As a die-hard fan of Taylor Sheridan‘s work, I’ve been on a thrilling journey through his expansive Yellowstone universe, and it’s been nothing short of extraordinary. Having grown up on the dusty plains of Texas myself, I can relate to the raw grit and unapologetic storytelling that permeates each of these shows.
Almost every TV show produced by Taylor Sheridan has its core in crime dramas. Regardless of whether he’s crafting stories about ranchers, rodeo riders, or oil workers, Sheridan frequently portrays the world as a battleground for scarce and diminishing resources, contested fiercely by those who fiercely hold onto what they possess and those who relentlessly try to seize it. Frequently, both parties are lawbreakers.
As a dedicated film enthusiast, I initially captivated countless viewers with my gritty depiction of contemporary American life through my groundbreaking series, Yellowstone. Debuting in 2018, this modern western, brimming with violence and strewn with corpses, was marketed as a blend of the timeless drama of Dallas and the classic charm of Bonanza. The narrative unfolded as an engrossing soap opera centered around a wealthy and influential Montana ranching family, locked in conflict not only with each other but also with numerous factions eager to seize their land. The premiere episode culminated in a fierce gunfight, and throughout the first season, whenever the narrative seemed to lose momentum, I would casually add a few more casualties to the tally.
Since then, Sheridan’s television productions have consistently followed this theme. Shows such as Tulsa King and Mayor of Kingstown prominently feature gangsters and drug dealers. Even his latest creation, Landman, which appears to focus on the oil industry in southwest Texas, includes elements like Mexican cartels and bothersome corpses. This is a significant factor behind their success: Crime tends to be profitable.
It’s not the only reason, though. As a screenwriter, Sheridan has three main gifts. He writes lively dialogue, punctuated with vivid turns of phrase and colorful profanity (and, yes, more than a little purple prose). He creates larger-than-life characters, who shoulder heavy responsibilities in jobs that in many cases are essential to the American way of life. And he knows how to combine those first two gifts in bold, provocative (and sometimes heavy-handed) speeches that challenge how viewers think about big topics, like who gets to own land in this country and what they should be allowed to do with it.
Due to his focus on creating engaging narratives, particularly in shows like Yellowstone, Sheridan is frequently perceived as appealing to conservative audiences, especially those who enjoy country music and are critical of government intervention. However, upon closer examination of his work, it becomes clear that his political views aren’t straightforwardly conservative. In fact, before Yellowstone debuted, it was not marketed as a right-wing escape but rather as the new venture from a talented young writer and director who had previously worked on several well-regarded action-adventure films. After spending nearly two decades as a character actor, most notably in recurring roles on Veronica Mars and Sons of Anarchy, Sheridan penned the 2015 drug-war thriller Sicario, followed by the 2016 crime-spree drama Hell or High Water and then the 2017 neo-western Wind River, which he also directed. Each of these films was intelligent, thrilling, and reflective of contemporary issues, with a perspective that highlighted the everyday struggles of ordinary people.
Regarding Sheridan’s perspective, populism continues to play a significant role, despite many of his leading characters resembling John Dutton from Yellowstone (portrayed by Kevin Costner). These individuals have authority over private armies and give commands to local governments. An intriguing aspect of Sheridan’s series is their ability to depict how wealth can manipulate power and safety. Yet, he also acknowledges the difficulty in sympathizing with the extremely wealthy. Consequently, his characters are consistently portrayed as being affluent but also perpetually on the verge of financial collapse.
As a devoted admirer, I must admit that Sheridan’s prowess as a writer-producer (and the occasional director) isn’t without its flaws. I often find myself yearning for more complexity in his female characters, which tend to fall into two categories: they are either robust, masculine figures or enigmatic, unpredictable beings shrouded in mystery. The dialogues sometimes feel heavy-handed or, at times, overly simplistic.
Over the last eight years, I’ve found myself drawn to Sheridan’s unique TV empire, a creative realm that stands shoulder to shoulder with titans like Shonda Rhimes and Ryan Murphy. What sets him apart? Well, he doesn’t shy away from imperfections – if anything, he embraces them, infusing his shows with a raw, personal touch that the cautious, committee-driven TV landscape often lacks. To date, he’s stamped nine series with his name, many of which bear the unmistakable imprint of his solo craftsmanship, bypassing the traditional “writers’ room” model. Come fall 2024, no less than five of these shows will be gracing our screens. Each one is a testament to his fearless storytelling, brimming with emotion and quirkiness that, in many cases, TV rarely dares to express.
After the premiere of “Landman” last night (and with “Yellowstone” and “Lioness” currently airing), let’s take a retrospective look at Taylor Sheridan’s television career thus far, starting with his least successful shows and moving on to his most impactful ones.
9.
