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Speaker 1: Hello everybody, Thank you so much for joining us again.

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Speaker 1: It's Jefferson White here, Jimmy Herdstrom on the PARAMOUNTA Networks, Yellowstone,

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Speaker 1: joined as always by Jen Land and Jen. How you doing,

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Speaker 1: Thanks so much for being here.

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Speaker 2: Thanks Jeff, how you doing?

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Speaker 3: I'm good.

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Speaker 1: I mean this, I gotta say I'm feeling it is

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Speaker 1: a pretty wild week in the Yellowstone universe here. So

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Speaker 1: not only in episode five oh eight of Yellowstone. In

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Speaker 1: season five, episode eight of Yellowstone, we've got danger on

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Speaker 1: the horizon, danger brewing, this seemingly intractable conflict between Jamie

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Speaker 1: Dutton and Beth Dutton boiling over, seeming like it's coming

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Speaker 1: to a head. It seems like it can only end

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Speaker 1: with terrible, perhaps fatal consequences. Not to mention in episode

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Speaker 1: three of nineteen twenty three, this absolutely shocking shootout, this

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Speaker 1: incredible action sequence, really wild time, exciting time to be

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Speaker 1: a Yellowstone fan.

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Speaker 4: So, Jeff, what you're saying is the theme of today's

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Speaker 4: episode is death. It's going to be really cheery, and

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Speaker 4: later on we are going to be talking about the

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Speaker 4: five most significant deaths on Yellowstone, and we're going to

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Speaker 4: be doing that with our guest. We have Lynette Rice,

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Speaker 4: who's going to be joining us. She is a senior

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Speaker 4: reporter at Deadline. She's a huge fan of the show

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Speaker 4: and jeff She's a New York Times bestselling author.

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Speaker 1: Yeah, you've got your picks. I've got my picks. Lynette's

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Speaker 1: got her picks. I'm extremely excited to dig into it,

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Speaker 1: hash it out, get to the bottom of this right

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Speaker 1: after this.

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Speaker 2: Okay, we're back.

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Speaker 4: I'm super excited, as morbid as that sounds to talk

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Speaker 4: about death and all of the most significant and my

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Speaker 4: favorite ones.

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Speaker 2: And we are going to introduce you to our guests.

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Speaker 5: Now.

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Speaker 4: This is Lynette Rice, again, a senior reporter Deadline, huge

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Speaker 4: fan of the show.

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Speaker 5: Hi, Lynnette, Hello, Hello, so great to be here.

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Speaker 2: We're super excited to have you.

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Speaker 6: I do want to ask Jefferson, have you ever asked

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Speaker 6: her to do one episode fully as Teeter? I mean,

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Speaker 6: she's not allowed to sound like Jen, she can only

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Speaker 6: be Teeter.

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Speaker 1: I've been begging her since the beginning. We did one

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Speaker 1: and then the producer called it incomprehensible.

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Speaker 3: Which I thought was a little little rude.

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Speaker 4: I was going to say that, actually notes came down

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Speaker 4: the line that I was incomprehensible on this show, but

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Speaker 4: not because of my annunciation, just because I told stories

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Speaker 4: like that Sleep with Me podcast guy, which the whole

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Speaker 4: point is they go nowhere.

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Speaker 5: That would be a classic episode.

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Speaker 3: Lynnette.

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Speaker 1: We feel it so lucky to have you with us

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Speaker 1: today as an expert all things, you know, entertainment and television,

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Speaker 1: and I'm excited to see you know, Jen and I

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Speaker 1: are a little bit biased in our opinions about the show,

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Speaker 1: so I'm excited for a little objective journalism. I'm excited

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Speaker 1: for a you know, a third party perspective and a

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Speaker 1: little bit of you know, rationality infused into this.

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Speaker 6: Sure, I guess I could bring that objectivity. I'll be

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Speaker 6: objective about the way Kevin Costner looks, I promise.

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Speaker 3: So I can't help.

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Speaker 1: But notice, you know, we've been talking about Yellowstone, We've

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Speaker 1: been talking about the whole Taylor Shared and Extended universe.

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Speaker 1: Eighteen eighty three, nineteen twenty three. You know, in the

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Speaker 1: first episode of nineteen twenty three, we hear a voiceover

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Speaker 1: from Elsa Dutton who says that violence has always haunted

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Speaker 1: the Dutton family, and we've witnessed that not just in

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Speaker 1: the actions of Yellowstone, but also throughout the course of

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Speaker 1: eighteen eighty three and now through the first few episodes

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Speaker 1: of nineteen twenty three, this family seems to constantly be

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Speaker 1: under attack, to constantly have to resort to violence to

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Speaker 1: protect their history, their culture, their way of life. And

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Speaker 1: so we've witnessed the terrible ramifications of that haunting over

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Speaker 1: five seasons of Yellowstone. Now, so I thought it might

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Speaker 1: be fun to rank our top five deaths across Yellowstone

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Speaker 1: eighteen eighty three and nineteen twenty three. So I'm gonna

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Speaker 1: get us started, and then I'm gonna kick it to you, Lynnette.

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Speaker 1: My number five death is the death of Evelyn Dutton,

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Speaker 1: John Dutton's wife, as depicted by Gretchen mal in flashback

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Speaker 1: in season one of Yellowstone. We're talking about Beth's mom,

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Speaker 1: Casey's mom, the tragic formative loss that seems to have

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Speaker 1: kicked off a lot of the struggle that John Dutton

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Speaker 1: is now weighed down by not having this partner, you know,

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Speaker 1: In eighteen eighty three we see a pair. In nineteen

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Speaker 1: twenty three, we see Helen Mire and Anne Harrison Ford,

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Speaker 1: this pair, this couple fighting together against outside forces. John Dutton.

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Speaker 1: It seems is sort of sitting on the throne alone

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Speaker 1: and for want of a partner, seems to be struggling

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Speaker 1: to hold his family together. So for me number five,

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Speaker 1: that's Evelyn Dutton. What do you think when Itte?

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Speaker 6: I totally agree there's so much drama there left on

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Speaker 6: the table. By the way, by killing her off. I

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Speaker 6: want to see Gretchen Maul's mom with Beth. I mean,

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Speaker 6: I feel like she'd be kind of shrewy, she would

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Speaker 6: be like, oh, it would be the kind of mother

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Speaker 6: daughter relationship we all live for in cinema. So it's

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Speaker 6: too bad we don't have that. So yeah, I totally agree.

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Speaker 6: Maya my five. Can you guys remember that journalist who

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Speaker 6: died in the first season?

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Speaker 5: Yes, what the hell did she have to die?

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Speaker 6: I mean, I guess this sets up the kind of

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Speaker 6: you know, pooh head that you know Jamie is. I

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Speaker 6: think as he was responsible for her death. I think

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Speaker 6: that was the case. It seems so long ago, doesn't it,

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Speaker 6: But I remember her death. It's like, dang, she's gone, Wow,

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Speaker 6: this is this family exactly right.

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Speaker 1: Not only Jamie killed her, So Jamie first sort of

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Speaker 1: spilled his guts to her about all these these sordid

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Speaker 1: details about the Dutton family's history and then killed her.

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Speaker 3: Yeah.

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Speaker 1: The character's name is Sarah Wynn and the actress's name

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Speaker 1: is Mikaela Conlin.

