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I tested the Antigravity 360 drone – and only a sky-high price tag brings this unique DJI rival down to earth
5:00 pm | December 4, 2025

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: | Comments: Off

Antigravity A1: one-minute review

The idea of a 360-degree drone may sound like an impossibility, but the Antigravity A1 is exactly that. What’s more, it manages to implement this concept in a sub-250g drone that includes collision avoidance, and which is controlled via 360-degree FPV goggles and a motion controller. You’ll have to read on to discover whether it’s one of the best drones you can buy, but it’s undoubtedly one of the most interesting.

The idea of a 360-degree drone isn’t a new one, and the fact that Antigravity is an offshoot of Insta360 may shed a little light on its pedigree in this department. But this isn’t Insta360’s first experiment in this arena; first, there was an Insta360 / BetaFPV 360-degree collaboration with the SMO 360 camera for some FPV drones. Then there was the Insta360 Sphere, which was a 360-degree camera that attached to the DJI Air 2 and Air 2S.

Both were great ideas, but – no pun intended – they simply didn’t take off as hoped. The Insta360 Sphere was an interesting idea because it attached to a standard camera drone, but operation was fiddly, and it was tied to a drone model that would inevitably become obsolete.

The Antigravity A1 addresses this issue, as the 360-degree camera is built into the drone. You wear FPV goggles with head tracking that give you a 360-degree view during flight, while control is mostly via a motion controller with head tracking of the goggles. One thing I must stress at this point is that the A1 is not an FPV drone. It’s a 360-degree camera drone that uses goggles and a motion controller, rather than a standard controller and phone.

Antigravity A1 unfolded

(Image credit: James Abbott)

Antigravity A1: price and release date

  • Launched on December 4 2025
  • Expensive compared to standard camera drones
  • Three kits available

The Antigravity A1 was launched on December 4, 2025. The drone is more expensive than other sub-250g drones due to the high-quality goggles and motion controller that come with the three available kits. These certainly provide an immersive experience, but it would have been massively more affordable if the drone used a standard stick-based controller with a phone attached, or even a smart controller.

There are three kits available: the Standard Bundle, the Explorer Bundle and the Infinity Bundle. In a nutshell, the Standard Bundle includes the drone, motion controller, FPV goggles and one battery. The Explorer Bundle is all that, but it comes with three batteries, a battery charging hub, a shoulder bag, and spare propellers. The Infinity Bundle is the same as the Explorer, but it includes higher-capacity batteries for longer flight times.

The Standard Bundle costs $1,599 / £1,299 / AU$2,099, the Explorer Bundle costs $1,899 / £1,399 / AU$2,599 and the Infinity Bundle costs $1,999 / £1,499 / AU$2,799. To cut to the chase, you'll want to avoid the Standard Kit because one battery isn’t enough, as it doesn’t provide a long flight duration. The best-value package is the Explorer Bundle, while you can enjoy more flight time by paying a bit more for the Infinity Bundle, if you’re happy for the weight of the drone to exceed 250g.

  • Price score: 3/5

Antigravity A1: specs

Antigravity A1 specs

Camera:

Dual 1/1.28-inch sensors

Video resolution:

8K

Frame rates:

8K up to 30fps / 5.2K up to 60fps / 4K & 1080p up to 30fps / 4K & 1080p slow motion at 100fps

Video transmission range:

Up to 6.2 miles / 10km (Tested in FCC environments)

Flight modes:

Cinematic, Normal, Sport

Battery:

2360mAh, up to 24 minutes flight time / 4345mAh, up to 39 minutes flight time

Charger type:

USB-C / Battery Charging Hub

Weight:

8.78oz / 249g
(10.26oz / 291g with the high-capacity flight battery)

Dimensions:

Folded: 5.56 x 3.79 x 3.20 inches / 141.3 x 96.2 x 81.4mm

Unfolded (propellers extended): 12.15 x 15.05 x 3.51 inches / 308.6 x 382.3 x 89.2mm

Antigravity A1: Design

  • Standard folding mini drone design
  • Vision googles for a 360-degree camera view
  • Motion controller

The A1 sports a standard folding design that makes it look a lot like most sub-250g drones, but it also has an undeniably unique look. The two cameras that provide the 360-degree view to effectively make the drone invisible are on the top and bottom of the front section of the drone. This is dampened and has two forward-facing binocular vision sensors that look like cameras.

