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Speaker 1: On the doll Cast. The questions asked if movies have

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Speaker 1: women in them? Are all their discussions just boyfriends and husbands?

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Speaker 1: Do they have individualism? The patriarchy? Zef invest start changing

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Speaker 1: it with the beck del Cast. Click click click click click,

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Speaker 1: Hey Jamie, it's me the Predator. Click watch out, I'm

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Speaker 1: coming for you. Click click click click click click click

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Speaker 1: It's me the other Predator Predators Friend, Jamie, Wait, is

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Speaker 1: there any Predator movies with two Predators? Good question? I've

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Speaker 1: only seen I've seen Predator from nineteen eighties. Seven question mark.

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Speaker 1: I've seen Pray obviously today's episode, and I've seen one

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Speaker 1: of the Alien versus Predator movies. I don't so I

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Speaker 1: can't speak to the other the other installments in the franchise.

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Speaker 1: And I feel like it's usually a single Mr Predator.

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Speaker 1: He's single, doing his business. He's single, he's just adjusting

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Speaker 1: the single life. Really, when you think about it, Look,

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Speaker 1: and this is the point where some guy on Twitter

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Speaker 1: pulls a clip and they're like, they didn't even watch

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Speaker 1: all eight Pridator movies. How can they talk about it? Look?

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Speaker 1: Welcome to the Becktel Cast. My name's Jamie Loftus. My

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Speaker 1: name is Caitlin Darante, And this is our show where

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Speaker 1: we examine movies from an intersectional feminist lens, using the

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Speaker 1: Becktel test simply as a jumping off point for a

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Speaker 1: larger discussion. Yes, can I tell you what that Bechdel

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Speaker 1: test is while I'm at it? I would love for

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Speaker 1: you to do that, all right. Well, look, it's a

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Speaker 1: media metric created by queer cartoonist Alison Bechdel, sometimes called

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Speaker 1: the Bechtel Wallace Test, originally made as a joke in

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Speaker 1: a comic strip, but has since evolved to become kind

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Speaker 1: of a metric that's often applied across media. Lots of

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Speaker 1: different versions of it. The one we used to start

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Speaker 1: our discussion is um, whether there are two characters of

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Speaker 1: a marginalized gender with names who speak to each other

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Speaker 1: about something other than a man for two lines of

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Speaker 1: dialogue or more um and it should be some sort

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Speaker 1: of narratively you know, relevant discussion. Yeah, so that's how

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Speaker 1: we start a discussion. But then we kind of just

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Speaker 1: talk about anything and everything, including how the predator is

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Speaker 1: hot in this movie that we need will unpack that later.

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Speaker 1: I feel like we need to get our guests involved

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Speaker 1: because I don't feel like we can just make a

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Speaker 1: claim like that and brush past. I just can't imagine

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Speaker 1: having to stay silent as you are saying that. Um. So,

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Speaker 1: let's so we are covering. Uh, it's our first recently

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Speaker 1: released movie we've covered in a while. Um, but we

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Speaker 1: know that our listeners wanted an episode on it. We

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Speaker 1: wanted to cover it. It's Prey, and we have an

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Speaker 1: absolutely wonderful guest today, so let's get her in the mix. Certainly,

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Speaker 1: she is a professional indigeneered at a tribe called geek.

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Speaker 1: It's Johnny J. Hey, everyone, welcome, it's me, Thanks for

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Speaker 1: being here, thanks for having me. So we reach out

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Speaker 1: to you because you wrote an incredible peace in a

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Speaker 1: tribe called geek on this movie, and we are just

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Speaker 1: interested to hear more of your thoughts. Um. But just

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Speaker 1: to get us started, what's your relationship with the movie Prey.

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Speaker 1: I have a very complicated relationship with the movie Prey. Um. Well,

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Speaker 1: first off, when it first started being put out there

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Speaker 1: that this movie was in the works, I was really

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Speaker 1: skeptical right off the back because of the way that

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Speaker 1: it was being um teased as hey, everyone, you know,

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Speaker 1: like this movie is being pitched to different studios and

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Speaker 1: it's going to follow a Comanche woman who goes against

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Speaker 1: gender norms and traditions to become a warrior. And as

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Speaker 1: these rumors kind of grew, as you know, like this

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Speaker 1: was developing in Hollywood, you know, it started coming out

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Speaker 1: like this is going to potentially be a predator movie,

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Speaker 1: and you know, it's like your spider sense to start tingling,

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Speaker 1: you know, and I was just like, oh, no, this

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Speaker 1: sounds so bad because they didn't just say a Native woman,

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Speaker 1: you know, they said a Comanche woman. And at the

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Speaker 1: time that the rumors had started about this movie, I

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Speaker 1: was living in law in Oklahoma, which is where the

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Speaker 1: Commanche nation is located, and you know, I've worked with

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Speaker 1: Comanche women and the one thing that I was just like, what,

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Speaker 1: Comanche women are so fierce, and you know, like a

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Speaker 1: Native women have always kind of been the backbones of

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Speaker 1: our societies and pre colonization. You know, while there were

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Speaker 1: gender traditional gender roles, um, patriarchy and matriarchy were not

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Speaker 1: what they are today for us. You know, like while

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Speaker 1: it kind of describes it now from our perspective, um,

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Speaker 1: it didn't back then. So you know, like even though

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Speaker 1: you know, men were traditionally warriors. It didn't mean that

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Speaker 1: women couldn't be warriors. And so you know they're like

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Speaker 1: even from several different tribes, you know, there have always

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Speaker 1: been this history of strong Native women who took on

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Speaker 1: those warrior roles. Um, if you had a skill set,

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Speaker 1: you know, even if you weren't a man, and it

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Speaker 1: was traditionally a man's role, Um, if you were particularly skilled,

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Speaker 1: nobody was keeping you from using your skills, you know,

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Speaker 1: to be like, oh, you're just a woman, you can't

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Speaker 1: do that, Like that didn't really exist for us because

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Speaker 1: you know, it was about survival and doing what you

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Speaker 1: needed to survive. So everybody's skill set, you know, it

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Speaker 1: had a place and it was kind of valued. So

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Speaker 1: it wasn't the way that this was kind of being portrayed.

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Speaker 1: So I can honestly say my relationship is complicated because

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Speaker 1: I was talking crap about this movie since two thousand

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Speaker 1: and sixteen. Um, any time a rumor or development would

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Speaker 1: be released, I was just like, no, no, no, no, no, no,

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Speaker 1: this is not good. This is not good because Disney

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Speaker 1: does not have a good historytive. That's and then and

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Speaker 1: then upon seeing it, I mean, this is I'm aware

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Speaker 1: of just because I've read your your piece about it.

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Speaker 1: But what was your your first reaction on seeing the

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Speaker 1: finished product? My mind was blown. Um, it was so good.

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Speaker 1: I I'm a huge Predator fan. I love horror, and

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Speaker 1: I grew up on Predator, and it's always been kind

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Speaker 1: of disappointing, like after the first one. Um, And I

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Speaker 1: know a lot of people tend to really love Predator too.

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Speaker 1: Is that the Danny Glover one? Yes, that's over, and

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Speaker 1: there's the debate between which one is better. But you know,

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Speaker 1: for me, it was always about the original and everything

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Speaker 1: else was just so disappointing. But I watched them and

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Speaker 1: I'm excited to watch them because it's the Predator. And

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Speaker 1: I even have a picture of me with a guy

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Speaker 1: with the Predator life sized Predator. I went to an

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Speaker 1: antique shop and it turns out that one of the guys,

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Speaker 1: um that this dude is friends with, worked on the

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Speaker 1: original Predator, Like he helped actually cast the Predator, like

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Speaker 1: all the different pieces that they used, and so they

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Speaker 1: started making these for fun and to just kind of

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Speaker 1: have on display in his shop, and he sells them

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Speaker 1: and I'm still like, let's let me win the lottery

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Speaker 1: so I can at least have two of them because

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Speaker 1: they are so badass, so cool. Oh my god. Yeah.

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Speaker 1: So so you know, like I'm a Predator fan. I

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Speaker 1: love the series, and so seeing this movie, like I

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Speaker 1: I was already expecting badness. I didn't have high expectations,

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Speaker 1: but oh my gosh, like my mind was blown and

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Speaker 1: I never expected to be crying in a Predator movie,

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Speaker 1: but I did. And you know, it was just so good,

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Speaker 1: Like the story was so well developed, the characters were

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Speaker 1: well developed, and it was like it wasn't just horror

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Speaker 1: or action. You know, there was a lot of emotion

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Speaker 1: and there was a lot of history that was being

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Speaker 1: kind of conveyed in a way that was absolutely stunning. Um. So,

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Speaker 1: like after watching the movie, I was just like did

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Speaker 1: I just see that? Like did that just happen? Because

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Speaker 1: the other thing that for me that really hit me

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Speaker 1: in the feelers was the credits. Because you know, a

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Speaker 1: lot of productions have native consultants. They'll bring people on

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Speaker 1: to help, and they rarely get credit for that help.

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Speaker 1: Um you don't really see their names in the credits

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Speaker 1: or anything like that. But watching the credits and seeing

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Speaker 1: the people that they brought into help with this movie.

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Speaker 1: Being name checked was incredible because you know, having lived

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Speaker 1: there in law in Oklahoma, you know, these are people

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Speaker 1: that I've known. Um, they were people that I've worked

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Speaker 1: with on other projects. Um, you know one of them

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Speaker 1: is wanted a pot a Pony And I'm pretty sure

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Speaker 1: I just pushered her last name, but um, she's a

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Speaker 1: really well known commanche scholar and she had passed she

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Speaker 1: just recently passed away. And you know, to see her

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Speaker 1: having input on the movie and being included like and

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Speaker 1: did see them kind of memorializing her was such a

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Speaker 1: beautiful moment because you know, it just kind of showed

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Speaker 1: that they really valued her input and the input of

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Speaker 1: everyone that they brought in from you know, individuals within

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Speaker 1: the tribe who were just language speakers or had some

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Speaker 1: cultural knowledge, to the language department, to thinking the entire tribe.

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Speaker 1: And you know, I was just like InCred doably moved

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Speaker 1: by the credits, which who does that? So when people

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Speaker 1: get credit for something that they usually don't get credit for,

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Speaker 1: it's like very meaningful to like receive credit where credit

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Speaker 1: is due. So I mean I don't and I know

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Speaker 1: that we we talk a lot on the show about

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Speaker 1: you know, making sure that the proper consulting work is

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Speaker 1: both gotten and paid for. But I feel like that's

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Speaker 1: such a good point that I don't even know that

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Speaker 1: we've touched on. Is like also receiving the proper actual

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Speaker 1: credit within the film credits in a way that isn't

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Speaker 1: like you're waiting, you know, five hours to get to

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Speaker 1: your name in size to font. Yeah, like that is

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Speaker 1: that is extremely significant and that's so much. I mean,

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Speaker 1: we're going to talk about the filmmakers behind this, but

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Speaker 1: it's like with without the consulting, this movie would be

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Speaker 1: a fraction of what it is. It's like, I'm so

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Speaker 1: excited to talk about it. I mean it's just like

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Speaker 1: even now, like everything, I've watched it several times now

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Speaker 1: because I get something different every single time, and it's

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Speaker 1: just so phenomenal. It is. Jamie, what is your relationship

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Speaker 1: with Prey with the Predator franchise in general? I mean,

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Speaker 1: quite a short history with Prey as it just came out. However,

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Speaker 1: I do remember seeing um, I didn't realize what a

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Speaker 1: long production history this had, and I do remember at

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Speaker 1: one point looking up, I was like, well, who is

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Speaker 1: writing this movie and who were being slightly perturbed when

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Speaker 1: I saw that it was being co written by a

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Speaker 1: supervising producer on Jack Ryan. I'm like, hmmm, maybe not

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Speaker 1: the kind of writing I'm going to enjoy, but I'm

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Speaker 1: so I'm coming into the Predator franchise pretty cold. This

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Speaker 1: was my first UM Predator Expanded Universe movie, and I

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Speaker 1: really really really enjoyed it. Like, I'm really excited to

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Speaker 1: talk about it. I have some thoughts on some things,

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Speaker 1: but for the most part, I just like it's a

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Speaker 1: It's UM for me, an action movie. Holding my attention

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Speaker 1: is a huge accomplishment, and I really really enjoyed this movie.

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Speaker 1: I think that there's so many good performances, the filmmaking

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Speaker 1: is amazing, and the attention to detail culturally, I'm very

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Speaker 1: excited to talk about and learn more about. So I

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Speaker 1: liked it. Kyle, what's your history with Prey slash Predator

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Speaker 1: at large? A large? I saw Predator one, I don't know,

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Speaker 1: probably like fifteen years ago in college and was like, yeah,

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Speaker 1: that's cool, that's fine. UM, but I haven't engaged very

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Speaker 1: much with the franchise. But learning about this movie, I

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Speaker 1: knew it came out, I was like, all right, this

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Speaker 1: is on my list. Of things to see and then

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Speaker 1: us doing this episode now gave me kind of the

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Speaker 1: like kicking the bomb, I needed to actually watch it.

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Speaker 1: I do wish that I could have seen this movie

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Speaker 1: in theaters. Um as much as I like enjoyed watching

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Speaker 1: it at home, I wish I could have seen this

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Speaker 1: movie on a gigantic screen. Same and I've seen it

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Speaker 1: twice now, once in English and once in Comanche. And

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Speaker 1: then I also rewatched Predator yesterday just to see if

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Speaker 1: it would like inform anything I had to say about

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Speaker 1: Pray um, which I don't know, maybe it'll come up,

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Speaker 1: but um, yeah, I would say of the Predator movies

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Speaker 1: i've seen, Pray is my favorite installment in the franchise.

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Speaker 1: I also really enjoyed this movie Mr Predator Hot, but

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Speaker 1: also everyone in the cast hot. Could you unpack Mr

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Speaker 1: Predator hot for as someone who famously had a thing

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Speaker 1: for the fish from Shape of Water? But I feel

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Speaker 1: like that movie was actively encouraging you to want to

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Speaker 1: have sex with the fish, and it just like worked

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Speaker 1: on me faster than maybe the movie intended. I mean,

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Speaker 1: have you seen Predator's body in this movie? I mean

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Speaker 1: some abs? Yeah, he's he is often invisible but you

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Speaker 1: know he's he's got abs, he's got nice shoulders. I

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Speaker 1: forget you do love. I just think that he's Is

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Speaker 1: it the shoulders thing? Look, I don't know if I

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Speaker 1: have specifically a shoulders thing. The point is I am

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Speaker 1: attracted to the predator from prey. I think it's really

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Speaker 1: brave of you to say out loud, thank you so much.

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Speaker 1: But that is neither here nor there. I'm not going

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Speaker 1: to focus on that in this episode. There's a lot

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Speaker 1: of more important things to talk about. So with that,

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Speaker 1: I say we get into it, starting with the recap,

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Speaker 1: actually starting with let's take a quick break and then

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Speaker 1: we'll come back and recap. So we will be right

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Speaker 1: back and we're back with Caitlin's famous recap. Okay, the

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Speaker 1: movie opens. We are in the Great Northern Plains. It

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Speaker 1: is the year seventeen nineteen. We meet Naru, played by

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Speaker 1: Amber Midsunder. She's a young woman from the Comanche Nation.

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Speaker 1: We see Naru gathering food with her dog. Sorry big

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Speaker 1: sorry fan, Oh sorry, the dog good. Then we see

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Speaker 1: her doing target practice with a throwing axe. She spots

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Speaker 1: a deer, which gets spooked by a loud sound something

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Speaker 1: flying overhead, maybe an alien spaceship we don't know, but

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Speaker 1: a chase ensues and Naru chases and hunts the deer,

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Speaker 1: but it gets away. Then she sees something in the

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Speaker 1: sky and it's maybe an alien spaceship. Question mark done done.

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Speaker 1: I also love every time they are in like Predator vision.

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Speaker 1: It's so it just it made me giggle, maybe giggle.

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Speaker 1: Every time he went heat vision mode, you're like, oh, yeah,

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Speaker 1: the future, because this movie does such a good job

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Speaker 1: of entrenching you in seventeen nineteen than anytime you see

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Speaker 1: heat vision you're like, hold on, uh uh. So. Then

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Speaker 1: Naru speaks to her brother tab A played by Dakota Beavers.

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Speaker 1: She tells him that she saw what she's calling the

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Speaker 1: thunderbird in the sky. They talk about hunting. She says

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Speaker 1: she's ready for her trial, and he's like, you want

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Speaker 1: to hunt something that's hunting you? And we're like, that's

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Speaker 1: the theme of the movie. And then Naru and her

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Speaker 1: mom played by Michelle Thrush, have a conversation. Her mom asks,

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Speaker 1: you're good at so many things, why do you want

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Speaker 1: to hunt? And Naru says, because you all think that

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Speaker 1: I can't, which is the most coming of age thing

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Speaker 1: of all. I really like um Michelle Thrash's performance. This

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Speaker 1: is also where you find out that her father has

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Speaker 1: passed Naru's father. Yes. Yeah. We then cut to this

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Speaker 1: thunderbird flying through the sky again. Then we see something

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Speaker 1: that you recognize as the Predator alien if you've seen

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Speaker 1: a Predator movie. It's invisible, but you can see its outline.

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Speaker 1: You can hear it's like click click click noise its mouth.

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Speaker 1: The clicks are cannon. I'm taking it. Yes, Yes, people

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Speaker 1: love a good old fashioned predator click. I was loving it.

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Speaker 1: It's good, it's good. Meanwhile, a lion has taken out

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Speaker 1: one of the men from the village, Poohy, so Tabe

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Speaker 1: and some other men start tracking the lion to rescue Poohi.

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Speaker 1: Naru follows the men, but they don't take her seriously.

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Speaker 1: They make a sexist remark toward her. Then Naru is

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Speaker 1: the one to find pooh He alive, but he's badly injured,

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Speaker 1: and she suspects that something else, something bigger, must have

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Speaker 1: scared off the lion and that's why pooh He is

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Speaker 1: still alive. Right, So Naru tends to his wounds and

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Speaker 1: gives him a medicinal plant that cools his body temperature

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Speaker 1: to slow down his blood flows so that he doesn't

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Speaker 1: lose too much blood. Right. Then, Naru and the others

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Speaker 1: carry Poohy back to their village while Tabe stays behind

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Speaker 1: to hunt the lion. On the way back, Naru sees

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Speaker 1: large footprints a skinned snake, kind of some freaky stuff.

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Speaker 1: The snake scene was cool and the yeah, the snake effects,

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Speaker 1: that was one of the scenes. We're like, why can't

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Speaker 1: I see this in imax? This is so cool? Right,

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Speaker 1: So she sees all this stuff, so she and this

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Speaker 1: man Paca, turned back to warn Tabe and try to

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Speaker 1: help him kill the lion, but the plan doesn't totally work.

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Speaker 1: Tab has to save Naru and Paca from the lion,

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Speaker 1: and he returns having vanquished the lion, and Tabe is

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Speaker 1: made war chief. But Naru is like, well, there's something

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Speaker 1: still out there and if I have to, I'll I

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Speaker 1: will go out and hunt it by myself. And Toby

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Speaker 1: is like, well, you tried and you failed and you

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Speaker 1: can't do this, and you're like, Okay, this is some

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Speaker 1: real protagonist shit going on. Yeah, So, not more determined

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Speaker 1: than ever, sets off to find whatever this huge animal is,

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Speaker 1: this predator with I hear kind of incredible shoulders. That's

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Speaker 1: just what my friend said. Though great shoulders, nice abs,

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Speaker 1: just kind of a good overall fish also had abs.

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Speaker 1: If you recall so many they just kept going. He

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Speaker 1: had like forty as he had a lot of absy

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Speaker 1: confusing for me. Okay. Anyway, So we see Naru tracking

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Speaker 1: the predator. She perfects her throwing as adds a rope

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Speaker 1: to it so that she can easily retract it and

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Speaker 1: catch it. Meanwhile, we see the predator alien hunting and

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Speaker 1: killing a wolf. It rips the wolf's like spine and

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Speaker 1: head off, so we're like, oh my gosh, this predator

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Speaker 1: he means business and he has this yet like terminator

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Speaker 1: like vision, like predator vision that is heat sensing, so

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Speaker 1: he can see like warm bodies wherever he looks. Nauru

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Speaker 1: comes across a field of slaughtered and skinned bison. But

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Speaker 1: wait a minute, this wasn't the predator, even though predator

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Speaker 1: love to skin things. Because she finds a what I

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Speaker 1: think is a cigar, so we understand that humans did this.

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Speaker 1: Colonizers did this. So she continues hunting. She gets stuck

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Speaker 1: in like a marsh and has to use her axe

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Speaker 1: like on a rope to pull herself out again, just

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Speaker 1: like an unbelievable sequence. The tension in that scene I'm

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Speaker 1: trying to I mean, anytime someone falls into a large marsh,

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Speaker 1: it's just it's going to be thrilling. Yeah, it's good.

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Speaker 1: Then she encounters a grizzly bear, which is about to

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Speaker 1: kill her, but then the bear is distracted by the

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Speaker 1: predator and she watches Mr. Predator fight and brutally kill

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Speaker 1: the bear. She manages to escape, then bumps into the

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Speaker 1: young men from the tribe who are out looking for her.

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Speaker 1: Character named Wassape is kind of leading the group. He

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Speaker 1: forcibly and violently tries to bring her back home, but

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Speaker 1: she fights back and tries to warn them about the

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Speaker 1: huge monster, but they don't believe her or take her

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Speaker 1: seriously until the predator shows up and starts killing the

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Speaker 1: men kind of one by one using it's like laser

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Speaker 1: pointer and advanced alien weaponry, which I love. I I

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Speaker 1: they advanced alien weaponry still feels like, oh, this was like,

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Speaker 1: this is technology from the this is what the future

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Speaker 1: was supposed to look like in the eighties. Like I

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Speaker 1: just love that element to it is. So it's fun

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Speaker 1: because going back and watching the advanced alien weaponry from

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Speaker 1: the first Predator movie in the eighties is very funny

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Speaker 1: to look. Is it the heat sensing vision? Anytime you

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Speaker 1: like see the eighties version of the heat sensing technology,

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Speaker 1: you're like, yep, this is from the eighties. That's wait, Johnny,

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Speaker 1: when did you first see a Predator movie? Oh? I

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Speaker 1: was young? Yeah, this is gonna date me that. I

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Speaker 1: believe I was eight years old, so that would have

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Speaker 1: been nice. Yeah, And I mean my family loved movies, um,

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Speaker 1: and I was basically born a horror fans, so you know,

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Speaker 1: it wasn't unusual for you know, people to let me

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Speaker 1: watch horror films because I remember watching Twilight Zone, Alfred

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Speaker 1: Hitchcock and do you guys remember the TV series The Hitcher?

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Speaker 1: What's that that was like on USA? And Tales from

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Speaker 1: the Dark Side. I know my mom has pictures of

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Speaker 1: me like peeking out from behind the couch and my

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Speaker 1: hands are over my eyes. But that's how I used

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Speaker 1: to watch shows. And I was super tiny, so sweet.

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Speaker 1: So like, I grew up on horror, so you know,

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Speaker 1: I had an early introduction into Predator and it kind

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Speaker 1: of stayed with me because you know, the movies aren't

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Speaker 1: that great, Like, you know, story wise, there are a

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Speaker 1: lot of action, there are a lot of fun, but

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Speaker 1: in terms of like a cinematic masterpiece, you know, it's

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Speaker 1: it's a little debatable, but you you root for the

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Speaker 1: movies because you love Predator. You know, you love this

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Speaker 1: alien because, let's be honest, he's always getting his butt kicked.

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Speaker 1: He's never come out the winner. He may have gotten

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Speaker 1: a couple of kills in, but I mean, and it's

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Speaker 1: a formidable opponent for sure. Yeah, and he's always been

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Speaker 1: taken out by human intelligence, which can we just can

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Speaker 1: we just talk about how absurd that is, Like, you're

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Speaker 1: this creature that has heat vision and these advanced weapons

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Speaker 1: is getting beat by humans, and not just beat by humans,

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Speaker 1: but literally he got hit with a log, you know

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Speaker 1: what I mean, like the first movie. But you still

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Speaker 1: love him, you know what I mean, You still root

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Speaker 1: for him. You get excited when you see a Predator

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Speaker 1: movie and yeah, fish face, Mr Fish. That contextualizes it well.

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Speaker 1: I feel like the way you're describing your feelings about

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Speaker 1: Predator and the Predator franchise is how I feel about

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Speaker 1: Jigsaw and the Soft franchise, where you're like Okay, the

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Speaker 1: first one is genuinely really good. The rest we don't

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Speaker 1: really know. But am I always rooting for Jigsaw, Yes,

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Speaker 1: I am. I mean it's the same thing with like,

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Speaker 1: you know, with Freddie and Nightmare on Elm Street, Jason.

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Speaker 1: You know, like you've got these moments that are so

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Speaker 1: good that draw you in, but then because you're so

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Speaker 1: invested at that point, like it doesn't matter if all

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Speaker 1: the rest of them suck, You're still excited for him

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Speaker 1: and you still love them absolutely cool. I was, Yeah,

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Speaker 1: I'm always curious with like franchises, but I feel like

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Speaker 1: eight that has to be that has to be such

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Speaker 1: a sweet spot, that's a lifelong pledge to the Predator. Yeah,

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Speaker 1: And I mean I am just as bad with Michael Myers.

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Speaker 1: I'm actually wearing a Michael Myers shirt now. Um that

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Speaker 1: is oh my gosh fandom that I am totally obsessed with.

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Speaker 1: And my whole thing, like over at this entire pandemic

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Speaker 1: has been just let me live to see the end

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Speaker 1: of this trilogy. So that's that's how invested I am

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Speaker 1: with my fandoms, you know. And it's the same with Predator.

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Speaker 1: Like I've seen all of the movies um, and I've

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Speaker 1: seen them almost except for the first two, all in theaters,

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Speaker 1: so numerous times. I'm that nerd who's seen I hate

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Speaker 1: to admit this Lord of the Rings probably about like

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Speaker 1: ten times in theaters. I'm not that far behind you.

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Speaker 1: I saw a Return of the King six times in theaters.

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Speaker 1: Like you know, this was back in the day when

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Speaker 1: you could afford to go to a movie multiple times.

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Speaker 1: But you know, I remember just going to people who

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Speaker 1: were like, you're going to see it again, and I

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Speaker 1: was like yes. It was like you don't understand. You're like,

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Speaker 1: don't judge me. Work hard for my money. I will

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Speaker 1: spend it how I want. Yeah, okay, so back to

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Speaker 1: back to the recap um. Okay. So it's the scene

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Speaker 1: where Predator shows up and kills all of the young

423
00:27:10,960 --> 00:27:15,320
Speaker 1: men in this group who is looking for Naru. Naru

424
00:27:15,560 --> 00:27:20,320
Speaker 1: narrowly escapes again, but oh no, her foot gets caught

425
00:27:20,400 --> 00:27:23,840
Speaker 1: in a trap and the predator comes right up to her,

426
00:27:23,920 --> 00:27:27,840
Speaker 1: but then leaves, and then just then some French for

427
00:27:28,040 --> 00:27:32,919
Speaker 1: trappers show up and abduct Naru. She wakes up. The

428
00:27:33,000 --> 00:27:37,640
Speaker 1: French demand information from her about this monster. Turns out

429
00:27:37,640 --> 00:27:42,840
Speaker 1: they've also captured her brother Tabe and the trappers tie

430
00:27:42,880 --> 00:27:45,680
Speaker 1: them up in an open area and use them as

431
00:27:45,760 --> 00:27:51,280
Speaker 1: bait for the predator, and mr Predator does show up,

432
00:27:51,359 --> 00:27:54,879
Speaker 1: but rather than taking the bait, he kills all of

433
00:27:54,920 --> 00:27:58,920
Speaker 1: the trappers and does not go after Naru and Tabeh.

434
00:27:59,040 --> 00:28:02,760
Speaker 1: Naru real eyes is the predator doesn't want bait and

435
00:28:02,880 --> 00:28:06,760
Speaker 1: won't attack anything that it doesn't consider a threat, so

436
00:28:07,760 --> 00:28:12,200
Speaker 1: Naru and Tabe eventually escape. Tabe sets off to collect

437
00:28:12,320 --> 00:28:16,880
Speaker 1: the frenchman's horses while Naru goes after her dog, Sorry,

438
00:28:17,040 --> 00:28:20,440
Speaker 1: who is back at the French camp. And she gets there,

439
00:28:20,480 --> 00:28:23,199
Speaker 1: she has to fight and kill a handful of French guys,

440
00:28:23,800 --> 00:28:26,919
Speaker 1: and then she helps out this man whose leg was

441
00:28:26,960 --> 00:28:30,080
Speaker 1: cut off. She gives him the medicine that lowers your

442
00:28:30,080 --> 00:28:33,800
Speaker 1: body temperature and he kind of in exchange shows her

443
00:28:33,800 --> 00:28:38,080
Speaker 1: how to use a gun. But oh no, the predator

444
00:28:38,200 --> 00:28:41,200
Speaker 1: comes to the camp but doesn't see the French guy

445
00:28:41,240 --> 00:28:44,520
Speaker 1: because his body temperature is too cold for the heat

446
00:28:44,560 --> 00:28:48,560
Speaker 1: sensing vision, which is something that Naru pieces together. She

447
00:28:48,640 --> 00:28:51,040
Speaker 1: kind of figures out that if you take this medicinal plant,

448
00:28:51,440 --> 00:28:55,240
Speaker 1: it makes it so that the predator can't see you. Meanwhile,

449
00:28:55,520 --> 00:28:59,240
Speaker 1: predator is about to kill the dog, but then Tabe

450
00:28:59,320 --> 00:29:03,880
Speaker 1: shows up on horseback. Naru and Tabe launch an attack,

451
00:29:04,400 --> 00:29:09,200
Speaker 1: but the Predator kills Tabe and Naru runs away to safety.

