Taylor Sheridan is a remarkably productive writer in Hollywood, though the quality of his work varies. He’s become well-known for his hit TV shows like Yellowstone, Mayor of Kingstown, and Landman, but he’s also written some excellent action thrillers for film. In fact, his original screenplay for the crime drama Hell or High Water received an Academy Award nomination back in 2016.
Taylor Sheridan juggles many projects at once, leading some to wonder if he’s overextended. He’s created a string of successful TV shows – including the hit Yellowstone – as a producer, writer, and director, and fans generally love them. Interestingly, one of his strongest movie scripts actually highlights weaknesses in the writing of Yellowstone itself.
The Contrast Between the Near-Perfect ‘Sicario’ Final Script and ‘Yellowstone’ Exposes Sheridan’s Biggest Flaw as a Writer
Lionsgate
Taylor Sheridan is a talented writer for TV and film, but he sometimes overcomplicates his scripts. A great example of this is the movie Sicario. The final version, directed by Denis Villeneuve, is actually much more streamlined than Sheridan’s original script. While Sheridan’s writing was already good, Villeneuve’s choices during filming ultimately made the movie even better.
Interestingly, much of the original dialogue written for Benicio del Toro’s mysterious character, Alejandro, was removed during filming by both Villeneuve and del Toro. This ultimately created a far more impactful and memorable character than the written lines ever could have, and it highlights a major weakness of the show Yellowstone. Alejandro’s quietness spoke volumes, proving that less dialogue can often be more effective.
The popularity of Yellowstone comes from its central story: the Dutton family and the intense, crime-filled world around them. When the show was at its best – like during the conflicts with the Beck Brothers or the attempts on the Duttons’ lives – it was truly captivating. These moments highlight Taylor Sheridan’s skill as a writer and explain his reputation.
The show felt disjointed and confusing at times, with storylines like Summer Higgins’ arc or unresolved plots – such as Angela Blue Thunder’s power grab and the secret of Sarah Atwood’s past – that ultimately went nowhere. While Taylor Sheridan can be forgiven for the rushed ending, considering Kevin Costner’s departure forced an early conclusion, many subplots felt pointless even if the show had continued as planned for its originally intended seven seasons.
Taylor Sheridan’s TV Shows Have Great Stretches, But Are Frequently Uneven
Paramount Network
Taylor Sheridan’s longer-format TV writing sometimes feels uneven, with noticeable dips in quality that aren’t as common in his films. While his shows are widely loved by fans of action, thrillers, and dramas, almost every season has a few episodes that don’t quite measure up. That said, Sheridan excels at creating compelling characters and often delivers consistently strong content for much of each season, and sometimes for the entire run.
While Taylor Sheridan’s shows often have moments of brilliance, they’re frequently bogged down by unnecessary storylines or scenes that don’t add much to the main plot. This makes them feel less consistently strong compared to top-tier dramas like Breaking Bad, The Wire, or Succession. Yellowstone features many well-developed and popular characters, but the show’s tendency to include too much extra content ultimately diminishes its overall effect.
Sheridan’s Best Work Is Always Short And Sweet
Lionsgate
Taylor Sheridan’s screenplays are often so strong because he focuses on a few key elements, rather than overcomplicating things. A perfect example is Hell or High Water, which showcases his talent for creating believable characters. The film contrasts two biological brothers with two men who’ve become like brothers, resulting in a powerful and simple dynamic. By concentrating on one main story, Sheridan can explore nuanced details, creating a deeply moving and modern Western film.
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Wind River creates a calm, focused atmosphere that lets writer and director Taylor Sheridan truly excel. The film is a well-paced mystery, driven by its characters and set against a beautiful, stark winter landscape. At 107 minutes, it’s remarkably concise and avoids unnecessary scenes. Sheridan’s skill with character development is on full display in Wind River – boosted by strong performances from Jeremy Renner and Elizabeth Olsen – demonstrating his talent as a writer.
These films, and an earlier draft of his Sicario script, clearly show the strengths and weaknesses of Yellowstone and Taylor Sheridan’s other series. He excels at crafting smaller, character-driven stories. But when his shows become larger with many seasons and characters, his writing can become less consistent and feel overly long.
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2026-03-16 14:03