The Abandons

Summary

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Pop Culture Happy Hour: "The Abandons" (December 8, 2025) – Episode Summary

Main Theme / Purpose

This episode of Pop Culture Happy Hour dives into Netflix's new Western series The Abandons. Host Glenn Weldon and guest Christina Escobar (co-founder, LatinaMedia.co) offer a critical discussion exploring the show's dramatic ambitions, soapy storytelling, and problematic choices. They analyze whether the series truly delivers on its frontier drama, the effectiveness of its casting, and the show's broader representation and themes.

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Key Discussion Points & Insights

1. Premise & Setup

• The Abandons is a Western set in the 1850s Washington Territory and centers on two matriarchs:
  • Constance (Gillian Anderson): A wealthy, widowed mine owner whose mines are running dry.
  • Fiona Nolan (Lena Headey): A determined, poor cattle farmer and mother to a found family of misfits.
• Constance wants Fiona’s land and is willing to go to any lengths to get it, setting off a violent rivalry between their families.

2. Overall Impressions

• Christina Escobar: Strongly critical, finding the show disengaging despite admiring the leads, particularly Anderson.
  • “There were so many issues with this show. … My main issue … it felt like a season two. Like we were supposed to be dropped in and already care about these people.” (04:26)
  • Praised the show’s “hat budget” as a rare highlight, indicating deep dissatisfaction with character and story development.
• Glenn Weldon: More generous, accepting the show’s flaws for its entertainment value and soap opera flair.
  • “This show is smart enough to give us the reason why we’re watching. You do not cast Headey and Anderson and then just have them ... glower at each other from across a great distance. No, you give them scenes together to trade barbs and make veiled threats.” (08:10)
• Both agree the production values are high, especially in costuming and landscape cinematography.

3. Characterization & Writing

• Character Flatness: Christina felt the characters "remained types" and never became real people, making it hard to invest in the stakes (05:14).
• Dialogue & Direction: The dialog veers between “old timey stilted” and “modern day swear words,” creating tonal whiplash (05:37).
• Soapiness & Structure: Glenn positions the show as knowingly, even joyfully, soapy—“It’s Dynasty. … It’s Crystal and Alexis on the frontier” (08:20). The pleasure, he argues, is in watching events slot into place, melodramatically but with cathartic payoff.

4. Representation & Setting

• Positive note for casting diversity: Christina appreciated the show avoided the all-white casting pitfall common to Westerns, even today (08:41).
• The purported class struggle (“haves and have-nots”) felt superficial to both, despite being part of the show’s marketing.

5. Serious Plot Elements & Critique

• Sexual Assault as Plot Device: Both hosts find fault with the show’s use of sexual assault as an inciting incident—a lazy, cliched, and unearned choice, particularly given its lack of character grounding (09:27-10:02).
  • Christina: “I don't think it deserves that out. ... It puts you in a place where, because the characters ... don't really become people ever, that it's all just for a kind of pulpy entertainment. And sexual assault does not work as pulpy entertainment.” (10:24)

6. Climax, Resolution, and Soap Opera Structure

• The season ends with a dramatic climax (notably involving a fire) but leaves major questions unresolved—a deliberate, soap-style cliffhanger.
• Glenn accepts the open ending for its “cathartic release of tension,” while Christina finds it unmoving due to her lack of emotional investment (12:29-13:49).

7. Comparison to Other Netflix Westerns

• Christina draws contrast to 2017’s Godless, which offered a more thoughtful take on gender and the Western genre (11:04).

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Notable Quotes & Memorable Moments

• "There were so many issues with this show. … My main issue … it felt like a season two. Like we were supposed to be dropped in and already care about these people."
  — Christina Escobar (04:26)

• "If you level tiny hats, watch. Otherwise, I don’t know."
  — Christina Escobar celebrates the show's hat game (06:09)

• "This show is smart enough to give us the reason why we’re watching. You do not cast Headey and Anderson and then just have them ... glower at each other from across a great distance. No, you give them scenes together to trade barbs..."
  — Glenn Weldon (08:10)

• "I would add gross. It felt gross to me."
  — Christina Escobar on the use of sexual assault as a plot device (10:00)

• "Sexual assault does not work as pulpy entertainment. I don’t think so."
  — Christina Escobar (10:24)

