Critiques – Dallas Decoder

Critique: ‘Dallas’ Episode 66 – ‘End of the Road, Part 2’

August 1, 2012 by Chris Baker 22 Comments

Big fat Ewing wedding

“End of the Road, Part 2” aired three days after President Reagan’s inauguration, and as if on cue, the episode ushers in a bigger, glossier version of “Dallas.” The show has always been about big things (big homes, big business, big egos), but this hour seems to mark the moment the producers decide even bigger is even better.

This episode’s centerpiece is Lucy’s wedding, which demonstrates how much “Dallas’s” cast has ballooned during the fourth season. In addition to the main characters, the wedding is attended by Alex Ward, Clint Ogden and the Coopers, none of whom were around just a few episodes ago. It’s odd to see these newcomers get so much screen time at a Ewing family event.

To make matter worse, some of the familiar faces act like people we don’t know. I get that Pam feels vulnerable after her mother’s rejection, but would she really allow herself to be tempted by Alex? Likewise, Miss Ellie’s sudden resentment toward Ray feels forced, especially in light of the warm embrace she gave him in “Trouble at Ewing 23.”

It also doesn’t help that the wedding scenes are filmed on “Dallas’s” Hollywood soundstage, which looks even faker than usual. To create the illusion this is a large affair, the producers squeeze dozens of extras onto the set, but this only succeeds in making everyone look claustrophobic. In the scene where Sue Ellen and Clint sit at a table and chat, I find myself worrying the couples on the dance floor are going to waltz right over them.

Yes, there are a handful of nice moments in “End of the Road, Part 2,” including the scene where Jock, J.R. and Bobby duck out of the reception to talk shop in the living room. It evokes the opening of “The Godfather,” when Don Corleone does business on his daughter’s wedding day.

I also like how director Irving J. Moore allows us to hear the murmuring in the crowd when Lucy comes down the aisle (“Look at that dress!”), as well as when he switches perspective and shows the attendees from Lucy’s point of view.

Still, I can’t help but notice how “Dallas” seems to lose a little perspective of its own with this episode.

Grade: B

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Stare and stare alike

‘END OF THE ROAD, PART 2’

Season 4, Episode 12

Airdate: January 23, 1981

Audience: 28.3 million homes, ranking 2nd in the weekly ratings

Writer: Leonard Katzman

Director: Irving J. Moore

Synopsis: Mitch and Lucy marry. During the reception, J.R. sleeps with Afton, while Sue Ellen flirts with ex-boyfriend Clint Ogden. Bobby salvages his big deals but resigns as Ewing Oil’s president.

Cast: Barbara Babcock (Liz Craig), Barbara Bel Geddes (Miss Ellie Ewing), Karlene Crockett (Muriel Gillis), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Joel Fabiani (Alex Ward), Anne Francis (Arliss Cooper), Meg Gallagher (Louella), Ted Gehring (Brady York), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Sherill Lynn Katzman (Jackie), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Monte Markham (Clint Ogden), Leigh McCloskey (Mitch Cooper), Jeanna Michaels (Connie), Victoria Principal (Pam Ewing), Robert Rockwell (minister), Ted Shackelford (Gary Ewing), William Smithers (Jeremy Wendell), Don Starr (Jordan Lee), Charlene Tilton (Lucy Cooper), Joan Van Ark (Valene Ewing)

“End of the Road, Part 2” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: End of the Road Part 2, Irving J. Moore, Trouble at Ewing 23

Critique: ‘Knots Landing’ Episode 22 – ‘A Family Matter’

July 31, 2012 by Chris Baker 8 Comments

Look who’s lurking

The “Knots Landing” episode “A Family Matter” brings J.R. to Los Angeles, where he meets Abby Cunningham, his Southern California counterpart. This inaugural matchup between two of television’s greatest villains has its moments, but overall, it’s not as much fun as you might expect.

The problem: J.R. and Abby are too much alike. These characters are at their best when they’re clashing with principled do-gooders like Bobby or Karen Fairgate, not fawning over each other, which is what happens throughout “A Family Matter.” In one scene, J.R. tells Abby she is “wickedly clever.” In another, he calls her “the most delicious conniver it’s been my pleasure to encounter.” The love-fest gets boring pretty quickly.

J.R. previously visited Seaview Circle in “Community Spirit,” a first-season “Knots Landing” episode that found Gary and Karen rallying their neighbors to stop Ewing Oil from drilling near the local beach. That episode was a hoot because it took J.R. out of “Dallas’s” glamorous surroundings and plopped him into suburbia, where he was exposed to such foreign concepts as tuna fish sandwiches and housewives who pick up their husbands’ dry-cleaning.

