Watch 'Em Ride Away

This is so bad. Not thrilled I bought the whole season. I haven't checked the writing credits, but it's no where near where the previous seasons were. I'm embarrassed watching this during the dinner and then the following scene. It is now a sad, cheese ball soap opera. Most of the actors are doing what they can, but the laughing at dinner and pretty much everything Beth has to say is so contrived. Beth's sass is more impactful when it's applied sparingly. But when everything she says is inflammatory, you just can't take her seriously anymore. Hoping this turns around and moves away from straight drama back to engaging storytelling.

I think Beth and Summer kind of realize they are the same person. They may have been groomed in polar opposite universes (equally crazy!) But they are equally tenacious, have overwhelming personalities and are singularly maybe obsessively driven to fulfill their lifelong missions or die or kill trying!

Loved Rip's "Love of my life" speech to Beth. Shades of Jack to Wendy in The Shining. Very funny.

Beth's "liquid" diet must be adding more scars (this time to her liver) to what her poor outer body has collected, from past wars. She is literally turning into The Portrait of Dorian Gray.

It was nice to see Monica have something to have a giggle about.

"Watch 'Em Ride Away," the fifth episode of Yellowstone's fifth season, directed by Christina Alexandra Voros, is a resonant and thematic installment that centers around the traditional and perilous Montana branding season, symbolizing both continuity and confrontation in the Dutton family saga. The episode deftly combines nostalgic flashbacks with high-stakes present-day drama, showcasing the bonds of family, the weight of legacy, and the relentless struggle to survive in a harsh and changing world.

The episode opens with a flashback to a young Beth Dutton bidding farewell to her father and Rip before joining the spring cattle gathering. This nostalgic scene immediately ties the present to the past, characterizing the tradition and rugged lifestyle that have shaped the characters. Kelly Reilly's portrayal of adult Beth resonates deeply with the sense of history, unspoken regrets, and fierce loyalty that have been cornerstones of her character's development over the series.

In the current timeline, John Dutton insists on prioritizing ranch duties over his gubernatorial responsibilities, canceling his Capitol meetings to focus on the strenuous branding season. He divides the cowboys into teams to round up and brand the cattle, underscoring the high stakes and physical challenges this annual event entails. The arrival of media and political figures, organized by John's capable assistant Clara, adds layers of public scrutiny and political theater to the rugged work.

The branding season serves as the episode's emotional and visual centerpiece, with sweeping shots of the cowboys and day laborers working amid smoke from nearby fires and Montana's expansive wilderness. The depiction here is raw yet full of reverence, emphasizing the primal connection between the Duttons, their land, and their livestock. The sense of camaraderie, tradition, and latent tensions among the ranch hands unfolds naturally, with moments of levity and conflict that enhance the episode's texture.

Beth's persistent feud with Summer Higgins escalates into a physical confrontation fueled by deep-seated animosity. Their fight, witnessed by Rip and others, reveals the personal and political stakes interwoven in their rivalry. Beth's unyielding demand for respect within her family's domain and Summer's defiant resilience underscore the episode's broader themes of power, pride, and the contested nature of Yellowstone's territory.

Kayce and Monica's participation in the branding, with Tate by their side, offers poignant glimpses of their family unit navigating grief and hope amid the larger dangers encroaching on their world. This storyline brings emotional gravitas and cultural depth, enriched by the inclusion of Indigenous traditions and community interactions.

The episode also explores subtle political undercurrents, notably John's strategic use of the branding event to bolster his public image amid mounting opposition. His interactions with various stakeholders reveal a seasoned leader balancing family loyalty and political survival.

Visually, Christina Alexandra Voros's direction excels in capturing Montana's rugged beauty and the kinetic energy of the ranching life. The cinematography contrasts wide-open landscapes with intimate character moments, while the careful editing maintains narrative momentum and emotional engagement.

Thematically, "Watch 'Em Ride Away" delves into the heritage of ranching, the endurance required to uphold family legacies, and the tensions between tradition and modern challenges. The branding season serves as a powerful metaphor for the trials and tribulations the Duttons endure, embodying resilience, sacrifice, and unity amid adversity.

Throughout the episode, the performances of the ensemble cast-especially Kevin Costner as John, Kelly Reilly as Beth, Cole Hauser as Rip, and Luke Grimes and Kelsey Asbille as Kayce and Monica-are compelling, imbuing the story with authenticity and emotional depth that engross viewers and heighten the narrative stakes.

Though its deliberate pacing and focus on ritual and atmosphere may not cater to viewers seeking fast-paced action, the episode's rich portrayal of character dynamics and cultural motifs decisively contributes to the season's cumulative storytelling power.

"Watch 'Em Ride Away" is a noteworthy episode that captures Yellowstone's neo-Western spirit through a blend of tradition, conflict, and family drama. Christina Alexandra Voros's skilled direction and the cast's robust performances generate an immersive and thoughtful portrayal of Montana ranch life, inviting reflection on legacy, loyalty, and the relentless forces shaping the Dutton family and their land.

Wanted to hate this episode for the excessive & seemingly unnecessary dramatics but it was understandably necessary and fitting considering the characters involved.

Season 5 has been a well orchestrated Rodeo that's fleshed out some necessary details of one the most incredibly complex, challenging and endearing cast of characters ever assembled.

Taylor Sheridan knows people and while his own idiosyncrasies and personal assumptions occasionally bleed through with obvious bias, there's no denying that his characters are mostly authentic.

Sheridan is a modern day McMurtry but it's my opinion that his disdain for God, Faith and any notion of Divine Creation (at least by his Characters) is nonsense and reason enough for societies suffering.

Regardless of what you believe about anything. There's only one sad conclusion... Man is the cause of societies suffering...

John Dutton knows, Rainwater knows, Mo knows, but everyone is gonna is gonna learn.

This episode was talked about feverishly on Radio the day after airing.

Everyone loved it. The clash between Vegan angry and Just Plain angry, was something to see.

Rip's patience & understanding of his wife's personality is wonderful to watch. John's appreciation and insight of his children's personalities was so special.

It is great to see how much Carter and Tate have grown in size & maturity.

The epic ending to this episode when they all line up at the break of day and listen to John telling them what to expect over the next 2 days and the 'spike camp' they will have to endure at night, to bring the cattle down to the yards for branding, is momentous.

Then almost as an afterthought John says 'Yeehaw'.

I love this show and have done since the first episode.

Anything Taylor Sheridan has a part of, turns to Gold. I do not want to be in his mind with all the ideas and thoughts he must have.