452
00:29:09,680 --> 00:29:13,080
Speaker 1: Every time a dog is introduced in an action movie,

453
00:29:13,280 --> 00:29:16,200
Speaker 1: I'm just like, no, that dog is going to be

454
00:29:16,280 --> 00:29:20,760
Speaker 1: in the trenches. It um But you know the dog survives,

455
00:29:21,080 --> 00:29:23,800
Speaker 1: I know, and that that happy. That's what I call

456
00:29:23,960 --> 00:29:31,960
Speaker 1: subversion volume twenty two. So the Naru comes across another

457
00:29:32,160 --> 00:29:35,960
Speaker 1: surviving French guy, the same one who had injured her brother,

458
00:29:36,800 --> 00:29:40,720
Speaker 1: so she gives him a gun that, oops, doesn't work.

459
00:29:40,760 --> 00:29:43,040
Speaker 1: This is all part of her plan. Basically, she wants

460
00:29:43,120 --> 00:29:45,080
Speaker 1: the Predator to think of him as a threat because

461
00:29:45,120 --> 00:29:47,840
Speaker 1: he has a weapon. But the gun doesn't work, and

462
00:29:48,080 --> 00:29:52,640
Speaker 1: her plan succeeds because Predator shows up and kills this

463
00:29:52,720 --> 00:29:56,360
Speaker 1: French guy, giving her the opportunity to have this final

464
00:29:56,400 --> 00:30:00,920
Speaker 1: showdown with Predator. She has taken the medicine that lowers

465
00:30:00,960 --> 00:30:04,320
Speaker 1: your body temperature so Predator can't see her. They fight,

466
00:30:04,440 --> 00:30:07,480
Speaker 1: she chops off his arm, She pulls him into the

467
00:30:07,560 --> 00:30:11,960
Speaker 1: marsh that she fell into earlier, and then using its

468
00:30:12,000 --> 00:30:15,520
Speaker 1: own alien technology against it, she is finally able to

469
00:30:15,640 --> 00:30:20,240
Speaker 1: kill the Predator and she returns to her village with

470
00:30:20,440 --> 00:30:25,560
Speaker 1: the decapitated head of Mr. Predator the glow in the

471
00:30:25,680 --> 00:30:30,400
Speaker 1: dark blood like, oh, it's so cool. Yeah. Uh. She

472
00:30:30,480 --> 00:30:34,640
Speaker 1: reunites with her mom and Naru is made the new

473
00:30:34,960 --> 00:30:39,960
Speaker 1: war chief of her tribe. So that is the story.

474
00:30:40,200 --> 00:30:43,440
Speaker 1: Let's take another break and we will come back to

475
00:30:43,480 --> 00:30:56,719
Speaker 1: discuss and we're back. Okay, where shall we start, Johnny,

476
00:30:56,760 --> 00:30:59,120
Speaker 1: is there anything in particular you would like to start

477
00:30:59,120 --> 00:31:01,320
Speaker 1: the discussion with. We can we can jump in what

478
00:31:01,600 --> 00:31:04,640
Speaker 1: I mean, there's a lot we can talk about. There

479
00:31:04,840 --> 00:31:09,640
Speaker 1: is a lot um now, you know what I really

480
00:31:09,680 --> 00:31:13,120
Speaker 1: want people to understand, like, is the context of the

481
00:31:13,200 --> 00:31:16,720
Speaker 1: movie because I I don't know if you've seen it

482
00:31:16,760 --> 00:31:20,640
Speaker 1: in Comanche, but there's such a huge difference in the

483
00:31:20,680 --> 00:31:26,240
Speaker 1: way that the tone and even Naru's motivation is portrayed.

484
00:31:27,320 --> 00:31:29,760
Speaker 1: Because one of the fears that I had with this

485
00:31:29,800 --> 00:31:32,440
Speaker 1: movie from the very get go was that people would

486
00:31:33,480 --> 00:31:37,200
Speaker 1: kind of run with the original tagline of this being

487
00:31:37,240 --> 00:31:41,040
Speaker 1: a commanche woman who goes against gender norms and traditions

488
00:31:41,080 --> 00:31:44,920
Speaker 1: to become a warrior. And in the English version, there

489
00:31:44,960 --> 00:31:48,680
Speaker 1: are moments that kind of that kind of hint at

490
00:31:48,720 --> 00:31:52,720
Speaker 1: that motivation. Um, you know, when Naru's talking with her mom,

491
00:31:52,760 --> 00:31:54,400
Speaker 1: and her mom asked, why do you want a hunt?

492
00:31:54,400 --> 00:31:56,880
Speaker 1: And she says, because you all think I can't. It

493
00:31:56,960 --> 00:32:00,760
Speaker 1: seems like she's rebelling and that you know she's she's

494
00:32:00,800 --> 00:32:04,000
Speaker 1: doing it to be rebellious and to prove that she

495
00:32:04,080 --> 00:32:07,240
Speaker 1: can and that the tribe is kind of holding her back.

496
00:32:07,640 --> 00:32:10,480
Speaker 1: But if you watch it in Command, she it's a

497
00:32:10,560 --> 00:32:15,000
Speaker 1: very different context that it falls and the context comes

498
00:32:15,040 --> 00:32:18,520
Speaker 1: back to it being about Nauru, Like she's not doing

499
00:32:18,560 --> 00:32:21,080
Speaker 1: it in spite of the tribe. You know, she's doing

500
00:32:21,120 --> 00:32:24,400
Speaker 1: it to prove it to herself, um, that she can

501
00:32:24,520 --> 00:32:28,560
Speaker 1: do it. So it's not about you know, everybody else

502
00:32:28,600 --> 00:32:32,560
Speaker 1: doubting her or anybody else's you know, ideas being pushed

503
00:32:32,600 --> 00:32:35,240
Speaker 1: onto her. You know, it's about her proving to herself

504
00:32:35,280 --> 00:32:38,840
Speaker 1: that she can. And I thought that was one of

505
00:32:38,880 --> 00:32:42,560
Speaker 1: the most beautiful things about this movie being released in

506
00:32:42,720 --> 00:32:47,120
Speaker 1: Commanche and English is because there's such a huge difference

507
00:32:47,200 --> 00:32:49,920
Speaker 1: if you listen to if you watch the movie in Commanche,

508
00:32:50,160 --> 00:32:53,959
Speaker 1: you're going to get more context, more humor, um and

509
00:32:54,080 --> 00:32:58,600
Speaker 1: things are just better conveyed. I guess as far as

510
00:32:58,680 --> 00:33:01,920
Speaker 1: like the messaging of the movie and when you get

511
00:33:01,960 --> 00:33:04,840
Speaker 1: into the English, it almost seems like, which is kind

512
00:33:04,840 --> 00:33:07,880
Speaker 1: of neat for me, because it almost seems like the

513
00:33:07,920 --> 00:33:11,800
Speaker 1: English is the afterthought, like a lot of the humor,

514
00:33:11,920 --> 00:33:15,040
Speaker 1: the nuance, you know, like they didn't really it doesn't

515
00:33:15,080 --> 00:33:18,200
Speaker 1: come through in the English version. In the English version,

516
00:33:18,640 --> 00:33:20,680
Speaker 1: you really got to watch it in Comanche to get

517
00:33:20,720 --> 00:33:23,840
Speaker 1: the full effect of the movie and just how beautiful

518
00:33:23,960 --> 00:33:27,880
Speaker 1: it is. Um. Even the conversation that you know, not

519
00:33:28,080 --> 00:33:32,080
Speaker 1: Re has with her mother and her brother, it's better understood.

520
00:33:32,360 --> 00:33:35,720
Speaker 1: And even just the title of the film itself is

521
00:33:35,760 --> 00:33:40,120
Speaker 1: better understood in Comanche that it is in English. Um

522
00:33:40,360 --> 00:33:44,120
Speaker 1: pray in Commanche. You know, if you're watching it, it's

523
00:33:44,200 --> 00:33:48,560
Speaker 1: Catamia is the trial that she's looking to undergo. And

524
00:33:49,120 --> 00:33:51,560
Speaker 1: that's actually what the movie. The title of the movie

525
00:33:51,560 --> 00:33:57,200
Speaker 1: translates to um in commande. So it kind of explains

526
00:33:57,480 --> 00:34:00,200
Speaker 1: why it's not a predator movie, like it's not Header

527
00:34:00,240 --> 00:34:04,560
Speaker 1: than nine, you know. So, so I thought it was

528
00:34:04,640 --> 00:34:08,600
Speaker 1: a genius use of the language um and shows how

529
00:34:08,680 --> 00:34:13,080
Speaker 1: meaningful and intentful they were in the usage of the

530
00:34:13,120 --> 00:34:16,719
Speaker 1: Comanche language. UM. So if you're watching in Comanche, like

531
00:34:16,760 --> 00:34:20,600
Speaker 1: you get a totally different experience. And so I want

532
00:34:20,600 --> 00:34:23,200
Speaker 1: people to really kind of understand like, this isn't a

533
00:34:23,239 --> 00:34:26,600
Speaker 1: girl power movie. Um, it is, but it's not like

534
00:34:26,680 --> 00:34:29,120
Speaker 1: she was doin it in spite of the men in

535
00:34:29,239 --> 00:34:32,440
Speaker 1: her tribe, like she was trying to prove or rebel

536
00:34:32,640 --> 00:34:34,719
Speaker 1: or anything, or they were trying to keep her from it.

537
00:34:35,560 --> 00:34:38,520
Speaker 1: That really wasn't the context that they were kind of

538
00:34:38,520 --> 00:34:42,880
Speaker 1: going for um And and there were moments where it

539
00:34:42,960 --> 00:34:45,520
Speaker 1: really played out that way, you know, with the way

540
00:34:45,560 --> 00:34:49,520
Speaker 1: that her interaction with the other warriors, um, which for

541
00:34:49,600 --> 00:34:52,400
Speaker 1: a lot of us was kind of problematic because they

542
00:34:52,400 --> 00:34:54,800
Speaker 1: would not have been able to treat her that way

543
00:34:55,000 --> 00:34:57,680
Speaker 1: back then, and they wouldn't. I don't think they really

544
00:34:57,680 --> 00:35:01,080
Speaker 1: would have thought to treat her that way as well, um,

545
00:35:01,120 --> 00:35:05,640
Speaker 1: just because you know, pre colonization, you know, our relationships

546
00:35:05,680 --> 00:35:08,680
Speaker 1: with you know, like being women and you know men,

547
00:35:08,800 --> 00:35:11,840
Speaker 1: our relationships were very different. It was all about a

548
00:35:11,920 --> 00:35:14,960
Speaker 1: balance of power. It wasn't about men holding power over

549
00:35:15,000 --> 00:35:18,719
Speaker 1: women or women holding power over men. There was a balance,

550
00:35:19,280 --> 00:35:21,719
Speaker 1: and so you know, that really kind of didn't come

551
00:35:21,719 --> 00:35:25,879
Speaker 1: through and it was kind of it was a little problematic,

552
00:35:26,000 --> 00:35:29,720
Speaker 1: but you know, like my thinking is nothing's perfect, so

553
00:35:30,320 --> 00:35:35,000
Speaker 1: you know, it's still a major step up in terms

554
00:35:35,000 --> 00:35:39,080
Speaker 1: of representation, but there are still these little little nuances

555
00:35:39,120 --> 00:35:41,239
Speaker 1: where if you know, like if you're not Native, you're

556
00:35:41,239 --> 00:35:44,400
Speaker 1: going to get something different out of it. And I

557
00:35:44,440 --> 00:35:47,440
Speaker 1: think that could kind of be problematic just because so

558
00:35:48,120 --> 00:35:51,479
Speaker 1: many times, you know, even now with like the fan

559
00:35:51,600 --> 00:35:54,160
Speaker 1: backlash from this movie. You know that what I like

560
00:35:54,239 --> 00:35:57,200
Speaker 1: to call the Foe boys, because they're not really fans.

561
00:35:57,239 --> 00:35:59,480
Speaker 1: They're just like agency chaos who come in and just

562
00:35:59,480 --> 00:36:03,040
Speaker 1: try to try ash things in, create drama. That's how

563
00:36:03,080 --> 00:36:06,880
Speaker 1: they have joy in their life, which is um interesting.

564
00:36:06,960 --> 00:36:10,120
Speaker 1: So sad, yes, that is the word. That is the

565
00:36:10,120 --> 00:36:14,319
Speaker 1: word sad, pathetic, embarrassing, Yeah, but you know, like it

566
00:36:14,400 --> 00:36:16,600
Speaker 1: kind of plays into that because I don't know how

567
00:36:16,600 --> 00:36:19,560
Speaker 1: many comments I've seen after this we're like, oh, Native

568
00:36:19,600 --> 00:36:22,440
Speaker 1: men were brutal to women and you know, they were

569
00:36:22,520 --> 00:36:25,359
Speaker 1: raping and blah blah blah blah, and they project all

570
00:36:25,360 --> 00:36:29,560
Speaker 1: of this you know, violence onto onto Native communities that

571
00:36:29,719 --> 00:36:33,160
Speaker 1: wasn't there just because of the stereotypes that we've typically

572
00:36:33,160 --> 00:36:36,560
Speaker 1: seen in movies. So you know, when I see things

573
00:36:36,600 --> 00:36:38,719
Speaker 1: like that, like I always worry about, like what the

574
00:36:38,760 --> 00:36:40,800
Speaker 1: takeaway is going to be, Like are people going to

575
00:36:40,880 --> 00:36:43,239
Speaker 1: be like, see, that's how they really treated their Native

576
00:36:43,280 --> 00:36:46,200
Speaker 1: women and you know, and it's like, no, it's a

577
00:36:46,200 --> 00:36:49,799
Speaker 1: little more complicated than that, right, Yeah. So I saw

578
00:36:49,840 --> 00:36:54,239
Speaker 1: it in both the English and Comanche and just kind of, yeah,

579
00:36:54,280 --> 00:36:58,560
Speaker 1: what plays out in in both versions to I think

580
00:36:58,560 --> 00:37:01,040
Speaker 1: a lesser extent in Comanche, but still have those scenes

581
00:37:01,040 --> 00:37:04,960
Speaker 1: where the men aren't taking her seriously, they're being violent

582
00:37:05,120 --> 00:37:08,839
Speaker 1: towards her, They're enforcing what feels like kind of like

583
00:37:09,120 --> 00:37:13,759
Speaker 1: white Christian sexism on to her. And I'm like, that

584
00:37:13,840 --> 00:37:17,239
Speaker 1: doesn't that didn't totally track. And I was glad that

585
00:37:17,280 --> 00:37:19,719
Speaker 1: you mentioned that in your piece as well, Johnny, because

586
00:37:19,760 --> 00:37:22,319
Speaker 1: I was like, I don't know, I was like, this

587
00:37:22,400 --> 00:37:26,440
Speaker 1: doesn't seem to square very well, and it's it seems

588
00:37:26,480 --> 00:37:30,560
Speaker 1: to be kind of like a current film trope that

589
00:37:30,680 --> 00:37:33,160
Speaker 1: has made its way into this story where it doesn't

590
00:37:33,200 --> 00:37:35,960
Speaker 1: make sense for the period and the culture that this

591
00:37:36,000 --> 00:37:38,600
Speaker 1: story takes place in, because it just feels like kind

592
00:37:38,640 --> 00:37:41,600
Speaker 1: of this like loose, like like you said in your

593
00:37:41,840 --> 00:37:45,480
Speaker 1: like a girl power narrative that like is taking place

594
00:37:45,520 --> 00:37:48,719
Speaker 1: in a vacuum sort of. Yeah, And because I mean,

595
00:37:49,480 --> 00:37:51,440
Speaker 1: you know, I see this so often when we have

596
00:37:51,640 --> 00:37:55,280
Speaker 1: discussions of like you know, especially like with women's issues,

597
00:37:55,960 --> 00:37:59,880
Speaker 1: and women's rights. A lot of like white patriarchal values

598
00:38:00,120 --> 00:38:04,799
Speaker 1: in feminist ideas get kind of projected onto Indigenous communities,

599
00:38:04,920 --> 00:38:09,359
Speaker 1: which you know, for me, it's annoying because it kind

600
00:38:09,400 --> 00:38:15,960
Speaker 1: of whitewashes and erases the inherent strength and power of

601
00:38:16,080 --> 00:38:19,920
Speaker 1: Indigenous women that we've always had. You know, pre colonization,

602
00:38:20,000 --> 00:38:25,320
Speaker 1: we weren't oppressed in our communities. You know, we were

603
00:38:26,040 --> 00:38:27,840
Speaker 1: you know, they women have always kind of been the

604
00:38:27,880 --> 00:38:32,040
Speaker 1: backbones of our societies and respected and treated well, you know,

605
00:38:32,160 --> 00:38:35,200
Speaker 1: we held power, um, but it wasn't like we held

606
00:38:35,200 --> 00:38:38,520
Speaker 1: power over um. You know, it was just like an

607
00:38:38,520 --> 00:38:42,520
Speaker 1: equal distribution of power. Like our our thoughts, our work,

608
00:38:42,640 --> 00:38:47,480
Speaker 1: our labor, everything had value and was respected. So you know,

609
00:38:47,600 --> 00:38:50,720
Speaker 1: I always worry about when it's projected onto us because

610
00:38:50,840 --> 00:38:54,879
Speaker 1: it really it almost is kind of like a way

611
00:38:54,880 --> 00:39:00,600
Speaker 1: to deflect from the trauma of colonization, like to kind

612
00:39:00,600 --> 00:39:02,920
Speaker 1: of be like, oh, well, you know, like look what

613
00:39:02,960 --> 00:39:05,080
Speaker 1: they were doing. You know, they were they were pushing

614
00:39:05,120 --> 00:39:08,160
Speaker 1: people into this, but it's not the same context. And

615
00:39:08,680 --> 00:39:11,040
Speaker 1: you know, I don't if you're not Native like and

616
00:39:11,200 --> 00:39:15,840
Speaker 1: not familiar with Native history or cultures or communities, you

617
00:39:15,880 --> 00:39:20,160
Speaker 1: don't really understand like that the nuances that exist and

618
00:39:20,200 --> 00:39:22,440
Speaker 1: so when I mean that was my main worry with

619
00:39:22,480 --> 00:39:27,200
Speaker 1: this movie was just how like how these like patriarchal

620
00:39:27,239 --> 00:39:29,960
Speaker 1: values were being kind of projected. And you know, and

621
00:39:30,000 --> 00:39:32,440
Speaker 1: I kind of understand it to an extent too, because

622
00:39:32,480 --> 00:39:34,760
Speaker 1: you know, this is a movie for a mass market

623
00:39:35,600 --> 00:39:38,400
Speaker 1: and you know it has to you know, viewers have

624
00:39:38,480 --> 00:39:42,759
Speaker 1: to watch it and understand what's going on. And while

625
00:39:42,840 --> 00:39:45,759
Speaker 1: I wish it wasn't like they wish they would have

626
00:39:45,760 --> 00:39:49,640
Speaker 1: tweaked it a little bit in different ways, um, I

627
00:39:49,680 --> 00:39:52,840
Speaker 1: think it still did a really good job of showing,

628
00:39:53,000 --> 00:39:59,719
Speaker 1: you know, the overall theme, right, because the one thing

629
00:39:59,760 --> 00:40:02,360
Speaker 1: that really annoyed me, you know was just the fact

630
00:40:02,400 --> 00:40:05,839
Speaker 1: that the like the men warriors that she was going

631
00:40:05,840 --> 00:40:09,120
Speaker 1: out with, like the hunting parties and everything that you know,

632
00:40:09,440 --> 00:40:11,719
Speaker 1: her brother would not have allowed them to treat her

633
00:40:11,760 --> 00:40:14,879
Speaker 1: that way or to talk to her that way. Um,

634
00:40:14,920 --> 00:40:17,719
Speaker 1: And they would not have treated her that way, especially

635
00:40:17,840 --> 00:40:21,200
Speaker 1: once her brother became you know, like they're like they're

636
00:40:21,200 --> 00:40:24,719
Speaker 1: war chief. You know, that wouldn't have happened. And the

637
00:40:24,840 --> 00:40:27,919
Speaker 1: part where you know they really kind of just beat

638
00:40:27,960 --> 00:40:30,880
Speaker 1: the crap out of her, Um, if if it was

639
00:40:31,040 --> 00:40:35,040
Speaker 1: from a different tone it would have made sense if

640
00:40:35,080 --> 00:40:38,360
Speaker 1: they weren't doing it to be sexist, if they weren't

641
00:40:39,080 --> 00:40:41,480
Speaker 1: you know, telling her like, oh, you should be back

642
00:40:41,520 --> 00:40:44,320
Speaker 1: in the village cooking, you know, like it kind of

643
00:40:44,360 --> 00:40:47,919
Speaker 1: would have made sense because Nate, you know, I grew

644
00:40:48,000 --> 00:40:51,279
Speaker 1: up kind of like I have brothers and sisters, um,

645
00:40:52,080 --> 00:40:55,200
Speaker 1: and we used to fight and you know, like where

646
00:40:55,200 --> 00:40:59,880
Speaker 1: I'm talking punching somebody's bleeding and you know, so it

647
00:41:00,000 --> 00:41:01,960
Speaker 1: would have made sense if they were treating her as

648
00:41:02,000 --> 00:41:04,920
Speaker 1: an equal, like a sister, and they were kind of

649
00:41:04,960 --> 00:41:08,400
Speaker 1: like wrestling around and you know, fighting, it would have

650
00:41:08,440 --> 00:41:11,400
Speaker 1: made sense, you know. But the fact that there was

651
00:41:11,520 --> 00:41:15,960
Speaker 1: this very misogynistic tone to it didn't make sense. Like

652
00:41:16,040 --> 00:41:18,239
Speaker 1: if they were if she was fighting them to prove

653
00:41:18,320 --> 00:41:22,920
Speaker 1: that she could right like hanging with the boys, it

654
00:41:22,960 --> 00:41:25,800
Speaker 1: would have been different because that's something that totally happens,

655
00:41:25,840 --> 00:41:27,759
Speaker 1: like you you fight with your brothers to show you're

656
00:41:27,800 --> 00:41:31,200
Speaker 1: just as stronger, just as good as you know, right right.

657
00:41:31,239 --> 00:41:35,400
Speaker 1: But that misogynistic tone just was like there are a

658
00:41:35,440 --> 00:41:39,880
Speaker 1: few lines that felt very like c w e in

659
00:41:40,080 --> 00:41:43,759
Speaker 1: just like the oversimplification of the missile, like I mean

660
00:41:43,840 --> 00:41:46,759
Speaker 1: just sort of echoing what you're saying. But then in

661
00:41:46,840 --> 00:41:52,720
Speaker 1: the relationship with Naro and Tabe, there were moments where

662
00:41:53,360 --> 00:41:57,040
Speaker 1: it felt like that, like it became it worked for

663
00:41:57,080 --> 00:41:59,680
Speaker 1: me a lot better when he was doubting her because

664
00:42:00,440 --> 00:42:04,120
Speaker 1: she was his younger sibling versus like you are a

665
00:42:04,160 --> 00:42:07,680
Speaker 1: woman and I don't respect you. Yeah, And it wasn't

666
00:42:07,719 --> 00:42:11,799
Speaker 1: just that they were doubting her ability to because if

667
00:42:11,840 --> 00:42:13,480
Speaker 1: you watch it in command she, like I said, you

668
00:42:13,520 --> 00:42:16,680
Speaker 1: get more nuanced and you kind of understand that they're

669
00:42:16,719 --> 00:42:19,440
Speaker 1: not worried about whether or not she can do it.

670
00:42:19,920 --> 00:42:22,759
Speaker 1: They're worried about whether or not she's doing it for

671
00:42:22,800 --> 00:42:26,839
Speaker 1: the right reasons, and whether or not she understands what

672
00:42:26,880 --> 00:42:32,160
Speaker 1: it is she's doing and what it means. And because

673
00:42:32,200 --> 00:42:34,359
Speaker 1: like for her, you know, it is kind of like

674
00:42:34,480 --> 00:42:38,600
Speaker 1: a rebellion. She's stubborn, she's headstrong, and she you know,

675
00:42:38,680 --> 00:42:41,759
Speaker 1: like she she knows she wants to do this, and

676
00:42:41,920 --> 00:42:44,120
Speaker 1: you know, there's even a part where her mom tells

677
00:42:44,160 --> 00:42:47,200
Speaker 1: her that, you know, you want to take Katamiyah. And

678
00:42:47,239 --> 00:42:49,799
Speaker 1: you think that it's only about the hunt and the kill,

679
00:42:50,480 --> 00:42:54,040
Speaker 1: but the whole point of it is survival. Like it's

680
00:42:54,080 --> 00:42:56,960
Speaker 1: it's not about just going out and hunting. It's about

681
00:42:56,960 --> 00:43:00,000
Speaker 1: knowing how to survive. And you know, when you're talking

682
00:43:00,000 --> 00:43:03,239
Speaker 1: it about survival, that's not just knowing when to fight,

683
00:43:03,280 --> 00:43:05,680
Speaker 1: but also when to retreat. Because that was you know,

684
00:43:05,680 --> 00:43:09,279
Speaker 1: when they had this conversation. It was after they went

685
00:43:09,360 --> 00:43:12,920
Speaker 1: hunting for the Mountain Lion, and you know, like she

686
00:43:12,960 --> 00:43:16,520
Speaker 1: almost died. And even her brother, you know, when he's

687
00:43:16,560 --> 00:43:18,920
Speaker 1: trying to give her share credit, he's like, you know,

688
00:43:19,000 --> 00:43:22,279
Speaker 1: like we did it. And then of course Naru is

689
00:43:22,400 --> 00:43:26,360
Speaker 1: kind of being brad and you know, because like I

690
00:43:26,400 --> 00:43:28,279
Speaker 1: think it is since she thinks her brother took her

691
00:43:28,360 --> 00:43:32,560
Speaker 1: victory from her or her opportunity. So and you know,

692
00:43:32,600 --> 00:43:34,920
Speaker 1: and then he's like, you know what, fine, we didn't

693
00:43:34,920 --> 00:43:38,200
Speaker 1: do this. I did this, and you know, just kind

694
00:43:38,200 --> 00:43:40,799
Speaker 1: of like trying to kind of taking it back from

695
00:43:40,800 --> 00:43:44,520
Speaker 1: her like this entitlement. I guess, you know, like you know,

696
00:43:45,080 --> 00:43:46,920
Speaker 1: I was trying to share this with you. But if

697
00:43:46,960 --> 00:43:49,399
Speaker 1: you're going to be that way, no, like if you're

698
00:43:49,440 --> 00:43:52,919
Speaker 1: going to love her, jet to put yourself in danger again. Yeah,

699
00:43:53,160 --> 00:43:54,920
Speaker 1: and and then of course you know what did she do.

700
00:43:55,040 --> 00:43:59,520
Speaker 1: She took off and she put herself into dange But

701
00:43:59,600 --> 00:44:01,520
Speaker 1: you know, I thought it was a good way to

702
00:44:01,600 --> 00:44:03,919
Speaker 1: kind of show that nuance. You know that they were

703
00:44:04,040 --> 00:44:08,480
Speaker 1: genuinely just more worried that she was rushing into something

704
00:44:08,520 --> 00:44:11,759
Speaker 1: that she didn't understand. And you know, and when you're

705
00:44:11,760 --> 00:44:14,440
Speaker 1: coming doing coming of age ceremonies or when you're going

706
00:44:14,480 --> 00:44:18,879
Speaker 1: into ceremony in our communities, you know, knowing what you're

707
00:44:18,880 --> 00:44:23,120
Speaker 1: getting into and the responsibilities that come with it um

708
00:44:23,160 --> 00:44:26,600
Speaker 1: are very important and it's something that's very stressed. You know,

709
00:44:26,680 --> 00:44:28,640
Speaker 1: like they don't want you just to jump into it

710
00:44:28,719 --> 00:44:31,239
Speaker 1: just because you think it's cool or you know, to

711
00:44:31,360 --> 00:44:34,239
Speaker 1: be trendy or to be different or whatever. Um, they

712
00:44:34,280 --> 00:44:36,720
Speaker 1: really want you to understand, you know what the meaning

713
00:44:36,760 --> 00:44:39,400
Speaker 1: of the ceremony is that and you go into it

714
00:44:39,440 --> 00:44:42,680
Speaker 1: with the right kind of mind, your heart's right. So

715
00:44:42,840 --> 00:44:44,800
Speaker 1: I really thought that was kind of like a really

716
00:44:44,800 --> 00:44:46,880
Speaker 1: smart way to kind of show that, you know, that

717
00:44:46,960 --> 00:44:50,040
Speaker 1: they wanted her to understand what it is she was

718
00:44:50,120 --> 00:44:54,439
Speaker 1: undertaking and the responsibilities that come with that. The conversations

719
00:44:54,480 --> 00:44:57,520
Speaker 1: with like Tabi and you know Nauru were so beautiful

720
00:44:57,560 --> 00:45:01,760
Speaker 1: to me because that was the perfect sibling like conversations.

