1923 Recap: Everywhere is America

by

I’ve been pondering over how things might unfold if Taylor Sheridan decided to break away from the frozen, stagnant Montana setting of “1923,” where the characters and storylines seem trapped in a never-ending winter. In “Only Gunshots to Guide Us,” he indeed takes an unexpected turn. This time around, we have an entire episode that doesn’t involve the Yellowstone ranch at all, yet it’s still part of the same series. The closest we come to the ranch is the location of Whitfield’s planned mass grave, a spot that long-time “Yellowstone” fans will recognize as the so-called “train station.” However, the shift in location doesn’t bring much change.

In other words, continually watching this problematic show that consistently frustrates me isn’t likely to produce a different outcome. With just three episodes left, it seems unlikely that Spencer Dutton will ever uncover his brother’s buried body in the rugged mountains, an idea I initially thought would be resolved by the end of season one. This show is not about a young Indian girl finding enlightenment after overcoming state-sanctioned oppression.

Instead, in 1923, the story raises a query: How much hardship – physical, sexual, emotional, verbal, and financial – can individuals withstand within a year before they lose their desire to rise from their proverbial bed (since most of our characters are nomadic by this stage)? Fortunately, Sheridan shows his audience’s intelligence by also giving the solution: There is no upper limit, as long as the characters continue to chase the illusion of a “home” – whether it’s a physical, ancestral, cultural, or spiritual refuge – that supposedly awaits them.

Initially appearing in this episode, Teonna’s unwavering trust in her new homeland starts to falter. Frustrated, she voices her concerns to her father when she finds that the Amarillo fairgrounds are covered with posters demanding her capture. Consequently, they must flee once more. Against expectations, Runs His Horse guides the group north instead of south, distancing themselves from the posters (although this doesn’t seem logical because going south would also distance them from the posters). Despite this, it turns out to be a regrettable decision. The cowhands who had previously traveled with Teonna betray her to Kent, a racist man, for a mere $250 bounty and a blessing from Father Renaud. Over the past seven years, I have been taught to view cowboys as the moral compasses of the American West, so their swift alliance with such evidently wicked individuals took me aback. In essence, they were all show, no substance, as the saying goes.

As a movie enthusiast, Kent’s offensive comments throughout each episode make it challenging to find a meaningful commentary on any specific insult. However, one remark that caught my attention was his comparison of Teonna to a wolf. I found this analogy insightful, although not for the reasons Kent suggested – she doesn’t “crave” destruction. Instead, I see a parallel with wolves as keystone species, where their presence has a profound impact on an ecosystem. By 1923, white men had been systematically erasing Native Americans like Teonna from the Mountain West for decades. The consequences of this displacement have been devastating beyond just those who were forced to move – public lands are now privatized, extractive industries like mining and logging have taken hold, and the region is plagued by the reckless greed of white men.

Leaving Amarillo heading north isn’t merely a blunder because Kent and Renaud are hot on Teonna’s trail; it’s a harsh, unforgiving desert landscape with no shelter. It doesn’t take long for Kent to encounter Pete, who breaks away from the group in search of water and shade. The ensuing altercation is intense yet fruitless, culminating in a horse chase. However, the lack of cover makes it all moot. Pete’s horse collapses from fatigue, and both Kent and Pete quickly draw their weapons. As the episode concludes, gunfire rings out, but we’ll have to wait until next week to learn who was wounded. Regardless of the outcome, Pete’s demise would likely follow Kent’s soon after on their journey. Essentially, everywhere they go is America.

In a completely different setting – the transcontinental railroad – Alex Dutton is also seeking a place that would welcome her and her unborn child. However, she doesn’t find it in her sleeping compartment, where a young mother tells Alex that she lacks the resilience to endure the hardships of the immigrant life. Although this might be true, Alex is white, attractive, and well-spoken. Beauty, too, can serve as a shield. For instance, when Alex can’t afford dinner on the train, the steward lets her work off her meals by serving as a waitress instead. She gets a clean uniform and an opportunity to be somewhere other than her tiny cabin filled with shattered dreams. There might even be some character-building for Alex in this role reversal – finding herself on the side of the long meals she’s more used to receiving.

