The Dal-List: Classic ‘Dallas’s’ 5 Most Meddlesome Mamas

February 15, 2013 by 6 Comments
Dallas, Judith Brown Ryland, Judith Light, TNT, Venomous Creatures

Boss mom

Judith Light is making quite a mark on TNT’s “Dallas,” where her cunning character, Judith Brown Ryland, exerts enormous influence over equally sadistic son Harris. Of course, Mrs. Ryland isn’t this franchise’s first meddlesome mama. Here’s a look at five others from the original “Dallas” and its “Knots Landing” spinoff, ranked in order from least intrusive to most.

Barbara Bel Geddes, Dallas, Miss Ellie Ewing

Boys’ mama

5. Miss Ellie Ewing. Miss Ellie (Barbara Bel Geddes) spent most of her time quietly fretting about her sons and their wives, but occasionally she couldn’t help but stick her nose in their business. Like the time she called out J.R. for allowing Sue Ellen’s drinking to spiral out of control. Or the time she suggested the newly divorced Sue Ellen stop dating Cliff. Or the time she pressured Ray – gently, of course – into confessing his financial failings. Did the Ewings mind Miss Ellie’s interference? I doubt it. I mean, look at that woman’s kind face. How could anyone ever get mad at Mama?

Dallas, Priscilla Pointer, Rebecca Barnes Wentworth

Mommy’s revenge

4. Rebecca Wentworth. For a long time, Rebecca (Priscilla Pointer), Cliff and Pam’s mom, wasn’t meddlesome enough: She abandoned her kids when they were little and allowed them to believe she was dead. Once Cliff and Pam grew up, Rebecca re-entered their lives and tried to make up for lost time, but she overcorrected a bit, like the time she told Cliff to stop seeing Sue Ellen. Later, while Cliff was recovering from a suicide attempt, Rebecca browbeat him into resuming his war against the Ewings, even buying him his own oil company so he’d have a platform to launch his attacks. Gee, thanks Mom.

Abby Cunningham Ewing Sumner, Dallas, Donna Mills, Knots Landing

Maternal affairs

3. Abby Cunningham. Abby (Donna Mills) was a pretty good mom, although sometimes she was more smothering than mothering. Remember when she ordered daughter Olivia to stop seeing Harold Dyer, just because he was in the mob? Or how about when Olivia suspected Abby of killing her crush, Peter Hollister? Abby didn’t really do it, but the fact that Olivia thought Abby was capable of murder tells you what kind of mom she could be. Then there was the time Abby flipped out after discovering Olivia was using drugs. Oh, Abby. It was the ’80s. Girls just wanted to have fun!

Dallas, Martha Scott, Patricia Shepard

Mother wants best

2. Patricia Shepard. This one warrants a psychological dissertation. Patricia (Martha Scott), mother to Sue Ellen and Kristin, only wanted the best for her girls – and I mean that literally. When J.R. was courting Sue Ellen, Patricia didn’t think he was rich enough. Of course, once they wed, Patricia came around – so much so that when Sue Ellen began to lose interest in her marriage, Patricia began grooming Kristin to replace her as the next Mrs. J.R. Ewing. Weird! Later, Patricia softened and even made amends with Sue Ellen – but that turned out to be part of Pam’s dream. Thanks for nothing, Pam.

Alexis Smith, Dallas, Lady Jessica Montford

Serial mom

1. Lady Jessica Montford. This loony lady could out-meddle them all. Jessica (Alexis Smith) was the biological mother of Dusty Farlow, although he grew up believing she was his aunt (don’t ask). Jessica committed all manner of evil in Dusty’s name, including murdering a bunch of people to ensure he’d inherit a big chunk of Westar stock. Her killing spree was pretty heinous, but if you ask me, Jessica’s vilest crime was the time she knocked out Miss Ellie and stuffed her in a car trunk. Sorry Lady Jessica, but when you did that, you broke Dallas Decoder’s cardinal rule: Never mess with Mama!

Which “Dallas” mamas do you consider most meddlesome? Share your choices below and read more “Dal-Lists.”

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Critique: TNT’s ‘Dallas’ Episode 14 – ‘False Confessions’

February 13, 2013 by 51 Comments
Dallas, False Confessions, J.R. Ewing, Larry Hagman, TNT

J.R. Ewing here

You can feel the hate in “False Confessions.” This episode takes an unapologetically dark view of the Barnes/Ewing feud, which is fitting since the conflict has been going on for so long now it seems Biblical. The epic scope of Taylor Hamra’s script makes this one of “Dallas’s” most satisfying hours this season, which is a real achievement when you consider Larry Hagman appears in just three scenes, and never once does he come face to face with Ken Kercheval. Since Cliff isn’t expected to resurface until J.R.’s midseason funeral, this probably means we’ll never see these old enemies clash again. A sad thought, but one we better start getting used to.

More than anything, “False Confessions” demonstrates how much Cliff has changed. Yesterday’s needy neurotic has become today’s guileful Godfather. How? Why? When? The new “Dallas” has never spelled this out, which makes it tough for longtime fans to figure out what turned Cliff so … evil. I suppose it’s up to each of us to fill in the gaps ourselves, so here’s my theory: After the original “Dallas” ended and J.R. slipped into depression and isolation, Cliff lost his biggest distraction in life, liberating him to focus on building an empire of his own. He’s become one of the world’s richest men, but he’s still hell-bent on beating the Ewings for the same reason Mitt Romney kept running for president – because after you’ve conquered the rest of the world, what else is left?

Whatever the reason for Cliff’s metamorphosis, there’s no denying that “Fatal Confessions” turns him into “Dallas’s” most tragic figure. Cliff pulls out the stops to protect Pamela from prosecution – probably because he loves her, but also because she’s so crucial to his plot against the Ewings. To make matters worse, he forces his “son” Frank to fall on his sword, again to keep his revenge scheme moving forward. It’s hard to not see the parallels with Cliff’s father Digger, who relied on his son to settle his scores with the Ewings, just like Cliff has done with his own children. Of course, Digger was a broken drunk, while Cliff is global titan – but that only makes Cliff seem smaller.

This much is certain: Kercheval is as watchable as ever. I loved his flamboyant performances on the old show; you never knew how Kercheval would approach a scene, which made him “Dallas’s” most electric actor. Now, as the more restrained Cliff, Kercheval turns out to be just as fascinating. Consider the tense scene where Cliff persuades Frank to “do the honorable thing” and kill himself. I would never have dreamed Cliff could be this cold and calculating, but man, does Kercheval sell it. (Credit also goes to costume designer Rachel Sage Kunin, who has cleverly replaced Cliff’s flashy pocket squares with dark jackets and turtlenecks. It’s like an outward manifestation of the darkness that has consumed him.)

Not that Cliff is altogether unrecognizable in “False Confessions”: When he sees the TV news report about the police recovering Tommy’s body, his response (“Son of a bitch!”) brings to mind some of his exasperated reactions to J.R.’s one-upmanship from long ago. We also see a flash of the old Cliff’s shortsightedness in the great scene where John Ross comes to him, offering to betray J.R., only to be turned away because Cliff would never trust a Ewing. Contrast this with J.R. himself, who in the previous episode didn’t hesitate to enlist Frank in his plot against Pamela. Cliff might be richer, but J.R. will always be smarter.

