Prey with Johnnie Jae

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On the doll Cast. The questions asked if movies have
women in them? Are all their discussions just boyfriends and husbands?
Do they have individualism? The patriarchy? Zef invest start changing
it with the beck del Cast. Click click click click click,
Hey Jamie, it's me the Predator. Click watch out, I'm

(00:21):
coming for you. Click click click click click click click
It's me the other Predator Predators Friend, Jamie, Wait, is
there any Predator movies with two Predators? Good question? I've
only seen I've seen Predator from nineteen eighties. Seven question mark.
I've seen Pray obviously today's episode, and I've seen one

(00:42):
of the Alien versus Predator movies. I don't so I
can't speak to the other the other installments in the franchise.
And I feel like it's usually a single Mr Predator.
He's single, doing his business. He's single, he's just adjusting
the single life. Really, when you think about it, Look,
and this is the point where some guy on Twitter

(01:04):
pulls a clip and they're like, they didn't even watch
all eight Pridator movies. How can they talk about it? Look?
Welcome to the Becktel Cast. My name's Jamie Loftus. My
name is Caitlin Darante, And this is our show where
we examine movies from an intersectional feminist lens, using the
Becktel test simply as a jumping off point for a
larger discussion. Yes, can I tell you what that Bechdel

(01:28):
test is while I'm at it? I would love for
you to do that, all right. Well, look, it's a
media metric created by queer cartoonist Alison Bechdel, sometimes called
the Bechtel Wallace Test, originally made as a joke in
a comic strip, but has since evolved to become kind
of a metric that's often applied across media. Lots of
different versions of it. The one we used to start

(01:50):
our discussion is um, whether there are two characters of
a marginalized gender with names who speak to each other
about something other than a man for two lines of
dialogue or more um and it should be some sort
of narratively you know, relevant discussion. Yeah, so that's how
we start a discussion. But then we kind of just

(02:11):
talk about anything and everything, including how the predator is
hot in this movie that we need will unpack that later.
I feel like we need to get our guests involved
because I don't feel like we can just make a
claim like that and brush past. I just can't imagine
having to stay silent as you are saying that. Um. So,

(02:33):
let's so we are covering. Uh, it's our first recently
released movie we've covered in a while. Um, but we
know that our listeners wanted an episode on it. We
wanted to cover it. It's Prey, and we have an
absolutely wonderful guest today, so let's get her in the mix. Certainly,
she is a professional indigeneered at a tribe called geek.

(02:55):
It's Johnny J. Hey, everyone, welcome, it's me, Thanks for
being here, thanks for having me. So we reach out
to you because you wrote an incredible peace in a
tribe called geek on this movie, and we are just
interested to hear more of your thoughts. Um. But just
to get us started, what's your relationship with the movie Prey.

(03:20):
I have a very complicated relationship with the movie Prey. Um. Well,
first off, when it first started being put out there
that this movie was in the works, I was really
skeptical right off the back because of the way that
it was being um teased as hey, everyone, you know,

(03:42):
like this movie is being pitched to different studios and
it's going to follow a Comanche woman who goes against
gender norms and traditions to become a warrior. And as
these rumors kind of grew, as you know, like this
was developing in Hollywood, you know, it started coming out
like this is going to potentially be a predator movie,

(04:05):
and you know, it's like your spider sense to start tingling,
you know, and I was just like, oh, no, this
sounds so bad because they didn't just say a Native woman,
you know, they said a Comanche woman. And at the
time that the rumors had started about this movie, I
was living in law in Oklahoma, which is where the

(04:26):
Commanche nation is located, and you know, I've worked with
Comanche women and the one thing that I was just like, what,
Comanche women are so fierce, and you know, like a
Native women have always kind of been the backbones of
our societies and pre colonization. You know, while there were

(04:46):
gender traditional gender roles, um, patriarchy and matriarchy were not
what they are today for us. You know, like while
it kind of describes it now from our perspective, um,
it didn't back then. So you know, like even though
you know, men were traditionally warriors. It didn't mean that

(05:08):
women couldn't be warriors. And so you know they're like
even from several different tribes, you know, there have always
been this history of strong Native women who took on
those warrior roles. Um, if you had a skill set,
you know, even if you weren't a man, and it
was traditionally a man's role, Um, if you were particularly skilled,

(05:32):
nobody was keeping you from using your skills, you know,
to be like, oh, you're just a woman, you can't
do that, Like that didn't really exist for us because
you know, it was about survival and doing what you
needed to survive. So everybody's skill set, you know, it
had a place and it was kind of valued. So
it wasn't the way that this was kind of being portrayed.

(05:55):
So I can honestly say my relationship is complicated because
I was talking crap about this movie since two thousand
and sixteen. Um, any time a rumor or development would
be released, I was just like, no, no, no, no, no, no,
this is not good. This is not good because Disney
does not have a good historytive. That's and then and

(06:22):
then upon seeing it, I mean, this is I'm aware
of just because I've read your your piece about it.
But what was your your first reaction on seeing the
finished product? My mind was blown. Um, it was so good.
I I'm a huge Predator fan. I love horror, and
I grew up on Predator, and it's always been kind

(06:44):
of disappointing, like after the first one. Um, And I
know a lot of people tend to really love Predator too.
Is that the Danny Glover one? Yes, that's over, and
there's the debate between which one is better. But you know,
for me, it was always about the original and everything
else was just so disappointing. But I watched them and

(07:05):
I'm excited to watch them because it's the Predator. And
I even have a picture of me with a guy
with the Predator life sized Predator. I went to an
antique shop and it turns out that one of the guys,
um that this dude is friends with, worked on the
original Predator, Like he helped actually cast the Predator, like

(07:26):
all the different pieces that they used, and so they
started making these for fun and to just kind of
have on display in his shop, and he sells them
and I'm still like, let's let me win the lottery
so I can at least have two of them because
they are so badass, so cool. Oh my god. Yeah.
So so you know, like I'm a Predator fan. I

(07:48):
love the series, and so seeing this movie, like I
I was already expecting badness. I didn't have high expectations,
but oh my gosh, like my mind was blown and
I never expected to be crying in a Predator movie,
but I did. And you know, it was just so good,

(08:10):
Like the story was so well developed, the characters were
well developed, and it was like it wasn't just horror
or action. You know, there was a lot of emotion
and there was a lot of history that was being
kind of conveyed in a way that was absolutely stunning. Um. So,

(08:30):
like after watching the movie, I was just like did
I just see that? Like did that just happen? Because
the other thing that for me that really hit me
in the feelers was the credits. Because you know, a
lot of productions have native consultants. They'll bring people on
to help, and they rarely get credit for that help.

(08:51):
Um you don't really see their names in the credits
or anything like that. But watching the credits and seeing
the people that they brought into help with this movie.
Being name checked was incredible because you know, having lived
there in law in Oklahoma, you know, these are people
that I've known. Um, they were people that I've worked

(09:12):
with on other projects. Um, you know one of them
is wanted a pot a Pony And I'm pretty sure
I just pushered her last name, but um, she's a
really well known commanche scholar and she had passed she
just recently passed away. And you know, to see her
having input on the movie and being included like and

(09:32):
did see them kind of memorializing her was such a
beautiful moment because you know, it just kind of showed
that they really valued her input and the input of
everyone that they brought in from you know, individuals within
the tribe who were just language speakers or had some
cultural knowledge, to the language department, to thinking the entire tribe.

(09:57):
And you know, I was just like InCred doably moved
by the credits, which who does that? So when people
get credit for something that they usually don't get credit for,
it's like very meaningful to like receive credit where credit
is due. So I mean I don't and I know

(10:17):
that we we talk a lot on the show about
you know, making sure that the proper consulting work is
both gotten and paid for. But I feel like that's
such a good point that I don't even know that
we've touched on. Is like also receiving the proper actual
credit within the film credits in a way that isn't
like you're waiting, you know, five hours to get to

(10:39):
your name in size to font. Yeah, like that is
that is extremely significant and that's so much. I mean,
we're going to talk about the filmmakers behind this, but
it's like with without the consulting, this movie would be
a fraction of what it is. It's like, I'm so
excited to talk about it. I mean it's just like
even now, like everything, I've watched it several times now

(11:02):
because I get something different every single time, and it's
just so phenomenal. It is. Jamie, what is your relationship
with Prey with the Predator franchise in general? I mean,
quite a short history with Prey as it just came out. However,

(11:23):
I do remember seeing um, I didn't realize what a
long production history this had, and I do remember at
one point looking up, I was like, well, who is
writing this movie and who were being slightly perturbed when
I saw that it was being co written by a
supervising producer on Jack Ryan. I'm like, hmmm, maybe not

(11:44):
the kind of writing I'm going to enjoy, but I'm
so I'm coming into the Predator franchise pretty cold. This
was my first UM Predator Expanded Universe movie, and I
really really really enjoyed it. Like, I'm really excited to
talk about it. I have some thoughts on some things,

(12:04):
but for the most part, I just like it's a
It's UM for me, an action movie. Holding my attention
is a huge accomplishment, and I really really enjoyed this movie.
I think that there's so many good performances, the filmmaking
is amazing, and the attention to detail culturally, I'm very
excited to talk about and learn more about. So I

(12:24):
liked it. Kyle, what's your history with Prey slash Predator
at large? A large? I saw Predator one, I don't know,
probably like fifteen years ago in college and was like, yeah,
that's cool, that's fine. UM, but I haven't engaged very

(12:47):
much with the franchise. But learning about this movie, I
knew it came out, I was like, all right, this
is on my list. Of things to see and then
us doing this episode now gave me kind of the
like kicking the bomb, I needed to actually watch it.
I do wish that I could have seen this movie
in theaters. Um as much as I like enjoyed watching

(13:09):
it at home, I wish I could have seen this
movie on a gigantic screen. Same and I've seen it
twice now, once in English and once in Comanche. And
then I also rewatched Predator yesterday just to see if
it would like inform anything I had to say about
Pray um, which I don't know, maybe it'll come up,
but um, yeah, I would say of the Predator movies

(13:33):
i've seen, Pray is my favorite installment in the franchise.
I also really enjoyed this movie Mr Predator Hot, but
also everyone in the cast hot. Could you unpack Mr
Predator hot for as someone who famously had a thing
for the fish from Shape of Water? But I feel

(13:54):
like that movie was actively encouraging you to want to
have sex with the fish, and it just like worked
on me faster than maybe the movie intended. I mean,
have you seen Predator's body in this movie? I mean
some abs? Yeah, he's he is often invisible but you
know he's he's got abs, he's got nice shoulders. I

(14:16):
forget you do love. I just think that he's Is
it the shoulders thing? Look, I don't know if I
have specifically a shoulders thing. The point is I am
attracted to the predator from prey. I think it's really
brave of you to say out loud, thank you so much.
But that is neither here nor there. I'm not going

(14:36):
to focus on that in this episode. There's a lot
of more important things to talk about. So with that,
I say we get into it, starting with the recap,
actually starting with let's take a quick break and then
we'll come back and recap. So we will be right
back and we're back with Caitlin's famous recap. Okay, the

(15:08):
movie opens. We are in the Great Northern Plains. It
is the year seventeen nineteen. We meet Naru, played by
Amber Midsunder. She's a young woman from the Comanche Nation.
We see Naru gathering food with her dog. Sorry big
sorry fan, Oh sorry, the dog good. Then we see

(15:31):
her doing target practice with a throwing axe. She spots
a deer, which gets spooked by a loud sound something
flying overhead, maybe an alien spaceship we don't know, but
a chase ensues and Naru chases and hunts the deer,
but it gets away. Then she sees something in the

(15:51):
sky and it's maybe an alien spaceship. Question mark done done.
I also love every time they are in like Predator vision.
It's so it just it made me giggle, maybe giggle.
Every time he went heat vision mode, you're like, oh, yeah,
the future, because this movie does such a good job

(16:11):
of entrenching you in seventeen nineteen than anytime you see
heat vision you're like, hold on, uh uh. So. Then
Naru speaks to her brother tab A played by Dakota Beavers.
She tells him that she saw what she's calling the
thunderbird in the sky. They talk about hunting. She says
she's ready for her trial, and he's like, you want

(16:33):
to hunt something that's hunting you? And we're like, that's
the theme of the movie. And then Naru and her
mom played by Michelle Thrush, have a conversation. Her mom asks,
you're good at so many things, why do you want
to hunt? And Naru says, because you all think that
I can't, which is the most coming of age thing

(16:57):
of all. I really like um Michelle Thrash's performance. This
is also where you find out that her father has
passed Naru's father. Yes. Yeah. We then cut to this
thunderbird flying through the sky again. Then we see something
that you recognize as the Predator alien if you've seen

(17:19):
a Predator movie. It's invisible, but you can see its outline.
You can hear it's like click click click noise its mouth.
The clicks are cannon. I'm taking it. Yes, Yes, people
love a good old fashioned predator click. I was loving it.
It's good, it's good. Meanwhile, a lion has taken out
one of the men from the village, Poohy, so Tabe

