Dallas Parallels: Teach Your Children Well

Battle Lines, Dallas, False Confessions, J.R. Ewing, Larry Hagman

J.R. imparts a lot of wisdom to John Ross over the years — and like all fathers, sometimes he has to repeat himself before the lessons sink in.

In “Battle Lines,” one of the original “Dallas’s” eighth-season episodes, J.R. is leaving for work when he runs into John Ross on the Southfork patio. The little boy has heard Uncle Bobby is in the hospital after being shot and wants to know if Daddy is going to take control of Ewing Oil now that Bobby is sick.

J.R. sits in a patio chair, looks John Ross in the eye and gently explains that’s not how he operates. “There’s something I want to explain to you, son,” J.R. says. “One of these days I expect to control all of Ewing Oil, and Bobby won’t work there. He’ll be doing something else. But I want you to remember that he’s my brother — and I love him very much. And it just wouldn’t be fair to take advantage of him while he’s sick. That’s just something you don’t do to the people you love.”

This is a sweet father-son moment and a nice reminder that J.R. has limits. But how much of an impression does his lesson make on John Ross?

In “False Confessions,” one of TNT’s second-season “Dallas” episodes, Bobby is once again involved in a shooting — except this time, Bobby has been accused of gunning down archenemy Harris Ryland. The shooting occurs while J.R. and John Ross are plotting to seize control of Ewing Energies, and so John Ross suggests using Bobby’s arrest to gain leverage against him in their takeover scheme.

Once again, J.R. sets his son straight — but this time, he’s not as nice about it as he was when John Ross was a child. “You still got a lot to learn, boy. When the family’s in trouble, we don’t take advantage,” J.R. says.

To be fair, J.R. doesn’t always play by this rule, as Bobby and the other Ewings would surely attest. One example: In the TNT episode “Family Business,” when J.R. resists John Ross’s plea to give Southfork back to the cancer-stricken Bobby, J.R. snaps, “You’re confusing emotion with business.”

So much for not taking advantage of family, huh? Then again, this is J.R. Ewing we’re talking about. Of course he’s going to break the rules — even his own.

‘It Just Wouldn’t Be Fair to Take Advantage’

Battle Lines, Dallas, J.R. Ewing, Larry Hagman

Play fair

In “Battle Lines,” an eighth-season “Dallas” episode, J.R. (Larry Hagman) stands over John Ross (Omri Katz), who is cleaning his bike on the Southfork patio.

JOHN ROSS: Are you going to see Uncle Bobby at the hospital?

J.R.: Well, I might drop in on him this afternoon. [Looks at his watch] I’ve got an awful lot of work to do at the office.

Sue Ellen (Linda Gray) exits the house and stands on the patio, listening.

JOHN ROSS: Maybe I can go to the office and help you.

J.R.: [Chuckles] Well, that’s a good idea. Maybe we ought to wait until you’re a little older, though, huh?

JOHN ROSS: Daddy are you going to be running Ewing Oil all by yourself?

J.R.: Well, I’m just going to run it until Bobby gets back. Why do you ask that?

JOHN ROSS: Well, you said you were going to run the company all by yourself some day and then give it to me.

J.R.: Well, I couldn’t take it away from Bobby while he’s in the hospital.

JOHN ROSS: But Mama said Bobby can’t see right now.

J.R.: [Sits in a patio chair] John Ross, there’s something I want to explain to you, son. One of these days I expect to control all of Ewing Oil, and Bobby won’t work there. He’ll be doing something else. But I want you to remember that he’s my brother — and I love him very much. And it just wouldn’t be fair to take advantage of him while he’s sick. That’s just something you don’t do to people you love. But when he’s well — and able to defend his shares in Ewing Oil — well, I’m going to fight for it. And of course I’ll win. Then I’m going to give you the whole company — and you’ll never have to share it with anybody. Now you understand that?

JOHN ROSS: I think so.

J.R.: Good. And you’ve got to remember: With family, you play fair. Because there are rules to follow. And if you do, you’ll be able to live with yourself.

‘When the Family’s in Trouble, We Don’t Take Advantage’

Dallas, False Confessions, J.R. Ewing, Larry Hagman

Fair play

In “False Confessions,” a second-season “Dallas” episode, J.R. (Larry Hagman) is standing at his bedroom window, ending a phone call, when John Ross (Josh Henderson) enters.

JOHN ROSS: What’s going on?

J.R.: Bobby got arrested for shooting Harris Ryland.

JOHN ROSS: You serious? [Steps forward] You think that will help us get him out of Ewing Energies?

J.R.: You still got a lot to learn, boy. [Slides his cell phone in his pocket] When the family’s in trouble, we don’t take advantage.

JOHN ROSS: You got a problem with me?

J.R.: You damn right I do. [Steps forward] I hear you’ve been cavorting with Pamela Barnes. What do fathers say? I’m not mad, I’m just disappointed? Well, I am both.

JOHN ROSS: Who I cavort with ain’t none of your business.

J.R.: It is when her last name is Barnes. [Sits] What do you want with Christopher’s scraps anyway?

JOHN ROSS: I’m working her.

J.R.: And apparently not learning from your mistakes. You already got in bed with one crazy woman in that Marta. Not a good idea to get in bed with another one.