721
00:45:01,840 --> 00:45:04,160
Speaker 1: You know, the brother trying to impart wisdom and she's

722
00:45:04,200 --> 00:45:07,520
Speaker 1: over there pretending to snore, and you know, I mean,

723
00:45:07,560 --> 00:45:09,839
Speaker 1: there was just so many things that were beautiful about that.

724
00:45:09,920 --> 00:45:13,720
Speaker 1: But I really loved that they were kind of showing

725
00:45:13,840 --> 00:45:16,759
Speaker 1: that care, and I wish they would have kind of

726
00:45:16,800 --> 00:45:19,520
Speaker 1: carried that over to where the rest of the hunting

727
00:45:19,560 --> 00:45:21,360
Speaker 1: party or the rest of the people in the village,

728
00:45:21,840 --> 00:45:24,680
Speaker 1: you know, kind of had that same mindset too, instead

729
00:45:24,680 --> 00:45:29,319
Speaker 1: of adding that misogynistic kind of viewpoint in there, you know,

730
00:45:29,360 --> 00:45:32,120
Speaker 1: where it was like, oh, you you know, why are

731
00:45:32,200 --> 00:45:34,640
Speaker 1: you here? You know, it's we're not going to be

732
00:45:34,680 --> 00:45:36,680
Speaker 1: out here long. We don't need to cook, you know,

733
00:45:36,960 --> 00:45:39,480
Speaker 1: we need a Yeah, that one, I was just like, okay,

734
00:45:40,040 --> 00:45:43,400
Speaker 1: rolling a little bit of that. I think those scenes

735
00:45:43,400 --> 00:45:47,120
Speaker 1: could have also worked if the narrative had been kind

736
00:45:47,120 --> 00:45:50,960
Speaker 1: of adjusted so that because what's happening is that she

737
00:45:51,160 --> 00:45:54,279
Speaker 1: is is like, because she's such a good tracker, she's

738
00:45:54,360 --> 00:45:58,840
Speaker 1: noticing all these kind of peculiar things, right like the

739
00:45:58,880 --> 00:46:01,640
Speaker 1: skin snake and the the large footprint, and she's like,

740
00:46:01,680 --> 00:46:04,759
Speaker 1: there's something else out here. It seems like, you know,

741
00:46:04,840 --> 00:46:08,839
Speaker 1: a monster from like our folklore. And of course if

742
00:46:08,880 --> 00:46:12,200
Speaker 1: someone tells you that, it's going to be difficult to believe,

743
00:46:12,520 --> 00:46:16,000
Speaker 1: especially like they know these lands very well, they know

744
00:46:16,080 --> 00:46:18,680
Speaker 1: the wildlife So if it had just been them sort

745
00:46:18,680 --> 00:46:22,440
Speaker 1: of being like, well, like, it doesn't sound like you're

746
00:46:22,440 --> 00:46:25,760
Speaker 1: talking about something that's real, so that it's like we're

747
00:46:25,800 --> 00:46:30,520
Speaker 1: having a trouble believing you. And and of course they

748
00:46:30,560 --> 00:46:33,040
Speaker 1: would have trouble because this thing that she's encountering is

749
00:46:33,080 --> 00:46:36,440
Speaker 1: like not of this world, like not something they're familiar with.

750
00:46:36,600 --> 00:46:39,840
Speaker 1: So even if something like that had been more leaned

751
00:46:39,880 --> 00:46:41,759
Speaker 1: into if it's like, well, yeah, we're not taking you

752
00:46:41,800 --> 00:46:46,120
Speaker 1: seriously because you're describing something that doesn't exist, or that

753
00:46:46,280 --> 00:46:49,160
Speaker 1: like we're not aware of yeah, or even if they

754
00:46:49,239 --> 00:46:52,120
Speaker 1: had been joking about it, like even if the tone,

755
00:46:52,440 --> 00:46:57,239
Speaker 1: like the delivery of the lines was less violent, less angry, Um,

756
00:46:57,280 --> 00:46:59,239
Speaker 1: I think it would have played out like, oh, they're

757
00:46:59,280 --> 00:47:02,480
Speaker 1: just joking with her and you know, kind of hazing

758
00:47:02,680 --> 00:47:07,640
Speaker 1: a little bit like brothers and sisters do. And I

759
00:47:07,640 --> 00:47:09,520
Speaker 1: would have made a little more sense to me. But

760
00:47:09,680 --> 00:47:13,239
Speaker 1: like that that violent undertone with everything and how they

761
00:47:13,280 --> 00:47:16,439
Speaker 1: interacted with her, you know, just didn't really sit well

762
00:47:16,480 --> 00:47:19,440
Speaker 1: with me, Um, and I but I understand, you know,

763
00:47:19,480 --> 00:47:23,240
Speaker 1: they had to do that more for like the mass market,

764
00:47:23,400 --> 00:47:27,160
Speaker 1: for other people to to understand like what what this

765
00:47:27,320 --> 00:47:30,880
Speaker 1: is and to kind of have that conflict like beyond

766
00:47:30,920 --> 00:47:33,799
Speaker 1: her just fighting a predator, So like I kind of

767
00:47:33,920 --> 00:47:36,200
Speaker 1: understand it, but at the same time, like I don't

768
00:47:36,239 --> 00:47:39,359
Speaker 1: like it, but it's still it does feel like kind

769
00:47:39,360 --> 00:47:43,640
Speaker 1: of insidious and bizarre that like to make a movie

770
00:47:43,680 --> 00:47:46,680
Speaker 1: mass market of all, you have to layer on white

771
00:47:46,760 --> 00:47:52,160
Speaker 1: Christian misogynist oppression onto a story. You're like, why there's

772
00:47:52,200 --> 00:47:55,200
Speaker 1: because it does like feel like the story has if

773
00:47:55,239 --> 00:47:58,400
Speaker 1: you take away like you're saying, Johnny, like the tone

774
00:47:58,480 --> 00:48:00,799
Speaker 1: of a lot of those interactions and just like some

775
00:48:00,920 --> 00:48:04,040
Speaker 1: of the like kind of overwritten lines that are are

776
00:48:04,200 --> 00:48:08,000
Speaker 1: lobbed at nar like everything you need is there to

777
00:48:08,120 --> 00:48:10,920
Speaker 1: understand why things are playing out the way they are.

778
00:48:10,960 --> 00:48:15,240
Speaker 1: In addition to like something that I like that isn't

779
00:48:15,360 --> 00:48:18,719
Speaker 1: said constantly, but I felt like you could feel was

780
00:48:18,800 --> 00:48:22,560
Speaker 1: like this family has already endured a loss, so of

781
00:48:22,600 --> 00:48:26,759
Speaker 1: course they're going to be worried about a very headstrong

782
00:48:27,360 --> 00:48:30,880
Speaker 1: family member because they've already lost somebody. Like that is

783
00:48:30,880 --> 00:48:34,120
Speaker 1: a very universal dynamic. I don't understand why this stuff

784
00:48:34,160 --> 00:48:36,400
Speaker 1: had to be added. And there was a really beautiful

785
00:48:36,480 --> 00:48:40,000
Speaker 1: scene to um when Naru first started just heading out

786
00:48:40,000 --> 00:48:43,279
Speaker 1: of the village. They kind of did the overseens like

787
00:48:43,360 --> 00:48:45,920
Speaker 1: the overhead shot where she's walking out of the village

788
00:48:45,960 --> 00:48:49,640
Speaker 1: but all everybody else is walking in. And it was

789
00:48:49,680 --> 00:48:53,839
Speaker 1: a very beautiful shot because for me, you know, Indigenous

790
00:48:53,880 --> 00:48:57,480
Speaker 1: communities have always been communital, a communal. You know, you

791
00:48:58,120 --> 00:49:01,200
Speaker 1: everything is for the betterment of the community. You don't

792
00:49:01,239 --> 00:49:03,759
Speaker 1: have people just going off on their own and doing

793
00:49:03,800 --> 00:49:07,960
Speaker 1: their own thing because they have a responsibility to the community.

794
00:49:08,880 --> 00:49:12,040
Speaker 1: So it was a beautiful way, and it could be

795
00:49:12,080 --> 00:49:16,439
Speaker 1: taken two ways, right because you could see it as

796
00:49:16,440 --> 00:49:20,160
Speaker 1: her going against the norms. You know, she's going off

797
00:49:20,160 --> 00:49:23,279
Speaker 1: on her own, she's daring to be different kind of thing,

798
00:49:23,360 --> 00:49:25,480
Speaker 1: like you could get that out of that shot. But

799
00:49:25,560 --> 00:49:27,239
Speaker 1: one of the things that I got out of it

800
00:49:27,280 --> 00:49:31,680
Speaker 1: was you kind of see where her family's worry was

801
00:49:32,880 --> 00:49:37,560
Speaker 1: valid because you know, she's she is being headstrong, she

802
00:49:37,719 --> 00:49:42,000
Speaker 1: is being stubborn, and she's going out on her own, unprotected,

803
00:49:42,520 --> 00:49:46,560
Speaker 1: without any backup, without letting anybody know. And you know

804
00:49:46,719 --> 00:49:49,400
Speaker 1: she while she does have her own valid reasons for

805
00:49:49,520 --> 00:49:53,120
Speaker 1: doing so, it kind of validates that concern that her

806
00:49:53,160 --> 00:49:56,200
Speaker 1: brother and her mother had. You know that she doesn't

807
00:49:56,280 --> 00:49:59,520
Speaker 1: understand what it is she's undertaking, and she really doesn't

808
00:49:59,719 --> 00:50:01,400
Speaker 1: you know, like when she's out there, you know, she

809
00:50:01,440 --> 00:50:03,520
Speaker 1: starts to understand like, oh, this is bigger than I

810
00:50:03,520 --> 00:50:05,600
Speaker 1: thought it was, Like this is different, this is more

811
00:50:05,680 --> 00:50:10,239
Speaker 1: dangerous um and realizing like I'm not equipped to deal

812
00:50:10,280 --> 00:50:13,680
Speaker 1: with this, like I wasn't prepared for this, and you

813
00:50:13,680 --> 00:50:15,960
Speaker 1: can kind of see that, and you kind of see

814
00:50:16,000 --> 00:50:19,640
Speaker 1: that development too, like thank goodness she's observant, because that

815
00:50:19,640 --> 00:50:22,200
Speaker 1: could have ended so badly if she wasn't. But the

816
00:50:22,239 --> 00:50:25,280
Speaker 1: fact that she was able to watch and to really

817
00:50:25,400 --> 00:50:28,920
Speaker 1: learn and you know, just kind of helped her survive

818
00:50:29,040 --> 00:50:33,080
Speaker 1: this entire ordeal with the predator. But it could have

819
00:50:33,200 --> 00:50:36,480
Speaker 1: ended so different because she went out just like you know,

820
00:50:36,560 --> 00:50:38,680
Speaker 1: there's something out there, but I don't know what it is,

821
00:50:38,760 --> 00:50:40,479
Speaker 1: and I'm just going to go out there with my dog,

822
00:50:41,120 --> 00:50:43,880
Speaker 1: you know, and not let anybody know because it's not

823
00:50:43,960 --> 00:50:45,560
Speaker 1: like she had a cell phone to call for help,

824
00:50:45,680 --> 00:50:50,640
Speaker 1: you know. So it was really interesting for me to

825
00:50:50,760 --> 00:50:54,120
Speaker 1: see how they showed that and just how different, like

826
00:50:54,320 --> 00:50:57,680
Speaker 1: your perspective is going to be depending on your own

827
00:50:57,840 --> 00:51:02,640
Speaker 1: personal viewpoints or perspectives and experiences when you're watching this movie,

828
00:51:02,800 --> 00:51:06,080
Speaker 1: like you're going to read into it some something different,

829
00:51:06,120 --> 00:51:08,560
Speaker 1: like there's several different ways that everything can be taken

830
00:51:09,160 --> 00:51:11,360
Speaker 1: um which I think is one of the most genius

831
00:51:11,360 --> 00:51:14,799
Speaker 1: things about the film is because if you're watching it

832
00:51:14,840 --> 00:51:17,399
Speaker 1: from a Native perspective, it's going to be very your

833
00:51:17,440 --> 00:51:21,000
Speaker 1: experience is very different than a non Native who's watching

834
00:51:21,040 --> 00:51:23,040
Speaker 1: the same scene, Like it's You're going to get two

835
00:51:23,040 --> 00:51:25,560
Speaker 1: different things out of it. So I thought, you know,

836
00:51:25,640 --> 00:51:28,120
Speaker 1: that was a really beautiful thing. But also again it

837
00:51:29,000 --> 00:51:31,360
Speaker 1: could be a little problematic. But I'm going with the

838
00:51:31,360 --> 00:51:36,200
Speaker 1: positive here. Well, I mean, especially like Native audiences seem

839
00:51:36,280 --> 00:51:39,640
Speaker 1: to generally agree that this movie is is a pretty

840
00:51:39,640 --> 00:51:43,720
Speaker 1: big step forward as far as Native representation goes in media,

841
00:51:44,000 --> 00:51:49,560
Speaker 1: especially considering how how low the bar is. Yes, I mean,

842
00:51:49,880 --> 00:51:55,279
Speaker 1: most American media has portrayed Indigenous people very unfavorably, like

843
00:51:55,320 --> 00:51:59,560
Speaker 1: a lot of racist stereotypes being leaned into Native characters

844
00:51:59,680 --> 00:52:03,120
Speaker 1: being played by white actors, stories being told from the

845
00:52:03,120 --> 00:52:07,320
Speaker 1: point of view of white characters where the Native characters

846
00:52:07,360 --> 00:52:10,800
Speaker 1: are on the sideline, or just being used as set dressing.

847
00:52:10,840 --> 00:52:13,960
Speaker 1: I mean the list goes on right or only validated

848
00:52:14,000 --> 00:52:18,759
Speaker 1: as characters once they ally with the white characters. And yeah, yeah,

849
00:52:19,000 --> 00:52:20,840
Speaker 1: and and and you know, that's one of the things

850
00:52:20,840 --> 00:52:22,680
Speaker 1: that I was kind of worried about, like from the

851
00:52:22,800 --> 00:52:25,319
Speaker 1: very get go, and I was so glad to be

852
00:52:25,400 --> 00:52:28,439
Speaker 1: proven wrong in a lot of regards. Um. But I'm

853
00:52:28,440 --> 00:52:30,279
Speaker 1: also one of those people, you know, I practice what

854
00:52:30,480 --> 00:52:34,120
Speaker 1: I like to call critical nerd theory um, and it's

855
00:52:34,200 --> 00:52:38,319
Speaker 1: being able to watch and consume our media and being

856
00:52:38,360 --> 00:52:41,480
Speaker 1: able to be critical about like the problems within that

857
00:52:41,560 --> 00:52:45,879
Speaker 1: media while also like acknowledging like you can still love this,

858
00:52:46,360 --> 00:52:48,120
Speaker 1: you know, like it doesn't mean that you have to

859
00:52:48,160 --> 00:52:51,640
Speaker 1: throw it all away because it's not perfect. That's pretty

860
00:52:51,719 --> 00:52:55,120
Speaker 1: much the thesis of our podcast. Yeah. Yeah, Like this

861
00:52:55,239 --> 00:52:59,680
Speaker 1: was such a milestone for the Commanche nation in terms

862
00:52:59,719 --> 00:53:03,000
Speaker 1: of the way that their tribe has been portrayed in movies.

863
00:53:03,040 --> 00:53:05,720
Speaker 1: This is one of the only movies that has really

864
00:53:05,800 --> 00:53:10,240
Speaker 1: portrayed Comanche people. Well. Um, And I was laughing because

865
00:53:10,640 --> 00:53:13,520
Speaker 1: you know, again, I'm a horror nerd and I was

866
00:53:13,560 --> 00:53:15,840
Speaker 1: thinking back too. I was trying to think, like, is

867
00:53:15,880 --> 00:53:19,759
Speaker 1: there another movie where Comanche people have been mentioned or portrayed?

868
00:53:20,360 --> 00:53:23,560
Speaker 1: And yes there is. And it's a movie that I

869
00:53:23,640 --> 00:53:27,600
Speaker 1: loved growing up and I recently found it on YouTube

870
00:53:28,239 --> 00:53:31,680
Speaker 1: and it did not age. Well. It is so bad.

871
00:53:32,040 --> 00:53:35,160
Speaker 1: It's called the Seller. Oh I read about this movie.

872
00:53:35,160 --> 00:53:37,960
Speaker 1: I have not seen it before. Yeah, it's this it's

873
00:53:37,960 --> 00:53:40,719
Speaker 1: an old movie. I believe it was, like I think

874
00:53:40,719 --> 00:53:46,680
Speaker 1: it came out around the same time as The First Predator. Actually, um,

875
00:53:46,719 --> 00:53:48,360
Speaker 1: it may be in a couple of years later, but

876
00:53:48,440 --> 00:53:51,680
Speaker 1: it's around that same time. And you know, it's about

877
00:53:52,400 --> 00:53:55,040
Speaker 1: a family that moves into this you know, the dad

878
00:53:55,080 --> 00:53:57,759
Speaker 1: lost his job and you know, he's got to take

879
00:53:57,800 --> 00:54:01,600
Speaker 1: this oil rig job and they move out into the

880
00:54:01,600 --> 00:54:05,600
Speaker 1: middle of nowhere and there's a monster in the area

881
00:54:05,760 --> 00:54:09,000
Speaker 1: that is has been kind of kept dormant. You know

882
00:54:09,080 --> 00:54:12,560
Speaker 1: that there's a native man and he's he's been kind

883
00:54:12,560 --> 00:54:16,080
Speaker 1: of tasked with making sure that this creature stays dormant,

884
00:54:16,680 --> 00:54:19,279
Speaker 1: and you know, he's got spears and grounds to keep

885
00:54:19,280 --> 00:54:23,560
Speaker 1: it underground. And of course, you know, the the white

886
00:54:23,600 --> 00:54:26,239
Speaker 1: guy and his kid see one of the spears and

887
00:54:26,400 --> 00:54:28,799
Speaker 1: the kids like, Dad, can I have it? And he's like, yeah, sure,

888
00:54:28,960 --> 00:54:31,600
Speaker 1: go ahead, take it. The kid takes it, and all

889
00:54:31,640 --> 00:54:35,799
Speaker 1: hell is unleashed. But the monster, you know in this

890
00:54:35,880 --> 00:54:40,400
Speaker 1: movie was the Comanche, and some of the other tribes

891
00:54:40,400 --> 00:54:43,600
Speaker 1: in the area were you know, trying to figure out

892
00:54:43,640 --> 00:54:45,839
Speaker 1: how to get rid of the white men, and so

893
00:54:45,880 --> 00:54:49,719
Speaker 1: they created this monster called um coguy. I think it

894
00:54:49,840 --> 00:54:53,920
Speaker 1: was um. I might be butchering the pronunciation, but you know,

895
00:54:54,040 --> 00:54:56,680
Speaker 1: it's coguay. And it was a mix of all these

896
00:54:56,719 --> 00:55:00,560
Speaker 1: different animals like lions and alligators and stuff like that,

897
00:55:00,600 --> 00:55:02,200
Speaker 1: and it was supposed to kill the white man and

898
00:55:02,840 --> 00:55:04,800
Speaker 1: you know, and one of the guys was like, well,

899
00:55:04,840 --> 00:55:08,600
Speaker 1: you know, if it if it was supposed to protect

900
00:55:08,600 --> 00:55:10,800
Speaker 1: the natives, you know, why are you guys keeping it

901
00:55:11,440 --> 00:55:14,240
Speaker 1: locked up? And the guy's like, well, it started killing

902
00:55:14,280 --> 00:55:20,160
Speaker 1: indians too. So it's so bad that I had not

903
00:55:20,239 --> 00:55:23,760
Speaker 1: heard of that movie before I read about it referenced

904
00:55:23,800 --> 00:55:27,279
Speaker 1: does yeah a movie that did not age very well. Yeah,

905
00:55:27,600 --> 00:55:29,600
Speaker 1: Like I watched it on a YouTube and I was

906
00:55:29,680 --> 00:55:32,480
Speaker 1: just like, how is this one of my favorite movies?

907
00:55:32,600 --> 00:55:35,000
Speaker 1: Because I used to watch it every time it came

908
00:55:35,040 --> 00:55:38,880
Speaker 1: on and I would just be so excited to watch it. So,

909
00:55:39,080 --> 00:55:43,200
Speaker 1: you know, that's the only other horror movie that has

910
00:55:43,600 --> 00:55:47,680
Speaker 1: made really made mention of Comanche people, and it was

911
00:55:47,760 --> 00:55:50,120
Speaker 1: just terrible. So for them to have prey, you know,

912
00:55:50,200 --> 00:55:53,520
Speaker 1: that's a huge step up. But also just the way

913
00:55:53,560 --> 00:55:57,319
Speaker 1: that this movie is something that is not only kind

914
00:55:57,360 --> 00:56:00,360
Speaker 1: of showing the Comanche culture and a lot of different

915
00:56:00,400 --> 00:56:04,520
Speaker 1: ways UM, but also helping with language preservation. You know,

916
00:56:04,560 --> 00:56:07,400
Speaker 1: this is something that young people who are looking to

917
00:56:07,520 --> 00:56:10,560
Speaker 1: learn their language can see this movie and be like

918
00:56:10,760 --> 00:56:14,040
Speaker 1: more inspired to learn their language, to see it used

919
00:56:14,040 --> 00:56:17,640
Speaker 1: in a more modern context, rather than it being something

920
00:56:17,680 --> 00:56:21,040
Speaker 1: that's just always put in the past. Yeah, for sure,

921
00:56:21,680 --> 00:56:25,120
Speaker 1: I wanted to, yeah, go into that a little bit,

922
00:56:25,200 --> 00:56:29,000
Speaker 1: or just more into the production history of this movie.

923
00:56:29,000 --> 00:56:31,200
Speaker 1: I feel like we've talked about it a little bit,

924
00:56:31,239 --> 00:56:34,800
Speaker 1: but I just want to jump in so I believe

925
00:56:34,960 --> 00:56:38,239
Speaker 1: this is the first movie to be completely dubbed in

926
00:56:38,600 --> 00:56:42,880
Speaker 1: commanche by all of the actors are doing their own dubs.

927
00:56:43,480 --> 00:56:46,040
Speaker 1: I really enjoyed like the reading about I mean, Amber

928
00:56:46,080 --> 00:56:50,800
Speaker 1: mid Thunder has given some really fabulous email or interviews, emails,

929
00:56:51,280 --> 00:56:56,960
Speaker 1: Jamie interviews. She's been sending emails. She's on fire, but

930
00:56:57,480 --> 00:57:01,200
Speaker 1: really amazing UM insights into how the movie was produced,

931
00:57:01,200 --> 00:57:04,120
Speaker 1: and like even just reading about her AX training and

932
00:57:04,120 --> 00:57:06,719
Speaker 1: all the practical stuff she did because she they put

933
00:57:06,719 --> 00:57:10,640
Speaker 1: her in the fucking trenches. But reading about how Amber

934
00:57:10,680 --> 00:57:14,759
Speaker 1: mid Thunder and other UM actors in the movie were,

935
00:57:15,120 --> 00:57:17,920
Speaker 1: you know, either knew some ord had to be taught

936
00:57:18,480 --> 00:57:20,320
Speaker 1: how to do their own dubs. I thought, was like,

937
00:57:20,440 --> 00:57:26,080
Speaker 1: so incredible, So get this. So um. Dan Trackenberg had

938
00:57:26,160 --> 00:57:30,720
Speaker 1: originally pitched the movie to only be in Commanche, and

939
00:57:30,880 --> 00:57:34,160
Speaker 1: so when they were holding auditions for the roles, like

940
00:57:34,240 --> 00:57:36,680
Speaker 1: they would come in and they were doing their lines

941
00:57:36,680 --> 00:57:41,200
Speaker 1: in English, but then they literally handed them the script

942
00:57:41,320 --> 00:57:46,120
Speaker 1: right then and there in Comanche, with no direction on

943
00:57:46,160 --> 00:57:50,000
Speaker 1: how to say the words or anything, because they wanted

944
00:57:50,040 --> 00:57:53,120
Speaker 1: to see how well they would be able just to

945
00:57:53,200 --> 00:57:55,680
Speaker 1: read it and make, you know, like how well they'd

946
00:57:55,720 --> 00:57:59,040
Speaker 1: be able to work it out and um, because that

947
00:57:59,200 --> 00:58:01,400
Speaker 1: would kind of give the an idea of how quickly

948
00:58:01,400 --> 00:58:04,960
Speaker 1: they would be able to learn the Commanche language or

949
00:58:05,000 --> 00:58:09,160
Speaker 1: their proficiency. And so I was kind of shocked because

950
00:58:09,200 --> 00:58:11,160
Speaker 1: I was like, oh my gosh, I would have just

951
00:58:11,200 --> 00:58:14,480
Speaker 1: died right then and there right you know, like you're

952
00:58:14,520 --> 00:58:17,040
Speaker 1: like they give they give you the script in English

953
00:58:17,080 --> 00:58:19,280
Speaker 1: and you do your lines and you're like, I killed it.

954
00:58:19,360 --> 00:58:21,680
Speaker 1: Then they're like wait wait a second, an there you go,

955
00:58:21,920 --> 00:58:25,440
Speaker 1: and yeah, and it's in a language that you've never

956
00:58:25,480 --> 00:58:29,280
Speaker 1: seen before or never heard spoken. I would have died,

957
00:58:29,560 --> 00:58:33,120
Speaker 1: like I would have been like oh what, I was like.

958
00:58:33,160 --> 00:58:36,400
Speaker 1: Auditions are stressful enough as it is, like oh my god,

959
00:58:37,720 --> 00:58:40,040
Speaker 1: and then they have to do it in a foreign language,

960
00:58:40,200 --> 00:58:45,000
Speaker 1: you know, like without any direction or anything. Um. So

961
00:58:45,080 --> 00:58:49,440
Speaker 1: I thought that was really unique and a testament to

962
00:58:49,480 --> 00:58:53,160
Speaker 1: the talent of this caste, to the cast because they

963
00:58:53,200 --> 00:58:56,280
Speaker 1: all had to learn commanche, and you know, the command

964
00:58:56,320 --> 00:59:00,640
Speaker 1: She Language Department, the Commanding Nation Language Department, did such

965
00:59:00,680 --> 00:59:04,240
Speaker 1: a phenomenal job in teaching them. Because you know, there's

966
00:59:04,280 --> 00:59:08,880
Speaker 1: been other native productions and they're really good, um Dark

967
00:59:08,920 --> 00:59:12,200
Speaker 1: Winds for example. You know, like the story is good,

968
00:59:12,240 --> 00:59:15,760
Speaker 1: the acting is good, but when it comes to incorporating

969
00:59:15,800 --> 00:59:18,000
Speaker 1: the language, you know, there were a lot of Avajo

970
00:59:18,080 --> 00:59:21,800
Speaker 1: people who were kind of criticizing how the language was used,

971
00:59:21,800 --> 00:59:24,960
Speaker 1: like it was things weren't being said right or you know,

972
00:59:25,080 --> 00:59:30,400
Speaker 1: from the right um perspective. I guess, um, because in

973
00:59:30,480 --> 00:59:34,360
Speaker 1: a lot of our native languages, there's differences in the

974
00:59:34,400 --> 00:59:36,760
Speaker 1: way that you say things for men and for women.

975
00:59:37,480 --> 00:59:40,880
Speaker 1: So you know, like there's there's variations on words that

976
00:59:41,040 --> 00:59:43,560
Speaker 1: only a man you know, that's what the way he

977
00:59:43,600 --> 00:59:45,960
Speaker 1: would say it, and then there's you know, the way

978
00:59:46,000 --> 00:59:49,000
Speaker 1: a woman would say it. You know, so there's like

979
00:59:49,040 --> 00:59:52,160
Speaker 1: a gender difference in our language. And so you know,

980
00:59:52,240 --> 00:59:55,320
Speaker 1: that also comes into play when you hear our languages

981
00:59:55,360 --> 00:59:59,120
Speaker 1: being spoken, because sometimes you're cracking up dances with wolves,

982
00:59:59,760 --> 01:00:03,080
Speaker 1: they use some lacoda words, but the way that they

983
01:00:03,160 --> 01:00:06,120
Speaker 1: used them was from a woman's perspective, the way a

984
01:00:06,120 --> 01:00:08,160
Speaker 1: woman would say those words. So there were a lot

985
01:00:08,200 --> 01:00:10,160
Speaker 1: of people you know that still make fun of that,

986
01:00:10,200 --> 01:00:13,000
Speaker 1: you know, like, oh, you know, he's he's talking like

987
01:00:13,040 --> 01:00:18,040
Speaker 1: a woman. So you know, like there's there's it's really

988
01:00:18,080 --> 01:00:22,960
Speaker 1: hard to get native languages correct because oftentimes, you know,

989
01:00:23,080 --> 01:00:27,320
Speaker 1: it's not natives from those tribes speaking those languages, so

990
01:00:27,360 --> 01:00:31,840
Speaker 1: they really don't know any different. So for the Commanding

991
01:00:31,960 --> 01:00:34,880
Speaker 1: Nation Language Department to be as involved as they were,

992
01:00:35,080 --> 01:00:38,040
Speaker 1: and for the time that they took, you know, to

993
01:00:38,160 --> 01:00:41,160
Speaker 1: really make sure that the actors were learning the language,

994
01:00:41,240 --> 01:00:45,280
Speaker 1: learning the pronunciation um really just kind of showed the

995
01:00:45,360 --> 01:00:48,760
Speaker 1: care that was going into this production. But also, you know,

996
01:00:48,880 --> 01:00:51,120
Speaker 1: Amber mid Thunder has talked about it too that she

997
01:00:51,320 --> 01:00:54,920
Speaker 1: was really worried about taking on this movie because she

998
01:00:55,040 --> 01:00:57,840
Speaker 1: was scared of how Indian country would respond to it.

