While TV viewers like ourselves barely had a year to breathe between the conclusion of the previous Yellowstone prequel, 1883, and the arrival of its successor, 1923, the world of the Duttons has leaped forward by an astonishing four decades. Much has shifted in this timeframe, extending beyond mere casting changes in 1923. Fortunately, we are warmly greeted into this fresh narrative by a familiar voice from beyond—Elsa Dutton (Isabel May), serving once again as our narrator from the afterlife.
We witness Cara Dutton (Helen Mirren) relentlessly pursuing and terminating a man who threatened her life, possibly hinting at a flash forward. Meanwhile, Spencer Dutton (Brendan Sklenar) is depicted in Africa, engaging in a lion hunt. Elsa narrates that violence has long been a dark companion to her family, often sought out by them even when it doesn't seek them, as exemplified by Spencer, whose longevity in this season receives little assurance from Elsa, who reveals that only one of James's children will live to witness their own offspring grow.
Elsa swiftly recapitulates the significant events of the intervening four decades. Following James's demise (as flashed back in Yellowstone's fourth season), Margaret earnestly beseeched Jacob Dutton (Harrison Ford) to come to Montana and lend his support. A year hence, Jacob and Cara arrived, but they found Margaret deceased and her sons, John and Spencer, clinging to life. Jacob and Cara took the boys under their wing, nurturing them and transforming the ranch into a flourishing empire. However, Elsa warns, "This empire would eventually crumble."
The scene transitions to Jacob and a fully grown John (James Badge Dale) riding into Boseman, a bustling city of the 1920s, characterized by lively street-side boxing matches and women protesting for the enforcement of prohibition. Serving as Livestock commissioner, Jacob convenes with the sheriff before a town hall meeting to address conflicts between sheep herders and cattle ranchers.
During the meeting, Banner Creighton (Jerome Flynn) attempts to justify his sheep grazing on someone else's land. Jacob stands firm, insisting on adherence to the law and respect for others' property. After the session, Banner confronts Jacob, leading to a near-brawl.
The scarcity of grass, caused by a locust infestation, affects not just the sheep herders but also cattle ranchers, including the Duttons. Jacob devises a collaborative strategy, urging everyone to unite and drive their cattle up the mountain where grass still abounds.
In a hasty encounter, we meet Jack Dutton (Darren Mann), mere days before his nuptials, and Zane (Brian Geraghty), the formidable ranch foreman. The narrative then leaps to a stringent reform school, overseen by nuns and priests, whose mission is to Christianize indigenous youth. Among them stands Teonna Rainwater (Aminah Nieves), subjected to relentless beatings by Sister Mary (Jennifer Ehle) for even the slightest infractions, until her tolerance reaches its breaking point and she retaliates.
Brought before the head priest, a figure of both authority and brutality, he first disciplines Sister Mary, mirroring her punishment onto himself, yet subsequently inflicts harm upon Teonna, leaving her legs marred by bloody gashes. Afterwards, Sister Mary claims a strange camaraderie with Teonna – neither dares to defy the head priest again.
That evening, as Teonna's friend attempts to solace her with whispers of a year left at the institution, Teonna harbors a fierce resolve to escape far sooner. Meanwhile, upon returning to the Yellowstone ranch, Jack learns of a cattle drive conflicting with his wedding plans. He assures Jacob and John that Elizabeth Strafford (Michelle Randolph), his fiancée, will comprehend the need to postpone their wedding by a fortnight. Unsurprisingly, she receives this news with dismay. Fortunately, Cara steps in, reminding Elizabeth that she is marrying not just Jack, but the rugged life of a rancher – a life, though challenging, far freer than most. Elizabeth affirms her unwavering love for Jack and her readiness to embrace this lifestyle.
Elsewhere, Banner and his fellow sheep herders guide their flock under the cloak of night when they encounter one of the Dutton fences. Refusing to let a mere fence spell doom for his sheep, Banner slices it open, reasoning they are distant from the cattle's grazing grounds. Little does he know, he was uninformed of Jacob's layout.
The following day, as cattlemen herd the cows upward towards the mountain, Jack rides ahead. At the crest of a ridge, his eyes behold thousands of sheep grazing upon their land, and a horseman who takes aim at him. The episode concludes without revealing the fateful outcome of that shot.
Back in Africa, Spencer, nestled in uneasy slumber aboard a train, is haunted by nightmarish visions of his harrowing days in World War I. Awoken abruptly by a train attendant, Spencer jerks upright, instinctively aiming his gun at the startled employee before catching himself and offering a heartfelt apology. Informing him of their arrival at his intended stop, the attendant finds Spencer at a loss, without a clear destination in mind, merely accepting this as the next logical halt on his journey.
His purpose here is grim yet clear: to hunt down a leopard that has been terrorizing a camp of British tourists. As we observe Spencer meticulously preparing for the hunt, we are serenaded by the haunting words of a letter penned by Cara, in which she pours out her longing for his return, lamenting that his absence stems from a piece of himself lost in the throes of war. She fervently prays that he will reclaim this lost fragment, paving the way for his return to their side.
At the camp, tension mounts as a woman ventures out of her tent to attend to a private matter, only to be viciously assaulted by the very leopard Spencer has been tasked to eliminate. Though Spencer acts swiftly, his aim true, he is unable to save her. Matters worsen as a second leopard emerges from the shadows, targeting Spencer with relentless ferocity just as the episode draws to a cliffhanger credits sequence.
While '1883' was a tightly woven tale of the Dutton family's westward expansion, '1923' unfolds with a multifaceted narrative, balancing an array of storylines with a grandeur unprecedented in this franchise. Despite the broader scope and increased complexity, this opening installment marks a promising beginning, leaving ample room for anticipation and excitement as the journey progresses.
