After Paramount+ dropped the first trailer for The Madison, I knew that Taylor Sheridan's new standalone series would be heading in a completely different direction to anything we've seen before. In short: less Yellowstone and Marshals, more Ransom Canyon and Virgin River.

I love being right as much as the next person, but this tonal shift could have gone one of two ways. With The Madison being so widely (and incorrectly) reported to be a direct Yellowstone spinoff early on, fans have willingly shaped their own misconceptions of what might be waiting in store.

Truthfully, the fact that the Michelle Pfeiffer and Kurt Russell-led drama is a world away from Kevin Costner and co's legacy is the ace up it's sleeve... and Sheridan's jump into new TV territory has arguably gifted us his strongest show of all time.

Pfeiffer plays Stacy Clyburn, a well-to-do New Yorker who comes from the Upper East Side social scene, and is frankly rolling in money. She's married to Russell's Preston, a reluctant city bod who wants nothing more than to retreat to the cabins he's built in the Montana wilderness.

After a family tragedy, the entire gang is uprooted, including begrudging daughters and grandchildren who have clearly never seen a blade of grass in their entire lives. What ensues is a messy outpouring of grief, loss and love that immediately tugs at the heartstrings.

Life is cruel, overwhelming and unpredictable, which is something that Sheridan has always impeccably understood. It's only further testament to his craft — and why the 'Sheridanverse' exists in the first place — that he can effortlessly transition from cowboy feud to everyday tragedy.

Marshals: A Yellowstone Story wishes it could be as good as The Madison

The Madison is beautiful simply because it's got the basics right. Our inciting incident is completely unexpected, as is the following resolution. As a result, one family, who couldn't seem more like strangers if they tried, face an impossible situation.

I've not seen anybody portray grief on TV as vulnerably and honestly as Pfeiffer does in a long time. There are no dramatic crash outs, no sitting on the bathroom floor in floods of tears, and no sudden realizations that actually, everything is going to be okay.

Instead, Stacy goes through the motions in a catatonic state. Devoid of emotional range and ability to feel, she reminds us that grief is something you have to learn to move forward with, rather than move on from. Pfeiffer bares all (metaphorically) to get this across, and it's incredibly easy to see why she's the talent of a generation.

Stacy's daughters, standoffish Abigail (Beau Garrett) and hapless Paige (Elle Chapman) are the ideal, if not insufferable, companions. Each teaches the other something about themselves they don't want to address, resulting in literal catfights, harsh truths and even harder lessons learned.

Amazingly, Sheridan and his cast balance out the scales of searing drama with genuinely laugh-out-loud humor. Episodes 2 and 3 amp the comedic factor up to the max as living in a wooden cabin (complete with an outdoor toilet) becomes less of a novelty.

'Soap opera' isn't a negative — and it's certainly not beneath us

Of course, Yellowstone fans are bound to say that The Madison is too soft or far-fetched for them, but as we well know, there's nothing that signals strength quite like emotional honesty. Team this with wildlife living and the jaw-dropping Montana views that we already know and loved, and Sheridan's melding the best of both worlds into something unmissable.

Yes, it's all a bit soap opera-y. But when did that become such a dirty term? Back in the day, it was the main TV format for building community, championing representation and allowed us to access thoughts and feelings we didn't always realize were there. Get off your high horses, people... we're not in serious cowboy town anymore.

Frankly, Marshals: A Yellowstone Story must be wishing for this kind of magic. It's been absolutely astonishing to watch how much public interest has dropped off since its debut episode was released, with fans hailing it as nothing more than a run-of-the-mill CBS police procedural. With my pessimistic hat on, they're right, with Marshals straying too far from the core beliefs that made Yellowstone the success it was.

Think of The Madison as the Western redo that's up there with Landman in terms of star quality. Sometimes you have to go back to the beginning to get something right, and I think streaming and society are both all the richer for having the Clyburns around.

