Counting Coup

Greetings from Lithuania.

Counting Coup, 12th episode of Yellowstone's last season was anything to write home about. I liked the ending but that's about it. With only two episodes left, I wish to finish it as soon as possible but not that's interesting - it isn't and I don't care about the outcome at this point. Story is going in circles and is long should have ended - this season 5 is an example of when to end the series.

Overall, there isn't anything memorable in this episode. One of the characters dies (no spoilers), but you don't feel anything. Hope they will end it at least on an interesting note.

Plotlines move forward now, with cast dealing with the future of the ranch. Rip sets about selling all their horses, to raise money toward paying their tax burden. Taylor Sheridan gets a decent acting role as the hard-nosed man in charge of the horses, who breaks the bad news about Dutton's demise to Jimmy.

In this episode, Taylor as writer takes the opportunity to reset the show's focus to include the ensemble cast, not just the immediate issues facing the lead players. In this sense, we get to see that Yellowstone, despite its long family history (as amplified in the spinoff series "1883" and "1923") is not just about the Duttons but also the greater family of workers, friends, and even enemies of the legendary ranch.

Oldtimer Lloyd is still dealing with the crazy 3-year-old horse nicknamed Maneater, to be sold off to Mexico in a crucial subplot, which leads to a major plot twist, upping the show's emotional stakes - it's not just about what happens to the Duttons.

Overall, Sheridan's sense of the end of an era is expressed by the cast's resignation to their fate, while Beth and Kayce prepare to fight as best they can for Yellowstone's future.

This is one of the more emotional Yellowstone episodes. I cried... and it's been a while since a Yellowstone episode made me cry. It was a rollercoaster of emotions from start to finish, and although none of it was happy, somehow it was beautiful. The writers, through the use of humanity and respect, showed the beauty in tragedy. A multifaceted reflection of life. I really appreciate when Yellowstone gets poetic, and this episode had many poetic moments from start to finish, especially about cowboys and the cowboy life. One of the awesome things about the show Yellowstone is that the verbal poetry is beautiful, but the visual poetry is just as beautiful. This episode really captured the visual poetry of cowboy life... the good, the bad, and the ugly. Really beautiful cinematography. Something about some Yellowstone scenes reminds me of Dances With Wolves. Beautiful instrumental background music plays while people on horses have intimate conversations at dusk. The similarity may be no accident, considering that Kevin Costner is involved. These scenes really trigger Dances With Wolves nostalgia for me, in the best way. In this episode, we also see Beth's tender, compassionate side, as we have in the past from time to time. Her wisdom, counseling, and motherly advice created some beautiful moments that really let that side of her character shine. I liked the parallel between Carter and Rip that was created in those moments. Overall, although marked by tragedy, this episode felt more gentle than the recent ones. With one very large exception... the last scene. GANGSTER! Wow! Did not see that coming. Ok Kayce! We see you! Finally...

"Counting Coup," the twelfth episode of Yellowstone's fifth season, directed by Christina Alexandra Voros, intensifies the emotional and narrative stakes of the series through a blend of heart-wrenching loss, bold actions, and mounting tension both within the Dutton family and in their fight to maintain control over their legacy. The episode masterfully balances intense character moments with evolving political and physical battles, deepening the neo-Western drama that the series has become renowned for.

The episode opens on a poignantly tender note with Teeter and Colby, long-time lovers among the ranch hands, finally admitting their love during a heartfelt phone call. This moment of hope is brutally undercut later by Colby's tragic death-trampled by a wild horse while protecting Carter. This event marks one of the most impactful and sorrowful losses of the series, underscoring the ever-present dangers of ranch life and the heavy cost of loyalty and protection. Jennifer Landon's portrayal of Teeter's grief is raw and moving, epitomizing the personal sacrifices threaded throughout Yellowstone's narrative.

Kayce emerges as a central figure, making a bold and ruthless move against Grant, the orchestrator of John Dutton's assassination. By adhering to a Plains Indian warrior tradition known as "counting coup," Kayce chooses to intimidate rather than kill, delivering a powerful assertion of dominance and warning. This moment reveals Kayce's complex moral code and the pound-for-pound significance of his actions within the family's ongoing war. Luke Grimes's portrayal communicates both the weight of avenging his father and the heavy burden of honor he carries.

Jamie's storyline moves into more dangerous terrain as the investigation into John's murder intensifies, and his efforts to cover his tracks become increasingly desperate. Wes Bentley's performance masterfully portrays Jamie's descent into paranoia and manipulation, as his political aspirations and familial betrayals collide, particularly following the shocking death of Sarah Atwood. The episode weaves these elements to heighten the sense of impending upheaval within the Dutton's fragile power structure.

Rip's leadership and protective instincts take center stage, especially as he rallies the cowboys in Texas and mourns the loss of structure and camaraderie amidst the ranch's turmoil. His dynamic with the bunkhouse crew highlights themes of resilience, loyalty, and shifting responsibilities within the Yellowstone empire. Cole Hauser imbues Rip with a stoic gravitas tempered by deep emotional undercurrents, sustaining audience investment.

Visually, Christina Alexandra Voros's direction shines through in the vivid contrast between the sprawling Texas landscapes and the confined, tense interiors of political and family confrontations. The sweeping cinematography captures the rugged beauty and isolation that define the series, while the editing keeps a brisk yet emotionally resonant pace, allowing moments of quiet grief to land alongside action-driven sequences effectively.

Thematically, "Counting Coup" delves into the costs of survival, the weight of legacy, and the ambiguous morality that governs the Dutton world. The title itself is an evocative nod to Native American traditions, symbolizing bravery, honor, and non-lethal conquest-a powerful metaphor for Kayce's calculated retaliation and the broader family struggle.

The episode's emotional gravity, combined with strategic narrative developments, makes it compelling even as it marks a somber turning point amid mounting tension and loss. While some viewers may find the pacing heavier on emotional beats and setup, these elements are crucial for deepening the stakes as the season approaches its climax.

"Counting Coup" is a deeply affecting and narratively rich episode that exemplifies Yellowstone's neo-Western prowess. Through Christina Alexandra Voros's nuanced direction and standout performances-especially those of Jennifer Landon, Luke Grimes, and Wes Bentley-the episode explores the painful intricacies of loss, justice, and legacy. It invites audiences to reflect on the profound costs of loyalty and power in a world shaped by the unforgiving demands of nature and kinship.

Someone was paid for writing this episode?!? Yikes. Real money?

Granted, the show has had a wrap up feel to it for quite some time, so no surprise the writers are just filling in multiple choice answers randomly to close out story lines, as if they hit the bare minimum on the final exam with the crib sheet from the frat house bros, and now they can go get wasted and roofie sorority girls (not really - that is also very much more deplorable than the episode).

Must be nice to show up at a paid gig and be able to turn out something so abhorrent in certain vocations. It really does yell, "...for entertainment purposes only." You have to shut off your brain and logic to watch a lot of TV these days (no surprise we are in the political climate of today), but these last few episodes take the cake.

Does anyone know where to apply for writing jobs, since it is seemingly such a low skill requirement???