Holly and J.R. (Lois Chiles, Larry Hagman) are seen aboard her yacht in this 1982 publicity shot from “Aftermath,” a sixth-season “Dallas” episode.
Dallas Scene of the Day: ‘He Wants It For John Ross’
June 12, 2013 by 2 Comments
The more things change
In “Aftermath,” a sixth-season “Dallas” episode, Pam (Victoria Principal) sits on her bed while Bobby (Patrick Duffy) sits in a chair, writing on a notepad.
PAM: Bobby?
BOBBY: Hmm?
PAM: It’s really late. What are you doing?
BOBBY: I’m just doodling.
PAM: [Gets up, walks toward his seat, sits and looks at his notepad] You’ve already started working on it, haven’t you? You didn’t waste any time.
BOBBY: Do you think J.R.’s going to?
PAM: Bobby, forgive me, but it was really unfair of Jock to put you in this contest.
BOBBY: Oh Pam, no. It’s not like that at all. He didn’t have a choice.
PAM: Yes, he did. He could have given each of you half of the company. It would have been better for everybody.
BOBBY: You can’t split a company like Ewing Oil.
PAM: Well, then he could have left it the way it was. The whole family was able to vote.
BOBBY: No, that was just an interim agreement. Ewing Oil needs long-range leadership.
PAM: You know I’m behind you in this. It’s just I’m afraid it could hurt us.
BOBBY: Pam, Daddy did the only thing he could possibly do. How could he leave Ewing Oil to one son and not the other? And yet he had to be sure that whoever was in charge was the toughest man for the job. Actually, I’m kind of pleased about the way it turned out. Daddy had confidence in me. He put me up against J.R. J.R.’s been in that position of leadership for a long time.
PAM: Well, you’d be better be sure it’s worth it, because he’s going to fight you with everything he has.
BOBBY: Well, I’m going to fight him just as hard. Pam, J.R. doesn’t want that company just for himself. He wants it for John Ross. And you and I have a son too. And I’m not going to sit back and watch J.R. steal something that rightfully belongs to Christopher.
Critique: ‘Dallas’ Episode 109 — ‘Aftermath’
June 12, 2013 by 24 Comments
Staying afloat
“Aftermath” lets the audience into J.R.’s head in a way other “Dallas” episodes don’t. In the most revealing scene, J.R. and Sue Ellen sweep into a fancy French restaurant, where the dinnertime crowd congratulates our hero on his recent return to power at Ewing Oil. The handshakes and backslaps end when J.R. and Sue Ellen encounter Rebecca, who interrupts her meal with Clayton to remind J.R. that she still blames him for Cliff’s attempted suicide and wants revenge. “Since the only way to your heart is through your company, I intend to make that company bleed,” Rebecca says.
J.R. plays it cool, telling Rebecca she has her work cut out for her, but when he and Sue Ellen are alone at their table, we see how rattled he is. “I can take Bobby with one hand tied behind me, but I get the distinct feeling there’s an army mobilizing against me,” J.R. says. It’s a reminder that he isn’t impervious. Not that this moment of vulnerability lasts long. A few scenes later, J.R. is all smiles as he tries to persuade state government official Walt Driscoll to allow him to pump more oil than the law allows. Stop and think about what Larry Hagman does here: He plays a man who appears to be brimming with bravado, even though he’s secretly afraid his enemies are out to get him. It’s a tricky performance, but of course Hagman does it beautifully.
The scene with Driscoll is also interesting because it underscores the sexism in which “Dallas” seems to revel. J.R. meets Driscoll on Holly’s yacht, where J.R. refers to her as a “pretty little thing” and suggests she’d be willing to sleep with Driscoll. “She has a thing for men our age,” J.R. says. Driscoll demurs, telling J.R. that he’s happily married. Later, after J.R. has asked Harry McSween to dig up dirt on Driscoll, the detective reports Driscoll’s wife has been arrested a few times for reckless driving. “Boy, you follow that lady for a couple of blocks and you’ll see why,” McSween says. Watching this exchange, I can’t help but feel like the people who make “Dallas” are having a little too much fun playing up old stereotypes about women behind the wheel.
