There’s a buzz around the new season of Landman, a show created by Taylor Sheridan. In a memorable moment, a teenage character, Ainsley, casually informs her father that her boyfriend can “come anywhere on me” without the worry of pregnancy. Yes, she really said that.
Despite its strange dialogue, Landman became popular on Paramount+ in late 2024. It follows Tommy Norris, played by Billy Bob Thornton, a fixer for oil companies navigating a world filled with energy debates. The show is a mix of drama and the controversial culture surrounding fossil fuels. While some viewers find the pro-oil narrative hard to stomach, Thornton’s charm and a hint of romance keep audiences coming back.
As Season 2 kicks off, we see familiar faces like Demi Moore, but it feels like the show has deteriorated in quality—especially when focusing on the characters of Ainsley and her mother Angela, who often come off as shallow and silly. Their antics were intended to be humorous but often miss the mark.
In an engaging campus scene, Ainsley argues with an admissions officer named Greta. Her defense for wanting to attend Texas Christian University is lost in a bizarre mix of naivety and privilege. Greta’s disdain for Ainsley’s comments hints at a deeper commentary on class and societal values. This dynamic reflects a recurring theme in Landman—the clash between the uninformed and those who see through their facade.
The show’s writing seems to struggle with its portrayal of women, particularly in the portrayal of Ainsley and Angela. Critics note that Ainsley’s character often feels two-dimensional, overshadowing stronger female roles. Characters like Cooper’s girlfriend, who grapples with her family’s wealth and a widow dealing with the aftermath of her husband’s death, are far more compelling.
This pattern isn’t just a quirk of storytelling but a reflection of the broader social conversations happening today. A recent survey showed that many TV viewers are calling for more authentic representation of women’s experiences. People want characters who are complex and relatable, rather than just comic relief or stereotypes.
As Landman continues, it invites us to question where it fits into the broader landscape of modern television. With its mix of humor, drama, and social criticism, it both entertains and provokes thought—albeit not always successfully.
For more on the show’s themes and societal critiques, you can check out this article from The New Republic.
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