Sue Ellen (Linda Gray) finds Dusty (Jared Martin) again in this 1981 publicity shot from “Lover, Come Back,” a fourth-season “Dallas” episode.
Dallas Scene of the Day: ‘Goodbye, My Darling’
September 17, 2012 by 3 Comments
Farewell, my lovely
In “Dallas’s” fourth-season episode “Lover, Come Back,” Sue Ellen (Linda Gray) is preparing to leave Dusty (Jared Martin) for the evening.
SUE ELLEN: I have to get to Southfork, darling, but I’ll be back first thing in the morning. [She kisses him and begins walking away.]
DUSTY: No, Sue Ellen. Don’t come back. Ever.
SUE ELLEN: [She turns back toward him.] I have to. I couldn’t stand to lose you again.
DUSTY: You have lost me, Sue Ellen. You’re pretending we are as we used to be. We’re not.
SUE ELLEN: [She stands behind him, leans down and puts her arms around him.] But we love each other. That hasn’t changed.
DUSTY: The only thing we have left is a memory of how we were. And that was perfect. But I’d rather remember it like that than to be together now and have it die.
SUE ELLEN: [Moves around to face him, kneels down] But I won’t let it die.
DUSTY: I know you wouldn’t, Sue Ellen. You wouldn’t want to. You look at me now, you see me the way I used to be, and nothing else matters.
SUE ELLEN: And it never will.
DUSTY: Sue Ellen, someday it will. Not now, not a month from now, not a year, maybe even more than that, but someday you’re gonna walk in that door and you’ll see me – not as you want to see me, but as I really am. And then you’re going to realize that you’re married to a man who can’t walk again, who’s never going to make love again.
SUE ELLEN: [Crying] No, no.
DUSTY: And I’ll see it in your eyes. And you’ll cover it up, pretend that nothing has changed, but I’ll know. And that’s going to destroy me.
SUE ELLEN: No, I’d never hurt you. Dusty, I love you.
DUSTY: I love you. That’s the only thing I have left. If I didn’t know that, I might as well not have survived that plane crash. But if you really love me, don’t make me see myself in your eyes every day. Let me have my memories of you, and my dreams of you. Love me enough to do that.
SUE ELLEN: [Sobbing] You’ll never know how much I love you. Never. [They kiss.] Goodbye, my darling. [She rises, exits the room] Goodbye.
Critique: ‘Dallas’ Episode 70 – ‘Lover, Come Back’
September 17, 2012 by 17 Comments
Tracks of her tears
“Lover, Come Back” is an episode about reunions. Sue Ellen discovers Dusty is alive and rushes to his side, Ray and Donna get back together and J.R. returns to the cartel. All three stories require a healthier-than-usual suspension of disbelief.
Dusty’s return is the most fantastical, of course. At the end of “Dallas’s” third season, Sue Ellen learned Dusty died in a plane crash. In “Lover, Come Back,” after some Nancy Drew-style sleuthing, Sue Ellen finds out Dusty survived the accident but is now confined to a wheelchair; the body found in the wreckage belonged to one of his ranch hands.
Today’s audiences might find the character’s return from the dead clichéd, but Linda Gray brings so much conviction to Sue Ellen’s weepy reunion with Dusty – and charismatic Jared Martin is such a welcome presence on “Dallas” – I’m willing to overlook it.
Both actors are especially wonderful in the episode’s touching final scene, when Dusty sends Sue Ellen away because he believes he can’t make her happy as long as he’s paralyzed. Everything here works, particularly scriptwriter Leonard Katzman’s beautiful dialogue (“Don’t make me see myself every day in your eyes.”) and Martin’s stoic delivery. This is good old-fashioned soap opera, right down to the tight close-up of Gray’s tear-streaked face.
Surprisingly, the reunion of Ray and Donna, who are usually “Dallas’s” most down-to-earth couple, feels less credible. In “Lover, Come Back,” he asks her to persuade Miss Ellie to drop her fight against the Takapa development. Donna gets righteous, Ray gets angry, their argument turns passionate and the next thing you know, she is waking up to his marriage proposal, which she accepts on the spot. How efficient!
But the real eye roller comes when J.R. summons the cartel members to his office, just as Hank phones to announce the Asian coup succeeded and the nationalized oil wells will be returned to their rightful owners. The cartel members are gleeful – J.R. even gets a kiss from Marilee, who sued the Ewings at the beginning of the season because she blamed J.R. for her husband’s suicide – and Leslie later compliments him on a job well done.