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Speaker 4: She was almost my number five pick. She got edged

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Speaker 4: out slightly, I think, probably by my number one pick.

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Speaker 4: But my five I can't talk about five without talking

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Speaker 4: about four. So my five and four, guys, I'm breaking

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Speaker 4: the rules. My five and four are Lee Dutton and

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Speaker 4: Robert Monica's brother because when Lee Dutton died played by

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Speaker 4: Dave Annabel, it was like the Sean Bean death and

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Speaker 4: Game of Thrones where I knew that nobody was safe,

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Speaker 4: that anybody at any moment could drop dead because they

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Speaker 4: killed him off. And number four being Robert Monica's brother,

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Speaker 4: because you know, now we have this like Romeo and

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Speaker 4: Juliet kind of thing.

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Speaker 2: So those are my five and four.

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Speaker 1: Yeah, it's very Romeo and Juliet, right, because Robert Long

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Speaker 1: kills Lee yep, and then Casey kills Robert Long, which.

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Speaker 3: Really, does you know?

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Speaker 1: It sets off the conflict of all of season one.

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Speaker 1: Season one is so much this kind of three headed

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Speaker 1: conflict between Rainwater, John Dutton, and Dan Jenkins, these people

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Speaker 1: who later managed to find common ground, but it takes

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Speaker 1: them a while. With such a rocky start. That's a

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Speaker 1: great one. So for me, Number four really mostly so

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Speaker 1: high on the list because of its how exciting and

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Speaker 1: fun a sequence. It was Rourke with the rattlesnake. Yeah,

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Speaker 1: rip in the river with the rattlesnake. You know, if

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Speaker 1: we're playing clue here. I found that incredibly satisfying. Rourke

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Speaker 1: was so expertly played as a smug asshole, interloping, getting

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Speaker 1: in far over his head, and then paying the ultimate

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Speaker 1: price for it.

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Speaker 3: I love that sequence.

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Speaker 5: Very kill Bill, you forgot to say hot.

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Speaker 1: He was very hot, very sorry, very hot, gentleman, very hot.

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Speaker 4: Rourke was not on my top five, Jeff, but I

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Speaker 4: have a star on my notes. I made my own

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Speaker 4: section called favorite death, which, like, by the way, I

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Speaker 4: have more than one, but that was my favorite death.

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Speaker 4: I remember reading that in the script and being like.

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Speaker 6: Yes, my four, I'm gonna say Casey and Monica's baby.

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Speaker 5: Why did they do that?

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Speaker 6: I mean, it's it's set up such an incredible season

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Speaker 6: for Kelsey. I mean, god, she's just been so depressed

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Speaker 6: and she's obviously done some of her best work on

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Speaker 6: the show. And really brought out in the dimension of

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Speaker 6: her character, of which I think was lacking, but that

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Speaker 6: still was kind of a wham. I mean, it's like, Wow,

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Speaker 6: what a thing to put on that little kid and

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Speaker 6: then to put her through and it involved it was

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Speaker 6: Was it.

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Speaker 5: A buffalo that it was evolved with? It was a buffalo?

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Speaker 1: Right?

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Speaker 5: Yeah? Bad newsman.

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Speaker 4: Yeah.

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Speaker 1: The classic beginnings and endings, you know. So, season five,

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Speaker 1: episode one, John Dutton is elected governor. It's this moment

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Speaker 1: of perhaps triumph and then the tragic loss of Casey's son,

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Speaker 1: also named John. So for me number three and perhaps

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Speaker 1: there's a little bit of Jimmy bias here, it's Fred.

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Speaker 1: It's Fred from season one, the first guy we saw

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Speaker 1: take into the train station. For those who may not remember,

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Speaker 1: Fred was the massive glute expertly played by Luke Peck

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Speaker 1: and Paul who just beats the shit out of Jimmy.

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Speaker 1: And then we see this incredibly satisfying immediate revenge as

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Speaker 1: Rip and Low come to Jimmy's aid and really punish

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Speaker 1: him on the spot. It's when we first hear Rip's

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Speaker 1: iconic line there's no fighting on this ranch. If you

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Speaker 1: want to fight, you come fight me. I'll fight you

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Speaker 1: all goddamn day. So you know, Fred makes the terrible

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Speaker 1: mistake of beating up a branded man, and you know,

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Speaker 1: we learn a lot from this sequence. We learned the

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Speaker 1: consequences of beating up a branded man, we learned the

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Speaker 1: consequences of fighting on the ranch. And also Fred is

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Speaker 1: the first character we see taken to the train station,

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Speaker 1: which will obviously be a recurring theme no doubt throughout

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Speaker 1: the rest of our lists.

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Speaker 4: Jeff, when I was searching the internet for all the

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Speaker 4: people who had died on Yellowstone because I forgot, I

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Speaker 4: was surprised that an inordinate amount had to do with you.

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Speaker 4: And I always think of Jimmy as this like sweet,

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Speaker 4: peaceful guy. But maybe Jimmy is the villain because there

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Speaker 4: were like seven deaths related to you, more than any

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Speaker 4: other care character, perhaps seven, like.

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Speaker 2: In Really Something Crazy. I was like, God, Jimmy, just

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Speaker 2: if you go around.

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Speaker 4: Me, you die.

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Speaker 3: Listen.

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Speaker 1: To be fair, I think Casey kills seven people in

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Speaker 1: the first three episodes of Yellowstone. They didn't make the list,

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Speaker 1: So Jimmy, listen, Jimmy. Jimmy only participates in Jimmy Is

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Speaker 1: Jimmy is perhaps also haunted by violence, haunted by tragedy.

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Speaker 3: He's had a very hard life.

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Speaker 6: This the mid season finale, when we saw you, Jefferson

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Speaker 6: Uh in your new settings, to me, you look like

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Speaker 6: a completely different guy, especially because in comparison to that

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Speaker 6: first season. I don't know, maybe I'm wrong. Nothing's changed

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Speaker 6: about you in the They changed your look, but you

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Speaker 6: seem so different to me, Like you know, you've come

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Speaker 6: into your own You're mister true cowboy. You know you

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Speaker 6: have the beautiful woman I.

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Speaker 1: Mean, Lynette listen. I was already a fan of your work.

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Speaker 1: We knew, we knew that you had a sort of

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Speaker 1: clear eye in incisive style of journalism and reporting on

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Speaker 1: the ground. But this is really demonstrating your ability to

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Speaker 1: cut through the bullshit and get straight to the facts

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Speaker 1: of the matter. Thank you, thank you very much for

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Speaker 1: saying that. With that, and now I'm going to turn

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Speaker 1: it back on you. Your number three death, Yellowstone number

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Speaker 1: three death, Who is it?

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Speaker 5: Okay?

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Speaker 6: I didn't love that? Well, no, I took that back.

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Speaker 6: It was very interesting that we met Jamie's true dad.

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Speaker 6: I didn't love the character because he felt like a nuisance.

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Speaker 6: But I also still don't understand why Jamie killed him.

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Speaker 6: Because it's still his real dad, even though he was

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Speaker 6: kind of a butenski. I was shocked that Garrett, you,

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Speaker 6: obviously played by Will Patton, met his maker. That was

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Speaker 6: kind of a shocker because he was the only dude

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Speaker 6: left in Jamie's corner.

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Speaker 3: Really, yeah, it was brutal.