The other women in “Aftermath” don’t come off much better. After Rebecca threatens J.R. in the restaurant, she buys Wade Luce’s oil company; the suggestion is she plans to use the business as a weapon in her war with the Ewings. I like seeing Rebecca depicted as a woman who is so successful, she can buy an oil company on a whim, but her obsession with revenge makes her seem irrational. Likewise, I appreciate how the opening scenes of “Aftermath” show how J.R., Bobby and Ray are each sorting through the implications of Jock’s will with help from the women in their lives. But wouldn’t it be nice if the women had a little more to do than listen to their men? At least in J.R. and Sue Ellen’s scene, she figures out he knew what was in Jock’s will before anyone else.
Even though Pam doesn’t have much to do in her scene with Bobby besides express her worry about the contest, the couple’s exchange is still worth paying attention to. “Pam,” Bobby says, “J.R. doesn’t want that company just for himself. He wants it for John Ross. And you and I have a son too. And I’m not going to sit back and watch J.R. steal something that rightfully belongs to Christopher.”
Oh, Bobby. If you only knew how right you are.
Grade: B
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Out for revenge
‘AFTERMATH’
Season 6, Episode 6
Airdate: November 5, 1982
Audience: 20.3 million homes, ranking 3rd in the weekly ratings
Writer: David Paulsen
Director: Leonard Katzman
Synopsis: J.R. returns to Ewing Oil and pressures state regulator Walt Driscoll for permission to pump more oil than is allowed, but Driscoll turns him down. The McLeish brothers invite Bobby to join them in a Canadian oil venture, but he fears the wells won’t come in before his contest with J.R. ends. Rebecca buys Wade Luce’s oil company and asks Cliff to run it. Lucy decides to resume her modeling career.
Cast: Robert Ackerman (Wade Luce), Barbara Bel Geddes (Miss Ellie Ewing), James L. Brown (Detective Harry McSween), Danone Camden (Kendall), Lois Chiles (Holly Harwood), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Kenneth Kimmins (Thornton McLeish), Audrey Landers (Afton Cooper), J. Patrick McNamara (Jarrett McLeish), Timothy Patrick Murphy (Mickey Trotter), Paul Napier (Harold Boyd), George O. Petrie (Harv Smithfield), Ben Piazza (Walt Driscoll), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Charlene Tilton (Lucy Cooper), Deborah Tranelli (Phyllis), Ray Wise (Blair Sullivan), Morgan Woodward (Punk Anderson)
“Aftermath” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.
The Art of Knots Landing: ‘New Beginnings’
June 11, 2013 by Leave a Comment
J.R. (Larry Hagman) asks Valene (Joan Van Ark) to sign his copy of “Capricorn Crude,” her novel inspired by the Ewings, in this 1982 publicity shot from “New Beginnings,” a fourth-season “Knots Landing” episode.
Knots Landing Scene of the Day: ‘You Are Disgusting!’
June 11, 2013 by 3 Comments
Needled
In “New Beginnings,” a fourth-season “Knots Landing” episode, Valene (Joan Van Ark) is seated behind the counter in a bookstore, signing a copy of her book for a customer (Rita Crafts).
VAL: There you go. [Slides the book across the counter]
CUSTOMER: I’ll bet you’re glad this day’s almost over.
VAL: [Smiles] Oh, no. Not really. I enjoy meeting people who buy my book.
CUSTOMER: Thank you.
The customer walks away as a man slides an open book in front of Val.
VAL: OK, how would you like that signed, sir?
She looks up and sees it’s J.R. (Larry Hagman).
J.R.: “To my favorite brother-in-law in the whole wide world.”
VAL: What are you doing here?
J.R.: Well, aren’t you going to sign it? I bought it fair and square, with the promise that you’d autograph it for me.
VAL: [Whispers] You are disgusting!
J.R.: [Looks around with mock concern] Come on, darlin’. Your public’s waiting. [She scribbles on the page, closes the book, slides it toward him and looks away.] Oh, thanks. [Examining her signature] Oh, that’s just wonderful. I’m going to stick this in my special collection of memorabilia. Right next to the knitting needles of Madame Defarge.
VAL: Leave me alone, J.R.
