It’s Bobby vs. Harris Tonight on #DallasChat

Bobby Ewing, Dallas, Harris Ryland, Mitch Pileggi, Patrick Duffy

Destined to hate

You’re invited to join Dallas Decoder’s next #DallasChat on Twitter, which I’ll hold Monday, January 27, from 9 to 10 p.m. Eastern time. The theme: “Bobby vs. Harris.”

New to #DallasChat? Here’s how it works: For one hour, I tweet a series of questions to my fellow “Dallas” fans. Each question is numbered and includes the hashtag #DallasChat, and so your answers should do the same. Everyone is also encouraged to include the show’s official hashtag, #DallasTNT, in their #DallasChat tweets.

Here’s a sample exchange:

Q1. Why does Harris hate Bobby? #DallasTNT #DallasChat

A1. Harris is jealous. Bobby has everything Harris ever wanted: beautiful wife, obedient child — and great hair! #DallasTNT #DallasChat

Here are two tips:

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

• Be sure to include #DallasChat in your tweets. This allows the other participants to see your contributions to the conversation.

This will be another fun discussion. Don’t miss it!

Dallas Scene of the Day: ‘Don’t Give Up on Her’

Dallas, Eye of the Beholder, Linda Gray, Sue Ellen Ewing

To the rescue

In “Eye of the Beholder,” a seventh-season “Dallas” episode, Sue Ellen and Clayton (Linda Gray, Howard Keel) walk through an outdoor plaza.

SUE ELLEN: Clayton, am I going to have to wait until we get to lunch to find out what’s troubling you?

CLAYTON: No, it’s just hard to talk about it, that’s all. I guess your dreams of my being your father-in-law are over.

SUE ELLEN: Oh? Why?

CLAYTON: Ellie called off the marriage.

SUE ELLEN: No, she didn’t.

CLAYTON: Yes, she did. I’m thinking about moving back down to San Angelo. There’s a spread there I’d like to buy.

SUE ELLEN: Why did she do that?

CLAYTON: Oh, she gave a lot of reasons. I don’t really believe in any, though.

SUE ELLEN: But what did she say?

CLAYTON: Marriage would cause problems — problems with the boys, problems with Southfork.

SUE ELLEN: But you’ve been over that ground before. I thought you’d reached some kind of an understanding. [They reach a table at a sidewalk café and sit.] Besides, Bobby and Ray are no problem.

CLAYTON: I don’t believe any of the boys are a problem.

SUE ELLEN: You don’t think that J.R. has anything to do with it?

CLAYTON: No. Ellie sounded scared, and that’s not like her. Very little scares her, and certainly not J.R.

SUE ELLEN: Well, he could have made her feel guilty in some way.

CLAYTON: No, it has to do with me. I don’t know what it is.

SUE ELLEN: [Long pause] Clayton, how much has Miss Ellie told you about herself? About her life with Jock?

CLAYTON: I think I know most of it. We spent a lot of time together.

SUE ELLEN: But not as together as you would be if you were married.

CLAYTON: No.

SUE ELLEN: Then … don’t give up on her. I don’t think she’s told you everything.

CLAYTON: Sue Ellen, I do have my pride. The woman says she doesn’t want me, and I have to believe her.

SUE ELLEN: Talk to her again.

A waitress approaches and asks to take their order.

CLAYTON: No, no, no. Thank you. [The waitress leaves.] Would you mind if we skipped lunch? I’d like to spend some time with myself.

SUE ELLEN: Of course. I understand.

Clayton gets up and holds out the chair for Sue Ellen. They walk away.

Critique: ‘Dallas’ Episode 148 — ‘Eye of the Beholder’

Barbara Bel Geddes, Clayton Farlow, Dallas, Eye of the Beholder, Howard Keel, Miss Ellie Ewing

The natural

At the end of “Eye of the Beholder,” Miss Ellie tearfully tells Clayton that she had breast cancer and underwent a mastectomy years earlier. It’s another moving performance from Barbara Bel Geddes, although when I try to explain why she excels in scenes like this one, I always come up short. Is it her ability to summon tears whenever the script calls for it? Is it her halting delivery, which mimics the way people tend to talk in real life? Or is it some magical, Hagman-esque quality that can’t be described? Whatever the reason, Bel Geddes always makes me forget I’m watching a world of make-believe. She’s amazing.