999
01:00:58,280 --> 01:01:00,440
Speaker 1: Like she wanted to do it right, she wanted to

1000
01:01:00,480 --> 01:01:03,880
Speaker 1: do it justice, and you know she had she worried,

1001
01:01:04,240 --> 01:01:06,040
Speaker 1: you know, she was like when I first got this

1002
01:01:06,080 --> 01:01:08,080
Speaker 1: and I found out is a Predator movie, She's like

1003
01:01:08,160 --> 01:01:11,080
Speaker 1: I cried, you know, not She's like and not tears

1004
01:01:11,080 --> 01:01:14,720
Speaker 1: of happy, but like just kind of like I was worried,

1005
01:01:15,320 --> 01:01:17,280
Speaker 1: you know, like, oh no, like this is a huge

1006
01:01:17,320 --> 01:01:20,280
Speaker 1: franchise and I can't be the one to mess at EBB.

1007
01:01:21,080 --> 01:01:24,080
Speaker 1: Well that and I imagine, you know, there's so much

1008
01:01:24,240 --> 01:01:30,200
Speaker 1: pressure put on Indigenous actors, actors from really any marginalized

1009
01:01:30,240 --> 01:01:34,720
Speaker 1: community to represent their community well because there's just so

1010
01:01:35,040 --> 01:01:40,560
Speaker 1: few examples in media of positive representations of those people

1011
01:01:40,600 --> 01:01:44,120
Speaker 1: of those communities. So it's just again speaks to a

1012
01:01:44,240 --> 01:01:49,800
Speaker 1: need for more stories to exist. Um. But yeah, so

1013
01:01:49,840 --> 01:01:52,680
Speaker 1: I imagine part of it was like this this pressure

1014
01:01:53,120 --> 01:01:57,040
Speaker 1: to represent her community. Well, I mean I can't imagine. Um.

1015
01:01:57,600 --> 01:02:00,800
Speaker 1: I wanted to share a couple of quotes, Um, Amber

1016
01:02:00,840 --> 01:02:05,600
Speaker 1: mid Thunder. I, Um, I've seen her in in stuff before. Um,

1017
01:02:05,600 --> 01:02:07,680
Speaker 1: but this was I think the first like big leading

1018
01:02:07,920 --> 01:02:10,480
Speaker 1: role I had seen her in. Um, except I did

1019
01:02:10,480 --> 01:02:13,760
Speaker 1: watch Roswell in New Mexico. I really liked that show. Wow. Anyways,

1020
01:02:14,480 --> 01:02:18,400
Speaker 1: uh so she has she's from an acting family, and

1021
01:02:18,760 --> 01:02:21,800
Speaker 1: uh so I read a few things about just sort

1022
01:02:21,800 --> 01:02:25,000
Speaker 1: of how she has, you know, born witness kind of

1023
01:02:25,000 --> 01:02:28,280
Speaker 1: her whole life to how Indigenous people are represented in

1024
01:02:28,400 --> 01:02:31,240
Speaker 1: movies and in TV, and how those talks, what those

1025
01:02:31,280 --> 01:02:33,080
Speaker 1: talks were like in her family. So I just wanted

1026
01:02:33,120 --> 01:02:38,560
Speaker 1: to share some quotes from her. Here's one, uh quote.

1027
01:02:38,560 --> 01:02:41,000
Speaker 1: When you're represented by something you can't relate to or

1028
01:02:41,040 --> 01:02:44,720
Speaker 1: feel represent you poorly, that does affect you. My dad

1029
01:02:44,800 --> 01:02:46,880
Speaker 1: is an actor, but even still we would have a

1030
01:02:46,880 --> 01:02:49,760
Speaker 1: lot of conversations about how that was really not the

1031
01:02:49,760 --> 01:02:52,360
Speaker 1: way to do it, or ha ha, this is what

1032
01:02:52,400 --> 01:02:55,280
Speaker 1: they gave us to wear. Growing up, my parents handled

1033
01:02:55,320 --> 01:02:57,920
Speaker 1: it like an inside joke rather than being constantly hurt

1034
01:02:58,000 --> 01:03:00,479
Speaker 1: or offended by stuff. But getting old are in looking

1035
01:03:00,520 --> 01:03:02,680
Speaker 1: at it, I can see the importance of representing things

1036
01:03:02,720 --> 01:03:06,520
Speaker 1: accurately and respectfully on film, especially because to someone who

1037
01:03:06,600 --> 01:03:09,200
Speaker 1: doesn't grow up in an indigenous community or really close

1038
01:03:09,240 --> 01:03:12,600
Speaker 1: to one, it's maybe the only source of information unquote.

1039
01:03:13,880 --> 01:03:17,120
Speaker 1: Another major behind the scenes player I wanted to make

1040
01:03:17,120 --> 01:03:19,280
Speaker 1: sure we shouted out and spoke about a little bit

1041
01:03:19,800 --> 01:03:25,280
Speaker 1: was Jane Yes. Jane Myers is a producer on this film.

1042
01:03:25,320 --> 01:03:30,760
Speaker 1: She is a Comanche woman. Uh and she it sounds

1043
01:03:30,760 --> 01:03:33,000
Speaker 1: like I mean, I found like a bunch of different

1044
01:03:33,040 --> 01:03:37,080
Speaker 1: examples of things she had done, different representations of just like,

1045
01:03:37,520 --> 01:03:40,440
Speaker 1: for example, horses or the original draft of the movie

1046
01:03:40,560 --> 01:03:43,280
Speaker 1: there was like no horses involved in. Jane Myers was like,

1047
01:03:43,480 --> 01:03:46,480
Speaker 1: there has to be a horse like that, just basics

1048
01:03:46,520 --> 01:03:49,760
Speaker 1: to her culture that you know, this movie, it should

1049
01:03:49,760 --> 01:03:53,120
Speaker 1: be Z is written and directed by white guys. Still,

1050
01:03:53,960 --> 01:03:56,840
Speaker 1: and so while I think it's really really critical that

1051
01:03:56,880 --> 01:04:00,360
Speaker 1: there is a commanche producer on the movie, it's like,

1052
01:04:01,360 --> 01:04:03,800
Speaker 1: I mean, what would they have done without her? It's

1053
01:04:03,880 --> 01:04:07,640
Speaker 1: so messed up a lot more things. We'd be having

1054
01:04:07,680 --> 01:04:12,400
Speaker 1: a very different conversation. Yeah, and joking quite a bit

1055
01:04:12,440 --> 01:04:16,840
Speaker 1: more about this movie. Yes, yes, yes, um so yeah.

1056
01:04:16,920 --> 01:04:21,040
Speaker 1: It was written. It was directed by Dan Tractonberg, who's

1057
01:04:21,120 --> 01:04:23,800
Speaker 1: best known for ten Cloverfield Lane, I believe, which I

1058
01:04:23,800 --> 01:04:26,600
Speaker 1: did love that movie. It is fun um and written

1059
01:04:26,640 --> 01:04:30,960
Speaker 1: by Patrick asan An not really sure how to pronounce

1060
01:04:31,040 --> 01:04:33,200
Speaker 1: his last name. Um. But these are two white men.

1061
01:04:33,520 --> 01:04:36,440
Speaker 1: And while I think it's largely agreed that the movie

1062
01:04:36,520 --> 01:04:41,200
Speaker 1: is well researched, and you know, they listened to producer

1063
01:04:41,280 --> 01:04:45,040
Speaker 1: Jane Myers and you know, did as much research as possible,

1064
01:04:45,200 --> 01:04:47,600
Speaker 1: worked with their cast to work with the convention nation like,

1065
01:04:48,080 --> 01:04:50,240
Speaker 1: but still two white guys, Still two white guys. And

1066
01:04:50,280 --> 01:04:53,560
Speaker 1: I think the conversation we had earlier about um, this

1067
01:04:53,640 --> 01:04:59,680
Speaker 1: kind of insertion of gender roles and and sexism that

1068
01:04:59,840 --> 01:05:05,600
Speaker 1: is not authentic to indigenous communities would probably have not

1069
01:05:05,720 --> 01:05:08,960
Speaker 1: been in the movie had been written and directed by

1070
01:05:09,080 --> 01:05:13,360
Speaker 1: indigenous filmmakers. So, and we've talked about this on the

1071
01:05:13,400 --> 01:05:16,480
Speaker 1: podcast quite a bit before about how it feels like

1072
01:05:16,760 --> 01:05:19,560
Speaker 1: we are in this phase of Hollywood right now where

1073
01:05:20,240 --> 01:05:23,000
Speaker 1: it seems like Hollywood is finally listening to and doing

1074
01:05:23,080 --> 01:05:27,920
Speaker 1: something about the strong demand for stories that aren't just

1075
01:05:28,040 --> 01:05:32,240
Speaker 1: about cis at white men. But those are the only

1076
01:05:32,360 --> 01:05:36,920
Speaker 1: people that they are still allowing to make movies. Obviously

1077
01:05:36,960 --> 01:05:41,560
Speaker 1: I'm exaggerating. Creators of many different backgrounds are being given

1078
01:05:41,840 --> 01:05:46,280
Speaker 1: more opportunities than before, but just like the very gate

1079
01:05:46,360 --> 01:05:50,280
Speaker 1: keeper nature of Hollywood, Yeah, and it's and it's also

1080
01:05:50,440 --> 01:05:53,760
Speaker 1: like thinking about the quality of the opportunities that they

1081
01:05:53,800 --> 01:05:58,280
Speaker 1: are being given because I feel like, you know, they

1082
01:05:58,400 --> 01:06:01,520
Speaker 1: like to jump on the bandwagon, you know, Native representation.

1083
01:06:01,600 --> 01:06:04,280
Speaker 1: It's a hot topic right now, and we've seen the

1084
01:06:04,320 --> 01:06:08,440
Speaker 1: success of Rutherford Falls and reservation Dogs and you know,

1085
01:06:08,600 --> 01:06:11,680
Speaker 1: Dark Winds came out, and of course Pray and you know,

1086
01:06:11,800 --> 01:06:17,080
Speaker 1: like these are critically acclaimed series and movies now, and

1087
01:06:17,320 --> 01:06:20,760
Speaker 1: I feel like, you know, Hollywood is always like trying

1088
01:06:20,760 --> 01:06:23,560
Speaker 1: to jump on that next best thing. So now they're like, Okay,

1089
01:06:23,800 --> 01:06:26,320
Speaker 1: you know what, there is a market for this, so

1090
01:06:26,440 --> 01:06:29,520
Speaker 1: let's go with it. And they're given Natives opportunities, but

1091
01:06:29,600 --> 01:06:32,320
Speaker 1: they're also not while the opportunity is there, they're not

1092
01:06:32,360 --> 01:06:36,440
Speaker 1: necessarily getting the support they need for those productions to

1093
01:06:36,520 --> 01:06:40,200
Speaker 1: be as successful as they could be. Um. You know,

1094
01:06:40,280 --> 01:06:43,280
Speaker 1: we recently saw the cancelation of Rutherford Falls, and I

1095
01:06:43,320 --> 01:06:46,760
Speaker 1: feel like that is a perfect example of that because

1096
01:06:46,880 --> 01:06:51,080
Speaker 1: like there wasn't a lot of advertisement. Um, there wasn't

1097
01:06:51,120 --> 01:06:54,400
Speaker 1: a lot of marketing anywhere for Rutherford Falls, like for

1098
01:06:54,560 --> 01:06:57,760
Speaker 1: a while, like with season two. UM, I saw maybe

1099
01:06:57,840 --> 01:07:00,320
Speaker 1: a couple of posters on a couple of US ops

1100
01:07:00,400 --> 01:07:02,600
Speaker 1: and I think they had a bus at at one point.

1101
01:07:03,160 --> 01:07:06,640
Speaker 1: But that's the only promotion that I saw outside of

1102
01:07:06,680 --> 01:07:11,280
Speaker 1: Indian Country, UM, outside of Native people really pushing the show.

1103
01:07:12,240 --> 01:07:15,680
Speaker 1: And it almost felt like the responsibility was put on,

1104
01:07:16,280 --> 01:07:18,960
Speaker 1: you know, the show runners and the writers and the

1105
01:07:19,000 --> 01:07:22,360
Speaker 1: actors to really try and make the show as successful

1106
01:07:22,440 --> 01:07:26,440
Speaker 1: as they could do, but they didn't have studio support,

1107
01:07:26,600 --> 01:07:30,120
Speaker 1: Like they didn't have the money behind them to really

1108
01:07:30,200 --> 01:07:33,560
Speaker 1: make that show successful as it could have been. And

1109
01:07:33,600 --> 01:07:35,920
Speaker 1: then of course, you know, they kind of get punished

1110
01:07:35,920 --> 01:07:38,920
Speaker 1: for the impact, which is, you know, not having the viewership.

1111
01:07:39,520 --> 01:07:42,160
Speaker 1: But I think if more people had been able to

1112
01:07:42,160 --> 01:07:44,600
Speaker 1: see some kind of marketing or some kind of push

1113
01:07:44,720 --> 01:07:48,680
Speaker 1: for it, you know, it could be just as successful

1114
01:07:48,880 --> 01:07:52,720
Speaker 1: as Reservation Dogs and as Prey because Rutherford Falls was

1115
01:07:53,680 --> 01:07:58,560
Speaker 1: so beautiful. Um, the second season was amazing to me. Um.

1116
01:07:58,680 --> 01:08:04,000
Speaker 1: There's a dirty dancing gomage too that's just freaking killed it. Uh.

1117
01:08:04,920 --> 01:08:09,080
Speaker 1: There's also a party scene where they have like what

1118
01:08:09,200 --> 01:08:12,480
Speaker 1: I call a condiment throw down, where you have some

1119
01:08:12,560 --> 01:08:15,600
Speaker 1: Native women that are all dressed as condiments because the

1120
01:08:15,680 --> 01:08:18,679
Speaker 1: hot guys in a hot dog suit. And then they're

1121
01:08:18,720 --> 01:08:20,960
Speaker 1: all fighting over this guy and he doesn't even know

1122
01:08:21,000 --> 01:08:25,960
Speaker 1: they're fighting over him, which I find hilarious. Special to me,

1123
01:08:26,439 --> 01:08:29,000
Speaker 1: it is, it is such a special show, and I

1124
01:08:29,040 --> 01:08:31,920
Speaker 1: wish they would have had the support. And I feel

1125
01:08:32,320 --> 01:08:35,120
Speaker 1: like that's kind of the worry now, is that so

1126
01:08:35,200 --> 01:08:38,280
Speaker 1: many studios are going to be giving natives the opportunity

1127
01:08:38,360 --> 01:08:41,840
Speaker 1: to do these shows and taking that chance, but then

1128
01:08:41,880 --> 01:08:45,040
Speaker 1: the responsibility of the success of those shows is also

1129
01:08:45,080 --> 01:08:48,800
Speaker 1: going to be put on the show runners. And then,

1130
01:08:48,840 --> 01:08:51,679
Speaker 1: of course, you know, when it comes to marginalized people,

1131
01:08:52,360 --> 01:08:56,600
Speaker 1: you know, we don't oftentimes get a second chance. You know,

1132
01:08:56,720 --> 01:08:59,960
Speaker 1: we only have that one chance, and if you're not successful,

1133
01:09:00,720 --> 01:09:03,400
Speaker 1: you're not getting another chance. Meanwhile, you know, if it

1134
01:09:03,520 --> 01:09:06,000
Speaker 1: was a white show runner, you know they can make

1135
01:09:06,040 --> 01:09:08,559
Speaker 1: a bad show after bad show after bad show and

1136
01:09:08,680 --> 01:09:13,519
Speaker 1: keep getting opportunity after opportunity, and not only opportunity, but

1137
01:09:13,880 --> 01:09:17,200
Speaker 1: the marketing to try and make those things successful for

1138
01:09:18,240 --> 01:09:24,160
Speaker 1: inferior shows. Yeah, exactly, because I guarantee you if Pray

1139
01:09:24,160 --> 01:09:28,679
Speaker 1: did not have Dan Tracknenburg attached to it, we wouldn't

1140
01:09:28,680 --> 01:09:31,880
Speaker 1: be having this conversation. It wouldn't be the production that

1141
01:09:31,960 --> 01:09:34,760
Speaker 1: it is. Um Like, the studio wouldn't have invested the

1142
01:09:34,800 --> 01:09:37,519
Speaker 1: money that they did for the marketing. Because I mean,

1143
01:09:37,560 --> 01:09:41,840
Speaker 1: it was incredible here in l A. Because just driving

1144
01:09:42,320 --> 01:09:47,479
Speaker 1: to the supermarket, you passed reservation boards billboards, and then

1145
01:09:47,520 --> 01:09:51,400
Speaker 1: you pre you're passing prey billboards and like there's still

1146
01:09:51,479 --> 01:09:55,519
Speaker 1: prey billboards up now, And it's such an incredible thing

1147
01:09:55,560 --> 01:09:58,559
Speaker 1: to to be native in l A and to be

1148
01:09:58,680 --> 01:10:02,240
Speaker 1: just driving around and you're and like Native Film, Native show,

1149
01:10:02,680 --> 01:10:06,200
Speaker 1: you know, and to see them getting that marketing because

1150
01:10:06,200 --> 01:10:09,240
Speaker 1: you know, those billboards are not cheap and they're not

1151
01:10:09,360 --> 01:10:14,320
Speaker 1: the tiny little billboards like these are massive billboards. And

1152
01:10:14,360 --> 01:10:17,520
Speaker 1: one of the prey billboards that I saw actually had

1153
01:10:17,760 --> 01:10:20,200
Speaker 1: like where the red lights were were actually lit up

1154
01:10:21,439 --> 01:10:25,439
Speaker 1: kind of reflective. Yeah, so I was like wow, Like

1155
01:10:25,560 --> 01:10:28,519
Speaker 1: they went out and of course, you know, they were

1156
01:10:28,600 --> 01:10:32,120
Speaker 1: really mindful to try and include Native journalists and the

1157
01:10:32,160 --> 01:10:35,400
Speaker 1: marketing and the press um, you know, and I think

1158
01:10:35,439 --> 01:10:38,880
Speaker 1: that was so phenomenal because that doesn't happen with a

1159
01:10:38,880 --> 01:10:42,360
Speaker 1: lot of other shows, even if Natives are included, like

1160
01:10:42,400 --> 01:10:45,920
Speaker 1: we're not included. So they so this entire production was

1161
01:10:46,000 --> 01:10:51,280
Speaker 1: really intentful in making sure that Native people were included

1162
01:10:51,360 --> 01:10:56,040
Speaker 1: in almost every aspect of the rollout and development. So

1163
01:10:56,920 --> 01:11:01,200
Speaker 1: you know, it's really special, and I feel like Hollywood

1164
01:11:01,240 --> 01:11:04,360
Speaker 1: needs to do a better job of giving us, you know,

1165
01:11:04,479 --> 01:11:08,000
Speaker 1: full support, not just the opportunity, but making sure that

1166
01:11:08,160 --> 01:11:12,160
Speaker 1: you know, we're supported behind the scenes and also you know,

1167
01:11:12,280 --> 01:11:17,240
Speaker 1: given the opportunity to to kind of learn um because

1168
01:11:17,280 --> 01:11:19,760
Speaker 1: I feel so many of the time they're they're giving

1169
01:11:19,800 --> 01:11:21,960
Speaker 1: people like the opportunity, but they expect you to go

1170
01:11:22,000 --> 01:11:24,320
Speaker 1: in and just know what you're doing. But you know,

1171
01:11:24,479 --> 01:11:27,800
Speaker 1: not a lot of people have, you know, familiarity with

1172
01:11:27,840 --> 01:11:30,880
Speaker 1: how marketing works or with you know, how you're going

1173
01:11:30,920 --> 01:11:35,240
Speaker 1: to push the film. And it's just I don't know.

1174
01:11:35,320 --> 01:11:37,120
Speaker 1: I feel like there's a lot of support, like the

1175
01:11:37,160 --> 01:11:39,839
Speaker 1: opportunities there now, but now we don't have the support,

1176
01:11:40,240 --> 01:11:43,040
Speaker 1: and the support is kind of like a major component

1177
01:11:43,240 --> 01:11:47,519
Speaker 1: to success. So it's kind of a catch twenty two

1178
01:11:47,560 --> 01:11:49,719
Speaker 1: because I feel I don't want to see a lot

1179
01:11:49,760 --> 01:11:54,640
Speaker 1: of really amazing Native talent being given this opportunity but

1180
01:11:54,720 --> 01:11:57,360
Speaker 1: then being just spit out, you know, if they don't

1181
01:11:57,400 --> 01:12:02,160
Speaker 1: have the support they need and it's as successful right

1182
01:12:02,200 --> 01:12:05,559
Speaker 1: off the back is like reservation dogs, right, And it's

1183
01:12:05,640 --> 01:12:08,639
Speaker 1: I I think that that's like such we've we've tried

1184
01:12:08,640 --> 01:12:10,160
Speaker 1: to touch on this in the show before, but the

1185
01:12:10,520 --> 01:12:14,479
Speaker 1: like the idea that there's not that institutional support for

1186
01:12:14,600 --> 01:12:18,840
Speaker 1: Native filmmakers that there is for Dan Trachtenburg, Like we

1187
01:12:18,880 --> 01:12:21,000
Speaker 1: need to get to a place where you don't need

1188
01:12:21,040 --> 01:12:24,280
Speaker 1: the endorsement of a Dan Tractenburg in order to get

1189
01:12:24,320 --> 01:12:28,840
Speaker 1: the institutional support that Prey did. Like it's just and

1190
01:12:28,880 --> 01:12:31,960
Speaker 1: it feels like we're still very very much stuck in

1191
01:12:32,840 --> 01:12:38,000
Speaker 1: that gate keeping aspect, like that has not been overcome. Yeah,

1192
01:12:38,040 --> 01:12:42,080
Speaker 1: and and it's very different for us too, because you know,

1193
01:12:42,160 --> 01:12:46,519
Speaker 1: I recently did an interview with with Monique Jones, and

1194
01:12:46,680 --> 01:12:48,880
Speaker 1: you know, she asked me like, well, do you think

1195
01:12:48,880 --> 01:12:51,400
Speaker 1: there's going to be more Native content now? And I'm like,

1196
01:12:52,120 --> 01:12:56,960
Speaker 1: there is an incredible amount of Native content now and

1197
01:12:57,000 --> 01:13:00,280
Speaker 1: there always has been because we have two different film

1198
01:13:00,320 --> 01:13:04,960
Speaker 1: industries for for Natives, Like we have Hollywood, the Hollywood industry,

1199
01:13:05,000 --> 01:13:09,320
Speaker 1: but we also have our own Native film industry because

1200
01:13:09,360 --> 01:13:12,240
Speaker 1: we've been kept out of Hollywood for so long that

1201
01:13:12,280 --> 01:13:16,000
Speaker 1: in order for our creatives to have that opportunity, we

1202
01:13:16,040 --> 01:13:18,800
Speaker 1: had to create it ourselves. So there is a thriving

1203
01:13:18,960 --> 01:13:23,400
Speaker 1: Native film community and industry, like we have so many

1204
01:13:23,439 --> 01:13:27,080
Speaker 1: different film festivals. You know, like Sterlett har Jo, a

1205
01:13:27,080 --> 01:13:29,160
Speaker 1: lot of people are just now hearing about him for

1206
01:13:29,320 --> 01:13:32,960
Speaker 1: Reservation Dogs, but he has an incredible body of work

1207
01:13:33,000 --> 01:13:37,439
Speaker 1: behind him, like award winning movies and shows that he's

1208
01:13:37,479 --> 01:13:41,240
Speaker 1: worked on, that he's written for, and he's really well known.

1209
01:13:41,400 --> 01:13:43,160
Speaker 1: A lot of the talent that you see in the

1210
01:13:43,200 --> 01:13:46,840
Speaker 1: show for for everybody else, you know, their newcomers. But

1211
01:13:47,040 --> 01:13:51,920
Speaker 1: for us, like they're some of them are legendary, you know,

1212
01:13:52,160 --> 01:13:54,680
Speaker 1: and so like there's this two different industries and they

1213
01:13:54,720 --> 01:13:58,559
Speaker 1: operate very differently from each other. And you know, like

1214
01:13:58,600 --> 01:14:01,439
Speaker 1: I think a lot of people who are you know,

1215
01:14:01,520 --> 01:14:05,240
Speaker 1: who are very successful in our native film industry, you know,

1216
01:14:05,280 --> 01:14:07,680
Speaker 1: they're a little more easily able to adapt to the

1217
01:14:07,720 --> 01:14:13,679
Speaker 1: Hollywood industry. Um. But if you're a new, newcoming, upcoming

1218
01:14:13,720 --> 01:14:16,720
Speaker 1: talent and you don't have experience, like this is your

1219
01:14:16,720 --> 01:14:19,840
Speaker 1: first opportunity, you know, it's it's going to be a

1220
01:14:19,960 --> 01:14:23,400
Speaker 1: cult not only a culture shock, but just you know,

1221
01:14:23,479 --> 01:14:26,840
Speaker 1: a huge risk to the entire rest of your career

1222
01:14:26,960 --> 01:14:28,719
Speaker 1: like that to make it or break it thing, because

1223
01:14:28,760 --> 01:14:32,439
Speaker 1: you're not getting a second opportunity within the industry once

1224
01:14:32,479 --> 01:14:34,920
Speaker 1: they think like, oh, well we gave you your shot,

1225
01:14:35,960 --> 01:14:38,840
Speaker 1: you're not really worth developing, and you know, like they

1226
01:14:38,880 --> 01:14:43,360
Speaker 1: just spit people out. And I think that's such a

1227
01:14:43,479 --> 01:14:46,959
Speaker 1: hard pill to swallow because we have so many talented

1228
01:14:47,040 --> 01:14:50,439
Speaker 1: Natives out here who have been working in Hollywood for

1229
01:14:50,760 --> 01:14:54,479
Speaker 1: quite a few years, decades even and you know, they

1230
01:14:54,640 --> 01:14:57,720
Speaker 1: they're still not getting the opportunity to to run their

1231
01:14:57,720 --> 01:15:00,559
Speaker 1: own shows even though they've worked on you know, white

1232
01:15:00,600 --> 01:15:03,920
Speaker 1: rent shows, white creative shows. Um, but they've never been

1233
01:15:03,960 --> 01:15:07,640
Speaker 1: given the opportunity to really push their own. It's and

1234
01:15:07,680 --> 01:15:10,920
Speaker 1: it's really kind of heartbreaking too, you know, like I

1235
01:15:10,920 --> 01:15:12,639
Speaker 1: I don't know if you've ever seen the show Young

1236
01:15:12,680 --> 01:15:17,599
Speaker 1: and Hungry. Um, yes, I love that show so much,

1237
01:15:18,360 --> 01:15:21,120
Speaker 1: And just like I think it was last year I

1238
01:15:21,200 --> 01:15:23,840
Speaker 1: learned that they had a Native writer and you see

1239
01:15:23,920 --> 01:15:26,880
Speaker 1: his name on every single episode, and I'm like, how

1240
01:15:26,920 --> 01:15:29,679
Speaker 1: did I miss that? I would have loved that movie

1241
01:15:29,720 --> 01:15:33,200
Speaker 1: even or the show even more if I had realized

1242
01:15:33,240 --> 01:15:36,160
Speaker 1: put two to two. But you know, like, and you

1243
01:15:36,240 --> 01:15:38,760
Speaker 1: see that now that I know that, I watch and

1244
01:15:38,800 --> 01:15:41,200
Speaker 1: I'm like, oh, that's a Native writer. Oh that's a

1245
01:15:41,280 --> 01:15:44,360
Speaker 1: Native person. And I'm thinking, like, how is it that

1246
01:15:44,439 --> 01:15:47,160
Speaker 1: they've worked on all these incredible shows yet they have

1247
01:15:47,280 --> 01:15:51,400
Speaker 1: not been given the opportunity to do their own. Yeah,

1248
01:15:51,520 --> 01:15:55,920
Speaker 1: And it's just it's kind of frustrating. But also I realized, like,

1249
01:15:56,840 --> 01:15:59,800
Speaker 1: you know, I understand, like colonization has done such a

1250
01:16:00,680 --> 01:16:03,720
Speaker 1: really good job at making Native people invisible on our

1251
01:16:03,720 --> 01:16:07,400
Speaker 1: own homelands. So it's a different type of struggle because

1252
01:16:07,840 --> 01:16:10,599
Speaker 1: if you look at the Canadian film industry too, it's

1253
01:16:10,760 --> 01:16:14,400
Speaker 1: very different from our own. Um, it's nothing for Native

1254
01:16:14,439 --> 01:16:17,760
Speaker 1: people in Canada to be able to be cast on

1255
01:16:17,800 --> 01:16:22,200
Speaker 1: a show. And while they are native, it's not what

1256
01:16:22,720 --> 01:16:25,840
Speaker 1: revolve like their character doesn't revolve around them being native.

