Critique: TNT’s ‘Dallas’ Episode 20 – ‘Guilt and Innocence’

March 28, 2013 by 49 Comments
Christopher Ewing, Dallas, Guilt and Innocence, Jesse Metcalfe, TNT

Man of the hour

“Dallas’s” second-season plotlines don’t advance much in “Guilt and Innocence,” which is disappointing to those of who are desperate for more clues in the “Who Killed J.R.?” mystery. On the other hand, this episode offers a nice showcase for the “Dallas” cast, which has become one of television’s most reliable ensembles. The most impressive performances come from Jesse Metcalfe, who is especially moving in the scene where the guilt-ridden Christopher weeps inside the hospital chapel, and Julie Gonzalo, who breaks my heart as Pamela suffers through the final hours of her doomed pregnancy.

The last scene in “Guilt and Innocence” is the most memorable. John Ross and Christopher rush into Pamela’s hospital room as her doctor and nurses scramble to save the lives of her unborn twins. Afton is there too, clutching her daughter’s hand. How many people are present altogether? I couldn’t tell you. Director Jesse Bochco unfurls the action in a series of quick cuts, making it feel chaotic and real. We catch glimpses of Pamela writhing in agony, John Ross and Christopher watching with worried expressions, the doctor barking orders. Someone yells, “Heart rate’s dropping on Baby A!” And then: “Heart rate’s dropping on Baby B!” The motion slows. The machinery buzzes. Soon there are no other sounds, except for a faint piano score. The final shot is the monitor as the two heart rates flatline, one by one.

Another dramatic highlight comes at the beginning, when a frantic Bobby races through the emergency room, calling the missing Ann’s name. Their reunion a few moments later, when Bobby forgives his wife for keeping so many secrets from him during their marriage, makes me realize how invested I’ve become in them as a couple. Robert Rovner’s script also gives us a handful of typically intense scenes with the schizoid Rylands, all three of whom grow a little weirder with each episode, as well as several lighter moments. The best of these: Linda Gray’s breezy exchange with Lee Majors, who proves as charismatic as ever; the moment John Ross calls Pamela “darlin’;” and Sue Ellen’s pot-calling-the-kettle-black description of Afton: “She’s drama.”

With Pamela and wild-haired Judith Ryland both laid up, almost all of the action in “Guilt and Innocence” takes place in the hospital. This makes the episode reminiscent of “Trial and Error,” an earlier second-season episode that unfolded almost entirely in the courthouse during Ann’s trial. In that installment, the legal proceedings ended up being less about Ann shooting Harris than her failings as a wife and mother. Similarly, Pamela’s pregnancy crisis becomes a vehicle for introspection. Christopher wonders if he took too many risks in his quest to build Ewing Energies, while Pamela questions her past schemes. In a poignant moment, she stares at the fetal heart monitor and asks John Ross, “Do you think this is karma … for all the bad that I’ve done?”

I wish “Guilt and Innocence” had taken this idea a little further. When Afton arrives at Pamela’s bedside, she refers to “all the bad choices” her daughter made in an attempt to “forge a relationship” with Cliff, but nothing more is said about Pamela’s deceptions, which aren’t trivial. This is a young woman who spent two years lying about her identity – then married Christopher – in order to infiltrate the Ewings. It makes Afton’s anger toward Christopher feel a little unfair. I understand that she blames him for Pamela’s accident, but shouldn’t she have a little sympathy for the man her daughter conned? (For that matter: Christopher and Pamela are still married? I thought their annulment occurred several episodes ago.)

Along these lines, while Sue Ellen’s lingering bitterness toward Afton is understandable, I’m a bit baffled by Bobby’s hostility toward her (“Pull in your claws, Afton”). Afton once saved his life; you’d think he’d be a little nicer. On the other hand: I like how “Guilt and Innocence” restores a little bit of the edge Afton displayed when she arrived on “Dallas” in the early ’80s. Bochco’s shot of Audrey Landers lurking around the hospital corner is inspired, recalling the way Afton used to slink around Southfork. I also applaud the scene where Afton serenades Pamela with her favorite childhood lullaby, a charming tribute to Afton’s roots as “Dallas’s” resident songstress. (I wonder if Josh Henderson, no slouch in the singing department himself, wanted to join in?)

The only thing that would’ve made Afton’s homecoming complete is having Cliff around. More than anything, I want to know how he feels about himself after endangering Pamela’s life. (I hope we get more than Harris’s one-sided conversation with Cliff in “Guilt and Innocence,” when he apparently expresses no regret for his actions.) I also believe the show could use Afton to shed a little light on what turned Cliff so dark, so hopefully “Dallas” will bring Landers and Ken Kercheval together in a later episode. Just please don’t make it a Gary-and-Valene-style drive-by reunion.

The other item on my “Dallas” wish list: More “Who Killed J.R.?” As much as I appreciate the tantalizing clue dropped at the end of “Guilt and Innocence” (Pam was alive in 1989!), I hope the show’s next episode will put the mystery surrounding J.R.’s death front and center. I realize the people who make “Dallas” are crafting this storyline on the fly, weaving it into scripts that were originally written to include Larry Hagman. But I can also feel the storyline losing momentum. The audience needs to see the Ewings get serious about finding the person responsible for the death of our hero. If it doesn’t happen soon, the question won’t be who killed J.R., but why doesn’t “Dallas” seem to care?

Grade: B

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Afton Cooper, Audrey Landers, Dallas, Guilt and Innocence, TNT

Drama mama

‘GUILT AND INNOCENCE’

Season 2, Episode 10

Telecast: March 25, 2013

Writer: Robert Rovner

Director: Jesse Bochco

Audience: 2.6 million viewers on March 25

Synopsis: After the rig explosion, Pamela is rushed to the hospital. Afton arrives to comfort her daughter, who loses her unborn twins after emergency surgery. Bobby forgives Ann. Sue Ellen turns to old flame Ken Richards, chairman of the regulatory board investigating the explosion, who divulges the rig might have been sabotaged. John Ross and Christopher figure out Cliff is trying to devalue Ewing Energies, while guilt-ridden Drew threatens Vickers if he tries to expose Drew’s role in the bombing. While recovering from her fall, Judith tries to turn Emma against Harris, who responds by having Judith drugged and shipped to a rehabilitation center.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Jordana Brewster (Elena Ramos), Laura Kai Chen (Dr. Chang), Patrick Duffy (Bobby Ewing), Alex Fernandez (Roy Vickers), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Shane Jacobsen (Zach McGuire), Audrey Landers (Afton), Judith Light (Judith Ryland), Lee Majors (Ken Richards), Jesse Metcalfe (Christopher Ewing), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Annie Wersching (Alison Jones)

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

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The Dal-List: Afton Cooper’s 5 Greatest Hits

March 26, 2013 by 14 Comments
Afton Cooper, Audrey Landers, Dallas

Dallas idol

Audrey Landers’ new album “Dallas Feels Like Home” includes songs she wrote and performed during her run as Afton Cooper on the original “Dallas,” as well as a special tune from her guest shot on “Guilt and Innocence,” the TNT revival’s most recent episode. Here are my five favorite selections.

Afton Cooper, And Away We Go, Audrey Landers, Dallas

Return engagement

5. “It Takes 2 to Fly.” Five years after leaving Dallas, Afton returns to town in the 12th-season episode “And Away We Go.” She’s become a mother to little Pamela Rebecca and found success as a singer, but there’s someone missing from her life: Cliff, whom Afton still loves, even if she doesn’t want to admit it. No matter. When we see her perform this synthesizer-backed number, the lyrics tell us everything we need to know about what’s going on inside Afton’s heart. A sample: “I’ve got to believe / All alone I never got too far / But together we can touch a star / I can’t deny / It takes two to fly.”

Afton Cooper, Audrey Landers, Dallas, Gathering Storm

Better off without him

4. “Let Me Down Gently.” Oh my, what a sad song! When Afton arrives in Dallas as an ambitious-but-naïve young woman, J.R. instantly pounces and sweeps her off her feet. Their fling goes nowhere, leaving Afton to pour out her heart with this beautiful piano ballad, which she performs in the fourth-season episode “The Gathering Storm.” Sample lyrics: “I know I’m not your first love / Though you are surely mine / Suddenly I know what it means / When they say that love is blind / Because when we kiss I close my eyes / Tight so I won’t see / The love that isn’t there / When you’re looking back at me.” You’re breaking our hearts, Afton!

