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Speaker 1: Hey, everyone, welcome back to the Official Yellowstone Podcast. I'm

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Speaker 1: Jen Landon and I am here with my great co

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Speaker 1: host Jefferson White. We have an amazing episode for you today.

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Speaker 1: We are going to be talking about episode seven of

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Speaker 1: season five of Yellowstone and the series premiere of nineteen

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Speaker 1: twenty three.

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Speaker 2: Huge week, Huge week for Yellowstone fans, ourselves included.

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Speaker 1: So don't go away. We're going to take a quick

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Speaker 1: break and we'll be right back.

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Speaker 2: And we're back. Big week for Yellowstone. Huh.

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Speaker 1: Yeah, it was. It was an episode filled with tremendous change.

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Speaker 1: And if I were to say there's a theme, I

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Speaker 1: would say departure would be the theme.

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Speaker 2: Yeah, And I can't help but notice I'm excited to

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Speaker 2: talk about, you know, episode seventy Yellstone. I'm also really

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Speaker 2: excited about to talk about nineteen twenty three later on,

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Speaker 2: in part because there's some interesting echoes. You know, there's

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Speaker 2: some themes that transcend both shows totally and really sort

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Speaker 2: of demonstrate the ways in which these worlds are connected,

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Speaker 2: you know, across decades, the struggles that have faced the

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Speaker 2: Dutton family are connected and sort of cyclical in a

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Speaker 2: lot of ways.

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Speaker 1: Yeah, that I found that incredibly satisfying as a viewer myself.

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Speaker 1: There's something about ranching that inherently doesn't change. That's one

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Speaker 1: of the important things that Taylor talks about and writes

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Speaker 1: about into it in his stories.

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Speaker 2: Yeah. So this episode of Yellowstone, episode seven opens in

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Speaker 2: a third timeline, which is the time that we've been exploring,

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Speaker 2: and I think it's nineteen ninety seventy events of Rip's childhood,

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Speaker 2: you know, these events with young Rip, with Rowdy and

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Speaker 2: with young young John Dutton played by Josh Lucas, and

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Speaker 2: this episode sort of echoes It's funny, it's interesting. Rip

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Speaker 2: has been fighting for Beth his whole life. It's amazing

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Speaker 2: to see as in the events of modern day Yellowstone,

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Speaker 2: we see Rip come to Beth's defense over and over again,

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Speaker 2: fight on her bath of her honor, to protect her,

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Speaker 2: fight to sort of preserve her legacy, fight to sort

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Speaker 2: of support her ideology. We witness maybe the first time

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Speaker 2: that Beth has gotten Rip into a fight in the

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Speaker 2: beginning of episode seven here, because we see, you know,

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Speaker 2: out on the trail out doing this big gather. Rowdy

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Speaker 2: starts to perhaps besmirch Beth's honor, and Rip takes offense

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Speaker 2: at it.

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Speaker 1: Yeah, it sets this this dynamic up in which we

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Speaker 1: become aware that Rip will kill and be killed for Beth.

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Speaker 2: Yeah. And we've observed, you know, throughout this season and

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Speaker 2: throughout five seasons of the Yellowstone, this idea of, you know,

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Speaker 2: how cowboys settle conflicts, how cowboys settle arguments. Right, you know,

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Speaker 2: we've watched Rip settle arguments. We've watched him sort of

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Speaker 2: mediate you know, quote unquote mediate other fistfights. This one

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Speaker 2: gets out of control and escalates in a sort of

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Speaker 2: frightening way that results in I don't think deliberately, I

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Speaker 2: don't think that Rip is deliberately doing quite such a

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Speaker 2: critical wound to Rowdy. But Rowdy Rowdy gets messed up

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Speaker 2: pretty bad. And it's interesting. It's this moment, with this

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Speaker 2: this sort of cowboy code of honor. Rowdy says to Rip, hey,

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Speaker 2: you know, go get help, tell him, I just fell

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Speaker 2: off my horse. You know, like you and I both

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Speaker 2: know that we were settling an argument the cowboy way here.

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Speaker 2: You know this isn't your fault. You go get him

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Speaker 2: and tell him I fell off my horse. There's no

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Speaker 2: reason that you should sort of have to accept responsibility

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Speaker 2: for what's happened here.

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Speaker 1: So I think it gives us this moment where we

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Speaker 1: as an audience connect with Rowdy in a way that

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Speaker 1: makes us really like him, to sort of set up

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Speaker 1: the devastation of what comes later. And you hit on

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Speaker 1: another thing, Jeff, that was so smart, which was of course,

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Speaker 1: that Rip didn't intentionally set out in any way to

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Speaker 1: create this much harm. And the theme that it establishes

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Speaker 1: for me is that what Rip doesn't know is his

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Speaker 1: own strength, and what we see him become over the

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Speaker 1: years is somebody who is so strong and is very

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Speaker 1: aware of that strength, but at this juncture in time,

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Speaker 1: he is somebody who's not aware of it.

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Speaker 2: Yeah, and he's somebody who sort of over time gets

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Speaker 2: himself under control. We've seen him kill before, you know,

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Speaker 2: the first time we're introduced to Rip, it's when he's

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Speaker 2: killing his father, his own father who has killed his mother.

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Speaker 2: So the first time we see Rip, he's engaged in

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Speaker 2: this emotional brutal violence. This is another time that you know,

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Speaker 2: emotions ride high and this fight escalates wildly and Ripped

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Speaker 2: sort of once again is not fully in control of himself,

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Speaker 2: and it is it really shows that the Rip that

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Speaker 2: we know in the present timeline. You know, Cole Hauser

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Speaker 2: has through years of hard work and through years of

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Speaker 2: sort of discipline, he is now in control of the

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Speaker 2: monster that he's capable of being right.

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Speaker 1: So when he lets it out in his adult life,

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Speaker 1: it is it is a conscious choice to do so.

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Speaker 1: Cole Hasard is such an amazing job of embodying Rip,

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Speaker 1: of course, but his body language going into a moment

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Speaker 1: where he is about to inflict harm, his walk becomes

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Speaker 1: so deliberate. It is one of the more distinct and

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Speaker 1: terrifying walks I have ever seen ever portrayed by anybody.

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Speaker 1: It's he really embodies that incredibly.

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Speaker 2: Well, yeah, my man's got some presence, Jeff.

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Speaker 1: Let's dive back into that moment where Ripped doesn't tell

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Speaker 1: the lie, Rip doesn't say Rowdy fell off his horse,

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Speaker 1: but and says what he instead tells John the truth.

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Speaker 1: What do you think John's feelings were about that?

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Speaker 2: I think he respects it. It's obviously the more difficult

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Speaker 2: decision to make. It also sets up a relationship that

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Speaker 2: echoes for decades, because you know, this season of Yellowstone,

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Speaker 2: just a few episodes ago, we saw it Rip come

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Speaker 2: clean with John and say, hey, sir, sorry, we killed

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Speaker 2: some of the park wolves on the ranch. You know,

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Speaker 2: another one of these moments where Rip could have lied

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Speaker 2: to John, he could have sort of made his life easier,

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Speaker 2: he could have tried to duck accountability. But he once again,

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Speaker 2: you know, he can't lie to John. That's his sort

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Speaker 2: of highest loyalty. It seems like.

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Speaker 1: Totally and it feels like though John has respect for

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Speaker 1: this honesty, it is a burden that John then has

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Speaker 1: to carry, you know, he has to carry.

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Speaker 2: It also makes him come, yes, exact, that's what I mean.

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Speaker 1: Like it's like he's got to now, he's got to

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Speaker 1: do something about it. He yeah, he's complicit.

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Speaker 2: Yeah, it's a kind of it's a kind of it

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Speaker 2: foists this responsibility then on John. But John has accepted

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Speaker 2: the responsibility of young Rip.

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Speaker 1: You know.

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Speaker 2: It's a really beautiful like in the same way that

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Speaker 2: Rip accepts the responsibility of Carter and has to own

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Speaker 2: up to it. When John Dutton's horse is killed as

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Speaker 2: a result of Carter's carelessness in season five, you know,

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Speaker 2: John Dutton took responsibility for a young Rip and took

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Speaker 2: responsibility for the consequences of bringing this kid onto the ranch.

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Speaker 2: So we really are seeing this kind of cycle of

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Speaker 2: fathers and sons. You know, even if they're not biological

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Speaker 2: fathers and sons, the responsibility that is shared between these

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Speaker 2: kind of mentors and mentees. It's really neat to see

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Speaker 2: this young Rip and young John Dutton then mirrored in

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Speaker 2: Rip and Carter, mirrored in Casey's relationship with Tate. Yeah,

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Speaker 2: it's a fascinating sort of cycle to continue exploring.

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Speaker 1: And Taylor also sets up here in a timeline sequence

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Speaker 1: with the loyalty that is essential to the ranch when

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Speaker 1: he says, he says to Rip, I if I do this, essentially,

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Speaker 1: if I do this, if I help you, then you

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Speaker 1: have to be loyal to this ranch until the day

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Speaker 1: you die. It's a sort of precursor to what we

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Speaker 1: as the audience now leads to branding.

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Speaker 2: Yeah, since the beginning of Yellowstone, we've seen these kind

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Speaker 2: of what have sometimes seemed like extreme commitments. You know,

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Speaker 2: we've said, wow, geez, you sign up, show up with

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Speaker 2: your first day of work, and they say, hey, you're

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Speaker 2: going to be here till you die. But in this

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Speaker 2: case we sort of understand that often those those commitments,

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Speaker 2: those loyalties are born in blood, you know, so John

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Speaker 2: is accepting responsibility for the death of Rowdy and in

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Speaker 2: exchange for that, Rip is pledging his loyalty to the

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Speaker 2: ranch for life.