J.R.: Well, honey, what’s the rush? You know, it’s not often I get a chance to talk to a real, live celebrity. [Chuckles] You know, everybody said I’d hate what you wrote about us, but I don’t. I really don’t. And it’s nice having a best-selling authoress in the family. Especially since I own her publishing company.
VAL: You what?
J.R.: That’s right. Lock, stock and all the profits. I’m glad to keep it in the family. Oh, golly. I forgot. You’re on your way out of the family, aren’t you?
VAL: Well, you know what they say. Behind every cloud there’s a silver lining. Now would you please step aside because I’ve got paying customers to attend to. [Takes a book from someone else and smiles]
J.R.: Oh, of course. I’m looking forward to your new book. And just remember: I have first rights.
VAL: Yes, thank you.
As he walks away, the first customer approaches him.
CUSTOMER: Aren’t you J.R.?
J.R.: Yeah, that’s right.
CUSTOMER: Oh, would you sign this for me, please? [Hands him her book and a pen]
J.R.: Well, sure. [Looks at Val and shrugs] There you go.
CUSTOMER: Oh, thank you so much.
J.R.: My pleasure. [Chuckles]
Critique: ‘Knots Landing’ Episode 59 — ‘New Beginnings’
June 11, 2013 by 8 Comments
Home field advantage
“New Beginnings” is chockablock with trivia. Larry Hagman and Patrick Duffy both guest star in this “Knots Landing” episode, the only time two marquee players from “Dallas” appear in the same hour of the spinoff series. (Eric Farlow, who was little Christopher Ewing on “Dallas,” pops up too, along with Philip Levien, who had two roles on “Dallas” and appears here as a record producer.) “New Beginnings” also marked the only time “Knots Landing” followed its parent show in CBS’s Friday night lineup. Not only did this allow the spinoff to crack Nielsen’s weekly top 10 for the first time, the episode’s audience — viewers in 21.3 million homes tuned in — makes “New Beginnings” the most-watched “Knots Landing” broadcast ever.
This also happens to be one of Hagman’s most satisfying “Knots Landing” guest spots. In most of J.R.’s earlier visits to the show, the writers strained to come up with excuses to bring the Texas oil baron to the suburbs of Southern California. (The biggest eye-roller: J.R. shows up to steal the prototype for the environmentally friendly car engine that Sid Fairgate is building in his garage.) “New Beginnings” deftly avoids this dilemma by having all of J.R. and Bobby’s scenes take place in Dallas, where Gary has come for the reading of Jock’s will. This solution is so simple — instead of bringing J.R. to “Knots Landing,” take “Knots Landing” to him — you have to wonder why the producers didn’t try it sooner.
Even though J.R. and Bobby are on their home turf, scriptwriter Mann Rubin keeps the spotlight on Gary, whose storyline dominates this episode. In “Jock’s Will,” the “Dallas” segment that sets up “New Beginnings,” Gary learns his late father left him $10 million, but the inheritance comes with strings attached: For the first few years, Gary is entitled only to the interest the money earns. Gary then spends most of “New Beginnings” pouting about the terms of the will, until he finally realizes he isn’t angry at Jock; he’s sad that his dad is dead.
The scene where Gary explains this epiphany to his girlfriend Abby is quite poignant. Jock and Gary never quite figured out how to relate to each other; now they’ll never get another chance to try. Shackelford is adept at making the audience feel the rage that’s always brewing within Gary, but he also does a nice job in scenes like this, which demonstrates how much of his character’s anger is rooted in heartbreak. Later, when Gary stands up to J.R., you can tell Shackelford is enjoying the opportunity to remind the audience that his character does, in fact, have a backbone. Shackelford also has a good scene at the top of the hour, when Bobby gently reminds Gary that his inheritance, even though it comes with strings, is nothing to scoff at. (More trivia: This will be Duffy and Shackelford’s last scene together until their recent reunion on TNT’s “Dallas.”)
