As a long-time fan of Western dramas, I’ve been following Yellowstone since its inception, and I must admit, this latest episode left me with a mix of emotions. On one hand, I was saddened by the departure of John Dutton, a character that Taylor Sheridan and Kevin Costner have so skillfully crafted over the years. On the other, I’m intrigued by the direction the story is taking in these final episodes.
Hey there! It’s been a while since we last connected, and there’s been quite a bit happening since “Yellowstone” last aired episodes. Remember how we were all eagerly anticipating where the second half of this fifth season would lead us? Beth and Jamie’s civil war was intensifying, John Dutton was potentially facing impeachment, and more than half of the cast was relocating to Texas. The stage was perfectly set for an exhilarating finale when the show returned that summer.
The summer following that show’s premiere, it didn’t return. In truth, two summers have passed since I wrote that, yet we are still in the fifth season. The enthusiasm built during the first half has completely vanished, not just due to the impact of last year’s strikes, but also because of scheduling problems. I won’t go into detail here, but essentially, Kevin Costner is unlikely to appear in these remaining six episodes. It’s also worth noting that these are the last six episodes of Yellowstone, unless there’s an unexpected renewal or spin-off series centered around Beth and Rip. As we approach season 5B, our perception of its importance has significantly changed.
As a movie reviewer, I must say that the mid-season return of this series certainly packs a punch, serving up a veritable smorgasbord of plot points. Interestingly enough, “Desire Is All You Need” feels remarkably similar to another favorite – Yellowstone. It’s a captivating blend of high-octane political intrigue and laid-back ranch life drama, making for an enthralling, if at times uneven, viewing experience. At its best, it’s exhilarating; at its worst, it’s leisurely paced; occasionally, it veers into the absurd; but ultimately, it’s just another day on the Yellowstone ranch – unpredictable, intriguing, and undeniably entertaining.
The ninth episode (essentially) splits into three main segments, although not strictly defined. The longest middle part occurs before the other two, beginning with a lengthy 12-minute introduction or prologue. This opening scene is a flash-forward, swiftly addressing the “Kevin Costner question” by disclosing that Governor John Dutton has been fatally shot in the restroom of his governor’s residence in Helena.
Beth and Kayce personally investigate the crime scene, and as expected, Beth reacts dramatically: she emits a gruff scream, cries, and instantly accuses Jamie of being responsible. Given that he had initiated John’s impeachment and planned to sell off the ranch, and the trial was supposed to commence that day, it seems logical to assume his guilt. However, when we encounter Jamie, he appears extremely upset by the news, and it’s hard to tell if this is genuine emotion or a disguise for his alleged crime – the cold-blooded murder of his second father in a row. Beth believes it’s the latter, labeling his tears as insincere.
Initially, I found everything quite entertaining, and I was looking forward to the later flashback revealing the events six weeks ago – a chance to witness the build-up to the murder and determine Jamie’s level of involvement. As expected, there was one scene where Sarah Atwood arranged John’s assassination in a secret, windowless room with professional accomplices. It felt a bit far-fetched, like a plot straight from another series, but who can resist delving into corporate mysteries involving an enigmatic group of assassins? The character “Grant” possesses incriminating footage of Sarah and Jamie in compromising positions, which he could potentially use to implicate them if anything goes awry with the hit.
The majority of this extended flashback sequence feels rather dull to be honest. I’ve always admired the show’s emphasis on portraying natural beauty and its frequent scenes of leisurely cattle herding followed by camaraderie after a hard day’s work. However, the pace in the middle section of this episode, which concentrates on Rip’s trip to the Four Sixes ranch in Texas with Ryan, Walker, Jake, and Teeter, seems to drag considerably. The dialogues lack the usual spark, and it feels as if their playful banter is not quite landing. We understand that Teeter has a quirky voice, the men engage in friendly squabbles that might seem homophobic to some, Jimmy portrays a character with intellectual difficulties, and modern language suggests we avoid certain expressions like those used.