• "It’s Crystal and Alexis on the frontier."
  — Glenn Weldon comparing the show’s vibe to classic TV soaps (08:23)

• "You really have to care about these two matriarchs and their conflict for the show to work for you ... for me, neither of them seemed particularly believable."
  — Christina Escobar sums up the central flaw (12:59)

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Timestamps for Key Segments

• 03:00 — Christina Escobar joins, and the show’s setup and main characters are introduced.
• 04:11–06:07 — Christina’s overall negative take and complaints about the show’s lack of engagement.
• 06:08–07:27 — Discussion of production values and comparison to other Western series.
• 08:10–09:27 — Glenn’s defense of the show’s soapy pleasures and Christina’s critiques on representation and class themes.
• 09:27–10:22 — The use of sexual assault as a plot element and its narrative shortcomings.
• 12:29–13:49 — The ambiguous ending and why it fails (or not) to satisfy.
• 13:49–14:28 — Final summary and invitation for listener feedback.

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Conclusion

The Abandons emerges from this lively debate as a series with high ambitions and impressive window dressing but lacking narrative and emotional depth for at least one critical viewer. Glenn Weldon finds it a knowingly entertaining, if flawed, soap with plush hats and matriarchal showdowns. Christina Escobar, meanwhile, finds the series messy, hollow, and sometimes questionable in its choices, ultimately left cold—and only recommending it to “hat lovers.” Both agree, however, that the cast is compelling, the visuals are lush, and the show does little to advance the Western genre’s storytelling substance.

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Find the episode and share your thoughts at: facebook.com/PCHH

Transcript

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[Glenn Weldon]

Don't let the spurs and the cowboy hats fool you. At its heart, the new western series the Abandons is a sudsy nighttime soap and that's a good thing. Two steely matriarchs face off on the American frontier. Lena Headey is the poor cattle farmer who's struggling to hold her found family of good hearted misfits together and Gillian Anderson is the rich mine owner with her own brood of obnoxiously entitled offspring. She wants Lena's land and will go to any length to get it. I'm Glenn Weldon and today we're talking about Netflix's the Abandons on Pop Culture Happy Hour from N.

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[Glenn Weldon]

Joining me today is entertainment journalist Christina Escobar. She's the co founder and editor in chief of Latina Media. Punto co. Hey, Christina.

[Christina Escobar]

Howdy, Glenn.

[Glenn Weldon]

Howdy. Nicely done. The Abandons takes place in the 1850s in Washington Territory. Gillian Anderson plays Constance, the widowed head of the rich Van Ness mining family. But the mines are running dry, and Constance has her eye on a patch of land owned by Fiona Nolan, another widow. She's a tough cattle farmer who's adopted a bunch of of outcasts. She's played by Lena Headey. No amount of money or misfortune can.

[Christina Escobar]

Move us from this land.

[Glenn Weldon]

God gave us this home, and only.

[Christina Escobar]

God can take it away.

[Glenn Weldon]

Fiona refuses to sell to Constance, which sets off an escalating series of events as members of both families clash violently. We should note that there is a sexual assault plotline in the Abandons. We'll be discussing that today. The series was created by Kurt Sutter. He also created Sons of Anarchy. Both the Hollywood Reporter and Deadline have reported that Sutter left the Abandons during production because of creative differences with Netflix. NPR has not independently confirmed that reporting. The Abandons is streaming on Netflix now. Christina, what'd you think?

[Christina Escobar]

Oh, man, I wanted to like this show, and I just couldn't listen. I would watch Gillian Anderson read a grocery list. I watched her in Tron, like, yep.

[Glenn Weldon]

Yes, you did that. You put in your time.

