In April 2025, a familiar cinematic presence returned to one of New York City’s most iconic filming locations. Sylvester Stallone, reprising his role as Dwight “The General” Manfredi, was spotted on set for Season 3 of Tulsa King, the acclaimed Paramount+ crime drama that has breathed new life into the modern mobster narrative.

But this time, Stallone wasn’t in Oklahoma or Las Vegas—he was in Little Italy, standing inside the storied Mulberry Street Bar, a cigar and restaurant institution that has been open since 1908.

Located at 176 ½ Mulberry Street, this bar is more than just a backdrop—it’s a living artifact of New York’s gangster mythology. Known for its rustic interiors, wood-paneled charm, and ties to both real-life wiseguys and on-screen legends, the Mulberry Street Bar has hosted a parade of productions over the decades, from The Sopranos to Law & Order, Donnie Brasco, and now, Tulsa King.

With Stallone front and center, and cameras rolling once more beneath its dimly lit ceiling fans and vintage signage, history repeats—only this time, with a fresh, streaming-era edge.

Tulsa King: A Quick Refresher

Created by Taylor Sheridan (Yellowstone, Mayor of Kingstown) and Terence Winter (The Sopranos, Boardwalk Empire), Tulsa King follows Dwight Manfredi, a former New York mafia capo who is exiled to Tulsa, Oklahoma after serving 25 years in prison. Instead of fading into retirement, Dwight builds an unorthodox criminal empire in the heart of Middle America, blending old-school tactics with new-school hustle.

The show has drawn critical acclaim for its genre-bending tone, mixing gritty crime drama with unexpected humor and generational conflict. Stallone, who also serves as executive producer, has been lauded for his nuanced performance, bringing both gravitas and vulnerability to the role of a mobster out of time but not out of ideas.

Season 3 and the Return to NYC

While the first two seasons largely took place in Tulsa and Las Vegas, Season 3 of Tulsa King appears to be bringing Dwight back to his roots—both narratively and geographically. Set photos and reports confirm that scenes were being filmed in New York City’s Little Italy, and specifically, in the hallowed confines of the Mulberry Street Bar.

This return is more than symbolic. In the show’s universe, Dwight Manfredi’s past with the Invernizzi family—the crime syndicate that exiled him—has never been fully resolved. A return to New York could signal a major storyline confrontation, long-awaited reunions, or the expansion of his empire back home. And what better place to signal that than a real bar with a rich mob film history?

Mulberry Street Bar: A Film Icon Since 1908

Known for its curved wooden bar, vintage booths, checkered floors, and dim lighting, the Mulberry Street Bar isn’t just another dive—it’s a cinematic stage steeped in over a century of New York history. Since opening in 1908, the bar has served cigars, whiskey, espresso, and attitude to generations of neighborhood regulars, tourists, and film crews alike.

Among the many productions filmed here:

• The Sopranos – Several scenes with Tony Soprano and crew were shot here, solidifying its role as a touchstone for the modern mob aesthetic.
• Law & Order and Blue Bloods – The bar’s authenticity has made it a natural fit for procedural dramas seeking atmosphere.
• Donnie Brasco (1997) – The Johnny Depp–Al Pacino classic used the bar for pivotal scenes, further cementing its Hollywood cred.
• The Godfather of Harlem and The Kitchen – Recent projects that have also paid homage to NYC’s organized crime roots.

Now, Tulsa King joins the legacy, and it feels like a homecoming—not just for Dwight Manfredi, but for the genre itself.

Sylvester Stallone: Old School Meets New Television Era

Watching Stallone in 2025, dressed in a tailored wool coat, sunglasses, and that now-iconic scowl, stepping into the Mulberry Street Bar feels almost surreal. Here’s the man who defined 1980s cinema masculinity through characters like Rocky Balboa and John Rambo, now inhabiting a new kind of role: an aging boss, out of prison, navigating a world he no longer recognizes.

In Tulsa King, Stallone’s Dwight is not a caricature. He’s a man trying to reconcile violence with legacy, isolation with loyalty. His scenes inside the Mulberry Street Bar—either they involve negotiations, threats, or reflection—are layered with meta-textual meaning. This isn’t just Dwight returning to the old neighborhood. This is Stallone, himself a cinematic institution, stepping back into the kinds of rooms that once shaped the mob movie canon.

The contrast is poetic. The surroundings are vintage, but the camera is streaming-era sleek. The actor is familiar, but the dialogue is post-Sopranos sharp. We’re watching not just a continuation, but an evolution of a character archetype that Stallone helped popularize decades ago.

The Scene and Its Symbolism

While Paramount+ has kept tight-lipped about the exact plot of the Mulberry Street Bar scenes, set insiders suggest they represent a pivotal turning point. Dwight may be reconnecting with his old mafia contacts—or confronting them. Others speculate it may be a flashback, revealing more of his pre-incarceration days.

Regardless, filming at 176 ½ Mulberry Street is a conscious choice. It’s not just another bar—it’s a symbolic space. When characters drink here, it’s not just whiskey—it’s bloodlines. When secrets are whispered in the booth corners, they echo with the voices of Tony Soprano, Lefty Ruggiero, and other mob greats.

The location adds authenticity and texture, enhancing the show’s commitment to grounding its story in both genre history and lived experience.

Little Italy as a Character

In recent years, Little Italy has changed, absorbing more tourism and losing some of its neighborhood feel. But it remains a vital part of the city’s cultural DNA. For Tulsa King to plant its third-season flag here is to re-anchor itself in the mythology of New York mob lore.

Whether it’s the cobblestone streets, the red-checkered tablecloths, or the faded murals of Sinatra, Little Italy remains a canvas on which organized crime stories can still unfold—updated, stylized, and shot with a sharper lens.

As Dwight walks those streets in 2025, there’s a narrative resonance. He’s not just walking back into his past—he’s walking through the ghosts of the genre. And that’s part of what makes Tulsa King so compelling. It knows its lineage. And it knows how to reinvent it.

Behind the Scenes: Fan Sightings and On-Location Energy

Filming at the Mulberry Street Bar drew plenty of attention, with fans and tourists spotting Stallone through windows, or catching glimpses of the crew setting up exterior shots. Stallone reportedly took time to meet some onlookers, signing autographs and exchanging a few words. His presence generated buzz, not only for the production but for the local businesses in the area, many of which reported an uptick in foot traffic during the shoot.

Crew members shared that filming inside the bar was logistically tight—narrow spaces, creaky floorboards—but creatively rich. “Every inch of this place tells a story,” one set decorator said. “We barely had to dress the set. It already looks like a movie frame.”

Looking Ahead: What Season 3 Promises

With filming underway and a return to New York confirmed, Tulsa King Season 3 is shaping up to be its most ambitious yet. While Season 1 introduced Dwight and Season 2 expanded his empire, Season 3 appears poised to test his roots, his relationships, and his resilience.

Themes of betrayal, identity, and generational tension—already woven into the show’s DNA—will likely be amplified. And the use of real-world locations like the Mulberry Street Bar suggests a season more grounded, more historical, and more emotionally resonant.

If Season 1 was about exile and Season 2 about expansion, Season 3 may be about reckoning—with the past, the family, and the codes that defined a life of crime.

Impression

The Mulberry Street Bar has seen its fair share of legends walk through its doors. In April 2025, it added another: Sylvester Stallone, bringing with him the weight of cinematic legacy and the promise of a new kind of mob drama.

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