JOHN ROSS: I’ve got a plan to get her shares of Ewing Energies after the divorce.

J.R.: You let that Barnes girl get a piece of our company and you’re inviting a vampire into our home. She’ll suck the life out of us. That’s why I’ve seen to it that there won’t be a divorce.

JOHN ROSS: How’s that?

J.R.: I made a deal with Cliff’s man Frank. We’ve got a plan to take Pamela out of the picture.

JOHN ROSS: You must be getting senile in your old age, Daddy, because I’m the one calling the shots here. Remember?

J.R.: You asked me to teach you every dirty trick I know so we can take Ewing Energies. I teach by example.

JOHN ROSS: What do you and Frank plan on doing to Pamela?

J.R.: You got feelings for this girl?

JOHN ROSS: No.

J.R.: Then why do you care?

What do you think of the lesson J.R. teaches John Ross? Share your comments below and read more “Dallas Parallels.”

Let’s Talk Turkey Tonight on #DallasChat

Cliff Barnes, Dallas, Ken Kercheval, TNT

Quit jiving us, Barnes

Our next #DallasChat on Twitter will be held Monday, November 25, from 9 to 10 p.m. Eastern time. Since Thanksgiving is later this week, our theme will be “Talkin’ Turkey.”

Here’s how #DallasChat works: I tweet a question roughly every five minutes for one hour. Each question is numbered and includes the hashtag #DallasChat, so your responses should do the same.

A sample exchange:

Q1. Who is “Dallas’s” biggest turkey? #DallasChat

A1. That’s easy: Cliff Barnes. He’s been jiving the Ewings for years. #DallasChat

Two pointers:

• During the discussion, enter #DallasChat in Twitter’s search field. This will help you watch the search results so you can follow the conversation. Click “All” to see all the related tweets.

• Include the hashtag #DallasChat in each tweet you send so others can see your contributions to the conversation. Feel free to start side conversations of your own, but be sure to include #DallasChat in those tweets too.

This will be a fun, festive chat. Don’t miss it!

Dallas Scene of the Day: ‘Bobby … I’m in Love With You’

Morning After, Morgan Brittany, Patrick Duffy

What’s not to love?

In “Morning After,” a seventh-season “Dallas” episode, Bobby and Katherine (Patrick Duffy, Morgan Brittany) have a picnic in a park.

BOBBY: Well, this is a first.

KATHERINE: In what way?

BOBBY: I cannot remember, ever in my life, having a picnic in the middle of a working day. [They toast.]

KATHERINE: Well, do you mind?

BOBBY: I think it’s wonderful. I’ve just never done it before. [He pops a grape into his mouth.]

KATHERINE: Bobby, there’s something I should tell you. I was very disappointed that you didn’t ask me to the Oil Baron’s Ball.

BOBBY: Ask you to be my date? Katherine, the thought never occurred to me.

KATHERINE: Don’t you think it should have?

BOBBY: You are Pam’s sister.

KATHERINE: But you’re not married to Pam anymore.

BOBBY: Well, I realize that, of course —

KATHERINE: Bobby, why did Jenna Wade come back into your life?

BOBBY: What?

KATHERINE: I’d just like to know about her.

BOBBY: All right. Jenna Wade. Jenna is probably the first girl that I ever truly loved.

KATHERINE: Yes, that’s what I’d heard. But what about now? How do you feel about her now?

BOBBY: Katherine, you forgive me if this sounds rude, but I don’t think that’s any of your business.

KATHERINE: But of course it is. Don’t you understand why?

BOBBY: No, I don’t.

KATHERINE: You don’t, do you? Bobby, don’t you realize I’m in love with you? I’ve been in love with you from the first time I ever saw you. I just never said anything because you were married to my sister.

BOBBY: Katherine, I … I don’t know what to say. I didn’t have the slightest idea.

KATHERINE: I thought it was written all over my face.

BOBBY: I’m sorry. I didn’t mean to hurt you.

KATHERINE: Hurt me?

BOBBY: I could just never see you and I being together.

KATHERINE: Am I so unattractive?

BOBBY: Oh, no. Of course not. But you’re Pam’s sister. I could never think of you in any other way.

KATHERINE: But you could think of Jenna Wade in another way.

BOBBY: Jenna and I have known each other a long time. And we’ve always had very strong feelings for one another.

KATHERINE: Well, lucky Jenna.

Critique: ‘Dallas’ Episode 140 — ‘Morning After’

Christopher Atkins, Dallas, Linda Gray, Morning After, Peter Richards, Sue Ellen Ewing

Special needs

The characters on “Dallas” usually have affairs when they fall in lust or in love, but neither scenario is true for Sue Ellen Ewing and Peter Richards. Their romance is based on their mutual neediness. Sue Ellen, having been betrayed by J.R. once too often, needs to be reminded of what life was like before it turned into one extended heartache. Peter, a bright young man who is eager for the world to take him seriously, needs to feel like a grownup. Put another way: She needs to feel younger, he needs to feel older. This doesn’t make their relationship right, but I can see why they’re drawn to each other.