To be fair, Bel Geddes gets plenty of help from “Eye of the Beholder” scriptwriter Arthur Bernard Lewis, whose unsentimental dialogue ensures Ellie isn’t seen as a figure of self-pity. Here’s how she tells Clayton about her ordeal: “Clayton, I had surgery. I’ve had a mastectomy. The doctor found cancer. They cut off my breast.” This series of clipped, matter-of-fact pronouncements reminds me of Bel Geddes’ wonderful monologue in “Return Engagements,” when Ellie acknowledges her failure to help Gary keep his family together. (“I should’ve fought them. I didn’t. I did nothing.”) Only one line in Ellie’s “Eye of the Beholder” speech gives me pause. After she tells Clayton about her mastectomy, she says, “It affects how I feel about myself, and I know it’s got to be harder for you.” This seems like another example of “Dallas’s” pervasive sexism — and maybe it is — but like it or not, I suspect this is how a lot of women from Ellie’s generation felt.

Regardless, I continue to marvel at “Dallas’s” acknowledgment that Ellie and Clayton, two characters who are supposed to be in their 60s or 70s, are capable of sexual intimacy. Besides “The Golden Girls,” which debuted a year after this episode aired, I can’t think of another show that did more more than “Dallas” to dispel the myth that people stop having sex with they get old. I also appreciate how sensitively “Dallas” handles this material. At the end of the scene, Clayton tells Ellie the mastectomy doesn’t matter to him and sweeps her into his arms. The final freeze frame shows him holding her tightly as Richard Lewis Warren’s soft piano music plays in the background. There’s no big cliffhanger, just two characters expressing their love and commitment to each other. What other prime-time soap opera from this era would be willing to end an episode on such a quiet, dignified note?

Above all, I love how Ellie and Clayton’s storyline mines “Dallas’s” history. “Eye of the Beholder” arrived four seasons after the show’s classic “Mastectomy” episodes, which broke ground by making Ellie one of the first major characters in prime time to get cancer. In “Eye of the Beholder,” the show doesn’t just mention her disease, it turns it into a major subplot and reveals Ellie is still struggling with the same feelings of inadequacy that she did in 1979. Her tearful scene with Clayton harkens to the memorable moment in “Mastectomy, Part 2,” when she comes home after her surgery and breaks down (“I’m deformed”) upon discovering her dresses no longer fit the way they once did.

The show’s history can also be felt in “Eye of the Beholder’s” third act, when Clayton tells Sue Ellen that Ellie has called off the wedding without telling him why. Sue Ellen gently quizzes Clayton and realizes he and Ellie haven’t been intimate with each other. “Don’t give up on her. I don’t think she’s told you everything,” Sue Ellen says. I love this scene for a lot of reasons, beginning with Linda Gray, whose expression lets the audience know that Sue Ellen has it all figured out. This also feels like a moment of growth for Gray’s character. Think back to “Mastectomy, Part 2,” when Sue Ellen reacts to Ellie’s cancer diagnosis by suggesting Jock will reject his wife after her surgery. Four years later, Sue Ellen is wiser, less cynical and more compassionate. When you think about it, if it wasn’t for Sue Ellen encouraging Clayton to not give up on Ellie, Ellie might not have opened up to him and given their relationship another chance. In many ways, Sue Ellen rescues this couple.

“Eye of the Beholder” contains several other nods to “Dallas’s” past, including the warm scene where Bobby and Pam share lunch at the Oil Baron’s Club and reminisce about their wedding. Besides showcasing Patrick Duffy and Victoria Principal’s sparkling chemistry, the scene fills in some blanks for “Dallas” diehards. For example, “Digger’s Daughter” opens with Bobby and Pam stopping at a gas station not long after their spur-of-the-moment wedding in New Orleans. I always wondered: Were the newlyweds coming straight from the chapel? It turns out they weren’t: In “Eye of the Beholder,” we learn the couple spent their wedding night in a motel while making their way back to Southfork. It’s also nice to know “When the Saints Go Marching In” was their wedding music. If that’s not a fitting theme for these two, I don’t know what is.

The other great scenes in “Eye of the Beholder” include Bobby forcing J.R. to sign the paperwork to buy Travis Boyd’s company, which ends with J.R. saying, “I don’t like doing business this way.” Bobby’s response: “Well, I’ll continue your delicate sensibilities some other time, all right?” I also like the scene that introduces Barry Jenner as Jerry Kenderson, Mark Graison’s doctor and confidante; Jenner and John Beck have an easy rapport, making the friendship between their characters feel believable. “Eye of the Beholder” also marks Bill Morey’s first appearance as Barnes-Wentworth’s longtime controller Leo Wakefield, whose weary demeanor makes him a worthy foil for Ken Kercheval’s hyperkinetic Cliff. (Morey previously popped up as a judge in the fifth-season episode “Gone But Not Forgotten.”)

