[This story contains mild spoilers from Netflix’s American Primeval.]
In a TV realm dominated by Taylor Sheridan’s narratives on western expansion through shows like Yellowstone, its offshoots 1883 and 1923, the series American Primeval has garnered attention for its delving into the Utah Territory’s history, particularly focusing on the impact of settlers from the Church of Jesus Christ of Latter-day Saints (LDS) in preventing migration to the region. These actions reached their climax with the grisly 1857 Mountain Meadows Massacre, a historical event depicted in the Netflix miniseries that resulted in the deaths of approximately 120 travelers.
As a devoted admirer, I’d like to share my excitement about a six-episode Western drama penned and conceived by Mark L. Smith, masterfully directed by Peter Berg. This captivating tale follows my personal journey as Sara (Betty Gilpin), a resilient woman on the move, in search of help at Fort Bridger, nestled in Wyoming. My mission: to escort my young son Devin (Preston Mota) all the way to his father in Missouri.
At Jim Bridger’s (Shea Whigham) fort, I cross paths with Isaac Reed (Taylor Kitsch), a rugged mountain man. Despite initial reservations, he eventually assists me, my son, and our newfound companion, Two Moons (Shawnee Pourier) – a silent Native American woman who’s escaped her village and stowed away in our wagon. Together, we navigate this perilous journey to safety.
During their travels, they unexpectedly get caught up in a growing conflict among local tribes, the U.S. military, and Mormon outlaws led by President Brigham Young (portrayed by Kim Coates). This volatile situation transforms their trip into a perilous odyssey filled with intense violence, which the series intensely explores.
The performance brings together Berg and Kitsch, two actors who have worked together on multiple productions throughout their careers. Their most memorable collaboration was arguably when Kitsch played his breakthrough character in the sports drama “Friday Night Lights,” which is being revived on Peacock. They also teamed up for films like “Battleship” and “Lone Survivor.
I prefer connecting with individuals who make me feel at ease, with whom I can quickly establish a rapport, and who aren’t merely compliant but instead push my boundaries and encourage me to work harder and delve deeper than usual. In this regard, Kitsch stands out as one of the best, especially when it comes to our project, ‘American Primeval’,” Berg shared with The Hollywood Reporter.
He doesn’t always receive enough recognition for how dedicated he is to his roles and the effort he puts in. He approaches every set with full commitment, expecting the same level of dedication from everyone around him, and if that’s not given, he ensures it quickly. I never doubt his dedication or his readiness to push boundaries and delve into the art of acting.” – Berg adds.
In the conversation with THR, Berg discusses the final episode, criticism about the portrayal of Young, potential future developments for American Primordial, and hints at the upcoming Friday Night Lights revival – all while sharing insights on these topics.
***
What prompted your initial research into the Mountain Meadows Massacre for American Primeval?
Initially, Mark L. and I were discussing the idea of venturing into a particular genre, with the initial spark coming from the movie “Jeremiah Johnson,” starring Robert Redford as a city dweller who transforms into a respected mountain man in the wild west. We had both delved into “Under the Banner of Heaven” by Jon Krakauer, a captivating book chronicling the emergence of the Mormon religion and the transition from Joseph Smith to Brigham Young, which also covers the infamous Meadows Massacre. This led us to ponder if we could carve out our unique niche within this semi-Western setting, as it’s quite populated already, and we were aiming to avoid a conventional Western narrative.
As we delved deeper into the Meadows Massacre, our investigation led us on a surprising journey through the history of Brigham Young and the Mormon Church. It was eye-opening to discover that the Mormons not only had an armed militia but were also more aggressive than I had previously assumed. This revelation wasn’t without its complexity – we aimed to suggest in our show that they weren’t blindly irrational, but rather, they were fighting for their survival amidst a hostile environment where many sought to eliminate them. While I find myself sympathetic towards Brigham Young and the LDS Church, it is undeniable that the Meadows Massacre occurred, and the Mormons were implicated. Based on my research, I believe that Brigham Young was aware of the impending massacre before it transpired.
Some Mormon movie makers and content producers have expressed concerns about the portrayal of Young in the series, claiming it’s not accurate. How would you respond to these criticisms regarding the overall representation of the Latter-day Saints?
Our portrayal isn’t an exact reenactment of the Meadows Massacre as it spanned three days, while ours unfolds rapidly. Although I’ve encountered some criticisms, no one from the Mormon side has disputed that the Meadows Massacre occurred or that Mormons were involved. However, concerns have been raised about certain creative liberties we’ve taken. For instance, in our narrative, some Mormon women are abducted by Native Americans, which didn’t happen during the Meadows Massacre, but it did occur historically. There are numerous recorded instances of such events. We’ve always been transparent that this isn’t a documentary and not every detail is based on fact. However, we believe we maintain accuracy in a reasonable way, especially regarding the significant events like the Meadows Massacre.
