Critique: TNT’s ‘Dallas’ Episode 10 – ‘Revelations’

August 9, 2012 by 38 Comments
Ann Ewing, Bobby Ewing, Brenda Strong, Dallas, Patrick Duffy, Revelations, TNT

Resolved

No one gets shot, run over or blown up at the end of “Revelations” – and for this, we should be thankful. As much fun as the original “Dallas’s” season finales were, they feel a little gimmicky in retrospect. Smart storytelling, not splashy cliffhangers, keep today’s television audiences hooked.

Cynthia Cidre, the creative force behind TNT’s “Dallas,” seems to recognize this, so instead of trying to recreate old-school theatrics, she delivers a finale that focuses on concluding most of the show’s first-season storylines. This is a wise approach, but it might also be a function of circumstance: Since “Revelations” was filmed before “Dallas’s” second season was assured, the episode was no doubt crafted so it could serve as a satisfying series finale, if need be.

Whatever the reason, Cidre and “Revelations” co-writer Robert Rovner tie up a lot of loose ends, although one or two things also unravel. Mostly, though, this is an hour of victory laps: J.R. and John Ross confess their sins and are granted immunity by the feds. Sue Ellen tells her cheering supporters she’s staying in the gubernatorial race. Bobby recovers his health and his ranch. Christopher gets the girl.

Of course, the moment that leaves me cheering loudest belongs to Ann, who wears a wire and tricks Harris into admitting his illegal schemes against Sue Ellen. When Ann reveals her sting and Harris tries to snatch the recording device hidden beneath her blouse, she pops him in the mouth and declares, “You make a move against me, Sue Ellen or any member of my family – you’re going to jail.”

What a great scene. Brenda Strong’s delivery is determined, but it also carries a hint of vulnerability. This is probably how most of us would sound if we found ourselves conducting a sting against a creepy ex, heaven forbid. We still don’t know Ann’s secret – one of the few loose ends “Revelations” leaves hanging – but no matter. We know who Ann is, and thanks to Strong, we love her.

The other great scene in “Revelations” comes before the opening credits, when J.R. stands at Bobby’s hospital bedside and pleads with him to wake up after his surgery. J.R.’s speech echoes Bobby’s own soliloquy in “Changing of the Guard” but more importantly, it offers a glimpse into J.R.’s soul. “I love you, Bobby, and I don’t know who I’d be without you,” he says, gripping his brother’s hand. J.R. is finally acknowledging what the audience has known for a long time: He is incapable of checking his own impulses; he needs Bobby to do it for him.

A similar dynamic exists between John Ross and Elena, as we’re reminded in the charming scene where he proposes to her in the old Ewing Oil office space. “My life and everything I want it to be is better with you,” John Ross says while on bended knee. It’s a revealing line, but when Elena accepts John Ross’s proposal, the sweet smile that spreads across Josh Henderson’s face does more to humanize his character than any of the dialogue. (By the way: Kudos to Rob Cairns for scoring the beginning of this scene with a few notes from Jerrold Immel’s “Dallas” theme music.)

Visually, “Revelations” is another artistic achievement for the TNT series. Director Steve Robin’s opening shot of Tommy’s slow motion fall to the floor is creepily exquisite, particularly when the blood spurts out of the hole in his chest at the moment of impact. (This raises a question, though: If Tommy doesn’t start bleeding until he hits the floor, how do Rebecca and those stuffed monkeys wind up splattered?) I also love when the camera follows John Ross as he throws open the plastic tarp and sweeps into the old Ewing Oil office space with Elena in tow.

The two episode-ending montages are also fabulous. In the first, we hear Sue Ellen deliver her speech over scenes featuring other characters: When she talks about making mistakes, we see Carmen return Elena’s ring to John Ross; when the speech turns to overcoming adversity, we watch Ann embrace a wistful-looking Bobby on the Southfork patio.

The second montage – this one set to Johnny Cash’s “God’s Gonna Cut You Down” – intersperses scenes of Christopher and Elena making love with images of John Ross staring out the window of his new office. In the last shot, the camera pulls back on John Ross, now with J.R. at his side, until we get a panoramic nighttime view of the dazzling Dallas skyline.

This brings me to a gripe: In this final scene, I’m disheartened to see John Ross declare he wants J.R. to teach him “every dirty trick” he knows. I understand John Ross is angry after Elena spurns him, but as we saw in the previous episode, “Family Business,” he is more interesting when he’s rising above J.R.’s wicked ways, not embracing them. John Ross has grown so much this season; I hate to see him go backward.

I’m also troubled by the big revelation in “Revelations” – not that Rebecca is Cliff’s daughter (what “Dallas” fan didn’t see that coming?), but that he’s the mastermind behind her scheme. I can accept that Cliff, despite his wealth and success, is still hell-bent on getting revenge against the Ewings, but I have trouble believing he would use his own daughter in a plot to hurt Christopher, the son of his beloved sister Pam. (Not to mention the fact Cliff knowingly allowed Rebecca to marry her own cousin, which is pretty icky, even if they’re not blood relatives.)

Hopefully, Cliff’s motivations will become clearer when “Dallas’s” second season begins in January, along with the precise identity of Julie Gonzalo’s character: Is the actress playing Pamela Rebecca, the daughter we discovered Cliff had toward the end of the original “Dallas’s” run, or is this another daughter we never knew about?

Whoever she is, I love hearing Frank (the menacing Faran Tahir) call Gonzalo’s character “Miss Barnes.” At its best, “Dallas” has always been the story of two families whose fates are forever linked – the Ewings and the Barneses – and I’m thrilled the new show is returning to those roots.

No matter how the rest of this storyline plays out, here’s hoping the new “Dallas” will maintain the quality of its past few episodes. The show hit its stride as it barreled toward the end of the first season. Can it keep the momentum going in Season 2? That’s the real cliffhanger here.

Grade: B

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Dallas, Julie Gonzalo, Pamela Rebecca Barnes, Rebecca Sutter Ewing, Revelations, TNT

Revealed

‘REVELATIONS’

Season 1, Episode 10

Telecast: August 8, 2012

Writers: Cynthia Cidre and Robert Rovner

Director: Steve Robin

Audience: 5.9 million viewers (including 4.3 million viewers on August 8, ranking 7th in the weekly cable ratings)

Synopsis: After the gunshot kills Tommy, Rebecca’s mysterious associates dispose of his body. Bobby recovers from his seizure. J.R. and John Ross confess to their fraud scheme and are granted immunity from the feds, who nab Cano. Elena accepts John Ross’s marriage proposal but returns the ring after she discovers his role in the fraud. Christopher discovers Rebecca isn’t Tommy’s sister and tells her their marriage is over, then reunites with Elena. John Ross tells J.R. to teach him to play dirty so he can take Ewing Energies away from Christopher and Elena. Rebecca apologizes for botching her scheme and pledges loyalty to the mastermind behind her plot: her father, Cliff.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Ken Kercheval (Cliff Barnes), Alex McKenna (Rebecca Sutter), John McIntosh (Dr. Bennett), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Faran Tahir (Frank), Gail Washington (nurse)

“Revelations” is available at DallasTNT.com, Amazon.com  and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 9 – ‘Family Business’

August 2, 2012 by 39 Comments
Dallas, Family Business, J.R. Ewing, Larry Hagman, TNT

The man who came around

“Family Business” offers nothing less than the redemption of J.R. Ewing. In this deeply poignant episode, our aging antihero is called upon to face hard truths and make tough choices, and for once in his life, he does the right thing. By the time the closing credits roll, J.R. has a grown as a person. “Dallas” has grown too.

