{"id":1039,"date":"2026-10-31T00:00:22","date_gmt":"2026-10-31T00:00:22","guid":{"rendered":"https:\/\/be-ip.mx\/?p=1039"},"modified":"2026-10-31T00:39:08","modified_gmt":"2026-10-31T00:39:08","slug":"intellectual-property-las-leyendas-animation","status":"publish","type":"post","link":"https:\/\/be-ip.mx\/en\/propiedad-intelectual-las-leyendas-anima\/","title":{"rendered":"Who owns the Mexican monsters? Intellectual property in animated cinema: *Las Leyendas*"},"content":{"rendered":"<div data-elementor-type=\"wp-post\" data-elementor-id=\"1039\" class=\"elementor elementor-1039\" data-elementor-post-type=\"post\">\n\t\t\t\t<div class=\"elementor-element elementor-element-681772f6 e-flex e-con-boxed e-con e-parent\" data-id=\"681772f6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-57510dd2 elementor-widget elementor-widget-text-editor\" data-id=\"57510dd2\" data-element_type=\"widget\" data-e-type=\"widget\" data-no-translation=\"\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<style>.elementor-element-57510dd2{display:none !important}<\/style>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-25fb527 elementor-widget elementor-widget-text-editor\" data-id=\"25fb527\" data-element_type=\"widget\" data-e-type=\"widget\" data-no-translation=\"\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\n<p class=\"wp-block-paragraph\">Every D\u00eda de Muertos, the monsters and characters of Mexican folklore come back to roam our stories. Amid candles, papel picado, and cempas\u00fachil, the country prepares to welcome those who were with us in life and, too, those beings that are part of our collective imagination. This year, one of them came to life again on the big screen: on October 22, <em>La venganza del Charro Negro<\/em> arrived in theaters, the eighth installment of the successful film saga <em>Las Leyendas<\/em>, produced by \u00c1nima Estudios.<\/p>\n\n<p class=\"wp-block-paragraph\">It&#8217;s been 19 years since a boy named Leo San Juan faced off against the Nahuala. Since then, the saga has brought together the Llorona, the Mummies, the Chupacabras, and the Charro Negro in an animated universe that bet on the country&#8217;s culture, customs, and traditions. And it has paid off: according to CANACINE figures, its films rank among the highest-grossing animated features in Mexico.<\/p>\n\n<p class=\"wp-block-paragraph\">But behind every scare, <em>Las Leyendas<\/em> is a complete catalog of intellectual property: copyright over scripts, drawings, and music; contracts with directors, screenwriters, and animators; licenses to bring the films to other screens; reservations of rights to protect the characters; registered trademarks; and even the rights of those who lend them their voices.<\/p>\n\n<p class=\"wp-block-paragraph\">But here&#8217;s where this story gets interesting: who can claim rights over Leo San Juan or the Charro Negro? Can anyone lay claim to the Llorona? What lies behind all the creative and legal work that lets these characters leap from an idea to the big screen?<\/p>\n\n<h2 class=\"wp-block-heading\">Leo San Juan moved house: did he buy it or is he renting?<\/h2>\n\n<p class=\"wp-block-paragraph\">Leo was born in 2007 in <em>La Leyenda de la Nahuala<\/em>, by director and screenwriter Ricardo Arnaiz and his studio Animex. Between 2009 and 2010, \u00c1nima Estudios came in and took over. Here is where the mystery begins. When the sequel was announced, in 2010, it was reported that \u00c1nima had &#8220;acquired the rights&#8221; to Leo, Teodora, and Don Andr\u00e9s for <em>La Leyenda de la Llorona<\/em>. In 2014, \u00c1nima&#8217;s president, Fernando de Fuentes, stated that the films and the characters were already the studio&#8217;s property, but in 2016 he himself said that Arnaiz had &#8220;licensed&#8221; those characters to them.<\/p>\n\n<p class=\"wp-block-paragraph\">We don&#8217;t know the terms of the agreement between Arnaiz and \u00c1nima, but what we can do is distinguish the two legal concepts that seem to lie behind these statements: the transfer of economic rights and the license of use. Although they may seem similar, their scope and legal consequences are very different. And the law sets out the rules for each one.<\/p>\n\n<h3 class=\"wp-block-heading\">The transfer: buying with a return ticket<\/h3>\n\n<p class=\"wp-block-paragraph\">To transfer or assign economic rights means handing another person the power to exploit a work: to reproduce, distribute, publicly communicate, or transform it. In other words, it&#8217;s about as close as it gets to handing someone the keys to the business. But not everything goes: the law sets three conditions that must be met.<\/p>\n\n<ul class=\"wp-block-list\">\n<li><strong>It is for valuable consideration:<\/strong> there must always be a payment, whether a fixed amount or a percentage of what the exploitation generates.