07 JUL 2026.
Day two of the Tyler Robinson preliminary hearing unfolded much like the first: methodical, painstaking and, at times, excruciatingly slow. That is not necessarily a criticism of the lawyers or the witnesses. Preliminary hearings are not designed to be dramatic courtroom spectacles. Their purpose is narrow: determine whether the prosecution has presented enough evidence to establish probable cause, not guilt beyond a reasonable doubt.
Still, from a viewer’s perspective, the pace left much to be desired. Hours were consumed with foundational testimony, chain of custody, investigative procedures and technical details that, while legally significant, produced few headline-making moments. Those waiting for a dramatic cross-examination, a devastating contradiction or a “gotcha” revelation were likely disappointed.
The prosecution continued building its case brick by brick rather than unveiling a smoking gun. The defense, for its part, continued probing the reliability of the investigation, highlighting perceived inconsistencies and preserving issues for trial without fully revealing its strategy. That is exactly what experienced defense lawyers often do at this stage.
Perhaps the biggest takeaway from day two was what did not happen. There were no stunning admissions, no catastrophic collapse of either side’s case and no decisive moment likely to change the trajectory of the proceedings. Instead, the hearing reinforced what many seasoned trial observers already know: major criminal cases are usually won through the accumulation of evidence, not a single dramatic exchange.
Whether viewers found the hearing informative or painfully dull largely depended on their expectations. Those looking for legal education saw the machinery of the criminal justice system operating as designed. Those expecting television-style courtroom drama were left waiting.
As the hearing moves forward, the central question remains unchanged. Has the prosecution presented sufficient evidence to establish probable cause? The answer to that question—not entertainment value—will ultimately determine whether Tyler Robinson stands trial before a jury.
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Asleep At The Wheel’s performance of “It’s All Your Fault” on Austin City Limits was vintage Texas music television at its finest: razor-sharp musicianship, effortless swing and that unmistakable grin-in-the-groove style that has kept the band rolling for more than half a century. Ray Benson and company made it look easy, which is usually the surest sign that it isn’t. It was western swing with horsepower, humor and enough Texas attitude to power a dance hall until sunrise. Asleep at the Wheel has appeared on Austin City Limits more than any other act in the program’s history, making performances like this feel less like guest appearances and more like family reunions.
Asleep At The Wheel on Austin City Limits “It’s All Your Fault”
Asleep At The Wheel perform “It’s All Your Fault” on Austin City Limits. Watch Austin City Limits on PBS. For more visit acltv.com.