J.R. is out of his element again in “A Family Matter,” but somehow, these scenes aren’t as much fun. A lot of this has to do with the context. In this episode, Abby is hoping to sink her claws into Gary, so she persuades J.R. to bail out his brother, who has gotten embroiled in a stolen-parts ring and needs $50,000 to pay off some underworld goons. It’s not quite as noble as stopping offshore oil drilling.

Maybe this is why my two favorite moments in “A Family Matter” don’t have much to do with the main storyline. In the first of these scenes, J.R. sits at Abby’s dinner party and boasts about how he’s going to bring Lucy’s fiancée Mitch “up to our standards,” which sends Valene off the rails. “How dare you meddle in my daughter’s life!” she fumes.

Later, Val, who doesn’t know about Gary’s underhanded dealings, visits J.R. and pleads with him to leave her and Gary alone. The insults soon start flying. J.R. declares Val is “a royal pain;” she calls him “a vile, evil man.”

Aside from showcasing the terrific chemistry between Larry Hagman and Joan Van Ark, these scenes remind us: Watching J.R. fight is much more fun than watching him fawn.

Grade: B

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When worlds collide

‘A FAMILY MATTER’

“Knots Landing” Season 2, Episode 9

Airdate: January 22, 1981

Audience: 15.4 million homes, ranking 26th in the weekly ratings

Writer: David Paulsen

Director: Edward Parone

Synopsis: When J.R. comes to Los Angeles for a convention, Gary and Val’s neighbor Abby Cunningham asks J.R. to give Gary $50,000 so he can pay off a debt to two shady characters. Gary reluctantly takes the money, but J.R. hints he wants Gary to help him squelch Sid’s plan to build an energy-efficient car engine.

Cast: Parley Baer (old man), William Boyett (Frank Kolbert), Tonya Crowe (Olivia Cunningham), Larry Hagman (J.R. Ewing), Steven Hirsch (Roy Lance), James Houghton (Kenny Ward), Bobby Jacoby (Brian Cunningham), Kim Lankford (Ginger Ward), Michele Lee (Karen Fairgate), Claudia Lonow (Diana Fairgate), Constance McCashin (Laura Avery), Donna Mills (Abby Cunningham), Don Murray (Sid Fairgate), Pat Petersen (Michael Fairgate), John Pleshette (Richard Avery), Ted Shackelford (Gary Ewing), Louise Vallance (Sylvie), Joan Van Ark (Valene Ewing)

“A Family Matter” is available on DVD. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Community Spirit, Family Matter, Joan Van Ark, Knots Landing, Larry Hagman

Critique: ‘Dallas’ Episode 65 – ‘End of the Road, Part 1’

July 30, 2012 by Chris Baker 8 Comments

Look out, J.R.

Audrey Landers makes her “Dallas” debut in “End of the Road, Part 1,” and from the moment we lay eyes on her character Afton Cooper, there’s no doubt about it: This girl is going to be trouble.

Afton eventually becomes one of “Dallas’s” most popular heroines, but that’s not how she starts out. In this episode, she comes to town to attend her brother Mitch’s wedding to Lucy but spends most of her time slinking around Southfork and flirting with J.R.

At this point during “Dallas’s” run, the show had been vixen-less since Kristin’s departure at the beginning of the fourth season, and “End of the Road, Part 1” makes it clear Afton is here to pick up the slack. J.R. himself alludes to this when he wonders aloud to Jock, “You suppose Afton can type?”

When I watched “Dallas” as a kid, I didn’t pay much attention to Landers, but seeing this episode with fresh eyes made me appreciate how good she is as Afton. Landers was still a Hollywood newcomer when she joined “Dallas,” but she more than holds her own against Larry Hagman, with whom she shares several scenes.

When J.R. meets Afton during a Southfork cocktail hour, he ushers her over to his side of the room. It feels a little predatory, but then I listen as Afton coos to him about the roadside alligators and Spanish moss in her native Mississippi. J.R. is charmed, and suddenly it isn’t clear who is predator and who is prey.

Afton’s arrival signals the beginning of another transitional episode during “Dallas’s” fourth season. Lucy and Mitch are about to go from mismatched college sweethearts to mismatched spouses, J.R. and Sue Ellen’s marital bliss is crumbling and Bobby’s rocky tenure as Ewing Oil’s president is winding down.

