tie the murder of Iñupiat activist Anne Kowtok to the mysterious deaths of scientists at the TSALAL Arctic Research Station in True Detective: Night Country., season four of the hit HBO series, she envisioned the women she was playing, Kayla Prior, as a soft-hearted character who feels sad and lonely while dealing with feelings of abandonment by her husband, always-on-call cop Peter ., who wrote and directed all six episodes of the program, had a different vision of Kayla.
“It was in in those interactions that I felt a clear vision of who Kayla was and how Issa wanted to represent women in the show and especially Indigenous women,” Lambe says. “The big thing with this season, which is such a departure from previous seasons, is that women are the strongholds of the show. They're the power, the force behind the story. For Issa, it was like every woman character needs to stand in her power to stand her ground and know what they want.
That changed Lambe’s interpretation of Kayla. “Issa was like, ‘No tears.’ This is Kayla's moment. She knows what she wants. She's fighting for her family, and she believes in herself. So it's not sad. It's a statement,” Lambe remembers.It’s a version of women, more specifically Indigenous women, that isn’t often seen on screen.
“The missing and murdered indigenous women crisis is something that's very real and goes so far beyond content for so many of us, and to tell that story on screen is very difficult to get all the nuances,” Lambe says.presents a counterargument in characters like Kayla, a sharp nursing student and devoted mother who stands up for her family, and Annie, a dedicated midwife who protests the local mine poisoning the water with deadly consequences.
“And so I think, where in a lot of other media that covers missing and murdered Indigenous women that we see kind of like the small picture of this Indigenous woman who is vulnerable ends up going missing or is murdered and we're trying to solve the case.
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