TNT’s Dallas Scene of the Day: ‘She Was a Barnes First’

April 11, 2013 by 8 Comments
Bobby Ewing, Call to Arms, Dallas, Patrick Duffy, TNT

He knows

In “A Call to Arms,” a second-season “Dallas” episode, Bobby (Patrick Duffy) notices John Ross (Josh Henderson) drinking alone in his bedroom and enters.

BOBBY: So that’s where the bourbon went?

JOHN ROSS: Sorry.

BOBBY: It’s all right. As long as you share. [Pours himself a glass, sits] So, how’d it go with Pamela?

JOHN ROSS: For once in my damn life, I told the truth. And she thought it was a move. I guess I’m the like boy who cried wolf. My reputation precedes me.

BOBBY: You know, J.R. always liked that saying of Mark Twain’s: “A lie can make it halfway around the world before the truth can put on its pants.” You spend your days lying and scheming, people have a tendency to be suspicious.

JOHN ROSS: I just can’t help but feel like I let her down.

BOBBY: Well [sips], if anyone in this house knows how complicated a relationship with a Barnes woman can be, it’s me. Whenever there was a conflict between me and my Pamela, she would choose her family and I would choose mine. As much as I loved her, I had to understand that she was a Barnes first, a Ewing, second.

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (TNT), Features Tagged With: , , ,

Critique: TNT’s ‘Dallas’ Episode 22 – ‘A Call to Arms’

April 11, 2013 by 15 Comments
Call to Arms, Dallas, John Ross Ewing, Josh Henderson, TNT

Cry wolf

The new “Dallas” often feels like more of an ensemble show than the original series did. Every member of the endlessly growing cast generally gets a meaningful scene or two in each episode, although there are times when one actor seems to leave a bigger impression than others. In “A Call to Arms,” Josh Henderson is the one to watch. With help from Gail Gilchriest and Julia Cohen’s solid script, Henderson gives us a fresh look at John Ross’s vulnerabilities as the character struggles with Pamela’s rejection and begins to question his decision to follow in J.R.’s footsteps as Southfork’s schemer-in-chief. It’s a terrific performance.

My favorite scene is John Ross’s exchange with Uncle Bobby. The younger man sits in the bedroom he inherited from J.R., drinking his father’s bourbon and feeling regretful because Pamela didn’t believe him when he tried to tell her about Cliff’s machinations. “For once in my damn life, I told the truth. And she thought it was a move. I guess I’m the like boy who cried wolf,” John Ross says. This line reminds us how different John Ross is from his father. J.R. had plenty of moments of introspection on the old show, but we didn’t see him wrestle too often with feelings of self-doubt or remorse. John Ross, on the other hand, feels a little more moralistic. We saw this for the first time last season, when he tried to persuade J.R. to give up his battle for Southfork, and now we see it again in this scene with Uncle Bobby.

I also like this exchange because it does such a nice job honoring “Dallas” history. Bobby recalls his marriage to his Pamela, and the glint in Patrick Duffy’s eye suggests his character isn’t just nostalgic for those days; I get the feeling he’s still carrying a torch for his first wife. The conversation also acknowledges the special bond that has always existed between Bobby and John Ross, as longtime fans who remember Duffy’s scenes with young Omri Katz can attest. Between “A Call to Arms” and the previous episode, when Bobby shakes John Ross’s hand and welcomes him home to Southfork, I have a feeling the relationship between uncle and nephew is going to take on greater prominence as the new “Dallas” progresses.

We also see a more mature John Ross in the scene where Cliff sweeps into the Ewing Energies conference room and announces he’s taken over the company’s bank loan. When Christopher calls Cliff a “son of a bitch” and begins to lunge at him, it’s John Ross who puts his hand on his cousin’s shoulder and eases him back into his seat. The moment echoes the beginning of the brawl at the memorial service in “J.R.’s Masterpiece,” when Christopher rushes to John Ross’s side (“I’ve got this, cousin”) after one of the mourners insults J.R.’s memory. I know this truce between John Ross and Christopher isn’t going to last, but isn’t it nice to see them getting along? It makes both characters feel less like boys and more like men.

Henderson has two more moments in “A Call to Arms” that stand out: the swoon-worthy scene where he sweeps Julie Gonzalo’s Pamela off her feet in the pouring rain, which might symbolize the storm swirling around the Ewings as their enemies descend upon them. (The scene also makes me appreciate the technical mastery of the people who work behind the camera on this show. My guess is the crew, led by first-time “Dallas” director Ken Topolsky, had to create that rain.) I also like the opening scene, when John Ross dramatically removes his sunglasses in front of McConaughey and recalls how J.R. took down three senators, two governors and a vice president (!), adding: “He taught me everything he knows. Your head’s going to look real nice above my fireplace, governor.” Even though I’m glad John Ross hasn’t become a carbon copy of his father, a little Hagman-esque flair is nice now and then, and Henderson nails it in that sequence.