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Speaker 1: It really felt like about as machiavellian as Beth has

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Speaker 1: ever been. You know, Beth has Jamie for most of

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Speaker 1: their lives, certainly their whole adult lives. And forcing him

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Speaker 1: to kill his own father, sort of building this puzzle

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Speaker 1: box the only way out of which was killing his

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Speaker 1: own father, is perhaps as evil as Beth has ever been. Granted,

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Speaker 1: the argument can be made that Garrett Randall himself was

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Speaker 1: an evil man. He orchestrated the attempted hit on Beth

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Speaker 1: Casey John Dutton. So it's a complicated thing. And Taylor

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Speaker 1: loves to write these characters that aren't just bad guys

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Speaker 1: or good guys. They have redeeming qualities. Garrett, for how

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Speaker 1: sort of evil he himself was, also showed Jamie kindness

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Speaker 1: in a way perhaps no other character has, and Beth

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Speaker 1: for how much we love her, sometimes putting Jamie in

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Speaker 1: the position of having to shoot his own father in

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Speaker 1: the head. As you said, the only person that was

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Speaker 1: in his corner. About as evil as we've seen Beth

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Speaker 1: beat as well. Jen, I'm really excited to dig into

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Speaker 1: it and hear about your number three. But before we do,

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Speaker 1: let's go to.

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Speaker 4: A quick break, all right, So we're on our number

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Speaker 4: three death, Lynnette. My number three pick is the same

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Speaker 4: as your number three pick, which of course is Garrett Randall,

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Speaker 4: played by Will Patton, Jamie's dad. Not just because I'm

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Speaker 4: obsessed with Will Patten as an actor, but because I

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Speaker 4: think that having to kill your own father crosses a

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Speaker 4: line of which you do not come back from Beth

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Speaker 4: by doing this. I think it's a monster of her

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Speaker 4: own creation. Him having to cross that line has created

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Speaker 4: a person that will cross any line, and I think

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Speaker 4: it's going to be and obviously he's looking like it already,

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Speaker 4: the biggest threat to Beth and John.

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Speaker 6: I think what's most significant about this death and kind

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Speaker 6: of really speaks to Taylor's thinking and obviously how he's

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Speaker 6: thinking of ahead. That death gave Beth the first introduction

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Speaker 6: to the train station she followed Jamie. She took that picture,

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Speaker 6: which ultimately she uses as a tool in the mid

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Speaker 6: season finale as a way to blackmail him into doing

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Speaker 6: what he does. But there there's some people who think

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Speaker 6: that how would she not know about the train station

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Speaker 6: until now? But I can see how she would know

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Speaker 6: about the train station, right.

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Speaker 2: Yeah, it makes sense to him, Jeff, go ahead.

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Speaker 1: I think it's it's plausible deniability, you know. I think

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Speaker 1: John has different soldiers for different tasks. He asks Rip

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Speaker 1: to take people to the train station, he asks Lloyd,

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Speaker 1: he asks Casey. I think Beth handles a completely different

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Speaker 1: side of the operation, and I think that, if anything,

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Speaker 1: it's smart leadership to keep those halves distinct. And there's

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Speaker 1: also I remember, very specifically, there's some stuff between Rip

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Speaker 1: and Beth where Beth asks Rip to tell her where

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Speaker 1: he's been, and he says, don't ask me that. That's

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Speaker 1: like the one thing I can't tell you. That's the

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Speaker 1: one thing I can't share with you. You know, they have

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Speaker 1: they are both soldiers for John, but in different arenas.

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Speaker 4: Yeah, it feels very much to me like both of

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Speaker 4: those men protecting Beth is a top priority, and so

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Speaker 4: to expose her to that in any way is dangerous

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Speaker 4: or deadly.

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Speaker 6: And don't I don't want to get I don't want

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Speaker 6: to get too much in the weeds here, by the way.

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Speaker 6: But train station is that a cowboy state saying? Have

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Speaker 6: you guys heard that before? I mean, why take to

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Speaker 6: the strength train station? Why not like take to the more,

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Speaker 6: take to the fridge? Do you know if like where

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Speaker 6: he came up with train station of all places?

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Speaker 4: Is that a saying, Jeff, do you I don't think

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Speaker 4: it's I think it's an invention.

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Speaker 1: I think it's an invention of the lore of this world,

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Speaker 1: so of Taylor's world here. And I think what's fun

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Speaker 1: about it too, is it also has a kind of

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Speaker 1: intergenerational linguistic flair clever.

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Speaker 5: It's very clever.

306
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Speaker 1: Yeah, because we don't know when people started doing this.

307
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Speaker 1: We don't know when the first time somebody went to

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Speaker 1: the train station was.

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Speaker 4: Yeah, Like you can also like you can say the

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Speaker 4: train station, like while you're you know, taking them to

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Speaker 4: the train station, while you're like sitting in a coffee shop,

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Speaker 4: you know, maybe getting your nails done. But you can't

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Speaker 4: be like take them to the morgue, you know, right

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Speaker 4: in the middle of a pedic Yeah.

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Speaker 5: It's it's code, yes, total code.

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Speaker 1: Yeah, And it leads to this nice open secret because

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Speaker 1: Beth probably would have heard somebody say, oh, take them

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Speaker 1: to the train station and not necessarily understood what that meant.

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Speaker 1: There's this very shilling sequence in season one, I think

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Speaker 1: when Walker is in the back of Rip's truck and

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Speaker 1: Casey says to Walker, Hey, wait a second, where you

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Speaker 1: guys going, And Walker says, al, he's going to take

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Speaker 1: me to the train station because he doesn't know what

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Speaker 1: that implies. You know, it leads to it's it's a

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Speaker 1: sort of almost mafia like secret vocabulary for those.

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Speaker 4: In the know.

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Speaker 1: You're gonna go to the Bear's dramatically satisfying.

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Speaker 4: Just to we're just going to the beach, kid, Uh,

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Speaker 4: that intergenerational thing, Jeff, like I thought it was. I

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Speaker 4: was thinking about how you know, at a certain time,

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Speaker 4: when you board the train to go somewhere else, like

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Speaker 4: you're not coming back because it's an incredibly long, arduous

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Speaker 4: journey or whatever. But I wonder if Taylor is going

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Speaker 4: to pay that off in a literal way. I don't

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Speaker 4: think he is, but I wonder if there will be

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Speaker 4: a very literal moment in which we see a body

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Speaker 4: earlier kind of go to the train station in a

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Speaker 4: different way. It actually is put on a train. I

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Speaker 4: don't imagine that happened anything.

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Speaker 6: Yeah, oh well, didn't we get the origin of the

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Speaker 6: train station when we saw the flash? Was that so

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Speaker 6: the the the kid that young rip beat up? Do

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Speaker 6: you think that was the first body to the train

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Speaker 6: station or was the train station already established before that?

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Speaker 1: It seems to me to be implied that it was

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Speaker 1: already established before that, and that Rowdy being taken Rowdy's

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Speaker 1: body being taken to the train station was another entry.

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Speaker 1: So it seems like, you know, young Lloyd who takes

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Speaker 1: that body to the train station was already familiar with

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Speaker 1: that practice. I'm excited to see if nineteen twenty three

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Speaker 1: is the one that like introduces that concept, because now

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Speaker 1: that we've got this range war erupting in nineteen twenty three, yeah,

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Speaker 1: maybe for the first time there's some you know, conflict

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Speaker 1: about the cowboy way of life versus this modern, you know,

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Speaker 1: proper appropriate avenue of justice. I'm excited to see if

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Speaker 1: nineteen twenty three gives us our first trip to the

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Speaker 1: train station.

