Category Archives: Lone Star

Lone Star Lament: Kyle Killen Discusses the Series’ Rise and Demise at Flow 2010

Lone Star Lament: A Q&A with Kyle Killen

October 1st, 2010

While the online narrative about Lone Star‘s demise considered the show as an example of the divide between cable and network, or as a sign that critical praise actually hurts television series, I personally chose to take something positive: although I was sad to see the show progress into the rest of its first season, which I think had the potential to be a very good television series, I was pleased to see that creator/writer Kyle Killen seemed to be approaching the cancellation with a sense of purpose (in putting himself out there to promote the series between the first and second episodes) and class (by resisting any sort of vitriolic response to its cancellation).

As a result, I was extremely excited for Killen’s appearance at Flow 2010, a television and media conference at the University of Texas at Austin; not only would it give us a chance to learn more about the series, but I could also see whether or not my impression of Killen (pieced together from interviews, tweets and some press tour quotes) would hold in person. During the Q&A after a screening of the series’ pilot, Killen was honest about the show’s failure, open to more complex discussions of the series’ gender representations, and realistic about the way the television industry operates. While the show’s failure identifies much of the cruelty in terms of how the industry evaluates a series’ success, Killen rose above the victim narrative and focused on what he learned from the process, what he wishes he could have achieved, and how he feels about how the process unfolded.

The result was a glimpse into a world of disappointment that, even after learning that we’d be screening the pilot instead of the unfinished third episode, was not close to being disappointing in and of itself.

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Lone Star – “One in Every Family”

“One in Every Family”

September 27th, 2010

“Everything’s always a blur.”

Lying in bed, the newly married Lindsay Allen observes to her husband that her life is sort of like drowning: when he’s away (with his other wife), she feels like she’s drowning, and when he returns it’s like a sudden breath of air.

This scene does little to elevate Lone Star’s gender representations, as effectively Lindsay is arguing that she is lost without her man; however, while I will get to those questions in a moment, I want to focus on the way Lindsay’s description describes Lone Star in and of itself. The show feels sort of like a blur, really: while the show has a fairly leisurely pace, the threat of a reveal remains at every corner, creating just enough instability for an episode like “One in Every Family” to feel meaningful even when it doesn’t have any huge or groundbreaking scenes.

The show continues to paint in fairly broad strokes on some levels, but its second episode quite successfully expands on the nuance within its various worlds: the show still remains fairly centered on James Wolk’s Robert Allen, but the show around him has been effectively given additional depth which would indicate that this show is about more than its premise.

Emphasizing potential, of course, that is unlikely to see the light of the fall season.

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Save this Premise?: The Premature Campaign to Save Lone Star

Save this Premise?: The Premature Campaign to Save Lone Star

September 25th, 2010

When I realized that there was an online campaign to save Lone Star, I had two thoughts.

First of all, I was bolstered: rallying around Kyle Killen’s inspired support of the series, journalists and fans began to voice their support with Twitter hashtags and Facebook campaigns, and as someone who saw promise in the series I was pleased to see the show getting attention.

However, I was also struck by the fact that people are not really campaigning to save Lone Star. The majority are campaigning to save the idea of Lone Star, the notion that complex drama series not about policemen or lawyers have a place within the context of network television.

While I think this is a battle worth fighting, and I certainly am in support of the series continuing (despite my concerns over its longevity), I have some serious concerns about how this campaign relates to the text itself. When we have seen only a single episode, and when there were legitimate concerns of where the series goes from here, is this metric level of internet-related hype surrounding the series not simply creating expectations that the episode will need to live up to? Does this level of support not seem premature for a show that hasn’t even become a show yet?

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Series Premiere: Lone Star – “Pilot”


September 20th, 2010

“If you want to make something last, you need to make it with your own two hands.”

David Bordwell, a prominent film scholar, wrote earlier this month about his personal experience with television as medium, in particular why he doesn’t write about it despite the so-called golden age of serialized television. While his piece briefly speaks to his (somewhat tongue-in-cheek) lack of interest in modern texts, it focuses primarily on his childhood experience with television, which leads him to this depiction of television viewership:

“Having been lured by intriguing people more or less like us, you keep watching. Once you’re committed, however, there is trouble on the horizon. There are two possible outcomes. The series keeps up its quality and maintains your loyalty and offers you years of enjoyment. Then it is canceled. This is outrageous. You have lost some friends. Alternatively, the series declines in quality, and this makes you unhappy. You may drift away. Either way, your devotion has been spit upon.”

I raise this point because it creates the image of television as an investment, which leads me to FOX’s Lone Star. A show about a con artist who convinces others to invest in a lie, the series itself raises an important question in relation to Bordwell’s notion of devotion: is Lone Star a con?

It’s the question that everyone has sort of been struggling with: the pilot is a polished, intelligent episode of television, featuring a strong lead performance by James Wolk and a strong supporting cast, but there remains this sense that it is all smoke and mirrors. It isn’t necessarily that we think the writers and producers are incapable of making a great series, but rather the concern is that the premise just isn’t expansive enough to sustain itself over multiple seasons (or an entire network season, for that matter), leaving room for future heartbreak when it (as Bordwell predicts) fails to live up to our lofty expectations.

But, as someone who enjoys the ups and downs of television and wouldn’t have it any other way, I don’t think that this uncertainty should keep us from enjoying it. Lone Star is not, in fact, a con: the pilot doesn’t hide anything beneath the surface, resisting the sense of mystery and uncertainty that plagues other series of this nature. While the premise may not have the longevity of your basic crime procedural, this is a well-made premise pilot that rarely blinks in presenting a clear scenario to its audience.

Yes, it could all come tumbling down in a few episodes – based on this pilot, however, I (unlike Bordwell) will take that risk.

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