If you've never heard the jaw-dropping true story of Jeffrey Manchester, the new Paramount movie Roofman is about to school you in the best way. Don't expect it to outline the facts, but you'll be guaranteed a good time with this endearingly unhinged slice of Toys R Us-themed entertainment.

Remember the good old days in the nineties and noughties when your parents would take you to the toy store to pick something out, if you'd been really well behaved? My eye always gravitated towards the rows on rows of bikes, wishing I could ride one of the ever-so-shiny frames straight out of the door of the shop.

Turns out that if you were a kid living in Charlotte, North Carolina, in 2004, you were likely coming toe-to-toe with Jeffrey Manchester, a convicted criminal who spent six months holed up in the city's Toys R Us after escaping from prison (Manchester was previously sentenced to 45 years incarceration for armed robbery and kidnapping). I swear on my own mother's life that this is what actually happened.

In Roofman, Channing Tatum takes on the role of the charming escapee, and it's undeniably the best performance of his career so far. The Magic Mike star's latest role is much more revealing (not like that) and vulnerable, and frankly, Tatum's portrayal of a man who really loves and wants to do right by his kids makes him the hottest he's ever been.

Roofman makes takes the Jeffrey Manchester story to a new level of entertaining

Here's our basic premise: a man robs 45 (yes, 45) McDonalds stores to provide for his kids after leaving the US Military with no support or direction. After a short time in prison, he uses his onsite job in the woodwork shop to make a fake bottom for their weekly delivery truck to hide in, successfully escaping to you know where.

What's most surprising is that the movie version of Manchester falls in love with one of the Toys R Us workers and integrates himself into her church and family – and again, that's what really happened. Every sequence of events seems so unfeasible that it must have been engineered by director Derek Cianfrance to make a plausible movie narrative, but the work was done for him.

If you've ever thought you could survive on the run, Manchester is proof that even if you pick a smart strategy, you will get stung by love and pick up a lot of cavities along the way. Tatum's connection with Kirsten Dunst's character Leigh isn't only what pulls Manchester away from success, but it's what pulls us more into the storytelling.

Together, they're an unlikely yet exceptional pair. The perfect cross-section between what's right and wrong with suburban America. Although, the two never fully reveal their truth to each other before it's too late to act. Isn't that always the way? Leigh in particular is an intriguing portrayal of what happens when a woman suddenly (and unashamedly) decides to go after what she wants, and how that doesn't always end in a happy ever after.

Take a shot every time you see an A-grade actor being underused

Tatum's balance between kind-hearted loverman and an intelligent criminal is pitch perfect, and seeing the after-hours dynamics in the most magical store in our cultural zeitgeist is solid entertainment, but there are some flaws.

Most notably, Roofman dips around the two-thirds mark. Once we've established how Manchester hid himself and how he successfully lived a double life with Leigh and her children, we've seen the whole movie. The ending, though I won't spoil it, is pretty guessable, despite the true story certainly being available on Google. There isn't enough substance or momentum to drive us through the 126 minute runtime, and that's to the Paramount movie's detriment.

It goes without saying that none of what we see touches the sides of following what happened in real life (though stay until the end for more on this). However, that doesn't mean we needed key details very obviously spoonfed to us. We find out what happened between Manchester and Leigh because another character literally asks Tatum that question, which is the equivalent of reading stage directions aloud.

On top of this, we've got a stacked cast who barely get any screentime, ranging from Ted Lasso's Juno Temple to The Residence's Uzo Aduba. If a film is going to feature people we desperately want to see, it's unhinged that we have to plead (like this) for it to actually do that.

But are any of us watching Roofman for it to blow us away or to win awards? Of course not. I'd probably recommend watching a YouTube video of Manchester's story instead (until an inevitable Netflix documentary comes out), but Roofman is worth it for Tatum alone. Flawed, funny and flaming good at what he does, and that's what we want from any leading man.

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