Rather brilliantly, “Family Business” ends with Johnny Cash’s “The Man Comes Around” playing under a series of chilling scenes that leave the fates of several characters hanging in the balance. J.R. is not among them, but no matter. There’s no doubt the song is meant to evoke the journey he takes in this episode, when one by one, the three people J.R. loves most – John Ross, Sue Ellen and Bobby – persuade him to end the war for Southfork.

These are moving, meaningful scenes. In the first, John Ross pleads with J.R. to give the ranch back to Bobby, prompting J.R. to ask his son, “What’s gotten into you, anyhow?” John Ross’s cutting response: “A little decency.” Later, Sue Ellen storms into the room, slaps J.R. and reminds him how his past schemes left him with “nothing.” When J.R. remains defiant (“Well, I’m back honey, and I’m gonna be bigger than ever.”), Sue Ellen’s exasperation dissolves into pity. “And you still have nothing,” she says.

Only after J.R. speaks with Bobby does he finally, fully see the light. In the scene, Bobby sits in his sickbed and gently admonishes his oldest brother, then tells him, “J.R., I love you. No matter what. You remember that.” J.R.’s face falls – and with it, so do the last vestiges of his bravado. “Well,” he says softly, “My memory’s not what it used to be either. You’re just going to have to keep telling me.”

In each of these scenes, director Michael M. Robin’s clever staging tells us as much as scriptwriter Bruce Rasmussen’s heartfelt dialogue. J.R.’s confrontation with Sue Ellen ends with him standing in front of a mirror that reflects the back of his head, a reminder that there is another side of J.R., even when he can’t see it himself. In the exchange with John Ross, J.R. sits on his bed while the younger man stands over him, symbolizing how the son has achieved moral superiority over the father. In the third scene, the positions are reversed: Bobby is in bed, while J.R. stands. This is when we know J.R., who has always been the big brother, is about to become a bigger man.

Indeed, the next time we see J.R., he is sitting alone in his bedroom, staring at the Southfork deed, a glass of bourbon to his right, his old oil-derrick model to the left. With heavy eyes, he glances at the framed picture of Miss Ellie, sips his drink, puts pen to paper and finally returns ownership of the ranch to Bobby.

The man has come around.

‘He’s J.R. Ewing’

Dallas, Family Business, John Ross Ewing, Josh Henderson, TNT

Scarred inside, too

If there is justice in television, “Family Business” will be the episode that earns Larry Hagman an Emmy next year. The actor is full of wicked charm here, but more than anything, his performance has heart. J.R. has never felt so human.

And while we’re on the subject: Is it too much to ask for Patrick Duffy to receive some Emmy recognition too? I love the sad-eyed, world-weary demeanor he brings to his scenes with Hagman, but Duffy also deserves praise for making Bobby’s seizures look and feel frighteningly real.

Among the younger actors, I’m most impressed by Julie Gonzalo, who knocks me out with Rebecca’s hopeless desperation in “Family Business’s” final scene, when Rebecca turns the gun on Tommy (“Please, please you have to go!”), as well as Josh Henderson, who shows us what John Ross is made of during his character’s confrontation with J.R.

Henderson also shines when John Ross stands in the Southfork driveway and pours out his heart to Elena. “I spent my entire life missing him, wanting to be with him, wanting to be him,” John Ross says of his father. After a beat, he adds: “He’s J.R. Ewing” – letting us know the son’s mistake wasn’t that he failed to live up to his father’s legend, but that he tried in the first place. The “Dallas” makeup artists might be responsible for the cuts and bruises on John Ross’s face, but Henderson gets the credit for showing us the scars his character carries around on the inside.

Other great “Family Business” moments: Christopher reminds John Ross that Bobby was like a surrogate father to him growing up and later proposes going into business with John Ross and Elena – signaling the beginning of an intriguing story arc for the series. Meanwhile, after Harris tries to blackmail Sue Ellen – and mocks her sobriety by pouring her a glass of wine – she confides in Ann her plan to drop out of the gubernatorial race. “I would have made a good governor, don’t you think?” Sue Ellen asks through wet eyes. Has Linda Gray ever been more heartbreaking?

Speaking of Ann: Brenda Strong is wonderful in the scenes that depict her character as devoted wife and friend, but I get the biggest kick out of seeing Ann spar with her wily brother-in-law. I loved J.R. and Ann’s storage barn encounter in “The Price You Pay” and their heated exchange in “Truth and Consequences,” but the “Family Business” scene where she chases him out of Bobby’s room (“Don’t you darlin’ me!”) is the best of the lot. Strong is one of the few actors on the TNT show who can hold her own against the mighty Hagman in every way.

‘Hear the Trumpets, Hear the Pipers’

Dallas, Family Business, Julie Gonzalo, Rebecca Sutter Ewing, TNT

Have gun, will unravel

“Family Business” is a technical achievement as much as anything. Since TNT’s series began, I’ve sometimes struggled to get used to the background music, which is so different from what we heard on the old show. But the new style really works here. Rob Cairns scores several scenes in this episode with sentimental strings, which fit well with the intimate atmospherics.

Of course, “Family Business’s” standout sequence is that Johnny Cash montage. Notice how perfectly his haunting lyrics match what we see on screen. Rebecca pulls the gun out of the safe deposit box as Cash sings, “The hair on your arms will stand up.” Tommy’s face fills the frame when we hear, “Whoever is filthy, let him be filthy still.” Bobby’s monitor flatlines as Cash’s voice booms, “Hear the trumpets, hear the pipers.” And then the punctuation: the ping of the shell casing hitting the counter as blood splatters the stuffed animals Rebecca brought home at the top of the hour.

After I saw this sequence for the first time, I went back and watched it again and again, reveling in how good it is. It reminded me of how I kept “A House Divided,” the episode where J.R. gets shot, on a seemingly endless loop when I was a kid.

But the comparison goes beyond the fact both episodes end with gunshots. The original “Dallas” was never the same after “A House Divided,” and “Family Business” feels destined to become a landmark episode too. I have a hunch we’ll one day look back and remember this as the moment the TNT series became the show we always knew it could be.

Grade: A+

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Dallas, Family Business, TNT

Blood monkeys

‘FAMILY BUSINESS’

Season 1, Episode 9

Telecast: August 1, 2012

Writer: Bruce Rasmussen

Director: Michael M. Robin

Audience: 4.8 million viewers (including 3.2 million viewers on August 1, ranking 17th in the weekly cable ratings)

Synopsis: After Elena discovers a way to extract Southfork oil from a neighboring property, John Ross, Christopher and Elena form a company, Ewing Energies. When Harris tries to blackmail Sue Ellen, she decides to quit the gubernatorial race rather than submit to his scheme. Bobby is diagnosed with a cerebral aneurysm, prompting J.R. to return ownership of Southfork to him. After Bobby learns he may have to incriminate J.R. in the fraud, he suffers a seizure. Tommy is revealed to be working with Frank Ashkani, Cliff’s henchman, who tells Tommy his services are no longer required. Tommy attacks a gun-wielding Rebecca; the weapon fires during their struggle.

