Taylor Sheridan’s ‘Landman’ Takes Direct Aim at ‘The View’ in Scathing On-Screen Dialogue

In the ever-expanding television universe of writer-creator Taylor Sheridan, social and political commentary is often baked into the rugged landscapes and character-driven conflicts. But a recent episode of his new Paramount+ series, “Landman,” has traded subtle subtext for a direct and biting critique of one of television’s most enduring and divisive institutions: the daytime talk show “The View.”

The moment occurred in the fifth episode of the show’s second season, titled “The Pirate Dinner,” which premiered Sunday. The scene features a quiet, domestic exchange between the series protagonist, Tommy (played by Billy Bob Thornton), and his father, T.L. (Sam Elliott). As Tommy encourages his father to find something to watch on television, he suggests “The View.”

When T.L. professes his ignorance of the program, Tommy delivers a scathing, uninterrupted monologue that encapsulates years of conservative criticism aimed at the ABC show.

“A bunch of pissed-off millionaires bitching about how much they hate millionaires and Trump and men and you and me and everybody else they got a bee up their ass about,” Tommy explains. “It’s pretty funny.”

The unfiltered derision hangs in the air before T.L., with characteristic gruffness, responds, “Don’t sound funny.”

Tommy then attempts to clarify the nature of the humor. “Well, it ain’t joke funny, it’s like ‘fart in church’ funny, you know what I mean?” he says. After his father remains unimpressed, Tommy adds, “Well, it depends on your proximity to the fart.”

The dialogue, penned by Sheridan himself who holds sole writing credit on the episode, is notable for its specificity. While Sheridan’s characters frequently serve as mouthpieces for his observations on topics ranging from alternative energy to the decline of rural American values, they rarely name-check real-world, contemporary pop culture entities with such pointed hostility. The scripts for his flagship series “Yellowstone” and its prequels, “1883” and “1923,” tend to exist in a world that is culturally adjacent to our own but seldom intersects with it so explicitly.

This jab at “The View” marks a departure, signaling a willingness to engage more directly in the ongoing culture wars that often form the backdrop of his narratives. The criticism leveled by Thornton’s character—that wealthy hosts criticize wealth, that they hold a specific political bias against figures like Donald Trump, and that their grievances extend to entire demographics like “men”—directly mirrors sentiments widely expressed in conservative media and social media circles.

Adding a compelling layer of irony to the on-screen moment is the fact that its star, Billy Bob Thornton, recently sat down on the real set of “The View” for a promotional interview. In a 2024 appearance to promote the series premiere of “Landman,” Thornton engaged in what was described as a “lively and charming visit” with the very hosts his character would later deride. This juxtaposition raises intriguing questions about the separation between actor and character, and whether the show’s hosts were aware that such a line was embedded in the script of the project being promoted on their platform.

Sheridan has cultivated a brand that deeply resonates with audiences in so-called “flyover states,” creating dramas that champion a certain brand of frontier justice and self-reliance while often casting a skeptical eye on coastal, liberal elites. By having a central character in “Landman” articulate a popular critique of “The View,” Sheridan is not only winking at his core audience but solidifying his position as a storyteller who speaks to, and for, a segment of the population that often feels maligned or ignored by mainstream Hollywood productions.

The choice to use Thornton’s character, Tommy, for this commentary is consistent with Sheridan’s writing style. Throughout his work, protagonists often deliver philosophical or politically charged speeches that distill the show’s themes. In “Landman,” Tommy has previously opined on everything from wind energy to country radio, acting as the series’ primary vector for its creator’s worldview.

The scene has quickly become a talking point for viewers and cultural commentators, representing a moment where the fictional world of a prestige drama and the real-world friction of political discourse collide. For fans of Sheridan, it is a bold and validating statement. For critics of his work, it may be seen as a gratuitous shot in a larger cultural battle, further polarizing entertainment. Either way, the “fart in church” has been heard, and its proximity to audiences on both sides of the aisle ensures it will not be soon forgotten.