The Apocalypse of Change

So, I really don't care if anybody agrees, I think Taylor Sheridan is a piece of trash.

You know when you conceive something as an artist and then systematically destroy it? There's always a reason for it. Sometimes it's self loathing or just simply not knowing where to go next. However, often times it's an over inflated ego coupledwith a lot of greed.

You can make a beautiful painting, you can build a beautiful building, you can tell a beautiful story. It means absolutely nothing, if you're willing to sell yourself out for, what is as Indiana Jones and Short Round say so eloquently: fortune and glory, Dr Jones: fortune and glory.

You can forget the glory and enjoy the fortune. There is no price that you can place on your own integrity.

Yellowstone, and, particularly, John Dutton do not deserve this ending.

Hey Taylor, let's sue Cole Hauser for a freaking coffee brand that has a brand ensigna that resembles yours. Hey Taylor, let's just piss Kevin Costner off until the point where he doesn't want to continue on the show.

He'd rather make actual documentaries about the beauty of the land you're exploiting for your own personal gain. Hey Taylor, let's take one of the most iconic characters ever created (YOUR BRIAN CHILD) and decimate him. I'm sure there's some foreshadowing for the future of anything you do.

Tulsa King had gotten better when you stopped writing. However, the last episode, you're falling back on your formulated bull****. You're still killing your characters- actually, torturing them, chipping away at what they were one piece at a time.

Does it feel good to George RR Martin something? The dragons are never coming. John Dutton's exit was so disgusting. Love the character or hate character, John Dutton was iconic and he deserved better. That's on you.

Luckily, you have an actor, Wes Benton, that can make Jamie so freaking hateable that I actually associate him with you. Is Jamie's existence based on you? It really seems like he is an extension of your own ego and your own insecurities.

While I've been patiently waiting for any of the shows, you're involved with to actually complete themselves in a distinguished manner, you were apparently just trying to actually be Jamie: a power, hungry, weak man who, out of sheer greed, and shame, would be betray his own family (specifically, destroying your own creation for props, clout, or just monetary gain), but, hey, who am I?

I'm no one. I'm just a fan of a lot of your shows that you totally corrupted for what? You can't regain your integrity once you compromise it. That's a universal lesson.

So, enjoy being so involved in the production of your shows. Enjoy riding those horses, which, admittedly, you do brilliantly. Enjoy your moment in the sun. Because, ultimately, you're killing your own legacy.

You'll be able to afford a lot more thoroughbreds. Maybe, eventually, someone will see you riding them in 6666.

I want to give a shout out to the rest of the cast because they really took a tragedy of a show and turned it into something that elicited a visceral reaction in myself.

You can have the best writers, concept, dialogue, and even Taylor Sheridan, literally trying to destroy everything he built, and, somehow, whoever the casting director was, found actors that could take that insult to fans, internalize it, see pass it, rise above the pettiness, and delivery performances that give the fans an emotional catharsis.

So, Jamie, excuse me I mean Taylor - great job destroying your own creation.

John Dutton deserved better than what he got. Your fans deserved better than what they got.

I purchased a bunch of Cole Hauser's coffee, and every single time I take a sip of it, I'm gonna think about how pathetic it is that the character you most resemble is Jamie. Also, honestly, I'm gonna think about how great a character Beth Dutton is, and how she's twice the man you come across as in this situation. I guess if I have to give you a compliment, in the end, it's Beth Dutton.

Inconsistent Storytelling, Pacing Issues, Unresolved Arcs...

When watching episodes back-to-back, these issues are even more glaring. The disjointed transitions, unresolved storylines, and inconsistent pacing make the episode feel like a weak link in an otherwise compelling series. Instead of delivering closure or a meaningful bridge to the finale, Episode 10 leaves viewers scratching their heads.

It's a shame, as Yellowstone has built a loyal fanbase by delivering strong character-driven drama. Episode 10 feels like a misstep that prioritizes future content over the integrity of the current story. Fans deserved better from what was marketed as the final chapter of the Dutton saga.

It's strange to hear so much whining about John Dutton's absence. Yes, he was central, but Yellowstone was never just about him. It's always been about the family-the bloodlines, the betrayals, the impossible weight of legacy. Even with John gone, the show stays true to its core. If anything, it feels more focused, leaning into its introspective side without losing that slow-burn tension.

