TV

‘Longmire’ Staff Writer Tony Tost Thinks You Should Be Watching ‘Longmire’ And He’d Like To Tell You Why

Recently we received an email from Tony Tost, a writer on A&E’s Longmire and an Uproxx reader, asking us for an opportunity to appeal to our readers to watch the show, a Western-y crime drama that stars Robert Taylor, Katee Sackhoff and Lou Diamond Phillips. We decided to oblige him. If you like what he has to say, the first two seasons of Longmire are currently available for streaming on Netflix and season three of the show kicks off on Monday night. And with that, take it away, Tony…

I write for a TV show called Longmire, a moody A&E crime drama set in a sort of Wyoming-of-the-mind, where the mythic West and the modern West blur together. Last year on this site, Dan Seitz called Longmire “a cross between a noir and an unreconstruct-ed modern Western about grown men struggling with their emotional inadequacies and unfin-ished business.”

We’ll take it.

On the surface, Longmire is a modern cowboys and Indians story with a weekly mystery to be solved. But it’s also more than that. The good folks here at Uproxx think we’re one of those shows that’s much better than people think.

I think one reason Longmire might exceed expectations is that we are perhaps the least cynical cop show you’ll come across. We embrace the procedural beats of our show because we love telling good mysteries and digging up the hidden Wyoming worlds those mysteries lead us into. We dig the serialized beats because we’re addicted to putting the fantastic characters Craig Johnson created in his Longmire novels into corners so we can watch them fight their way out.

Our show is overseen by a trio of executive producers: Greer Shephard, Hunt Baldwin and John Coveny. Longmire is their creature. It’s no exaggeration to say that they’re concurrently working on six or seven episodes at a time. They are our intrepid captains; equal parts artist, head coach, and CEO. The earnestness of the show is the direct product of the trio’s shared mindset.

But what gets on screen is also pretty collaborative. And often feels like alchemy. Created by lots of strong-willed, creative individuals who are chasing personal visions that end up cohering into an identifiable, consistent style unique to our show.

Though we’re the highest rated scripted show to ever air on A&E — our second season landed among the top ten most watched cable shows last year — I think we might be flying under the radar of the TV-obsessive crowd.

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