i swear to god... she can outsmart Batman, darkside All sweragen, Tony soprano The spider, littleifnger, all the lanysters....walter white, prop joe, tony stark, stephen hawking, francis underwood, ryan o'ryley, at the same time. shyt... she is more OP than Rick fukking SanchezStill alive and getting more and more power
Yellowstone - TV Series Written And Directed By Taylor Sheridan
- Thread starter Dominic Brehetto
- Start date
She survived a bomb going off like 6 feet in front of her man, even they just try to kill her with prep time she still gonna come out on top. She's invincible.
daemonova
hit it, & I didn't go Erykah Badu crazy, #yallmad
Taylor Sheridan on a horse with fellow actors reading scripts.
Sheridan on the set of Yellowstone during the shooting of Season 2, in 2018, near Darby, Montana (Emerson Miller / Paramount Network)https://cdn.theatlantic.com/thumbor...osts/2022/11/WEL_Pappu_Sheridan1/original.jpg
Sheridan on the set of Yellowstone during the shooting of Season 2, in 2018, near Darby, Montana (Emerson Miller / Paramount Network)https://cdn.theatlantic.com/thumbor...osts/2022/11/WEL_Pappu_Sheridan1/original.jpg
daemonova
hit it, & I didn't go Erykah Badu crazy, #yallmad
HOW TAYLOR SHERIDAN CREATED AMERICA’S MOST POPULAR TV SHOW
Inside Paramount’s Yellowstone juggernaut
By Sridhar Pappu
A close up portrait of Taylor Sheridan in cowboy hat with film strip remnants on each side.
Bryan Schutmaat for The Atlantic
NOVEMBER 10, 2022
“You’re not ready for this.”
It was early 2017, and Taylor Sheridan stood before Viacom executives describing Yellowstone, the television series he had conceived with the producer John Linson. Sheridan had sold it to HBO some years before, only to see it languish, as so many projects do. But now it was close to finally being seen by the world, thanks to its savior and champion—a former child actor named David Glasser, who was then an executive with the Weinstein Company.
Glasser had seen the potential in the Yellowstone script, and in Sheridan, who had left behind his career as a character actor to write full-time. He’d helped Sheridan pry the show from HBO—taking Yellowstone to potential alternative suitors, from whom he’d gotten a series of polite, and not so polite, passes. Still, he had pressed on.
Finally, Glasser had attracted some interest. Viacom was preparing to launch a new cable channel, the Paramount Network, and it needed original shows. The executives wanted Yellowstone.
Sheridan, however, was threatening to derail the whole thing. When Glasser had asked him to come to Hollywood for the pitch meeting, the screenwriter had at first refused to leave his home in Park City, Utah. To coax him into attending the meeting, Glasser had to fly him there by private jet and promise him that he wouldn’t have to spend the night in L.A., a city Sheridan had come to hate.
Glasser had finally gotten Sheridan in a room with Viacom executives. But what Sheridan delivered was less a pitch than a warning.
“It’s going to cost $90–$100 million. You’re going to be writing a check for horses that’s $50–$75,000 a week.” You really want to do this?
You will have no part in any of this, he told them—except for footing the bill. I will write and direct all the episodes of the show. There will be no writers’ room. There will be no notes from studio executives. No one will see an outline.
“It’s going to cost $90–$100 million,” he says he told them. “You’re going to be writing a check for horses that’s $50–$75,000 a week.” You really want to do this?
They were crazy to accept Sheridan’s terms. But they were impressed by the cut Glasser had shown them of Wind River—the third movie Sheridan had written about the contemporary American frontier, following Sicario (2015) and Hell or High Water (2016), and the first one of them he had directed. And they liked the fact that Kevin Costner had signed on to play Yellowstone’s lead character, John Dutton.
What most attracted them was the script, which in its premise and sweep had echoes of The Sopranos, but with Western trappings. Dutton, the owner of the largest contiguous ranch in Montana, finds himself, like Tony Soprano, battling members of his own family as well as forces from the outside: Native Americans who want to build a casino on the land abutting his ranch; carpetbagging developers from California and New York who want to build golf courses and a ski resort and luxury housing and a new airport and even a whole new city. Dutton is watching his way of life slip away, his family along with it, and he is willing to do anything to hold on to both, no matter how bloody the cost. (A lot of people get murdered on Yellowstone.)
“This was one of the fundamental things I wanted to look at: When you have a kingdom, and you are the king, is there such a thing as morality?” Sheridan told me when we spoke last summer. “Because anyone trying to take your kingdom and remove you as king is going to replace your morality for theirs. So does morality factor into the defense of the kingdom? And what does that make the king? And at the end of the day, that’s really what the show is about.”
Sheridan knows something about kingdoms. At 52, he is now the heavy-handed sovereign of perhaps the most important one on television. The latest season of Yellowstone was the most-watched show on television last year besides NFL football. He helped Paramount’s new streaming service, Paramount+, gain millions of new subscribers with multiple spin-offs of Yellowstone. A prequel, 1883, came out late last year, and will soon be followed by two more: 1923, which will launch in December, as well as Bass Reeves, which is slated for next year. Another Yellowstone spin-off is also due to premiere next year—6666, set at the legendary Four Sixes Ranch.
