Imagine a high-octane thriller set in the rugged wilderness of Alaska, where a plane full of dangerous convicts crashes, setting off a chain of events that should keep you on the edge of your seat. Sounds like a recipe for non-stop excitement, right? But here’s where it gets controversial—The Last Frontier, Apple TV+’s latest offering, takes this thrilling premise and somehow turns it into a tedious slog. And this is the part most people miss: despite its star-studded cast and high-concept plot, the show fails to deliver on its promise, leaving viewers wondering where it all went wrong.
Created by Jon Bokenkamp and Richard D’Ovidio, the minds behind The Blacklist, The Last Frontier starts with a bang—literally. A plane carrying notorious prisoners, including characters reminiscent of Con Air, crashes in Alaska. Enter U.S. Marshal Frank Remnick (Jason Clarke), a man on the brink of retirement with a mysterious secret, and CIA agent Sidney (Haley Bennett), whose personal demons and professional duties collide in the frozen wilderness. With a cast that includes Alfre Woodard, Dominic Cooper, and Dallas Goldtooth, the show had all the ingredients for success. So, what went wrong?
The problem lies in the execution. What should have been a fast-paced, adrenaline-fueled adventure is instead a lumbering journey, stretching a two-hour story into a 10-hour series. The plot is bogged down by over-telegraphed twists, hollow military jargon, and insufferable domestic melodrama. Even the special effects, which should enhance the action, fall flat, making it hard to suspend disbelief. By the seventh episode, the show’s flaws become glaringly apparent, with repetitive stunts and a narrative that feels more like a chore than a thrill ride.
But here’s the real kicker: the show’s serialized mythology, a convoluted web of covert government programs and MacGuffins with names like Archive Six and XenoGate, adds confusion rather than depth. It’s as if the writers threw every possible plot device into the mix without bothering to explain their significance. The result? A Russian nesting doll of confusion that leaves even the most dedicated viewers scratching their heads.
The characters, too, suffer from poor development. Frank’s secret, the only mystery worth sticking around for, is overshadowed by the show’s sluggish pace. Sidney’s backstory, meant to add emotional depth, feels forced and unconvincing. Even the escaped convicts, played by recognizable guest stars, fail to bring any real excitement to the screen. The show’s attempt at self-importance only highlights its shortcomings.
And this is the part most people miss: the underutilization of its talented cast. Dallas Goldtooth, a standout in Reservation Dogs, is reduced to a sidekick role with little substance. Alfre Woodard, known for her commanding presence, is given one of her most underwritten roles to date. Jason Clarke and Haley Bennett deliver performances that range from glum to mumbly, never quite rising to the occasion.
So, is The Last Frontier worth your time? The pilot and finale offer glimpses of what could have been—moments of creativity and potential. But overall, the show falls short of its ambitious premise. Here’s a thought-provoking question for you: In an era where television is flooded with self-important dramas, is it too much to ask for a show that balances escapism with intelligent storytelling? Let us know in the comments—do you think The Last Frontier could have been saved with tighter editing and a clearer vision, or is it a missed opportunity that’s best left in the frozen wilderness of Alaska?
