‘Territory’ Review: Netflix’s Outback Succession Story Could Be the Best Australian Series in Years
“People say everything up here is trying to kill you,” Anna Torv’s stoic Emily Lawson muses in the opening minute of Netflix’s blockbuster new Australian drama Territory. Blunt and uncomplicated, the character’s assessment of the Top End’s unforgiving terrain is the perfect lead-in to the new series, which details a bloody battle for land and the ruthless mercenaries who will do anything to get their hands on it. Helmed by Wolf Creek filmmaker Greg McLean, Territory is a wild horseback ride through a near-lawless land. McLeod’s Daughters this is not.
The series follows the plight of the Lawson family, who own and operate the fictional Marianne Station, described as the world’s largest cattle station. Family patriarch Colin Lawson, played by Longmire‘s Robert Taylor, has passed the business down to youngest son Daniel Lawson, however, financial troubles are making life difficult on the ranch. When Daniel suffers a tragic and deeply graphic death on the property, Marianne State is left without a clear heir, and suddenly, the vultures start circling overhead.
Initially, the threats impacting the Lawson’s station are largely financial, but as the series progresses, we learn a little more about the characters at the heart of the story. Writer and creator Timothy Lee’s fluid and well-paced script keeps the action moving at a rapid pace, and the impending menace that looms over Marianne Station is earnest enough to feel real.
Like Paramount Studio’s Yellowstone, which likely served as inspiration for the series, Territory‘s biggest and best character isn’t a character at all—it’s the scenery. The series manages to capture the harsh, bleakness of the Northern Territory without reducing it to a mere caricature of the Wild West.
The performances across the series are stellar; however, it’s Sam Delich’s turn as the sinister Rich Petrakis that will go down as the standout. The rough-and-tumble Rich starts out as the leader of a motley crew, however, when it is revealed that his second-in-command, Marshall, is a Lawson and thereby exceedingly wealthy, he starts to change his tune. Over a series of episodes, Petrakis becomes increasingly paranoid, turning against his friends and leading them further into the unknown.
Delich’s ability to turn on a dime, slipping effortlessly between the Aussie larrikin persona and the dark, sinister villain is truly remarkable. It’s entirely reminiscent of John Jarret’s transcendent performance in the cult classic Wolf Creek, something Delich acknowledged director Greg McLean helped him with during production.
“I spoke to Greg a lot about Wolf Creek, actually,” Delich told Man of Many. “It was about the light and shade. You know when Rich needed to be dark, Greg was like, let’s, let’s really go there. Let’s go scary, and when we needed a bit more humour and lightness, I think we kind of bounced each other.”
The other knockout performance to take note of is Michael Dorman’s portrayal of the eldest Lawson son, Graham. A sympathetic soul, Graham’s battle with alcoholism has left him on the outer with his father and his struggle to win back respect is one of Territory‘s most emotional touchpoints.
Throughout the series, Graham is pushed physically and psychologically to breaking point, and Dorman’s strained performance is nothing short of masterful. It’s subtle in its emotion, never straying into the realm of melodrama, and while that may seem strange, it’s perfectly reminiscent of the silent struggles faced by many Aussie blokes. If ever you needed proof that Dorman is one of our great theatrical exports, Territory could well be it.
Outside of that, Anna Torv’s steely-eyed Emily Lawson brings a sense of resilience to the scene, Sam Corlett shines as the prodigal son Marshall Lawson, Philippa Northeast delivers a layered performance as Susie Lawson and Kylah Day is able to connect as a conflicted partner caught in two minds.
For Netflix, Territory is undoubtedly an attempt to capitalise on the recent Western trend, following the enormous success of the Paramount Network series Yellowstone and its subsequent spin-offs. Localising the story to Australia appears to be a deliberate decision to corner the market, but it must be said that a story about Australia’s Top End represents some unique challenges, and Territory does a valiant job of addressing them without skewing off course.
There are subplots that tackle, albeit briefly, native title and Indigenous representation, particularly through the riveting story of aspiring station owner Nolan Brannock. Played with a brilliant sense of self-loathing determination by the charismatic Clarence Ryan, Nolan’s character arc is one of the series’ most captivating.
Caught between worlds, the Indigenous cattle owner is conflicted in his decisions. On the one hand, he wants to build a profitable business, but on the other, he is torn by a sense of guilt, desperate to support a community that feels he has exploited them for wealth. Nolan’s inner turmoil serves as a strong metaphor for the series at large, exploring the concept that while owning land will bring you notoriety, what you do with it will determine how you remember it.
Where Territory falls down is in its limited external dangers. While there are several villains that threaten to derail the Lawson family’s operation, the only challenger with the financial reserves to pull off any sort of takeover is Sara Wiseman’s mining magnate Sandra Kirby. Each time a problem arises and question marks are raised over who is responsible, the onus inevitably falls back on Kirby as the series’ primary antagonist. There are a few sub-players, such as Jay Ryan’s Campbell Miller, who present more of a physical threat to Marianne Station’s future, but you can’t help but think Territory could have benefitted from another affluent external force.
The Verdict
As one of the largest Netflix series ever filmed in Australia, Territory has some lofty expectations to meet, but for the most part, the series excels. The six-part drama boasts stellar writing, expansive locations, and an all-star cast of rising and established Australian talent, with director McLean transforming the unforgiving region into a remarkable stage.
The action is explosive and the stakes feel inherently realistic—at no point does Territory trail off into scenes of eye-roll-inducing implausibility. It is as grounded and honest as the locale it depicts and for that reason alone, Territory deserves every bit of praise it receives.
★★★☆☆
Territory premieres on Netflix on Thursday, October 24, 2024. The six-episode original series is available to stream globally from that date, with Netflix confirming episodes will range in length from around 50 minutes to a dramatic 70-minute finale.