Cast: Jordana Brewster (Elena Ramos), Mari Deese (bank manager), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), John McIntosh (Dr. Bennett), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Tina Parker (nurse), Faran Tahir (Frank)

“Family Business” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 8 – ‘No Good Deed’

July 26, 2012 by 21 Comments
Dallas, John Ross Ewing, Josh Henderson, No Good Deed, TNT

Up close

In “No Good Deed,” John Ross is jailed for a murder he didn’t commit and then savagely beaten by a couple of inmates who are connected to the real killers. The Ewings respond to this crisis by rallying around their tarnished golden boy, making this the first time the characters on TNT’s “Dallas” begin to feel like a real family. Not coincidentally, it’s also the first time the new show begins to really feel like the old one.

The original “Dallas” is often described as a series about rich people behaving badly, but the deeper truth is that “Dallas,” at its heart, was a show about family. TNT seems to fully realize this in “No Good Deed.” This is an hour of big, dramatic moments that once again demonstrate an essential “Dallas” tenet: No matter how much the Ewings fight among themselves, when outside forces descend upon Southfork, they all pull together.

Several scenes in this episode give me chills. In the first, Bobby is in the den, railing to his lawyer about J.R. and the plot to steal Southfork, when Ann enters the room with a stricken look on her face. “It’s John Ross,” she says. The goose bumps return in the next scene, when we see Bobby, Ann, Elena and Christopher burst through the emergency room doors and circle a badly shaken Sue Ellen.

As good as these moments are, “No Good Deed” also benefits from its many scenes of quiet familial warmth: J.R. arrives at John Ross’s hospital bedside in the dark of night and gently strokes his sleeping son’s hair. Bobby visits Miss Ellie’s grave and vows to protect the family, finally recognizing the people who live on the ranch matter more than the land itself. John Ross and Christopher stand in the Southfork driveway, shake hands and acknowledge they’re not that different from one another after all. “We’re both just trying to make our fathers proud,” Christopher says.

Then there are “No Good Deed’s” small but meaningful details: When a trembling Sue Ellen fumbles with a coffee dispenser in the hospital waiting room, Ann takes the cup and pumps the coffee for her. During a family conference in the Southfork living room, Ann rubs the back of a worried Elena. John Ross calls Sue Ellen “mama” when she brings him home from the hospital.

The nice thing about Julia Cohen’s script is that it doesn’t just make the Ewings feel like a real family, it also makes them feel like real individuals. “No Good Deed” is centered around the theme of sacrifice – Bobby offers to lift the ban on drilling the ranch, Sue Ellen surrenders her integrity, Christopher forgoes a piece of his gas hydrate project – and by seeing what the Ewings are willing to give up, we discover who these characters really are. (Shades of “Ellie Saves the Day,” one of the greatest episodes from the original series.)

“No Good Deed’s” most heartbreaking moment belongs to Sue Ellen, who musters the courage to bribe the medical examiner, only to discover her ethical lapse was for nothing. I can’t help but feel sorry for her when she stands at John Ross’s bedside and proudly predicts Marta’s death will be ruled a suicide, only to learn the charges against her son have been dropped because new evidence has emerged clearing him. It’s tragic stuff, but isn’t it nice to see Ann provide Sue Ellen with so much support and comfort throughout her ordeal?

Of course, the character who provides “No Good Deed” with its heart is the young man who is at the center of it all: John Ross. Yes, we feel sympathetic toward him after that savage beating, but those cuts and bruises merely symbolize how he’s finally become a flesh-and-blood character.

John Ross seems genuinely ashamed of his role in the plot to steal Southfork, as evidenced by his willingness to stay in jail rather than reveal his relationship with Marta and risk losing Elena’s faith in him. He also refuses to blame J.R. for his misfortune, another sign this is no longer the petulant brat we met in “Changing of the Guard.” I’ve been a fan of Josh Henderson’s from the beginning, but “No Good Deed” finally makes me a fan of John Ross.

“No Good Deed” is also distinguished by Michael Katleman’s arty direction, including the moody opening scene, where Henderson and Jordana Brewster’s faces fill the screen, recalling the tight close-ups that were a signature of the old “Dallas.” And while TNT’s show has a style all its own, there are times I wish it more deliberately mimicked its predecessor. How cool would it have been to hear a few notes of Jerrold Immel’s “Dallas” theme music when J.R. received the call about John Ross’s beating, the way we did in the classic episode “Swan Song,” when J.R. got the call Bobby was dying?

Katleman also does a masterful job in “No Good Deed’s” final scene, when Tommy backs Rebecca against the wall, threatens her and then plants his mouth on hers, thus revealing the Sutters aren’t siblings after all. I suspect that creepy buss will have “Dallas” fans buzzing today, but I hope they don’t allow the shock value to obscure all the warm and wonderful moments to be found in “No Good Deed.”

The Sutters may not be family, but after this episode the Ewings finally are, and my goodness, isn’t that nice to see?

Grade: A

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Dallas, John Ross Ewing, Josh Henderson, J.R. Ewing, Larry Hagman, No Good Deed, TNT

Touching

‘NO GOOD DEED’

Season 1, Episode 8

Telecast: July 25, 2012

Writer: Julia Cohen

Director: Michael Katleman

Audience: 5 million viewers (including 3.3 million viewers on July 25, ranking 24th in the weekly cable ratings)

Synopsis: When Cano’s thugs beat John Ross in jail, Sue Ellen bribes the medical examiner to rule Marta’s death a suicide so her son will be freed. Her sacrifice is for naught: Christopher gives Cano the South American rights to his gas hydrate project, which prompts Cano to release evidence that clears John Ross. Christopher makes amends with John Ross and reconciles with Rebecca, who is later confronted by Tommy, who isn’t really her brother.

Cast: Amir Arison (Varun Rasmussen), Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Damon Carney (Paul Jacob), Akai Draco (Sheriff Derrick), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Marisol Ramirez (Detective), Brenda Strong (Ann Ewing)

“No Good Deed” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 7 – ‘Collateral Damage’

July 19, 2012 by 37 Comments
Christopher Ewing, Collateral Damage, Dallas, Jesse Metcalfe, TNT

Cry, cry again

“Collateral Damage” gets it right. This episode offers solid writing, stylish direction and strong performances, all while making good use of established “Dallas” lore. Overall, this is the new show’s best hour since the pilot, “Changing of the Guard.”

I’m sure many viewers will remember “Collateral Damage” as the episode where Marta meets her maker, but as haunting as the sight of her bloodied body atop that crushed car is, it’s not the image that sticks with me most. No, that distinction belongs to the scene in the doctor’s office, where Christopher and Rebecca are shown the sonogram of their unborn twins as Bobby and Ann watch silently.

Julie Gonzalo and Brenda Strong are good here, but it’s the guys who move me most. Jesse Metcalfe is establishing himself as television’s best crier, while Patrick Duffy has matured into the rarest of Hollywood species: the actor who doesn’t need dialogue to perform. The look on Duffy’s face tells us everything we need to know about the pride and joy Bobby feels at that moment.

And while I’m sure “Dallas” newcomers appreciated this scene, it holds special meaning for me and, I suspect, other longtime fans. We once watched a twentysomething Bobby bring his young bride home to Southfork, and now we see him on the brink of becoming a grandfather. We remember Christopher arriving at the ranch as a babe-in-arms, and now he’s embarking on his own journey to fatherhood. For “Dallas” diehards, this is a big, meaningful moment, and director Steve Robin deserves our thanks for slowing things down so we could absorb the weight of it.