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Speaker 2: Jeff, do you want to do you want to give

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Speaker 2: us your number two?

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Speaker 1: Well, my number two has got a bit of a

361
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Speaker 1: Jimmy bias to it as well. So Jimmy's old life

362
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Speaker 1: kind of comes back to haunt him, particularly in seasons

363
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Speaker 1: Season two mostly you know, so Season two is a

364
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Speaker 1: violent season for Jimmy. He's confronted by some of his

365
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Speaker 1: old associates who end up beating his grandfather to death.

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Speaker 1: So his last living relative is his grandfather, Dirk Heardstrom,

367
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Speaker 1: who in the pilot episode of Yellowstone asks John Dutton, Hey,

368
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Speaker 1: will you take my good for nothing grandson onto the ranch?

369
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Speaker 1: Will you set him straight? So for Jimmy, I think

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Speaker 1: the death of Dirk Hurdstrom, his grandfather, represents the last

371
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Speaker 1: sort of tether to his old life and his old identity,

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Speaker 1: and in some ways represents this kind of rebirth. You know,

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Speaker 1: Rip says to Jimmy, I'm going to show you how

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Speaker 1: to take care of problem so they don't become bigger problems.

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Speaker 3: It feels like.

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Speaker 1: Those And then you know, the subsequent Jimmy and Rip

377
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Speaker 1: and the gang exploding the meth house trailer, killing Jimmy's

378
00:21:06,440 --> 00:21:10,760
Speaker 1: old associates. There's a series of very violent deaths that

379
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Speaker 1: seemed to me formative for this new Jimmy. The Jimmy

380
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Speaker 1: that we know now, you know, he has this kind

381
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Speaker 1: of rebirth away from his old associates and his old

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Speaker 1: way of life. So for me number two, it's Dirk

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Speaker 1: Hurdstrom and it's Jimmy's old associates, the drug dealers.

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Speaker 3: What do you think, Lynnette, my.

385
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Speaker 6: Number two is going to be Jens. I think it

386
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Speaker 6: was her four or five. It's Dave Annabel. I think

387
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Speaker 6: her comparison to Sean Bean in Game of Thrones was

388
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Speaker 6: apt because Sean Bean's character at the time, he was

389
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Speaker 6: the moral center of Game of Thrones and he went away,

390
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Speaker 6: and Lee Dutton represented all that is good about the

391
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Speaker 6: rancher's life. There was nothing bad about this kid. He

392
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Speaker 6: was just a good hard worker and he loved his

393
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Speaker 6: family and he loved his land. And they killed him.

394
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Speaker 6: So that was sad to see. And I also really

395
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Speaker 6: liked Dave Annabel. I was a huge brother as a

396
00:22:04,480 --> 00:22:06,359
Speaker 6: Sisters fan. I loved him on that show, so it

397
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Speaker 6: was sad to say goodbye.

398
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Speaker 1: You know. I can't help Leneppa draw some parallels between

399
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Speaker 1: the death of Lee Dutton and the death of John

400
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Speaker 1: Dutton Senior.

401
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Speaker 3: In nineteen twenty three. As a result of this big shootout.

402
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Speaker 1: So, you know, you mentioned Dave Annabel the performance that

403
00:22:21,960 --> 00:22:25,280
Speaker 1: was robbed from us by the death of Lee Dutton.

404
00:22:25,320 --> 00:22:28,400
Speaker 1: I feel the same way about James Badge Dale, who

405
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Speaker 1: plays John Dutton Senior, because James is an incredible actor,

406
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Speaker 1: one of his generation's best character actors, and I was

407
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Speaker 1: really excited to see you many more episodes and a

408
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Speaker 1: similar situation. We're talking about the sort of oldest son,

409
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Speaker 1: the heir apparent, the steadfast, you know, steadfast kind of

410
00:22:51,440 --> 00:22:57,440
Speaker 1: moral center, perhaps the inheritor of their respective father's work,

411
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Speaker 1: ethic and sort of simple kind of sense of justice.

412
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Speaker 1: So it really, it does feel like both of the

413
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Speaker 1: deaths of both those characters, Lee Dutton and Yellowstone and

414
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Speaker 1: John Dutton Senior in nineteen twenty three feel like they're

415
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Speaker 1: very formative, and I'm really curious to see the ramifications

416
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Speaker 1: of that death in nineteen twenty three. You know, So

417
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Speaker 1: the death of John Dutton Senior also brings to mind

418
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Speaker 1: the sort of ominous prophecy that we hear at the

419
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Speaker 1: beginning of nineteen twenty three, Jen, will you dig into.

420
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Speaker 3: That a little bit?

421
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Speaker 4: Will you?

422
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Speaker 3: Will you break that down?

423
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Speaker 2: I mean, I don't know if I'm going to break

424
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Speaker 2: it down.

425
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Speaker 4: But I can tell you the fear that it has

426
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Speaker 4: sparked in me, which is that I believe that what

427
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Speaker 4: Elsa says is that she says only one of them,

428
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Speaker 4: of her two brothers, only one of them will see

429
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Speaker 4: their children grow to be adults themselves. Right. So here

430
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Speaker 4: we have John Dutton senior, right, he is killed. We

431
00:24:00,960 --> 00:24:05,080
Speaker 4: have Jack Dutton, his son, right, who I consider to

432
00:24:05,119 --> 00:24:08,040
Speaker 4: be grown. So that leads me to believe that Spencer

433
00:24:08,160 --> 00:24:12,280
Speaker 4: Dutton is not safe because she says only one of

434
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Speaker 4: them will live to see theirs grown, their own children grow,

435
00:24:17,119 --> 00:24:20,399
Speaker 4: Which leads me to believe that while Spencer is alive now,

436
00:24:20,920 --> 00:24:24,159
Speaker 4: and while Spencer may have children, there's a good chance,

437
00:24:24,720 --> 00:24:28,399
Speaker 4: if the prophecy holds or the storytelling is you know

438
00:24:28,920 --> 00:24:32,160
Speaker 4: the tracks across, that he will die before his own

439
00:24:32,240 --> 00:24:33,840
Speaker 4: child becomes an adult.

440
00:24:34,400 --> 00:24:38,120
Speaker 2: Right, you know what I mean? Isn't that what she says?

441
00:24:38,800 --> 00:24:40,919
Speaker 1: Does she say only one of them will live to

442
00:24:40,920 --> 00:24:41,800
Speaker 1: see their own.

443
00:24:42,040 --> 00:24:44,639
Speaker 4: She says she's only one of them will live to

444
00:24:44,760 --> 00:24:47,320
Speaker 4: see there's grown or something like that.

445
00:24:47,359 --> 00:24:48,240
Speaker 2: Sorry, that's my relief.

446
00:24:49,920 --> 00:24:53,120
Speaker 1: And wonder now where we leave Spencer. We've seen Spencer

447
00:24:53,359 --> 00:24:58,160
Speaker 1: sort of fight his way through hell. In World War

448
00:24:58,280 --> 00:25:00,520
Speaker 1: not only in World War One, but now he's sort

449
00:25:00,520 --> 00:25:04,280
Speaker 1: of being haunted by violence across all of Africa. It

450
00:25:04,359 --> 00:25:08,320
Speaker 1: seems sort of chasing his own death. You know, he's

451
00:25:08,359 --> 00:25:11,560
Speaker 1: either being haunted by violence or he's haunting violence, because

452
00:25:11,600 --> 00:25:16,160
Speaker 1: it really seems like he's pursuing death in some way.

