Horses in Heaven

It's lost it's magic now. Once you couldn't wait for the next episode but now I couldn't care less. I will watch it but it's forgettable. Pretty much all the characters have so little to do in each episode it's ridiculous. Things just happen for the sake of it never to be followed up on. There are so many spin off Yellowstone shows now. Maybe that's why the quality has dropped off. Nobody is likeable any more. A season too many really as there is nothing new on offer, I hope they don't make any more and spoil what were great first seasons. The new spin off 1923 will probably be just as bad as the first one.

Beth went from a must see tv character that you loved to hate, but still rooted for; to a character that, at least, I was hoping the whiny Jamie would run her over. They've taken her character too far. She has no redeeming qualities. Speaking of going too far, John Dutton knows more about everything than everyone, why? He's also become very difficult to like, except when he's back on the ranch, which is where the show should have stayed. I hope the show gets back to its roots. More Kayce, more Rip, more Chief Rainwater, more Teeter and the other bunkhouse crew. Although I have to say, I'm pleased with less Jimmy. Yellowstone please come down from your high political horse (horses in heaven was the first episode I did not enjoy)

"Horses in Heaven," the fourth episode of Yellowstone's fifth season, directed by Christina Alexandra Voros, is a compelling and emotionally resonant installment that deepens the series' exploration of loss, resilience, and the difficult choices inherent in power and family loyalty. The episode intertwines intimate moments of grief and healing with escalating political and personal battles, capturing the series' signature blend of neo-Western grit and emotional complexity.

The episode opens with the somber and poignant burial of baby John, the child of Kayce and Monica, marked by a traditional Indigenous ceremony that includes the interment of a horse alongside the infant's grave. This powerful imagery symbolizes passage, freedom, and the blending of cultural traditions. The scenes feature moving interactions between the Dutton family and the Broken Rock tribe, emphasizing themes of community, grief, and spiritual connection. Kevin Costner's John offers a touching reflection on the brief life of his own infant brother, weaving personal history into the narrative's emotional fabric.

Monica's grief and the tender support of Kayce provide a significant emotional core. Their portrayal of mourning and tentative healing is sensitively handled, highlighting the couple's struggles and the complexities of loss within the family's ongoing trials. The inclusion of Chief Rainwater's presence and spiritual guidance enriches the cultural texture, underscoring the series' commitment to Indigenous perspectives.

John's tenure at the Capitol is fraught with political maneuvering and challenges. His decision to fire the policy advisors who alienate him reflects his unyielding, pragmatic leadership style and his desire to maintain control in a rapidly shifting environment. The tension escalates when U. S. Fish and Wildlife officials confront John about the missing GPS-collared wolves, raising the stakes in the already precarious balance between conservation efforts and ranching interests. This subplot highlights the ongoing clash of modern governance with traditional ways of life.

The venomous feud between Beth and Jamie reaches a critical point as Jamie successfully secures Beth's release from jail, employing legal maneuvering that underscores their fierce sibling rivalry. The episode depicts a volatile and emotionally charged relationship marked by betrayal, blackmail, and unresolved wounds. Kelly Reilly's performance as Beth continues to captivate with her fierce intensity, while Wes Bentley's Jamie embodies the complex mix of guilt and ambition that drives the character.

Beth's burgeoning antagonism toward Sarah Atwood, a political adversary with dubious intentions toward the Dutton family, sets up looming conflicts in the political and personal arenas. The discovery of Sarah's false identity by Beth hints at a layered conspiracy, heightening suspense and intrigue.

The episode also touches on Jimmy's ongoing efforts to find his footing on the 6666 Ranch, offering moments of levity and hope amid the season's darker themes. His earnestness and growth provide a balancing subplot that enriches the overall emotional texture.

Visually, Voros's direction capitalizes on expansive Montana landscapes juxtaposed with closely framed, emotionally intimate scenes, highlighting the tension between vastness and confinement that the characters experience. The cinematography and pacing sustain narrative engagement while supporting the episode's tonal shifts between mourning, conflict, and strategic planning.

Thematically, "Horses in Heaven" delves into the burdens of legacy, the pain of loss, and the complexities of loyalty in a world governed by harsh realities and competing interests. The title evokes spiritual and cultural symbolism, reinforcing the episode's meditation on death, tradition, and the hope for transcendence.

Although some critics note the episode's slower pacing and emphasis on emotional setup over high-stakes action, these choices effectively deepen character motivations and prepare the groundwork for forthcoming narrative escalations.

"Horses in Heaven" is a deeply affecting and thoughtfully crafted episode that encapsulates Yellowstone's neo-Western strengths, blending raw emotion with political intrigue and cultural richness. Christina Alexandra Voros's meticulous direction, combined with powerful performances and textured storytelling, creates a resonant chapter that invites reflection on the cost of survival, the resilience of family, and the enduring power of tradition in an ever-changing landscape.

Come on now with this garbage. The baby would be alive if monica wasnt, well monica and stopped the car. Was she confused where the brake peddle was located? Absurd nonsense. Beth is right to be livid and hold a grudge, but her attitude is way over the top. Shes a stain on humanity and should be dealt with as such sooner rather then later. All these major shows destroy themselves by milking every last drop out of the characters that need to go. It would be a 10 out of 10 of it had ended with monica and beth going on the long black train off a cliff together followed by a massive explosion and then the fire getting struck by lightning. If those 2 departed in classic yellowstone fashion then maybe the show could get back on the rails.

Greetings from Lithuania.

4th episode of "Yellowstone" season 5 was a pure melodrama. But a good one if you ask me. Long gone the days when this one was "modern western". Now its melodrama, but strangely enough, I do enjoy it. And I enjoyed last two episodes very much. Acting is very good, cinematography and locations are beautiful and story itself, well, not the most intriguing one, but a solid enough to keep me entertained. Sometimes it feels like story and dialogs are just being invented along the way, like in a scene at the funeral - but while their acted this good and looks superb - I'm in for it.