The Last Cowboy (2019–present)
On Sheridan’s resume, you’ll find a single nonfiction series, which he considers a deeply personal project. This series showcases his affection for the relatively obscure equestrian sport known as “reining,” where riders navigate swift horses through intricate turns and abrupt stops. Titled “The Last Cowboy“, this five-season series spans the key events and characters of the reining year, ultimately leading to a million-dollar championship event. This show shares similarities with backstage sports documentaries such as Hard Knocks and Drive to Survive, differing significantly from competition shows like Top Chef and Project Runway.
8.
Lawmen: Bass Reeves (2023)
In a potential series of real-life lawman dramas, the first installment titled “Bass Reeves” stands out as one of Sheridan’s productions without his involvement in writing or directing. Despite Chad Feehan retaining the gritty atmosphere and intense violence that are characteristic of Sheridan’s work, it lacks the humor and warm, well-crafted environments that typically make a Sheridan production appealing. David Oyelowo delivers another outstanding performance as a man who escaped slavery and eventually became a U.S. marshal. However, the miniseries’ approach to Reeves’ life, which is both episodic and sweeping, results in a feeling of haste and disconnection. The narrative style can be summarized as “Here are a series of events, some of which may or may not have occurred, presented roughly in chronological order.” Given the compelling subject matter and star-studded cast (including Shea Whigham, Dennis Quaid, Barry Pepper, and Donald Sutherland), “Lawmen” falls short of its potential.
7.
Tulsa King (2022–present)
In its initial season, this updated mafia story kicked off with vigor, introducing a humorous character less typical in a Sheridan production: Dwight “The General” Manfredi (portrayed by Sylvester Stallone), a former mafia boss who spends two decades behind bars and is relocated to Oklahoma under unclear orders to “accumulate.” Finding himself taken aback by the abundance of marijuana dispensaries, Dwight devises a plan to seize control of a legitimate enterprise illegally. However, he’s under constant scrutiny from federal agents and rival gangs throughout this endeavor.
Terence Winter, creator of Boardwalk Empire and often a writer for The Sopranos, served as the showrunner during season one but moved to a modified, less influential head-writing position in season two, allegedly due to creative differences with Sheridan regarding the show’s tone. It seems significant that by the end of the first season, Tulsa King transitioned from a humorous mix of crime and comedy – focusing on an out-of-place New York mafia boss – into a traditional crime series featuring betrayals, gun battles, and somber regrets. As a result, what was once an enjoyable series to watch turned into more of a demanding viewing experience.
6.
Landman (2024–present)
The recently released Sheridan series, with only half a season out at the time of this review, appears as a blend of “Tulsa King”, “Yellowstone”, and “Mayor of Kingstown”. Initially, it stands apart from other shows by Sheridan mainly due to its intriguing plotline and an unconventional lead performance. Billy Bob Thornton portrays Tommy Norris, a resilient Texas oil-company enforcer who manages the complexities in the field – aging equipment, tired workers, and frequently disgruntled landowners – to make life easier for his boss and friend Monty Miller (Jon Hamm). Thornton is captivating as an individual unfazed: neither by drug cartels, nor by environmentalists, nor by his ex-wife (Ali Larter). However, despite being based on a popular nonfiction podcast, “Boomtown” (created by Christian Wallace, who also co-created this show), the storytelling is surprisingly underwhelming. It primarily relies on the atmosphere of twangy Texas, interspersed with startling events.
5.
Yellowstone (2018–present)
There’s no question why Sheridan’s initial series, Yellowstone, has swept across the globe – its breathtaking western vistas and vivid characters make for an enchanting visual and auditory experience. The gripping storyline, filled with tantalizing conflicts and nail-biting cliffhangers, keeps audiences eagerly anticipating more. This contemporary Montana setting pits environmentalists, Native American tribes, real estate developers, and ranchers against each other over some of the most picturesque and valuable land in the U.S. At its heart lies the Dutton family, who have maintained a vast estate for over a century. John Dutton III, their stubborn patriarch, is portrayed by the seasoned actor Kevin Costner, lending an air of authority that only a cinematic veteran can deliver.
It’s not hard to understand why a well-known TV drama from the past decade hasn’t received as much critical acclaim or awards as shows focusing on American politics and wealth, such as Succession, Billions, or Fargo. Despite appearing to be an extensive, ambitious tale about a powerful family struggling to maintain their estate and lifestyle, the narrative often lacks advancement, frequently cycling through similar conflicts between the Duttons and a variety of adversaries, usually following a violent event that doesn’t lead to significant long-term consequences.
Despite Kevin Costner’s sudden departure midway through the fifth season, causing significant plot changes, Yellowstone has consistently navigated implausible narrative twists to maintain its core elements, season after season. The setting of this series is filled with intricate, clever details that make for engaging television. However, it has always been lacking in depth and breadth, keeping Yellowstone on the level of “entertaining but non-essential” programming.
