Netflix rolled out a Western-themed red carpet at the Tudum Theater on December 3 to celebrate the premiere of The Abandons, drawing cast members Lena Headey, Gillian Anderson, Lucas Till, Nick Robinson, Diana Silvers, Lamar Johnson, Michael Greyeyes, Natalia del Riego, Aisling Franciosi, and more. The screening had the warm, buzzing energy of a reunion—cowboy camp veterans greeting each other in gowns and boots as they stepped into the world of the show once again. The series, created by Kurt Sutter, is set in Washington Territory in 1854 and follows two opposing matriarchs whose families clash over land, secrets, and survival on the edge of American lawlessness.
On the carpet, Diana Silvers spoke with real warmth about the physical transformation required for the role. “My horse Rusty was the greatest gift ever,” she said, adding that cowboy camp quickly became a highlight rather than a hurdle. “It was honestly the two best weeks of my life. We learned how to lasso, how to steer wagons, how to cut cows.” She described her character as “tough, brave, misunderstood,” and joked that while she didn’t take anything from set, “I wanted to take Rusty… but I guess I need season two for that.”
Lucas Till echoed the consensus that cowboy camp bonded the cast deeply. “There was a time when we were all in this pen separating cows from each other, and after two weeks we were able to do it seamlessly,” he said. Speaking about his character, Till explained, “He’s the middle child, but the eldest doesn’t look like he’ll be able to take up the reins of the family business, so that’s where I step in. My mom is one tough cookie.” He noted a subtle jealousy his character feels toward Nick Robinson’s, describing it as a desire to befriend him complicated by a romance that “is not going to work out the way he hopes.” Filming was physically demanding — “You’re using muscles you’ve never used before” — but he called the job “one of my favorites of all time.”
Natalia del Riego, wearing what she called an “art piece” of a gown, said riding became central to her process. “It forced me to be in the present,” she said. “My character is really one with her horse.” Del Riego admitted to taking Lilla Belle’s knife home as a keepsake: “She goes nowhere without it.” She emphasized the character’s backstory — losing her family at 8 years old — noting, “There’s a Lilla Belle before the murder of her family and a Lilla Belle after,” and described the show overall as “betrayal, drama, and love,” with “heart-racing” tension throughout.
Aisling Franciosi described cowboy camp as “so much fun,” adding, “Our wranglers were amazing — so professional, so kind, so encouraging.” She was struck by the detail of the constructed town, recalling a recreated period candy shop: “All the sweets were exactly what they would have had in that time. They really went above and beyond.” While her character adored those sweets on screen, Franciosi admitted she was the only one eating them between takes.
Executive producer Stephen Surjik reflected on the show’s thematic DNA and its ties to Kurt Sutter’s earlier work. “It’s complex character work where you have many people relating to each other in very coherent ways,” he said. Drawing a parallel to Sons of Anarchy, he remarked, “Whether it’s motorcycles or horses, you have a sociological phenomenon: big groups battling for territory.” Surjik emphasized that the stakes are philosophical as much as material: “It’s not as simple as wanting land. There’s dignity involved.”
Toby Hemingway spoke with enthusiasm about the Calgary shoot. “You didn’t have to pretend too much when you’re on your horse with your cowboy hat in this beautiful place,” he said. Cowboy camp, though brief for him, became something he loved: “It turned out to be one of my favorite things.” He also noted the surreal experience of working with Gillian Anderson after growing up watching her, calling the entire production “my favorite thing I’ve ever done — and this time I really mean it.”
Gillian Anderson described her character as a sharp departure from previous roles. “She’s ruthless, and she feels like she has a righteous pursuit,” Anderson said. “She believes she’s doing good for America and is focused on the bigger picture.” It is, she noted, her first time playing a true villain. She praised Lena Headey’s performance as the opposing matriarch, saying, “I was so impressed with her and what she brought to every scene. We have some fair showdowns.”
Hannah Forest Briand recounted her first days on set as “surreal,” explaining that working alongside Anderson and Headey made it difficult to act naturally. “You stop making jokes because you’re nervous,” she said, though she appreciated Anderson laughing at every tentative attempt. Initially auditioning for a different role, Briand ultimately joined the show as Jenny, Anderson’s maid, and said, “As a queer person, having the queer community behind me cheering me on has meant everything.”
Writer Sarah McCarron described watching the actors embody her scripts as “chills-inducing.” She explained that early casting discussions became instantly clear once Headey and Anderson were attached: “When casting not only honors your vision but elevates it in ways you couldn’t imagine, that’s the dream.” She laughed when asked if the two actresses could ever swap roles, replying, “That’s the True West version… maybe next season.”
Lena Headey dismissed the idea of ever playing Anderson’s character. “Van Ness is manipulative, ruthless,” she said. “Mine is more wholesome, earthy, grounded.” She added that she enjoyed the physicality of her role, noting simply, “I got to fist fight, which was fun.”
The Abandons premieres December 4, 2025, on Netflix with seven episodes. The series stars Lena Headey, Gillian Anderson, Nick Robinson, Diana Silvers, Lamar Johnson, Natalia del Riego, Lucas Till, Aisling Franciosi, Toby Hemingway, Michael Greyeyes, Ryan Hurst, Katelyn Wells, Clayton Cardenas, Elle-Maija Tailfeathers, Brían F. O’Byrne, Marc Menchaca, Patton Oswalt, Michael Ornstein, Jonathan Koensgen, Jack Doolan, Michiel Huisman, Haig Sutherland, and Sarah White, with Kurt Sutter serving as creator.
