{"id":1054,"date":"2026-06-02T20:08:07","date_gmt":"2026-06-02T20:08:07","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1054"},"modified":"2026-06-02T20:08:07","modified_gmt":"2026-06-02T20:08:07","slug":"will-taylor-sheridan-finally-break-through-at-the-emmys-with-season-2-of-landman","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1054","title":{"rendered":"Will Taylor Sheridan Finally Break Through at the Emmys With Season 2 of \u2018Landman\u2019?"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tAmong the most fascinating Emmys-related mysteries, to me, is why the TV Academy has so consistently overlooked the shows of Taylor Sheridan<\/strong>, the prolific TV creator behind the Yellowstone<\/em> televisual universe \u2014 Yellowstone<\/em> (2018-2024), 1883<\/em> (2021), 1923<\/em> (2022), Marshals<\/em> (2026-) and Dutton Ranch<\/em> (2026-) \u2014 as well as Mayor of Kingstown<\/em> (2021-), Tulsa King<\/em> (2022-), Lawmen: Bass Reeves<\/em> (2023), Lioness<\/em> (2023-), Landman<\/em> (2024-) and The Madison<\/em> (2026-).<\/p>\n

Read more Martin Scorsese Teams Up With AI Company, Says Tech Was \u201cCreatively Freeing\u201d for Storyboard Use: AI \u201cAllowed Us to Move Faster\u201d<\/a><\/p>\n

\n\tSheridan\u2019s shows have all attracted massive viewership. Most received strong reviews. (Rotten Tomatoes has Yellowstone<\/em> at 83 percent, 1883<\/em> at 89 percent, Tulsa King<\/em> at 88 percent, 1923<\/em> at 94 percent and Landman<\/em> at 80 percent with critics.) And several garnered nominations, and even wins, from important Emmys precursors:\u00a0Yellowstone<\/em>\u2019s fourth season was nominated for the top Producers Guild, Critics Choice and Actor awards, and Kevin Costner<\/strong> won a Golden Globe for season five. For 1883<\/em>, Sam Elliott<\/strong> won an Actor Award. And, for Landman<\/em>\u2019s first season, Billy Bob Thornton<\/strong> was nominated for a Globe, while its second season was nominated for Actor Awards for best drama series ensemble and stunt ensemble, and brought Thornton a Critics Choice nom.<\/p>\n

\n\tAnd yet, between them all, they have collected a grand total of only nine Emmy nominations, none<\/em> in above-the-line categories \u2014 just production design for Yellowstone<\/em>\u2019s third season, score and two for cinematography for 1883<\/em>, stunt coordination for Tulsa King<\/em>\u2019s first two seasons, stunt coordination for Lioness<\/em>\u2019 second season, and costumes and production design for 1923<\/em>\u2019s second season\u00a0\u2014 and zero<\/em> wins.<\/p>\n

\n\tAll of which begs the questions: What is going on here? And could things change this Emmys cycle, with Landman<\/em>, a show about a family in the oil business, in the running for its second season, and The Madison<\/em>, a show about a family from the city that relocates to the open country following a tragedy, in the running for its first?<\/p>\n

\nLandman<\/em>, in particular, is heading into this year\u2019s Emmys nominations voting window \u2014 June 11-22\u00a0\u2014 looking like a real possibility. Here are three things that it has going for and three things that it has going against it\u2026<\/p>\n

\nFOR IT<\/strong><\/p>\n

\n1) Popularity<\/strong><\/p>\n

\n\tPeople really like the show, which is now the most-watched original series in the history of Paramount+. \u201cWe were very surprised it became an international hit,\u201d Thornton recently said. \u201cWe thought it was going to appeal to Middle America, maybe not even the coasts.\u201d Instead, it turns out its that blend of high-stakes drama (from danger on the derricks to crimes of the cartels) and silly comedy (just about everything involving Ali Larter<\/strong> and Michelle Randolph<\/strong>\u2019s mother-daughter characters) plays just about everywhere, to say nothing of the pretty people who populate it.<\/p>\n