Two more moments, both showcasing Larry Hagman’s comedic talents, deserve mentioning. In the first, J.R. enters the Southfork living room, where Sue Ellen is offering Peter a drink. J.R. accuses his wife of “trying to corrupt that young man,” until he finds out Peter has arrived to escort Lucy to a party. “Oh, in that case you’re going to need a drink,” J.R. says. In Hagman’s other great scene, J.R. takes Edgar Randolph to lunch, where he tells Edgar he wants him to reveal the high bidder in the offshore drilling auction so J.R. can beat the bid. Edgar resists, saying he doesn’t want to cheat the government, but J.R. points out the government will make more money under his scheme. “J.R., you have the amazing ability to make a crooked scheme sound noble,” Edgar says. J.R.’s response: “Edgar, that’s part of my charm.”

For once, he isn’t lying.

Grade: A

_______________________________________________________________________________________________________________________________________________

Bobby Ewing, Dallas, Eye of the Beholder, Pam Ewing, Patrick Duffy, Victoria Principal

On the march

‘EYE OF THE BEHOLDER’

Season 7, Episode 17

Airdate: January 27, 1984

Audience: 22 million homes, ranking 2nd in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Leonard Katzman

Synopsis: Miss Ellie tells Clayton she doesn’t want to marry him because she had a mastectomy, but he tells her it doesn’t matter. Cliff agrees to sleep with Marilee if she’ll join his offshore drilling venture. J.R. tells Edgar he wants to see the offshore proposals so he can bid higher. Pam realizes Bobby and Jenna are sleeping together.

Cast: Denny Albee (Travis Boyd), Christopher Atkins (Peter Richards), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Morgan Brittany (Katherine Wentworth), Martin E. Brooks (Edgar Randolph), Roseanna Christiansen (Teresa), Pat Colbért (Dora Mae), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Fern Fitzgerald (Marilee Stone), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Barry Jenner (Dr. Jerry Kenderson), Sherril Lynn Katzman (Jackie Dugan), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Anne Lucas (Cassie), Kevin McBride (George), Bill Morey (Leo Wakefield), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Donegan Smith (Earl Johnson), Charlene Tilton (Lucy Ewing)

“Eye of the Beholder” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

More Details Released About ‘Dallas’s’ Third Season

Happy ending? Ha!

Happy ending? Ha!

TNT released some more tidbits about “Dallas’s” third season today, including clues about the new characters and how they’ll fit into the storylines. If you don’t want to know what’s going to happen, stop reading now.

Here are the headlines:

• TNT is pretty vague about what the main characters will be up to, although the press materials state Harris (Mitch Pileggi) will struggle to “keep Emma in check while also mending fences with Ann.” The emphasis is ours.

• Pamela (Julie Gonzalo) is described as “determined to find a happy ending with her new husband, John Ross, and make a home for herself on Southfork Ranch.” Good luck with that, honey.

• According to TNT, Nicolas Trevino (Juan Pablo Di Pace) comes to Dallas to act as Cliff’s proxy in Ewing Global, but “it will soon come to light that Nicolas has his own agenda.” The materials also describe Nicolas as “an old childhood friend” whom Elena (Jordana Brewster) turns to in her quest for justice.

• Heather (AnnaLynne McCord), whose last name isn’t given, is described as “a no-nonsense, calls-it-like-she-sees-it ranch hand [who] was raised by a single father and four older brothers. After her oldest brother was killed during a tour in Iraq, she ran away and eloped with her high school sweetheart.”

• TNT calls Di Pace “a regular cast member,” while McCord is listed as a guest star, along with Ken Kercheval, Judith Light and Marlene Forte. Also receiving the “guest star” treatment: Kuno Becker, who joined the show last year as Elena’s brother Drew.

Remember: “Dallas’s” season premiere is Monday, February 24, at 9 p.m. Eastern. That’s one month from today, not that we’re counting every second or anything.

What do you think of the latest “Dallas” tidbits from TNT? Share your comments below and read more news from Dallas Decoder.

New ‘Dallas’ Episode Titles Surface

Ann Ewing, Bobby Ewing, Brenda Strong, Dallas, Patrick Duffy, TNT

What’s in a name?

The titles and airdates for the first six episodes from “Dallas’s” new season are starting to pop up on TiVo and online TV listings. Stop reading now if you don’t appreciate breathless speculation about even the tiniest “Dallas” tidbits.

Here are the titles and dates: “The Return,” February 24; “Trust Me,” March 3; “Playing Chicken,” March 10; “Lifting the Veil,” March 17; “D.T.R.,” March 24; and “Like Father, Like Son,” March 31.