My other favorite “Collateral Damage” scene opens with John Ross sitting in a posh restaurant, reminiscing about the time he broke into the Southfork liquor cabinet as a child to sneak his first taste of bourbon. “That’s when you found me,” John Ross says as the camera pans across the table to reveal his dining companion: Lucy. “You were half past gone on the floor,” she quips. “And the first thing I thought was, ‘Yep, he’s his mama’s son.’”

I adore this exchange because it demonstrates how TNT’s “Dallas” can bring together younger characters and longtime favorites in ways that serve current storylines while also honoring the old show’s past. Even though we never witnessed John Ross sneaking liquor on the original “Dallas,” it isn’t hard to imagine it happening off-screen. The same thing can’t be said for many of the historical revisions TNT’s writers have made this season.

John Ross and Lucy’s scene also works well because, frankly, it’s nice to be reminded of a time when Southfork was full of family – something I hope the new series will get back to soon. Additionally, I’m happy to see TNT showcase Charlene Tilton, a onetime ingénue who now possesses a wonderfully worldly, been-there-done-that charm. I hope we see more of her in the future.

Aaron Allen’s “Collateral Damage” script also includes a nicely written scene where Sue Ellen oh-so-subtly pressures Elena to bail out John Ross. Jordana Brewster more than holds her own against Linda Gray during this exchange, particularly when Elena questions if Sue Ellen still cares about Bobby and his family – something I’ve wondered myself. Sue Ellen’s response (“Elena, when the day comes that you have to choose between your child and anybody else, I hope you choose wisely.”) illuminates the character’s thinking, reminding us that even though Sue Ellen has changed, she hasn’t lost all her old impulses.

Speaking of illumination: “Collateral Damage” sheds a little more light on the dark secret being kept by Ann, Bobby’s new wife. The evidence suggests Ann once had a daughter, although we don’t know what happened to her. According to one wild theory making the online rounds, Rebecca is Ann’s daughter, the result of a one-night stand with Cliff a quarter century ago. (Strong portrayed an unnamed woman Cliff slept with in “Cat and Mouse,” a 1987 “Dallas” episode.) I suppose anything’s possible, but for now I’m content to enjoy the mystery.

Finally, some praise for the fantastic “Collateral Damage” sequence where a frantic John Ross goes to Marta’s hotel room, believing she’s kidnapped Elena, only to discover it’s just another one of Marta’s deceptions. The whole thing plays like a fevered dream – the camerawork is shaky and the film looks like it’s been sped up – making this one of TNT’s niftiest “Dallas” scenes yet.

Until this moment, Marta seemed destined to become another crazed stalker from soap opera central casting, but Leonor Varela’s mesmerizing performance makes the character feel utterly human. Rather brilliantly, Allen’s script gives Marta a line about how she “earned” her way out of “the slums of Caracas,” a neatly efficient way to generate sympathy for the character before she dies.

From this perspective, Marta resembles another tragic “Dallas” vixen: Julie Grey, Tina Louise’s character from the old show’s early years. I don’t think it’s a coincidence Marta plunges to her death after encountering a couple of henchmen, just like Julie did during the old show’s classic “The Red File, Part 1” episode.

Clever homages like this help “Collateral Damage” earn its “A” grade, which is the first one I’ve awarded since “Changing of the Guard.” Something tells me it won’t be the last.

Grade: A

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Charlene Tilton, Collateral Damage, Dallas, Lucy Ewing, TNT

Missing cousin

‘COLLATERAL DAMAGE’

Season 1, Episode 7

Telecast: July 18, 2012

Writer: Aaron Allen

Director: Steve Robin

Audience: 5.2 million viewers (including 3.9 million viewers on July 18, ranking 13th in the weekly cable ratings)

Synopsis: Under pressure from Cano, John Ross invites Lucy to join him in the battle for Southfork, but she sides instead with Bobby. Ryland has Bobby arrested for assaulting him but drops the charges. Bobby tells Ann her past doesn’t matter to him. Christopher tells Elena he wants her back, but he’s at Rebecca’s side when she learns she’s pregnant with twins. Sue Ellen persuades Elena to use her oil to help John Ross, who is arrested after Marta plunges to her death from a high-rise balcony.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Sutter), Linda Gray (Sue Ellen Ewing), D’Laine Gutmann (nurse), Larry Hagman (J.R. Ewing), Peyton Hayslip (Dr. Lauren Barstow), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Leonor Varela (Marta del Sol)

“Collateral Damage” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 6 – ‘The Enemy of My Enemy’

July 12, 2012 by 30 Comments
Dallas, Enemy of My Enemy, Linda Gray, Sue Ellen Ewing, TNT

Compromised integrity? Check.

At long last, Sue Ellen.

Linda Gray comes off the sidelines in “The Enemy of My Enemy” – and not a moment too soon. Last week, in a candid interview with Ultimate Dallas, Gray politely – but pointedly – expressed her disappointment with the limited amount of screen time she’s received on TNT’s “Dallas.” As she reminded fans, Sue Ellen’s fate rests with the new show’s writers, who are now working on the second-season scripts.

Although “The Enemy of My Enemy” was filmed months ago, it serves as Exhibit A in the case for giving Sue Ellen a more prominent role on the show. Gray makes this one of TNT’s strongest episodes yet. She only appears in three scenes, but she dominates each one – not by chewing scenery but through the force of her grace and elegance. The actress has inherited Barbara Bel Geddes’ mantle as “Dallas’s” elder stateswoman, and that’s why I hope TNT will keep her front and center. This show needs her.

The nice thing about “The Enemy of My Enemy” is how it gets Sue Ellen involved in the fight over Southfork while finally delving into the subplot about her gubernatorial run, which has been simmering on the back burner all season.

In the storyline, John Ross asks his mama to use her political connections to persuade trucking magnate Harris Ryland to ship the oil being pumped out of Southfork. Initially, Sue Ellen resists (“John Ross, if I go down that road….”), but she eventually gives in and visits Ryland, offering him a coveted appointment in her administration if he’ll help her son. Ryland, played with wicked charm by Mitch Pileggi, rejects the offer because he says he doesn’t want Sue Ellen to compromise her integrity. Nevertheless, he agrees to help John Ross – and to demonstrate his admiration for Sue Ellen, he cuts a big check to her campaign.

The first time I watched this episode, seeing Sue Ellen sell out made me cringe. This didn’t feel like something the new, improved version of our beloved heroine would do. But then I thought about Sue Ellen’s guilt over her shortcomings as a mother when John Ross was younger. I can see how her judgment might be clouded where he’s concerned.

Besides, let’s face it: A saintly Sue Ellen is a boring Sue Ellen. Like I wrote earlier this week, I’m happy the character has changed with the times, but the show needs to reveal Sue Ellen’s humanity, and her foibles in “The Enemy of My Enemy” feel credible. It’s worth noting Sue Ellen’s actions also place her squarely in the tradition of other “Dallas” mothers (Miss Ellie, Rebecca Wentworth) who make questionable choices on behalf of their adult sons.

In addition to finally giving Sue Ellen a meaningful storyline, I like how scriptwriter Gail Gilchriest brings Elena and Rebecca together in “The Enemy of My Enemy.” Having Elena drive Rebecca to the doctor is a clever way to highlight the uneasy bond developing between these characters, whose relationship is beginning to recall the one shared by “Dallas’s” ultimate frienemies, Sue Ellen and Pam.

I also appreciate how director Jesse Bochco showcases some of the lighter moments in “The Enemy of My Enemy.” At the end of the episode, I love when Bobby and Christopher storm into John Ross’s room, prompting his exasperated, “What now?” There’s also an amusing scene before the opening credits, when the roughneck Earl interrupts Bobby and John Ross’s argument on the Southfork patio.