There's also a downward binocular vision system, alongside a 3D infrared sensor at the bottom of the drone. Without going into exact dimensions, the A1 is the same sort of size as all other sub-250g drones, but where it differs most notably is the retractable landing gear: two legs extend when the drone is switched on and when it’s landing, while they retract when it has taken off.

This functionality keeps the lower camera off the ground, helping to maintain the invisible drone aspect of the camera stitching for clean footage. Furthermore, when you use the Antigravity landing mat, it provides a precise Return to Home point if you choose to use this functionality to bring the drone back to you at the end of flights. It works surprisingly well, too, so no complaints here.

The overall design of the A1 makes it a camera drone, but rather than using a standard controller, the A1 uses a motion controller paired with FPV goggles. The motion controller is easy to use and intuitive, and when you first connect everything, you’re taken through a short and useful tutorial that familiarizes you with the controls.

The Vision Goggles provide the camera view on dual 1.03-inch Micro-OLED screens with a 2560 x 2560px resolution. Yes, that’s square, and quite different to the usual FPV goggle widescreen view, but it works well with a 360-degree drone. I was surprised because I’m much more familiar with FPV goggles offering a 16:9 ratio image, but I found this square view worked well for the A1. The battery for the goggles can be attached to an included and comfortable lanyard that you can conveniently wear around your neck – a well-thought-out and simple solution.

There are also diopters with a range of -5.0 D to +2.0 D, which is great if you wear glasses and need to correct the view to your prescription. Plus, there’s 30GB of internal storage and a microSD card slot for capturing goggle footage. The goggles are comfortable to wear and provide a clear image for flight, while the head tracking functionality provides intuitive control alongside the motion controller.

There’s also a screen on the front-left of the googles, so people can see the forward-facing camera view while you fly. The downside to a goggles-based approach is that you need a spotter to maintain visual line of sight of the drone while you fly. This makes it much less convenient than a standard camera drone, despite the A1’s immersive and fun flying experience.

The A1 features two battery options, with the 2360mAh option offering up to 24 minutes of flight time, and the 4345mAh option providing up to 39 minutes of flight time. The higher capacity takes the overall weight of the A1 over 250g, so bear this in mind if you plan to opt for the kit with these batteries.

I used standard batteries during testing, and these typically provided around 16 minutes of flight time before Return to Home was automatically initiated. One feature of the batteries that stands out is that you only have to touch the rear end of the batteries and the lights showing the charge level light up – this is rather than pressing a button, as on other drone batteries, and is a subtle yet neat feature.

  • Design score: 5/5

Antigravity A1: Features and performance

  • Intelligent flight modes
  • Solid flight performance
  • Subject tracking

The A1 flies incredibly well, while the FPV goggles and motion controller approach suit the system. But – and it’s a big but – this does add cost, and requires pilots to have an observer with them to remain safe and legal during flights. Both, you could argue, are a hassle. If Antigravity had taken a standard controller-and-phone approach it would have kept the price down and removed the need for an observer, without sacrificing much, if anything, in terms of flight performance.

You would lose the immersive flight experience, of course, and the two flight modes, FreeMotion Mode and FPV Mode, are enjoyable. The former requires you to point the controller target in the desired direction of flight, while head tracking on the goggles allows you to turn. You can also use a dial on the motion controller to do this. One point I must make is that you should read about how FPV Mode works before flying it, because it’s completely different to FreeMotion Mode, and the drone feels like it’s out of control if you try to use FreeMotion-style control.

FPV Mode isn’t true FPV, but it does allow for more sweeping and flowing drone movements where you simply tilt the motion controller left and right to turn. This was my favorite mode for flight, although I preferred FreeMotion when I needed more precision, such as when flying back to the take-off point to land.