<\/li>\n\n<li><strong>It is temporary:<\/strong> if the contract doesn&#8217;t state how long it lasts, it is understood to be five years; only by exception can it be agreed for more than fifteen, when the nature of the work or the scale of the investment justifies it.<\/li>\n\n<li><strong>It is formal:<\/strong> it must be in writing; otherwise, it is null and void as a matter of law.<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\">The time-limit safeguard is one of the most important: when the term ends, the rights revert to the author. A &#8220;perpetual&#8221; assignment clause runs head-on into that rule. That&#8217;s why some specialists hold that in Mexican copyright law there are no &#8220;forever&#8221; assignments, but rather something very close to a long-term exclusive license.<\/p>\n\n<h3 class=\"wp-block-heading\">The license: using without owning<\/h3>\n\n<p class=\"wp-block-paragraph\">A license, by contrast, is more like renting: the holder keeps their rights and merely authorizes someone else to use them, on the agreed terms and for the agreed time. It can be non-exclusive, the most common kind, or exclusive.<\/p>\n\n<p class=\"wp-block-paragraph\">An exclusive license must be expressly granted as such. Unless otherwise agreed, it allows the licensee to exploit the work to the exclusion of anyone else and, in turn, to grant non-exclusive licenses to third parties. In exchange, it obliges them to put in place every means necessary to make the exploitation work: whoever receives the exclusive license can&#8217;t just keep the character in a drawer.<\/p>\n\n<h3 class=\"wp-block-heading\">Moral rights: the right that has no price<\/h3>\n\n<p class=\"wp-block-paragraph\">But there is something that cannot be transferred or granted through a license: moral rights. These belong to the author perpetually and are inalienable, imprescriptible, non-waivable, and immune from seizure. Among them is the right to demand acknowledgment of the work&#8217;s authorship. So, regardless of who holds the powers to commercially exploit the characters, Ricardo Arnaiz will remain the creator.<\/p>\n\n<p class=\"wp-block-paragraph\">That&#8217;s why, when Netflix announced its series, it clarified that the characters were Arnaiz&#8217;s creation, and the story took a twist worthy of a screenplay: the creator returned to direct <em>Las Leyendas: el origen<\/em> for \u00c1nima.<\/p>\n\n<h2 class=\"wp-block-heading\">The town&#8217;s ghosts; the studio&#8217;s characters<\/h2>\n\n<p class=\"wp-block-paragraph\">Let&#8217;s imagine that tomorrow another studio wants to film its own Llorona. Can it? Yes. Can it include Leo San Juan in the story? No.<\/p>\n\n<p class=\"wp-block-paragraph\">The LFDA (Mexico&#8217;s Federal Copyright Law) does not protect information in common use, &#8220;such as sayings, proverbs, and legends.&#8221; That&#8217;s why the woman weeping by the river or the rider dressed in black belong to the collective imagination and can inspire new works. What copyright does protect is the particular way each creator develops those elements: the script, the characterization and design of the characters, their dialogue, the animation, and the work&#8217;s other original elements.<\/p>\n\n<h3 class=\"wp-block-heading\">The reservation of rights: insurance for the characters<\/h3>\n\n<p class=\"wp-block-paragraph\">Invented characters also have a very Mexican form of protection: the reservation of rights for exclusive use, a mechanism unique to our system that is granted by INDAUTOR. It is the power to use and exploit exclusively certain titles, names, and characteristics, provided they fit into one of the categories the law sets out. One of them is fictional or symbolic human characters of characterization; for them, the reservation protects the name and the distinctive physical and psychological characteristics.<\/p>\n\n<p class=\"wp-block-paragraph\">Mind what it doesn&#8217;t cover. The reservation of rights does not grant exclusivity over ideas, concepts, or archetypes. No one can lay claim to the &#8220;brave boy who faces ghosts&#8221;; what can be protected is the concrete identity of the character, like Leo San Juan, with his name and the elements that characterize him.<\/p>\n\n<p class=\"wp-block-paragraph\">The law also puts a brake on any attempt to appropriate folklore. The LFDA excludes from protection through reservations of rights any legends, traditions, and other expressions known by a characteristic name. In other words, no one can reserve &#8220;La Llorona&#8221; for themselves or prevent others from telling that legend. Leo San Juan, Teodora, Don Andr\u00e9s, and even the saga&#8217;s famous little skulls, by contrast, can be the subject of a reservation of rights, provided they meet the legal requirements.