“He is, by far, the most important creator right now, arguably at any network,” Matthew Belloni, a founding partner of the media and politics website Puck, told me.
Within a year, Paramount’s “Taylorverse,” as some have come to call it, will include up to nine shows, most of which are written solely by Sheridan, who has proved to be as maniacal in his demand for complete artistic control as he threatened in that first pitch meeting. “It’s tough to work for that guy,” a Yellowstone veteran who knows Sheridan well told me, on the condition of anonymity for fear of speaking ill of someone who now has so much clout in the industry. “He drives everyone crazy.”
Yet his scripts have drawn top-tier acting talent, including Dianne Wiest, Sam Elliott, Tom Hanks, Billy Bob Thornton, Zoe Saldaña, Kyle Chandler, and, most recently, Harrison Ford and Helen Mirren, who will star in 1923. Yes: Han Solo and the Queen. On a ranch.
Oh, and Rocky, too. At the upfronts at Carnegie Hall in May, where television networks preview their shows to potential advertisers, Sylvester Stallone got onstage to explain how he came to star in Sheridan’s Tulsa King, which premieres in mid-November.
“I couldn’t believe it,” Stallone said. “[Sheridan and I] were on the phone on Monday. By Wednesday/Thursday, we had a full script.” Stallone plays a New York Mafia capo who, having served a 25-year prison sentence, gets sent to Oklahoma by his boss to set up a criminal syndicate. “I committed to it like that,” Stallone said. “It was bold.”
Four years after Yellowstone’s debut, Sheridan is now in a league with such creators as Shonda Rhimes and dikk Wolf. Only Sheridan might have the more arduous workload. “Most of the writer-producers at his level are essentially managers of a machine. He is actually writing a great deal of this output, which is unbelievable to me,” Belloni said. Even the most exacting of Peak TV’s auteurs—David Chase (creator of The Sopranos), Vince Gilligan (Breaking Bad ), Matthew Weiner (Mad Men)—didn’t insist on writing every episode themselves. Sheridan does all of this writing, by the way, while also playing a recurring character on Yellowstone : Travis Wheatley, a high-end horse trader and a rodeo performer. The role enables him to show off his formidable cowboying skills.
Inside Paramount’s Yellowstone juggernaut
By Sridhar Pappu
A close up portrait of Taylor Sheridan in cowboy hat with film strip remnants on each side.
Bryan Schutmaat for The Atlantic
NOVEMBER 10, 2022
“You’re not ready for this.”
It was early 2017, and Taylor Sheridan stood before Viacom executives describing Yellowstone, the television series he had conceived with the producer John Linson. Sheridan had sold it to HBO some years before, only to see it languish, as so many projects do. But now it was close to finally being seen by the world, thanks to its savior and champion—a former child actor named David Glasser, who was then an executive with the Weinstein Company.
Glasser had seen the potential in the Yellowstone script, and in Sheridan, who had left behind his career as a character actor to write full-time. He’d helped Sheridan pry the show from HBO—taking Yellowstone to potential alternative suitors, from whom he’d gotten a series of polite, and not so polite, passes. Still, he had pressed on.
Finally, Glasser had attracted some interest. Viacom was preparing to launch a new cable channel, the Paramount Network, and it needed original shows. The executives wanted Yellowstone.
Sheridan, however, was threatening to derail the whole thing. When Glasser had asked him to come to Hollywood for the pitch meeting, the screenwriter had at first refused to leave his home in Park City, Utah. To coax him into attending the meeting, Glasser had to fly him there by private jet and promise him that he wouldn’t have to spend the night in L.A., a city Sheridan had come to hate.
Glasser had finally gotten Sheridan in a room with Viacom executives. But what Sheridan delivered was less a pitch than a warning.
“It’s going to cost $90–$100 million. You’re going to be writing a check for horses that’s $50–$75,000 a week.” You really want to do this?
You will have no part in any of this, he told them—except for footing the bill. I will write and direct all the episodes of the show. There will be no writers’ room. There will be no notes from studio executives. No one will see an outline.
“It’s going to cost $90–$100 million,” he says he told them. “You’re going to be writing a check for horses that’s $50–$75,000 a week.” You really want to do this?
They were crazy to accept Sheridan’s terms. But they were impressed by the cut Glasser had shown them of Wind River—the third movie Sheridan had written about the contemporary American frontier, following Sicario (2015) and Hell or High Water (2016), and the first one of them he had directed. And they liked the fact that Kevin Costner had signed on to play Yellowstone’s lead character, John Dutton.
What most attracted them was the script, which in its premise and sweep had echoes of The Sopranos, but with Western trappings. Dutton, the owner of the largest contiguous ranch in Montana, finds himself, like Tony Soprano, battling members of his own family as well as forces from the outside: Native Americans who want to build a casino on the land abutting his ranch; carpetbagging developers from California and New York who want to build golf courses and a ski resort and luxury housing and a new airport and even a whole new city. Dutton is watching his way of life slip away, his family along with it, and he is willing to do anything to hold on to both, no matter how bloody the cost. (A lot of people get murdered on Yellowstone.)
