Netflix’s “The Abandons” Rides Familiar Western Trails with Mixed Results
A new Western, premiering Thursday on Netflix, offers strong performances but struggles to escape well-worn tropes, leaving viewers questioning it’s impact.
The Western genre, a cornerstone of American cinema and television, continues to evolve – and occasionally, to rehash. From the adventures of john Wayne in 1939’s “Stagecoach” to the sprawling landscapes of Taylor Sheridan’s modern tales, the genre has consistently captivated audiences. This year alone has seen releases like “American Primeval” and “Ransom Canyon,” alongside the continued success of “Dark Winds.” Now, Netflix enters the fray with “The Abandons,” a series that, even in its early episodes (seven of ten were available for review), feels steeped in tradition – for better and for worse.
The story unfolds in 1854 in Angel’s Ridge, Washington Territory, centering on two formidable widows, Constance Van Ness (Gillian Anderson) and Fiona Nolan (Lena Headey). These are not the stereotypical “widder women” of Western lore, but powerful matriarchs each commanding their own domain and raising adult children. Constance, a refined and ambitious silver mine owner, presides over a family including the troubled Willem (Toby Hemingway), the capable Garret (Lucas Till), and the surprisingly foul-mouthed Trisha (Aisling Franciosi), who, as the review notes, even finds time to play Schubert on the piano – a detail that feels somewhat forced.
In stark contrast stands fiona, a rancher fiercely devoted to her children and determined to protect her land. The conflict between Constance and Fiona is ultimately extinguished by “mutual antipathy and the fact that each will be guilty of some awful stuff against the other.” Their differing philosophies on motherhood are succinctly captured in a tense exchange: “Our struggle, Fiona,” Constance declares, “is a matter concerning property, not children.” Fiona retorts, “All matters concern my children.” Constance counters with a pointed question about weather the children need such concern, or if it’s merely a means for the mothers to justify their own actions.
Adding another layer to the narrative is a “Romeo and Juliet” subplot involving Elias and Trisha, reminiscent of the Shakespearean themes explored in Kurt Sutter’s previous work, “Sons of Anarchy.” Further complicating matters are the presence of bandits, an impending treaty with the Cayuse Indigenous tribe, and a rebel faction seeking to disrupt the peace.
despite the strong performances from anderson and headey, the characters frequently enough feel “pasteboard,” lacking depth and nuance. The “old-timey dialog” further contributes to a sense of artificiality, hindering the actors’ ability to fully embody their roles. Interestingly, the review points out that the minor characters – including Michael Greyeyes and Michiel Huisman, who work for Constance, and Ryan Hurst as a resident of Jasper Hollow – often feel more authentic.
“The Abandons” is undeniably busy and frequently violent, boasting impressive set pieces and stunning Canadian scenery. However, it ultimately feels “artificial, schematic.” The series adheres to a predictable formula – “Good characters get to make pure, naked love; bad ones have pervy sex – implied, not shown” – and lacks the raw emotional power of classics like “deadwood” or even a single frame from a John Wayne film. Angel’s Ridge, despite a well-designed main street, fails to come alive, and key elements of the setting – such as the silver mining operation or the practicalities of ranch life – remain unexplored. The fleeting appearance of Cornelius Vanderbilt hints at a larger narrative arc, but his absence leaves a void.
Ultimately,the question remains: does the fate of Jasper Hollow or Constance’s silver mine truly matter? As the review concludes,”I can’t say that I did.” The series offers the satisfaction of seeing “horrible people punished and not-horrible people flourish,” but lacks the compelling emotional core to truly resonate with viewers.