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Speaker 1: And then moving into the next scene, We've got We've

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Speaker 1: got Jamie and Sarah. This is one of my favorite scenes.

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Speaker 1: This is a scene where Jamie opens up to Sarah

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Speaker 1: about how he was never supposed to to become this

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Speaker 1: and by this he means a lawyer, the soup guy,

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Speaker 1: that he was raised to be a cowboy, he was

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Speaker 1: meant to be a cowboy, that his father submitted his

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Speaker 1: application for him.

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Speaker 2: You're totally right, John needed a different kind of soldier.

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Speaker 2: John had plenty of cowboys, and with Jamie he said, Okay,

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Speaker 2: I need a different kind of soldier, and he sent

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Speaker 2: his kid off to Harvard Law to become a lawyer.

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Speaker 2: And it's wild because all season we've seen John, Rip, Casey,

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Speaker 2: the rest of the family expressing the spiritually satisfying, cathartic

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Speaker 2: joy of participating in this way of life. They're out

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Speaker 2: on the ranch early mornings, watching the sunrise on horseback,

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Speaker 2: kind of savoring the best of what this life has

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Speaker 2: to offer, celebrating the best of what this life has

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Speaker 2: to offer, and Jamie has not had a minute of that.

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Speaker 2: Every time they're out there gathering cows at dawn, you know,

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Speaker 2: really in touch with the roots of this culture and

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Speaker 2: this tradition and this way of life. Jamie is in

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Speaker 2: a boardroom, he's in a shitty hotel, he's somewhere else

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Speaker 2: sort of fighting a battle on a completely different front.

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Speaker 2: He has been utterly denied the benefits of this way

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Speaker 2: of life, and at the same time, he's been asked

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Speaker 2: to give his entire being to protecting this way of life.

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Speaker 2: He's been told, Hey, spend your entire life protecting the ranch,

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Speaker 2: protecting our western tradition, protecting our family's heritage. But you

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Speaker 2: don't ever get to enjoy it yourself. You don't get

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Speaker 2: to spend time with us, you don't get to be

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Speaker 2: on the ranch living the lifestyle that you are fighting

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Speaker 2: to protect. And we're seeing the weight of that responsibility

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Speaker 2: just absolutely rip him apart.

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Speaker 1: Yeah, it's so smart what you've said. And it's like

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Speaker 1: everybody else gets to have some kind of job for John,

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Speaker 1: but also gets to be their child or somebody that

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Speaker 1: he cares about and is tender to. And in a way,

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Speaker 1: Jamie just has the job part and doesn't really have

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Speaker 1: the son part. It feels doubly screwed up because he's

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Speaker 1: the one who's adopted. You'd think John would have gone

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Speaker 1: out of his way to make him feel more included.

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Speaker 2: Yeah, this season, we watch John and Casey have all

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Speaker 2: these beautiful moments of togetherness. We watch John be a

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Speaker 2: father to Casey, be a grandfather to Take, be a

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Speaker 2: sort of father figure to Carter, be a father in

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Speaker 2: law to Monica. We see John in part wisdom to

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Speaker 2: all of these people around him, wisdom and kindness and love.

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Speaker 2: We don't get a single I'm counting on one hand

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Speaker 2: over here the tender moments between John and Jamie, and

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Speaker 2: I can count him on one finger the finger and

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Speaker 2: even go up, you know, in.

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Speaker 1: A weird way. The best thing that Jamie could do

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Speaker 1: is start to work for the ranch as a ranch hand,

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Speaker 1: kill somebody to save the ranch, go to the train

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Speaker 1: station with that body, and then get branded, and he'd

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Speaker 1: be treated a lot better, you know.

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Speaker 2: And he's tried a lot of this stuff. Season two,

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Speaker 2: he worked on the ranch for a little bit as

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Speaker 2: after the murder of Sarah Nuyan, who he killed somebody

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Speaker 2: to protect the ranch. You would think Jamie's done everything

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Speaker 2: in his power to belong here, to sort of get

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Speaker 2: a little bit of his dad's love, and he's been

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Speaker 2: denied it at every turn, which is brutal. So we're

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Speaker 2: going to get right back into it. We're gonna jump

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Speaker 2: back into more of this episode after this quick break.

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Speaker 2: So crucial to the action of the last few episodes

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Speaker 2: has been gathering cattle to brand them, right, gathering these

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Speaker 2: cowclf pairs and branding them. This time, as the cowboys

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Speaker 2: ride out to go gather more, there is a startling

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Speaker 2: and alarming discovery, which is these stillborn bison calves, which

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Speaker 2: these cowboys who are also effectively veterinary scientists. These guys

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Speaker 2: are also just incredibly smart. They know how to interpret

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Speaker 2: these signs. These cowboys know that stillborn bison calves means brucellosis,

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Speaker 2: and it's very, very important that that disease not be

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Speaker 2: transmitted from those bison to the Yellowstones cows because if

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Speaker 2: it's transferred to the herd, it's going to run through

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Speaker 2: the herd, it's going to do an incredible amount of damage,

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Speaker 2: and the Department of Wildlife basically is going to dictate

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Speaker 2: that the entire herd be put down to avoid that

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Speaker 2: disease spreading further. So the only option they have, effectively

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Speaker 2: is to figure out another place to bring these cows

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Speaker 2: where they're going to be safe from these bisons, safe

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Speaker 2: from the possible transmits of brucellosis. So immediately John Dutton

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Speaker 2: starts getting on the phone and figuring out where the

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Speaker 2: f are we going to put one of the biggest

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Speaker 2: herds in the state. Where are we going to put

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Speaker 2: all of these cows, which is a big logistical nightmare

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Speaker 2: and also implies you can't just send the cows. You're

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Speaker 2: going to have to send a lot of cowboys with them.

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Speaker 2: So this immediately sets up this kind of heartbreaking situation,

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Speaker 2: which is that functionally half of the bunk cows is

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Speaker 2: going to have to leave the state for god knows

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Speaker 2: how long to move the cows and then babysit them

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Speaker 2: wherever they wind up.

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Speaker 1: And of course we find out that the cows are

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Speaker 1: going to be moving down to Texas, So really the

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Speaker 1: cows are moving closer to you, Jeff. That's I feel

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Speaker 1: like we're like inching closer to Jimmy as these cows

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Speaker 1: the audience is like with the cows on their way

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Speaker 1: to Jimmy.

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Speaker 2: Yeah, exactly, find Texas. So it sets up this fascinating situation,

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Speaker 2: and we've talked about this all season, that John's resources

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Speaker 2: are being spread ever more thin. John himself has been

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Speaker 2: torn away from the ranch and basically dropped into Helena

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Speaker 2: with all of these political responsibilities. Beth is jet setting

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Speaker 2: around trying to sort of help her father manage his

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Speaker 2: political responsibilities and also do double duty and take care

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Speaker 2: of the ranch, figure out how to keep the ranch

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Speaker 2: from collapsing financially. And now Rip is going to have

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Speaker 2: to go to Texas with the herd. Right, so, all

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Speaker 2: of a sudden, John Dutton's soldiers are spread so thin,

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Speaker 2: Casey is going to be, you know, left on the ranch,

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Speaker 2: left responsible functionally for the day to day operations of

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Speaker 2: the ranch, along with Lloyd, along with Ethan Lee Colby.

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Speaker 2: And when Rip is given the sort of choice of

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Speaker 2: who he's going to bring with him on this big

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Speaker 2: drive down to Texas, he says, I want Teeter.

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Speaker 1: Thank you, great choice.

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Speaker 2: We're doing a draft here, he says, I want Teeter.

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Speaker 2: I want Walker because Walker's from Texas, he knows where

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Speaker 2: we're headed. And I want Ryan. And right there you're

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Speaker 2: talking about three people who are suddenly in long distance relationships,

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Speaker 2: not to mention Rip himself, who's having to leave behind Beth,

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Speaker 2: who is obviously his sort of center of gravity. And

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Speaker 2: Ryan says, Ryan says, I just love this line. He says,

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Speaker 2: cowboying is how I sing. If the Grand Old Opry

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Speaker 2: is your super Bowl, moving five thousand head to land

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Speaker 2: we don't know, and keeping that herd together, getting it

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Speaker 2: through winter, new disease, new predators, that's ours. So Ryan says,

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Speaker 2: this is our super Bowl. This responsibility, this duty is

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Speaker 2: some It's not something we're afraid of. It's something we

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Speaker 2: look forward to and embrace.

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Speaker 1: I love when Ryan says that to Abby, and it

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Speaker 1: pushes forward a mentality of cowboy that is mirrored in

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Speaker 1: the nineteen twenty three episode when we get to that,

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Speaker 1: which is that the cattle will always come first being

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Speaker 1: a cowboy, and ranching will always come first. And I

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Speaker 1: will leave it at that, because Helen Mirren in twenty

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Speaker 1: three expands on that idea with dialogue that is better

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Speaker 1: than anything I could say. So we have we now

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Speaker 1: know a bunch of people are how to detect us,

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Speaker 1: and then we jump to Jamie Ellis and Sarah and

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Speaker 1: Ellis and Sarah are enraged because John Dutton has put

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Speaker 1: the ranch into a land trust, and Sarah basically is like,

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Speaker 1: how could you let your father do that and sort

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Speaker 1: of shames him. Baraides him, but then gives him the

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Speaker 1: key to the castle after and says that sounds like

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Speaker 1: an impeachable offense. It's an ominous but also exciting moment

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Speaker 1: as a viewer to sort of get a taste of

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Speaker 1: what is to come. And in the next scene, the

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Speaker 1: scene opens with another one of those moments, which is

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Speaker 1: Beth calling the four Six's Ranch, And that was an

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Speaker 1: incredibly exciting thing for me to read as an actor,

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Speaker 1: because all during that season, I'm aware that you, Jefferson Wright,

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Speaker 1: are at the four Six's Ranch, and that we don't

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Speaker 1: see you, and that I don't get to see you.