In “Morning After,” Sue Ellen and Peter finally acknowledge what’s happening between them. It begins when Peter visits Southfork and overhears J.R. and Sue Ellen arguing. J.R. wants his wife to sleep with him; when she refuses, he suggests it’s because Peter is “getting” to her. Sue Ellen insists this isn’t true but wonders if J.R. is jealous. His response: “Jealous? Are you kidding? The one thing I don’t have to worry about is a schoolboy with a crush on my wife.” The next day, Peter persuades Sue Ellen to meet him at a quiet pier, where he says he doesn’t think he should continue working with John Ross because he’s developed feelings Sue Ellen. She tells Peter it’s “not so unusual” for a young man to be attracted to an older woman, comparing him to a student who develops a crush on a teacher. Sue Ellen urges him to not “give up” on John Ross, who adores Peter and would be sad to lose him as his counselor. “It’ll all work out. You’ll see,” she says.

Except this is “Dallas,” and so of course things won’t work themselves out. To begin with, Sue Ellen is also attracted to Peter, although she doesn’t want to admit it. Why? Scriptwriter David Paulsen never makes this clear, but it seems safe to assume the always ladylike Sue Ellen believes it would be wrong for a woman in her 40s to desire a college student like Peter. Regardless of the character’s motivation, Linda Gray does a nice job bringing Sue Ellen’s conflicted feelings to light. This is especially true in the scene where Sue Ellen shoots down Lucy’s suggestion that Peter has a crush on her. Gray delivers her lines with just enough defensiveness in her voice to let the audience know that Sue Ellen doesn’t believe a word of what she’s saying. Charlene Tilton’s skepticism in this scene is also pitch-perfect. When Sue Ellen insists Peter is nothing more than John Ross’s friend, Lucy snaps, “He’s John Ross’s friend? John Ross is 5 years old. Peter is in college.”

Sue Ellen’s denials bring to mind one of “Dallas’s” earlier May/December romances: Jock’s affair-of-the-heart with Julie Grey. Like Sue Ellen does with Peter, Jock initially denies anything is happening between him and Julie, although he eventually realizes their relationship is wrong and ends it. Also, like Sue Ellen and Peter’s romance, Jock and Julie’s affair is rooted in mutual neediness: He needs Julie to help reclaim his vitality after his heart attack, while she needs Jock to validate her self-worth. One difference between the two relationships: Julie fools herself into thinking it’s OK to pursue Jock, but Peter does no such thing when it comes to his feelings toward Sue Ellen. Even after Peter eavesdrops on J.R. and Sue Ellen’s spat and realizes they aren’t the happy couple they pretend to be in public, Peter tells Sue Ellen their friendship can’t continue. “You’re married. I just don’t think anything should happen between us,” he says.

Ultimately, this is why Sue Ellen is so attracted to Peter: Unlike the husband who has caused her so much pain, Peter is principled. He still has some growing up to do, though. The day after Sue Ellen’s conversation with Peter at the pier, she drops John Ross off at camp and discovers Peter hasn’t shown up for work. Sue Ellen returns to the pier, where she finds Peter sitting on the dock, looking like a sad little boy. She again reassures him that everything will work itself out, then holds his hand and walks him toward her car, where, in the episode’s final scene, he kisses her. The sentimental underscore lends this scene a “Summer of ’42” vibe, and Christopher Atkins is earnest enough to make Peter’s kiss seem gentle and sweet. But isn’t it also kind of childish? For all of Sue Ellen’s talk about how mature Peter is, he apparently isn’t grown up enough to control his impulses.

Sue Ellen and Peter’s relationship will take more twists and turns as “Dallas’s” seventh season progresses, but by the end of “Morning After,” it feels like their affair is already doomed. The qualities that attract these characters to each other are the same qualities that seem destined to tear them apart them. Sue Ellen is drawn to Peter’s youth and, having had her first taste of self-empowerment in the previous episode, she seems to enjoy being the dominant player in their relationship. Notice how she goes to the pier to retrieve him, and she takes his hand and walks him to her car. Peter’s attraction to Sue Ellen, in the meantime, is based on how she treats him like a man. As their relationship deepens and she asserts herself more, will he still feel the same way?

Peter isn’t the only character who comes clean in “Morning After.” In one of this episode’s most interesting scenes, Katherine finally tells Bobby she loves him and is surprised to see the revelation shocks him. I suspect a lot of “Dallas” fans probably share Katherine’s surprise, although Bobby’s explanation (“You’re Pam’s sister. I could never think of you in any other way.”) seems reasonable to me. Regardless, I feel sorry for Katherine. Yes, she did an awful thing by working with J.R. to orchestrate Bobby and Pam’s breakup, but Morgan Brittany imbues her character with such sad desperation that she becomes a sympathetic figure. I also have to admire how Katherine goes after what she wants, unlike so many of the other women on this show who never seem fully in control of their own lives.

Other notable moments in “Morning After” include the scene where Cliff invites Pam to join him for a business dinner with Ben Kesey, whose oil company Cliff wants to buy. Of course, smarmy Cliff arrives late because he knows Kesey will be attracted to his sister and wants them to have plenty of time alone together. This won’t be the first time Cliff will use a woman named Pam in this manner, is it? Fortunately, in “Morning After,” Victoria Principal’s Pam is smart enough to figure out what’s happening and calls Cliff on his manipulation. Too bad Donna doesn’t demonstrate the same gumption in her scene with Paul Morgan. After she thanks Morgan for defending Ray during his murder trial, Morgan flirts with Donna shamelessly, predicting she’ll “wake up one day and leave that guy.” Why doesn’t Donna slug him? On the other hand, Morgan isn’t wrong, is he?

