{"version":"1.0","provider_name":"The New Atlantis","provider_url":"https:\/\/www.thenewatlantis.com","author_name":"Brian","author_url":"https:\/\/www.thenewatlantis.com\/author\/brianshim","title":"Bioethics at the Movies","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"jwwCgy7t4h\"><a href=\"https:\/\/www.thenewatlantis.com\/publications\/bioethics-at-the-movies\">Bioethics at the Movies<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.thenewatlantis.com\/publications\/bioethics-at-the-movies\/embed#?secret=jwwCgy7t4h\" width=\"600\" height=\"338\" title=\"&#8220;Bioethics at the Movies&#8221; &#8212; The New Atlantis\" data-secret=\"jwwCgy7t4h\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/*! This file is auto-generated *\/\n!function(c,l){\"use strict\";var e=!1,o=!1;if(l.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(\/[^a-zA-Z0-9]\/.test(t.secret));else{for(var r,s,a,i=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),n=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),o=0;o<n.length;o++)n[o].style.display=\"none\";for(o=0;o<i.length;o++)if(r=i[o],e.source!==r.contentWindow);else{if(r.removeAttribute(\"style\"),\"height\"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if(\"link\"===t.message)if(s=l.createElement(\"a\"),a=l.createElement(\"a\"),s.href=r.getAttribute(\"src\"),a.href=t.value,a.host===s.host)if(l.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener(\"message\",c.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",t,!1),c.addEventListener(\"load\",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf(\"MSIE 10\"),a=!!navigator.userAgent.match(\/Trident.*rv:11\\.\/),i=l.querySelectorAll(\"iframe.wp-embedded-content\"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute(\"data-secret\")))r=Math.random().toString(36).substr(2,10),t.src+=\"#?secret=\"+r,t.setAttribute(\"data-secret\",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute(\"security\"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:\"ready\",secret:r},\"*\")}}}}(window,document);\n<\/script>\n","description":"Whose Life is it Anyway?&rdquo; Brian Clark&rsquo;s play of that name about a quadriplegic who wants to die is now over 30 years old &mdash; it started as a BBC television play in 1972 &mdash; and has just had a sex-change with its latest revival in the West End of London. A whole new line of argument about the awfulness of paralysis and the right of the paralyzed to take their own lives is suggested by putting Kim Cattrall into the starring role played by Tom Conti in the original London stage production of 1978 and Richard Dreyfuss in the...","thumbnail_url":"https:\/\/www.thenewatlantis.com\/wp-content\/uploads\/2020\/09\/social-share-default.png","thumbnail_width":930,"thumbnail_height":488}