With five seasons and 53 episodes, it is done. Yellowstone , that is. That once gripping modern day western drama from writer/creator Taylor Sheridan, has come to a quiet close as the remaining Dutton children laid their father to rest, and with him 141 years, seven generations, and the first of three television shows of family legacy. We have come to the end of an era, in more ways than one. For those who have immersed themselves for the past six years in this must-see TV saga navigating the complicated lives of the Dutton Family, the close of this final chapter is somehow both bittersweet and a welcomed repose from the drama that followed it, on and off the screen.  In the finale that, at times, felt more like a season-ender, then a series completion, I knew there would be tears. I knew, in some respects, how it would all end. What I did not know was just how much I would not particularly care as I thought I would when it did.  Much of what has taken place behind the scenes of the modern western saga to get to this moment seemed to have taken its toll on the show’s appeal, even on the creative side of the equation. In the inevitable denouement of arguably one of THE most popular shows in recent TV history, absent are the proverbial flashback sequences and retrospective montages of memory scenes from the past five years, that would be expected when wrapping a series of this magnitude. No thank you-for-your service tributes to Dutton patriarch, John, formerly played by Academy Award winner Kevin Costner; no last-minute twists in the plot; no surprise beloved characters from the past. No, it just felt like a rush to wrap it all up, with unfinished stories and dropped storylines, so we could just get to a plausible conclusion, and for Sheridan, finally move on to something else.  And, then, you hear the evocative orchestral arrangement of the opening credits musical sequence by Brian Tyler, and it takes you a moment to fully comprehend that this will be the last time you hear those haunting horns and strings live to open the show, remembering all those times you eagerly awaited to hear their grandeur and tension signifying a new episode was about to reveal the latest twist and turn in this once epic story. Truly, now, it is only the what ifs of what could have been that have you the most nostalgic about these final minutes.  The beginning of the end takes place under the cover of darkness, as the opening scenes of the finale find Chief Rainwater’s people of the Broken Rock Indian Reservation standing ready to avenge their land. Dozens on horseback moving by the light of the moon, complete with war paint, have come to disrupt the construction of the oil pipeline through their sacred lands. With deft and quiet precision, they destroy equipment and industrial pipes by tossing them mercilessly into the river, in what feels like a throw-away scene initially.  Across the valley, the Dutton ranch crew and their guests from the Four Sixes celebrate the end of the auction to liquidate the viable assets of the Yellowstone to save it from being sold. Taylor Sheridan steps back in his role of friend from afar, Travis, for the last time, leading the bunkhouse drinking, laughing, and reminiscing, around the weathered table, in what has become the site for many fun and light-hearted moments from past seasons. It is not lost on anyone watching that Sheridan has written himself with a prominent place at the head of the table, as the ring leader, if you will, with his anecdotal stories laced with biting sarcasm. With as natural as the scene plays out, you realize that there is more truth than fiction to this one character. The moment feels almost like a behind-the-scenes table talk for the actors than a trip down memory lane for their characters. It is a reminder who is, indeed, Yellowstone’s master storyteller.          The scene is also a setup to learn where each of the characters will land when the last barn door is shut at the Yellowstone. Back at the Lodge — Beth sits down with Rip to show him a possible new property for them to invest in for their future. When he says he thinks he could carve out a living there — she breathes a non-existent sign of relief, because, in true form, Beth has already purchased the property for them. But, it will be the following morning when Beth gets the call that she has been dreading that finally sets what little action there is in this episode into motion. When the funeral home rings to inform the family that John Dutton’s body is ready for burial, Beth asks her husband Rip to make a place for her father in the family cemetery next to her mother. There is to be no formal service — just her, Kayce (Luke Grimes) and Rip, and the Yellowstone cowboys. Beth rounds out the guest list when she calls former Governor Lynell (Wendy Moniz) to join them. Rip asks his fellow Yellowstone cowboys for one last job to dig the grave.  In each scene that brings us back to John Dutton’s death, you are reminded that the through line of the Yellowstone series has been Beth’s uncompromising love for her father — it is, in fact, a defining aspect of who she is. She has lived her life by that truth, would kill for it, and, in some respects, gave the character purpose as she staked the future of her family’s legacy and destiny on it. Kelly Reilly continues to give a master class in bringing all sides of who Beth is in relation to that truth to life over these past six years. However, it is the portrayal of Rip Wheeler, by Cole Hauser, and the ranch hands, where most of the emotional beats of the story centers. Ever the stoic, Rip’s eyes do more of the talking in each scene — what he’s lived, what he’s seen, and what he’s kept close to the vest in a lifetime living on the venerable ranch, can be heard in his quiet, often pensive stares out over the Yellowstone property, and even John Dutton’s casket, throughout the episode. Rip has truly been the character to give the ranch its life force and energy. And, though his eyes never water to that fact, you know it is he that will miss its place in his life the most.  A sense of mourning blankets the entire episode as the final moments with the Duttons come in the scenes leading up to and surrounding the burial of the family patriarch. Through tears, tender words, and even elongated musical montages of the burial preparations, the final goodbyes to John Dutton consume much of the back half of the finale.  From the moment you see the casket in the barn, graced with white roses, you shed the same tears as Beth. But, despite the pulls at the heartstrings as we all come to terms with the loss of Yellowstone, the ranch, it is the last 30 minutes that remind you of why you first fell in love with the show, at all.  Almost as soon as Beth drops her white rose on her father’s casket, she is out of her mourning wear and into her Bentley barreling down the Montana highway on her way to tie up loose ends with her estranged brother. It is in these waning minutes that we find Jamie Dutton (Wes Bentley) at the Montana statehouse, giving the speech of his career to address the circumstances around his father’s death and that of Sarah Atwood’s, in an attempt to save his life, his reputation, and any shred of dignity he may have left. But, as time would tell, it would be to no avail.  Just as Jamie is settling in to enjoy the accolades from his speech, he arrives back home to an unexpected visitor, well, unexpected for him anyway. Every volatile moment that has transpired in the siblings’ rivalry in the past six years culminates in the explosive showdown that ensues. The two pull no punches as they meet each other blow-for-blow in a chaotic scene right out of the Kill Bill movie series — literally gut-wrenching and brutal. But, it is when Beth tells Jamie through clenched teeth and blood-soaked tears that the Yellowstone is no longer in the hands of the Duttons, defeat is sealed for her brother. And, when Rip arrives shortly thereafter, for those who know, there will, no doubt, be one final trip to the train station. Not truly a surprise, as the foreshadowing of that fact came well before, in the final scene of the finale of Part 1 of Season 5, if you were paying attention.  The remainder of the episode wraps a bow around the arc of the most beloved character in the entire series — the Yellowstone Ranch, itself - the fate of which is decided in a surprise meeting request from Kayce to Chief Rainwater (played by the stately Gil Birmingham) to meet the young Dutton heir at the ranch’s East Camp. Kayce, now the Dutton patriarch, has come to recognize that he and his family cannot save the land (neither from tax burdens nor developers), but the Chief and his people could. In a nice tie back to the past, Kayce offers Yellowstone to be sold to the Reservation for what it would have cost to purchase when the Dutton’s first took the land in 1883. Overwhelmed, Chief recalls the promise he made to maintain the Yellowstone as sacred, and vows for it to be forever preserved as such.  In the most beautifully poignant moment of the entire Yellowstone series, the men seal the deal with an exchange of knives marked with the other’s blood. As Mo (Mo Brings Plenty) steps off the front porch out into the pasture of East Camp, he chants a song of praise and blessing into the wind over the land. The knot rises quickly in the throat and the tears come softly, and that’s just 25 minutes into the two-hour television event — the end has come to Yellowstone.  In a cleansing ceremony, of sorts, 90 minutes later, members of the Broken Rock begin dismantling the Dutton Lodge (the flagship structure on the ranch) piece by painful piece to return the Montana property back to wilderness land, to be kept under the sacred watch of their forefathers.  And, with a sneak peek of how the remaining Duttons will start their lives anew, and Willie Nelson serenading kus in fade to black, we say our final goodbyes to Yellowstone.  Created by Taylor Sheridan and John Linson, Yellowstone, the series, debuted on June 20, 2018, on the Paramount Network, running for a full five seasons.