Speaking of J.R.: Hamra deserves much praise for giving Hagman something to do besides deliver zingers. The exchange where J.R. comforts Bobby (“No baby brother of mine is going to spend his twilight years in jail”) showcases the effortless warmth between Hagman and Patrick Duffy, while once again casting J.R. in the unlikely role he’s come to play so well: defender of the family. Something similar happens in the equally wonderful scene where J.R. chastises John Ross for wanting to use Bobby’s misfortune for their gain. Not only does this echo a sweet moment from the original series, when J.R. told little John Ross it would be wrong to take advantage of Uncle Bobby after his shooting, it also recalls my favorite J.R./John Ross scene from last season. Back then, the roles were reversed: John Ross was the one who pleaded with J.R. to show “a little decency” where the cancer-stricken Bobby was concerned.

Hamra’s script includes many other nice touches that summon the show’s history and enduring themes of family and honor. I love when Sue Ellen recalls for John Ross how she was “nearly destroyed” when she got caught in the middle of J.R. and Cliff’s war. I also love the line where Cliff tells John Ross he only agreed to see him out of respect for his mother. There’s also Faran Tahir’s surprisingly heartbreaking performance during Frank’s jailhouse meeting with Cliff, as well as Judith Light’s big scene, when her character Judith comforts the comatose Harris. I know this one is supposed to creep me out, but heaven help me I find it kind of touching.

Stephen Herek, a first time “Dallas” director, makes “False Confessions” a technical achievement as much as anything. The autopsy-triggered musical montage is superbly executed, culminating in the new “Dallas’s” best fakeout (the cops were coming to arrest Frank, not Pamela!) since the end of “Changing of the Guard,” when we discovered J.R. was in cahoots with Marta. I also love the crosscutting between the scene where Ann finally admits to shooting Harris and the moment Harris wakes up and fingers Bobby for the crime.

While we’re on the subject of Bobby: His top-of-the-hour confession to shooting Harris has all the casualness of someone admitting to leaving the cap off the milk carton. I’m also bothered by Ann’s response, which is to say she has none. As difficult as it is for me to accept that this strong, loving wife would resort to shooting her ex-husband, it’s even harder for me to believe she’d allow Bobby to take the rap for it. I’m glad when Ann finally pipes up at the end of the episode, but I wonder if this is going to be enough to make the audience forgive her.

When I asked Brenda Strong about this last week, she expressed her confidence in the show’s writers to redeem Ann, saying they “are holding the big picture in mind.” I suppose that’s enough for me to give them the benefit of the doubt. After all, they haven’t done much to disappoint me this season.

Grade: A

_______________________________________________________________________________________________________________________________________________

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

Changed man

‘FALSE CONFESSIONS’

Season 2, Episode 4

Telecast: February 11, 2013

Writer: Taylor Hamra

Director: Stephen Herek

Audience: 2.4 million viewers on February 11

Synopsis: To protect Ann, Bobby confesses to shooting Harris. Later, Bobby recants his confession, but when Harris emerges from his coma, he tells the police that Bobby was the shooter. Drew fires Bubba, the foreman that John Ross bribed to sabotage Elena’s drilling project. After Frank digs up Tommy’s body and tells J.R. about John Ross and Pamela’s relationship, J.R. orders his son to stay away from her. Cliff has Tommy’s murder pinned on Frank and persuades him to commit suicide.

Cast: Amber Bartlett (Jill), Kuno Becker (Drew Ramos), Jordana Brewster (Elena Ramos), Brett Brock (Clyde Marshall), Pam Dougherty (Judge Barbara Hirsch), Akai Draco (Sheriff Derrick), Patrick Duffy (Bobby Ewing), Alex Fernandez (Roy Vickers), Mike Gassaway (Henry Mott), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Danny Hunter (Judge Leonard Knox), Ken Kercheval (Cliff Barnes), Judith Light (Judith Ryland), Marcua M. Mauldin (Detective Ronnie Bota), Jesse Metcalfe (Christopher Ewing), Mitch Pileggi (Harris Ryland), Matthew Posey (Bubba), Brenda Strong (Ann Ewing), Faran Tahir (Frank Ashkani), Brian Thornton (Detective Miles Danko)

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

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The Dal-List: The 5 Most Egregious Ewing Arrests

February 11, 2013 by 6 Comments
Ann Ewing, Bobby Ewing, Brenda Strong, Christopher Ewing, Dallas, False Confessions, Jesse Metcalfe, Patrick Duffy, TNT

Family tradition

In “False Confessions,”  TNT’s latest “Dallas” episode, Bobby (Patrick Duffy) tries to protect Ann by telling the police he shot Harris. Like John Ross’s arrest for Marta’s murder last season, this latest incident is part of an old tradition of Ewings getting in trouble for crimes they didn’t commit. Here’s a look at the five most egregious Ewing arrests from the original “Dallas” and “Knots Landing.”

Cally Harper Ewing, Cathy Podewell, Dallas, J.R. Ewing, Larry Hagman

Under the gun

5. The Ewing: J.R. (Larry Hagman)

The crime: Cally Harper’s “rape”

The arrest: When J.R. went to Arkansas on a hunting trip, he met backwoods beauty Cally and became smitten. After they spent the night together, her shotgun-toting brothers showed up, followed quickly by Sheriff Hanks, who charged J.R. with rape.

The real criminal: J.R. was guilty of many things, but his relationship with Cally was consensual. The real bad guys were Hanks, who refused to allow J.R. to make a single phone call from jail, and the justice of the peace, who sentenced him to 10 years in prison. Of course, J.R. did himself no favors when he interrupted his trial to declare, “You people got to be kidding. Hell, I can buy this whole town with the change I got in my pocket!”

Level of egregiousness (scale of 1 to 10): J.R.’s arrest gets a 5, but the egregiousness of this silly storyline deserves a big, fat 10.

Dallas, Ray Krebbs, Steve Kanaly

Dial “M” for murder?

4. The Ewing: Ray Krebbs (Steve Kanaly)

The crime: Mickey Trotter’s death

The arrest: After Ray’s cousin Mickey was paralyzed in a car crash, someone pulled the plug on his life support system. The police arrested Ray, who had blocked the door to Mickey’s hospital room so the doctors and nurses couldn’t revive him.

The real criminal: In dramatic testimony at Ray’s trial, his aunt Lillian Trotter, Mickey’s mother, confessed she wanted her son to die with dignity and decided to pull the plug. Lil didn’t have the strength to do it, so she asked Ray to help her. Ever the obedient nephew, Ray obliged.

Level of egregiousness: 6. Ray was technically guilty and the judge sentenced him to five years in the state penitentiary – but immediately suspended the sentence because he said Ray was such a nice guy. Seems like sound legal reasoning to me.

Gary Ewing, Knots Landing, Ted Shackelford

He usually loves bars

3. The Ewing: Gary (Ted Shackelford)

The crime: Ciji Dunne’s murder

The arrest: Gary befriended Ciji, an aspiring singer, but when her star began to rise, his self-esteem began to plummet. Gary went on a bender and woke up the next morning on the Knots Landing beach, not far from Ciji’s seaweed-strewn body. The police suspected he killed her during a booze-fueled rage and hauled him off to jail.

The real criminal: Chip Roberts, Ciji’s boyfriend. Eventually the cops figured out Chip murdered Ciji when she became pregnant with his child and refused to have an abortion. Ciji had also discovered Chip was really a con artist named Tony Fenice.

Level of egregiousness: 7. The Knots Landing police should’ve known better than to arrest Gary. All they had to do was call Sheriff Washburn back in Braddock. He could’ve told them: Never arrest a Ewing!

