How Billy Jack would handle space.
The films attempt to compensate for earlier depictions of Native Americans as subhuman by painting Billy Jack as downright superhuman. But even if Laughlin were Native American (he is almost remarkably white), there'd be something off-puttingly narcissistic about him casting himself as a god. Laughlin is living out his corniest Native American noble warrior fantasies on screen, and the results are consistently embarrassing, as well as endearingly strange.
Laughlin is so square that if he were to encounter a joint, he'd try to either karate-chop or lecture it, yet he is surprisingly open-minded in depicting the counterculture not as seedy or debauched, but rather as home to society's greatest hope and purest spirits -- after Native Americans and Billy Jack, of course. The hippies are on hand mainly to worship Billy Jack, but he was a square who was 150 percent behind the kids, who have seldom been as alright as they are here. In this time period, hippies were mostly in movies to give the film a higher body count before the villains finally made it to the last house on the left.
I have come here to talk forever about my beliefs and kick ass. And I'm all out of neither of those things.
The accidentally high-camp approach to Native American mythology in the Billy Jack series involves such psychedelically misguided setpieces as a snake bite ceremony involving a vision quest, an eagle's feather, a old wise man with a halting, wooden delivery, and Laughlin dancing around a rattle snake wearing what appears to be a cross between unusually trendy buckskins and a Super Friends disguise. Laughlin fake-Indian dances like only a white man from Milwaukee can fake-Indian dance, while being bitten over and over by a rattlesnake that I like to imagine is punishing him for his vanity and Jesus complex.