Tulsa King is back on Paramount+ on October 16, with Dwight “The General” Manfredi trying to turn his operation into something legitimate while fending off corrupt politicians and a fresh set of enemies.
The numbers make it pretty obvious why Paramount+ is leaning in. According to the service, the season 3 premiere drew 21.1 million viewers, the biggest global series-premiere audience in Paramount+ history. That follows a strong season 2 launch, which pulled 2 million views in its first 24 hours and reached 5.4 million households over seven days. There’s still a big crowd for dark, character-driven crime stories built around charismatic antiheroes.
And that formula didn’t come out of nowhere. You can trace a lot of it back to The Sopranos, which changed television in 1999 with serialized storytelling that was psychologically rich and morally messy, then helped clear the way for shows like Breaking Bad, Game of Thrones, Mad Men, and Succession.
More than 25 years later, The Sopranos still pulls viewers on HBO Max and Apple TV VOD, still connects with Gen Z, and still leaves a mark. During its original run, it peaked at 13.43 million viewers and averaged about 12 million. Its 25th-anniversary footage and the Wise Guy: David Chase and The Sopranos documentary have kept it in circulation, and so has its influence on masculinity, therapy, antihero TV, mob-wife fashion, New Jersey tourism, and merchandise.
If streaming crime dramas are your thing, Tulsa King’s return has a lot going for it on Paramount+, and The Sopranos is streaming on HBO Max.
Author: Emmanuel Pina
{
"social": {
"email": "",
"facebook": "",
"twitter": "",
"linkedin": ""
},
"ja-JP": "",
"de-DE": "Emmanuel Pina schreibt bei Softonic über Unterhaltung: Kino, Serien und das Gewirr von Plattformen, in dem man sie suchen muss. Ihn interessiert der Start genauso wie das Kleingedruckte: wo etwas läuft, bis wann, und warum es ohne Vorwarnung aus einem Katalog verschwindet. Er gehört zum Redaktionsteam von Softonic und arbeitet täglich mit KI-Werkzeugen in der Produktion.",
"en-US": "Emmanuel Pina covers entertainment at Softonic: film, television series and the tangle of platforms you have to search through to find them. He is as interested in the premiere as in the fine print: where something is available, until when, and why it vanishes from a catalogue without warning. He is part of Softonic's editorial team and works daily with AI tools applied to content production.",
"es-ES": "Emmanuel Pina se ocupa del entretenimiento en Softonic: cine, series y el enredo de plataformas donde hay que ir a buscarlas. Le interesa tanto el estreno como la letra pequeña: dónde se puede ver algo, hasta cuándo y por qué desaparece de un catálogo sin avisar. Forma parte del equipo editorial de Softonic y trabaja a diario con herramientas de IA aplicadas a la producción de contenido.",
"fr-FR": "Emmanuel Pina couvre le divertissement chez Softonic : cinéma, séries et l'enchevêtrement de plateformes où il faut aller les chercher. La sortie l'intéresse autant que les petites lignes : où se trouve un titre, jusqu'à quand, et pourquoi il disparaît d'un catalogue sans prévenir. Il fait partie de l'équipe éditoriale de Softonic et travaille au quotidien avec des outils d'IA appliqués à la production de contenu.",
"it-IT": "Emmanuel Pina si occupa di intrattenimento su Softonic: cinema, serie e il groviglio di piattaforme in cui bisogna andarle a cercare. Gli interessa l'uscita tanto quanto le clausole in piccolo: dove si trova un titolo, fino a quando e perché sparisce da un catalogo senza avvisare. Fa parte del team editoriale di Softonic e lavora ogni giorno con strumenti di IA nella produzione dei contenuti.",
"nl-NL": "Emmanuel Pina schrijft bij Softonic over entertainment: film, series en de kluwen van platforms waarin je ze moet zoeken. De première interesseert hem net zoveel als de kleine lettertjes: waar iets te zien is, tot wanneer, en waarom het zonder aankondiging uit een catalogus verdwijnt. Hij maakt deel uit van de redactie van Softonic en werkt dagelijks met AI-tools in de contentproductie.",
"pl-PL": "Emmanuel Pina zajmuje się rozrywką w Softonicu: kinem, serialami i gąszczem platform, w których trzeba ich szukać. Interesuje go zarówno premiera, jak i to, co zapisano drobnym drukiem: gdzie dany tytuł jest dostępny, do kiedy i dlaczego znika z katalogu bez ostrzeżenia. Należy do zespołu redakcyjnego Softonica i codziennie korzysta z narzędzi AI w produkcji treści.",
"pt-BR": ""
}
View all posts by Emmanuel Pina
