- Why can't we live right here?
Like this?
All the time?
- You know, I ask myself the same thing, grandson.
Everyday.
- I think the scenes between John Dutton and Tate
are really what Yellowstone is about.
- Tate can see how this ranch sort of runs
so that he can keep it in the family.
It's lookin' like he might be our last hope for that.
- The land is everything to him.
You take something that's five generations old
and it can continue to look the way it is.
You work for that.
- (laughing) Well that's exactly how you do it.
(dramatic music)
- Cool if I ride with you?
I want to see my kid.
So, Taylor asked me if I knew how to ride
at the beginning of the season.
I told him yes, and that I'd learn later.
And he was like, "Well, you gotta learn now".
And then the next episode I was riding.
I won't fall off.
- She was just startin' to get comfortable on the horses.
Taylor wrote the script where Kelsey took my horse.
- That's my horse?
- We don't have time for this shit.
- My name is Sled Reynolds
and I am a wrangler, an animal trainer.
Taylor has a pretty good idea
about what cowboys are supposed to be.
Taylor called me and says,
"Will you get on a bucking horse"?
And, I had to remind him that I was 40.
- Got it, Jake.
- Yeah, if I can pick it, so, you know.
That was pretty fun, it was up in the field.
- Oh, now that looks fun.
- I think all of us love workin' on this.
- Come 'ere you little devil.
- It's so much fun.
You really feel like you're making movies.
- I think Kelsey did good, you know?
The first take my horse went buckin' right in to 'em.
I couldn't really control him.
She just backed her horse up
and looked really good.
- So you're really learning with the best of the best
and hopefully the editing is great.
- What we try to do is have horses that kind of
do a little bit of everything.
- Kelsey, she'd been down to the barn lately,
riding Cutter.
Something that not everybody gets to do.
It's been a good opportunity, but I think that they're
riding her really well and advancing.
They're gonna take the stunt guys out of business.
- Monica's always trying to get back
to their beginning, in a way,
where it was just Kayce and Tate.
Kayce and Monica really work together this season,
in a beautiful way, to take care of Tate.
- I knew the stars would help him.
- It's a dream come true for Kayce.
How in nature, kind of living this lifestyle
that he grew up with he loves and is part of his legacy.
- The campground allows for them to be in this dreamworld
all together away from these incredible challenges
that they've had to face and overcome.
It's simple.
And it's about the family.
- To have her kind of accept it,
and want to be there for it.
And actually fall in love with it, too.
I think, is just, he's over the moon.
- Luke and I really root for these characters.
To see the scripts come in
and for them to be happy is such a relief.
We're happy, too.
(emotional music)
- For a minute, they're at the camp.
They're watching the sunrise.
Things seem simple.
They're together.
It's sort of an exhale.
Beth doesn't go down to the camp
because she's still working.
But she does go visit Rip.
- Rip and Beth are such a fascinating couple
because it is in a lot of way
everyone's fantasy of a couple.
- Those scenes were always, for me, were like
wow this is the year I'm excited about for Beth and I.
- That opening of her heart
has been one of the most beautiful things
for me to play this year.
- And the roles are so juxtaposed between the two of them.
Rip is the most masculine guy on the planet
who does these very, what would be traditionally
thought of as feminine and gentle things for her,
and she does these very masculine things.
- There's a lovely scene where
Rip is making Beth breakfast.
- I mean, they're my favorite scenes of the year.
- But she doesn't know how to be vulnerable
or in a t-shirt, no makeup, walking down the stairs
and someone being nice to her.
And she resists it.
It was one of the most difficult scenes
and gorgeous scenes to play.
Because, she allows herself in that moment
to feel vulnerable.
And I don't think I've seen Beth vulnerable ever.
- And I sat it down, and she's eating it,
and I'm staring at her, and it's a bit uncomfortable
when you're eating breakfast and somebody's staring at you.
But, it's very lovingly,
and she just starts getting emotional.
And, we both are just staring
and we're just talkin' with our eyes and it's beautiful.
- It doesn't take away her femininity
and it doesn't weaken his masculinity.
It's a really unique, beautiful relationship.
- You know, working with Kelly is such a pleasure,
but also the writing, you know, again,
the ability to play silence.
You know, she's great at it.
You know, I love breathing with her on screen.
And the scenes that Taylor wrote
are just exceptional.
- And I love playing on the notion of
how should this really ignorant, uneducated
brute of a man interact
with a woman who is an intellectual viper.
- We saw in season two how much of a survivor she is.
But, actually, it's the emotional scars,
I think, that take a longer time to heal.
- I don't think Rip even sees the bruises.
He just thinks she's amazing.
- Regarding just storytelling,
it can't all be this high octane drama.
And I think the audience and the characters
needed a breath for a second.
- First we're gonna dance.
- You need to put a pause on it
and really get emotionally invested.
And I hope, I know that the audience loves to see that
in Beth and Rip, so, you're gonna see
a lot more of it this year.
- John Dutton never lets anything go.
(laughing) If you wrong him,
he will always remember it,
and you'll always be paying for it.
Especially if you're close to him.
Jaime knows he betrayed John.
And there's a very slim pathway back.
John decides to resign as the Livestock Commissioner,
and decides to give the opportunity to Jaime.
Which is a complete surprise.
And one that Jaime knows is probably coming with
some favor or something awful attached.
But, it's a way out of the bunkhouse.
It's a way back in to his normal life.
It's a way back in to influence with John.
As soon as he gets it and he gets in the office
and the first decision he has to make
turns out awful.
(suspenseful music)
- Holy shit.
- What's your name?
- Teeter.
- What's that?
- Teeter is a character that you just can't prepare for.
Teeter is a fantastic character in the sense that
she's a badass.
And I hire her based on that.
- Teeter is the new addition to the bunk house.
There was a line thrown around that
if they were gonna get a girl
she needed to be ugly or mean.
- Know what I mean?
- Mean and ugly.
Yes sir.
- And then they saw me somehow.
And they said, "Perfect".
- Jennifer is so committed to Teeter.
When I saw her the first time,
I was like, "Oh, she's crazy".
- And I've been fuckin' pullin' and draggin'
since I could bounce piss off a rug.
The first scene that you Meet Teeter.
- And what the fuck did she say?
- It's phonetically written.
And, I justified in my head
that she just speaks the way her family speaks.
You skunk haired mother fucker.
- She just called me a mother fucker.
- I think that's Taylor after about ten bottles of wine.
- You understood that, didn't ya you bow-legged bastard.
- There's a great scene between Lloyd and I
where she's babblin' on about
whatever the hell she's talkin' about.
And then we're tryin' to figure out
whether it's Spanish and I'm like, "No no no, it's Texan".
- It aint Texan.
It's gibberish.
- It's a great moment between the two of us.
It brings levity to the show,
which as you know, it needs it.
- She's perfect.
Trust me.
Hire her.
- As I'm walkin' away, takin' her to the bar,
and I go, "Well, that's gonna be entertaining anyway".
- We're equal opportunity here at Yellowstone.
- When I started watching the show
I immediately became a fan.
But I was a big fan of Taylors.
He's got his finger on the pulse of the human heart.
- It's how we used to do it.
- Yeah well, never should have stopped.
- It's very Shakespearian.
It's very greek tragedy.
Set in the west.
I love the stories.
I loved the idea of what I got to do.
There was something so freeing to me
about Teeter's physicality.
Yeah I feel like she's definitely inner me.
- Teeter.
I can't imagine doing it any other way.
(dramatic music)