The other great scene in “Morning After” showcases Larry Hagman’s wonderful chemistry with Tilton. It begins when J.R. arrives for breakfast on the Southfork patio, ranting about his brawl with Cliff at the Oil Baron’s Ball the previous night. When J.R. reveals Cliff bit him, Lucy snickers. Says J.R.: “It’s not a laughing matter, young lady. A human bite is a very serious thing. Don’t you worry. I’ll take care of Cliff Barnes.” Lucy’s response: “Are you going to bite him back?”

Perfect.

Grade: B

_______________________________________________________________________________________________________________________________________________

Dallas, J.R. Ewing, Larry Hagman, Morning After

Who bit J.R.?

‘MORNING AFTER’

Season 7, Episode 9

Airdate: November 25, 1983

Audience: 21.2 million homes, ranking 3rd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: After Cliff is named oil baron of the year, he gets into a fistfight with the Ewings. Katherine declares her love to Bobby, who says he considers her a friend. Peter confesses his crush to Sue Ellen and kisses her. Cliff uses information from Sly to steal another deal from J.R.

Cast: Christopher Atkins (Peter Richards), John Beck (Mark Graison), Morgan Brittany (Katherine Wentworth), Glenn Corbett (Paul Morgan), Joe Dorsey (Ben Kesey), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Charlene Tilton (Lucy Ewing), Debi Sue Voorhees (Caroline), Tom Williams (Joe Clooney), Morgan Woodward (Punk Anderson)

“Morning After” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

One Year Later, Larry Hagman’s Legacy Lives

Dallas, J.R. Ewing, Larry Hagman, TNT

Remember the titan

The first anniversary of Larry Hagman’s death is November 23, although to me, he never really went away. Hagman’s old “Dallas” episodes run on a seemingly endless loop in my house. I watch him all the time, and that would probably be true even if I didn’t write and edit this website. Larry Hagman still brings me joy. The other day, I re-visited the 1983 segment where J.R. goes to the Oil Baron’s Ball and slyly insults every relative seated near him. With each gleeful quip, Hagman’s smile couldn’t be contained. Neither could mine.

Do I wish Hagman were still around, filming new episodes of TNT’s “Dallas” revival? Of course, although given the remarkable body of work he left behind (more than 380 appearances as J.R. in the various “Dallas” shows, spinoffs and sequels), to want more from him feels almost greedy. Likewise, while I’ll always regret that I never met my hero, I did get to speak to him on the phone once. How lucky am I? By most accounts, Hagman was a hell of a guy — joyful, generous, wise, progressive, amusingly eccentric — and so one year after his death, whatever sadness I feel is reserved for the people who knew him best. As a fan, I lost an actor whose work I admired from afar. But Hagman’s family and friends? They lost a real, special man.

Don’t get me wrong: Hagman’s death upset me a year ago. He died on the day after Thanksgiving, giving Black Friday a whole other meaning. Now the timing feels kind of cosmic. The anniversary of his death will always come two days after the anniversary of the “Who Shot J.R.?” revelation and around Thanksgiving, reminding us to feel grateful for the wonderful performances he gave us. We can also feel thankful to the people who help keep Hagman’s memory alive, including the folks who run his Facebook page, which offers a treasure trove of rare photographs and other mementos. For that matter, we should also give thanks to the “Dallas” producers and cast members,  who have done an impressive job honoring their show’s biggest star. The episode where Hagman’s alter ego is laid to rest, “J.R.’s Masterpiece,” lived up to its title, but the tributes haven’t stopped there. Showrunner Cynthia Cidre has promised to keep Hagman’s name atop the production call sheets for the duration of the series, reminding the cast and crew that “Dallas” is the house Hagman built.

There are also hints that J.R. will figure into next season’s storylines, wheeling and dealing from beyond the grave, and a recent tweet from the set suggests Josh Henderson will sport his on-screen daddy’s signature wristwatch and belt buckle. If the producers are looking for one more way to honor Hagman, “Dallas” fan Joe Siegler has a nifty suggestion: Instead of continuing to have the cast take turns delivering each episode’s “Previously on ‘Dallas’” voiceover, why not use Hagman’s version exclusively? This would be a small gesture, but I can’t imagine a better way to start each new hour of “Dallas” than by hearing J.R.’s voice.

Of course, Hagman’s legacy extends beyond the show he made famous. We live in a golden age of television drama, populated by antiheroes like Walter White and Don Draper. None of them would exist if J.R. Ewing hadn’t come first. What a shame so many TV critics neglect to mention that. Even more shameful: Hagman’s omission from the special tributes during this year’s Emmy broadcast and his snub in the dramatic supporting actor race. Few performers deserved Emmy recognition more than Hagman this year — and not just because he didn’t receive a trophy during the original “Dallas’s” heyday. Hagman did some of the best work of his career on the TNT series. One example: last year’s “Family Business” episode, which showcased his powerful, poignant portrait of the aging J.R.