In addition to bringing Abby into the mix, Rubin’s script makes room Gary’s other love, estranged wife Valene. In the episode’s first scene, after director Lorraine Senna shows us a sweeping aerial shot of the Dallas skyline while the familiar “Dallas” theme music plays, we watch as Abby arrives at Gary’s hotel to surprise him. Unbeknownst to them, Val is also staying at the hotel while in town to publicize her new Ewing-inspired novel, “Capricorn Crude.” The two women have several close calls throughout the episode but never run into each other until the last scene, when they both respond to a bellhop’s page for “Mrs. Gary Ewing.” The exchange that follows is appropriately bitchy (“Success seems to agree with you” says Abby; “I might say the same about you,” replies Val), but it’s also kind of bittersweet. This is especially true when the slow, sentimental version of the “Knots Landing” theme begins playing under the dialogue.
Of course, Donna Mills and Joan Van Ark have their best moments with Hagman. When Gary leaves the hotel to visit Southfork, J.R. visits Abby, who asks him why he feels so threatened by his ne’er-do-well middle brother. J.R.’s response is revealing. “That man is full of anger and frustration. Maybe even hatred, I don’t know. If he ever channeled all that energy … well, it could make my life miserable,” he says. Later, Val is signing books in the hotel gift shop when she looks up and sees the next person in line is none other than J.R. “I bought it fair and square with the promise that you’d autograph it for me,” he says with mock innocence. Her hissed response: “You are disgusting.”
The scene really does nothing to advance the storyline in this episode, yet it’s still the most entertaining exchange during the hour. This is the last time we ever see Val clash with J.R., which might make the scene kind of sad — if it wasn’t so much fun.
Grade: A
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Man of the hour
‘NEW BEGINNINGS’
“Knots Landing” Season 4, Episode 6
Airdate: October 29, 1982
Audience: 21.3 million homes, ranking 4th in the weekly ratings
Writer: Mann Rubin
Director: Lorraine Senna
Synopsis: Gary is angry about the strings attached to his inheritance from Jock but comes to accept it with help from Abby. J.R. tells Val he bought the company that published her book.
Cast: Rita Crafts (customer), Kevin Dobson (Mack MacKenzie), Patrick Duffy (Bobby Ewing), Reynaldo Duran (bellhop), Eric Farlow (Christopher Ewing), Larry Hagman (J.R. Ewing), Julie Harris (Lilimae Clements), Lisa Hartman (Ciji Dunne), James Houghton (Kenny Ward), Dudley Knight (bookstore manager), Michele Lee (Karen Fairgate), Philip Levien (Andy), Claudia Lonow (Diana Fairgate), Donna Mills (Abby Cunningham), Pat Petersen (Michael Fairgate), Michael Sabatino (Chip Roberts), Ted Shackelford (Gary Ewing), Louise Sorel (Bess Riker), Steve Shaw (Eric Fairgate), Joan Van Ark (Valene Ewing), James Winkler (desk clerk)
Share your comments about “New Beginnings” below.
Discuss ‘Dallas’s’ Dads Tonight on Twitter
June 10, 2013 by Leave a Comment
Rising son
I’ll host Dallas Decoder’s next #DallasChat on Twitter on Monday, June 10, from 9 to 10 p.m. Eastern time. Since Father’s Day is next week, our theme will be “Daddies Dearest.”
I’ll tweet a question every few minutes. Each question will be numbered and include the hashtag #DallasChat, so your responses should do the same. A sample exchange:
Q1. On #Dallas, who is a better father: J.R. or Bobby? #DallasChat
A1. Bobby! He allowed Christopher to grow up and become his own man. #DallasChat
Feel free to respond to what other people are saying and to engage in “side conversations” of your own.
Two tips:
• During the chat, enter the hashtag #DallasChat in Twitter’s search field. This will help you watch the search results so you can follow the conversation. Be sure to click on “All” to see all the related tweets.
• Don’t forget to include the hashtag #DallasChat in each tweet you send so others can see your contributions to the conversation.
See you tonight on Twitter!
Dallas Scene of the Day: ‘… One Man at the Helm’
June 10, 2013 by 7 Comments
Daddy’s decree
In “Jock’s Will,” a sixth-season “Dallas” episode, Miss Ellie (Barbara Bel Geddes), J.R. (Larry Hagman), Bobby (Patrick Duffy) and the other Ewings gather near Jock’s portrait in the Southfork living room, where Harv (George O. Petrie) sits at a desk and reads the codicil the Ewing patriarch added to his will.