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Speaker 1: And then I find out that I get to go

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Speaker 1: to Texas, and then I see Beth call the four

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Speaker 1: Six's Ranch, and again my dream is that those cows

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Speaker 1: make it all the way to the four Six's Ranch,

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Speaker 1: which is I think exactly what it looks like.

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Speaker 2: Yeah, it's one of these cool things where there's this

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Speaker 2: you know, this mythology of the Dutton ranch. And then

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Speaker 2: there's also this mythology of the Four Sixes, this like

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Speaker 2: real life mythology, you know. The Four Sixes is a massive,

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Speaker 2: historically sort of precious cattle ranch in West Texas. We

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Speaker 2: were introduced to it in season four of Yellowstone. The

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Speaker 2: myth of that ranch started to sort of build and cook.

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Speaker 2: We've only seen it from Jimmy's kind of Ansei view,

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Speaker 2: and then it's a really exciting moment when Beth calls,

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Speaker 2: you know, Beth calls up the supply house of the

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Speaker 2: Four Sixes and we start to sort of see it

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Speaker 2: from the eagles eye view, from Beth's view.

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Speaker 1: In a weird way, the brucellosis ends up becoming a

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Speaker 1: potential financial blessing that the Duttons wouldn't have stumbled upon

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Speaker 1: any other way, because Beth says in the scene with John,

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Speaker 1: you know, and of course throughout the entire show, that

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Speaker 1: they never turn a profit, that they just scrape by

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Speaker 1: to keep this ranch going.

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Speaker 2: And there's different models for how it can work. Beth

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Speaker 2: has proposed and tried to sort of enact different models

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Speaker 2: to make the Yellowstone Ranch solvent over the last five seasons.

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Speaker 2: And this is the seed of this new idea for

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Speaker 2: this different sort of financial model, and she learns, you know, functionally,

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Speaker 2: how does the four sixes do it? Well? They sell

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Speaker 2: their beef direct to consumer. Instead of selling their beef

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Speaker 2: for a dollar fifty a pound to a meat packer,

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Speaker 2: they're selling you know, surloin for thirty dollars a pound

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Speaker 2: direct to a customer. And Beth hears that, and I

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Speaker 2: feel like that that's this huge moment for her. She's

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Speaker 2: a genius. She's an economic genius. That proposition all of

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Speaker 2: a sudden really lights up, really lights her up with possibility,

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Speaker 2: and she starts to sort of cook on this kind

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Speaker 2: of whole new model.

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Speaker 1: Of course, what this means is that Taylor is a

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Speaker 1: genius as well in terms of being able to identify

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Speaker 1: that meat packers are the are conglomerates that are holding

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Speaker 1: the rancher and the consumer hostage. As the consumer pays

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Speaker 1: more money for beef, the rancher gets less money for beef,

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Speaker 1: and nobody wins except for massive industry.

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Speaker 2: Yeah, this is a sort of a huge crisis facing

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Speaker 2: all people who work in agriculture around the country. Right, So,

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Speaker 2: I'm from Iowa. In Iowa, it's corn, soybeans, and pork.

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Speaker 2: It gets harder and harder every year for family farmers

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Speaker 2: to sell at the prices that these massive corporate sort

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Speaker 2: of big agribusiness institutions set. Right, they can afford to

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Speaker 2: sell at a much lower price. They can functionally set

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Speaker 2: the price of corn, soybeans, and pork when they're working

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Speaker 2: with these these massive, massive quantities that allow them to

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Speaker 2: make a sort of smaller margin of profit per sale,

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Speaker 2: whereas small farms. Family farms can't afford to do that. Right,

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Speaker 2: So this is the same question facing cattle industry, the

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Speaker 2: beef industry, and Sarah Atwood. Sarah Attwood sort of makes

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Speaker 2: a point earlier in the season. She says, Oh, yeah,

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Speaker 2: American beef is done. It's Brazil like, like real beef manufacturing,

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Speaker 2: big beef in ten years is going the way that,

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Speaker 2: you know, the way that American manufacturing went to China

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Speaker 2: over the last ten years. Big beef is going to Brazil.

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Speaker 2: American cattle ranchers are not going to be able to

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Speaker 2: keep up with the prices being set by these massive

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Speaker 2: corporate interests in Brazil and internationally. And so this is

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Speaker 2: you know, it's the steady march of you know, shifting

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Speaker 2: economic headwinds that John Dutton is trying to resist in

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Speaker 2: a million ways, and they're trying to sort of figure

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Speaker 2: out how to defeat this incredibly strong headwind that is

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Speaker 2: making it harder and harder for farmers to stay.

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Speaker 1: Afloat moving into lighter territory. Let's talk about the fair.

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Speaker 1: This was a massive scene, Jeff Sadly, again, you weren't there.

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Speaker 1: It took a while to shoot. I can tell you

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Speaker 1: for the audience. Here's a fun fact. We shot that

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Speaker 1: fair sequence in Montana and in Texas, and this is

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Speaker 1: just a testament to movie magic and the hard work

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Speaker 1: of our crew. Somehow Texas looked like Montana. I didn't

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Speaker 1: think they were going to get away with it, but

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Speaker 1: they did. But this is an amazing scene where we

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Speaker 1: sort of have all of the key relationships in the

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Speaker 1: show in one place. We see all of the dynamics.

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Speaker 1: The theme, of course is romance, and there are goodbyes

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Speaker 1: and then there are sort of steps forward, certainly with

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Speaker 1: John and Summer at the end of the episode.

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Speaker 2: Yeah, it's really sweet. You know, we've set up, as

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Speaker 2: you mentioned, this kind of departure, this exodus. Everybody's going

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Speaker 2: to have to leave, and that I think brings into

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Speaker 2: stark relief what they're leaving behind. So all these characters

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Speaker 2: are confronting these relationships, they're perhaps you know, realizing how

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Speaker 2: they feel because suddenly they're leaving, I think is something

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Speaker 2: we've all experienced. So all these characters are sort of

401
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Speaker 2: having this opportunity to articulate their feelings and sort of

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Speaker 2: express their feelings and plan for their future or lack thereof.

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Speaker 1: And we find out that the cowboys who are leaving

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Speaker 1: will be gone for about a year. And of course

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Speaker 1: the scene between Ryan and Abby with that beautiful quote

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Speaker 1: that you referenced, And when I was watching the episode,

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Speaker 1: of course part of me wondered based on how I

408
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Speaker 1: was clutching the pink bear, because I was really clutching

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Speaker 1: the pink bear because it was about thirty degrees outside

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Speaker 1: and it was the only way it could stay warm.

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Speaker 1: But watching it, I thought, is Teter more sad to

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Speaker 1: leave Colby or is she more sad to leave behind

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Speaker 1: the bear? And I frankly couldn't tell it.

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Speaker 2: Is Yeah, what an amazing sort of moment. None of

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Speaker 2: these people are particularly verbally expressive. This is perhaps sort

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Speaker 2: of the nature of cowboys, you know, me and Jen.

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Speaker 2: Our whole thing is talking. In real life. We love talking.

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Speaker 2: That's why we're here doing a podcast. Talking comes very

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Speaker 2: naturally to us, and you can decide for yourself whether

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Speaker 2: we're any good at it. But these characters on the

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Speaker 2: show aren't necessarily talkers. They're doers, you know, they're people,

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Speaker 2: they're working people. They speak. They speak the language of horses,

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Speaker 2: they speak the language of these cows that they're responsible for.

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Speaker 2: They are literate in this entire other language. But they're

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Speaker 2: not necessarily the most eloquent when it comes to expressing

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Speaker 2: their feelings their rich inner lives. And it doesn't mean

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Speaker 2: they don't have rich inner lives, it's just that their

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Speaker 2: words aren't usually the way that they express them.

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Speaker 1: I feel like we can't wrap up this episode totally

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Speaker 1: without just hitting on the moment between John and Summer,

431
00:25:57,160 --> 00:26:01,560
Speaker 1: which obviously ends in what we can only assume is

432
00:26:01,720 --> 00:26:05,600
Speaker 1: a kiss behind John Dutton's hat, which if I was

433
00:26:05,600 --> 00:26:07,680
Speaker 1: a kid, I would have been like, they're making out.

434
00:26:08,800 --> 00:26:15,280
Speaker 1: But Summer gives John sort of a gem in terms

435
00:26:15,600 --> 00:26:18,919
Speaker 1: of reaching people and getting them to understand, because she

436
00:26:19,000 --> 00:26:23,160
Speaker 1: talks about how she may never agree with him about

437
00:26:23,160 --> 00:26:27,600
Speaker 1: certain things, but she understands why, and that the big

438
00:26:27,680 --> 00:26:31,280
Speaker 1: mistake that people make in some places, and the opportunity

439
00:26:31,359 --> 00:26:34,720
Speaker 1: that John has is to get people who don't agree

440
00:26:34,720 --> 00:26:39,200
Speaker 1: with him to at least understand why. And in the

441
00:26:39,240 --> 00:26:45,920
Speaker 1: same way that Sarah has given Jamie some powerful gems,

442
00:26:46,720 --> 00:26:49,639
Speaker 1: I feel like Summer imparts one to John here.

