The Killing Season

We have beed looking forward to the return of this excellent series, but the nudity, violence, and sexual depravity in this episode constitute overkill for shock value and spoil an otherwise very good episode. My wife could not stomach the opening scenes with Whitfield and his "playthings." Ford and Mirren are terrific, and Brandon Sklenar is very good.

Locations are well captured, with excellent production design. The mountain lion looks like it may be a CGI creation.

Overall good but too much of the really rough stuff mentioned above. I'm afraid this trend may continue in upcoming episodes.

Taylor Sheridan presents a Darwinian view of the world in the second season opener of "1923", graphically depicting how difficult it is to survive. Though facing different challenges, all the characters seem to be up against this reality.

On the home front, Harrison Ford leaves for a trial being held in Boesman, and Helen Mirren must handle matters without him. Including dealing with a large mountain lion who's taken to squatting on their front porch.

The marshal accompanying the evil priest proves to be vicious and lethal to any Native Americans as they search for the fugitive girl Aminah, who has a budding romance in Texas on the run with Pete (played by a new actor following the death of the original Pete).

Spencer is working in the boiler room of a freighter on his trek back to America to help his family, and after he saves a young Italian man who's being sodomized by a burly crewmate, he becomes a prize fighter below decks, earning plenty of dough bare-knuckled with the boy acting as his manager.

The simulated sodomy scene won't be shown on CBS when the second season is eventually broadcast, nor will a scene of Dalton and his two prostitutes which besides nudity contains rather awful footage of the one girl treated as a sex slave.

It's an in-your-face approach that has considerable shock value and provides enough of the "forbidden fruit" content that continues to distinguish less regulated cable/streaming shows from the legacy networks' output.

To be honest I did not remember everything that happened in season one, but after the wuick recap I recognized so many moments and characters, that I was indeed surprised.

Now this one hour premiere got me completely! I love it! All the Spencer and Alexandra scenes were perfect. Harrison Ford and Helen Mirren deliver. Timothy Dalton is excellent again. And the scenes with the young indian man and woman was great too.

Taylor Sheridan already is the big showrunner of our time, but he expands his legacy on and on with such great shows. All of his shows feature the great landscapes of America, the core theme of the U. S. Taylor Sheridan represents the American way of life!

Taylor Sheridan continues to develop stories that feel more genuine than your average blockbuster or big budget project. Scenery in these locations continue to feel immersive, characters continue on the journey we were last left off with them, and so forth.

And that's the thing, as a continuation of the overall story, this does a solid job. But as the start of a new season? Feels a little underwhelming and slow. While we do follow a bit of a time skip, everything still feels as though it doesn't quite hook the audience in enough in its new beginning.

All that aside, I still look forward to seeing the following episodes and seeing how the story will likely end at the end of this season.

By the way, at this point Brandon Sklenar is practically just promoting himself to be the DCU's new Batman, just off this episode alone.

The second season of Taylor Sheridan's "1923" opens with its first episode titled "The Killing Season," directed by Ben Richardson. This premiere returns viewers to the rugged and unforgiving Montana frontier, where the Dutton family grapples with relentless hardship amid a bleak winter, economic strain, and mounting external threats. Right from the outset, the episode asserts its somber tone and thematic depth, setting the stage for a season concerned with survival, legacy, and unyielding human resilience.

The narrative begins in medias res on the snow-covered ranch, where Jacob Dutton (Harrison Ford) and Cara Dutton (Helen Mirren) confront the brutal realities of their dwindling resources. With much of their herd sold off, the family's survival hinges on careful conservation and the hope for spring's renewal. This precarious existence is underscored poignantly in Cara's correspondence with Spencer, reflecting a thread of familial connection tied across distance and adversity. A particularly striking moment-Cara's deadly encounter with a mountain lion stalking the porch-symbolizes the omnipresent threats they face from both nature and human antagonists, echoing the harshness of frontier life.