Afton Cooper, Audrey Landers, Cliff Barnes, Dallas, Ken Kercheval, Mission to Moscow

Tortured love

3. “Through the Eyes of Winter.” In the 12th-season episode “Mission to Moscow,” Cliff (Ken Kercheval) begs Afton to give him another chance. “If we lose each other this time, we may never find each other again. I don’t use the word ‘love’ lightly, but I love you,” he says. This song, which Afton performs in the episode’s first act, suggests she’s beginning to question her decision to leave Cliff all those years ago. The chorus: “Through the eyes of winter / I see I was wrong / Through the eyes of winter / I got to be strong / I may have been blind / But I never meant to be / Now I see through the eyes of winter.”

Afton Cooper, Audrey Landers, Dallas, Guilt and Innocence, John Ross Ewing, Josh Henderson, Julie Gonzalo, Pamela Rebecca Barnes Ewing, TNT

A song from Mama

2. “Mockingbird.” In “Guilt and Innocence,” when a grownup and very pregnant Pamela (Julie Gonzalo) is injured in an explosion that Cliff secretly engineered, Afton rushes to the young woman’s side and serenades her and John Ross (Josh Henderson) with a nostalgic rendition of the “Mockingbird” lullaby. It’s a charming moment – and Afton’s most intimate, poignant performance. The version Landers recorded for “Dallas Feels Like Home” fits well with the new show’s musical style, right down to the emphasis on strings, a signature of “Dallas” composer Rob Cairns.

Afton Cooper, Audrey Landers, Dallas, Quest

Great singer, great song

1. “Steal Me Away.” Afton’s signature song. She performs it in the fourth-season episodes “Making of a President” and “The Quest,” soon after her affair with J.R. begins. The lyrics nicely capture Afton’s starry-eyed sense of extra-marital infatuation: “Take the side road, baby / Let the moonlight guide your way / Don’t hesitate / Sneak round the back door, baby / I’ll be waiting there for you / You know what to do.” The version of “Steal Me Away” on Landers’ album is gorgeous; best of all, “Dallas” fans will finally get to hear the song’s second verse. Another bonus: The digital booklet that comes with the album includes a reproduction of the sheet music Landers used to compose the song.

What are your favorite performances from Afton Cooper? Share your choices in the comments section below and read more Dal-Lists.

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Critique: TNT’s ‘Dallas’ Episode 19 – ‘Ewings Unite!’

March 20, 2013 by 92 Comments
Cliff Barnes, Dallas, Ewings Unite, Ken Kercheval, TNT

The twist

There’s a lot to like about “Ewings Unite!,” including Ken Kercheval’s chilling performance in the final scene and the sensational, old-school soap opera showdown between Joan Van Ark and Linda Gray, which is destined to become a “Dallas” classic. Unfortunately, this episode also gives us plenty to lament. Valene’s eagerly awaited reunion with Gary never really happens, there’s seemingly little movement in the “Who Killed J.R.?” mystery, and the bombshell dropped during J.R.’s will reading is silly. This production isn’t just missing the old Hagman magic. Logic has taken a holiday too.

The will reading offers a welcome cameo from the wonderful Barry Corbin, who portrayed Sheriff Washburn on the old “Dallas” and appears here as J.R.’s lawyer. Bruce Rasmussen’s script honors J.R.’s mischievousness by having him leave a bottle of scotch to recovering alcoholic Gary, while Bobby inherits J.R.’s collection of cowboy boots. (This might be an inside joke. Hagman memorably called cowboy boots “the most uncomfortable mode of transport ever invented.”) I’m not going to complain about the omission of absent characters – a full recitation of J.R.’s bequests could have consumed half the episode – but I will gripe about the big surprise: It seems Miss Ellie waited until after J.R.’s death to leave half of Southfork to John Ross.

Ellie’s explanation comes in a letter read by Corbin’s character: “My son J.R. was many things, but he was not a rancher. That’s why I left my beloved Southfork to Bobby. But I hope you understand, Bobby, that J.R.’s sins should not be visited upon my grandson, John Ross.” Come again, Mama? As much as I like the idea of Ellie one-upping J.R. from beyond the grave, this defies belief. Set aside the fact that Ellie and second husband Clayton deeded Southfork to Bobby toward the end of the original series. In the new “Dallas’s” timeline, she left the ranch to Bobby upon her death more than a decade ago. Now Ellie is able to change those terms? I’m no lawyer, but how is this legally possible?

If the show’s goal is to pit John Ross against his uncle – effectively allowing John Ross to take his father’s place in this franchise’s central conflict of J.R. versus Bobby – then I’m all for it. I also like the idea that John Ross’s stake in the ranch means he’ll probably take up residence at Southfork, which I hope will set the stage for more old-fashioned Ewing family gatherings. Still, I wonder: Couldn’t the show have achieved this new power structure without sacrificing its credibility?

“Ewings Unite!” also suggests Cliff’s company, Barnes Global, is a rebranded version of the old Barnes/Wentworth conglomerate he ran on the old show. This also seems to contradict established “Dallas” lore – didn’t Cliff long ago relinquish his stake in those companies? – but I can live with this change since the composition of his corporate assets always seemed needlessly confusing. I’m more bothered by the revisionism in Elena’s storyline. When she challenges Christopher over his blackmail scheme, she declares, “This is why I wanted out of the company.” Whoa! Didn’t Sue Ellen oust Elena from the company against her will? Never mind the old show; if the new “Dallas” isn’t going to respect its own history – and by “history,” I mean stuff that happened three episodes ago – why should we?

The resolution of Gary’s mini-arc and Val’s return yield more mixed feelings. Van Ark is a hoot in the scene where Val confronts Sue Ellen (“Once a bitch, always a bitch!”), a marquee battle between two of television’s greatest soap queens. This doesn’t feel much like the Val I remember, but I like the idea that Van Ark’s character has grown stronger and more confident. “Poor Val” appears to be a memory. I also adore Ted Shackelford’s final scene with Gray, when Sue Ellen sweetly urges Gary to return to his wife before it’s too late. “One day she may be gone and you don’t want to regret the loss of every moment you could have spent with her,” Sue Ellen says. It’s a nice reminder of the wisdom Sue Ellen has gained, as well as the fact that her devious behavior in this episode stems from her grief.

But as much as I appreciate these moments, I want to shake my fist at “Dallas” for not giving us a scene where Gary and Val patch things up. Talk about a missed opportunity. Shackelford and Van Ark are every bit as iconic as “Dallas’s” other famous pairings. To split up the couple is one thing; to only give them a brief appearance together in the Southfork foyer and then leave the fate of their marriage unknown is something else. (So much for engendering goodwill among “Knots Landing” fans.) Of course, if the lack of closure means Gary and Val will return next season to resume their storyline, I’ll be the first to eat these words.

I don’t mean to dwell on my disappointments with “Ewings Unite!” There’s plenty here to admire, including seeing John Ross and Christopher work together; the scene where they gang up on Pamela showcases the nice chemistry between Josh Henderson and Jesse Metcalfe, who play off each other almost as easily as Hagman and Patrick Duffy did during “Dallas’s” heyday. I also appreciate Christopher’s flirtation with the dark side, and how the scene where Elena learns about his blackmail scheme echoes one from the old show where Pam tries to bring Bobby back from the edge. Other highlights include the pairing of impressive newcomers Kuno Becker and Emma Bell, as well as the addition of Annie Wersching, who I hope will stick around as sexy, scheming city transportation official Alison Jones.

More good stuff: the scene where Cliff and Harris form their Legion of Doom-style alliance, as well as when Harris dismisses his new partner in crime as a “paranoid old coot” while speaking to Vickers, who is poised to succeed Frank as this show’s go-to henchman. As far as Cliff’s decision at the end of episode to blow up the Ewing Energies rig, even though pregnant Pamela is on board: I wasn’t that shocked. The version of Cliff we see on TNT’s “Dallas” is more twisted and consumed than the one we remember. Like a lot of longtime fans, I wish I knew how Cliff got this way. Still, as ugly as his actions are, they seem perfectly in tune with the person he’s become.

Regardless, how fantastic is Kercheval in that scene? Everything about the actor’s body language – the fidgety hands, the shifty eyes – suggests the torment raging within Cliff in that instant. I also appreciate how director Steve Robin heightens the drama with a glimpse of pregnant Pamela’s belly before the bomb goes off, as well as the shot of Vickers kissing the cross around his neck before he pushes the detonation button.

I’m more surprised to see “Ewings Unite!” spend so little time on the “Who Killed J.R.?” mystery, which got off to such a riveting start at the end of the previous episode. After Bobby fills in John Ross and Christopher on the origin of Cliff’s company, he suggests J.R. was searching for Pam because she might be a “silent partner” in Barnes Global and casually reveals that Katherine is dead. Then again, as Dallas Decoder readers have pointed out, this show usually doesn’t mention older characters unless they’re going to figure into the storyline. Could Bobby’s reference to Katherine be the first step toward bringing Morgan Brittany to the new “Dallas”? Who knows? We might look back on this episode one day and realize it offers the biggest clue of all.

