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Monday, March 23, 2026

Kaycee Dutton ( Luke Grimes) could have been the new Billy Jack

 


Taylor Sheridan missed the opportunity to continue the Yellowstone legacy while challenging the status quo of the industry movement toward Conservatism.   Instead of just a western cop show, he had all the elements to create a series that would be comparable to Billy Jack.    However, killing off the character of Monica challenges that possibility. 

The partnership between Monica and Kaycee reflects that of Billy Jack and Jean.  Billy and Kaycee are both wounded warriors who channel their pain into helping and protecting others.  Both teachers, Jean and Monica, were strong women who were idealistic, healing, and brave enough to create a better world.  The storylines would have been expanded beyond the us-versus-them mentality, which was the common theme of the Yellowstone series, into the empowering of veterans and reclaiming the Indigenous cultures.

The trauma of military service and his family history gives Kaycee a unique understanding of the benefits of equine therapy for veterans.  Partnering with Mo Brings Plenty, Kaycee would have created an equine center that intertwined equine therapy with Native healing techniques.    In doing so, it would raise awareness of the benefits of equine therapy for veterans, while challenging the stereotypical image of Indigenous People.  The therapy program would make room for some of the original cowboys to return, plus give opportunities for the appearance of guest stars, including real-life heroes.

Monica’s teaching experience would be continued and expanded to include writing articles and books that teach accurate Indigenous history. Truth-based facts break stereotypes.  It also gives pride to the culture and gains respect from others.  I heard that Kelsey Asbille lied about her ethnicity.  Making a false claim is wrong; it dishonors the stolen culture and the one that was thrown away.  However, killing the character was a big mistake.   It threw away the opportunities to examine the true meaning of family.  Monica would have learned that she was adopted, setting up an emotional and spiritual crisis.  Seeing her whole life as a lie, she no longer knows who she is or where she belongs. The identity and spiritual crisis would have also affected Tate.  Kaycee doesn’t know how to help them.  Normally, Monica would have gone into the mountains to find comfort and wisdom, yet she doesn’t want to again dishonor the Ancestors' and her family’s teachings. Her Grandfather reminds her of all the times she went to seek their guidance and was given the wisdom she sought.  The Great Spirit and the Ancestors knew the truth, even if she didn’t, and gave her what she needed. Heritage is the starting point of a life; it’s not the final destination.  They saw her compassionate heart and warrior spirit; they claimed her just as her parents had when they adopted her into the family.  Monica goes on the vision quest only to return more determined than ever to dispel the lies and honor the Indigenous heritage.

Although the ranches were miles apart, Beth and Rip would remain active parts of Moncia and Kaycee’s lives.  More than just helping each other with the challenges associated with the ranches, they would have to face the political fallout of the Dutton family legacy.  What happened to Jamie?  What would happen if the train station were accidentally discovered? Just because John Dutton was dead and Yellowstone belonged to the Nation, the repercussions would still echo throughout the next generations.

Rip and Carter would work the ranch.  Although Beth would help, it’s not within her temperament to be stay at home wife.  She loves the challenges of the financial and business worlds too much to give them up.  Instead, she would continue to work to change the ranching business model to make it more profitable for family ranches.  She couldn’t do it for her father and the Yellowstone, but she would continue to look for new opportunities to make ranching profitable.

As cousins, Carter and Tate would face their own challenges of growing up and deciding their futures.  What do they want to be when they grow up?  What opportunities do they have?  Both would also face a similar identity crisis—Tate with his heritage and Carter with finding his place in the family dynamics.  Their primary question is the same as all teens: Where do I go from here?

However, unlike Billy Jack, the Indigenous culture would play a more active role.  Thomas Rainwater and Mo Brings Plenty walk the thin line between the Progressives and Traditionalists.   Neither side accepts them.  The storylines would involve Thomas and Mo working to bring the factions together by blending the best of both worlds.  How do they bring jobs and prosperity to their people while still protecting the land?

The family connection between Rainwater and the Duttons was solidified with the transfer of the Yellowstone to the Nation; however, the loss of jobs continues to undercut Rainwater’s leadership. With the internet and diverse competitors, the Rez casinos are experiencing declining returns.   Rainwater must find alternatives.

With common financial experience and business backgrounds, Rainwater and Beth work together to build a meat processing plant and a direct-to-consumer delivery business model.  Benefiting the ranchers with a higher profit return and creating jobs for those on the Reservation, the venture becomes extremely popular and profitable. The business model expands to include other reservations and ranches across the nation, challenging the corporate-run ranches and meatpacking companies. To protect their monopolies, the corporations first attempt to buy their competitors.  When the bribery fails, they turn to alternative means of persuasion.   