Similar to Ellis Island, New York City, and Grand Central Station specifically, the railroad was not a welcoming place for young women in 1923. In her very first dinner service, Alex was forced to search a man’s groin with a tea towel. I don’t wish Sheridan to avoid this country’s flaws, but statistically, how many instances of assault might one woman experience across three days in 1923? She has already been robbed, beaten, verbally and potentially medically abused. What lies ahead? Will Mary’s small children soil her new work shoes next? Her cruel bunkmate remarks, “Mothers can endure anything.” However, this statement could serve as a rallying cry for Alex – a source of strength to help her persevere through the hardships of serving breakfast.

In the midst of things improving, an affluent British couple unexpectedly leaves a generous tip for a young woman from Oxfordshire at dinner. However, their kindness is short-lived as a lewd individual shows up for his morning coffee. Unfortunately, this man takes advantage of the situation and sexually assaults her. In that moment, no one intervenes. But when her survival instincts are triggered, Alex bravely defends herself by hitting the assailant repeatedly with a silver coffee urn. The conductor temporarily detains Alex in a makeshift jail, but before the train reaches Chicago, the British couple provides statements and she is allowed to continue her journey.

Remain at Union Station and encounter various characters, or accept an invitation from her British guardian relatives living in Winnetka. Alex chooses the familiar route, and I’m eager to discover why this decision might prove detrimental. Will they expose her to her parents, who are acquaintances of acquaintances? Or could they have ulterior motives such as adopting her child?

As Spencer gets closer to Yellowstone, he finds himself reflecting on the journey and the realization that one can’t return home. He wonders aloud to the train attendant, “What has become of this country?” The train attendant advises him to secure his rifle among the passengers for safety. One might question what Spencer thought would happen upon his return. Those who have left their homes before may find themselves empathizing with Spencer’s predicament. Often, when we leave a place, it remains frozen in our memory as we left it, during a deep winter season. Perhaps Spencer even imagined a space big enough for him to slide back into like he used to fit.

In this modern-day America, Spencer isn’t his usual self anymore. He departed to wage war and envisioned returning as the heir of Montana’s most influential ranching dynasty. However, he’s now a homeless man, dozing against trees like Huck Finn, a sight that caught Marshal Mamie Fosset’s attention. In a vast expanse such as Texas, it seems improbable for these narratives to intersect, yet a TV series often requires dramatic twists. Fossett brings Spencer to Amarillo to ensure he isn’t a lawbreaker, which is fortuitous since he’s on the verge of meeting his demise in the same barren land that has trapped Teonna and her group.

From the town, Fossett manages to contact Sheriff McDowell to verify that Spencer is indeed who he claims to be and is traveling where he stated. So far, McDowell’s role has been rather minimal, just nodding along next to Jake Dutton, but this day seemed particularly action-packed for Robert Patrick. However, when McDowell listens to the anger in Spencer’s tone, he implores him not to return and stir up trouble. Despite this, Fossett still purchases a one-way train ticket for Spencer, sending him out of her territory.

Impudence rides side saddle with anonymity.” This line seems entirely unnecessary for the plot’s progression, leading me to suspect that Mamie isn’t speaking directly to the man sitting across from her, but rather addressing us, the audience. Taylor Sheridan is also speaking to us through this line.

This scene is particularly preachy, considering there are numerous educative moments in this show. For instance, Fosset may soon state that “you can’t arrest a man for what he might do,” which, though dramatic, has a connection to the storyline. As you ponder over it, however, it seems like a statement that could be uttered by any character with similar worldviews. Jake Dutton or Spencer could say it. Adding “darling” would make it dialogue from Spencer. Alter the phrasing slightly, and John Dutton (played by Kevin Costner) might express something similar a century later.

Throughout the realm of Yellowstone, Sheridan pens stories about individuals disenchanted with numerous facets of contemporary life, ranging from automobiles to private investment. His protagonists are inhabitants of a fictional eternal past where the Wild West reigned and cowboys adhered to a strict code. Typically, I find his portrayal convincing. However, my skepticism towards “anonymity” seems antiquated in 1923, and tracing its roots back to the advent of telephone switchboards feels forced. It appears that Sheridan — much like the Duttons he creates — has a personal grievance to address.

Read More

2025-03-23 17:55