The Lowdown Ambles Toward Glory

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Ethan Hawke, a striking figure in films since *Dead Poets Society*, delivers a raw performance in *The Lowdown*. The pilot ends with a powerful image: Hawke’s character, bruised and bleeding, driving while laughing hysterically after narrowly escaping death. This new series, from Sterlin Harjo – the creator of the acclaimed *Reservation Dogs* – is a fresh take on classic mid-century noir and detective stories. While those tales often feature tough, beaten-down heroes, *The Lowdown* blends the genre with Harjo’s unique style, offering a mix of comedy, hope, and a touch of darkness, all rooted in a specific regional sensibility. Hawke plays a far cry from the typical suave detective; he’s a rough-around-the-edges character who is both repulsive and strangely charming. Think of one of the quirky individuals from Richard Linklater’s *Slacker* dropped into a Raymond Chandler mystery – familiar yet off-kilter, seen through Harjo’s witty and authentic lens.

Ethan Hawke stars as Lee Raybon, a man who describes himself as a “truthstorian.” He owns a rare bookstore in Tulsa, Oklahoma, but also works as an investigative journalist for a small local magazine called *The Heartland Press*. The story begins when Dale Washberg, from a prominent Oklahoma family, commits suicide after hiding a note inside a book. This happens shortly after Lee publishes an exposé detailing the Washberg family’s troubled past, but Lee isn’t convinced the two events are simply connected. He believes something more is going on, stating, “Everything is connected. Darkness is always afoot.” Dale’s brother, Donald, is running for governor and appears to be having an inappropriate relationship with Dale’s widow, Betty Jo. Meanwhile, Lee is also investigating Akron Construction, a company that’s buying up Black-owned businesses, and suspects they are intentionally eliminating competition to harm the local economy. Frank Martin, the wealthy and influential owner of Akron, doesn’t appreciate Lee’s investigation, and neither does Allen Murphy, a threatening man who works for him.

The show starts with a clear setup, but quickly becomes delightfully messy. Critics only received five of the eight episodes, and even after watching those, it wasn’t always clear what the main story was supposed to be. But that doesn’t really matter. *The Lowdown* isn’t driven by a compelling mystery; it’s enjoyable simply because of the journey of its main character, Lee, through a beautifully detailed Tulsa. The show excels at creating a strong sense of place – you can almost feel the dust in the air. Lee’s life is grounded in a realistic setting – a simple shop alongside familiar places like a tax lawyer’s office, a record store, and a diner called Sweet Emily’s, where he likes to think. His investigation leads him to a variety of interesting locations, from estate sales and auctions to secluded islands and a bizarre party for police officers. The series also explores Lee’s past, as an old friend (Peter Dinklage) reappears to offer support, share stories, and playfully challenge him – even quoting David Foster Wallace along the way.

At its heart, *The Lowdown* is a deeply empathetic, yet realistically flawed, portrayal of a character. Creator and director Sterlin Harjo clearly cares about Lee, and that affection shines through in the character’s complex personality, which Ethan Hawke portrays effortlessly. Lee is a bit of a troublemaker – broke, overconfident, and possibly a talented writer who loves to show off his knowledge. He’s the type of person who creates conspiracy boards and drives a beat-up van that attracts unwanted attention, even earning him a harsh label from another character. While he might seem similar to someone obsessed with conspiracy theories today, Lee is driven by a genuine desire to find meaning in life. He’s sincere and charming, even when lost, telling his daughter, Francis, to worry about those who aren’t pursuing their passions. You believe in his conviction, but it’s hard to fully accept his reasoning, as he fits the mold of the increasingly common “sad dad” trope on television. (Lee’s ex-partner is played by Kaniehtiio Horn, known for her roles in *Reservation Dogs* and *Letterkenny*.)

At first glance, *The Lowdown* might seem like an unexpected follow-up to *Reservation Dogs*. After the success of *Reservation Dogs*’ authentic Native storytelling, Sterlin Harjo’s decision to focus on a flawed white man – a common character in serious TV dramas – could strike some as a strange shift. However, Harjo and Lee explore a compelling and playful idea. Despite his foolishness, intelligence, and good intentions, it’s hard to ignore how easily Lee navigates situations where someone who isn’t a white man would likely struggle. Throughout the series, Lee pretends to be a white supremacist to get into someone’s home and later impersonates a federal officer to steal rare books. He frequently talks his way out of trouble, even escaping torture from criminals he accidentally encounters. The show presents this more as entertainment than criticism. Lee is irritating and clearly benefits from his white privilege, but he also uses those advantages, even if his motives are selfish and ultimately lead to his downfall. Ethan Hawke is excellent in the role, skillfully using his talkative and charismatic personality – the same one that can be both charming and annoying in films like *Reality Bites* and the *Before* trilogy, or intimidating in *Black Phone*. Despite being called many things – “a narcissistic cowboy who thinks he’s a good person” and self-proclaiming “I’m a good guy” – perhaps the most accurate description comes from Cyrus Arnold (played brilliantly by Michael “Killer Mike” Render, a local crime publisher): “A sad-ass white man that cares.”

The Lowdown truly highlights Harjo’s creative talent. His richly detailed world effectively complements Lee’s more abrasive personality, and his ability to blend diverse cultural influences gives the show a depth that feels welcoming rather than confusing. It’s inspired by classic noir films like *The Long Goodbye* and the paranoid style of writers like Philip K. Dick, but even if you don’t recognize those references, you can still feel their impact. The show subtly nods to Jim Thompson, an Oklahoma crime writer who gained recognition after his death, sparking interest in his work. It’s filled with clever writing, memorable dialogue (“a faint heart never fucked a bobcat”), and a diverse cast of characters brought to life in Harjo’s Tulsa. The show excels at capturing magic in quiet moments. For example, in the pilot, Lee meets Marty, a stranger as literary as himself. Their conversation shifts from playful banter to deeper reflection when Marty observes, “Something brings us to Sweet Emily’s at this hour… Look around.” The camera focuses on small details-coffee, a man reading his Bible, rain on the window-creating a scene reminiscent of Edward Hopper’s *Nighthawks*. Lee dismisses it as simply a group of night owls, but Marty corrects him: “No. You see poetry.” This brief exchange perfectly captures the heart of the show.

I’m completely captivated by *The Lowdown*, and I see it as a beautiful expansion of everything Joy Harjo brings to her work. While *Reservation Dogs* found so much hope in the strength of community on the fringes, *The Lowdown* really ignites when someone from those margins dares to challenge the established order. Both shows have this wonderful, meandering quality, building to something truly special, and they both reveal beauty in the smallest details. Usually, noir is all about darkness and the feeling that fighting back is pointless, that power is too strong. But Harjo turns that on its head. There’s a moment where Francis tells Lee that even though Tulsa has its problems, there’s still good underneath, and it’s so hopeful. He might be naive, but he’s a romantic who still believes in truth. Even knowing things might not end well for him, he makes you believe, just for a little while, that fighting for a better world is still worthwhile.

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2025-09-22 15:55