Rob Reilly on the world building genius of Taylor Sheridan

Everyone has a creative inspiration or hero. And in a world of always‑on media — where anyone with a phone and a Wi‑Fi signal can create — there’s no shortage of talent bringing their ideas to life in new and unexpected ways. For Rob Reilly, chief creative officer at WPP, the creator he admires most is Yellowstone’s Taylor Sheridan.

Who is your favourite creator?

Taylor Sheridan; writer, producer, director, and actor. He’s best known for creating Yellowstone, along with hit shows like Lioness, Tulsa King, and Mayor of Kingstown.

Lately, the words “creator” and “influencer” have been conflated, but they aren't the same thing. Both are important, but a true creator goes deeper—they make work that genuinely connects. I admire people who drive massive cultural impact, because that’s what we try to do for our brand partners, and it’s the exact reason I came to WPP. When it comes to building elaborate, immersive worlds that captivate audiences, Taylor Sheridan is a master.

His personal journey also resonates with me. He started as a struggling actor before pivoting to writing. I see parallels to my own career, which has taken plenty of twists and turns. I started as a junior copywriter at McCann in the early '90s and worked my way up. But at 34, I realised I had everything on paper to be a great creative leader except the most crucial thing: the work. I made the brave — or crazy — decision to take a demotion and pivot back to being a staff copywriter at Crispin Porter + Bogusky. It was the best decision of my life.

I have immense respect for people who make deliberate, risky moves to master their craft. Taylor did that. He started writing stories that connected, and he was brilliant at it. His characters feel real, his worlds feel epic, and his work moves people.

Can you remember the first piece of Sheridan’s work that you came across?

Mayor of Kingstown, a gritty show about the prison industrial complex, was the first one that hooked me. The world felt so extreme and chaotic that you’d think the federal government would step in and shut the town down. Yet, I believed every second of it because it was so brilliantly written and cast.

His newer series, Landman, is another great example. Billy Bob Thornton is completely believable as a Texas oil man, and Jon Hamm is perfect as the CEO. Sheridan’s casting is always spot-on — it feels as if every role was written specifically for the actor playing it.

What fascinates me is his ability to create work that penetrates culture — stories people talk about, share, and debate. That’s been my philosophy since my Crispin days. While I’m not personally drawn to violence, I deeply admire the outcome: authentic worlds, real characters, and stories that leave a lasting mark.

Is there a piece of his work or a specific moment you return to?

What strikes me most is his ability to build worlds that feel both heightened and utterly authentic. When I watched 1883 and 1923, the prequels to Yellowstone, I was in awe of the craft required to build a world from 150 years ago that felt completely lived-in. From the sharp, accessible dialogue to the costumes and sweeping production design, it was clearly deeply researched and masterfully executed.

It’s one thing to write modern dramas — gangs, oil, cartels — but his ability to make these complex, fictional universes feel entirely real is what sets him apart.

How does his work influence your own creative output?

It’s a reminder to be single-minded and to respect the audience's intelligence. I love the crispness of his dialogue — short, sharp, no wasted words. That aligns with how I operate. I don’t write long emails, and I don’t over-explain. I like fast-impact communication that keeps people engaged.

In advertising, the most important thing is to be clear; the second is to be interesting. If you’re interesting but unclear, you fail. If you’re clear but dull, you also fail. When you’re both — that’s where the magic happens. Taylor's work embodies that balance, and it’s something I strive for in my own work.

What lesson could other creatives or marketers learn from his work?

His breadth of expression. You instantly recognize his voice, yet all his projects feel distinct. It makes me reflect on our industry: Can we tell great stories for any brand, not just in one comfortable category? Can we fluidly move between social, influencer, cinema, print, outdoor, CPG, auto, tech, and QSR without getting pigeonholed?

That’s the mandate for the modern creative. You can’t just be “the TV guy” anymore. You have to be capable across the board if you want bigger opportunities. It’s exciting, but it can be daunting — especially for young creatives trying to find their footing.

When I started out, I spent two years writing radio spots and the occasional billboard. None of that prepared me for my first global Coca-Cola brief! But that’s the point: today's industry demands range, adaptability, and a willingness to stretch far beyond your comfort zone.

Honestly, maybe Taylor should write a modern drama about the advertising agency world? I'm sure we could find a few sponsors.

Yellowstone and its various spin off series can be found on Paramount+ and Rob Reilly's podcast Screaming Creativity can be found here.