453
00:25:16,320 --> 00:25:19,440
Speaker 4: Yeah, and there's that great line that that Kara says,

454
00:25:19,760 --> 00:25:22,159
Speaker 4: Helen Maren's character character. I just always want to be

455
00:25:22,160 --> 00:25:24,240
Speaker 4: like Helen. I just want to connect to Helen Maren

456
00:25:24,280 --> 00:25:27,240
Speaker 4: as much as that she says. At the letter she

457
00:25:27,320 --> 00:25:30,000
Speaker 4: says and I add to a to a letter Dispenser's,

458
00:25:30,200 --> 00:25:33,440
Speaker 4: she says something along the lines of, I don't know

459
00:25:33,560 --> 00:25:37,199
Speaker 4: what war it is you're fighting inside or you know,

460
00:25:37,280 --> 00:25:39,879
Speaker 4: but you need to you need to put that aside

461
00:25:39,920 --> 00:25:41,960
Speaker 4: and come back home and fight this one.

462
00:25:42,200 --> 00:25:44,680
Speaker 6: And well that was his war, his war days, right,

463
00:25:44,760 --> 00:25:47,520
Speaker 6: he's still carrying the heaviness of the war.

464
00:25:48,040 --> 00:25:49,960
Speaker 2: There is a PTSD storyline, I think in that.

465
00:25:50,040 --> 00:25:52,400
Speaker 6: Yeah, sure, I thought that that was some ballsy writing

466
00:25:52,560 --> 00:25:56,600
Speaker 6: by Taylor, because I when when I first heard else

467
00:25:56,640 --> 00:25:58,359
Speaker 6: to say that, I was a bit confused and I

468
00:25:58,400 --> 00:26:01,960
Speaker 6: had to stop and look at every you know, detail

469
00:26:02,000 --> 00:26:04,720
Speaker 6: available about what this new show was setting up, and

470
00:26:04,840 --> 00:26:07,600
Speaker 6: who's related to who? I got confused at first, but

471
00:26:08,160 --> 00:26:10,760
Speaker 6: now it's all very clear. He was obviously talking about

472
00:26:11,640 --> 00:26:15,679
Speaker 6: James Badge Dale's death. I don't want to believe that

473
00:26:15,720 --> 00:26:18,320
Speaker 6: Spencer dies because I really like that character and I

474
00:26:18,359 --> 00:26:19,680
Speaker 6: want to see where that marriage goes.

475
00:26:20,600 --> 00:26:23,560
Speaker 2: He could die very late, he could he could die.

476
00:26:23,600 --> 00:26:25,600
Speaker 2: It takes like, let's say it takes twenty years for

477
00:26:25,640 --> 00:26:27,400
Speaker 2: a kid to grow up. Let's or eighteen.

478
00:26:27,600 --> 00:26:28,040
Speaker 5: We got it.

479
00:26:28,359 --> 00:26:30,840
Speaker 6: We got to carry on the Detton seed somehow, So

480
00:26:30,960 --> 00:26:32,240
Speaker 6: obviously somebody has to live.

481
00:26:32,720 --> 00:26:35,640
Speaker 4: No, they don't, because you could have a kid, right,

482
00:26:35,680 --> 00:26:38,160
Speaker 4: you can have a kid. She they just I think

483
00:26:38,200 --> 00:26:40,240
Speaker 4: that I think it was that you just don't see

484
00:26:40,280 --> 00:26:43,399
Speaker 4: him grow up so correct, you know up till eighteen.

485
00:26:43,800 --> 00:26:46,639
Speaker 4: You know we can wherever that limit hits.

486
00:26:47,560 --> 00:26:49,280
Speaker 1: Well, this is so exciting, and it's what you guys

487
00:26:49,359 --> 00:26:52,720
Speaker 1: described earlier. Is this feeling that nobody's safe. I think

488
00:26:52,720 --> 00:26:56,159
Speaker 1: that's an atmosphere that Taylor has really expertly crafted on

489
00:26:56,240 --> 00:26:59,240
Speaker 1: nineteen twenty, on nineteen eight, on eighteen eighty three, and

490
00:26:59,320 --> 00:27:02,360
Speaker 1: on nineteen twelve, twenty three, this feeling that these beloved

491
00:27:02,440 --> 00:27:06,600
Speaker 1: characters are never safe. So going into every gun fight,

492
00:27:06,760 --> 00:27:12,360
Speaker 1: I find myself, you know, breathless, trying to track what's happening.

493
00:27:12,400 --> 00:27:14,280
Speaker 3: And that when when.

494
00:27:14,520 --> 00:27:17,960
Speaker 1: Our man shows up in the car with the Tommy gun,

495
00:27:18,119 --> 00:27:22,639
Speaker 1: that was such a sort of frightening image, you know,

496
00:27:22,720 --> 00:27:25,679
Speaker 1: the image of that modernity, just like all these guys.

497
00:27:25,880 --> 00:27:28,639
Speaker 3: It feels like it's you know, it's decades.

498
00:27:28,760 --> 00:27:31,720
Speaker 1: It's like the future showing up in the middle of

499
00:27:31,800 --> 00:27:35,159
Speaker 1: Montana with a Tommy gun and to say, you know,

500
00:27:35,320 --> 00:27:35,800
Speaker 1: sit down.

501
00:27:36,280 --> 00:27:38,399
Speaker 4: Yeah. And there's that moment earlier in the episode, which

502
00:27:38,480 --> 00:27:40,919
Speaker 4: like was very satisfying on a light version of that,

503
00:27:40,960 --> 00:27:42,960
Speaker 4: when the family is walking down the street and they

504
00:27:42,960 --> 00:27:46,119
Speaker 4: talk about the washing machine, you know that there's and

505
00:27:46,160 --> 00:27:49,400
Speaker 4: they talk about those things coming in and I don't

506
00:27:49,400 --> 00:27:51,240
Speaker 4: know when he when he got out of that car

507
00:27:51,520 --> 00:27:53,639
Speaker 4: with you know, I don't know enough about guns, but

508
00:27:53,640 --> 00:27:55,200
Speaker 4: I'm gonna call it like an automatic weapon.

509
00:27:55,240 --> 00:27:55,680
Speaker 2: Basically.

510
00:27:56,040 --> 00:28:00,600
Speaker 4: Suddenly the car and that weapon, it felt so deeply fair.

511
00:28:01,160 --> 00:28:04,200
Speaker 4: The fight no longer felt like a fight. And I

512
00:28:04,200 --> 00:28:08,160
Speaker 4: couldn't help but think about, you know, how Native American

513
00:28:08,200 --> 00:28:11,959
Speaker 4: tribes felt when settlers showed up with guns, when you know,

514
00:28:12,000 --> 00:28:14,240
Speaker 4: when they when they had bows and arrows.

515
00:28:14,640 --> 00:28:19,880
Speaker 1: It seems to represent intergenerationally, the Duttons are often outmatched

516
00:28:19,960 --> 00:28:24,359
Speaker 1: by technology, by these sort of like legal maneuvers. It

517
00:28:24,400 --> 00:28:27,080
Speaker 1: feels like so much of what Market Equities is doing

518
00:28:27,160 --> 00:28:30,440
Speaker 1: is trying to make the parameters of their fight unfair.

