Taylor Sheridan has built one of the most commercially successful empires in contemporary American television. He has also written, with remarkable consistency, the same story roughly fifteen times. This is not entirely a complaint. Repetition is the foundation of genre, and Sheridan operates squarely within a Western tradition that has always favored archetype over novelty. The problem is not that his characters resemble each other. It is that they resemble each other so precisely — same cadence, same silences, same moral geometry — that watching a new Sheridan production begins to feel less like encountering a story and more like running a diagnostic on familiar software.