“I do have my moments, don’t I?” he responds.
Yes, J.R., you do. But this isn’t one of them.
Grade: B
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Together again
‘LOVER, COME BACK’
Season 4, Episode 16
Airdate: February 20, 1981
Audience: 27.1 million homes, ranking 1st in the weekly ratings
Writer: Leonard Katzman
Director: Irving J. Moore
Synopsis: Sue Ellen learns Dusty is alive but he doesn’t want her back because he’s paralyzed. Ray and Donna get engaged. J.R. is welcomed back into the cartel when the Asian coup succeeds and the oil wells are “denationalized.”
Cast: Robert Ackerman (Wade Luce), Barbara Bel Geddes (Miss Ellie Ewing), Len Birman (Claude Brown), Claudia Bryar (cleaning lady), Jeff Cooper (Dr. Simon Elby), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Joel Fabiani (Alex Ward), Fern Fitzgerald (Marilee Stone), Susan Flannery (Leslie Stewart), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Ron Hayes (Hank Johnson), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Sherrill Lynn Katzman (Jackie), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Jared Martin (Dusty Farlow), Leigh McCloskey (Mitch Cooper), Victoria Principal (Pam Ewing), Paul Sorensen (Andy Bradley), Don Starr (Jordan Lee), Charlene Tilton (Lucy Cooper), Martin West (Phil McKenna), Morgan Woodward (Punk Anderson)
“Lover, Come Back” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.
Dallas Parallels: Welcome to the Family
September 14, 2012 by 11 Comments
Introducing “Dallas Parallels,” a periodic feature that showcases connections between TNT’s “Dallas” and the original series.
Quite appropriately, TNT’s “Dallas” pilot, “Changing of the Guard,” is chock full of allusions to “Digger’s Daughter,” the classic show’s first hour.
Both episodes open with a leading lady exclaiming a male Ewing’s name (Pam: “Bobby James Ewing, I don’t believe you!” Elena: “John Ross, wake up!”), both feature helicopter tours of Southfork (Pam and Ray in the original, Bobby and Marta in the new series) and both depict characters boasting in barrooms about their wildcatting exploits (Digger, John Ross).
Now that we know Rebecca is Cliff’s daughter, it’s also worth revisiting “Changing of the Guard” to see how closely her introduction to the Ewings mirrors her Aunt Pam’s.
In “Digger’s Daughter,” Pam’s first Southfork cocktail hour is typically tense. Jock is as gruff as ever (“Young lady, when’s that brother of yours going to give up that crusade against us Ewings?”), and then Lucy cheekily insists Ray, Pam’s ex-boyfriend, give the new bride a kiss in front of the family.
Flash forward three decades: In “Changing of the Guard,” Rebecca accompanies Christopher to Bobby’s birthday dinner at Southfork, where she meets John Ross and Elena for the first time. The reception isn’t hostile like the one Pam received, but it’s equally awkward.
Just as Pam’s kin became a topic of conversation three decades earlier, Christopher mentions that Rebecca has “a brother” (ha!) but “not much by the way of family” (double ha!). Moments later, John Ross mischievously suggests Elena – John Ross’s girlfriend, who also happens to be Christopher’s unrequited true love – could serve as Rebecca’s bridesmaid.
Rebecca cheerfully agrees (“I mean, you’re like Chris’s sister.”) and invites Elena to join the wedding party. As Bobby, Ann and Sue Ellen exchange wide-eyed glances around the table, John Ross offers Christopher a self-satisfied smirk.
Cousin Lucy would be proud.
‘You’re Going to Kiss the Bride, Aren’t You?’
Slinky
In “Digger’s Daughter,” “Dallas’s” first episode, the Ewings have cocktails in the Southfork living room. Jock (Jim Davis) stands, while Bobby and Pam (Patrick Duffy, Victoria Principal) sit on the sofa, surrounded by Miss Ellie (Barbara Bel Geddes), Sue Ellen (Linda Gray) and Lucy (Charlene Tilton).
BOBBY: Well, I’m not sure I can even tell you how the whole thing happened, except that I said, “I love you.” And she said, “I love you.” And I said, “Are you sure?” She said, “Of course I’m sure.” So I said, “Well, then let’s get married right here in this old city of New Orleans.” [Chuckles] She said, “Bobby Ewing, that’s about the dumbest idea I’ve ever heard.” But 20 minutes later, there we were, standing in front of that old Baptist preacher saying, “I will, I will.” And that was that.