1257
01:16:26,040 --> 01:16:28,840
Speaker 1: They just happened to be a doctor who happens to

1258
01:16:28,840 --> 01:16:32,080
Speaker 1: be Native. Like it's very normalized. Um, But here in

1259
01:16:32,120 --> 01:16:35,280
Speaker 1: the US were always mothered and we're always you know,

1260
01:16:35,360 --> 01:16:38,200
Speaker 1: kind of portrayed very differently or they have to rely

1261
01:16:38,280 --> 01:16:41,160
Speaker 1: on these stereotypical tropes in order for them to have

1262
01:16:41,200 --> 01:16:44,920
Speaker 1: a native character. And so it's like our progress is

1263
01:16:45,520 --> 01:16:50,080
Speaker 1: very different and we're finally starting to catch up a little,

1264
01:16:50,560 --> 01:16:54,559
Speaker 1: but we're still so far behind. And it's just it's

1265
01:16:54,640 --> 01:16:58,479
Speaker 1: it's kind of like how how how do we foster

1266
01:16:58,880 --> 01:17:02,080
Speaker 1: a better environment for that? You know? Yeah, I think

1267
01:17:02,200 --> 01:17:05,360
Speaker 1: part of it too is that, like you mentioned, um,

1268
01:17:05,400 --> 01:17:08,800
Speaker 1: Hollywood is is seeing indigenous stories is like, oh, they're

1269
01:17:08,800 --> 01:17:11,240
Speaker 1: so hot right now, you know, And and if it's hot,

1270
01:17:11,280 --> 01:17:15,040
Speaker 1: it's going to be profitable. And Hollywood is also very

1271
01:17:15,080 --> 01:17:20,360
Speaker 1: averse to risk for profit reasons. And I feel like

1272
01:17:20,439 --> 01:17:24,919
Speaker 1: a lot of Hollywood executives still see, for example, allowing

1273
01:17:25,040 --> 01:17:29,120
Speaker 1: an indigenous filmmaker to tell their own story as a risk.

1274
01:17:29,240 --> 01:17:31,960
Speaker 1: They view that as something that's christy because they don't

1275
01:17:31,960 --> 01:17:34,840
Speaker 1: think it would be relatable enough to a widespread audience.

1276
01:17:34,840 --> 01:17:37,320
Speaker 1: And they want a widespread audience because that will make

1277
01:17:37,360 --> 01:17:40,760
Speaker 1: them more money. So yeah, and and and you know,

1278
01:17:41,120 --> 01:17:43,280
Speaker 1: it's kind of hard to find a balance with that too,

1279
01:17:43,320 --> 01:17:47,559
Speaker 1: because it's like, come on, you guys, Like how many

1280
01:17:47,600 --> 01:17:50,479
Speaker 1: millions of dollars did you guys give to Tom Cruise

1281
01:17:50,680 --> 01:17:55,880
Speaker 1: for the Mummy? You know, oh my gosh, come on, right,

1282
01:17:56,640 --> 01:18:00,559
Speaker 1: And even like the concept of risk averse as defined

1283
01:18:00,600 --> 01:18:04,600
Speaker 1: by a lot of executives, it's just like absolute horseshit,

1284
01:18:04,800 --> 01:18:07,559
Speaker 1: because like, how is it more aversive risk to have

1285
01:18:08,080 --> 01:18:13,280
Speaker 1: like a mediocre like guy director like in a story

1286
01:18:13,360 --> 01:18:16,680
Speaker 1: that he like, it's like not a good match in

1287
01:18:16,800 --> 01:18:19,240
Speaker 1: an he went like it just it bothers me so much.

1288
01:18:19,240 --> 01:18:21,120
Speaker 1: When it's like, well this is less of a risk,

1289
01:18:21,160 --> 01:18:23,680
Speaker 1: You're like, this guy sucks like his track, look at

1290
01:18:23,680 --> 01:18:26,920
Speaker 1: his like a heavy page. He's not good, like, but

1291
01:18:27,040 --> 01:18:31,120
Speaker 1: he gets opportunity after opportunity after opportunity, And I'm just like,

1292
01:18:31,320 --> 01:18:35,960
Speaker 1: what the heck? But you know it's I mean, we've

1293
01:18:36,000 --> 01:18:38,160
Speaker 1: made progress, and I feel like, you know, we kind

1294
01:18:38,160 --> 01:18:40,360
Speaker 1: of have to acknowledge that progress too and kind of

1295
01:18:40,400 --> 01:18:45,840
Speaker 1: celebrate it because I think we also know that when

1296
01:18:45,880 --> 01:18:50,240
Speaker 1: you have a male dominated industry, it really runs on ego.

1297
01:18:51,240 --> 01:18:54,560
Speaker 1: So I feel like we kind of have to celebrate

1298
01:18:54,640 --> 01:18:57,439
Speaker 1: the winds because it's an ego thing for them. If

1299
01:18:57,439 --> 01:19:00,320
Speaker 1: they're like, oh, look, we got accolades for this. You know,

1300
01:19:00,400 --> 01:19:02,920
Speaker 1: I did the bare minimum and they're giving me cookies,

1301
01:19:03,400 --> 01:19:08,599
Speaker 1: then they're more likely to keep doing it. So so

1302
01:19:08,640 --> 01:19:10,840
Speaker 1: I try and I try to be very careful about

1303
01:19:10,880 --> 01:19:14,000
Speaker 1: this too, because I used to go really hardcore with

1304
01:19:14,040 --> 01:19:18,519
Speaker 1: my criticism, not really thinking about the larger impact because

1305
01:19:18,640 --> 01:19:23,360
Speaker 1: I'm just like, well, you know, I'm not an industry like,

1306
01:19:24,200 --> 01:19:26,840
Speaker 1: I'm not like known in their industry or whatever. But

1307
01:19:27,439 --> 01:19:32,040
Speaker 1: I kind of got an eye opening experience back when, um,

1308
01:19:32,160 --> 01:19:36,479
Speaker 1: when they were doing Pan and you know, they cast

1309
01:19:36,560 --> 01:19:40,080
Speaker 1: Rooney Mara as Tiger Lily, and a course, is that backlash?

1310
01:19:40,240 --> 01:19:43,400
Speaker 1: And you know, I had created the hashtag not your

1311
01:19:43,439 --> 01:19:47,679
Speaker 1: Tiger Lily to kind of discuss the whitewashing that happens

1312
01:19:47,800 --> 01:19:51,879
Speaker 1: in Hollywood, but also, you know, to kind of discuss

1313
01:19:51,920 --> 01:19:56,160
Speaker 1: the problematic nature of Tiger Lily and how you know

1314
01:19:56,240 --> 01:19:59,840
Speaker 1: she's this just a victim and then of course you

1315
01:20:00,120 --> 01:20:04,880
Speaker 1: they constantly are doing this problematic character and they keep

1316
01:20:04,920 --> 01:20:08,800
Speaker 1: doing Peter Pan and it's a problematic story anyway, but

1317
01:20:08,920 --> 01:20:12,840
Speaker 1: you know, it has very racist origins towards Indigenous people,

1318
01:20:12,920 --> 01:20:15,800
Speaker 1: like even in the book, and it hasn't gotten better

1319
01:20:16,000 --> 01:20:19,439
Speaker 1: in the depictions that we see on screen. The only

1320
01:20:19,479 --> 01:20:22,719
Speaker 1: difference is now that they're casting Native people as Tiger

1321
01:20:22,800 --> 01:20:26,080
Speaker 1: Lily as kind of like an appeasement, but they're not

1322
01:20:26,120 --> 01:20:30,800
Speaker 1: making the story or her character any better. Yeah, So

1323
01:20:31,280 --> 01:20:33,559
Speaker 1: you know, like I kind of wanted to bring attention

1324
01:20:33,560 --> 01:20:36,360
Speaker 1: to that. And one of the things that I found

1325
01:20:36,439 --> 01:20:41,120
Speaker 1: so hilarious about that was I realized that studios use

1326
01:20:41,400 --> 01:20:46,439
Speaker 1: our criticism as Native people as an excuse to not

1327
01:20:46,680 --> 01:20:50,679
Speaker 1: fund Native creative projects if they think that, oh, there's

1328
01:20:50,720 --> 01:20:54,000
Speaker 1: a potential for backlash here. Um. And I got that

1329
01:20:54,120 --> 01:20:58,280
Speaker 1: eye opening experience because I had noticed on my Twitter,

1330
01:20:58,439 --> 01:21:02,920
Speaker 1: like you know, it was already like months after um

1331
01:21:03,080 --> 01:21:05,439
Speaker 1: the casting had been announced, and actually I think it

1332
01:21:05,520 --> 01:21:07,880
Speaker 1: was like right before the release of the movie. I

1333
01:21:08,040 --> 01:21:10,759
Speaker 1: noticed that there were all these reporters starting to follow

1334
01:21:10,800 --> 01:21:13,519
Speaker 1: me out of l A. And I was living in

1335
01:21:13,520 --> 01:21:16,120
Speaker 1: Oklahoma at the time, so that was really weird to me.

1336
01:21:16,680 --> 01:21:18,320
Speaker 1: And I was like, what the heck is going on?

1337
01:21:18,960 --> 01:21:23,000
Speaker 1: And finally I got a message on my Twitter asking,

1338
01:21:23,040 --> 01:21:25,400
Speaker 1: you know, to call this reporter. She's like, I really

1339
01:21:25,400 --> 01:21:27,240
Speaker 1: like to talk to you, and I was like okay,

1340
01:21:27,520 --> 01:21:29,800
Speaker 1: So like I called because I was like curious about

1341
01:21:29,840 --> 01:21:32,040
Speaker 1: why these reporters were following me all of a sudden,

1342
01:21:32,800 --> 01:21:36,400
Speaker 1: and the studio had I don't know if it was

1343
01:21:36,400 --> 01:21:39,960
Speaker 1: a press release or in some interview that they had

1344
01:21:39,960 --> 01:21:45,520
Speaker 1: done or some conversation somewhere, they had mentioned a potential

1345
01:21:45,720 --> 01:21:49,400
Speaker 1: for that I was organizing a protest for the premiere,

1346
01:21:50,880 --> 01:21:54,040
Speaker 1: and so they were anticipating Natives to show up in

1347
01:21:54,160 --> 01:21:58,080
Speaker 1: protest at the premiere and I'm like what. I was like,

1348
01:21:58,160 --> 01:22:00,439
Speaker 1: I'm not even in l A, like I've been Homa.

1349
01:22:01,160 --> 01:22:03,519
Speaker 1: And they were like, well, you know, we were told

1350
01:22:03,560 --> 01:22:06,800
Speaker 1: that you're organizing this protest and I was like no.

1351
01:22:07,640 --> 01:22:11,000
Speaker 1: I was like, why would I kind of bring more

1352
01:22:11,000 --> 01:22:14,400
Speaker 1: attention to a film I'm trying to not bring attention

1353
01:22:14,400 --> 01:22:18,000
Speaker 1: to or to avoid, like because you know, Hollywood kind

1354
01:22:18,040 --> 01:22:21,160
Speaker 1: of operates on this any publicity is good publicity kind

1355
01:22:21,160 --> 01:22:24,280
Speaker 1: of thing. And it was really weird because she was

1356
01:22:24,320 --> 01:22:27,920
Speaker 1: just like, well, you know, we heard this um and

1357
01:22:28,040 --> 01:22:29,920
Speaker 1: she's like, you know, so we really want to learn

1358
01:22:29,920 --> 01:22:32,360
Speaker 1: more about this protest and why you don't think this film.

1359
01:22:32,360 --> 01:22:35,040
Speaker 1: And I was just like, this is weird. And um

1360
01:22:35,080 --> 01:22:38,400
Speaker 1: I was asking somebody else and they were like, well yeah.

1361
01:22:38,760 --> 01:22:40,880
Speaker 1: She was like, this is kind of like how they

1362
01:22:40,920 --> 01:22:43,599
Speaker 1: generate buzz for their film. You know, if they can

1363
01:22:43,680 --> 01:22:47,880
Speaker 1: find any anything that could pique interest in the movie, like,

1364
01:22:47,920 --> 01:22:49,639
Speaker 1: they're going to use it. And I was like, well,

1365
01:22:49,680 --> 01:22:52,600
Speaker 1: that's really weird. I said, because I'm in Oklahoma, you

1366
01:22:52,760 --> 01:22:54,720
Speaker 1: think they would have done their homework first to make

1367
01:22:54,720 --> 01:22:58,120
Speaker 1: sure it was feasible. And she's like, oh, she's like no.

1368
01:22:58,320 --> 01:23:00,439
Speaker 1: She was just like, it's it's just what they do.

1369
01:23:00,640 --> 01:23:03,640
Speaker 1: And um, you know, like and I started asking her

1370
01:23:03,640 --> 01:23:06,400
Speaker 1: because she's worked in Hollywood for quite a while, and

1371
01:23:06,439 --> 01:23:10,559
Speaker 1: I started asking her questions, and you know, she was like, well,

1372
01:23:10,600 --> 01:23:14,800
Speaker 1: you know, anytime that they see bad press coming out

1373
01:23:14,800 --> 01:23:17,760
Speaker 1: of out of like in in country, you know, they

1374
01:23:17,840 --> 01:23:20,320
Speaker 1: kind of use that as an excuse to pull funding

1375
01:23:20,479 --> 01:23:23,040
Speaker 1: or to not fund projects, to not give people the

1376
01:23:23,120 --> 01:23:28,400
Speaker 1: opportunity because they don't want that drama. Um. She's like,

1377
01:23:28,439 --> 01:23:30,759
Speaker 1: they don't want to be affiliated with that bad press.

1378
01:23:31,280 --> 01:23:34,600
Speaker 1: And so I it really made me think like, Oh,

1379
01:23:34,680 --> 01:23:36,760
Speaker 1: I was like, because you know, you want people to

1380
01:23:36,760 --> 01:23:40,320
Speaker 1: see your conversation. She want people to talk about these issues,

1381
01:23:40,760 --> 01:23:42,679
Speaker 1: but you also don't want it to hurt the people

1382
01:23:42,680 --> 01:23:47,160
Speaker 1: who are working in that industry. Um. And I realized like, oh, like,

1383
01:23:47,280 --> 01:23:49,760
Speaker 1: we kind of have to tread a lot careful, a

1384
01:23:49,760 --> 01:23:53,599
Speaker 1: lot more carefully than other people when we criticize like

1385
01:23:54,200 --> 01:23:57,599
Speaker 1: the like when we criticize Hollywood, and it's it's not fair,

1386
01:23:57,840 --> 01:24:01,640
Speaker 1: it's not right. But you know, it's also good to

1387
01:24:01,680 --> 01:24:04,800
Speaker 1: be aware of that because you know, it's made me

1388
01:24:05,240 --> 01:24:10,320
Speaker 1: really think about the way that I criticized films or

1389
01:24:10,360 --> 01:24:12,559
Speaker 1: the way that I bring about issues or the way

1390
01:24:12,560 --> 01:24:16,599
Speaker 1: that I talked about them, um, because I also don't

1391
01:24:16,640 --> 01:24:20,120
Speaker 1: want to vilify the Native people who are in those films,

1392
01:24:20,240 --> 01:24:23,439
Speaker 1: and that's something that happens quite a bit um. And

1393
01:24:23,479 --> 01:24:26,040
Speaker 1: we saw that with Ridiculous Six, where you know, they

1394
01:24:26,080 --> 01:24:29,280
Speaker 1: did have Native actors who did walk off the set

1395
01:24:30,240 --> 01:24:32,960
Speaker 1: because of the racist stereotypes that Adam Sandler was using.

1396
01:24:33,560 --> 01:24:36,320
Speaker 1: And you know, he had said like, oh, well, it's satire,

1397
01:24:36,920 --> 01:24:39,720
Speaker 1: but you know, for for Native people, like there's a

1398
01:24:39,720 --> 01:24:44,639
Speaker 1: difference between satire and racism, and it's a thin line, right,

1399
01:24:44,800 --> 01:24:47,840
Speaker 1: and it's not for Adam Sandler to decide what works,

1400
01:24:48,160 --> 01:24:52,200
Speaker 1: decide what exactly. So you know, while there were a

1401
01:24:52,200 --> 01:24:54,479
Speaker 1: lot of Natives who walked off the set, there were

1402
01:24:54,479 --> 01:24:56,559
Speaker 1: a lot of Natives who stayed. And you know, we're

1403
01:24:56,640 --> 01:24:59,839
Speaker 1: in the film and there was a lot of vilific

1404
01:25:00,000 --> 01:25:02,680
Speaker 1: Asian that happened, like oh well they're sellouts there this,

1405
01:25:03,360 --> 01:25:06,280
Speaker 1: and it's like no, their Native people trying to work

1406
01:25:06,280 --> 01:25:09,759
Speaker 1: in an industry that is very violent towards Indigenous people,

1407
01:25:10,479 --> 01:25:15,160
Speaker 1: um still, and they also have families to feed. It's

1408
01:25:15,200 --> 01:25:17,679
Speaker 1: a very hard balance to to kind of walk because

1409
01:25:18,360 --> 01:25:21,080
Speaker 1: you know, I think that you kind of do have

1410
01:25:21,200 --> 01:25:22,840
Speaker 1: to draw a line, but that line is going to

1411
01:25:22,920 --> 01:25:26,200
Speaker 1: be different for everybody else. You know, like Indian countries

1412
01:25:26,240 --> 01:25:29,720
Speaker 1: not a monolith. So you know, while one Native could

1413
01:25:29,720 --> 01:25:33,040
Speaker 1: be totally okay with how they were doing ridiculous six

1414
01:25:33,080 --> 01:25:35,799
Speaker 1: you know, they were Natives who worked, and it didn't

1415
01:25:35,840 --> 01:25:39,720
Speaker 1: mean that either one was wrong or invalid. It just

1416
01:25:39,760 --> 01:25:43,640
Speaker 1: means that they had very two different perspectives and also motivations,

1417
01:25:43,680 --> 01:25:46,240
Speaker 1: which for a lot of people, that motivation is to

1418
01:25:46,360 --> 01:25:48,640
Speaker 1: work and to be able to feed and take care

1419
01:25:48,680 --> 01:25:51,639
Speaker 1: of their families. And so you don't want to fault

1420
01:25:51,640 --> 01:25:54,880
Speaker 1: them for that, you know, especially like in our hard

1421
01:25:54,960 --> 01:25:58,800
Speaker 1: economic times. Because when I was asked to do the

1422
01:25:58,840 --> 01:26:02,680
Speaker 1: press for for Prey, like to cover it, I was

1423
01:26:02,720 --> 01:26:07,479
Speaker 1: really worried about having that access because I didn't want

1424
01:26:07,479 --> 01:26:11,840
Speaker 1: to like, I'm blunt, I'm honest about what I think.

1425
01:26:12,479 --> 01:26:14,559
Speaker 1: And I was like, oh no, I was like, I

1426
01:26:14,600 --> 01:26:18,519
Speaker 1: don't want to to kind of like burn down this

1427
01:26:18,600 --> 01:26:21,400
Speaker 1: bridge of communication between me and the studio and being

1428
01:26:21,439 --> 01:26:25,880
Speaker 1: able to potentially cover other movies and other productions. UM,

1429
01:26:25,920 --> 01:26:28,080
Speaker 1: But I also want to be honest and fair about

1430
01:26:28,080 --> 01:26:30,840
Speaker 1: what I think about this, And given that I was

1431
01:26:30,880 --> 01:26:34,680
Speaker 1: already hesitant about this movie anyway, like I was like

1432
01:26:34,720 --> 01:26:36,360
Speaker 1: trying to make sure like I was going to be

1433
01:26:36,400 --> 01:26:40,000
Speaker 1: able to be fair and to be still be honest,

1434
01:26:40,280 --> 01:26:45,040
Speaker 1: and thankfully it kind of worked out. But you know,

1435
01:26:45,120 --> 01:26:47,799
Speaker 1: like I also know that I'm not the only native

1436
01:26:47,840 --> 01:26:51,640
Speaker 1: with an opinion, and you know, there's it kind of

1437
01:26:51,680 --> 01:26:53,720
Speaker 1: a balance, and I think we've all learned to kind

1438
01:26:53,760 --> 01:26:56,240
Speaker 1: of tread that balance to to kind of be fair

1439
01:26:56,320 --> 01:26:59,960
Speaker 1: but tough um in our assessment of this of these

1440
01:27:00,160 --> 01:27:04,439
Speaker 1: media productions, because we understand what's at stake, and we

1441
01:27:04,520 --> 01:27:07,040
Speaker 1: also you know, kind of understand now that it has

1442
01:27:07,080 --> 01:27:10,360
Speaker 1: a larger impact outside of you know, our own Native

1443
01:27:10,360 --> 01:27:14,160
Speaker 1: publications that we realize, like, oh, studios are watching what

1444
01:27:14,200 --> 01:27:17,360
Speaker 1: we're saying. They're watching, you know, how we respond to

1445
01:27:17,439 --> 01:27:21,160
Speaker 1: these productions, and that they're using that as a basis

1446
01:27:21,880 --> 01:27:25,360
Speaker 1: of how they decide who gets funded, who doesn't, who

1447
01:27:25,400 --> 01:27:28,559
Speaker 1: gets to be involved, and who doesn't. And you know,

1448
01:27:28,640 --> 01:27:31,559
Speaker 1: it's it's trying to be mindful of that too, because

1449
01:27:32,080 --> 01:27:35,160
Speaker 1: I mean, when I mean, I was just a Native

1450
01:27:35,160 --> 01:27:37,240
Speaker 1: in Oklahoma. I live here in l A now, but

1451
01:27:37,320 --> 01:27:40,559
Speaker 1: at the time, you know, I didn't have a large following,

1452
01:27:40,720 --> 01:27:43,800
Speaker 1: I didn't have the platforms that I have now, and

1453
01:27:43,840 --> 01:27:46,280
Speaker 1: I thought it was really weird that they were using

1454
01:27:46,320 --> 01:27:50,599
Speaker 1: that as an excuse, you know, to say, oh, well,

1455
01:27:50,640 --> 01:27:54,040
Speaker 1: you know, this kind of proves that Native productions are risky,

1456
01:27:54,240 --> 01:27:57,400
Speaker 1: Like we're going to face backlash for them, so to

1457
01:27:57,560 --> 01:27:59,920
Speaker 1: avoid it, we're just going to leave them out of

1458
01:28:00,000 --> 01:28:04,160
Speaker 1: it altogether. Which is another reason that they largely cast

1459
01:28:04,400 --> 01:28:07,280
Speaker 1: a lot of non natives in native roles, because non

1460
01:28:07,360 --> 01:28:12,320
Speaker 1: natives don't have the understanding to realize like that portrayal

1461
01:28:12,439 --> 01:28:15,920
Speaker 1: is wrong or that this is this is a stereotypical trope,

1462
01:28:16,360 --> 01:28:20,120
Speaker 1: and they have no other knowledge outside of their relationship

1463
01:28:20,240 --> 01:28:23,840
Speaker 1: or experience with those mascots and stereotypes to know any different.

1464
01:28:24,360 --> 01:28:27,600
Speaker 1: So they will cast non natives knowing that they're not

1465
01:28:27,600 --> 01:28:30,160
Speaker 1: going to have a problem or having to be held

1466
01:28:30,160 --> 01:28:34,400
Speaker 1: accountable about how those characters are being portrayed, whereas if

1467
01:28:34,439 --> 01:28:36,719
Speaker 1: it was a native character, you know, it's a little

1468
01:28:36,720 --> 01:28:39,120
Speaker 1: bit different. You know. Even Amber min Thunder has talked

1469
01:28:39,160 --> 01:28:41,960
Speaker 1: quite a bit about that about how, you know, she's

1470
01:28:42,080 --> 01:28:45,160
Speaker 1: very fortunate to have kind of come into the industry

1471
01:28:45,160 --> 01:28:47,120
Speaker 1: when she did, when she has a little power to

1472
01:28:47,160 --> 01:28:51,320
Speaker 1: have some say over how the character is portrayed and

1473
01:28:51,400 --> 01:28:54,880
Speaker 1: how you know, they're telling these stories. It sounds like

1474
01:28:54,920 --> 01:28:58,679
Speaker 1: her parents did not have that luxury when they were

1475
01:28:58,720 --> 01:29:02,760
Speaker 1: were still are working in Hollywood. That is I thank

1476
01:29:02,800 --> 01:29:07,400
Speaker 1: you for sharing that experience. It I just like it's

1477
01:29:07,439 --> 01:29:12,439
Speaker 1: so frustrating, to frustrating, so indicative of like the very

1478
01:29:12,520 --> 01:29:16,720
Speaker 1: toxic nature of Hollywood to to receive criticism and rather

1479
01:29:16,760 --> 01:29:19,639
Speaker 1: than like very valid criticism and rather than listen to

1480
01:29:19,680 --> 01:29:23,000
Speaker 1: it and like course correct, they're like, well, we're just

1481
01:29:23,040 --> 01:29:25,439
Speaker 1: going to use this as an excuse to um not

1482
01:29:25,960 --> 01:29:29,479
Speaker 1: you know, make native projects or cast native actors. You know,

1483
01:29:29,760 --> 01:29:32,280
Speaker 1: And on top of that it's unfair to ask you

1484
01:29:32,320 --> 01:29:35,800
Speaker 1: to change how you do your job in order to

1485
01:29:35,880 --> 01:29:40,320
Speaker 1: appease Like it's just it's just bullshit top to bottom. Yeah,

1486
01:29:40,360 --> 01:29:43,920
Speaker 1: And you could easily say, like, well, I'm not going

1487
01:29:43,960 --> 01:29:47,519
Speaker 1: to because we have our own native film industry. But

1488
01:29:47,640 --> 01:29:51,479
Speaker 1: also you know, like I don't want to, you know,

1489
01:29:51,560 --> 01:29:54,760
Speaker 1: like I don't think that any Native person, you know,

1490
01:29:54,880 --> 01:29:58,720
Speaker 1: should be held to just being able to thrive in

1491
01:29:58,800 --> 01:30:01,360
Speaker 1: Indian country, like we to be able to thrive anywhere,

1492
01:30:02,360 --> 01:30:04,519
Speaker 1: you know, in whatever industry it is we want to

1493
01:30:04,520 --> 01:30:07,520
Speaker 1: work in, whether it's in the film industry in Hollywood

1494
01:30:07,760 --> 01:30:10,600
Speaker 1: or it's in tech or whatever it is. You know,

1495
01:30:10,680 --> 01:30:14,560
Speaker 1: we should have the opportunity to to explore those possibilities

1496
01:30:14,600 --> 01:30:18,479
Speaker 1: for ourselves and you know, and not be held back

1497
01:30:18,640 --> 01:30:21,280
Speaker 1: or have it be in spite of our nativeness. Because

1498
01:30:21,360 --> 01:30:25,320
Speaker 1: that's so much of our experience as indigenous people too,

1499
01:30:25,479 --> 01:30:29,559
Speaker 1: is that like our success is seen as being in

1500
01:30:29,680 --> 01:30:33,679
Speaker 1: spite of us being native, rather than you know, it's

1501
01:30:33,760 --> 01:30:36,600
Speaker 1: just a native person being successful. It always has to

1502
01:30:36,640 --> 01:30:39,880
Speaker 1: be in spite of us being native, Like because all

1503
01:30:39,880 --> 01:30:42,120
Speaker 1: of the issues that we face as indigenous people have

1504
01:30:42,320 --> 01:30:47,559
Speaker 1: become synonymous with our identities, which doesn't happen to anybody else,

1505
01:30:47,640 --> 01:30:51,320
Speaker 1: even though those same issues affect everybody else as well.