(17:42):
and some other men start tracking the lion to rescue Poohi.
Naru follows the men, but they don't take her seriously.
They make a sexist remark toward her. Then Naru is
the one to find pooh He alive, but he's badly injured,
and she suspects that something else, something bigger, must have
scared off the lion and that's why pooh He is

(18:03):
still alive. Right, So Naru tends to his wounds and
gives him a medicinal plant that cools his body temperature
to slow down his blood flows so that he doesn't
lose too much blood. Right. Then, Naru and the others
carry Poohy back to their village while Tabe stays behind
to hunt the lion. On the way back, Naru sees

(18:25):
large footprints a skinned snake, kind of some freaky stuff.
The snake scene was cool and the yeah, the snake effects,
that was one of the scenes. We're like, why can't
I see this in imax? This is so cool? Right,
So she sees all this stuff, so she and this
man Paca, turned back to warn Tabe and try to

(18:48):
help him kill the lion, but the plan doesn't totally work.
Tab has to save Naru and Paca from the lion,
and he returns having vanquished the lion, and Tabe is
made war chief. But Naru is like, well, there's something
still out there and if I have to, I'll I
will go out and hunt it by myself. And Toby

(19:11):
is like, well, you tried and you failed and you
can't do this, and you're like, Okay, this is some
real protagonist shit going on. Yeah, So, not more determined
than ever, sets off to find whatever this huge animal is,
this predator with I hear kind of incredible shoulders. That's
just what my friend said. Though great shoulders, nice abs,

(19:35):
just kind of a good overall fish also had abs.
If you recall so many they just kept going. He
had like forty as he had a lot of absy
confusing for me. Okay. Anyway, So we see Naru tracking
the predator. She perfects her throwing as adds a rope

(19:56):
to it so that she can easily retract it and
catch it. Meanwhile, we see the predator alien hunting and
killing a wolf. It rips the wolf's like spine and
head off, so we're like, oh my gosh, this predator
he means business and he has this yet like terminator
like vision, like predator vision that is heat sensing, so

(20:17):
he can see like warm bodies wherever he looks. Nauru
comes across a field of slaughtered and skinned bison. But
wait a minute, this wasn't the predator, even though predator
love to skin things. Because she finds a what I
think is a cigar, so we understand that humans did this.

(20:40):
Colonizers did this. So she continues hunting. She gets stuck
in like a marsh and has to use her axe
like on a rope to pull herself out again, just
like an unbelievable sequence. The tension in that scene I'm
trying to I mean, anytime someone falls into a large marsh,

(21:03):
it's just it's going to be thrilling. Yeah, it's good.
Then she encounters a grizzly bear, which is about to
kill her, but then the bear is distracted by the
predator and she watches Mr. Predator fight and brutally kill
the bear. She manages to escape, then bumps into the

(21:26):
young men from the tribe who are out looking for her.
Character named Wassape is kind of leading the group. He
forcibly and violently tries to bring her back home, but
she fights back and tries to warn them about the
huge monster, but they don't believe her or take her
seriously until the predator shows up and starts killing the

(21:49):
men kind of one by one using it's like laser
pointer and advanced alien weaponry, which I love. I I
they advanced alien weaponry still feels like, oh, this was like,
this is technology from the this is what the future
was supposed to look like in the eighties. Like I
just love that element to it is. So it's fun

(22:11):
because going back and watching the advanced alien weaponry from
the first Predator movie in the eighties is very funny
to look. Is it the heat sensing vision? Anytime you
like see the eighties version of the heat sensing technology,
you're like, yep, this is from the eighties. That's wait, Johnny,

(22:35):
when did you first see a Predator movie? Oh? I
was young? Yeah, this is gonna date me that. I
believe I was eight years old, so that would have
been nice. Yeah, And I mean my family loved movies, um,
and I was basically born a horror fans, so you know,

(23:00):
it wasn't unusual for you know, people to let me
watch horror films because I remember watching Twilight Zone, Alfred
Hitchcock and do you guys remember the TV series The Hitcher?
What's that that was like on USA? And Tales from
the Dark Side. I know my mom has pictures of

(23:21):
me like peeking out from behind the couch and my
hands are over my eyes. But that's how I used
to watch shows. And I was super tiny, so sweet.
So like, I grew up on horror, so you know,
I had an early introduction into Predator and it kind
of stayed with me because you know, the movies aren't

(23:42):
that great, Like, you know, story wise, there are a
lot of action, there are a lot of fun, but
in terms of like a cinematic masterpiece, you know, it's
it's a little debatable, but you you root for the
movies because you love Predator. You know, you love this
alien because, let's be honest, he's always getting his butt kicked.

(24:04):
He's never come out the winner. He may have gotten
a couple of kills in, but I mean, and it's
a formidable opponent for sure. Yeah, and he's always been
taken out by human intelligence, which can we just can
we just talk about how absurd that is, Like, you're

(24:26):
this creature that has heat vision and these advanced weapons
is getting beat by humans, and not just beat by humans,
but literally he got hit with a log, you know
what I mean, like the first movie. But you still
love him, you know what I mean, You still root

(24:47):
for him. You get excited when you see a Predator
movie and yeah, fish face, Mr Fish. That contextualizes it well.
I feel like the way you're describing your feelings about
Predator and the Predator franchise is how I feel about
Jigsaw and the Soft franchise, where you're like Okay, the

(25:08):
first one is genuinely really good. The rest we don't
really know. But am I always rooting for Jigsaw, Yes,
I am. I mean it's the same thing with like,
you know, with Freddie and Nightmare on Elm Street, Jason.
You know, like you've got these moments that are so
good that draw you in, but then because you're so

(25:29):
invested at that point, like it doesn't matter if all
the rest of them suck, You're still excited for him
and you still love them absolutely cool. I was, Yeah,
I'm always curious with like franchises, but I feel like
eight that has to be that has to be such
a sweet spot, that's a lifelong pledge to the Predator. Yeah,
And I mean I am just as bad with Michael Myers.

(25:50):
I'm actually wearing a Michael Myers shirt now. Um that
is oh my gosh fandom that I am totally obsessed with.
And my whole thing, like over at this entire pandemic
has been just let me live to see the end
of this trilogy. So that's that's how invested I am
with my fandoms, you know. And it's the same with Predator.

(26:12):
Like I've seen all of the movies um, and I've
seen them almost except for the first two, all in theaters,
so numerous times. I'm that nerd who's seen I hate
to admit this Lord of the Rings probably about like
ten times in theaters. I'm not that far behind you.

(26:33):
I saw a Return of the King six times in theaters.
Like you know, this was back in the day when
you could afford to go to a movie multiple times.
But you know, I remember just going to people who
were like, you're going to see it again, and I
was like yes. It was like you don't understand. You're like,
don't judge me. Work hard for my money. I will

(26:56):
spend it how I want. Yeah, okay, so back to
back to the recap um. Okay. So it's the scene
where Predator shows up and kills all of the young
men in this group who is looking for Naru. Naru
narrowly escapes again, but oh no, her foot gets caught

(27:20):
in a trap and the predator comes right up to her,
but then leaves, and then just then some French for
trappers show up and abduct Naru. She wakes up. The
French demand information from her about this monster. Turns out
they've also captured her brother Tabe and the trappers tie

(27:42):
them up in an open area and use them as
bait for the predator, and mr Predator does show up,
but rather than taking the bait, he kills all of
the trappers and does not go after Naru and Tabeh.
Naru real eyes is the predator doesn't want bait and
won't attack anything that it doesn't consider a threat, so

(28:07):
Naru and Tabe eventually escape. Tabe sets off to collect
the frenchman's horses while Naru goes after her dog, Sorry,
who is back at the French camp. And she gets there,
she has to fight and kill a handful of French guys,
and then she helps out this man whose leg was
cut off. She gives him the medicine that lowers your

(28:30):
body temperature and he kind of in exchange shows her
how to use a gun. But oh no, the predator
comes to the camp but doesn't see the French guy
because his body temperature is too cold for the heat
sensing vision, which is something that Naru pieces together. She
kind of figures out that if you take this medicinal plant,

(28:51):
it makes it so that the predator can't see you. Meanwhile,
predator is about to kill the dog, but then Tabe
shows up on horseback. Naru and Tabe launch an attack,
but the Predator kills Tabe and Naru runs away to safety.
Every time a dog is introduced in an action movie,

(29:13):
I'm just like, no, that dog is going to be
in the trenches. It um But you know the dog survives,
I know, and that that happy. That's what I call
subversion volume twenty two. So the Naru comes across another
surviving French guy, the same one who had injured her brother,

(29:36):
so she gives him a gun that, oops, doesn't work.
This is all part of her plan. Basically, she wants
the Predator to think of him as a threat because
he has a weapon. But the gun doesn't work, and
her plan succeeds because Predator shows up and kills this
French guy, giving her the opportunity to have this final
showdown with Predator. She has taken the medicine that lowers

(30:00):
your body temperature so Predator can't see her. They fight,
she chops off his arm, She pulls him into the
marsh that she fell into earlier, and then using its
own alien technology against it, she is finally able to
kill the Predator and she returns to her village with
the decapitated head of Mr. Predator the glow in the

(30:25):
dark blood like, oh, it's so cool. Yeah. Uh. She
reunites with her mom and Naru is made the new
war chief of her tribe. So that is the story.
Let's take another break and we will come back to
discuss and we're back. Okay, where shall we start, Johnny,

(30:56):
is there anything in particular you would like to start
the discussion with. We can we can jump in what
I mean, there's a lot we can talk about. There
is a lot um now, you know what I really
want people to understand, like, is the context of the
movie because I I don't know if you've seen it
in Comanche, but there's such a huge difference in the

(31:20):
way that the tone and even Naru's motivation is portrayed.
Because one of the fears that I had with this
movie from the very get go was that people would
kind of run with the original tagline of this being
a commanche woman who goes against gender norms and traditions

(31:41):
to become a warrior. And in the English version, there
are moments that kind of that kind of hint at
that motivation. Um, you know, when Naru's talking with her mom,
and her mom asked, why do you want a hunt?
And she says, because you all think I can't. It
seems like she's rebelling and that you know she's she's
doing it to be rebellious and to prove that she

(32:04):
can and that the tribe is kind of holding her back.
But if you watch it in Command, she it's a
very different context that it falls and the context comes
back to it being about Nauru, Like she's not doing
it in spite of the tribe. You know, she's doing
it to prove it to herself, um, that she can

(32:24):
do it. So it's not about you know, everybody else
doubting her or anybody else's you know, ideas being pushed
onto her. You know, it's about her proving to herself
that she can. And I thought that was one of
the most beautiful things about this movie being released in
Commanche and English is because there's such a huge difference

(32:47):
if you listen to if you watch the movie in Commanche,
you're going to get more context, more humor, um and
things are just better conveyed. I guess as far as
like the messaging of the movie and when you get
into the English, it almost seems like, which is kind
of neat for me, because it almost seems like the

(33:07):
English is the afterthought, like a lot of the humor,
the nuance, you know, like they didn't really it doesn't
come through in the English version. In the English version,
you really got to watch it in Comanche to get
the full effect of the movie and just how beautiful
it is. Um. Even the conversation that you know, not

(33:28):
Re has with her mother and her brother, it's better understood.
And even just the title of the film itself is
better understood in Comanche that it is in English. Um
pray in Commanche. You know, if you're watching it, it's
Catamia is the trial that she's looking to undergo. And

(33:49):
that's actually what the movie. The title of the movie
translates to um in commande. So it kind of explains
why it's not a predator movie, like it's not Header
than nine, you know. So, so I thought it was
a genius use of the language um and shows how
meaningful and intentful they were in the usage of the

(34:13):
Comanche language. UM. So if you're watching in Comanche, like
you get a totally different experience. And so I want
people to really kind of understand like, this isn't a
girl power movie. Um, it is, but it's not like
she was doin it in spite of the men in
her tribe, like she was trying to prove or rebel
or anything, or they were trying to keep her from it.