Of course, the biggest transition of all was happening behind the scenes. Jim Davis was diagnosed with inoperable brain cancer in 1980, and “End of the Road, Part 1” marks the moment his illness begins to show on-screen. The actor doesn’t look well in this episode.

I watch today knowing Davis is coming to the end of his road – and man, does that make me sad.

Grade: B

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The end is nigh, Bobby

‘END OF THE ROAD, PART 1’

Season 4, Episode 11

Airdate: January 16, 1981

Audience: 26 million homes, ranking 1st in the weekly ratings

Writer: Leonard Katzman

Director: Irving J. Moore

Synopsis: Bobby does business with the cartel, even though Ewing Oil is having cash-flow problems. J.R. pulls strings to force Bobby to betray the independent gas station owners, knowing it will infuriate Jock. J.R. sleeps with his secretary Louella and flirts with Mitch’s sister Afton, who comes to town for the wedding.

Cast: Barbara Babcock (Liz Craig), Bel Geddes (Miss Ellie Ewing), Michael Bell (Les Crowley), David J. Bowman (Tom Selby), Harry Carey Jr. (Red), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Joel Fabiani (Alex Ward), Anne Francis (Arliss Cooper), Meg Gallagher (Louella), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Sherill Lynn Katzman (Jackie), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Leigh McCloskey (Mitch Cooper), Jeanna Michaels (Connie), Victoria Principal (Pam Ewing), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing), Janine Turner (Susan), Morgan Woodward (Punk Anderson)

“End of the Road, Part 1” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Audrey Landers, End of the Road Part 1, Jim Davis, Larry Hagman

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

July 26, 2012 by Chris Baker 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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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.

Filed Under: Critiques, Critiques (TNT), Opinion Tagged With: Changing of the Guard (2012), Ellie Saves the Day, Jerrold Immel, Jordana Brewster, Josh Henderson, Julia Cohen, Michael Katleman, No Good Deed, Swan Song, TNT

Critique: ‘Dallas’ Episode 64 – ‘Executive Wife’

July 25, 2012 by Chris Baker 11 Comments

The bloom is off

In “Executive Wife,” Pam feels hurt by her mother’s rejection and needs Bobby’s support, but he’s too busy running Ewing Oil to notice. For a moment, Pam allows herself to be tempted by another man: magazine publisher Alex Ward.

Sound familiar? It should. Pam and Bobby went through the same scenario in the third-season episode “Jenna’s Return,” except back then, the roles were reversed: Pam was the spouse who was preoccupied with work, which sent lonely Bobby into the arms of magazine editor Jenna Wade.

I appreciate “Executive Wife’s” attempt to depict the challenges facing dual-career couples, which were becoming more common in the 1980s, but it doesn’t change the fact this subplot is a rehash.

It isn’t “Executive Wife’s” only retread, either. Three episodes ago, in “The Fourth Son,” Bobby had to choose between keeping Jock’s commitment to Brady York and honoring a deal Bobby made himself. In “Executive Wife,” he has an opportunity to get back into business with the cartel, but he’s once again hamstrung by Ewing Oil’s commitment to Brady.

At least this time around, Bobby’s dilemma leads to one of “Dallas’s” all-time great scenes: Bobby and Jock’s showdown at the Cattleman’s Club, where the golden son confronts his beloved father over Jock’s decision to deplete Ewing Oil’s cash reserves without first checking with Bobby.

This is where Jim Davis ferociously delivers Jock’s famous line that “real power is something you take.” The dialogue perfectly encapsulates the Ewings’ approach to life, which explains why TNT’s “Dallas” had J.R. repeat the line to John Ross in its recent “The Price You Pay” episode.

“Executive Wife” also features the scene that inspired artist Ro Kim’s classic classic painting of Jock, which shows up after the character’s death during “Dallas’s” fifth season and becomes one of the show’s most enduring props.

In the scene, Jock stands in a Southfork pasture with Ray and vents his frustration with Bobby’s management of Ewing Oil. Davis wears the same straw hat, blue-and-white checked shirt and gold medallion he does in the painting, so watching him here is a bit like seeing the portrait spring to life.

If only that were really possible.

Grade: B

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Picture perfect

‘EXECUTIVE WIFE’

Season 4, Episode 10

Airdate: January 9, 1981

Audience: 26.4 million homes, ranking 1st in the weekly ratings

Writer: Rena Down

Director: Leonard Katzman

Synopsis: Jock puts Bobby in a bind when he invests in his friend Punk Anderson’s plan to build a resort at Takapa Lake, depleting Ewing Oil’s cash reserves. Bobby is too busy with work to pay attention to Pam, who allows herself to be tempted by dashing magazine publisher Alex Ward. J.R. Lucy and Mitch decide to get married before he graduates from medical school.