1506
01:30:51,920 --> 01:30:55,120
Speaker 1: But just because of the stereotypes and how prevalent they

1507
01:30:55,120 --> 01:30:59,280
Speaker 1: are and how little interaction you know, mainstream America has

1508
01:30:59,400 --> 01:31:02,320
Speaker 1: with Indian inn as communities. I mean, there are still

1509
01:31:02,360 --> 01:31:05,320
Speaker 1: people who think that we've been wiped out completely, or

1510
01:31:05,360 --> 01:31:09,360
Speaker 1: who think we all still live in tps. You know,

1511
01:31:09,520 --> 01:31:12,760
Speaker 1: so because of that lack of interaction, like they just

1512
01:31:12,880 --> 01:31:16,240
Speaker 1: honestly don't know any better. And that makes it really

1513
01:31:16,280 --> 01:31:19,760
Speaker 1: hard to try and navigate those spaces too, because you know,

1514
01:31:19,840 --> 01:31:22,280
Speaker 1: there are some people who are just truly ignorant. But

1515
01:31:22,360 --> 01:31:24,640
Speaker 1: at the same time, you know, we also have to

1516
01:31:24,680 --> 01:31:29,360
Speaker 1: acknowledge that racism is institutionalized and normalized when it comes

1517
01:31:29,400 --> 01:31:33,680
Speaker 1: to Native people, that oftentimes it's not recognized until it's

1518
01:31:33,720 --> 01:31:36,439
Speaker 1: called out, and then when it's called out, you know,

1519
01:31:36,479 --> 01:31:38,680
Speaker 1: people go on the defense because that's the way it's

1520
01:31:38,680 --> 01:31:42,960
Speaker 1: always been and and it's never been a problem before,

1521
01:31:43,640 --> 01:31:47,360
Speaker 1: you know. So you know, it's such a hard balance

1522
01:31:47,439 --> 01:31:50,240
Speaker 1: to try and navigate, you know, for for Native people

1523
01:31:50,400 --> 01:31:56,160
Speaker 1: just existing in this country. Oh infuriating, I'm I mean,

1524
01:31:56,439 --> 01:32:01,479
Speaker 1: I'm looking forward to Native directors getting some blank fucking

1525
01:32:01,640 --> 01:32:04,439
Speaker 1: checks to make their own movies. And because we we've

1526
01:32:04,880 --> 01:32:08,040
Speaker 1: had conversations like this in the past on the show

1527
01:32:08,720 --> 01:32:13,280
Speaker 1: where even when a marginalized filmmaker or writer is given

1528
01:32:13,360 --> 01:32:16,960
Speaker 1: an opportunity to make and make something, speaking to what

1529
01:32:17,000 --> 01:32:20,559
Speaker 1: you're just saying, Johnny, it's like, well, in order to

1530
01:32:20,960 --> 01:32:23,600
Speaker 1: make your project, you have to do it in a

1531
01:32:23,680 --> 01:32:27,360
Speaker 1: very particular way or like exploit your own trauma, or

1532
01:32:27,400 --> 01:32:29,800
Speaker 1: like we're only interested in work from you if it

1533
01:32:29,920 --> 01:32:34,519
Speaker 1: is about a very, very very specific topic. When it's

1534
01:32:34,560 --> 01:32:38,000
Speaker 1: like that, again, it's just like not an impediment that

1535
01:32:38,760 --> 01:32:42,559
Speaker 1: most white filmmakers ever encounter. Yeah, and you know, and

1536
01:32:42,600 --> 01:32:45,439
Speaker 1: I'm glad that Amber mid Thunder came from the family

1537
01:32:45,479 --> 01:32:48,200
Speaker 1: that she did too, because you know, I think they

1538
01:32:48,240 --> 01:32:50,880
Speaker 1: really prepared her for that and also made her a

1539
01:32:50,880 --> 01:32:54,560
Speaker 1: little more audacious in the way that she was expected,

1540
01:32:54,560 --> 01:32:57,320
Speaker 1: like in the expectations that she had for how she

1541
01:32:57,479 --> 01:33:01,720
Speaker 1: was going to interact with Hollywood, because is Amber is

1542
01:33:01,760 --> 01:33:05,880
Speaker 1: one of the few native actresses that has been able

1543
01:33:05,920 --> 01:33:10,680
Speaker 1: to cross over um into more mainstream Hollywood with like Roswell.

1544
01:33:10,800 --> 01:33:13,320
Speaker 1: I mean, she's she has so many credits to her name,

1545
01:33:13,960 --> 01:33:16,559
Speaker 1: and it's kind of amazing to see because she's not

1546
01:33:16,680 --> 01:33:21,519
Speaker 1: necessarily native in those productions. You know, she doesn't. It's

1547
01:33:21,600 --> 01:33:25,280
Speaker 1: she's hasn't really been pigeonholed as just a Native actress.

1548
01:33:25,479 --> 01:33:28,400
Speaker 1: And you know it, it's kind of like it's it's

1549
01:33:28,439 --> 01:33:30,759
Speaker 1: kind of funny too, because I was just thinking about

1550
01:33:31,040 --> 01:33:34,720
Speaker 1: the name of your podcast because in Indian Country, and

1551
01:33:34,760 --> 01:33:36,599
Speaker 1: I know, I'm good, probably going to butcher this name

1552
01:33:36,640 --> 01:33:39,320
Speaker 1: of this, but we have the Um it's either the

1553
01:33:39,400 --> 01:33:43,000
Speaker 1: Ala Test or the Okay, So we will talk about

1554
01:33:43,040 --> 01:33:46,240
Speaker 1: this when we Yeah, so it's been renamed to the

1555
01:33:46,960 --> 01:33:49,639
Speaker 1: Test and we will. Ali's been on the show many times,

1556
01:33:49,640 --> 01:33:53,120
Speaker 1: the friend of the cast. Yeah, so since it's come up,

1557
01:33:53,720 --> 01:33:57,800
Speaker 1: the criteria to pass the Ali Naughty Test are that

1558
01:33:58,680 --> 01:34:02,880
Speaker 1: the character is an Indigenous or Aboriginal woman who is

1559
01:34:02,920 --> 01:34:06,160
Speaker 1: a main character, who does not fall in love with

1560
01:34:06,280 --> 01:34:08,800
Speaker 1: a white man, and who does not end up raped

1561
01:34:08,880 --> 01:34:12,400
Speaker 1: or murdered at any point in the story. Obviously, Pray

1562
01:34:12,560 --> 01:34:17,320
Speaker 1: passes the test very handily. So shout out to Ali Naughty,

1563
01:34:17,400 --> 01:34:21,240
Speaker 1: the Ali Naughty Test, and um, yeah, something that just

1564
01:34:21,320 --> 01:34:26,360
Speaker 1: like helps spark conversation about Indigenous representation in media. Yeah,

1565
01:34:26,400 --> 01:34:28,800
Speaker 1: And it's incredible because you know, and I bring that

1566
01:34:28,880 --> 01:34:32,120
Speaker 1: up because Amber mid Thunder is one of the very

1567
01:34:32,160 --> 01:34:36,280
Speaker 1: few actresses that has pretty much been able to pass

1568
01:34:36,680 --> 01:34:41,639
Speaker 1: then in almost every production. And I think that kind

1569
01:34:41,640 --> 01:34:45,000
Speaker 1: of goes to speak to you know how. You know,

1570
01:34:45,080 --> 01:34:47,760
Speaker 1: her family came from this industry, so they were able

1571
01:34:47,800 --> 01:34:50,519
Speaker 1: to prepare her and she was able to have make

1572
01:34:50,600 --> 01:34:53,280
Speaker 1: sure that her own voice was heard, that she wasn't

1573
01:34:53,360 --> 01:34:56,160
Speaker 1: just um, that she understood she had power in this

1574
01:34:56,240 --> 01:34:59,880
Speaker 1: industry and she used it. So you know, it's really

1575
01:35:00,040 --> 01:35:03,120
Speaker 1: rare that we have Native actresses who have that opportunity,

1576
01:35:03,760 --> 01:35:06,599
Speaker 1: and it's incredible that, you know, Amber mid Thunder has

1577
01:35:06,600 --> 01:35:09,120
Speaker 1: the career that she has, and you know, especially in

1578
01:35:09,120 --> 01:35:11,240
Speaker 1: this role, you know, she was so worried about getting

1579
01:35:11,240 --> 01:35:15,800
Speaker 1: it right. Now. You know, Native girls have a badass

1580
01:35:16,360 --> 01:35:19,400
Speaker 1: Native warrior to look up to, you know, and that's

1581
01:35:19,439 --> 01:35:22,200
Speaker 1: incredible because you know, again, you know, while there were

1582
01:35:22,320 --> 01:35:26,679
Speaker 1: like scenes of violence against her um for misogynistic reasons,

1583
01:35:26,800 --> 01:35:30,360
Speaker 1: you know it, she didn't end up murdered, she didn't

1584
01:35:30,400 --> 01:35:36,800
Speaker 1: end up rate and that was an incredible feat for Hollywood.

1585
01:35:37,040 --> 01:35:41,919
Speaker 1: Load the bar is oh my god, yeah, and it's

1586
01:35:41,960 --> 01:35:44,680
Speaker 1: it's really hard to um. So I don't know if

1587
01:35:44,680 --> 01:35:47,840
Speaker 1: you guys have seen the recent episode of reservation dogs

1588
01:35:47,960 --> 01:35:50,560
Speaker 1: or if you're caught up on the series, but I'm not.

1589
01:35:51,600 --> 01:35:53,560
Speaker 1: A lot of it is about, like the show is

1590
01:35:53,640 --> 01:35:57,360
Speaker 1: kind of centered around, you know, how suicide and Indian

1591
01:35:57,920 --> 01:36:01,240
Speaker 1: effects Indian country. You know, like the first season revolves

1592
01:36:01,280 --> 01:36:04,559
Speaker 1: around four friends who are dealing with the suicide of

1593
01:36:04,600 --> 01:36:08,080
Speaker 1: one of their closest friends, and the second season kind

1594
01:36:08,080 --> 01:36:12,639
Speaker 1: of explores the generational trauma that kind of goes into

1595
01:36:12,680 --> 01:36:15,360
Speaker 1: that as well. And in this last episode, we saw

1596
01:36:16,040 --> 01:36:19,800
Speaker 1: Big who is the cop who has a lot of

1597
01:36:19,840 --> 01:36:23,479
Speaker 1: guilt because he thinks that he killed one of his friends,

1598
01:36:24,000 --> 01:36:26,280
Speaker 1: that he wasn't able to save her, and he carries

1599
01:36:26,320 --> 01:36:29,000
Speaker 1: a lot of guilt about that, and it kind of

1600
01:36:29,080 --> 01:36:33,200
Speaker 1: carries over how you know for this generation, Like for

1601
01:36:33,240 --> 01:36:35,880
Speaker 1: these kids, you know, the trauma that they're dealing with

1602
01:36:36,080 --> 01:36:39,240
Speaker 1: is the suicide of you know, their their best friend,

1603
01:36:39,439 --> 01:36:42,960
Speaker 1: their cousin, their brother. But you know, the adults in

1604
01:36:42,960 --> 01:36:46,400
Speaker 1: their lives, their parents, Um and the people in the community.

1605
01:36:47,000 --> 01:36:49,400
Speaker 1: You know, that trauma came from the death of this

1606
01:36:49,560 --> 01:36:54,599
Speaker 1: character Cookie, who is Um who plays DeVries Monk's character,

1607
01:36:54,640 --> 01:36:56,880
Speaker 1: I guess, but this was the first time that they

1608
01:36:56,920 --> 01:37:00,519
Speaker 1: showed that character in this episode, and it was such

1609
01:37:00,520 --> 01:37:05,200
Speaker 1: a beautiful UM, beautiful episode. It was so beautifully done

1610
01:37:05,840 --> 01:37:08,320
Speaker 1: and it was funny. I was really scared it was

1611
01:37:08,360 --> 01:37:10,040
Speaker 1: going to be one of those tear drekers again, and

1612
01:37:10,040 --> 01:37:12,040
Speaker 1: I was like, my emotions, can I handle this? But

1613
01:37:12,120 --> 01:37:14,920
Speaker 1: it was really funny and it was really heartfelt and

1614
01:37:14,960 --> 01:37:18,360
Speaker 1: it was emotional. But you know, the the actors who

1615
01:37:18,400 --> 01:37:23,600
Speaker 1: they cast to play Cookie Jenney ms so incredible in

1616
01:37:23,680 --> 01:37:26,519
Speaker 1: this UM and but you know, we want We went

1617
01:37:26,560 --> 01:37:29,559
Speaker 1: to a watch party UM to watch this episode with her,

1618
01:37:29,760 --> 01:37:33,480
Speaker 1: and you know, afterwards we were having the same conversation

1619
01:37:33,680 --> 01:37:36,680
Speaker 1: about you know, she's a Native actress and she was like,

1620
01:37:36,760 --> 01:37:41,439
Speaker 1: you know, it's I'm I'm typecast as the dead Native girl.

1621
01:37:41,960 --> 01:37:44,960
Speaker 1: And she's like, no, no shade too like reservation dogs

1622
01:37:45,040 --> 01:37:47,439
Speaker 1: or anything. She goes. But that's just the reality she goes.

1623
01:37:47,479 --> 01:37:50,719
Speaker 1: Whenever I go out for a part or audition, it's

1624
01:37:50,720 --> 01:37:54,880
Speaker 1: always for the dead Native girl. Um, she goes. It's

1625
01:37:54,960 --> 01:37:58,960
Speaker 1: just how they typecast her. She's like, you know, and

1626
01:37:59,000 --> 01:38:02,439
Speaker 1: she's she's actually going to be in UM Flowers Are

1627
01:38:02,439 --> 01:38:05,320
Speaker 1: the Killer Moon, so you know she's going to be

1628
01:38:05,360 --> 01:38:07,400
Speaker 1: one of the sisters in that, and you know it's

1629
01:38:07,400 --> 01:38:09,280
Speaker 1: a big role for her. And again you know, it's

1630
01:38:09,320 --> 01:38:12,080
Speaker 1: like she was saying, typecast as the dead Native girl,

1631
01:38:12,160 --> 01:38:14,720
Speaker 1: like I don't get to live in the comes that

1632
01:38:14,760 --> 01:38:18,760
Speaker 1: I'm in. Um. But you know, she's such an incredible actress.

1633
01:38:19,080 --> 01:38:21,840
Speaker 1: But you know, like these conversations like I feel like

1634
01:38:22,000 --> 01:38:25,040
Speaker 1: need to be had about the opportunities that are given

1635
01:38:25,040 --> 01:38:28,479
Speaker 1: to Native women because in almost any show that we

1636
01:38:28,760 --> 01:38:32,000
Speaker 1: where it is about Native women, that woman is always

1637
01:38:32,000 --> 01:38:34,400
Speaker 1: going to be right, She's always going to be murdered. Um.

1638
01:38:34,400 --> 01:38:37,160
Speaker 1: There's always going to be an incredible amount of violence

1639
01:38:37,720 --> 01:38:41,600
Speaker 1: enacted against her. And it's such a shame because you

1640
01:38:41,640 --> 01:38:44,960
Speaker 1: know that shouldn't be normalized, and it always is like

1641
01:38:45,040 --> 01:38:49,320
Speaker 1: it's and it's never shown as in a way where

1642
01:38:49,439 --> 01:38:54,000
Speaker 1: it's like raising awareness. It's always exploitative. Even Wind River,

1643
01:38:54,160 --> 01:38:56,599
Speaker 1: a lot of people, you know, really use that show

1644
01:38:56,680 --> 01:38:58,720
Speaker 1: and they're like, it's the first show to really talk

1645
01:38:58,760 --> 01:39:01,800
Speaker 1: about the murder to missing an Diigenous women. And I'm like,

1646
01:39:02,000 --> 01:39:05,479
Speaker 1: but it's so exploitative and it kind of centers on

1647
01:39:05,520 --> 01:39:09,240
Speaker 1: that white saviorship and it doesn't talk about how that

1648
01:39:09,320 --> 01:39:13,280
Speaker 1: violence is wrong or you know that it needs to change.

1649
01:39:13,280 --> 01:39:17,479
Speaker 1: It just kind of plays into why it keeps happening. Yeah,

1650
01:39:17,560 --> 01:39:20,439
Speaker 1: And so there's a lot of hard conversations that still

1651
01:39:20,439 --> 01:39:23,880
Speaker 1: need to be had. But you know, thankfully we have

1652
01:39:24,080 --> 01:39:28,240
Speaker 1: actresses like Amberment Thunder. There's also Crystal Lightning, who you know,

1653
01:39:28,520 --> 01:39:32,120
Speaker 1: has won awards for her role in Trickster, which was

1654
01:39:32,160 --> 01:39:37,000
Speaker 1: an incredible series as well. Um, but the opportunities that

1655
01:39:37,000 --> 01:39:40,559
Speaker 1: they're given to be just anything more than you know,

1656
01:39:40,600 --> 01:39:44,559
Speaker 1: these stereotypical tropes. You know that, oh, the other trope

1657
01:39:44,600 --> 01:39:50,759
Speaker 1: is also the drunk woman or the drunk Indian woman,

1658
01:39:51,160 --> 01:39:53,439
Speaker 1: um and the dead Native woman. Like those are the

1659
01:39:53,520 --> 01:39:57,720
Speaker 1: two roles that Native women get in Hollywood usually, and

1660
01:39:57,760 --> 01:40:02,080
Speaker 1: it's such a shame because Native women are so strong,

1661
01:40:02,479 --> 01:40:05,639
Speaker 1: they're so fierce. Um. Even now, when you look at

1662
01:40:05,640 --> 01:40:08,719
Speaker 1: the different issues that affect in a country, it's always

1663
01:40:08,800 --> 01:40:12,120
Speaker 1: Native women right there on the front lines before anybody else.

1664
01:40:12,840 --> 01:40:15,799
Speaker 1: And you know, for us to just constantly be shown

1665
01:40:15,880 --> 01:40:20,040
Speaker 1: in this state of victimhood, you know, is just unacceptable

1666
01:40:20,040 --> 01:40:24,439
Speaker 1: in this day and age. And I do feel, yeah,

1667
01:40:24,520 --> 01:40:27,920
Speaker 1: like I'm so thrilled that ever mid Thunder is so

1668
01:40:28,000 --> 01:40:31,720
Speaker 1: successful and has you know, the institutional knowledge passed on

1669
01:40:31,840 --> 01:40:35,160
Speaker 1: from her parents. And also it's like the fact that

1670
01:40:35,200 --> 01:40:37,679
Speaker 1: she is such a large seems like such a large

1671
01:40:37,680 --> 01:40:41,360
Speaker 1: exception to this is like so discouraging. I really, I

1672
01:40:41,400 --> 01:40:46,680
Speaker 1: really loved that she seems determined to continue pushing the

1673
01:40:46,760 --> 01:40:49,479
Speaker 1: industry and using the power and knowledge she does have.

1674
01:40:50,040 --> 01:40:53,760
Speaker 1: And also, like speaking to what we were discussing a

1675
01:40:53,800 --> 01:40:57,680
Speaker 1: little earlier, the enormous pressure that that puts on her,

1676
01:40:57,880 --> 01:41:01,599
Speaker 1: that is like not a fair press to put on anyone,

1677
01:41:01,840 --> 01:41:06,479
Speaker 1: much as a young person. Yeah, and it's I mean

1678
01:41:06,560 --> 01:41:10,479
Speaker 1: it's incredible because I mean, with Prey, she could easily

1679
01:41:10,560 --> 01:41:13,240
Speaker 1: just wrote this success out and not addressed any of

1680
01:41:13,280 --> 01:41:16,640
Speaker 1: these issues and just been like it was a great experience,

1681
01:41:16,680 --> 01:41:19,800
Speaker 1: it was good. You know, everything's awesome. You know, I'm

1682
01:41:19,840 --> 01:41:21,759
Speaker 1: so happy to be here. But the fact that she's

1683
01:41:21,800 --> 01:41:26,320
Speaker 1: taken the risk to acknowledge how hard it is to

1684
01:41:26,360 --> 01:41:28,720
Speaker 1: be in the industry and the realities of being in

1685
01:41:28,760 --> 01:41:32,320
Speaker 1: the industry, you know, makes her incredible in my eyes,

1686
01:41:32,400 --> 01:41:35,720
Speaker 1: even more so because she is young and she is

1687
01:41:35,840 --> 01:41:37,960
Speaker 1: using her platform. You know. It kind of reminds me

1688
01:41:38,040 --> 01:41:42,040
Speaker 1: of when Ashley calling bull one Mrs World, you know,

1689
01:41:42,120 --> 01:41:44,559
Speaker 1: and she told them, what did you think when she

1690
01:41:44,600 --> 01:41:47,599
Speaker 1: started getting backlash about speaking about native issues? He's like,

1691
01:41:47,920 --> 01:41:49,439
Speaker 1: did you think I was just going to take this

1692
01:41:49,520 --> 01:41:52,080
Speaker 1: crown and stand here and be pretty. She's like, no,

1693
01:41:52,240 --> 01:41:56,200
Speaker 1: I'm gonna use this platform for the betterment of my people.

1694
01:41:56,520 --> 01:41:58,720
Speaker 1: And you know, and I feel like that's kind of

1695
01:41:58,760 --> 01:42:01,600
Speaker 1: like the role that so many you know, Native entertainers

1696
01:42:01,640 --> 01:42:04,679
Speaker 1: and Native talent they kind of get cast into that,

1697
01:42:05,200 --> 01:42:07,599
Speaker 1: and I'm really looking forward to the day when they

1698
01:42:07,640 --> 01:42:09,800
Speaker 1: get to just be actors, when they get to just

1699
01:42:09,880 --> 01:42:15,919
Speaker 1: be writers and not have to be advocates as well. Yeah, um,

1700
01:42:16,000 --> 01:42:18,479
Speaker 1: is there anything else that we'd like to touch on

1701
01:42:18,520 --> 01:42:22,680
Speaker 1: about about the movie, about behind the scenes about I

1702
01:42:22,720 --> 01:42:26,800
Speaker 1: have one really quick thing, which is that on IMDb,

1703
01:42:27,800 --> 01:42:32,240
Speaker 1: the French trappers, who are the only white characters you

1704
01:42:32,280 --> 01:42:35,599
Speaker 1: see on screen, are credited like their character's names are

1705
01:42:35,680 --> 01:42:42,320
Speaker 1: things like big Beard and waxed mustache, the way that

1706
01:42:42,760 --> 01:42:47,080
Speaker 1: indigenous people in movies have been credited as things like

1707
01:42:47,600 --> 01:42:52,760
Speaker 1: Indian right, Indian man. You know. So just that like

1708
01:42:52,800 --> 01:42:56,880
Speaker 1: the white people are big beard and waxed Mustache. I

1709
01:42:57,000 --> 01:42:59,680
Speaker 1: enjoyed that very much. That, Yeah, And it kind of

1710
01:42:59,720 --> 01:43:02,599
Speaker 1: goes back to showing just how intentional they were with

1711
01:43:02,640 --> 01:43:06,240
Speaker 1: this film. The fact that even in the movie, the

1712
01:43:06,320 --> 01:43:10,559
Speaker 1: French traders were never translated. We have no idea unless

1713
01:43:10,560 --> 01:43:14,120
Speaker 1: she speaks what they were saying, that yeah, there's no

1714
01:43:14,200 --> 01:43:16,760
Speaker 1: subtitles for it because it's just like, well, who gives

1715
01:43:16,760 --> 01:43:18,720
Speaker 1: it you? And that yeah, that does feel reflective of

1716
01:43:18,760 --> 01:43:22,559
Speaker 1: how Native people have been portrayed in the past, like

1717
01:43:22,760 --> 01:43:26,280
Speaker 1: it's yeah, and further demonstrates that the movie is told

1718
01:43:26,320 --> 01:43:30,520
Speaker 1: from an indigenous perspective because she doesn't know French exactly.

1719
01:43:31,439 --> 01:43:34,200
Speaker 1: And there's a scene and I didn't know this until

1720
01:43:34,240 --> 01:43:37,040
Speaker 1: I watched the Comanche dub of this, but there's a

1721
01:43:37,080 --> 01:43:41,880
Speaker 1: scene um in the English version where so obviously, like

1722
01:43:41,880 --> 01:43:45,200
Speaker 1: when you're when you're watching the English version, when you're

1723
01:43:45,240 --> 01:43:47,960
Speaker 1: watching the Commanche people speak to each other, you assume

1724
01:43:48,040 --> 01:43:51,599
Speaker 1: that they are actually speaking in Comanche, even though we

1725
01:43:52,120 --> 01:43:54,400
Speaker 1: are seeing them speak in English. But there's a scene

1726
01:43:54,439 --> 01:43:57,880
Speaker 1: where the French guy is speaking to Naru in English,

1727
01:43:58,240 --> 01:44:01,719
Speaker 1: and my brain understood it as, oh, she knows English

1728
01:44:01,840 --> 01:44:04,839
Speaker 1: and the French guy is speaking to her in English.

1729
01:44:04,920 --> 01:44:07,759
Speaker 1: But then when you watch the Commanche version, the French

1730
01:44:07,760 --> 01:44:10,680
Speaker 1: guy knows Comanche and is speaking to her in Commanche.

1731
01:44:10,760 --> 01:44:13,559
Speaker 1: You never you never hear her speak English in the

1732
01:44:13,600 --> 01:44:17,680
Speaker 1: Commanche version. That that scene is a little weird. In

1733
01:44:17,720 --> 01:44:22,639
Speaker 1: the English, it makes more sense of the Comanche dubbed totally. Yeah.

1734
01:44:23,080 --> 01:44:28,240
Speaker 1: It's so funny too that you mentioned that, because because

1735
01:44:28,320 --> 01:44:31,880
Speaker 1: I was cracking up because of all the ridiculous, you know,

1736
01:44:31,960 --> 01:44:36,000
Speaker 1: like foe boy reactions that came from this movie that

1737
01:44:36,600 --> 01:44:39,519
Speaker 1: you know, like Amber had recently addressed him as well.

1738
01:44:39,960 --> 01:44:41,960
Speaker 1: But one of the things that I found so funny

1739
01:44:42,160 --> 01:44:44,680
Speaker 1: was that part of the criticism from people was like

1740
01:44:45,240 --> 01:44:49,960
Speaker 1: they speak English so well. They were like, you know,

1741
01:44:50,160 --> 01:44:52,240
Speaker 1: I really loved the film, but it was just so

1742
01:44:52,320 --> 01:44:56,040
Speaker 1: weird that the that the natives spoke English. And it's like,

1743
01:44:56,040 --> 01:44:59,400
Speaker 1: wait a second, you're surprised that in a movie in

1744
01:44:59,479 --> 01:45:03,840
Speaker 1: americ where a large part of the population speaks English

1745
01:45:04,080 --> 01:45:08,840
Speaker 1: and only English and only English, that the natives speak English.

1746
01:45:08,960 --> 01:45:11,479
Speaker 1: And I was like, how many other movies have they

1747
01:45:11,520 --> 01:45:14,680
Speaker 1: like there been like where the characters are you know,

1748
01:45:14,760 --> 01:45:17,360
Speaker 1: it's it's just supposed to be like inferred that they're

1749
01:45:17,360 --> 01:45:20,000
Speaker 1: speaking another language, but we're hearing get in English that

1750
01:45:20,080 --> 01:45:22,720
Speaker 1: nobody has had a problem with, but suddenly it's a

1751
01:45:22,760 --> 01:45:26,400
Speaker 1: problem because it's natives. I was like, so you're telling

1752
01:45:26,439 --> 01:45:29,599
Speaker 1: me that you think that the Hobbits were speaking English?

1753
01:45:30,240 --> 01:45:34,879
Speaker 1: You know, it's like what they never ceased to amaze

1754
01:45:35,680 --> 01:45:39,320
Speaker 1: with the reaching they are willing to do do not

1755
01:45:39,560 --> 01:45:43,840
Speaker 1: like something, it's just oh my yeah, Like it was

1756
01:45:44,439 --> 01:45:47,720
Speaker 1: so funny to me because I was like, of all

1757
01:45:47,800 --> 01:45:51,320
Speaker 1: the things to criticize, like that is the weirdest thing

1758
01:45:51,400 --> 01:45:54,439
Speaker 1: that I've heard, is like, you're so surprised that native

1759
01:45:54,439 --> 01:45:58,640
Speaker 1: people can speak English in America, that a film in

1760
01:45:58,680 --> 01:46:06,720
Speaker 1: America for American critics is an English Like what? Um.

1761
01:46:06,840 --> 01:46:08,920
Speaker 1: The last thing I wanted to touch on was I

1762
01:46:09,000 --> 01:46:12,240
Speaker 1: just this is like a little story touch that I'm like, wow,

1763
01:46:12,240 --> 01:46:15,000
Speaker 1: we are we are trained to expect so little from

1764
01:46:15,080 --> 01:46:18,240
Speaker 1: how women are written in movies. I just liked that

1765
01:46:18,360 --> 01:46:21,519
Speaker 1: Naro was good at a lot of different things, Like

1766
01:46:21,640 --> 01:46:23,839
Speaker 1: I don't know that I'd ever heard it like framed

1767
01:46:23,880 --> 01:46:26,040
Speaker 1: like this in a movie of just like why is

1768
01:46:26,080 --> 01:46:28,000
Speaker 1: this the thing you want to do? You're good at

1769
01:46:28,000 --> 01:46:30,320
Speaker 1: a lot of things, which is like true of so

1770
01:46:30,360 --> 01:46:33,400
Speaker 1: many kids. But I feel like it's like whatever protagonist

1771
01:46:33,439 --> 01:46:36,760
Speaker 1: writing trope to be like they're really good at this

1772
01:46:36,880 --> 01:46:40,240
Speaker 1: one thing and this one thing is all they can

1773
01:46:40,280 --> 01:46:43,720
Speaker 1: do because blah blah destiny. And I just like that

1774
01:46:43,760 --> 01:46:47,040
Speaker 1: she had a lot of different skills. She used a

1775
01:46:47,040 --> 01:46:50,160
Speaker 1: lot of different skills throughout the movie, like she used

1776
01:46:50,160 --> 01:46:53,400
Speaker 1: her knowledge of medicine at several different points. It became

1777
01:46:53,439 --> 01:46:56,400
Speaker 1: relevant several times her mom was like, well, why don't

1778
01:46:56,439 --> 01:46:58,280
Speaker 1: you want to do this? You're good at this, and she's,

1779
01:46:58,320 --> 01:47:00,680
Speaker 1: you know, she's just like, well, yeah, I'm I know

1780
01:47:00,680 --> 01:47:03,599
Speaker 1: how to do the thing I want to do, and

1781
01:47:03,720 --> 01:47:06,960
Speaker 1: I just simple thing. But I liked I did too.