(34:35):
That really wasn't the context that they were kind of
going for um And and there were moments where it
really played out that way, you know, with the way
that her interaction with the other warriors, um, which for
a lot of us was kind of problematic because they
would not have been able to treat her that way
back then, and they wouldn't. I don't think they really

(34:57):
would have thought to treat her that way as well, um,
just because you know, pre colonization, you know, our relationships
with you know, like being women and you know men,
our relationships were very different. It was all about a
balance of power. It wasn't about men holding power over
women or women holding power over men. There was a balance,

(35:19):
and so you know, that really kind of didn't come
through and it was kind of it was a little problematic,
but you know, like my thinking is nothing's perfect, so
you know, it's still a major step up in terms
of representation, but there are still these little little nuances
where if you know, like if you're not Native, you're

(35:41):
going to get something different out of it. And I
think that could kind of be problematic just because so
many times, you know, even now with like the fan
backlash from this movie. You know that what I like
to call the Foe boys, because they're not really fans.
They're just like agency chaos who come in and just
try to try ash things in, create drama. That's how

(36:03):
they have joy in their life, which is um interesting.
So sad, yes, that is the word. That is the
word sad, pathetic, embarrassing, Yeah, but you know, like it
kind of plays into that because I don't know how
many comments I've seen after this we're like, oh, Native
men were brutal to women and you know, they were
raping and blah blah blah blah, and they project all

(36:25):
of this you know, violence onto onto Native communities that
wasn't there just because of the stereotypes that we've typically
seen in movies. So you know, when I see things
like that, like I always worry about, like what the
takeaway is going to be, Like are people going to
be like, see, that's how they really treated their Native
women and you know, and it's like, no, it's a

(36:46):
little more complicated than that, right, Yeah. So I saw
it in both the English and Comanche and just kind of, yeah,
what plays out in in both versions to I think
a lesser extent in Comanche, but still have those scenes
where the men aren't taking her seriously, they're being violent
towards her, They're enforcing what feels like kind of like

(37:09):
white Christian sexism on to her. And I'm like, that
doesn't that didn't totally track. And I was glad that
you mentioned that in your piece as well, Johnny, because
I was like, I don't know, I was like, this
doesn't seem to square very well, and it's it seems
to be kind of like a current film trope that

(37:30):
has made its way into this story where it doesn't
make sense for the period and the culture that this
story takes place in, because it just feels like kind
of this like loose, like like you said in your
like a girl power narrative that like is taking place
in a vacuum sort of. Yeah, And because I mean,
you know, I see this so often when we have

(37:51):
discussions of like you know, especially like with women's issues,
and women's rights. A lot of like white patriarchal values
in feminist ideas get kind of projected onto Indigenous communities,
which you know, for me, it's annoying because it kind
of whitewashes and erases the inherent strength and power of

(38:16):
Indigenous women that we've always had. You know, pre colonization,
we weren't oppressed in our communities. You know, we were
you know, they women have always kind of been the
backbones of our societies and respected and treated well, you know,
we held power, um, but it wasn't like we held
power over um. You know, it was just like an

(38:38):
equal distribution of power. Like our our thoughts, our work,
our labor, everything had value and was respected. So you know,
I always worry about when it's projected onto us because
it really it almost is kind of like a way
to deflect from the trauma of colonization, like to kind

(39:00):
of be like, oh, well, you know, like look what
they were doing. You know, they were they were pushing
people into this, but it's not the same context. And
you know, I don't if you're not Native like and
not familiar with Native history or cultures or communities, you
don't really understand like that the nuances that exist and
so when I mean that was my main worry with

(39:22):
this movie was just how like how these like patriarchal
values were being kind of projected. And you know, and
I kind of understand it to an extent too, because
you know, this is a movie for a mass market
and you know it has to you know, viewers have
to watch it and understand what's going on. And while

(39:42):
I wish it wasn't like they wish they would have
tweaked it a little bit in different ways, um, I
think it still did a really good job of showing,
you know, the overall theme, right, because the one thing
that really annoyed me, you know was just the fact
that the like the men warriors that she was going

(40:05):
out with, like the hunting parties and everything that you know,
her brother would not have allowed them to treat her
that way or to talk to her that way. Um,
And they would not have treated her that way, especially
once her brother became you know, like they're like they're
war chief. You know, that wouldn't have happened. And the
part where you know they really kind of just beat

(40:27):
the crap out of her, Um, if if it was
from a different tone it would have made sense if
they weren't doing it to be sexist, if they weren't
you know, telling her like, oh, you should be back
in the village cooking, you know, like it kind of
would have made sense because Nate, you know, I grew

(40:48):
up kind of like I have brothers and sisters, um,
and we used to fight and you know, like where
I'm talking punching somebody's bleeding and you know, so it
would have made sense if they were treating her as
an equal, like a sister, and they were kind of
like wrestling around and you know, fighting, it would have

(41:08):
made sense, you know. But the fact that there was
this very misogynistic tone to it didn't make sense. Like
if they were if she was fighting them to prove
that she could right like hanging with the boys, it
would have been different because that's something that totally happens,
like you you fight with your brothers to show you're
just as stronger, just as good as you know, right right.

(41:31):
But that misogynistic tone just was like there are a
few lines that felt very like c w e in
just like the oversimplification of the missile, like I mean
just sort of echoing what you're saying. But then in
the relationship with Naro and Tabe, there were moments where

(41:53):
it felt like that, like it became it worked for
me a lot better when he was doubting her because
she was his younger sibling versus like you are a
woman and I don't respect you. Yeah, And it wasn't
just that they were doubting her ability to because if
you watch it in command she, like I said, you

(42:13):
get more nuanced and you kind of understand that they're
not worried about whether or not she can do it.
They're worried about whether or not she's doing it for
the right reasons, and whether or not she understands what
it is she's doing and what it means. And because
like for her, you know, it is kind of like

(42:34):
a rebellion. She's stubborn, she's headstrong, and she you know,
like she she knows she wants to do this, and
you know, there's even a part where her mom tells
her that, you know, you want to take Katamiyah. And
you think that it's only about the hunt and the kill,
but the whole point of it is survival. Like it's
it's not about just going out and hunting. It's about

(42:56):
knowing how to survive. And you know, when you're talking
it about survival, that's not just knowing when to fight,
but also when to retreat. Because that was you know,
when they had this conversation. It was after they went
hunting for the Mountain Lion, and you know, like she
almost died. And even her brother, you know, when he's
trying to give her share credit, he's like, you know,

(43:19):
like we did it. And then of course Naru is
kind of being brad and you know, because like I
think it is since she thinks her brother took her
victory from her or her opportunity. So and you know,
and then he's like, you know what, fine, we didn't
do this. I did this, and you know, just kind
of like trying to kind of taking it back from

(43:40):
her like this entitlement. I guess, you know, like you know,
I was trying to share this with you. But if
you're going to be that way, no, like if you're
going to love her, jet to put yourself in danger again. Yeah,
and and then of course you know what did she do.
She took off and she put herself into dange But
you know, I thought it was a good way to

(44:01):
kind of show that nuance. You know that they were
genuinely just more worried that she was rushing into something
that she didn't understand. And you know, and when you're
coming doing coming of age ceremonies or when you're going
into ceremony in our communities, you know, knowing what you're
getting into and the responsibilities that come with it um

(44:23):
are very important and it's something that's very stressed. You know,
like they don't want you just to jump into it
just because you think it's cool or you know, to
be trendy or to be different or whatever. Um, they
really want you to understand, you know what the meaning
of the ceremony is that and you go into it
with the right kind of mind, your heart's right. So
I really thought that was kind of like a really

(44:44):
smart way to kind of show that, you know, that
they wanted her to understand what it is she was
undertaking and the responsibilities that come with that. The conversations
with like Tabi and you know Nauru were so beautiful
to me because that was the perfect sibling like conversations.
You know, the brother trying to impart wisdom and she's
over there pretending to snore, and you know, I mean,

(45:07):
there was just so many things that were beautiful about that.
But I really loved that they were kind of showing
that care, and I wish they would have kind of
carried that over to where the rest of the hunting
party or the rest of the people in the village,
you know, kind of had that same mindset too, instead
of adding that misogynistic kind of viewpoint in there, you know,

(45:29):
where it was like, oh, you you know, why are
you here? You know, it's we're not going to be
out here long. We don't need to cook, you know,
we need a Yeah, that one, I was just like, okay,
rolling a little bit of that. I think those scenes
could have also worked if the narrative had been kind
of adjusted so that because what's happening is that she

(45:51):
is is like, because she's such a good tracker, she's
noticing all these kind of peculiar things, right like the
skin snake and the the large footprint, and she's like,
there's something else out here. It seems like, you know,
a monster from like our folklore. And of course if
someone tells you that, it's going to be difficult to believe,

(46:12):
especially like they know these lands very well, they know
the wildlife So if it had just been them sort
of being like, well, like, it doesn't sound like you're
talking about something that's real, so that it's like we're
having a trouble believing you. And and of course they
would have trouble because this thing that she's encountering is

(46:33):
like not of this world, like not something they're familiar with.
So even if something like that had been more leaned
into if it's like, well, yeah, we're not taking you
seriously because you're describing something that doesn't exist, or that
like we're not aware of yeah, or even if they
had been joking about it, like even if the tone,
like the delivery of the lines was less violent, less angry, Um,

(46:57):
I think it would have played out like, oh, they're
just joking with her and you know, kind of hazing
a little bit like brothers and sisters do. And I
would have made a little more sense to me. But
like that that violent undertone with everything and how they
interacted with her, you know, just didn't really sit well
with me, Um, and I but I understand, you know,

(47:19):
they had to do that more for like the mass market,
for other people to to understand like what what this
is and to kind of have that conflict like beyond
her just fighting a predator, So like I kind of
understand it, but at the same time, like I don't
like it, but it's still it does feel like kind
of insidious and bizarre that like to make a movie

(47:43):
mass market of all, you have to layer on white
Christian misogynist oppression onto a story. You're like, why there's
because it does like feel like the story has if
you take away like you're saying, Johnny, like the tone
of a lot of those interactions and just like some
of the like kind of overwritten lines that are are

(48:04):
lobbed at nar like everything you need is there to
understand why things are playing out the way they are.
In addition to like something that I like that isn't
said constantly, but I felt like you could feel was
like this family has already endured a loss, so of
course they're going to be worried about a very headstrong

(48:27):
family member because they've already lost somebody. Like that is
a very universal dynamic. I don't understand why this stuff
had to be added. And there was a really beautiful
scene to um when Naru first started just heading out
of the village. They kind of did the overseens like
the overhead shot where she's walking out of the village
but all everybody else is walking in. And it was

(48:49):
a very beautiful shot because for me, you know, Indigenous
communities have always been communital, a communal. You know, you
everything is for the betterment of the community. You don't
have people just going off on their own and doing
their own thing because they have a responsibility to the community.
So it was a beautiful way, and it could be

(49:12):
taken two ways, right because you could see it as
her going against the norms. You know, she's going off
on her own, she's daring to be different kind of thing,
like you could get that out of that shot. But
one of the things that I got out of it
was you kind of see where her family's worry was

(49:32):
valid because you know, she's she is being headstrong, she
is being stubborn, and she's going out on her own, unprotected,
without any backup, without letting anybody know. And you know
she while she does have her own valid reasons for
doing so, it kind of validates that concern that her

(49:53):
brother and her mother had. You know that she doesn't
understand what it is she's undertaking, and she really doesn't
you know, like when she's out there, you know, she
starts to understand like, oh, this is bigger than I
thought it was, Like this is different, this is more
dangerous um and realizing like I'm not equipped to deal
with this, like I wasn't prepared for this, and you

(50:13):
can kind of see that, and you kind of see
that development too, like thank goodness she's observant, because that
could have ended so badly if she wasn't. But the
fact that she was able to watch and to really
learn and you know, just kind of helped her survive
this entire ordeal with the predator. But it could have
ended so different because she went out just like you know,

(50:36):
there's something out there, but I don't know what it is,
and I'm just going to go out there with my dog,
you know, and not let anybody know because it's not
like she had a cell phone to call for help,
you know. So it was really interesting for me to
see how they showed that and just how different, like
your perspective is going to be depending on your own

(50:57):
personal viewpoints or perspectives and experiences when you're watching this movie,
like you're going to read into it some something different,
like there's several different ways that everything can be taken
um which I think is one of the most genius
things about the film is because if you're watching it
from a Native perspective, it's going to be very your
experience is very different than a non Native who's watching

(51:21):
the same scene, Like it's You're going to get two
different things out of it. So I thought, you know,
that was a really beautiful thing. But also again it
could be a little problematic. But I'm going with the
positive here. Well, I mean, especially like Native audiences seem
to generally agree that this movie is is a pretty
big step forward as far as Native representation goes in media,

(51:44):
especially considering how how low the bar is. Yes, I mean,
most American media has portrayed Indigenous people very unfavorably, like
a lot of racist stereotypes being leaned into Native characters
being played by white actors, stories being told from the
point of view of white characters where the Native characters

(52:07):
are on the sideline, or just being used as set dressing.
I mean the list goes on right or only validated
as characters once they ally with the white characters. And yeah, yeah,
and and and you know, that's one of the things
that I was kind of worried about, like from the
very get go, and I was so glad to be
proven wrong in a lot of regards. Um. But I'm

(52:28):
also one of those people, you know, I practice what
I like to call critical nerd theory um, and it's
being able to watch and consume our media and being
able to be critical about like the problems within that
media while also like acknowledging like you can still love this,
you know, like it doesn't mean that you have to
throw it all away because it's not perfect. That's pretty

(52:51):
much the thesis of our podcast. Yeah. Yeah, Like this
was such a milestone for the Commanche nation in terms
of the way that their tribe has been portrayed in movies.
This is one of the only movies that has really
portrayed Comanche people. Well. Um, And I was laughing because
you know, again, I'm a horror nerd and I was

(53:13):
thinking back too. I was trying to think, like, is
there another movie where Comanche people have been mentioned or portrayed?
And yes there is. And it's a movie that I
loved growing up and I recently found it on YouTube
and it did not age. Well. It is so bad.
It's called the Seller. Oh I read about this movie.

