LONDON: When director Peter Berg had an idea for a project based on the Mountain Meadows Massacre — a series of attacks during the US’s 19th-century Utah War — he reached out to “The Revenant” writer Mark L. Smith to flesh out the show. As luck would have it, Smith was already working on an idea set during the same period following real-life pioneer Jim Bridger, a character he’d explored as a much younger man in that film. The result is Netflix’s “American Primeval,” set in the untamed world that predates the Wild West as audiences have come to know it. This is a brutal, savage place in which US army forces battle Mormon militias, and native tribes try to eke out a peaceful existence amid the chaos. 

Sara Rowell (Betty Gilpin) and her son Devin (Preston Mota) arrive at Fort Bridger, in search of a guide to escort them through the perilous country. Bridger (Shea Whigham) introduces them to Isaac Reed (Taylor Kitsch), a bereaved hunter and trapper who eventually agrees to go with them. The trio, later joined by runaway Shoshone Two Moons (Shawnee Pourier), set out on the dangerous trek, dodging armies, evading bounty hunters, and navigating settlers with their own (often unsavory) plans.  

At the same time, Mormon settler Jacob Pratt (Dane DeHaan) searches for his kidnapped wife Abish (Saura Lightfoot-Leon), while Mormon leader Brigham Young (Kim Coates) sets his eyes on Fort Bridger as a means to defend his followers from what he assumes to be an imminent attack by US Army forces. 

Every minute of the six episodes feels relentless. There’s little room for quieter character development — Isaac’s backstory is glossed over, Abish’s relationship with her captors doesn’t get the airtime it deserves, and Jacob’s realizations about the behavior of his Mormon brothers feels rushed.  

What Berg does cram in is certainly spectacular — “American Primeval” is brutal, bloody and gorgeous in equal measure — and the sense of constant peril is effective and exhausting. Kitsch and Gilpin are great, too, but there’s a sense that, with a little more time, Isaac and Sara’s relationship could be an even more interesting counterpoint to the savagery around them. This is a breathless series. With a beat or two more to breathe, it could have been truly epic. 

LONDON: “Indiana Jones and the Great Circle” is a bold attempt at blending classic adventure tropes with modern gaming sensibilities, although its bland title hardly does justice to the grand scope of its ambition.

This globe-trotting 1930s adventure is steeped in intrigue, setting players on a path to uncover a secret order of giants hidden beneath the Vatican, with the ever-looming menace of Nazi antagonists turning the stakes even higher.

Fans of the “Tomb Raider” series will find themselves on familiar terrain here, although the game also sprinkles in elements reminiscent of “Metal Gear Solid.” However, instead of espionage-heavy stealth, “The Great Circle” leans into satisfying puzzles and visceral hand-to-hand combat. The result is a game that feels rooted in the past — both in its narrative themes and its retro gameplay touches.

The game’s combat is refreshingly physical, emphasizing fistfights over gunplay. The punches land with gratifying impact, accompanied by retro sound effects that evoke arcade classics. It’s an unusual focus in a genre often dominated by firearms, and it works surprisingly well — although the simplicity of enemy AI detracts from the experience. Combat can sometimes feel clunky, with enemies behaving erratically, and often hilariously, as doors inexplicably lock or bodies pile up in awkward positions.

Puzzles are another highlight, designed to strike a balance between challenge and accessibility. They won’t leave players stumped for hours but provide enough complexity to feel rewarding. The puzzles’ old-fashioned mechanics, like physically turning keys or deciphering simple codes, give a nostalgic charm that ties into the game’s 1930s setting.

An upgrade tree powered by collectible “adventure points” adds a sense of progression, allowing players to enhance abilities as they go. The system is straightforward but effective, offering enough variety to make exploration worthwhile without overwhelming casual players.

“The Great Circle” thrives on its pulp-inspired storytelling. The global backdrop feels suitably grand, with locales such as nighttime Rome brought to life in stunning detail. The plot blends historical mysteries with fantastical elements, and while it may tread familiar ground for seasoned fans of the genre, the banter and dialogue keep things fresh as Indy looks to thwart the Nazis’ evil plans.

The protagonist channels Indiana Jones-style sass with ease, while a determined and witty female companion ensures the dynamic never grows stale. The interplay between the two characters is sharp and effective, adding much-needed levity to a story that could otherwise veer into melodrama.

However, the game’s identikit fascist enemies lack nuance, serving as little more than cannon fodder. For a story with such an ambitious concept, it’s disappointing that the antagonists don’t feel more distinctive.

Where “The Great Circle” truly shines is in its environments. From the cobbled streets of Rome to the Pyramids of Giza, the attention to detail is remarkable. The game also makes clever use of its camera, offering subtle hints during exploration and rewarding players with fascinating historical tidbits.

The Great Circle is a film fan’s dream, packed with nods to adventure classics and brimming with nostalgic charm. For newcomers to the genre, it may feel less engaging due to its dated mechanics and occasional lack of polish. Still, it’s a satisfying romp for those willing to embrace its retro roots and cinematic flair.