The Netflix series tries to scratch Yellowstone fans’ itch for wide-open-spaces drama.
, a breakneck opening drops viewers into a frenzied gun battle. Within two minutes of the credits, a man takes one to the neck, bullet holes punctuate shanty walls like a colander, two barely-clad women slump unceremoniously dead, Guy Pearce’s character sits shackled and bloodied but stoic, his brother sobs, flies buzz, holes are dug, and a British captain gazes at the sand and sun, wipes the greasy sweat from his forehead, and waxes: “Australia.
or stretches, it can read as downright sudsy, with a love story sparked around an awkward request to take iPhone vids of some sweet horseback-riding moves. A-esque brawl is precipitated by the kind of bar entrance where you hop on your buddy’s back and jostle his hat down over his eyes and then start a for-fun quarrel with bottles smashed over heads. Some risky business involving stolen croc eggs ensues, a metaphor for an uncomfortable love triangle that is more than a bit eye-rolly.
But through everything, Australia remains the main character here. The show is shot across the Northern Territory and South Australia . All of it yields unparalleled wide-openness at once beautiful and forbidding, celestial and of a different time.
But, truly, beef in this world is king. So back to the good ol’ boys’ club we go, roiling and boiling with mistrust, bouncing from cattleman’s federation meetings to livestock auctions and the need to rejuvenate the gene pool with bulls with more ’tude. And here it’s not hard to see a parallel to our own country: a place mired and fragmented in frustrations, in stubborn identity stances, in inequality, and in an endless violence that seems to never really amount to anything but more.
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