Category: Lenni Lenape

The Red Road Season 2 is the second addition to this American drama series created by Aaron Guzikowski. This time out, Kopus returns to his home from jail but is kept under watch by the authorities. Harold is tasked with maintaining peace among the Lenape tribe, who are growing considerably suspicious of Kopus.

Here’s how you can watch and stream The Red Road Season 2 via streaming services such as AMC Plus.

Is The Red Road Season 2 available to watch via streaming?

Yes, The Red Road Season 2 is available to watch via streaming on AMC Plus.

The second season opens with Kopus getting released from prison but has to return home with an ankle monitor attached to him. The Lenape tribe receiving federal recognition doesn’t sit well with the locals, forcing Harold to deal with the chaos. The tribe also shifts all of its suspicions to a returning Kopus. Harold decides to take a stand for Junior but ends up jeopardizing his position at the police station. Harold, Jean, and her parents regroup to cope with the tragic suicide of Captain Warren.

The cast of The Red Road includes Martin Henderson and Jason Momoa, who occupy the leading roles of Harold and Philip, respectively. The additional voice cast includes Julianne Nicholson, Allie Gonino, Tom Sizemore, Hayes Mercure, Blair Redford, and Mike Farrell, among others.

Watch The Red Road Season 2 streaming via AMC Plus

The Red Road Season 2 is available to watch on AMC Plus. Owned by AMC Networks, the subscription streaming service features live programs, as well as content from AMC, BBC America, IFC, and Sundance TV. Launched in 2020, AMC Plus is home to popular titles like Mad Men, Tropic Thunder, The Usual Suspects, and more.

You can watch via AMC Plus by following these steps:

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The Red Road Season 1 is an American drama series created by Aaron Guzikowski. The show sheds light on the long-running conflict between New Jersey’s Ramapo Mountains and the neighboring Lenape reservation. When a student mysteriously disappears, Sheriff Harold Jensen must do everything in his power to find her whereabouts. However, his quest for the truth rattles multiple feathers, revealing dark secrets in the process.

Here’s how you can watch and stream The Red Road Season 1 via streaming services such as AMC Plus.

Is The Red Road Season 1 available to watch via streaming?

Yes, The Red Road Season 1 is available to watch via streaming on AMC Plus.

The opening chapter of the series introduces the viewers to Sheriff Harold Jensen, who takes up the case of a missing student and threatens to revive the buried hostilities between his town and the neighboring Lenape reservation. Former con Phillip Kopus also returns to the scene to redeem himself but ends up causing trouble. As the investigation opens the gates to cultural clashes and dark secrets, new things come to light, and ghosts from the past come back to haunt everyone.

The cast of The Red Road includes Martin Henderson and Jason Momoa, who occupy the leading roles of Harold and Philip, respectively. The additional voice cast includes Julianne Nicholson, Allie Gonino, Tom Sizemore, Ben Winchell, Kiowa Gordon, and Annalise Basso, among others.

Watch The Red Road Season 1 streaming via AMC Plus

The Red Road Season 1 is available to watch on AMC Plus. Owned by AMC Networks, the subscription streaming service features live programs, as well as content from AMC, BBC America, IFC, and Sundance TV. Launched in 2020, AMC Plus is home to popular titles like Mad Men, Tropic Thunder, The Usual Suspects, and more.

You can…

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David Oleksa, Durham Historical Society

Four hundred years ago, the area we now know as Durham Township looked a lot different than it does now. Dark forest covered the entire landscape and the only areas that saw sunlight were the narrow strips of land bordering the streams and the Delaware River. It was said that a squirrel could travel from the far north to what is now known as Florida and as far west as the Mississippi River without once touching the ground.

In this dark and quiet environment lived the first inhabitants, the Lenni Lenape. They were a peaceful people who lived in domed huts made of a wooden framework covered with slabs of bark.

They subsisted through hunting the forest animals, the fish in the waterways and the simple foodstuffs garnered from small fields of corn, beans and squash. During the summer months, they would travel as far as what is known as the Jersey shore to gather shellfish.

The villages in which the Lenape lived would be used for several years and then the colony would move to another location, often just a mile or two away. This way they could make new fields as the old ones renewed.