Other good moments: Sue Ellen’s scene with Bum, which demonstrates the unexpectedly charming rapport between Linda Gray and Kevin Page; the chilling final scene, where Christopher and Elena learn his mother may be alive and living under the alias “Patricia Barrett” in Zurich; and all those what-will-she-do-next sequences with wild child Emma, including the kinky scene where she entices a rodeo cowboy into snagging some painkillers for her by biting his lip. I also got a chuckle from Ken Kercheval’s deliciously malevolent delivery when Cliff announces he’s picked up the Ewings’ bank note; the actor’s line – “I love a good fire sale” – might be a sly tribute to Cliff’s skinflint tendencies on the old show.

“A Call to Arms’” other highlight: Steven Weber, who gives another nicely measured performance as the corrupt McConaughey. If Weber feels any temptation to chomp scenery, he wisely resists it. The actor gets one of this episode’s best lines – “I guaran-damn-tee!” – but he avoids going over the top when he delivers it. I hope he’s going to be with “Dallas” for awhile.

I also appreciate how “A Call to Arms” brings back Jason Douglas as McConaughey’s aide, who first appeared in the TV news report about Sue Ellen’s imploding political campaign at the end of the second-season premiere, “Battle Lines.” Some trivia: When TNT sent a preview of that episode to critics and bloggers, Douglas was identified in the fictional newscast as “Sam McConaughey;” by the time the episode was telecast, the reporter’s voiceover narration and on-screen graphics had been changed to refer to him as the McConaughey campaign’s chief of staff.

Interesting, huh? Makes me wonder if there might be more recasts in this show’s future.

Grade: B

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Call to Arms, Dallas, John Ross Ewing, Josh Henderson, Julie Gonzalo, Pamela Barnes, TNT

Perfect storm

‘A CALL TO ARMS’

Season 2, Episode 12

Telecast: April 8, 2013

Writer: Gail Gilchriest and Julia Cohen

Director: Ken Topolsky

Audience: 1.9 million viewers on April 8

Synopsis: McConaughey uses the Henderson property to build a pipeline. Cliff buys the Ewings’ bank note and vows to take control of Ewing Energies if the family doesn’t repay the loan within one day. Vickers foils the Ewings’ attempt to discover what’s in Ryland’s cargo from Mexico. Pamela learns Cliff was behind the rig explosion and turns to John Ross. Christopher discovers his mother may be alive and living under a different name in Zurich. Sue Ellen asks Bum to find Ken. After Emma promises Ann she’ll give up her pills, she buys painkillers from a ranch hand and tries to drive away Drew.

Cast: John Athas (Ellis), Amber Bartlett (Jill), Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Donny Boas (McCabe), Jordana Brewster (Elena Ramos), Jason Douglas (Erik Allen), Akai Draco (Sheriff Derrick), Patrick Duffy (Bobby Ewing), Alex Fernandez (Roy Vickers), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Bob Hess (Alan Westing), Ken Kercheval (Cliff Barnes), Jesse Metcalfe (Christopher Ewing), Mitch Pileggi (Harris Ryland), Kevin Page (Bum), Brenda Strong (Ann Ewing), Steven Weber (Governor Sam McConaughey)

“A Call to Arms” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Drill Bits: ‘Dallas’ Faces Tough Ratings Competition

April 10, 2013 by 8 Comments
Bobby Ewing, Call to Arms, Christopher Ewing, Dallas, Jesse Metcalfe, John Ross Ewing, Josh Henderson, Linda Gray, Patrick Duffy, Steven Weber, TNT

No match

“Dallas” felt a ratings pinch on April 8, when TNT telecast back-to-back episodes against tough competition on the broadcast networks.

TNT showed the first hour, “A Call to Arms,” at 8 p.m., an hour earlier than usual. The episode drew 1.9 million viewers, including roughly 760,000 adults between ages 18 and 49, a group advertisers pay a premium to reach.

“Dallas’s” second hour, “Love and Family,” was shown in the 9 p.m. time slot, where it was seen by 2.4 million viewers, including more than 1 million people between 18 and 49. Through last week, “Dallas” has averaged about 2.7 million viewers in its Monday telecasts.

The April 8 “Dallas” double feature was seen opposite NBC’s two-hour “The Voice,” which drew 13.7 million viewers, including more than 6 million between 18 and 49, a season high for that series. Meanwhile, the second half of “Love and Family” faced CBS’s coverage of the NCAA basketball championship, which averaged 20.7 million viewers between 9:30 and 11 p.m.

“Dallas” continues to perform well with DVR users too. Last week’s telecast, “Let Me In,” attracted 2.6 million viewers on April 8, but during the next three days, DVR users boosted the audience to 3.6 million. This included 1.3 million adults between 18 and 49, a 16 percent increase over the previous week, and 1.5 million between 25 and 54, a 9 percent jump.

Et Cetera

• TNT has made no announcements, but Patrick Duffy says “Dallas” will return for a third season, according to a report in yesterday’s New York Daily News.

