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Amber Midthunder

Amber Midthunder (born April 26, 1997) is an American actress of Native American descent, enrolled as a citizen of the Fort Peck Assiniboine and Sioux Tribe. Born in Shiprock, New Mexico, on the Navajo Nation, she is the daughter of actor and stunt performer David Midthunder and casting director Angelique Midthunder, whose professions facilitated her early exposure to the entertainment industry. Midthunder first garnered attention through guest appearances on television series such as Longmire and Banshee, before securing series regular roles as Kerry Loudermilk in FX's Legion (2017–2019) and as Maria DeLuca in The CW's Roswell, New Mexico (2019–2022). Her breakthrough came with the lead role of Naru, a young Comanche woman defending her people from an alien predator, in the 2022 Hulu film Prey, a prequel to the Predator franchise directed by Dan Trachtenberg; the film achieved critical praise for its taut action, practical effects, and culturally grounded portrayal of 18th-century Comanche life, becoming Hulu's most-watched premiere and the only entry in the series to win a Primetime Emmy Award. Subsequent projects include supporting roles in action films like (2021) as a resilient and appearances in the FX on series , further establishing her as a versatile performer in genres emphasizing physicality and perspectives. Despite pre-release skepticism from some quarters anticipating ideological overreach due to the film's -led narrative, Prey's success validated its focus on empirical storytelling rooted in historical and survivalist realism over contrived messaging.

Early life

Family heritage

Amber Midthunder's father, David Midthunder, is an actor born on January 1, 1970, in to a family of and heritage; he is an enrolled member of the Fort Peck and Tribe in . David's ancestry also includes and English descent, reflecting a mixed Native American and European background typical of some tribal enrollees in the region. Her mother, Angelique Midthunder (professionally known in casting), was born in and holds mixed Thai-Chinese and British American heritage, with the latter encompassing English and potentially Irish elements; she works as a casting director and based partly in . Angelique's multicultural background has influenced family dynamics, including exposure to Asian and European cultural elements alongside Native traditions. Through her father's enrollment, Midthunder qualifies as a citizen of the Fort Peck Assiniboine and Sioux Tribe, emphasizing her ties despite the family's broader ethnic diversity, which includes Asian, European, and Native components without dilution of tribal affiliation under federal recognition standards. This heritage has shaped her public identification with Native American identity in roles and advocacy, grounded in paternal lineage rather than proportionate ancestry alone.

Upbringing and initial exposure to acting

Amber Midthunder was born on April 26, 1997, in , located on the reservation. She is the daughter of David Midthunder, an actor and stunt performer of and descent, and Angelique Midthunder, a casting director and stunt performer originally from with Thai-Chinese ancestry. The family spent much of her early years in , where she attended local schools and was immersed in an environment shaped by her parents' work in film and television production. Growing up around the entertainment industry, Midthunder was exposed to from a young age through her father's on-set presence and her mother's casting roles, which facilitated informal opportunities to observe and participate in shoots. She developed an interest in performing by memorizing dialogue from movies and shows, though she later recalled considering as an alternative path before committing to . This familial proximity to New Mexico's growing film scene, bolstered by tax incentives attracting productions to the state, provided her initial practical exposure rather than formal training. Her earliest credited role came at age four in the 2001 short film The Homecoming of Jimmy Whitecloud, portraying a young girl in a narrative centered on Native American themes. She followed with uncredited appearances in projects like Deadly Species (2002), gaining on-set experience amid local industry activity. Midthunder's first speaking part arrived at age nine in the 2008 independent film Sunshine Cleaning, where she acted opposite Alan Arkin in a minor role, marking her transition from background presence to dialogue-driven performance. These early opportunities, often tied to regional productions, laid the groundwork for her continued work in New Mexico-based projects before relocating to Los Angeles around age 17.