Simultaneously, the episode weaves in the threatening presence of Banner Creighton (Jerome Flynn), whose machinations loom as an ever-pressing danger to the Dutton legacy. Flynn's performance conveys a simmering menace beneath Banner's calculated ambition, setting him up as a formidable adversary whose readiness to "lie with the devil" foreshadows the escalating conflicts to come. Equally chilling is the unsettling subplot at Donald Whitfield's estate, where the captive Christy and the toxic environment of exploitation highlight the dark undercurrents of power, control, and moral decay within the region's social fabric.

Teonna Rainwater (Aminah Nieves) continues her perilous flight from the relentless and malevolent Father Renaud, signaling a critical narrative thread deeply entwined with the show's exploration of Indigenous resilience and systemic oppression. Her precarious situation is compounded by the ruthless pursuit by U. S. Marshals and their violent intimidation of Comanche communities, emphasizing the brutal realities of colonial violence often sidelined in Western genre storytelling. Teonna's story brings an important cultural and political weight to the episode, broadening the series' thematic canvas beyond the Dutton family's saga.

Spencer Dutton's storyline, though temporally and geographically separated, remains compelling. His journey toward reunification with Cara and the ranch offers glimpses of hope and human connection amid peril. The episode shows Spencer's readiness to fight and survive through a tense and physically intense brawl, demonstrating his evolving character arc from hunted to fighter. This narrative strand is enhanced by his interactions with Alexandra, whose plans to board a ship to New York hint at further challenges ahead, adding a layer of anticipation and complexity to their relationship.

Stylistically, "The Killing Season" is marked by a deliberate pacing that cultivates tension through atmospheric storytelling rather than rapid plot advancement. Ben Richardson's direction employs sweeping shots of Montana's bleak winter landscapes contrasted with tightly framed, intimate close-ups that reveal the characters' psychological states. The muted color palette and naturalistic lighting reinforce the episode's grim tone, while editing balances moments of quiet anguish with bursts of undercurrent tension and violence, delivering a textured narrative rhythm.

Performances are uniformly strong and nuanced, with Harrison Ford embodying Jacob's stoic endurance and underlying vulnerability, and Helen Mirren delivering a powerful portrayal of Cara's fierce determination and maternal protection. Jerome Flynn's sinister Banner adds a menacing counterbalance, while Aminah Nieves' Teonna infuses her storyline with raw emotional intensity. Isabel May's voiceover as Elsa Dutton continues to tie the narrative legacy across the Yellowstone universe, her reflective and mournful tone imbuing the episode with a haunting poetic quality.

Notable moments include Cara's confrontation with the mountain lion-a metaphorical and literal fight for survival-and the chilling opening scene depicting the captive Christy, which starkly exposes the ruthless dimensions of human cruelty in this world. These scenes punctuate the episode with symbolic and emotional weight, reminding the audience of the multifaceted threats that define the Duttons' world.

While the episode effectively sets up its multiple intersecting storylines and character dynamics, some critiques note that the pace may feel slow for viewers eager for immediate action, and certain subplots, such as the captive's narrative, feel provocative yet unresolved in this installment. Nevertheless, these elements contribute to the show's commitment to layered storytelling and thematic depth, emphasizing mood, tension, and character over brisk plot movement.

Contextually, "The Killing Season" firmly situates itself within Sheridan's ongoing endeavor to redefine the Western genre by embedding political, cultural, and psychological complexity within a historically grounded yet mythically charged narrative framework. It continues the legacy of "1883" and "Yellowstone," expanding the timeline and deepening the exploration of American frontier legacies, including racial dynamics, family loyalty, and the unrelenting struggle against environmental and human adversities. The episode's focus on Indigenous resistance, patriarchal power struggles, and survival amid economic hardship aligns it with contemporary cultural conversations about history, identity, and justice.

In conclusion, the first episode of "1923" season two, "The Killing Season," is a somber, atmospherically rich, and thematically ambitious premiere that re-engages audiences with the turbulent world of the Duttons. Through strong performances, evocative direction, and a multifaceted script, it skillfully establishes stakes both personal and political, melding intimate family drama with the brutal realities of frontier life. While its deliberate pacing and intricate narrative threads demand patience, the episode rewards viewers with a nuanced portrayal of endurance, conflict, and legacy that resonates beyond the screen.