Name-drop Taylor Sheridan online and you're bound to get a chorus of jokes about cowboys and shows your dad watches from his non-fans. His series like “Yellowstone,” “Mayor of Kingstown,” and “Tulsa King” are often punching bags for critics, too, who love to crack wise about their oats opera storylines and pedestrian tough guy antics . They also tend to do gangbusters business in terms of viewership, presenting themselves as a Middle-American alternative to HBO's high-art prestige dramas or the nerdy franchises that tend to dominate discourse around the water cooler. (Water cooler chats are still an actual thing we do, right?) NOW PLAYING A major part of the reason people tend to have uniform opinions about Sheridan's TV series is that he writes most of them almost completely by himself. But that wasn't his original intention back when the “Veronica Mars” and “Sons of Anarchy” alum stepped away from acting to focus exclusively on working behind the camera. “The plan was I would Greg Berlanti it,” Sheridan told The Hollywood Reporter , alluding to the chief creative who oversaw The CW's now-defunct DC television universe ( also known as the Arrowverse ). “I would write, cast and direct the pilots, and then we would bring in someone as a showrunner to run a writers room and I could check in and guide them.” So, what changed? “That plan failed,” he said. “There were some things that none of us foresaw.” ‘So for me, writers rooms, they haven't worked' The notion that an individual writer can pen an entire show and maintain quality control is one that greedy studios have been all too eager to endorse in the streaming era. But collaboration has always been the name of the game when it comes to writing half-decent television, no matter how much we might sing the praises of any individual storyteller. (For example, as “Buffy the Vampire Slayer” fans would gladly tell you, there was always more to the show than Joss Whedon.) In fact, studios attempting to cut down on costs by hiring as few writers for as little […]
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