Tópico oficial Série Yellowstone e derivadas

[dk120]

Ainda não consegui me recuperar do final de 1883.

 

[November]

'THE MADISON' RENOVADA PARA 2ª TEMPORADA

A série nem estreou e já tem outra temporada engatilhada.
Sheridan tem carta branca a hora que ele quiser.

Taylor Sheridan’s New Yellowstone Spinoff Renewed for Season 2 in Surprise Early Move

The Madison is coming soon.

screenrant.com

 

[November]

Há alguns dias, eu postei sobre uma outra possível derivada de Yellowstone chamada Rio Palo, mas não é isso.
O que estavam gravando é a derivada com Rip e a Beth que ainda não tem nome.

Studio Shuts Down Rumors About ‘Yellowstone’ Spinoff Filming in Texas—It’s Not ‘Rio Palo’

A representative from 101 Studios cleared the air.

www.countryliving.com

 

[November]

Teaser de Y: Marshals

 

[Bloodstained]

Taylor Sheridan is Leaving Paramount for Universal — The King of Yellowstone Finds a New Home​

Taylor Sheridan is moving to a new creative home with Universal.

For years, Taylor Sheridan has been the driving force behind Paramount’s streaming success. The writer, director, and showrunner behind Yellowstone built an empire of hit series that practically defined the Paramount brand. From 1883 and 1923 to Mayor of Kingstown, Lioness, Landman, and Tulsa King, Sheridan’s name became synonymous with modern prestige television — a rare combination of critical praise and middle-America appeal.

So when news broke that Sheridan is taking his talents to Universal under Donna Langley, the industry took notice. Paramount just lost its MVP.

The Crown Jewel of Paramount​

Sheridan’s breakout came with Yellowstone, which became a cultural juggernaut and, for several years, the most-watched scripted series on U.S. television. Its success spawned a sprawling interconnected universe of spinoffs that not only kept Paramount Network relevant but also gave Paramount+ its most consistent audience.

While the rest of Hollywood struggled to make streaming profitable, Sheridan’s storytelling — rugged, cinematic, and grounded in Americana — kept viewers subscribing. In many ways, he was the sole architect keeping Paramount+ competitive against Disney+, Netflix, and Amazon Prime Video.

Why Paramount Let Him Go​

So why would Paramount ever let go of the creator who built their biggest franchise? According to Puck News, Sheridan’s key allies at Paramount were casualties of the recent Skydance merger. With leadership changes, his internal support system evaporated.

Even more importantly, Sheridan’s shows are notoriously expensive. While they deliver results, their production budgets strain a studio already tightening its belt. Paramount, fresh from merging with Skydance, seems focused on broad cost realignment — and on a new strategy centered on acquiring proven library content. Executives reportedly see more value in securing legendary HBO titles such as The Sopranos, The Wire, and Game of Thrones (as part of a possible Warner catalog acquisition) than in funding the next high-cost frontier drama.

Would Sheridan compromise his creative control to make cheaper shows? That’s unlikely — and that’s exactly why he’s moving on.

Universal Understands Sheridan’s Value​

For Universal, the signing is a strategic masterstroke. Peacock already benefits from streaming rights to Yellowstone, the very show that made Sheridan a household name. Bringing the man himself into the fold transforms that licensing win into a long-term content strategy.

Donna Langley and the Universal team clearly see what Paramount just gave up: a proven world-builder who commands loyalty from millions of viewers. Sheridan’s audience skews broad, rural, and multigenerational — precisely the demographic Peacock needs to grow beyond its niche comedies and reality shows. Expect Universal to build a new prestige-drama ecosystem around Sheridan’s next creations, using his storytelling to give Peacock the kind of backbone that his shows once gave Paramount+.

Paramount’s New Strategy​

The timing of Sheridan’s exit coincides with a fresh wave of Paramount signings. The studio recently secured Stranger Things creators Matt and Ross Duffer in a surprise deal that lured them away from Netflix. Coupled with other agreements involving South Park creators Trey Parker and Matt Stone, Paramount appears to be leaning on pre-established universes and legacy names rather than high-budget original auteurs.