Grade: B

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Dallas, Ewings Unite, John Ross Ewing, Josh Henderson, TNT

Inherit the earth

‘EWINGS UNITE!’

Season 2, Episode 9

Telecast: March 18, 2013

Writer: Bruce Rasmussen

Director: Steve Robin

Audience: 2.7 million viewers on March 18

Synopsis: J.R.’s will splits his share of the Southfork mineral rights between Sue Ellen and John Ross. A letter from Miss Ellie reveals John Ross will become co-owner of the ranch with Bobby. When Bobby decides to resume drilling on Southfork, Sue Ellen, who is still drinking, summons Valene to take Gary home. Cliff tries to undermine Ewing Energies’ bid for the city fuel contract, but John Ross and Christopher blackmail transportation official Alison Jones into giving them the contract. Judith threatens to oust Harris at Ryland Transport, then falls down the stairs. After Cliff and Harris join forces, Harris’s henchman Roy Vickers blackmails Drew into sabotaging the Ewing Energies methane extraction rig. Cliff orders Vickers to blow up the rig, even though it will endanger Pamela and the Ewings.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Jordana Brewster (Elena Ramos), Barry Corbin (J.R.’s lawyer), Patrick Duffy (Bobby Ewing), Alex Fernandez (Roy Vickers), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Ted Shackelford (Gary Ewing), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Joan Van Ark (Valene Ewing), Annie Wersching (Alison Jones)

“Ewings Unite!” 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 18 – ‘J.R.’s Masterpiece’

March 12, 2013 by 96 Comments
Dallas, J.R. Ewing, J.R.'s Masterpiece, Larry Hagman, TNT

Still here

It isn’t quite accurate to call “J.R.’s Masterpiece” the first “Dallas” episode without J.R. Ewing. Our hero is present, even if he isn’t physically there. We see Larry Hagman in the special opening credits, which offer a moving, mournful version of Jerrold Immel’s classic theme music and memorably end with J.R. disappearing into white light. Beyond that, we feel J.R.’s spirit in every scene, every line, every breath. It’s gratifying and even a little exhilarating to see the show honor this character so thoroughly. This will be remembered as the hour that Cynthia Cidre, Michael M. Robin and seemingly everyone else associated with “Dallas” rose to the occasion – and then surpassed it.

The two most unforgettable moments in “J.R.’s Masterpiece” belong to Linda Gray. In the first, Sue Ellen enters J.R.’s bedroom on the night before his funeral and removes from her purse the letter he sent her before his death. She sits at his table, looks at a framed photograph from their second wedding and smiles. Then she notices J.R.’s decanter of bourbon, emblazoned with his name. With the sad country tune “The Bottom” playing in the background, Sue Ellen pours herself a glass and contemplates it for a few moments, just like she did with the wineglass in “Venomous Creatures,” an earlier second-season episode. On that occasion, J.R. arrived on her doorstep and gave her the encouragement she needed to resist temptation. This time around, he isn’t here to save her. And so Sue Ellen downs the bourbon. Hard. And then she pours herself another glass. And then another.

It’s a tense, wrenching scene on its own, but I also appreciate how it echoes one of my favorite moments from TNT’s other great “Dallas” episode, the first-season entry “Family Business.” In that scene, J.R. sits at the same table, glances at a picture of Miss Ellie and takes a swig of bourbon before signing the Southfork deed over to Bobby. In a show where the booze flows as freely as ever, both scenes are about J.R. and Sue Ellen turning to the bottle to find courage they can’t muster on their own. He needs it to do the right thing, she needs it to just get through the night.

Seeing Sue Ellen fall off the wagon is tough for me and other longtime “Dallas” fans who remember how hard she fought to get sober. But I’m also the first to admit that her relapse makes riveting television. I have no idea where “Dallas” will take Gray’s character after “J.R.’s Masterpiece,” but my guess is she won’t return to the path of self-destruction. Sue Ellen isn’t the woman she used to be. She’s wiser, more confident, more aware. We see this during the episode’s other great moment: her mesmerizing eulogy at J.R.’s gravesite, where she confesses her relapse to the other Ewings. “I’m a bit drunk right now,” she says. This line startles me even more than the one at the top of the hour, when the Mexican policewoman announces J.R.’s death. I don’t think we’ve ever seen Sue Ellen acknowledge her demons so forthrightly, which makes me think she’ll find the courage to reclaim her sobriety sooner rather than later.

As remarkable as Sue Ellen’s admission is, the most emotional part of her speech comes when she reads aloud J.R.’s letter. He writes, “For me to apologize now for all the wrongs I’ve done you would take up all the time I’ve got left. So I’m hoping it will suffice for me to say that I was never worthy of you.” The note ends with a request: “When I get back to Dallas, will you have dinner with me?” But that’s not what J.R. is actually asking, is it? He really wants to know if Sue Ellen will forgive him for all those “wrongs.” She knows this too, which is why it’s so heartbreaking when she kneels, touches his casket and sobs, “Yes, yes, J.R. The answer is yes.”

‘He Never Pretended’

Bobby Ewing, Dallas, J.R.'s Masterpiece, Patrick Duffy, TNT

Grand scheme

The other eulogies in Cidre’s script are beautifully written, capturing the essence of each character’s connection to J.R. with an impressive economy of words. In his speech, Bobby says, “Throughout my life, it’s pretty much been easy for me to do good, because I could always count on J.R. to do bad. … Now I have to figure out just what I’m supposed to do in this grand scheme of things.”

When I wrote down this line and looked at it, I realized it could be seen as Bobby’s response to J.R.’s admission last season, when he told Bobby, “I don’t know who I’d be without you.” The line acknowledged what the audience always knew – that J.R. was incapable of checking his worst impulses and needed Bobby to do it for him. Now, hearing Bobby wonder aloud what he’ll do without J.R. raises the intriguing prospect that Patrick Duffy, always the unsung hero of this franchise, will soon be able to show us other sides to his character.

In the other eulogies, Ray recalls fearing how he could never make his father proud the way J.R. did, which isn’t exactly how I remember Jock’s sentiments toward J.R. and Ray, but the speech nonetheless reflects the deep-seated insecurities that always haunted Steve Kanaly’s humble cowboy. Ted Shackelford also does a nice job delivering Gary’s single line (“Every step backwards or forward I ever took in my life was because of J.R.”), which perfectly fits his tortured character – and probably every other Ewing.

The most unexpected tribute comes from Lucy. “Things I thought were so horrible that J.R. did just seem honest now,” she says. “He never pretended to be anything other than himself.” It’s surprising to hear Lucy offer admiration for J.R., yet you can’t deny the profundity of her statement. I’m also touched by the shot Robin, the director, gives us of Lucy weeping during the funeral. Given Charlene Tilton’s well-known affection for Hagman in real life, I have no doubt those tears come from the actress’s heart.

It would be wrong to overlook the newer cast members, who are every bit as impressive as the “Dallas” veterans during this sequence. Jordana Brewster’s tears move me when Elena recalls the pep talk J.R. gave her after her father’s death (“Honey, how are you going to make your daddy proud?”), and I also appreciate Jesse Metcalfe’s Duffy-esque stoicism during Christopher’s speech, when he remembers J.R.’s attempt to comfort him after Pam abandoned the family: “I don’t know why your mama left, Christopher. Especially when she had such a good, smart little boy like you. But you’re a Ewing now. So stop crying and behave like one.”

It’s somewhat surprising that Josh Henderson has no lines at J.R.’s burial. Then again, are any needed? The dazed expression Henderson wears throughout this episode and especially at the funeral tells us everything we need to know about what John Ross is feeling.

‘What You Choose to Recall’

Dallas, J.R.'s Masterpiece, Linda Gray, Sue Ellen Ewing, TNT

The bottom

Not all of the dramatic moments in “J.R.’s Masterpiece” happen at the funeral. Duffy and Brenda Strong have a big fight scene that’s been a long time coming, as Bobby lashes out at Ann for keeping so many secrets from him during the course of their marriage. And as with all of the new “Dallas’s” best episodes, the smaller moments are touching too. Christopher comforts Sue Ellen when she breaks down in the morgue. Ray reaches for her hands as she returns to her seat after her eulogy. Bobby sits alone in J.R.’s room and notices his brother’s hat hanging on the back of the chair.

The lighter moments are welcome too. The best of these is seeing Sue Ellen commiserate with Cally and Mandy at the memorial, a surprisingly sweet scene that offers another reminder of how much Sue Ellen has grown. It’s also hard to not get a kick out of Ken Kercheval’s appearance, when Cliff crashes the memorial, ranting and raving about the Barnes/Ewing feud. As much as I’ve come to enjoy Kercheval’s performance on the new “Dallas” as the Godfather-like Cliff, it’s nice to be reminded of his character’s combustible side.

