In the late 1800s, the Osage Nation struck blackgold. Overnight, their Oklahoma reservation became one of the most sought-after pieces of land in the country, and Osage tribal members became the wealthiest people per capita in the world. But the oil money that bought the Osage mansions and fancy vehicles also put targets on their backs.
During the 1910s–30s, nearly 60 Osage tribal members were murdered by non-natives who sought after headrights to the Osage’s oil royalties. Most of the murders took place between 1921 and 1926 during what is known as the “Reign of Terror,” when tribal members were poisoned, shot, run off the road, and even killed with explosives.
These homicides are the subject of Martin Scorsese’s currently-showing three-and-a-half-hour crime drama “Killers of the Flower Moon” featuring Leonardo DiCaprio, Robert De Niro, and Lily Gladstone.
Since its debut, the corporate media has fawned over the movie, not just because the film is gripping, the acting immersive, and the cinematics breathtaking (all true), but because it contains themes liberals love: white guilt and indigenous rights.
But there’s another crucial element in “Killers of the Flower Moon” that the media has so far been unwilling to address because it involves themes the left does not like, namely oil and gas, American energy independence, and authentic tribal sovereignty. What the Osage murders inconveniently reveal is that the ultimate villain in the story, the malevolent entity that continues to victimize Osages and all American Indians to this day, is the U.S. federal