Dune Prophecy  Episode 5, titled "In Blood, Truth," is a thrilling departure from the monotony of earlier episodes, diving straight into intense action and crucial revelations. The stakes have never been higher, and this episode significantly propels the storyline forward, tying together several narrative threads in unexpected and compelling ways. The episode opens with Desmond in his office, meticulously preparing for an event in formal, military-style attire. There’s an air of authority about him that hints at a major shift in his role. Soon after, we see him alongside the Emperor, addressing the Imperium. Desmond, once seen as an enigmatic and somewhat ambiguous figure, is now revealed as the Emperor’s new Bashar—essentially the commander of the Emperor’s elite forces. He is tasked with leading the charge against treason, which signals his rising influence and the Emperor’s growing trust in him. The Emperor's speech about defending their values and assembling a new elite regime sets the tone for the episode's political and military tension unfolding. Meanwhile, Ynez pushes through her guards, and Constantine watches her leave with a look of silent concern. There’s a palpable undercurrent of rivalry and power struggles within the royal family, with each character vying for control and trying to secure their place in the inevitable conflict. As dignitaries mingle at a lavish gathering, we are introduced to several key figures, including Corrino, who has a tense conversation with Desmond, where he assures her that he will handle the insurrection with unwavering confidence. Natalya steps up and tells Desmond that he was “born to wear the uniform,” further solidifying his position as a leader within the Imperium. But the real shock comes when Sister Francesca enters the scene, stealing the breath of Corrino leaving us to wonder about their relationship. We do know that many royals marry for duty and not for love.  It’s revealed that she is there to see her son—none other than Constantine. This unexpected revelation sends shockwaves through the episode, leaving viewers stunned. The implications of this reveal are profound, as it brings into question Constantine’s legitimacy and his claim to the throne. The acolytes are growing frustrated with the lack of answers from the sisterhood, and Jen steps up to defend them. Tula, however, tells her firmly that she must either accept her duty or leave. Later, Tula instructs Jen to follow her. As they enter the courtyard, Tula leads Jen to an alcove with a locked gate, revealing a hidden tunnel. Tula emphasizes that she needs Jen's discretion. As they approach a door, a scream echoes from the other side. They enter the room, where they find Lila restrained on a bed. Tula calmly explains that it isn't Lila herself but one of her foremothers who has taken over. She reassures Jen that she has found a way for Lila to survive and that her ancestors will settle within her in time. Lila will eventually learn to manage them. Viewers are left with an unsettling sense of uncertainty as the pieces fall into place.  Desmond, it turns out, is not just a rising military leader—he is also Tula's son, adding an entirely new layer of complexity to his character and the empire's political struggles. Episode 5 excels in its pacing, blending intense political intrigue with emotional revelations. The tension between the various factions of the royal family and the growing unrest within the Imperium drive the plot forward, making for an engaging watch. The episode masterfully sets the stage for the escalating conflict, with each revelation heightening the stakes and leaving viewers eager for the next installment. Dune Prophecy continues to build on its strengths with rich character development, political maneuvering, and beautiful cinematography. However, the episodes are rather long and needs to keep up the pace to keep the viewer engaged. The reveal of Desmond’s true parentage is a game-changer that promises to have far-reaching consequences for the story and the characters involved. Episode 5 is a standout in the series, delivering both action and emotional depth and setting up exciting developments for the future.