\n\tDoes popularity always result in awards? No. One commenter on Reddit argued, \u201cMcDonald\u2019s is an incredibly popular restaurant, but it\u2019s not getting a Michelin star.\u201d That\u2019s a cute line, but likening Landman<\/em> to McDonald\u2019s is unfairly dismissive, and TV shows as popular \u2014 and, frankly, soapy \u2014\u00a0as Landman<\/em> have a long history of being rewarded at the Emmys: Dynasty<\/em> got 24 noms (including best drama series and five for acting) and one win; Dallas<\/em> got 21 noms (including two for best drama series and seven for acting) and four wins (one for acting); and Empire<\/em> got eight noms (two for acting).<\/p>\n

\n2) Performances<\/strong><\/p>\n

\n\tThe show features a large ensemble of first-rate actors \u2014\u00a0some veteran household names (e.g. Thornton, Elliott, Demi Moore<\/strong> and Andy Garcia<\/strong>), others real discoveries (e.g. Randolph and Paulina Ch\u00e1vez<\/strong>) \u2014 giving excellent performances. This isn\u2019t just my opinion, it\u2019s the opinion of the world\u2019s largest union of actors, SAG-AFTRA, based on that best cast Actor Award nomination earlier this year. And what is the largest of the TV Academy\u2019s peer groups, which all get to vote for best drama series? That\u2019s right, performers.<\/p>\n

\n\tAt every opportunity, the stars of Landman<\/em> trip over themselves to give credit for their performances to the two former actors who oversee the show: Sheridan, who casts his shows so well and tailors his characters to the strengths of his actors, and Stephen Kay<\/strong>, who directs many of Sheridan\u2019s shows, including Landman<\/em> (six of the 10 episodes of season one and all 10 episodes of season two).<\/p>\n

\n3) Production value<\/strong><\/p>\n

\nLandman<\/em> looks great on a small screen, but to better appreciate how well made it is, it helps to see it on a big screen, which is why its backers have been screening episodes of it in theaters at every opportunity this season, including at its jam-packed official FYC event at the TV Academy in North Hollywood, where they screened its season two finale. On that scale, its gorgeous cinematography by Robert McLachlan<\/strong> and production design by Charisse Cardenas<\/strong> really take your breath away.<\/p>\n

\n\tSheridan is a filmmaker \u2014\u00a0he was Oscar-nominated for writing best picture Oscar nominee Hell or High Water<\/em> and also wrote 2015\u2019s Sicario<\/em>, wrote and directed 2017\u2019s Wind River<\/em> and wrote 2018\u2019s Sicario: Day of the Soldado<\/em> \u2014\u00a0and his mandate each season, Kay told me, is, \u201cYou\u2019re making a 10-hour movie.\u201d<\/p>\n

\nAGAINST IT<\/strong><\/p>\n

\n1) Taylor Sheridan<\/strong><\/p>\n

\n\tUnfortunately, Sheridan himself is probably the biggest obstacle to the TV Academy embracing his shows. People know little about him,\u00a0largely because he doesn\u2019t seem to care to help them to get to know him \u2014 he pretty much stays on his 270,000-acre ranch in Texas \u2014\u00a0and what they have heard about him, accurate or not, has been largely unflattering.<\/p>\n

Read more Netflix Communications Head Emily Feingold Abruptly Exits<\/a><\/p>\n

\n\tAdditionally, many assume that his politics are Trumpy because his shows tend to be set in the heartland and go out of their way to mock people from the coasts,\u00a0where most of the entertainment industry is based,\u00a0for being absurdly \u201cwoke\u201d \u2014 word-policing liberals, vegans and, on Landman<\/em> specifically, gender non-binary \u2014\u00a0not to mention ignorant about fracking, wind turbines and all manner of other things. (In fairness, he also seems to be quite a big environmentalist, and often includes respectful portraits of Hispanic and Native American characters on his shows.)<\/p>\n

