Cigarettes, Whiskey, a Meadow and You

Greetings from Lithuania.

6th episode of "Yellowstone" season 5 called "Cigarettes, Whiskey, a Meadow and You" was in total "melodrama mode" as it was all this season so far. But ill be damned if it didn't looked amazing. Acting was very good as usual. Cinematography is fabulous as always, and scenery is like no other. And while it plays like a melodrama which at this point it is, its a very fine one and entertaining on its own. The scenes do play out involving even if there is no action or tension and you kinda can't stop looking at them.

Overall, a slow episode as they all were in season 5 so far, but I was entertained by it.

These ratings are given by people who have no clue what they are talking about. This season is not even close to a 8/10. This season is flat and the storylines are boring.

In this episode:

Beth gets off her horse and is in awe of the view of the mountains It's the same view she gets from her mansion of the mountains So silly, come on, it's like like she went to a whole new state

Jamie seems to be trying to come up with a way to get back at his family

There's 1-2 storylines in each hour episode now And those storylines are not worth me watching for a hour

Someone call the writers from season 1-2.

If I were trying to sell this show to someone I might not suggest this one. Not because it's bad, the opposite in fact. It's great based on it being different from the rest.

Beth, the headache of the show is a normal human being. Every character that had some lines shined. Regardless of how long or how much. Beautiful scenery, emotional, interesting. A few laughs included. Sure, we have to see the son with no spine seem to flip flop yet again, but it was kept to a min.

The fights, battles, and whatnot the family has to deal with... yes. They are the backbone of the show. But sometimes can't they just live? Well, they did in this one. By far one of my favorites.

But only if you've seen the rest.

"Cigarettes, Whiskey, a Meadow and You," the sixth episode of Yellowstone's fifth season, directed by Stephen Kay, is a thoughtfully paced and emotionally profound installment that delves into themes of grief, resilience, and the enduring power of family and tradition. The episode balances intimate emotional moments with the physical and political demands of ranch life, using the annual cattle branding season as both a narrative centerpiece and a symbolic reflection of the characters' struggles and bonds.

The episode opens with the Montana skyline at sunrise as John, Beth, and Rip prepare for the demanding roundup and branding of their cattle. This visual immediately evokes the harsh yet majestic environment that shapes the Dutton family's identity and challenges. Early scenes focus on Beth's struggle to find peace amidst the open spaces of the ranch, leading Rip to guide her to a secluded meadow where they share a rare moment of calm and connection. Kelly Reilly's portrayal of Beth in this sequence reveals new layers of vulnerability beneath her usual fierce exterior, offering a poignant counterbalance to the familial and external conflicts surrounding her.

Monica's evolving relationship with her husband Kayce and stepson Tate is highlighted through moments of shared tension and hope. Monica's candid conversation with Summer Higgins about her place within the Dutton family adds emotional complexity and humanizes a character often viewed as an outsider. The implications of grief, belonging, and cultural identity here contribute a rich cultural dimension to the series' predominantly Western narrative.

The episode deftly intertwines personal and political tensions, particularly surrounding John's role as Montana's governor and the pressures of maintaining influence amidst the fallout from the branding. John's appearance with Emmett's widow Ella, informing her of his peaceful death, is a touching scene that foregrounds themes of mortality and legacy. The presence of media and political actors heightens the stakes, illustrating the ongoing public scrutiny the family withstands.

Beth's interactions with Summer, particularly their contentious dinner reconciliation, reveal shifting dynamics and the uneasy alliances being forged within the Yellowstone household. Their shared tensions around respect, representation, and change are emblematic of broader cultural and familial themes, deepening the portrayal of power struggles beyond physical confrontations.

Visually, Stephen Kay's direction capitalizes on Montana's breathtaking landscapes, contrasting the vast, wild country with intimate, deeply personal character moments. The cinematography enhances the episode's thematic tension, with moments of stillness and movement reflecting the characters' internal and external battles. The episode's editing maintains a measured pace, allowing emotional beats room to resonate while propelling the story forward.

Thematically, "Cigarettes, Whiskey, a Meadow and You" meditates on endurance-the rugged perseverance of a family bound to the land and to each other amid turbulence. The episode's title signals the simplicity and rawness of the characters' desires-a cigarette, a drink, a place of peace-as metaphors for fleeting relief in a world rife with conflict and loss.

Performance-wise, the episode is anchored by Kevin Costner's steady and nuanced portrayal of John, Kelly Reilly's layered and vulnerable Beth, and Cole Hauser's protective and grounded Rip. The ensemble cast's ability to convey complexity and authenticity adds invaluable emotional heft to the narrative and sustains viewer engagement.

Though some critics note the episode's reflective tone and slower pacing might alienate viewers seeking more kinetic drama, these choices ultimately enrich the season's narrative depth and character development, laying groundwork for escalating conflicts ahead.

"Cigarettes, Whiskey, a Meadow and You" exemplifies the neo-Western ethos of Yellowstone through its masterful combination of evocative setting, emotional depth, and intricate character work. Under Stephen Kay's assured direction and supported by compelling performances, the episode extends the series' exploration of family, grief, and survival in a fiercely contested landscape, inviting audiences to reflect on the fragile balance between hardship and solace.

I've been loving this show until this episode. I'm retired Federal law enforcement, and the depiction of the Secret Service coming to the rez in Black Hawks, in preparation for a presidential visit, all swatted up, shooting the residents' dogs just because they were running loose is SO stupid. I know Taylor Sheridan was trying to create drama with that, but at least try to give it a smidge of realism. The Secret Service is notorious for going out of its way to NOT needlessly antagonize local officials with heavy handed moves, because it relies so much on their cooperation and commitment of manpower to accomplish its mission. Hire a damn technical consultant, for Christ's sake.