“Mr. Ewing?” Earl says.

“Yeah?” Bobby answers.

“I meant John Ross.”

Of course, I’d be remiss if I didn’t point out this episode’s big historical inaccuracy: The discovery that Miss Ellie’s father left her sons the mineral rights to Southfork contradicts long-established “Dallas” lore. In the past, major storylines have hinged on the fact Ellie controlled the ranch’s mineral rights.

The other eye-roller comes when Bobby discovers his grandfather’s prized pistol in the safe deposit box. During the original show’s classic “Jock’s Trial” episodes, we learned Ellie’s father had given the gun to Jock before his death, signaling he had finally accepted the young oil baron as a member of his family.

Or is that why Bobby seems to smile mischievously when he pulls the gun out of the lockbox in this episode? In that instant, does he realize his granddaddy pulled a fast one on Jock, all those years ago?

Maybe the Southworths were more like the Ewings than they cared to admit.

Grade: B

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Dallas, Enemy of My Enemy, John Ross Ewing, Josh Henderson, Linda Gray, Sue Ellen Ewing, TNT

Empire of the son

‘THE ENEMY OF MY ENEMY’

Season 1, Episode 6

Telecast: July 11, 2012

Writer: Gail Gilchriest

Director: Jesse Bochco

Audience: 5.3 million viewers (including 3.6 million viewers on July 11, ranking 26th in the weekly cable ratings)

Synopsis: With Rebecca’s help, Bobby and Christopher find an old legal document that will give Bobby control of Southfork’s mineral rights. After business partner Vicente Cano threatens him, John Ross turns to Sue Ellen, who persuades Harris to transport the oil pumped out of Southfork. Bobby punches Harris after he sends Ann a locket that upsets her. John Ross fears Marta is stalking Elena. In Las Vegas, J.R. tries to muscle in on Cliff’s high-stakes poker game. Rebecca tells Tommy she’s pregnant.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Matthew Posey (Earl), Brenda Strong (Ann Ewing), Faran Tahir (Frank), Leonor Varela (Marta del Sol)

“The Enemy of My Enemy” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 5 – ‘Truth and Consequences’

July 5, 2012 by 21 Comments
Ann Ewing, Brenda Strong, Dallas, TNT, Truth and Consequences

The ex files

“Truth and Consequences” offers a nice showcase for Brenda Strong and Julie Gonzalo, who haven’t had much to do on TNT’s “Dallas” until now. Both actresses make the most of the opportunities they’re given, delivering solid performances that add dimension to their characters, Ann and Rebecca, the newest Ewing wives.

Throughout this episode, Ann reminds me of “Dallas” heroines past. Seeing her stand up to J.R. (“They warned me. My whole marriage, they told me about you.”) recalls some of Pam’s best confrontations with him, while the scene where Ann, clad in her signature pearls, offers Rebecca some much-needed motherly advice evokes warm memories of Miss Ellie. This isn’t a coincidence. Ann exists to fill the void left by both Pam and Ellie, two of the old show’s most beloved characters, which means Strong might have the most thankless job of all among TNT’s “Dallas” cast.

This is why Ann’s visit to smug ex-husband Harris Ryland, played to the hilt by Mitch Pileggi, is so pivotal. With this exchange, Ann begins to come into her own as a character. She may not share Pam’s history with Bobby or Ellie’s connection to the land, but at least now we know Ann is willing to stick her neck out to help her husband fight for Southfork. This is the kind of wife our hero deserves, and the classy Strong fills the role nicely. Bravo.

Gonzalo does impressive work in “Truth and Consequences,” too. The young actress is moving during Rebecca’s tearful confession to Christopher in the barn (“You need to believe I love you!”), and her desperation is palpable when Rebecca turns to Ann for comfort and counsel. I’m not convinced the audience should trust Rebecca, but Gonzalo is helping transform her into “Dallas’s” most intriguing character.

Given this episode’s emphasis on the women of Southfork, it seems like this would have been an ideal time to let viewers continue getting reacquainted with Sue Ellen, but she doesn’t appear in “Truth and Consequences.” This is the second TNT episode in which Sue Ellen is missing in action; the character is also absent from “The Price You Pay.”

I find this astonishing. Like I wrote last month, with the exception of Larry Hagman, no actor on TNT’s “Dallas” has as much presence as Linda Gray, and it’s a shame the producers have struggled to find a meaningful storyline for her.  The good news is this begins to change with next week’s episode, and not a moment too soon.

Overall, “Truth and Consequences” is a strong hour, with good writing from Robert Rovner and stylish direction from Randy Zisk, whose past credits include “Revenge” and the David Jacobs-produced “Lois & Clark” and “Bodies of Evidence.” I especially like the “Truth and Consequences” scene where J.R. quotes Jock (“Daddy always said beautiful women were the most dangerous”), which prompts an exasperated Bobby to respond, “I know all the things Daddy used to say.” This might be the season’s best line.

Other highlights: the scenes where John Ross and Christopher each show up on Elena’s doorstep at different points during the same night. (Some girls have all the luck.) Elena’s exchange with John Ross is particularly good. I love when he tells her, “You’ve accused me of awful things that I did not do, and yet I’m still here, at your door, asking you to take a chance on me.” Josh Henderson really makes me care about John Ross here; this is probably the actor’s best scene so far.

Moments like these compensate for some of “Truth and Consequences” shortcomings, beginning with J.R. and John Ross’s silly scene at Cowboys Stadium. On “Dallas,” J.R. is supposed to be a prominent Texan, but I don’t think he’s famous enough to warrant having his face flashed on a Jumbotron. The sequence makes TNT’s “Dallas” too self-aware; J.R. is a folk hero in real life, not within the context of the narrative. Not helping matters: Jerry Jones’ cameo, an unwelcome reminder of his appearance in “War of the Ewings,” “Dallas’s” abysmal 1998 reunion movie.

J.R.’s purchase of Southfork, just days after Marta bought it from Bobby, strains credibility, too. It reminds me of “The Decline and Fall of the Ewing Empire,” the next-to-last episode of the original series, when Ewing Oil changed hands two or three times in the course of a single episode.

Likewise, I find it hard to believe Bobby’s hands are as legally tied as Lou, his new lawyer (played by terrific “24” vet Glenn Morshower), claims. The sale to Marta was fraudulent because Marta isn’t really Marta, yet her sale to J.R. is perfectly legal? I wanted Lou to run that by me one more time, but alas, the show moved on instead.

That’s the thing about TNT’s “Dallas:” It’s always moving on.

Grade: B

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Christopher Ewing, Dallas, Julie Gonzalo, Rebecca Sutter Ewing, Truth and Consequences, TNT

Double life wife

‘TRUTH AND CONSEQUENCES’

Season 1, Episode 5

Telecast: July 4, 2012

Writer: Robert Rovner

Director: Randy Zisk

Audience: 5.1 million viewers (including 3.4 million viewers on July 4, ranking 16th in the weekly cable ratings)

Synopsis: Rebecca confesses Tommy sent the e-mail to Elena, prompting Christopher to kick the Sutters off Southfork. Bobby vows to reclaim the ranch after J.R. reveals he’s the new owner and departs Dallas, leaving John Ross in charge until he returns. To slow down J.R. and John Ross, Ann persuades her ex-husband, trucking magnate Harris Ryland, to not haul the oil pumped out of Southfork. Christopher discovers proof John Ross knew Marta’s true identity before she tricked Bobby into selling the ranch.