\n\tJust because you choose to depict something on screen doesn\u2019t mean you personally endorse or encourage it \u2014 I don\u2019t think the creators of, say, Succession<\/em> or Veep<\/em> believe their characters are good role models \u2014\u00a0but Sheridan does himself no favors by almost always refusing to discuss his work with the press. That made his decision to go on Joe Rogan<\/strong>\u2019s podcast in 2024 all the more disconcerting to many.<\/p>\n

\n\tBut Thornton recently pushed back on assumptions about Sheridan\u2019s politics: \u201cI think people assume Taylor is some sort of right-wing guy or something, and he\u2019s really not. Even with this show being about the oil business, he just shows you what it\u2019s like. He\u2019s not saying, \u2018Rah, rah, rah for oil.’\u201d What might help more, though, is if Sheridan were willing to answer some questions himself.<\/p>\n

\n2) Women<\/strong><\/p>\n

\n\tSheridan has long faced accusations that he is a misogynist who doesn\u2019t write female characters well. This has somehow become accepted wisdom in some circles, despite the fact that many of the finest actresses in Hollywood have chosen to work with him and feel that he has given them some of the best parts of their careers \u2014\u00a0among them, Landman<\/em>\u2019s Larter and Moore, as well as Kelly Reilly<\/strong> of Yellowstone<\/em> and Dutton Ranch<\/em>, Oscar nominee Michelle Pfeiffer<\/strong> of The Madison<\/em> and Oscar winners Nicole Kidman<\/strong> and Zoe Salda\u00f1a<\/strong> of Lioness<\/em> and Helen Mirren<\/strong> of 1923<\/em>. He has also given big breaks to gifted young actresses including Randolph and Ch\u00e1vez, as well as Isabel May<\/strong> of 1883<\/em> and 1923<\/em>.<\/p>\n

\n\tKay says of Sheridan, \u201cHe used to joke that that Beth [Reilly\u2019s character on Yellowstone<\/em> and Dutton Ranch<\/em>] was the man he always wished he could be,\u201d and adds, \u201cThere\u2019s a reason that really talented actors want to play these women. And I think it\u2019s because they have great words to say.\u201d<\/p>\n

\n3) Platform<\/strong><\/p>\n

\n\tParamount+, which debuted in 2021, is obviously watched by a lot of people, but it has not yet embraced by Emmys voters as a \u201cprestige\u201d platform in the way that, say, HBO, Netflix and FX have been. Other newer platforms were essentially welcomed into the club on the back of one show that really broke through \u2014\u00a0for Hulu, it was The Handmaid\u2019s Tale<\/em>; for Prime Video, it was The Marvelous Mrs. Maisel<\/em>; and for Apple, it was Ted Lasso<\/em>.<\/p>\n

\nYellowstone<\/em> should have had that effect for Paramount+, but because of a complicated rights deal, new episodes were only available on Paramount Network, then could only be purchased on Amazon until 90 days after a season\u2019s finale, at which time they began to be offered for streaming on Peacock \u2014\u00a0and the problems went on from there.<\/p>\n

\n\tIf Yellowstone<\/em> had emanated from Netflix, as was almost the case \u2014\u00a0the streamer pursued it when Robert Redford<\/strong> was attached to star as John Dutton \u2014 I suspect things might have been very different.<\/p>\n

\n\tHere\u2019s another way of illustrating the importance of a platform: Succession<\/em> and Yellowstone<\/em> are essentially the same show, just set in very different places. Both are about the adult children of a rich and emotionally-distant man, vying with each other for his affection and ultimately to succeed him. Both debuted in June 2018, the former on HBO and the latter on, well, see above. One got tons of Emmys. And the other got none.<\/p>\n

\n\tEventually, perhaps, the members of the TV Academy \u2014 who are presented with way more television than any human can possibly watch before casting their ballots \u2014 will start reflexively checking out Paramount+ in the way that they do other platforms that consistently deliver award-worthy content. The only question is whether enough of them are already doing that to help Landman<\/em>.<\/p>\n

Read more \u2018Masters of the Universe\u2019: What Critics Are Saying About the He-Man Movie Starring Nicholas Galitzine and Jared Leto<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Will Taylor Sheridan finally break through at the Emmys with ‘Landman?’ season 2? 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