The original post: /r/television by /u/factdropmedia on 2024-06-28 00:29:44.
I am recovering from surgery and decided to finish two shows I swore to wait until they were over before starting – Yellowstone and Succession. I’m bored as hell, so I’m writing reviews. I’m starting with Yellowstone since it’s fresh in my memory. To honour the classic Western, I’m going to structure this in the format of the good, the bad, and the ugly.
The Good
Visual/Cinematography:
I mean, get out of here; they are stunning. From the sweeping vistas of Montana’s majestic landscapes to the intimate, warmly lit scenes of the Dutton family ranch, Yellowstone delivers a visual feast that is nothing short of breathtaking. The cinematography captures the raw, untamed beauty of the American West, evoking a sense of awe and wonder that perfectly complements the rugged frontier spirit of the series. I wouldn’t change a thing here.
Authentic Feel of Ranch Life:
I admit, I have thought about cowboyin’ since starting the show. The series does a commendable job of portraying the gritty, unglamorous reality of ranch life. From the crack of dawn cattle drives to the back-breaking labour of fence mending and hay baling, the immersion is wild. The authenticity is palpable, with every detail—muddy boots, weathered hands, and sun-beaten faces—contributing to a vivid and immersive portrayal of ranching culture. The show doesn’t shy away from the harsh realities of this lifestyle, highlighting the physical and emotional toll it takes on those who choose this path. Honestly, if this was a reality show about the Bunk House, I might love it a lot more than what it currently is.
Great Evoking of Family and Nostalgia:
Yah, the family stuff IS pretty good. As much as this family is effectively a foul-mouthed, alcoholic version of the Corleone family, I do care about them. I ask myself why, but Kayce does make up for a lot of the other’s nonsense. The series excels in evoking a powerful sense of nostalgia, harking back to a time when family ties and ownership were paramount – there’s a pun there somewhere. The interplay between John Dutton and his children is often poignant, filled with moments that tug at the heartstrings and remind us of the enduring strength of familial love. Scenes of family gatherings shared meals, and fireside conversations are imbued with a warmth that feels both timeless and deeply personal. I’ve cried quite a bit during some of these scenes.
Strong Acting:
Despite the extremely trashy character writing, the acting in Yellowstone is consistently strong. Kevin Costner delivers a powerhouse performance that anchors the series. His portrayal of a man fiercely protective of his land and legacy is both compelling and nuanced. The supporting cast, including Luke Grimes, Kelly Reilly, Wes Bentley, and Cole Hauser, also bring depth and authenticity to their roles. They manage to infuse their characters with a sense of realism and complexity, even when the writing falters. Even if I hate Beth – more on that later. What the hell will they do now? I have no idea.
The Bad
Character Writing:
Ok, here we go. If there’s one glaring flaw in Yellowstone, it’s the character writing. It often feels as if the writers are throwing darts at a board, randomly deciding what outrageous thing a character should do next. Characters undergo inexplicable personality shifts, behaving in ways that defy logic and continuity. Take Jamie Dutton, for instance. His character arc is so erratic that it’s hard to keep track of his motivations from one episode to the next. One moment he’s a loyal son, the next he’s a scheming villain. The inconsistency is jarring and detracts from the overall storytelling. Also, as someone who was adopted – holy crap – John Dutton goes from amazing Grandfather and Father in one scene to Logan Roy, the next. It’s bizarre and speaks to the writer(s) – I use the paratheses there on PURPOSE.
Disjointed Storylines:
The plotlines in Yellowstone can be frustratingly disjointed. Clearly, they are trying to set up spinoffs and all this other universe stuff, but damn, does it get annoying. Story arcs are introduced with great fanfare only to be abruptly dropped or resolved in the most anticlimactic ways possible. Is Tom an ally or a villain? The narrative often feels like a series of loosely connected events rather than a cohesive, well-planned saga. This lack of direction can make it difficult to stay engaged, as viewers are left wondering why they invested time in certain plot points that ultimately go nowhere. Never mind the gigantic steer-filled corner they painted themselves into now…
Boring and Repetitive Sequences:
Despite its high-stakes drama and action-packed scenes, Yellowstone can sure bore the living hell out of me. The show frequently falls into a repetitive pattern: a crazy, over-the-top event followed by a tranquil scene of ranch life. While this juxtaposition is meant to highlight the contrast between chaos and serenity, it quickly becomes predictable and tiresome. For example, after a dramatic shootout or a high-tension confrontation with the dramatic sound effects then we return to a serene montage of ranch hands tending to horses. These sequences, accompanied by twangy country music and idyllic shots of farm animals, start to feel like filler rather than essential storytelling. At one point in season 4, it was almost 1/4th of an entire episode.
