What does the end of ‘Reservation Dogs’ mean for Native representation in Hollywood?

I spoke with five Indigenous creatives about the limitations and possibilities of Native representation in Hollywood, and why it matters.

Like most Native Americans, I’m used to having to remind the world that “we’re still here.” I’m grateful for social media platforms like TikTok and Instagram because they’ve allowed Native people, especially Native youth, to be visible and share what being Indigenous means for them.

I still remember when the only mainstream depictions of Native Americans were PBS documentaries about the “Wild West,” occasional news reports about a tragedy on a reservation, or the now cult-classic independent film “Smoke Signals.”

As a young Native person, this lack of media representation made me feel invisible.

Countless studies and books have affirmed the psychological and cultural damage that is caused by this kind of erasure and assimilation. It is well documented that mass media influences the way we, as Native Americans, see ourselves and how others see and understand us. This includes inaccurate portrayals, offensive stereotypes, gross generalizations and the absence of any representation at all.

Gen-Z Natives have grown up in a different world. Native stories are everywhere from TV shows on major networks such as “Reservation Dogs” and “Rutherford Falls,” to social media like #NativeTwitter and #NativeTikTok, not to mention countless rising music artists and groups, fashion and beauty brands, and international fashion models.

Even the newer term BIPOC (Black Indigenous People of Color), centers Indigenous peoples, wheras the older umbrella term POC (People of Color) kept us hidden. Whether you’re a fan of either term or not, words have power and this centering of the I in BIPOC has, in many ways, shined a light on the particular needs and concerns of Indigenous peoples.

This isn’t to say that we have reached our final destination where equity is concerned – we are far from it–but, we have made some big strides. So much so that even professional sports teams with racist names and imagery have rebranded after decades of staunchly refusing to do so.

In light of the racial justice uprisings of 2020, U.S. corporations, including in the entertainment industry, faced massive public pressure to pledge financial, institutional and political support towards advancing the demands of the #BlackLivesMatter movement. While this pressure yielded some results, three years later everyone–including companies, brands, and celebrities have seem to have forgotten that Black lives (and equity for women, femmes, and QTBIPOC) matter.

In the world of entertainment, this meant that the once fervent commitment media networks had to Indigenous content has also faltered.

I was crushed when I found out that Season 3 would be the final season of Native dramedy “Reservation Dogs” on FX. While cancelling the series was ultimately a decision made by the creators, losing this series will leave a huge gap where Native content is concerned. Worse yet, earlier this year, Peacock canceled Native comedy “Rutherford Falls.” This was also devastating, but for different reasons, one of which being that I really resonated with the main character, Reagan (a witty, sassy, plus size 30-something who worked for her tribe’s cultural center) played by Jana Schmieding.

So what is left? For now, Native representation looks like videos, photos, memes and gifs on social media that are sometimes funny and sometimes serious, as well as music, fashion and beauty brands. Don’t get me wrong, these are examples of significant progress and authentic representation with a huge reach.

However the loss of modern day Native American stories on television means mainstream audiences – the demographic that is especially unaware that we exist – may forget about us altogether.

Although it is still unknown what’s next for Native American representationin mainstream media, I spoke with several Indigenous people in the entertainment world who shared their thoughts on the limitations and possibilities of Native representation, and why it matters.

Jana Schmieding, Cheyenne River Lakota Sioux

Star, “Rutherford Falls.” Writer and actress, “Reservation Dogs”

“I think the [increase in Indigenous representation in Hollywood] is due to generations of hustle and innovation by Native artists, thinkers and activists. There’s a lot of literacy we as a people have had to build over time for our non-Native relatives and peers. Simultaneously, within our communities, we’ve been doing the important work of exploring our identities through our art with each other. Collaborating and growing powerful through our diverse expressions.

During and after Standing Rock, I felt that something shifted. Non-Native people in my own creative circles were suddenly understanding our struggle more clearly. So I believe this time is due to a powerful convergence of community work, advocacy and artistic excellence.

[’Reservation Dogs’ and ‘Rutherford Falls’] established how much skill, talent and desire we have in our ranks, both behind the camera and in front. Nothing can take their places; they’re sacred like that in that ooooold way. But other shows will happen.

The current class of writers are developing producer skills, climbing that sacred Hollywood ladder (eyyyy). But for real, we need Native producers. Producers create shows, sell shows, cast shows and train new writers.

To me, the ideal scenario is that we get to a point where we no longer have to live with the pressure of being excellent in every space, or being the first Native to do something. The ideal is that we’re flourishing in our art and in our lives at every level and that we have opportunity in every genre.”

Sierra Ornelas, Navajo

Showrunner, “Rutherford Falls”

“Native folks have always been storytellers. [We are] innovators that master current technologies in ways that benefit us in our modern lives but also our traditional ways.

I think this generation of media makers are unified and help each other. We may all make very different types of shows, art and music, but we’re happy to see the other succeed and work really hard to lift each other up.

