Speaker 1: Pushkin, this is solvable. I'm Ronald Young Jr. Growing up,
Speaker 1: there was not a single positive reference that I remember
Speaker 1: in media or popular culture or anything like. I grew
Speaker 1: up with Peter Pan and like the whole like what
Speaker 1: makes the Red Man Red? And then we got Disney Spokeahonis,
Speaker 1: which everyone thought was a sort of good depiction of natives,
Speaker 1: and it did make some limited strides, But then that
Speaker 1: meant that everyone would just when I said I was Native,
Speaker 1: would like sing Colors of the Wind to me. You
Speaker 1: might remember this conversation I had in twenty twenty one
Speaker 1: with doctor Adrian Keane, a citizen of the Cherokee Nation,
Speaker 1: scholar and author of Notable Native People. We were talking
Speaker 1: about the erasiar and invisibility of Indigenous people. We agreed
Speaker 1: that there was a disconnect between the way Natives are
Speaker 1: portrayed on film and television and the realities of Native
Speaker 1: and Indigenous life. What I love about movies and cinemas
Speaker 1: that like, you can create a world, and if you
Speaker 1: do it right, an audience will go along with you,
Speaker 1: and they go into your world that you've created, and
Speaker 1: they give themselves over to that. And already had a
Speaker 1: leg up because the world I come from is so unknown.
Speaker 1: That's filmmaker Sterlin Harjoe, a citizen of the Seminal Nation
Speaker 1: of Oklahoma. He's the creator and showrunner of Reservation Dogs.
Speaker 1: It's an FX series about a group of Native American
Speaker 1: teenagers coming of age on a reservation in Oklahoma. I mean,
Speaker 1: like we only talk about the warriors and the heroes
Speaker 1: and stuff. It was like, you know, what about the
Speaker 1: ones that didn't do shit or they were scared, like
Speaker 1: the diet because their horse hit a gopher hole. You know,
Speaker 1: like like what about them? You know, like that's also
Speaker 1: a part of us. Harjo's other work, including award winning
Speaker 1: feature films and documentaries, has also largely focused on Native
Speaker 1: of history, identity, and culture. In Reservation Dogs, he strives
Speaker 1: to portray fully realized Indigenous books in America, a departure
Speaker 1: from the representation that some of us may be all
Speaker 1: too familiar with. My name is Charlin Harjoe. I am filmmaker, creator,
Speaker 1: showrunner of Reservation Dogs, and I feel that representing the
Speaker 1: humanity of Native people is a solvable problem. I think
Speaker 1: the work that you're doing is very tangible when it
Speaker 1: comes to stopping the erasure of a culture. Can you
Speaker 1: talk a little bit about how your work is encouraging
Speaker 1: that visibility. We just tell the truth, you show the good,
Speaker 1: you show the bad, because because that's what's missing is
Speaker 1: we haven't been seen as human and humans are good
Speaker 1: and bad, and we have to show those sides and
Speaker 1: also tell a good story first, and then you're gonna
Speaker 1: get the activism or the real stuff that we're going for.
Speaker 1: Right Like, as long as I a good story, like
Speaker 1: that's the trojan horse, right Like, you tell the good
Speaker 1: story and you get in there. I feel like I
Speaker 1: know how to bring us into the rest of the world.
Speaker 1: I was so proud to be able to do it
Speaker 1: because I feel like I had known how to do
Speaker 1: I feel like I know how to do it, you know,
Speaker 1: because you know how it is, like like as soon
Speaker 1: as you're an underrepresented person gets to tell their story,
Speaker 1: they don't want to share the darkness, they don't want
Speaker 1: to share the blemishes. They only want us to look perfect.