(53:35):
I have not seen it before. Yeah, it's this it's
an old movie. I believe it was, like I think
it came out around the same time as The First Predator. Actually, um,
it may be in a couple of years later, but
it's around that same time. And you know, it's about
a family that moves into this you know, the dad
lost his job and you know, he's got to take

(53:57):
this oil rig job and they move out into the
middle of nowhere and there's a monster in the area
that is has been kind of kept dormant. You know
that there's a native man and he's he's been kind
of tasked with making sure that this creature stays dormant,
and you know, he's got spears and grounds to keep

(54:19):
it underground. And of course, you know, the the white
guy and his kid see one of the spears and
the kids like, Dad, can I have it? And he's like, yeah, sure,
go ahead, take it. The kid takes it, and all
hell is unleashed. But the monster, you know in this
movie was the Comanche, and some of the other tribes

(54:40):
in the area were you know, trying to figure out
how to get rid of the white men, and so
they created this monster called um coguy. I think it
was um. I might be butchering the pronunciation, but you know,
it's coguay. And it was a mix of all these
different animals like lions and alligators and stuff like that,

(55:00):
and it was supposed to kill the white man and
you know, and one of the guys was like, well,
you know, if it if it was supposed to protect
the natives, you know, why are you guys keeping it
locked up? And the guy's like, well, it started killing
indians too. So it's so bad that I had not
heard of that movie before I read about it referenced

(55:23):
does yeah a movie that did not age very well. Yeah,
Like I watched it on a YouTube and I was
just like, how is this one of my favorite movies?
Because I used to watch it every time it came
on and I would just be so excited to watch it. So,
you know, that's the only other horror movie that has
made really made mention of Comanche people, and it was

(55:47):
just terrible. So for them to have prey, you know,
that's a huge step up. But also just the way
that this movie is something that is not only kind
of showing the Comanche culture and a lot of different
ways UM, but also helping with language preservation. You know,
this is something that young people who are looking to
learn their language can see this movie and be like

(56:10):
more inspired to learn their language, to see it used
in a more modern context, rather than it being something
that's just always put in the past. Yeah, for sure,
I wanted to, yeah, go into that a little bit,
or just more into the production history of this movie.
I feel like we've talked about it a little bit,

(56:31):
but I just want to jump in so I believe
this is the first movie to be completely dubbed in
commanche by all of the actors are doing their own dubs.
I really enjoyed like the reading about I mean, Amber
mid Thunder has given some really fabulous email or interviews, emails,

(56:51):
Jamie interviews. She's been sending emails. She's on fire, but
really amazing UM insights into how the movie was produced,
and like even just reading about her AX training and
all the practical stuff she did because she they put
her in the fucking trenches. But reading about how Amber
mid Thunder and other UM actors in the movie were,

(57:15):
you know, either knew some ord had to be taught
how to do their own dubs. I thought, was like,
so incredible, So get this. So um. Dan Trackenberg had
originally pitched the movie to only be in Commanche, and
so when they were holding auditions for the roles, like
they would come in and they were doing their lines

(57:36):
in English, but then they literally handed them the script
right then and there in Comanche, with no direction on
how to say the words or anything, because they wanted
to see how well they would be able just to
read it and make, you know, like how well they'd
be able to work it out and um, because that

(57:59):
would kind of give the an idea of how quickly
they would be able to learn the Commanche language or
their proficiency. And so I was kind of shocked because
I was like, oh my gosh, I would have just
died right then and there right you know, like you're
like they give they give you the script in English
and you do your lines and you're like, I killed it.

(58:19):
Then they're like wait wait a second, an there you go,
and yeah, and it's in a language that you've never
seen before or never heard spoken. I would have died,
like I would have been like oh what, I was like.
Auditions are stressful enough as it is, like oh my god,
and then they have to do it in a foreign language,

(58:40):
you know, like without any direction or anything. Um. So
I thought that was really unique and a testament to
the talent of this caste, to the cast because they
all had to learn commanche, and you know, the command
She Language Department, the Commanding Nation Language Department, did such

(59:00):
a phenomenal job in teaching them. Because you know, there's
been other native productions and they're really good, um Dark
Winds for example. You know, like the story is good,
the acting is good, but when it comes to incorporating
the language, you know, there were a lot of Avajo
people who were kind of criticizing how the language was used,

(59:21):
like it was things weren't being said right or you know,
from the right um perspective. I guess, um, because in
a lot of our native languages, there's differences in the
way that you say things for men and for women.
So you know, like there's there's variations on words that
only a man you know, that's what the way he

(59:43):
would say it, and then there's you know, the way
a woman would say it. You know, so there's like
a gender difference in our language. And so you know,
that also comes into play when you hear our languages
being spoken, because sometimes you're cracking up dances with wolves,
they use some lacoda words, but the way that they
used them was from a woman's perspective, the way a

(01:00:06):
woman would say those words. So there were a lot
of people you know that still make fun of that,
you know, like, oh, you know, he's he's talking like
a woman. So you know, like there's there's it's really
hard to get native languages correct because oftentimes, you know,
it's not natives from those tribes speaking those languages, so

(01:00:27):
they really don't know any different. So for the Commanding
Nation Language Department to be as involved as they were,
and for the time that they took, you know, to
really make sure that the actors were learning the language,
learning the pronunciation um really just kind of showed the
care that was going into this production. But also, you know,

(01:00:48):
Amber mid Thunder has talked about it too that she
was really worried about taking on this movie because she
was scared of how Indian country would respond to it.
Like she wanted to do it right, she wanted to
do it justice, and you know she had she worried,
you know, she was like when I first got this
and I found out is a Predator movie, She's like
I cried, you know, not She's like and not tears

(01:01:11):
of happy, but like just kind of like I was worried,
you know, like, oh no, like this is a huge
franchise and I can't be the one to mess at EBB.
Well that and I imagine, you know, there's so much
pressure put on Indigenous actors, actors from really any marginalized
community to represent their community well because there's just so

(01:01:35):
few examples in media of positive representations of those people
of those communities. So it's just again speaks to a
need for more stories to exist. Um. But yeah, so
I imagine part of it was like this this pressure
to represent her community. Well, I mean I can't imagine. Um.

(01:01:57):
I wanted to share a couple of quotes, Um, Amber
mid Thunder. I, Um, I've seen her in in stuff before. Um,
but this was I think the first like big leading
role I had seen her in. Um, except I did
watch Roswell in New Mexico. I really liked that show. Wow. Anyways,
uh so she has she's from an acting family, and

(01:02:18):
uh so I read a few things about just sort
of how she has, you know, born witness kind of
her whole life to how Indigenous people are represented in
movies and in TV, and how those talks, what those
talks were like in her family. So I just wanted
to share some quotes from her. Here's one, uh quote.
When you're represented by something you can't relate to or

(01:02:41):
feel represent you poorly, that does affect you. My dad
is an actor, but even still we would have a
lot of conversations about how that was really not the
way to do it, or ha ha, this is what
they gave us to wear. Growing up, my parents handled
it like an inside joke rather than being constantly hurt
or offended by stuff. But getting old are in looking
at it, I can see the importance of representing things

(01:03:02):
accurately and respectfully on film, especially because to someone who
doesn't grow up in an indigenous community or really close
to one, it's maybe the only source of information unquote.
Another major behind the scenes player I wanted to make
sure we shouted out and spoke about a little bit
was Jane Yes. Jane Myers is a producer on this film.

(01:03:25):
She is a Comanche woman. Uh and she it sounds
like I mean, I found like a bunch of different
examples of things she had done, different representations of just like,
for example, horses or the original draft of the movie
there was like no horses involved in. Jane Myers was like,
there has to be a horse like that, just basics

(01:03:46):
to her culture that you know, this movie, it should
be Z is written and directed by white guys. Still,
and so while I think it's really really critical that
there is a commanche producer on the movie, it's like,
I mean, what would they have done without her? It's
so messed up a lot more things. We'd be having

(01:04:07):
a very different conversation. Yeah, and joking quite a bit
more about this movie. Yes, yes, yes, um so yeah.
It was written. It was directed by Dan Tractonberg, who's
best known for ten Cloverfield Lane, I believe, which I
did love that movie. It is fun um and written
by Patrick asan An not really sure how to pronounce

(01:04:31):
his last name. Um. But these are two white men.
And while I think it's largely agreed that the movie
is well researched, and you know, they listened to producer
Jane Myers and you know, did as much research as possible,
worked with their cast to work with the convention nation like,
but still two white guys, Still two white guys. And
I think the conversation we had earlier about um, this

(01:04:53):
kind of insertion of gender roles and and sexism that
is not authentic to indigenous communities would probably have not
been in the movie had been written and directed by
indigenous filmmakers. So, and we've talked about this on the
podcast quite a bit before about how it feels like

(01:05:16):
we are in this phase of Hollywood right now where
it seems like Hollywood is finally listening to and doing
something about the strong demand for stories that aren't just
about cis at white men. But those are the only
people that they are still allowing to make movies. Obviously

(01:05:36):
I'm exaggerating. Creators of many different backgrounds are being given
more opportunities than before, but just like the very gate
keeper nature of Hollywood, Yeah, and it's and it's also
like thinking about the quality of the opportunities that they
are being given because I feel like, you know, they

(01:05:58):
like to jump on the bandwagon, you know, Native representation.
It's a hot topic right now, and we've seen the
success of Rutherford Falls and reservation Dogs and you know,
Dark Winds came out, and of course Pray and you know,
like these are critically acclaimed series and movies now, and
I feel like, you know, Hollywood is always like trying

(01:06:20):
to jump on that next best thing. So now they're like, Okay,
you know what, there is a market for this, so
let's go with it. And they're given Natives opportunities, but
they're also not while the opportunity is there, they're not
necessarily getting the support they need for those productions to
be as successful as they could be. Um. You know,
we recently saw the cancelation of Rutherford Falls, and I

(01:06:43):
feel like that is a perfect example of that because
like there wasn't a lot of advertisement. Um, there wasn't
a lot of marketing anywhere for Rutherford Falls, like for
a while, like with season two. UM, I saw maybe
a couple of posters on a couple of US ops
and I think they had a bus at at one point.
But that's the only promotion that I saw outside of

(01:07:06):
Indian Country, UM, outside of Native people really pushing the show.
And it almost felt like the responsibility was put on,
you know, the show runners and the writers and the
actors to really try and make the show as successful
as they could do, but they didn't have studio support,
Like they didn't have the money behind them to really

(01:07:30):
make that show successful as it could have been. And
then of course, you know, they kind of get punished
for the impact, which is, you know, not having the viewership.
But I think if more people had been able to
see some kind of marketing or some kind of push
for it, you know, it could be just as successful
as Reservation Dogs and as Prey because Rutherford Falls was

(01:07:53):
so beautiful. Um, the second season was amazing to me. Um.
There's a dirty dancing gomage too that's just freaking killed it. Uh.
There's also a party scene where they have like what
I call a condiment throw down, where you have some
Native women that are all dressed as condiments because the

(01:08:15):
hot guys in a hot dog suit. And then they're
all fighting over this guy and he doesn't even know
they're fighting over him, which I find hilarious. Special to me,
it is, it is such a special show, and I
wish they would have had the support. And I feel
like that's kind of the worry now, is that so
many studios are going to be giving natives the opportunity

(01:08:38):
to do these shows and taking that chance, but then
the responsibility of the success of those shows is also
going to be put on the show runners. And then,
of course, you know, when it comes to marginalized people,
you know, we don't oftentimes get a second chance. You know,
we only have that one chance, and if you're not successful,

(01:09:00):
you're not getting another chance. Meanwhile, you know, if it
was a white show runner, you know they can make
a bad show after bad show after bad show and
keep getting opportunity after opportunity, and not only opportunity, but
the marketing to try and make those things successful for
inferior shows. Yeah, exactly, because I guarantee you if Pray

(01:09:24):
did not have Dan Tracknenburg attached to it, we wouldn't
be having this conversation. It wouldn't be the production that
it is. Um Like, the studio wouldn't have invested the
money that they did for the marketing. Because I mean,
it was incredible here in l A. Because just driving
to the supermarket, you passed reservation boards billboards, and then

(01:09:47):
you pre you're passing prey billboards and like there's still
prey billboards up now, And it's such an incredible thing
to to be native in l A and to be
just driving around and you're and like Native Film, Native show,
you know, and to see them getting that marketing because
you know, those billboards are not cheap and they're not