It’s a practical move for a company positioning itself for the next phase of streaming consolidation. Sheridan’s prestige westerns may be gone, but Paramount is betting that nostalgia and established IP will provide steadier footing as it negotiates its future.

The Bigger Picture​

Sheridan’s departure marks a seismic shift in Hollywood’s streaming landscape. It illustrates how volatile the business has become — even the most successful creators can feel expendable when mergers and margins collide. For Sheridan, Universal offers a new frontier: deeper pockets, broader distribution, and an executive team eager to make Peacock more than an afterthought.

For Paramount, it’s a gamble. The studio is trading the visionary who built its brand for the hope that corporate synergy and content acquisition can fill the gap.

Hollywood consolidation is far from over, and Sheridan’s move may be the first domino to fall in a new era of realignment. Whether Paramount’s new direction pays off or Universal’s bold play brings home the prize, audiences will be watching — quite literally — to see which strategy wins.


Fonte

 

[olifante666]

Taylor Sheridan is Leaving Paramount for Universal — The King of Yellowstone Finds a New Home​

Taylor Sheridan is moving to a new creative home with Universal.

For years, Taylor Sheridan has been the driving force behind Paramount’s streaming success. The writer, director, and showrunner behind Yellowstone built an empire of hit series that practically defined the Paramount brand. From 1883 and 1923 to Mayor of Kingstown, Lioness, Landman, and Tulsa King, Sheridan’s name became synonymous with modern prestige television — a rare combination of critical praise and middle-America appeal.

So when news broke that Sheridan is taking his talents to Universal under Donna Langley, the industry took notice. Paramount just lost its MVP.

The Crown Jewel of Paramount​

Sheridan’s breakout came with Yellowstone, which became a cultural juggernaut and, for several years, the most-watched scripted series on U.S. television. Its success spawned a sprawling interconnected universe of spinoffs that not only kept Paramount Network relevant but also gave Paramount+ its most consistent audience.

While the rest of Hollywood struggled to make streaming profitable, Sheridan’s storytelling — rugged, cinematic, and grounded in Americana — kept viewers subscribing. In many ways, he was the sole architect keeping Paramount+ competitive against Disney+, Netflix, and Amazon Prime Video.

Why Paramount Let Him Go​

So why would Paramount ever let go of the creator who built their biggest franchise? According to Puck News, Sheridan’s key allies at Paramount were casualties of the recent Skydance merger. With leadership changes, his internal support system evaporated.

Even more importantly, Sheridan’s shows are notoriously expensive. While they deliver results, their production budgets strain a studio already tightening its belt. Paramount, fresh from merging with Skydance, seems focused on broad cost realignment — and on a new strategy centered on acquiring proven library content. Executives reportedly see more value in securing legendary HBO titles such as The Sopranos, The Wire, and Game of Thrones (as part of a possible Warner catalog acquisition) than in funding the next high-cost frontier drama.

Would Sheridan compromise his creative control to make cheaper shows? That’s unlikely — and that’s exactly why he’s moving on.

Universal Understands Sheridan’s Value​

For Universal, the signing is a strategic masterstroke. Peacock already benefits from streaming rights to Yellowstone, the very show that made Sheridan a household name. Bringing the man himself into the fold transforms that licensing win into a long-term content strategy.

Donna Langley and the Universal team clearly see what Paramount just gave up: a proven world-builder who commands loyalty from millions of viewers. Sheridan’s audience skews broad, rural, and multigenerational — precisely the demographic Peacock needs to grow beyond its niche comedies and reality shows. Expect Universal to build a new prestige-drama ecosystem around Sheridan’s next creations, using his storytelling to give Peacock the kind of backbone that his shows once gave Paramount+.

Paramount’s New Strategy​

The timing of Sheridan’s exit coincides with a fresh wave of Paramount signings. The studio recently secured Stranger Things creators Matt and Ross Duffer in a surprise deal that lured them away from Netflix. Coupled with other agreements involving South Park creators Trey Parker and Matt Stone, Paramount appears to be leaning on pre-established universes and legacy names rather than high-budget original auteurs.