The other highlight of “J.R.’s Masterpiece”: the music. Merle Haggard’s “My Favorite Memory,” with its references to “what you choose to recall,” opens J.R.’s Petroleum Club memorial, setting the stage for the unexpectedly warm reminiscing that follows. I also like the foreboding strings at the top of the hour, when Bobby, Sue Ellen, John Ross and Christopher arrive in Mexico. Equally haunting: what sounds like Alison Krauss’s version of “Down to the River to Pray,” which is interspersed throughout the graveside eulogies. The most memorable song, though, remains Tara Holloway’s spectacular rendition of “The Bottom” during Sue Ellen’s relapse. Who will ever be able to listen to that song again without thinking of Linda Gray’s incredible performance in that scene?

As for the mystery that begins in the closing moments of “J.R.’s Masterpiece”? I’ll confess: When I read that Cidre, Robin and company planned to kill off Hagman’s character with another “Who Shot J.R.?” mystery, I cringed. I didn’t want my hero to go down in defeat. But the idea that J.R. spent his final days crafting a “masterpiece” scheme against his enemies – a grand plan that will now be carried out by his family – might mean ol’ J.R. will be able to go out on top after all.

All of the questions raised by the end of the episode are tantalizing. Why was J.R. tracking down Christopher’s “mother” – and which mother are we talking about: Kristin or Pam? Will John Ross end up using the gun that J.R. left him? Could there be significance to Christopher’s vow to help John Ross find J.R.’s killer so they can confront the bad guy (or gal) as “brothers”? What’s in the document that J.R. left for Bobby, and what should we make of Bobby’s tearful smile and last line: “I knew you’d have at least one more left up your sleeve, J.R. It is a good one. I love you brother.”

Until we get the answers, we won’t know what J.R.’s masterpiece will be. But at least we know what “Dallas’s” looks like.

Grade: A+

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Dallas, J.R.'s Masterpiece, TNT

Hat tip

‘J.R.’s MASTERPIECE’

Season 2, Episode 8

Telecast: March 11, 2013

Writer: Cynthia Cidre

Director: Michael M. Robin

Audience: 3.6 million viewers on March 11

Synopsis: Bobby, Sue Ellen, John Ross and Christopher learn J.R. was shot and killed during a robbery in Mexico. Sue Ellen falls off the wagon. After the funeral, Bum reveals J.R. had been searching for Christopher’s mother and that he went to Mexico to follow a lead on Harris. J.R. also leaves a gun for John Ross and a document for Bobby, who refuses to reveal its contents to John Ross and Christopher.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Jordana Brewster (Elena Ramos), Mark Cuban (himself), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Castulo Guerra (Carlos del Sol), Josh Henderson (John Ross Ewing), Robert Anthony Hunt (minister), Jerry Jones (himself), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Hugo Perez (Dr. Garcia), Mitch Pileggi (Harris Ryland), Cathy Podewell (Cally), Mayor Mark Rawlings (himself), Tony Sears (George GIilchriest), Ted Shackelford (Gary Ewing), Deborah Shelton (Mandy), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing)

“J.R.’s Masterpiece” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Goodbye, J.R.

March 11, 2013 by 39 Comments
Dallas, J.R. Ewing, Larry Hagman, TNT

R.I.P., J.R.

I don’t know who came up with the idea that J.R. Ewing was the man we loved to hate, but nothing could have been further from the truth. Do you know anyone who hated J.R., ever? He was always the “Dallas” character we cared about most. The “Who Shot J.R.?” hysteria didn’t occur because people thought he got what was coming to him. We didn’t spend seven months trying to guess the identity of J.R.’s assailant because we wanted to shake that person’s hand. We wanted to know who to shake our fist at. Who dare harm our hero?

J.R.’s funeral on tonight’s edition of TNT’s “Dallas” will bring an end to one of the most enduring figures in our popular culture. J.R. arrived in the era of pet rocks; he leaves in the age of Angry Birds. He has been as much a fixture in our living rooms as any president. Jimmy Carter held the office when CBS flung open the doors to J.R.’s white house, Southfork, in 1978. J.R. outlasted him and Reagan and made it halfway through Bush I, then took a break and came back with reunion movies and specials during Clinton and Bush II. Finally, under Obama, J.R. began making weekly visits again.

Like Superman, James Bond and Mr. Spock, J.R. spanned decades. One big difference: Those characters have all been played by multiple actors, but for 35 years there’s been only one J.R.: Larry Hagman. (Yes, Kevin Wixted had a small role as a teenaged J.R. in the 1986 “Dallas: The Early Years” prequel, but Hagman’s appearance at the beginning of that movie is the one we remember.) Hagman logged almost 400 hours of prime-time television inhabiting J.R.’s skin. He appeared in every “Dallas” episode, movie and clip show, plus a few hours of “Knots Landing.” For awhile in the 1980s, Hagman even donned J.R.’s Stetson and hawked BVD underwear in TV commercials. His memorable tag line: “Now where else would I put my personal assets?”

Hagman’s irresistible charisma made it impossible to dislike his character. J.R. did awful things, but Hagman was clearly having so much fun doing them, we couldn’t help but have fun too. J.R. bribed, blackmailed and backstabbed. He cheated on his wives and his mistresses. Most entertainingly, he never bit his tongue when it came to letting his family know how he felt about them. To Pam: “I don’t give a damn about you or your happiness, honey. But I do care about what’s good for me.” To Lucy: “Say, why don’t you have that junior plastic surgeon you married design you a new face – one without a mouth?” To Bobby: “You’re a whole lot dumber than I ever thought a brother of mine could be – with the exception of Ray and Gary, of course.”

As mean as he was, “Dallas” never lost sight of J.R.’s humanity. More than anything, he wanted Daddy to be proud of him, but Jock loved Bobby best. In the beginning, every one of J.R.’s schemes stemmed from his desperate desire to win the old man’s approval. This made J.R. enormously sympathetic. After all, who among us hasn’t felt unloved at some point? There were other flashes of J.R.’s softer side, like the time he recalled falling in love with Sue Ellen and the tears he shed at Bobby’s burial. But nothing made J.R. more relatable than fatherhood. When Jock died, J.R. made John Ross the center of his universe. Every time we saw him doting on that little boy, our hearts melted. Forget Bill Cosby; J.R. Ewing was the best TV dad in the ’80s.

In old age, J.R. became even more complex. He still schemed, but now he was just as likely to use his powers to help others as he was for his own selfish ends. J.R. plotted with John Ross to take over Ewing Energies, but he also blackmailed a smug prosecutor to save Sue Ellen from going to jail and vowed to help Bobby bring down Harris Ryland. We also discovered there were lines that J.R. wouldn’t cross. He stole Southfork from Bobby, then returned it when his conscience revealed itself. And when John Ross wanted to take advantage of one of Bobby’s misfortunes, J.R. put the young man in his place: “You still got a lot to learn, boy. When the family’s in trouble, we don’t take advantage.”

Perhaps most movingly, the elderly J.R. also became a teller of hard truths. To John Ross: “I spent most of your childhood chasing after women I didn’t love and making deals that didn’t really matter.” To Sue Ellen: “The best decision you ever made was the day you walked away from me.” To Bobby: “I love you … and I don’t know who I’d be without you.”

It’s true that daytime soap operas have given us many characters who have endured for decades, but almost no one in prime time can match J.R.’s longevity or evolution. James Arness played Marshal Dillon on “Gunsmoke” for 20 seasons, and even though that character grew less brooding as the show progressed, he was essentially the same good-hearted hero in the last episode that he was in the first. Archie Bunker, immortalized by Hagman’s friend Carroll O’Connor, grew more tolerant during his 11-year run, but frankly that made him a little less interesting. You can’t say the same thing about J.R.’s journey through life.

If Hagman hadn’t died last fall, J.R. would still be here, captivating us. Quite appropriately – and quite courageously, when you think about it – the “Dallas” producers are allowing J.R. to die, sending him off with a brand-new “Who Killed J.R.?” mystery. The character’s death marks the end of an era, although his legacy is plain for all to see. Before “Dallas,” the people who made television drama were afraid to let storylines continue from week to week. They insisted protagonists be good. Now the prime-time landscape is populated with flawed heroes whose stories never end. Don Draper. Walter White. Carrie Mathison. J.R. didn’t just touch the lives of his fans; he helped shape an entire medium.

Maybe you feel differently, but I never loved to hate J.R. I just loved him. The only thing I hate is that now he’s gone.

What are your favorite memories of J.R. Ewing? Share your comments below and read more opinions from Dallas Decoder.

