He offers a gruff tugboat captain with an angry, bloody cough 30 quid for the privilege of being his deckhand as far as the Suez Canal, an arrangement Spencer deems too dangerous for Alexandra. Resolved that he doesn’t have seven weeks to waste on what will ultimately be only a third of his journey, he seeks out a less salubrious alternative to the RMS Franconia (which, for all y’all history nerds, will be requisitioned in WWII and retrofitted as a troopship). When he and Alex arrive in Mombasa, he learns the only way to America is via England on an ocean liner that takes a month to get there and doesn’t leave for another three weeks. Meanwhile, back at the school, Father Renaud initiates a manhunt to find the double murderer, but (1) Teonna cleverly erased her tracks with branches resourcefully tied to her waist, and (2) I’m doubtful the pasty deacons Renaud dispatched can hack even a few hours out of doors.īack in East Africa, Spencer has made comparatively little progress in the direction of Yellowstone. Eventually, her bad luck runs out, and a sheep-herding Native American called Hank agrees to bring her to safety. On foot, she ventures into the rugged landscape where she’ll have to trudge 400 miles, outwit hungry wolves, and take shelter on the distinctive flat-topped spires of South Dakota to make it home. After killing Sister Mary and - surprise! - also the nun who raped her in the tub, Teonna flees the Indian school in which she’s been held prisoner since the series began. It upsets me the most, and thus I’d like to get it out of the way, preferably in one headlong breath. So let’s talk about Teonna’s plight first. But finally these separate threads are connected by an underlying logic: Neither Spencer nor Teonna can rest until they submit to the pull of their own ancestral lands. They’re both on journeys of homecoming, though Spencer’s is a duty-bound return and Teonna’s a desperate escape. Spencer Dutton is struggling to secure passage back to the family ranch at the same time Teonna is sleeping rough in what will one day become Badlands National Park. But this week, on “Ghost of Zebrina,” Taylor Sheridan finally closes the thematic loop. One thing that’s troubled me about her story line - besides the unabated graphic violence - is how unmoored it’s appeared from what’s happening with the Duttons. The young and the old are dying, drip by drip, riding their horses in the direction of their own unadorned graves.Įxcept maybe Teonna, who is charging at life with whatever spirit she’s managed to hold onto. “Our family had lost itself in the tedium of healing,” she adds, painting a rosier picture than I would. “Life had become a series of melancholy routines,” Elsa tells us via narration as Cara washes her husband’s wounds and Emma tends to John’s burial plot. I know this is true of you and me and every character on every show about human beings, but rarely is the air so oppressively thick with the threat of collective, inescapable demise. In fact, everyone in 1923 is dying all of the time. Which means we pick up on this frosty February evening in a moment as grim as any we’ve seen: Harrison Ford is bedridden Teonna is on the lam Emma is dying of her own grief. While a whole semi-dry January has gone by in real-time, it’s been but a few days or just a few hours for most of 1923’s storylines. And so I expected 1923 to return from its winter hiatus with an invigorating time jump - the promise of its favorite son’s urgent homecoming. We already know four months have fallen from the calendar between the black day Cara Dutton wrote to recall Spencer from the bush and the day his fiancée finally read the note aloud to him. Photo: Vulture Photo: Christopher Saunders/Paramount+
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