It’s a practical move for a company positioning itself for the next phase of streaming consolidation. Sheridan’s prestige westerns may be gone, but Paramount is betting that nostalgia and established IP will provide steadier footing as it negotiates its future.

The Bigger Picture​

Sheridan’s departure marks a seismic shift in Hollywood’s streaming landscape. It illustrates how volatile the business has become — even the most successful creators can feel expendable when mergers and margins collide. For Sheridan, Universal offers a new frontier: deeper pockets, broader distribution, and an executive team eager to make Peacock more than an afterthought.

For Paramount, it’s a gamble. The studio is trading the visionary who built its brand for the hope that corporate synergy and content acquisition can fill the gap.

Hollywood consolidation is far from over, and Sheridan’s move may be the first domino to fall in a new era of realignment. Whether Paramount’s new direction pays off or Universal’s bold play brings home the prize, audiences will be watching — quite literally — to see which strategy wins.


Fonte

Eita...
Agora saber como ficam as propriedades que ele possui na Paramount... seguem sem ele?
Ou ele sendo o criador poderia levar as séries dele junto?
Isso dos Duffer irem para a Paramount eu não sabia. Só que resta ver se eles conseguem emplacar outro sucesso como o Stranger Things, os criadores do Dark que eram super elogiados tentaram e falharam.

 

[November]

A notícia não fala quando se dará essa transição; quando ele vai para a Universal.
Quando ele trocar de casa, em qual streaming as futuras séries dele seriam exibidas aqui no Brasil? Universal tem streaming aqui?
Achei que a Paramount não largaria o Sheridan de jeito nenhum.
Golaço da Universal.

 

[Bloodstained]

Eita...
Agora saber como ficam as propriedades que ele possui na Paramount... seguem sem ele?
Ou ele sendo o criador poderia levar as séries dele junto?
Isso dos Duffer irem para a Paramount eu não sabia. Só que resta ver se eles conseguem emplacar outro sucesso como o Stranger Things, os criadores do Dark que eram super elogiados tentaram e falharam.

Acho que, nesse caso, o cenário mais crível seria ele encerrar todos seus trabalhos ligados à Paramount. Até poderiam tentar levar as séries adiante sem ele, mas não seria a mesma coisa e a audiência não tardaria para perceber.

Devido aos direitos contratuais de distribuição e exibição, acho improvável que haja a possibilidade das séries "migrarem" da Paramount para a Universal. Até acredito que um novo Sheridanverso será estabelecido na Universal, mas ele deverá ser iniciado do zero, assim como aconteceu na Paramount.

Acho que, no devido tempo, mais detalhes sobre a "nova casa" de Sheridan serão liberados. Até lá, as coisas deverão permanecer meio nebulosas, infelizmente.

 

[Bloodstained]

Why Taylor Sheridan Left Paramount — David Ellison Reportedly Didn’t Want Him, Paramount Never Made a Counter Offer​

Paramount just let the most valuable creator in television walk out the door. And if the latest reporting is any indication, the Taylor Sheridan David Ellison relationship was over before it ever had a chance to begin.

According to The Hollywood Reporter, as NBCUniversal rolled out a deal worth as much as $1 billion for Taylor Sheridan, Paramount — under new boss David Ellison — didn’t even counter. Sources tell THR that Paramount never made an offer to keep the man behind Yellowstone, 1923, Tulsa King, and Lioness, despite Sheridan being the backbone of its streaming growth.

Why? Ego. Control. And a corporate attitude that seems straight out of the “we know better” playbook.

Sheridan Felt Paramount Didn’t Have His Back​

Sheridan reportedly grew frustrated long before the Skydance takeover. THR notes the studio rejected his film script Capture the Flag and tangled over his film F.A.S.T. when Warner Bros. came calling. Add in scheduling conflicts created without warning, and Sheridan’s patience reportedly ran out.

Even Paramount’s “save the relationship” moment — renewing Lioness for a third season — came too late.

And Then Came the Meeting That Sealed It…​

Paramount leadership flew to Sheridan’s Texas ranch to reassure him after the merger, and the early feeling was positive — even a little boozy. One exec told a source they “couldn’t keep up with him” as Sheridan poured drinks. But a source in Sheridan’s camp summed up the disconnect.