(01:10:09):
the tiny little billboards like these are massive billboards. And
one of the prey billboards that I saw actually had
like where the red lights were were actually lit up
kind of reflective. Yeah, so I was like wow, Like
they went out and of course, you know, they were
really mindful to try and include Native journalists and the

(01:10:32):
marketing and the press um, you know, and I think
that was so phenomenal because that doesn't happen with a
lot of other shows, even if Natives are included, like
we're not included. So they so this entire production was
really intentful in making sure that Native people were included
in almost every aspect of the rollout and development. So

(01:10:56):
you know, it's really special, and I feel like Hollywood
needs to do a better job of giving us, you know,
full support, not just the opportunity, but making sure that
you know, we're supported behind the scenes and also you know,
given the opportunity to to kind of learn um because

(01:11:17):
I feel so many of the time they're they're giving
people like the opportunity, but they expect you to go
in and just know what you're doing. But you know,
not a lot of people have, you know, familiarity with
how marketing works or with you know, how you're going
to push the film. And it's just I don't know.
I feel like there's a lot of support, like the
opportunities there now, but now we don't have the support,

(01:11:40):
and the support is kind of like a major component
to success. So it's kind of a catch twenty two
because I feel I don't want to see a lot
of really amazing Native talent being given this opportunity but
then being just spit out, you know, if they don't
have the support they need and it's as successful right

(01:12:02):
off the back is like reservation dogs, right, And it's
I I think that that's like such we've we've tried
to touch on this in the show before, but the
like the idea that there's not that institutional support for
Native filmmakers that there is for Dan Trachtenburg, Like we
need to get to a place where you don't need
the endorsement of a Dan Tractenburg in order to get

(01:12:24):
the institutional support that Prey did. Like it's just and
it feels like we're still very very much stuck in
that gate keeping aspect, like that has not been overcome. Yeah,
and and it's very different for us too, because you know,
I recently did an interview with with Monique Jones, and

(01:12:46):
you know, she asked me like, well, do you think
there's going to be more Native content now? And I'm like,
there is an incredible amount of Native content now and
there always has been because we have two different film
industries for for Natives, Like we have Hollywood, the Hollywood industry,
but we also have our own Native film industry because

(01:13:09):
we've been kept out of Hollywood for so long that
in order for our creatives to have that opportunity, we
had to create it ourselves. So there is a thriving
Native film community and industry, like we have so many
different film festivals. You know, like Sterlett har Jo, a
lot of people are just now hearing about him for
Reservation Dogs, but he has an incredible body of work

(01:13:33):
behind him, like award winning movies and shows that he's
worked on, that he's written for, and he's really well known.
A lot of the talent that you see in the
show for for everybody else, you know, their newcomers. But
for us, like they're some of them are legendary, you know,
and so like there's this two different industries and they

(01:13:54):
operate very differently from each other. And you know, like
I think a lot of people who are you know,
who are very successful in our native film industry, you know,
they're a little more easily able to adapt to the
Hollywood industry. Um. But if you're a new, newcoming, upcoming
talent and you don't have experience, like this is your

(01:14:16):
first opportunity, you know, it's it's going to be a
cult not only a culture shock, but just you know,
a huge risk to the entire rest of your career
like that to make it or break it thing, because
you're not getting a second opportunity within the industry once
they think like, oh, well we gave you your shot,
you're not really worth developing, and you know, like they

(01:14:38):
just spit people out. And I think that's such a
hard pill to swallow because we have so many talented
Natives out here who have been working in Hollywood for
quite a few years, decades even and you know, they
they're still not getting the opportunity to to run their
own shows even though they've worked on you know, white

(01:15:00):
rent shows, white creative shows. Um, but they've never been
given the opportunity to really push their own. It's and
it's really kind of heartbreaking too, you know, like I
I don't know if you've ever seen the show Young
and Hungry. Um, yes, I love that show so much,
And just like I think it was last year I

(01:15:21):
learned that they had a Native writer and you see
his name on every single episode, and I'm like, how
did I miss that? I would have loved that movie
even or the show even more if I had realized
put two to two. But you know, like, and you
see that now that I know that, I watch and
I'm like, oh, that's a Native writer. Oh that's a

(01:15:41):
Native person. And I'm thinking, like, how is it that
they've worked on all these incredible shows yet they have
not been given the opportunity to do their own. Yeah,
And it's just it's kind of frustrating. But also I realized, like,
you know, I understand, like colonization has done such a
really good job at making Native people invisible on our

(01:16:03):
own homelands. So it's a different type of struggle because
if you look at the Canadian film industry too, it's
very different from our own. Um, it's nothing for Native
people in Canada to be able to be cast on
a show. And while they are native, it's not what
revolve like their character doesn't revolve around them being native.

(01:16:26):
They just happened to be a doctor who happens to
be Native. Like it's very normalized. Um, But here in
the US were always mothered and we're always you know,
kind of portrayed very differently or they have to rely
on these stereotypical tropes in order for them to have
a native character. And so it's like our progress is
very different and we're finally starting to catch up a little,

(01:16:50):
but we're still so far behind. And it's just it's
it's kind of like how how how do we foster
a better environment for that? You know? Yeah, I think
part of it too is that, like you mentioned, um,
Hollywood is is seeing indigenous stories is like, oh, they're
so hot right now, you know, And and if it's hot,

(01:17:11):
it's going to be profitable. And Hollywood is also very
averse to risk for profit reasons. And I feel like
a lot of Hollywood executives still see, for example, allowing
an indigenous filmmaker to tell their own story as a risk.
They view that as something that's christy because they don't

(01:17:31):
think it would be relatable enough to a widespread audience.
And they want a widespread audience because that will make
them more money. So yeah, and and and you know,
it's kind of hard to find a balance with that too,
because it's like, come on, you guys, Like how many
millions of dollars did you guys give to Tom Cruise
for the Mummy? You know, oh my gosh, come on, right,

(01:17:56):
And even like the concept of risk averse as defined
by a lot of executives, it's just like absolute horseshit,
because like, how is it more aversive risk to have
like a mediocre like guy director like in a story
that he like, it's like not a good match in

(01:18:16):
an he went like it just it bothers me so much.
When it's like, well this is less of a risk,
You're like, this guy sucks like his track, look at
his like a heavy page. He's not good, like, but
he gets opportunity after opportunity after opportunity, And I'm just like,
what the heck? But you know it's I mean, we've
made progress, and I feel like, you know, we kind

(01:18:38):
of have to acknowledge that progress too and kind of
celebrate it because I think we also know that when
you have a male dominated industry, it really runs on ego.
So I feel like we kind of have to celebrate
the winds because it's an ego thing for them. If
they're like, oh, look, we got accolades for this. You know,

(01:19:00):
I did the bare minimum and they're giving me cookies,
then they're more likely to keep doing it. So so
I try and I try to be very careful about
this too, because I used to go really hardcore with
my criticism, not really thinking about the larger impact because
I'm just like, well, you know, I'm not an industry like,

(01:19:24):
I'm not like known in their industry or whatever. But
I kind of got an eye opening experience back when, um,
when they were doing Pan and you know, they cast
Rooney Mara as Tiger Lily, and a course, is that backlash?
And you know, I had created the hashtag not your
Tiger Lily to kind of discuss the whitewashing that happens

(01:19:47):
in Hollywood, but also, you know, to kind of discuss
the problematic nature of Tiger Lily and how you know
she's this just a victim and then of course you
they constantly are doing this problematic character and they keep
doing Peter Pan and it's a problematic story anyway, but

(01:20:08):
you know, it has very racist origins towards Indigenous people,
like even in the book, and it hasn't gotten better
in the depictions that we see on screen. The only
difference is now that they're casting Native people as Tiger
Lily as kind of like an appeasement, but they're not
making the story or her character any better. Yeah, So

(01:20:31):
you know, like I kind of wanted to bring attention
to that. And one of the things that I found
so hilarious about that was I realized that studios use
our criticism as Native people as an excuse to not
fund Native creative projects if they think that, oh, there's
a potential for backlash here. Um. And I got that

(01:20:54):
eye opening experience because I had noticed on my Twitter,
like you know, it was already like months after um
the casting had been announced, and actually I think it
was like right before the release of the movie. I
noticed that there were all these reporters starting to follow
me out of l A. And I was living in
Oklahoma at the time, so that was really weird to me.

(01:21:16):
And I was like, what the heck is going on?
And finally I got a message on my Twitter asking,
you know, to call this reporter. She's like, I really
like to talk to you, and I was like okay,
So like I called because I was like curious about
why these reporters were following me all of a sudden,
and the studio had I don't know if it was
a press release or in some interview that they had

(01:21:39):
done or some conversation somewhere, they had mentioned a potential
for that I was organizing a protest for the premiere,
and so they were anticipating Natives to show up in
protest at the premiere and I'm like what. I was like,
I'm not even in l A, like I've been Homa.

(01:22:01):
And they were like, well, you know, we were told
that you're organizing this protest and I was like no.
I was like, why would I kind of bring more
attention to a film I'm trying to not bring attention
to or to avoid, like because you know, Hollywood kind
of operates on this any publicity is good publicity kind
of thing. And it was really weird because she was

(01:22:24):
just like, well, you know, we heard this um and
she's like, you know, so we really want to learn
more about this protest and why you don't think this film.
And I was just like, this is weird. And um
I was asking somebody else and they were like, well yeah.
She was like, this is kind of like how they
generate buzz for their film. You know, if they can
find any anything that could pique interest in the movie, like,

(01:22:47):
they're going to use it. And I was like, well,
that's really weird. I said, because I'm in Oklahoma, you
think they would have done their homework first to make
sure it was feasible. And she's like, oh, she's like no.
She was just like, it's it's just what they do.
And um, you know, like and I started asking her
because she's worked in Hollywood for quite a while, and
I started asking her questions, and you know, she was like, well,

(01:23:10):
you know, anytime that they see bad press coming out
of out of like in in country, you know, they
kind of use that as an excuse to pull funding
or to not fund projects, to not give people the
opportunity because they don't want that drama. Um. She's like,
they don't want to be affiliated with that bad press.

(01:23:31):
And so I it really made me think like, Oh,
I was like, because you know, you want people to
see your conversation. She want people to talk about these issues,
but you also don't want it to hurt the people
who are working in that industry. Um. And I realized like, oh, like,
we kind of have to tread a lot careful, a
lot more carefully than other people when we criticize like

(01:23:54):
the like when we criticize Hollywood, and it's it's not fair,
it's not right. But you know, it's also good to
be aware of that because you know, it's made me
really think about the way that I criticized films or
the way that I bring about issues or the way
that I talked about them, um, because I also don't

(01:24:16):
want to vilify the Native people who are in those films,
and that's something that happens quite a bit um. And
we saw that with Ridiculous Six, where you know, they
did have Native actors who did walk off the set
because of the racist stereotypes that Adam Sandler was using.
And you know, he had said like, oh, well, it's satire,

(01:24:36):
but you know, for for Native people, like there's a
difference between satire and racism, and it's a thin line, right,
and it's not for Adam Sandler to decide what works,
decide what exactly. So you know, while there were a
lot of Natives who walked off the set, there were
a lot of Natives who stayed. And you know, we're
in the film and there was a lot of vilific

(01:25:00):
Asian that happened, like oh well they're sellouts there this,
and it's like no, their Native people trying to work
in an industry that is very violent towards Indigenous people,
um still, and they also have families to feed. It's
a very hard balance to to kind of walk because
you know, I think that you kind of do have

(01:25:21):
to draw a line, but that line is going to
be different for everybody else. You know, like Indian countries
not a monolith. So you know, while one Native could
be totally okay with how they were doing ridiculous six
you know, they were Natives who worked, and it didn't
mean that either one was wrong or invalid. It just
means that they had very two different perspectives and also motivations,

(01:25:43):
which for a lot of people, that motivation is to
work and to be able to feed and take care
of their families. And so you don't want to fault
them for that, you know, especially like in our hard
economic times. Because when I was asked to do the
press for for Prey, like to cover it, I was
really worried about having that access because I didn't want

(01:26:07):
to like, I'm blunt, I'm honest about what I think.
And I was like, oh no, I was like, I
don't want to to kind of like burn down this
bridge of communication between me and the studio and being
able to potentially cover other movies and other productions. UM,
But I also want to be honest and fair about

(01:26:28):
what I think about this, And given that I was
already hesitant about this movie anyway, like I was like
trying to make sure like I was going to be
able to be fair and to be still be honest,
and thankfully it kind of worked out. But you know,
like I also know that I'm not the only native
with an opinion, and you know, there's it kind of

(01:26:51):
a balance, and I think we've all learned to kind
of tread that balance to to kind of be fair
but tough um in our assessment of this of these
media productions, because we understand what's at stake, and we
also you know, kind of understand now that it has
a larger impact outside of you know, our own Native
publications that we realize, like, oh, studios are watching what