Career

Early television and film roles (2000s–2010s)

Midthunder made her acting debut in a small speaking role in the 2008 independent comedy-drama film , directed by Christine Jeffs and starring and , where she appeared alongside ; the film, set and primarily filmed in , follows two sisters starting a crime-scene cleanup business. In the early , she transitioned to television with guest appearances, including the role of Lana Cleary in two episodes of the action series during its second season in 2014, a character involved in the show's criminal underworld narrative. That same year, Midthunder portrayed Lilly Stillwater in the single episode "A of Platte County" of the A&E crime drama Longmire, playing a Native American girl connected to a missing persons case reflective of the series' reservation storylines. Her early film work expanded with supporting roles in mid-2010s productions, such as Nikki Ramirez in the 2015 biographical drama Spare Parts, which depicts undocumented high school students building an underwater robot for a national competition, and in the 2016 crime thriller Hell or High Water, a in a brief scene amid the film's plot starring and Ben Foster. She also played Maria, a young woman rescued from , in the 2016 faith-based thriller Priceless, emphasizing themes of redemption through its protagonists' efforts to save victims. Midthunder gained recurring prominence on television with the role of Kerry Loudermilk in the superhero series Legion from 2017 to 2019, portraying a multifaceted to the lead character David Haller, evolving from a protective figure to one exhibiting abilities across three seasons; the series, based on the mutant, drew on elements and marked her first extended series commitment. In 2019, she joined the main cast of The CW's reboot as Maria DeLuca, a and descendant central to the ensemble's conspiracy-laden plot, continuing into the but debuting within the decade. These roles, often leveraging filming locations, built her experience in genre and dramatic formats prior to larger-scale projects.

Breakthrough roles and major projects (2017–2022)

In 2017, Midthunder gained prominence with a series regular role as Kerry Loudermilk in the superhero series , a spin-off from the franchise that aired from 2017 to 2019 across three seasons. Her character, a young woman with a complex, symbiotic relationship to an older , showcased her ability to handle intense psychological drama and action sequences alongside leads and . This role marked her entry into higher-profile television, building on prior supporting work and earning her recognition for physicality and emotional depth in a critically acclaimed series. Midthunder continued with another series regular role as Maria DeLuca in The CW's , which ran from 2019 to 2022 over four seasons, reimagining the 1990s alien-themed drama with a focus on diverse casts and serialized storytelling. In the series, she portrayed a loyal friend and budding psychic entangled in extraterrestrial conspiracies, contributing to the show's appeal through her grounded performance amid supernatural elements. Concurrently, she took on film roles, including supporting parts in indie thrillers, but her visibility increased with the 2021 action film , where she played trucker Farah in a high-stakes rescue operation led by amid a collapsing mine in the . The film, directed by and released on on June 25, 2021, highlighted her in adrenaline-fueled survival scenarios. Midthunder's major breakthrough came in 2022 with the lead role of Naru, a young Comanche warrior, in Prey, directed by Dan Trachtenberg as the fifth installment and prequel in the Predator franchise, released exclusively on Hulu on August 5, 2022. Set in 1719 on the Northern Great Plains, the film depicts Naru's hunt against an advanced alien predator, emphasizing her ingenuity with traditional weapons and environmental knowledge; Midthunder performed many of her own stunts, including archery and combat, drawing on her training for authenticity. The project elevated her to top billing for the first time, garnering widespread praise for revitalizing the franchise and leading to her signing with CAA for representation across all areas shortly after release on October 6, 2022.

Recent projects and developments (2023–present)

In 2023, Midthunder appeared in the family film Centurion: The Dancing Stallion, portraying Ellissia Hall, a role in a story centered on a young girl and her horse competing in events. She also guest-starred as Isabel in one episode of the Apple TV+ series , which explores the and Titan universe. The following year, 2024, saw Midthunder in the live-action adaptation of , where she played Princess Yue across multiple episodes. She starred as Dezbah Weaver in , a drama produced by and , depicting Native American youth on a team aiming for a ; the film premiered on in August 2024. In 2025, Midthunder co-starred in the action-comedy Novocaine alongside , playing Sherry in a involving a dentist entangled in crime. She also featured as Belle in the thriller . Additionally, she reprises her role as Naru in Predator: , scheduled for theatrical release on November 7, 2025, continuing the storyline from Prey. Upcoming projects include the action thriller Painter, co-starring , with a script by , announced in October 2025. Midthunder is attached to play Miss Desjardin in a television adaptation of , set for 2026. She is also involved in an untitled action project with , centered on a trained assassin.

