We often hear that "content is king" or that we must "tell a story." But watching Taylor Sheridan’s productions, like Landman, reveals a deeper truth. Sheridan does not just write dialogue. He drops you into a world so visceral you can taste the dust.

I visited the Midland area of Texas a few years ago on a trip to Big Bend National Park. The drive was commanding. Wind turbines, power lines, and oil wells existed together in a vast, industrial rhythm. It wasn't just a backdrop. It was a character. That specific reality is what makes a show like Landman work. You aren't watching a plot. You are inhabiting a place.

The Misunderstood Mechanics of Storytelling

Marketing often fails when it acts as the narrator. Brands want to tell you their history, their mission, or their "why." But narration is passive. It asks the customer to sit back and listen to you speak about yourself.

Real influence happens when you stop acting as the narrator and start acting as the set designer. You need to build a scene so clear that the customer instinctively casts themselves as the main character.

The Power of Aspiration

I remember childhood ads for Liril soap. They depicted a fresh waterfall, lime, and a sense of freedom that felt foreign to our daily lives. We didn't have access to those pristine waterfalls or that specific kind of "freshness."

Yet, buying that soap made us feel like those scenes were true. We felt like we belonged in that world simply by holding the product. We weren't buying a cleaning agent; we were buying a ticket to that waterfall.

You can see the classic Liril ad here.

Business Value: Passive vs. Active

The goal is to move the customer from passive observer to active participant.

• When you narrate (Scriptwriting): The customer judges your product. They analyze features and price.
• When you build a world (Set Design): The customer visualizes themselves using your product. They feel the relief of the cold soda on a hot day or the freshness of the waterfall.