As a gamer, I collaborated with Julie O’Keefe, our Indigenous advisor, on the game development project. Her guidance was invaluable, helping me navigate and ensure respectful representation of Indigenous cultures within the game world. She provided insights, suggestions, and oversight to maintain authenticity and sensitivity in our depiction, making the gaming experience more enriching for everyone involved.
In my role as an employee, she was my supervisor. I worked under her leadership. Recognizing the sensitivity of portraying certain cultures as a white filmmaker, I understood the importance of preserving authenticity and truthfulness in the production with the aid of suitable advisors to avoid misrepresentation. I acknowledged that there were aspects I was unaware of, and there were countless things I wasn’t even aware I didn’t know. Therefore, Julie was our first hire, essentially functioning as a consulting authority for the project because different tribes have distinct customs, and a single Native consultant may not be knowledgeable about every tribe. Julie facilitated the hiring of Paiute, Shoshone, and Ute consultants to ensure accuracy. Netflix supported this endeavor, which involved investment in both time and resources to get it right. Our team put in considerable effort, from details like moccasins, language, materials for teepees, clothes, to ensuring all actors, extras were Indigenous, and every box was ticked. If Julie deemed something incorrect, we would not proceed with it.
Many discussions revolve around the graphic nature of the show, yet it seems no explicit visual depiction of the sexual violence experienced by Sara and Two Moons was included. I’m curious if you could explain why this creative decision was made?
In our production, we aimed to portray a specific level of brutal intensity. Throughout the process, Julie repeatedly emphasized to me, often in response to my question, “Is this too extreme?”, by saying, “You can’t fathom it. This isn’t intense enough. The world you imagine and the reality you’re depicting, it was far more violent than what you portray.” The era we were representing was indeed extremely violent, and our goal was to accurately reflect that violence in our presentation.
In many projects I’ve worked on, there have been intense and violent scenes, such as in movies like “Lone Survivor”, “Patriot’s Day”, and “Deepwater Horizon”. These were real stories, and it was important to me to meet the families of those who lost their lives. Often, they would ask about how I would handle the violence, concerned that it might be too much. My answer was always the same: A filmmaker should recognize where crossing a certain line can lead to irreversible consequences, although I may not always know exactly what that line is. I try my best not to cross it. While pushing boundaries, I won’t overstep them. The scenes you mentioned, the sexual assaults, were close to this line. I felt showing more would have made me uncomfortable, and in “Two Moons”, while she experiences an attempted rape, it was crucial that she didn’t actually get raped. This was significant for me because it allowed Sara to seek revenge afterwards, which she did.
In a different vein, I’ve got to mention my work with Betty Gilpin, although I realize this isn’t always comfortable territory because the R-word is often avoided in conversation. However, when I found myself at a loss about how to help her portray her character’s recovery from an assault, I approached her and asked for assistance. Frankly, as a man, I couldn’t fathom it. And remarkably, she penned the line that I believe is exceptionally powerful: “Stop. Don’t do that. Don’t offer me pity. Don’t underestimate me.” This was her character’s response to Isaac trying to comfort her after the assault. The men who did this to her learned their lesson, and when Betty shared this line with me, I knew it was just right. It seemed like a potent means to guide her character towards healing.
Abish (played by Saura Lightfoot-Leon) and Jacob Pratt (portrayed by Dane DeHaan) experience a compelling narrative throughout the series, with Jacob persistently searching for her while Abish, despite being freed from captivity by the natives, chooses to remain hidden. Let’s discuss their emotional reunion in the climactic death scene of the finale.
As the final moments of the series unfold, Jacob manages to locate Abish in a dramatic twist that brings both characters together for one last time. Despite the tension and hardships they faced during their separation, their shared history and deep emotions reignite as they meet once again. The reunion is tinged with sadness, however, as it takes place amidst the harsh realities of their circumstances – ultimately culminating in a poignant death scene that leaves viewers reflecting on their journey together.
Mark L. Smith penned the final scene, which bore an uncanny resemblance to Romeo and Juliet, albeit with a psychedelic twist. When I reached that poignant moment where they reconnected, I felt a shiver run down my spine. I must admit, I rarely gasp, but this time I did, and I immediately phoned Mark, exclaiming, “Wow, really?” He simply replied, “Yes,” and I said, “I suppose so.” That scene, amidst the brutal and tragic events portrayed in the series, has the most profound impact on me. It’s undeniably pushing boundaries when it comes to violence and intensity, but as Julie O’Keefe points out, it pales in comparison to the harsh reality. Since its release, women have expressed their gratitude for Abish, a character forced into an unwanted marriage, being granted a fleeting taste of true liberation—a moment that might have been more appealing to her than living as one of eight Mormon wives in Salt Lake City, performing daily tasks they were obliged to do.
