Taylor Sheridan made one of his smartest creative decisions for Landman season 2 when he added Sam Elliott to the cast. From the moment Elliott appeared in the Texas oil drama, it was obvious how naturally he fit into the role of Tommy Norris’s father, played by Billy Bob Thornton. Elliott’s trademark crankiness, sharp tongue, and lived-in Western grit made him feel like a perfect extension of Tommy’s world. If anything, the episode feels weaker without him, and his absence in episode 3 is immediately noticeable. Despite his magnetic presence in earlier scenes, this week’s installment shifts its focus away from the Norris family dynamic and toward reestablishing Andy Garcia’s villain. Whether this direction is necessary remains debatable, especially as Sheridan leans once again on the Mexican cartel as a recurring antagonist, something he has already used in Lioness season 2 and in the upcoming Yellowstone spinoff Y: Marshals. For Landman, the question becomes whether Garcia’s character will meaningfully elevate the stakes or simply blend into familiar territory for the creator.

Fans of Landman will remember that Garcia first appeared as “Galino” in the season 1 finale. In that initial appearance, he arrived as a surprising ally, saving Tommy from a violent end by killing his own underling, Jimenez (played by Alex Meraz), who had captured Tommy over a land rights dispute. Back then, Tommy’s work as a landman played out in more down-to-earth negotiations, with consequences that arose from property deals and oil-field leverage. After eliminating the threat, Galino told Tommy he hoped they could become friends, implying that rescuing him created some sort of obligation. Tommy refused outright, making it clear he did not want any involvement in Galino’s criminal empire. While the refusal may have been principled, it was also dangerous; season 2 needed a villain, and Galino’s reappearance fills that void.

Episode 3 reveals how Galino, now introducing himself as Danny Morrell, plans to insinuate himself into Tommy’s professional life and manipulate the power dynamics of the oil business. As the previous episode hinted, Morrell negotiated contracts for Cooper (Jacob Lofland) to drill six wells. Now that all six have struck oil, Cooper goes to his father for help, but the situation has already spiraled beyond his control. Morrell takes the opportunity to reveal his identity to Tommy, presenting himself as the legitimate owner of Sonrisa and numerous other businesses, all of which function as fronts for his leadership of the Mexican cartel. He explains his philosophy with smug confidence: “What I do is reinvest income. I diversify revenue. Where that revenue comes from is irrelevant.” His phrasing, meant to sound corporate and reasonable, barely hides the sinister truth beneath it.

Tommy is still piecing together Morrell’s intentions, but he already suspects that the man has stolen millions from Cooper through the contracts he arranged. Frustration pours out of Tommy when he responds to Morrell’s attempt at partnership by pointing out that Cooper is barely an adult. He says, “You’re not partners with me. You’re partners with a 22-year-old kid with a net worth of a fucking 30-year-old pickup truck.” The age revelation is startling—not least because Jacob Lofland, who plays Cooper, is 29 years old in real life. The idea that Cooper is supposed to be only 22 feels almost unbelievable. Regardless, Tommy leaves without any real resolution, but at least he now knows who he is facing. Morrell warns him on his way out with a line that sets the tone for the rest of the season: “Every time you take a fucking breath, you owe me.”

Morrell also tries to instigate tension between Tommy and his son, suggesting that Tommy’s anger stems from jealousy—Cooper exploited a blind spot in the system and struck oil on his own terms. Morrell pushes the idea that Tommy should be proud, not resentful. Tommy answers in simple, raw fashion: “Fuck you.” It’s clear these two men are on a collision course.

Meanwhile, M-Tex faces another crisis when a hydrogen sulfide leak kills several game hunters almost instantly near one of the company’s old oil containers. The incident forces the company to hire hazmat and EMS teams to lock down the area and prevent further deaths. Dale (James Jordan) narrowly survives due to a beeper he always carries, alerting him just in time. This subplot, though small, offers one of the most compelling insights into what daily life looks like for oil-field workers. The technical equipment, the constant danger, and the unpredictable challenges of the job provide a grounded contrast to the show’s more dramatic cartel-driven storyline. While the gas leak plot is brief this episode, it sets the stage for more relevant developments later on.

Elsewhere, Angela (Ali Larter) behaves erratically throughout the episode. She attempts to give Tommy a blowjob while he’s driving—twice—suggesting a growing recklessness or instability in her character. She also begins planning for the family to move into a mansion in Fort Worth to be closer to Ainsley (Michelle Randolph) as she prepares to start college at TCU. The women of Landman often fluctuate between compelling storylines and moments that border on absurdity, and Angela’s antics this week push them toward the latter. However, Ariana (Paulina Chavez) brings more nuance to the episode by redeeming herself after her confusing breakup in the previous week. Her scene depicting the frustrations of working as a waitress in a rowdy bar feels more grounded and offers a relatable glimpse into the daily pressures faced by women navigating Sheridan’s rough-edged world. Tossing a drink on a rude customer might be a small moment, but it’s satisfying and believable.

The mystery surrounding Monty Miller’s missing $400 million deepens considerably when Tommy and Cami meet Monty’s personal lawyer, Alan Thomas (played by Jim Meskimen). Alan is the only one who knows why Monty funneled all of M-Tex’s earnings into a holding company under his own name. Rebecca (Kayla Wallace) explains that Monty had been running his finances through a complex series of LLCs, using the holdco as a way to distribute funds down the corporate chain. However, the actual money appears to have come from unknown sources. The situation becomes even stranger when Tommy and Cami learn that Monty had taken out massive loans at every major bank without any clear method of repayment. The funds simply don’t exist in the accounts they’ve found, which means Monty’s wife has been left effectively penniless. The money must be somewhere, but Monty never revealed where he kept it.

When Tommy and Cami confront Alan at a restaurant, the lawyer comes across as bizarrely evasive. They ask a straightforward question—where is the money?—but Alan dodges, insisting Monty owed them no explanation. Tommy snaps, reminding him that the company now belongs to Cami and that he absolutely owes her answers. Alan claims he assumed they would schedule a meeting to discuss the business structure, which feels like flimsy reasoning at best. It’s clear there is more going on with this lawyer, and his bizarre behavior suggests a deeper secret lurking beneath the surface.

In a strange coincidence, Tommy encounters Morrell again at the same restaurant. The scene expands into an extended, awkward double date of sorts when Angela returns from house shopping and joins Morrell and his wife, Bella, while Cami remains at the table as well. The conversation is uncomfortable, tense, and occasionally comedic, though nothing particularly productive comes from it. What does emerge, however, is the sense that Morrell may attempt to bypass Tommy entirely by courting Cami’s trust instead.

The episode closes with one of its most memorable lines. Cami asks Tommy what it is like dealing with Angela’s behavior every day. Tommy responds bluntly: “One big tragic cartoon.” It’s a line that sums up the episode perfectly—a chaotic mix of danger, absurdity, dark humor, and escalating conflict. And perhaps, as Tommy suggests, next week Sheridan will remember that Sam Elliott is waiting in the wings, ready to elevate every scene he’s in.