On the other hand: Who needs Emmys? If the past year has taught me anything, it’s how much affection “Dallas” fans have for Hagman. Our love for him is deep and real, and it will sustain his legacy for a long time to come. It’s another reason I don’t feel a strong sense of loss as the anniversary of his death approaches. The truth is, Larry Hagman isn’t really gone; he just lives in our hearts now.

How will you remember Larry Hagman and J.R. Ewing? Share your comments below and read more opinions from Dallas Decoder.

Dallas Parallels: Rebels Without a Clue

Dallas, False Confessions, James Richard Beaumont, John Ross Ewing, Josh Henderson, Sasha Mitchell, TNT, Tunnel of Love

J.R. Ewing wouldn’t dream of betraying his beloved daddy, the mighty Jock Ewing. Unfortunately for J.R., his own sons have a bad habit of rebelling against their father.

In “False Confessions,” one of TNT’s second-season “Dallas” episodes, John Ross meets with Cliff Barnes to tell him J.R. is plotting against Cliff’s daughter Pamela. Cliff is suspicious of his longtime enemy’s son. “Are you telling me that you’re willing to betray your own father?” he asks. John Ross responds by explaining J.R.’s parental performance has been less than stellar, but Cliff is too blinded by his own hatred to trust John Ross. “You’ve wasted enough of my time today,” Cliff says.

The exchange evokes memories of “Tunnel of Love,” a segment from the original “Dallas’s” final season. In that episode, Cliff receives a visit from James Richard Beaumont, J.R.’s eldest son, who offers to give Cliff the evidence he needs (“incredible information, fully documented!”) to finally bring down J.R. But Cliff passes, citing two reasons: He’s skeptical of James (“Why should I trust you more than I trust your daddy?”) and he’s reeling from the death of April Ewing, Bobby’s wife and Cliff’s friend. Cliff kicks James out of his office, telling him, “Why don’t you take your fully documented information and go blow it out your exhaust?”

The two scenes reveal a lot about Cliff, who had mostly put his feud with the Ewings behind him when he spoke with James but was angrier than ever by the time he encountered John Ross. (What made Cliff so hateful? Could it be his hatred of the Ewings is another Barnes family genetic disorder; perhaps it went it to remission by the end of the original “Dallas,” only to flare up again in the years before the new series began.)

More than anything, these scenes tell us a lot about J.R.’s sons, who seem as oblivious as they are rebellious. James is aware of Cliff’s friendship with April; shouldn’t James have known Cliff would be grief-stricken in the aftermath of her death? Likewise, John Ross knows better than anyone how much Cliff hates J.R.; why would John Ross expect Cliff to trust the information he brings him?

Of course, these are sons of J.R. Ewing we’re talking about. The apple falls only so far from the tree. When John Ross tells Cliff that he’s looking out for Pamela, he can’t resist getting in a J.R.-style dig at Cliff, telling him, “If you had paid her more attention, it wouldn’t have come to this.” Likewise, when Cliff brushes off James, James delivers a parting shot worthy of his daddy: “You know, you’re as big a loser as everybody says you are.”

Something tells me that line in particular would have made J.R. awfully proud.

 

‘Why Should I Trust You More Than I Trust Your Daddy?’

Dallas, Cliff Barnes, Ken Kercheval, Tunnel of Love

Anguished

In “Tunnel of Love,” a 14th-season “Dallas” episode, a depressed Cliff (Ken Kercheval) sits at his office desk, mindlessly tossing miniature darts at a tabletop board, when James (Sasha Mitchell) enters.

JAMES: [Smiling] Mr. Barnes, I’d like to talk to you.

CLIFF: Not really a very good time. [Briefly looks up, then tosses a dart]

JAMES: [Approaches the desk] Oh, I know. I just found out about April myself. You were good friends, weren’t you?

CLIFF: Yeah. Real good friends. [Tosses a dart]

JAMES: Well, look, I won’t take up much of your time.

CLIFF: [Sighs] Well, that’s good because I’m not really in the best shape right now. [Tosses a dart]

JAMES: I have a deal for you.

CLIFF: It’s a lousy time to try to make a deal with me. [Tosses a dart]

JAMES: It’s about J.R. I know you’ve been trying to bring him down for years. Well, I can make it happen for you.

CLIFF: Some other time.

JAMES: Did you hear what I said?

CLIFF: Yeah, I heard you. [Tosses a dart]

JAMES: Look, I’m giving you a chance to finally nail him to the cross. I’ve got incredible information, fully documented. We could take him down together.

CLIFF: Why should I? [Looks up]

JAMES: Isn’t it obvious?

CLIFF: No, it’s not obvious. You’re his son. Why should I trust you more than I trust your daddy?

JAMES: Hey, I hate him worse than you do.

CLIFF: Well, maybe that’s so. But like I say, timing is everything. And right now, your timing stinks. [Tosses a dart]

JAMES: What are you talking about? Hey, I’m giving this to you. I don’t want anything in return.

CLIFF: You know something? You’re not a bit more compassionate than your old man. Did you ever think of what Bobby’s state of mind is right now? And you want me to go gunning for his brother — at this time?

JAMES: This has nothing to do with Bobby.

CLIFF: That’s where you’re wrong. You just don’t understand. It’s a family. So why don’t you take your fully documented information and go blow it out your exhaust?