443
00:26:50,080 --> 00:26:52,760
Speaker 2: Obviously an incredible episode. We could talk about it forever,

444
00:26:52,800 --> 00:26:55,200
Speaker 2: and we may have just talked about it forever. I'm

445
00:26:55,240 --> 00:26:56,720
Speaker 2: looking at my watch and it says that we just

446
00:26:56,720 --> 00:26:59,520
Speaker 2: talked about that episode literally forever. So we're going to

447
00:26:59,560 --> 00:27:01,600
Speaker 2: take a quick break, and when we come back, we're

448
00:27:01,600 --> 00:27:05,399
Speaker 2: going to talk about my new favorite TV show nineteen

449
00:27:05,440 --> 00:27:20,680
Speaker 2: twenty three. Okay, this is a huge week for Yellowstone

450
00:27:20,680 --> 00:27:22,520
Speaker 2: fans because not only is there a new episode, yeostone,

451
00:27:22,560 --> 00:27:27,360
Speaker 2: but we also had the absolute honor of watching the

452
00:27:27,400 --> 00:27:33,600
Speaker 2: premiere episode of a new entry in the extended Yellowstone Universe,

453
00:27:34,760 --> 00:27:40,600
Speaker 2: the prequel nineteen twenty three. This is my new favorite show.

454
00:27:40,760 --> 00:27:44,920
Speaker 2: I am obsessed with this first episode. I just want

455
00:27:44,920 --> 00:27:48,440
Speaker 2: to have a little disclaimer here. Jen and I we

456
00:27:48,480 --> 00:27:52,080
Speaker 2: work on Yellowstone. We have a sort of insider knowledge

457
00:27:52,160 --> 00:27:54,800
Speaker 2: of Yellowstone. We read those scripts, We spend a lot

458
00:27:54,840 --> 00:27:57,280
Speaker 2: of time percolating on it. We're going to talk about

459
00:27:57,359 --> 00:27:59,800
Speaker 2: nineteen twenty three because we're both huge fans of this show.

460
00:28:00,080 --> 00:28:03,919
Speaker 2: We are just like you watching this show alongside you.

461
00:28:04,080 --> 00:28:07,879
Speaker 2: We don't have any insider information. We're excited about it,

462
00:28:07,960 --> 00:28:10,040
Speaker 2: but just forgive us because some of you are going

463
00:28:10,119 --> 00:28:12,080
Speaker 2: to know a little bit more about this than some

464
00:28:12,160 --> 00:28:12,720
Speaker 2: of us.

465
00:28:13,200 --> 00:28:18,119
Speaker 1: Jeff, this is though I'm a fan of obviously everything

466
00:28:18,200 --> 00:28:21,320
Speaker 1: that exists in the Taylor Verse, I have to agree

467
00:28:21,359 --> 00:28:26,600
Speaker 1: that I think this is my absolute favorite. This is

468
00:28:26,640 --> 00:28:28,880
Speaker 1: the show that I'm going to be a super fan

469
00:28:28,960 --> 00:28:32,119
Speaker 1: about that I'm going to be sad on days that

470
00:28:32,200 --> 00:28:36,760
Speaker 1: I miss episodes when they air. I've been looking forward

471
00:28:36,800 --> 00:28:39,560
Speaker 1: to this ever since the casting announcement.

472
00:28:40,560 --> 00:28:43,760
Speaker 2: This one is wild. Everybody wants to work on these

473
00:28:43,760 --> 00:28:47,920
Speaker 2: projects because Taylor's a genius and it brings in these

474
00:28:47,920 --> 00:28:52,840
Speaker 2: incredible collaborators. Not only actors like Harrison Ford obviously some

475
00:28:52,880 --> 00:28:54,880
Speaker 2: of the biggest movie stars in the world, but Taylor

476
00:28:54,920 --> 00:28:59,160
Speaker 2: also has an incredible eye for young talent. Taylor is

477
00:28:59,360 --> 00:29:04,920
Speaker 2: incredible at recognizing actors who haven't had opportunities like this

478
00:29:05,000 --> 00:29:07,360
Speaker 2: and giving them their first opportunities. So this cast is

479
00:29:07,440 --> 00:29:09,680
Speaker 2: chock full to some of my favorite actors. Not only

480
00:29:09,800 --> 00:29:12,600
Speaker 2: Harrison Ford and Helen Mirren, You've also got Brian Garrett,

481
00:29:12,640 --> 00:29:15,640
Speaker 2: You've got James Badge Dale, you got Robert Patrick, you

482
00:29:15,720 --> 00:29:17,720
Speaker 2: got some of the best, you got Jerome Flynn, you

483
00:29:17,840 --> 00:29:19,720
Speaker 2: got some of the best character actors in the world.

484
00:29:20,240 --> 00:29:23,440
Speaker 2: And then also these young actors that it's so exciting

485
00:29:23,480 --> 00:29:27,760
Speaker 2: to sort of discover alongside audiences the way that Taylor

486
00:29:27,800 --> 00:29:30,880
Speaker 2: did with Isabelle May in eighteen eighty three. You know,

487
00:29:30,960 --> 00:29:34,200
Speaker 2: it's such a gift to have young actors that were

488
00:29:34,280 --> 00:29:36,560
Speaker 2: learning about for the first time alongside some of the

489
00:29:36,560 --> 00:29:39,040
Speaker 2: biggest and best movie stars of the world. So this

490
00:29:39,120 --> 00:29:41,760
Speaker 2: is a jam packed first episode. I just want to

491
00:29:41,800 --> 00:29:45,000
Speaker 2: take a second at the jump. Big fans of the

492
00:29:45,040 --> 00:29:48,120
Speaker 2: Yellowstone Universe, like myself, are going to be curious heading

493
00:29:48,160 --> 00:29:51,000
Speaker 2: into this what the relationship is between these characters and

494
00:29:51,040 --> 00:29:54,240
Speaker 2: the characters of eighteen eighty three, and this episode offers

495
00:29:54,320 --> 00:29:57,120
Speaker 2: us a great roadmap for that. So we learn in

496
00:29:57,160 --> 00:30:02,320
Speaker 2: this opening narration what happened in those intervening years. So basically,

497
00:30:03,400 --> 00:30:09,560
Speaker 2: Tim McGraw James Dutton dies in eighteen ninety three after

498
00:30:09,600 --> 00:30:11,840
Speaker 2: the action of eighteen eighty three. We saw it in

499
00:30:11,880 --> 00:30:16,520
Speaker 2: a flashback in Yellowstone season four, his wife Margaret Dutton

500
00:30:16,560 --> 00:30:19,960
Speaker 2: faith Hill sends for help. She writes to his brother

501
00:30:20,480 --> 00:30:24,040
Speaker 2: Jacob Dutton asking for help. Jacob shows up in eighteen

502
00:30:24,120 --> 00:30:28,840
Speaker 2: ninety four tragically after just barely after Margaret Dutton has

503
00:30:29,000 --> 00:30:34,200
Speaker 2: frozen to death. Jacob and his wife Kara functionally adopt

504
00:30:34,960 --> 00:30:39,920
Speaker 2: John Dutton and Spencer Dutton, the two kids of James

505
00:30:40,040 --> 00:30:44,680
Speaker 2: and Margaret. John is the character the young boy played

506
00:30:44,720 --> 00:30:46,720
Speaker 2: by Audie Rick that we saw in the Action of

507
00:30:46,760 --> 00:30:49,880
Speaker 2: eighteen eighty three, and he's the only character that overlaps

508
00:30:49,880 --> 00:30:52,880
Speaker 2: between these two shows. That's John Dutton. He's played by

509
00:30:53,000 --> 00:30:56,640
Speaker 2: James Badgdale. In nineteen twenty three. He has a son,

510
00:30:57,120 --> 00:31:02,680
Speaker 2: Jack Dutton, who is getting married. So Harrison Ford and

511
00:31:02,720 --> 00:31:07,480
Speaker 2: Helen Mirin, Jacob Dutton and Kara Dutton have functionally adopted

512
00:31:08,040 --> 00:31:11,719
Speaker 2: John Dutton and Spencer Dutton, who's in Africa hunting lions.

513
00:31:12,520 --> 00:31:17,000
Speaker 2: John Dutton has a son, Jack Dutton, who's getting married.

514
00:31:19,720 --> 00:31:21,840
Speaker 2: What do we think did we get it? You out

515
00:31:21,840 --> 00:31:24,280
Speaker 2: there listen to be honest, you folks listening to this

516
00:31:24,680 --> 00:31:27,520
Speaker 2: are in basically the same position we're in, So please

517
00:31:27,680 --> 00:31:30,640
Speaker 2: fact check me. Please send me a message on Instagram

518
00:31:30,680 --> 00:31:34,240
Speaker 2: if I've gotten this wrong. I drew a diagram I used.

519
00:31:34,440 --> 00:31:36,680
Speaker 2: I got a lot of help from Bria Brissey, who

520
00:31:36,920 --> 00:31:41,800
Speaker 2: is the expert Yellowstone historian who runs the Yellowstone Instagram account.

521
00:31:42,040 --> 00:31:45,680
Speaker 2: I called her panicking, asking her for guidance about this,

522
00:31:46,000 --> 00:31:49,040
Speaker 2: and that's what I just said out loud for about

523
00:31:49,040 --> 00:31:51,440
Speaker 2: eight and a half minutes. That's as clear as I

524
00:31:51,480 --> 00:31:52,000
Speaker 2: could get it.

