Lee Raybon (Ethan Hawke) wears his troubles on his face. Over the first five episodes of FX’s “The Lowdown,” we see Lee — a Tulsa writer and ‘truthstorian’ who specializes in local exposés — get beat up, burned, wrestled, abducted (multiple times) and beat up some more. He dons shades to cover black eyes and acquires a growing collection of bandages and bruises. A friend marvels that every time he sees Lee, “You somehow look worse.”
But somehow, his deteriorating appearance only makes Lee more compelling in this feisty, delightful journo-noir. Sterlin Harjo, known for his intimate portrayal of community in “Reservation Dogs,” expands his vision in “The Lowdown.” This eight-episode season, premiering Tuesday on FX, delves into a gritty world of corruption and power, suggesting that uncovering the truth often demands a willingness to endure pain.
For Lee, the fight for truth is waged on the page. His rare-books store in downtown Tulsa barely keeps him afloat, but it funds his relentless investigative work. He even finds time to quote David Foster Wallace, and fittingly, the series opens with a close-up on the pen he holds, symbolizing his primary weapon.
His latest investigation, exposing the corrupt history of the influential Washberg family, takes a dark turn with the apparent “suicide” of the family’s outcast, Dale (played by Tim Blake Nelson). Lee, however, suspects murder and embarks on a relentless pursuit, piecing together clues meticulously hidden within Dale’s collection of pulp-crime paperbacks.
Thus unfolds a compelling, picaresque conspiracy narrative, elevated by an impressive ensemble cast. Lee’s investigation draws him into a web involving Dale’s politically ambitious brother, Donald (Kyle MacLachlan), a gubernatorial candidate; Dale’s widow, Betty Jo (Jeanne Tripplehorn), who shares a questionable closeness with Donald; and Frank Martin (Tracy Letts), a powerful businessman acquiring numerous Black-owned properties in North Tulsa under mysterious circumstances.
Lee quickly becomes a target, catching the eye of Donald’s formidable private investigator, Marty (Keith David), and a colorful array of henchmen and antagonists. (Watch for Scott Shepherd’s chilling portrayal of a developer whose stare alone could turn stone to ice.) Lacking financial power or influence, Lee relies on his roguish charm and network of street-smart contacts. “The Lowdown” excels at crafting a rich, vibrant world populated by hustlers, con artists, skinheads, and even seemingly innocuous antique dealers, who prove to be surprisingly dangerous.
Ethan Hawke, whose memorable guest appearance in “Reservation Dogs” was a highlight, finds a role in Lee that perfectly suits his seasoned acting strengths. He embodies a weary, principled, yet sometimes insufferable local eccentric and truth-seeker. Much like Hawke’s powerful portrayal of John Brown in the 2020 mini-series “The Good Lord Bird,” Lee possesses an almost righteous, wild-eyed intensity. As Marty wryly observes, “There’s nothing worse than a white man who cares.”
The series hints at Lee’s complicated past; he’s a divorced father striving to connect with his bright, resilient teen daughter (Ryan Kiera Armstrong) and to rebuild trust with his ex-wife (Kaniehtiio Horn, also from “Reservation Dogs”). It feels as though Lee’s relentless pursuit of external truths is intertwined with an internal quest, believing that solving these larger mysteries might, in turn, mend something within himself.
Fans of “Reservation Dogs” will recognize the series’ signature wry humor and authentic Oklahoma setting. “The Lowdown” also shares DNA with acclaimed regional dramas such as “Justified,” yet its literary influences lean toward hard-boiled novelists like Jim Thompson, whose work directly impacts the plot. Lee’s character is notably inspired by the real-life Oklahoma citizen journalist, Lee Roy Chapman.
Despite its humor, “The Lowdown” firmly plants itself in the tradition of noir crime fiction. It operates on the premise that all established institutions—be it government, politics, corporations, or law enforcement—are inherently corrupt and compromised. True revelations, the series suggests, emerge only from dedicated outsiders prepared to sacrifice everything. Lee’s growing collection of facial injuries, much like Jake Gittes’s bandages in “Chinatown,” serves as a stark visual metaphor for this grueling pursuit.
What sets Lee apart from the typical noir detective is that his ultimate mission isn’t just a single case; it’s history itself. His primary motivation stems from an unflinching, yet deeply affectionate, commitment to Tulsa. The city acts as his beautiful, complex client—one that can both inspire and profoundly disappoint.
Mirroring “Reservation Dogs,” “The Lowdown” is imbued with a strong sense of local identity. It also tackles a highly relevant theme: the crucial importance of local journalism as independent news sources vanish. (This theme, while similar to “The Paper,” is executed with far more depth here, as that “Office” spinoff struggled to establish a distinct setting.) The series powerfully argues that information, even when it uncovers uncomfortable truths, forms the very lifeblood of a community; without it, a town risks becoming a mere shell.
While “The Lowdown” isn’t necessarily the most intricate or ingenious mystery ever crafted (based on the first five of eight episodes), its charm lies elsewhere. Its villains are quite transparently evil, and certain plot developments occasionally rely on convenient coincidences.
Ultimately, what truly propels “The Lowdown” is its undeniable charm and tenacious spirit. The core appeal lies not in a convoluted puzzle, but in the journey itself—the fascinating encounters with the diverse, free-spirited characters who aid and obstruct Lee’s tireless pursuit. Journalism, the series wisely observes, is rarely glamorous, but its enduring scars are what define its character and resilience.