entertaining movie [for theaters]. It was very intentional that I wanted to make a fun, emotional film. In essence, I wanted to make my version of a popcorn movie. That\u2019s really what I was trying to do. It\u2019s not necessarily just a thriller or just an action movie; it has a lot of food groups in it. But ultimately, it\u2019s a story about a search for love and connection that\u2019s always focusing on the characters. <\/p>\n

So the smuggling business part of it was challenging. This idea of people coming here with the dream of living in America and trying to really deal with that honestly was a tall tonal order while balancing, as you just mentioned, the fun and comedy of the movie. And I honestly didn\u2019t know that I pulled it off. I certainly didn\u2019t know when I was shooting it, though I was tracking it the whole time. It wasn\u2019t clear until I actually showed the movie to Ben. He is the first person who saw [my director\u2019s cut] when I felt like it was ready to be seen. So he called me up, and he was very pleased. He felt like I pulled it off. I then put it up in front of a test screening audience, and that cemented it all because it was very well-received. So it could have gone the other way, brother. It really could have, but fortunately, it didn\u2019t. <\/p>\n

Is this also why you dialed back Christian\u2019s rituals involving death metal, strobe lights, and a wooden stick? <\/p>\n

No, I just felt like we did that already. I had no interest in repeating what we did before. There were certain DNA elements that we preserved from the first film, but very few. There\u2019s obviously the Airstream and some behavioral details. Bill and I talked a lot about what it should be, architecturally, and what we were going for in terms of plot and theme and the brothers. But the first draft Bill handed me had a lot of homages to the first film, and I remember calling him up and saying, \u201cDude, I have no interest in repeating what we did already. I really want to just entirely refresh the tank. I want to build on the first one, but I want to do something very different and very new.\u201d So I would\u2019ve been bored just repeating what we did before.<\/p>\n

There was already a relevance to this movie, but recent headlines have made it all the more relevant. Having lived with this movie for many years now, is it quite bizarre to see it become so of the moment in real time? <\/p>\n

It is, and we started the ideas of the movie in 2018. That\u2019s when we started having conversations and getting a script going. I wanted to build the movie around human trafficking. Again, that was really important to me, and we knew that [J.K. Simmons\u2019] Ray was going to die at the beginning. That was the key in the ignition of the movie. It makes it personal for everybody. So that was very intentional, as was bringing Braxton into the story at the end of the first act, making it a buddy picture and sort of a 48 Hours<\/em> film. That\u2019s what was in my head.<\/p>\n

My jaw hit the floor when the central family\u2019s country of origin was revealed.<\/strong>
\nI\u2019m assuming you\u2019re referring to El Salvador?
\nPrecisely.<\/strong> <\/p>\n

Well, it\u2019s not new that people are determined to leave the violence and poverty of that country, like many other Central American and Latin countries, to come to America and start a new life. It\u2019s a country that Bill and I had read about and researched, and it just felt like the right place. Then there\u2019s this arduous, dangerous journey from Central America across Mexico, before reaching the U.S. border and being captured by a drug cartel. This is all real stuff. So we just did a lot of research and tried to deal with that as honestly as possible. Shining a light on it and putting that up on screen was just really important to me. We know what happens to these people. They get forced into prostitution and maid work \u2014 jobs that people in America don\u2019t want. But as I said, it was very tricky, tonally, to straddle that line and still try to make a fun movie. There ain\u2019t nothing funny about human trafficking.<\/p>\n

You had the good fortune of shooting The Accountant 2<\/em> in California, and the local industry is in desperate need of more production opportunities. Are you optimistic that the state will take the necessary steps to ensure that outcome? <\/p>\n

To be totally honest, with [Gavin] Newsom as our governor, I\u2019m not optimistic about anything with that guy. I feel like he puts his finger up to the wind and parrots whatever is popular in the moment, and then he\u2019ll change his mind and about face when the wind blows the other way. So, sadly, I\u2019m not [optimistic]. But we were always shooting here whether we got the rebate or not, because Ben and I didn\u2019t want to go to Atlanta again. We have families here [in L.A.], so we wanted to stay home. Fortunately, [Affleck and Matt Damon\u2019s] Artists Equity was financing the movie, so it was really Ben\u2019s call. He was gracious enough to be like, \u201cEven if we don\u2019t get [the rebate], we\u2019re shooting here.\u201d And I\u2019m so deeply grateful to him for that.<\/p>\n