525
00:31:52,240 --> 00:31:56,160
Speaker 1: Jeff, it was perfect, Jeff, do you remember what Elsa

526
00:31:56,320 --> 00:31:58,400
Speaker 1: says in the vio at the top, Like while you

527
00:31:58,440 --> 00:32:00,600
Speaker 1: were going through that, I flashed on this piece that

528
00:32:00,640 --> 00:32:04,960
Speaker 1: Elsa says, my parents had three children and only one

529
00:32:05,000 --> 00:32:10,360
Speaker 1: of them will live to see theirs grow, which sets

530
00:32:10,440 --> 00:32:14,560
Speaker 1: up people we care about are gonna die.

531
00:32:14,880 --> 00:32:16,040
Speaker 2: Yeah.

532
00:32:16,280 --> 00:32:19,000
Speaker 1: It still feels a little confusing, and maybe on purpose

533
00:32:19,040 --> 00:32:21,880
Speaker 1: in terms of who's who, and maybe that function is

534
00:32:21,920 --> 00:32:23,440
Speaker 1: to be like who's safe who's not?

535
00:32:23,920 --> 00:32:26,600
Speaker 2: Yea, so one of them have already done. Her parents

536
00:32:26,680 --> 00:32:28,840
Speaker 2: had three children, one of them is her, she's dead.

537
00:32:29,200 --> 00:32:32,479
Speaker 2: The two remaining children are Spencer Dutton and John Dutton.

538
00:32:32,560 --> 00:32:36,000
Speaker 1: So we will spend the rest of our time wondering

539
00:32:36,040 --> 00:32:37,080
Speaker 1: about them.

540
00:32:37,600 --> 00:32:40,800
Speaker 2: I've learned by now by watching everything Taylor Sheritan.

541
00:32:40,520 --> 00:32:41,400
Speaker 1: Is every everybody dies.

542
00:32:41,520 --> 00:32:45,640
Speaker 2: Just worry about everybody. Just worry about everybody all the time.

543
00:32:46,160 --> 00:32:50,280
Speaker 1: Everyone's dead. I love that as Taylor's expanded the world

544
00:32:50,440 --> 00:32:53,520
Speaker 1: in terms of shows that correspond to it, the world's

545
00:32:53,520 --> 00:32:56,600
Speaker 1: gotten bigger. So Yellowstone is set on one ranch of Montana.

546
00:32:56,680 --> 00:32:59,600
Speaker 1: We are in Montana, we do not leave Montana, and

547
00:32:59,600 --> 00:33:01,600
Speaker 1: then we go to eighteen eighty three, and then we

548
00:33:01,720 --> 00:33:07,680
Speaker 1: start to cover a chunk of America. And then, as

549
00:33:07,680 --> 00:33:09,880
Speaker 1: you've said, by scene two of nineteen twenty three, we're

550
00:33:09,920 --> 00:33:13,920
Speaker 1: aware that we're going around the globe for this version,

551
00:33:14,360 --> 00:33:17,720
Speaker 1: and then the parallels of the wildness between the two

552
00:33:18,280 --> 00:33:22,680
Speaker 1: was incredibly exciting. So jumping into that first scene, right,

553
00:33:22,760 --> 00:33:28,720
Speaker 1: we've got some guy running and limping and terrified, running

554
00:33:28,720 --> 00:33:33,600
Speaker 1: away from someone, and the reveal is Helen Mirren And

555
00:33:33,960 --> 00:33:37,240
Speaker 1: in that second, like I get goosebumps just thinking about it.

556
00:33:37,520 --> 00:33:39,880
Speaker 1: I know that this is going to be epic, and

557
00:33:40,520 --> 00:33:42,800
Speaker 1: I feel like she blows me away by how she

558
00:33:42,880 --> 00:33:46,160
Speaker 1: transforms in every role that she does. But she took

559
00:33:46,400 --> 00:33:49,240
Speaker 1: on this sort of weight of a frontier woman in

560
00:33:49,280 --> 00:33:50,960
Speaker 1: a way that blew my mind.

561
00:33:51,240 --> 00:33:54,600
Speaker 2: Yeah, it's a woman who has lived a life like

562
00:33:54,720 --> 00:33:56,280
Speaker 2: one of the sort of exciting things about this is

563
00:33:56,320 --> 00:33:59,800
Speaker 2: discovering these characters after an incredibly long and difficult and

564
00:34:00,520 --> 00:34:04,240
Speaker 2: life that has sort of traveled great distances. So even

565
00:34:04,240 --> 00:34:08,440
Speaker 2: in that opening narration, we hear Elsa Dutton from eighteen

566
00:34:08,480 --> 00:34:11,399
Speaker 2: eighty three sort of describing the family's journey that brought

567
00:34:11,440 --> 00:34:14,080
Speaker 2: them here and now, one of the very first things

568
00:34:14,120 --> 00:34:18,520
Speaker 2: she says is violence has always haunted this family. And

569
00:34:19,000 --> 00:34:22,520
Speaker 2: what could be a more potent expression of that than

570
00:34:22,560 --> 00:34:25,720
Speaker 2: this opening scene that makes that that brings Kara Dutton

571
00:34:26,239 --> 00:34:29,680
Speaker 2: sort of directly into that violence, thrusts her right into

572
00:34:29,760 --> 00:34:32,359
Speaker 2: it after a long and difficult life of vine.

573
00:34:32,400 --> 00:34:35,040
Speaker 1: And then I mean, I feel like in westerns we

574
00:34:35,080 --> 00:34:38,800
Speaker 1: often see the duel right who pulls their gun faster,

575
00:34:39,239 --> 00:34:44,520
Speaker 1: But there's this great moment Kara Dutton Helen Mirren goes

576
00:34:44,560 --> 00:34:47,600
Speaker 1: to shoot the guy after he sort of appeals to

577
00:34:47,640 --> 00:34:51,680
Speaker 1: her gentleness or he uses God, but it feels like

578
00:34:51,719 --> 00:34:53,360
Speaker 1: he's trying to get the sympathy that he thinks a

579
00:34:53,360 --> 00:34:56,800
Speaker 1: woman is going to bestow on him. And she fires,

580
00:34:56,880 --> 00:34:59,520
Speaker 1: it doesn't go off, and then there's this great mad

581
00:34:59,640 --> 00:35:03,440
Speaker 1: dash to reload their guns. And I felt like I

582
00:35:03,480 --> 00:35:07,319
Speaker 1: hadn't seen that before, not in that way, it was

583
00:35:08,400 --> 00:35:12,120
Speaker 1: so exciting and it felt so fresh. Of course, she

584
00:35:12,239 --> 00:35:15,680
Speaker 1: gets the shot in and then again because we don't

585
00:35:15,680 --> 00:35:17,280
Speaker 1: have the scripts, I don't know if it was written

586
00:35:17,280 --> 00:35:20,279
Speaker 1: in or if it was a choice, But she then

587
00:35:20,440 --> 00:35:26,400
Speaker 1: screams right, and she's somebody who can make the brutal

588
00:35:26,520 --> 00:35:31,920
Speaker 1: choice without a thought, but it's not not painful for

589
00:35:32,000 --> 00:35:35,799
Speaker 1: her that it does cost something. I felt like that

590
00:35:36,080 --> 00:35:39,600
Speaker 1: entire scene was such brilliant storytelling and character revealed right

591
00:35:39,640 --> 00:35:40,480
Speaker 1: off the bet.

592
00:35:40,600 --> 00:35:42,719
Speaker 2: Yeah, it's so excited. I mean like it's also we

593
00:35:42,760 --> 00:35:45,600
Speaker 2: don't know where that falls in the timeline, so classic

594
00:35:45,640 --> 00:35:49,439
Speaker 2: Taylor Sheridan plot device is showing us events that will

595
00:35:49,480 --> 00:35:52,319
Speaker 2: occur later. Eighteen eighty three opens with this kind of

596
00:35:52,480 --> 00:35:56,560
Speaker 2: dreamy fugue showing us also being shot with an arrow.

597
00:35:56,880 --> 00:35:59,600
Speaker 2: We don't know when this sequence falls in the action

598
00:35:59,680 --> 00:36:01,800
Speaker 2: of the show show. We just know that the show

599
00:36:02,400 --> 00:36:07,080
Speaker 2: will carry us to this violence. Violence will haunt this family,

600
00:36:07,160 --> 00:36:09,040
Speaker 2: will sort of continue to pursue them.

601
00:36:09,400 --> 00:36:13,040
Speaker 1: Elsa says that thing that violence will has followed her family,

602
00:36:13,600 --> 00:36:16,440
Speaker 1: but then says for those of us you know who

603
00:36:16,520 --> 00:36:19,000
Speaker 1: don't who it hasn't followed or something that they will

604
00:36:19,000 --> 00:36:22,640
Speaker 1: go seek it, and then we which is sort of

605
00:36:22,840 --> 00:36:24,600
Speaker 1: it feels a bit like Taylor making a statement about

606
00:36:24,640 --> 00:36:27,239
Speaker 1: human nature, which I certainly agree with, is that we,

607
00:36:27,400 --> 00:36:30,640
Speaker 1: in some way we are hardwired for violence and aggression.

608
00:36:30,880 --> 00:36:33,680
Speaker 1: It's in our DNA, and it's about what we do

609
00:36:33,760 --> 00:36:37,600
Speaker 1: with that impulse and how we channel it into creative

610
00:36:37,640 --> 00:36:40,880
Speaker 1: ways in which we're not we're not harming.