Cast: Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Jerry Jones (himself), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Leonor Varela (Marta del Sol)

“Truth and Consequences” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 4 – ‘The Last Hurrah’

June 28, 2012 by 12 Comments
Bobby Ewing, Christopher Ewing, Dallas, Jesse Metcalfe, Last Hurrah, Patrick Duffy, TNT

Fence and sensibility

I like “The Last Hurrah,” but I can’t help but feel a little disappointed by it. This episode brings together more characters from the original “Dallas” than any TNT entry so far – in addition to J.R., Bobby and Sue Ellen, we get to see Lucy, Ray and Cliff – yet none of these old favorites have much interaction with each other.

This feels like a missed opportunity when you consider the episode climaxes at the “final” Ewing barbecue, which would seem like an ideal setting to bring together the old gang. Indeed, Bobby organizes the party so friends and family can bid Southfork farewell before he completes the sale of the ranch to the del Sol conservancy. “If you are here, it’s because you have a connection to this ranch and the people who’ve lived on it,” Bobby declares in his speech to the partygoers, but as director Marc Roskin pans the crowd, we see more anonymous extras than familiar faces.

How fun would it have been to watch J.R. trade barbs again with Lucy, or to see Bobby and Ray reminisce about the ranch that has meant so much to them? According to William Keck’s recent TV Guide cover story, Roskin filmed a scene where J.R. and Sue Ellen share a sentimental dance at the party, but it was left on the cutting-room floor. What a shame.

While this might not have been a rollicking Ewing barbecue like days of yore, J.R.’s big scheme in “The Last Hurrah” is as convoluted as some of the eye-rollers he came up with during the old show’s more exasperating moments. To get Bobby’s crooked lawyer Mitch Lobell to call off his extortion scheme and draw up new legal papers making J.R. the sole owner of Southfork, J.R. hatches a plot to photograph Lobell’s son Ricky, a recovering addict with prior convictions, doing drugs. J.R. then threatens to expose Ricky’s lapse unless Lobell cooperates.

J.R. also arranges to have Marta discover John Ross and Elena are getting chummy again because he needs Marta to get angry so she’ll work with him to secretly cut John Ross out of the Southfork deal – but doesn’t this plan seem kinda reckless? J.R. knows Marta is bipolar and has a history of violence; at one point, he calls her “crazier than an outhouse rat.” Is this really the kind of person you want to become mad at your son?

Look, I love seeing TNT’s “Dallas” pay tribute to the original series, but I want it to honor the old show’s best storytelling traditions, not its outlandish impulses.

Of course, there are several solid moments in “The Last Hurrah,” beginning with Bobby and Christopher’s father/son chats, which showcase the nice chemistry developing between Patrick Duffy and Jesse Metcalfe. I also like the scene where John Ross blackmails Rebecca – Josh Henderson delivers the line about her being “an extremely resourceful woman” with a Hagman-esque twinkle – as well as Julie Gonzolo’s performance as the increasingly desperate Rebecca.

I even appreciate scriptwriter Taylor Hamra’s subplot about the birth of the calf, which offers a nice contrast to the sense of finality that hangs over Southfork in the days before the barbecue. It’s probably coincidental, but the calf’s arrival also recalls the birth of a foal in “Bypass,” a classic episode from the original series.

The producers also deserve applause for upholding another longstanding “Dallas” practice: casting great character actors in supporting roles. Leonor Varela seems destined to join the long line of mentally unhinged villainesses in the “Dallas” hall of fame, while veteran Texas actor Richard Dillard is perfectly sleazy as Lobell. Dillard reminds me of Dennis Patrick, who was wonderfully smarmy as Vaughn Leland on the old show.

My favorite part of “The Last Hurrah”: the final moments in the scene where Sue Ellen expresses her concern about John Ross’s reconciliation with his father. After John Ross abruptly ends the conversation, Sue Ellen picks up the box containing Miss Ellie’s pearls, opens it and slowly caresses the beads.

Perhaps this gesture shows how Sue Ellen now understands the pain adult children are capable of causing their aging mamas, or maybe it’s just an expression of how much Sue Ellen misses Ellie and wishes she were still around to dispense motherly advice. Whatever the reason, it’s a lovely reminder that Miss Ellie remains part of “Dallas,” if only in spirit.

Grade: B

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

Less hair, lots of harebrained schemes

‘THE LAST HURRAH’

Season 1, Episode 4

Telecast: June 27, 2012

Writer: Taylor Hamra

Director: Marc Roskin

Audience: 5.7 million viewers (including 4.1 million viewers on June 27, ranking 15th in the weekly cable ratings)

Synopsis: J.R. blackmails Lobell into calling off his extortion plot and cutting John Ross out of the Southfork sale, making J.R. the ranch’s sole owner. John Ross tries to blackmail Rebecca into helping him with a scheme, but she refuses and resolves to tell Christopher the truth about the e-mail that broke up him and Elena. John Ross and Elena grow closer. Cliff offers to fund Sue Ellen’s gubernatorial campaign, arousing J.R.’s jealousies. Bobby hosts Southfork’s final barbecue, where Rebecca begins her confession to Christopher.

Cast: Margaret Bowman (Miss Henderson), Jordana Brewster (Elena Ramos), Richard Dillard (Mitch Lobell), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Jason London (Ricky Lobell), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Leonor Varela (Marta del Sol)

“The Last Hurrah” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.


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Critique: TNT’s ‘Dallas’ Episode 3 – ‘The Price You Pay’

June 21, 2012 by 7 Comments
Dallas, J.R. Ewing, Larry Hagman, Price You Pay, TNT

Demon barber

“The Price You Pay” opens with TNT’s best “Dallas” scene yet: J.R. and John Ross’s encounter in the wood-paneled gentleman’s club, where father holds a straight razor to son’s neck and confronts him about his double-dealing in the plot to seize Southfork.

John Ross admits he was planning to betray J.R., and then J.R. offers a confession of his own. “I don’t blame you for trying to screw me,” he says. “I was never much of a father during your formative years. And I’d like to make up for that.” J.R. offers to teach John Ross about the oil business and extends a weathered hand toward the younger man, who hesitates before taking it. Father then pulls smiling son into a warm embrace.

This tense-then-tender moment, masterfully directed by Michael M. Robin, reveals the complexities that make “Dallas” great. Consider what’s happening here: J.R. and John Ross are essentially agreeing to work together to undermine Bobby, “Dallas’s” hero – yet Robin manages to turn it into a touching moment of father-son bonding. This is as good as any of the best scenes from the original “Dallas.”

The “shaving scene” establishes the theme of “The Price You Pay,” which shows how several Ewings are coming to grips with their pasts. Scriptwriter Bruce Rasmussen does a nice job reminding us of the internal forces that motivate J.R. and Bobby, while also fleshing out some of the younger characters.

The thematic approach helps conceal “The Price You Pay’s” flaws, which begin with Linda Gray’s absence. I don’t like the fact that Sue Ellen is missing from this episode, but I’m not altogether surprised, either. The show seems to be struggling to find a meaningful place for Sue Ellen in the narrative. This needs to change.

“The Price You Pay’s” other weak spot: The scene where John Ross threatens to expose Miss Ellie’s stay in a mental institution after Jock’s death. This never happened on the original “Dallas.” Yes, Ellie struggled to accept the loss of her husband, but she never sought professional help, which became an important part of her storyline. I suppose the producers of this new “Dallas” could argue Ellie was somehow institutionalized off-screen, but this really doesn’t fit with the beloved character’s history.