The listings also include a brief synopsis for “The Return,” the season’s first episode: “Sue Ellen plans a wedding for John Ross and Pamela; John Ross and Bobby dispute their joint ownership of Southfork; Elena returns to Dallas with a secret agenda; a mysterious stranger arrives.”

Keep in mind: This kind of stuff is subject to change, so take all of it with a grain of Southfork soil. Nevertheless, it’s worth considering what we might glean from this minutiae. For example, doesn’t “Lifting the Veil” seems like a good bet to be the wedding episode that brings Ray (Steve Kanaly), Lucy (Charlene Tilton) and Afton (Audrey Landers) back to Southfork? As for “D.T.R.”? Urban Dictionary tells us this expression is slang for “define the relationship,” although I wouldn’t put it past those crafty “Dallas” writers to give the acronym its own twist.

Thanks to Dallas Decoder reader Joe Siegler for tipping us off to the titles and airdates.

What do you think of the new “Dallas” episode titles? Share your comments below and read more news from Dallas Decoder.

Dallas Parallels: Breaking Bad

Bobby Ewing, Christopher Ewing, Crash of 83, Dallas, Ewings Unite, Jesse Metcalfe, Patrick Duffy

On “Dallas,” J.R. and John Ross are the bad guys and Bobby and Christopher are the good guys, right? Not always.

During the original show’s sixth season, when Jock’s will pits J.R. and Bobby against each other in a contest for control of Ewing Oil, Bobby becomes obsessed with beating his oldest brother. Bobby’s preoccupation is rooted in his longstanding desire to please his daddy, but he also wants to ensure his newly adopted son Christopher doesn’t lose his share of the Ewing empire.

At one point, Bobby finds himself using J.R.’s own tricks against him when he hires a prostitute to frame George Hicks, a corrupt government official whom J.R. has bribed in a complicated scheme to get a leg up in the contest. Of course, this is Bobby Ewing we’re talking about, so his trickery ends up taking its toll on his conscience. After Hicks tells Bobby that he’s “just as dirty” as J.R., Bobby comes home to Pam and confesses his sins. Unfortunately for him, Pam isn’t very sympathetic. “You would do anything to beat J.R. Anything!” she screams.

Flash forward to 2013. When J.R. dies, Cliff tries to steal Christopher’s deal to fuel the city’s municipal fleet, prompting Christopher to break bad, just like Bobby did three decades earlier. Christopher frames Alison Jones, the government official in charge of the contract, by arranging for John Ross to seduce her while Bum secretly photographs the encounter. After Christopher confronts Alison with the incriminating pictures, he goes home and reveals his scheme to Elena, who is aghast to discover the man she loves has stooped to blackmail. “Is this how you keep peace in the family — by turning into John Ross?” she shouts.

This scene bears more than a passing resemblance to the earlier version with Bobby and Pam. Before Bobby confesses his sins to Pam, he knocks back a glass of booze, just like Christopher does at the beginning of his conversation with Elena. Both scenes also depict the women decrying her man’s loss of morality. (Pam: “The Bobby I love would rather be dead than blackmail Hicks or anybody else.” Elena: “Christopher, you’re the most decent man I know and now you’re blackmailing people.”) The two scenes are also staged similarly, with both couples conversing in the bedroom they share at Southfork.

There’s also a major difference between the two sequences: Although Bobby tries to justify his actions to Pam, it’s pretty clear he’s consumed with guilt — unlike Christopher, who seems rather boastful about his blackmail scheme. Perhaps this is because Christopher’s motivation differs from his father’s. While Bobby wants to win the contest because he sees victory as a means of honoring Jock and preserving his son’s inheritance, Christopher seems to see his victory as a form of self-validation. As he tells Elena, “I’m not going to apologize for winning.”

It’s also worth pointing out that neither Bobby nor Christopher are squeaky clean in the first place: During the original “Dallas’s” fourth season, Bobby turns the tables on Sally Bullock when she cooks up an insurance scam with J.R. Similarly, during the TNT show’s first season, when Christopher uncovers video of John Ross and Marta del Sol’s tryst, he tries to blackmail him into ratting out J.R.’s role in the plot to seize Southfork.

The question is: What happens next? After Bobby’s ventures into dark territory during the 1980s, he returns to the straight and narrow, with only a few detours in the ensuing years. (See “Master plan, J.R.’s”). Christopher, on the other hand, seems poised for an extended stay on the dark side — if the promos for the TNT show’s third season are any indication, that is.

 

‘You Would Do Anything to Beat J.R.’

