In the decade since his screenplay forSicariowas met with overwhelmingly positive reviews,Taylor Sheridanhas become one of the most powerful creators in the entertainment industry. In addition to earning an Academy Award nomination for writingHell or High Waterand stepping into the director’s chair for several films, Sheridan has created a series of extremely popular shows that have dominated in ratings. Sheridan may have cultivated a loyal fanbase, but critics of his work have consistently taken issue with the ways in which he writes female characters. Although this controversy seemed to reach its apex amidst the response toLandman,Sheridan’s writing was defended byAli Larter,who claimed that he writes“women in their prime, that were still allowed to be alive."
Landmanmay have received backlash over the ways in which Larter’s character, Anglea, is objectified, but Larter said that “what’s more uncomfortable is that people are so uncomfortable by their sexuality.” Although it may be easy to take clips of the show out of context, Larter said that she found Anglea to be “very multi-dimensional,” as the viewer is given the chance to “see her battling and feeling like she’s getting older.” While he’s oftenbeen opposed to accepting criticism,Sheridan is a much more progressive writer than he is given credit for.
Taylor Sheridan Has Consistently Written Roles for Older Women
Given his interest in Westerns, it’s not surprising that Sheridan has traditionally written protagonists who have flexible morality and deal openly with their flaws. It’s more compelling if heroes are treated with more realism, and thankfully,Sheridan brings the same authenticity to writing his female protagonists. Among the most underrated films of his careeris the action-thrillerThose Who Wish Me Dead, which starredAngelina Jolieas a firefighter who must save a young child from a pair of deadly assassins. It’s not only a powerful allusion to the plight of maternity, but an opportunity for Jolie to play an action hero again, even if most studios have not given her that chance since she was much younger. The age of Jolie’s character was critical to the film’s themes, as she was dealing with the anxieties of having to consider her own legacy.
Sheridan has a talent for writing strong matriarchal figures, which is most evident within his creation of Cara Dutton (Helen Mirren) in1923. Although there were many outspoken female characters within theYellowstoneuniverse, Cara is seen as one of the most integral members of the Dutton family, as she and her husband Jacob (Harrison Ford) must defend their ranch against rivals. While Jacob has occasionally made erratic decisions for the sake of his honor, Cara is the more strategic member of the couple and is willing to openly feud with villains like Donald Whitfield (Timothy Dalton). While the notion ofMirren returning to the action genrehas been used for comedic effect inThe Fast and the Furiousfranchise, Sheridan gave her the chance to play a historically grounded character whose decisions shape the future of her family tree.
Sheridan has consistently written dynamic roles for older women, as he has often given them opportunities to play “character” parts that are often reserved for male actors. BetweenCatherine Keener’s terrifying depiction of the CIA leader Cynthia Foards in the underrated sequelSicario: Day of the Soldado,Faith Hill’s inspirational role as the matriarch Margaret Dutton in1883,andMargaret Bowman’s hilarious, scene-stealing performance inHell or High Water,Sheridan has written female parts that go beyondthe obvious “inspirational hero” clichés.
Taylor Sheridan Made Big Changes to Tom Clancy’s Action Thriller, but That’s a Good Thing
This isn’t the John Kelly you remember.
‘Landman’ Has Deceptively Strong Female Representation
The controversy aroundLandmanis somewhat unfounded, as skeptics may have claimed that Larter’s portrayal of Angela, as well asMichelle Randolph’s role as her daughter, Ainsley, are too sexualized. However, Larter has defended the portrayal, stating that Angela is “able to express that side of herself,” and that “the character is a full rainbow.” While it may be easy to take moments of Angela in a bikini out of context, she makes some surprising choices throughoutLandman, including a storyline in which she becomes fixated on providing joy to members of an elderly community. While the performance may seemabsurd and heightened,it’s consistent with the toneLandmanis aimingfor; the fact that Angela is such an outspoken character makes her complex relationship with Tommy (Billy Bob Thornton) even more interesting.
Landmanhas many other female charactersthat represent a broader spectrum of roles, withPaulina Chávez’s portrayal of Ariana Medina being a particular standout. Despite losing her husband, Elvio (Alejandro Akara), in a horrific accident, Ariana has to keep protecting her children and finding new opportunities, even if that means coming into conflict with her family. On the flip side,Kayla Wallacegives a reprehensible performance as Rebecca Falcone, a causation lawyer who helps Tommy skirt around the law during instances of legal discrepancy; it’s rare to see an eloquent, intelligent female character who is given the opportunity to represent the worst that capitalism has to offer. GivenSheridan’s ambitious plans for future seasons, it’s expected that these characters will continue to play prominent roles; despite being only briefly in the first season,Demi Mooreseems primed for a more significant part moving forward, particularly in the wake of the critical acclaim that she earned for her performance inThe Substance.
Sheridan has a brash, confrontational style of writingand has succeeded in crafting characters that don’t fit into the traditional molds of “heroes” and “villains.” While there aren’t many of his female characters that could be described as “role models,” the same could be said of many of his male protagonists, such as Alejandro (Benicio del Toro) inSicario, Tanner (Ben Foster) inHell or High Water, or even Tommy inLandman. Sheridan deserves praise for the roles he has given to his female actors; while it’s easy tojudge how they are written from afar, Sheridan has nonetheless created onscreen opportunities for women that would not have existed otherwise.