[Christina Escobar]

This was not it. There were so many issues with this show. I will say it felt like she was stuck in a single note until some of the final episodes when it finally got fun. Maybe when she breaks a little bit and has some fun with one of her hired hands, if you know what I mean. But until then, she was really stuck. But I guess my main issue with this show was it felt like a season two. Like we were supposed to be dropped in and already care about these people. And I never cared about any of them. And it didn't feel like there was enough stakes. So, you know, there's this understanding that the land will be ruined if the mine takes over. But we see some shots of the land being beautiful, but we don't see any shots of what a mine looks like. We might know, but the stakes of it never seemed real. The characters never became people to me. They remained types. So the whole thing kind of just felt A little silly. The other thing I, I would say is a lot of shows do this mix, right. Of language, where sometimes we're in the past, but we're using modern language. And this show did a really, I want to say, strange mix where sometimes they would talk in this like old timey stilted way and then someone would drop a modern day swear word and it would just catapult into shenanigans. And I felt like this show didn't have any strong direction. It really did not feel like they knew what show they were trying to make. And so it became just a nothing burger of a lot of really nice hats. The hats were the highlight for me.

[Glenn Weldon]

Really nice hats, beautiful hats.

[NPR Announcer]

Beautiful.

[Christina Escobar]

So many good hats. The hat budget was off the hook. If you level tiny hats, watch. Otherwise, I don't know.

[Glenn Weldon]

Okay, okay. I mean, I think the whole budget was pretty good. I mean, for what we should mention, the show is gorgeous. It looks expensive. I mean, these landscapes are gorgeous. I kind of was digging this for a lot of the same reasons you weren't. I mean, this show does not go as hard as the previous Netflix American Primeval, which dropped on stream air in January of this year. That show was very brutal and unsparing, very dad coded, frankly. And this show kind of wants you to think it's going to go as hard with all the stuff about vengeance and moms protecting their kids. Very great tragedy. But it is not that, as you note. For one thing, this dialogue is so much less layered. It's a lot more of people saying exactly what they're thinking the moment they think it in its entirety. And there's also the thing that's related to that, that's happening on a lot of streaming shows right now where a character will say what's about to happen, then we watch it happen, then in the next scene, someone describes what just happened. And once you start to notice this, you're going to see it every damn where on pretty much every streaming service. Reportedly, or let's say the most generous interpretation of this phenomenon, which is everywhere, is that that's the streamers afraid that people are watching with their phones out and don't want them to get lost. You cannot possibly get lost watching this show.

[Christina Escobar]

There's no getting lost because like on.

[Glenn Weldon]

Paper, it's a huge ensemble. There's a lot of characters, a lot of B, C and D storylines, a lot of Van Nesses and abandons coming together and clashing and smashing. Lots of different factions. There's bandits, there's Native Americans, there's townsfolk, there's the military. But the reason you're not gonna get lost is. Is because a lot of those tertiary characters don't matter. This is a soap. It's not just a soap. It's Dynasty. I mean, it's got dreams of Greek tragedy. And, you know, there's some Romeo and Juliet in there with two houses alike in dignity, with Fiona's son and Constance's daughter doing the star crossed lovers thing. But this show, this is the reason I liked it more than you did. This show is smart enough to give us the reason why we're watching. You do not cast Headey and Anderson and then just have them kind of glower at each other from across a great distance. No, you give them scenes together to trade barbs and make veiled threats and be all stoic and resolved, which again, Anderson kind of goes hard, really leans into the stoic and resolved. But you get these flashes of vulnerability, like maybe a quivering lip. And we get a hell of a lot more of those scenes than I was expecting. Several per episode. That's what this show is, right? It's Crystal and Alexis on the frontier. That's how you pay for all the other stuff with the kids and the bandits and all that stuff that I didn't care about. Do you see where I'm coming from?

[Christina Escobar]

Yeah, I guess so. And I do want to say I did appreciate that they didn't just have white people, which I feel like a lot of westerns still do, even modern ones. Like, good points on that. And it's interesting on some of the descriptions of the show. It talks about like a conflict between the haves and the have nots. And I did not think that that landed. It did not feel like a meaningful class critique. As beautiful as the show was and as clear as it was on, like, these people have money and better clothes and a way, way better house, you know, but like, what does that mean on the frontier? It felt really unclear to me. And I mean, it was so soapy it couldn't make any broader points, I guess. And to me also, the soap didn't work cause I didn't care about them.

[Glenn Weldon]

Okay, no. Good. But let's talk about this frontier aspect because that's the one that I struggled with the most. Like, I do have a question for you. Because the inciting incident, the real story trigger here, is an act of sexual assault. And that sexual assault happens long before we know these characters. We haven't had a chance to individualize them or characterize them or actually see them as people. So it can't help but feel like anything but what it is, which is just a plot point. It's fuel for the storytelling engine. And this is 2025. That approach can't help but come off as lazy and cliche and forced and.