(01:27:14):
we're saying. They're watching, you know, how we respond to
these productions, and that they're using that as a basis
of how they decide who gets funded, who doesn't, who
gets to be involved, and who doesn't. And you know,
it's it's trying to be mindful of that too, because
I mean, when I mean, I was just a Native

(01:27:35):
in Oklahoma. I live here in l A now, but
at the time, you know, I didn't have a large following,
I didn't have the platforms that I have now, and
I thought it was really weird that they were using
that as an excuse, you know, to say, oh, well,
you know, this kind of proves that Native productions are risky,
Like we're going to face backlash for them, so to

(01:27:57):
avoid it, we're just going to leave them out of
it altogether. Which is another reason that they largely cast
a lot of non natives in native roles, because non
natives don't have the understanding to realize like that portrayal
is wrong or that this is this is a stereotypical trope,
and they have no other knowledge outside of their relationship

(01:28:20):
or experience with those mascots and stereotypes to know any different.
So they will cast non natives knowing that they're not
going to have a problem or having to be held
accountable about how those characters are being portrayed, whereas if
it was a native character, you know, it's a little
bit different. You know. Even Amber min Thunder has talked
quite a bit about that about how, you know, she's

(01:28:42):
very fortunate to have kind of come into the industry
when she did, when she has a little power to
have some say over how the character is portrayed and
how you know, they're telling these stories. It sounds like
her parents did not have that luxury when they were
were still are working in Hollywood. That is I thank

(01:29:02):
you for sharing that experience. It I just like it's
so frustrating, to frustrating, so indicative of like the very
toxic nature of Hollywood to to receive criticism and rather
than like very valid criticism and rather than listen to
it and like course correct, they're like, well, we're just

(01:29:23):
going to use this as an excuse to um not
you know, make native projects or cast native actors. You know,
And on top of that it's unfair to ask you
to change how you do your job in order to
appease Like it's just it's just bullshit top to bottom. Yeah,
And you could easily say, like, well, I'm not going

(01:29:43):
to because we have our own native film industry. But
also you know, like I don't want to, you know,
like I don't think that any Native person, you know,
should be held to just being able to thrive in
Indian country, like we to be able to thrive anywhere,
you know, in whatever industry it is we want to

(01:30:04):
work in, whether it's in the film industry in Hollywood
or it's in tech or whatever it is. You know,
we should have the opportunity to to explore those possibilities
for ourselves and you know, and not be held back
or have it be in spite of our nativeness. Because
that's so much of our experience as indigenous people too,

(01:30:25):
is that like our success is seen as being in
spite of us being native, rather than you know, it's
just a native person being successful. It always has to
be in spite of us being native, Like because all
of the issues that we face as indigenous people have
become synonymous with our identities, which doesn't happen to anybody else,

(01:30:47):
even though those same issues affect everybody else as well.
But just because of the stereotypes and how prevalent they
are and how little interaction you know, mainstream America has
with Indian inn as communities. I mean, there are still
people who think that we've been wiped out completely, or
who think we all still live in tps. You know,

(01:31:09):
so because of that lack of interaction, like they just
honestly don't know any better. And that makes it really
hard to try and navigate those spaces too, because you know,
there are some people who are just truly ignorant. But
at the same time, you know, we also have to
acknowledge that racism is institutionalized and normalized when it comes
to Native people, that oftentimes it's not recognized until it's

(01:31:33):
called out, and then when it's called out, you know,
people go on the defense because that's the way it's
always been and and it's never been a problem before,
you know. So you know, it's such a hard balance
to try and navigate, you know, for for Native people
just existing in this country. Oh infuriating, I'm I mean,

(01:31:56):
I'm looking forward to Native directors getting some blank fucking
checks to make their own movies. And because we we've
had conversations like this in the past on the show
where even when a marginalized filmmaker or writer is given
an opportunity to make and make something, speaking to what

(01:32:17):
you're just saying, Johnny, it's like, well, in order to
make your project, you have to do it in a
very particular way or like exploit your own trauma, or
like we're only interested in work from you if it
is about a very, very very specific topic. When it's
like that, again, it's just like not an impediment that

(01:32:38):
most white filmmakers ever encounter. Yeah, and you know, and
I'm glad that Amber mid Thunder came from the family
that she did too, because you know, I think they
really prepared her for that and also made her a
little more audacious in the way that she was expected,
like in the expectations that she had for how she
was going to interact with Hollywood, because is Amber is

(01:33:01):
one of the few native actresses that has been able
to cross over um into more mainstream Hollywood with like Roswell.
I mean, she's she has so many credits to her name,
and it's kind of amazing to see because she's not
necessarily native in those productions. You know, she doesn't. It's
she's hasn't really been pigeonholed as just a Native actress.

(01:33:25):
And you know it, it's kind of like it's it's
kind of funny too, because I was just thinking about
the name of your podcast because in Indian Country, and
I know, I'm good, probably going to butcher this name
of this, but we have the Um it's either the
Ala Test or the Okay, So we will talk about
this when we Yeah, so it's been renamed to the

(01:33:46):
Test and we will. Ali's been on the show many times,
the friend of the cast. Yeah, so since it's come up,
the criteria to pass the Ali Naughty Test are that
the character is an Indigenous or Aboriginal woman who is
a main character, who does not fall in love with
a white man, and who does not end up raped

(01:34:08):
or murdered at any point in the story. Obviously, Pray
passes the test very handily. So shout out to Ali Naughty,
the Ali Naughty Test, and um, yeah, something that just
like helps spark conversation about Indigenous representation in media. Yeah,
And it's incredible because you know, and I bring that
up because Amber mid Thunder is one of the very

(01:34:32):
few actresses that has pretty much been able to pass
then in almost every production. And I think that kind
of goes to speak to you know how. You know,
her family came from this industry, so they were able
to prepare her and she was able to have make
sure that her own voice was heard, that she wasn't

(01:34:53):
just um, that she understood she had power in this
industry and she used it. So you know, it's really
rare that we have Native actresses who have that opportunity,
and it's incredible that, you know, Amber mid Thunder has
the career that she has, and you know, especially in
this role, you know, she was so worried about getting
it right. Now. You know, Native girls have a badass

(01:35:16):
Native warrior to look up to, you know, and that's
incredible because you know, again, you know, while there were
like scenes of violence against her um for misogynistic reasons,
you know it, she didn't end up murdered, she didn't
end up rate and that was an incredible feat for Hollywood.

(01:35:37):
Load the bar is oh my god, yeah, and it's
it's really hard to um. So I don't know if
you guys have seen the recent episode of reservation dogs
or if you're caught up on the series, but I'm not.
A lot of it is about, like the show is
kind of centered around, you know, how suicide and Indian

(01:35:57):
effects Indian country. You know, like the first season revolves
around four friends who are dealing with the suicide of
one of their closest friends, and the second season kind
of explores the generational trauma that kind of goes into
that as well. And in this last episode, we saw
Big who is the cop who has a lot of

(01:36:19):
guilt because he thinks that he killed one of his friends,
that he wasn't able to save her, and he carries
a lot of guilt about that, and it kind of
carries over how you know for this generation, Like for
these kids, you know, the trauma that they're dealing with
is the suicide of you know, their their best friend,
their cousin, their brother. But you know, the adults in

(01:36:42):
their lives, their parents, Um and the people in the community.
You know, that trauma came from the death of this
character Cookie, who is Um who plays DeVries Monk's character,
I guess, but this was the first time that they
showed that character in this episode, and it was such
a beautiful UM, beautiful episode. It was so beautifully done

(01:37:05):
and it was funny. I was really scared it was
going to be one of those tear drekers again, and
I was like, my emotions, can I handle this? But
it was really funny and it was really heartfelt and
it was emotional. But you know, the the actors who
they cast to play Cookie Jenney ms so incredible in
this UM and but you know, we want We went

(01:37:26):
to a watch party UM to watch this episode with her,
and you know, afterwards we were having the same conversation
about you know, she's a Native actress and she was like,
you know, it's I'm I'm typecast as the dead Native girl.
And she's like, no, no shade too like reservation dogs
or anything. She goes. But that's just the reality she goes.

(01:37:47):
Whenever I go out for a part or audition, it's
always for the dead Native girl. Um, she goes. It's
just how they typecast her. She's like, you know, and
she's she's actually going to be in UM Flowers Are
the Killer Moon, so you know she's going to be
one of the sisters in that, and you know it's
a big role for her. And again you know, it's

(01:38:09):
like she was saying, typecast as the dead Native girl,
like I don't get to live in the comes that
I'm in. Um. But you know, she's such an incredible actress.
But you know, like these conversations like I feel like
need to be had about the opportunities that are given
to Native women because in almost any show that we
where it is about Native women, that woman is always

(01:38:32):
going to be right, She's always going to be murdered. Um.
There's always going to be an incredible amount of violence
enacted against her. And it's such a shame because you
know that shouldn't be normalized, and it always is like
it's and it's never shown as in a way where
it's like raising awareness. It's always exploitative. Even Wind River,

(01:38:54):
a lot of people, you know, really use that show
and they're like, it's the first show to really talk
about the murder to missing an Diigenous women. And I'm like,
but it's so exploitative and it kind of centers on
that white saviorship and it doesn't talk about how that
violence is wrong or you know that it needs to change.
It just kind of plays into why it keeps happening. Yeah,

(01:39:17):
And so there's a lot of hard conversations that still
need to be had. But you know, thankfully we have
actresses like Amberment Thunder. There's also Crystal Lightning, who you know,
has won awards for her role in Trickster, which was
an incredible series as well. Um, but the opportunities that
they're given to be just anything more than you know,

(01:39:40):
these stereotypical tropes. You know that, oh, the other trope
is also the drunk woman or the drunk Indian woman,
um and the dead Native woman. Like those are the
two roles that Native women get in Hollywood usually, and
it's such a shame because Native women are so strong,

(01:40:02):
they're so fierce. Um. Even now, when you look at
the different issues that affect in a country, it's always
Native women right there on the front lines before anybody else.
And you know, for us to just constantly be shown
in this state of victimhood, you know, is just unacceptable
in this day and age. And I do feel, yeah,

(01:40:24):
like I'm so thrilled that ever mid Thunder is so
successful and has you know, the institutional knowledge passed on
from her parents. And also it's like the fact that
she is such a large seems like such a large
exception to this is like so discouraging. I really, I
really loved that she seems determined to continue pushing the

(01:40:46):
industry and using the power and knowledge she does have.
And also, like speaking to what we were discussing a
little earlier, the enormous pressure that that puts on her,
that is like not a fair press to put on anyone,
much as a young person. Yeah, and it's I mean
it's incredible because I mean, with Prey, she could easily

(01:41:10):
just wrote this success out and not addressed any of
these issues and just been like it was a great experience,
it was good. You know, everything's awesome. You know, I'm
so happy to be here. But the fact that she's
taken the risk to acknowledge how hard it is to
be in the industry and the realities of being in
the industry, you know, makes her incredible in my eyes,

(01:41:32):
even more so because she is young and she is
using her platform. You know. It kind of reminds me
of when Ashley calling bull one Mrs World, you know,
and she told them, what did you think when she
started getting backlash about speaking about native issues? He's like,
did you think I was just going to take this
crown and stand here and be pretty. She's like, no,
I'm gonna use this platform for the betterment of my people.

(01:41:56):
And you know, and I feel like that's kind of
like the role that so many you know, Native entertainers
and Native talent they kind of get cast into that,
and I'm really looking forward to the day when they
get to just be actors, when they get to just
be writers and not have to be advocates as well. Yeah, um,
is there anything else that we'd like to touch on

(01:42:18):
about about the movie, about behind the scenes about I
have one really quick thing, which is that on IMDb,
the French trappers, who are the only white characters you
see on screen, are credited like their character's names are
things like big Beard and waxed mustache, the way that

(01:42:42):
indigenous people in movies have been credited as things like
Indian right, Indian man. You know. So just that like
the white people are big beard and waxed Mustache. I
enjoyed that very much. That, Yeah, And it kind of
goes back to showing just how intentional they were with
this film. The fact that even in the movie, the

(01:43:06):
French traders were never translated. We have no idea unless
she speaks what they were saying, that yeah, there's no
subtitles for it because it's just like, well, who gives
it you? And that yeah, that does feel reflective of
how Native people have been portrayed in the past, like
it's yeah, and further demonstrates that the movie is told
from an indigenous perspective because she doesn't know French exactly.