HARV: “I, John Ross Ewing Sr., being of sound mind and body, do hereby add the following provisions to my last will and testament. It is no secret that the company I built — some call it an empire — is precious to me. Precious beyond anything in my life, save my dear wife Ellie and my sons. It is, however, that very preciousness that makes the choice of my successors an agonizing one. Gary and Ray, although your place in my heart is just as large and shines just as bright as the place set aside for your brothers, neither of you has shown any aptitude — or inclination for that matter — for business. Therefore, my choice of successor is narrowed to Bobby and J.R. Sons, this is addressed to you: It’s been my cherished hope that one day the two of you might run Ewing Oil as a team. That was my hope. Ewing Oil can only have one man at the helm, and that’s got to be the man that wants it the most.”
ELLIE: [Softly] Oh, Jock. No.
HARV: “Therefore, upon my death, I want an independent audit conducted of all the company’s holdings. I want everything divided upon paper so that J.R. and Bobby each have control over exactly 50 percent of the total assets. Punk Anderson, a fine oilman and an even finer friend, has agreed to act as administrator of my estate. After one year, Punk will conduct a second audit. Whichever son has managed to create the greatest gain for his half share of Ewing Oil will win 51 percent of the stock of the entire company and will be able to run it any way he sees fit. The loser in this contest will get 19 percent and the remaining 30 percent I want divided equally between Gary, Ray and Miss Ellie to make sure they’ll never be without a share of the profits of the company I created, which incidentally, must never be owned by anyone other than a Ewing. One final thing: In the unfortunate event that before this year is up, one son predeceases the other, the remaining son will automatically inherit his shares and he will take over the company.”
The Ewings look at each other with stunned expressions.
J.R.: Well, Bobby, to your good health and very long life. [Raises a glass, smiles]
The brothers clink glasses.
Critique: ‘Dallas’ Episode 108 — ‘Jock’s Will’
June 10, 2013 by 16 Comments
Let the games begin
At the end of “Jock’s Will,” the Ewings gather in the Southfork living room to hear Harv Smithfield read the family patriarch’s last will and testament. Everyone is present — even Gary, who has flown in from “Knots Landing” for the occasion. The scene is tense, dramatic and historic. Besides being one of the few times we see almost all of the original cast members in the same place at the same time, this also marks the beginning of “Dallas’s” greatest storyline: J.R. and Bobby’s epic battle for control of Ewing Oil.
The scene, which lasts about seven minutes, is also a showcase for Michael Preece, one of the original “Dallas’s” most skilled directors. He begins with a wide shot of the actors positioned in front of George O. Petrie, who sits at a desk that seems to have magically appeared in the living room for this scene. (I suppose the desk is like the Ewings’ television set, which only pops up when the plot calls for someone in the family to watch it.) Only four actors here have dialogue: Barbara Bel Geddes, Larry Hagman, Patrick Duffy and Petrie, who delivers almost 700 words, far more than any of the others. Even though the rest of the cast is silent, we never question what their characters are thinking, thanks to Preece’s reaction shots. When Harv announces Gary’s inheritance comes with strings attached, we see Ted Shackelford clench his jaw. Charlene Tilton’s eyes bulge when Lucy learns she’s become a multi-millionaire. Victoria Principal’s jaw drops when Pam realizes Bobby is going to have to fight J.R. for the company.
Bel Geddes gets the most dramatic response. When Ellie hears Jock’s line that Ewing Oil can only be run by “the man that wants it the most,” she furrows her brow and whispers gravely, “Oh, Jock. No.” I wonder: What are Preece and scriptwriter David Paulsen are trying to convey here? Is Ellie afraid Jock is about to return control of the company to J.R., whom she recently ousted from the president’s chair? Or does she sense — even before Harv announces it — that Jock is about to pit their sons against each other?