Their tools were crude, usually made out of stone; many are still being found, especially in the springtime when the farmers have finished their plowing.

The Shawnee was another tribe that occasionally lived in the area. The two tribes were able to live peaceably with one another although on at least one occasion a major battle occurred when an argument started between boys from each tribe over a large grasshopper that one of them had captured. First the mothers got involved and then the fathers and before long, the two tribes were feuding. The outcome was the loss…

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Manahatta: A Smart Focus on Who Really Owns Manhattan – New York Stage Review
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Elizabeth Frances and Joe Tapper in Manahatta at The Public Theater. Joan Marcus

Manahatta | 1hr 45mins. No intermission. | Public Theater | 425 Lafayette Street | 212-967-7555

Every history play has its moral. The Trojan Women: Victory in war brings shame to all. Richard III: Power may be gained (not held) by hypocrisy and murder. A Man for All Seasons and The Crucible: Convictions are worth dying for. So what’s the takeaway from Mary Kathryn Nagle’s Manahatta, which juxtaposes the 17th-century Dutch colonization of this island and the 2008 subprime mortgage crisis? Hard to choose one. White folks monetize, steal, and destroy everything they touch? Ownership is the root of all evil? Ancestors never die?

Maybe the clue is something Bobbie (Sheila Tousey) says to Luke (Enrico Nassi). She has leveraged a bank loan on an adjustable-rate mortgage in order to pay for her late husband’s crushing hospital bills. Debt-ridden Bobbie now faces foreclosure. Luke, like Bobbie, is Native American, working for his (white) father at the bank. He’s guilt-ridden over helping Bobbie into this financial quagmire. She’s philosophical about it. “[W]e need folks like you, to walk in both worlds,” Bobbie says. “You can talk their talk, walk their walk, but the moment you forget who you are, they have you. And then you’re walkin’ in one world, not two.” 

It’s a powerful warning, one I wish Nagle had heeded. By running a Lenape family’s misfortunes through a dual-era structure, she prioritizes time-jumping echoes—between the “purchase” of Manahatta in 1626 and the housing market crash—over credible human drama. What it means, in practice, is an academic concept that looks good on paper, but yields shallow characters, wooden dialogue, and a perverse sense of historical fatalism.

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Joan Marcus

Audiences attending New York theater are used to hearing the announcement at the beginning of many productions—that the venue they are sitting stands on land that was the original homeland of the Lenape people. In the program for the Public Theater’s production of Mary Kathryn Nagle’s 2013 play, Manahatta (to Dec. 23), the statement has grown in declarative emphasis. “The Public stands in honor of the first people and our ancestors…We acknowledge the painful history of genocide and forced removal from this territory. We honor the generations of stewards, and we pay our respects to the many diverse indigenous peoples still connected to this land.”

The play, directed by Laurie Woolery, takes place in two time zones and places—the year of the financial crash in 2008 in Manhattan and Oklahoma, and then 17th century Manahatta (popularly known as Manhattan Island), where Dutch settlers land, and—first by inquisitive charm, then by brute force—displace the Lenape. The play contrasts the echoing themes of the two different eras: the violent centrifugal spin of money, racism, trade, power, and identity. The company of actors play different characters with similar characteristics in both eras.

Present in both old and modern storylines are the Lenape—a people in the 17th century selling furs and at home in what we know today as Downtown Manhattan. In the 17th century, we see the incipient forces of capitalism destroy the Lenape in their own homeland; in 2008, we see a modern Lenape family in Oklahoma threatened with losing their home because of the financial crash.

Read more at The Daily Beast.

