Why American Primeval is the anti-Yellowstone

Warning: Contains minor spoilers for American Primeval.

Once considered a dusty relic, the Western genre is currently thriving on the small screen.

Despite the absence of its leading actor, Kevin Costner, Yellowstone remains the most prominent series on U.S. television, and quite impressively, it has given rise to no less than four sequel shows.

Amazon and MGM+ have achieved success with their shows Outer Range and Billy the Kid respectively. Not long after debuting the Australian outback drama Territory, Netflix is attempting to capture viewer attention once more by offering a six-part series set during the Utah War of 1857.

If you’re looking for an authentic western story reminiscent of cowboys and saloons, be aware that American Primeval diverges significantly from the current trend.

In contrast, while the Yellowstone universe, including series like 1883 and 1923, focuses on soap-operatic family dramas, cowboy role-playing reminiscent of John Wayne, and picturesque landscapes of the American West, this new series is unapologetically dark and gritty. It eschews any attempts to glorify or romanticize the Western lifestyle.

As a devoted fan, I must say that director Peter Berg (of Friday Night Lights and Lone Survivor fame) deliberately crafted American Primeval to appear as raw and unattractive as possible. He didn’t want us, his motley crew of outlaws, tyrants, and settlers, to be lulled into admiring the landscapes. Instead, he drenched our world in a relentless downpour of dirt, rain, snow, not to mention an abundance of blood and gore.

By the time its trigger-happy finale draws to a close, you may feel like you need a shower too.

The cause for all the violence stems from disagreements regarding territory, religion, and power among the Mormon community, the U.S. Army, and numerous Native American tribes. Each party has a tendency to resort to violence (shooting, stabbing, drowning, or spearing) without any consideration for subsequent questions or negotiations.

In just about a half-hour, the series plunges us straight into the grim reality of the Mountain Meadows Massacre – an actual event where around 120 emigrants were ruthlessly killed. Their longstanding hatred quickly escalated to this horrific climax.

The intense, unflinching cinematography of this piece serves as a stark reminder of the harrowing prologue in Saving Private Ryan, further emphasizing its authenticity and lack of sugarcoating.

It’s true that the numerous gunfighters, with their rugged looks, can sometimes make it challenging to discern which side has the upper hand, or even if any side does. However, there are certain individuals who leave an indelible impact that transcends their mere boot prints on the ground.

In a similar vein, Kim Coates portrays an eerie likeness of Brigham Young, the Mormon church leader, who is absolutely chilling in his relentless determination to safeguard his followers at any cost – a real-life character with unyielding resolve.

It’s hard to ignore Dane DeHaan’s character Jacob Pratt, a devoted believer who endures the harsh terrain with a gash on his head. Similarly, Taylor Kitsch’s Isaac stands out as a mournful outcast and one of the few characters who could be considered heroic in the series.

However, surprisingly for a genre often characterized by masculinity, it’s the strong female characters that truly captivate us.

In a daring struggle for liberation, Abish (Saura Lightfoot-Leon), full of spirit, repeatedly manages to escape what seems like imminent demise. Her battle isn’t just against the lethal captors who hold her, but also the husband she was coerced into wedlock.

In silence, Shoshone native Two Moons (Shawnee Pourier) expresses an equally brave and resilient spirit as she readies to embark on a new journey (regrettably, even with several Indigenous advisors, she remains one of the scarcely depicted tribal characters given significant screen time).

In the series GLOW, Betty Gilpin plays Sara, a mother who is the emotional core of the story. She’s determined to bring her son Devin (Preston Mota) back to his father across a treacherous border journey. Observing that the world seems unfavorable towards a lone woman, she’s not wrong given the numerous attempts on her life she’s managed to survive.

Additionally, this world doesn’t appear to offer many instances of levity or humor either. Despite his strict rule, Brigham does manage the occasional witty remark. For instance, after two real-life figures, mountain man Jim Bridger (Shea Whigham), point out that 22 wives might be excessive, Brigham quips, “It’s actually 20, but the press tends to simplify the facts.

In my perspective, Mark L. Smith’s work bearing similar themes seems almost comical compared to the depth and authenticity found in The Revenant – it’s as if I’m watching a lighter version of Blazing Saddles.

Undeniably, American Primordial presents an unrelenting bleakness, as it spares neither young characters like Devin nor innocent creatures such as horses from the gruesome violence. For those sensitive to intense violence, particularly horse lovers, it’s recommended that you avoid episode 4 in particular.

With the ominous music by post-rock band Explosions in the Sky playing, the persistent gunfire and haunting cries create a soundtrack that matches the dark atmosphere of the performance.

This unyielding misery is unlikely to appeal to people used to Western narratives, as the actions in these stories tend to take place in private settings such as homes or offices rather than on the battlefield. It’s not a type of entertainment that encourages binge-watching for relaxation.

Simplifying it to its core elements, American Primeval adds a dash of authentic grittiness to the overpopulated western genre.

2025-01-09 14:04

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