Taylor Sheridan’s drama series returns to answer questions as it heads towards the series finale.
Plot: Yellowstone chronicles the Dutton family who controls the largest contiguous cattle ranch in the United States. Amid shifting alliances, unsolved murders, open wounds, and hard-earned respect – the ranch is in constant conflict with those it borders – an expanding town, an Indian reservation, and America’s first national park.
Review (SPOILER WARNING): In the almost two years since the eighth episode of Yellowstone‘s fifth season premiered, fans have waited to learn the fate of John Dutton. Kevin Costner entered a very publicized feud with Yellowstone creator Taylor Sheridan, which was tied to his salary and time away from the series to direct his passion project, Horizon: An American Saga. The first part of that film has come and gone from theaters, but we have still been waiting to see how the second part of Yellowstone‘s fifth and final season would address Costner’s departure. Last night, we finally found out. Simulcast on Paramount Network, Logo, TV Land, and MTV, Yellowstone‘s mid-season premiere revealed that John Dutton, the Governor of Montana, is dead. While Costner’s face is not seen, Sheridan makes it abundantly clear that the patriarch of the Dutton clan will not be returning to wrap up the series’ final run.
As with the final season of Game of Thrones, advanced screeners were not made available for the premiere episode of Yellowstone, titled “Desire is All You Need.” What is noticeable when watching the episode is the accommodations made to the plot to fit in with the lack of Costner’s involvement in these episodes. The episode opens with Beth (Kelly Reilly) and Kayce (Luke Grimes) arriving at the Governor’s residence to a slew of police cars with a cordon to the building. Using his badge as Livestock Commissioner, Kayce and Beth enter to find their father’s body, positioned to make it look like a suicide. Of course, we also see Jamie (West Bentley) receive a phone call confirming the death of his adoptive father. The emotional response from Bentley and Reilly is jarringly realistic and shows how close this cast has become over their years working together. Beth, of course, has an instinct that Jamie is behind the assassination, which sets in motion what is bound to be a massive showdown in the final episodes.
But that is pretty much all we get of substance in this episode. Outside of the opening and closing minutes, the mid-season premiere of Yellowstone flashes back six weeks before the point where the previous episode left off. We follow Rip (Cole Hauser) and his crew heading to Texas for their temporary relocation. The shift to Texas allows for an appearance from Jimmy (Jefferson White) and crew from the 6666 Ranch, another no-so-subtle reminder that a spin-off set there is still in the works from Taylor Sheridan. The Texas plot spends time showcasing the stark geographic difference between the southern state and the mountains of Montana. It allows Rip to wax philosophically on the fading life of cowboys and ranchers. It is a sad moment when he talks about solar farms and importing beef from Brazil, but it also feels a bit like filler after the lengthy wait to visit these characters again. We see Beth get out of community service by drinking and smoking her usual way, but this episode is about it for Beth and Rip.
We get a brief scene with Monica (Kelsey Asbille) and Kayce relocating to a remote ranch on the Dutton property, which features an ominous visit from a wolf in the distance. We also see Thomas Rainwater (Gil Birmingham) scouting the future location of a pipeline through the reservation. The little moments show the quiet on the Dutton Ranch as Lloyd (Forrie J. Smith) looks for things to keep the remaining cowboys busy. At the same time, Rip is in Texas pads the episode before the big sequence featuring Sara Atwood (Dawn Olivieri) meeting with a mysterious man named Grant (Matt Gerald), where they orchestrated the death of John Dutton. It is an intriguingly complex meeting that shows the cutthroat nature of Atwood before it revisits the present day as she meets with Jamie while dressed in lingerie. Jamie reveals that he did not think she would have his father killed, but she convinces him it is for the best. Her cold-blooded nature continues to make Atwood a formidable foe for Beth, but I would not want to be in the middle of that showdown.
The mid-season premiere was written by Taylor Sheridan, who manages the smaller, quieter elements that have always made Yellowstone intriguing to watch between murder scenes, backstabbing, and intrigue. For anyone who does not work on a ranch or in the wide expanses of America, there is a romantic element of cowboy life that Yellowstone beautifully displays. Taylor Sheridan also never lets us forget that the privilege of living the way most Americans do comes on the backs of men like Rip, Lloyd, and the others who work the Dutton Ranch. This monumental episode was directed by Christine Alexandra Voros, who helmed eight other episodes of Yellowstone, as well as entries in 1883 and Lawmen: Bass Reeves. Sheridan has confidence in Voros’ ability to capture the somber in equal measure with the dramatic, which they pull off to great effect with this episode.
The death of John Dutton, which most of us knew was a foregone conclusion, was still handled with a dramatic grace that kept it a shocking moment in Yellowstone history. I had hoped we would see Kevin Costner back in some capacity, but his departure made that impossible. Compared to other series that have handled killing off the main character, like Roseanne and House of Cards, Yellowstone makes it a vital and central part of the plot without ignoring the elephant in the room. Kudos to Taylor Sheridan for making the death feel like it would always happen, even if it did crop up sooner than expected. It is tough to tell how the remaining episodes of this season will compare to this one, but at least Yellowstone is back to keep our Sundays exciting.
Yellowstone debuts new episodes Sundays on Paramount Network.