Crash of '83, Dallas, Pam Ewing, Victoria Principal

Unsympathetic

In “Crash of ’83,” a sixth-season “Dallas” episode, a sullen Bobby (Patrick Duffy) enters his bedroom late at night and sits in a chair while Pam (Victoria Principal) reads in bed.

PAM: [Unsympathetic] You look terrible.

BOBBY: Nothing like a celebration to really depress me.

PAM: I don’t understand.

BOBBY: You know that guy, Hicks? On Donna’s commission? J.R. had him bought and paid for. And I pulled a little number on him.

PAM: [Concerned] What do you mean?

BOBBY: I got down in the mud, honey. Just like I said I could. I forced him to change his vote on the variance.

PAM: What did you do?

BOBBY: I blackmailed him. I feel so dirty. [Rests his head in his hand]

PAM: [Puts down her book, leans forward] What do you want from me? Sympathy? Because you’re not going to get it.

BOBBY: Pam, I don’t want your sympathy.

PAM: Oh, yes you do. You want me to slap your wrist and then reassure you that you’re still the same wonderful man underneath it all. Well, I’m not going to help you out. You can stay dirty.

BOBBY: You don’t understand.

PAM: Understand? I understand that you’re not the man I married! The Bobby I love would rather be dead than blackmail Hicks or anybody else, double-cross the cartel and force his own mother into court.

BOBBY: [Exasperated] There were reasons.

PAM: [Screaming] Reasons? There’s only one reason! You would do anything to beat J.R. and get the company. Anything!

 

‘Is This How You Keep Peace in the Family — By Turning Into John Ross?’

Dallas, Elena Ramos, Ewings Unite, Jordana Brewster

Unmoved

In “Ewings Unite!,” a second-season “Dallas” episode, Elena (Jordana Brewster) enters Christopher’s bedroom, where Christopher (Jesse Metcalfe) is seated at the foot of the bed, drinking.

ELENA: Hi. It’s a little early for a drink, isn’t it?

CHRISTOPHER: I’m celebrating.

ELENA: [She sits next to him, kisses him and grabs the drink. She takes a sip.] What are we celebrating?

CHRISTOPHER: Barnes Global got to the head of the DCT. He tried to undercut my deal. So we had John Ross do what John Ross does … and we got pictures. [Christopher takes back the drink.]

ELENA: [Concerned] What are you going to do with the pictures?

CHRISTOPHER: [Takes a sip, rises] I already did. Alison’s married, and her husband’s a state senator — a real family values guy. And once she saw what I had, she decided to see things my way. [Takes a sip]

ELENA: [Mortified] You blackmailed her.

CHRISTOPHER: I made her keep her word.

ELENA: This is why I wanted out of the company. [Rises, walks toward him] Christopher, you’re the most decent man I know and now you’re blackmailing people.

CHRISTOPHER: She brought it on herself.

ELENA: Is this how you keep peace in the family — by turning into John Ross?

CHRISTOPHER: I am not John Ross! OK? I know I crossed a line here.

ELENA: [Glances down] That’s what breaks my heart. You did it anyway.

CHRISTOPHER: You know why I did it? My uncle J.R., he did a lot of bad things in his life. But he knew how to win. And I’m not going to apologize for winning.

ELENA: I love you. But I will not be a part of this. I’m going into business with my brother to drill our land. You may not like it, but I hope you understand.

CHRISTOPHER: I love you too.

How do you feel when Bobby and Christopher break bad? Share your comments below and read more “Dallas Parallels.”

It’s John Ross vs. Christopher Tonight on #DallasChat

Christopher Ewing, Dallas, Jesse Metcalfe, John Ross Ewing, Josh Henderson, TNT

Clashin’ cousins

You’re invited to join Dallas Decoder’s next #DallasChat on Twitter, which I’ll hold Monday, January 20, from 9 to 10 p.m. Eastern time. The theme: “John Ross vs. Christopher.”

New to #DallasChat? Here’s how it works: For one hour, I tweet a series of questions to my fellow “Dallas” fans. Each question is numbered and includes the hashtag #DallasChat, and so your answers should do the same. Everyone is also encouraged to include the show’s official hashtag, #DallasTNT, in their #DallasChat tweets.

Here’s a sample exchange:

Q1. Who’s a better businessman: John Ross or Christopher? #DallasTNT #DallasChat

A1. John Ross, obviously. He’s his daddy’s son, from tip to tail! #DallasTNT #DallasChat

Here are two tips:

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

• Be sure to include #DallasChat in your tweets. This allows the other participants to see your contributions to the conversation.

This will be another fun chat. Don’t miss it!