“It wasn’t a bad meeting,” the source said. “They should’ve come with three people — Ellison and two others — and then sat down and really tried to connect with Taylor. That would’ve meant a lot.”

Instead, Ellison’s team arrived like a boardroom on wheels — something Sheridan reportedly hated.

Ellison Didn’t Want to Share Power​

THR’s reporting makes it clear: Ellison wasn’t eager to share control.

One source put it bluntly, saying: “[Sheridan] was running the asylum” that was Paramount+” They followed up by noting: “Ellison wants to run the show and he can’t with Sheridan there.”

Another source suggested the new leadership simply didn’t want to deal with Sheridan’s autonomy.

“My guess is Cindy [Holland], who’s an adult, started asking some questions and David Glasser and Taylor and were like, ‘We don’t need anything questioned when we have these other suitors.’ All their former contacts at Paramount were fired. They were getting away with a lot.”

“All agree Paramount never actually made an offer to lock down Sheridan,” THR said.

In other words, Paramount didn’t lose Sheridan. They let him go.

Meanwhile, NBCUniversal Played It Cool — And Won Big​

NBCUniversal’s Donna Langley reportedly wooed Sheridan quietly and steadily, becoming what THR called the “Sheridan Whisperer.” And unlike Paramount, she listened. Result? Sheridan signed one of the richest TV deals in history — and Paramount is left scrambling to explain why it didn’t fight.

Final Word​

Taylor Sheridan didn’t jump — he was practically shown the door by David Ellison. In an industry where content is king, Paramount just let the ranch hand who built their empire ride off into the sunset… and Ellison barely tipped his hat.

If that’s the new corporate strategy, viewers — and investors — might want to saddle up for a bumpy trail ahead.


Fonte

 

[Shinigami Slash]

Why Taylor Sheridan Left Paramount — David Ellison Reportedly Didn’t Want Him, Paramount Never Made a Counter Offer

Muita preocupação a toa, Taylor erra muito e não parece fácil de trabalhar junto.

 

[Bloodstained]

Five Key Taylor Sheridan Shows Face Uncertainty At Paramount Amid $1 Billion Move To NBCUniversal​

Paramount Global’s merger with Skydance sounded like the most perfect marriage in Hollywood in a long time, as Taylor Sheridan’s excellent creative track record found almost unlimited funding in David Ellison’s deep pockets. Shockingly, it has heralded the end of an era as Hollywood’s biggest TV deal is set to end when Sheridan leaves Paramount at the end of his current contract in 2028.

Fans of Sheridan’s hit shows also have a lot more to be worried about, as the latest reports point at a major fallout between Sheridan and the new management that has put the fates of multiple announced Yellowstone spinoffs and other of his shows in limbo.

Major changes were expected at Paramount Pictures after the merger with David Ellison’s Skydance in August 2025. However, news of Sheridan’s planned exit still came as a shock, especially after David Ellisson himself publicly praised the Yellowstone writer and committed to keeping him at the company.

According to reports, despite initial efforts to woo Sheridan, Ellison’s team had a clash of heads with the creator. From planning the cancellation of one of his signature shows over budget concerns to outrightly removing another one from the calendar, Paramount Skydance started a thorough clamp-down on the Sheridan-verse, starting with the rejection of his script for a Capture the Flag feature film.

Just three months into the new regime, and with up to 14 projects still in the pipeline, it has been confirmed that the Yellowstone creator has agreed to a new TV deal with NBCUniversal, set to commence in January 2029. Sheridan, therefore, has just over 36 months to wrap his vision of every show in the Sheridan-verse at Paramount, which is an uphill task considering the large number of shows he has put in the works over the years.

While details are still scanty, the first Taylor Sheridan show on the chopping block seems to be The Correspondent, a war drama that was slated for 2027, which the new management has chopped off the calendar, according to Deadline.