• “Lost” alum Sam Anderson will play Dr. David Gordon, Pam’s plastic surgeon, during the two-hour “Dallas” season finale, which will TNT will show Monday, April 15, from 9 to 11 p.m. Anderson replaces Josef Rainer, who played Gordon in 1988. Producers couldn’t locate Rainer to reprise the role, TV Guide reported yesterday.

• Dallas Divas Derby’s second brackets competition is down to its final two contestants: Sue Ellen Ewing (Linda Gray) and Kristin Shepard (Mary Crosby). Vote for your favorite through April 15.

A Dallas Decoder Programming Note

I’ll be posting a little less regularly through the rest of this week. My goal is to post critiques for “A Call to Arms” and “Love and Family,” along with my selections for Scene of the Day, sometime between now and April 15. I’m sorry I can’t be more specific.

Until then, please keep the conversations going in the comments section of my recent posts. I’ll do my best to approve comments as they come in, but I probably will be unable to chime in as often as I’d like. Please know how much I appreciate your contributions, though. I hope things will get back to normal next week. Thanks for understanding.

“Drill Bits,” a roundup of news about TNT’s “Dallas,” is published regularly. Share your comments below.

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‘Who Killed J.R.?’ New Questions as the Mystery Deepens

April 9, 2013 by 65 Comments

Carmen Ramos, Cliff Barnes, Dallas, Harris Ryland, J.R. Ewing, Larry Hagman, Marlene Forte, Mitch Pileggi, Patricia Barrett, TNT, Who Killed J.R.? This week’s “Dallas” double feature, “A Call to Arms” and “Love and Family,” yielded some new clues in the “Who Killed J.R.?” mystery, along with six new questions:

1. Is Pam really alive? The Ewings’ contact in the Justice Department found a list of deposits being made to a Swiss bank account by Barnes Global. These payments mirrored the payments being made to Pam Ewing’s dormant trust. The Swiss account is linked to someone named “Patricia Barrett,” whose signature matches Pamela Barnes’.

Later, another contact e-mailed Christopher (Jesse Metcalfe) a photo from a Zurich bank surveillance camera that showed Patricia, although the woman’s face was shielded by a big hat. Christopher showed the image to Bobby (Patrick Duffy), who wasn’t sure if it was his ex-wife. “It’s been 24 years since I’ve seen Pam. And then it was after that car accident. She was so badly burned, covered with bandages. I can’t tell. I can’t tell son,” Bobby said.

2. Is Katherine really dead? As Cliff (Ken Kercheval) moved closer to taking over Ewing Energies, he took Pamela (Julia Gonzalo) to lunch and presented her with a pair of emerald earrings. “They belonged to your Aunt Katherine. She willed them to me with the rest of Wentworth Estates,” Cliff said.

Was he telling the truth? On the original “Dallas,” the only thing Katherine (Morgan Brittany) gave Cliff was withering looks. Would she really have left him her estate? What if Cliff, who seems to grow more despicable with each episode, stole Katherine’s share of Barnes Global, along with her jewelry box? Or did Cliff and Katherine patch things up in the years between the old “Dallas” ended and the new one began? Did they set aside their differences and join forces to destroy the Ewings? Could Katherine be the woman in the big hat who calls herself Patricia Barrett?

Yes, I know the woman in the hat doesn’t seem to resemble Brittany. But what if Katherine had plastic surgery and got a new face to go along with her new identity?

Dallas, Pamela Rebecca Barnes Ewing, Pam Ewing, Patricia Barrett, TNT, Who Killed J.R.?3. What’s Pamela really up to? After Cliff gave Pamela the earrings, she persuaded a reluctant Cliff to give her Aunt Katherine’s shares of the company too. “I want to be your partner in Barnes Global,” Pamela explained. Unbeknownst to Cliff, his daughter knows he caused the loss of her unborn twins and has secretly aligned with the Ewings to fight him.

But could Pamela be up to something else too? This is more off-the-wall speculation and it gets a little confusing, but hang with me. Consider: When Christopher’s contact compared Patricia Barrett’s signature to Pam’s, the latter read “Pamela Barnes,” not “Pamela Ewing.” There could be a reasonable explanation for this, of course: After the disfigured Pam fled Southfork in 1987 and divorced Bobby, she could have reverted to her maiden name.

Or what if Pamela – the Julie Gonzalo character, not the Victoria Principal one – is actually the one funneling the money from the dormant trust to the Swiss bank account? Could she be deceiving the Ewings and her father? Is Pamela, not Pam, behind the Patricia Barrett scheme?

This would mean the woman in the big hat in the bank surveillance footage is an accomplice of Pamela, which would explain why the “Pamela Barnes” signature in “A Call to Arms” didn’t look much like the one that Gonzalo’s character signed when she received her annulment papers in “Blame Game.” (In the above image, the “Patricia Barrett” signature is on top, followed by the “Pamela Barnes” signature from “A Call to Arms” in the middle and Pamela’s annulment signature at the bottom.)

4. What’s Harris really up to? Trucks. Mexico. Knockoff designer shoes. Does any of this have anything to do with J.R.’s death?