The new episode continues what Yellowstone has been doing for years now - swapping sheer force for reflection, action for atmosphere. It's moody and philosophical, not in a pretentious way, but in a way that feels lived-in and authentic. The pacing? Deliberate. The performances? Flawless across the board. Kelly Reilly and Luke Grimes especially carry the weight of John's absence, and the silences between their words hit harder than most shows' big speeches.

Yes, John's departure stings, but it's also what makes this 2nd part of the season so gripping. The void he leaves behind gives the story room to breathe and the other characters space to grow. The tension is there, simmering under every moment, and you know it's building to something devastating - a grand last finale.

Is it the same Yellowstone? Not quite. It's quieter, sadder, and maybe a little braver. And honestly, that's okay. The show is still uniquely itself, and that's more than enough.

Episodes nine and ten are a COMPLETE disaster. Episode nine they made zero transition from Jamie wanting to have Beth killed to switching it to John. Then the house they went into wasn't John's cabin. Then they went back six weeks and in episode ten maybe went six weeks forward but there was no indication they were catching back up to real time. I could get by with some of the Yellowstone inconsistencies but they are just completely botching this show. Not sure if we will be watching after this, as it's genuinely difficult to watch. A little more thought should have gone into transitioning with this show.

"The Apocalypse of Change," the tenth episode of Yellowstone's fifth season, directed by Christina Alexandra Voros, presents a complex and emotionally charged midseason turning point marked by the aftermath of John Dutton's death, rising family tensions, and the looming battle for the Yellowstone legacy. The episode intertwines past and present with evocative flashbacks, a symbolic rattlesnake-infested Texas setting, and intense confrontations that deepen the major thematic strands of survival, loyalty, and vengeance that permeate the series.

Opening with Rip and the cowboys camping on rattlesnake-infested land in Texas, the episode immediately sets an atmosphere brimming with danger and unpredictability. Rip's protective vigilance serves as a metaphor for the broader threats encircling the Dutton family. The tension of the natural hazards parallels the impending political and familial storm back home in Montana, with beautifully stark cinematography capturing the harsh yet hauntingly beautiful landscape.

The episode's layered flashbacks illuminate the origins of Rip's fierce loyalty and tactical ruthlessness, providing emotional depth to scenes of strained alliances and escalating conflicts. Rip's and Beth's intimate moments during these flashbacks reveal nuances of their relationship that contextualize present-day choices and highlight the long shadows cast by past traumas and bonds.

Beth, spearheading the family's response to John's death, embodies both grief and unyielding determination. Kelly Reilly delivers a powerhouse performance, especially in her brutal confrontation with Jamie. Their verbal and physical conflict underscores the fragility of family ties intertwining with raw ambition and deep-seated resentment. Jamie's dance with Market Equities and Sarah Atwood adds a threatening political dimension, positioning him as a formidable antagonist within the narrative.

Meanwhile, Kayce grapples with the heavy mantle left by his father and debates his own role moving forward. His conversations with Tate and efforts to gather intelligence reveal a character edging toward decisive action, signaling a shift in family dynamics and power distribution.

Visually, Voros's direction contrasts the expansive, unforgiving Texas terrain with the claustrophobic tension of the Dutton household, expertly balancing spectacle and intimate character portraits. The cinematography's use of light and shadow enriches the episode's emotional tone while the editing weaves between temporal shifts with varying success, occasionally causing thematic and narrative dissonance.

Thematically, "The Apocalypse of Change" wrestles with cycles of violence, the weight of legacy, and the ambiguous moral codes guiding the Duttons. The title suggests a precipice-the breaking point of old orders and the painful birth of new realities. The episode probes the costs of vengeance and the precarious nature of loyalty in an era where power is both a weapon and a burden.

However, some critics note that the episode's first half is mired in metaphorical flashbacks that complicate the timeline and detract from narrative momentum. The prolonged focus on symbolism and atmospherics delays advancing the core storyline, which may frustrate viewers anticipating uninterrupted plot progression. The payoff arrives in the episode's latter segments, setting the stage for escalating sibling conflicts and a deeper war for Yellowstone's future.

"The Apocalypse of Change" is a dense and evocative episode that encapsulates the neo-Western complexity and emotional intricacies characteristic of Yellowstone. Christina Alexandra Voros's confident direction, combined with a committed ensemble cast, crafts a textured narrative of loss, power struggles, and impending transformation. Despite some pacing and structural critiques, the episode compels reflection on the enduring human conflicts at the series' heart-the battle to protect family, legacy, and identity in a volatile world.