All 8 Taylor Sheridan TV Shows Ranked

Taylor Sheridan has built something of a TV empire in recent years, and it’s got a little something for everyone. Want campy drama mixed with frontier politics? Check out “Yellowstone.” Angling for a dark, somber character study? Head over to “Mayor of Kingstown.” Or maybe you’re in the mood for some lawless Old West action, in which case you should head on back to “1883” or “1923.”

Basically, Sheridan has you covered no matter what you’re looking for. If you’re starting from the top, then it’s probably best to go with the flagship, “Yellowstone,” but we’ve got you covered regardless with a ranking of Sheridan’s current scripted projects. Grab your lasso, plop on that dusty cowboy hat, and let’s get a-ridin’!

Sheridan serves as executive producer on “Lawmen: Bass Reeves,” teaming up with Chad Feehan to craft a tough, thoughtful Western that looks at a real-life hero: former slave-turned-Deputy U.S. Marshal Bass Reeves (David Oyelowo). Tasked with rounding up some of the region’s most dangerous outlaws in Indian Territory, our hero contends with frontier lawlessness and racial tension, while wrestling with his commitment to justice.

Like many on this list, “Lawmen” is a visual treat, featuring broad landscapes and gritty frontier towns blanketed with shadows. Oyelowo is superb in the title role, coating Reeves in dignity, anguish, and cold, calculated resolve. He’s flanked by a strong supporting cast with characters like Sherrill Lynn (Dennis Quaid) and Esau Pierce (Barry Pepper) adding moral friction and tension. Too bad there’s just not more of it.

The limited series format truncates Reeves’ true story, skipping over important elements in favor of unabashed frontier action, while sidestepping some of the deeper racial themes that haunted Reeves throughout his life. Even so, this bold and somber series finally gives one of America’s forgotten lawmen the spotlight he deserves.

Despite its occasional forays into implausibility, “Lioness” (fka “Special Ops: Lioness”) packs a wallop. Starring the ever-reliable Zoe Saldaña, this spy thriller explores the CIA’s Lioness program, which utilizes female operatives to infiltrate terrorist organizations. New recruit Cruz Manuelos (Laysla De Oliveira) accepts the call and works with CIA case officer Joe McNamara (Saldaña) to befriend the daughter of a militant-financier in the hopes of dismantling her father’s empire from within.

Armed with strong production values and intense action, this slick vehicle explores the psychological costs of warfare and the moral ambiguity that accompanies devout patriotism. At times, it leans a little too heavily on clichéd spy tropes, and the same pacing issues that figure into many of Sheridan’s narratives too often rear their ugly head. “Lioness” doesn’t always hit perfectly, but it’s a fun detour from the dusty plains of Texas and the scenic frontier of Montana, giving Sheridan a new avenue to test his themes of grit and sacrifice.

Also, it’s hard to fault a series with an A-list cast, including Nicole Kidman, that’s not afraid to get its hands dirty. The “special ops” world presented here is grimy and real; the missions are messier and more exhausting than exhilarating. In other words, expect something more akin to the darker terrain of “Sicario” than the globe-trotting spirit of “Mission: Impossible.”

Sheridan teams up with Billy Bob Thornton for “Landman,” which may or may not be connected to “Yellowstone.” Set in West Texas, the story revolves around the high-stakes world of oil, following Tommy Norris (Thornton), an oil executive trying to keep business afloat in a precarious environment ripe with regulatory pressure and dealings with the cartel. An early episode sees the nefarious drug cartel hijack a corporate jet and crash the aircraft into a tanker, spurring chaos, legal headaches, and power plays. All the while, Tommy must deal with his ex-wife, Angela (Ali Larter), and fight to maintain control of his company and crippling legacy.  

Since it only premiered in November 2024, the verdict is still out on “Landman” at the time of writing. So far, so good. This humdinger of a series boasts top-notch performances, sharp dialogue, and fascinating peeks behind the curtains at the corporate boardrooms and cartel backrooms where fortunes — and lives — are made and lost.

Sure, Sheridan and co-creator Christian Wallace bounce from intense drama to abrupt humor with all the grace of a station wagon, and the sheer number of plot threads can be dizzying. No matter, Thornton’s effortless charisma and Sheridan’s quippy dialogue are always on hand to save the day, propelling this drama beyond the call of duty.

Set roughly 40 years after “1883,” “1923” continues (or looks back on) the Dutton saga, this time following Jacob (Harrison Ford) and Cara Dutton (Helen Mirren), and their conflicted sons Spencer and John, as they deal with cattle barons, sheep herders, and economic issues in Montana in the years following World War I. Other subplots include a young Indigenous woman named Teonna Rainwater (Aminah Nieves), who tries to escape a brutal Catholic boarding school system dedicated to forced assimilation. 

First and foremost, “1923” looks amazing. Stunning cinematography captures Montana’s sweeping landscapes, making the locale feel like a supporting character in its own right. The top-tier talent supplies powerhouse performances, with Ford and Mirren in particular striking wonderful chemistry that makes their endless struggles feel genuine. Then there’s the historical backdrop, which touches on everything from Prohibition, women’s rights, Native American oppression, and industrialization, adding more substance and weight to the fictional action.

On the other hand, like many of Sheridan’s works, “1923” tends to meander on unnecessary subplots. And while Sheridan’s ambition is commendable, the show often feels overstuffed, leaving key details to get lost in the shuffle. Characters often speak as though reciting a moral lesson, as though Sheridan doesn’t trust viewers to connect the dots on their own. 