We then got an A-plus crew because people were like, \u201cI can work with you guys and<\/em> go home at night to get in bed with my wife, and be home with my kids on the weekends?\u201d So we had the pick of the litter in regard to the crew, which was fantastic. We had a fantastic group of people working on this film, and there was an esprit de corps that was going on just because [of where we shot]. Everyone worked really hard, obviously, but we were really conscious of getting people home on time. I was always trying to not only make my days, but also do 10-hour days to get people home to their families. That pays huge dividends with a crew, creatively, artistically, and spiritually.<\/p>\n

I never expected to see Ben Affleck holding a lightsaber in an Accountant<\/em> movie. Shawn Levy and Ryan Reynolds had to do this for a movie, but did you guys also have to write a request letter to Disney? <\/p>\n

(Laughs<\/em>.) It\u2019s so funny you bring that up. In the script, Chris calls Brax while sitting on his bed, and going to the set that morning, I was like, \u201cThere\u2019s better than that. How do we keep pushing character?\u201d I\u2019m always trying to keep pushing character. So when I got to set, my prop master, J.P. Jones, was the first person I grabbed. I said, \u201cI need a lightsaber. Find me a lightsaber. I\u2019ll push the scene until later in the day.\u201d And you know what? We never asked Disney. I just shot it without getting permission. Fortunately, very fortunately, they were very cool about it, but I ignorantly didn\u2019t even ask for permission. We just shot it.<\/p>\n

I was the captain of my high school basketball team, and so I\u2019ve played ball for some flawed individuals in my life. Thus, I connected a great deal with The Way Back<\/em>. <\/p>\n

(Laughs<\/em>) <\/p>\n

Given the weight of that subject matter, I have to imagine that it was a very heavy set. Did The Accountant 2<\/em> set have a completely opposite vibe? <\/p>\n

There were some really heavy days [on The Way Back<\/em>], but we also had a lot of fun with the kids. They could all play basketball, and Ben was so great with them. That was the first film I shot digitally. I actually wanted to shoot Super 16, but I got a lot of pushback from Warner Bros. So I started doing tests with the ARRI digital camera and live grain to represent the Super 16 look. We moved really fast. Ben would literally get there in the morning, and he never left set. He just hung out all day and never went back to his trailer. So we were rocking and rolling, and there were scenes that were really intense and heavy. And I love that. I was really happy with how the film came out, but as I said, it was so disappointing when the theaters got shut down. I had a day or two of disappointment, but then I thought, \u201cWhat the fuck? It\u2019s a movie. People are really suffering with Covid. Who am I to be whining about it?\u201d<\/p>\n

[The Accountant 2<\/em>] felt different because I hired First AD Mariela [Comitini]. This was the first time I\u2019ve ever worked with her, and I will make every movie with her now. She\u2019s a fucking surgeon in regard to building a board and a schedule and moving things around like a puzzle master. She\u2019s brilliant at that, but she\u2019s also so kind and so loving. I always play music on set; that\u2019s something I\u2019ve always done. But she said, \u201cI like to start the day with a song that\u2019s thematic for whatever we\u2019re doing that day.\u201d So once everyone shows up, she blasts a song, she starts to sing, she starts to dance, and then she gets everybody on the crew dancing. So we started every day with a dance party in the morning. We had a blast, and it allowed us to connect. It allowed us to have this camaraderie, and we all had this love for each other. We really did even though it was a circus. So we really bonded at the start of every day before getting to work, and she was really responsible for setting that fun tone every morning.<\/p>\n

Do you still intend to turn The Accountant<\/em> into a trilogy? <\/p>\n

Yeah, absolutely. We always intended it to be a trilogy, and so we\u2019re having conversations. Ben and I, our producer Lynette [Howell Taylor], and writer Bill [Dubuque], we\u2019re all having conversations with Amazon about that very thing, so it will not be another nine years before we do our third one. Chris needs to find love. That\u2019s what we set up with this character who\u2019s in search of love and human connection. So I want to be able to give Christian that by the end of the third movie.<\/p>\n

I\u2019m proud to say that I paid to see Warrior<\/em> in a movie theater way back when. Is your spinoff series, Warriors<\/em>, still alive in some capacity? <\/p>\n