Dallas Scene of the Day: ‘Don’t Threaten Me, Honey’

Dallas, J.R. Ewing, Katherine Wentworth, Larry Hagman, Morgan Brittany, Some Do ... Some Don't

Scandal sheet

In “Some Do … Some Don’t,” a seventh-season “Dallas” episode, Katherine (Morgan Brittany) lies in bed, wrapped in a sheet, while J.R. (Larry Hagman) sits nearby, buttoning his shirt.

KATHERINE: I never thought this would happen. Ever since we met, it’s been like a game. And now, finally one of us won.

J.R.: Well, it wasn’t exactly the Olympics. Of course, they got four years of practice. [Chuckles]

KATHERINE: Don’t rush off. You know, you told me some time ago that you’d help break up Bobby and Jenna. Nothing’s happened.

J.R.: Now don’t tell me you made this ultimate sacrifice just to get my help.

KATHERINE: Well, this is what you wanted. Now what about what I want?

J.R.: Well, I have a little problem there.

KATHERINE: I thought that there were never any problems for you, J.R.

J.R.: Katherine, as much as I like you — and I like you a lot now — I think Bobby and Jenna are a match made in heaven.

KATHERINE: [Outraged] You what? Look, you promised me —

J.R.: I promised that if we went to bed I’d help you. I just wanted to find out how far you were willing to go to get Bobby, that’s all.

KATHERINE: Don’t even dream of double-crossing me.

J.R.: Well, Katherine, don’t threaten me, honey. You’re way of our your league. [Rises, walks to the dresser, begins tying his necktie] Besides, Bobby and Jenna belong together. After all, he is the father of her little girl.

KATHERINE: Now you don’t know that. Not for sure.

J.R.: [Turns toward her] Oh, yes I do. I’ve known for a long time. You see, I have a friend over in Rome who got me a copy of the birth certificate — years ago, I guess. I suppose that was the purpose of you going over there, wasn’t it? Oh, I wish I could have seen your face when you found out Bobby was the father.

KATHERINE: I don’t care if he is the father. I want him and I’ll get him.

J.R.: Hm. Maybe yes, maybe no. But you’ve just done something that’s going to keep you from getting Bobby for good. Did you ever meet a lady named Holly Harwood?

KATHERINE: Just once. She made a disgusting play for Bobby in my presence.

J.R.: I think Bobby might have liked her. But she made the same mistake that you did, honey. She slept with me. [Crosses the room, retrieves his jacket from the back of a chair] If she ever did have a chance with him, that knocked her right out of the box.

KATHERINE: Oh, I’m sure there were other reasons.

J.R.: [Walks back to the dresser, puts on his watch] Well, I wouldn’t put it to the test if I were you. No, you just do what I want, when I want and nobody will ever know about tonight.

KATHERINE: Not so fast, J.R. It is your word against mine. And why would Bobby possibly believe you?

J.R.: [Turns toward her] Oh, he might not believe me, but he will believe his own ears. [Holds up a tape recorder] He may have never heard you under these conditions, but you have a very distinctive voice, no matter what you’re saying. [Katherine looks stunned.] Would you like me to play this back for you?

KATHERINE: [Defeated] No.

J.R.: [Picks up his hat, exits] I’ll call you.

Critique: ‘Dallas’ Episode 147 — ‘Some Do … Some Don’t’

Barbara Bel Geddes, Clayton Farlow, Dallas, Howard Keel, Miss Ellie Ewing, Some Do ... Some Don't

Limited engagement

The first scene in “Some Do … Some Don’t:” Donna and Lucy are making muffins in the Southfork kitchen and listening to Miss Ellie and Clayton tease each other about their recent misadventures in Jamaica. Clayton recalls taking Ellie to a French restaurant, where she mistakenly ordered a head of veal instead of a veal chop but ate the whole thing because she was too stubborn to admit her error. Ellie, in the meantime, describes how Clayton accidentally lost his swim trunks on the beach in front of a group of New Jersey schoolteachers. “I would imagine I’m quite famous in Paramus,” he says.

The last scene in “Some Do … Some Don’t:” Clayton brings Ellie home after escorting her to the opening of Jenna Wade’s boutique. The mood is as light and as jovial as the earlier kitchen scene — until Clayton suggests he’d like to stay over so he and Ellie can spend their “first night together.” Suddenly, Ellie becomes rattled, begins to cry and calls off their wedding. “I can’t marry you. I can’t marry anyone,” she says as she runs upstairs. In the freeze frame, Clayton stands at the bottom of the steps, looking more than a little bewildered.