519
00:28:30,880 --> 00:28:33,560
Speaker 1: They're trying to do whatever they can to sort of bring,

520
00:28:34,119 --> 00:28:39,440
Speaker 1: you know, the coercive American legal system to bear against

521
00:28:39,520 --> 00:28:41,760
Speaker 1: the Duttons. They're sort of trying to they can't win

522
00:28:41,840 --> 00:28:45,040
Speaker 1: the fight by the Duttons' rules, so they're trying to

523
00:28:45,080 --> 00:28:47,440
Speaker 1: shift the parameters of the fight. And it really feels

524
00:28:47,520 --> 00:28:50,040
Speaker 1: like that's what Bronner does in that moment as he says, Okay,

525
00:28:50,840 --> 00:28:51,880
Speaker 1: we can't fight your way.

526
00:28:51,920 --> 00:28:52,920
Speaker 3: I'm gonna fight my way.

527
00:28:53,400 --> 00:28:56,520
Speaker 1: I'm gonna, you know, hit you with a car and

528
00:28:56,680 --> 00:28:59,160
Speaker 1: shoot you forty times with a machine gun.

529
00:29:00,000 --> 00:29:01,280
Speaker 5: I thought it was such a bitch and prop.

530
00:29:01,360 --> 00:29:04,280
Speaker 6: It was very much like an Indiana Jones moment, remember

531
00:29:04,320 --> 00:29:06,600
Speaker 6: that from the first movie where he pulls out the.

532
00:29:06,560 --> 00:29:09,040
Speaker 5: Gun when you know they're the nights with them and

533
00:29:09,080 --> 00:29:10,440
Speaker 5: he just pulls up like shut up.

534
00:29:11,360 --> 00:29:14,320
Speaker 6: I got giddy when I saw the prop. It was Now,

535
00:29:14,360 --> 00:29:15,960
Speaker 6: I don't know where Shepherd is going to get a

536
00:29:16,000 --> 00:29:17,400
Speaker 6: Tommy gun, but whatever.

537
00:29:17,240 --> 00:29:20,600
Speaker 5: Details details, I thought it was. It was pretty great.

538
00:29:21,120 --> 00:29:23,520
Speaker 4: Well, the choreography in that whole fight sequence, I just

539
00:29:23,520 --> 00:29:26,440
Speaker 4: have to say was so breathtaking. Moment to moment, I

540
00:29:26,480 --> 00:29:30,680
Speaker 4: have this reaction when I watch things that are like violence.

541
00:29:30,320 --> 00:29:31,960
Speaker 2: That is beautifully.

542
00:29:33,520 --> 00:29:36,720
Speaker 4: Choreographed, I like start crying, even though I don't feel sad,

543
00:29:37,480 --> 00:29:40,840
Speaker 4: And that happened during this fight sequence, even down to

544
00:29:40,920 --> 00:29:43,000
Speaker 4: like the detail of the entire family being on one

545
00:29:43,080 --> 00:29:45,040
Speaker 4: side of that fallen log and then going to the

546
00:29:45,080 --> 00:29:48,320
Speaker 4: other side and just like holding on for this narrow

547
00:29:48,400 --> 00:29:50,720
Speaker 4: margin of potential safety.

548
00:29:51,480 --> 00:29:54,360
Speaker 1: Jin it sounds like you've got a lot of insight

549
00:29:54,760 --> 00:29:58,200
Speaker 1: about Lynette's number two. I've yet to hear a number

550
00:29:58,280 --> 00:30:00,640
Speaker 1: two from you. So let's go to a break really quick,

551
00:30:00,680 --> 00:30:02,560
Speaker 1: and then when we come back, you're on the hook.

552
00:30:19,680 --> 00:30:22,520
Speaker 5: Okay, Jan, I'm dying to here, get it, dying to

553
00:30:22,600 --> 00:30:24,000
Speaker 5: hear what you're number two is.

554
00:30:25,880 --> 00:30:29,440
Speaker 4: Okay, listen, my number two. While not technically a death,

555
00:30:30,480 --> 00:30:35,040
Speaker 4: it you know, or in the literal sense that we've

556
00:30:35,080 --> 00:30:38,080
Speaker 4: been you know, addressing things, Uh, it feels to me

557
00:30:38,200 --> 00:30:40,680
Speaker 4: like a death of a dream, a death of a possibility,

558
00:30:41,440 --> 00:30:43,560
Speaker 4: a death of and and I think that you know,

559
00:30:43,640 --> 00:30:45,360
Speaker 4: this feels like a death for a lot of women,

560
00:30:45,400 --> 00:30:51,280
Speaker 4: which is Beth's hysterectomy, and suddenly she cannot have she

561
00:30:51,400 --> 00:30:58,360
Speaker 4: cannot have children, and people I know who have been

562
00:30:58,400 --> 00:31:01,120
Speaker 4: told they cannot have kids. It feels very much like

563
00:31:01,640 --> 00:31:07,080
Speaker 4: a death. So that is my number two because I

564
00:31:07,120 --> 00:31:14,400
Speaker 4: cannot think about who Beth is without that loss sort

565
00:31:14,400 --> 00:31:19,960
Speaker 4: of interwoven into the animal that she is.

566
00:31:20,280 --> 00:31:21,120
Speaker 2: So that's my number two.

567
00:31:21,160 --> 00:31:22,840
Speaker 5: Cheery, excellent selection.

568
00:31:23,040 --> 00:31:25,520
Speaker 6: And I remember, I mean the reveal on that was

569
00:31:25,560 --> 00:31:28,520
Speaker 6: so huge and I immediately went to the Internet to

570
00:31:28,560 --> 00:31:32,080
Speaker 6: look up the history of these clinics on the reservation

571
00:31:32,280 --> 00:31:35,840
Speaker 6: and that whole story is steeped in reality, which was

572
00:31:35,880 --> 00:31:39,600
Speaker 6: even more depressing. That one really hung on to me.

573
00:31:40,000 --> 00:31:41,880
Speaker 4: Okay, are we at number one? Are we going to

574
00:31:41,920 --> 00:31:45,520
Speaker 4: talk about number one deaths? I'm ready, I'll go because

575
00:31:45,560 --> 00:31:47,760
Speaker 4: mine's I'll just lead here and we'll go around this

576
00:31:47,760 --> 00:31:51,080
Speaker 4: way again. Okay, so my number one deaf, though I

577
00:31:51,160 --> 00:31:52,600
Speaker 4: do kind of want to change it. My number one

578
00:31:52,680 --> 00:31:55,600
Speaker 4: death is Evelyn and Dutton because I think the ultimate

579
00:31:55,640 --> 00:31:57,840
Speaker 4: wound is the mother wound.