JAMES: You know, you’re as big a loser as everybody says you are. [Turns and walks toward the door]

CLIFF: One of these days maybe you’ll grow up. [James turns to face him.] And hopefully you will find out that revenge is not the most important thing.

James walks out the door as Cliff tosses another dart.

 

‘You’re Willing to Betray Your Own Father?’

Cliff Barnes, Dallas, False Confessions, Ken Kercheval, TNT

Angry

In “False Confessions,” a second-season “Dallas” episode, John Ross (Josh Henderson) arrives at a fairgrounds stadium, where Cliff (Ken Kercheval) sits waiting for him.

JOHN ROSS: Thank you for meeting with me, Mr. Barnes.

CLIFF: [Looks up] What can I do for you?

JOHN ROSS: [Sits next to him] I wanted to let you know that your guy Frank? He’s got a deal with J.R. Conspiring against your daughter.

CLIFF: Well, J.R. plotting against my family — that’s no secret.

JOHN ROSS: What about Frank?

CLIFF: Frank is like family. He’s been with me for over 25 years.

JOHN ROSS: Then he’s about to forfeit one hell of a pension. J.R. told me himself. I figured if there’s anybody that can stop him, it’d be you.

CLIFF: Are you telling me that you’re willing to betray your own father?

JOHN ROSS: Shouldn’t come as a surprise that his performance as a father hasn’t exactly gained my undying loyalty.

CLIFF: Aren’t you taking a dangerous risk being here talking to me behind his back?

JOHN ROSS: Let’s just say my interest depends on Pamela’s wellbeing.

CLIFF: Why are you so interested in my daughter’s wellbeing?

JOHN ROSS: One of us should be. If you had paid her more attention, it wouldn’t have come to this.

CLIFF: I took this meeting out of respect for your mother. You’ve wasted enough of my time today. [Rises, calls out to his henchmen]

JOHN ROSS: [Rising] You may not believe me, but you’re foolish not to check up on what Frank is up to with J.R.

CLIFF: [Glares at him] Goodbye, John Ross. [Turns and leaves]

What do you think of James and John Ross’s betrayals of J.R.? Share your comments below and read more “Dallas Parallels.”

‘Dallas’: Season 3 Begins February 24 on TNT

Christopher Ewing, Dallas, Jesse Metcalfe, Josh Henderson, Legacies

The boys are back

“Dallas” will begin its third season on Monday, February 24, at 9 p.m., TV Guide reported today. The series will telecast eight episodes and then take a midseason break before resuming in the summer. Altogether, the season will consist of 15 hours.

“Dallas,” which will start its third season more than 10 months after its second-season finale, will be part of TNT’s aggressive push to capture more viewers during the winter months. The cable channel will pair “Dallas” with the new reality show “The Private Lives of Nashville Wives,” which will be shown Monday nights at 10, beginning February 24. TNT is also bringing back two of its top-rated summertime crime dramas, “Rizzoli & Isles” and “Perception,” for a four-week run on Tuesday nights, beginning February 25.

Wisely, TNT is saving this programming slate until after the Winter Olympics. NBC will broadcast the games from Sochi, Russia, beginning Friday, February 7. The closing ceremonies are slated for Sunday, February 23.

Of course, even though “Dallas” will get a pass from the Olympics, the show will still have its work cut out for it. Its Monday competition will include NBC’s “The Voice,” ABC’s “Dancing with the Stars,” Fox’s “The Following” and two CBS sitcoms, “Mike & Molly” and “Mom.”

“Dallas” averaged 2.7 million viewers on Monday nights during Season 2, although the audience climbed to 3.8 million when DVR users who record the show and watch it within seven days were counted. The audience included 1.6 million adults between ages 25 and 54, a demographic that TNT targets, and 1.4 million adults between 18 and 49, another group advertisers pay a premium to reach.

This will be the first time “Dallas” will start a new season without Larry Hagman, who died last year during production of Season 2 and whose famous character J.R. Ewing was laid to rest in the instant-classic “J.R.’s Masterpiece” episode. The show plans to keep J.R.’s memory alive while also continuing to focus on the Ewings’ next generation, led by cousins John Ross and Christopher (Josh Henderson, Jesse Metcalfe).

Producers are otherwise keeping a tight lid on the new season’s storylines, although a handful of clues and revealing tweets have surfaced since production began last month. TNT has also announced two new characters for Season 3: Nicolas, a billionaire played by new regular Juan Pablo Di Pace, and Southfork ranch hand Heather, who’ll be played by guest star AnnaLynne McCord in a multi-episode arc.

Other Season 3 guest stars are slated to include Cliff Barnes (Ken Kercheval) and Judith Ryland (Judith Light), as well as three fan favorites who’ll appear in a special wedding-themed episode: Ray Krebbs (Steve Kanaly), Lucy Ewing (Charlene Tilton) and Afton Cooper (Audrey Landers).

Are you excited about “Dallas’s” return on February 24? Share your comments below and read more news from Dallas Decoder.

Tonight, #DallasChat Honors the Master

Dallas, False Confessions, J.R. Ewing, Larry Hagman, TNT

The one we love

Our next #DallasChat on Twitter will be held Monday, November 18, from 9 to 10 p.m. Eastern time. Since the first anniversary of Larry Hagman’s death is later this week, we’ll honor him with a special J.R.-themed discussion. The title: “The Master.”