5. What does Carmen know? Several Dallas Decoder readers say Carmen (Marlene Forte) should be a prime suspect in the “Who Killed J.R.?” mystery. The theory: Cliff, Harris (Mitch Pileggi) or another of J.R.’s enemies has dirt on one of Carmen’s children, Elena or Drew. This enemy blackmailed Carmen into visiting Mexico and shooting J.R.

I’ve always been skeptical of this idea, although there are some clues to support it: In “Blame Game,” the episode where J.R. departs Southfork, Elena mentions Carmen is in Mexico – which is where J.R. died. Meanwhile, in “Love and Family,” when the Ewings watched TV news coverage of the police manhunt for Drew, Carmen said, “I know he’s always been trouble, Mr. Bobby, but he’s not a killer. He would never do such a thing unless he was forced to by other people. Bad people.” Was Carmen speaking from experience?

6. What does Bobby know? When John Ross (Josh Henderson) entered Bobby’s Southfork study in “Love and Family,” the safe was open and Bobby was reading what looked like a handwritten letter, which he discreetly slid under a book upon noticing his nephew’s arrival. Presumably, this is the mysterious document that J.R. left for Bobby. There’s really nothing new here to report, except to wonder anew: What the hell does the letter say?

Who done it? Share your theories below and read more posts on Dallas Decoder’s “Who Killed J.R.?” page.

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Dallas Burning Questions: Season 2, Week 11

April 8, 2013 by 21 Comments
Ewings, united

Ewings, united

Here are the questions we’re pondering as we await tonight’s telecast of “A Call to Arms” and “Love and Family,” the latest episodes from “Dallas’s” second season:

• Will Ewing Energies collapse? In “Let Me In,” last week’s episode, the Ewings were shocked to learn the state was: a) blaming Christopher’s technology for the Ewing Energies rig explosion, and b) fining the company $1 billion. The family vowed to fight back, but the conspiracy against them was bigger than they realized: Governor Sam McConaughey (Steven Weber), one of Harris’s allies, covered up the truth about the blast, which was caused by Cliff and Harris’s bomb. Later, Ken (Lee Majors) sent Sue Ellen (Linda Gray) documents that suggest the governor is in Harris’s pocket, but it was too little, too late: McConaughey used his power to seize the Henderson drilling site, effectively cutting off the Ewings’ oil fortune as the deadline to pay the fine loomed. How will the family get out of this jam?

• Will Pamela turn on Cliff? The rig explosion caused Pamela (Julie Gonzalo) to lose her unborn twins, sending her into a depression. John Ross (Josh Henderson) comforted Pamela and told her the rig was sabotaged, which seemed to revive her fighting spirit. “Promise me that when you find out who did this, you’ll make them pay,” she told Christopher (Jesse Metcalfe). Once Pamela discovers Cliff (Ken Kercheval) ordered the explosion, will she align herself with the Ewings in their battle against him?

• What will happen to Drew and Emma? Southfork’s newest lovebirds, Drew and Emma (Kuno Becker, Emma Bell), grew closer even as they wrestled with their inner demons. Guilt-ridden Drew hasn’t told Elena (Jordana Brewster) or anyone else that he planted the bomb on the rig. Meanwhile, after Sue Ellen spotted Emma in a bar getting high and flirting with an older man, Sue Ellen told Ann (Brenda Strong), who realized she doesn’t know her daughter as well as she thinks. Of course, this might be the least of Emma’s troubles. When she defied Harris’s orders to stop seeing Drew, Harris had the young man savagely beaten, then showed Emma the results of his handiwork. “No more looking for trouble, OK?” Harris sad. “Yes, Daddy,” she responded through tears. Will Emma really obey him?

• Will Bobby solve J.R.’s puzzle? Carlos (Castulo Guerra), J.R.’s Mexican friend, introduced Bobby (Patrick Duffy) to Rhonda (Emily Kosloski), the mystery woman who was supposedly seen entering J.R.’s Nuevo Laredo hotel room on the night he died. Rhonda told Bobby she is the hostess in a club owned by members of the local drug cartel, and that J.R. wanted to speak to her because Harris frequents the club. She explained: “J.R.’s not the first man to invite me back to his hotel room. He just wanted to talk. Share a drink. He was kind to me. Gentlemen are in such short supply where I work. I’m so sorry, what happened to your brother.” Did she tell Bobby the truth?

• Where’s Pam? Speaking of J.R.: After Bobby told Sue Ellen about her ex-husband’s master scheme, John Ross found a copy of Rebecca Wentworth’s will, which showed she left her estate – including her shares of Barnes Global – to her three children: Katherine, Cliff and Pam. “If we can get Pam’s shares, we can kick the legs out from under Cliff,” Bobby said. “That’s why J.R. wanted us to find Pam. That’s our move.” Has the time come for Bobby to finally confront his ex-wife?

What “Dallas Burning Questions” are on your mind? Share your comments below and watch TNT’s “Dallas” tonight.

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Dallas Drinks: The Harris

April 8, 2013 by Leave a Comment

To honor Mitch Pileggi’s performance on TNT’s “Dallas,” Dallas Decoder and Cook In/Dine Out offer a Harris Ryland-inspired “Dallas Drinks” cocktail.