Cast: Barbara Babcock (Liz Craig), Bel Geddes (Miss Ellie Ewing), Michael Bell (Les Crowley), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Joel Fabiani (Alex Ward), Meg Gallagher (Louella), Ted Gehring (Brady York), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jerry Haynes (Pat Powers), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Sherill Lynn Katzman (Jackie), Ken Kercheval (Cliff Barnes), Leigh McCloskey (Mitch Cooper), Jeanna Michaels (Connie), Victoria Principal (Pam Ewing), William Smithers (Jeremy Wendell), Charlene Tilton (Lucy Ewing), Morgan Woodward (Punk Anderson)

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

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Executive Wife, Fourth Son, Jenna’s Return, Jim Davis, Price You Pay, Ro Kim, TNT

Critique: ‘Dallas’ Episode 63 – ‘The Prodigal Mother’

July 24, 2012 by Chris Baker 13 Comments

The lady in Houston

“The Prodigal Mother” reminds me of one of those “women’s pictures” from the 1950s. The episode marks the end of Pam’s search for her long-lost mother, and it’s as gorgeously soapy as anything Douglas Sirk directed. I love it.

More than anything, “The Prodigal Mother” is distinguished by two big, memorable monologues. This is the first script from David Paulsen, who became one of “Dallas’s” most prolific scribes, and boy, does he knock it out of the park with these speeches.

The first speech comes when Pam visits Rebecca Wentworth, the fabulously wealthy woman that Pam’s private detective has identified as Rebecca Barnes, whom Pam and Cliff believed died long ago. In the scene, Rebecca’s maid escorts Pam into the fern-festooned solarium inside her Houston mansion. Rebecca, draped in what appears to be sea-green satin, stands at the other end, leaning against a column. “Won’t you come in?” she says. It’s the kind of thing people only say in movies.

Victoria Principal steps forward and begins Pam’s speech, which is worth recalling it in its entirety:

I’ve rehearsed it a dozen times. Now the words just won’t come out. I know who you are. When I was a child, I used to think about you every day: My mother, who died and went to heaven. And I used to wonder what you were like. What you smelled like. Sometimes, I even thought I could remember. When Digger told us that you died, I could never really accept that. But when Digger was dying and told us about you and Hutch McKinney, I don’t exactly know why, but somehow I knew that you were still alive. And I’ve been searching for you since that day. Everybody told me I shouldn’t. That it was useless. My brother and my husband said that I’d just be more hurt when I found out that you were really dead. But I found you. You’re alive. And I’m so happy. I don’t know how to tell you how happy I am.

Principal’s delivery is really lovely. It feels very brave: With every line, the actress seems to reveal a little more of herself, so much so that by the end of the monologue, her lip looks like it’s quivering uncontrollably. Principal does this a lot during her crying scenes on “Dallas,” and while I sometimes find it a bit much, I don’t here. Here, it’s perfect.

Mama Said

The daughter in Dallas

“The Prodigal Mother’s” other big speech comes toward the end of the episode, when Rebecca takes Pam on a stroll through the park and and finally admits she is her mother. I remember watching this scene as a child and being struck by Rebecca’s line about how she “closed a door” in her mind. That line has always stuck with me.

Just as Principal shines during her monologue, Priscilla Pointer does a terrific job delivering hers. Like Barbara Bel Geddes, Pointer is a New York stage veteran who knows how to tone things down for the more intimate confines of television. Pointer’s mannerisms and expressions never feel anything less than natural. She will always be one of my favorite “Dallas” actresses.

I also love how the scene between Pam and Rebecca sounds. When it begins, it’s so quiet – almost eerily so. Aside from the dialogue, the only thing we hear are the women’s heels on the sidewalk and a few birds chirping in the distance. It’s as if the whole world has come to a standstill, and for these two characters, I suppose it has.

And even though Rebecca did an awful thing by abandoning her two small children, this scene makes it impossible for me to dislike her. For this, Paulsen deserves a lot of credit. His dialogue humanizes Rebecca, particularly when she explains why she never divorced Digger. “I was afraid that if I tried, he’d find me, and drag me back to that awful life,” she says. Based on what we know about bitter, miserable Digger, can we honestly blame her? Rebecca might not deserve our respect, but after this scene, she’s at least entitled to some of our sympathy.