Episodes 6 and 7 of Poppa’s House  deliver classic family comedy, blending awkward situations, heartfelt moments, and, of course, plenty of laughs. In Episode 6, Poppa is coping with his "Alimony Day" by literally throwing darts at his ex-wife’s picture, a comedic setup that sets the tone for the episode’s family drama. Unwelcomed, Damon enters and is immediately tasked with returning his key to Poppa. Damon agrees to be part of the family photo that Poppa wants to take. That is until he realizes that Poppa intends to exclude his mother, Cat. He reluctantly agrees to exclude her but has an idea of how to go over Poppa's head. Damon goes home to consult with Nina. Damon’s hilarious yet conflicted discussion with Nina reveals his ongoing fear of Poppa’s wrath, but Nina encourages him to assert himself. He tells her that his plan of playing semantics will work instead. The loophole of using Poppa's words against him will help him avoid conflict and confrontation. In a classic comedic turn, he tells Nina that he needs her to be his good luck charm and that she can take over to do what she loves: micromanaging. Nina takes charge of organizing the photo, presenting Poppa with a vision of a crisp, all-white setting, much to his dismay. He prefers a backdrop that screams New York orange and blue. Nina can make it happen in record time, which sounds better than orange and blue to Poppa, so he agrees to her vision. The episode continues to deliver its signature mix of absurdity and emotion. When Catherine shows up in black instead of white, her overbearing personality hijacks Nina's carefully laid plans, causing Poppa to lose control of the situation. Poppa and Catherine but heads, leaving Damon in the middle. The battle between the exes escalates to an amusing standoff. At the end of the episode, Damon successfully mediates a conversation between his parents, turning their confrontation into an open discussion filled with laughs and family reconciliation. Episode 6, while entertaining, is solid but has its challenges. The family conflict is familiar, and the jokes sometimes become predictable, but it’s still an okay watch, with the family dynamics keeping the heart of the show intact. Episode 7  picks up with Junior, who loses his wedding ring and heads to Poppa for advice but instead finds Poppa writhing in pain from a sciatica flare-up. Junior, thinking of himself, ignores Poppa's pain and instead asks to borrow money. Eventually, when prompted by Poppa, he asks what is causing Poppe pain. Poppa tells him of his sciatica flare-up. Junior suggests going to the hospital, but Poppa, ever the curmudgeoned patriarch, refuses to go to the doctor. The episode provides a perfect blend of physical comedy and family drama as Poppa’s injury becomes the focal point of the story. Meanwhile, Junior wants to borrow money to replace his lost ring, striking a deal with Poppa to help him with his injury, and Poppa will lend him the money. The episode turns into a serious topic of discussion when Ivy arrives to help after Junior throws his hands up in frustration, refusing to help if Poppa does not seek the care of a medical professional. She gives him a massage, and the conversation moves to losses that they both suffered of people close to them who refused to seek medical treatment until it was too late. A moment that provides genuine emotional depth to both characters. We see a little of why Poppa is as stubborn as he is and a bit of emotional vulnerability in Ivy. However, the humor remains intact, with Poppa’s over-the-top nightmare scene—straight out of Misery —adding a touch of absurdity. However, it’s balanced by the warmth that builds between Ivy and Poppa. Eventually, Poppa agrees to see a doctor and gets an adjustment that relieves his pain, but he only runs away in fear of a prostate exam. Back at home, Junior and Nina’s relationship continues to shine. Junior’s comedic antics around the missing ring. She confronts him, she had sent the ring to be cleaned. When he thought that he lost it, he tried hiding it from her instead of being honest. The scene is balanced as it turns sweet when Nina presents the cleaned ring, proposing that he remains her kind and loving husband. This subplot, full of light-hearted moments and genuine affection, continues to be the emotional anchor of the series. The episode concludes with a discussion between Junior and Poppa about Ivy, which she overhears. Poppa is jaded and doesn’t want to be in love again. Junior encourages him to open up to new experiences. He admits to Ivy being nice and sweet. He tells Junior that he doesn’t want to start something he will ruin. That knowledge disappoints an eavesdropping Ivy. The episode concludes with Poppa dreaming of Ivy, but this time, it’s a pleasant vision rather than a nightmare, hinting at the developing chemistry between the two. Overall, Episode 7 is a solid one. The episode is stronger in the heartfelt moments than in the comedic ones; the scenes with Ivy, Junior, and Nina truly elevate the episode. It’s easy to see why the relationship between Junior and Nina continues to be a fan favorite, as their sweet dynamic offers a refreshing contrast to Poppa’s more gruff and stubborn personality.

Title:  Taylor Author: Mary Warren Genre:  Sports Romance Rating: Enjoyed Spice: Flamin Hot Cheetos Synopsis: Due to snow, Taylor’s Christmas plans get turned around. When he’s offered the chance to relax at his coach’s cabin for some mid-season solitude, he grabs the keys and runs.  After losing yet another job, Alice Wagner decides to forgo her overbearing family and their usual Christmas plans, and instead heads to her family cabin for some R&R as she works out her next steps.  What comes next is a Christmas miracle neither were prepared for.  Thoughts:  Taylor is a delicious hockey player at peak performance. He's also autistic and in need of a good work/relax balance. Which I found so relatable. His truthfulness and willingness to not only acknowledge his shortcomings, or mistakes, but to talk about them openly and work on fixing them is what makes him a great book boyfriend. Cause who doesn’t like a man who can communicate?  Alice is an artist trapped in a type A familia. Her insistence on trying to fit into her familia resonated a lot for me. Her talents and colorful persona are fun and bring a lightness to Taylor’s often seriousness.  This story is a cute holiday romance with spice, Christmas magic and a twosome of (kinda) innocent cuteness.   Quotes:  “I know I fucked this up, but I’m ready to do the work to show you how much I do want to be with you.”  -Taylor **************                                                                                       @booksteantravel Rating: LOVED= 5 Stars. A new fav. Will be talking about every chance I get.  ENJOYED= 4-3 Stars.  It wasn’t a life changer but I would recommend.  0-2 Stars/ DNF= I will not post a review about a book I didn’t enjoy or did not finish. Good vibes only. I support anyone who’s brave enough to create their own work and put it out into the world for others.  Spice:  Puffy Cheeto- No Spice.  Crunchy Cheeto- Closed Door/Fade to Black Flamin Hot Cheeto- Spicy. A few detailed scenes.  Takis- Erotica. With more mature themes.