Dallas Drinks - The Harris

Filed Under: Dallas Drinks, Features Tagged With: ,

TNT’s Dallas Scene of the Day: ‘Nothing Can Stop Us’

April 4, 2013 by 14 Comments
Dallas, Let Me In, Linda Gray, Sue Ellen Ewing, TNT

You tell him, honey

In “Let Me In,” a second-season “Dallas” episode, Sue Ellen (Linda Gray) is seated at a table in a posh lounge, where where she’s served a drink moments before Ken (Lee Majors) arrives.

KEN: Sue Ellen, I really shouldn’t be seen with you tonight. The only reason I came was to tell you about your nephew. He’s out of control. He came after me today.

SUE ELLEN: If he strangled you, I would sit back and watch the show.

KEN: Sue Ellen, you must know that I’m not jerking your family around.

SUE ELLEN: Did you ever really care for me?

KEN: Of course.

SUE ELLEN: What you’re doing now – covering up what really happened on our rig – is wrong. It’s morally and ethically wrong. And you know it. Understand me, Ken: When the Ewings unite, nothing can stop us. So you’re either on our side or you’re among the casualties – after we have taken down everyone who has screwed us. [Smiling] I hope you’re on our side.

She grabs her purse and leaves the table.

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (TNT), Features Tagged With: , , ,

Critique: TNT’s ‘Dallas’ Episode 21 – ‘Let Me In’

April 4, 2013 by 59 Comments
Dallas, Emma Bell, Emma Ryland, Harris Ryland, Let Me In, Mitch Pileggi, TNT

You’re a mean one, Mr. Ryland

“Let Me In” solves the dilemma of who will fill J.R. Ewing’s boots on “Dallas.” The answer: the audience, at least for now. By shifting the focus to the “Who Killed J.R.?” mystery and its corollaries, “Where’s Pam?” and the Barnes-Ryland conspiracy, this masterfully crafted episode gives us a chance to piece together a puzzle and try to outsmart everyone else, just like our hero used to do. Despite my own attempts to analyze the latest evidence, I still have no idea where “Dallas” is going with all of this, but I’m having a hell of a lot of fun trying to figure it out.

Beyond the mysteries, “Let Me In” allows the audience to get inside the heads of several characters, beginning with Harris. His most revealing moment occurs during the scene with Emma in the darkened parking garage. They sit together in his SUV as Harris recalls the first horse Emma fell in love with as a little girl, and how it injured her when she ignored his orders to stay away from it. It doesn’t take long to realize the story parallels Emma’s relationship with Drew, who she is dating against her father’s wishes. This is why it’s so chilling when Harris reminds Emma how he had the horse put down (“that dirty animal”), and then flicks on his truck’s headlights to reveal Drew, lying on the floor of the garage, bloodied and beaten as two of Harris’s thugs hover nearby.

Everything about this scene is superb: scriptwriter Aaron Allen’s taut dialogue, Mitch Pileggi’s pitch-perfect delivery, Emma Bell’s convincing tears, the way director Millicent Shelton pans her camera across the garage and brings the SUV into the center of the shot. I also love how Pileggi and Bell are cast in a green glow, which lends the scene a kind of cinematic quality. The color might also symbolize the envy that motivates Harris. He doesn’t want Emma to stay away from Drew just because he believes the young man isn’t good enough for her; Harris is jealous of Drew, just like he’d be jealous of anyone who receives attention from his daughter.

This scene also resonates because it reflects one of “Dallas’s” central themes, which is how generational patterns are seemingly impossible to break. Cliff inherits Digger’s enmity toward the Ewings. John Ross strives to escape J.R.’s shadow while simultaneously trying to emulate him. Now we see history repeating itself within the family Ryland: Harris’s preoccupation with Emma is awfully reminiscent of his mother’s obsession with him. Yet it also seems as though Harris genuinely loves his daughter, even if he expresses it through control and manipulation. It allows us to feel a twinge of sympathy for him. (I’m not sure this show’s other villainous daddy, Cliff, loves his daughter Pamela, but that’s a debate for another day.)

Regarding Pamela: “Let Me In” does a nice job showing us her struggle to cope with the loss of her unborn children. In the nifty opening scene, we see alternating shots of Christopher tearing down the nursery at Southfork while Pamela assembles the babies’ room in her penthouse. She then sits alone amid the crib and stuffed animals, which tells us everything we need to know about her state of mind. It also offers a subtle nod to Pamela’s namesake aunt, who demonstrated similarly distressing behavior during her obsessive baby phase on the old show.