All that to say, “1923,” while flawed, remains an impressive and absorbing piece of television, with plenty of excitement, romance, and adventure to satisfy diehard “Yellowstone” fans.

Jeremy Renner’s brooding performance anchors “Mayor of Kingstown,” a downbeat, gritty look at systemic decay in a prison town where everyone is dirty and no one is safe. Imagine a more despairing version of “The Wire” or “Oz”, and you’re halfway there.

Co-starring Dianne Wiest, Hugh Dillon, Tobi Bamtefa, and Kyle Chandler, the series follows Mike McLusky (Renner), who inherits the role of “mayor” after his brother’s death. Tasked with mediating between cops, inmates, and gang leaders, Mike struggles to maintain order in a city built entirely on corruption, a place where every solution breeds another problem.

Sheridan goes hard with this series, allowing viewers to get a glimpse of life on the other side, meaning the wheelings and dealings required to keep the fire from spreading too far into regular society. And yet, the relentlessly grim tone leaves little in the way of levity, often veering toward nihilism. Few characters evolve, as they’re all stuck in the same cycle, forced to deliver heavy-handed monologues that practically spell out the point of each episode.

Regardless, it’s worth a watch if only for Renner’s magnetic performance, and the fascinating way Sheridan toes the line between right and wrong. In “Mayor of Kingstown,” there are no heroes or villains, just people operating in morally gray areas, believing they must do the wrong things for the right reasons.

Switching gears from Sheridan’s dark and brooding worlds, we land on “Tulsa King,” a surprisingly light(ish) mob tale that mixes crime, fish-out-of-water comedy, and heartfelt drama into a delicious cocktail. We also get Sylvester Stallone’s best non-“Rocky” performance in years, making this a must-watch for fans of the iconic star.

Don’t worry, “Tulsa King” still carries that Sheridan vibe, and isn’t afraid to tackle heftier material. It’s just that, on this go-round, the “Sopranos”-style violence and sharp dialogue arrive hand-in-hand with a dose of humor, mostly from Stallone’s beleaguered gangster. The plot centers around New York mob capo Dwight “The General” Manfredi (Stallone), who hits the streets after 25 years behind bars. Expecting to return to his place amongst the elite of the mob empire, he instead is banished to Tulsa, Oklahoma, and tasked with starting a new operation. There, Dwight finds himself in a world he no longer recognizes, one ruled by smartphones, shifting morals, and an entirely new criminal landscape.

Featuring a terrific supporting cast — namely Jay Will as Dwight’s young driver and protégé, and Martin Starr as a sarcastic, tech-savvy weed dealer, and sometimes even Jelly Roll — “Tulsa King” delivers a fast-paced, funny, and occasionally brutal redemption story that both satisfies and surprises. At the very least, it’s Sheridan’s most distinct and refreshingly offbeat creation to date.

With “1883,” Sheridan delivers a lean, mean Western centered around a family’s wild journey from Texas to Oregon. They battle the elements, outlaws, Native Americans, disease, and death… think the classic “Oregon Trail” PC game, only without the low-rez pixels to soften the carnage, and without the Duttons actually going on the trail itself.

An audacious cast, anchored by Tim McGraw and Faith Hill as James and Margaret Dutton (great-grandparents to Kevin Costner’s John Dutton from “Yellowstone”), leads the way. Sheridan drags viewers through the mud, forcing us to endure every manner of obstacle imaginable until we can practically sense the sweat and blood trickling down our own foreheads. Add in the impeccable production design, grounded performances, and finely tuned (if not overtly gory) violence, and you have yourself one of the most gripping Westerns of the modern era. And, at a briskly paced 10 episodes, “1883” never overstays its welcome or loses momentum.

There’s no glamour here. Sheridan strips away the romanticism of the American frontier, giving viewers a brutally realistic look at pioneer life, all the while touching on things we take for granted. Into the fold drops Elsa Dutton (Isabel May), whose transformation from wide-eyed dreamer to hardened frontier survivor gives “1883” its soul.

In short, this is as much a story about family as it is about survival, a haunting reminder of what people are willing to endure for a small piece of paradise.

“Yellowstone” may not be Sheridan’s smartest show, but it’s the one that started it all. Without this absorbing, melodramatic foray into the world of a very violent ranch presided over by Kevin Costner’s gruff John Dutton, the other series on this list wouldn’t exist. And the slew of upcoming “Yellowstone” prequels, sequels, and spin-offs ensures this Western soap opera remains the crown jewel of Sheridan’s illustrious career.

Still, we could argue that “Yellowstone” peaked around Season 3 or 4. The more time we spent with the Duttons — John, Beth (Kelly Reilly), Kayce (Luke Grimes), Jamie (Wes Bentley) — and their best mate Rip Wheeler (Cole Hauser), the less likable they became. It doesn’t help that Sheridan wavers on exactly what “Yellowstone” is meant to be.

What starts as a campy mob drama comprised of bear attacks, suicidal tourists, flamboyant villains, and precisely one fence post assault, quietly evolves into a deeper examination of ranch life. The best episodes revolve around John’s behind-the-scenes dealings with government officials, Beth’s fast-paced, profanity-laced blackmailing, and the fascinating ways the Duttons navigate the system to keep their haughty world afloat. 

Unfortunately, Sheridan — perhaps worried about viewers with short attention spans — too often deviates from these mature storylines in favor of grandiose violence and petty family squabbles, preventing “Yellowstone” from ascending to perfection. Even so, credit where it’s due, as the flagship series paved the way for some remarkable television. “Yellowstone” might wobble off course now and then, but it never fails to entertain.