Headey and Anderson excel as women, both widowed, pushed into positions of responsibility in a world full of violence and sexism (though Headey’s accent is a constant distraction). But there isn’t nearly enough juice in the conflict between Fiona and Constance to sustain seven episodes. It comes as little surprise to discover showrunner Kurt Sutter (the creator of brainless biker drama Sons of Anarchy) left the production early after Netflix was shown rough cuts of the series, prompting extensive reshoots.
But these are mere plasters applied to a patient who needs an organ transplant or three. In a desperate attempt to keep things ticking along, the script resorts to random distractions – such as a Machiavellian Monsignor, bandit incursions and negotiations with local Native American tribes. There is also a violent death early on that promises darker consequences down the line – yet these never fully come to pass.
Anderson is the television equivalent of a national treasure – and arrives on The Abandons fresh from rave reviews for her turn as an alcoholic mother in the acclaimed Troubles drama, The Trespasses. Headey, by contrast, has been criminally underutilised since Game of Thrones – from which she was one of the few to emerge with dignity intact after its appalling final season. She deserves a showcase worthy of her fire-and-brimstone screen presence. But this woebegone western misses the target and instead shoots itself in the foot.
The Abandons is on Netflix now
