Elkhorn

As a recent visitor to Medora, North Dakota, I couldn't help but feel a special connection to Elkhorn, INSP's frontier drama set in the late 1800s. Walking through the town, I had the chance to see the real Joe Ferris General Store-still standing today-where Joe Ferris, the character portrayed by Travis Lee Eller, once ran a thriving business. The store, now a historic site, offers a tangible glimpse into the past and made me appreciate the character in Elkhorn even more. The show's portrayal of life on the frontier, with its stunning landscapes and intense human drama, feels all the more authentic knowing that Joe Ferris was a real figure whose legacy endures in Medora.

Travis Lee Eller's performance as Joe Ferris is one of the highlights of the show for me, and it's a role that felt ripe for deeper exploration. His portrayal of the town's quiet but vital shopkeeper is understated yet compelling. However, I couldn't help but wish the show had featured him more. Given that the real Joe Ferris General Store is still a key landmark in Medora, it seems like a missed opportunity to delve further into Joe's backstory and his importance to the community. Despite this, the series offers a gripping, well-crafted look at frontier life, and the connection to Medora's real-life history makes it even more special for fans who have walked the same streets as Joe Ferris.

I am a huge fan of westerns and for me the jury is still out on this one. Mr. Roosevelt rides off to a destination with the only directions being, "ride 40 miles due north" and miraculously rides right to it. All the provisions for this 3 day trip are in one small bag hanging from his saddle. The firewood he uses is perfectly cut with a saw. After riding for some time, he dismounts from his horse and walks away, (not tying the horse up) apparently trusting the horse not to run off and leave him stranded in middle of nowhere.

Three other riders make the same trip, and they too carry nothing with them. When the cattle arrive, the actors close to the camera are dressed to look the part, but the riders in the distance, working the cattle clearly are wearing modern clothing and hats. At the beginning of the show, guns are fired, and no one even flinches at the sound. In one episode, a single cowboy has a red-hot branding iron and is interrupted as he's about to brand a cow, who is standing up! That wouldn't end well! Roosevelt enters two fist fights without even taking off his glasses. Really?

It's the director's job to pay attention to details like these that can make a show believable. (or unbelievable.) I would think there must be someone on the set who would point these things out and try and make it a little more authentic.

Hard to understand how some reviewers rate is show a 10 !

Elkhorn, the latest drama series from INSP, immerses viewers in the rugged, untamed world of the American frontier, where survival and community are inextricably linked. Set in the late 1800s, the series follows a group of settlers as they navigate the challenges of life on the Western frontier, from treacherous terrain to personal conflicts. The show excels at blending historical accuracy with captivating storytelling, drawing in audiences with its compelling mix of action, drama, and strong character arcs. The cinematography captures the vast, breathtaking landscapes of the West, while the narrative weaves in rich themes of family, loyalty, and resilience.

One standout feature of Elkhorn is its talented ensemble cast, each actor bringing depth to their roles. However, a notable missed opportunity is the relatively limited screen time of Travis Lee Eller, who plays the shopkeeper Joe Ferris. Eller's portrayal of Joe is understated yet magnetic, and his character has the potential to add significant emotional and narrative layers to the series. As the owner of a local general store, Joe Ferris occupies an essential role in the community, and his calm demeanor and shrewd business acumen could offer a unique perspective on the challenges facing the town. Unfortunately, the show doesn't give Eller enough room to fully explore Joe's character, leaving fans wishing for more of his nuanced, quietly powerful performance. A deeper focus on Joe Ferris could have provided a welcome contrast to some of the more intense, action-driven storylines, creating a richer, more rounded portrayal of life in Elkhorn.

Overall, I loved the series and sincerely hope for a season two!

My wife, my son, and I watched this show pretty much every week. I consider myself a history buff, so I wanted to check this one out. We got pulled into the story. The actor playing Teddy (Mason Beals) was tough when he needed to be, but also pulled off some of Teddy's quirky and nerdy traits. He looks a lot like Teddy as a young man, who was often described as "rail thin" in his younger years. The Frenchman Marquis de Morès (Jeff DuJardin) was exceptionally magnetic, sinister, and charming. The guy you love to hate. I lived in France for 2 years after college, and I enjoyed the touch of French culture and accent. I had heard of the real Marquis before, and he really was a larger than life character, and DuJardin nails it. The show as a whole felt pretty accurate. My wife was a big fan of the females on the show - the actress playing the Marquis' wife Medora (Ashton Solecki) was elegantly powerful and evil, the actress playing Rosie (Tori Griffith) was very organic, and Rosie's aunt Maddox (Stephanie Shulz) often stole the show with some biting humor. Overall, we will miss all of the great characters of Elkhorn and are really hoping for a Season 2!

4/5 stars

As a recent Theodore Roosevelt enthusiast and longstanding INSP viewer, the intriguing promo for Elkhorn caught my eye when it came out last spring. As the network had created Into the Wild Frontier, which I found both interesting and entertaining, I waited with anticipation for the series premiere. With it's availability on Tubi, Plex, Youtube, and other platforms, I've been re-watching it at my leisure to compare my initial impressions with the first viewing. On the whole, I think this easily warrants four out of five stars. To start off, I'll briefly lay out the good elements of the series.

First and foremost, I challenge anyone to do I better portrayal of Theodore Roosevelt than Mason Beals. The appearance and mannerisms befit both the available pictures and films of TR as well as what one would imagine of a citified philosophical young politician driven to the wilderness to forge himself into a new man. He is just as confident in his ability to overcome challenges as he is certain that they will arise. Since there is very little in the way of audio recordings of Mr. Roosevelt, any actor who takes on this role must find a way to interpret what we know of the bold personality, studied thoughts, and aspirations of Teddy Roosevelt. Mr. Beals does it so seamlessly that I'm surprised when I find the lines I hear are not actual quotes of Roosevelt himself. It sets a standard in my mind for any future renditions.