Dallas, Linda Gray, Sue Ellen Ewing, Who Shot J.R.?

Ready for her close-up

2. The Ewing: Sue Ellen (Linda Gray)

The crime: J.R.’s shooting

The arrest: There was no shortage of suspects when an unseen assailant gunned down J.R. in his office. When Jock discovered the weapon in J.R. and Sue Ellen’s bedroom closet, he turned it over to the cops, who decided it was all the proof they needed to arrest Sue Ellen for the crime.

The real criminal: Kristin Shepard, Sue Ellen’s sister, who wanted to get back at J.R. for trying to run her out of town. Sue Ellen figured out Kristin had framed her by planting the gun in the closet. (But no one ever answered the question: How did Kristin know Jock would go snooping there?)

Level of egregiousness: 8. Arresting Sue Ellen was a travesty of justice! The only way she’d ever shoot J.R. would be if he – oh, I don’t know – tossed one of her lovers off a high-rise balcony. But what are the odds of something like that happening?

Dallas, Jim Davis, Jock Ewing

Jailhouse Jock

1. The Ewing: Jock (Jim Davis)

The crime: Hutch McKinney’s murder

The arrest: When Ray began building a home on Southfork, the construction crew uncovered the remains of the long-missing McKinney, one of Ray’s predecessors as ranch foreman. Sheriff Washburn’s investigation determined McKinney had been shot with Jock’s gun, not long after Jock and McKinney had had a knock-down-drag-out brawl in a local saloon.

The real criminal: Digger Barnes, who killed McKinney when he discovered he had impregnated Digger’s wife Rebecca and was planning to run away with her. Digger confessed his crime on his deathbed, where he also told Pam that McKinney was her biological father.

Level of egregiousness: 11. Throw Jock Ewing in jail? That’s something you just don’t do. When a reporter asked the old man how he felt about being arrested, Jock huffed, “I’m mad as hell, boy.” Who could blame him?

Which Ewing arrests do you consider the most egregious? Share your choices below and read more “Dal-Lists.”

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The Dal-List: Classic ‘Dallas’s’ 5 Most Shocking Shootings

February 8, 2013 by 18 Comments
Dallas, J.R. Ewing, Larry Hagman, Who Shot J.R.?

The one heard round the world

TNT’s “Dallas” delivered a shocker at the end of “Sins of the Father,” this week’s episode: Ann (Brenda Strong) shot her ex-husband Harris (Mitch Pileggi) and left him bleeding on his den floor. It was the latest example of “Dallas’s” long tradition of using gunplay to throw viewers for a loop. Here’s my list of the five most shocking shootings seen during the original series.

Dallas, Fat Lady Singeth, Linda Gray, Sue Ellen Ewing

She bangs

5. J.R. Ewing (1988). “Dallas’s” 12th season ended with Sue Ellen and boyfriend Nick Pearce (Linda Gray, Jack Scalia) bursting into a high-rise hotel room to confront J.R. (Larry Hagman) over his latest misdeeds. J.R. pulled a gun, Nick lunged at him and before you knew it, studly Mr. Pearce went tumbling over the balcony. That’s when Sue Ellen picked up J.R.’s gun, fired three shots at him and dialed the police to report “a double murder.” Even though this was the fourth (!) time J.R. was shot on the show – and even though there was no doubt he’d survive – you have to admit: Seeing Sue Ellen plug him was pretty surprising.

Dallas, Don Starr, Jordan Lee, Terminus

For whom the booth tolls

4. Jordan Lee. This longtime Ewing frenemy had a penchant for hooking up with shady women – we’re looking at you, Kristin – but when Jordan (Don Starr) got involved with mysterious Sheila Foley (Susan Lucci), he paid the ultimate price. Jordan helped Sheila with her convoluted scheme to masquerade as Bobby’s wife because he believed Sheila merely wanted to make a big speech criticizing OPEC at a Parisian oil conference. When he realized she had deadlier aims, he ducked into a phone booth to call J.R. for help – but before Jordan started dialing, one of Sheila’s goons shot him, ending his 12-year run on the show.

Bobby Ewing, Dallas, End Game, Patrick Duffy

Twist of fake

3. Bobby Ewing. The last episode of “Dallas’s” eighth season felt awfully familiar: The whole world was mad at J.R., and one by one, his enemies were vowing revenge. (Peter Richards: “I swear I’ll kill you!”) As the hour drew to a close, we were given a first-person perspective as someone entered the darkened Ewing Oil suite, walked into J.R.’s office and fired three shots into the back of his chair. A body slumped to the floor, but it wasn’t J.R. – it was Bobby (Patrick Duffy)! Was this a shameless rip-off of the “Who Shot J.R.?” cliffhanger from four years earlier? Absolutely. Was it also one of the show’s best-ever fake-outs? You bet it was.

Dallas, J.R. Ewing, Larry Hagman, No More Mr. Nice Guy Part 1, Who Shot J.R.?

Big shot

2. J.R. Ewing (1980). Hold your fire, fellow fans. I know what you’re thinking: How can this one not be ranked first on a list of shocking “Dallas” shootings? Because CBS spoiled the surprise. Before the network broadcast “A House Divided,” the serial’s most famous cliffhanger, it aired promos that showed J.R. getting shot. As if that wasn’t bad enough, CBS also ran a half-page ad in TV Guide with a screaming headline (“It Had to Happen – J.R. is Shot!”). So yes, even though J.R.’s shooting was a stroke of storytelling genius – and even though it cemented “Dallas’s” spot in the TV Hall of Fame – it wasn’t much of a shock.

April Ewing, Bobby Ewing, Dallas, Patrick Duffy, Sheree J. Wilson, Terminus

French twist

1. April Ewing. Did you see this one coming? I sure didn’t. Like Jordan’s death, this shooting was part of the storyline about Sheila masquerading as Bobby’s kidnapped wife April (Sheree J. Wilson) during their Parisian honeymoon. April was supposed to be released to Bobby’s custody at the OPEC conference – but when gunfire broke out, she got caught in the crossfire. The scene ended with Bobby weeping as he cradled his dead bride’s body. Wilson had become “Dallas’s” leading lady at this point, making this the first time the show had killed off one of its main characters (not counting Jock, of course). Her death remains one of the show’s boldest – and most heartbreaking – plot twists.

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

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Critique: TNT’s ‘Dallas’ Episode 13 – ‘Sins of the Father’

February 6, 2013 by 30 Comments
Dallas, J.R. Ewing, Larry Hagman, Sins of the Father, TNT

The master

Larry Hagman supplies “Sins of the Father” with its best moments, including the cool scene where J.R. pressures Frank to betray Cliff, as well as the surprisingly sentimental one where he vows to help Bobby get revenge against Ryland. But for once, Hagman isn’t the only great thing about the new “Dallas.” Every member of the ensemble shines in this episode, especially Brenda Strong, whose performances are pitch perfect. This is the first time I’ve cared about Ann’s storyline this season, and that’s mostly because Strong does such a beautiful job selling it.

Strong has always had the most thankless job on this show because Ann has been assigned a dual role previously occupied by two of the most beloved figures in the “Dallas” mythos. Not only has Ann succeeded Pam as Bobby’s wife, she’s also assumed Miss Ellie’s mantle as the first lady of Southfork. Now, in “Sins of the Father,” with all her secrets seemingly exposed, Ann finally begins to feel like her own woman. She repeatedly calls Harris a “son of a bitch,” lobs a few barbs at Judith, and then confesses to Emma her past addiction to tranquilizers. We’re not in Pam or Ellie territory anymore.