1782
01:47:07,120 --> 01:47:10,240
Speaker 1: I really love that because it kind of showed um

1783
01:47:10,520 --> 01:47:15,160
Speaker 1: versatility and also just that, you know, like any human being,

1784
01:47:15,479 --> 01:47:19,800
Speaker 1: like we're not just one thing, Like we're a multitude

1785
01:47:19,840 --> 01:47:22,840
Speaker 1: of things, Like we wear many different hats. Like I

1786
01:47:22,880 --> 01:47:26,960
Speaker 1: don't know a single person who is just a doctor

1787
01:47:27,280 --> 01:47:30,400
Speaker 1: or just a lawyer or just a writer, like you're

1788
01:47:30,439 --> 01:47:33,600
Speaker 1: like even me, Like, and I know I get this

1789
01:47:33,680 --> 01:47:37,400
Speaker 1: from my mom because you know, my mom, she was

1790
01:47:37,600 --> 01:47:40,880
Speaker 1: a teacher, she was a firefighter. At one point, she

1791
01:47:40,960 --> 01:47:44,520
Speaker 1: was a security guard. You know, she did this whole

1792
01:47:44,560 --> 01:47:48,680
Speaker 1: wide variety of different jobs, you know, because and I

1793
01:47:48,680 --> 01:47:50,760
Speaker 1: think a lot of that was because she had me young,

1794
01:47:51,320 --> 01:47:53,800
Speaker 1: and she also had a lot of experiences when she

1795
01:47:53,880 --> 01:47:56,880
Speaker 1: was younger that kind of limited what she could do.

1796
01:47:57,520 --> 01:47:59,840
Speaker 1: So I think once she got older and once it's

1797
01:48:00,040 --> 01:48:02,960
Speaker 1: kids got old enough to kind of you know, live

1798
01:48:03,040 --> 01:48:07,200
Speaker 1: without her needing to be the um. She started exploring

1799
01:48:07,439 --> 01:48:09,400
Speaker 1: like what it is she wanted to do and what

1800
01:48:09,520 --> 01:48:12,280
Speaker 1: her talents were. I mean, she was an incredible artist.

1801
01:48:12,800 --> 01:48:15,640
Speaker 1: She could sing um. There are so many things that

1802
01:48:15,680 --> 01:48:17,559
Speaker 1: she did and I look back at and I'm like,

1803
01:48:17,840 --> 01:48:19,720
Speaker 1: you know, even without even knowing it, you know, I

1804
01:48:19,800 --> 01:48:23,479
Speaker 1: kind of followed my mom's footprints, like her lead, because

1805
01:48:23,520 --> 01:48:26,680
Speaker 1: you know, I've done corporate management. I was a fitness instructor,

1806
01:48:26,800 --> 01:48:31,559
Speaker 1: which is so hilarious to me it now, but you know,

1807
01:48:31,720 --> 01:48:34,640
Speaker 1: I I've had all these different jobs. You know, I'm

1808
01:48:34,680 --> 01:48:37,880
Speaker 1: a writer, and then now you know, recently, I'm an

1809
01:48:38,000 --> 01:48:42,320
Speaker 1: artist and and not just an artist, but like an

1810
01:48:42,320 --> 01:48:46,720
Speaker 1: award winning artist now. Um. And and it's something that

1811
01:48:47,040 --> 01:48:50,320
Speaker 1: I never really thought of, you know that. You know,

1812
01:48:50,400 --> 01:48:52,200
Speaker 1: like I used to draw, I used to do it all,

1813
01:48:52,200 --> 01:48:54,559
Speaker 1: but I never really saw it as anything I could do,

1814
01:48:54,680 --> 01:48:57,360
Speaker 1: like professionally or anything like that. But it kind of

1815
01:48:57,400 --> 01:49:01,680
Speaker 1: followed Naru's too, because you know, her skills were necessary

1816
01:49:01,720 --> 01:49:05,840
Speaker 1: for her survival, which is basically the same as my

1817
01:49:06,120 --> 01:49:10,760
Speaker 1: professional trajectory because I have lupus, and so you know,

1818
01:49:10,880 --> 01:49:13,280
Speaker 1: in every job that I've had, I've had to leave

1819
01:49:13,360 --> 01:49:16,920
Speaker 1: for health reasons and so like, I have to be adaptable.

1820
01:49:17,040 --> 01:49:19,920
Speaker 1: And you know, even now with art, I've been a

1821
01:49:19,960 --> 01:49:23,240
Speaker 1: graphic designer and digital artists since I was in my twenties,

1822
01:49:23,760 --> 01:49:26,200
Speaker 1: but um, I have like three of my fingers that

1823
01:49:26,240 --> 01:49:29,639
Speaker 1: are starting to kind of twist, and so I don't

1824
01:49:29,880 --> 01:49:32,720
Speaker 1: have the mobility that I used to have, and so

1825
01:49:32,840 --> 01:49:35,320
Speaker 1: like I started looking at, Okay, well, what can I

1826
01:49:35,360 --> 01:49:38,880
Speaker 1: do creatively that I can still do creatively, and so

1827
01:49:39,120 --> 01:49:43,280
Speaker 1: you know, I discovered poor art, fluid art, and it's

1828
01:49:43,320 --> 01:49:45,040
Speaker 1: kind of worked well for me, and I was like, oh,

1829
01:49:45,160 --> 01:49:47,240
Speaker 1: you know what, I am an artist, Like I'm not

1830
01:49:47,320 --> 01:49:50,800
Speaker 1: just a graphic designer or a digital artists, which I

1831
01:49:50,840 --> 01:49:53,360
Speaker 1: never saw as being an artist because I did it

1832
01:49:53,400 --> 01:49:55,680
Speaker 1: for money, Like I did it feel like it was

1833
01:49:55,760 --> 01:49:57,759
Speaker 1: me And I always felt like I was just bringing

1834
01:49:57,800 --> 01:50:01,040
Speaker 1: other people's creations to life, so I didn't feel like

1835
01:50:01,120 --> 01:50:04,560
Speaker 1: it was my artistry at all. So you know, it

1836
01:50:04,960 --> 01:50:07,720
Speaker 1: was kind of fun for me to watch Naru and

1837
01:50:07,800 --> 01:50:09,880
Speaker 1: for her to have all these different skills and to

1838
01:50:09,920 --> 01:50:12,920
Speaker 1: be able to use them, because it speaks to how

1839
01:50:13,120 --> 01:50:16,920
Speaker 1: Native people kind of had to survive colonization as well,

1840
01:50:17,000 --> 01:50:19,439
Speaker 1: and how we continue to survive in this society, like

1841
01:50:19,479 --> 01:50:22,479
Speaker 1: we have to be adaptable, and we don't always have

1842
01:50:22,520 --> 01:50:24,559
Speaker 1: all the resources we need, but we have to be

1843
01:50:24,600 --> 01:50:27,120
Speaker 1: able to use what we have. And you know, and

1844
01:50:27,160 --> 01:50:31,519
Speaker 1: I've been able to somehow still keep myself alive, you know,

1845
01:50:31,640 --> 01:50:35,040
Speaker 1: by by being adaptable, by being able to go from

1846
01:50:35,040 --> 01:50:38,960
Speaker 1: like corporate management to doing a fitness tech too, you know,

1847
01:50:39,040 --> 01:50:41,800
Speaker 1: becoming an artist in order to survive. And it was

1848
01:50:41,880 --> 01:50:45,400
Speaker 1: so fun for me to see Naru have those that

1849
01:50:45,560 --> 01:50:49,240
Speaker 1: same adaptability and for them to show it in the

1850
01:50:49,280 --> 01:50:52,759
Speaker 1: way that they did. To quote your own piece back

1851
01:50:52,800 --> 01:50:58,080
Speaker 1: at you, you say that this that this movie quote

1852
01:50:58,280 --> 01:51:02,880
Speaker 1: is a rare tribute to the ingenuity, strength, and sheer

1853
01:51:02,920 --> 01:51:06,040
Speaker 1: stubbornness that has allowed Native people to survive the forces

1854
01:51:06,120 --> 01:51:11,719
Speaker 1: that threaten our survival unquote. Yeah, and it's so true.

1855
01:51:11,840 --> 01:51:14,559
Speaker 1: Like when I watched the movie, you know, like I said,

1856
01:51:14,560 --> 01:51:17,120
Speaker 1: I was blown away. Um, But there was such an

1857
01:51:17,160 --> 01:51:21,599
Speaker 1: emotional connection with every aspect of the movie because of that,

1858
01:51:22,080 --> 01:51:24,719
Speaker 1: you know, you get to see like just the people

1859
01:51:24,760 --> 01:51:26,639
Speaker 1: in the village as well, you know, what they were

1860
01:51:26,640 --> 01:51:29,600
Speaker 1: doing day to day to survive and to thrive in

1861
01:51:29,640 --> 01:51:33,040
Speaker 1: their environment. Um. And it wasn't an easy environment, as

1862
01:51:33,040 --> 01:51:35,240
Speaker 1: we saw with Naru, like there were mountain lions. They

1863
01:51:35,240 --> 01:51:37,599
Speaker 1: had a kid being taken out of their village by

1864
01:51:37,600 --> 01:51:40,960
Speaker 1: a mountain lion, like that was their day to day reality.

1865
01:51:41,000 --> 01:51:43,640
Speaker 1: There were bears, there were all these and that was

1866
01:51:43,680 --> 01:51:45,880
Speaker 1: the cool thing too, was to kind of how they

1867
01:51:45,880 --> 01:51:49,800
Speaker 1: showed that there were so many threats around Native people

1868
01:51:49,840 --> 01:51:53,240
Speaker 1: at the time, like it wasn't just the predator. And

1869
01:51:53,479 --> 01:51:56,160
Speaker 1: even the ending of the film when she defeated the

1870
01:51:56,240 --> 01:51:58,240
Speaker 1: predator and she went back to the village and she

1871
01:51:58,280 --> 01:52:00,960
Speaker 1: gave him their head, but then she threw the gun

1872
01:52:01,080 --> 01:52:03,479
Speaker 1: and she told him we need to move to higher ground.

1873
01:52:04,240 --> 01:52:07,600
Speaker 1: The fact that the predator wasn't the biggest threat, and

1874
01:52:07,720 --> 01:52:11,439
Speaker 1: Naru knew that, you know, like she knew I'm going, like,

1875
01:52:11,479 --> 01:52:14,000
Speaker 1: we're going to defeat this threat, but this other one,

1876
01:52:14,240 --> 01:52:17,080
Speaker 1: I don't know if we can because of the nature

1877
01:52:17,160 --> 01:52:21,200
Speaker 1: of that threat. And it was so beautiful to see

1878
01:52:21,240 --> 01:52:23,840
Speaker 1: that and to kind of show that, you know, she

1879
01:52:24,040 --> 01:52:27,519
Speaker 1: just had this all out brawl. She they lost all

1880
01:52:27,520 --> 01:52:29,839
Speaker 1: the warrior you know, like their young warriors in the village.

1881
01:52:29,880 --> 01:52:33,599
Speaker 1: She lost her brother, but yet the battle wasn't over,

1882
01:52:33,760 --> 01:52:36,479
Speaker 1: like they were still facing a threat that they had

1883
01:52:36,520 --> 01:52:41,080
Speaker 1: to address. And I thought That was the most incredible thing.

1884
01:52:41,439 --> 01:52:45,519
Speaker 1: Even when Teobi died and they flashed to the warrior

1885
01:52:45,600 --> 01:52:48,960
Speaker 1: bringing his like his I guess it was his rows

1886
01:52:48,960 --> 01:52:53,120
Speaker 1: sheet back to the village and his mom saw it,

1887
01:52:53,200 --> 01:52:55,720
Speaker 1: and she just knew that her son was gone, and

1888
01:52:55,760 --> 01:52:58,120
Speaker 1: she you know, she thought she lost Naru too, and

1889
01:52:58,160 --> 01:53:01,080
Speaker 1: knowing that her kids were gone, you know, you could

1890
01:53:01,120 --> 01:53:04,720
Speaker 1: see that grief on her face, but she didn't have

1891
01:53:04,880 --> 01:53:07,920
Speaker 1: the opportunity to to really just feel it. Like she

1892
01:53:08,040 --> 01:53:10,760
Speaker 1: turned around and she went back to doing what she

1893
01:53:10,840 --> 01:53:13,720
Speaker 1: was doing because it's what needed to happen for the

1894
01:53:13,760 --> 01:53:19,280
Speaker 1: betterment of the community. And so I really was just

1895
01:53:19,640 --> 01:53:23,600
Speaker 1: struck with how they were showing all these like communal relationships,

1896
01:53:23,640 --> 01:53:28,240
Speaker 1: that kinship and also you know just how Native people

1897
01:53:28,320 --> 01:53:30,960
Speaker 1: had to be adaptable and how to have they had

1898
01:53:31,000 --> 01:53:34,799
Speaker 1: to use the resources around them. And when it flashed

1899
01:53:34,800 --> 01:53:37,639
Speaker 1: back to Naru, you know, she's on that river bank

1900
01:53:37,680 --> 01:53:40,000
Speaker 1: and you know, she just lost her brother and she's like,

1901
01:53:40,520 --> 01:53:42,439
Speaker 1: you know, thinking like, oh, I can't do this, but

1902
01:53:42,479 --> 01:53:46,760
Speaker 1: then she sees the the big trader guy at the

1903
01:53:46,840 --> 01:53:51,080
Speaker 1: river and she's like, OK, it's on a big beer

1904
01:53:51,200 --> 01:53:55,519
Speaker 1: because she's like, that's it, it's on. That was such

1905
01:53:55,520 --> 01:53:58,840
Speaker 1: a good action secause and so cathartic and just like

1906
01:53:59,400 --> 01:54:02,880
Speaker 1: they're so like in a in a relatively like um

1907
01:54:03,680 --> 01:54:06,080
Speaker 1: I don't mean simple and a reductive way, but it's

1908
01:54:06,120 --> 01:54:09,840
Speaker 1: like a very pair down story. But it's just like

1909
01:54:10,080 --> 01:54:12,760
Speaker 1: there are those huge moments of impact and a lot

1910
01:54:12,880 --> 01:54:15,920
Speaker 1: of the like what you just described with just like

1911
01:54:15,960 --> 01:54:20,280
Speaker 1: a single shot of um Nauru's mom communicated so much

1912
01:54:20,320 --> 01:54:23,280
Speaker 1: about the character, about the family, about the community, about

1913
01:54:23,280 --> 01:54:26,559
Speaker 1: the time, and it's just like this small moment, Like

1914
01:54:26,600 --> 01:54:29,280
Speaker 1: this movie is full of moments like that. Yeah. I

1915
01:54:29,320 --> 01:54:32,080
Speaker 1: mean the part that really had me in tears though,

1916
01:54:32,720 --> 01:54:36,760
Speaker 1: was when team died because it's not a big scene.

1917
01:54:37,040 --> 01:54:39,280
Speaker 1: It didn't lead up to it like where it came,

1918
01:54:39,400 --> 01:54:42,080
Speaker 1: you know, like was an action pack scene. You know,

1919
01:54:42,240 --> 01:54:45,680
Speaker 1: he knew he could, he heard the predator step and

1920
01:54:45,720 --> 01:54:48,680
Speaker 1: he knew that, okay, I'm not getting out of this,

1921
01:54:48,880 --> 01:54:51,720
Speaker 1: and he took what time he had left instead of

1922
01:54:51,720 --> 01:54:55,800
Speaker 1: trying to run or save himself, you know, he took

1923
01:54:55,840 --> 01:54:58,760
Speaker 1: that time. He accepted it, and he told Naru, he

1924
01:54:58,920 --> 01:55:01,240
Speaker 1: was like, this is this is as far as I go.

1925
01:55:02,280 --> 01:55:04,360
Speaker 1: You know, you have to bring this home now, like

1926
01:55:04,440 --> 01:55:07,280
Speaker 1: and and then she says it later and you're like,

1927
01:55:08,760 --> 01:55:12,240
Speaker 1: I know. I was like why because it was such

1928
01:55:12,280 --> 01:55:15,560
Speaker 1: a beautiful moment for him to say that, because you know,

1929
01:55:15,600 --> 01:55:19,280
Speaker 1: throughout the film he'd been so supportive of her Katamiya,

1930
01:55:19,400 --> 01:55:23,320
Speaker 1: and even when she didn't succeed, you know, he was

1931
01:55:23,360 --> 01:55:25,520
Speaker 1: still in telling her like, oh, you know, he's like,

1932
01:55:25,960 --> 01:55:28,200
Speaker 1: you can still bring it home, like you know, like

1933
01:55:28,280 --> 01:55:31,400
Speaker 1: you we still have to like even if we don't succeed,

1934
01:55:31,440 --> 01:55:33,880
Speaker 1: like we still have to keep going because we do

1935
01:55:34,000 --> 01:55:37,480
Speaker 1: have to protect our community, like it's larger than just

1936
01:55:37,760 --> 01:55:41,000
Speaker 1: him or her, like it's about the community. And for

1937
01:55:41,080 --> 01:55:44,680
Speaker 1: him to take that time, and for also for Naru

1938
01:55:44,840 --> 01:55:47,640
Speaker 1: to understand in that moment too, like it's no longer

1939
01:55:47,720 --> 01:55:52,640
Speaker 1: just about her and her Katamiya, but the protection of

1940
01:55:52,680 --> 01:55:56,240
Speaker 1: her entire village now, like it's on her because there's

1941
01:55:56,280 --> 01:55:58,880
Speaker 1: no one left, you know, And for her brother to

1942
01:55:58,960 --> 01:56:01,120
Speaker 1: tell her like it's on you to bring it home

1943
01:56:01,280 --> 01:56:05,960
Speaker 1: and to basically reassure her like you got this before

1944
01:56:06,040 --> 01:56:09,120
Speaker 1: he died, And for him to even take his last

1945
01:56:09,160 --> 01:56:11,560
Speaker 1: moments to make sure that she could get away because

1946
01:56:11,560 --> 01:56:14,280
Speaker 1: she was so stunned, you know, I was just like,

1947
01:56:14,360 --> 01:56:18,200
Speaker 1: oh my gosh, how they packed so much emotion in

1948
01:56:18,320 --> 01:56:21,160
Speaker 1: that scene as quick as it was. I was like

1949
01:56:21,280 --> 01:56:26,520
Speaker 1: in Tears, the sibling the sibling bond in this movie

1950
01:56:26,600 --> 01:56:32,280
Speaker 1: as just like absolutely incredible. I really loved it very well. Yeah,

1951
01:56:32,480 --> 01:56:34,600
Speaker 1: like and even the ending, you know, like I teared

1952
01:56:34,720 --> 01:56:37,920
Speaker 1: up at the ending is too you know. And and

1953
01:56:37,920 --> 01:56:41,360
Speaker 1: and it was for the most funniest reason, and it's

1954
01:56:41,360 --> 01:56:44,440
Speaker 1: actually been kind of memed um. But the little girl,

1955
01:56:44,640 --> 01:56:47,040
Speaker 1: like when she comes back to the village and you know,

1956
01:56:47,120 --> 01:56:49,120
Speaker 1: they name her the next war chief and there's that

1957
01:56:49,160 --> 01:56:51,320
Speaker 1: little girl who's just looking at her with such awe

1958
01:56:51,360 --> 01:56:54,720
Speaker 1: on her bid Like I was tearing up, and I

1959
01:56:54,760 --> 01:56:58,720
Speaker 1: was like, but it hit me so emotionally because you know,

1960
01:56:58,840 --> 01:57:02,200
Speaker 1: even for me, like growing up, I didn't have the

1961
01:57:02,320 --> 01:57:06,720
Speaker 1: role models that I needed because when I was younger,

1962
01:57:06,800 --> 01:57:09,120
Speaker 1: like I wanted to be like an epidemiologist. This is

1963
01:57:09,120 --> 01:57:11,960
Speaker 1: what Outbreak came out, and I wanted to be in

1964
01:57:12,040 --> 01:57:16,000
Speaker 1: the thick of ebola. You know, I went in all

1965
01:57:16,040 --> 01:57:19,680
Speaker 1: these infectious diseases and stuff. But um, people would tell

1966
01:57:19,720 --> 01:57:23,160
Speaker 1: me like why, like no native is doing this, no

1967
01:57:23,240 --> 01:57:26,000
Speaker 1: native is there, and you know, and that's what I

1968
01:57:26,040 --> 01:57:29,680
Speaker 1: saw around me, was there was no native scientists or like,

1969
01:57:29,680 --> 01:57:31,600
Speaker 1: because of course we don't have the internet, like we

1970
01:57:31,680 --> 01:57:36,840
Speaker 1: do now. So I didn't have that representation around me. Yeah,

1971
01:57:36,920 --> 01:57:40,360
Speaker 1: that's why it's so important to have opportunities to see

1972
01:57:40,400 --> 01:57:45,880
Speaker 1: yourself represented in media and represented in all industries, you know,

1973
01:57:45,960 --> 01:57:52,440
Speaker 1: not just entertainment. Um. Was there anything else that anyone

1974
01:57:52,560 --> 01:57:55,640
Speaker 1: wanted to talk about? Um? I think that was it

1975
01:57:55,720 --> 01:57:58,480
Speaker 1: for me. Yeah, I think that was it. Although we

1976
01:57:58,520 --> 01:58:02,720
Speaker 1: should add the disclaimer that recently it's been um talked

1977
01:58:02,760 --> 01:58:07,680
Speaker 1: about that Dakota Beavers may or may not have Native heritage. UM.

1978
01:58:07,760 --> 01:58:10,400
Speaker 1: And it's a little bit more complicated because even if

1979
01:58:10,440 --> 01:58:13,840
Speaker 1: he's not Native, you know, he's still an Indigenous person

1980
01:58:13,960 --> 01:58:17,800
Speaker 1: within the larger indigenous diaspora. So you know, it is

1981
01:58:17,840 --> 01:58:23,080
Speaker 1: complicated and it's something that is still being investigated. UM.

1982
01:58:23,120 --> 01:58:26,240
Speaker 1: You know, it's been proven that he doesn't have ties

1983
01:58:26,320 --> 01:58:29,680
Speaker 1: to the tribes that he claimed, but that still doesn't

1984
01:58:29,680 --> 01:58:33,400
Speaker 1: necessarily mean that he has that he doesn't have ties

1985
01:58:33,480 --> 01:58:37,440
Speaker 1: to a native tribe. UM. It's just that, especially you know,

1986
01:58:37,480 --> 01:58:40,920
Speaker 1: like the history in New Mexico and around the area

1987
01:58:41,360 --> 01:58:44,360
Speaker 1: Native people through that area. You know, it's always really complicated.

1988
01:58:45,040 --> 01:58:47,680
Speaker 1: So you know, he's still doing a lot of research

1989
01:58:48,360 --> 01:58:50,280
Speaker 1: because you know, he was told all his life that

1990
01:58:50,320 --> 01:58:54,840
Speaker 1: he was Apache and Pueblo and it turns out that

1991
01:58:54,880 --> 01:58:57,440
Speaker 1: he's not, so you know, so it's not as though

1992
01:58:57,480 --> 01:58:59,880
Speaker 1: he was like lying. It's just that he was kind

1993
01:59:00,080 --> 01:59:05,040
Speaker 1: possibly like misinformed exactly exactly. And you know, and even

1994
01:59:05,080 --> 01:59:08,160
Speaker 1: without that, you know, he would still be an indigenous person.

1995
01:59:08,280 --> 01:59:11,640
Speaker 1: So you know, it's a lot more complicated than say,

1996
01:59:11,760 --> 01:59:16,040
Speaker 1: like Elizabeth Warren R. Yeah, that was a pretty cut

1997
01:59:16,040 --> 01:59:19,160
Speaker 1: and dry situation. Yeah, so you know, it's a little

1998
01:59:19,200 --> 01:59:21,680
Speaker 1: more complicated. And I feel really bad for him, being

1999
01:59:21,720 --> 01:59:25,640
Speaker 1: so young, and you know, this is his first movie role,

2000
01:59:26,000 --> 01:59:29,600
Speaker 1: and of course, you know when when you're in that spotlight,

2001
01:59:29,640 --> 01:59:33,160
Speaker 1: then everything is under intense scrutiny, no matter if you're

2002
01:59:33,240 --> 01:59:36,120
Speaker 1: Native or not. So you know, I really feel bad

2003
01:59:36,160 --> 01:59:40,160
Speaker 1: that this is his kind of introduction into that spotlight.

2004
01:59:40,240 --> 01:59:44,680
Speaker 1: But you know, it's just I feel really bad for him. Um.

2005
01:59:45,120 --> 01:59:48,480
Speaker 1: But also, you know, I just really hope that it

2006
01:59:48,560 --> 01:59:52,400
Speaker 1: doesn't really end up with like harassment or you know,

2007
01:59:52,480 --> 01:59:54,920
Speaker 1: him being vilified for it, because it's not like he

2008
01:59:55,080 --> 02:00:00,480
Speaker 1: intentionally lied, right, and he was apparently up front with

2009
02:00:00,560 --> 02:00:04,880
Speaker 1: the producers and everybody beforehand. Um, and he was still hired.

2010
02:00:05,000 --> 02:00:08,600
Speaker 1: So it's it's a really complicated situation. Because at that

2011
02:00:08,640 --> 02:00:12,520
Speaker 1: point to um, you know, the responsibility falls on you know,

2012
02:00:12,840 --> 02:00:15,800
Speaker 1: on his family and also you know, the people that

2013
02:00:15,880 --> 02:00:20,760
Speaker 1: hired him knowing that he had questionable ties. So you know,

2014
02:00:20,880 --> 02:00:23,160
Speaker 1: he kind of really did just get go into this

2015
02:00:23,400 --> 02:00:26,960
Speaker 1: thinking like I'm okay um. And and that's another reason

2016
02:00:27,040 --> 02:00:28,800
Speaker 1: I feel so bad for him, because it's not like

2017
02:00:28,880 --> 02:00:32,400
Speaker 1: he had a reason to not believe his parents or

2018
02:00:32,480 --> 02:00:35,240
Speaker 1: his family when they told him, you know, about who

2019
02:00:35,360 --> 02:00:38,680
Speaker 1: his what his heritage was, so you know, and he

2020
02:00:38,720 --> 02:00:41,360
Speaker 1: probably grew up all his life thinking, you know, that's

2021
02:00:41,440 --> 02:00:44,720
Speaker 1: who he was, and then now it's just gone. Um.

2022
02:00:44,880 --> 02:00:47,720
Speaker 1: So I'm sure that's like a cultural shocking as well.

2023
02:00:48,440 --> 02:00:51,000
Speaker 1: So you know, I mean, I just I just feel

2024
02:00:51,040 --> 02:00:53,400
Speaker 1: really bad for him. But I think that's important to

2025
02:00:54,480 --> 02:00:56,840
Speaker 1: put out there just because you know, when it comes

2026
02:00:56,840 --> 02:01:00,720
Speaker 1: to Native representation, it's really hard for Native people to

2027
02:01:00,760 --> 02:01:04,240
Speaker 1: get roles as it is, and non natives are constantly

2028
02:01:04,280 --> 02:01:07,760
Speaker 1: being cast in Native roles, So you know, I do

2029
02:01:07,920 --> 02:01:11,840
Speaker 1: think that it needs to be kind of discussed, you

2030
02:01:11,880 --> 02:01:14,560
Speaker 1: know that, you know, why this is a conversation, why

2031
02:01:14,600 --> 02:01:17,400
Speaker 1: this is an issue, and also just to just to

2032
02:01:17,480 --> 02:01:21,160
Speaker 1: let people be aware that it's not always cut and dry,

2033
02:01:21,560 --> 02:01:24,120
Speaker 1: you know, like there's a lot of history with colonization.

2034
02:01:24,200 --> 02:01:27,120
Speaker 1: It's done a number on our ties to our communities.

2035
02:01:27,160 --> 02:01:32,160
Speaker 1: It's intentionally severed connections to your community. So you know,

2036
02:01:32,240 --> 02:01:35,640
Speaker 1: there are a lot of Natives who are not enrolled,

2037
02:01:35,680 --> 02:01:40,040
Speaker 1: who are legitly native um, but because of blood quantum

2038
02:01:40,160 --> 02:01:44,160
Speaker 1: and different tribal enrollment requirements, even though they're Native, they

2039
02:01:44,200 --> 02:01:47,120
Speaker 1: may not necessarily qualify to be citizens of their nation.

2040
02:01:47,720 --> 02:01:49,840
Speaker 1: So you know, there's a lot of gray area. We

2041
02:01:49,880 --> 02:01:52,880
Speaker 1: had Natives who were adopted out, Natives who lost their

2042
02:01:52,880 --> 02:01:56,320
Speaker 1: ties through residential boarding schools, and it's just a really

2043
02:01:56,360 --> 02:02:00,640
Speaker 1: complicated history to try and entangle. And you know, again,

2044
02:02:00,680 --> 02:02:02,920
Speaker 1: I think that's why I feel so bad for him,

2045
02:02:02,960 --> 02:02:06,120
Speaker 1: because he's suddenly having to deal with all this and

2046
02:02:06,600 --> 02:02:10,440
Speaker 1: you know, of course shoulder all the responsibility and the

2047
02:02:10,520 --> 02:02:15,240
Speaker 1: blame for something that wasn't necessarily his fault or something

2048
02:02:15,280 --> 02:02:19,920
Speaker 1: that he didn't necessarily do intentionally of course. Yeah. Yeah,

2049
02:02:19,920 --> 02:02:23,640
Speaker 1: And this is still a developing situation. So at the

2050
02:02:23,640 --> 02:02:26,040
Speaker 1: time of this recording, right, I guess for our listeners,

2051
02:02:26,120 --> 02:02:28,360
Speaker 1: because we record kind of for an advance. Sometimes we're

2052
02:02:28,400 --> 02:02:32,000
Speaker 1: recording this on September, so that is and also, like

2053
02:02:32,160 --> 02:02:34,880
Speaker 1: Johnny I genuinely was not even aware of that situation

2054
02:02:34,960 --> 02:02:40,280
Speaker 1: before today. So it's like, yeah, very much a developing, right,

2055
02:02:40,280 --> 02:02:43,600
Speaker 1: I mean yeah, I wish everyone the best. I mean

2056
02:02:43,600 --> 02:02:46,680
Speaker 1: that that is an incredible mind funk for someone who's

2057
02:02:46,720 --> 02:02:52,560
Speaker 1: so early in the public eye. Oh yeah, Um, what's that?