611
00:36:41,239 --> 00:36:44,200
Speaker 2: Yeah, and it's a fascinating you know, speaking of the

612
00:36:44,280 --> 00:36:48,480
Speaker 2: sort of second scene here as we cut to Africa,

613
00:36:48,560 --> 00:36:51,000
Speaker 2: I believe to Kenya, I'm not one hundred percent certain

614
00:36:51,040 --> 00:36:52,520
Speaker 2: about that. I don't know if it's it's clarified in

615
00:36:52,560 --> 00:36:57,840
Speaker 2: the episode, don't think it is. We find Spencer Dutton hunting,

616
00:36:57,920 --> 00:37:01,160
Speaker 2: and Spencer is this fascinating character who I can't help

617
00:37:01,200 --> 00:37:06,560
Speaker 2: but see as a sort of clear and distinct ancestor

618
00:37:06,600 --> 00:37:10,719
Speaker 2: of Casey Dutton. A man who went to war sort

619
00:37:10,719 --> 00:37:15,879
Speaker 2: of experienced profound loss and violence and trauma and war,

620
00:37:16,560 --> 00:37:20,160
Speaker 2: and then has spent the rest of his life trying

621
00:37:20,200 --> 00:37:23,680
Speaker 2: to escape it, perhaps but in doing so falling back

622
00:37:23,760 --> 00:37:26,120
Speaker 2: into it over and over again. A man who's so

623
00:37:26,360 --> 00:37:30,040
Speaker 2: haunted by what he was asked to do. You know,

624
00:37:30,120 --> 00:37:32,560
Speaker 2: we see these scenes of him throughout the episode. In

625
00:37:32,600 --> 00:37:36,239
Speaker 2: World War One, in trench warfare, you know, just scrambling,

626
00:37:36,280 --> 00:37:41,000
Speaker 2: fighting for his life, fighting to protect himself and his comrades.

627
00:37:42,120 --> 00:37:44,560
Speaker 2: And now we find him later after that sort of

628
00:37:45,280 --> 00:37:47,680
Speaker 2: still who knows what it is. You can't tell if

629
00:37:47,680 --> 00:37:50,240
Speaker 2: he's running from something or if he's running towards violence.

630
00:37:50,280 --> 00:37:54,000
Speaker 2: You can't tell if he's being haunted, you know, if

631
00:37:54,040 --> 00:37:56,600
Speaker 2: he's chasing violence or violence is chasing him. It's a

632
00:37:56,640 --> 00:37:58,400
Speaker 2: sort of fascinating relationship.

633
00:37:58,560 --> 00:38:00,920
Speaker 1: Yeah, And we talked a little bit earlier about the

634
00:38:01,480 --> 00:38:05,840
Speaker 1: sort of parallel moments over time that Taylor hits on

635
00:38:05,960 --> 00:38:08,600
Speaker 1: both in this episode and in the episode of Yellowstone

636
00:38:08,600 --> 00:38:12,320
Speaker 1: that aired this week. And when we see Spencer Dutton

637
00:38:12,800 --> 00:38:14,759
Speaker 1: shoot the lion, we know right away he's a hell

638
00:38:14,800 --> 00:38:17,000
Speaker 1: of a shot. And I just got to say, Brandon Sklennar,

639
00:38:17,160 --> 00:38:19,279
Speaker 1: I don't know if I'm saying his name correctly. He

640
00:38:19,400 --> 00:38:21,719
Speaker 1: is one of those actors that it just is like

641
00:38:22,160 --> 00:38:23,799
Speaker 1: I felt like he was a movie star that I

642
00:38:23,840 --> 00:38:27,680
Speaker 1: had seen before, movie storre, the massive presence. I will

643
00:38:27,680 --> 00:38:31,920
Speaker 1: watch anything he does. He turns me into the woman

644
00:38:32,600 --> 00:38:35,759
Speaker 1: in the Safari at the Safari dinner, like I'm just

645
00:38:35,800 --> 00:38:39,520
Speaker 1: so blown away by him. But on the one of

646
00:38:39,520 --> 00:38:42,520
Speaker 1: the parallels is is that we know he's an amazing shot,

647
00:38:43,120 --> 00:38:47,960
Speaker 1: and go back to the fair scene in Yellowstone and

648
00:38:48,000 --> 00:38:52,640
Speaker 1: we've got Tate just shooting at like one of the

649
00:38:52,680 --> 00:38:57,040
Speaker 1: carnival games and he's just naturally an amazing shot.

650
00:38:57,320 --> 00:38:59,720
Speaker 2: Yeah, it's a really fascinating You know that John Dutton

651
00:38:59,760 --> 00:39:02,279
Speaker 2: has talked about these sort of echoes, this kind of

652
00:39:02,320 --> 00:39:04,799
Speaker 2: ongoing battle, and it really is an amazing thing to

653
00:39:05,000 --> 00:39:10,040
Speaker 2: jump back into it and see literally those recurring images

654
00:39:10,640 --> 00:39:18,000
Speaker 2: throughout time. Speaking of John Dutton, let's get into let's

655
00:39:18,040 --> 00:39:22,640
Speaker 2: get into the main event. I hesitate to say the

656
00:39:22,640 --> 00:39:24,640
Speaker 2: main event because there's so many incredible events in this

657
00:39:24,920 --> 00:39:28,640
Speaker 2: first episode of nineteen twenty three, but let's get into it.

658
00:39:29,040 --> 00:39:34,200
Speaker 2: We got Harrison Ford playing Jacob Dutton. Incredible.

659
00:39:34,680 --> 00:39:41,480
Speaker 1: He inhabits this world so beautifully. And the thing that

660
00:39:41,520 --> 00:39:44,360
Speaker 1: both he and Helen bring to this that I thought

661
00:39:44,480 --> 00:39:48,920
Speaker 1: was really fresh for me was in a way was

662
00:39:49,000 --> 00:39:54,160
Speaker 1: comedy that I didn't expect because they're both so bloody talented.

663
00:39:55,160 --> 00:40:02,319
Speaker 1: Their ability to find humor or in these moments was

664
00:40:02,440 --> 00:40:07,680
Speaker 1: so was so refreshing. And then we've got Jacob. I

665
00:40:07,760 --> 00:40:10,600
Speaker 1: just listen to Harrison. Harrison takes us into what I'm

666
00:40:10,600 --> 00:40:16,000
Speaker 1: assuming is Bozeman, right, or is it Livingston? Maybe it's Livingston,

667
00:40:16,600 --> 00:40:20,240
Speaker 1: Like what town are we in? Right? Because the Dutton

668
00:40:20,320 --> 00:40:22,399
Speaker 1: Ranch is set in Paradise Valley. We know that we're

669
00:40:22,400 --> 00:40:24,520
Speaker 1: already in Paradise Valley at the Dutton Ranch because we

670
00:40:24,560 --> 00:40:27,440
Speaker 1: see the baby births, I think, or maybe not, maybe

671
00:40:27,480 --> 00:40:31,480
Speaker 1: the ranch move, but it feels like right right.

672
00:40:31,840 --> 00:40:33,919
Speaker 2: I think, so, yeah, beginnings of a wrong.

673
00:40:34,560 --> 00:40:37,640
Speaker 1: So I'm wondering if that was Livingston, which is a

674
00:40:37,800 --> 00:40:41,200
Speaker 1: beautiful town by the way, When I lived in Montana

675
00:40:41,280 --> 00:40:43,239
Speaker 1: years ago, that was my main town that I would

676
00:40:43,239 --> 00:40:46,200
Speaker 1: go to. And then we get to see some of

677
00:40:46,239 --> 00:40:53,000
Speaker 1: the colorful aspects of that time period, and I loved

678
00:40:53,239 --> 00:40:56,040
Speaker 1: that they just went for it. They're like, we're throwing

679
00:40:56,280 --> 00:41:02,239
Speaker 1: boxers in the street, We're throwing you know, prohibition. They

680
00:41:02,360 --> 00:41:05,760
Speaker 1: just threw it all in and it was so satisfying.

681
00:41:06,480 --> 00:41:10,000
Speaker 1: I knew exactly. It made me on a time travel

682
00:41:10,960 --> 00:41:13,240
Speaker 1: just for just briefly. I don't really want to be

683
00:41:13,280 --> 00:41:17,840
Speaker 1: there for most of that decade.

684
00:41:18,160 --> 00:41:20,400
Speaker 2: Well yeah, I mean, and it's a decade like characterized

685
00:41:20,400 --> 00:41:23,120
Speaker 2: by extremes, right, because it's both the roar in twenties,

686
00:41:23,160 --> 00:41:28,040
Speaker 2: it's both this excess, this sort of bacchinalien excess and

687
00:41:29,040 --> 00:41:32,520
Speaker 2: the you know, you know, prohibition and this kind of

688
00:41:32,680 --> 00:41:36,280
Speaker 2: response to it. Right, it's the it's this changing world

689
00:41:36,840 --> 00:41:41,080
Speaker 2: and then this effort to stop that change. You know,

690
00:41:41,320 --> 00:41:45,040
Speaker 2: it's a world that is pulling in two directions at once,

691
00:41:46,560 --> 00:41:50,080
Speaker 2: especially sort of in response to the profound global trauma

692
00:41:50,120 --> 00:41:52,960
Speaker 2: of World War One. Right Like, there's these this sort

693
00:41:53,000 --> 00:41:56,359
Speaker 2: of generation of men who return from World War One

694
00:41:56,880 --> 00:41:59,759
Speaker 2: having seen the world, the best and worst of it,

695
00:41:59,800 --> 00:42:03,360
Speaker 2: the most beautiful and ugliest aspects of the world, and

696
00:42:03,480 --> 00:42:07,279
Speaker 2: human nature kind of pulling in two directions at once. Yes,

697
00:42:07,400 --> 00:42:10,880
Speaker 2: this boxing match, this sort of excess, and then right

698
00:42:10,920 --> 00:42:14,759
Speaker 2: after that these sort of warriors on behalf of prohibition

699
00:42:15,200 --> 00:42:18,759
Speaker 2: and the plenty in suffering. You know, like Jacob's got

700
00:42:18,760 --> 00:42:22,239
Speaker 2: this sort of you know, he in some ways is succeeding.

