REVIEW: 'The Abandons' Is Flat, Formulaic, And Massively Frustrating
- Kevin Verma
- 11 hours ago
- 3 min read
Kurt Sutter made his name with Sons of Anarchy, a gritty, character-driven series that received both critical and audience love. Eleven years after the end of Sons of Anarchy, he is back with The Abandons, a new Netflix Western-Drama, which is unfortunately nowhere near the quality fans might expect from him. Set in the 1850s and following clashes between outlaw groups in the Old West, the series promises scale, style, and tension, yet delivers something closer to a cheap, soapy network Western dressed up with a bigger cast and bigger sets.
The problems start immediately with what might be one of the worst pilots in recent memory. Predictable with a capital P, the opening episode sets the tone for a show that has no real depth, no emotional hook, and no sense of danger. The writing never gives you a reason to root for most of its characters. Aisling Franciosi’s Patricia Van Ness is perhaps the lone exception, but even she gets bogged down by poor writing. The show is full of half-baked subplots and inconsistent character motivations that take you out of the experience. Big names like Michiel Huisman and Nick Robinson are completely wasted, barely given anything meaningful to play.
Gillian Anderson is the only cast member who appears genuinely invested, sinking her teeth into a character that’s easily the show’s most interesting, though that’s an admittedly low bar. Lena Headey, meanwhile, is saddled with a frustrating, unlikeable role that makes it nearly impossible to feel invested in her arc. Even when the acting isn’t outright bad, it rarely rises above bland, and the show’s self-serious tone only highlights the lack of charisma across the board.
While the middle batch of episodes is marginally more watchable, The Abandons never finds its footing. There’s a standout scene between Headey and Anderson in episode three that briefly sparks to life, hinting at the deeper, grittier drama the show could have been. But it’s an exception in an otherwise forgettable stretch of television. The pacing is an ongoing issue, with the narrative meandering without building tension. And for a Western, the lack of action is baffling. What we get instead are half-hearted relationships that go nowhere and plot developments you can see coming from miles away.
Visually, the show is surprisingly unimpressive. Despite Netflix’s budget, the cinematography lacks texture and atmosphere; nothing lingers, nothing immerses. The only real technical strengths are the costumes and the production design, which do a commendable job of capturing the era. But even those elements can’t make up for the flat direction and uninspired storytelling.
At just seven episodes, The Abandons sounds like the kind of show built for a quick binge, but the silly, off-putting cliffhanger it ends on makes the journey feel even less worthwhile. It’s not the first time Netflix has tried a Western like this — the Australian series Territory comes to mind, and that one was cancelled after a single season. This show might face a similar fate, and even its big-name cast might not be able to save it.
It’s concerning to see Netflix moving in this direction: high-profile creators delivering low-effort, derivative projects that feel like algorithm-generated mashups of better shows. The Abandons is dull, uninspired, and completely forgettable — a messy blend of recent Western and period dramas without the heart, grit, or originality needed to stand out. Don’t be surprised if it ends up on several “Worst TV Shows of the Year” lists.
About The Abandons
Premiere Date: December 4, 2025
Episode Count: 7
Showrunner: Kurt Sutter
Executive Producers: Stephen Surjik, Otto Bathurst, Emmy Grinwis, Jon Paré
Production: Sutter Ink
Distribution: Netflix
Cast: Lena Headey, Gillian Anderson, Nick Robinson, Diana Silvers, Lamar Johnson, Natalia del Riego, Lucas Till, Aisling Franciosi, Toby Hemingway, Michael Greyeyes, Ryan Hurst, Katelyn Wells, Clayton Cardenas, Elle-Maija Tailfeathers, Brían F. O'Byrne, Marc Menchaca, Patton Oswalt, Michael Ornstein, Jonathan Koensgen, Jack Doolan, Michiel Huisman, Haig Sutherland and Sarah White.