<\/p>\n\n<h2 class=\"wp-block-heading\">Las Leyendas: the registration<\/h2>\n\n<p class=\"wp-block-paragraph\">And the saga&#8217;s name? A standalone title is not protected by copyright, and the reservation of titles is designed for periodical publications and broadcasts, not for a film as such. To protect the name of a franchise in the market, the natural route is the trademark.<\/p>\n\n<p class=\"wp-block-paragraph\">The saga went down that road. <em>La Leyenda de la Nahuala<\/em> had a trademark registration with the IMPI as early as 2007, the year of its release, for education, entertainment, cultural activities, and cinematographic works. Its holder was a company from Puebla: La Nahuala Producciones Cinematogr\u00e1ficas, S. de R.L. de C.V. Years later, in 2015, \u00c1nima Estudios applied to the IMPI to register four characters as trademarks: Leo San Juan, Teodora, and two little figures similar to sugar skulls: Finado and Moribunda. All four were applications for mixed trademarks, which combine the name with the character&#8217;s image, and all for class 41: education, training, entertainment services, and sporting and cultural activities.<\/p>\n\n<p class=\"wp-block-paragraph\">That the studio itself filed them makes legal sense. The LFPPI does not allow registering a fictional character as a trademark unless the application is filed by its rights holder or someone with their consent; nor does it allow registering the reproduction of an artistic work, such as a character&#8217;s drawing, without the authorization of whoever holds the copyright.<\/p>\n\n<p class=\"wp-block-paragraph\">The case shows how the layers stack up over a single character: Leo San Juan is part of a work protected by copyright, with his reservation before INDAUTOR and registered as a trademark before the IMPI. Each mechanism protects something different, before a different authority and with its own rules.<\/p>\n\n<h2 class=\"wp-block-heading\">Lights, camera\u2026 and contracts! The contracts behind a film<\/h2>\n\n<p class=\"wp-block-paragraph\">For Leo San Juan to face a new creature on the big screen, a good story and a team of animators aren&#8217;t enough. As in a mystery film, each piece must fall into place: someone writes the script, someone designs the characters, someone gives them movement, and someone lends them a voice. But before the show begins, you have to make sure all those pieces are backed by the right contracts. An animated film is not born of a single signature, but of an entire chain of agreements. Here&#8217;s how it&#8217;s built:<\/p>\n\n<h3 class=\"wp-block-heading\">1. The rights to the story and the characters<\/h3>\n\n<p class=\"wp-block-paragraph\">The first piece of the puzzle is securing the rights to the story and the characters that will serve as the starting point. If a film draws on characters or works created by someone else, it needs the authorization of whoever holds the corresponding rights. The LFDA establishes that adaptations and other derivative works can only be exploited with the consent of the holder of the rights to the original work. That is precisely what was at stake when Leo, Teodora, and Don Andr\u00e9s left the Animex universe to continue their adventures under \u00c1nima Estudios&#8217; production.<\/p>\n\n<h3 class=\"wp-block-heading\">2. The creative team and the production contract<\/h3>\n\n<p class=\"wp-block-paragraph\">The law recognizes as authors of an audiovisual work the director; the authors of the story, the adaptation, the script, or the dialogue; the composers; the cinematographer; and the authors of the cartoons and animated drawings. In an animated film, that last category carries enormous weight.<\/p>\n\n<p class=\"wp-block-paragraph\">If each one kept their rights, exploiting the film would be impossible: you&#8217;d have to ask every author for permission for every screening. That&#8217;s why the producer exists: the individual or legal entity that has the initiative, the coordination, and the responsibility for the work, or that finances it.<\/p>\n\n<p class=\"wp-block-paragraph\">The key piece is the audiovisual production contract. Through it, the authors exclusively assign to the producer the rights of reproduction, distribution, public communication, and subtitling of the work.<\/p>\n\n<h3 class=\"wp-block-heading\">3. The voices and the music<\/h3>\n\n<p class=\"wp-block-paragraph\">And, of course, a film also needs voices and music. Those who bring Leo, Teodora, and the other characters to life do not thereby become authors of the film, but they do have rights of their own: the LFDA recognizes voice actors as performers. In <em>Las Leyendas<\/em>, for example, Benny Emmanuel lends his voice to Leo San Juan, while other performers bring characters like Teodora and Don Andr\u00e9s to life. Their contract with the producer allows them to authorize the fixation, reproduction, and public communication of their performances. Moreover, since the May 2026 reform, cloning their voice or likeness through artificial intelligence requires their prior written consent.