701
00:42:22,280 --> 00:42:23,719
Speaker 2: He's got a lot to be happy about, but also

702
00:42:23,760 --> 00:42:27,239
Speaker 2: his herd is suffering. From the very beginning of this,

703
00:42:27,320 --> 00:42:29,799
Speaker 2: we learned that there is not enough grass. There is

704
00:42:29,880 --> 00:42:35,520
Speaker 2: sort of famine spreading here. The herd is really suffering,

705
00:42:35,600 --> 00:42:39,560
Speaker 2: and every surrounding herd, including these sheep farmers, these sheep herders,

706
00:42:39,560 --> 00:42:41,600
Speaker 2: they're all suffering immensely gosh.

707
00:42:41,640 --> 00:42:43,239
Speaker 1: I think that takes us right to the beginnings of

708
00:42:43,320 --> 00:42:47,120
Speaker 1: Yellowstone Ranch where we see Jack Dutton, who's played by

709
00:42:47,200 --> 00:42:53,280
Speaker 1: Darren Mann and he's breaking a cult, which we've also

710
00:42:53,320 --> 00:42:59,799
Speaker 1: seen on Yellowstone, and that whole experience of seeing the

711
00:43:00,600 --> 00:43:04,320
Speaker 1: and it's baby version of see the round pen. Didn't

712
00:43:04,320 --> 00:43:05,960
Speaker 1: you have the roundpin? Didn't you like, oh, this hole,

713
00:43:06,320 --> 00:43:06,960
Speaker 1: that's our home.

714
00:43:07,160 --> 00:43:09,000
Speaker 2: I know when you saw the cowboys leaning up against

715
00:43:09,040 --> 00:43:11,920
Speaker 2: the round pin, I was like, Oh, that's amazing. Echoes

716
00:43:11,960 --> 00:43:14,840
Speaker 2: to the second episode of Yellowstone where we see Jimmy

717
00:43:14,880 --> 00:43:18,200
Speaker 2: getting his ass absolutely kicked by a bucking horse while

718
00:43:18,200 --> 00:43:20,799
Speaker 2: everybody sort of leans and watches. I also just have

719
00:43:20,840 --> 00:43:25,239
Speaker 2: to flag one of our little insider thing here. When

720
00:43:25,280 --> 00:43:26,960
Speaker 2: you work on Yellowstone, you really get to know the

721
00:43:27,000 --> 00:43:29,560
Speaker 2: stunt guys because they work very hard and they're always present.

722
00:43:29,600 --> 00:43:32,280
Speaker 2: I have my first Jordan War exciting. So some stunt

723
00:43:32,320 --> 00:43:35,000
Speaker 2: performers wind up getting tagged in over and over and

724
00:43:35,040 --> 00:43:37,800
Speaker 2: over again on Yellowstone because there's some stuff that only

725
00:43:37,800 --> 00:43:40,160
Speaker 2: a few guys in the world can do. There's only

726
00:43:40,200 --> 00:43:42,520
Speaker 2: a few guys who can fall off a horse over

727
00:43:42,600 --> 00:43:44,759
Speaker 2: and over again. The way that our stunt performers. Can

728
00:43:44,880 --> 00:43:47,560
Speaker 2: you know, we have a really incredibly talented stunt team.

729
00:43:47,800 --> 00:43:50,439
Speaker 2: So the first Jordan War exciting of nineteen twenty three

730
00:43:50,600 --> 00:43:55,280
Speaker 2: is that Jerome Flynn's character whose name is Banner, punches

731
00:43:55,360 --> 00:43:59,840
Speaker 2: him in the face as that sort of argument escalates

732
00:43:59,880 --> 00:44:02,839
Speaker 2: in the town hall or wherever it is. First guy

733
00:44:02,880 --> 00:44:05,560
Speaker 2: to get punched in the face. Boom, that's Jordan.

734
00:44:05,400 --> 00:44:11,400
Speaker 1: Wore I saw at the ranch. I see Case Ream

735
00:44:12,000 --> 00:44:14,719
Speaker 1: yeah standing, which for those of you who don't know,

736
00:44:14,800 --> 00:44:18,520
Speaker 1: Case Sream is Jake ream Son. Jake plays Jake on

737
00:44:18,640 --> 00:44:23,640
Speaker 1: Yellowstone obviously, and I was like, oh, it's my buddy. Yeah.

738
00:44:23,680 --> 00:44:25,560
Speaker 2: It's so nice to see those familiar faces. We're also

739
00:44:25,560 --> 00:44:27,440
Speaker 2: introduced to the first time for the first time to

740
00:44:27,680 --> 00:44:33,200
Speaker 2: Brian Garretty's character Zaane. Brian clearly sort of authority figure,

741
00:44:33,239 --> 00:44:36,600
Speaker 2: a bit of a rip style figure who sort of

742
00:44:36,640 --> 00:44:38,719
Speaker 2: got a lot of responsibility on the ranch, who the

743
00:44:38,719 --> 00:44:41,600
Speaker 2: rest of the cowboys are looking to, perhaps the sort

744
00:44:41,600 --> 00:44:44,120
Speaker 2: of leader of the bunk house, it would seem. In

745
00:44:44,200 --> 00:44:45,160
Speaker 2: nineteen twenty.

746
00:44:44,880 --> 00:44:49,600
Speaker 1: Three, moving into what is potentially the most painful sort

747
00:44:49,640 --> 00:44:53,480
Speaker 1: of segment storyline sequence of the show, but also my favorite,

748
00:44:53,840 --> 00:44:58,160
Speaker 1: is the world that is the American Indian Boarding School.

749
00:44:58,960 --> 00:45:03,000
Speaker 1: And when that first shot opened up and you see

750
00:45:03,320 --> 00:45:07,080
Speaker 1: sister Mary, who's played by Jennifer Eliot and like played

751
00:45:07,320 --> 00:45:12,720
Speaker 1: brilliantly and almost not fully of this earth. She looked

752
00:45:13,800 --> 00:45:19,640
Speaker 1: almost ghoulish standing there, and she proceeds to then you

753
00:45:19,680 --> 00:45:25,000
Speaker 1: know Quiz who we come to know is Tiona or Tiana,

754
00:45:25,160 --> 00:45:28,640
Speaker 1: and that is played by Amina Niv's pardon me for

755
00:45:28,800 --> 00:45:32,960
Speaker 1: any mispronunciations of any of this. And again, like talk

756
00:45:33,000 --> 00:45:36,399
Speaker 1: about in this scene alone, we have two more all

757
00:45:36,440 --> 00:45:39,359
Speaker 1: star performances. I feel like any one of these could

758
00:45:39,360 --> 00:45:43,839
Speaker 1: be nominated for an award. And then what becomes just

759
00:45:44,239 --> 00:45:46,640
Speaker 1: one of the more painful sequences that I've seen.

760
00:45:47,080 --> 00:45:48,799
Speaker 2: Yeah, I kind of I would say, like a sort

761
00:45:48,840 --> 00:45:56,440
Speaker 2: of fearless exploration of a brutally unjust chapter of American history.

762
00:45:56,560 --> 00:45:59,880
Speaker 2: Taylor likes to show us the West as we were

763
00:46:00,120 --> 00:46:05,800
Speaker 2: manticize it. He likes to show us these sweeping vistas,

764
00:46:05,880 --> 00:46:08,560
Speaker 2: you know, the joy that these cowboys have in doing

765
00:46:08,600 --> 00:46:11,799
Speaker 2: their work. And then he'll also show us the uncomfortable

766
00:46:11,840 --> 00:46:14,960
Speaker 2: stuff that we don't necessarily know about, you know the

767
00:46:15,840 --> 00:46:18,919
Speaker 2: dark side of that myth speaking of, you know, these

768
00:46:18,960 --> 00:46:22,120
Speaker 2: conflicts that echo back and forth in history. In this episode,

769
00:46:22,160 --> 00:46:26,000
Speaker 2: we're setting up this conflict that's brewing between Jacob Dutton

770
00:46:26,560 --> 00:46:30,560
Speaker 2: and these neighboring sheep herders and sheep farmers, leading to

771
00:46:30,600 --> 00:46:33,000
Speaker 2: a conflict that's not unlike the conflict that we first

772
00:46:33,040 --> 00:46:36,799
Speaker 2: saw in the pilot of Yellowstone, where these cows have

773
00:46:36,960 --> 00:46:40,360
Speaker 2: wandered off of John Dutton's land and onto this nearby reservation.

774
00:46:40,440 --> 00:46:43,319
Speaker 2: So we're setting up a sort of conflict around the

775
00:46:43,400 --> 00:46:47,640
Speaker 2: rights to graze at a time when grass is particularly

776
00:46:47,880 --> 00:46:50,680
Speaker 2: scarce and is gold. You know, right now, at this

777
00:46:50,760 --> 00:46:53,480
Speaker 2: moment in history, grass is gold. It's the only way

778
00:46:53,520 --> 00:46:56,280
Speaker 2: that these cattle, these cattle ranchers can keep their cows alive,

779
00:46:56,640 --> 00:46:59,000
Speaker 2: and it's the only way that these sheep herders, sheep

780
00:46:59,040 --> 00:47:01,520
Speaker 2: ranchers can keep their sh pep alive. So you've set

781
00:47:01,600 --> 00:47:05,239
Speaker 2: up a real powder keg of a situation here, and

782
00:47:05,360 --> 00:47:09,960
Speaker 2: you know, also a pretty a funny illustration. You know,

783
00:47:10,000 --> 00:47:13,400
Speaker 2: we were talking in EPIS season five, episode seven of Yellstone.