I’m not going to dwell on this point because the rest of “The Price You Pay” is quite good. The confronting-your-past theme works well, particularly in the scene where Ann finds J.R. in the storage barn, flipping through an old family photo album. I realize J.R. is only there to root for evidence in his scheme to seize Southfork, but I also believe old age has made him genuinely introspective.

Consider “The Price You Pay” scene where J.R. tells John Ross, “I spent most of your childhood chasing after women I didn’t love and making deals that didn’t really matter. I will get Southfork back, because you shouldn’t have to pay for my sins.” It’s a revealing line, demonstrating how after all these years, J.R. is still driven by his desire to protect his son’s legacy.

The moment J.R. comes face to face with old enemy Cliff Barnes is also poignant. Larry Hagman and Ken Kercheval still have great chemistry together, even if their sniping feels less like the epic confrontations of yore and more like something from “Grumpy Old Men.” Only on “Dallas” could J.R.’s threat to dance on Cliff’s grave come off as sweetly sentimental.

“The Price You Pay’s” most heartfelt moment of all comes at the end of the episode, when Ann climbs into bed with Bobby and shares her suspicion J.R. staged the fight with John Ross over Ellie’s journal. “Honey,” Bobby says wearily, “the fact that J.R. did it, and that he thinks he can make me believe he didn’t do it, that’s just who he is. And who he will always be.”

It’s another good line, reminding us how Bobby, ultimately, is a tragic character. Even though his hair is now silver and he brings reading glasses to bed, he’s still his brother’s keeper. It’s the role Bobby is doomed to play.

Interestingly, “The Price You Pay’s” thematic approach isn’t limited to the older characters: Christopher is reminded of the old Barnes-Ewing feud when Cliff offers to invest in his alternative energy project.

Even though I’m having a hard time squaring the notion Cliff, a notorious cheapskate on the old show, is now a high-stakes gambler, I like what Kercheval does with his redefined role in this scene. It’s a nicely subdued performance, and as a “Dallas” diehard, I appreciate how Cliff references his sister when he warns Christopher about the Ewings (“Don’t let them destroy you like they did Pam.”).

Christopher’s own ghosts surface when he finds out about Bobby’s cancer and, in a moment of weakness, kisses Elena. Ever his father’s son, Christopher goes home to Rebecca, confesses his indiscretion and vows to put his past behind him. “That’s over now,” he tells her.

Don’t believe it, Rebecca. This is “Dallas,” where history tends to repeat – and sometimes rewrite – itself.

Grade: B

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Bobby Ewing, Dallas, Patrick Duffy, Price You Pay, TNT

Still brother’s keeper

‘THE PRICE YOU PAY’

Season 1, Episode 3

Telecast: June 20, 2012

Writer: Bruce Rasmussen

Director: Michael M. Robin

Audience: 6.7 million viewers (including 4.8 million viewers on June 20, ranking 8th in the weekly cable ratings)

Synopsis: After J.R. confronts John Ross about his betrayal, they join forces and manipulate Bobby into finalizing Southfork’s sale. Christopher rejects his uncle Cliff Barnes’ offer to invest in his patent. Bobby tells Christopher about his cancer, briefly sending Christopher into Elena’s arms. Rebecca resists Tommy’s pressure to spy on Christopher. John Ross learns Rebecca sent the e-mail that broke up Christopher and Elena.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Brett Brock (Clyde Marshall), Sonny Carl Davis (Hirsch), Richard Dillard (Mitch Lobell), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Ken Kercheval (Cliff Barnes), John McIntosh (Dr. Bennett), Jesse Metcalfe (Christopher Ewing), Brenda Strong (Ann Ewing), Faran Tahir (Frank), Leonor Varela (Marta del Sol)

“The Price You Pay” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.


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Critique: TNT’s ‘Dallas’ Episode 2 – ‘Hedging Your Bets’

June 15, 2012 by 21 Comments
Bobby Ewing, Dallas, Hedging Your Bets, John Ross Ewing, Josh Henderson, Patrick Duffy, TNT

Whole new ball

“Hedging Your Bets,” the second of the two episodes TNT telecast on “Dallas’s” opening night, was solidly entertaining, even if it wasn’t quite as satisfying as the first hour, “Changing of the Guard.” The story continued to take unexpected twists, but I found myself hoping things would slow down so the audience could get better acquainted – or reacquainted – with the characters.

The best scenes in “Hedging Your Bets” were set at the Cattle Baron’s Ball, which looked far cooler than the stuffy black-tie galas the Ewings attended on the old show. I loved how director Michael M. Robin opened this sequence: John Ross and J.R. arrived in a black Suburban while “I’m a Man,” a tune by Swedish rockers the Blue Van, boomed in the background. It was another reminder this isn’t daddy’s “Dallas.”

Inside the ballroom, J.R. – using a walker to gin up his family’s sympathy – made amends with Bobby. This scene, which was nicely written by Cynthia Cidre, allowed Larry Hagman and Patrick Duffy to demonstrate how their chemistry remains unaltered by the passage of time.

I was particularly impressed with Hagman. He still has an uncanny knack for making the audience want to believe J.R., even when we know the character is lying. I long ago stopped trying to figure out the actor’s secrets and decided to just sit back and enjoy his performances. He amazes me.

J.R.’s long-awaited first scene with Sue Ellen was well written and performed, too. He ran into her at the ball, and even though it was probably the first time the characters had seen each other in years, Cidre didn’t go overboard with a big, emotional reunion. Still, while J.R.’s last line (“You’re still the prettiest girl at the ball”) was sweet, I wish Linda Gray had been given a little more to do here. She had just 18 words of dialogue, which felt a little insufficient.

On the other hand, I very much liked the scene where Sue Ellen loaned Elena the money she needs to buy the oil leases. Gray looked like she enjoyed showing off her character’s confidence and success. The role of mentor fits Sue Ellen well, although she shouldn’t be limited to serving as a cheerleader for other characters. Sue Ellen needs her own storyline, and I’m hopeful her looming gubernatorial run will give Gray an opportunity to strut her stuff.

The other highlight of “Hedging Your Bets:” the scene where Elena confronted John Ross over the e-mail that broke up her and Christopher two years earlier. Jordana Brewster beautifully expressed Elena’s confusion and outrage, but don’t overlook Josh Henderson, whose pained expression made me believe John Ross really cares for Elena.

This is important because as I wrote in my “Changing of the Guard” critique, I’m not quite sure what makes John Ross tick. Right now, it feels like he’s the antagonist because that’s what the plot demands, so John Ross’s relationship with Elena has the potential to make him a more dimensional character.

By the way, I’m really enjoying the scenes set in Elena’s little house on the Souhfork grounds. The shabby chic decor makes it feel like a real home, which is appropriate, since Brewster does such a good job making Elena feel like a real person.

In many ways, Elena’s home serves the same function Ray Krebbs’ rambler did on the original “Dallas.” This probably isn’t a coincidence. Like Ray, Elena is poised to become the “everyperson” who serves as the audience’s eyes and ears in the world of the Ewings. She might be the most pivotal character of all, at least among the younger players.

Finally, a word about Rebecca, the Ewing clan’s newest addition. Of the eight principal characters on TNT’s “Dallas,” she received the least development in “Changing of the Guard,” and after seeing “Hedging Your Bets,” I understand why. Rebecca is supposed to be enigmatic. In this episode, her cryptic conversation with her brother Tommy made it clear the siblings (they are siblings, right?) are up to something nefarious, although we don’t know what.

