Nine Years On, Godless Still Packs a Western Punch That Falters at Its End

“Godless” is a western with a feminist heart, and it knows exactly what it wants to be. The Netflix series, created by Scott Frank and Stephen DeKay, follows a group of women in the lawless town of La Belle, New Mexico, who find themselves alone after a mining accident kills all the men. When the ruthless outlaw Roy Goode (Jack O’Connell) comes calling, the women must band together to survive. It is slow-burning, character-driven, and often beautiful to look at. It is also uneven, weighed down by a second half that loses its momentum.

The show’s central premise is simple and effective. La Belle is a town built by women, and the series spends its first few episodes establishing that world with care. The women are not victims waiting to be rescued. They are business owners, mothers, and survivors who have built a life worth protecting. That foundation gives the series a strong anchor, even when the plot sags.

Trailer, via Netflix.

The Women of La Belle

The cast is the engine of “Godless.” Merritt Wever plays Katey, the saloon owner whose sharp tongue hides a softer center. Michelle Dockery plays Alice, a schoolteacher who becomes a leader when her husband dies. Jessica Chastain plays Mercy, a former prostitute turned preacher who carries the moral weight of the town. And Samira Wiley plays Grace, a young woman caught between loyalty to her family and her growing attraction to Alice.

Each woman gets a distinct arc, and the show takes time to let those arcs breathe. The performances are uniformly strong, though some characters feel more fully realized than others. Grace, in particular, starts as a side note and grows into a driving force by the finale.

Roy Goode and the Plot Problem

Jack O’Connell plays Roy Goode, a man who has spent his life on the wrong side of the law. He is not a cartoon villain. He is a wounded, angry man who believes he is doing what is right. His arrival at La Belle sets the story in motion, and the show spends its middle stretch tracking his pursuit of the women and their attempts to flee.

This is where the series stumbles. The middle episodes drag, and the tension that should build steadily instead stalls. Some viewers might find the pacing frustrating, especially after the sharp opening. The show also leans heavily on flashbacks to explain Roy’s past, which breaks the flow of the present-day narrative.

“Godless” is a western with a feminist heart, and it knows exactly what it wants to be.

The final stretch picks back up, but the damage done in the middle is hard to repair. The payoff feels earned, but it arrives after a long climb.

The Look of Godless

Visually, “Godless” is stunning. The cinematography captures the harsh beauty of the desert, and the production design recreates the period details with care. The color palette is muted and earthy, which suits the story’s tone. This is a show that understands the power of composition, and it pays off in nearly every scene.

The music, composed by Nick Urata, complements the visuals without overpowering them. It is sparse and atmospheric, adding to the sense of isolation that defines the story. Together, the direction and the score create a world that feels lived-in and specific.

What Works and What Doesn’t

The strengths of “Godless” are easy to see. Its commitment to female-led storytelling is rare in the genre, and it handles that commitment with respect. The performances are consistently excellent, and the visual style is a genuine pleasure to watch. These elements are enough to recommend the series to anyone interested in a thoughtful, character-driven western.

But the weaknesses are also hard to ignore. The middle episodes lose their energy, and the flashback structure can feel repetitive. Some subplots are dropped mid-season without resolution, leaving the viewer hanging. These flaws keep the show from reaching its full potential.

• The women of La Belle are given real depth and agency
• Jack O’Connell delivers a compelling performance as the antagonist
• The visual style is consistently impressive
• The middle stretch drags and loses momentum
• Some subplots are left unfinished

The Final Verdict

“Godless” is a flawed but ambitious series. It takes risks that pay off more often than they don’t, and it succeeds in making a western about women feel fresh and vital. The best episodes live up to the hype, while the weaker ones strain the patience of even committed viewers. Taken as a whole, it is a worthwhile watch for anyone interested in character-driven storytelling.

The score reflects both sides of the experience. It is a solid, occasionally great series that falls short of greatness.

feminist · Godless · Netflix · TV Review · Western