[Christina Escobar]

And I would add gross. It felt gross to me.

[Glenn Weldon]

Absolutely gross. So here's my issue. Narratively, that's a nerd. Narratively, that's a non starter. It made me kind of want to not watch. But historically, right. I don't wanna say it's accurate. I don't wanna say it's justified. It's not. But I mean, it's historically plausible. Right? I mean, the old west was a brutal place. Am I giving this show an out that I shouldn't?

[Christina Escobar]

Yeah, I think so.

[Glenn Weldon]

Okay.

[Christina Escobar]

I don't think it deserves that out. And like, there's other ways to show brutality and different ways to manage that particular aspect. I think starting off with that, particularly as you mentioned before, we've gotten to know the characters does not make any sense. And it puts you in a place where, because the characters, I would argue, don't really become people ever. That it's all just for a kind of pulpy entertainment. And sexual assault does not work as pulpy entertainment. I don't think so. And I want to say in terms of Netflix lady Westerns, there was in comparing this show to Godless from 2017. That show, it had two too many white people, but it had more interesting things to say about gender and the west that this show doesn't even approach, really.

[Glenn Weldon]

Right. Okay. We talked about the soapiness of this show. And I wanna make it clear when I'm talking about soapiness, I don't mean its arch or its camp. This is not lust in the dust. It's not camp until the last few moments of the last episode. And I think you know what I'm talking about, which tends to bleed over a little bit. But what I mean is it's structured. As far as I was concerned, soaps are plot forward things, things happen and they get heavily foreshadowed. So you know they're gonna happen. But part of the satisfaction of watching a soap, or a nighttime soap or whatever the hell this thing is, is watching events slot into place. I think this season builds to a climax. I think the tension ratchets up and then explodes. I was there for it. But one thing we do have to give listeners fair warning about is that the climax does not get resolved. This is a climax without any kind of denouement. There's a big question about our characters. That hangs about the fates, their ultimate fates. I was okay with that because, again, the climax did what it needed to do. It delivered on like a cathartic release of tension. I don't know. At staping, we don't know if it's gonna get a second season. I would still tell people to watch it, given that we don't know what's gonna happen. Because I was satisfied by that increase in tension. I'm gonna guess you have a different opinion.

[Christina Escobar]

I mean, so the whole ending, to me, while I do think they did a good job, perhaps with some of the pacing and the plot elements, and there is a big showpiece ending with a fire just really going for it. That whether it resolved or not, I wouldn't have changed my opinion about the show. Okay.

[Glenn Weldon]

No good.

[Christina Escobar]

It doesn't end in a way that is unsatisfying or more or less satisfying than the rest of the series because you really have to care about these two matriarchs and their conflict for the show to work for you and for me. Neither of them seemed particularly believable. Gillian Anderson's character was really one note. Her peer there was more conflicted, had both good and bad. But that didn't come together to me in a way that felt like anybody I've ever met. It felt like tv soapy silliness, sort of trapped in this, like, Western, sometimes gritty, sometimes not unsure of where it's going type of show that just didn't coalesce into anything other than a lot of quick moving plot points.

[Glenn Weldon]

Okay, so if we can summarize, I think we're coming at this from two different places. I'm coming from a place of seeing the flaws and giving a lot of slack. And you are coming from a place of having standards.

I mean.

And I think both are valid. I think yours is probably more valid than mine. But now it's time for you to tell us what you think about the event and settle the dispute. Find us on [e-mail] PCHH and that brings us to the end of our show. Christina Escobar, thank you so much for being here. This helped a lot.

[Christina Escobar]

I mean, I go into every show wanting to like it. This one, no, you have nothing to.

[Glenn Weldon]

Apologize for, especially when it comes to this show, which is what and it is. This episode was produced by Carly Rubin, Kayla Latimore, Mike Katsif, and edited by our showrunner, Jessica Reedy.

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And hello.

[Glenn Weldon]

Come in. Provides our theme music. Thank you for listening to pop culture Happy Hour from npr. I'm Glenn Weldon and we'll see you all next time.

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