When we set it up, it was at Paramount+. We wrote a script, and then, for whatever reason, they decided they wanted to go in a different direction. What happened is all unexplainable to me. But I had a script at this point, and it\u2019s very representative of what the series is going to be. It introduces all the characters except for one. HBO Max then said they wanted to do it, and so we pivoted to HBO Max. And then, for whatever reason, they decided they didn\u2019t want to do it. They were going in a different direction. So I need to find a home, man. Excluding the movie Warrior<\/em>, if there\u2019s any project I\u2019ve ever had that is so passionately alive in my bloodstream, it\u2019s this TV series. So I\u2019m hoping I find the right home for it. <\/p>\n

The DNA of the movie Warrior<\/em> was two brothers on a collision course to fight each other in the Sparta tournament. So the series is called Warriors<\/em> because we took that idea for two men and two women. They\u2019re all fighters, but I hook you into their life fights outside of the cage. We\u2019re going to explore their stories as they\u2019re on a collision course to fight each other at Sparta. So that\u2019s the idea, and I hope we can find a home, because I so believe in this show and what it could be. There\u2019s nothing like it on television, so hopefully someone can see what I have in my head.<\/p>\n

Lastly, you produced the 2002 documentary, The Smashing Machine<\/em>, about mixed martial artist Mark Kerr. Are you eager to see how Benny Safdie translates that story into a narrative feature starring Dwayne Johnson? <\/p>\n

I am. Mark Kerr is a friend of mine, so I actually found that out through Mark himself. He called me up, and he was just trying to get some legal advice because it involved his life rights, obviously. So that\u2019s how I found out about it. My First AD, Mariela, is also friends with the producers. I don\u2019t know either of the Safdies, but they\u2019re obviously really good filmmakers. So I\u2019ll be the first person in line to see that when it comes out in the theater.<\/p>\n

\n

The Accountant 2 is now playing in movie theaters nationwide.<\/em><\/p>\n

The Accountant 3 is in the Works, Says Director Gavin O’Connor<\/strong><\/p>\n

The anticipation surrounding the potential third installment of "The Accountant" has been a hot topic among fans and film enthusiasts alike. Director Gavin O’Connor, known for his masterful storytelling and directorial finesse, has recently confirmed that "The Accountant 3" is indeed in the works. This news has ignited excitement within the fanbase and the film industry, as viewers eagerly await the next chapter of this thrilling narrative.<\/p>\n

A Brief Recap of the Franchise<\/strong><\/p>\n

For those who may need a refresher, the original "The Accountant," released in 2016, introduced audiences to the character of Christian Wolff, a highly skilled accountant played by Ben Affleck. Wolff is no ordinary accountant; he is also a mathematics savant with a unique ability to uncover financial discrepancies while navigating dangerous criminal underworlds. As the story unfolds, Christian becomes embroiled in a game of cat and mouse with the law while attempting to protect those he cares about.<\/p>\n

The film was both a commercial success and a critical darling, praised for its intricate plot and intense performances. The blend of action, suspense, and character development captivated audiences around the globe. Its popularity led to considerable speculation about a sequel, which eventually was realized with "The Accountant 2," although details regarding that project have remained scarce.<\/p>\n

Director Gavin O’Connor’s Vision<\/strong><\/p>\n

Gavin O’Connor’s confirmation of "The Accountant 3" opens the floodgates to many possibilities for the franchise’s direction. Known for films like "Warrior" and "Jane Got a Gun," O’Connor has a track record of crafting narratives that delve into complex emotional landscapes while maintaining gripping, high-stakes scenarios. His involvement suggests that "The Accountant 3" will not simply be a rehash of previous themes but rather an exploration of new dimensions for Christian Wolff.<\/p>\n

In recent interviews, O’Connor expressed his enthusiasm for expanding the universe surrounding the character. He has hinted at exploring Christian\u2019s past, particularly his relationships with family and former associates. This exploration promises to add depth to the character, allowing audiences to understand the struggles and motivations that have shaped him into the person they see on screen.<\/p>\n

Building on Success<\/strong><\/p>\n

The success of the first two films laid a solid foundation for what can be expected in the upcoming installment. "The Accountant" not only performed well at the box office, raking in over $155 million worldwide but also garnered a dedicated fanbase eager for more. The unique blend of thriller and character-driven narrative sets "The Accountant" apart from typical action films, which means there’s significant room to grow the franchise meaningfully.<\/p>\n