(01:43:31):
And there's a scene and I didn't know this until
I watched the Comanche dub of this, but there's a
scene um in the English version where so obviously, like
when you're when you're watching the English version, when you're
watching the Commanche people speak to each other, you assume
that they are actually speaking in Comanche, even though we

(01:43:52):
are seeing them speak in English. But there's a scene
where the French guy is speaking to Naru in English,
and my brain understood it as, oh, she knows English
and the French guy is speaking to her in English.
But then when you watch the Commanche version, the French
guy knows Comanche and is speaking to her in Commanche.
You never you never hear her speak English in the

(01:44:13):
Commanche version. That that scene is a little weird. In
the English, it makes more sense of the Comanche dubbed totally. Yeah.
It's so funny too that you mentioned that, because because
I was cracking up because of all the ridiculous, you know,
like foe boy reactions that came from this movie that

(01:44:36):
you know, like Amber had recently addressed him as well.
But one of the things that I found so funny
was that part of the criticism from people was like
they speak English so well. They were like, you know,
I really loved the film, but it was just so
weird that the that the natives spoke English. And it's like,
wait a second, you're surprised that in a movie in

(01:44:59):
americ where a large part of the population speaks English
and only English and only English, that the natives speak English.
And I was like, how many other movies have they
like there been like where the characters are you know,
it's it's just supposed to be like inferred that they're
speaking another language, but we're hearing get in English that

(01:45:20):
nobody has had a problem with, but suddenly it's a
problem because it's natives. I was like, so you're telling
me that you think that the Hobbits were speaking English?
You know, it's like what they never ceased to amaze
with the reaching they are willing to do do not
like something, it's just oh my yeah, Like it was

(01:45:44):
so funny to me because I was like, of all
the things to criticize, like that is the weirdest thing
that I've heard, is like, you're so surprised that native
people can speak English in America, that a film in
America for American critics is an English Like what? Um.

(01:46:06):
The last thing I wanted to touch on was I
just this is like a little story touch that I'm like, wow,
we are we are trained to expect so little from
how women are written in movies. I just liked that
Naro was good at a lot of different things, Like
I don't know that I'd ever heard it like framed
like this in a movie of just like why is
this the thing you want to do? You're good at

(01:46:28):
a lot of things, which is like true of so
many kids. But I feel like it's like whatever protagonist
writing trope to be like they're really good at this
one thing and this one thing is all they can
do because blah blah destiny. And I just like that
she had a lot of different skills. She used a
lot of different skills throughout the movie, like she used

(01:46:50):
her knowledge of medicine at several different points. It became
relevant several times her mom was like, well, why don't
you want to do this? You're good at this, and she's,
you know, she's just like, well, yeah, I'm I know
how to do the thing I want to do, and
I just simple thing. But I liked I did too.
I really love that because it kind of showed um

(01:47:10):
versatility and also just that, you know, like any human being,
like we're not just one thing, Like we're a multitude
of things, Like we wear many different hats. Like I
don't know a single person who is just a doctor
or just a lawyer or just a writer, like you're
like even me, Like, and I know I get this

(01:47:33):
from my mom because you know, my mom, she was
a teacher, she was a firefighter. At one point, she
was a security guard. You know, she did this whole
wide variety of different jobs, you know, because and I
think a lot of that was because she had me young,
and she also had a lot of experiences when she

(01:47:53):
was younger that kind of limited what she could do.
So I think once she got older and once it's
kids got old enough to kind of you know, live
without her needing to be the um. She started exploring
like what it is she wanted to do and what
her talents were. I mean, she was an incredible artist.
She could sing um. There are so many things that

(01:48:15):
she did and I look back at and I'm like,
you know, even without even knowing it, you know, I
kind of followed my mom's footprints, like her lead, because
you know, I've done corporate management. I was a fitness instructor,
which is so hilarious to me it now, but you know,
I I've had all these different jobs. You know, I'm
a writer, and then now you know, recently, I'm an

(01:48:38):
artist and and not just an artist, but like an
award winning artist now. Um. And and it's something that
I never really thought of, you know that. You know,
like I used to draw, I used to do it all,
but I never really saw it as anything I could do,
like professionally or anything like that. But it kind of
followed Naru's too, because you know, her skills were necessary

(01:49:01):
for her survival, which is basically the same as my
professional trajectory because I have lupus, and so you know,
in every job that I've had, I've had to leave
for health reasons and so like, I have to be adaptable.
And you know, even now with art, I've been a
graphic designer and digital artists since I was in my twenties,

(01:49:23):
but um, I have like three of my fingers that
are starting to kind of twist, and so I don't
have the mobility that I used to have, and so
like I started looking at, Okay, well, what can I
do creatively that I can still do creatively, and so
you know, I discovered poor art, fluid art, and it's
kind of worked well for me, and I was like, oh,

(01:49:45):
you know what, I am an artist, Like I'm not
just a graphic designer or a digital artists, which I
never saw as being an artist because I did it
for money, Like I did it feel like it was
me And I always felt like I was just bringing
other people's creations to life, so I didn't feel like
it was my artistry at all. So you know, it
was kind of fun for me to watch Naru and

(01:50:07):
for her to have all these different skills and to
be able to use them, because it speaks to how
Native people kind of had to survive colonization as well,
and how we continue to survive in this society, like
we have to be adaptable, and we don't always have
all the resources we need, but we have to be
able to use what we have. And you know, and
I've been able to somehow still keep myself alive, you know,

(01:50:31):
by by being adaptable, by being able to go from
like corporate management to doing a fitness tech too, you know,
becoming an artist in order to survive. And it was
so fun for me to see Naru have those that
same adaptability and for them to show it in the
way that they did. To quote your own piece back

(01:50:52):
at you, you say that this that this movie quote
is a rare tribute to the ingenuity, strength, and sheer
stubbornness that has allowed Native people to survive the forces
that threaten our survival unquote. Yeah, and it's so true.
Like when I watched the movie, you know, like I said,

(01:51:14):
I was blown away. Um, But there was such an
emotional connection with every aspect of the movie because of that,
you know, you get to see like just the people
in the village as well, you know, what they were
doing day to day to survive and to thrive in
their environment. Um. And it wasn't an easy environment, as
we saw with Naru, like there were mountain lions. They

(01:51:35):
had a kid being taken out of their village by
a mountain lion, like that was their day to day reality.
There were bears, there were all these and that was
the cool thing too, was to kind of how they
showed that there were so many threats around Native people
at the time, like it wasn't just the predator. And
even the ending of the film when she defeated the

(01:51:56):
predator and she went back to the village and she
gave him their head, but then she threw the gun
and she told him we need to move to higher ground.
The fact that the predator wasn't the biggest threat, and
Naru knew that, you know, like she knew I'm going, like,
we're going to defeat this threat, but this other one,
I don't know if we can because of the nature

(01:52:17):
of that threat. And it was so beautiful to see
that and to kind of show that, you know, she
just had this all out brawl. She they lost all
the warrior you know, like their young warriors in the village.
She lost her brother, but yet the battle wasn't over,
like they were still facing a threat that they had
to address. And I thought That was the most incredible thing.

(01:52:41):
Even when Teobi died and they flashed to the warrior
bringing his like his I guess it was his rows
sheet back to the village and his mom saw it,
and she just knew that her son was gone, and
she you know, she thought she lost Naru too, and
knowing that her kids were gone, you know, you could
see that grief on her face, but she didn't have

(01:53:04):
the opportunity to to really just feel it. Like she
turned around and she went back to doing what she
was doing because it's what needed to happen for the
betterment of the community. And so I really was just
struck with how they were showing all these like communal relationships,
that kinship and also you know just how Native people

(01:53:28):
had to be adaptable and how to have they had
to use the resources around them. And when it flashed
back to Naru, you know, she's on that river bank
and you know, she just lost her brother and she's like,
you know, thinking like, oh, I can't do this, but
then she sees the the big trader guy at the
river and she's like, OK, it's on a big beer

(01:53:51):
because she's like, that's it, it's on. That was such
a good action secause and so cathartic and just like
they're so like in a in a relatively like um
I don't mean simple and a reductive way, but it's
like a very pair down story. But it's just like
there are those huge moments of impact and a lot

(01:54:12):
of the like what you just described with just like
a single shot of um Nauru's mom communicated so much
about the character, about the family, about the community, about
the time, and it's just like this small moment, Like
this movie is full of moments like that. Yeah. I
mean the part that really had me in tears though,
was when team died because it's not a big scene.

(01:54:37):
It didn't lead up to it like where it came,
you know, like was an action pack scene. You know,
he knew he could, he heard the predator step and
he knew that, okay, I'm not getting out of this,
and he took what time he had left instead of
trying to run or save himself, you know, he took
that time. He accepted it, and he told Naru, he

(01:54:58):
was like, this is this is as far as I go.
You know, you have to bring this home now, like
and and then she says it later and you're like,
I know. I was like why because it was such
a beautiful moment for him to say that, because you know,
throughout the film he'd been so supportive of her Katamiya,

(01:55:19):
and even when she didn't succeed, you know, he was
still in telling her like, oh, you know, he's like,
you can still bring it home, like you know, like
you we still have to like even if we don't succeed,
like we still have to keep going because we do
have to protect our community, like it's larger than just
him or her, like it's about the community. And for

(01:55:41):
him to take that time, and for also for Naru
to understand in that moment too, like it's no longer
just about her and her Katamiya, but the protection of
her entire village now, like it's on her because there's
no one left, you know, And for her brother to
tell her like it's on you to bring it home

(01:56:01):
and to basically reassure her like you got this before
he died, And for him to even take his last
moments to make sure that she could get away because
she was so stunned, you know, I was just like,
oh my gosh, how they packed so much emotion in
that scene as quick as it was. I was like
in Tears, the sibling the sibling bond in this movie

(01:56:26):
as just like absolutely incredible. I really loved it very well. Yeah,
like and even the ending, you know, like I teared
up at the ending is too you know. And and
and it was for the most funniest reason, and it's
actually been kind of memed um. But the little girl,
like when she comes back to the village and you know,

(01:56:47):
they name her the next war chief and there's that
little girl who's just looking at her with such awe
on her bid Like I was tearing up, and I
was like, but it hit me so emotionally because you know,
even for me, like growing up, I didn't have the
role models that I needed because when I was younger,
like I wanted to be like an epidemiologist. This is

(01:57:09):
what Outbreak came out, and I wanted to be in
the thick of ebola. You know, I went in all
these infectious diseases and stuff. But um, people would tell
me like why, like no native is doing this, no
native is there, and you know, and that's what I
saw around me, was there was no native scientists or like,

(01:57:29):
because of course we don't have the internet, like we
do now. So I didn't have that representation around me. Yeah,
that's why it's so important to have opportunities to see
yourself represented in media and represented in all industries, you know,
not just entertainment. Um. Was there anything else that anyone

(01:57:52):
wanted to talk about? Um? I think that was it
for me. Yeah, I think that was it. Although we
should add the disclaimer that recently it's been um talked
about that Dakota Beavers may or may not have Native heritage. UM.
And it's a little bit more complicated because even if
he's not Native, you know, he's still an Indigenous person

(01:58:13):
within the larger indigenous diaspora. So you know, it is
complicated and it's something that is still being investigated. UM.
You know, it's been proven that he doesn't have ties
to the tribes that he claimed, but that still doesn't
necessarily mean that he has that he doesn't have ties
to a native tribe. UM. It's just that, especially you know,

(01:58:37):
like the history in New Mexico and around the area
Native people through that area. You know, it's always really complicated.
So you know, he's still doing a lot of research
because you know, he was told all his life that
he was Apache and Pueblo and it turns out that
he's not, so you know, so it's not as though
he was like lying. It's just that he was kind

(01:59:00):
possibly like misinformed exactly exactly. And you know, and even
without that, you know, he would still be an indigenous person.
So you know, it's a lot more complicated than say,
like Elizabeth Warren R. Yeah, that was a pretty cut
and dry situation. Yeah, so you know, it's a little
more complicated. And I feel really bad for him, being

(01:59:21):
so young, and you know, this is his first movie role,
and of course, you know when when you're in that spotlight,
then everything is under intense scrutiny, no matter if you're
Native or not. So you know, I really feel bad
that this is his kind of introduction into that spotlight.
But you know, it's just I feel really bad for him. Um.