The lucrative Yellowstone universe isn’t free from trouble either, since the second on the chopping block is most likely 6666 — the Yellowstone sequel that has been in development hell since its announcement in 2022. It was set to continue Jefferson White’s story from the flagship series, with a snippet of the ranch appearing in the final episode of Yellowstone. Sheridan now owns the real-life Four Sixes Ranch, where the show was set to take place, making its continuity without his input almost impossible.

In a 2023 interview with THR, he said the show had to be delayed as he worked around the logistics of accommodating its filming alongside the ranch’s day-to-day running. With no script, cast, or release date as of yet, if a solution isn’t found in the next three years, the show’s fate seems sealed since both Sheridan and 101 Studios, which does most of the filming for his shows, are set to make the move to NBCUniversal.

The only incomplete Yellowstone prequel, 1944, is also in limbo as no progress has been made on its production since it was announced. This one has no major hurdles, though, since Sheridan has no personal attachment besides the writing, which could always be done by someone else.

Taylor Sheridan’s strict hands-on policy with all his shows means that he develops a strong relationship with his cast and often chooses the star before penning the script. He has managed to attract some of Hollywood’s biggest stars to his projects, including Kevin Costner, Kelly Reilly, Sylvester Stallone, Helen Mirren, and Henry Ford, a feat the new management might struggle to accomplish without him. It is therefore unclear if some of the surviving characters from 1923, including Brandon Sklenar, will return for 1944.

He also shared a close relationship with Cole Hauser and Kelly Reilly, who are the leads of the upcoming Yellowstone spinoff with the working title of Dutton Ranch. Whether his exit affects the show’s continuity remains to be seen after the show’s premiere in 2026, although the first season, which is already in production, is unlikely to be affected. The same goes for the first seasons of Y-Marshals and The Madison, the two other Yellowstone spinoffs in production.

Outside Yellowstone-verse, Lioness, the Taylor Sheridan spy thriller starring Zoe Saldaña and Nicole Kidman, is also in danger of a scheduling crisis despite being renewed for a third season in August 2025.

The new Paramount Pictures management struck a deal for a new Nicole Kidman-led show behind Sheridan’s back despite the renewal, resulting in another Kevin-Costner-style scheduling conflict that could see the third season pushed back, which could never be good news for the show, especially with Sheridan’s tight schedule.

Sheridan has written all 16 episodes of the show’s first two seasons, which explains his disappointment with being sidelined. There has been no official confirmation of the show being in danger of delay, though. His departure is also likely to affect the continuity of his new hit show, Landman, which has been widely seen as the successor to Yellowstone.

It is currently in its second season and was highly anticipated to get a third season, especially after the first season became an instant hit on Paramount+. Sheridan has full creative control of the show, having secured the rights to the original podcast, Boomtown, on which the show is based, before writing a script specifically for Billy Bob Thornton.

Having won Thornton’s trust and written all of the show’s 20 episodes, its future without Sheridan looks bleak. The show’s only hope of continuity is if it gets a fast-tracked renewal that puts it on the calendar before Sheridan’s December 2028 exit.

Sheridan had largely ceded creative control of Tulsa King, the Sylvester Stallone-led mafia drama, to Terrence Winter. The show is currently in its third season and is unlikely to be affected by Sheridan’s exit. Its New Orleans-set spinoff, NOLA King, set to feature Samuel L. Jackson in the lead role, will likely go ahead without a hitch, as well, since the first season is likely to be finished before Sheridan’s exit.

The same goes for Mayor of Kingstown, currently in its fourth season, for which Sheridan’s last hands-on involvement was writing the first episode of Season 2.

The prolific writer played a big role in turning Paramount into a major competitor in the TV and streaming industry. Starting with Yellowstone in 2018, the Sheridan-verse has had an unprecedented impact on the golden age of TV.

At its peak, the western hit a record 16 million live viewers on Paramount and its sister networks, breaking a cable TV record set by The Walking Dead back in 2017. Paramount+; therefore, it owes a large portion of its 79 million paid subscriber base to Sheridan’s creative genius.

Sheridan’s exit doesn’t exactly mean the death of his popular franchises at Paramount, though, since the network retains ownership of all the IPs. Yellowstone, Landman, Tulsa King, Lawmen, and any other shows Sheridan writes before his exit will therefore continue under the new management.