Here’s how #DallasChat works: I tweet a question roughly every five minutes for one hour. Each question is numbered and includes the hashtag #DallasChat, so your responses should do the same.

A sample exchange:

Q1. What was Larry Hagman’s all-time funniest line as J.R. Ewing? #DallasChat

A1. When he told Lucy she should get her plastic surgeon husband to design her a new face … without a mouth! #DallasChat

Two pointers:

• During the discussion, enter #DallasChat in Twitter’s search field. This will help you watch the search results so you can follow the conversation. Click “All” to see all the related tweets.

• Include the hashtag #DallasChat in each tweet you send so others can see your contributions to the conversation. Feel free to start side conversations of your own, but be sure to include #DallasChat in those tweets too.

This will be another memorable chat. I hope you can participate!

Dallas Scene of the Day: ‘… Some Kind of Stud Service’

Dallas, Larry Hagman, Oil Baron's Ball, J.R. Ewing

Tables turned

In “The Oil Baron’s Ball,” a seventh-season “Dallas” episode, J.R. and Sue Ellen (Larry Hagman, Linda Gray) are in bed, surrounded by darkness.

J.R.: Where you going?

SUE ELLEN: [Sits up, turns on the lamp] Back to my room.

J.R.: Back to your room? [Rests his head on his hand] After tonight, we’ll be sleeping together.

SUE ELLEN: What makes you think that?

J.R.: [Smiles] The way you came in here. You wanted me as much as I ever wanted you.

SUE ELLEN: Well, that’s only partially true.

J.R.: Well, all our problems are over.

SUE ELLEN: Not quite. You see, J.R., I have no desire to live with you. Now, granted, from time to time, I may need you. And if and when that happens, then I’ll be back. [Smiles] But that’s all. That’s as close to being married as we will ever be. [Pulls her negligee straps onto her shoulders, stands and walks toward the door]

J.R.: I’ll be damned if you can come in here and use me like some kind of stud service.

SUE ELLEN: [Turns to face him] What other possible use would I have for you? Good night. [Pulls the door closed behind her]

Critique: ‘Dallas’ Episode 139 — ‘The Oil Baron’s Ball’

Dallas, Linda Gray, OIl Baron's Ball, Sue Ellen Ewing

Open door policy

J.R. and Sue Ellen’s relationship takes a lot of twists over the years, but nothing fascinates me more than when she starts emulating him. It begins during Linda Gray’s final seasons on the original “Dallas,” when Sue Ellen becomes a wheeler-dealer in business, and it continues on TNT’s sequel series, when we see her reach into J.R.’s bag of tricks to defeat enemies like Governor McConaughey. In “The Oil Baron’s Ball,” Sue Ellen’s transformation into J.R.’s protégé is still a few years away, but this episode nonetheless offers a glimpse of where Gray’s character is headed. By the end of the hour, we see just how much Sue Ellen is learning at the feet of the master.

Gray has three notable scenes in this episode. In the first, Sue Ellen is strolling through a park when she notices all the happy young couples surrounding her. Eventually, she comes across a group of attractive, shirtless men playing football and stops to watch. Writer-director Leonard Katzman shows the game in slow motion, allowing the camera to linger on the players. There’s no doubt what this scene is supposed to represent: Sue Ellen’s sexual desires, which have gone unfulfilled since she moved out of J.R.’s bedroom several episodes earlier. By today’s standards, the football scene seems a little campy — especially when all those half-naked, straight-from-the-80s hunks start falling all over each other — but it also strikes me as surprisingly progressive. Here’s “Dallas,” easily one of the era’s most chauvinistic TV shows, taking a moment to acknowledge that women don’t exist solely to please men; they have needs of their own. How can you not admire that?

As soon as the football scene ends, Katzman cuts to Southfork that night, where J.R. is reading in bed. Suddenly, the door opens, revealing Sue Ellen’s silhouette. “Do you want something?” he asks. She strides into the room, flings the door closed behind her and climbs onto the bed. “Yes, I want something,” she says, taking the book out of J.R.’s hand and kissing him aggressively as the screen fades to black. The next time we see the couple, Sue Ellen is turning on the bedside lamp as a beaming J.R. watches from under the covers. When she tells him she’s going back to her room, he’s confused. Sue Ellen explains: “You see, J.R., I have no desire to live with you. Now, granted, from time to time, I may need you. And if and when that happens, then I’ll be back. But that’s all. That’s as close to being married as we will ever be.” J.R. is furious and accuses her of treating him like “some kind of stud service.” Her response: “What other possible use would I have for you?”

This is a terrific scene for a lot of reasons, beginning with Gray’s playfully sultry delivery. It’s a moment of triumph for Sue Ellen — and Gray savors every second of it. Indeed, consider how far her character has come: In “Spy in the House,” “Dallas’s” third episode, a sexually neglected Sue Ellen buys a negligee, hoping to get J.R.’s attention; when he calls it “cheap” and walks out on her, she collapses in tears. Sue Ellen soon begins turning to other men, but “The Oil Baron’s Ball” marks the first time we see her take charge of her sexual relationship with J.R. It puts her on the same page as Pam, who is the original “Dallas’s” most sexually liberated woman (occasionally incurring her own husband’s wrath). Perhaps more anything, J.R. and Sue Ellen’s bedroom scene is an exercise in poetic justice: The man who has treated countless mistresses as sexual playthings now gets a taste of his own medicine — and from his wife, no less.