SUE ELLEN: I never knew you were so impulsive Bobby.
BOBBY: Well, I never knew I was either.
ELLIE: Pamela, you settled into your room all right?
PAM: Oh yes, ma’am. Of course, I only have the one suitcase but I’ll go into Dallas tomorrow and get my things.
JOCK: [Steps forward] Young lady, when’s that brother of yours going to give up that crusade against us Ewings?
BOBBY: [Rises from the sofa, approaches Jock] Daddy, I don’t think this is the proper time or place to discuss that.
JOCK: I don’t know why not.
ELLIE: We don’t talk business at this hour, Jock.
JOCK: [Finishes his drink] Anybody want a refill?
J.R.: Yeah, I believe I will, father. [They move to the liquor cart.]
Ray (Steve Kanaly) enters, knocks on the wall.
RAY: Excuse me, Mr. Ewing?
JOCK: Come in, Ray. Have a drink.
RAY: No thanks, sir.
J.R.: Ray.
RAY: J.R.
J.R.: I believe you know Pamela here.
RAY: Sure. Pam. [Nods]
PAM: Hi Ray.
LUCY: Ray Krebbs, have you heard that our Bobby has up and married Pamela Barnes?
RAY: Yeah, I heard. Congratulations to you both.
LUCY: Where are you manners, Ray? You’re going to kiss the bride, aren’t you?
Bobby motions to Pam.
RAY: Sure. Where are my manners? [Steps forward, gives Pam a peck on the cheek] Congratulations.
‘I Have an Idea: Elena Could Be Your Bridesmaid’
Smirky
In “Changing of the Guard,” the first episode of TNT’s “Dallas,” the Ewings celebrate Bobby’s birthday in the Southfork dining room. Bobby (Patrick Duffy) sits at the head of the table with Sue Ellen and Ann (Linda Gray and Brenda Strong) nearby, while John Ross and Elena (Josh Henderson and Jordana Brewster) and Christopher and Rebecca (Jesse Metcalfe, Julie Gonzalo) face each other.
REBECCA: I was just telling Sue Ellen that my one and only bridesmaid had a family emergency and won’t be able to make the wedding.
CHRISTOPHER: Rebecca’s parents, they died in a plane crash. She’s got a brother but not much by the way of family. Shouldn’t Tommy be here by now?
REBECCA: Yeah. I’m a little worried about him.
JOHN ROSS: I have an idea. Elena could be your bridesmaid.
Ann, Sue Ellen and Bobby exchange puzzled looks.
ELENA: [To John Ross, incredulously] Sorry?
JOHN ROSS: I think it’s a great idea.
ELENA: [To Rebecca] Really, I, I would not be a good bridesmaid.
Christopher and Rebecca look at each other.
REBECCA: [Smiling] I’d, I’d love it Elena. I mean, you’re like Chris’s sister.
ELENA: Oh, I’m so flattered, really. But it must be too late to get a dress made.
REBECCA: I’m sure the dressmaker can just alter the dress we’re not using. It’d be an honor to have you as my bridesmaid. Sorry I didn’t think of it first.
John Ross smirks at Christopher.
ELENA: [Softly] OK.
REBECCA: Well, it’s settled then.
What do you think of Pam and Rebecca’s introductions to the Ewing family? Share your comments below and read more “Dallas Parallels.”
The Art of Knots Landing: ‘The Loudest Word’
September 13, 2012 by Leave a Comment
Valene (Joan Van Ark) discuss her cancer surgery with Bobby (Patrick Duffy) in this 1981 publicity shot from “The Loudest Word,” a second-season “Knots Landing” episode.
Knots Landing Scene of the Day: ‘You Don’t Have Any Courage’
September 13, 2012 by 9 Comments
No guts, no Gary
In “Knots Landing’s” second-season episode “The Loudest Word,” Bobby and Gary (Patrick Duffy, Ted Shackelford) sit next to each other in the hospital waiting room while Val undergoes surgery.
BOBBY: That was some phone call you made to Mama.
GARY: Yeah, I know. Sorry about that.
BOBBY: Are you better now?
GARY: Well, I’m not crazy, if that’s what you mean.
BOBBY: No, that’s not what I mean. I mean, are you better? Have you pulled yourself together? Do you know what you’re up against? Are you ready for that?
GARY: Don’t preach at me, Bobby!
BOBBY: Well, are you better or aren’t you?