The two sequences serve as the emotional bookends in “Some Do … Some Don’t,” the strongest episode yet from “Dallas’s” seventh season. The opening scene does nothing to advance the show’s storylines, but it’s essential to the episode because it showcases the warm, effortless chemistry between Barbara Bel Geddes and Howard Keel. Together, these actors have charm to spare, and watching their characters gently chide each other allows the audience to feel emotionally invested in their relationship. By the time the hour is over and Ellie has called off the wedding, we can’t help but feel concerned for them.

I also love how “Dallas” doesn’t shy away from the idea that Ellie and Clayton, who are probably supposed to be in their late 60s or early 70s, are capable of having an intimate relationship. I find this subplot even more provocative than Sue Ellen’s May/December romance with Peter Richards. (Frankly, I’m also a little surprised Clayton wanted to sleep with Ellie before their wedding. Who knew the old chap was so modern?) When I watched these episodes when I was younger, I’m sure it never occurred to me to think of Ellie and Clayton as sexual beings, but now it’s not such a hard thing to wrap my head around. Bel Geddes was still a beautiful, vibrant woman when this episode was filmed in 1983, retaining more than a hint of the sauciness she exhibited in her early film roles. Meanwhile, Keel was dashing as ever. In this episode’s final shot, when Clayton stands at the bottom of the Southfork staircase with his hand on his hip, I’m reminded of Clark Gable striking a similar pose in “Gone With the Wind.” I’m sure this was intentional.

Indeed, “Some Do … Some Don’t” is full of flourishes like this. This comes as no surprise: This episode is helmed by Larry Hagman, who always brings an eye for detail to the director’s chair. For example, in one of the Ewing Oil scenes, Bobby tells J.R. about a company he wants to buy. Hagman could easily have started the exchange with J.R. seated in his office, but instead, he opens the sequence with a shot of Kendall at the reception desk, answering a phone call. In the background, J.R. steps off the elevator and walks through the room, stopping by Sly’s desk to pick up his phone messages. As he heads into his office, Phyllis buzzes Bobby on the intercom to let him know that J.R. has arrived, and then Bobby pops into J.R.’s office to tell him about the potential purchase. Maybe this was Hagman’s way of making sure the actresses who played the Ewing Oil secretaries each got a few lines in this episode — too often these performers toil silently in the background — but it nonetheless makes Ewing Oil feel like a real, functional workplace.

More details: The scene where Pam and Mark visit Cliff and Afton at their townhouse begins with Cliff sitting on the sofa, playing a videogame. It’s another small point, but isn’t it just like Cliff to get so wrapped up in a game that he would ignore his guests? (Also: Notice how John Beck seems to be limping as Mark crosses the living room, a subtle throwback to the previous episode, when the character pulled a muscle while playing tennis with Pam.) Additionally, I love when Cliff arrives at the dive bar for another clandestine meeting with Sly and steals the fries off her plate. In another great restaurant scene, J.R. brings Edgar Randolph to lunch at his favorite French eatery, where J.R. threatens to ruin Edgar’s life in one breath and enthusiastically orders him the bouillabaisse in the next. “Oh, you’re just going to love it. It’s really good,” J.R. says with a smile. I dare you to watch this scene without doing the same thing.

The scene where J.R. and Katherine sleep together for the first time is more wicked fun, and so is Pam’s confrontation with Marilee Stone. Pam is clearly out of line when she orders Marilee to stay away from Cliff, but who cares? Isn’t it nice to see Pam exhibit a little backbone and do something besides whine about being torn between Bobby and Mark? It also turns out that Pam and Marilee make good sparring partners. What a shame Victoria Principal and Fern Fitzgerald don’t have more scenes together on this show.

Surprisingly, I also like Sue Ellen and Peter’s scenes in “Some Do … Some Don’t.” Their once promising storyline took a turn for the ridiculous in the two episodes that preceded this one, but heaven help me, I find the couple’s outing to the ice rink kind of charming. I also like when Sue Ellen and Peter run into his classmates from the university and they mistake Sue Ellen for his mother. This feels like the kind of thing that might happen to a woman who dates a younger man, and Sue Ellen and Peter’s reactions to the situation ring true. Sue Ellen, ever the lady, is aghast at the thought that Peter’s friends are gossiping about them, while Peter couldn’t care less. I still have trouble believing Sue Ellen’s attraction to Peter, but at least it’s nice to see the show bring the couple back to a place that resembles reality.

