{"id":641,"date":"2006-09-24T09:38:13","date_gmt":"2006-09-24T13:38:13","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2006\/09\/parentheses_of_the_week\/"},"modified":"2006-09-24T09:38:13","modified_gmt":"2006-09-24T13:38:13","slug":"parentheses_of_the_week","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2006\/09\/parentheses_of_the_week\/","title":{"rendered":"PARENTHESES OF THE WEEK"},"content":{"rendered":"<p><B>ARCHLY ANTI-STARCH<\/B><br \/>\n<BR><BR><br \/>\n&#8220;I appreciated the relative anonymity of the actors <a href=\"http:\/\/www.newyorker.com\/critics\/content\/articles\/060904crci_cinema\" target=\"_blank\">(one doesn\u2019t want recognizable faces in trash)<\/A>, but what is Samuel L. Jackson doing in \u201cSnakes on a Plane\u201d?&#8221; <BR><BR>&#8211;David Denby in the New Yorker. <BR><BR><\/p>\n","protected":false},"excerpt":{"rendered":"<p>ARCHLY ANTI-STARCH &#8220;I appreciated the relative anonymity of the actors (one doesn\u2019t want recognizable faces in trash), but what is Samuel L. Jackson doing in \u201cSnakes on a Plane\u201d?&#8221; &#8211;David Denby in the New Yorker.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-641","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/641","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=641"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/641\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=641"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=641"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}