Standard flight modes include Cinematic, Normal and Sport, although even Sport is quite pedestrian in terms of speed and agility. The A1 certainly lacks the excitement of the DJI Avata and Avata 2, but again this isn’t an FPV, drone despite the goggles and controller. This means that flight is fun, but not exciting. With a fly-first, frame-later approach, where you reframe photos and videos in software, you can increase speed here and make the drone appear to dive, flip and roll like an FPV drone to some degree.

I’ve reviewed many drones, and I’m not normally impressed with Quickshots-style automated flight patterns, but the A1’s equivalent, which are called Sky Genie, did impress me. Then there’s Sky Path, which is waypoints, where you can pre-program a flight path and someone else, a non-pilot, can wear the goggles and look around as the drone follows its course. With the goggles, you get a full 360-degree view as you turn around, look up and look down.

Sky Genie modes include Orbit, Spiral Ascend, Comet, Antigravity Line, Fly Away and Ascend. These allow you to achieve flight that’s not possible with the motion controller, which makes them invaluable, particularly in situations when you want to fly around a subject for visually interesting video reframing later.

There’s also a subject-tracking mode that works well once a moving subject is selected. The drone dutifully follows, and like with Sky Genie, the drone does all the work for you, focusing on the subject so you can reframe your video later. This uses Insta360's impressive Deep Track technology. And if you’re looking for a bit of fun, Virtual Cockpit in FPV mode provides an overlay that aims to inject augmented reality fun into flights. At the time of writing, you can fly with a dragon, and more skins will be added in the future. It’s a bit of a gimmick and not for me, but other people may enjoy it.

  • Performance score: 4/5

Antigravity A1: Image and video quality

  • Image quality on a par with 360-degree cameras
  • Fly-first, frame-later approach
  • Invisible drone technology

Antigravity A1 cameras close up

(Image credit: James Abbott)

If you’ve ever used an Insta360 camera, such as the X5, you’ll find the Antigravity A1 as easy and intuitive to use, since Antigravity is an offshoot of Insta360. What’s more, Antigravity Studio is a reskinned version of Insta360 Studio, so if you’re already familiar with it, you’ll be right at home. There is a learning curve if you’ve never used it, and it takes time to get to grips with the software, but it’s far from rocket science.

The software allows you to reframe the A1’s aerial photos and videos in the same way you can with a standard 360-degree camera. The only difference is that the drone is being flown rather than the camera being held, attached to a selfie stick or something else. This ultimately combines the advantages of 360-degree cameras with the aerial capabilities of a drone.

The dual cameras both feature a 1/1.28-inch sensor and an f/2.2 aperture. These create a 360-degree view where the drone is invisible, so you don’t have to edit it out – just like invisible selfie sticks with standard 360-degree cameras. Photos can be captured in INSP and DNG

formats at a resolution of 14MP (5248 x 2624) and 55MP (10486 x 5248). Shooting modes include Normal, HDR, Burst, AEB and Interval. You can reframe photos in various formats and even create animated photos.

Video can be captured in 8K up to 30fps, 5.2K up to 60fps, 4K & 1080p up to 30fps and 4K & 1080p slow motion at 100fps. The maximum bitrate is 170Mbps and can be encoded in H.264 or H.265. Photo and video editing can take place in the Antigravity phone app or the Antigravity Studio Desktop app. The former has more templates for creating reframed videos, which is a shame because it would be great to see these available on the desktop app, where working with 8K footage makes more sense.

Reframed video

Image quality is great for a 360-degree camera – it’s what you’d expect, and capturing photos and videos in the highest resolutions possible allows you to maximize image quality. I shot in Auto mode when capturing both photos and videos, and found that the A1 did a great job in all light conditions; the exposure was balanced. The downside to this, compared to shooting in manual, of course, is that shutter speed can change during video capture.