Speaker 1: They only want us us to be you know, everything,
Speaker 1: to look amazing and like, you know, like like there's
Speaker 1: no issues here, like because like it's it's the pendulum swinging,
Speaker 1: you know. I mean, like one of the best things
Speaker 1: about this show is the feedback I've gotten from the community,
Speaker 1: people from all over indigenous communities writing me and saying, men,
Speaker 1: like my kids are finally feel like they're seeing something
Speaker 1: that represents them. Like I mean, my dad said the
Speaker 1: other day, it was like you've given them an identity again,
Speaker 1: Like we can be proud. And part of that being proud,
Speaker 1: I think is just showing us as flawed, beautiful human
Speaker 1: beings and showing that we face death and that sometimes
Speaker 1: we can't handle life and sometimes we sometimes we are upset,
Speaker 1: and sometimes we're not good people, and sometimes we're really good,
Speaker 1: you know, and just showing that, letting people kind of
Speaker 1: relax a little bit and take a breath, and that
Speaker 1: we don't have to be these historical figures that that
Speaker 1: fought and lost or won for our land and like
Speaker 1: and it was just kind of shaking that off and
Speaker 1: like a good blues song, you know, it's like what
Speaker 1: is the how do you strip it down to what
Speaker 1: it is? You know, It's like, yeah, without all the
Speaker 1: fancy stuff, like what are we? We're human, you know,
Speaker 1: and like you try to tell that the truth and
Speaker 1: the and the and the and the light and the
Speaker 1: darkness with that, and I think that that's what makes
Speaker 1: a difference, and that's what gets people to identify with it,
Speaker 1: and watching the show, I felt that I felt, you know,
Speaker 1: watching a show like yours, watching a show like Rami Atlanta.
Speaker 1: I feel like there's other shows where they're just showing
Speaker 1: humans of cultures that have been have been in America
Speaker 1: and a part of America for a long time, but
Speaker 1: showing them as human. But I think one of the
Speaker 1: most interesting ways that you did in a Reservation Dogs
Speaker 1: was that you have a bear. One of the main characters,
Speaker 1: Jeans T Shirt, teenage boy. He is talking to one
Speaker 1: of his ancestors, his grandfather uncle cousin, who explicitly states
Speaker 1: that he's not one of the awesome ones. But I
Speaker 1: fought bravely. Well. I didn't actually fight. I actually didn't
Speaker 1: even get into the fight itself, but came over that
Speaker 1: hill real real good like. But then the damn horse
Speaker 1: hit a gopher hole, fucking rolled over and squashed me.
Speaker 1: I died there. He was just the guy who who
Speaker 1: died on his horse after horse fell into a hole.
Speaker 1: I thought, what's hilarious was all of that? The inspiration
Speaker 1: behind giving Bear this very regular ancestor to guide him totally.
Speaker 1: I mean, like we only talked about the warriors and
Speaker 1: the heroes and stuff. I was like, you know, what
Speaker 1: about the ones that didn't do shit or they were
Speaker 1: scared die because their horse hit a gopher hole? Like
Speaker 1: like what about them? Yeah, Like that's also a part
Speaker 1: of us. And I think one thing that's important about
Speaker 1: that character. I'm glad you brought it up is what
Speaker 1: I learned because we had a comedy group Dallas Goals,
Speaker 1: who plays Spirit, We had a comedy We have a
Speaker 1: comedy group and we would travel around and we really
Speaker 1: learned like what works for non native audiences for native
Speaker 1: humor and what doesn't specifically wide audiences. You know what
Speaker 1: I'm saying, um like because you gotta almost give them
Speaker 1: permission to laugh when it's Native stuff because they want
Speaker 1: to be like so like oh I find the same
Speaker 1: thing with black humor, but continue exactly right, like you
Speaker 1: gotta you gotta like oh like like oh I don't
Speaker 1: want to laugh, like you know, you had to give
Speaker 1: them permission a laugh. And it was it was a
Speaker 1: taking the stereotype that like if I were to say,
Speaker 1: like like draw me a Native American, like they wouldn't
Speaker 1: draw bearer, they would draw spirit. You know. It's a
Speaker 1: delicate thing, like trying to get people to laugh at
Speaker 1: things that they're used to not laughing with or about
Speaker 1: or anything, you know. So I think that that character
Speaker 1: specifically was kind of works as that mechanism. I guess.
Speaker 1: Tell me a little bit about how you got into film.
Speaker 1: You know. I got into college and I was at
Speaker 1: the University of Oklahoma, and I took an intro to
Speaker 1: film and video studies with this Hungarian professor named Misha Nadelkovich,
Speaker 1: and his like love for cinema was so contagious. And
Speaker 1: it was when I discovered that it was a language
Speaker 1: was when I was pumped, and like that's when I
Speaker 1: really got into it. It was like, okay, I like
Speaker 1: when I realized it wasn't just pointing a camera towards something,
Speaker 1: it was literally like telling stories with the camera and
Speaker 1: using cameras and shots too, and music and everything all
Speaker 1: the senses to tell a story. I just really, I
Speaker 1: don't know, I fell in love and I didn't look back.
