泰勒·谢里丹（Taylor Sheridan）在2010年代成为美国电影院新西方复兴的主要声音之一，为撰写剧本西卡里奥and its sequel,Sicario：Soldado的日子， 和地狱或高水，，，，for which he was nominated for an Oscar. In 2017 he wrote and directed the noirish neo-WesternWind River，，，，and just last year, he wrote and directed the Angelina Jolie survival thriller,Those Who Wish Me Dead。他还创建了黄石television franchise, which has turned him into not just a successful filmmaker, but a super-producer.
团结的谢里登（Sheridan）的作品是三件事：1）铸造乔恩·伯纳特（Jon Bernthal），不可避免地杀死了他的性格；2）他的新诺伊尔和新西方类型元素的标志性混合；3）对美国的描述，同时又是对这个国家的权力制度的愤世嫉俗的描述。泰勒·谢里丹（Taylor Sheridan）的美国人是牛仔和印第安人，腐败的银行，弯曲的警察以及普遍的绝望感。
地狱或高水is still Sheridan’s best script, and it features a scene I think about a lot, in which a local banker, Billy (Justifiedalumnus Kevin Rankin), explains exactly how down-on-their-luck brothers Toby (Chris Pine) and Tanner (Ben Foster) can rob casinos and bank the money in a protected trust to save their family ranch. Billy’s reason for doing this is his distaste for the dirty tactics the bank used to try and leverage Toby and Tanner’s family home away from them—just on the brink of oil drilling commencing, which would bring money向财产的所有者。
Self-reliance is a major theme in Sheridan’s work, whether it’s settlers in the Old West or a couple of good old boys trying to get by the in 21st century, but Sheridan’s vision of self-reliance isn’t pure “pull yourself up by your bootstraps” propaganda because he always acknowledges the systems stacked against his protagonists. In地狱或高水，，，，it’s the banking industry, and people using the bank to try and steal valuable land out from under the subsistence farmers that have worked that land for years. InWind River，他意识到，白人和土著居民在保留区域的边界之间存在差距，以及在这些地区困扰采矿和钻探行动的问题，并有大量的瞬态劳动力，这使得解决犯罪问题变得困难。并在黄石，，，，in which his central protagonists are wealthy, we see how the Duttons, with their large ranch and fingers in many pies, serve to disadvantage those around them. The Duttons are a symbol of Sheridan’s self-reliance, building generational wealth through hard work—and land theft—but they’re also the warning, that they only got there, and stay there, by exploiting the very crooked systems Sheridan laments.
I don’t want to reduce an entire body of work to the red state/blue state political binary, but because Sheridan focuses so often on ranchers and the people occupying the margins of the new West, there is a tendency to dismiss his work as “rare” Hollywood conservatism, but his work is more complex and just plain grumpier than that. If anything, Sheridan’s work has a kind of Gen X “everything sucks” vibe, but he rejects the follow-up sentiment of “there’s no point in doing anything”. In Sheridan’s world, you can always do something. You can lie, cheat, and/or steal—or even kill—your way to your goals. His work is pro self-reliance by way of “do crimes”, though he’s not naïve, there is always a cost for crossing that line in Sheridan’s world. Sometimes, his crooks get away with it, but they感受他们行动的道德体重。
返回地狱或高水贫困是沙里舞理想的最尖锐的蒸馏，是困扰家庭的疾病，但致力于“治愈”这种疾病的罪行的重量同样是不可避免的。黄石and its prequel,1883，也要清楚这一点。杜顿（Duttons）以牺牲他人为代价而变得富有，以牺牲他人为代价。他们还没有被推翻，因为没有人愿意比他们更肮脏。这是对美国的黯淡视野，表明个人可以小规模改变自己的情况。但是以杜顿代表的代表的美国不能以同样的方式颠覆，因为他们比任何人都更好地掌握了弯曲的游戏。这些系统被打破了，并且将保持破碎，而小的人能做的就是争夺他们可以抓住的东西而不唤醒美国上层阶级的沉睡熊，这实际上将使他们活着以维持力量。
这西卡里奥电影描述了类似的情绪，尽管他们在报应的暴力行为中陷入了太多的陷入困境。西卡里奥andSoldado的一天glorify extrajudicial justice, which is where Sheridan’s brand of self-reliance becomes messy.Wind Riveralso revels in extrajudicial violence, and while encouraging audiences to believe that white law enforcement will ever best serve Native America would be naïve, and Taylor Sheridan isn’t naïve, positing that a lone angry white man with a personal connection to the Native community can “get the job done” isn’t much better.
谢里登（Sheridan）对美洲原住民的描绘暴露了他的美国品牌中的盲点。他足够了解，可以掌握美国原住民围绕的一些问题 - 陆地，系统性的贫困，白色美国对土地和资源的剥削，失踪和被谋杀的土著妇女 - 但到目前为止，他尚未邀请一位本地电影制作人与他合作。他经常与同一位当地演员一起工作 - 吉尔·伯明翰（Gil Birmingham）地狱或高水，，，，Wind River， 和黄石- 但他并没有对那些角色表达平等的声音。黄石would only benefit from having Native voices involved in writing and/or directing episodes, but one thing about Sheridan, he seems to like his image as a lone wolf auteur, too busy with his Texas ranches to bother with Hollywood bullsh-t, to share creative space with other voices and admit, even tacitly, that he isn’t the master of every story. He no longer directs every episode of黄石，但他仍然非常控制该节目的损害。
(Also, Sheridan has cast Kelsey Asbille in a couple of projects now, including黄石where she plays one of the most prominent Native characters. Asbille主张东部乐队切诺基血统在她母亲的一边，但东部乐队切诺基部落有no record of herever being enrolled, or of anyone from her family being enrolled. Earlier in her career, she was credited as Kelsey Chow; since 2017, when she appeared as a Native woman inWind River，她被称为凯尔西·阿斯比尔（Kelsey Asbille）。鲍勃，看起来不好。）
泰勒·谢里丹的描述自力更生是有限公司mplicated by the boundaries set by systemic issues of poverty and race. His characters fit very much into the Western mold of self-reliant masters of their domain, but instead of portraying a string of heroes boot-strapping their way to victory, Sheridan populates his Western landscapes with liars and cheats, and the rich characters are the worst liars and cheats of them all. Sheridan’s work is steeped in cynicism, and it’s not so much conservative as it is bleakly accepting that the systems of power are too entrenched to change for the betterment of society. Instead, most people are left scrambling for scraps in the marginalia of modern American life, while wealthy people like the Duttons bear generations of sins to stay on top of the heap. There is no sense of celebration about this way of life, no sense that this is order is right and good, no sense that if we’re just patient enough, some of the Duttons’ wealth will trickle down to everyone else. There is only that which you can do for yourself, even if it means stealing or killing to get some of your own back—the true American way.
