Peter Berg directs creator Mark L. Smith’s Western TV miniseries set in 1857 during the Utah War and the violent clash between the Mormons, the U.S. government, early settlers, and the indigenous tribes, focusing on the Mountain Meadows Massacre. The miniseries mixes historically real people with fictional characters. (132 min.)
Glen: Most Westerns are romanticized stories of good triumphing over evil, but American Primeval makes it clear that its version of westward expansion will not be romanticizing Manifest Destiny. It doesn’t pit black-hatted bad guys against white-hatted good guys. Its morals are more complicated. Good guys don’t win. Justice is not served. Power trumps all. Violence is the language of the land. The main storyline follows mother and son Sara (Betty Gilpin) and Devin (Preston Mota), who are heading west to meet with Devin’s father, but finding a dependable guide proves nearly impossible. They end up attached to an ill-fated wagon train guided by Fancher (director Peter Berg) that includes some Mormons: Jacob (Dane DeHaan) and his new wife, Abish (Saura Lightfoot-Leon). Meanwhile, led by Brigham Young (Kim Coates), the Mormons are claiming Utah as their Zion, drawing the ire of the U.S. government and a platoon led by Capt. Edmund Dellinger (Lucas Neff). Also in the mix are the indigenous tribes of the Shoshone, led by fierce warrior Red Feather (Derek Hinkey), and the Paiute, who are aligned with the Nauvoo Legion, the Mormon militia led by James Wolsey (Joe Tippett), a murderous mercenary. I have to say, the depiction of these early Mormons is ugly. It’s a compelling drama with kinetically filmed action sequences and significant gore. I loved the grit and realism. If you enjoyed The Revenant (2015), which was co-written by Smith, you’ll love this too.
Anna: It doesn’t paint this period in a rose-tinted light. It’s dirty and mean, and it seems that most people are just fighting to survive—some in more unscrupulous ways than others. Sara Rowell is a no-nonsense woman whose single-minded focus is getting her son to Crook Springs, and come hell or high water, she’ll find a way to get there. Unfortunately, they’re late to meet their hired guide, and he’s gone. Sara has little choice but to join the wagon train setting out. Mr. Reed (Taylor Kitsch) refused to guide Sara and Devon, but he can’t help but follow them when they leave. When things go awry, he swoops in to save them, and it isn’t the last time. The three become four when a young native woman named Two Moons (Shawnee Pourier) reveals herself as a stowaway after fleeing her village. While the series follows various groups, this is the one at its core. There’s danger around every corner, and soon many are on the hunt for Sara, who had a bounty on her head for murder. Gripping and gritty and filled with both strong, admirable characters along with vile, terrible counterparts, all the threads that weave these stories together are evocative.
Glen: Mixing in real characters such as Brigham Young, wagon train leader Fancher, Fort Bridger owner Jim Bridger (Shea Whigham), and Young’s goon Wild Bill Hickman (Alex Breaux) with fictional ones like Isaac, Sara, and Devin adds to the realism. Even some of the fictionalized characters are based on real people, including Shoshone tribal chief Winter Bird (Irene Bedard), based on a historical chief. It’s a thrilling story and, if this is how the West was won, an ugly one.
Anna: It certainly doesn’t romanticize the period. Things were wholly unpleasant and dangerous, it seems. I loved how Sara and Reed grew on each other and how the four became so close. Trauma-bonding, no doubt, but sweet just the same. I also loved Abish’s story and watching her turn from meek wife into a strong woman. This paints the West with blood and grit, a story that’s unfortunately more truth than fiction.
New Times Arts Editor Glen Starkey and freelancer Anna Starkey write Sun Screen. Comment at gstarkey@newtimesslo.com.
This article appears in Jan 23 – Feb 2, 2025.