Speaker 1: I was like, I have to do this, you know,
Speaker 1: And and it's sort of that sort of coincided with
Speaker 1: me discovering that I was a pretty good writer. I
Speaker 1: think I was always a good storyteller. I just was
Speaker 1: not confident in writing. But it was in college that
Speaker 1: I discovered that I could, you know, with a little work,
Speaker 1: I could write. College is the time that we all
Speaker 1: become a lot more self aware. I think that was
Speaker 1: identified most with my blackness when I got to college
Speaker 1: and I began to kind of express it and everything
Speaker 1: that I did, you know, whether it was playing music,
Speaker 1: talking to friends, whatever, it was like I had to
Speaker 1: express my blackness. As you were becoming more creative and
Speaker 1: writing and enjoying telling stories, did you find yourself having
Speaker 1: that same level of expressiveness when it comes to your
Speaker 1: indigenous heritage. Yeah, I mean, like it was there's two things.
Speaker 1: I mean, like, on one hand, like I'd kind of
Speaker 1: grown up in this community and I was hungry for
Speaker 1: things like punk rock and indie rock, and like I
Speaker 1: was wanting to express myself through art, and I was
Speaker 1: discovering artists and cinnamon and all this stuff that had
Speaker 1: nothing to do with my heritage or background, and I
Speaker 1: really just kind of dove into all of that. But,
Speaker 1: like you said, a couple of years of that though,
Speaker 1: when I started applying myself and writing and wanting to
Speaker 1: be a filmmaker. Then I was like, oh, but this
Speaker 1: is the thing that's unique about me. And then and
Speaker 1: then it was like, oh, now, then I like discovered
Speaker 1: rediscovered who I was and everything kind of came from
Speaker 1: that lens after that, and I realized that, you know,
Speaker 1: a lot of people don't have the leg up that
Speaker 1: I had, Like I have this like I mean what
Speaker 1: I love about movies and cinemas that like, you can
Speaker 1: create a world and if you do it right, an
Speaker 1: audience will go along with you and they go into
Speaker 1: your world that you've created and they give themselves over
Speaker 1: to that. And already had a leg up because the
Speaker 1: world I come from is so unknown that it was
Speaker 1: a little easier. I felt like to bring people into
Speaker 1: this world that they didn't know, you know. So after that,
Speaker 1: I'm very similar to you. Everything kind of filtered through
Speaker 1: that lens. When you're making discoveries about new things that
Speaker 1: you love that weren't necessarily a part of your culture
Speaker 1: growing up, for instance, punk rock, but there are things
Speaker 1: that you're introduced to that you love. As you become
Speaker 1: more in touch with your culture, do you look for
Speaker 1: the connections between the thing that you love and your culture.
Speaker 1: Oh yeah, for sure. And you know I like hip hop,
Speaker 1: I like punk rock, I like rebellious music, and I
Speaker 1: think that Indigenous people, you know, we've always been in
Speaker 1: a bit of a rebellion. It's like, you know, it's
Speaker 1: like there was always something to fight for to this day,
Speaker 1: and so I connect to that. And you know, the
Speaker 1: show is filled with punk rock and indie rock and
Speaker 1: hip hop, and like the opening as you know, I
Speaker 1: Want to Be Your Dog by the Stooges, and it's like,
Speaker 1: you know, one of my favorite things, definding ways to
Speaker 1: bring all of that back into my community, because I
Speaker 1: mean it's there anyway, but it's like, how do I
Speaker 1: show that and express it? You know, I did not
Speaker 1: know that that was That song was by the band
Speaker 1: Red Bull. Yeah, come and Get Your Love, incredibly popular song. Yeah, yes,
Speaker 1: it was on I remember as they're singing it, I'm like,
Speaker 1: this is from the Guardians of the Galaxy. What significance
Speaker 1: does have here? And then at the end when you
Speaker 1: show the band playing it, I'm like, oh my goodness,
Speaker 1: this is all of those happy little connections. I imagine
Speaker 1: that that inspires, inspires you to do more work to
Speaker 1: say like see there, look at these connections, understand how
Speaker 1: it all comes together. Oh yeah, I mean that was
Speaker 1: one of my favorite things. It's like kind of reclaiming
Speaker 1: red Bone. You know, it's like the world knows who
Speaker 1: they are, but they don't know where they come from
Speaker 1: and who they really are. And it was like, I
Speaker 1: want to show that in this unique way as this
Speaker 1: in this episode. A lot of times native people are shown,
Speaker 1: we're only shown in the eighteen hundreds most of the time,
Speaker 1: you know, so trying to show us in a contemporary
Speaker 1: light and how you know, we're just as influenced by
Speaker 1: all these things pop culture like everyone is, you know,
Speaker 1: like from hip hop to movies to um to clothing,
Speaker 1: I mean like style, you know, we're so one of
Speaker 1: our strengths is that we were able to adapt. Like
Speaker 1: for instance, in my community, UM, we have songs that
Speaker 1: are really important and you'll you hear them being sung
Speaker 1: at a funeral scene in the show, and they are hymns.