The premiere of Dexter: Original Sin  opens with a surprising twist—a preview of Dexter Resurrection , set to air next summer. Michael C. Hall returns briefly before switching over to narrator full-time as Dexter is taken to the hospital. As they stabilize him, his life flashes before his eyes, setting the stage for 'Original Sin'Dexter. We are taken back to his origin story. “And in the beginning, there was blood,” Dexter begins, and with this line, we're plunged into the darkness of his formative years, beginning with his birth. The intro is familiar yet ominous, the same as the original series, this time with a younger Dexter. The story kicks off with Dexter in his college years, struggling with the same unsettling urges he’s always had. As a student performing an autopsy in lab class, he’s bullied by his peers and called a freak—something that feels out of place in a college setting. Dexter, still awkward and strange, is clearly already fighting his inner darkness, much like the character we know. Christian Slater portrays Harry Morgan, Dexter's father, a figure who is both a mentor and an enabler. Harry believes Dexter’s urges can be tempered by a career in medicine, where Dexter is expected to settle his cravings by working with cadavers. But, as Dexter admits during a dinner scene, it doesn’t ease the need to kill—it only intensifies it. Dexter’s meeting with Masuka at a career fair offers some comic relief, but it also reinforces Masuka’s ingrained, crass personality—still a far cry from the moral compass Dexter struggles with. As Dexter tries to engage with Masuka over the blood splatter display, Masuka brushes him off to flirt with college students, highlighting how little Dexter fits into the world around him. Meanwhile, Miami Metro is hunting for a serial killer, and Dexter’s world collides with crime once again when he joins Deb at a college party. Dexter’s discomfort at the unsanitary party scene is palpable, but things take a darker turn when Deb is drugged. Dexter’s violent reaction to saving her—beating the attacker to a bloody pulp—reveals just how close he is to fully succumbing to his darker nature. The scene is chilling, but it also forces Dexter to confront the brutal urges he tries so hard to suppress. Had it not been for intervention, he may have succumbed to those urges.   Harry’s waiting at home for the duo, once they arrive, with Deb clearly under the influence, he tells them that he cannot rest with them outside of the house. They are past curfew. Harry has his demons. We flashback to a painful memory of the night he failed to save his son from drowning as a child. This flashback creates a powerful moment of guilt and reflection for Harry, especially as he later struggles with his health issues. As the episode unfolds, Dexter and Harry go hunting on a trip that is far more than just bonding time. This trip is part of Harry's way of attempting to help Dexter control his violent urges instead of seeking help for them. One has to question why Harry enabled him instead and fed the monster within as opposed to getting him the help he truly needed. Dexter confesses that his violent cravings only grew stronger after the attack on Deb’s would-be rapist. Stress, maybe, or the lifestyle Harry lives leads to a pivotal moment, he suffers a heart attack, yet survives long enough for Dexter to uncover a new threat: a nurse at the hospital who is slowly poisoning him. In a chilling yet satisfying turn, Dexter takes matters into his own hands, stopping the killer nurse, with Harry’s reluctant permission. The episode concludes with a series of poignant moments: Dexter receives an internship offer from Tanya Martin at Miami Metro. Harry recovering and being released from the hospital. Later, he questions Dexter about what he did with the body and how it made him feel to kill someone. Dexter answers his questions honestly. This leaves Harry with a sense of guilt, wondering about the monster he helped to create. Despite Harry's disapproval, Dexter decides to join Miami Metro, which sets the stage for Dexter's dark journey ahead. With access to the criminal database, Dexter is on the path to finding new victims, adhering to the code his father taught him. For those who are new to the Dexter  universe, this premiere serves as a great way to be introduced to the story. It offers a fresh take on the original story, however, you can watch it without watching the others. The episode features a stellar cast, with Michael C. Hall’s return as Dexter adding the perfect blend of darkness and vulnerability. Alex Shimizu’s portrayal of Masuka, including the iconic laugh, is spot-on. Overall, Dexter: Original Sin  sets the stage for what promises to be thrilling and disturbing with deep introspection on how viewers can seemingly root for a killer. The premiere is both nostalgic and exciting, establishing a solid foundation for the story to build upon. With solid performances and a gripping plot to start with, I would give the episode a solid 9/10. Dexter: Original Sin  airs Fridays on Paramount Plus, and it’s a must-watch for fans and newcomers alike.

This Elsbeth episode shows her on the other side of crime, the courtroom and begins with a masked person or two on the fire escape about to break into someone’s apartment. It’s revealed that two are neighbors and role playing.  They made out.  The lady, Delia, went into the shower.  The guy, Andy,  was played music when someone came into the apartment off the fire escape and beat Andy to death with a bat.  Delia comes out and finds him.  She’s arrested for murder. Entering the precinct,  Elsbeth brings her son, Teddy, to work with her.  Everyone knows him, and Teddy tells his Mom not to broadcast all his business to everyone.  Elsbeth had to leave for jury duty and promises to return soon.  (Elsbeth’s wearing that hat and coat and stands out.)Elsbeth talks with potential jurors about excuses for getting out of jury duty.  The jurors go into the courtroom, and she drops stuff as the judge, Judge Crawford, enters.  The judge asks Elsbeth why she can’t be impartial.  Earlier she noticed something strange about the judge’s juror selection process.  They later make her an alternate juror. CPT Wagner meets with the Morale Officer, LT Conner, to find out about the morale of the precinct officers.  They discuss Elsbeth’s job, and how she’s basically a babysitter for the precinct, and that it reflects shame on the department.  CPT Wagner agrees to interview employees about grievances and get feedback on how things are going in the precinct.  Back in Elsbeth office, Teddy is there waiting until his Mom returns. He tells Officer Blanke she got picked as Juror# 13.  He doesn’t mind, because he really doesn’t mind not touring NY cuz he doesn’t like it there.   Officer Blanke takes Teddy to Coney Island, where Elsbeth was going to take him.  Officer Blanke loves doing touristy stuff.  They have fun!Back at court, the prosecution begins. Elsbeth sees the defense lawyer is not paying attention just playing on his cell.  He is not very professional, or prepared. In the judge’s chambers, Elsbeth asks the judge for a timeline for the case.  She tells the judge she rarely gets selected due to the fact she’s a lawyer.   He can’t let her go because she’s the last alternate.  Elsbeth technically begins advocating for the defendant, and says she deserves better.  Elsbeth’s sleuthing senses kick in.  The judge is curious about her, too. Back in the CPT’s Office, Teddy and Officer Blanke are back enjoying a beer with CPT Wagner. Teddy asks questions about NYC.  Officer Blanke says she thinks Teddy fits right in.  Elsbeth shows up singing a show tune.  She asks Teddy how he liked NYC.  Elsbeth tells them of her case.  She says the judge seems to be more for the prosecution, but the defense is losing the case.  Teddy researched Judge Crawford.  Teddy is so like his Mom, Elsbeth. CPT Wagner knows of the judge, too. In the courtroom, Elsbeth begins to help the defense attorney.  He’s been glued to his cell during the prosecutor’s examination.  She signals them with helpful hints. At the CPT’s office, CPT Wagner meets with Officer Blanke and tells her about the way she wraps food in the refrigerator.  This is one of the employee complaints he has to resolve. Elsbeth secretly helps the defense in the courtroom.  The judge sees her signals and calls the defense, prosecution and Elsbeth into his chambers.  He wants her to stop.  