The Ugly
Taylor Sheridan’s Ego:
Holy MOOOOOLY. Taylor Sheridan’s fingerprints are all over Yellowstone, and not always in a good way. As the series progresses, his ego becomes increasingly evident, to the point where it feels like he’s trying to become John Dutton. Sheridan’s desire to imprint his own identity on the series is highly palpable, often overshadowing the story and characters. This overbearing presence can make the show feel self-indulgent as if it’s more about showcasing Sheridan’s vision than delivering a coherent, engaging narrative. His attempts to inject himself into the storyline—whether through cameo appearances or heavy-handed themes—often come across as egotistical rather than artistic. Plus, he’s not the most outstanding actor, so sharing a scene with a hitter like Jefferson White – it doesn’t help him at all.
Problematic Values:
Yellowstone unapologetically portrays a set of values that skew heavily anti-liberal and pro-conservative. While there’s nothing inherently wrong with this, and quite frankly, we could use more of it, how it’s presented can be problematic. The characters often espouse these values in a way that feels preachy and one-dimensional, lacking the nuance needed to make them relatable or compelling. Moreover, there’s a stark hypocrisy at play. Characters who rail against corruption and moral decay often engage in the very behaviours they decry, making them come across as hypocritical and disingenuous. This inconsistency can be off-putting to viewers who crave more depth and authenticity in their storytelling. Not to mention, one doesn’t need to drink a quarter of the bottle in one glass. I imagine a black comedy where each character rolls up a giant blunt every other scene wouldn’t go over well – this doesn’t either.
Beth Dutton:
Beth Dutton is arguably one of the worst characters ever written on television. Her larger-than-life persona and unpredictable behaviour make her small and ironically predictable. However, the problem lies in her need for more realism. Beth often feels more like a caricature than a fully fleshed-out human being. Her actions and dialogue are so over-the-top that they strain credibility, making it hard to take her seriously. For instance, her relentless vendetta against her brother Jamie borders on the psychotic, and her interactions with other characters are often laced with an almost cartoonish level of vitriol. This exaggerated portrayal detracts from the show’s overall realism and can be jarring for viewers looking for more grounded storytelling. Quite frankly, I almost jumped ship because of it. Hell, I mean, her best scenes are when she is driving the cattle to the branding in S5.
Yellowstone is a wild, tumultuous ride through the modern American West, offering a unique blend of breathtaking visuals, authentic ranch life, and powerful family drama. However, its glaring flaws—ranging from erratic character writing and disjointed storylines to self-indulgent direction and problematic values—prevent it from reaching the heights of really great television. The series is at its best when it focuses on the raw beauty of its setting and the reality of ranching life. Unfortunately, the show’s more egregious missteps often overshadow these strengths.
Ultimately, Yellowstone should be enjoyed for what it is: a high-stakes, melodramatic family soap opera set against the stunning backdrop of the American West. It’s entertaining and visually spectacular, but it falls short of being serious art. For viewers seeking a fun, escapist drama with a touch of Western flair, Yellowstone delivers. But for those looking for depth, consistency, and thoughtful storytelling, it might leave much to be desired. Paramount’s significant investment in Taylor Sheridan’s vision raises questions about the show’s overall direction and purpose, particularly from a shareholder’s perspective. Mainly because if a really good writer’s room were hired to work on these shows, then the sky would be the limit for this cinematic universe. It’s odd that someone would purchase a ranch to achieve a scale of production but then not rely on another writer for help. Like John Dutton, Taylor Sheridan seems to be refusing progress – whether that means the erosion of the empire he has built. (5/10)