‘Tulsa King’ Is a Rickety Star Vehicle for Sylvester Stallone: TV Review

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‘Tulsa King’ Is a Rickety Star Vehicle for Sylvester Stallone: TV Review
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“Tulsa King,” the new Paramount+ drama created by Taylor Sheridan and Terence Winter, is entirely too conventional and workmanlike to be a remarkable series. And yet it is remarkable – and oddly fa…

and Terence Winter, is entirely too conventional and workmanlike to be a remarkable series. And yet it is remarkable – and oddly fascinating – for a couple of reasons.

In “Tulsa King,” Stallone inhabits a role clearly conceived with him in mind, and it makes all the difference. “Tulsa King” is a clumsy misfire, but when the show works, it works precisely because of Stallone’s charming, if characteristically mannered, performance. Stallone’s range is as compact as ever, but he navigates it with the precision of a contortionist trapped in a box. “Tulsa King” isn’t a great show with him, but it would be far less interesting without him.

Chickie tells Dwight there’s no longer room for him in the New York organization. His only option is to accept a new assignment: establishing a foothold in Oklahoma’s second-largest city despite having never set foot there. In Tulsa, he’ll be faced with the dual challenge of decoding a new business environment while acclimating to a world different from the one he left behind. Perhaps there is some country for old men after all, and Dwight is determined to seize it.

Presumably Dwight’s second act won’t always be quite this smooth, but there’s not much in the two episodes screened for critics that signal roadbumps ahead. The episodes are more interested in calibrating Dwight as a criminal antihero with a refined moral code so as to prevent the audience from turning on him.

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