4.
Mayor of Kingstown (2021–present)
As a devoted cinephile, I must confess that Taylor Sheridan’s second scripted TV series hasn’t quite captured the hearts of viewers to the extent that the Yellowstone saga has. However, over its three seasons, Mayor of Kingstown has undeniably stood out as one of Sheridan’s most gripping productions. It offers a unique perspective on crime and retribution in a decaying Rust Belt town, presenting a fresh take that keeps me hooked episode after episode. Unlike Yellowstone, which frequently showcases grand, messy power plays, Mayor of Kingstown focuses more on the intricate dance of small, daily crisis management in a town that seems to be teetering on the brink of no return.
In the series “Mayor of Kingstown,” Jeremy Renner portrays Mike McLusky, a character whose family has historically acted as intermediaries among three influential groups in their small Michigan town: the law enforcement, criminal underworld, and the staff and inhabitants of a significant prison that is integral to the community. The McLuskys’ primary objective hasn’t been about cleaning up Kingstown but rather maintaining harmony between the police and criminals, aiming to prevent widespread violence in the streets, a goal seldom attained. Throughout Taylor Sheridan’s television projects, characters often find themselves in situations without clear solutions, but “Mayor of Kingstown” (co-created with Hugh Dillon, who appears to have taken a more prominent role as a creator in later seasons) focuses on narratives where failure is more frequent than success.
3.
Special Ops: Lioness (2023–present)
This action-packed spy series deviates significantly from the Sheridan model. It centers around a U.S. special-ops team primarily composed of women, who infiltrate critical military targets undercover. Zoe Saldaña portrays Joe, the main liaison between Washington (largely symbolized by Nicole Kidman) and the operatives in the field. This role pulls her away from her family, including her husband, a busy pediatric oncologist. Similar to shows like Mayor of Kingstown and Landman, Lioness presents Joe’s actions as essential for maintaining America’s current state, despite the significant sacrifices and moral dilemmas her team faces in their personal and professional lives, as well as the ethical gray areas the show delves into.
In contrast to other Sheridan series, the show titled “Lioness” operates on a grander scale, with characters striving (as they see it) to prevent global catastrophe rather than merely saving their small towns. Moreover, this production stands out in his collection as it seldom includes action sequences that seem random or unjustified. The episodes frequently depict intricate military assaults, directed remotely by high-ranking officers portrayed by actors such as Kidman, Morgan Freeman, Michael Kelly, Jennifer Ehle, and Bruce McGill. The star-studded cast lends an air of urgency to each undercover operation and underscores the notion (similar to Sheridan’s “Sicario”) that some tasks demand armies rather than lone vigilantes.
2.
1883 (2021–22)
Enthusiasts of the films “Sicario” and “Hell or High Water” have been eagerly anticipating Taylor Sheridan’s work in television that matches the quality and impact of those movies. While the Yellowstone prequel miniseries, 1883, may not reach quite that level, it does showcase Sheridan’s genuine effort to create something significant and artistic with the Yellowstone brand – essentially attempting his own “Lonesome Dove”. In 1883, Tim McGraw and Faith Hill portray the early Dutton family members who settled in Montana, a generation before John Dutton III in Yellowstone. The series follows their difficult journey across the West as part of a wagon train led by a weary old soldier (Sam Elliott).
1883 is characterized by a leisurely and solemn tone, and John Dutton’s creator, Taylor Sheridan, appears to delight in highlighting the numerous ways pioneers met their end. However, the episodic format of a road trip provides some necessary narrative structure. Sheridan’s enthusiasm for this theme is evident in his meticulous portrayal of each step in the Dutton family’s journey. Although 1883 carries an overall somber atmosphere, it offers a deeply personal touch that makes up for it, as Sheridan crafts an origin story for America that is intentionally complex and ambiguous, reflecting his signature style.
1.
1923 (2022–present)
In a simpler phraseology, the second spin-off series, titled “Yellowstone,” shares the gritty and intense tone as “1883” but lacks the heavy, contemplative mood. This is due to a larger cast of characters and multiple storylines, as well as its origins being rooted more in pulp fiction rather than serious literature. In this continuation, Harrison Ford and Helen Mirren portray another set of Duttons – a childless couple who have been instrumental in cultivating the family’s Montana heritage. However, they now find themselves struggling to safeguard their legacy as the era of pioneers gives way to an encroaching age dominated by bankers during the 1920s.
As a devoted cinema enthusiast, I must say that “1923” masterfully blends the rugged spirit of the Old West with intricate tales of power-hungry politicians and ruthless robber barons. While Jacob Schur’s works have consistently addressed racial injustices and the mistreatment of Native American communities, this series takes a more unapologetic approach to depicting how Montana’s aspiring land tycoons exploit prejudice as a tool for their ruthless actions.
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2024-11-18 21:55