The actor embodies a freshly landed mafia in the south of the United States after twenty-five years in prison.
by Audrey Fournier
With four series in progress, Taylor Sheridan is in Paramount what Ryan Murphy is to Netflix. Prolific and often inspired, the actor who has become screenwriter and showrunner never ceases to dig the vein that has made his success since Sicario and especially the Yellowstone saga, with Kevin Costner, namely an exploration of violence and masculinity made In USA.
For Tulsa King, Taylor Sheridan and his co-developer, Terence Winter, offered the services of another aging star, Sylvester Stallone, to embody this character of New York mafia parachuted in Tulsa, Oklahoma, after twenty-five years of incarceration. At 76, the actor, whose course in the cinema, between Rocky and Rambo, is not entirely foreign in serial format, takes his first steps in a purely television format.
And we must recognize that the septuagenarian is touching, with his disproportionately wide shoulders and his Botoxeal goose legs, which inevitably recall the roles that have made his legend while categorizing it for life. He camps here yet another magnificent loser in the person of Dwight Manfredi, a “Capo” not at all repentant who intends to return to his market shares when he left prison. Local gangs obviously do not hear it from this ear and the conversion of Dwight to non-violence long when his daughter, with whom he has just returned, receives threats.
nanar old -fashioned
We do not escape his destiny, seems to say Tulsa King throughout this first season (the series has been renewed) which, for the rest, brews a lot of themes without telling much outside the come- back of his main actor. Everything, from mandals to dissed by Dwight to its charming number with the fairer sex, smells good in the 1980s and the old -fashioned nanar. The actor is not mistaken, which recycles his play tics without effort to serve an intrigue on which the writers did not tear their hair either.
Thus, after five or six episodes, we are still not sure to have understood who wants to Dwight, nor what he intends to do with his ambiguous relationships with an investigator of the FBI, or The friendship he has with a young taxi driver after having hired him. The “Papy Gangster” side gives the series a little humor, but the latter gives the impression of missing out on its main issue, which is how Dwight will choose to live the few years that remains to pass on earth. Since it is also the stake of the actor who embodies him, and because it is probably one of his last roles, Stallone would undoubtedly have deserved better.
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