Animated photo

Image quality isn’t, however, on par with standard camera drones – in the same way standard 360-degree cameras aren’t as good as standard action cameras. This has always been the case, and the trade-off for being able to capture an all-encompassing field of view at up to 8K. 8K, while it produces huge file sizes, isn’t as high-resolution as it sounds when you realize it’s the entire 360-degree view, as opposed to a 16:9 view at 4K or above with standard camera drones.

  • Image and video quality score: 4/5

Antigravity A1: testing scorecard

DJI Mini 5 Pro

Attributes

Notes

Rating

Price

The A1 is expensive as a result of the goggle-based approach.

3/5

Design

While the overall design is fairly standard, there are some innovative and unique aspects to the drone.

5/5

Performance

Excellent all-round performance, but flight feels quite pedestrian in terms of speed and agility.

4/5

Image and video quality

Great image quality in 360-degree terms, but not as good as a standard camera drone.

4/5

Should I buy the Antigravity A1?

Buy it if...

You'd like a 360-degree drone
It goes without saying that if you would like 360-degree photo and video capture in a drone, the A1 is the only option available.

You’d like an immersive flight experience
If you’d like an immersive flight experience without the speed and risk of FPV drones, the A1 blends camera drone flight with FPV goggles and the motion controller.

You appreciate innovation
The A1 is undoubtedly an innovative drone with some impressive features that could pave the way for future drone innovation.

Don't buy it if...

You’re on a budget
The A1 isn’t cheap, coming in at double the price, or more, of other sub-250g drones, so it’s far from being a budget option.

You'd like the best image quality
If you want the best image quality available in a sub-250g camera drone, the DJI Mini 5 Pro is a more suitable option.

You'd prefer simplicity
Since the A1 relies on FPV goggles for the camera view and some control of the drone, you’re going to need to have a spotter with you every time you fly.

Antigravity A1: also consider

DJI Mini 5 Pro

If you’d like a standard camera drone but the best sub-250g model ever made, then look no further than the DJI Mini 5 Pro. This compact drone somehow manages to pack in a rotating camera with a 1-inch sensor and some seriously impressive performance. This is a drone that beginners and professionals alike will love, thanks to its fantastic image quality, safety features and compact size.

See our DJI Mini 5 Pro reviewView Deal

DJI Neo 2

The DJI Neo 2 offers a huge upgrade on the original model released in 2024. It’s arguably not the best selfie drone, with the HoverAir X1 Pro and ProMax offering some serious competition in this area, but the Neo 2 is an impressive performer when it comes to subject tracking. What’s more, it offers obstacle avoidance and multiple controller options, including FPV.

See our DJI Neo 2 reviewView Deal

Antigravity A1 in flight

(Image credit: James Abbott)

How I tested the Antigravity A1

  • All flight modes tested
  • Photos and videos captured
  • Automated features tested

I tested the Antigravity A1 for a couple of months to experience all the features and functionality available, including FreeMotion and FPV mode. I captured photos and videos in the highest quality possible, and captured them in a range of conditions to assess overall camera performance.

I tested all Sky Genie Modes (Orbit, Spiral Ascend, Comet, Antigravity Line, Fly Away, and Ascend), alongside subject tracking and SkyPath functionality. I tested the motion controller and googles for usability, and tested the fly-first, frame-later reframing workflow extensively.

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Opera has announced new AI upgrades for its Android browser, Opera for Android, as it aims to bring its AI capabilities closer to those of its flagship desktop browser, dubbed Opera One. First is Ask AI, which gets a new access point for all AI queries in the browser. Just tap on the browser's search bar and select the "Ask AI" option to open a new search bar. This will allow you to switch between traditional web search and AI queries easily. Next is the ability to attach files in the new search bar for AI to translate, summarize, or explain. This includes support for PDFs and...

Apple Final Cut Pro (2025) review
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Author: admin | Category: Computers Gadgets Pro | Comments: Off

For thirteen years, Final Cut Pro was branded as Final Cut Pro X, having been rebuilt from the ground up from its Macromedia origins, with its version number firmly stuck at X (read ten).

