"In the Taylor Sheridan Paramount+ universe of cozy genre shows aimed at the AARP set, "Tulsa King" has always been a bit of a breezy, accessible alternative to the dour militarism of shows like "Lioness" or the queasy pro-oil histrionics of "Landman." (And, of course, "Yellowstone" is no longer on the air to prop up the whole empire.) Like a mafia family without its patriarch, the Sheridan shows have been vying for succession in this new post-Costner landscape,"
"He shook off the triple threats of rival businessman Thresher ( Neal McDonough), the Chinese triad, and the encroachment of New York on his business in the form of antagonistic capo Bevilaqua ( Frank Grillo), and had finally taken his illicit weed business legit. What's more, he'd even found love in strong-willed businesswoman Margaret (Dana Delany). But in the closing moments of Season 2, his door gets beaten down by a tactical team and he's blackbagged."
The Taylor Sheridan Paramount+ universe contains relatively cozy, accessible crime dramas that skew older. Tulsa King positions itself as a lighter alternative within that universe while pursuing franchise growth. Season 2 concluded with Dwight Manfredi resolving several threats, legitimizing his weed business, and finding a romantic partner, only to be abducted and recruited. Season 3 opens with FBI Special Agent Russo enlisting Dwight as an informant and protector, with Russo nursing resentment over a past informant killing. The season enlarges the cast, leans into succession and franchise-building, and remains entertaining despite occasional narrative clutter.
Read at Roger Ebert
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