The prosecutor wants her dismissed.  The judge asks Elsbeth to control herself.  She challenges him and angers the judge.  The judge threatens to dismiss her, hold her in contempt, and trash her reputation.  Back in the courtroom, a testimony by a witness makes the defendant look guilty.  Elsbeth sees jurors already making up their minds.  Next, the defendant gives her emotional testimony. She told about her relationship with Andy.  He also had a restraining order against her.  The judge prevents the defense attorney from asking pertinent questions that could help his client.  Delia reacts angrily on the stand. At home, Elsbeth and Teddy talk about her case, and his feelings about NYC.  His Mom is sad he doesn’t like it there.  Teddy asks why his Mom left Chicago and made a drastic life change.  She found out about his new love. In the court, Elsbeth tries to get on the jury.  She achieves that skillfully by reporting the podcast guy, Lonnie.  The judge says he can do a podcast after the case ends.  They get rid of Lonnie after he reveals the podcast title, “Nut Job Sluts Who Kill”.  Elsbeth gets on the jury. Elsbeth stops the jury from arriving at a verdict.  She walks through all the facts.  She introduces doubt, especially after reviewing the motive and the witnesses’ testimonies.  They take another vote and find the defendant not guilty.  Elsbeth sees the judge is displeased.  He stops her outside the courthouse and intimidates her as he walks off.  The defendant and defense attorney see Elsbeth outside and thank her,  Elsbeth asks Delia what the music was playing the night Andy was killed. Back at the precinct, LT Conner tells CPT Wagner about the infractions committed by the precinct police officers.  CPT Wagner returns the list of complaints from his officers.  The morale officer discovers that Elsbeth is the one who would have noticed the potential internal infractions before they became a problem.  The CPT knows that is one of her purposes of being there.  Elsbeth is back in her office as Teddy comes by.  He congratulates his Mom on the not guilty verdict.  She confronts LT Conner before he can explain what he discovered about her presence there.  He  knows her son’s name and even says hi and wishes him safe travels.  Elsbeth doesn’t notice this. Teddy stopped by because he’s leaving.  Elsbeth is determined to find out information on the judge in a future episode.  Teddy adds a special and welcome layer to Elsbeth’s already  full life.YES, it was Another Elsbeth Superb Episode!  It was fun seeing the mystery and courtroom drama unravel.  Liked the courtroom, and jury scenes, and getting to know Teddy!  Also liked the new layer to LT Conner revealed.  Michael Emerson was outstanding as the intimidating, dishonest Judge.  He's just as impressive as he was in “Person of Interest”!  Ben Levi Ross, Teddy, was an Excellent addition.  This episode was like watching a well-orchestrated play.  Every scene worked in sync and Elsbeth was the glue that tied them together.  One more episode for this year next week!

Dune Prophecy  Episode 4 opens with an a haunting sequence. One of the sisters awakens to groaning as the sisters experience simultaneous nightmares. Emmeline’s nightmare becomes so overwhelming that it leads her to sleepwalk, almost causing her to slit her own throat. She is only saved when another sister intervenes, adding a dark and mysterious tone to the episode. At the Palace, the tension continues to escalate. Desmond joins the family for breakfast, but Princess Ynez immediately calls him out, labeling him a "killer" in front of everyone. Desmond, along with the Emperor, attempts to justify their decisions, but the Princess refuses to listen, walking away in defiance. She makes it clear that the Empire can never be united as long as the Emperor has allied himself with someone she views as a murderer. The Prince tries to follow his sister, hoping to mend the rift, but the Emperor shuts him down, signaling the growing divide within the royal family. Meanwhile, at the compound, two of the acolytes are questioned by Mother Tula and another of the sisters. Emmeline appears to be in a somewhat hypnotic state as she recalls the events of her dream. Viewers hear unsettling whispering during the scene that quickly fades. Following her near-death experience at her own hand, Emmeline questions disturbing stories about their late Mother Doretha. However, Mother Tula lies, telling her that Doretha took her own life following the death of their mother, snapping her fingers to remove Emmeline out of the hypnotic-like state. One of the Acolytes reveals a disturbing piece of information to the Mothers: Emmeline wasn't the only one who experienced the nightmares. All the sisters had nightmares, the only way to tell what they dreamed would be talking to them individually. However, although they all had nightmares, Emmeline's was the only one that caused sleepwalking. The mystery deepens as Mother Tula is told not to be concerned but she remembers the prophecy and wonders if it is related. This episode is a slow burn, setting up multiple storylines that promise to converge in the coming episodes. The strong performances and haunting imagery make Dune Prophecy  a compelling watch, leaving viewers hungry for answers. The intertwining themes of family, betrayal, and supernatural forces continue to drive the narrative forward, ensuring that the stakes will only get higher from here.

Our time at the Yellowstone is coming to a desperate end — in more ways than one. We now have just one episode remaining to bring an unwanted closure to Taylor Sheridan’s epic modern day western drama, streaming now on Paramount+. First released in 2018.  However, as the sun comes up over the Yellowstone in the start of the series’ penultimate episode of the final season, there is little time for reflection as the last of the Duttons and their ranch hands ready the venerable ranch for a fire sale to end all fire sales.  Just across the valley, Chief Rainwater (Bill Bingham) and his right hand Mo (Mo Brings Plenty) look over the land of their own ancestors, watching in despair as the oil pipeline development continues across their sacred grounds. With melancholy sounds lingering forlorn in the background, the players in this complicated game of power, politics, and loyalty, once at odds with their varied interests, now share a common grief and desperation to hold onto their past and stake their legacy in the foothills of God’s majesty that is Montana.  Back in Helena, news has hit the airwaves that John Dutton was, indeed, murdered. As that shocking reality sinks in, detectives arrive at Market Equities corporate offices to search former attorney Sarah Atwood’s (Jenna Malone) office. Market Equities has been a thorn in the Duttons’ side since episode 3 with the pending airport project. But, with Sarah’s unexpected death, it has not taken long for authorities to connect her dots to John Dutton’s death. In the fallout, everyone is scrambling to cover their….ahem, assets. After all, the dead cannot defend themselves.  News reports also make the connection that Jamie Dutton (Wes Bentley), Montana’s attorney general, stood to gain from the airport development, himself. Panicked, Jamie calls Beth, as he suspects his estranged sister as having leaked the information. Beth was not having it with Jamie and reminded him of her promise to reveal his part in her father’s death. Jamie threatens what he knows of the Dutton Family secrets, himself. Trips to train station come back quickly to the mind.  Cut to sweeping aerial views of the Montana landscape and the Dutton Family Lodge, Kayce arrives back home to his wife, Monica, who questions where he has been. Make no mistake, Kayce is tying up loose ends of his own, explaining that he went to send a message to those who came after his father on what would happen if they came after the remaining Duttons. It was insurance for when him and his little family leave the ranch, themselves, he told her. No doubt, the foreshadowing has begun on the inevitable ending to come.  The road-weary ranch hands return home from Texas to find those left behind moving quickly to prepare everything that is not nailed down at the Yellowstone to sell, in a desperate attempt to save what’s left of the Dutton ranch. It is fool’s dream, Beth emotes, as these attempts merely delay another inevitable — ultimately, it is a move akin to rearranging deck chairs on the Titanic.  