There are standout television programs, some that miss the mark, and then there’s “Landman.”

This latest creation from “Yellowstone” creator Taylor Sheridan, funded by Paramount’s generous budget, features Billy Bob Thornton, Demi Moore, and Jon Hamm. The story is set in the gritty Texas oil industry. It encompasses all the typical elements that draw audiences to Sheridan’s productions: nostalgia-inducing male movie stars, cowboy hats, a strong emphasis on capitalism and wealth, along with enough action and violence to mask its soap opera vibes.

One might expect this formula to yield yet another success for Paramount+/Sheridan, similar to “Lioness,” “Lawman: Bass Reeves,” “Tulsa King,” or the “Yellowstone” spin-offs “1883” and “1923.” I suspect many fans of these shows will give “Landman” a chance, finding it satisfying. However, as I slogged through the dusty episodes of “Landman” (streaming Sundays, ★ out of four), something within me broke.

Put together with little care for logical storytelling or memorable character development, “Landman” stands as Sheridan’s most lackluster and outrageous effort. It might have been forgivable if it were just tedious and unoriginal, but it also comes with a disturbing undertone of male gaze that makes the series feel like soft-core pornography aimed at older men wanting to ogle at younger women without facing any consequences. The portrayal is nearly repulsive, set against an uninspired backdrop and recycled plot points from old “Yellowstone” scripts.

If you manage to follow the convoluted story, it revolves around Tommy Norris (Thornton), a fixer for a Texas oil company who navigates deals with drug cartels, liaises with law enforcement, and informs families about oil rig accidents. He works for billionaire Monty Miller (Hamm), whose primary focus seems to be talking to Tommy and keeping his delicate wife Cami (Moore) content.

Tommy’s challenging day-to-day life is further complicated by his son Cooper (Jacob Lofland), who left college to work on an oil crew, his wayward daughter Ainsley (Michelle Randolph), and his stereotypical ex-wife Angela (Ali Larter). Additionally, there’s a troublesome lawyer (Kayla Wallace) who arrives to safeguard Monty’s company after an incident and dares to ask Tommy for respect.

These characters feel like they were lifted straight from a “Screenwriting for Dummies” manual. Angela embodies the archetype of an overly sexualized and negligent mother, a depiction that feels stale. Cooper is depicted as an ungrateful son who believes he knows better than his dad—how original! The lawyer’s name, Rebecca Savage, implores the viewer to interpret her as a cold female stereotype.

Then, there’s Ainsley, whose role in the series crosses lines of decency. The lewd handling of her character brings to mind the misuse seen in Michael Bay’s “Transformers.” From her inappropriate dialogue (I can’t imagine any teen making such statements to their parent) to her willingness to flaunt in front of older men, Ainsley emerges as a product of someone’s fantasy. The uncomfortable scenes involving her, such as showering or using Crisco for tanning while being watched by an older man, are utterly distressing.

The show doesn’t just exploit Ainsley’s character; it’s also a chaotic, sexist portrayal built on a tedious narrative centered around bland characters.

While some may appreciate Sheridan’s signature dramatic Western style, this story had the potential to be compelling if approached differently. Based on the “Boomtown” podcast from Imperative Entertainment and Texas Monthly, it touches on a highly relevant issue today. The oil industry, key to current economic and political discussions, is too significant to be reduced to clichés.

The Texas backdrop and the oil theme blend into a generic depiction that fails to utilize the source material effectively. The series lacks distinctiveness and suffers for it. Its structure closely mimics the successful format established in “Yellowstone,” making it feel like a repeat of earlier work, merely substituting Thornton for Kevin Costner.

As much as Paramount hopes its star creator can consistently produce hits to elevate Paramount+’s standing in the streaming world, it’s becoming increasingly unlikely. In an age dominated by reboots and sequels, original storytelling is both rare and invaluable. Once a unique storyteller, Sheridan now seems to be recycling his own ideas.

So, thanks, but I think I’ll just rewatch “Yellowstone.”