I applaud the “Dallas” writers for turning Ann into a flawed heroine, but Strong gets the credit for making the character so convincingly human. Ann’s tears during her reunion with Emma at the end of “Battle Lines,” the second-season premiere, seemed to exceed what the moment called for, but I never get that feeling watching her in “Sins of the Father.” Strong strikes the right balance between regret and resolve in this episode’s Ann/Emma scene, making me believe Ann is a woman who hasn’t forgotten her mistakes, even if she’s risen above them.

Strong is downright mesmerizing at the end of “Sins of the Father,” when Ann confronts Harris and shoots him. It’s unsettling to see Ann behave so coldly, although I can’t say the shooting shocked me since TNT’s second-season promos included a glimpse of her brandishing a gun. I also can’t help but notice how closely Ann’s shooting of Harris mirrors Pamela’s shooting of Tommy in last season’s “Family Business,” right down to the victim’s slow-motion fall to the floor. There’s one big difference, of course: Pamela’s shooting was an act of self-defense, while Ann shoots Harris in cold blood. How’s the show going to redeem her after this?

Even though Strong dominates “Sins of the Father,” this is a solid hour for all the “Dallas” women. For me, seeing Sue Ellen march into Ewing Energies and threaten to call in Elena’s loan was a little metaphysical: Suddenly it was the 1980s again and I was back in my parents’ living room, watching Sue Ellen square off against one of her rivals, except this time the fight was over her son, not J.R. The role of Mama Bear fits Linda Gray well, although I think this moment would’ve been more effective if Sue Ellen had taken it upon herself to go after Elena instead of being manipulated into it by John Ross. Regardless, I welcome the return of the take-no-prisoners Sue Ellen, and I’m thrilled to see her get involved with the family business. At long last, the new “Dallas” seems to have figured out how to put Gray’s gifts to good use.

As for Elena: How nice is it to see her do something besides moon over John Ross and/or Christopher? Jordana Brewster is an actress with tremendous poise and grace, and I’m glad the writers are turning Elena into such a smart, savvy businesswoman. She keeps her cool when Sue Ellen confronts her (Elena: “I’m not sure where all this anger is coming from, but if this is about something more personal, we should talk about it”), but Elena would be dull if she was perfect, and in “Sins of the Father” she isn’t. Brother Drew’s return rattles her, although I also feel the warmth between the characters during their heart-to-heart in the Southfork pasture. I hope the show will continue to develop Elena and Drew’s relationship with each other, as well as the one they share with mama Carmen. Between the three of them, Brewster, Kuno Becker (a promising addition to the show) and Marlene Forte have the potential to turn the Ramoses into a meaningful presence at Southfork.

Let’s also hear it for John Ross and Pamela. Their first scene in “Sins of the Father,” when they frolic in bed, arguing over who gets to be on top, is fun, and their repeated use of “Dallas’s” most enduring term of endearment – “darlin’” – is cute. On the other hand, John Ross’s worried expression over Pamela’s connection to Tommy’s death at the end of the episode feels a little out of place. I like the idea of him falling for Pamela, but isn’t it a little soon? For that matter, I also don’t buy the notion that the detective investigating Tommy’s death would call Christopher to the crime scene for a chit-chat (shouldn’t Christopher be a suspect too?), and I wonder if Harris would really be beyond punishment for kidnapping Emma. The criminal justice system on this show seems to be exist in another dimension.

Of course, every time “Dallas” offers head-scratchers like these, it usually cuts to something wonderful – like Hagman’s scenes. Director Jesse Bochco smartly shrouds Hagman and Faran Tahir in darkness during J.R.’s exchange with Frank, which makes it feel that much more mysterious. I also love how scriptwriter Bruce Rasmussen peppers J.R.’s dialogue with an extra dash of homey references (church socials, lapdogs), which allows Hagman to play off the suave Tahir. My gut tells me Frank isn’t long for this world, which is too bad because of all the new show’s villains, he’s the most menacing.

Hagman’s other highlight: the scene where Bobby asks J.R. to help him get revenge against Harris. Besides capitalizing on the chemistry between Hagman and Patrick Duffy, the scene also draws upon the deep familiarity between these characters. J.R.: “I’ve seen that look before. You go over there to get justice and you’re likely to beat him to death.” Bobby: “That’s why I need you. Help me find a way to bring him down.”

I wish the show had allowed the audience to savor the idea of J.R. and Bobby joining forces against a common enemy; instead, it cut to the scene of Ann shooting Harris, which kind of undermines any threat J.R. might pose. Then again, something tells me Mr. Ryland is going to be just fine (please note: Mitch Pileggi was added to this show’s opening credits two episodes ago), so J.R. might yet get his chance to stage his “masterpiece” against Harris. Rarely have I wanted to see anything more.

Grade: A

_______________________________________________________________________________________________________________________________________________

Ann Ewing, Brenda Strong, Dallas, Sins of the Father, TNT

Woman on the edge

‘SINS OF THE FATHER’

Season 2, Episode 3

Telecast: February 4, 2013

Writer: Bruce Rasmussen

Director: Jesse Bochco

Audience: 2.2 million viewers on February 4

Synopsis: When the police begin to suspect Pamela killed Tommy, J.R. urges Frank to betray her. After Christopher warns Becky she’s in danger, she receives a visit from Frank and disappears. At John Ross’s urging, Sue Ellen threatens to call in Elena’s loan, prompting Elena to turn to her estranged brother Drew for help striking oil. Ann tries to connect with Emma but is once again rejected. Bobby asks J.R. to help him get revenge against Harris, unaware Ann has shot him.

Cast: Amber Bartlett (Jill), Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Rebecca Barnes), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Judith Light (Judith Ryland), Alex McKenna (Becky Sutter), Marcus M. Mauldin (Detective Ronnie Bota), Jesse Metcalfe (Christopher Ewing), Mitch Pileggi (Harris Ryland), Matthew Posey (Bubba), Brenda Strong (Ann Ewing), Faran Tahir (Frank Ashkani)

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

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The Dal-List: 10 Classic Clashes Between J.R. and Pam

February 1, 2013 by 14 Comments
Dallas, J.R. Ewing, Julie Gonzalo, Larry Hagman, Pamela Rebecca Barnes Ewing, TNT, Venomous Creatures

2 for 2?

The confrontation between J.R. and Pamela (Larry Hagman, Julie Gonzalo) in “Venomous Creatures,” one of this week’s new “Dallas” episodes on TNT, was an instant classic. The scene demonstrated how Gonzalo can hold her own against the legendary Hagman, but it also evoked memories of J.R.’s showdowns with the original Pam (Victoria Principal). Here’s a look at some of those moments.