Rather smartly, “Let Me In” uses Pamela’s tragedy to generate sympathy for her character, who has engaged in some pretty unsavory practices since the new “Dallas” began. (In much the same way, Drew’s savage beating in this episode makes it easier to forgive him for his role the bombing of the Ewing Energies rig.) In this spirit, “Let Me In” also gives us the lovely scene where John Ross finds Pamela alone on her balcony, wraps his coat around her and brings her in from the cold. Allen, the scriptwriter, referred to this on Twitter the other night as an homage to “St. Elmo’s Fire,” but it also works as a metaphor for John Ross and Pamela’s relationship. These two bring out the warmth in each other. The passion they ignited at the beginning of the season has turned into something deeper, which is why the couple seems to have so many supporters among “Dallas” fans. I’m one of them. I started off rooting for John Ross and Pamela because I loved the idea of J.R. and Cliff’s children falling for each other, but now I see their relationship would make sense no matter what their last names are. They’re both driven characters with daddy issues. Of course they’d be drawn to each other.

“Let Me In” also gives us many moments of Ewing togetherness, beginning with the sequence where Bobby, Sue Ellen and the cousins huff out of the meeting with the state official who investigated the rig explosion. I don’t know about you, but I’m also enjoying the reprieve from Josh Henderson and Jesse Metcalfe’s on-screen bickering; the scene where John Ross expresses concern for Christopher after the loss of the twins makes the characters feel like real, mature men. There’s also the terrific sequence where Sue Ellen warns Lee Majors’ character, Ken Richards, about crossing the family, which recalls one of Miss Ellie’s most memorable moments from the old show. I also like when Sue Ellen spots Emma in the bar, and when she tells Ann about it later. A lot of fans have noted the similarities between Lucy and Emma, but I wonder if Sue Ellen recognizes a little of herself in Emma’s self-destructive tendencies?

“Let Me In’s” other highlights include the arrival of Governor McConaughey, played to smirking perfection by Steven Weber, as well as the second appearance from Majors, whose conflicted character gets to become a hero when he alerts Sue Ellen to Harris’s connection to McConaughey. The captivating Emily Kosloski (Patrick Duffy’s daughter-in-law), in the meantime, does a brief-but-memorable turn as Rhonda, the club hostess who may or may not be the last woman to see J.R. alive.

I also love “Let Me In’s” two episode-ending montages. In the first, Bobby lets Sue Ellen in on the secret that J.R. was devising a master plan against the family’s enemies when he died. Duffy delivers his character’s recap over slow-motion scenes of Bobby and Sue Ellen examining the evidence. In the second montage, Harris sits in the governor’s office and gives McConaughey a lesson on the hunting habits of the Komodo dragon, explaining how it injects its prey with venom and waits for its slow death. As Harris speaks, we watch the Ewings make the unsettling discovery that the governor has used his office to stop the flow of oil from Southfork, effectively cutting off the family’s fortune.

This dramatic ending leaves me wondering how the Ewings are going to get out of this latest jam. I wonder something else too. What does Pileggi savor more: the nuts he’s munching in this scene or the delicious dialogue Allen has written for him?

Grade: A

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Dallas, Ken Richards, Lee Majors, Let Me In, TNT

Enter the hero

‘LET ME IN’

Season 2, Episode 11

Telecast: April 1, 2013

Writer: Aaron Allen

Director: Millicent Shelton

Audience: 2.6 million viewers on April 1

Synopsis: The state concludes a technical glitch is to blame for the rig explosion and fines Ewing Energies $1 billion. After Governor Sam McConaughey forces him to resign from his post, Ken lets Sue Ellen know the governor is in Harris’s pocket. Later, McConaughey’s administration seizes the Henderson property, cutting off the flow of oil from Southfork. Bobby determines Christopher will inherit Pam’s share of Barnes Global if she’s dead. Harris has Drew beaten when Emma refuses to stop seeing him.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Brown), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Alex Fernandez (Roy Vickers), Julie Gonzalo (Pamela Barnes), Linda Gray (Sue Ellen Ewing), Castulo Guerra (Carlos del Sol), Christian Heep (Travis), Josh Henderson (John Ross Ewing), Emily Kosloski (Rhonda), Lee Majors (Ken Richards), Jesse Metcalfe (Christopher Ewing), Jack O’Donnell (Emma’s friend), Mitch Pileggi (Harris Ryland), Natalie Quintanilla (Stacy), Jeffrey Schmidt (Scott Taylor), Brenda Strong (Ann Ewing), Steven Weber (Governor Sam McConaughey)

“Let Me In” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Drill Bits: ‘Dallas’ Draws More Younger Viewers

April 3, 2013 by 18 Comments
Dallas, Drew Ramos, Emma Bell, Emma Ryland, Let Me In, TNT

Young love

This week’s “Dallas” episode, “Let Me In,” was seen by 2.6 million viewers on April 1, the same number that watched the TNT drama the previous week. By one measure, though, “Dallas’s” numbers grew: The latest telecast drew more than 1 million viewers between ages 18 and 49, a crucial demographic for TV advertising sales. This was the fifth time this year the show cracked the 1 million mark in that category.

“Dallas” is holding steady in one of the toughest times slots in television. TNT shows the series Monday nights at 9, where it faces the second hour of ABC’s “Dancing with the Stars,” which averaged 13.9 million viewers on April 1, as well as the second hour of NBC’s “The Voice,” which averaged 13.1 million. “Dallas’s” competition also includes Fox’s “The Following,” which drew 6.6 million viewers this week.