580
00:31:58,120 --> 00:31:59,720
Speaker 1: It's a really good one, Jen, I mean, the Evelyn

581
00:31:59,720 --> 00:32:01,959
Speaker 1: stuff is really I don't think it can be overstated

582
00:32:02,000 --> 00:32:05,920
Speaker 1: how much the you know, it feels like this generation

583
00:32:06,040 --> 00:32:10,120
Speaker 1: of Dutton's, their grip on this ranch is more precarious

584
00:32:10,120 --> 00:32:12,440
Speaker 1: than it's ever been. We see it sort of slipping

585
00:32:12,440 --> 00:32:14,440
Speaker 1: out of their fingers. From the very beginning, the ranch

586
00:32:14,520 --> 00:32:19,520
Speaker 1: is in crisis, and John Dutton bemoans over and over again, God,

587
00:32:19,560 --> 00:32:25,040
Speaker 1: if my wife could see how poorly I've done holding

588
00:32:25,080 --> 00:32:27,920
Speaker 1: our family together, if my wife could see the mess

589
00:32:27,960 --> 00:32:31,400
Speaker 1: I've made of things. It really feels like he's missing

590
00:32:31,480 --> 00:32:34,480
Speaker 1: this anchor. He feels in some ways like a sort

591
00:32:34,520 --> 00:32:40,120
Speaker 1: of cursed or haunted, kind of empty man. From the

592
00:32:40,240 --> 00:32:43,440
Speaker 1: very beginning of the show, and it really feels like,

593
00:32:43,520 --> 00:32:46,520
Speaker 1: you know, the loss of Evelyn also heavily informs the

594
00:32:46,600 --> 00:32:49,960
Speaker 1: relationship between Beth and John, which is one of the

595
00:32:50,080 --> 00:32:53,840
Speaker 1: critical relationships of the show. Beth's loyalty to John. So

596
00:32:53,960 --> 00:32:56,720
Speaker 1: much of what she does, this kind of destructive spree

597
00:32:56,760 --> 00:33:01,400
Speaker 1: that she's on, is in John's name, in part because

598
00:33:01,400 --> 00:33:03,240
Speaker 1: I think, I think, like you said, she doesn't have

599
00:33:03,320 --> 00:33:05,600
Speaker 1: this mother. She feels as though she has so much

600
00:33:05,680 --> 00:33:09,920
Speaker 1: responsibility to her father, especially because she feels responsible for

601
00:33:09,960 --> 00:33:12,800
Speaker 1: Evelyn's death. You know, we saw in that tragic flashback,

602
00:33:12,840 --> 00:33:17,560
Speaker 1: Beth feels responsible for Evelyn's death, and she will go

603
00:33:17,680 --> 00:33:21,440
Speaker 1: to the ends of the earth and sort of you know,

604
00:33:22,080 --> 00:33:25,640
Speaker 1: spite it all, cut it all down, to try to

605
00:33:26,320 --> 00:33:29,960
Speaker 1: redeem you know, what she feels she's responsible for.

606
00:33:30,080 --> 00:33:31,960
Speaker 3: It's really it's very tragic.

607
00:33:32,920 --> 00:33:34,960
Speaker 4: Yeah, as you were talking, I was just thinking about

608
00:33:35,040 --> 00:33:38,240
Speaker 4: young Rip all of a sudden and of course, and

609
00:33:38,720 --> 00:33:42,960
Speaker 4: you know, young Beth and young Jamie, and how there's

610
00:33:43,800 --> 00:33:49,400
Speaker 4: a lot of these characters as children feel deeply responsible for,

611
00:33:50,600 --> 00:33:53,640
Speaker 4: you know, for deaths of individuals or for you know, Jamie,

612
00:33:53,880 --> 00:33:57,320
Speaker 4: the hysterectomy of Beth. That it's just a tremendous amount

613
00:33:57,360 --> 00:33:59,200
Speaker 4: of shame to carry into adulthood.

614
00:34:00,000 --> 00:34:00,920
Speaker 3: Grew up way too fast.

615
00:34:01,480 --> 00:34:05,240
Speaker 6: All right, I'm going to my number one is all

616
00:34:05,280 --> 00:34:07,560
Speaker 6: the deaths at the end of eighteen eighty three.

617
00:34:08,960 --> 00:34:10,719
Speaker 1: Yeah, I have to agree. I mean, I think my

618
00:34:11,040 --> 00:34:13,920
Speaker 1: number one is similarly. Yeah, all these Duttons that have

619
00:34:14,080 --> 00:34:16,560
Speaker 1: come before. You know, by the time we get to

620
00:34:16,600 --> 00:34:20,399
Speaker 1: the action of Yellowstone, it feels like Kevin Costner John

621
00:34:20,480 --> 00:34:27,000
Speaker 1: Dutton is dragging behind the terrible weight of his ancestors.

622
00:34:27,040 --> 00:34:30,640
Speaker 1: It feels like he's got all of these skeletons almost

623
00:34:30,760 --> 00:34:35,280
Speaker 1: shackled to him. That he's trying so hard to drag

624
00:34:35,360 --> 00:34:38,480
Speaker 1: them along with him into the future. And I can't

625
00:34:38,520 --> 00:34:41,200
Speaker 1: help but feel like it's feudle. You know, I can't

626
00:34:41,200 --> 00:34:43,719
Speaker 1: help but feel like it's a doomed enterprise.

627
00:34:44,200 --> 00:34:47,080
Speaker 6: This list, this is what makes TV so great. I mean,

628
00:34:47,080 --> 00:34:50,400
Speaker 6: this is why showrunners should never listen to fans, because

629
00:34:50,440 --> 00:34:52,839
Speaker 6: fans will always want to keep everybody alive. But there's

630
00:34:52,840 --> 00:34:55,120
Speaker 6: no conflict there, there's no drama. And if you think

631
00:34:55,160 --> 00:34:57,960
Speaker 6: back at the best television of your life, it's the

632
00:34:57,960 --> 00:35:00,600
Speaker 6: one you think about those great deaths. My one of

633
00:35:00,600 --> 00:35:03,239
Speaker 6: my all time favorites is when Josh Charles was killed

634
00:35:03,280 --> 00:35:04,560
Speaker 6: off on The Good Wife.

635
00:35:04,640 --> 00:35:07,440
Speaker 5: I still remember it. I still watch it today and

636
00:35:07,480 --> 00:35:08,120
Speaker 5: it kills me.

637
00:35:08,520 --> 00:35:11,000
Speaker 6: And so I mean, as sad as it is to

638
00:35:11,000 --> 00:35:13,759
Speaker 6: say goodbye to these characters, you need this to keep

639
00:35:13,800 --> 00:35:16,759
Speaker 6: the show fresh and interesting. In getting us to talk

640
00:35:16,760 --> 00:35:19,920
Speaker 6: about this and do lists like these, it's this great stuff.

641
00:35:20,280 --> 00:35:25,359
Speaker 4: Yeah, hey, Jeff, since I know that you love death

642
00:35:25,440 --> 00:35:28,120
Speaker 4: so much and you were sad to be limited to

643
00:35:28,280 --> 00:35:31,239
Speaker 4: five significant ones, can we just get into some of

644
00:35:31,280 --> 00:35:34,919
Speaker 4: your your top five faves because they're Yeah.

645
00:35:34,920 --> 00:35:36,879
Speaker 1: Actually, I made a list of thirty thirty five. We're

646
00:35:36,880 --> 00:35:38,680
Speaker 1: going to start at number thirty five, here we go.

647
00:35:38,960 --> 00:35:39,800
Speaker 3: No, I'm just kidding.

648
00:35:39,960 --> 00:35:42,520
Speaker 1: I think of myself as a bit of a Yellowstone historian.