Some more thoughts about Sue Ellen and Peter’s encounter with his friends: Besides Linda Gray, the actor who impresses me most during the scene is Lee Montgomery, who plays Peter’s pal Jerry Hunter. Watch Montgomery’s sly smile when Jerry spots Sue Ellen and Peter; it’s very subtle, but it lets us know he realizes there’s more to their relationship than meets the eye. It’s also worth noting this scene’s two young actresses, who both became science-fiction stars: Kate Vernon played Ellen Tigh on “Battlestar Galactica,” while Claudia Christian was Ivanova on “Babylon 5.” According to IMDb.com, Vernon and Christian are slated to appear together in a forthcoming film called “Chicanery” along with three other “Dallas” actresses: Colleen Camp, who originated the role of Kristin Shepard in 1979; Patty McCormack, who played Mitch Cooper’s friend Evelyn Michaelson during Season 5; and Michelle Scarabelli, who appeared during the 11th season as Connie, Ray’s stalker.

I have a lot of fun finding these connections. I’ve always appreciated how “Dallas” offered steady work to older performers like Barbara Bel Geddes and Howard Keel, but until I started this website, I didn’t realize how many young actors appeared on the show at the beginning of their careers. None of these up-and-comers have become as famous as Brad Pitt, who appeared on “Dallas” a few times in 1987 and will probably always be its most famous alumnus, but it’s impressive to see how so many actors who got their start on the show continue to find work.

This realization has made me watch TNT’s sequel series in a whole other light. Pay attention to all the actors who appear in small roles on the new show. Chances are some of them will still be entertaining us years from now.

Grade: A

_______________________________________________________________________________________________________________________________________________

Dallas, Linda Gray, Some Do ... Some Don't, Sue Ellen Ewing

Not the mama

‘SOME DO … SOME DON’T’

Season 7, Episode 16

Airdate: January 20, 1984

Audience: 22 million homes, ranking 5th in the weekly ratings

Writer: Leonard Katzman

Director: Larry Hagman

Synopsis: J.R. sleeps with Katherine, allows Cliff to steal another deal from Ewing Oil and continues to pressure Edgar to unseal the offshore oil lease bids. Jenna celebrates the opening of her boutique by sleeping with Bobby. Clayton suggests he wants to be intimate with Miss Ellie, who is rattled and calls off their wedding. Mark checks into the hospital for tests without telling Pam.

Cast: Denny Albee (Travis Boyd), Christopher Atkins (Peter Richards), John Beck (Mark Graison), Barbara Bel Geddes (Miss Ellie Ewing), Morgan Brittany (Katherine Wentworth), Martin E. Brooks (Edgar Randolph), Claudia Christian (Peter’s friend), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Sherril Lynn Katzman (Jackie Dugan), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Anne Lucas (Cassie), Shalane McCall (Charlie Wade), Lee Montgomery (Jerry Hunter), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis), Kate Vernon (Peter’s friend)

“Some Do … Some Don’t” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

More Flames in ‘Dallas’s’ Latest Promo

TNT released its latest “Dallas” promo today, and this one is longer (two minutes!) and even artier than the spots that surfaced earlier this month. If you’re no fan of spoilers or breathless speculation about what will happen during the show’s third season, stop reading now.

The new promo opens with quick shots of various characters staring into the camera, lighting matches and engaging in more of the slow-motion fight sequences we saw in the earlier spots. There’s also some narration: We hear John Ross (Josh Henderson) say, “Deep within the black-soil plains, I live in the shadow of my daddy’s name.” Bobby (Patrick Duffy) chimes in with a similar line, along with the standard references to “greed” and “secrets.” Both characters also share this line: “What bad things oil makes people do.”

Yes, it’s very high-falutin’.

From there, we transition into clips from the new season: John Ross, dressed in a suit and tie, tells someone, “I’m going to get that money we need.” Emma (Emma Bell) canoodles with John Ross and coos, “I enjoy the fringe benefits of working with you.” Christopher (Jesse Metcalfe), behind bars, shouts, “Let me out of here!” Bobby approaches John Ross and says, “I stopped J.R. You’re not half the man your daddy was.”

We also see shots of Sue Ellen (Linda Gray) chugging from a flask; John Ross scuffling with Bo McCabe (Donny Boaz), Emma’s ranch hand boyfriend from Season 2; Christopher swinging an ax; and the Ewing Energies racecar. The promo also delivers our first glimpse of Nicolas Trevino (Juan Pablo Di Pace), who is shown asking, “Do I detect a hint of trouble in Ewing paradise?”

Like the earlier videos, this one also features an unmistakable fire motif: There are lots of shots of flames — even the TNT logo is ablaze — along with this voiceover: “February 24, the new season of ‘Dallas’ ignites.” Could this mean we’re going to see another Ewing inferno?

What do you think of “Dallas’s” latest promotional spots? Share your comments below and read more news from Dallas Decoder.