At first glance, Netflix’s The Hunting Wives comes across as a shallow, ill-timed tale. (Because, honestly, who wants to spend any more time thinking about how conservatives are ruining the country and world?) Aside from an intriguing flash-forward teaser that kicks it off, which finds a young blonde running for her life through the woods and subsequently shot by a mysterious assailant, it’s difficult to imagine what the draw of the series could be — especially if you’re like me and despise watching trailers because of how intentionally misleading they so often are. That said, there is nothing in the world that could have prepared me for this story, which is arguably one of the wildest pieces of media to be released in years.
But, frankly, it’s a slow start, and the pilot is a bit of a bore. Three weeks before the teaser, Sophie O’Neil (Brittany Snow) arrives in the ultra-conservative town of Maple Brook, Texas, joining her husband Graham (Evan Jonigkeit) and son Jack (Emmett Moss) at their new home as Graham recently accepted a new job. However, as a liberal woman from Boston who used to work in public relations for local democratic campaigns and whose beliefs counter those popular in this area of Texas, Sophie is immediately struggling with the culture shock. Her first outing brutally emphasizes the vastly different world she’s stepped into, attending a party hosted by Graham’s boss, Jed Banks (Dermot Mulroney), which turns out to be both a fundraiser for the NRA and, later, a stepping stone for Jed’s potential political campaign with a racist speech to boot. Not knowing where the story leads, and a bit rough to reckon with given the country’s currently abominable political climate, you can’t help but wonder what The Hunting Wives could possibly have to offer—at the same time Sophie considers what Texas could have to offer—that isn’t downright terrible. Well, the answer begins with Sophie’s awkward and anxious stumble into the Banks’ bathroom: Margo (Malin Akerman).
Credit: Netflix
It still takes another episode (or two) for the story to pick up, hitting its stride after the flash-forward comes to pass. Still, from the moment of her introduction in the bathroom, Akerman’s Margo instantly makes The Hunting Wives much more tolerable. She exudes charisma and warmth, lighting up the screen and bringing a much-needed burst of zany energy to the overwhelmingly dull beginning. It’s so powerful that it’s fairly easy to overlook her off-putting comments about how she can’t use a tampon and other republican-isms, so it’s no surprise how easily Sophie falls under her spell and accepts the invitation into Margo’s group of the town’s elite wives. Margo becomes, and stays, a far more fascinating mystery than the murder.
As Sophie is thrust into this group and joins them on their adventures, then tempted by their excitement and Margo’s manipulation, learning more about each of the wives, their individual and group dynamics, and their respective home lives leads to rather unexpected and somewhat insane places, showcasing exactly how The Hunting Wives does not hold back and is far more than meets the eye. (Granted, they’re all terrible human beings, but I digress.) The most intimidating is Callie (Jaime Ray Newman), Margo’s right-hand and closest friend. Callie is a fierce, blunt, and brazen woman who will do anything for those she loves. She’s very obviously and desperately in love with Margo, infuriated and jealous by Sophie’s presence and Margo’s attention on her, and is married to and has a surprisingly likable relationship the beefy and ultra stereotypically masculine Sheriff Jonny (Branton Box) — who may be a bit of a queen himself given how fast he and one of his deputies tear away from each other when Callie barges into his office unannounced.
On the other hand, the other major player in the group is Jill (Katie Lowes), a repressed housewife who is ignored and mistreated by her husband, the reverend of the local megachurch. All of her energy is devoted to the church and playing the perfect wife and mother. She’s easily the most judgmental and hypocritical of the bunch, and spending time with the group is the only fun she has in her sad life, despite never letting go nearly as much as the rest do. At least in part due to the lack of attention from her husband, Jill is unmistakably in love with her 18-year-old son Brad (George Ferrier), and their relationship is somewhat disturbing to watch. There is a serious lack of boundaries, like still forcing him to kiss her—yes, on the mouth—and, at one point, how comfortably he gets out of the shower in front of her with not even a towel on. Unsurprisingly, Jill has a very fraught and antagonistic dynamic with George’s girlfriend Abby (Madison Wolfe).
Credit: Netflix
As for the remaining two women, Taylor (Alexandria DeBerry) and Monae (Joyce Glenn), they are relegated to supporting roles, offering a few quips here and there, but ultimately, nothing substantial. Either this was a conscious choice, as a group like this in the real world would most definitely have a token Black woman and the stereotypical dumb blonde, or it’s a sign of how backwards society is going because this is a group you’d find on a show back in 2007. (If renewed, it would be great to see their roles transform into something more meaningful, especially Monae’s.) And, of course, Margo is their charming, wild leader, who isn’t afraid to embrace her impulses and get into a little trouble, including having a secret affair with Jill’s son George.
Once we’re past Sophie stepping outside of her comfort zone and letting go of the flimsy morals and beliefs she supposedly had back in Boston, and as is evident from these brief descriptions, it becomes apparent that The Hunting Wives isn’t giving a voice to or trying to normalize the behavior and beliefs of conservatives. Yes, they spew the same lines we hear so often in today’s world, but their actions, especially the very gay ones between Margo and a substantial number of women, are in direct contrast with what the characters say they believe. Thus, while having a lot of fun with Margo’s four romantic relationships and exploring different avenues with the others, including a scene of Callie pegging her macho husband, the series is instead calling out the culture of repression and utter hypocrisy that has become synonymous with conservatives.
The most problematic aspect (writing-wise) of The Hunting Wives is, by comparison, similar to Elena Gilbert (Nina Dobrev) on The Vampire Diaries, Sophie is an incredibly bland character. Not even her dark past can save her, which is saying something. It feels like Sophie (and Snow) is left to carry the burden alone of keeping the show more grounded and realistic, which contributes to the blandness, but the problems extend beyond that. One of the vital conflicts throughout the season is how this new life is changing Sophie (or, rather, reverting her into who she once was) and straining her marriage. However, by season’s end, it’s still impossible to tell whether Sophie and Graham even like each other, let alone whether Sophie has ever actually been in love with him. Graham has valid reasons for his concern about Sophie’s behavior, but the way he treats her is like a child acting out. In addition, only two vastly different sides to Sophie come out for most of the season—reserved and caged, or the complete opposite that does way too much—so it’s still unclear who Sophie is. Considering she’s one of the two leads, this is a major problem moving forward, but somehow doesn’t undercut everything else (probably thanks to Margo).
In conclusion, Netflix’s The Hunting Wives is a wild ride. Is it good and well-crafted television? Not in the slightest. But the show is fun, shocking, salacious, soapy, and highly enjoyable trash that is impossible to stop after it hooks you. There are some major twists, a few rather predictable turns, quite a lot of sex, plenty of laughs, and a near-perfect cliffhanger that would make it truly brutal if the story ends here. In short, it’s worth a watch.