It was equally heartbreaking to witness Isaac’s character meet his end in the final moments, especially considering he had led Sara, Devin, and Two Moons nearly all the way to their intended destination. Was this the ending you had envisioned from the start?
It was just as painful to watch Isaac’s character die in the final moments, given that he had almost gotten Sara, Devin, and Two Moons to their destination. Did you plan for this to be the ending all along?
From the beginning, we were unsure about which characters would survive until the end, and it wasn’t until nearly two weeks before wrapping up that we had a clear idea. Every character was at risk, and we meant it sincerely – no one was safe. Mark, myself, and our producer Eric Newman often discussed this, contemplating whether to keep characters alive or write them off. We sought Bella [Bajaria]’s opinion, our boss at Netflix, asking her thoughts on the matter. We considered various aspects, including keeping everyone alive versus ending their stories. The decision we made was what we believed to be the most effective. However, we can never truly know – both Mark and I were saddened when we informed Taylor about it.
Isaac feels ripe for a prequel series.
At this moment, we’re discussing it. Great choice! If we decide to proceed, that’s likely the path we’d take, though I can’t say for certain whether we actually will.
Are you implying that we won’t get to continue accompanying Sara, Devin, and Two Moons on their trip to California in a potential new season?
One issue we faced was that Shawnee and Preston, our actors portraying Two Moons and Devin, were significantly impacted due to the strike. Production halted for five months, during which time Preston underwent puberty changes. He grew three inches taller, his voice deepened, and he started growing facial hair. This would have meant a considerable time leap to maintain the continuity of our crew, but I find the concept of revisiting the past intriguing.
Many viewers found it unexpected when Jim Irsay, the owner of the Indianapolis Colts, made an appearance in the first episode. So, how did this collaboration happen?
In a friendly manner, I’d like to share that Jim is not just my friend, but an exceptional individual. I’ve been producing a documentary about him, and when I mentioned this, his enthusiasm was contagious! You see, Jim has a deep admiration for Robert Redford, particularly the film “Jeremiah Johnson.” His excitement was palpable, so I invited him to join us. Naturally, he embodies that era – he seems as if he could have lived during 1857. There’s an authentic Americana charm about him, reminiscent of a bygone age. Occasionally, when including friends for cameos, the studio or others might question it, saying “This isn’t realistic.” But with Jim, everyone appreciated his presence. I was glad because there were discussions about cutting that scene. It wasn’t crucial, but it added a charming moment, and he’s simply a fantastic individual. He truly deserves another Lombardi trophy!
As a die-hard fan, I just can’t help but wonder about the potential Friday Night Lights reboot. Can you enlighten me on its current status?
Currently, we’re penning the script for a revival of the beloved series, “Friday Night Lights.” Jason Katims is spearheading the project and I’m collaborating with him on the script. Brian Grazer is also involved as the producer. This creative crew originally brought the series to life. Since this will be a reboot, we’ll have a fresh cast and the story will unfold in 2025/2026, a time significantly different from when we produced the original show. Remember, back then there were no smartphones – imagine that! Needless to say, times have changed. However, for quite some time now, fans have been clamoring for a reboot, and sometimes it takes patience to align everyone’s schedules. But given the contrast between today’s world and when we first started filming, there are countless new perspectives to explore and captivating tales to share. So while it will carry familiar elements, it will also be uniquely different.
***
Currently, American Primeval is available for streaming on Netflix. Take a look at THR’s article featuring Dane DeHaan, where he discusses the scalping scene and his character’s development throughout the season.
Read More
- POL PREDICTION. POL cryptocurrency
- Smino and Samara Cyn To Hit the Road on ‘Kountry Kousins’ Tour
- Hong Kong Treasury says crypto is not a ‘target asset’ for its Exchange Fund
- PYTH PREDICTION. PYTH cryptocurrency
- Ananya Panday claims ‘its tough being Bhidu’ after working with Jackie Shroff; find out why
- The Vampire Diaries Nina Dobrev Reunited With Co-Stars To Recreate Throwback Photo, And I’m Not The Only One Loving It
- Blockaid new dashboard to track Web3 activity and threats
- EXCLUSIVE: Alia Bhatt in talks with Dinesh Vijan for a supernatural horror thriller; Tentatively titled Chamunda
- AI16Z PREDICTION. AI16Z cryptocurrency
- SEN PREDICTION. SEN cryptocurrency
2025-01-18 02:25