Taylor Sheridan, American Conqueror

As a longtime fan of gripping storytelling and vivid portrayals of place, I find myself deeply captivated by Taylor Sheridan‘s work. Growing up in small-town Texas, I have a soft spot for stories that evoke the raw beauty and gritty realism of America’s heartland. Sheridan’s ability to create such immersive worlds is nothing short of masterful.

In summary, despite some apparent challenges this year for Taylor Sheridan’s Yellowstone universe – including the departure of its main star and the expansion of spin-off series away from Montana – both the final season of Yellowstone and Sheridan’s latest project, Landman, have achieved remarkable success. The finale of Yellowstone drew over 11 million viewers, a record for the series, while Paramount+ claims that Landman is now their most popular original scripted series. While discussions about why Sheridan’s work endures often touch on political aspects, what truly keeps audiences engaged is more straightforward: the simple, relatable storytelling and characters that resonate with viewers across the spectrum.

As a film enthusiast, I must say that Sheridan has a knack for creating entertaining genre shows with an exceptional flair. When he’s at his best, you’re immersed in top-notch genre television, powered by larger-than-usual budgets. For instance, “Lioness” might seem like a typical spy show, but it stands out due to its cinematic action sequences that could easily grace the big screen. It’s packed with explosions, gunfire (“pew, pew, pew”), and Nicole Kidman dishing out tough-talking one-liners (“Don’t fucking ‘ma’am’ me.”).

Sheridan writes soap operas: melodramatic, outrageous, emotional, big. More specifically, he writes soap operas for men. They are typically set in predominantly male worlds with traditionally masculine archetypes at the center: cowboys, ranchers, intelligence operatives, mobsters, fixers, oilmen. This mixture of soapy and manly is the quality that makes the Sheridan-verse so weird and interesting as a cultural artifact; its popularity could reflect its efficacy in helping masculine men satisfy their need to feel big feelings about the world. This consumer value proposition is further bolstered by the consistency of the Taylor Sheridan experience, for which there is a discernible formula: Take a setting you don’t typically see rendered with much specificity elsewhere on television, layer onto it a patina of a political idea, populate it with characters who talk and cuss in the same way, and then adjust the whole mix to fit the mold of different genres.

As a passionate movie enthusiast, I can’t help but notice how masterfully Taylor Sheridan portrays a sense of place in his shows. The scenery in “Yellowstone” feels incredibly authentic, from the vast Montana landscapes to the gritty, unremarkable atmosphere of its cookie-cutter hotel bars. The great American expanse in “1883” is equally captivating.

It’s reasonable to focus on politics when considering why Taylor Sheridan’s work is so popular. He has a history of creating politically charged thrillers, such as Sicario, Hell or High Water, and Wind River, which all boast excellent ratings. These films share ambiguous yet thought-provoking themes: an exploration of the tension between law and justice, a fascination with the symbolism of land outside major cities, and a general distrust of government institutions. Sheridan’s characters often have strong opinions about their surroundings and their roles within them; for instance, Yellowstone features numerous lengthy speeches from John Dutton discussing Montana, ranching culture, and the dangers posed by outsiders. The speech he delivers upon winning the Montana gubernatorial race at the start of the fifth season could be interpreted as a statement against progress: “I am the opposite of progress. I am the wall it bashes against, and I will not be the one who breaks.” Landman, set in the oil fields of West Texas, features numerous passionate speeches from Tommy about the importance of the oil industry, the hardships faced by landmen and roughnecks, and the misplaced optimism surrounding renewable energy. (These soliloquies can be seen as a Sheridanean equivalent of an “I Want” song in a Broadway musical.)

Despite Sheridan’s growing prominence and busy schedule, his scripts have become less polished, with a significant proportion devoted to atmosphere rather than plot development. This has led some viewers to see the lengthy monologues of his characters as a means for him to express his personal views. However, within the fast-paced structure of his shows, these themes are seldom delved into or critically examined because Sheridan’s television universe requires constant movement. Shows like Lioness must progress to the next action-packed sequence, while Yellowstone struggles to decide the Dutton family’s next move. However, the thin nature of these scripts provides ample room for actors to deliver over-the-top performances, such as Kelly Reilly’s Beth Dutton, creating a whirlwind of eccentric, emotional responses that are hard to resist.

After the recent presidential election, it’s clear that many Americans lack a consistent or definable political ideology. Sheridan’s political views, being rather unclear, reflect this trend. In some aspects, he shares similarities with the widely recognized and often contentious Ryan Murphy. Although they may have different political styles on the surface, both create series that let their actors deliver powerful performances and keep viewers engaged. Given the success of Murphy’s universe, it seems likely that Sheridan’s realm will expand, encompassing new genres and territories to explore.

2024-12-20 16:53

Taylor Sheridan, American Conqueror

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