(01:59:45):
But also, you know, I just really hope that it
doesn't really end up with like harassment or you know,
him being vilified for it, because it's not like he
intentionally lied, right, and he was apparently up front with
the producers and everybody beforehand. Um, and he was still hired.
So it's it's a really complicated situation. Because at that

(02:00:08):
point to um, you know, the responsibility falls on you know,
on his family and also you know, the people that
hired him knowing that he had questionable ties. So you know,
he kind of really did just get go into this
thinking like I'm okay um. And and that's another reason
I feel so bad for him, because it's not like

(02:00:28):
he had a reason to not believe his parents or
his family when they told him, you know, about who
his what his heritage was, so you know, and he
probably grew up all his life thinking, you know, that's
who he was, and then now it's just gone. Um.
So I'm sure that's like a cultural shocking as well.
So you know, I mean, I just I just feel

(02:00:51):
really bad for him. But I think that's important to
put out there just because you know, when it comes
to Native representation, it's really hard for Native people to
get roles as it is, and non natives are constantly
being cast in Native roles, So you know, I do
think that it needs to be kind of discussed, you

(02:01:11):
know that, you know, why this is a conversation, why
this is an issue, and also just to just to
let people be aware that it's not always cut and dry,
you know, like there's a lot of history with colonization.
It's done a number on our ties to our communities.
It's intentionally severed connections to your community. So you know,

(02:01:32):
there are a lot of Natives who are not enrolled,
who are legitly native um, but because of blood quantum
and different tribal enrollment requirements, even though they're Native, they
may not necessarily qualify to be citizens of their nation.
So you know, there's a lot of gray area. We
had Natives who were adopted out, Natives who lost their

(02:01:52):
ties through residential boarding schools, and it's just a really
complicated history to try and entangle. And you know, again,
I think that's why I feel so bad for him,
because he's suddenly having to deal with all this and
you know, of course shoulder all the responsibility and the
blame for something that wasn't necessarily his fault or something

(02:02:15):
that he didn't necessarily do intentionally of course. Yeah. Yeah,
And this is still a developing situation. So at the
time of this recording, right, I guess for our listeners,
because we record kind of for an advance. Sometimes we're
recording this on September, so that is and also, like
Johnny I genuinely was not even aware of that situation
before today. So it's like, yeah, very much a developing, right,

(02:02:40):
I mean yeah, I wish everyone the best. I mean
that that is an incredible mind funk for someone who's
so early in the public eye. Oh yeah, Um, what's that?
The Bechtel Tests? The Bechtel Test? Ever heard of it?
I have Does this movie past the Bechtel Test? I

(02:03:00):
believe it does. Between Naru and my mother, yeah, they
talk about hunting, food, medicine, her future. I mean they
talk about a lot of stuff. Yeah, her skills. And
I wanted to give one more shout out to the
Ali Naughty Test, which Naru in this movie passes with
flying colors, So shout out to the Ali Naughty Test.

(02:03:25):
And um, then we've got our Nipple scale, the only
perfect media metric. It's flawless, ten out of ten. No notes.
We rate the movie on a scale of zero to
five nipples based on how it does when you look
at the movie through an intersectional feminist lens. I would

(02:03:48):
give this movie. I want to give it a four.
Four nipples. I'm gonna take a little bit of nippleage
off for the behind the scenes as far as the
movie was written and directed by white men, this is
not their story to tell. I don't know why indigenous

(02:04:10):
filmmakers couldn't have been given the opportunity to, you know,
be the creative minds behind this movie. And I think
that led to kind of the main thing that pinned
for all of us, as far as the way gender
is treated in the movie, as far as like European
style patriarchal values being voisted onto this culture and community

(02:04:35):
where that didn't fully track. So but there's just like
so much else to to love about this movie as
far as Indigenous representation and this movie pushing the needle
forward in that regard. Um. I want to share a
quick quote from Amber mid Thunder where she says, quote,

(02:05:00):
this is the first time you get to see an
indigenous female action hero at the center of a film
that in and of itself is a really incredible statement unquote.
And it's like, yeah, the fact that this is the
first time we're getting that in the year and I
will also yeah, like it's amazing. But also I'm going

(02:05:20):
to add, and I was talking with to Amber about
this too, is that I'm a sexual and one of
the things that really that I really loved about this
movie too, is that she got to be an action
star without a love interest. Yes, there was no male
figure trying to pull her into a domestic life, for

(02:05:43):
her having to choose between her people and a man, right, Like,
there was no love story, and the love story that
did exist was between you know, all of the native
characters and their community. And so, you know, as somebody
who's a set actual and to see a movie where
there is no love interest or you know, romance being

(02:06:05):
pushed onto any of the characters as part of pushing
them forward or kind of developing as a person like
that was phenomenal to me. And they did it so organically,
like it didn't seem forced or you know, it wasn't
like they were like, oh, well, because she wants to
be a warrior, no one wants to marry her or
nobody is attracted to her kind of thing. So, you know,

(02:06:27):
I really love that she just got to be not
you know and just like a fully developed person on
her own, without you know, a male figure having to
come in and try and control her or you know,
change the course of her action or it just you know,
I mean, it was just phenomenal to me, like I
was so excited by that as somebody who is a

(02:06:48):
sexual because in almost every movie we watch there is
a love triangle of some sort, which is remarkable. I mean,
in the action genre at all, I feel like it
there's always a love story that is that or very
often a love story that feels extremely shoehorned in and
almost in this like weird marketing attempt to be like

(02:07:08):
we need everyone to see this movie who likes a
really forced heterosexual romance, And it's like everybody is for sure.
I came to see a snake, a predator, and a
girl with an axe, and I left satisfied, and I
totally agree. Like having the most powerful bond in this

(02:07:31):
movie be between siblings is really rare and like powerful
and cool. Yeah, and it and it was there and
not in a weird way, because there's a weird thing
with siblings in movies where they're way too flirty with
each other, you know, like there's just this weird dynamic

(02:07:52):
with siblings that never really hits with me, you know,
like I'm thinking back to Monica and Ross and friends.
You know, they're always hanging around on each other. You
can lay up. Yeah, like there's just I mean, there's
some weird sibling relationships out there, so it was really
nice to see one where, you know, it felt like
a sibling relationship with the teasing and you know, just

(02:08:13):
kind of giving each other a hard time, but also
that genuine care that they had for each other. Yeah. Definitely. Yeah.
So with all of that in mind, I will give
the movie four nipples. I will award one to Naru,
I will give one to producer Jane Myers, I will

(02:08:34):
give a nipple to Sorry the Dog, and I'll give
my funnel nipple to the tooth brushing scene, which I
really appreciated and was, um from what I read, carefully
researched and you know, shout out to brushing your teeth.
Hell yeah, I'll meet you have four nipples. I think

(02:08:56):
that this is a I mean, like, it's a really
fucking cool movie. Um. I love that the production took
such care to represent indigenous cultures so specifically in time
and in their tribe and and and I mean the

(02:09:16):
weird girl boss elements of like like modern feminism. Those
moments were a little jarring, but thankfully they did not
throw the movie off. Course. I feel like Naru is
such a strong protagonist like she's you can't not root
for her, and you can't not root for her whole community,
even when they are at odds and even when they're

(02:09:39):
being stalked by Predator, and you kind of can't help
but root for Predator in a couple of moments, also
because you know, at the end of the day he
is boyfriend, and so I try to be respectful of that.
But yeah, I really love this movie. I agree that
the fact that we're still kind of in this cultural

(02:09:59):
moment where this whatever the Hollywood powers that be seems
to feel that you still needed a white director and
co writer to make this movie happen with the institutional
um support it received, is super discouraging. As we discussed,
I mean, I feel like, you know, there's no world

(02:10:22):
in which an indigenous filmmaker shouldn't get the first option
to make a movie like this with the institutional support
at the same level, and um, it's really frustrating that
that is still not a place where we're at. But
I do agree that this is a good stepping stone
movie to bring what I hope will be more Indigenous

(02:10:42):
stories by Indigenous people who are honestly indigenous filmmakers getting
institutional support to make whatever they want. And I will
say it's really hard for me too, because I in
my head, after seeing Pray, I've super been wanting to
just go hard campaigning for Dan Tracktonburg to direct or

(02:11:05):
even just options Steven Graham Jones The Only Good Indians,
which is one of the most terrifying Native horror books
that I've read in such a long time, Like it's
just haunts me. But after seeing Pray, I think that
he would be the one director that could possibly bring
it to life in a way that does it justice.

(02:11:28):
And I was like, oh, Johnny, you're such a trader.
You're such a trader. But well, Dan, I mean, he
directed the hell out of this movie. And also, you know, Clover,
Oh my goodness, Clover, like it's so good. It was
so good, and I, you know, I had not I

(02:11:49):
really wanted to hate it going in, and the story
just kind of really got me interested, and I was
just thinking, oh, like, this is a good twist. You know,
she thinks the world's ending and she's just down here
with this crazy dude, but then she gets out and
lo and behold, the world has gotten right. I was like, oh,

(02:12:11):
my god, I love this And then seeing Pray, I
was thinking, huh, I want to see Only Good Indians
as a movie. Dan seems to have a good grass
on horror, and you know what really kind of grabs
those human elements, you know, like with the relationships, you know,
beyond just the horror, you know, even better. Sometimes I'm

(02:12:32):
just like, okay, now, like Dan Trachtenberg could be the
kind of person to like champion an adaptation, find an
intentionous director would do an amazing job with it and
just like help steer the ship and keep things on
board and keep institutions out of the way, you know exactly,
Like I mean, there's so many options there. But I
was like, Johnny, you're such a trader. You're such a trader.

(02:12:54):
And and it's funny because I mean, I honestly, you know,
I did not expect to lie Pray. Like, if we
were having this conversation in two thousand sixteen, I'd be like,
no nipples, we're taking their nipples completely away. But now
it's like I would give them all the nipples. Well, well,
on that note, what is your nipple rating? Um? I

(02:13:17):
actually would give them a four and a half. I
think they did such a phenomenal job because they really
did have to turn that script around. Um, hearing some
of the behind the scenes conversations with like Jane Myers
and also with a lot of the Comanchee people that
came on board to to kind of help develop the film.
The original script was as bad as I thought it was. Um,

(02:13:40):
So they did have to tweet quite a bit, and
a lot of those little moments too, of where kind
of like that misogyny where it just feels like, Okay,
that's that's not Native, that's not our culture, that wouldn't
be you know, how Comanche men treated their women. A
lot of those moments, you know, we're kind of slip
through because of trying to I guess you would say,

(02:14:05):
make it understandable from a mainstream perspective of what this
story was. So I take away half a nipple for that,
because I honestly just can't wait to where, you know,
we get a Native film, you know, like where it's
like Reservation Dogs, where it can be told through that
native lens, completely through a Native lens, without having to

(02:14:27):
try and figure out how to translate that also through
a white lens. So but I mean, I think they
did like a phenomenal job. Everything about that movie, Like
there's so many little hidden Easter eggs, Like there's the
scene where she's walking through right before the hunting party
finds her after she gets out of the mud and everything.

(02:14:47):
But if you look in that scene, you will actually
see those Comanche warriors hiding behind the trees and in
the background. So if you're not watching, like you'll miss it.
But that's one of the things that Comanche people were
known for was being able to hide and sneak up
on people. So if you really watch that scene, you'll

(02:15:08):
see them in the background, and so you know. And
there's also a part where she whistles at night and
the predator shows up, which is one of those things
for Native people is very taboo. You don't whistle at
night because you don't know what's going to whistle back
or what it's going to bring forth, like what spirits.
So it was really cool to have them have her

(02:15:30):
whistle at night and then here comes the monster, you know,
just kind of like solidifying that that believe. So, I mean,
there were so many little Easter eggs, little things that
were hidden that you know, if you're native, it really
kind of just made you realize, like they took such
incredible care with this movie and they wanted Native people

(02:15:51):
to really connect with it, and you know, I really
think it did a good job of resonating with Native
people because of that. So, you know, I think they
just did an incredible job overall. I'm so glad. I'm
so glad we got to talk about this movie with
you as well. Thank you for coming on the show. Oh,
thank you for having me come back any time to
talk about whatever. And where can people check out your

(02:16:18):
stuff online? Follow you on social media anything like that. Well,
folks can find me online at Johnny j on Twitter,
on Facebook, and Instagram, and also check out a tribe
called geek at www dot a tribe called geek dot com. Um,
we have some great stuff coming up in terms of

(02:16:38):
like content, but also I am so happy to announce
that Indigenous pop X is back um since the pandemic,
which for those of year you don't know, is kind
of like the rebranding of Indigenous Comic con um. So
I am super excited that we are back and we're
going to be holding it in March of in Oklahoma

(02:17:01):
City at the First Americans Museum. So that's an incredible
as well. But I mean it's just an incredible celebration
of indigenous pop culture. So if you're in the okay
se area, check it out. I'm pretty sure things will
be live streamed. As far as other things that are
coming up, I'm going to be sharing some live streams
in the next coming weeks um from a conference that

(02:17:24):
I'm getting ready to head out to tomorrow, and I'll
be joining my Surviving the Zombie Apocalypse rest style presentation
as well as some live art demonstrations. Amazing, that's so cool. Cool. Yeah.
You can find us UH in all the usual online
places on Instagram and Twitter at Bexelkast. You can follow

(02:17:45):
us on our patreon a k a Matreon. Five dollars
a month gets you two additional episodes around a special
team that you help Caitlin and I pick every month,
or sometimes we just pick ourselves. So this month we're
gonna be doing some fun horror movies including the James
One Masterpiece, Malignant Um and also Final Destination three, So

(02:18:08):
lots to look forward to over there. And Caitlyn, where
can we get some merch from March that you design
Jamie Loftus, which we don't mention enough. Um you can
get that at t public dot com slash the Bechtel Cast. So, um,
you know, support Jamie's art, Why don't you? Yes, follow

(02:18:31):
your heart look no hard feelings either way. Um. And
with that, um click click click click click click click click.
That's how Predator says bye bye bye bye bye

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