Teeter, in some of Jennifer Landon’s best performances, to date, runs immediately to the bunkhouse to face her own moment of truth, only to find Colby’s empty bunk. It would be Walker (Ryan Bingham) to follow and offer Teeter words of comfort as she continues to mourn the death of her true love. Lloyd (Forrie J. Smith) joins the pair, giving Teeter Colby’s hat, the only personal effect of his not sent back to his family. Grateful, Teeter wastes no time slipping the weathered, sand-colored Stetson over her cotton candy-colored locks. Drying up her tears, she goes back to work at what’s left of her life at the Yellowstone.  As Rip continues to organize for the auction in Montana, Beth heads to Texas to oversee the sale of the show horses with long-time Yellowstone friend Travis Wheatley (played by Taylor Sheridan, himself). While we get to see a resurgence of classic Beth in these scenes, busting heads and taking names as the only adult in the room, it is evident the sole purpose of the Beth character’s trip down south, was a setup for Sheridan to flex his muscles and show off his real life riding skills, as well as put himself in the enviable position to go head-to-head with Kelly Reilly onscreen. And, why not? If you are the one holding the pen, who wouldn’t you write it that way? But, seriously, strip poker? For moment, I thought script-wires were being crossed with Landman . IYKYK. But, I digress. When Travis succeeds in impressing Beth in selling the Dutton horse, over the original asking price, to a group of Brazilian wanna-be cowboys, Beth asks him to come back to Montana for the auction to save the ranch. Back in Helena, Jamie pays an unexpected visit to a blast from his past, his ex-partner Christina (in a reprised role by Katherine Cunningham) and the mother of his child. Confused and a bit whiney on what he is supposed to do about the dark cloud that lingers over him, Christina, always the brains in their shared operation, walks Jamie through the crisis communication clean-up surrounding Sarah Atwood’s and his father’s murders. With renewed energy, she reminds her ex that not only will this one speech determine his political future, his life will be forever tethered to it. Draft accordingly. Beth arrives back home from Texas. Less-than-enamored with the Texas horse trainer, she questions how her husband could be his friend. To answer, Rip recounts how he and Travis started their 20-year friendship through a bar-room brawl. It was a rare moment to see the character of Rip break a smile and laugh recalling the memory. It is in these quiet interludes reliving the past, that we recognize, ourselves, what the five years being a part of these characters’ lives has truly meant. The tears cannot be too far behind.  Nevertheless, at times, the episode seems to take a rather snail’s pace to get to where it needs to be, moving not in a manner that one would suspect that we are coming to the end of something…epic. Rather, the cinematic lingers on these often quiet scenes that lull you into naively believing there will be many more episodes to follow.  However, in the final 20 minutes, dominated by the Yellowstone auction day, you come to terms with the finality of it all. Set against the backdrop of watching the beauty and majesty of the ranch’s rope horses and real cowboys work their craft, you know that life here on the ranch will never be the same again — fictional or not.  As the family receives word that the coroner is ready to release John Dutton’s body, Beth entrenches herself as ranch matriarch — tying up loose ends, doling out tender words of comfort and hard-earned words of wisdom. She even invites former Governor Lynell Perry (Wendy Moniz), as her father’s one-time love interest to his funeral on the ranch; and invites Teeter to join her for a drink in town to drown her sorrows in barrel-aged Scotch and take her grief and frustration out on unsuspecting tourists and West Coast transplants. When Teeter asks, through her tears, when her pain over the loss of Colby will go away, Beth reminds the young ranch hand that it never really does because there is, in effect, now a hole in her heart; one, for which, Beth, herself, also has for her late father. Landon’s portrayal of Teeter in these soft and aching grief scenes over the last episodes has been a refreshing departure from her character’s often strong, no-nonsense demeanor, tough and resilient, serving as the only female ranch hand at Yellowstone. It is unfortunate that it is here at the finish line that we truly get to experience how much more Landon could have given to this character over the years, if time and space had allowed.  As the fictional auction and real life episode come to a close, the emotion meter ramps up as the farewells that have been standing at the door begin their assent on the beautiful spread that is the Dutton Family ranch — the first of which comes as a public tribute to John Dutton and his fallen ranch hand Colby Mayhew. As a kickoff to the Day 2 of the auction, two rider-less horses led by Kayce and Teeter make their way into the corral. With heads bowed and elegant words of freedom spoken, the beautiful farewell felt more like a final tribute to more than just fictional characters; it was the quiet closing of the story on the Duttons, themselves, and their beautiful Montana masterpiece that we have all have come to know and love as the Yellowstone. As Beth walks quietly through the stable, now devoid of equine life and their energy, she meets Carter, with a question we all collectively want the answer to ourselves — “what am I supposed to do now?” If you have invested any shred of yourself into these stories in this past half decade, your heart will, indeed, sink, when she answers softly, “Sleep in.” In the final moments, as Beth and Kayce look out over what’s left of their family’s legacy, the setting sun reflecting in their eyes, Kayce asks his sister earnestly not to spend any of her own money trying to save the ranch; he then proceeds to question her about the tax implications of buying/selling property, all in hypotheticals, of course. As her brother drives away with the answers he needs, it hits Beth that Kayce may have found the only viable way to save Yellowstone — though, painful and necessary, they must give it away. And, so, now we are left to see how doing so will all play out, when the Duttons close their final chapter on Yellowstone, next Sunday, December 15, on Paramount+. What are we all supposed to do now?

The Agency  starts strong with its first episode, opening with Martian reflecting on a breakup with Dr. Sami Sahir in Ethiopia. As he recounts the events, the audience is shown a flashback that dramatically contradicts his version, setting the stage for a layered mystery that pulls you in. This flashback, combined with Martian's subsequent trip to an undisclosed garage and his careful search for surveillance equipment in a lavish apartment, hints at the show's deep espionage roots. There's a promise of secrets, intrigue, and hidden motives—elements that seem to set The Agency  apart from typical spy thrillers. However, episode two changes the setting with scenes in Ukraine, continuing the series' penchant for sudden, disorienting changes in setting. While initially intriguing, this unpredictability becomes overwhelming as the show juggles multiple timelines and perspectives. The frequent switching of points of view and complex narrative threads results in a story that sometimes feels difficult to follow. The pacing, though deliberate, needs to be more consistent, and the plot often needs to be clearer. The show is undoubtedly backed by a stellar cast, with standout performances that elevate the material. The actors are clearly doing their best to breathe life into the story, but even their skilled portrayals can't always overcome the script's structural flaws. Though technically impressive, high-speed chases and action sequences feel somewhat formulaic and overused, which detracts from their impact. Despite the compelling performances and an intriguing premise, the lack of a straightforward, engaging narrative leaves much to be desired. The episodes don't fully capitalize on the initial tension and mystery, leaving the viewer grappling with the show's disjointed presentation. It's a slow burn that only sometimes justifies the buildup, and it will take more than the strong acting and action sequences to keep the audience invested as the series progresses.