I welcome this. The mystery surrounding Rebecca and Tommy feels like it’s going to be crucial, and it deserves to unravel at its own pace. After all, if TNT’s “Dallas” is going to be around awhile – and I sure hope it will be – there’s no point in rushing through every storyline.

Grade: B

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Dallas, Elena Ramos, Hedging Your Bets, John Ross Ewing, Jordana Brewster, Josh Henderson, TNT

Mailman?

‘HEDGING YOUR BETS’

Season 1, Episode 2

Telecast: June 13, 2012

Writer: Cynthia Cidre

Director: Michael M. Robin

Audience: 8.3 million viewers (including 6.9 million viewers on June 13, ranking 1st in the weekly cable ratings)

Synopsis: Bobby tells his wife Ann he has cancer and rejects Christopher’s plea to not sell Southfork. Elena breaks up with John Ross, who has sex with Marta and is extorted by Bobby’s duplicitous lawyer, Mitch Lobell, who is secretly aiding John Ross and J.R. in their plot to seize Southfork. John Ross’s mother Sue Ellen loans Elena money for her oil business and encounters ex-husband J.R., who wants to makes amends with her. Rebecca’s brother Tommy tells her she shouldn’t become too comfortable in her new role as Christopher’s wife. J.R. learns Marta is an imposter.

Cast: Jordana Brewster (Elena Ramos), Brett Brock (Clyde Marshall), Richard Dillard (Mitch Lobell), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Castulo Guerra (Carlos del Sol), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Leanna Pareja (Marta Realidad), Brenda Strong (Ann Ewing), Audrea Ulmer-Cowan (Candy), Leonor Varela (Marta del Sol)

“Hedging Your Bets” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Critique: TNT’s ‘Dallas’ Episode 1 – ‘Changing of the Guard’

June 14, 2012 by 30 Comments
Changing of the Guard, Dallas, J.R. Ewing, Larry Hagman, Leonor Varela, Marta del Sol

Gripping grin

TNT’s “Dallas” had two things to accomplish on opening night: hook today’s audiences on the Ewing saga and satisfy viewers who fondly remember the original series. I can’t speak for the newbies or my fellow fans, but the two-hour premiere exceeded my Southfork-sized expectations in every way. I loved it.

“Changing of the Guard,” the first of the two episodes TNT telecast last night, evoked the old “Dallas” spirit, if not the old “Dallas” style. The pace was faster, the music was modern (Adele!) and even though Larry Hagman remains “Dallas’s” most magnetic actor, his talents were used judiciously. He appeared just four times: once with Patrick Duffy and in three scenes with Josh Henderson. The stage is set to slowly insert J.R. into the lives of the other characters, which seems like a wise approach.

Still, with J.R. more or less waiting in the wings, I wish “Changing of the Guard” had given the audience more opportunities to get to know the younger characters. It wasn’t clear to me, for example, why John Ross is so determined to drill on Southfork, or why star-crossed lovers Christopher and Elena allowed an e-mail to break them up. (At least it wasn’t a text.)

But even if the characters’ motivations were murky, the actors were terrific. Henderson smolders as John Ross, and I was really impressed with Jesse Metcalfe and Jordana Brewster, particularly during Christopher’s wedding day confrontation with Elena. Metcalfe made his character’s heartbreak palpable – his quivering lip almost made me cry – and Brewster delivered her lines with real conviction, which is essential on a show like “Dallas.”

Other favorite “Changing of the Guard” moments: Bobby’s visit to the catatonic J.R. in the nursing home, where Duffy did a nice job delivering scriptwriter Cynthia Cidre’s beautifully written monologue; Linda Gray’s first appearance, when Sue Ellen oh-so-coolly zoomed into the Southfork driveway in her white Porsche; and the Southfork dinner scene, which was as entertaining as any of the Ewing meals from the original series.

The latter sequence, expertly directed by Michael M. Robin, was probably “Changing of the Guard’s” best homage to the original “Dallas,” but it certainly wasn’t the only one. I also liked the scene where Ann grabbed her gun and chased an intruder out of the house, recalling one of Miss Ellie’s most memorable moments from the old show, as well as John Ross’s encounter with Marta del Sol on the 50-year line at Cowboys Stadium, which seemed to be a hat tip to some of J.R.’s clandestine stadium meetings of the past.

It may have been unintentional, but “Changing of the Guard” also honored the “Dallas” spinoff “Knots Landing.” After John Ross and Christopher scuffled at the drill site, each character retreated to the arms of his leading lady, with the scenes edited together in a seamless series of quick cutaways – a style “Knots Landing” made one of its signatures.

Even though I would have preferred a little more character development and a little less narrative in “Changing of the Guard,” the plot twists were smartly executed. The second scene, when Bobby was diagnosed with cancer, was genuinely rattling. I appreciate the boldness of this storyline, but it worries me a little. The last time “Dallas” toyed with Bobby’s mortality, things didn’t work out so well. I hope Cidre, the new creative force behind TNT’s “Dallas,” knows what she’s doing here.

The revelation that J.R. is in cahoots with Marta was another jaw-dropper. I don’t mind admitting I got chills when J.R. flipped on his Stetson, flashed his devilish grin and declared, “Bobby may not be stupid, but I’m a hell of a lot smarter.” This was the moment I knew “Dallas” was really back.

Frankly – and this is a small quibble – I kind of wish “Changing of the Guard” had ended there. Instead, Cidre threw the audience for yet another loop in the final scene, when we learned John Ross and Marta are plotting to triple-cross J.R.

I suppose the goal here was to demonstrate how John Ross is even more devious than his daddy, but it felt like one twist too many. Then again, if Cidre wanted to make sure “Dallas” diehards like me hung around for “Hedging Your Bets,” opening night’s second hour, mission accomplished. I’ll post my review of that episode tomorrow.

Grade: A

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Changing of the Guard, Christopher Ewing, Dallas, Elena Ramos, Jesse Metcalfe, Jordana Brewster, TNT

Heartbreak kids

‘CHANGING OF THE GUARD’

Season 1, Episode 1

Telecast: June 13, 2012

Writer: Cynthia Cidre

Director: Michael M. Robin

Audience: 8.3 million viewers (including 6.9 million viewers on June 13, ranking 1st in the weekly cable ratings)

Synopsis: Bobby Ewing is diagnosed with cancer but doesn’t tell his family. To finance his son Christopher’s alternative energy project, Bobby decides to sell Southfork, the family’s ranch, to land conservationist Marta del Sol, unaware she is in cahoots with Bobby’s devious brother J.R., who wants control of Southfork’s vast oil reserves. Unbeknownst to J.R., Marta is also plotting with his son John Ross, who wants to drill on the ranch, too. Christopher marries Rebecca Sutter, although he still pines for old flame Elena Ramos, who is now John Ross’s girlfriend and business partner.

Cast: Jordana Brewster (Elena Ramos), Richard Dillard (Mitch Lobell), Akai Draco (Sherriff), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Sutter), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Steve Kanaly (Ray Krebbs), Linda Leonard (Mrs. Stanfill), Jesse Metcalfe (Christopher Ewing), Matthew Posey (Earl), Ryan Rutledge (Dr. Bill Glaser), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Leonor Varela (Marta del Sol)

“Changing of the Guard” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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