Dallas, Digger's Daughter, Pam Ewing, Victoria Principal

Fight or flight

10. Let the games begin. J.R. and Pam’s first fracas set the stage for all the fights that followed. On the day she arrived at Southfork, he gave her a friendly tour of the ranch – then offered her a bribe to leave: “I’m willing to spend some money now to avoid any inconvenience. But if you insist upon being driven away – which you surely will be – you’re going to come out of this without anything, honey.” Pam ignored J.R.’s offer, but maybe she should’ve taken the money and run. Think of all the pain she would’ve been spared! (“Digger’s Daughter”)

Dallas, Barbecue, J.R. Ewing, Larry Hagman, Pam Ewing, Victoria Principal

Fall gal

9. Legend of the fall. J.R. and Pam’s most controversial encounter: During her first Ewing barbecue, pregnant Pam retreated to a Southfork hayloft for some much-deserved alone time. Suddenly, a drunken J.R. showed up, crawled (slithered?) toward her and apologized for “going too far” during her early weeks at Southfork. While trying to get away from him, Pam slipped, fell and lost her baby. Some fans remember J.R. pushing Pam, but when you watch this scene, it’s pretty clearly an accident. J.R. was bad, but he wasn’t evil. (“Barbecue”)

Dallas, J.R. Ewing, Larry Hagman, Love and Marriage, Pam Ewing, Victoria Principal

Stud or dud?

8. Stud finder? If there was sexual tension between J.R. and Pam, it was strictly one-sided. When he suggested her demanding job at The Store might prompt lonely Bobby to reclaim his reputation as Dallas’s top stud, Pam declared that Bobby “isn’t standing at stud anymore. … He left the field wide open for you. Of course, from what I hear, that still leaves the field wide open.” J.R.: “Anytime you want to find out, it can be easily arranged.” Pam: “Don’t bother, J.R. Even if I weren’t married to Bobby, you aren’t man enough.” OK then! (“Love and Marriage”)

Dallas, Pam Ewing, Quandary, Victoria Principal

Bag it, J.R.

7. Tea for one. When Bobby “died,” Pam joined Ewing Oil as J.R.’s new partner, bringing the animosity between them to new heights. Within minutes of her first day on the job, J.R. minced no words letting Pam know how he felt about her new career: “I don’t want you in my sight, much less my offices!” Pam didn’t miss a beat. She ignored J.R.’s huffing and puffing, buzzed her secretary Phyllis on the intercom and ordered “a cup of tea – a cup of herbal tea.” Pam then turned to J.R. and asked if he wanted anything. He didn’t. (“Quandary”)

Dallas, J.R. Ewing, Larry Hagman, Nothing's Ever Perfect

Dream on, Pam

6. Truce? In your dreams. After spending months fighting with J.R. at Ewing Oil, Pam decided their war wasn’t worth it and sold him the share of the company she controlled. After signing the papers, Pam told him, “It’s all yours, J.R. I hope this does mean that we can all live in peace now.” His response: “We’ve got nothing to fight about anymore.” Ha! This scene aired six months before Bobby stepped out of Pam’s shower. Looking back, the moment J.R. and Pam made nice should’ve been the first clue our heroine was dreaming. (“Nothing’s Ever Perfect”)

Dallas, Fallen Idol, J.R. Ewing, Larry Hagman

Hold the butter

5. Dining with the devil. For purely selfish reasons, J.R. didn’t want Bobby doing business with shady college chum Guzzler Bennett, so J.R. invited Pam to lunch to enlist her help in stopping Bobby and Guzzler’s project. When Pam wondered how she might persuade Bobby to call off the deal, J.R. told her, “You’re a very clever woman, Pam. You’ll think of something.” I also love her cutting response to his attempt to butter her up at the start of the scene: “J.R., please don’t make me lose this good food.” (“Fallen Idol”)

Dallas, Ewing Inferno, Pam Ewing, Victoria Principal

Sting like a bee

4. Slap! J.R. and Pam’s fights almost never turned physical. Emphasis on “almost.” While Pam waited alone for Bobby inside his office one day, J.R. popped in to say hello. She wasn’t in the mood for his insincerities. “Save that nonsense for somebody who doesn’t know you,” she said, then chastised him for his latest extramarital fling. “Climb down off your soapbox, honey,” J.R. responded before accusing her of sleeping around. Before all was said and done, Pam had stomped away, leaving J.R. with a big red mark on his cheek. (“Ewing Inferno”)

Dallas, If At First You Don't Succeed, J.R. Ewing, Larry Hagman

Change of tune

3. Get your feud on. When Cliff was arrested for Bobby’s shooting, Pam accused J.R. of framing her brother. Cue J.R.’s eye-roll: “I’m getting kind of tired of that old song. Mean, nasty J.R. beating up on poor, innocent Cliff Barnes.” Pam’s response: “I’ve never believed in the Barnes/Ewing feud, J.R., but now I’m going to join it. I’m going to do everything I can to help Cliff – and I’m not going to rest until all our family scores are settled!” Something tells me Pam’s namesake niece would be proud of auntie here. (“If at First You Don’t Succeed”)

Dallas, Legacy of Hate, Pam Ewing, Victoria Principal

Babble on, honey

2. True lies. Just to mess with her, J.R. sent Pam on a wild goose chase to the Caribbean to find her presumed dead lover Mark Graison. When she found out, she stormed into J.R.’s office and demanded an explanation. J.R. played dumb. “You’re babbling like a lunatic,” he said, adding: “I never liked you a hell of a lot, you know that, Pam? But I never thought you were stupid until now.” Principal is fantastic here – and so is Hagman. Pam knows J.R.’s lying. The audience knows he’s lying too. Yet somehow, we kinda believe him. (“Legacy of Hate”)

Dallas, J.R. Ewing, Larry Hagman, Long Goodbye, Pam Ewing, Victoria Principal

Choose or lose

1. The choice. J.R. rejoiced when Pam left Bobby, but when he found out she was thinking about reconciling with him, J.R. knew he needed to act fast. He showed up on Pam’s doorstep and tried to persuade her that a divorce was in her best interest. “How nice! You’re concerned about my happiness,” she said, sarcasm dripping from every word. J.R.’s matter-of-fact response: “Oh, no. I don’t give a damn about you or your happiness, honey. But I do care about what’s good for me.” As Pam stood with her back to him, J.R. circled her, explaining she had two options: divorce Bobby and bring the Barnes/Ewing feud to an end, or return to him and watch as “all hell [breaks] loose.” Hagman is downright chilling, and as Pam, Principal looks visibly shaken. We can sympathize; in this scene, J.R. scares us too! (“The Long Goodbye”)

What do you think are J.R. and Pam’s best confrontations? Share your choices below and read more “Dal-Lists.”

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Critique: TNT’s ‘Dallas’ Episode 12 – ‘Venomous Creatures’

January 30, 2013 by 43 Comments
Dallas, J.R. Ewing, Larry Hagman, TNT, Venomous Creatures

Changing course

The boldest thing about the new “Dallas” isn’t the salty language or randy sex scenes – it’s the show’s willingness to let J.R. grow as a character. Larry Hagman’s iconic villain threw audiences for a loop last year when he returned ownership of Southfork to Bobby, and he surprises us again in “Venomous Creatures” when he fights to keep Sue Ellen out of jail. No one expects “Dallas” to turn J.R. into a full-fledged hero before he heads into the sunset later this season, but you must admit: Every time he becomes a better man, this becomes a better show.

Aaron Allen’s “Venomous Creatures” script gives Hagman some of his richest material since the new “Dallas” began, and the actor makes the most of it. J.R.’s most revealing moment in this episode comes near the top of the hour, when he tries to buck up Sue Ellen after her electoral defeat. “The best decision you ever made was the day you walked away from me,” J.R. tells her before ticking off a list of her achievements since their divorce. When Sue Ellen informs him the state prosecutor wants to indict her in the bribery scandal, he offers to intervene on her behalf, but she refuses. “I broke the law, and I wouldn’t learn my lesson if I tried to squirm out of this,” she says. J.R.’s winking response: “That’s why you have me, darlin’. I never learn my lesson.”