Of course, the most haunting part of Pam and Rebecca’s exchange is how it foreshadows Pam’s own tragic character arc, which I hope TNT’s “Dallas” will someday resolve. Imagine seeing Principal sitting on a park bench with Jesse Metcalfe as Pam explains why she abandoned Christopher and Bobby, all those years ago. If done well, it would be even more powerful than what we witness in “The Prodigal Mother.”

Party Lines

The grand sweep

In another Sirkian masterstroke, before Rebecca comes clean to Pam, Paulsen’s script has the woman run into each in the most glamorous of settings: the black-tie fundraiser for gubernatorial candidate Dave Culver, which the Ewings attend. I love how Irving J. Moore directs the sequence, positioning his camera in the crowd as the Ewings arrive with a grand, all-smiles, glad-handing sweep through the ballroom.

Moore also allows the viewer to eavesdrop on the characters as they comment on the action around them. My favorite exchange begins when Sue Ellen slyly points out the guest of honor is “about as liberal a politician as the state of Texas allows. Ewing money usually never flows in that direction.” J.R.’s response that “Ewing money always flows in the direction of power” is perfect – and perfectly plausible.

“The Prodigal Mother’s” other great scene is its last. Pam, having just agreed to keep Rebecca’s identity secret, comes to Cliff’s apartment to tell him what she learned during her visit to Houston. As expected, Cliff, who believes Pam shouldn’t be digging up the past, doesn’t try to conceal his indifference.

“So, do we have a mother?” he asks.

Pam is silent. Cliff again asks what she learned during her trip.

Finally, she lies and tells him her detective was mistaken. Principal then delivers the episode’s final line, which is its best. “The lady in Houston,” she says, “was just a lady in Houston.”

Oh, that line gets me every time. What sacrifice! What noble suffering! What exquisite agony!

What a great episode.

Grade: A+

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Benchwarmers

‘THE PRODIGAL MOTHER’

Season 4, Episode 9

Airdate: January 2, 1981

Audience: 28.1 million homes, ranking 2nd in the weekly ratings

Writer: David Paulsen

Director: Irving J. Moore

Synopsis: Pam’s detective tracks down her mother: Rebecca Wentworth, the wife a wealthy Houston industrialist. Rebecca tearfully admits her real identity to Pam but says she doesn’t want her ill husband to know the truth. Lucy proposes to Mitch, who accepts.

Cast: Barbara Bel Geddes (Miss Ellie Ewing), Michael Bell (Les Crowley), Karlene Crockett (Muriel Gillis), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Tom Fuccello (Senator Dave Culver), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Jerry Haynes (Pat Powers), Richard Herd (John Mackey), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), John Martin (Herbert Wentworth), Leigh McCloskey (Mitch Cooper), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Morgan Woodward (Punk Anderson)

“The Prodigal Mother” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbara Bel Geddes, David Paulsen, Irving J. Moore, Jesse Metcalfe, Priscilla Pointer, Prodigal Mother, TNT, Victoria Principal

Critique: ‘Dallas’ Episode 62 – ‘Trouble at Ewing 23’

July 23, 2012 by Chris Baker 21 Comments

Bobby Ewing, Dallas, J.R. Ewing, Larry Hagman, Patrick Duffy, Trouble at Ewing 23

Little brother, big trouble

“Trouble at Ewing 23” is a decent “Dallas” episode until the fourth act, when everything falls apart. Or is blown apart, to be more precise.

The episode starts off strongly when Ray runs into Miss Ellie in the stable, where he thanks her for welcoming him into the family. Ellie is gracious, but she also expresses concern for Ray. “You’re a Ewing now,” she says. “That’s a lot to take on all at once. I know.” Barbara Bel Geddes and Steve Kanaly each do a nice job in this scene, which helps establish the special bond Ellie and Ray develop as “Dallas” progresses.

“Trouble at Ewing 23’s” other highlight: the scene where Pam drops by Cliff’s apartment unannounced, not knowing Donna is about to arrive for a romantic dinner. When Pam spots a bottle of imported wine chilling in the corner, she realizes Cliff is expecting a woman and teases him.

“It’s the first date,” she says. “Chinese on the second, tacos on the third. Funny how I know all this, isn’t it?” This is a cute scene, well played by Ken Kercheval and Victoria Principal, whose on-screen relationship is one of “Dallas’s” most believable.