Awards and nominations

Midthunder's performance as Naru in Prey (2022) marked a turning point, earning her the Breakthrough Performance Award at the . She received additional nominations for the role, including in a at the and in a or Movie Made for Television at the . Earlier recognition includes a win for Best Youth Work at the 2014 Ellen Monague Awards, while her rising profile led to the Cindy Y. Huang Rising Star Award from the Coalition of Asian Pacifics in Entertainment () in 2025.
YearAwardCategoryResultNominated for
2025CAPE Radiance GalaCindy Y. Huang Rising Star AwardWon—
2024Saturn AwardsBest Actress in a FilmNominatedPrey
2023Critics' Choice Super AwardsBest Actress in a Limited Series or Movie Made for TelevisionNominatedPrey
2022Saturn AwardsBreakthrough PerformanceWonPrey
2022Asian Film Critics Association (AFCC)Special Award – Breakthrough PerformerNominated—
2014Ellen Monague AwardsBest Youth WorkWon—
Overall, Midthunder has accumulated three wins and sixteen nominations as documented in industry databases.

Personal life

Marriage and family

Midthunder was born to actor David Midthunder, who is of Lakota ancestry and an enrolled member of the Fort Peck Assiniboine and Sioux Tribe in Montana, and Angelique Midthunder, a casting director and stunt performer of Thai-Chinese descent originally from Thailand. Her parents' involvement in the entertainment industry provided early exposure to acting, with David appearing in numerous film and television roles and Angelique working on projects emphasizing Indigenous casting. The family reflects a blended heritage, as Angelique was adopted during the Vietnam War era, contributing to Midthunder's mixed ethnic background. Midthunder has half-siblings from her father's previous relationships, including references to a half-sister named Cameron Howella Midthun, though details remain limited due to the family's preference for privacy. and obituaries indicate connections to extended family members, such as the late Cody Greywolf Midthun, who listed David and Angelique among survivors alongside other siblings like Vicenti and David Eaglecloud Midthun, underscoring a complex familial network tied to Native American communities. As of 2025, Midthunder is unmarried and has no publicly confirmed children, maintaining a low profile on romantic relationships amid her rising career. Reports indicate she has been model River Thompson (also referred to as River Thomas in some accounts), though she rarely discusses personal matters in interviews, prioritizing professional endeavors over public disclosure of her private life. Unsubstantiated claims of marriage to individuals like Tony Tramel appear in fringe online sources without corroboration from reliable outlets or official records, highlighting the prevalence of speculative content about celebrities' personal lives.

Public statements on identity

Amber Midthunder publicly identifies as an enrolled member of the Fort Peck Sioux Tribe, with ancestral ties to the Hunkpapa , Sisseton , and Sahiya peoples. She has described growing up immersed in Indigenous languages, stating, "That’s the language that I grew up with in my house. I’m , and ," and noting her father's conversational fluency in all three dialects. Midthunder has highlighted the personal significance of her Indigenous identity in professional settings, recounting a unique comfort on sets dominated by Indigenous cast and crew: "there’s just things that are normal, and there’s just things that are understood, and there’s just things that make sense." She includes her tribal affiliations—Nakoda, , —in her Instagram bio to affirm this heritage publicly. In discussions of , she has advocated for authentic portrayals that avoid reducing Indigenous women to stereotypes, emphasizing variety in storytelling over constant identity emphasis. Acknowledging her mixed ethnicity, Midthunder has spoken of her Asian heritage via her mother, who is half-, born and raised in before adoption to the . She has expressed pride in this aspect, recounting an "immediate sense of home" during family trips to and a growing public connection to it: "I’m very proud [to be Asian] and I’m learning how to navigate and connect to it publicly." Midthunder integrates both facets holistically, stating in March 2025, "I wake up every day and I am what I am... That is who and what I am all the time, and I carry that with me everywhere I go," while noting the multifaceted experience of mixed identity: "When you’re mixed, there’s all kinds of different ways to feel."