Speaker 1: And those hymns were there are a mix of like
Speaker 1: the style of singing was kind of brought here by
Speaker 1: Scottish missionaries and it was called line singing. Well, then
Speaker 1: you had free to African slaves. Next to that, there
Speaker 1: were also a part of our tribe with the Seminal nation,
Speaker 1: but also lived in those in the same area in
Speaker 1: the southeast. And you know, all this style of singing
Speaker 1: emerges and you hear it Enslave spiritual as you also
Speaker 1: hear in these Muscogee Creek and Seminal hymns, and it's
Speaker 1: a style of singing that they call it line singing,
Speaker 1: and you know, it's a way of worshiping. It's a
Speaker 1: way of kind of singing prayer, you know, and all
Speaker 1: of those cultures kind of have a mix of that.
Speaker 1: And I think that that's a beautiful thing. Like that's
Speaker 1: what I love celebrating that, right, Like I love talking
Speaker 1: about how our culture is intersect I think part of
Speaker 1: our survival has been adapting, you know. I think the
Speaker 1: same thing for you know, Black people in this country.
Speaker 1: It's like part of survival is absorbing things and culture
Speaker 1: and claiming it for ourselves, you know, and like as
Speaker 1: or just like presenting it in a new way, you know.
Speaker 1: And I think that's something beautiful about the intersection of
Speaker 1: cultures us. It's about survival. I think I am I
Speaker 1: am a Black Christian. I've been in the church my
Speaker 1: whole life. My father's an assistant pastor. Like, I'm heavily
Speaker 1: involved in the church. And I do remember that funeral
Speaker 1: scene where they were singing, doing the line singing. I
Speaker 1: was struck by that part. I was like, this is very,
Speaker 1: very familiar. And I think that's one thing about the
Speaker 1: show Reservation Dogs is that it's it's very familiar. As
Speaker 1: soon as it comes on and you realize that the
Speaker 1: main characters are are basically on a quest to get
Speaker 1: out of their little small town. I was like, oh, oh, yeah,
Speaker 1: this is familiar, Like I know this story. Yeah, everybody
Speaker 1: can relate to that, right, yeah, And I like that
Speaker 1: you use that in order to make it familiar. But
Speaker 1: then you you slowly start introducing concepts that I didn't
Speaker 1: know about, which is an episode two. You immediately start
Speaker 1: talking about Indian Health Services and subtly making these little
Speaker 1: statements about it throughout What are you here for? Come
Speaker 1: to a fight bosting my nose? I got some good ones,
Speaker 1: and now tell your mom, no, I didn't. You shouldn't
Speaker 1: either patient doctor protocol or whatever it's called. Tell me
Speaker 1: a little bit about what your intentions were by teasing
Speaker 1: out the lessons that that me is not non indigenous
Speaker 1: person would learn from watching a show like this. We
Speaker 1: all know what bad health care is, right, Like, my
Speaker 1: whole goal is to be very specific show this culture,
Speaker 1: be very specific about the nuance and the differences and
Speaker 1: the little things that details that make it real. But
Speaker 1: it all has an undercurrent of your universality. And I
Speaker 1: think that those two, the combination of those two things
Speaker 1: are what make people want to come back and watch
Speaker 1: the show, because I think when we're like young and
Speaker 1: we're activists and we're you know, in our early twenties,
Speaker 1: we want to yell, you know, we want like a
Speaker 1: bullhorn to yell. But you realize people don't listen when
Speaker 1: you yell, and if you want people to hear, you
Speaker 1: have to find the right way to deliver it to them,
Speaker 1: like making a podcast, right, making a podcast, making a show,
Speaker 1: but also making a balance of like where I don't
Speaker 1: feel like I'm you don't feel like you're you're getting
Speaker 1: a lecture, You're just getting little tastes of lessons of
Speaker 1: healthcare disparities in America and Indigenous communities through a really
Speaker 1: funny episode that all takes place at the Indian Clinic,
Speaker 1: you know, where Bobby Lee is a doctor and like
Speaker 1: all of these things. Yeah, So I think it's like
Speaker 1: something that I've been this a needle I've been trying
Speaker 1: to threat through from a whole career. Most people that
Speaker 1: have an opportunity, especially when it comes to underserved communities
Speaker 1: and minority groups that are underrepresented, especially in how in
Speaker 1: TV and film, you don't necessarily know if you're going
Speaker 1: to get another chance at this, So you kind of
Speaker 1: just have to, you know, set your path straight and
Speaker 1: whatever happens happens. But you guys get a season two,
Speaker 1: Do you have a plan for us to have a
Speaker 1: long term stay with reservation dogs or oh yeah, yeah.