Nice moments like these stand in contrast with the rest of “Trouble at Ewing 23,” which isn’t very good. By the fourth act, the show has abandoned everyone else’s storylines to focus on the subplot about a disgruntled Ewing Oil employee’s threat to blow up the drill site in the episode’s title, which J.R. shut in “A House Divided” to prevent Cliff from sharing in the profits.

I like the idea of showing how J.R.’s vindictiveness has unintended consequences – it turns out Gillis, the angry worker, wants revenge because he lost his job when the field closed – but the plot’s execution is lame.

Why does Gillis demand use of the Ewing jet to make his escape? Isn’t he afraid J.R. and Bobby will have police waiting to arrest him when he lands? When the field crew goes looking for Gillis’s hidden-in-plain-sight bombs, why don’t they find them? How long does it take to scour an oil field, anyway?

When the field finally goes up in flames, the special effects are spectacularly fake, but I don’t get too worked up about that. After all, this production is by Lorimar, not Lucasfilm.

Besides, by the time Gillis hits the detonator, my willingness to suspend my disbelief has long since disappeared.

Grade: C

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Pain at the pumps

‘TROUBLE AT EWING 23’

Season 4, Episode 8

Airdate: December 19, 1980

Audience: 26.3 million homes, ranking 1st in the weekly ratings

Writer: Louie Elias

Director: Leonard Katzman

Synopsis: Miss Ellie welcomes Ray. Donna tells him she’s dating Cliff. Pam’s detective finds evidence her mother didn’t die. A disgruntled employee threatens to blow up Ewing 23 if Bobby doesn’t meet his ransom demands. J.R.’s security guards shoot the worker, who detonates the explosives before dying.

Cast: Barbara Bel Geddes (Miss Ellie Ewing), Michael Bell (Les Crowley), Ray Colbert (Gillis), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), John Furlong (airport manager), Meg Gallagher (Louella), Linda Gray (Sue Ellen Ewing), Laurence Haddon (Franklin Horner), Larry Hagman (J.R. Ewing), Richard Herd (John Mackey), Susan Howard (Donna Culver), Sherril Lynn Katzman (Jackie), Ken Kercheval (Cliff Barnes), Jeanna Michaels (Connie), Victoria Principal (Pam Ewing), Charlene Tilton (Lucy Ewing), Warren Vanders (Harry Owens)

“Trouble at Ewing 23” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Barbra Bel Geddes, House Divided, Ken Kercheval, Steve Kanaly, Trouble at Ewing 23, Victoria Principal

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

July 19, 2012 by Chris Baker 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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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.

Filed Under: Critiques, Critiques (TNT), Opinion Tagged With: Brenda Strong, Cat and Mouse, Changing of the Guard (2012), Charlene Tilton, Collateral Damage, Jesse Metcalfe, Jordana Brewster, Julie Gonzalo, Linda Gray, Patrick Duffy, Red File Part 1, TNT

Critique: ‘Knots Landing’ Episode 18 – ‘Kristin’

July 18, 2012 by Chris Baker 7 Comments

Dallas, James Houghton, Kenny Ward, Knots Landing, Kristin, Kristin Shepard, Mary Crosby

Killer smile

I’ve always had a soft spot for television crossovers. When I was a kid, I loved seeing Mary Richards visit Rhoda Morgenstern in New York and watching Steve Austin and Jamie Somers fight Bigfoot together. Somehow, crossovers made television seem more real: If Mork could show up on the Cunninghams’ doorstep, why couldn’t he show up on mine?

All these years later, I still think it’s cool when Kristin Shepard pops in on Gary and Valene Ewing, even if “Kristin,” the “Knots Landing” episode that brings her to town, is a little lackluster. (Trivia: “Kristin” also features Tom Fuccello, “Dallas’s” Senator Dave Culver, although he’s somewhat confusingly cast as a different politico here.)

This episode aired about a month after Kristin was fingered as J.R.’s shooter on “Dallas,” and I’m sure that’s no coincidence. If CBS’s goal was to send Kristin to Southern California so “Knots Landing” could soak up some “Who Shot J.R.?” Nielsen afterglow, the ploy worked: On the night it debuted, “Kristin” was seen in 15.6 million homes, or about 2 million more than watched “Knots Landing” the previous week.

Too bad the show didn’t come up with something more interesting for Kristin to do. Her fling with Kenny Ward feels like more of the same. On “Dallas,” Kristin slept with J.R. and tried to seduce Bobby. Is she only capable of chasing married men?

The change of scenery does reveal another side to the character, albeit fleetingly. When Kristin confesses her pregnancy to Val, she seems genuinely frightened about her future. This might be the character’s first sincere moment since Colleen Camp played the role during “Dallas’s” second season.