According to reports, some higher-ups at the company feel they have parted ways with Sheridan at his peak, retaining his most valuable creations, although that remains to be seen when Sheridan starts a new line of projects at NBCUniversal.


Fonte

Muita preocupação a toa, Taylor erra muito e não parece fácil de trabalhar junto.

Via de regra, a maior parte dos showrunners de Hollywood são um bando de cuzões. Quantas propriedades intelectuais esses putos já arruinaram por conta de seu egos inflados?

De qualquer forma, Sheridan acerta mais do que erra. Graças a isso, a Paramount usufruiu de uma boa audiência (e também de um bom lucro) com as séries que ele capitaneava. Imagino que vão dar continuidade à essas séries. Resta saber se vão conseguir manter a qualidade sem a escrita de Sheridan.

 

[Mustafa90]

Aproveitei um vôo pra assistir 1923. Por sorte faltou os dois últimos episódios da primeira temporada, então não precisei assistir os fetiches do Sheridan com a pessoa da poltrona ao lado.


A primeira temporada foi muito boa, a segunda foi enrolada e sem pé nem cabeça. É tanta desgraça que nem dá vontade de continuar assistindo. O arco do Spencer foi o único motivo pra querer terminar. Eu sei que é 1923, mas não tem como tanta coisa dar errada, e o problema é que é aquele jeitão feito nas coxas, uma m**** leva diretamente a outra, o roteiro é péssimo.

O final da Alex é patético, jamais poderia ter sido desse jeito. É burro e preguiçoso.

A série tem todos os problemas de Yellowstone (que eu inclusive abandonei) com o agravante do pornozão sadomasoquista completamente desnecessário.

Não dá vontade alguma de assistir todos esses spin-offs, com certeza vão ser cópia cola.

 

[borogodo]

ql a ordewm?

 

[borogodo]

As três terminaram?

 

[olifante666]

ql a ordewm?

Se for pela cronologia
1883 - 1923 - Yellowstone

Se for por lançcamento
Yellowstone - 1883 - 1923

As três terminaram?

Sim

 

[Mustafa90]

 

[November]

Saiu o teaser de The Madison.

Estreia 14 de março.

Curioso que a primeira temporada só vai ter 6 episódios, mesmo a série já estando renovada pra segunda.
Será que os episódios terão mais ou menos duração de um filme?

 

[MobiusRJ]

Sério q vcs acreditam msm q o Sheridan tem tempo para fazer essas séries todas?

Na melhor das hipóteses ele tá envolvido diretamente em uma e o resto ele tem uma ideia q escreveu em um guardanapo e manda para uma meia duzia de roteirista e produtor dar prosseguimento.

E como falaram, ele erra mais do q acerta.

 

[November]

Começa hoje, galera.

Lembrando que não tem dedo do Sheridan. Ele é só produtor executivo.
Parece que roteirista já foi fuzileiro naval.

 

[November]

Muito água de chuchu esse primeiro episódio de Marshals.
Parece uma série policial comum de segunda classe.

Spoiler

Mataram a Monica, personagem mais chata de Yellowstone!
Admito que fiquei surpreendido.
Acho que o Sheridan deu sinal verde pra isso porque a personagem é tão insossa, que ele viu que não teria futuro nenhum.

 

[Shinigami Slash]

Muito água de chuchu esse primeiro episódio de Marshals.
Parece uma série policial comum de segunda classe.

Spoiler

Mataram a Monica, personagem mais chata de Yellowstone!
Admito que fiquei surpreendido.
Acho que o Sheridan deu sinal verde pra isso porque a personagem é tão insossa, que ele viu que não teria futuro nenhum.

Spoiler

Talvez a atriz simplesmente não quisesse trabalhar nessa série também.

 

[EgonRunner]

Muito água de chuchu esse primeiro episódio de Marshals.
Parece uma série policial comum de segunda classe.