Additionally, given the rise of complex anti-heroes in contemporary cinema, Christian Wolff fits perfectly into this mold. Audiences appreciate flawed characters who navigate morally ambiguous situations, and Wolff\u2019s journey embodies this sentiment. This creates a rich narrative wellspring for O’Connor and his team as they work to craft a captivating story for the third installment.<\/p>\n

Anticipating the Return of Key Characters<\/strong><\/p>\n

One of the most exciting aspects of "The Accountant 3" is the potential return of beloved characters from the franchise. Alongside Ben Affleck, who delivers an impressive performance as Christian, the return of supporting characters could create additional layers of conflict and emotional depth. Characters like Dana Cummings, portrayed by Anna Kendrick, and Ray King, played by J.K. Simmons, have left a lasting impression on audiences.<\/p>\n

The dynamics between these characters, along with any new faces introduced into the storyline, will be essential in driving the narrative forward. With O’Connor at the helm, audiences can likely expect strong character arcs that intertwine seamlessly with the plot.<\/p>\n

Exploring New Themes<\/strong><\/p>\n

While the initial films concentrated on crime, finance, and action, the upcoming "The Accountant 3" can delve into broader social themes, such as the implications of mental health, the repercussions of one\u2019s past, and the gray areas of morality. Given O’Connor’s penchant for storytelling that combines personal struggles with thrilling narratives, the third installment has the potential to resonate deeply with audiences on multiple levels.<\/p>\n

By examining Christian\u2019s psyche and his relationship with numbers, O’Connor can craft a narrative that is as intellectually stimulating as it is entertaining. This combination will appeal to both mainstream audiences and those looking for films with deeper meanings.<\/p>\n

Conclusion<\/strong><\/p>\n

As Gavin O’Connor confirms the development of "The Accountant 3," fans and newcomers alike have much to look forward to. The potential for rich character development, combined with high-stakes action and complex narrative themes, sets the stage for a film that could outshine its predecessors. With the return of familiar faces and the introduction of new characters, "The Accountant 3" promises to be an exhilarating addition to the franchise. As details continue to emerge, one can only hope that the wait will be worth it, delivering a film that captivates and engages in equal measure. The journey of Christian Wolff is far from over\u2014it’s just beginning.<\/p>\n

Director Gavin O’Connor has confirmed that "The Accountant 3" is in development, following the release of "The Accountant 2" on April 25, 2025. O’Connor has long envisioned the series as a trilogy, with the third installment focusing on the dynamic between Christian Wolff (Ben Affleck) and his brother Braxton (Jon Bernthal). He describes the planned film as "Rain Man on steroids," highlighting the unique relationship between the two brothers. (darkhorizons.com<\/a>)<\/p>\n

The sequel, "The Accountant 2," has been well-received, with positive reviews from critics and audiences alike. The film continues to explore Wolff’s complex character and his interactions with those around him. (en.wikipedia.org<\/a>)<\/p>\n

While specific details about "The Accountant 3" are still under wraps, O’Connor has expressed his commitment to bringing the trilogy to fruition without another lengthy delay. He emphasized that the third film will not take eight years to develop, aiming for a more timely release. (screenrant.com<\/a>)<\/p>\n

Fans can look forward to the continuation of this action-packed series, delving deeper into the intricate relationship between the two brothers and the challenges they face together.<\/p>\n

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What tonal challenges did Gavin O\u2019Connor face while developing The Accountant 2? How does O\u2019Connor incorporate real-world issues like human trafficking into the film\u2019s narrative? What are the key themes surrounding brotherhood explored in The Accountant 2? How did O\u2019Connor ensure the film maintains a balance between serious subject matter and humor? What does O\u2019Connor […]<\/p>\n","protected":false},"author":1,"featured_media":110274,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[31688,1633,2484,3251,21136,15498],"class_list":["post-124696","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mazagine","tag-accountant","tag-confirms","tag-development","tag-director","tag-gavin","tag-oconnor"],"_links":{"self":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/124696","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/comments?post=124696"}],"version-history":[{"count":0,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/124696\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media\/110274"}],"wp:attachment":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media?parent=124696"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/categories?post=124696"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/tags?post=124696"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}