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The Dal-List: Classic ‘Dallas’s’ 8 Most Moving Funerals

March 7, 2013 by 10 Comments
Dallas, Family Ewing, J.R. Ewing, Larry Hagman

Texas mourn

J.R. Ewing will be laid to rest in “J.R.’s Masterpiece,” a special “Dallas” episode that TNT will telecast on Monday, March 11. Raise a glass of bourbon (and don’t forget the branch!) as we recall the most moving funerals from the original series, as well as two Ewing funerals seen on its “Knots Landing” spinoff.

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

Surprise, surprise

8. J.R. Ewing. It’s easy to forget that J.R. (Larry Hagman) already had one funeral. In “J.R. Returns,” a 1996 “Dallas” reunion movie, he faked his death as part of a convoluted plot to wrest control of Ewing Oil from Cliff. The memorial service brought Bobby, Sue Ellen, John Ross and Christopher together at Southfork, along with Cliff, who announced, “I just came to make sure he was dead.” While John Ross (Omri Katz) was eulogizing his father, J.R. himself arrived – on the back of a truck hauling pigs, no less. “Hey, what’s going on? Bobby throwing a party?” he asked. It was silly, but what I wouldn’t give to have J.R. turn up as a surprise guest in “J.R.’s Masterpiece.”

Chris Weatherhead, Dallas, Fathers and Sons and Fathers and Son, J.R. Ewing, Larry Hagman, Meg Callahan

Black cat down

7. Blackie Callahan. Blackie who? As “Dallas” neared the end of its run, the producers cast Denver Pyle as Blackie, an aging wildcatter who helped J.R. find oil in the town where Jock had his first strike. In the 1991 episode “Fathers and Sons and Fathers and Sons,” one of “Dallas’s” final hours, J.R. attended Blackie’s funeral, where his daughter Meg (Chris Weatherhead) realized J.R. had been paying Blackie royalties out of his own pocket. The scene was surprisingly touching, not just because it showcased J.R.’s softer side, but also because of Meg’s poignant dialogue: “I guess that’s what life’s all about. The young taking over from the old, shaping things their way.” How prophetic.

Abby Ewing, Dallas, Donna Mills, Knots Landing, Finishing Touches

Black widow

6. Gary Ewing. “Knots Landing” fans were stunned when Gary (Ted Shackelford) was suddenly murdered in 1984. Everyone on the cul-de-sac turned out for his funeral, which was seen at the end of the episode “Finishing Touches.” The sad affair brought out the best in everyone – except for Gary’s widow Abby (Donna Mills), who refused to make peace with his ex-wife Valene. As the minister read from Ecclesiastes, a lone guitarist strummed in the background and we saw Gary’s friends and neighbors mourning him quietly. Then the camera cut to … Gary, seated in what looked like a police station. It turned out he was alive and in a witness protection program. Thank goodness Miss Ellie never heard about any of this!

Dallas, Gary Ewing, Knots Landing, Love and Death, Ted Shackelford

Bachelor father

5. Valene Ewing. When Joan Van Ark left “Knots Landing” in 1992, the producers “killed off” Valene in a fiery car crash. CBS had slashed the show’s budget, so no departed stars came back for her funeral, which was seen in the episode “Love and Death.” But two important figures in Val’s were mentioned, at least: Lilimae was said to be not up for the trip, while Lucy was traveling in Europe and couldn’t be reached. At the memorial service, Val’s best friend Karen MacKenzie eulogized her as “the little engine that could.” It proved too much for Gary and Val’s little girl Betsy, who ran away in tears. She missed her mommy, but she was probably also afraid Karen was going to break into her “Pollyanna” speech.

Bobby Ewing, Cliff Barnes, Dallas, Jock's Trial Part 2, Ken Kercheval, Pam Ewing, Patrick Duffy, Victoria Principal

Digger departed

4. Digger Barnes. Poor, old Digger. After a life of hard livin’, Keenan Wynn’s tragic character was laid to rest in the last scene of the 1980 episode “Jock’s Trial, Part 2.” It was a fittingly humble affair. When the minister asked Digger’s sister Maggie if she’d like him to say anything special, she wearily responded, “No, please. Just the 23rd Psalm. It’s all he’d have had patience for.” The funeral was difficult for Pam (Victoria Principal), who had just discovered that Digger wasn’t her “real” daddy, and Cliff (Ken Kercheval), who slowly walked away from the gravesite before the final freeze frame. Maybe Cliff was sad – or maybe he was just ticked that so many Ewings showed up.

Bobby Ewing, Dallas, Katherine Wentworth, Morgan Brittany, Pam Ewing, Patrick Duffy, Requiem, Victoria Principal

Fit for a queen

3. Rebecca Wentworth. Priscilla Pointer’s grande dame received a grand sendoff in “Requiem,” a 1983 episode directed by Hagman. He memorably showed three black limos arriving at the cemetery and allowed us to watch as the Barneses and Ewings exited the cars, one by one. In true “Dallas” style, Pam was accompanied by Bobby (Patrick Duffy) and half-sister Katherine (Morgan Brittany), who was secretly plotting to steal him for herself. The crowd also included a slew of recurring characters – including Punk and Mavis Anderson and Marilee Stone – and a throng of paparazzi. It felt like the kind of funeral that a Texas society matron would receive – but what was up with all those palm trees in the background?

Bobby Ewing, Dallas, Patrick Duffy, Tunnel of Love

Cry Bobby

2. April Ewing. When Bobby’s wife April (Sheree J. Wilson) was killed during their Parisian honeymoon, he buried her in the City of Lights. This always struck me as odd. Shouldn’t April have been laid to rest in Dallas or maybe Ohio, where she grew up? On the other hand, you can’t deny that the funeral, seen in the 1990 episode “Tunnel of Love,” is as sad as April’s death. Bobby is the only mourner there, although young cyclist Mark Harris (played by Duffy’s son Padraic and named for his “Man From Atlantis” character), who tried to help Bobby rescue April, watches from the distance. The fact that priest conducts the service in French reinforces the sense of isolation. Never before has our hero seemed so alone.

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

Good grief

1. Bobby Ewing. Bobby’s burial in 1985’s “The Family Ewing” is exquisite. Everything feels right: It’s a fairly intimate gathering in a lush Southfork pasture, attended by the Ewings, the Barneses and close associates like Harv Smithfield. Even the wardrobe is perfect, right down to Pam’s Jackie Kennedy-esque pillbox hat. Director Nick Havinga allows us to hear the minister deliver the 23rd Psalm under Jerrold Immel’s solemn score, and then after the family disperses, we’re left with J.R. delivering his memorable speech at Bobby’s gravesite. “I wish I’d take the time to tell you how much I love you,” he says with wet eyes. Does it matter that this scene turned out to be part of Pam’s dream? Yes, but only a little.

What “Dallas” funerals moved you most? Share your choices below and read more “Dal-Lists.”

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Critique: TNT’s ‘Dallas’ Episode 17 – ‘The Furious and the Fast’

March 6, 2013 by 51 Comments
Dallas, Furious and the Fast, J.R. Ewing, Larry Hagman, TNT

One last shot

We know it’s coming, but still it shocks us. “The Furious and the Fast” ends with the murder of J.R. Ewing, or at least what looks like his murder. It’s jarring, chilling, sad. It’s also a technological feat. The producers apparently created the sequence using recycled footage and audio clips, although the Hollywood trickery is probably obvious only to the most eagle-eyed “Dallas” obsessives. Yet as impressive as the scene is, it isn’t the only reason to admire this episode, which is one of the new “Dallas’s” most entertaining hours yet.

The historic final scene: John Ross is alone in the darkened Ewing Energies conference room, a drink in his hand, his shoes propped on the table. He receives a phone call from J.R., who wants an update on their latest plot against Bobby and Christopher. John Ross tells him the scheme failed, but J.R. is nonplussed: “Don’t you worry, son. I’ve got a plan. It’s going to be my masterpiece – because you shouldn’t have to pay for my sins.” John Ross looks puzzled and asks J.R. what he means. Another cryptic response: “Just remember: I’m proud of you. You’re my son, from tip to tail.” John Ross smiles, but when the camera cuts to J.R., the old man looks startled. Cut back to John Ross, who hears two gunshots and leaps to his feet. “Dad! Dad!” he exclaims. Then, finally: “Dad?”

“The Furious and the Fast” was filmed after Larry Hagman’s death last fall, and it appears as though the producers cobbled together J.R.’s final moments using bits and pieces from other recent scenes. The shots of him on the phone come from the “False Confessions” exchange where Frank calls J.R. to inform him that John Ross and Pamela have become lovers. (The original scene took place in J.R.’s bedroom; in the recycled version, the walls have been turned red.) Hagman’s dialogue, in the meantime, seems to have been pulled from a variety of episodes. J.R. delivered the “you shouldn’t have to pay for my sins” line in “The Price You Pay,” while the “masterpiece” bit comes from “Sins of the Father.” “Tip to tail” was memorably heard at the end of “Revelations,” the first-season finale.