To compete with the glitz and glamour of the city casinos, Rainwater works with Monica and Beth to offer the “Native Experience” with spiritual teachings and tours that tell the history of the Nations. They offer peaceful retreats with the primary pitch being, “enjoy all the benefits without the stress and costs of ownership.”  Monica and the Elders plan the events.  Beth uses her connections to promote and market them. 

Instead of just another cop show, this series would have tapped into the nostalgia of Billy Jack while telling suspenseful tales of love, hope, and new beginnings.






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Thursday, March 12, 2026

Theresa Chaze: unabashed troublemaker

For most of her life, people have been telling her not to try or to give up. They said her goals were impossible--that she couldn't possibly make any of them happen. But what they were really saying was that they were afraid to try or were afraid she would succeed. If you believe you can't, then you can't; yet if you are certain you can, you can find or make a way to reach your goals. Theresa Pachesny Chaze Film & Television Producer • Writer • Director Email: Tirgana@yahoo.com Website: kaleidoscopefilmandtelevision.com

Monday, March 9, 2026

Veterans can't go back and make a brand new start but they can start from now and make a brand new end

Veterans are people—not political agendas. They served our nation, and many now face life-altering challenges without the support they’ve earned. I am the Creator and Executive Producer of Horses and Heroes, a veteran-based documentary TV series combining equine therapy and peer support to help veterans heal and move forward. The series will consist of 16 episodes (18 broadcast hours) and feature 10 veterans, including two public figures, while employing veterans both on and off camera. We are seeking a corporate partner aligned with supporting veterans and reaching the 18–49-year-old demographic. Our presenting partner would receive prominent brand integration, audience engagement opportunities, and exclusive access to unaired content, while directly supporting nonprofit equine therapy centers that serve veterans at no cost. If this aligns with your mission, buy our shirts and recommend others do the same. Thank you for your time, Theresa Pachesny Chaze Creator & Executive Producer, Horses and Heroes Website #veterans #hiringveterans #documentaryTVseries #equinetherapy #HorsesandHeroes #TheresaChaze

Sunday, January 18, 2026

New Veteran Based TV Tells Veterans' Stories

Veterans are people who deserve to be treated as heroes, not political agendas. They have earned the help and support that they need. Horses and Heroes will tell veterans' stories as they work together to learn new coping skills for their physical and emotional challenges. We will also be hiring veterans for the jobs in front of and behind the cameras, while supporting the equine centers that have veteran programs. To learn more, visit our website. https://www.kaleidoscopefilmandtelevision.com/horsesandheroes #veterans #equinetherapy #jobs #ptsd #HorsesandHeroes #TheresaChaze #Army #Airforce #Navy #Marines #CoastGuard #militarysupport

Thursday, November 27, 2025

Inclusion with Theresa Chaze Movie Producer 🎬 🎞 🎥 🎦 📽

Linda (LINDA LOVE ❤️) Lemos and I have a wonderful conversation about diversity and inclusion. We talk about supporting age, gender, and ethnic diversity in the workplace and the world To learn more about about Kaleidoscope Film and Television and our slate of projects visit our website https://www.kaleidoscopefilmandtelevision.com/

Sunday, August 10, 2025

Product Placement and Integration benefits brands and projects

 Effective promotion and marketing campaigns remain the keystone for every company’s success. This is especially true during financially challenging times. The expenses are necessary to reach the customers, but finding the money in the budget can be a challenge.  It places the company in a chicken-and-egg situation.   The innovative knows how to get the biggest bang for their bucks.

Product placement is an old-school promotion and marketing technique that, when updated and used properly, outshines traditional and more expensive campaigns. During the early days of television, companies were the sole sponsors of individual TV series.  The brands were so intertwined that they became synonymous with each other.  The Mutual of Omaha’s Wild Kingdom is only one example.  Mutual of Omaha was featured in the title and the hosts promoted the brand within the series.  The increasing production costs made this business model unsustainable, thus establishing the current trend of separating content from advertising.  However, instead of being abandoned, cross-branding transformed into a combination of the two techniques.  This hybrid methodology maximizes the financial benefits for the production by expanding the number of brands embedded into it, while lowering advertising costs and maximizing the longevity of the promotion for each sponsor.

