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In the opening episode of The Madison, Taylor Sheridan makes a daring choice by killing off Kurt Russell’s character. This bold decision not only sets the tone for the series but also introduces a unique narrative style. The show frequently delves into flashbacks that capture the intimate conversations between Preston and Stacy Clyburn over their years of marriage. Russell and Michelle Pfeiffer deliver such compelling performances in these scenes, whether they’re miles apart on the phone or together in their luxurious New York townhouse, that Preston’s absence in the present timeline is barely noticeable. Their onscreen chemistry in The Madison may even prompt viewers to revisit their earlier collaboration in the 1988 crime drama Tequila Sunrise.
Episode 2 of The Madison, titled “Let the Land Hold Me,” showcases Sheridan’s distinctive writing, brought to life by Russell. In a poignant flashback, Preston reflects on a timeless male instinct that he feels is ingrained in his very being: the need to pursue challenges that define his existence. For him, this manifests in the pursuit of the elusive Yellowstone cutthroat trout through fly fishing, a passion that resonates deeply with him. Stacy, however, playfully teases him with a down-to-earth remark, “What a bunch of nonsense. Just admit you want to go fishing with your brother.”
Meanwhile, Stacy is drawn to a meadow where Preston once shared a screenshot with her, while others are yet to adapt to their new surroundings in the Madison Valley cabins. Despite warnings about hornets in the outhouse, both Paige and Russell venture out in their pajamas and suffer painful stings. Paige ends up humorously lamenting, “They got all the way in there, Mom!” while Russell’s eye swells shut. This raises questions about their lack of common sense. Haven’t they heard of a baking soda remedy? Eventually, Stacy takes charge, handling the hornet problem so her daughter and son-in-law don’t have to resort to using the barn. She finds humor in Paige’s predicament, unable to suppress her laughter at her daughter’s misfortune.
In this episode, we also meet Cade Harris, portrayed by Kevin Zegers, who arrives from the neighboring ranch in a vintage flatbed F-150, bearing homemade meals for the newcomers. He brings lasagna, casseroles, and Indian fry bread, a local delicacy. The kids, however, dismiss the name as racist and are hesitant to eat “a stranger’s food,” despite their own helplessness. This attitude infuriates Stacy, who scolds them for being ungrateful, declaring, “What spoiled little brats we’ve raised.” A heated exchange follows outside with Abby, as Stacy questions if her daughters and granddaughters have forgotten their purpose for being there. With emotions still raw from Preston’s death, tensions simmer within the family, hinting at deeper issues that need addressing.
Adjusting to these changes is imperative for everyone involved. Stacy makes a firm declaration, “I have no intention of moving on, ever. I will never love again, nor will I attempt to. Holding onto him is the closest I will get. He cherished this place, and so do I.” Determined to remain, she visits a mortician in the nearby town of Ennis, just over an hour from Yellowstone National Park. He advises her on the legalities of burying a loved one on private land, informing her that she’ll need a site survey and must designate a part of the land as a cemetery. She knows precisely where, as it’s the spot where she once sat. However, the mortician warns her that future property owners might prohibit her visits or even exhume and relocate Preston’s grave, adding another layer of complexity to her resolve.
None of that will ever happen, though, because as we know, Stacy’s determined to never leave, and now she’s armed with a solid plan. Gathering the family in the hillside meadow overlooking the river, she explains that since they were blind for decades to Preston’s deepest hope, that one day this land would be for all of them, she will make it an official tribute to his legacy. She will sell their home in New York. Establish a trust with the cash. Dedicate it to preserving this place. And if anyone has a problem with that – Paige and Abby certainly seem to – she’s happy to cut them off from their lifetime financial cushion. “This is my home now. I die here, too.”
Mad Hits for The Madison Episode 2 (“Let the Land Hold Me”):
- “Cuddle me, but don’t touch my ass.” As Paige and Russell lick their hornet wounds, we also get a window into their relationship’s dynamic, which boils down to this: what she says, goes.
- The thing about the cabins is that Preston always meant them for his wife and family. We know this from his journal entries in voiceover (“I wonder if we could dig a well, have a place to gather”) and the little girls’ discovery of stacks of toys and board games he trucked into the site.
- It’s funny when Cade mentions Bozeman, because like Ennis’s proximity to Yellowstone, it puts another geotag on the Sheridan-O-Verse. The southern Montana city features heavily in 1923, meaning Dutton fam lore is only another two hours by I-90 from Stacy and her family.
- It’s sad Kurt Russell’s character was killed early, but Preston existing in memory and recollection clears the way for Michelle Pfeiffer to really take over The Madison. With every move Stacy makes, we like her more, and Pfeiffer powerfully modulates this woman’s grief and recollections with her own Out West seasoning in the present.
Johnny Loftus (@johnnyloftus.bsky.social) is a Chicago-based writer. A veteran of the alternative weekly trenches, his work has also appeared in Entertainment Weekly, Pitchfork, The All Music Guide, and The Village Voice.