2058
02:02:53,520 --> 02:02:56,400
Speaker 1: The Bechtel Tests? The Bechtel Test? Ever heard of it?

2059
02:02:56,840 --> 02:03:00,280
Speaker 1: I have Does this movie past the Bechtel Test? I

2060
02:03:00,320 --> 02:03:03,280
Speaker 1: believe it does. Between Naru and my mother, yeah, they

2061
02:03:03,320 --> 02:03:09,360
Speaker 1: talk about hunting, food, medicine, her future. I mean they

2062
02:03:09,360 --> 02:03:12,840
Speaker 1: talk about a lot of stuff. Yeah, her skills. And

2063
02:03:12,880 --> 02:03:14,760
Speaker 1: I wanted to give one more shout out to the

2064
02:03:14,800 --> 02:03:19,600
Speaker 1: Ali Naughty Test, which Naru in this movie passes with

2065
02:03:19,680 --> 02:03:24,120
Speaker 1: flying colors, So shout out to the Ali Naughty Test.

2066
02:03:25,040 --> 02:03:28,560
Speaker 1: And um, then we've got our Nipple scale, the only

2067
02:03:28,680 --> 02:03:33,280
Speaker 1: perfect media metric. It's flawless, ten out of ten. No notes.

2068
02:03:34,000 --> 02:03:37,640
Speaker 1: We rate the movie on a scale of zero to

2069
02:03:37,760 --> 02:03:43,000
Speaker 1: five nipples based on how it does when you look

2070
02:03:43,040 --> 02:03:47,880
Speaker 1: at the movie through an intersectional feminist lens. I would

2071
02:03:48,000 --> 02:03:52,240
Speaker 1: give this movie. I want to give it a four.

2072
02:03:52,920 --> 02:03:56,440
Speaker 1: Four nipples. I'm gonna take a little bit of nippleage

2073
02:03:56,560 --> 02:04:00,880
Speaker 1: off for the behind the scenes as far as the

2074
02:04:00,960 --> 02:04:05,600
Speaker 1: movie was written and directed by white men, this is

2075
02:04:05,640 --> 02:04:10,960
Speaker 1: not their story to tell. I don't know why indigenous

2076
02:04:10,960 --> 02:04:14,520
Speaker 1: filmmakers couldn't have been given the opportunity to, you know,

2077
02:04:14,600 --> 02:04:19,000
Speaker 1: be the creative minds behind this movie. And I think

2078
02:04:19,040 --> 02:04:22,240
Speaker 1: that led to kind of the main thing that pinned

2079
02:04:22,280 --> 02:04:25,000
Speaker 1: for all of us, as far as the way gender

2080
02:04:25,280 --> 02:04:29,000
Speaker 1: is treated in the movie, as far as like European

2081
02:04:29,160 --> 02:04:35,680
Speaker 1: style patriarchal values being voisted onto this culture and community

2082
02:04:35,720 --> 02:04:40,680
Speaker 1: where that didn't fully track. So but there's just like

2083
02:04:40,920 --> 02:04:43,960
Speaker 1: so much else to to love about this movie as

2084
02:04:44,000 --> 02:04:49,920
Speaker 1: far as Indigenous representation and this movie pushing the needle

2085
02:04:50,120 --> 02:04:52,840
Speaker 1: forward in that regard. Um. I want to share a

2086
02:04:52,880 --> 02:04:59,920
Speaker 1: quick quote from Amber mid Thunder where she says, quote,

2087
02:05:00,040 --> 02:05:01,960
Speaker 1: this is the first time you get to see an

2088
02:05:01,960 --> 02:05:05,880
Speaker 1: indigenous female action hero at the center of a film

2089
02:05:05,960 --> 02:05:10,520
Speaker 1: that in and of itself is a really incredible statement unquote.

2090
02:05:10,600 --> 02:05:13,840
Speaker 1: And it's like, yeah, the fact that this is the

2091
02:05:13,880 --> 02:05:17,440
Speaker 1: first time we're getting that in the year and I

2092
02:05:17,440 --> 02:05:20,760
Speaker 1: will also yeah, like it's amazing. But also I'm going

2093
02:05:20,800 --> 02:05:23,320
Speaker 1: to add, and I was talking with to Amber about

2094
02:05:23,360 --> 02:05:26,640
Speaker 1: this too, is that I'm a sexual and one of

2095
02:05:26,640 --> 02:05:29,680
Speaker 1: the things that really that I really loved about this

2096
02:05:29,760 --> 02:05:33,280
Speaker 1: movie too, is that she got to be an action

2097
02:05:33,400 --> 02:05:39,000
Speaker 1: star without a love interest. Yes, there was no male

2098
02:05:39,160 --> 02:05:43,520
Speaker 1: figure trying to pull her into a domestic life, for

2099
02:05:43,840 --> 02:05:49,520
Speaker 1: her having to choose between her people and a man, right, Like,

2100
02:05:49,560 --> 02:05:51,880
Speaker 1: there was no love story, and the love story that

2101
02:05:51,920 --> 02:05:55,600
Speaker 1: did exist was between you know, all of the native

2102
02:05:55,680 --> 02:05:59,400
Speaker 1: characters and their community. And so, you know, as somebody

2103
02:05:59,440 --> 02:06:01,960
Speaker 1: who's a set actual and to see a movie where

2104
02:06:02,000 --> 02:06:05,280
Speaker 1: there is no love interest or you know, romance being

2105
02:06:05,320 --> 02:06:09,160
Speaker 1: pushed onto any of the characters as part of pushing

2106
02:06:09,200 --> 02:06:13,120
Speaker 1: them forward or kind of developing as a person like

2107
02:06:13,200 --> 02:06:16,360
Speaker 1: that was phenomenal to me. And they did it so organically,

2108
02:06:16,440 --> 02:06:19,600
Speaker 1: like it didn't seem forced or you know, it wasn't

2109
02:06:19,600 --> 02:06:21,480
Speaker 1: like they were like, oh, well, because she wants to

2110
02:06:21,480 --> 02:06:23,640
Speaker 1: be a warrior, no one wants to marry her or

2111
02:06:23,680 --> 02:06:26,960
Speaker 1: nobody is attracted to her kind of thing. So, you know,

2112
02:06:27,040 --> 02:06:29,920
Speaker 1: I really love that she just got to be not

2113
02:06:30,920 --> 02:06:34,080
Speaker 1: you know and just like a fully developed person on

2114
02:06:34,160 --> 02:06:38,240
Speaker 1: her own, without you know, a male figure having to

2115
02:06:38,280 --> 02:06:41,040
Speaker 1: come in and try and control her or you know,

2116
02:06:41,200 --> 02:06:44,320
Speaker 1: change the course of her action or it just you know,

2117
02:06:44,400 --> 02:06:46,280
Speaker 1: I mean, it was just phenomenal to me, like I

2118
02:06:46,320 --> 02:06:48,440
Speaker 1: was so excited by that as somebody who is a

2119
02:06:48,520 --> 02:06:51,760
Speaker 1: sexual because in almost every movie we watch there is

2120
02:06:52,240 --> 02:06:55,160
Speaker 1: a love triangle of some sort, which is remarkable. I mean,

2121
02:06:55,200 --> 02:06:57,560
Speaker 1: in the action genre at all, I feel like it

2122
02:06:57,840 --> 02:07:02,240
Speaker 1: there's always a love story that is that or very

2123
02:07:02,280 --> 02:07:06,280
Speaker 1: often a love story that feels extremely shoehorned in and

2124
02:07:06,320 --> 02:07:08,720
Speaker 1: almost in this like weird marketing attempt to be like

2125
02:07:08,800 --> 02:07:12,240
Speaker 1: we need everyone to see this movie who likes a

2126
02:07:12,360 --> 02:07:18,920
Speaker 1: really forced heterosexual romance, And it's like everybody is for sure.

2127
02:07:20,480 --> 02:07:24,640
Speaker 1: I came to see a snake, a predator, and a

2128
02:07:24,680 --> 02:07:27,840
Speaker 1: girl with an axe, and I left satisfied, and I

2129
02:07:28,280 --> 02:07:31,880
Speaker 1: totally agree. Like having the most powerful bond in this

2130
02:07:31,960 --> 02:07:38,680
Speaker 1: movie be between siblings is really rare and like powerful

2131
02:07:38,720 --> 02:07:41,360
Speaker 1: and cool. Yeah, and it and it was there and

2132
02:07:41,440 --> 02:07:43,880
Speaker 1: not in a weird way, because there's a weird thing

2133
02:07:44,000 --> 02:07:47,960
Speaker 1: with siblings in movies where they're way too flirty with

2134
02:07:47,960 --> 02:07:52,120
Speaker 1: each other, you know, like there's just this weird dynamic

2135
02:07:52,200 --> 02:07:55,400
Speaker 1: with siblings that never really hits with me, you know,

2136
02:07:55,440 --> 02:07:58,320
Speaker 1: like I'm thinking back to Monica and Ross and friends.

2137
02:07:58,360 --> 02:08:00,600
Speaker 1: You know, they're always hanging around on each other. You

2138
02:08:00,720 --> 02:08:04,120
Speaker 1: can lay up. Yeah, like there's just I mean, there's

2139
02:08:04,160 --> 02:08:06,920
Speaker 1: some weird sibling relationships out there, so it was really

2140
02:08:07,000 --> 02:08:09,760
Speaker 1: nice to see one where, you know, it felt like

2141
02:08:09,800 --> 02:08:13,560
Speaker 1: a sibling relationship with the teasing and you know, just

2142
02:08:13,640 --> 02:08:15,640
Speaker 1: kind of giving each other a hard time, but also

2143
02:08:15,720 --> 02:08:20,840
Speaker 1: that genuine care that they had for each other. Yeah. Definitely. Yeah.

2144
02:08:21,040 --> 02:08:24,800
Speaker 1: So with all of that in mind, I will give

2145
02:08:24,840 --> 02:08:29,960
Speaker 1: the movie four nipples. I will award one to Naru,

2146
02:08:30,160 --> 02:08:34,600
Speaker 1: I will give one to producer Jane Myers, I will

2147
02:08:34,760 --> 02:08:39,720
Speaker 1: give a nipple to Sorry the Dog, and I'll give

2148
02:08:39,760 --> 02:08:45,000
Speaker 1: my funnel nipple to the tooth brushing scene, which I

2149
02:08:45,040 --> 02:08:48,360
Speaker 1: really appreciated and was, um from what I read, carefully

2150
02:08:48,360 --> 02:08:52,120
Speaker 1: researched and you know, shout out to brushing your teeth.

2151
02:08:52,720 --> 02:08:56,200
Speaker 1: Hell yeah, I'll meet you have four nipples. I think

2152
02:08:56,240 --> 02:09:00,680
Speaker 1: that this is a I mean, like, it's a really

2153
02:09:00,760 --> 02:09:06,680
Speaker 1: fucking cool movie. Um. I love that the production took

2154
02:09:06,800 --> 02:09:12,839
Speaker 1: such care to represent indigenous cultures so specifically in time

2155
02:09:13,040 --> 02:09:16,480
Speaker 1: and in their tribe and and and I mean the

2156
02:09:16,680 --> 02:09:22,320
Speaker 1: weird girl boss elements of like like modern feminism. Those

2157
02:09:22,360 --> 02:09:25,480
Speaker 1: moments were a little jarring, but thankfully they did not

2158
02:09:25,640 --> 02:09:27,800
Speaker 1: throw the movie off. Course. I feel like Naru is

2159
02:09:27,880 --> 02:09:32,520
Speaker 1: such a strong protagonist like she's you can't not root

2160
02:09:32,560 --> 02:09:36,520
Speaker 1: for her, and you can't not root for her whole community,

2161
02:09:36,600 --> 02:09:39,200
Speaker 1: even when they are at odds and even when they're

2162
02:09:39,200 --> 02:09:42,720
Speaker 1: being stalked by Predator, and you kind of can't help

2163
02:09:42,720 --> 02:09:46,280
Speaker 1: but root for Predator in a couple of moments, also

2164
02:09:46,440 --> 02:09:48,480
Speaker 1: because you know, at the end of the day he

2165
02:09:48,760 --> 02:09:52,160
Speaker 1: is boyfriend, and so I try to be respectful of that.

2166
02:09:54,120 --> 02:09:56,760
Speaker 1: But yeah, I really love this movie. I agree that

2167
02:09:57,200 --> 02:09:59,160
Speaker 1: the fact that we're still kind of in this cultural

2168
02:09:59,360 --> 02:10:04,680
Speaker 1: moment where this whatever the Hollywood powers that be seems

2169
02:10:04,760 --> 02:10:08,320
Speaker 1: to feel that you still needed a white director and

2170
02:10:08,520 --> 02:10:12,640
Speaker 1: co writer to make this movie happen with the institutional

2171
02:10:13,040 --> 02:10:17,680
Speaker 1: um support it received, is super discouraging. As we discussed,

2172
02:10:17,760 --> 02:10:22,120
Speaker 1: I mean, I feel like, you know, there's no world

2173
02:10:22,280 --> 02:10:26,160
Speaker 1: in which an indigenous filmmaker shouldn't get the first option

2174
02:10:26,640 --> 02:10:30,120
Speaker 1: to make a movie like this with the institutional support

2175
02:10:30,200 --> 02:10:33,960
Speaker 1: at the same level, and um, it's really frustrating that

2176
02:10:33,960 --> 02:10:36,320
Speaker 1: that is still not a place where we're at. But

2177
02:10:36,360 --> 02:10:39,320
Speaker 1: I do agree that this is a good stepping stone

2178
02:10:39,360 --> 02:10:42,840
Speaker 1: movie to bring what I hope will be more Indigenous

2179
02:10:42,840 --> 02:10:46,520
Speaker 1: stories by Indigenous people who are honestly indigenous filmmakers getting

2180
02:10:46,520 --> 02:10:51,840
Speaker 1: institutional support to make whatever they want. And I will

2181
02:10:51,880 --> 02:10:55,800
Speaker 1: say it's really hard for me too, because I in

2182
02:10:55,880 --> 02:11:00,480
Speaker 1: my head, after seeing Pray, I've super been wanting to

2183
02:11:00,560 --> 02:11:05,520
Speaker 1: just go hard campaigning for Dan Tracktonburg to direct or

2184
02:11:05,560 --> 02:11:08,720
Speaker 1: even just options Steven Graham Jones The Only Good Indians,

2185
02:11:09,640 --> 02:11:14,160
Speaker 1: which is one of the most terrifying Native horror books

2186
02:11:14,160 --> 02:11:16,320
Speaker 1: that I've read in such a long time, Like it's

2187
02:11:16,400 --> 02:11:21,320
Speaker 1: just haunts me. But after seeing Pray, I think that

2188
02:11:21,880 --> 02:11:24,680
Speaker 1: he would be the one director that could possibly bring

2189
02:11:24,720 --> 02:11:28,120
Speaker 1: it to life in a way that does it justice.

2190
02:11:28,840 --> 02:11:31,200
Speaker 1: And I was like, oh, Johnny, you're such a trader.

2191
02:11:31,640 --> 02:11:35,960
Speaker 1: You're such a trader. But well, Dan, I mean, he

2192
02:11:36,040 --> 02:11:40,520
Speaker 1: directed the hell out of this movie. And also, you know, Clover,

2193
02:11:41,560 --> 02:11:46,240
Speaker 1: Oh my goodness, Clover, like it's so good. It was

2194
02:11:46,320 --> 02:11:49,200
Speaker 1: so good, and I, you know, I had not I

2195
02:11:49,560 --> 02:11:54,560
Speaker 1: really wanted to hate it going in, and the story

2196
02:11:54,640 --> 02:11:57,360
Speaker 1: just kind of really got me interested, and I was

2197
02:11:57,440 --> 02:12:00,280
Speaker 1: just thinking, oh, like, this is a good twist. You know,

2198
02:12:00,400 --> 02:12:02,840
Speaker 1: she thinks the world's ending and she's just down here

2199
02:12:02,920 --> 02:12:05,880
Speaker 1: with this crazy dude, but then she gets out and

2200
02:12:06,080 --> 02:12:11,360
Speaker 1: lo and behold, the world has gotten right. I was like, oh,

2201
02:12:11,400 --> 02:12:14,200
Speaker 1: my god, I love this And then seeing Pray, I

2202
02:12:14,320 --> 02:12:17,280
Speaker 1: was thinking, huh, I want to see Only Good Indians

2203
02:12:17,320 --> 02:12:20,960
Speaker 1: as a movie. Dan seems to have a good grass

2204
02:12:21,040 --> 02:12:24,440
Speaker 1: on horror, and you know what really kind of grabs

2205
02:12:24,480 --> 02:12:27,880
Speaker 1: those human elements, you know, like with the relationships, you know,

2206
02:12:28,000 --> 02:12:32,560
Speaker 1: beyond just the horror, you know, even better. Sometimes I'm

2207
02:12:32,600 --> 02:12:35,480
Speaker 1: just like, okay, now, like Dan Trachtenberg could be the

2208
02:12:35,560 --> 02:12:39,760
Speaker 1: kind of person to like champion an adaptation, find an

2209
02:12:39,760 --> 02:12:42,640
Speaker 1: intentionous director would do an amazing job with it and

2210
02:12:42,680 --> 02:12:45,000
Speaker 1: just like help steer the ship and keep things on

2211
02:12:45,000 --> 02:12:48,160
Speaker 1: board and keep institutions out of the way, you know exactly,

2212
02:12:48,280 --> 02:12:51,200
Speaker 1: Like I mean, there's so many options there. But I

2213
02:12:51,360 --> 02:12:54,360
Speaker 1: was like, Johnny, you're such a trader. You're such a trader.

2214
02:12:54,840 --> 02:12:58,240
Speaker 1: And and it's funny because I mean, I honestly, you know,

2215
02:12:58,400 --> 02:13:02,240
Speaker 1: I did not expect to lie Pray. Like, if we

2216
02:13:02,240 --> 02:13:05,280
Speaker 1: were having this conversation in two thousand sixteen, I'd be like,

2217
02:13:05,320 --> 02:13:10,440
Speaker 1: no nipples, we're taking their nipples completely away. But now

2218
02:13:10,480 --> 02:13:13,760
Speaker 1: it's like I would give them all the nipples. Well, well,

2219
02:13:13,880 --> 02:13:16,880
Speaker 1: on that note, what is your nipple rating? Um? I

2220
02:13:17,000 --> 02:13:20,000
Speaker 1: actually would give them a four and a half. I

2221
02:13:20,160 --> 02:13:23,320
Speaker 1: think they did such a phenomenal job because they really

2222
02:13:23,400 --> 02:13:26,800
Speaker 1: did have to turn that script around. Um, hearing some

2223
02:13:26,920 --> 02:13:29,839
Speaker 1: of the behind the scenes conversations with like Jane Myers

2224
02:13:30,080 --> 02:13:32,800
Speaker 1: and also with a lot of the Comanchee people that

2225
02:13:32,840 --> 02:13:36,440
Speaker 1: came on board to to kind of help develop the film.

2226
02:13:36,480 --> 02:13:40,720
Speaker 1: The original script was as bad as I thought it was. Um,

2227
02:13:40,800 --> 02:13:43,400
Speaker 1: So they did have to tweet quite a bit, and

2228
02:13:43,600 --> 02:13:46,880
Speaker 1: a lot of those little moments too, of where kind

2229
02:13:46,880 --> 02:13:50,520
Speaker 1: of like that misogyny where it just feels like, Okay,

2230
02:13:50,600 --> 02:13:54,240
Speaker 1: that's that's not Native, that's not our culture, that wouldn't

2231
02:13:54,280 --> 02:13:57,800
Speaker 1: be you know, how Comanche men treated their women. A

2232
02:13:57,840 --> 02:14:00,360
Speaker 1: lot of those moments, you know, we're kind of slip

2233
02:14:00,440 --> 02:14:05,360
Speaker 1: through because of trying to I guess you would say,

2234
02:14:05,400 --> 02:14:10,360
Speaker 1: make it understandable from a mainstream perspective of what this

2235
02:14:10,400 --> 02:14:13,520
Speaker 1: story was. So I take away half a nipple for that,

2236
02:14:14,040 --> 02:14:17,520
Speaker 1: because I honestly just can't wait to where, you know,

2237
02:14:17,600 --> 02:14:19,720
Speaker 1: we get a Native film, you know, like where it's

2238
02:14:19,760 --> 02:14:22,440
Speaker 1: like Reservation Dogs, where it can be told through that

2239
02:14:22,600 --> 02:14:27,120
Speaker 1: native lens, completely through a Native lens, without having to

2240
02:14:27,160 --> 02:14:30,400
Speaker 1: try and figure out how to translate that also through

2241
02:14:30,440 --> 02:14:34,160
Speaker 1: a white lens. So but I mean, I think they

2242
02:14:34,200 --> 02:14:37,360
Speaker 1: did like a phenomenal job. Everything about that movie, Like

2243
02:14:37,400 --> 02:14:40,120
Speaker 1: there's so many little hidden Easter eggs, Like there's the

2244
02:14:40,200 --> 02:14:43,240
Speaker 1: scene where she's walking through right before the hunting party

2245
02:14:43,280 --> 02:14:46,320
Speaker 1: finds her after she gets out of the mud and everything.

2246
02:14:47,720 --> 02:14:49,960
Speaker 1: But if you look in that scene, you will actually

2247
02:14:50,080 --> 02:14:54,520
Speaker 1: see those Comanche warriors hiding behind the trees and in

2248
02:14:54,560 --> 02:14:59,440
Speaker 1: the background. So if you're not watching, like you'll miss it.

2249
02:14:59,760 --> 02:15:02,160
Speaker 1: But that's one of the things that Comanche people were

2250
02:15:02,200 --> 02:15:05,640
Speaker 1: known for was being able to hide and sneak up

2251
02:15:05,640 --> 02:15:08,280
Speaker 1: on people. So if you really watch that scene, you'll

2252
02:15:08,320 --> 02:15:12,840
Speaker 1: see them in the background, and so you know. And

2253
02:15:12,880 --> 02:15:15,200
Speaker 1: there's also a part where she whistles at night and

2254
02:15:15,240 --> 02:15:18,000
Speaker 1: the predator shows up, which is one of those things

2255
02:15:18,040 --> 02:15:20,920
Speaker 1: for Native people is very taboo. You don't whistle at

2256
02:15:21,000 --> 02:15:23,600
Speaker 1: night because you don't know what's going to whistle back

2257
02:15:23,760 --> 02:15:27,040
Speaker 1: or what it's going to bring forth, like what spirits.

2258
02:15:27,040 --> 02:15:30,680
Speaker 1: So it was really cool to have them have her

2259
02:15:30,680 --> 02:15:34,120
Speaker 1: whistle at night and then here comes the monster, you know,

2260
02:15:34,240 --> 02:15:38,360
Speaker 1: just kind of like solidifying that that believe. So, I mean,

2261
02:15:38,360 --> 02:15:40,600
Speaker 1: there were so many little Easter eggs, little things that

2262
02:15:40,600 --> 02:15:43,480
Speaker 1: were hidden that you know, if you're native, it really

2263
02:15:43,560 --> 02:15:47,120
Speaker 1: kind of just made you realize, like they took such

2264
02:15:47,440 --> 02:15:51,680
Speaker 1: incredible care with this movie and they wanted Native people

2265
02:15:51,720 --> 02:15:54,440
Speaker 1: to really connect with it, and you know, I really

2266
02:15:54,480 --> 02:15:57,320
Speaker 1: think it did a good job of resonating with Native

2267
02:15:57,360 --> 02:15:59,880
Speaker 1: people because of that. So, you know, I think they

2268
02:16:00,040 --> 02:16:04,800
Speaker 1: just did an incredible job overall. I'm so glad. I'm

2269
02:16:04,840 --> 02:16:06,600
Speaker 1: so glad we got to talk about this movie with

2270
02:16:06,680 --> 02:16:08,760
Speaker 1: you as well. Thank you for coming on the show. Oh,

2271
02:16:08,840 --> 02:16:11,200
Speaker 1: thank you for having me come back any time to

2272
02:16:11,320 --> 02:16:18,000
Speaker 1: talk about whatever. And where can people check out your

2273
02:16:18,000 --> 02:16:23,120
Speaker 1: stuff online? Follow you on social media anything like that. Well,

2274
02:16:23,160 --> 02:16:26,760
Speaker 1: folks can find me online at Johnny j on Twitter,

2275
02:16:26,960 --> 02:16:30,360
Speaker 1: on Facebook, and Instagram, and also check out a tribe

2276
02:16:30,360 --> 02:16:35,200
Speaker 1: called geek at www dot a tribe called geek dot com. Um,

2277
02:16:35,240 --> 02:16:38,680
Speaker 1: we have some great stuff coming up in terms of

2278
02:16:38,720 --> 02:16:42,320
Speaker 1: like content, but also I am so happy to announce

2279
02:16:42,360 --> 02:16:46,240
Speaker 1: that Indigenous pop X is back um since the pandemic,

2280
02:16:46,360 --> 02:16:49,800
Speaker 1: which for those of year you don't know, is kind

2281
02:16:49,800 --> 02:16:54,400
Speaker 1: of like the rebranding of Indigenous Comic con um. So

2282
02:16:54,480 --> 02:16:57,280
Speaker 1: I am super excited that we are back and we're

2283
02:16:57,280 --> 02:17:01,640
Speaker 1: going to be holding it in March of in Oklahoma

2284
02:17:01,720 --> 02:17:05,519
Speaker 1: City at the First Americans Museum. So that's an incredible

2285
02:17:05,560 --> 02:17:09,160
Speaker 1: as well. But I mean it's just an incredible celebration

2286
02:17:09,200 --> 02:17:12,080
Speaker 1: of indigenous pop culture. So if you're in the okay

2287
02:17:12,120 --> 02:17:15,520
Speaker 1: se area, check it out. I'm pretty sure things will

2288
02:17:15,520 --> 02:17:18,920
Speaker 1: be live streamed. As far as other things that are

2289
02:17:18,959 --> 02:17:21,680
Speaker 1: coming up, I'm going to be sharing some live streams

2290
02:17:21,720 --> 02:17:24,840
Speaker 1: in the next coming weeks um from a conference that

2291
02:17:24,879 --> 02:17:27,760
Speaker 1: I'm getting ready to head out to tomorrow, and I'll

2292
02:17:27,760 --> 02:17:32,000
Speaker 1: be joining my Surviving the Zombie Apocalypse rest style presentation

2293
02:17:32,600 --> 02:17:37,880
Speaker 1: as well as some live art demonstrations. Amazing, that's so cool. Cool. Yeah.

2294
02:17:38,200 --> 02:17:41,119
Speaker 1: You can find us UH in all the usual online

2295
02:17:41,120 --> 02:17:45,199
Speaker 1: places on Instagram and Twitter at Bexelkast. You can follow

2296
02:17:45,280 --> 02:17:48,160
Speaker 1: us on our patreon a k a Matreon. Five dollars

2297
02:17:48,200 --> 02:17:51,960
Speaker 1: a month gets you two additional episodes around a special

2298
02:17:52,040 --> 02:17:54,720
Speaker 1: team that you help Caitlin and I pick every month,

2299
02:17:54,800 --> 02:17:57,840
Speaker 1: or sometimes we just pick ourselves. So this month we're

2300
02:17:57,840 --> 02:18:01,119
Speaker 1: gonna be doing some fun horror movies including the James

2301
02:18:01,120 --> 02:18:07,160
Speaker 1: One Masterpiece, Malignant Um and also Final Destination three, So

2302
02:18:08,000 --> 02:18:11,680
Speaker 1: lots to look forward to over there. And Caitlyn, where

2303
02:18:11,680 --> 02:18:15,680
Speaker 1: can we get some merch from March that you design

2304
02:18:15,840 --> 02:18:19,680
Speaker 1: Jamie Loftus, which we don't mention enough. Um you can

2305
02:18:19,720 --> 02:18:25,240
Speaker 1: get that at t public dot com slash the Bechtel Cast. So, um,

2306
02:18:25,280 --> 02:18:31,720
Speaker 1: you know, support Jamie's art, Why don't you? Yes, follow

2307
02:18:31,760 --> 02:18:35,560
Speaker 1: your heart look no hard feelings either way. Um. And

2308
02:18:36,040 --> 02:18:39,400
Speaker 1: with that, um click click click click click click click click.

2309
02:18:39,480 --> 02:18:44,039
Speaker 1: That's how Predator says bye bye bye bye bye