Netflix dropped a bold new series this week that pushes boundaries in terms of violence and complexity—American Primeval.
Released on January 9, the show, created by Mark L. Smith and directed by Peter Berg, promises a grueling journey through the harshest corners of the American West. But despite its star-studded cast, including Taylor Kitsch, Betty Gilpin, Jai Courtney, and a host of other talented actors, the show might leave you feeling more overwhelmed than intrigued.
Set in 1857 Utah Territory, American Primeval brings us a brutal, unforgiving world where violence isn’t just common—it’s relentless. The premise is simple enough: Sara (Gilpin) and her son Devin (Preston Mota) are on a perilous journey westward, hoping to reunite with Devin’s father. The twist? Sara is a fugitive, wanted for murder and robbery, which makes her a target for a ruthless group of outlaws led by Virgil (Courtney), all hoping to cash in on the bounty on her head.
But what seems like a straightforward survival story is anything but. The show is set against the backdrop of a volatile three-way conflict: the Mormons, led by the power-hungry Governor Brigham Young (Kim Coates), the US government trying to impose law and order, and the Shoshone tribe caught in the crossfire. As Sara and Devin make their way across the plains with a group of settlers, things take a dark turn when a Mormon legion, masquerading as Shoshone, launches a brutal attack.
Enter Isaac (Kitsch), a mysterious man who helps them escape. Along the way, they’re joined by Two Moons (Shawnee Pourier), a resilient young woman caught in the chaos of these shifting allegiances. The narrative quickly spirals into an intense web of alliances, betrayals, and power struggles as the series expands to include characters like Abish (Saura Lightfoot-Leon) and Red Feather (Derek Hinkey), and explores the bloody legacy of the Mormon legion’s actions.
What stands out in American Primeval is its focus on the women in this narrative—Sara, Abish, and Two Moons. In a genre traditionally dominated by male protagonists, this is a refreshing change. However, even with this shift, the show struggles to escape some familiar Western tropes, including the white-male-savior complex and the damsel-in-distress narrative.
In the end, while the show may have all the trappings of a modern Western—action, tension, and dramatic stakes—it sometimes feels like it’s trying too hard to be gritty and intense. The story can become tangled, weighed down by its attempt to juggle too many plotlines, and the violence, while at times effective, often veers into gratuitous territory.
With six episodes to digest, American Primeval doesn’t quite hit the mark. Its mix of complex characters, historical context, and raw action has a lot of potential, but the delivery leaves a lot to be desired. For fans of Westerns looking for something new, this may be worth a watch. For everyone else, it might be better to wait until the dust settles before diving in.