a serial comeback for Sylvester Stallone



Dwight Manfredi known as


With four ongoing series, Taylor Sheridan is to Paramount what Ryan Murphy is to Netflix. Prolific and often inspired, the actor turned screenwriter and showrunner never stops digging the vein that has made his success since. Sicario and especially the saga Yellowstonewith Kevin Costner, namely an exploration of violence and masculinity made in the USA.

Read also: Article reserved for our subscribers Sylvester Stallone, the story of a broke young man who became a Hollywood legend

For Tulsa King, Taylor Sheridan and his co-developer, Terence Winter, have hired the services of another aging star, Sylvester Stallone, to embody this New York mobster character parachuted into Tulsa, Oklahoma, after twenty-five years of incarceration. At 76, the actor, whose career in cinema, between rocky And Rambois not completely foreign to the serial format, takes its first steps in a purely television format.

And we must recognize that the septuagenarian is touching, with his disproportionately broad shoulders and his botoxed crow’s feet, which inevitably recall the roles that made his legend while categorizing him for life. He is camping here yet another magnificent loser in the person of Dwight Manfredi, an unrepentant “capo” who intends to regain his market share on his release from prison. The local gangs obviously don’t hear it that way, and Dwight’s conversion to non-violence fizzles when his daughter, with whom he has just reconnected, receives threats.

Old fashioned nana

You can’t escape your destiny, seems to say Tulsa King throughout this first season (the series has been renewed) which, for the rest, brews many themes without telling much apart from the comeback of its main actor. Everything, from Dwight’s mandals to his charming number with the fairer sex, smacks of the 1980s and old-fashioned nanar. The actor is not mistaken, who recycles his acting tics effortlessly to serve a plot on which the writers did not tear their hair out either.

Thus, after five or six episodes, we are still not sure we have understood who is after Dwight, nor what he intends to do with his ambiguous relations with an FBI investigator, or friendship that he ties up with a young taxi driver after hiring him. The “gangster grandpa” side gives the series a little humor, but the latter seems to miss its main issue, which is how Dwight will choose to live the few years he has left. on earth. Since it is also the issue of the actor who embodies it, and because it is probably one of his last roles, Stallone would undoubtedly have deserved better.

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