Both models have their benefits and their challenges. With only one sponsor, the full financial weight falls on it, yet the promotional benefits also dramatically increase.  Frequently, the brands become permanently intertwined with the reputation of each, reflecting on the other.   Being able to attract a specific demographic is an additional benefit of this business model. The content organically lures the audience, who find the topic, genre, or personality involved interesting, which gives the sponsor direct access to those it is trying to reach.   Once embedded in the project, the brand continues to be promoted whenever and wherever the project is viewed without additional cost to the sponsor.  Once produced, the connection becomes locked.  Nothing can be added or subtracted without altering the project itself

 

With the separation of the content and advertising, the financial obligations for the sponsor have been lower, but the benefits have also dramatically decreased.  Instead of being an equal partner with the series, the brand becomes only one in the crowd.  Targeted purchases of commercial time do increase the possibility of reaching a specific demographic; however, the cost for such commercial buys increases the cost of each ad.  Network rate cards vary in terms according to the market size, day part, how far in advance the airtime is bought, and the flexibility of the placements.  The more specific the terms, the higher the price tag will be.  The current norm focuses on day part and venue rather than content.  It is little different than throwing spaghetti at a wall and seeing what sticks. Additionally, the separation of content makes the ad buy a one-and-done.  The ad will air according to the terms of the contract and will not air again until another contract for more airtime has been signed and paid for

The hybrid model combines the best aspects of both.  It has the permanence of embedding brands and the cost-effectiveness of the current business model.  Embedding brands manifests in two forms, placement and integration.  The primary difference between the two is the involvement and interaction between the on-screen talent and the brand.   The more interaction between the two, the greater the exposure and the higher the cost.  Placement refers to the product being placed within the set design in such a way that it receives screentime, but without direct interaction with the characters.   Integration refers to products that involve active interaction or usage of the brand name on screen as the characters use or positively speak about the product. 

In the 1984 Ghostbusters, Bill Murray and Sigourney Weaver had a scene in front of her refrigerator.  For nearly thirty seconds of the scene, a Coke has been placed on a shelf between them.  They don’t look at it or refer to it, yet it has a notable presence in the scene. More recently, in the series Yellowstone, Marlboro circumvented the legal restrictions against on-air advertising of tobacco and smoking products.  In several scenes, the character Beth opened a Marlboro box, took out a cigarette, and smoked it.  Nothing was said about the brand.  It was just a matter of course that Beth smoked.  However, instead of concealing the brand, the name received screen time.

Timing is another primary difference in the promotional models.  Cross-branding placement has longevity and permanence; however, its benefits are delayed until the release of the project.  Purchasing airtime within commercial breaks has immediacy of exposure, yet a short shelf life. The rate card for each also radically differs. The cost for placement is based on length of screentime in seconds, active/passive presentation, actress/actor involved, and the genre.  Whether an Indie or studio project, an A-list talent will garner a higher rate per second.  However, in order to accommodate the two-minute commercial breaks, ads have been limited to standardized lengths of 15, 30, 45, 60, and 120 seconds. The rate cards base their fees on the rating of the program; the higher the rating the more costly the placement will be.

 


Never Can Say Good-bye’s production team will reinvent the definitions of innovation, moxie, and creativity as they place and integrate brands within the project.  It will feature products that are normally overlooked, while offering traditional sponsors a fresh perspective on how their products or brands will appear on the screen.  Although the genre of paranormal-thrillers attracts the 18–49-year-old demographic, by supporting age, gender, and ethnic diversity, Never Can Say Good-bye will broaden and enhance that target base. Thereby, it will expand the sponsors’ promotional reach beyond expectations.

 


By combining brands, Never Can Say Good-bye will give the scenes a real-world feel. In addition to being placed or integrated into the scenes, the name of the brand will be used whenever possible. For example, in the scenes within the cars, a radio station will be playing in the background.  The station will be identified by its call letters. Depending on the length of the scene, from one to two thirty-second commercials will air for any family-friendly product.  There will also be a running joke about how the supporting character, Amanda, is trying to win a radio contest.  She is more than capable of buying her own, but she tells others that it tastes better when she wins it.  Her attempts to call in are frequently thwarted by others.  These details will be added in the final script. 

A motorized wheelchair will be used by Amanda, who is well-respected in her community.  She will be seen using it in and outside her home.  In addition, it will also have screen time as it is used on various terrains, including city streets/sidewalks, college campus, and a cemetery.  Extras of various ages, genders, and ethnicities will be seen using them.  However, the budget line only includes the screentime in which Amanda is featured.  The scenes with the extras will be considered bonuses.  The sponsor will be expected to provide the necessary motorized wheelchairs that will be donated to non-profits after the production; the sponsor will receive the tax deduction.

For a complete list of placement opportunities available through the contact information on the website.  



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