Interestingly, something similar happened when Lucy visited Gary and Val in “Home is For Healing.” In that first-season “Knots Landing” episode, Lucy suddenly became a more interesting, believable character. What is it about Knots Landing that brings out the best in the women of “Dallas”?

Of course, as soon as we catch this glimpse into Kristin’s humanity, she decides she’s overstayed her welcome and departs Gary and Val’s. I understand why the show sends her packing: Kristin arrived in town on the heels of Abby Cunningham, and the cul-de-sac only had so much room for man-stealing hussies.

Still, I wish Mary Crosby had hung around a few episodes longer. With more time, “Knots Landing” might have turned Kristin into a three-dimensional character, something “Dallas” never really achieved.

Grade: B

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Bad to the last drop

‘KRISTIN’

“Knots Landing” Season 2, Episode 5

Airdate: December 18, 1980

Audience: 15.6 million homes, ranking 29th in the weekly ratings

Writer: Diana Gould

Director: Nicholas Sgarro

Synopsis: When Kristin is arrested at a Hollywood party, she turns to Val, who invites Kristin to stay with her and Gary. Kristin has a fling with neighbor Kenny Ward, whose wife Ginger walks in on them, prompting Ginger to sue for divorce. Kristin confesses her pregnancy to Val and decides to leave, much to Gary’s relief.

Cast: Eric Coplin (Mark Russelman), Mary Crosby (Kristin Shepard), Peter Elbling (Al Tuna), Tom Fuccello (Ed Kroft), Danny Gellis (Jason Avery), David Haskell (Dr. Karl Russelman), James Houghton (Kenny Ward), Kim Lankford (Ginger Ward), Michele Lee (Karen Fairgate), Constance McCashin (Laura Avery), Donna Mills (Abby Cunningham), Don Murray (Sid Fairgate), John Pleshette (Richard Avery), Ted Shackelford (Gary Ewing), Louise Vallance (Sylvie), Joan Van Ark (Valene Ewing)

“Kristin” is available on DVD. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Colleen Camp, Home is For Healing, Knots Landing, Kristin, Mary Crosby, Tom Fuccello, Who Shot J.R.?

Critique: ‘Dallas’ Episode 61 – ‘The Fourth Son’

July 17, 2012 by Chris Baker 22 Comments

Dallas, Fourth Son, Ray Krebbs, Steve Kanaly

Rising son

In “The Fourth Son’s” third act, Jock tells Ray he’s his father, a fact the Ewing patriarch didn’t discover until earlier in the episode but a truth he’s probably always known, deep down. The scene is beautifully written and performed, and no matter how often I watch it, it always moves me. “Dallas” simply doesn’t get better than this.

The sequence opens with Jock’s Lincoln Town Car kicking up dust as it comes down the gravel road toward Ray’s newly constructed rambler. Director Irving J. Moore brings us into the car for a close-up of Jim Davis, who looks serious as always but more pensive than usual. The Ewing patriarch is in the driver’s seat, but it isn’t clear where this journey is going to take him. You can feel the uncertainty.

When Jock parks the car and gets out, Ray puts down the ax he’s using to chop wood, takes the older man by the arm and leads him to the patio table. “Come on out of the sun,” Ray says, and with that single, small gesture, we’re reminded both of Jock’s mortality and the ranch foreman’s abiding affection for his boss and mentor.

Scriptwriter Howard Lakin’s dialogue in the conversation that follows is so good because it tells us so much. Almost every line signals something more than what’s actually being said.

Ray recalls his mother’s memories of her nursing days (“Seems like the only time in her life she ever felt useful.”) and we realize what a sad, unfulfilled life this woman must have led. He suggests telling the truth about his paternity could cause problems for Jock’s “family” and we known precisely what family member he’s referring to. Jock reminds Ray he’s “got a lot at stake here” and the line – along with the slight smile from Davis that accompanies it – lets us know how impressed Jock is with Ray’s willingness to sacrifice his right to share in the Ewing riches.

Davis is wonderful in this scene – strong and solemn, yet full of love and pride – and so is Steve Kanaly, who wears the mantle of plainspoken humility so convincingly, I wonder how much “acting” is taking place here. I don’t know if Davis and Kanaly were friends in real life, but my goodness, in this exchange, they make me believe in the respect their characters feel for each other.

