Kurt Sutter, known for his dramatic flair and penchant for excess, returns with his latest series, The Abandons, premiering on Netflix on December 4. However, this time, his signature style may not resonate as it has in the past with shows like Sons of Anarchy or The Shield. The Abandons aims to deliver high drama within a revisionist female-driven Western setting but struggles to maintain the depth expected from Sutter’s previous works.
The series, set in a loosely defined Washington Territory in 1854, follows two matriarchs as they vie for control over the frontier town of Angel’s Ridge. Constance Van Ness, played by Gillian Anderson, is the owner of the local mining interests and dominates the town’s political landscape. Her family dynamics, including her three children, lack depth and fail to captivate, reducing them to one-dimensional archetypes. In opposition is Fiona Nolan, portrayed by Lena Headey, who has adopted a group of orphans while holding onto her prideful Irish roots. Yet, the complexities of family and personal relationships that should drive the narrative are often skimped or entirely overlooked.
Notably, while the series showcases Sutter’s trademark intensity, it paradoxically takes on a confusingly spare and rushed quality. Originally planned for ten episodes, the series concluded with only seven, four of which run under 40 minutes. This condensed format results in a storytelling experience that feels gutted of its potential, leaving viewers with unanswered plot lines and underdeveloped characters.
Despite compelling performances from both leads, particularly Anderson’s nuanced portrayal, The Abandons falls short of establishing the emotional connections vital for a series of its genre. The interactions between pivotal characters lack the necessary depth and grounding, and essential themes are often muddled or left unexplored, diminishing the impact of the storyline.
Visual aspects also contribute to the issue, with awkward CGI moments and poorly staged scenes diminishing the production’s quality. Although occasionally enveloped in moments of potential, the series ultimately feels like it cannot fully deliver on the tension and stakes it strives for.
Although The Abandons is not painful to watch, it does not evoke the compelling investment that fans may expect from a Sutter creation. As it stands, the series may appeal minimally to viewers but largely leaves a sense of disappointment, feeling more like a disjointed series of ideas rather than a cohesive narrative.