784
00:47:13,440 --> 00:47:15,799
Speaker 2: We were talking about the sort of life style of

785
00:47:15,800 --> 00:47:19,000
Speaker 2: being a rancher and how everything has to operate around

786
00:47:19,080 --> 00:47:22,600
Speaker 2: what the herd needs. There's a conflict, a similar conflict

787
00:47:22,680 --> 00:47:25,359
Speaker 2: set up in this episode in nineteen twenty three, Jack

788
00:47:25,440 --> 00:47:30,320
Speaker 2: Dutton is supposed to get married, his wedding has been set,

789
00:47:31,200 --> 00:47:32,640
Speaker 2: and all of a sudden he has to go on

790
00:47:32,680 --> 00:47:37,960
Speaker 2: a cattle drive instead of getting married, which is I

791
00:47:38,000 --> 00:47:41,560
Speaker 2: can't imagine that's a critical crisis in a personal life.

792
00:47:41,640 --> 00:47:45,600
Speaker 1: Yeah, I loved that, the naivete of his response of

793
00:47:46,320 --> 00:47:49,319
Speaker 1: why shouldn't the marriage be like the wedding? And then

794
00:47:49,360 --> 00:47:51,120
Speaker 1: I forget who says it, but they're like, yeah, I'd

795
00:47:51,160 --> 00:47:53,960
Speaker 1: like to see how that goes over. Of course, Karen

796
00:47:53,960 --> 00:47:56,720
Speaker 1: knows this is going to be disastrous, gets in her buggy,

797
00:47:57,040 --> 00:48:01,279
Speaker 1: goes over there, knowing that the it, knowing that it's

798
00:48:01,280 --> 00:48:04,120
Speaker 1: going to be bad. I believe Elizabeth tells Jack to

799
00:48:05,360 --> 00:48:08,960
Speaker 1: go sleep with a cow, which is one of my

800
00:48:09,000 --> 00:48:13,120
Speaker 1: favorite moments. And then Kara sits down with Elizabeth and

801
00:48:13,280 --> 00:48:17,280
Speaker 1: turns that around in a way that she sort of says,

802
00:48:17,360 --> 00:48:20,040
Speaker 1: the cows, you know, the cowt will always come first,

803
00:48:20,360 --> 00:48:22,480
Speaker 1: you know the ranch will always come first. You'll have

804
00:48:22,560 --> 00:48:26,960
Speaker 1: your first born, and you know basically you will come second.

805
00:48:27,440 --> 00:48:30,120
Speaker 1: But then she says, and you'll be free in a

806
00:48:30,160 --> 00:48:34,840
Speaker 1: way that most people could only imagine or could never imagine,

807
00:48:34,960 --> 00:48:38,719
Speaker 1: and as somebody on a personal level, is somebody who

808
00:48:38,920 --> 00:48:42,600
Speaker 1: relishes their freedom. I found that to be just such

809
00:48:42,640 --> 00:48:46,120
Speaker 1: a really wonderful way of framing that.

810
00:48:47,239 --> 00:48:53,520
Speaker 2: So back to Spencer Nuts in Africa, we see him

811
00:48:53,560 --> 00:48:57,120
Speaker 2: sort of experiencing this dream, this kind of flashback within

812
00:48:57,200 --> 00:49:02,680
Speaker 2: a flashback within a prequel, that is, his sort of

813
00:49:02,800 --> 00:49:05,200
Speaker 2: nightmares of what happened to him in World War One,

814
00:49:05,840 --> 00:49:09,560
Speaker 2: the sort of tremendous difficulty that he experienced in World

815
00:49:09,640 --> 00:49:12,560
Speaker 2: War One, the sort of profound violence of trench warfare.

816
00:49:12,880 --> 00:49:16,279
Speaker 2: We see that that is haunting him still to this day,

817
00:49:16,719 --> 00:49:19,399
Speaker 2: much like Casey is haunted by the violence he saw

818
00:49:19,480 --> 00:49:22,720
Speaker 2: overseas as a soldier in Yellowstone.

819
00:49:23,320 --> 00:49:27,439
Speaker 1: Yeah. I think it's a common theme that people who

820
00:49:27,520 --> 00:49:33,720
Speaker 1: experience PTSD from warfare and a myriad of other things,

821
00:49:33,800 --> 00:49:40,480
Speaker 1: even home becomes a very hard place to reestablish and

822
00:49:42,840 --> 00:49:46,520
Speaker 1: a place to it's almost impossible to re enter it.

823
00:49:47,840 --> 00:49:51,040
Speaker 2: Yeah, he says, this beautiful thing. He's woken up by

824
00:49:51,040 --> 00:49:52,799
Speaker 2: a steward on the train and the guy says, hey, man,

825
00:49:52,840 --> 00:49:56,319
Speaker 2: you've reached your destination, and he says, I have no destination.

826
00:49:56,880 --> 00:50:00,719
Speaker 2: I've reached my next stop. That's all this is. So, Yeah,

827
00:50:00,760 --> 00:50:03,000
Speaker 2: exactly like you just said, he doesn't know where hum is,

828
00:50:03,360 --> 00:50:07,680
Speaker 2: he doesn't know how to stop moving, and he's haunted

829
00:50:07,719 --> 00:50:11,400
Speaker 2: by violence. You know, as Elsa says in that opening narration,

830
00:50:12,280 --> 00:50:15,719
Speaker 2: this is a character who's haunted by violence everywhere he goes.

831
00:50:18,280 --> 00:50:21,920
Speaker 2: Speaking of violence, He's not the only Dutton in danger.

832
00:50:22,320 --> 00:50:28,120
Speaker 2: So this tense relationship between these sheep herders and the

833
00:50:28,200 --> 00:50:32,400
Speaker 2: Duttons they're cattle ranch, you know, has come to a head.

834
00:50:33,040 --> 00:50:37,040
Speaker 2: There's a massive cattle drive happening. John Dutton, Jacob Dutton,

835
00:50:37,160 --> 00:50:41,799
Speaker 2: and Jack Dutton are pushing cows, much like much like

836
00:50:41,880 --> 00:50:44,719
Speaker 2: the sort of gathering we did in Yellowstone season five.

837
00:50:44,760 --> 00:50:47,359
Speaker 2: They're pushing cows. They're driving them to a pasture where

838
00:50:47,360 --> 00:50:51,840
Speaker 2: there ought to be grass. Yet Jack Dutton crests a

839
00:50:51,960 --> 00:50:57,560
Speaker 2: hill and finds that grassy pasture covered in sheep. So

840
00:50:57,800 --> 00:51:02,279
Speaker 2: functionally that grass, that gold, that green gold, is being

841
00:51:02,360 --> 00:51:06,040
Speaker 2: stolen by these sheep herders. Jack sort of peers into

842
00:51:06,120 --> 00:51:08,680
Speaker 2: the middle distance trying to see what's going on. He

843
00:51:08,680 --> 00:51:11,520
Speaker 2: sees a man on horseback, and then he sees a

844
00:51:11,560 --> 00:51:16,160
Speaker 2: muzzle flash and we cut away. So that violence that

845
00:51:16,239 --> 00:51:21,960
Speaker 2: haunts the Duttons is haunting them across continents, across generations.

846
00:51:23,360 --> 00:51:26,120
Speaker 1: We really leave the episode with two did they live

847
00:51:26,600 --> 00:51:31,759
Speaker 1: cliffhangers because Spencer in Africa. We don't know whether or

848
00:51:31,760 --> 00:51:33,400
Speaker 1: not Spencer lives or dies.

849
00:51:33,920 --> 00:51:38,359
Speaker 2: Yeah, very exciting. It is classic Taylor Sheridan to kill

850
00:51:38,400 --> 00:51:41,600
Speaker 2: a main character in the pilot. He's done that a

851
00:51:41,600 --> 00:51:43,520
Speaker 2: couple of times. He killed Lee Dutton in the pilot

852
00:51:43,560 --> 00:51:49,000
Speaker 2: a Yellowstone. It is a brutal move to get the

853
00:51:49,040 --> 00:51:52,520
Speaker 2: audience invested in a character and then rip them away

854
00:51:52,719 --> 00:51:54,799
Speaker 2: just like that. So I'll be really curious to see

855
00:51:54,800 --> 00:51:58,280
Speaker 2: who makes it to episode two. I personally can't wait

856
00:51:58,320 --> 00:51:59,799
Speaker 2: for episode two. I'm hoping too.

857
00:52:00,760 --> 00:52:04,480
Speaker 1: Make sure you subscribe to the Official Yellowstone Podcast and

858
00:52:04,640 --> 00:52:08,040
Speaker 1: tune in with us every Sunday at Apple Podcasts or

859
00:52:08,080 --> 00:52:10,560
Speaker 1: wherever you get your podcasts. See us soon.

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Speaker 2: The Official Yellowstone Podcast is a production of one oh

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Speaker 2: one Studios and Paramount. This episode was produced by Scott Stone.

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Speaker 2: Brandon Goetchius is the head of Audio for one oh

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Speaker 2: one Studios. Steve Rasis is the executive vice president of

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Speaker 2: the Paramount Global Podcast Group. Special thanks to Megan Marcus,

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Speaker 2: Jeremy Westfall, Ainsley Rosito, Andrew Sarnow, Jason Red and Whitney

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Speaker 2: Baxter from Paramount, and of course, David Glasser, David Hukin

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Speaker 2: and Michelle Newman from one oh one Studios