Jason Momoa thrill in the historic drama

Hawaii has been hosting millions of tourists for decades who flocked to his islands from all over the world to sunbathe in their lavish, natural beauty. Countless films and shows have used its many exotic, picturesque places, while on superficial topics from Ohana or the Aloha spirit. But in War managerKānaka Maoli (native of Hawaiian) Jason Momoa and Thomas Pa'a Sibbett have successfully excavated a little -known part of the history of their ancestors, the effects of which can still be felt many generations later.

The new historical drama drama created by Momoa and Sibbett plays the former as Ka'iana, a Hawaiian mark chief who produces a bloody campaign to unite the warrior kingdom to save it from the threat of colonization in the late 18th century. It is a particularly meaty role for Momoa after making a career when playing cheap heroes game of ThronesPresent Fast xAnd of course the DC universe as aquaman.

Momoa has revealed that he wanted to tell the history of the unification of Hawaii for most of his adult life, but that he and sib bed took a few years until they had the feeling of having enough star power and the necessary experience as a writer and producer in order to combat a story about this size. And the end product was worth waiting. With the type of name recognition and influence, which he was able to cultivate from the work on global film franchise companies, Momoa clearly thrown a lot in this project to tell a necessary story that is tall but intimate.

To be honest, in the first season it is less about the direct consequences of colonization and focused more on the unfortunate bloodshed that preceded the reunification of the Kingdom of Hawaii. The story begins with Ka'iana, the son of Maui's greatest mark leader, who decides to Hawaii, who reluctantly agrees to coordinate with the army that he was going to defeat O'ahu -just to discover Maui boss Kahekilis (a terrifying Temuera Corrison), the conquest and rules of Temuera in the region in the region have the conquest and rules in the region. Ka'iana refuses to be used as a farmer in Kahekili's offer for power, and tries to flee men from Kahekili's men and ends up in the ocean, where he is saved by a boat of English retailers and maintenance. Since they also fled out of the island after they had come off with local Hawaiians, these foreigners described these foreigners as “sandwild”, a warrior who was not afraid of Muskete or Kanone-Hat no other choice than to adapt to the English in the foreseeable future.

After Ka'iana's first warrior leaves the islands, the eyes are permanently open to the horrors of European colonization–as he puts it. During a trip to the Spanish West Indies, for example, he sees people who are involved in the slave trade and the trade in deadly weapons who prioritize money above all all the priority. It is a dramatic departure from his own upbringing, in which gods are worshiped and prophecies are fulfilled. When he returns home, Ka'iana sounds the alarm about the potential consequences of a European invasion. “There is a lot of suffering,” says Ka'iana in the middle of the season, just to be rejected by Hawaiis King Kamehameha (Kaina Makua) and the people around him until it is too late. “The Pale skin does not honor the country's gods,” warns our protagonist. “They steal from it and let many sick and hungry hunger without houses. Cruel men with strong weapons and ships will come soon. We have to find a king that can face them.”

Momoa has a rare opportunity to present its entire range here as a dramatic actor and as a visionary director. Ka'iana is always torn between two worlds: he is a Kānaka-Maoli with the ethos of pale skin, a believer and atheis, a spokesman for Hawaiian and English, and a warrior who is involved in hand-to-hand fight and guns to kill his enemies. Momoa embodies all contradictions of Ka'iana and creates a convincing portrait of a desperate guide who is bound to duty and victims.

https://www.youtube.com/watch?v=OWDGCWUFWK8

When Ka'iana is the heart of War managerThe show ensemble, which consists almost exclusively of Polynesian actors, forms its strong backbone. Together with Morrison, who plays the power-hungry Kahului (named after the god of thunder), Cliff Curtis grabs the competing Chieftain Keoua, an antagonist who is hell to recover what he believes that he is rightly right-sog if it means to kill his own flesh and blood. The nightly'S Luciane Buchanan projects a quiet strength than Ka'ahumanu, the wife of Kamhameha, who pushes back against the social restrictions for women by becoming the strongest political consultant in her husband. Te ao o Hinepehinga portrays Ka'iana's power pack -woman Kupohi, who cannot shake the feeling that the man who returns to Hawaii is no longer the same. While the characters in Ka'iana's immediate family can all use a closer focus after his unexpected departure at the beginning of the season, their relationships in the last three episodes will pay off in a way that is equally rewarding and heartbreaking.

Finally, all streets will lead to “The Black Desert”, the season finale of Momoa from a script that he wrote with Sib bed, which sets a potential second row of episodes and is an ambitious feast for the eyes. On a massive lava field, which was shot near some real volcanic eruptions, Momoa catch the wild brutality of this era with the types of combat sequences that dare to watch the viewers.

When he initially set up the show, Sib bed insisted that the first two episodes fully write on Hawaiian. It is a creative decision that is fundamentally sensible, since outdoor influences only arrive at the island coast in the second episode, but still encounter resistance from managers. But by setting up his weapons, Sibbett and his creative team were able to include the subtle progress and the integration of English into the life of the local Hawaiians. In fact, the way native characters between languages later have a code counter in the season is just as informative as the words they say. Some want to take care of their own protection, others want to use English to lead their business and political affairs, and others cannot bother to learn the language of the “white man”.

Many Hawaiians, like other local populations, were deprived of their cultural customs, including language, but Momoa and his employees are part of a generation of great -grandchildren who are now actively trying to regain this part of their descent. And at a moment when the story is actively suppressed from classrooms across the country, War manager serves as in good time that the most painful parts of history – especially the native history – are deleted.

War manager Premate on August 1st on Apple TV+

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