“Rutherford Falls” was the first show with a Native showrunner, and luckily it was the first of many. I wanted to make a show that was a reflection of Native life as I knew it: one of abundance, of humor, and where women were the focus. I can’t speak on the specific impact, but I know that after Rutherford and Reservation Dogs, the number of Native TV writers joining the WGA went up substantially. My hope is each one of those writers goes on to have their own show, and they take a little of what they learned in our rooms with them.

I think there is a lot more on the way. The TV industry is at an inflection point. We’ve brought too many talented Native folks into this industry, and we’re not going away.”

Karissa Valencia, Chumash

Creator, executive producer and showrunner, “Spirit Rangers”

“In an era where audiences crave authenticity, I think it was only natural that Indigenous content creators take the spotlight. Our cultures are so rich and beautiful and audiences are learning that we’re not all the same. I think this invites more curiosity into learning about the hundreds of tribes and nations and how different our art is.

‘Spirit Rangers’ is the show I always wished for as a kid. Growing up, I loved Disney’s ‘Pocahontas.’ I still remember asking Irene Bedard at my tribe’s Powwow to sign my VHS when I was 10 years old. It wasn’t until I got older that I realized the source material was terribly incorrect and that it wasn’t from an Indigenous perspective at all. It motivated me to pursue filmmaking and create new content for Native kids.

‘Spirit Rangers’ follows a family of Park Rangers who protect their National park using their culture. It’s been incredible to see the impact the show has had on our Native youth who feel a new sense of pride because they recognize hearing their languages or stories on a major platform like Netflix. While the series celebrates Native culture, it’s also an action-adventure superhero show for everyone. I love that non-native kids and families see us as heroes existing in the present day.

[’Reservation Dogs’ and ‘Rutherford Falls’] are irreplaceable and I will miss them! I know both shows hired so many Native crew members to work on their projects which has now created this amazing snowball effect of more Native talent working in the industry. This mentorship strategy will be carried on in projects to come, and I can’t wait to see what the new wave of Indigenous talent creates next.

An obstacle that I think we still have to face are the types of Native stories that are given a chance. Hollywood has long been fascinated by our stories in a historical drama setting, but we are so much more than those tragedies or tropes. I hope to see more comedies, action-adventure, and even reality TV shows!

I can’t wait for the day where there is so much Indigenous content being made that we won’t even be talking about what a rare debut it is. I’m hoping to see artists tell their own stories from their tribes, but also tell whatever story they want and beyond their culture. If they want to tell a vampire love story or direct Marvel movies, that’s exciting too! Our Indigenous perspectives exist in any form of media.”

Vincent Schilling, Akwesasne Mohawk, Enrolled St. Regis Mohawk Tribe

Founder and Editor of Native Viewpoint

“It is amazing to have watched the world of television, film and online media literally explode with new and exciting Native content. In short, people are tired of white savior films and instead want content from diverse voices. Sure there has been a bit of kickback, but the voices from communities are refusing to be silenced. The industry is learning that our world’s Indigenous storytellers have some truly amazing stories to tell, [and] I don’t see this slowing down.

As a Native American journalist, it is impossible not to have noticed that of all the stories I have written over the years, that my arts and entertainment stories involving up-and-coming Native stars or Native story lines have nearly always been my most popular stories. Indigenous creators are here to stay at every level and in the Native community, we share a collective belief that mentoring others to succeed is part of what gives us meaning and purpose.

The great thing about obstacles is that Native people are accustomed to micro-aggressions, cultural insults and straight up racism in an industry where not everyone is friendly. But with a history of broken treaties, stolen land and more, living and thriving in a volatile environment is old hat.

I would like to see a feature film that is produced, directed and written by Native people get an Oscar nomination. And let’s throw in a Native actor and actress as lead Oscar contenders, then sweep the Academy Awards. That sounds great to me.”

Joey Clift, Enrolled Cowlitz Indian Tribal Member

Comedian and TV Writer

“The Dakota Access Pipeline protests in 2016 and 2017 made the general public a little more aware of contemporary Native issues and, I think, made Native stories top of mind for a lot of media gatekeepers, executives, editors and funders.

While that was happening, a fresh roster of Native creatives had entered the scene, so when non-Native decision makers started looking for Native art and Native stories to distribute and fund, there were a ton of seasoned and talented Native creatives ready to smash those opportunities out of the park!

‘Reservation Dogs’ and ‘Rutherford Falls’ were incredible shows that really set the bar for quality Native-led television shows. I’m a writer and consulting producer on Spirit Rangers and I’m so excited for people to see our third season.

For me, the main concern is that the industry is currently in a contraction period. Less shows are being made than in prior years and traditionally, when the industry contracts, the networks and studios go back to telling ‘safe’ (white) stories. But the industry has learned over the past year or two that when you tell Native stories the right way, people show up.

Right now, we have three Native-created shows on television. I want three hundred. The Native experience is so vast and diverse with so many stories left to tell. There’s also an insane amount of pressure placed on the shoulders of most Native television writers to represent the entire Native experience perfectly because these are the first Native-created shows to hit the mainstream. My hope is that there are enough Native shows and productions being green-lit, that the next generation of Native creatives don’t feel the same pressure to achieve ‘perfect representation’ and they’re able to just tell cool stories.”

This article was originally written for Reckon News as part of my regular column.