{"version":"1.0","provider_name":"Nieman Storyboard","provider_url":"https:\/\/niemanstoryboard.org","author_name":"commonmedia","author_url":"https:\/\/niemanstoryboard.org\/author\/commonmedia\/","title":"A profile of a film-score composer that soars like his music - Nieman Storyboard","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"0z9UJ6SRWe\"><a href=\"https:\/\/niemanstoryboard.org\/2021\/06\/15\/a-profile-of-a-film-score-composer-that-soars-like-his-music\/\">A profile of a film-score composer that soars like his music<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/niemanstoryboard.org\/2021\/06\/15\/a-profile-of-a-film-score-composer-that-soars-like-his-music\/embed\/#?secret=0z9UJ6SRWe\" width=\"600\" height=\"338\" title=\"&#8220;A profile of a film-score composer that soars like his music&#8221; &#8212; Nieman Storyboard\" data-secret=\"0z9UJ6SRWe\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/niemanstoryboard.org\/wp\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/niemanstoryboard.org\/app\/uploads\/2024\/03\/clyde-gravenberch-Fi1LiJGSxuQ-unsplash-scaled-e1623345499640.jpg","thumbnail_width":750,"thumbnail_height":563,"description":"icholas Britell\u2019s music has infused a lot of film and TV shows recently, from the rich aural landscape of HBO\u2019s \u201cThe Underground Railroad\u201d to the unexpected banger that is the \u201cSuccession\u201d theme. So when Jamie Fisher got the opportunity to profile the composer for The New York Times Magazine, she wasn\u2019t content to report at [&hellip;]"}