Every major update since its launch in June 2011 only got a decimal point increase. But last year, all that changed: Apple dropped the X, and introduced the world to Final Cut Pro 11. Does this brand new numbering system (now at 11.2) mean radical changes for Apple’s best video editing software? Let’s check it out…

Final Cut Pro: Price & availability

Apple Final Cut Pro 11.2 during our tests

(Image credit: Apple // Future)
  • You pay once, and it’s yours forever, including any future updates, large or small. That’s one heck of a deal, and it’s been this way for 14 years.

First things first, how much does it cost? Surprisingly little. I mean, it’s not subscription based, so you’re not renting your software month after month like Adobe Premiere Pro. But it’s also not free, like DaVinci Resolve.

Final Cut Pro sits comfortably in the middle, and will set you back $300 / £300 / €350. That might sound like a lot at first, but consider this: every single update, large or small, has been free since the original Final Cut Pro X was released. Even the mighty version 11 I’m looking at here, was included in the price. That’s one heck of an incentive.

  • Score: ★★★★⯪

Final Cut Pro: Interface

Apple Final Cut Pro 11.2 during our tests

(Image credit: Apple // Future)
  • It has a small amount of customizability, but you can’t move panels around. They can be resized a little, though. Yes, it does feel like it’s Apple’s way or the highway, but at the same time, you can sit in front of any FCP interface and get to work without trying to figure out where everything is.

If you’re new to FCP, or are wondering if you should be using it over a competing product, let’s take a quick look at its interface. Unlike Premiere Pro, which prides itself in its impressive customisability, FCP’s interface is pretty rigid. You’ve got your list of libraries on the left (where all your media is stored), your inspector sidebar to the right (where all the changeable parameters can be found), the lower third is for the timeline, and roughly in the centre is your preview window. Many editors have two preview windows, FCP only has one. It may feel confusing but it actually works very well: mouse over a clip in your library and it’ll appear in that section; do the same in the timeline, same result.

You can’t move these sections around, but it’s possible to hide or reveal them, so they’re there when you need them, and disappear when you don’t. You can also resize the borders between these sections to a certain extent, so you can see more or less of them as you require. Definitely useful, but compared to Premiere Pro, it’s pretty anemic.

But what you lose in customisability, you gain in familiarity: I can step in front of any FCP interface, and get to work immediately, without wasting time trying to figure out someone else’s highly individual layout!

One thing I’d like to quickly mention is the ‘magnetic timeline’. Usually, when you work on an edit, and delete a clip in between others, you’re left with a gap, which you then need to fill with a new clip, or by dragging to the left all the clips to its right.

This still happens in FCP, but not when working in the primary timeline. When you resize or delete a clip there, all the clips to its right are automatically shunted to the left. It can take a while to get used to, especially since clips on other layers are actually tethered to clips in the primary timeline; delete a clip that has other clips tethered to it, and they all go.

It requires a little bit of management because of that, but when you’re used to it, you edit so fast. Interestingly, Adobe recently released Premiere Pro for iPhone, and guess what? It uses the magnetic timeline concept, even though the desktop version of Premiere Pro doesn’t. Apple’s been ahead of the curve for a long while with that one.

  • Score: ★★★★☆

Final Cut Pro: New features I love (and hate)

Apple Final Cut Pro 11.2 during our tests

(Image credit: Apple // Future)
  • There’s a bunch of little touches that are so useful when editing, you have to wonder why they hadn’t been implemented before. And yes, there are big tentpole attractions too, which are powerful and well implemented - as long as your Mac can run them.

I could obviously go through the long list of features new to version 11 and above, but I'm going to focus on the ones I’ve grown to love over the months. Yes, you’ve got a couple of new effects, and a couple of fancy transitions. However, the absolute best feature - the one I still think “why didn’t they implement this years ago?” - is a simple keyboard shortcut to move clips up or down a different layer without having to drag them around.

The problem with dragging is, more often than not, the selected clip(s) might move a few frames along the timeline as you do that. There are ways to prevent this, but they’re sadly not foolproof. And fixing the timing takes time. Now, I just need to select the clip(s) I wish to move, hold down the Option key (you might know it as Alt), and press the up or down arrow key as many times as I need. That’s it. It has saved me so much time, it’s worth the price of admission alone.