I’m sure the “Dallas” producers would’ve preferred to film Hagman’s final performance as J.R. while the actor was still alive, or better yet, to never have occasion to create such a scene at all. This sequence represents their effort to make the best of a sad situation, so I salute them for coming up with something that not only looks and feels convincing, but also offers a fittingly mysterious beginning to the “Who Killed J.R.?” storyline that’s destined to dominate the rest of the season.

It also feels appropriate that J.R.’s final words are for his son since Josh Henderson sells this scene more than anyone. The smile that breaks across John Ross’s face when J.R. announces he’s proud of him is touching. You can also hear the heartbreak in Henderson’s voice when John Ross realizes what’s happening to his father on the other end of the phone. Credit also goes to director Rodney Charters, who pulls back the camera each time John Ross exclaims “Dad!” until we’re finally left with that wide shot of Henderson alone in the dark. The echo created by John Ross’s final “Dad?” is another nice touch.

Of course, even though I admire the audaciousness of trying to recapture the old “Who Shot J.R.?” magic, it’s a little unnerving to see the new “Dallas” shoot yet another character. J.R. is the fourth person on this show to take a bullet during the past eight episodes. It’s also worth noting how different this whodunit is from the one triggered by the 1980 episode “A House Divided.” Back then, J.R.’s shooting capped an hour in which several characters were each given a clear motivation for wanting him dead. This time around, there are no obvious suspects, although I’m sure they’ll emerge soon enough. Still, I wonder: What character in the “Dallas” mythology is big enough for this job? Who has the stature to take down J.R. Ewing?

I’ll save those worries for another day, though, because to focus only on the implications of “The Furious and the Fast’s” final scene would mean overlooking the rest of this excellent episode. Ted Shackelford’s return as Gary Ewing inspires many of the hour’s best moments, including his fun exchanges with Linda Gray. To get Gary to lower his defenses, Sue Ellen flirts shamelessly with him, allowing us to see a side of her that’s been dormant for much too long. How wonderful of “Dallas” to show that a woman in her 70s can still be sexy and playful. I also appreciate how Julia Cohen’s script has Sue Ellen and Gary acknowledge their past battles with the bottle, which seems to be a sly nod to the memorable scene in 1980 when Gary’s attempt to bond with fellow alcoholic Sue Ellen ended in disaster.

More highlights: John Ross’s bratty greeting to Uncle Gary (“Who the hell let you off the cul-de-sac?”) and Gary’s heart-to-heart with Bobby, when he reveals his fall from the wagon and split from Valene. Patrick Duffy and Shackelford slip comfortably into their familiar dynamic of the responsible baby brother and the all-too-human middle sibling. Isn’t it remarkable how two actors who look nothing alike can seem so believable as brothers? In my recent interview with Shackelford, he expressed his willingness to reprise his role beyond the three-episode stint that begins with this episode. Given how easily he interacts with Henderson, Gray and Duffy here, this seems like an idea worth serious consideration.

Indeed, if “The Furious and the Fast” does anything, it demonstrates how important it is to inject fresh blood (or in Shackelford’s case, familiar blood) into a show like this. I was apprehensive when I read last year about the producers’ plans to add newcomers like Kuno Becker and Emma Bell to the cast, fearing they would rob the core cast of screen time, which already feels too scarce. But I was wrong. Bell knocks me out as timid, confused Emma, and I’m completely charmed by Becker, whose effortless chemistry with Jordana Brewster might be the season’s nicest surprise.

Also fascinating: Mitch Pileggi and Judith Light as Harris and Judith Ryland, whose mother/son relationship grows weirder with each episode. (This episode’s best line: Judith’s frigid “Now pick that up” after Harris kicks over the chair in Emma’s bedroom.) Altogether, the “Dallas” cast now includes 11 regular cast members and several recurring guest stars, yet in this episode at least, no one gets shortchanged.

“The Furious and the Fast” also gets a big lift from Charters’ expertly executed racecar sequences, which generate genuine suspense and make the episode feel a little like this generation’s version of a Southfork rodeo. And even though it seems unlikely the city’s transportation chief would award Christopher the fuel contract on the basis of how many laps his methane-powered car can complete, you have to admit: The race offered a clever metaphor for the familial squabbling that is so central to this show. Like the Ewing Energies-sponsored car, John Ross and Christopher sometimes seem to go around in circles with their feuding, yet it rarely gets boring.

When I watched “The Furious and the Fast” for the first time the other night, I kept looking at the clock, expecting to see the show was almost ever. Some of this stemmed from the dread I was feeling, knowing this would be Hagman’s last episode. But my clock-watching was also done with a sense of wonder. This episode was so dense, every scene felt like it was bound to be the last one of the night. By the time those gunshots finally rang out, I was plenty sad, but I was also damn satisfied. J.R.’s final hour turned out to be one of “Dallas’s” finest.

Grade: A

_______________________________________________________________________________________________________________________________________________

Dallas, Furious and the Fast, Gary Ewing, Ted Shackelford, TNT

Return engagement

‘THE FURIOUS AND THE FAST’

Season 2, Episode 7

Telecast: March 4, 2013

Writer: Julia Cohen

Director: Rodney Charters

Audience: 2.8 million viewers on March 4

Synopsis: Gary Ewing returns to Dallas and votes with Bobby to stop drilling on Southfork, which Bobby and Christopher hope will force Sue Ellen to return her share of Ewing Energies to Elena. Sue Ellen flirts with Gary, hoping to break his alliance with Bobby. Harris and Judith try to send Emma back to London, but she runs away to Southfork. At J.R.’s behest, Bum digs for dirt on Harris. Drew and Elena discover there may be oil under the land their father sold to Bobby. Christopher is poised to clinch the city fuel contract after the Ewing Energies car wins a big race. John Ross speaks to J.R. on the phone, but the call is interrupted when it appears J.R. is shot.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Kenneth Wayne Bradley (Jim West), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Cory Hart (Brett Cochran), Josh Henderson (John Ross Ewing), Judith Light (Judith Ryland), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Ricky Rudd (himself), Ted Shackelford (Gary Ewing), Brenda Strong (Ann Ewing), Curtis Wayne (Denny Boyd), Annie Wersching (Alison Jones)

“The Furious and the Fast” 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 16 – ‘Blame Game’

February 28, 2013 by 35 Comments
Blame Game, Dallas, J.R. Ewing, Larry Hagman, TNT

Once and again

I cringed when I saw J.R. and Bobby’s instant-messaging exchange in “Blame Game.” This episode was filmed after Larry Hagman’s death last fall, so I’m guessing the producers created the sequence using leftover footage of the actor. (J.R.’s presence during Ann’s sentencing appears to be recycled too.) I’m all for rescuing Hagman from the cutting room floor, but having J.R. send IMs to pester Bobby into watching an online video of a basketball-playing dog? That felt silly. It also reminded me of how the old show used one-sided telephone conversations to keep Jock around after Jim Davis died, which is one “Dallas” tradition I’d just as soon not continue.

By the end of “Blame Game,” though, I had a change of heart. I’m not sure why the show had Patrick Duffy shout Bobby’s responses to J.R.’s instant messages (even if J.R. was supposed to be down the hall, couldn’t Bobby have typed his answers?), but the revelation that the viral video was really a Trojan horse to erase Bobby’s notorious cloud drive was pretty nifty. J.R. pulled a fast one on Bobby, and “Dallas” pulled a fast one on its audience. I always fall for this show’s fake-outs, which either means I’m really gullible or the people who make the show are really clever. I’ll let you decide.

Overall, “Blame Game” is another solid hour of “Dallas.” The script comes from Gail Gilchriest, who also wrote last season’s “The Enemy of My Enemy,” the episode that brought Sue Ellen off the sidelines and got her involved in the Southfork oil saga. In “Blame Game,” Gilchriest once again demonstrates a knack for writing for “Dallas’s” first lady, giving Linda Gray some of her best material yet. I love the scene where Sue Ellen and Bobby lament the rivalry between their sons, as well the jailhouse pep talk Sue Ellen gives Ann. The friendship between these women has become one of my favorite relationships on the show. It feels believable, especially now that we know that Ann, like Sue Ellen, was once a less-than-perfect wife and mother. (As far as Ann’s release on probation: Yes, it’s a little convenient, but when has a Ewing ever gone to jail and stayed?)

I wish Sue Ellen hadn’t been so easily manipulated by John Ross into seizing Elena’s share of Ewing Energies, but I don’t really mind because it’s so much fun to see the return of the shrewd, bitchy Sue Ellen from the late ’80s. With J.R. exiting the stage, Sue Ellen is now poised to succeed him as John Ross’s mentor and the thorn in Bobby’s side. What a tantalizing prospect. Hopefully this will cement Gray’s place in the narrative for a long time to come. Likewise, I’m thrilled to see Pamela finally snag her piece of the company. Think about how entertaining the Ewing Energies’ board meetings will be once Sue Ellen and Pamela join the fray.

