{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/621c23b8509b320013d3cb04/631f4dd165fa5500121533c4?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"#88 - Prey (2022) - Native Americans vs. The Predator, Ancient Aliens, and Badass Women","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/621c23b8509b320013d3cb04/1662995175184-10ff0e243c28042d3e6995a2e839db54.jpeg?height=200","description":"<p>MAIN EPISODE: The talented photographer Peter Casa returns to Cinedicate with another sci-fi film, Prey. This film is the latest entry in the Predator Franchise that takes an unexpected turn as the film does not depict modern soldiers fighting the alien threat, but a Native America tribe, specifically a huntress.</p><p><br></p><p>Listen now as Peter unpacks how this film is a breath of fresh air in storytelling as it breaks the mold of what Predator films could be like. We follow a female huntress, Naru, as she embarks on her rites of passage to become part of the hunting party of her tribe. Set in 1719, this film is set in the Great Plains of America and the film sets the stage and presents to the audience, what would happen if an advanced alien hunter crossed paths with humans centuries ago.</p><p><br></p><p><a href=\"https://www.patreon.com/cinedicate\" rel=\"noopener noreferrer\" target=\"_blank\">Support Cinedicate on Patreon</a></p><p><br></p><p>Connect with Cinedicate on these social platforms!</p><p>Instagram: <a href=\"https://www.instagram.com/cinedicate/\" rel=\"noopener noreferrer\" target=\"_blank\">https://www.instagram.com/cinedicate/</a></p><p>Twitter: <a href=\"https://twitter.com/cinedicate/\" rel=\"noopener noreferrer\" target=\"_blank\">https://twitter.com/cinedicate/</a></p><p>Discord: <a href=\"https://discord.com/invite/ApxkXxGc7Y/\" rel=\"noopener noreferrer\" target=\"_blank\">https://www.cinedicate.com/discord</a></p>","author_name":"Armand Haddad"}