“Dallas” is getting a boost from people who record shows digitally and watch them a few days later. Last week’s episode, “Guilt and Innocence,” drew 2.6 million viewers on March 25, but by the end of the week, DVR users had pushed its audience to 3.3 million viewers, including 1.2 million between ages 18 and 49 and 1.4 million between 25 and 54, a demographic cable channels like TNT target.

Meanwhile, “J.R.’s Masterpiece,” the episode where the Ewings bid farewell to Larry Hagman’s famous character, was seen by 3.6 million viewers on March 11, but within a week of its telecast, DVR users had increased its audience to 4.9 million viewers. The audience included 1.6 million viewers between 18 and 49 and 1.9 million between 25 and 54.

‘Dallas’ Double Features

Call to Arms, Dallas, Governor Sam McConaughey, Harris Ryland, Mitch Pileggi, Steven Weber, TNT

Double trouble

Four episodes remain in “Dallas’s” second season, and TNT will show them during the next two weeks:

• On Monday, April 8, the cable channel will telecast “A Call to Arms” at 8 p.m., followed by “Love and Family” at 9 p.m.

• The following Monday, April 15, TNT will show “Guilt by Association” at 9 p.m., followed by the season finale, “Legacies,” at 10 p.m.

TNT is doubling up on “Dallas” to clear its schedule for the NBA basketball playoffs, which will dominate the cable channel’s lineup in late April and May.

Brewster Hits the ‘Runway’

Jordana Brewster will appear as a guest judge on the next episode of Lifetime’s “Project Runway,” which will debut Thursday, April 4, at 10 p.m.

Speaking of “Dallas” and fashion: If you haven’t already done so, check out my interview with the new show’s costume designer, Rachel Sage Kunin, who discusses the secrets behind the show’s wardrobe. Who knew the Ewings wore clothing from secondhand shops?

Bottoms Up

My partner Andrew, who blogs about all things food at Cook In/Dine Out, is serving up his latest “Dallas Drinks” cocktail recipe: The Emma, a fiery concoction inspired by Emma Bell’s what-will-she-do-next wild child. Make yourself one today; just don’t consume it with Clonazepam!

“Drill Bits,” a roundup of news about TNT’s “Dallas,” is published regularly. Share your comments below.

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‘Who Killed J.R.?’ What We Know (and What We Don’t)

April 2, 2013 by 73 Comments

Carlos Del Sol, Castulo Guerra, Christopher Ewing, Cliff Barnes, Dallas, Emily Kosloski, Harris Ryland, Jesse Metcalfe, J.R. Ewing, Ken Kercheval, Larry Hagman, Mitch Pileggi, TNT, Who Killed J.R.? “Dallas” drops tantalizing new clues in the “Who Killed J.R.?” mystery throughout “Let Me In,” the TNT drama’s latest episode. Here’s a look at what we know and what we don’t, along with some more wild speculation.

J.R.’S MASTER PLAN

What we know: In “Let Me In,” Bobby (Patrick Duffy) lets Sue Ellen (Linda Gray) in on a big secret: Before J.R. died, he was devising a master plan against the family’s enemies, Cliff and Harris (Ken Kercheval, Mitch Pileggi). Bobby shows Sue Ellen the evidence that J.R. left behind and gives her a helpful overview of her ex-husband’s scheme. Take it away, Bobby:

“J.R. knew that Cliff and Harris would join forces and come after us. That’s why he wanted us to have this – all pieces to the puzzle of his master plan to take them down, once and for all. Barnes Global financial history. Ryland’s trucking in Mexico. Christopher’s mother’s whereabouts. Somehow it’s all connected. John Ross, Christopher and I are trying to figure it all out. Connect the dots. Finish what J.R. started. We need to find a way to ruin them, before they ruin us.”

What we don’t know: Assuming Bobby is reading the clues correctly, we now know all the pieces belong to the same puzzle. The question is, how do they fit together?

Wild speculation: One Dallas Decoder reader offered a nifty theory last week. We know Pam (Victoria Principal) fled Southfork in 1987 after being disfigured in a fiery car crash. Suppose that incident is part of the conspiracy J.R. stumbled upon before his death? Remember: Pam crashed into a tanker truck. And who on “Dallas” is in the trucking business? Harris Ryland, of course! I have no idea why he would want to harm Pam, but this coincidence is too fun to ignore.

PAM

What we know: After learning Pam was last seen in Abu Dhabi in 1989, Bobby told John Ross and Christopher (Josh Henderson, Jesse Metcalfe) that his contact in the Justice Department is tracking her down but needs more time. Later, John Ross snooped around Pamela’s computer and found a copy of her grandmother Rebecca Wentworth’s will, which John Ross reviewed with Bobby, Sue Ellen and Christopher.