“Blame Game’s” other V.I.P.: Jesse Metcalfe, who has quietly become one of the new “Dallas’s” best performers. The actor has found the right balance between strength and sensitivity, much like Duffy did during the original series. I also like how Christopher has succeeded Bobby as “Dallas’s” resident action hero. In “Blame Game,” Christopher makes a valiant attempt to turn the tables on the thug holding him at gunpoint at Ewing Energies. Later, he shields Elena when Vicente points his gun at her. Jesse Bochco does a nice job directing both sequences, and he gets a big assist from “Dallas” composer Rob Cairns, whose score during the showdown with Vicente feels even more cinematic than usual.

It’s also nice to see Kuno Becker’s Drew Ramos take down Vicente, although the body count on this show is beginning to trouble me. During the past 10 hours of “Dallas,” Marta, Tommy, Frank and Vicente have died; Harris was gunned down but survived. On a lighter note, since Becker arrived a few episodes ago, I find myself looking forward each week to his scenes with Jordana Brewster. Drew brings out Elena’s feistiness in a way only a sibling could. Do I dare suggest these two are “Dallas’s” best brother/sister act since Victoria Principal and Ken Kercheval?

The rest of the “Blame Game” hostage crisis yields mixed feelings. In addition to the Sue Ellen/Bobby scene, I like the moment when Vicente realizes the Ewing cousins have traded romantic partners since his last encounter with them. (“You Ewing boys share after all! I love it!”) Likewise, it’s impossible to not cheer when John Ross and Christopher come together to overpower Vicente’s henchmen. As much fun as it is to see the Ewings squabble, it’s always more satisfying when they band together.

My gripes: The hostage sequences are too compressed. “Blame Game” invites comparisons to the classic “Winds of Vengeance,” an early “Dallas” episode where the Ewings are held hostage. (Fans of “Dallas” producer Cynthia Cidre’s previous series, “Cane,” will recall that show did a family-held-hostage episode too.) But the reason “Winds of Vengeance” succeeds is because the slower pace of 1970s television allowed the tension to build steadily. “Blame Game” squeezes its crisis into a roughly 15-minute period, and some of that time is taken up by Ann’s sentencing.

This is also one of those times I wish the new “Dallas’s” Southfork interiors more closely resembled those seen on the old show. The living room where the Ewings are held captive in “Blame Game” looks nothing like the one where the “Winds of Vengeance” hostage crisis unfolds. The only time you feel the history of this house is when you see it from the outside.

Of course, it’s not like I haven’t become attached to the new Southfork set too. The “Blame Game” scene where Bobby bursts into J.R.’s bedroom and finds it empty is surprisingly poignant. The brief glimpse of J.R.’s empty table is what moves me. This is where our hero glanced at Miss Ellie’s picture before signing over the Southfork deed to Bobby last season. It’s where he told John Ross to never take advantage of the family when they’re in the trouble, and where he learned to use his tablet. How sad to think we’ll never see him sit there again.

Grade: B

_______________________________________________________________________________________________________________________________________________

Blame Game, Christopher Ewing, Dallas, Jesse Metcalfe, TNT

Captive audience

‘BLAME GAME’

Season 2, Episode 6

Telecast: February 25, 2013

Writer: Gail Gilchriest

Director: Jesse Bochco

Audience: 2.6 million viewers on February 25

Synopsis: During mediation, Christopher agrees to give 10 percent of Ewing Energies to Pamela, who refuses to share it with John Ross. J.R. erases Bobby’s cloud drive and leaves Southfork unannounced. When Vicente stages an ambush on Southfork and tries to kidnap Elena, Drew shoots and kills him. Sue Ellen uses the morals clause in Elena’s contract to seize her shares in the company.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Carlos Bernard (Vicente Cano), Pablo Bracho (consul general), Jordana Brewster (Elena Ramos), Jesse Campos (Jose), Vanessa Cedotal (District Attorney), Damon Dayoub (Vicente’s henchman), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Jason Kravitz (Pamela’s lawyer), Judith Light (Judith Ryland), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou Bergen), Mitch Pileggi (Harris Ryland), Freddie Poole (Ramon), Krishna Smitha (Shireen Patel), Brenda Strong (Ann Ewing), Rebekah Turner (Jury Forman), Wilbur Fitzgerald (Judge Wallace Tate)

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

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The Dal-List: Classic ‘Dallas’s’ 10 Most Memorable Monologues

February 25, 2013 by 10 Comments
Ann Ewing, Brenda Strong, Dallas, TNT, Trial and Error

Testify!

Few will forget the courtroom testimony that Ann (Brenda Strong) delivered at the end of “Trial and Error,” last week’s “Dallas” episode. Here’s a look at the Barneses’ and Ewings’ 10 most memorable monologues from the original series and its “Knots Landing” spinoff.

Barbara Bel Geddes, Dallas, Miss Ellie Ewing

Curses!

10. Miss Ellie’s lament. With the Ewing empire on the brink of collapse, Miss Ellie (Barbara Bel Geddes) goes to the site of Jock’s first strike and curses his memory. “Damn it all, Jock. You couldn’t have been an insurance salesman. Or a shoe salesman. No, you had to have oil in your blood. In your heart. And now … our sons are fighting for their lives.” It’s one of the better moments from one of the show’s better later episodes. (“Judgment Day”)

Dallas, Pam Ewing, Victoria Principal

She remembers mama

9. Pam’s discovery. Pam (Victoria Principal), believing Rebecca Wentworth is her long-lost mother, confronts the Houston matron in her opulent home. “I found you. You’re alive. And I’m so happy. I don’t know how to tell you how happy I am,” she says through tears. With every line, Principal seems to reveal a little more of herself, so much so that by the end of the speech, her lip quivers uncontrollably. Bravo. (“The Prodigal Mother”)

Dallas, Priscilla Pointer, Rebecca Barnes Wentworth

Runaway mom

8. Rebecca’s confession. After denying her identity, Rebecca (Priscilla Pointer) sits with Pam on a park bench and tells her the truth: She is, in fact, Pam’s mother. “I never divorced Digger,” Rebecca says as her voice begins to crack. “I was afraid that if I tried, he’d find me, and drag me back to that awful life. Pamela, I saw a chance for happiness, and I took it. Don’t blame me for that.” Pointer’s delivery is hauntingly beautiful. (“The Prodigal Mother”)

Dallas, Gary Ewing, Knots Landing, Ted Shackelford

No beach bum

7. Gary’s mea culpa. Gary (Ted Shackelford) begs Lucy to stay in Knots Landing and apologizes for his past sins, telling her he’s trying hard to be a better man. “I’m not a loser anymore,” Gary says. At one point, he becomes tongue-tied, as if he can’t find the words to convey his guilt and regret. In the DVD commentary, Shackelford laughs and suggests he paused because he couldn’t remember his next line. No matter. It still works. (“Home is For Healing”)

Dallas, Linda Gray, Sue Ellen Ewing

Bye bye, love

6. Sue Ellen’s kiss-off. In Linda Gray’s “Dallas” departure, Sue Ellen shows J.R. the scandalous movie she’s made about their marriage – and vows to screen it for the public only if he misbehaves. “If I feel that you’re not doing right by John Ross … or if I get up on the wrong side of the bed one morning. Or if I’m simply bored – then I’ll release the movie. And then, J.R., you will be the laughingstock of Texas.” Corny? Sure, but also mighty triumphant – and darn memorable. (“Reel Life”)

Cliff Barnes, Dallas, Ken Kercheval

Never too late

5. Cliff’s regret. My favorite Ken Kercheval scene: Cliff summons Miss Ellie to a park and apologizes for perpetuating his father’s grudge against the Ewings. “Digger was wrong, and I was wrong. If it’s not too late. I’d like to make peace. I’d like to ask you to forgive me,” Cliff says. In an interview with Dallas Decoder, Kercheval fondly recalled his friendship with Bel Geddes. What a shame these two pros didn’t get more screen time together. (“Brother Can You Spare a Child?”)