Another welcome improvement takes place in the library: when you sync clips together, or create a Multicam clip, the original files are automatically hidden. Sure, you could do it manually before, but every second you save through automatic decluttering, can and is put to good use later on in the editing. It doesn't sound like much, but it’s the little things, you know.

Apple Final Cut Pro 11.2 during our tests

(Image credit: Apple // Future)

One feature I’ve found I can’t do without is more technical: the magnetic mask. It’s oh so clever: it uses special algorithms to analyse an item on the screen, allowing you to select it, while ignoring the rest. Once you’re happy with what’s highlighted, FCP analyses the entire clip and tracks it over time. It works if the object (or person) moves, or even turns around, and the camera doesn’t need to be static either. You can fine tune the results should you need to of course. It’s a great way to separate an item from its background, remove the background entirely, perform separate colour corrections on both, let your imagination run wild. Goodbye manual rotoscoping! Highly impressive (and so fast on a Mac equipped with an Apple Silicon chip).

One cool feature I’ve used a few times is applying colour correction to an adjustment clip which is placed above others in the timeline. Doing so changes all the clips beneath it. Fine tune the adjustment clip, and it affects all the clips beneath it in one go. Another great time saver.

Then there’s the one I’m dying to use but can’t: automatic transcription and captioning: FCP uses more clever algorithms to create written words from spoken dialogue, making subtitles appear at the right time on the screen. Apple is seriously behind with this feature, and it’s a much needed addition. I’ve tried it myself on a Mac other than my own, and it’s fast, and surprisingly accurate. So why can’t I use it? Because I’m still on an Intel Mac, and powerful though my machine still is, only Macs equipped with Apple Silicon can take advantage of this feature (grumble grumble).

And since I’m grumbling, I might as well mention that version 11.2 removes support for FireWire devices if you’re running macOS Tahoe. It breaks my heart to see FireWire disappear like that. If you don’t know what FireWire was, it used to run rings around USB, and could do things USB-C still can’t. Oh well, that’s technology for you.

All in all, Final Cut Pro is a powerful video editor, and these new additions help it catch up to the competition once more. I would easily put it in the top three - the other two being Premiere Pro and Resolve. Editing with it is fluid, it has many powerful features, with third party hooks to add additional effects and transitions. The newest features certainly do make it so much better, especially if you own an Apple Silicon Mac. Most features still work on old venerable Intel Macs, although the writing’s all too clearly on the wall for those.

  • Score: ★★★★⯪

Final Cut Pro: Final verdict

Apple Final Cut Pro 11.2 during our tests

(Image credit: Apple // Future)

I've always been a fan of Final Cut Pro. Yes, it's an underdog in the video editing world - despite having the backing of one of the biggest forces in the creative industry. Of course, it being limited to Mac devices isn't going to help - even more so with Apple now limiting some of its best features to high-spec Macs and MacBooks.

But in terms of editing video, it's fluid, intuitive, and the new features really speeds up the entire workflow. Sure, it does feel like Apple's playing catch up with the other top names in the arena - notably Adobe's Premiere Pro. However, at least those modern editing tools are coming online now, and not festering away, unloved and forgotten. Honestly, it used to feel like Apple has abandoned Final Cut Pro, so I'm happy to see the renewed support.

And I can't knock that one-off cost with lifetime updates and upgrades. For that, no other video editor comes close.

  • Final score: ★★★★☆

Should I buy Final Cut Pro?

Buy it if...

You’re looking for an affordable video editor for your Mac, don’t like too much customizability, but appreciate a fancy, fluid and fast way of working, with powerful tools to create great edits.

Don't buy it if...

You don’t appreciate new editing concepts and would rather stick to the tried and true traditional way of editing video, and if you don’t own a Mac.

For more alternatives, we've tested the best free video editing software, best video editing software for beginners, and the best video editing apps for phones and tablets.

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Who knew Taylor Sheridan's titan reign at Paramount was going to be such a disaster for Netflix? Well, just about everybody – and the new western series The Abandons completely proves that.

