Netflix’s The Abandons stumbles significantly, presenting a series that takes itself too seriously to the point of nearly becoming a parody. The visible production struggles, including the departure of its creator Kurt Sutter, are telling. Aiming to channel the spirit of Deadwood, it instead resembles Westworld with its surface-level period costumes and flat characters. The fact that talents like Gillian Anderson and Lena Headey are wasted here only adds to the frustration.

Kurt Sutter, previously known for Sons of Anarchy and The Shield, attempts to transplant his gritty narrative style to a 1854 setting in the Washington Territory. The Abandons depicts the clash between two disparate families reminiscent of the Hatfields and McCoys. Leading one side is Constance Van Ness (Anderson), a powerful matriarch whose influence is challenged by Fiona Nolan (Headey), a woman who has built a family from forsaken children and refuses to yield her land to Constance’s ambitions.

Constance’s household includes characters like her ambitious son Garret (Lucas Till) and her defiant daughter Trisha (Aisling Franciosi), who seeks her own path in this ruthless environment. Her other son, Willem (Toby Hemingway), portrays a dangerously entitled figure, setting the stage for conflict with anyone who dares to challenge him.

On the opposing side, Fiona’s group includes the compassionate Elias (Nick Robinson), underappreciated Albert (Lamar Johnson), devoted Lilla Belle (Natalia del Riego), and steadfast Dahlia (Diana Silvers), whose traumatic encounter with Willem sparks a vendetta that entangles both families in a search, a disappearance, and a cover-up. These events unfold amidst a backdrop that feels underdeveloped over the course of seven brief episodes.

The subplot that manages to resonate involves the star-crossed lovers, Elias and Trisha, with Robinson and Franciosi bringing depth to their doomed romance. The series does benefit from the presence of seasoned actors like Brian F. O’Byrne, Marc Menchaca, and Ryan Hurst, whose appearances provide brief respites from the overall monotony.

The most glaring issue with The Abandons is how even its skilled leads struggle to flesh out their roles, likely a result of the tumultuous production that saw Sutter exit before filming concluded. This disruption led to a hastily restructured premiere and a reduced season length from ten to seven episodes, resulting in inconsistent characterization and disjointed storytelling.

Even Anderson’s portrayal, reduced to a mere sullen whisper, signals a missed opportunity to develop her character effectively. Despite Sutter’s history of crafting strong female roles, he fails to capture the essence of Constance Van Ness. The series frustratingly ends on a cliffhanger, erupting in violence without resolving the narrative arcs, leaving viewers more exasperated than excited for a potential continuation.

It seems as though Netflix attempted to capture some of the magic of the Taylor Sheridan-driven Yellowstone series by hiring a proven showrunner from another successful family-centric drama. Unfortunately, The Abandons fails to ignite the necessary creative spark, remaining mired in its uninspired origins.

Brian Tallerico is a contributor to The A.V. Club. The Abandons debuts December 4 on Netflix.

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