Speaker 1: My friend Taikytt helped open the door for me and
Speaker 1: then he was like all right, you know, there you go.
Speaker 1: And I was like I have to swing for the fences,
Speaker 1: like I'm gonna not doubt myself. You know, we all
Speaker 1: have that in our heads where where that imposter syndrome
Speaker 1: like should I be here? Like am I supposed to
Speaker 1: be here? Like do I deserve this? I mean, you
Speaker 1: know that's something I've always dealt with and you know,
Speaker 1: and I've always as a as a Native person minority.
Speaker 1: I've always fought any sort of I don't hand me
Speaker 1: anything like, and I've never gotten manned at something that
Speaker 1: I felt was racist. I mean, I've been told so
Speaker 1: many times like this is too native, we can't fund this,
Speaker 1: you know, like I don't like Native films, don't sell
Speaker 1: or anything. I never let that get me, man, it
Speaker 1: just fueled me. I almost wanted the hardest path because
Speaker 1: it's in. It was in my head from a young age.
Speaker 1: My mom, I remember, we would get this. My tribe
Speaker 1: would give us a clothing voucher before school started, two
Speaker 1: hundred and fifty bucks to go to the mall and
Speaker 1: get yourself some clothing. And because it's tribal money, it's
Speaker 1: not untaxable. But you know, the people at Dillards weren't
Speaker 1: used to that, and my mom would just battle them
Speaker 1: and be like, no, it's non taxable. And if they
Speaker 1: made it sound like it was a handout anyway, my
Speaker 1: mom would be like, this is not a handout. This
Speaker 1: is inheritance from our trial, you know. And so I
Speaker 1: always almost like subconsciously one of the harder, like like, yeah,
Speaker 1: be racist, Like I hope you don't understand what Native
Speaker 1: stories are because someday I'm gonna show you, you know.
Speaker 1: And I made all low budget films until this point.
Speaker 1: I mean, like you could have only made two episodes
Speaker 1: of Reservation Dogs with the budget of most of my
Speaker 1: feature films, you know. So when I got here, I
Speaker 1: was like, all right, I fought to be here. I
Speaker 1: got nothing to lose. I'm gonna swing for the fences
Speaker 1: and see what happens. And I never doubted myself and
Speaker 1: I just went for it. And I think that that
Speaker 1: was key to having a successful show because I wasn't
Speaker 1: second guessing myself. I wasn't editing myself. I was just
Speaker 1: going for it. With the success that you're having with
Speaker 1: the show, how do you consider opening the door for
Speaker 1: other Native creators that maybe want to come after you?
Speaker 1: Do you have a plan for to have Do you
Speaker 1: feel a responsibility to do that right? And if so,
Speaker 1: plan for that? I mean definitely. I mean, like I
Speaker 1: don't have the show without Taykott, you know, like like
Speaker 1: um him helping a friend down, and I've done the same.
Speaker 1: I mean, like every writer on the show, they're all Indigenous,
Speaker 1: and they're all friends. All of the directors were friends
Speaker 1: of mine that I wanted to give you know, their
Speaker 1: first TV shot or and one of them a directs
Speaker 1: TV already, but two others like it was their first
Speaker 1: time directing TV. UM doing the same thing for the
Speaker 1: next season. UM. And then also I have no overall
Speaker 1: deal at ects now and part of that is me
Speaker 1: bringing okay, bringing in other folks. Yeah, so like that's honestly,
Speaker 1: like I think my favorite thing about what's happened is
Speaker 1: like I now get to help people with their projects.
Speaker 1: And because I mean, for me, like how I always
Speaker 1: made my films and also how I made Reservation Dogs
Speaker 1: was it was not like a top down thing, like
Speaker 1: I don't like the hierarchy of Hollywood and how they
Speaker 1: usually do it. Like for me, it's just like you
Speaker 1: can't say that old Mike Sterling getting tracked. But like
Speaker 1: you know, I love the community aspect of it, Like
Speaker 1: I love like just how Reservation Dogs is kind of
Speaker 1: about a community. That's how I like making this stuff.