Dallas, Jim Davis, Jock Ewing

American dad

4. Jock’s plea. After Pam suffered her first heartbreaking miscarriage, Jock (Jim Davis) sat at her bedside and begged her and Bobby not to leave Southfork. “Us Ewings, we’re just not an easy family to live with, as you found out. We’ve had things our way for so long that maybe – well, maybe it got in the way of our being just people. I guess that you don’t have no reason to really care, but I want to keep my family together.” Who knew the old man could be so soft? (“Barbecue”)

Dallas, Ray Krebbs, Steve Kanaly

He knows father best

3. Ray’s tribute. Ray (Steve Kanaly) tries to make Miss Ellie accept Jock’s death by reminding her of his humanity. “He was a man, just like anybody else. He had friends. He had lots of friends. But he had enemies, too. He was human, ambitious. He knew that the oil game was rough, hardball all the way. But he wanted what was best for his wife, and for his sons. And he did what he thought was right.” The most honest eulogy Jock ever received. (“Acceptance”)

Dallas, J.R. Ewing, Larry Hagman

Honor thy daddy

2. J.R.’s promise. J.R. (Larry Hagman), after slipping into a depression over Jock’s death, addresses a portrait of his father. “I’m back, Daddy. And nobody’s going to take Ewing Oil away from me. Or my son, or his son. I swear to you. By God, I’m going to make you proud of me.” The combination of Hagman’s conviction, scriptwriter David Paulsen’s dialogue and Bruce Broughton’s rousing score never fails to give me chills. (“The Phoenix”)

Bobby Ewing, Dallas, Patrick Duffy

Exit the hero

1. Bobby’s goodbye. As Bobby (Patrick Duffy) lay dying in his hospital bed, he bids his family farewell. To Miss Ellie: “Oh, Mama. I’m sorry.” To Pam: “All that wasted time. We should’ve been married.” He seems to be looking at J.R. when he delivers his last words: “Be a family. I love you so much.” Duffy has never been better, and when the monitor flatlines and Principal leaps? Fuhgeddaboudit! Yes, the scene’s emotional impact is diminished somewhat by the fact it turned out to be a dream. Still, does “Dallas” get better than this? (“Swan Song”)

Which “Dallas” monologues moved you most? Share your choices below and read more “Dal-Lists.”

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Critique: TNT’s ‘Dallas’ Episode 15 – ‘Trial and Error’

February 20, 2013 by 33 Comments
Dallas, J.R. Ewing, Larry Hagman, TNT, Trial and Error

Last stand

“Trial and Error” gives us the last scenes that Larry Hagman filmed as J.R. Ewing, including his poignant reconciliation with turncoat son John Ross, as well as a spirited clash with Sue Ellen that recalls the couple’s stormier days. But as much as I cherish these final, dwindling moments with my hero, I can’t deny that “Trial and Error” belongs to Brenda Strong. The actress is superb throughout this episode, especially when Ann testifies during her trial. Strong delivers more than 400 words of dialogue, and each one feels achingly real. It’s one of the most moving speeches in “Dallas” history.

Since the new “Dallas” began I’ve rooted for Ann, a modern Texas woman who is every bit as comfortable in pearls and heels as she is in boots and jeans. One of my favorite scenes during the show’s first season was Ann’s showdown with Harris, when she tricked him into confessing to money laundering and other crimes, then slugged him and warned him to stay away from her family. This is why I was so troubled when Ann shot Harris two episodes ago. A punch is one thing, but Harris doesn’t deserve a bullet to the chest. No one does.

“Trial and Error” marks the beginning of Ann’s redemption, although it feels like something even bigger is happening. Ann isn’t really being tried for shooting Harris; she’s on trial for being an imperfect wife and mother. The show isn’t asking us to forgive Ann as much as it’s asking us to accept her humanity. The character’s testimony, the highlight of “Dallas” newcomer John Whelpley’s script, is the crucial moment. During the course of this four-minute scene, Ann recalls being a tall, awkward girl who found love with Harris, only to have his controlling mother Judith undermine her. She also remembers giving birth to Emma and struggling with motherhood, then having the child snatched from her during a fateful visit to the state fair. It’s wrenching.

I suspect many members of the “Dallas” audience nod silently when they watch Ann’s testimony. The situations she describes might be melodramatic, but the feelings they evoke are easily recognizable. When Ann recalls how Judith made fun of her for not going to college, or how Harris chastised her for using the wrong fork at dinner, how can you not think about a time in your own life when you were made to feel inadequate? Likewise, if you’re a mom or dad, do Ann’s memories of Emma’s abduction remind you of a time when you made a parenting mistake? You’d have to reach far back into Ewing family lore – perhaps to Sue Ellen’s sanitarium meltdown during the original show’s third season – to find a “Dallas” monologue that yields so many genuine emotions.

Strong’s beautifully measured, heartfelt delivery provides “Trial and Error” with its moment of catharsis, but there are many other scenes I like. Several involve Jesse Metcalfe and newcomer Emma Bell. No one does impassioned earnestness better than Metcalfe, as we witness in the nice sequence where Christopher urges Emma to give Ann another chance. Metcalfe is also touching when the camera cuts to Christopher during Ann’s testimony and we see that his eyes are wet, as well as in the scene where Christopher puts his hand on Pamela’s pregnant belly and feels their unborn twins. Bell, in the meantime, reveals herself to be the rare actress who requires no dialogue to shine. Emma is a mostly a silent observer in the courtroom, but never once do we question what she’s thinking. Bell lets us see the doubt and confusion tormenting her character.

Millicent Shelton, a first-time “Dallas” director, also gives us some priceless courtroom reaction shots from Judith Light, who made her own mark in television with a classic witness stand breakdown on “One Life to Live” in 1979. While Light nibbles the scenery, Mitch Pileggi goes in another direction, offering expressions and gestures that seem to reveal Harris’s humanity. Notice how Pileggi bows his head when Ann mentions how Harris’s father committed suicide before he was born. Am I the only one who feels sorry for Harris at that moment?

I’m not sure why we never see Bobby testify on his wife’s behalf (or why he isn’t facing his own obstruction of justice trial for falsely confessing to Harris’s shooting). In the same spirit, it’s tempting to knock “Dallas” for offering up Sue Ellen (a disgraced politician) and Pamela (a recent murder suspect) as Ann’s character witnesses, but I’ll resist the urge because I like how it reminds us of the parallels between these flawed heroines. An especially nice touch: When Ann mentions suffering from post-partum depression after Emma’s birth, the camera cuts to Sue Ellen, who must be one of television’s most notorious sufferer of that disorder.

“Trial and Error” also gets a lift from Hagman, who filmed some of his scenes for this episode just days before his death last November – not that you’d know it by watching him here. Consider the shot of J.R. observing John Ross from the mezzanine inside the courthouse. Isn’t it amazing how Hagman can exert so much authority, just by standing silently? I also love J.R.’s quip-filled scene with John Ross in the men’s room (“We dinosaurs are known to bite”), even if it’s an odd place to stage their reconciliation, as well as the exchange where Sue Ellen gives her ex-husband a piece of her mind (“Fathers are supposed to take the high road when it comes to their sons. Forgive John Ross!”). J.R.’s surprise encounter with Cliff is old-school “Dallas” fun too, although I wish Hagman and Ken Kercheval could’ve done the scene face to face instead of over the phone.

This isn’t Hagman’s final “Dallas” appearance. A J.R. scene that was left over from a previous episode has reportedly been inserted into the next hour, “Blame Game,” although we probably won’t know what the moment entails until TNT telecasts it next week. This made watching “Trial and Error” a bit surreal. I wondered: Is J.R.’s exchange with Sue Ellen the last time we’ll see him share the screen with Linda Gray, or will we get one more chance to revel in their magic? What about Bobby and John Ross? Have we already seen J.R.’s final scenes with them too?

This feeling has plagued fans like me all season long, actually. Watching “Dallas” and knowing that our hero will soon go away is the worst of all possible spoilers. Part of me still refuses to believe it’s going to come true.

Grade: B

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Ann Ewing, Brenda Strong, Dallas, TNT, Trial and Error

Her day in court

‘TRIAL AND ERROR’

Season 2, Episode 5

Telecast: February 18, 2013

Writer: John Whelpley

Director: Millicent Shelton

Synopsis: Ann proves she shot Ryland and goes on trial. During her testimony, she reveals her struggles as a young mother but refutes Harris’s accusation of neglecting Emma. The jury finds Ann guilty. Cliff tells J.R. that John Ross betrayed him, but Sue Ellen persuades J.R. to forgive their son. Christopher softens toward Pamela, who rejects John Ross’s romantic overtures. Drew is arrested for transporting stolen goods.

Cast: John Athas (Ellis), Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Carlos Bernard (Vicente Cano), Holt Boggs (state trooper), Jordana Brewster (Elena Ramos), Brett Brock (Clyde Marshall), Candice Coke (Tamera Carson), Patrick Duffy (Bobby Ewing), Rick Espaillat (Dr. LaFont), Wilbur Fitzgerald (Judge Wallace Tate), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Ken Kercheval (Cliff Barnes), Judith Light (Judith Ryland), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou Bergen), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Brian Thornton (Detective Miles Danko), Rebekah Turner (jury foreman)

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

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