Archived · Paramount+
Tulsa King plants a New York mob capo in the middle of Oklahoma and lets the cultural collision do most of the work. The comedy is dry and unhurried, built from clashing codes of conduct rather than broad jokes, and the crime drama underneath it is genuine rather than decorative.
Dwight Manfredi spent 25 years inside, and the show takes seriously what that absence means: every alliance he builds in Tulsa has to be constructed from nothing, with people who have no reason to trust him and no framework for understanding what he is. That slow accumulation of loyalty, tested by shifting allegiances and social friction, gives the story its particular weight.
deadpan mob comedy, outsider in exile and Crime
Crime and Drama
Season 3 · 10 episodes
Paramount+
After being released from prison after 25 years, New York Mafia capo Dwight "The General" Manfredi is exiled to Tulsa, Oklahoma.
Start with the closest match, then check out two more shows with a similar feel, pace, mood, or theme.
German crime comedy about a detective who wakes from a 20-year coma.
Der letzte Bulle brings the same fish-out-of-water crime comedy comfort as Tulsa King, with a displaced man trying to fit into a world that moved on. Expect procedural cases that stay light on the mechanics and heavy on awkward social friction, deadpan jokes, and the slow grind of rebuilding a life.
After inheriting his family’s country estate, a former soldier discovers that the property houses a vast illegal cannabis operation. As he tries to reclaim control and protect his family, he is drawn into negotiations and conflicts with the criminals who already run the business.
The Gentlemen keeps Tulsa King’s dry, outsider-in-crime-world humor but turns the volume up with faster, dialogue-driven maneuvering. You get sharp class collision jokes, constant pressure from criminal operators, and danger that escalates in quick bursts, with less unhurried warmth and more bite.
Desperate for cash, a former gang boss joins forces with an aspiring lawyer to steal an apartment complex’s reserve fund. Their risky plan draws them into a wider web of corruption, testing their motives and ability to work together.
The Apartment Job shares Tulsa King’s taste for crime comedy where character codes collide and every favor can turn into a trap. Deception and double-crosses drive the laughs and the danger, with escalating schemes that feel more frantic and darker than Tulsa King’s slower, loyalty-building pace.