The will shows Rebecca left her estate – including her shares of Barnes Global – to her three children: Katherine, Cliff and Pam. Bobby determined the estate is in a living trust, which means if the Ewings can’t find Pam, Christopher will inherit her shares. “If we can get Pam’s shares, we can kick the legs out from under Cliff. Maybe his entire plan. That’s why J.R. wanted us to find Pam. That’s our move,” Bobby said.

What we don’t know: In a previous episode, we learned Katherine is dead. If this is true, who inherited her third of Barnes Global and why isn’t anyone asking about that? (Or does the living trust arrangement render that point moot? Help me out here, legal eagles.)

Wild speculation: I still like the idea that Katherine (Morgan Brittany) stole Pam’s identity before she died and that this whole thing is going to lead to nutty Ms. Wentworth. It seems unlikely, though, since Brittany recently told Dallas Divas Derby she hasn’t been contacted by the show’s execs. I’m also not sure the Ewings are going to find Pam alive. Given Cliff’s dark nature, isn’t it possible he offed Pam, perhaps in cahoots with her plastic surgeon Dr. David Gordon, who is expected to resurface before this season is over?

Another off-the-wall theory: Instead of bringing back Pam or Katherine, what if “Dallas” revives a member of the Barnes family who’ll be more familiar to today’s audience: Frank Ashkani (Faran Tahir), Cliff’s “adopted” son, who killed himself earlier this season? One Dallas Decoder reader recently suggested the pills Frank swallowed might not have been all that lethal. Could Cliff have conspired with Frank to fake his death so Frank could go to Mexico and kill J.R.?

‘LADY X’

What we know: After J.R.’s death in Nuevo Laredo, a Mexican border town, his friend Carlos del Sol (Castulo Guerra) told the Ewings that J.R. met a woman in a club near the hotel where he died. I previously dubbed this woman “Lady X.” In “Let Me In,” we learn her identity: Rhonda (Emily Kosloski), the club hostess. She tells Bobby that J.R. wanted to ask her about an American who frequented the club, which she said was owned by the local drug cartel. When Bobby showed her a picture of Harris, Rhonda identified him as the American in question.

“What would Ryland be doing with narco traffickers? Is that what his trucks are taking back and forth across the border? Maybe J.R. was on to that,” Bobby said. Carlos responded he would alert the Mexican federales and “let them know there may be a connection between the cartel and Ryland Transport.”

What we don’t know: Are Carlos and Rhonda telling the truth? All along, I’ve suspected Carlos is somehow involved in J.R.’s death. And what should we make of the odd expression on Bobby’s face after Rhonda tells him, “J.R.’s not the first man to invite me back to his hotel room. He just wanted to talk. Share a drink. He was kind to me. Gentlemen are in such short supply where I work. I’m so sorry, what happened to your brother.”

Wild speculation: What if Cliff is the killer and has secretly aligned himself with Carlos, a fellow billionaire, to frame Harris for the crime? Consider this: Why would Cliff, a global titan, need to join forces with Harris, a Texas trucking magnate, to bring down the Ewings? I know Cliff told Harris he wanted to take advantage of Harris’s “muscle” and friendship with the governor, but Cliff has demonstrated he has those kinds of resources and connections himself. Could Cliff be duping Harris?

On the other hand: The Rylands seem to have real connections to the Mexican border. Did you catch the Laredo address on the pill bottle Emma showed John Ross at J.R.’s funeral?

THE GUN AND THE LETTER

What we know: When J.R.’s private eye Bum (Kevin Page) gave Bobby, John Ross and Christopher the evidence that J.R. left behind, the package included a gun, which was accompanied by a letter from J.R. to John Ross. It stated: “Use what I’ve given you to take from them what they want to take from us. When you’ve done that, Bobby will know what to do.”

J.R. also left behind a letter to Bobby, which he refused to discuss with John Ross and Christopher. “This is between my brother and me – for now,” Bobby told them. Privately, Bobby told Bum to “pay off whoever you have to pay off so that everybody still thinks J.R. was killed by a mugger. When the time comes, we’ll take care of this ourselves – as a family.”

What we don’t know: Precious little. I don’t think the letter reveals the identity of J.R.’s killer; otherwise, why isn’t Bobby simply going after that person? Instead, I think the document somehow lets Bobby know that J.R. wasn’t the victim of a random crime. Or perhaps it reveals something else – like maybe some sort of family secret? Recall what Bobby said when he toasted his dead brother after receiving the note: “I knew you’d have at least one more left up your sleeve, J.R. It is a good one. I love you brother.”

Wild speculation: Once again, I return to the theory that J.R. planned his own death. I know a lot of fans don’t like this idea, but it seems like you can use the available evidence to support it. Suppose J.R. knew that he was dying and decided to take advantage of the situation by arranging to have himself shot, then leaving instructions for Bobby – via the letter – to use the gun to frame Cliff, Harris or both for his “murder”? Perhaps Bobby’s last line in his recap for Sue Ellen is telling: “We need to find a way to ruin them, before they ruin us.”

Or hell, maybe it really was Kristin.

Who done it? Share your theories below and read more posts on Dallas Decoder’s “Who Killed J.R.?” page.

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