Source: www.thedailybeast.com

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Review: ‘Manahatta’ Shows the Brute Forces of New York—Then and Now0)if(e&&”performance”in e&&e.performance&&”function”==typeof e.performance.setResourceTimingBufferSize)e.performance.setResourceTimingBufferSize();!function(){if(BOOMR=e.BOOMR||{},BOOMR.plugins=BOOMR.plugins||{},!BOOMR.plugins.AK){var n=””==”true”?1:0,t=””,a=”eyckraaeaaanajqacqnryaaaa5sxm2af-f-f448605b0-clienttons-s.akamaihd.net”,i=”false”==”true”?2:1,o={“ak.v”:”36″,”ak.cp”:”1314783″,”ak.ai”:parseInt(“790502″,10),”ak.ol”:”0″,”ak.cr”:4,”ak.ipv”:6,”ak.proto”:”http/1.1″,”ak.rid”:”5a025a1c”,”ak.r”:46578,”ak.a2″:n,”ak.m”:”dscr”,”ak.n”:”ff”,”ak.bpcip”:”2604:a880:400:d0::”,”ak.cport”:35342,”ak.gh”:”23.40.178.205″,”ak.quicv”:””,”ak.tlsv”:”tls1.3″,”ak.0rtt”:””,”ak.csrc”:”-“,”ak.acc”:”reno”,”ak.t”:”1702258693″,”ak.ak”:”hOBiQwZUYzCg5VSAfCLimQ==a2KGZdOK2FXPB3V/CyRjVR9qjmfcNLP8DFoXWzJgDDDAzxOMaOCten4Iw98B+xBqWFMYB5MF611zjDNTHitWLDUWhckbbu1hikWPfnRBdw/79j/m0QF/DxYwQvB/5uOFySPx3Gvb9slYqhEAcz/OOj0mmuzUfODQ2wuqxRUa8ZXC/yX97cO96BusGRd+bGuqpwoJnfuCboeIULZz1uaX6exjB1ETbvGjKXlRkZxBTvxDSsFMWzcSXYra505cjDyrtTiNsMhNCYtqNLtwljhP8RJvE1LG22GAUQRL8DeHb8Ypvuxe3GaZMHga6/uh5eCgLtn8EEog1UoykvMhVJRtNKV6kiOztT5R0lzjyROIXj3zmdHHES6m61Dx9NyAdyY0/s3cMBVCOHoDqDu+1Btmka8juRM5RAl35If+/tYj+No=”,”ak.pv”:”30″,”ak.dpoabenc”:””,”ak.tf”:i};if(“”!==t)o[“ak.ruds”]=t;var r={i:!1,av:function(n){var t=”http.initiator”;if(n&&(!n[t]||”spa_hard”===n[t]))o[“ak.feo”]=void 0!==e.aFeoApplied?1:0,BOOMR.addVar(o)},rv:function(){var e=[“ak.bpcip”,”ak.cport”,”ak.cr”,”ak.csrc”,”ak.gh”,”ak.ipv”,”ak.m”,”ak.n”,”ak.ol”,”ak.proto”,”ak.quicv”,”ak.tlsv”,”ak.0rtt”,”ak.r”,”ak.acc”,”ak.t”,”ak.tf”];BOOMR.removeVar(e)}};BOOMR.plugins.AK={akVars:o,akDNSPreFetchDomain:a,init:function(){if(!r.i){var e=BOOMR.subscribe;e(“before_beacon”,r.av,null,null),e(“onbeacon”,r.rv,null,null),r.i=!0}return this},is_complete:function(){return!0}}}}()}(window);]]>

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Manahatta Review – New York Theater c&&(c=a.length);var d=a.indexOf(“?”);if(0>d||d>c){d=c;var e=””}else e=a.substring(d+1,c);a=[a.substr(0,d),e,a.substr(c)];c=a[1];a[1]=b?c?c+”&”+b:b:c;a=a[0]+(a[1]?”?”+a[1]:””)+a[2]}return a};var l=0;function m(a,b){var c=document.createElement(“script”);c.src=a;c.onload=function(){b&&b(void 0)};c.onerror=function(){b&&b(“error”)};a=document.getElementsByTagName(“head”);var d;a&&0!==a.length?d=a[0]:d=document.documentElement;d.appendChild(c)}function n(a){var b=void 0===b?document.cookie:b;return(b=h(b.split(“; “),function(c){return-1!=c.indexOf(a+”=”)}))?b.split(“=”)[1]:””}function p(a){return”string”==typeof a&&0 Skip to content Scroll to Top :first-child”; var relocateNode = document.querySelector( selector ); relocateNode.parentNode.insertBefore( adNode, relocateNode ); ]]>

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