Published Jun 25, 2026, 7:11 PM EDT
Makuochi Echebiri is a News Writer for Collider. He has been interested in creative writing from as far back as high school, and he would consume pretty much anything that’s film or TV. However, his truest love lies in the presence of historical epics and thrillers.
Lured by the brilliance of Middle Earth from an early age both in print and on screen, his palate has since expanded to other realms including Westeros, Kattegat among others. He also possesses a great appetite for the stories that emanate from the vastness of space. Even though he is no Avenger.
Obsessed with storytelling and having works of his own that have yet to make it to print, he is content to use that ability to communicate to as many as are reachable. In his spare time, he looks out for avenues where he can aid people aside from his plans to reign over this earthly realm. Yes…you heard that first here.
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The stock of Taylor Sheridan has arguably never been so high before. For all intents and purposes, it is simply booming and when one takes a look at his successful television empire, it is simply no surprise. The Sheridan franchise started with his 2018 neo-Western drama Yellowstone and has rapidly expanded to include a wide range of shows, including the likes of Tulsa King and Lioness, bringing a lot of variety to the television collection.
The incredible success of Yellowstone has seen spin-offs commissioned with a similar neo-Western theme. In 2026 alone, Sheridan has already introduced two new shows to the world: The Madison and Marshals, with the latter a spin-off of Yellowstone. Despite that addition, the Yellowstone thirst has not been sated and thus, the record-breaking Yellowstone spin-off, Dutton Ranch, stormed onto the scene. But Sheridan’s vast empire would not be complete without his Paramount+ oil-soaked drama, Landman.* *The show is led by Billy Bob Thornton as Tommy Norris and is written and produced by Sheridan and Christian Wallace, with two full seasons having already aired on Paramount+. Season 2 of Landman further entrenched the show’s quality in the minds of its audience and critics alike, as the show holds a critics’ rating of 80% on the aggregator website.
A third season of Landman has already been locked as its renewal was swiftly secured by Paramount+. Filming has already begun as we wait to see how Tommy’s split from the corporate world to run his own oil company with his son, Cooper Norris (Jacob Lofland) plays out. However, before we get sucked into what comes next, we will focus first on award season and Landman has secured its very first major award. On Wednesday, the Academy of Country Music announced that Paramount+’s oil drama will be honored with the ACM Film Award at its 19th ACM Honors event in Nashville in August. A key criterion to be considered for the ACM Film Award for feature films and television shows under consideration is the prominent incorporation of country music into their soundtracks.
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Landman is one of Paramount+‘s crown jewels with a largely positive critical reception, with some describing it as both “engaging” and “exciting.*” *The Season 2 finale of Landman, within 48 hours of release, racked up a record-breaking viewership with 15.8 million viewers. Alongside Thornton and Lofland, the Season 2 ensemble cast included Demi Moore as Cami Miller, Ali Larter as Angela Norris, Michelle Randolph as Ainsley Norris, Paulina Chavez as Ariana, Kayla Wallace as Rebecca Falcone, and more.
Ahead of Season 3 and given where we left Tommy Norris at the end of the second season, rumors surfaced regarding Sheridan potentially axing his leading man. Speaking earlier this month, Thornton suggested that viewers probably don’t need to panic just yet. The actor hinted that Sheridan still has Tommy in his plans for Landman going forward. “I think Taylor [Sheridan] is going to let me hang around,” Thornton said. That should be reassuring for fans, especially following Jon Hamm’s exit as Monty Miller, which was a major turning point for the series.
Landman is streaming on Paramount+. Stay tuned to Collider for more updates.
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Taylor Sheridan, Christian Wallace