<\/p>\n\n<p class=\"wp-block-paragraph\">The music, for its part, follows its own legal score. The production contract does not automatically include the transfer of rights over musical works. That&#8217;s why songs and compositions must be negotiated separately with their respective rights holders.<\/p>\n\n<h3 class=\"wp-block-heading\">4. The second life: from cinema to streaming<\/h3>\n\n<p class=\"wp-block-paragraph\">Once the film is finished, its commercial life begins, traditionally exploited through &#8220;windows&#8221;: first movie theaters, then the sale or rental of copies, then pay television, and finally free-to-air television. Today those windows are shorter and streaming holds a central place.<\/p>\n\n<p class=\"wp-block-paragraph\">Each window is a separate authorization, because each mode of exploitation is independent. <em>Las Leyendas<\/em> illustrates this well. In 2021, \u00c1nima announced, together with Videocine Distribuci\u00f3n, an agreement with The Walt Disney Company Latin America under which Disney+ acquired the distribution rights to four films in the saga; since 2017, moreover, Netflix had distributed the animated series based on them. And this year, the premiere arrived with collectible tickets at Cin\u00e9polis.<\/p>\n\n<p class=\"wp-block-paragraph\">From script to movie ticket, a film travels a long road. And, as in any good adventure, each stage has its own rules: contracts that work as entry passes, licenses that open new screens, and rights that must be well secured. If any piece fails, the story can take an unexpected turn: what was meant to premiere on the big screen could end up projected in the courts.<\/p>\n\n<h2 class=\"wp-block-heading\">From the cemetery to the IMPI: heritage, legend, and a famous trademark<\/h2>\n\n<p class=\"wp-block-paragraph\">Of all the saga&#8217;s monsters, the mummies are the most Guanajuato-rooted, on and off screen. <em>La Leyenda de las Momias de Guanajuato<\/em> reached theaters in 2014, but its path wasn&#8217;t easy. According to its producer, Fernando de Fuentes, the project was not approved at the time to receive support from the Federal Government. It moved forward with the backing of the Guanajuato state government and with a larger investment from \u00c1nima than other films in the saga.<\/p>\n\n<p class=\"wp-block-paragraph\">The detail reveals a seldom-seen part of how a film reaches the big screen: beyond the contracts, there is financing. Many Mexican productions combine the studio&#8217;s investment with public support, and when one door closes, you have to knock on another. In this case, the door was that of the state that gives the film its name.<\/p>\n\n<p class=\"wp-block-paragraph\">And the Guanajuato story doesn&#8217;t end there. What almost no one knows is that &#8220;Las Momias de Guanajuato&#8221; is also a trademark, and its holder is not the state but the Municipality of Guanajuato. The trademark is registered with the IMPI as a famous trademark, under file M.F. 279\/2017(G-4) 3401.<\/p>\n\n<p class=\"wp-block-paragraph\">But holding a registered famous trademark also means setting certain rules. Anyone who wants to use the name or image of &#8220;Las Momias de Guanajuato&#8221; for commercial purposes \u2014whether in advertising, products, or recordings inside the museum\u2014 needs the municipality&#8217;s authorization and, where applicable, a specific license. That said, there is a line that can&#8217;t be crossed: its use must not undermine the dignity of human remains.<\/p>\n\n<p class=\"wp-block-paragraph\">In this way, a mug, a plush toy, or a t-shirt with their image are not mere souvenirs: they are part of a new story, this time led by trademarks, where even keepsakes need a license to take the stage.<\/p>\n\n<h2 class=\"wp-block-heading\">So your rights don&#8217;t end up in the afterlife: what Las Leyendas leaves us<\/h2>\n\n<p class=\"wp-block-paragraph\">The saga leaves three lessons for anyone who creates, buys, or sells characters:<\/p>\n\n<ul class=\"wp-block-list\">\n<li><strong>If you create:<\/strong> put everything in writing and define term, territory, media, and payment. If the contract doesn&#8217;t say how long it lasts, the law decides for you.<\/li>\n\n<li><strong>If you produce:<\/strong> make sure every piece has legal backing. Formalize each author&#8217;s rights, negotiate the music and the voices separately, protect your characters through reservations of rights before INDAUTOR, and don&#8217;t forget to renew them or to record the corresponding transfers.<\/li>\n\n<li><strong>If you sell:<\/strong> folklore is free, but a franchise&#8217;s characters \u2014and even some mummies\u2014 can have an owner. Before launching seasonal merchandise, check reservations and registrations.