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But as the rare indie-oriented filmmaker who pays attention to plot, can Sheridan work within the open-ended nature of today’s serialized television? With ten episodes to work with in season one - the first of which, tonight’s “Daybreak,” is double length - Yellowstone should in the weeks ahead make great use of Sheridan’s knack for creating complicated characters and exploring where they live, while keeping their circumstances relevant to the modern world.
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Now here’s Yellowstone, a prestige drama that Sheridan’s writing and directing for Paramount, as part of the cable outlet’s swing at becoming a Peak TV player.
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He followed that up with the screenplay for Hell or High Water, which used a bank-robbery spree as the driver for a study of economic disparity in the modern American West and then he wrote and directed Wind River, another sophisticated and culturally specific neo-Western that (like all of Sheridan’s feature films so far) became a surprise hit. After starting his career as a character actor, playing the obstinate opposition in the likes of Sons of Anarchy and Veronica Mars, Sheridan made his screenwriting debut with Sicario, a vividly realistic thriller about the moral ambiguities involved in fighting drug trafficking on the U.S.–Mexico border.
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If you keep up with the movie business at all, you should already know Sheridan’s name - or, at the very least, his work. Yet despite the pricey production design and top-shelf cast, Yellowstone’s success or failure will ultimately come down to one person: the show’s writer-director-producer-creator Taylor Sheridan. Yellowstone even features a bona fide movie star as its lead: Kevin Costner, one of the few remaining Hollywood actors with extensive experience anchoring popular Westerns. Like Dallas crossed with the movie Giant, this expensive-looking TV show mixes soapy domestic melodrama with a sweeping, modernized take on the Western genre, set in and around a Montana ranch described as “the size of Rhode Island” - filled with huge houses, herds of animals, and dozens of employees. The Paramount Network’s first scripted dramatic series, Yellowstone, arrives with a swagger, intent on taking its place in the long, heady history of American stories about big, big money.
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