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3 days ago | 
slashfilm.com | Akos Peterbencze
As a prolific creator, Taylor Sheridan has been behind numerous TV shows (alongside some movie screenplays) and regularly directs a number of episodes of his series. Yet he still finds the time and bandwidth to produce a few projects that aren't his creations. One of those is Brian Helgeland's crime thriller, "Finestkind," which unceremoniously came and went on Paramount+ at the end of 2023.
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3 days ago | 
slashfilm.com | Akos Peterbencze
Compared to his numerous other TV shows that are brimming with testosterone, intensity, and gravitas, Taylor Sheridan's Paramount+ hit "Landman" is significantly looser. I mean that in a good way.
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4 days ago | 
slashfilm.com | Akos Peterbencze
Half of my family (on my mother's side) are farmers. My late grandfather used to keep pigs, hens, rabbits, sheep, and even ducks when I was growing up. He grew various kinds of crops on his field and was also in the cattle business. I've been a city boy most of my life, but I spent numerous summers in his small village as a kid, making all kinds of mischief around the house with my cousins. There was a pure freedom about it that I could smell in the fresh country air.
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6 days ago | 
slashfilm.com | Akos Peterbencze
When Kurt Sutter's Shakespearean crime drama "Sons of Anarchy" ended in 2014 after seven seasons, we as fans were all trying to find something that could fill the gap it left behind. Perhaps that search is still ongoing — and no offense to the "Sons of Anarchy" spin-off, "Mayans M.C.," but that show was never able to live up to its predecessor — because nothing can replicate the vibe of the twisted motorbike brotherhood that SAMCRO had to offer.
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1 week ago | 
slashfilm.com | Akos Peterbencze
There's a bittersweet yet feel-good vibe in "Stick" — Apple TV+'s new underdog sports dramedy (which follows in the footsteps of "Ted Lasso") — that's sneakily endearing. On the surface, Jason Keller's show is shuffling variations of clichés ripped from classic sports films and new wave TV comedies (like jokes that draw on the divide between Gen Z and Gen X), but underneath its fairly predictable formula, there's a genuinely charming heart that caught me off-guard.
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1 week ago | 
slashfilm.com | Akos Peterbencze
Without a shadow of a doubt, Kaitlin Olson's Dee Reynolds in "It's Always Sunny in Philadelphia" is the one character who receives the most hate, physical and emotional abuse, and the cruelest jokes imaginable about her appearance, personality, and literally anything she ever does.
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1 week ago | 
slashfilm.com | Akos Peterbencze
Without the legendary Italian filmmaker Sergio Leone, Clint Eastwood wouldn't be the star as we know him today. Though he had been acting for several years — and was even the leading man in Charles Marquis Warren's classic Western TV show "Rawhide" — before his role in "A Fistful of Dollars" came along in 1964, Leone's second movie skyrocketed Eastwood's career and fame in Hollywood to unforeseen heights.
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1 week ago | 
slashfilm.com | Akos Peterbencze
FX's long-running "It's Always Sunny in Philadelphia" isn't exactly the type of comedy series that people normally seek out for inspiration. Unless you're trying to come up with some insulting jokes and extremely immoral humor — or if your goal is to be an awful, selfish, and ignorant human being — "Always Sunny" and its offensive, often gross, and constantly self-centered characters aren't the best fictional TV role models to follow (frankly, quite possibly the worst).
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1 week ago | 
slashfilm.com | Akos Peterbencze
Warning: the following contains mention of sexual assault. Unfortunately, it's not a rarity these days (or the past two decades, frankly) that we lose great TV characters portrayed by immensely talented actors because of their gross mistreatments during production. Just to recall a few: Charisma Carpenter getting fired from "Angel" by Joss Whedon for basically being pregnant (after the director passive-aggressively threatened her multiple times and called her "fat").
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1 week ago | 
slashfilm.com | Akos Peterbencze
Whether you're into Taylor Sheridan's numerous Western shows ("Yellowstone," "1883," "1923," etc.) or not, you can't fault them for their overarchingly epic scores. As much as it's been vital to have the great Ennio Morricone compose his iconic scores for Sergio Leone's legendary spaghetti Westerns like the Clint Eastwood-led "A Fistful of Dollars" or the quintessential "Once Upon a Time in The West," it's as important for Sheridan to have the right music to create the milieu he aims for.