(In the same spirit, the announcement of the contest forces us to reconsider the end of “Where There’s a Will,” when J.R. sneaks a peek at Jock’s will. In that scene, J.R.’s reaction — “Thank you, Daddy, thank you” — leads us to believe Jock has left him the company. In “Jock’s Will,” the audience finally catches up and learns what J.R. did: that Jock wants him to compete with Bobby for control of Ewing Oil. So why does J.R. thank his daddy? Is he so confident he’ll beat Bobby that he considers the contest a mere formality? Or could it be that J.R. simply loves a good fight, and he’s thanking Jock for giving him one?)
As far as the contest itself: Some might see Jock’s decision to not choose a successor as a copout, but I believe it fits his character perfectly. Of course the old man would want his sons to duke it out to determine, once and for all, who is the better businessman. The contest also ends up producing some of the best storytelling seen on “Dallas,” as well as “Knots Landing.” (But don’t take my word for it: Hill Place, an always-interesting TV and movie blog, recently published a thorough examination of the long-range ramifications of Jock’s will on both shows.)
There’s also quite a bit of poignancy to the end of the will-reading scene. Jock’s final words are ominous: He declares that if J.R. or Bobby die before the contest is over, the remaining son will automatically take over the company. This prompts J.R. to turn to his younger brother, raise a glass of bourbon and say, “Well, Bobby, to your good health and very long life.” Three seasons later, after Duffy’s character had been killed off, J.R.’s toast seemed prescient. Now that Hagman is gone, the line feels bittersweet. I also can’t help but note the parallels between Jock’s will, which leads to the high point in their rivalry, and the letter that Bobby reads at the end of the new “Dallas’s” second season, which effectively brings their warring to an end.
The other highlight of “Jock’s Will” is the courtroom scene where the Ewing patriarch is declared dead. As the judge announces his decision (“The judgment of this court is that John Ross Ewing Sr. died in a place unknown, in the jungles of South America”), Preece gives us a tight shot of each Ewing seated in the gallery: First Pam, then Bobby, J.R., Sue Ellen and finally Ellie. Everyone looks stricken — and none more so than Mama, whose tears flow freely — but don’t overlook Bruce Broughton’s mournful background music, which also lends this scene power.
Other good scenes in “Jock’s Will” include the sequences set in Kansas, where Ray’s struggle to connect with cocky Mickey strains his relationship with Donna. I also like J.R. and Sue Ellen’s night on the town (especially the nifty overhead shot that Preece gives us of Hagman and Linda Gray on the nightclub dance floor), as well as the scene where the couple sets the date for their second wedding. Or, to be more precise: J.R. sets the date by presenting Sue Ellen with an invitation to their first wedding, with the original date (February 15, 1970) scratched out and the new one (December 3, 1982) penciled in.
I can’t help but think there’s plenty of room on that invitation for a third wedding date. How sad that we never got to see it.
Grade: A
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Gang’s all here
‘JOCK’S WILL’
Season 6, Episode 5
Airdate: October 29, 1982
Audience: 23.6 million homes, ranking 1st in the weekly ratings
Writer: David Paulsen
Director: Michael Preece
Synopsis: The Ewings have Jock declared legally dead and learn his will sets up a yearlong contest between J.R. and Bobby for control of Ewing Oil. J.R. and Sue Ellen set a wedding date. Ray and Donna bring Mickey home with them to Southfork. Pam urges Lucy to snap out of her depression.
Cast: Robert Ackerman (Wade Luce), Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Roseanna Christiansen (Teresa), George Cooper (Lee Evans), Patrick Duffy (Bobby Ewing), Phyllis Flax (Mrs. Chambers), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Alice Hirson (Mavis Anderson), Peter Hobbs (Judge Karns), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Kenneth Kimmins (Thornton McLeish), Audrey Landers (Afton Cooper), Timothy Patrick Murphy (Mickey Trotter), George O. Petrie (Harv Smithfield), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), Dale Robertson (Frank Crutcher), Ted Shackelford (Gary Ewing), Don Starr (Jordan Lee), Charlene Tilton (Lucy Cooper), Morgan Woodward (Punk Anderson)
“Jock’s Will” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.
Dallas Cliffhanger Classics: Season 2
June 7, 2013 by 3 Comments
Dallas Decoder celebrates “Dallas’s” classic cliffhangers with weekly summertime flashbacks. Collect all 14 images and share them with your friends.
Dallas Decoder 