Spoiler

Mataram a Monica, personagem mais chata de Yellowstone!
Admito que fiquei surpreendido.
Acho que o Sheridan deu sinal verde pra isso porque a personagem é tão insossa, que ele viu que não teria futuro nenhum.

esse spoier aumentou meu interesse em assistir de 0,000001 para 0,000002.

 

[Cristiano Murta]

Asssiti ao EP 1, vou passar essa série.

 

[summoner857]

Spoiler: Spoiler

MATARAM A MONICA, IIIIIHUUUUUUL

 

[November]

Pessoal, já estão nos sete mares os três episódios iniciais da primeira temporada de The Madison.
Já foi noticiado que ela NÃO será parte da universo Yellowstone.
Pude assistir aos três episódios. Preparem-se para aquele novelão.
Lembrando que ela terá duas temporadas.

 

[November]

Finalmente, um teaser de Dutton Ranch.
Estreia em 15 de maio.

 

[EgonRunner]

Finalmente, um teaser de Dutton Ranch.
Estreia em 15 de maio.

me chamou a atenção positivamente, vou assistir.

 

[Cristiano Murta]

Finalmente, um teaser de Dutton Ranch.
Estreia em 15 de maio.

Tomei um ranço desta personagem que a chande de eu assistir vai depender dos coments aqui.

 

[summoner857]

Na moral?
Para as series do presente, só vou voltar a ficar animado se realmente o Matthew Mcconaughey, assumir o protagonismo, sendo um primo de alguma linhagem do Spencer ou Jake Dutton, para recuperar Yellowstone para a família. Só assim vou ficar realmente hypado.
Por hora, só estou ansioso para a continuação do 1923, com o Spencer botando ordem na coisa. Pois honestamente, a geração atual do John e seus filhos problemáticos não chegam aos pés dos seus antepassados.

 

[Cristiano Murta]

Pessoal, já estão nos sete mares os três episódios iniciais da primeira temporada de The Madison.
Já foi noticiado que ela NÃO será parte da universo Yellowstone.
Pude assistir aos três episódios. Preparem-se para aquele novelão.
Lembrando que ela terá duas temporadas.

Série estranha, meio sem noção, a locação fora da NY é espetacular, lugar lindo demais. Personagem da Michelle mega urbana de repente se torna uma pessoa que parece que nasceu ali, cenas de nudez que não agregam em nada a série, esse Taylor é taradaço por mulher sem bunda kkkkk, vi os 6 eps em um terço do tempo porque o forward do controle nunca foi tão acionado em uma série.

Nota 4 pela paisagem rural.

 

[November]

Série estranha, meio sem noção, a locação fora da NY é espetacular, lugar lindo demais. Personagem da Michelle mega urbana de repente se torna uma pessoa que parece que nasceu ali, cenas de nudez que não agregam em nada a série, esse Taylor é taradaço por mulher sem bunda kkkkk, vi os 6 eps em um terço do tempo porque o forward do controle nunca foi tão acionado em uma série.

Nota 4 pela paisagem rural.

Nada me tira da cabeça que Sheridan é viciado em sexo.
Não tem jeito. Toda série dele tem que ter apelação sexual.

E a série não vai pra lugar nenhum. Parece que é só uma caça-níquel.
As cenas das paisagens são estonteantes mesmo e elevam a qualidade da série.
Inclusive, acho que só assisti a ela por inteira por causa da beleza da fotografia.
Essa série não tem NADA!
Por isso que soltaram três episódios num sábado e os três finais no outro sábado.

 

[Bloodstained]

​

 

[olifante666]

​

Gosto muito dos personagens e dos atores.
Eles não tem culpa pelas cagadas do Kevin Costner, espero que esta série seja tão boa quanto Yellowstone no auge.

 

[Bloodstained]

Gosto muito dos personagens e dos atores.
Eles não tem culpa pelas cagadas do Kevin Costner, espero que esta série seja tão boa quanto Yellowstone no auge.

Pelo trailer, parece seguir de perto o "estilão" de Yellowstone (bem mais que Marshalls, ao menos). Sem contar que estão focando em dois dos personagens mais populares da série original... Se não errarem a mão no roteiro, pode estar vindo algo bom por aí.

 

[Bloodstained]

​