You don’t have to be a fan of the original “Dallas” to appreciate what’s happening here, but it helps. J.R. Ewing, the scoundrel who once tossed his wife into a sanitarium, has become the savior who’s eager to fight for her freedom. This isn’t the first time we’ve seen him use his power to help someone else, nor is it the first demonstration of the love J.R. feels for Sue Ellen (who has experienced her own share of changes over the years). J.R. had moments like these on the old show too, but they occur more frequently now. This makes J.R. more sympathetic, but it also makes him more believable. It’s as if time and circumstance have humbled him, the way they would any man who has lived a life like his. No matter what J.R. says, he has learned a lesson or two.

By embracing J.R.’s softer side, “Dallas” is taking a creative risk. For almost 35 years, this has been the villain audiences love to hate. Do fans want to see him acting heroically? I hope so. If nothing else, J.R. and Sue Ellen’s “Venomous Creatures” scenes – including the infinitely sweet moment when he shows up on her doorstep and receives that peck on the cheek – allow the new show to capitalize on the radiant warmth between Hagman and Linda Gray. And does it really matter if J.R. is using his power for good or evil? Isn’t seeing him triumph the thing we enjoy most?

Besides, it’s not like all the devilry has been exorcised from this character. J.R. keeps Sue Ellen out of jail not by hiring an army of lawyers to defend her, but by blackmailing the prosecutor into letting her off the hook. “Venomous Creatures” also shows him urging John Ross to embrace his dark side, including that delicious scene before the opening credits when J.R. finds his embittered son watching Christopher and Elena canoodling in the Southfork driveway. “Love. Hate. Jealousy. Mix ’em up and they make a mean martini,” J.R. says.

Later, in my favorite scene from “Venomous Creatures,” J.R. reminds Julie Gonzalo’s character of his track record when it comes to ridding his family of women named Pamela Barnes. This is a wonderful homage to one of the all-time great “Dallas” rivalries, but it also offers another hint of how J.R. has changed. When he tells Pamela to stay away from Ewing Energies and she points out he isn’t “part of that company,” he responds: “No, but I’m part of that family.” Usually when J.R. claims he’s protecting the Ewings, he doesn’t mean it. This time, I believe he does.

Hagman supplies “Venomous Creatures” with most of its great moments, but not all of them. The sequence where John Ross storms off the elevator to get to Pamela is electric, evoking the famous “Body Heat” scene where William Hurt smashes the window to get to Kathleen Turner. Pairing J.R.’s son and Cliff’s daughter is inspired, and it doesn’t hurt that Josh Henderson and Julie Gonzalo have undeniable chemistry. I also love how director Steve Robin stages the beginning of the scene, with the two characters circling the room – never taking their eyes off each other – as they dicker over the terms of their alliance. Also: How great is it that Pamela is the one who summons John Ross back to the penthouse to, um, seal their deal?

More highlights: The crosscutting in the scenes between Sue Ellen and Ann at Southfork and J.R. and the prosecutor on the golf course is beautifully executed. I especially love when Sue Ellen compares being tempted by the glass of wine to the temptation to allow J.R. rescue her (“For the first time in his damn life, J.R. was the lesser of two evils”). Meanwhile, Jesse Metcalfe and Jordana Brewster continue to charm as super-couple-in-the-making Christopher and Elena, even if the outcome of his annulment hearing defies logic.

The other fun moment in “Venomous Creatures” is the introduction of Judith Light’s character, Judith Brown Ryland. In my interview last week with Allen, the “Venomous Creatures” scriptwriter, he predicted “Dallas” fans will love watching Light “swing for the fences” with this role. I don’t doubt it. Light is irresistibly watchable in her “Dallas” debut, but she’s not the only reason this scene works. Pay attention to Patrick Duffy, who keeps Bobby’s confrontation with Judith rooted in reality. Our hero’s indignation is righteous, but it’s also nicely measured.

It takes a great actor to hold his own against a scene-stealer like Light, but if anyone is up to the task, it’s Duffy. He’s certainly had plenty of practice.

Grade: A

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Dallas, Judith Brown Ryland, Judith Light, TNT, Venomous Creatures

Swing!

‘VENOMOUS CREATURES’

Season 2, Episode 2

Telecast: January 28, 2013

Writer: Aaron Allen

Director: Steve Robin

Audience: 2.9 million viewers on January 28

Synopsis: Following Sue Ellen’s defeat in the gubernatorial race, the state prosecutor threatens to indict her, but J.R. blackmails him into letting her off the hook. After the Ewings agree to make Elena a full partner in Ewing Energies, Pamela and John Ross become lovers and form a secret alliance to snag a piece of Christopher’s share during the divorce. Christopher discovers Becky was part of Pamela and Tommy’s con. Bobby learns Emma was kidnapped by Harris and raised by his mother, Judith Brown Ryland.

Cast: Amber Bartlett (Jill), Devin Bonnée (courier), Jordana Brewster (Elena Ramos), Akai Draco (Sheriff Derrick), 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), Alex McKenna (Becky Sutter), Jesse Metcalfe (Christopher Ewing), Liz Mikel (Judge Rhonda Mason), Natalie Quintanilla (John Ross’s secretary), Brenda Strong (Ann Ewing), Faran Tahir (Frank Ashkani), Todd Terry (State’s Attorney Peter Bedford)

“Venomous Creatures” 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 11 – ‘Battle Lines’

January 29, 2013 by 36 Comments
Battle Lines, Dallas, J.R. Ewing, Larry Hagman, TNT

The last hurrah

“Battle Lines” is the first hour of the new “Dallas’s” second season and the beginning of Larry Hagman’s last hurrah as J.R. Ewing. The actor filmed this episode about two months before his death last fall, but you wouldn’t know he was nearing the end of his life by watching him here. Hagman looks thin and sounds a little raspy, but the light in his eyes hasn’t dimmed. Not one bit.

J.R. appears four times in “Battle Lines.” Predictably, they are the best scenes in the episode. In the first, John Ross strides through the reception area at Ewing Energies and is greeted by his assistant, who apologizes for the unexpected visitor waiting for him in his office. “Don’t worry about it. I know how slippery snakes can be,” John Ross says, and as he enters the room, we find J.R. with his boots propped up on junior’s desk. “Is that any way to talk about your father?” the old man asks with a smirk.

The first time I watched “Battle Lines” and saw Hagman sitting there, I almost got teary. But as the scene played out, with J.R. and John Ross plotting against Bobby and Christopher, I saw how much fun Hagman seemed to be having, and pretty soon, I was enjoying the ride. J.R.’s dialogue is a little corny (“Just remember my boy, vengeance is a dish best served cold”), but that’s OK. What J.R. says has never mattered as much as how Hagman says it, and his delivery here is flawless. Every line drips with equal parts honey and venom.

Hagman also supplies “Battle Lines” with its most poignant moment, when J.R. hangs his head in sorrow after watching the TV news report about Sue Ellen’s Election Day scandal. The actor also gets two scenes with Patrick Duffy, and both sequences cast J.R. as the impolitic octogenarian and Bobby as his eye-rolling straight man. Here’s J.R. explaining the reason for his visit to Ewing Energies: “I came over to deliver some muffins to the pretty little secretaries. Who could’ve guessed so many would turn out to be men?” And here he is offering his prescription for dealing with Cliff Barnes: “We should hire some roughnecks, take him for a long ride.” Cue Bobby’s exasperated reaction, and then J.R.’s kicker: “I’m just putting it on the table, Bobby.”

