Reviewed by Colin Jacobson (September 17, 2026)
Back in 2022, Paramount+ launched a series called Tulsa King. The show focused on Dwight Manfredi (Sylvester Stallone), a New York Mafia capo recently released from prison who gets exiled to Oklahoma to launch criminal operations there.
King picked up again in 2024, and Season Three followed in 2025. The S3 plot synopses come from the package’s liner notes.
Blood and Bourbon: “Dwight tries to secure a distillery deal.”
That offers a vague summary for an episode with more complications than that, mainly because “Blood” acts to set up new characters and circumstances as well as continuations of existing participants. This means we get a “table-setting” program.
The notion of the distillery becomes the fresh theme for Season Three. It opens with year in an expository but efficient manner.
The Fifth: “Dwight faces threats from Jeremiah Dunmire (Robert Patrick) and the Dixie Mafia.”
Patrick’s Dunmore creates a credible foe for Dwight and looks primed to become a highlight of S3. Other aspects of “Fifth” fare a little less well but the episode still moves along pretty nicely.
The G and the OG: “Dwight is forced to work with Agent Musso (Kevin Pollak) to take down a terrorist.”
Though “Blood” introduced Musso, “Fifth” left him out, a disappointment given the role’s potential. “OG” makes better use of the part and we get good chemistry between Stallone and Pollak.
The episode sputters when it deals with romantic nonsense related to supporting characters. Though those moments drag down “OG”, the Dwight/Musso elements sustain it.
Staring Down the Barrel: “Dwight rallies his crew to recover the stolen bourbon from Dunmire.”
Though a few segments kick to life, a lot of “Barrel” feels too predictable. I still like the Stallone/Patrick dynamic, at least, and their shared time ensures we get a decent episode.
On the Rocks: “Dwight launches his bourbon brand as Dunmire schemes to crash the event.”
Probably the most intriguing moments involve Dexter Deacon (Dallas Roberts), a mild-mannered “watchmaker” who specializes in explosives. With his quiet demeanor, he brings a contrast to the usual bombast seen from other Tulsa King roles.
Otherwise “Rocks” can feel a little stuck in neutral, as we get some of the usual tedious relationship material without a lot of additional drama to push along the narrative. While matters do crank along to a moderate degree, the episode lacks the thrust it needs.
Bubbles: “Dwight scrambles while facing threats from Dunmire and Quiet Ray Renzetti (James Russo).”
With many of the characters on a road trip, “Bubbles” benefits from a change of scenery. It also amplifies the threats Dwight and company face.
All of that feels like it should mean “Bubbles” accelerates our interest in S3, but it doesn’t really achieve that. While it comes with some good elements, it drags too much of the time.
Art of War: “Dwight moves to open his distillery. Tyson Mitchell (Jay Will), Dennis 'Goodie' Carangi (Chris Caldovino) and Spencer (Scarlet Rose Stallone) run a sting.”
If Scarlet Rose wants people to take her seriously as an actor, she should focus on projects that don’t star her dad. She also should probably learn how to act, as in a series with otherwise solid talent, she seems unable to keep up with her castmates.
At least “War” amplifies the conflict between Dwight and Dunmore, it also brings back Neal McDonough’s unctuous Cal Thresher, and that becomes a plus. Like too many of the other S3 episodes, “War” mixes highs and lows.
Nothing Is Over: “Dwight uncovers a deadly plan by Dunmire and races to stop it.”
Once again the series’ best castmembers come to the rescue, as the presence of Pollak, McDonough, and Roberts buoys “Over”. Despite some of the usual dreary romantic nonsense, the positives allow it to push toward S3’s climax pretty well.
Dead Weight: “As Dwight expands his liquor empire, Tyson’s side hustle draws heat.”
The guest cast gets a massive boost from the introduction of a major star here, one whose identity I’ll leave unstated to avoid spoilers. Suffice it to say he adds needed punch to the series and allows us to advance toward the S3 finale well.
Jesus Lizard: “Dwight and his crew gear up for all-out war.”
As expected, S3 winds up with a literal bang, as “Lizard” finishes off the year-long narrative with much violence. This seems reasonably satisfying, albeit predictable and without a lot of real creativity.
The same goes for S3 as a whole. Although it works in a general manner, it never really takes flight. I didn’t dislike the time I spent with S3 but it fell short of the greater pleasures seen in Seasons One and Two.