649
00:35:42,600 --> 00:35:44,880
Speaker 1: So I just want to run down some of the

650
00:35:45,520 --> 00:35:49,600
Speaker 1: exciting deaths, you know, exciting defining deaths from the history.

651
00:35:49,360 --> 00:35:49,719
Speaker 3: Of the show.

652
00:35:49,719 --> 00:35:52,920
Speaker 1: So Dan Jenkins, oh yeah, more went out for Dan Jenkins.

653
00:35:52,960 --> 00:35:55,319
Speaker 1: Dan Jenkins, that was a bit for me of a

654
00:35:55,400 --> 00:35:57,200
Speaker 1: moment of oh, how do we go back from this?

655
00:35:57,280 --> 00:36:00,000
Speaker 1: Because he had been such a sort of formative importance

656
00:36:00,080 --> 00:36:02,040
Speaker 1: and character in the first two seasons of the show.

657
00:36:02,080 --> 00:36:05,000
Speaker 1: It felt like he finally saw the light towards the

658
00:36:05,120 --> 00:36:08,520
Speaker 1: end of his life. Yeah, you know, he finally understood that.

659
00:36:08,719 --> 00:36:13,480
Speaker 1: You know, Kevin Costner John Dutton was maybe right, you know,

660
00:36:13,600 --> 00:36:17,160
Speaker 1: he he maybe sided with John Dutton against the Beck

661
00:36:17,239 --> 00:36:19,880
Speaker 1: Brothers right at the end of his life, but that

662
00:36:20,000 --> 00:36:23,120
Speaker 1: also cost him his life. Speaking of the Beck brothers,

663
00:36:23,200 --> 00:36:27,279
Speaker 1: oh man, absolute scumbags, very satis as far as you know,

664
00:36:27,520 --> 00:36:30,920
Speaker 1: satisfying deaths go. I would say, the deaths of the

665
00:36:30,920 --> 00:36:36,160
Speaker 1: Beck brothers really really got me going, really got me buzzing.

666
00:36:37,160 --> 00:36:38,880
Speaker 6: Well, actually, if you want to get into a t

667
00:36:38,920 --> 00:36:42,640
Speaker 6: and ay three. And I didn't realize this until recently

668
00:36:42,680 --> 00:36:44,960
Speaker 6: when I was reminded of it. You know Don OLIVERI

669
00:36:45,040 --> 00:36:48,600
Speaker 6: who plays the vixen, who's like pulling in Jamie right now.

670
00:36:48,920 --> 00:36:52,560
Speaker 6: She played Claire Dutton. Remember that whole sequence where her

671
00:36:52,640 --> 00:36:55,319
Speaker 6: daughters died and she decides it's not worth living and

672
00:36:55,400 --> 00:36:57,400
Speaker 6: she ends up staying there by his grave.

673
00:36:57,840 --> 00:36:58,680
Speaker 5: That was brutal.

674
00:36:59,160 --> 00:37:00,800
Speaker 2: That was freaking Bruce at all, totally.

675
00:37:01,160 --> 00:37:02,839
Speaker 6: So yeah, that's that's up there.

676
00:37:02,960 --> 00:37:04,359
Speaker 5: You can pour one out for her too.

677
00:37:04,880 --> 00:37:07,280
Speaker 3: Yeah, the past was bad. Overwhelmingly.

678
00:37:07,320 --> 00:37:09,600
Speaker 1: As I'm watching eighteen eighty three and nineteen twenty three,

679
00:37:09,600 --> 00:37:13,640
Speaker 1: I'm reminded that the past pretty rough time to be alive.

680
00:37:13,719 --> 00:37:15,360
Speaker 3: Yeah, not so good, guys.

681
00:37:15,400 --> 00:37:20,160
Speaker 1: As we've been exploring throughout this entire episode, all things

682
00:37:20,280 --> 00:37:26,280
Speaker 1: must end. All palaces are temporary palaces, This too shall pass,

683
00:37:27,520 --> 00:37:30,920
Speaker 1: and this unfortunately brings us to the conclusion of this episode.

684
00:37:31,239 --> 00:37:33,400
Speaker 1: So I'm so so grateful for you out there listening

685
00:37:33,400 --> 00:37:36,839
Speaker 1: to us, Lynnette. I'm so grateful that you joined us.

686
00:37:36,880 --> 00:37:39,080
Speaker 1: Thank you for bringing your perspective to all of this.

687
00:37:39,920 --> 00:37:40,760
Speaker 3: What a joy.

688
00:37:40,840 --> 00:37:43,399
Speaker 2: Yeah, thank you, thank you so much.

689
00:37:43,440 --> 00:37:45,520
Speaker 6: And I really hope that you end this episode with

690
00:37:45,680 --> 00:37:49,879
Speaker 6: Jen as Teeter saying, you know, sending Jimmy to the

691
00:37:50,000 --> 00:37:50,720
Speaker 6: train station.

692
00:37:50,920 --> 00:37:53,800
Speaker 5: Do you think you could do that, do a teeter

693
00:37:54,239 --> 00:37:55,280
Speaker 5: like a teter.

694
00:37:56,760 --> 00:37:58,120
Speaker 2: Dreaming in a fucking translation.

695
00:37:58,480 --> 00:37:59,400
Speaker 4: I'll nice shit.

696
00:38:01,400 --> 00:38:03,320
Speaker 3: There it, Lynette.

697
00:38:03,360 --> 00:38:06,480
Speaker 1: I've been begging her to do that for months. I've

698
00:38:06,480 --> 00:38:08,759
Speaker 1: been begging her to do the voice for months, and

699
00:38:08,800 --> 00:38:10,319
Speaker 1: all you had to do was ask.

700
00:38:11,239 --> 00:38:12,640
Speaker 2: I blacked out. What happened?

701
00:38:16,760 --> 00:38:19,239
Speaker 1: Thank you so so much for joining us. We'll see

702
00:38:19,239 --> 00:38:19,799
Speaker 1: you real soon.

703
00:38:19,960 --> 00:38:20,280
Speaker 4: Bye.

704
00:38:21,280 --> 00:38:24,440
Speaker 1: Don't forget to subscribe to the Official Yellowstone Podcast and

705
00:38:24,480 --> 00:38:27,240
Speaker 1: you can find us on Apple Podcasts, Spotify, or wherever

706
00:38:27,239 --> 00:38:31,759
Speaker 1: you get your podcasts. The Official Yellowstone Podcast is a

707
00:38:31,800 --> 00:38:35,000
Speaker 1: production of one oh one Studios and Paramount. This episode

708
00:38:35,000 --> 00:38:37,759
Speaker 1: was produced by Scott Stone. Brandon Getchis is the head

709
00:38:37,760 --> 00:38:40,360
Speaker 1: of Audio for one oh one Studios. Steve Rasis is

710
00:38:40,360 --> 00:38:43,840
Speaker 1: the executive vice president of the Paramount Global Podcast Group.

711
00:38:44,239 --> 00:38:49,000
Speaker 1: Special thanks to Megan Marcus, Jeremy Westfall, Ainsley Rosito, Andrew Sarnow,

712
00:38:49,200 --> 00:38:52,600
Speaker 1: Jason Reid, and Whitney Baxter from Paramount, and of course

713
00:38:52,719 --> 00:38:55,640
Speaker 1: David Glasser, David Huckin and Michelle Newman from one oh

714
00:38:55,680 --> 00:39:05,280
Speaker 1: one Studios