But even though Hagman is the best thing about “Battle Lines,” he isn’t the only good thing. Josh Henderson looks like he’s having as much fun as his on-screen daddy, although if the younger actor feels any temptation to imitate Hagman, he’s wisely resisting it. Hagman swaggers, but Henderson struts. J.R. is confident, but John Ross is cocky. Both actors have charm to spare, but Henderson is giving John Ross his own brand of cool. He gives me hope for the post-J.R. era of “Dallas.”

The other actor to watch in “Battle Lines” is Julie Gonzalo, who transforms desperate Rebecca into driven Pamela. Gonzalo gets an assist from costume designer Rachel Sage Kunin, who has skillfully traded Rebecca’s cheery dresses for Pamela’s dark suits, but the wardrobe change isn’t the only reason this metamorphosis succeeds. Gonzalo now carries herself with unflinching resolve, although she offers enough of a hint of vulnerability to suggest Pamela’s quest for revenge has more to do with her own broken heart than her daddy’s vendetta against the Ewings. It’s a clever performance.

I also appreciate the classic “Dallas” shorthand that Cynthia Cidre and Robert Rovner drop into their “Battle Lines” script, including Pamela’s references to her namesake aunt and mother Afton, as well as the mention of Westar during Elena’s business meeting. (And is that the old Oil Baron’s Club building I spot through the office window in that scene?) The other “Battle Lines” highlights are Christopher and Elena’s sexy romp in the Southfork swimming pool (turns out the new show’s first pool scene was worth the wait), and the introduction of Christopher’s racecar subplot, which is an intriguing way to continue last season’s alternative fuels saga. I also like this story because it gives the underappreciated Jesse Metcalfe something to do besides reacting to Henderson. Metcalfe looks like he’s having a lot of fun in those racetrack scenes. Isn’t it nice to see Christopher smile for a change?

Not everything in “Battle Lines” works. Director Michael M. Robin does a nice job bringing the sleek Ewing Energies set to life, but the CGI skyline outside the windows looks, well, like CGI. (I’m not buying that logo on the outside of the Barnes Global building either.) More bothersome: the plot holes in Brenda Strong’s storyline. I’m glad we now know Ann’s secret – when she was married to Harris, they had a daughter who was snatched from her stroller at the Texas State Fair – although I’m not sure why Ann kept this from Bobby, or why Bobby wouldn’t know in the first place. Don’t the Ewings ever check out the people they marry?

The revelation of Sue Ellen’s blackmail scheme doesn’t ring true either. She learns the medical examiner has ratted her out while watching a TV news report that includes a sound bite from her gubernatorial opponent’s camp. Shouldn’t the reporter have contacted Sue Ellen for comment too? And while we’re on this subject: I had hoped Sue Ellen’s campaign would become a metaphor for the character’s redemption after her scandalous behavior on the old show. Imagine if the car accident that led to Mickey Trotter’s death had become Sue Ellen’s Chappaquiddick, or if the new series had used her past affairs to say something about the double standard that so many women politicians encounter in real life. Think about what Linda Gray could have done with material like that.

Or maybe don’t think about it. Season premieres are about moving forward, and that’s what “Battle Lines” does. This episode feels like the work of storytellers who are more confident than they were at the outset of last season. They seem to have a better understanding of what they want “Dallas” to be, and also what diehards like me want to see. More and more, those things don’t seem mutually exclusive.

Grade: B

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Battle Lines, Dallas, John Ross Ewing, Josh Henderson, TNT

Revelations

‘BATTLE LINES’

Season 2, Episode 1

Telecast: January 28, 2013

Writers: Cynthia Cidre and Robert Rovner

Director: Michael M. Robin

Audience: 2.9 million viewers on January 28

Synopsis: Rebecca reveals she is Pamela Rebecca Barnes, Cliff and Afton’s daughter, and tells Christopher she wants partial ownership of Ewing Energies. Christopher brings Tommy’s sister Becky to Dallas to testify at his annulment hearing, but she secretly aligns with John Ross, who wants to use Pamela and Becky to maneuver Christopher out of the company. Ann tells Bobby she and Harris have a daughter, Emma, who was kidnapped as a child, but when Ann tracks down the young woman, Emma rejects her. Sue Ellen’s blackmail scheme is exposed on Election Day.

Cast: Amir Arison (Dr. Varun Rasmussen), Emma Bell (Emma), Jordana Brewster (Elena Ramos), Brett Brock (Clyde Marshall), Caitlin Custer (Brandee Cartwell), Jason Douglas (Erik Allen), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Barnes), Eddie Gossage (himself), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Josh Henderson (John Ross Ewing), Sean Hennigan (Robert Cartwell), Jesse Metcalfe (Christopher Ewing), Alex McKenna (Becky Sutter), Glenn Morshower (Lou Bergen), Tammy Nguyen (Charlotte), Marco Perella (Mark), Mitch Pileggi (Harris Ryland), Natalie Quintanilla (John Ross’s secretary), Ricky Rudd (himself), Brenda Strong (Ann Ewing), Faran Tahir (Frank Ashkani)

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

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‘Dallas’s’ Second Season Gets Off to a Promising Start

January 25, 2013 by 20 Comments
Dallas, John Ross Ewing, Josh Henderson, J.R. Ewing, Larry Hagman, TNT

Lessons learned

At one point during “Dallas’s” second-season premiere, J.R. offers Sue Ellen a sly grin and declares, “I never learn my lesson.” Maybe not, but the people who make “Dallas” seem to have learned theirs. This has been a good show from the beginning, but diehards like me couldn’t help but feel bothered by some of the historical flubs in the first-season plotlines (don’t get us started on those Southfork mineral rights) or the fact that our beloved Linda Gray was missing from two whole episodes.

Thankfully, those days appear to be over. The two-hour premiere, which TNT will telecast Monday, January 28, does a nice job giving “Dallas” devotees the stuff we crave. The first shot of the first scene is none other than Sue Ellen – a signal, I hope, that Gray will have a prominent role this year. The opener also offers the first Southfork swimming pool scene in 22 years, references to two long-unseen “Dallas” characters, and a fleeting-but-much-appreciated mention of an institution that was significant to the old show’s mythology. Someone’s been doing their homework.

Best of all, J.R. gets lots of screen time in the extended premiere, which is actually two one-hour episodes (“Battle Lines” and “Venomous Creatures”) that TNT will telecast back-to-back. Larry Hagman filmed a handful of episodes before his death last November, and in these first two hours, he’s as great as ever. Hagman’s scenes with Patrick Duffy will make you chuckle, while his exchanges with Gray will leave you reaching for the tissues. The magic is still there.

Of course, as much as I love watching my old favorites, it’s also good to see “Dallas” cultivating its next generation of stars. Josh Henderson has become a worthy heir to Hagman’s badassery, although he now has competition from an unexpected source: Julie Gonzalo, who is a hellion in heels as Cliff’s vengeful daughter. I’m also pleased to report the premiere gives Jordana Brewster some meaningful scenes. Brewster remains one of the best actors in this ensemble; she makes Elena feel like the kind of person you might know in real life, which – let’s face it – doesn’t always happen on shows like this. Henderson and Gonzalo might get the juicy lines, but Brewster and Jesse Metcalfe, her equally good leading man, keep “Dallas” grounded.