And, just like that, we are already halfway through the first season of “Landman,” the latest TV series by writer/creator Taylor Sheridan. However, five episodes in, and it still feels as if the oil drama is hammering out its identity on what who or what it wants to be. The latest chapter, released December 8, was all over the place — jumping in painful slow motion from a cinematic expose on the oil industry; to a live action PowerPoint presentation on the economics of energy; to a heartfelt drama with sprinkles of comic relief; to a decidedly riveting, compelling look at the dangerous work that is life on The Patch. Its attempt to be a “(Pump)Jack-of-all-trades,” if you will, for each has netted lukewarm results.  Launched on Paramount+ on November 17, and debuting at No. 3 on the streaming platform, Landman has already begun its downward spiral in ratings. No doubt, in part, because of its substantive lack of cohesion in the story it is attempting to tell. Based on the Boomtown podcast by Christian Wallace, the story follows Tommy Norris (played by Academy Award winner Billy Bob Thornton), as a crisis manager for a lucrative oil company in West Texas. Through a day-in-the-life lens, we continue to watch in real time as Tommy navigates his challenging work, an equally challenging family, and his desperate attempts to keep his employer in the black and out of the courthouse. While the series is hell-bent on shedding a spotlight on this incredibly important industry — Yes, we get it! Oil fuels a good portion of the American economy, it has fallen short on how to tell a fully-fleshed out, well-rounded story in the process.  As has become the custom, Episode 5 opens with a slow overhead pan of the oil rigs working diligently in the sunrise, as soft guitar strings pull your ears to attention, a constant reminder of who are the real workhorses in this storyline. When we last saw the timeworn landman, Tommy and crew were dealing with aging oil wells peppered across the hot and dry Permian Basin of West Texas, on the heels of the titular character working through some newfound changes in his personal life.  With a newly rekindled relationship with her ex-husband, Angela (Ali Larter) decides to host a family dinner night with Tommy and their kids, in an attempt at playing house. Oddly enough, she cannot do so without first fully redecorating the rent house/oilfield admin office Tommy has been sharing with his colleagues — oil company attorney Nathan (played by veteran character actor Colm Feore) and engineer Dale Bradley (played by James Jordan). The scenes surrounding the dinner bring a surprise humor to the episode. Though, what has been most disappointing about the series is the women’s place in the narrative. If they are not vacillating between being demanding, naively unaware of the optics of their lack of attire, or turning on the waterworks for sympathy, they are shown as heartless and viper-tongued, inviting potential sexual harassment issues with their very presence or calling it out. There is very little nuance or depth to who these women are as characters, let alone authentic people. Bull dog corporate attorney Rebecca (Kayla Wallace) wanting to skirt ethics on paying out the settlement to the families of the oil field fire from Episode 1, and Larter’s portrayal of Angela as the needy and nagging ex-wife who cannot seem to find her way to being fully dressed, border on comical to the point of absurdity. Seriously, Angela adjusting her dress and breasts before delivering imported wild boar bolognese to the dinner table? Not sure Donna Reed would have chosen…um, that (color of) dress. Much of the women’s time onscreen is borderline offensive, particularly, when every frustration that invites a modicum of emotion is explained away as a woman being on her menstrual cycle. Angela, as the petulant woman child who’s holding desperately onto her yearbook beauty, with her only offering to life being her body and a good time to a man, is such a cardboard caricature of a woman that, in this day and age, is desperately played out. Come on, Taylor, surely you can do better. You gave us Beth Dutton, after all. Landman’s breath of fresh air has proven to be the character of Cooper, Tommy’s son, played by Jacob Lofland. Apart from Thornton’s Tommy, Cooper is the only other character allowed to showcase a range of viable emotions.  In his weathered hat and oil-stained face, Cooper reluctantly goes to see Ariana (Paulina Chavez) on her request in the final fade-to-black scene of Episode 4. The chemistry between the two characters onscreen is nice, with equal parts sweet sincerity and just enough tension to make you look away. With his pensive, uncertain eyes, Lofland continues to carve out an authentic persona for Tommy’s son. A former college wrestler-turned-oil roughneck newbie, Cooper arrives on Ariana’s doorstep to help the young widow make sense of the “business of death,” as she so eloquently calls it, sorting through a mountain of paperwork representing her family’s finances. He stays to do some much-needed yard work on the property. The elongated B-roll scenes of Cooper mowing, raking, and weeding feel like filler content, but, were, no doubt, inserted to be a setup of something more for these two to come. Though, you can literally write the next lines having seen this story play out many times before, complete with all the obvious reasons why these two should not go anywhere beyond this moment, you still find yourself rooting for “them.” It’s the way Lofland and Chavez play their characters with both an intense vulnerability and a hidden strength lying in wait under that youthful skin. In short, they give you something to work with as a voyeur. And, with all cultural tropes aside, when the El Camino turns that street corner as Cooper is finishing up out front, you know it’s going to be on. Because you know it will be Manuel, Elvio’s menacing cousin, and, with him, the memory of his knife-wielding threat to Cooper to stay clear of the young widow flooding your memory. When Manuel jumps from the car brandishing a gun at Cooper for even daring to speak to Ariana, it is Ariana’s planted kiss on Cooper as an in-your-face to Manuel, that seals the deal on how this will ultimately end. It is only a matter of time before these two find themselves in another embrace, for real, next time, and I am here for it.  Hey, if this show is going to be a cavalcade of foregone conclusions, I will take this one. It is really the one that makes sense right now.  With this burgeoning forbidden love story sandwiched between the oil’s drama, I found myself ready to return to these quiet scenes time and time again throughout the episode.  Our requisite economics lesson for the Episode 5 comes miles away as we find Monty Miller (Jon Hamm), the grizzled oil company CEO, who lives to count his millions as much as he pops his heart pills. Around a table of titans of industry, Monty is among the suits at a clean energy summit, of sorts, embroiled in a heated debate on the need to embrace alternative energies and the need to remind everyone where the future growth and profits are to be found. And, if you did not know, America currently relies on — fossil fuels, nuclear, wind and solar, oil and gas. I know because that fact has been drilled in me for five straight episodes. As the dramatic music builds, Monty gets his own lessons as he is reminded that while his kids will inherit his oil future, his grandchildren will not, and it was time for him to get on board with embracing other fuels and his part in that reality.  The job of fueling the country’s energy is relentless and hard, as we are reminded repeatedly throughout the series — back-breaking and monotonous until it is not, as Tommy and crew find out when unexpected visitors arrive at the field as they are assessing rigs for maintenance. The drug cartel Tommy tangled with in the season opener have tracked him down to collect on the $30 million in product that burned in the oil tanker/plane fire. Though, armed and ready to go down fighting, Tommy talks his way out of certain peril with his all-too-familiar diatribe on the major players who now involved with the incident, to include the DEA, when the cartel decided to offload their inventory on a public highway. Not ones to be schooled or scolded, the drug dealers retreat, but not before making a less-than-veiled threat that Tommy would be seeing them again. Unfazed, the landman adds the warning to a growing To-Do list and radios his boss.  As an initial offering of something new for a Taylor Sheridan production, Landman has slowed considerably since its debut. But, it is in the last five minutes, two decidedly gripping closing moments, that make you remember why you started watching the series in the first place — for all the compelling stories that could be told about this power behemoth of an industry, the dynamic people who live it, and the danger that lurks around every turn documenting the work, if given the chance.  Landman continues its first-season run through January 12, 2025. New episodes stream weekly on Sundays on Paramount+.