Matters of Honor

Amos Krebbs, Dallas, Fourth Son, William Windom

She never let him forget

The crux of Jock and Ray’s conversation – Jock wants to acknowledge Ray as his son, while Ray is “happy to leave things just the way they are” – reflects “The Fourth Son’s” broader theme, which is how doing the honorable thing sometimes means hurting others.

We see this at the end of the episode, when Jock summons Ray and the Ewings to the Southfork living room and tells them the ranch’s longtime foreman is the product of a wartime affair Jock confessed to Miss Ellie long ago. For Jock, acknowledging Ray is the right thing to do, but Ellie’s stony expression makes it clear her husband’s past indiscretion still hurts.

In the same spirit, Ray’s willingness to keep his paternity secret echoes the decision his mother, Margaret, made years earlier. For her, not telling Jock about Ray was a necessary sacrifice – but how did that affect Amos?

When we meet him in “The Fourth Son,” he’s a loathsome figure – character actor William Windom is perfectly unsavory in the role – but was Amos always this awful? Lakin’s dialogue suggests the character had a hard-knock life: He was a bastard son and a “4-F” who wasn’t physically qualified to serve his country, and then his fiancée came home from the war pregnant with another man’s child.

Yet Amos married Margaret anyway. Why? Was he willing to give Margaret his name and raise Ray as his own because he felt sorry for her? Or was it because he loved her? Either way, did he end up abandoning his family because the reality of the situation proved too difficult? At one point, Amos tells Jock, “I know she was in love with you. She never let me forget it.” The mystery of what really happened in Kansas lingers.

Questions of integrity and sacrifice also figure into Bobby’s storyline, where he must choose between keeping Jock’s commitment to Mort Wilkinson, a longtime Ewing Oil client, and honoring a deal Bobby himself made with Brady York. At one point, Bobby is ready to abandon Wilkinson – until he’s told Jock sealed the deal 20 years earlier with nothing more than a handshake. “That makes it sacred,” Bobby says.

The subplot where Mr. Eugene helps Bobby expose Sally’s dirty dealings also offers a play on “The Fourth Son’s” central theme. Eugene gives Bobby “carte blanche” to seek retribution from Sally, but the old man warns him: “You remember this: I plan to keep her.” A few moments later, while gazing at a framed picture of Sally, Eugene says, “What God and money hath joined together, let no man put asunder.”

Fathers and Sons and Fathers and Sons

Dallas, Fourth Son, Jim Davis, Jock Ewing

Grand father

Ultimately, “The Fourth Son” is an episode about fatherhood, which becomes one of the “Dallas” franchise’s most resilient themes, particularly in TNT’s new series.

Interestingly, the story told here wasn’t planned: According to Barbara Curran’s 2005 book “Dallas: The Complete Story of the World’s Favorite Prime-Time Soap,” Kanaly had grown frustrated with his role by the end of the third season, so the producers decided to make his character Jock’s illegitimate son to keep the actor from leaving the show. In retrospect, it seems like this is the direction “Dallas” was headed in all along. (Remember the classic second-season episode “Triangle,” when Jock gave Ray a plot of Southfork land?)

The irony is that while the “The Fourth Son” succeeds in rooting Ray more firmly in the “Dallas” mythos, it ends up doing just as much to burnish Jock’s reputation. After this episode, there are four Ewing sons but still only one father, and watching the way he acknowledges Ray makes us better understand why Jock is so revered.

Grade: A+

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Amos Krebbs, Dallas, Fourth Son, Jim Davis, Jock Ewing, William Windom

His two dads

‘THE FOURTH SON’

Season 4, Episode 7

Airdate: December 12, 1980

Audience: 27.9 million homes, ranking 1st in the weekly ratings

Writer: Howard Lakin

Director: Irving J. Moore

Synopsis: The sinking of the Bullocks’ tanker almost forces Bobby to stiff one of Ewing Oil’s longtime clients. When Bobby discovers J.R. and Sally faked the loss of the oil aboard the tanker, he turns the tables on them. Ray’s father Amos arrives and announces Ray’s real father is Jock, who welcomes Ray into the family.

Cast: E.J. André (Eugene Bullock), Barbara Bel Geddes (Miss Ellie Ewing), Joanna Cassidy (Sally Bullock), John Crawford (Mort Wilkinson), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Ted Gehring (Brady York), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Culver), Ken Kercheval (Cliff Barnes), Leigh McCloskey (Mitch Cooper), Jeanna Michaels (Connie), Victoria Principal (Pam Ewing), Charlene Tilton (Lucy Ewing), William Windom (Amos Krebbs)

“The Fourth Son” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.