Why I Loved '1923' (Despite My Initial Skepticism)

Let's be honest: Helen Mirren and Harrison Ford were the main reasons I initially tuned into '1923'. A short Golden Globes clip of them caught my eye, and with the show getting award buzz, I thought, "Why not?"

Now, full disclosure: I have a 'focus device' technique—I watch new shows in the background while I work. It keeps me just in the moment enough to get stuff done, and I usually only commit to watching 'for real' if something truly pulls me in.

'1923' surprised me. The first scene, an intense encounter between Mirren's character and an attacker, grabbed my attention, but not entirely. It was definitely background material while I tapped away at my keyboard.

Then, just like Spencer Dutton smitten with Alex, I fell for the characters and plot. This can be dangerous for my focus technique! A too-intriguing story means I end up completely absorbed, unable to work at all.

So, I adapted. As the season progressed, I started saving episodes for when I needed less focus, finally binge-watching the last two with undivided attention.

The season finale left me reeling—impatient for more, a feeling I haven't had in ages. This cliffhanger ending, with characters scattered and facing new struggles right before the climax… chef's kiss. It got me thinking: why did I even like this show so much?

Westerns with their cowboys and shootouts? Not my usual thing. American history? As a Middle Eastern viewer, it always felt distant. Taylor Sheridan, the creator? If I judged by photos alone, I might peg him as someone making conservative, patriarchal media. And heck, prequels are notoriously hit-or-miss. Even TV Time, with its algorithms, predicted only a 44% chance of me liking this.

So, let's break down what won me over, and what makes '1923' stand out.

The Ranch

The central storyline follows the Yellowstone ranch's patriarch and matriarch (Ford and Mirren, those initial draws!). Despite not knowing the Yellowstone backstory, this didn't hinder my enjoyment. The historical bits served the overall plot nicely, not overwhelming things.

The supporting characters in this storyline are numerous, but they form a united front – a family fiercely defending their ranch against changing times. Their bond makes me care about the ranch, which adds weight to the other two major plotlines, all converging later.

Of course, a Western needs its villains! It's great to see a familiar face pop up – Jerome Flynn [Bronn] of 'Game of Thrones'. While his Scottish sheepherder character [Banner] has a hint of Bronn about him, there's desperation fueling his actions. Unlike Bronn's sure-footed actions, Flynn's new character fights tooth and nail to survive. In an interview, Flynn offered an intriguing take, seeing his character not as a 'baddie', but as a hardened soul simply trying to endure, 'to take a share of the land for his sheep'.

Then there's Timothy Dalton's character, Donald Whitfield. For the most part, he nails the classic villain role. However, his twisted treatment of the prostitutes reveals something deeper. While disturbing, his calculated manipulation and pitting one woman against the other highlights the insidious cycle of violence. Donald revels in his power – he's the puppet master toying with the Duttons, Banner, and everyone caught in his web. I would love to see more of his layered schemes in the next season.

The Quest

Spencer Dutton takes the center stage as the most compelling character in "1923" – at least for me! Haunted by the horrors of World War I, he finds a temporary purpose in hunting. In my eyes, it's his twisted coping mechanism, his way to "serve" when peacetime offers no such clarity. At the beginning of the series, he's in Africa, chasing the "big game." While he's focused on his clients and hunting, wealthy women enjoying the Safari trips are swooned by him, but he's our "grumpy" hero in romance terms. Until our "sunshine" Alex finds a way to join him in an "adventure" as she calls.

In an era dominated by messy relationship dramas, this "instalove" is refreshingly sweet. Yet, it's far from being the only interesting part of Spencer's storyline. As news of the ranch's troubles reach him, his quest for survival transforms into an epic, era-accurate journey back home. Every stage of their troublesome journey from Africa to America is depicted without rushing the plot. Such authentically long treks are overlooked in many historical dramas nowadays.

Can Spencer find healing alongside this newfound love? How will he rise to the challenges facing his family at the Yellowstone? Those are the questions driving my anticipation for the next season.

The survival

Teonna's storyline is absolutely breathtaking. It paints a stark picture of justified violence. Teonna is from the Crow people, she's separated from her family and forced to attend the Catholic school ruled by a sadistic and cruel headmaster. It's spectacular that her story is completely separate from the Duttons, but somehow the scenes and story don't feel out of place. We leave her in a tough spot at the end of the season, no doubt she'll find a way out of it considering the resilience we've seen from her. The question is, how her story will intertwine with the Duttons' in the next season?

Conclusion

This isn't simply politics, war, or romance for its own sake. "1923" delves into how deeply these events shape human beings. That's the element I appreciate most in any story.

"1923" proved an enjoyable watch, delivering heartfelt dialogue amidst sometimes too melodramatic music. Still, the music did create atmosphere. Likewise, the set design and action were exceptional, their scale clearly backed by a generous budget. I'm in awe of Taylor Sheridan, whose creative drive permeates this show across writing, directing, casting, and production.

The limited run – just two seasons – is somewhat disappointing, as is the strike-caused delay in season two. Let's hope this doesn't spell the show's end! On the bright side, summer filming looks likely, and the whispers of Matthew McConaughey joining the Yellowstone universe...well, that's another masterful move from Sheridan, and certainly something to eagerly anticipate.