The Texas story has its moments, sure. A change of location is appreciated, and compared to the mountain life our guys are used to, the state is disconcertingly flat, empty, and indifferent — as Walker says, Texas “forgets you.” Ryan getting nipped by a scorpion is fun. And even though famous spur maker Billy Klapper wasn’t the most natural performer, I respect Sheridan’s continual efforts to spotlight these Texas legends with appearances on his show. (Klapper’s death this past September adds another poignant layer to the “When he’s gone, we’re all out of legends” line, and a card in the credits memorializes him.)
I also laughed at Rip letting a kid pet his horse at a pit stop, only to flatly reject the similar request of an approaching young couple — it’s just classic. But that scene exists to reignite Rip’s angst about the death of cowboying, which is getting pretty old at this point. Cole Hauser used to share monologuing duties with Costner, who could deliver them with gravitas and a healthy degree of grumpy-old-man self-awareness. I like Hauser a lot, but it’s not as dynamic to watch Rip grouse about solar farms and stare admiringly at one-piece spurs.
It’s worth noting that this series resonates strongly with audiences due to its portrayal of a genuine community rarely seen on TV. Yet, while the characters may evoke nostalgia and introspection in viewers, they don’t delve deeply into broader philosophical or cultural issues. In fact, Rip’s character, at the heart of this conflict since the start, seems to lack development, either in adapting to change or preserving the old ways, or creating a new one. At present, the struggle feels overly abstract and static.
In the current scenario, it’s confirmed that Jamie, despite initially agreeing to the attack on his father, was unaware that Sarah was involved. For the initial few hours, he genuinely believed his father had taken his own life due to Jamie’s actions. This narrative serves as a plausible exit for John Dutton from the series, and it’s not surprising that Sarah could deceive Jamie into seeing the act of patricide as a form of justice.
Does it align smoothly with what we saw in season 5A? Frankly, I’d say it doesn’t quite fit. If you recall, Jamie did propose a hit on Beth during the mid-season finale, as he sensed she had similar intentions towards him. However, any direct reference to killing John was indirect and implied at best, based on my interpretation of that conversation. The shift in focus from Beth to solely targeting John seems like a retcon or perhaps an event advanced earlier due to Costner’s early departure from the show.
Despite any predetermined outcomes for the franchise’s future, I’m eager to follow this storyline’s progression. It’s intriguing to think about how Kayce will handle the complications with Jamie, especially since their sibling relationship often seems underdeveloped on the show. I’m happy to see them both in the same setting again.
The main issue now is finding ways to occupy the remaining time since there’s not much purpose left at the ranch, what with the cattle being absent and the workers (primarily Lloyd, Colby, and Carter) feeling quite unoccupied. On the other hand, Kayce, Monica, and Tate seem exceptionally content, settling into a shabby cabin they plan to renovate. In these final five episodes, I hope for some genuine tension, some juicy drama, possibly involving both physical and emotional confrontations. With Costner departed, the show’s imperfections are more noticeable than ever, but with five episodes remaining, I’m committed to seeing it through to the end.
The Last Round-Up
It seems rather questionable to label John’s death as a suicide, especially since it’s suggested as the “most straightforward solution.” Given that the surveillance footage is missing, it only adds to the suspicion that something unusual is going on.
• So, uh, is Summer just gone? Maybe we’ll see her at John’s funeral or something.
Chief Rainwater and Mo are working on finding a solution for the pipeline set to pass beneath the lake, potentially causing significant pollution. Please stay vigilant regarding this matter.
• Yeah, I mean, there’s no hiding Tate’s growth spurt.
In the finale, it seems logical for Beth to collapse into Rip’s embrace, yet her wailing earlier in the episode diminishes the emotional impact of her cries. Consequently, I found myself struggling to connect emotionally during those final scenes.
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2024-11-11 22:54