, Mafia man Dwight Manfredi leaves prison after a 25-year stint to what he thinks will be a hero's welcome in New York, only to find himself banished to Tulsa. It seems that nobody moves to Tulsa of their own free will. Manfredi is played by Sylvester Stallone, and the show follows him as he sets up his own branch of the family crime business in this unfamiliar city. One of the writers, Terence Winter, has The Sopranos and Boardwalk Empire on his CV, but this show is to The Sopranos what Paw Patrol is to the works of David Attenborough. It's knockabout stuff, as Manfredi touches down in Tulsa and spots a medical marijuana dispensary on his drive from the airport, staffed by a hopeless hippie with white dreadlocks. Within minutes, Manfredi has taken over its running, after first establishing his role by knocking the security out cold with a tyre iron. None of the violence is meant to be taken remotely seriously, particularly as it's being carried out by a septuagenarian. The script does acknowledge Stallone's age, but only after his character has bedded an attractive younger woman who mistakes him for being 55. 'This is not an age gap, it's an age canyon,' she says, appalled. But the implication is that Stallone has still got what it takes with the ladies; he picked up this woman after taking her to a strip club (the ladies love that!) and she tells him afterwards that he was great.){kind=link}
The makers of the lighthearted Paramount+ series may have worked on Boardwalk Empire, but this show can’t rise above its basic dialogue
What is it about Tulsa, Oklahoma? In an episode of Friends, Chandler fell asleep in a meeting and accidentally accepted an offer to move there. In Tulsa King (Paramount+), Mafia man Dwight Manfredi leaves prison after a 25-year stint to what he thinks will be a hero’s welcome in New York, only to find himself banished to Tulsa. It seems that nobody moves to Tulsa of their own free will.
Manfredi is played by Sylvester Stallone, and the show follows him as he sets up his own branch of the family crime business in this unfamiliar city. One of the writers, Terence Winter, has The Sopranos and Boardwalk Empire on his CV, but this show is to The Sopranos what Paw Patrol is to the works of David Attenborough.
It’s knockabout stuff, as Manfredi touches down in Tulsa and spots a medical marijuana dispensary on his drive from the airport, staffed by a hopeless hippie with white dreadlocks. Within minutes, Manfredi has taken over its running, after first establishing his role by knocking the security out cold with a tyre iron. None of the violence is meant to be taken remotely seriously, particularly as it’s being carried out by a septuagenarian.
The script does acknowledge Stallone’s age, but only after his character has bedded an attractive younger woman who mistakes him for being 55. “This is not an age gap, it’s an age canyon,” she says, appalled. But the implication is that Stallone has still got what it takes with the ladies; he picked up this woman after taking her to a strip club (the ladies love that!) and she tells him afterwards that he was great.