Let's set the scene. Instead of the usual Kevin Costner-style male dominated environment, two matriarchs rule this version of the Wild West. Wealthy tyrant Constance Van Ness (Gillian Anderson) rules the town of Angel's Ridge with an iron fist, determined to control every last inch of it.

Unfortunately for her, poor rancher Fiona (Lena Headey) is a woman who stands her ground. She's fighting to keep her found family's ranch in their hands, resulting in a fatal clash between the two women. Or a 'mother-off', as the kids on TikTok might say.

It sounds like an almighty spectacle, and in some respects it is. The action is big scale on a big budget, the ensemble is fully invested and the production of all seven episodes is absolutely outstanding.

But then there's the overarching storyline, and the overall effect. When you're releasing a western series in the 21st century, it will naturally be compared to 'Sheridanverse' juggernauts like Yellowstone, Landman and 1923. If you watch them all and remember The Abandons, I'd be very surprised.

The Abandons is cursed by an environment way out of Netflix's control

If any main streamer or broadcaster releases a western these days, we're watching it with intense scrutiny. A decade ago, nobody would have batted an eyelid, but the genre has been single-handedly resurrected by Sheridan and Paramount's partnership. As he continues to churn out smash hit shows, that doesn't really leave room for anyone else.

For Netflix, this means that any content that isn't an automatic smash hit is likely to be forgotten, and I think The Abandons falls into this category. It's had more success with new western-romance shows like Ransom Canyon, and I think if the streamer wants to be an industry leader in the genre, that's where it should direct its efforts.

This makes it sound like The Abandons is absolutely dreadful, and it's anything but. However, it doesn't stray to far from "fine". Every element of its composition is solid and delivers what it needs to, but exceptional? Memorable? I'm not so sure about that.

Part of the problem is due to how the overarching storyline unfolds. In episode 1, we're thrown into a myriad of plots that aren't properly explained – and I don't mean that we should naturally be kept in suspense, like a murder mystery.

As an example, Fiona comes from Ireland and has managed to congregate a found family on the Abandons ranch over the course of a few years. How she got to the US, and how they all found each other, becomes convoluted too quickly.

I'm all for a bit of "show don't tell," but I need enough of an understanding to full sink my teeth into the western illusion. Instead, I'm flailing around like a bystander caught in the middle of a gunslinging duel. This effect continues over the series, and that's not amazing incentive to keep on binging.

Gillian Anderson and Lena Headey mother the house down

Constance Van Ness and her sons ride horses into town

This image alone got me to tune in. (Image credit: Netflix)

However, it's not all doom and gloom – let's do my favorite thing in the world and talk about Gillian Anderson. I don't think this is her best role of the year (that would be in Trespasses on Channel 4 in the UK), but she never turns out a bad performance. Obviously, because she's Gillian Anderson.

Constance Van Ness is everything you want in an archetypal villain, and remains calculated, cold and cruel in every decision she makes. She's quite literally on her high horse here, metaphorically (and sometimes physically) kicking every person and mutt who dares to get in her way. For a Gillian Anderson fan, it's everything that you could possibly want, and I see new YouTube fan edits in her future.

Of course, Lena Headey isn't far behind Anderson. Fiona is as tenacious as she is decisive, almost single-handedly driving the plot forward with dangerous inciting incidents and turning points. At the same time, she's guarded and elusive, and the urge to learn more about her becomes overbearing. Scenes between the two are actually few and far between, but when they happen, they're golden.

Obviously, anything these two are in automatically holds more weight, but to say the good in The Abandons rests solely on their shoulders isn't fair. Their ensemble cast is strong, and the ranch, Angel's Ridge and the natural countryside beauty are almost all characters in their own right.

I don't think the new Netflix western will be the most satisfying TV binge this December, but you won't be wasting your time by watching, either. It's certainly a budget version of a Taylor Sheridan show (metaphorically speaking, not in production value), but if you're a fan of our leading ladies, The Abandons is a slam dunk.

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