Reception and impact

Critical reception of performances

Midthunder's performance as Naru in the 2022 film Prey, a prequel to the Predator franchise, received widespread critical acclaim for its physical intensity and strategic intelligence, marking a pivotal point in her career. Reviewers highlighted her ability to convey a character's resourcefulness over brute strength, with RogerEbert.com awarding the film 3.5 out of 4 stars and describing Midthunder as "terrific," emphasizing that her protagonist "may not be strong or experienced but she's clever." The film aggregated a 94% approval rating on Rotten Tomatoes from 289 reviews, where critics frequently praised Midthunder's lead role as elevating the survival thriller. Forbes characterized her as a "spectacular action hero" in a narrative that prioritized compelling stakes over franchise tropes. In earlier roles, such as the murdered teenager Natalie Hanson in Wind River (2017), Midthunder's brief but impactful appearance contributed to the film's tense atmosphere, though specific critiques focused more on the ensemble's handling of themes of violence on Native reservations than individual turns. Her supporting work in the FX series (2017–2019) drew positive notes for adding depth to ensemble dynamics, with reviewers recommending it alongside Prey for fans of her action-oriented style. More recent performances, including in the 2025 action-thriller Novocaine, have elicited mixed responses; while praised as a "highlight" for her handling of moral conflicts, some critics noted the script's failure to fully explore her character's dilemmas, limiting emotional range. Overall, Midthunder's underscores a shift toward lead roles demanding physical , with acclaim centered on empirical demonstrations of rather than identity-driven narratives.

Contributions to Indigenous representation

Midthunder's role as Naru, a warrior in the 1719-set Predator prequel Prey (2022), advanced by centering an female protagonist in a major action franchise, with authentic casting of Native actors and Comanche Nation consultants ensuring cultural accuracy, including dialogue in the . The film's emphasis on and matriarchal elements drew praise for portraying agency without romanticization or defeat narratives typical of historical depictions. Midthunder, of and heritage, noted her initial reluctance to audition for roles due to historically subpar portrayals, but Prey's commitment to authenticity shifted industry perceptions, boosting visibility for Native women in sci-fi and action genres. Through Prey, Midthunder became one of cinema's rare female action leads, raising the standard for Native-led narratives and inspiring discussions on accurate representation amid Hollywood's past reliance on non-Native actors in such roles. She has advocated for amplifying voices in storytelling, emphasizing collective Native perspectives in interviews and drawing from her cultural background to inform performances that prioritize empowerment over victimhood. Her mother's work as a director specializing in talent further contextualizes Midthunder's platform for promoting opportunities, though Midthunder herself focuses on on-screen authenticity to counter underrepresentation. This contribution aligns with a broader, albeit incremental, shift toward Native-led projects, as evidenced by Prey's critical acclaim and viewership metrics surpassing prior Predator entries.

Criticisms and broader industry context

Some observers anticipated that the 2022 film Prey, starring Midthunder as the warrior Naru, would embody a "super " agenda centered on subverting traditional roles or promoting ideological , given its focus on a female Indigenous lead in an action-oriented franchise. Midthunder addressed these preconceptions by asserting that the narrative centered on Naru's personal drive to prove her capabilities within her tribe's merit-based traditions, rather than broader societal critiques or "F-the-patriarchy" themes, and the film's commercial success—becoming Hulu's most-watched premiere—with its 94% approval rating empirically contradicted such fears. This pre-release skepticism highlights a pattern in media discourse where projects featuring non-traditional protagonists invite preemptive dismissal from certain audiences wary of perceived forced , though Prey's execution prioritized historical and character competence over messaging. Midthunder has faced no major personal scandals or professional misconduct allegations, but her career intersects with ongoing debates over authenticity in casting, including questions about her mixed heritage— from her father and European influences via his ancestry—which some online commentators have noted as emblematic of the hybridized identities common among modern without enrolled tribal status. Such discussions echo broader "pretendianism" controversies in , where of identity have drawn scrutiny, though Midthunder has consistently drawn from her family's cultural ties without fabricating enrollment or benefits. In the wider context, representation remains severely limited, with Native actors averaging just one major role every 16 years, undermining career viability and perpetuating cycles of rather than substantive inclusion. Midthunder herself has cited historical inaccuracies and scarcity of quality parts as reasons for initial reluctance to pursue such roles, reflecting systemic underinvestment where successes like Prey are exceptions amid decades of marginalization, including stereotypical portrayals or erasure. This disparity persists despite recent gains, as industry gatekeeping—often influenced by urban-centric decision-makers distant from tribal realities—prioritizes marketable narratives over empirical fidelity to histories and demographics, leading to critiques that even "progressive" projects risk superficiality without sustained opportunities or input from enrolled community members.