Sue Ellen’s most J.R.-like moment in “The Oil Baron’s Ball” is yet to come. In the third act, our newly empowered heroine visits Windsor Meadow and sends John Ross to summon Peter, the camp counselor to whom she finds herself increasingly attracted. Sue Ellen asks Peter to escort Lucy to this year’s Oil Baron’s Ball, although it’s pretty obvious that Sue Ellen really wants Peter for herself, not for her niece. Peter is reluctant to accept — the young man harbors a secret crush on Sue Ellen and has never even met Lucy — but every time he comes up with an excuse to not go, Sue Ellen is one step ahead of him. When Peter tells her that he would feel out of place at the ball, she responds there’s no place he wouldn’t fit in perfectly. When he says he doesn’t own a dark suit, Sue Ellen reveals she has already arranged for him to visit J.R.’s tailor to be fitted for a tuxedo, compliments of her. Peter has no choice but to say yes, demonstrating once again how much she has learned from her husband. Sue Ellen has always had a manipulative streak, but her use of charm, confidence and gifts to bend Peter’s will comes straight from J.R.’s playbook.

The rest of “The Oil Baron’s Ball” is a mix of heavy drama and light moments. The episode picks up where the previous hour left off, with Lil taking the stand in Ray’s trial and revealing he did indeed pull the plug on Mickey, but only because she couldn’t bring herself to do it. This is a fake-out worthy of TNT’s “Dallas” (admit it: you thought Lil was the culprit), and Kate Reid does a nice job delivering her character’s monologue. The most moving moment, though, comes when Donna tells Ray that even though she believes he had no right to take Mickey’s life, she doesn’t want him to go prison for it. I love this scene because Susan Howard is so good in it — she makes me feel very ounce of Donna’s anguish — and also because it clearly spells out the character’s dilemma of reconciling her personal beliefs with her desire to stand by her husband.

Still, I can’t help but think this conversation between Ray and Donna should have occurred at the beginning of the “who killed Mickey?” mystery, not at the end. For that matter, I also wish this storyline should had been wrapped up in the previous episode, “Ray’s Trial.” No sooner has the judge handed down Ray’s sentence — parole, not jail (naturally) — then Ray and Donna are dancing at the glittery ball. It’s odd to see these characters move on so quickly. Likewise, we never see Lil bid farewell to the Krebbses; after the verdict is announced, Reid simply vanishes from “Dallas” (although she does pop up again briefly a few years later). After the trial, wouldn’t it have been nice to see Ray, Donna, Lil and Lucy visit Mickey’s grave? Besides giving the audience a sense of closure, it would have served as a nice bookend to the memorable Amos Krebbs’s funeral scene a year earlier, when the Trotters were introduced.

Even if the juxtaposition between the courtroom and the ball is jarring, I must admit: The latter scenes are awfully fun. Ken Kercheval somehow manages to make Cliff seem both humbled and overbearing in the instant when the character is named oilman of the year, and the clash between the Ewing and Barnes/Wentworth women in the powder room is delicious. Above all, I love the bon mots J.R. drops during the course of the ball. When Pam arrives and drops by the Ewing table, J.R. delights in re-introducing her to Bobby’s date, Jenna Wade. Bobby tells him to cut it out, but J.R. can’t help himself. “Well, for those who don’t have a program, I’m just going to have to announce the names of all the players, aren’t I?” he says. Larry Hagman’s smile is even more mischievous than usual.

Later, when J.R. sees how uncomfortable Bobby, Pam and Jenna are around each other, he declares this is going to be “one of the great nights of my life.” Leave it to Sue Ellen to put him in his place. “Nothing brings out the best in you like other peoples’ unhappiness,” she says. The line makes me think: Perhaps J.R. has a thing or two to learn from her too.

Grade: B

_______________________________________________________________________________________________________________________________________________

Dallas, Donna Krebbs, Oil Baron's Ball, Ray Krebbs, Steve Kanaly, Susan Howard

At last

‘THE OIL BARON’S BALL’

Season 7, Episode 8

Airdate: November 18, 1983

Audience: 23 million homes, ranking 2nd in the weekly ratings

Writer and Director: Leonard Katzman

Synopsis: After Lil testifies that Ray pulled the plug on Mickey at her request, Ray is found guilty but given parole. Sue Ellen treats J.R. like a sexual plaything and persuades Peter to escort Lucy to the Oil Baron’s Ball. At the ball, Pam and Jenna clash and Cliff is named oilman of the year.

Cast: Charles Aidman (Judge Emmett Brocks), Christopher Atkins (Peter Richards), John Beck (Mark Graison), Morgan Brittany (Katherine Wentworth), Delores Cantú (Doris), Roseanna Christiansen (Teresa), Glenn Corbett (Paul Morgan), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Richard Jaeckel (Assistant District Attorney Percy Meredith), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Timothy Patrick Murphy (Mickey Trotter), Priscilla Presley (Jenna Wade), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), Debbie Rennard (Sly), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Debi Sue Voorhees (Caroline), Morgan Woodward (Punk Anderson)

“The Oil Baron’s Ball” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.