<\/li>\n<\/ul>\n\n<p class=\"wp-block-paragraph\"><em>Las Leyendas<\/em> shows that a well-tended character can live far longer than a single film: jumping to a series, landing on another platform, appearing on a collectible ticket, or becoming merchandise. But it also shows what&#8217;s at stake when the rights aren&#8217;t clear from the start: who the author is, who exploits the work, for how long, and through which media.<\/p>\n\n<p class=\"wp-block-paragraph\">At BE IP, we support creators, studios, production companies, artists, brands, and businesses in protecting and defending their intellectual property assets in Mexico and abroad: from registering trademarks, works, and reservations of rights, and reviewing assignment and license contracts, to monitoring and litigation.<\/p>\n\n<p class=\"wp-block-paragraph\">This D\u00eda de Muertos, the Charro Negro collects souls; rights holders collect royalties.<\/p>\n\n<p class=\"wp-block-paragraph\">Do you have characters, a story, or an audiovisual project? <a style=\"color: #b8960c !important;\" href=\"https:\/\/be-ip.mx\/#contacto\"><strong>Contact us at BE IP<\/strong><\/a> to book a personalized consultation and protect your creations from the very first moment.<\/p>\n\n<h3 class=\"wp-block-heading\">Sources<\/h3>\n\n<ul class=\"wp-block-list\">\n<li>Cr\u00f3nica. &#8220;Cin\u00e9polis y Cinemex anuncian preventa para La Venganza del Charro Negro&#8221;. October 8, 2026. <a href=\"https:\/\/www.cronica.com.mx\/escenario\/2026\/10\/08\/cinepolis-y-cinemex-anuncian-preventa-para-la-venganza-del-charro-negro-cuando-se-podran-comprar-los-boletos\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>SensaCine M\u00e9xico. Article on <em>La venganza del Charro Negro<\/em>. <a href=\"https:\/\/www.sensacine.com.mx\/noticias\/noticia-1000228763\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>Cine PREMIERE. &#8220;Pel\u00edculas de \u00c1nima Estudios estar\u00e1n disponibles en Disney Plus&#8221;. October 6, 2021. <a href=\"https:\/\/cinepremiere.com.mx\/peliculas-anima-estudios-disponibles-disney-plus.html\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>Merca 2.0. &#8220;\u00c1nima Estudios y Animex reviven La Leyenda de la Llorona&#8221;. November 4, 2010. <a href=\"https:\/\/www.merca20.com\/anima-estudios-da-vida-a-la-leyenda-de-la-llorona\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>El Economista. &#8220;La leyenda de las momias\u2026, animaci\u00f3n a la mexicana&#8221;. October 29, 2014. <a href=\"https:\/\/www.eleconomista.com.mx\/arteseideas\/La-leyenda-de-las-momias...-animacion-a-la-mexicana-20141029-0113.html\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>Xataka M\u00e9xico. &#8220;Netflix ya prepara su primera serie animada hecha en M\u00e9xico: Las Leyendas&#8221;. <a href=\"https:\/\/www.xataka.com.mx\/streaming\/netflix-ya-prepara-su-primera-serie-animada-hecha-en-mexico-las-leyendas\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>El Universal. &#8220;Ricardo Arnaiz, creador de La leyenda de la Nahuala, regresa con m\u00e1s aventuras&#8221;. <a href=\"https:\/\/www.eluniversal.com.mx\/espectaculos\/ricardo-arnaiz-creador-de-la-leyenda-de-la-nahuala-regresa-con-mas-aventuras\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View article<\/a>.<\/li>\n\n<li>Municipality of Guanajuato. &#8220;Declaraci\u00f3n de uso de la marca Las Momias de Guanajuato&#8221;. <a href=\"https:\/\/momiasdeguanajuato.guanajuatocapital.gob.mx\/wp-content\/uploads\/2025\/01\/DECLARACION-DE-USO-DE-LA-MARCA.pdf\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">View document (PDF)<\/a>.<\/li>\n<\/ul>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>Cada D\u00eda de Muertos, los monstruos y personajes del folclor mexicano vuelven a recorrer nuestras historias. Entre velas, papel picado y cempas\u00fachil, el pa\u00eds se prepara para recibir a quienes nos acompa\u00f1aron en vida y, tambi\u00e9n, a aquellos seres que forman parte de nuestro imaginario colectivo. Este a\u00f1o, uno de ellos volvi\u00f3 a cobrar vida [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":1041,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-propiedad-intelectual"],"_links":{"self":[{"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/posts\/1039","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/comments?post=1039"}],"version-history":[{"count":5,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/posts\/1039\/revisions"}],"predecessor-version":[{"id":1052,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/posts\/1039\/revisions\/1052"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/media\/1041"}],"wp:attachment":[{"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/media?parent=1039"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/categories?post=1039"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/be-ip.mx\/en\/wp-json\/wp\/v2\/tags?post=1039"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}