The premiere also establishes the battle for Ewing Energies as the season’s main story arc and introduces us to the sleek Ewing Energies set, which looks absolutely nothing like the offices seen on the old show. (Please note: This isn’t a complaint.) A nifty subplot focuses on Christopher’s foray into racecar driving, and we also learn Ann’s dark secret, a storyline that has more than a few holes but nonetheless offers a nice showcase for Brenda Strong.

Other highlights include our first glimpse of the mysterious new character Emma Brown, played by Emma Bell, who was so memorable as the doomed Amy on “The Walking Dead.” (I wonder: Does Bell find zombies or Ewings more cannibalistic?) We also meet Harris Ryland’s mother Judith, played to the hilt by Judith Light. Yes, Light is only three years older than Mitch Pileggi, who plays Harris. It’s too early to know if audiences are going to buy this, but if anyone can pull it off, it’s Light.

The real question is how “Dallas” will fare once it runs out of episodes featuring Hagman. This week, TV Guide reported the show will write out its star with a “Who Killed J.R.?” mystery that will echo the old “Dallas’s” most famous cliffhanger. Whether or not this idea is really brilliant or really lousy will depend on the execution, but it’s a good sign the show is bringing back so many favorites for J.R.’s funeral and memorial service. The guest list will include Deborah Shelton, who played J.R.’s longest-running (three seasons!) mistress Mandy, and Cathy Podewell, who portrayed his second wife Cally, along with four characters who require no explanation: Gary (Ted Shackleford), Lucy (Charlene Tilton), Ray (Steve Kanaly) and Cliff (Ken Kercheval).

This group includes some of “Dallas’s” most iconic figures. Watching them come together to mourn – or celebrate – the death of the biggest icon of all is bound to be great television. It will never satisfy all of “Dallas’s” hardcore fans, but you have to hand it to the people who make the show. At least they’re trying.

What do you want to see during “Dallas’s” second season? Share your comments below and read more opinions from Dallas Decoder.

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The Best & Worst of Dallas: Season 5

January 24, 2013 by 2 Comments

“Dallas’s” fifth season was dandy, save for a few disappointments.

Performances

Barbara Bel Geddes, Dallas, Miss Ellie Ewing

Walk to remember

Barbara Bel Geddes delivers one tour-de-force performance after another as the grieving Miss Ellie. Everyone remembers the scene where Mama smashes the dishes in the Southfork kitchen, but Bel Geddes also shines in quiet moments like the one where Ellie takes that mournful stroll across the ranch. I’ve said it before, but it bears repeating: Bel Geddes can say more with one look than most actors can with a whole script.

Dallas, J.R. Ewing, Larry Hagman

Ewing blues

Runners up: Larry Hagman and Patrick Duffy both break my heart as the brothers Ewing struggle – in very different ways – to deal with Jock’s death (J.R. falls apart, Bobby falls in line). Meanwhile, Linda Gray does a beautiful job conveying Sue Ellen’s conflicting emotions as a recent divorcee. I understand her confusion: It’s nice to see Sue Ellen on her own, but I also want her to reunite with the soul mate she’s left behind at Southfork.

Storylines

I love to watch J.R. scheme his way back into Sue Ellen’s heart. This is another fascinating performance from Hagman, who keeps us guessing about J.R.’s motivation: Does he really love his ex-wife, or is he merely trying to get his hands on John Ross’s Ewing Oil voting shares? My guess is it’s a little from Column A and a little from Column B. One thing is certain: Seeing J.R. pick off Sue Ellen’s suitors (Dusty, Clayton, Cliff), one by one, is a hoot.

Weakest storyline: Pam’s mental breakdown. Victoria Principal does a nice job depicting her character’s despair, but this isn’t the heroic Pam I fell in love with during “Dallas’s” early years. Thankfully, she gets her groove back toward the end of the season, when she lays down the law to creepy Roger and helps Bobby solve the mystery of Christopher’s paternity. And while we’re on the subject: They may not be Nick and Nora, but isn’t it fun watching Bobby and Pam figure out that J.R. didn’t father Christopher? (The season’s best plot twist, by the way.)

Episodes

Adoption, Bobby Ewing, Dallas, Linda Gray, Patrick Duffy, Sue Ellen Ewing

Adopt or cry

“Adoption” is one classic scene after another. Donna socks it to Bonnie. Bobby asks Sue Ellen to sign the affidavit. Sue Ellen tosses the necklace at J.R. and proclaims their relationship is “sick, sick, sick!” This is another great script from Howard Lakin, but don’t overlook Hagman, who sat in the director’s chair for this episode and once again proved he’s as gifted behind the camera as he is in front of it.

My least favorite episode: “The Maelstrom,” in which Lucy discovers Roger’s shrine to her and responds by making love to him. Come on, “Dallas.” Charlene Tilton deserves better. So do we.

Scenes

This is always the toughest category to choose a winner, and Season 5 is no exception. Among the contenders: J.R. and Dusty’s Cotton Bowl showdown, Ellie’s confrontation with the cartel and J.R.’s soliloquy in front of Jock’s painting. In the end, I’m going with “The Search” scene where the Ewing sons break the news to Mama that Daddy isn’t coming home. I don’t know who moves me more here: Bel Geddes, Hagman, Duffy or Steve Kanaly. Beautiful performances all around.

Supporting Players

Afton Cooper, Audrey Landers, Dallas

Hot stuff

No one impresses me as much as Audrey Landers. This is the season Afton breaks J.R.’s grip and comes into her own as one of the show’s heroines. There’s no doubt she deserves a better mate than Cliff, but I love how Afton humanizes him – and you can’t deny Landers’ chemistry with Ken Kercheval. As an added bonus, Landers delivers several hot musical numbers this year, including that sultry rendition of “All of Me” in “The Phoenix.”

Runners up: Morgan Brittany, who debuts in Season 5 as scheming Katherine Wentworth and begins laying the groundwork for the havoc she’ll wreak in later years; Fern Fitzgerald, whose Marilee Stone becomes J.R.’s equal in every way; Barry Nelson as Sue Ellen’s sympathetic lawyer Arthur Elrod; Claude Earl Jones as Wally Hampton, J.R.’s co-conspirator in the plot to sabotage Cliff’s career; and Lindsay Bloom as Bonnie, the sad-sack barfly who beds Ray.

Costumes

Clayton Farlow, Dallas, Howard Keel

Hello, handsome

Virtually every “Dallas” diva sports a fur coat during Season 5, but the full-length number Susan Howard dons during Donna’s barroom brawl is the most meaningful. Among the dudes, no one wears suits better than dapper Howard Keel. I especially love when Clayton shows up at Sue Ellen’s townhouse in pinstripes and an open collar shirt, the same look Josh Henderson often sports on TNT’s “Dallas.”

At the other end of the spectrum: What’s with Sue Ellen’s culottes during Season 5? You get the feeling the character spent every episode standing in front of her closet, trying to decide between skirts and pants and choosing to compromise by wearing both. No wonder she became a politician.

Quips

“You getting good mileage on Donna’s car?” – J.R.’s cheery query to Ray in “Five Dollars a Barrel” cracked me up. Only Larry Hagman could turn a throwaway line into a hilarious putdown.

What do you love and loathe about “Dallas’s” fifth season? Share your comments below and read more “Best & Worst” reviews.

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