Speaker 1: So with being with bringing in a lot more and
Speaker 1: working with other Native creators, you know, we're seeing kind
Speaker 1: of like an inflection point right now where the Native
Speaker 1: community is receiving a lot of artistic attention. These stories
Speaker 1: and perspectives have always been important, but what do you
Speaker 1: think makes them more important to tell in this moment.
Speaker 1: Like with African American cinema and TV, you know, you
Speaker 1: had these moments like Boys in the Hood and things
Speaker 1: like that where it's like you're reflecting on your communities.
Speaker 1: I mean, like one of my biggest influences on the
Speaker 1: show was was Friday. Oh that's a classic ice cube
Speaker 1: Chris Tucker, nineteen ninety five. I love that movie. By
Speaker 1: all accounts, that neighborhood is supposed to be the ghetto
Speaker 1: and scary and dangerous, but it's you know, in Friday,
Speaker 1: it's like funny, Like it's not thriving, but it's like
Speaker 1: a beautiful you know, it's a celebration. And there might
Speaker 1: be one house that's like an asshole lives in, but
Speaker 1: then the next one was like manicured and they're funny
Speaker 1: and whatever. You know, It's like, that's what I want
Speaker 1: to do. Like literally, whenever I was designing the kind
Speaker 1: of the neighborhood of the of the reservation where they live,
Speaker 1: we looked at Friday, and we use more pastel colors
Speaker 1: and painted the houses and you know, like I think
Speaker 1: people's first inclination when I think of reservation is to
Speaker 1: make everything trashy, you know, because that's what we've seen
Speaker 1: in the documentaries. I was like, no, Like there might
Speaker 1: be one house that has like a card in the
Speaker 1: yard or whatever, but then the neighbor's house is going
Speaker 1: to be manicured and there's gonna be flowers and stuff,
Speaker 1: you know, Like that's that's we're people, you know, We're
Speaker 1: in this moment that I see that I saw. I
Speaker 1: think with African American cinema, like Friday and all of
Speaker 1: that were like you had boys in the hood, You're
Speaker 1: talking about problems within our community and everything. And then
Speaker 1: and then you move into Friday and it's like, oh,
Speaker 1: but this is a celebration. But also we're still talking
Speaker 1: about like our own issues, you know, like our own
Speaker 1: issues in our community, and we're talking about suicide and
Speaker 1: our own issues that we're facing. And it's not about
Speaker 1: how do white people save us, It's about how do
Speaker 1: we handle these problems ourselves? Like how do we address them?
Speaker 1: What is unique about the way that we address them?
Speaker 1: And so I see us in this infancy in our
Speaker 1: storytelling and where we're at and where we can go
Speaker 1: is limitless from every angle. If our listeners want to
Speaker 1: get involved in help seeing more visibility within Native American
Speaker 1: arts and film communities, what can they do. Illuminative is
Speaker 1: a really good organization that kind of covers everything from
Speaker 1: education to entertainment to art. I mean like they really
Speaker 1: cover a lot. And I think that that is My
Speaker 1: friend Crystal elcoh Hawk runs that and I think that
Speaker 1: I don't know that they're just growing and they're building,
Speaker 1: and they've really done so much in helping us be
Speaker 1: visible and also celebrating what's happening in Indian country. You know,
Speaker 1: follow him on Instagram Illuminative and they really give you
Speaker 1: a good broad sense of where you can go and
Speaker 1: who's all involved in the community. Thank you so much
Speaker 1: for being with the Sterlings. Has been incredible. Thank you. Sterlin.
Speaker 1: Hard Joe is the filmmaker, creator, and showrunner of Reservation Dogs,
Speaker 1: and he's directed three future films, including Four Sheets to
Speaker 1: the Wind, Barking Water, and Mecco, and two documentaries This
Speaker 1: May Be the Last Time and Love and Fury. Season
Speaker 1: two of Reservation Dogs is coming later in twenty twenty two.
Speaker 1: You can find a link to his work and also
Speaker 1: Illuminative in our show notes. Solvable is produced by Jocelyn Frank,
Speaker 1: Research by David Jack, book by Lisa Dunn. Editorial support
Speaker 1: from Keishell Williams. Our managing producer is Sasha Matthias, and
Speaker 1: our Executive producer is mio Lebelle. I'm Ronald Young Junior.
Speaker 1: Thanks for listening.