In “False Alarm”, Season 3 Episode 7, Gabriela Perez’s life is in shambles, so she believes.  She has a strained relationship with her past Love of her Life, Bode Leone after their breakup, and distances herself from her friends, Eve and Jake.   She’s also trying to deal with leaving Diego Moreno, her fiancé, at the altar, and later working numerous overtime shifts to pay the bill for their wedding that didn’t happen.  She at least knows that marriage would have been a mistake, and she and Bode’s parents know as well.  Her Dad, Manny Perez, disagrees.  Other life controversies she’s dealing with are her breakup with Bode and throwing herself into work to prevent feels for all her life's turbulence, lying to help Bode and her broken relationship with her Dad. This leads to her living in Bode's parent's RV, cliff jumping, drinking as a temporary relief and questionable hookups. She also rejects Bode's  Mom’s help.  Despite all of this, she remains a superb firefighter and paramedic.  Some of this sounds so relatable.  Fire Country's Stephanie Arcila who plays Gabriela Perez has come a long way in a short time and her impressive acting abilities bring her character’s relatable feelings to the screen.  She plays this complicated character Exceptionally well!  Her skills are on full display in this week’s episode as her character is shown navigating several emotional and stressful pitfalls.  Stephanie Arcila is an actress that proves she can handle all as required, and still elicits viewer compassionate interest.  She is in control of showing Gabriela’s vulnerability, sheer loss, frustrations, uncertainty and hopefulness at her life’s unexpected twists and turns.  Stephanie Arcila does this with alacrity.  The transitions her character experiences are confusing, inexplicable, surprising and hard, but she does it easily .  Her performance shows the character’s underlying grace, and strength which was always there emerging.   Her character’s sadness, feelings of despondence and her way to relieve it is carefully navigated.  The way Stephanie Arcila claims audience’s attention with her skillful ability to portray Gabriela is impressive.   She presents Gabriela’s cliff diving as totally shocking, breathtaking, freeing and Real.  That scene’s realistic appearance garnered audience’s attention and showed how her character was finding a way to deal with her life changes.  You must Admire and Root for her to find the Way that's Best for Her!This acting was Exceptional Work and Worthy of Performer of the Week!  Stephanie Arcila the Actor presents her character, together with the writing Superbly with true realism!  Have no doubt she will continue to impress.

In Matlock  episode 7, "Belly of the Beast," the episode begins with Madeline Matlock (Kathy Bates) alone at home, as Edwin (Sam Anderson) and Alfie (Aaron Harris) are away on vacation in Florida. Matlock, however, is staying behind to handle her first Wellbrexa case. She’s meeting with the pharmaceutical company's in-house legal team, hoping to impress them and gain access to their files. The case involves Jesse (Dominique Gayle), a 23-year-old who experienced kidney problems after participating in drug trials at 21. Matlock believes offering Jesse $50,000 will settle the case. However, her negotiation with Wellbrexa’s legal team quickly escalates when Jesse secretly records the meeting and posts it online, damaging the company’s reputation. Meanwhile, personal dramas unfold. Shay (Yael Grobglas) pressures Sarah (Leah Lewis) to sing in the a cappella group at the Christmas party, despite Sarah’s hesitation over how it might affect her budding relationship with Kira (Piper Curda). Eventually, Sarah performs, impressing Kira and leading to their first kiss. Sarah also helps Billy (David Del Rio) work up the courage to propose to Claudia (Bella Ortiz), though she later rejects him, devastating him. Sarah consoles him afterward. Back in the legal world, Matlock faces a series of challenges with the Wellbrexa team, especially dealing with Trent Boyle (Josh Archer), who has a large ego. The case takes a turn when Jesse and her lawyer, Paige (Zamani Wilder), announce that they are not just suing for damages, but are now advocating for all drug trial participants and seeking to stop Wellbrexa’s drug trials. The company loses $1 million a day due to the halted trials, and Matlock finds herself under pressure to resolve the issue quickly. As the case unfolds, Matlock discovers that Dr. Blackwell (Mark Blackwell), who oversaw the trials, had private texts with his ex-girlfriend, Dr. Kathryn Roark, that may prove Jesse’s allegations. However, Matlock faces a setback when these texts are ruled inadmissible in court due to their personal nature, dealing a blow to the plaintiffs' case. The trial is dismissed, and Matlock and Julian (Jason Ritter) are removed from the Wellbrexa case. Despite the defeat, Matlock uncovers a key weakness in Senior's (Beau Bridges) case by using AI to access his confidential files. At the Christmas party, Matlock’s mood darkens as she faces the fallout from the Wellbrexa case. Meanwhile, Julian’s personal life unravels further as he confesses to Olympia (Skye P. Marshall) that he had an affair before their separation, deepening the rift between them. The episode ends on a note of unresolved tension as Matlock, now armed with valuable information, prepares for her next move.