“This was one of the fundamental things I wanted to look at: When you have a kingdom, and you are the king, is there such a thing as morality?” Sheridan told me when we spoke last summer. “Because anyone trying to take your kingdom and remove you as king is going to replace your morality for theirs. So does morality factor into the defense of the kingdom? And what does that make the king? And at the end of the day, that’s really what the show is about.”
Sheridan knows something about kingdoms. At 52, he is now the heavy-handed sovereign of perhaps the most important one on television. The latest season of Yellowstone was the most-watched show on television last year besides NFL football. He helped Paramount’s new streaming service, Paramount+, gain millions of new subscribers with multiple spin-offs of Yellowstone. A prequel, 1883, came out late last year, and will soon be followed by two more: 1923, which will launch in December, as well as Bass Reeves, which is slated for next year. Another Yellowstone spin-off is also due to premiere next year—6666, set at the legendary Four Sixes Ranch.
“He is, by far, the most important creator right now, arguably at any network,” Matthew Belloni, a founding partner of the media and politics website Puck, told me.
Within a year, Paramount’s “Taylorverse,” as some have come to call it, will include up to nine shows, most of which are written solely by Sheridan, who has proved to be as maniacal in his demand for complete artistic control as he threatened in that first pitch meeting. “It’s tough to work for that guy,” a Yellowstone veteran who knows Sheridan well told me, on the condition of anonymity for fear of speaking ill of someone who now has so much clout in the industry. “He drives everyone crazy.”
Yet his scripts have drawn top-tier acting talent, including Dianne Wiest, Sam Elliott, Tom Hanks, Billy Bob Thornton, Zoe Saldaña, Kyle Chandler, and, most recently, Harrison Ford and Helen Mirren, who will star in 1923. Yes: Han Solo and the Queen. On a ranch.
Oh, and Rocky, too. At the upfronts at Carnegie Hall in May, where television networks preview their shows to potential advertisers, Sylvester Stallone got onstage to explain how he came to star in Sheridan’s Tulsa King, which premieres in mid-November.
“I couldn’t believe it,” Stallone said. “[Sheridan and I] were on the phone on Monday. By Wednesday/Thursday, we had a full script.” Stallone plays a New York Mafia capo who, having served a 25-year prison sentence, gets sent to Oklahoma by his boss to set up a criminal syndicate. “I committed to it like that,” Stallone said. “It was bold.”
Four years after Yellowstone’s debut, Sheridan is now in a league with such creators as Shonda Rhimes and dikk Wolf. Only Sheridan might have the more arduous workload. “Most of the writer-producers at his level are essentially managers of a machine. He is actually writing a great deal of this output, which is unbelievable to me,” Belloni said. Even the most exacting of Peak TV’s auteurs—David Chase (creator of The Sopranos), Vince Gilligan (Breaking Bad ), Matthew Weiner (Mad Men)—didn’t insist on writing every episode themselves. Sheridan does all of this writing, by the way, while also playing a recurring character on Yellowstone : Travis Wheatley, a high-end horse trader and a rodeo performer. The role enables him to show off his formidable cowboying skills.
Devilinurear
Veteran
This chick is a dumbess for driving like that
Damn, can Jamie get a W over Beth? Just one? Even if it leads to a monumental L?
Hell, just trip the bytch and let her fall down the stairs.
Hell, just trip the bytch and let her fall down the stairs.
Damn, can Jamie get a W over Beth? Just one? Even if it leads to a monumental L?
Hell, just trip the bytch and let her fall down the stairs.
I'm starting to think Taylor Sheridan or folks on the writing team must really hate dude. I'd be able to tolerate Beth's nastiness and it would make the drama better if the rivalry between them wasn't so one sided.
KnickstapeCity
BigDikktapeCity :shaq:
Didn’t watch the new season yet but how them Beth Dutton titties looking like? 
Beth talk big shyt but she ain't a killer. Jamie's weak ass got 2 bodies. Let her be the 3rd.I'm starting to think Taylor Sheridan or folks on the writing team must really hate dude. I'd be able to tolerate Beth's nastiness and it would make the drama better if the rivalry between them wasn't so one sided.
daemonova
hit it, & I didn't go Erykah Badu crazy, #yallmad
They looked good on that nightgown
WhoShotCha
Superstar
I've never seen a sibling rivalry so one-sided. Beth pretty much wins every exchange she has, while Jamie takes L after L and is constantly used as a plot device to create the antagonist. It's becoming very tiring. And Kasey's character pretty much only revolves around his boring and depressing wife and child at this point. However I am excited for the politics and fukkery that's gonna come with John as governer though.
EzekelRAGE
Superstar
I wish the other brother survived, so we could at least get a different character.
Jamie's character is interesting w/o the beth stuff too. Like was cool to see how he maneuvered w/o having to worry about family.
EzekelRAGE
Superstar
Maybe 3 prequels depending on how they do the Bass Reeves series.
WhoShotCha
Superstar
Taylor is probably the busiest man in Hollywood, and with that it feels like he's put his golden goose in autopilot.