Bill Sewall is a compelling character all his own. Some series will tack on a close friend and then just leave him there for decoration and the occasional pep talk. Not so with Sewall. He challenges TR's idealism, voices his reservations on a matter, yet backs up his boss and offers a steadying hand as needed. Will Dow offers a view of an amiable, hapless newcomer. The newspaperman was initially a character I cringed to see and expected he'd be the charity case of the series. And yet, he did find his courage in a way that was neither rushed nor drug out. Rosie shows a young lady, uncertain of herself, thrust into a position of authority, struggling to learn the in's and out's of business management while under the thumb of her manipulative boss, Medora. We all know those who suffer a lack of confidence and find themselves dependent on an authority they don't trust but feel they can't do without. It's what makes the lancing Rosie receives from Medora during the finale so painful to watch.

The bad. In spite of the strong characters and decent pacing, there are some hiccups with the show. Primarily, shortcuts in dialogue and character development. There are times when the conversations don't make sense, as though some would rather hold onto a line by editing everything else around it to try to make it fit it rather than re-write the sequence. In particular, the romance between Will and Rosie seemed rather awkward. Without getting into spoilers, they each tell a relative that being with the other person felt like "home" in the same episode as they contemplate the plunge into marriage. Chances are that two halves of a couple will have different impressions of what marriage will entail and use different words or phrases. For example, saying they feel comfortable with the other person, they like spending time with him/her, or can imagine building a future together are all ways to describe marital anticipation. I'll try not to be too particular because, as a story aficionado, I care about details more than the casual viewer. Yet this part just felt clunky and it's not the only one. In one scene, Sewall is making a solo ride, suffers a mishap, and starts to walk his now-lame animal. He tells the horse it ought to be thanking him for leading it rather than putting it out of its misery. Then, he says, "Nothing? Okay . . . Well . . .you're welcome." The audience did not actually expect the horse to answer him, nor can I imagine Sewall himself ever would. Again, this kind of moment keeps the story from flowing smoothly. At other points, characters will be in a conversation and suddenly divert it to themselves in a way that's unrelated to the subject. This is what people with a strain of egomania do and it's almost as uncomfortable in a show as it is in real life. Maddox talking about how "there used to be a Mr. Maddox" and how she chased her drunk ex off with a cooking vessel could have been funny . . . But not when she's trying to persuade Mr. Strenuous Life Theodore Roosevelt to rest as he suffers from a life threatening illness. The characters who are the most engaging are those who go on about their business and let their personal stories emerge gradually. There are some examples of it in the show, but it's the exception rather than the rule.

And yet, in spite of the faults, this show is still worth watching. Two criteria are what puts it above three stars and into a solid four. First, I am willing to watch it a second time. Second, I'm getting more out of it the second time than the first.

And this is why: Theodore Roosevelt's story is ultimately why the viewer is watching, and the series creators keep that in mind. Medora, The Marquis, and supporting characters have appropriate subplots, but the story still revolves around the man who will one day be one of the highest regarded Presidents in American history. It demonstrates a man seeking an ideal who is willing to give of himself to attain as much of it as possible. The development of TR's character as a boy in the episode Desperate Times, the reminisce of the romance with his first wife Alice in The Stranglers, coping with how to memorialize her in On the Hunt, and his penchant to find new challenges rather than wait for them to come along, is what gives this show it's meat. It's worth watching and re-watching.

What I'd like to see from a Season 2: 1. Connect the dots for the viewer. Some people watching already have some information about Teddy Roosevelt, but there are others who saw an interesting promo and tuned in. These audience members want some exploration of the man, not just the quick quotes. Fortunately, there was some groundwork laid in Season 1. Alas, because I've been reading TR's autobiography, I know some of the stories, such as the bear hunt, had more creative liberties taken with it than gleanings from the true story. This is sad because the guide who "trundled" Mr. Roosevelt had an interesting comeuppance regarding a whiskey bottle and his perception of his "tenderfoot." Sadly, this was not memorialized for posterity in the series. As far as illustrating the physical endeavors of Mr. Roosevelt, he himself described his ability as second rate in most athletic pursuits. You get the idea that he was probably a bit of a clumsy kid before he realized he needed glasses. We need some examples of how indomitable TR became. Once he realized he needed to improve in an area, he pushed himself to meet the challenge, diligently putting in work--sometimes years of it--to better himself. He built himself into a Rough Rider because he was an ordinary man who pushed himself to become as capable as possible. It's why he inspires so many people even today. Tapping more into actual events would greatly improve the interest in the series overall.

2. More episodes per season. Comparing Elkhorn to other series from INSP, the number of episodes per season is around 10. For a straightforward, anthology-type series such as Into the Wild Frontier, this works. You have historians give the backstory, combine it with reenactments of the high points, and the result is an engaging tale. For a series focusing on one person, you can't just give the highlight reel. You need more episodes to fully understand the broader scope over the long haul so writers don't feel rushed into cutting corners, especially with as many supporting characters and sub-plots as this has: the romance between Will and Rosie, the Marquis and Medora's underhanded schemes, Arthur Packard's character, Merrifield, Sewall, and so on. You either have to cut some of these out, or give your creative team more area to work. Right now it feels like everyone cobbled something together at 11pm so they could meet the midnight deadline.

Ultimately, it is a series I would recommend to others and be willing to watch a second time, in spite of its faults, which is why I rate it 4 out of 5 stars. The series has some framework for a respectable second season and plenty of untapped potential for more.