GARY: I don’t know!
BOBBY: Well, you don’t have much time to find out. [Rises] If you’re gonna sit and wait that thing out, you’d better damn well be able to handle the outcome, no matter what the outcome is.
GARY: I don’t know. How can I? Would you know?
BOBBY: You’re damn right I would. I’d grit my teeth, I’d clinch my fist and rail at the injustice. But I’d be able to handle whatever came through that door. Because I couldn’t stand to live with myself if I broke down when the woman I love needed me to stand up.
GARY: Fine. You tell me how not to break, and I won’t break.
BOBBY: I’ll tell you how not to break. The same way I told Valene how not to die. Don’t. You just don’t.
GARY: I can’t handle the worst.
BOBBY: The worst is she dies, Gary. You understand that, don’t you? [Gary is silent.] Dying is the worst thing that can happen to Val. [Walks to Gary, grabs his shirt collar, forces him to his feet] Now, tell me that you know that death is the worst possibility. [Gary is still silent.] You’d rather that girl in there die than survive with a colostomy? [Releases Gary, steps away] You know, I can remember Daddy and Mama sparring with words. I was just a kid when you left, but I can still remember them talking about you. And Daddy would say that you didn’t have the Ewing guts. And Mama would say, “Well, thank goodness for that.” Because she thought you had Southworth gallantry – and that was a much better thing to have. Mama thought guts were low-grade courage, and gallantry was courage with grace. [Walks toward Gary] But she sent me here because she couldn’t stand to come herself. She probably heard it in your voice on the phone. You don’t have any kind of courage at all. And she just couldn’t bear to come here and see that for herself.
Gary walks away.
Critique: ‘Knots Landing’ Episode 26 – ‘The Loudest Word’
September 13, 2012 by 10 Comments
Enter the hero
Toward the end of “The Loudest Word,” Valene Ewing lies in a hospital bed, waiting to have surgery to determine if she’ll need a colostomy. The room is dark, and so is Val’s mood. Suddenly, the door opens and in walks Bobby Ewing. In that instant, we know everything is going to be OK.
Such is Bobby’s power. He’s our hero, and when this “Knots Landing” episode debuted in February 1981, it showcased his innate goodness in a way “Dallas” hadn’t done in awhile. At the time, Bobby had gone off the rails a bit over on the parent show. His rocky tenure running Ewing Oil had just ended and he was about to embark on a political career, unaware his neglected wife Pam was contemplating having an affair.
These developments added some interesting wrinkles to Bobby’s persona, but let’s face it: The character is at his best when he’s the white knight, which is the role he fills in “The Loudest Word.”
When Bobby enters Val’s hospital room and she confesses how frightened she is, he tenderly comforts her. Later, he delivers Gary a proverbial kick in the rear, helping his older brother find the courage he needs to stand by Val when she needs him most. As an added bonus, Bobby has an exchange with Gary and Val’s neighbor Sid Fairgate – a kind of summit of prime-time soapdom’s all-around good guys. Patrick Duffy is terrific in each of these scenes. His trademark is delivering his dialogue with breathless intensity, and he does it beautifully when Bobby gives his tough-love pep talk to Gary.
Joan Van Ark and Ted Shackelford are also really good in “The Loudest Word.” Shackelford’s physical performance, in particular, is something to behold. In the scene where Gary goes berserk, the actor (it doesn’t appear to be a stunt double) destroys Gary and Val’s bedroom with frightening efficiency.
But the real star of “The Loudest Word” is scriptwriter Joseph B. Wallenstein, whose dialogue is poetic. When Karen Fairgate notices daughter Diana’s troubled response to Val’s crisis, she tells husband Sid, “I work so hard at remembering that she’s a young woman, sometimes I forget how much little girl is still left.” Another nice line: Gary recalls hearing Val’s doctor deliver her diagnosis and says, “I heard that word, ‘malignant.’ And it was the loudest word I ever heard.”
Great writing is one of “Knots Landing’s” hallmarks, and one area where it often outshines its parent show. No wonder the Ewings made so many trips west during “Dallas’s” fourth season.
Grade: B
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Last of the good guys
‘THE LOUDEST WORD’
“Knots Landing” Season 2, Episode 13
Airdate: February 19, 1981
Audience: 17.8 million homes, ranking 13th in the weekly ratings
Writer: Joseph B. Wallenstein
Director: Kim Friedman
Synopsis: When Val is diagnosed with colon cancer and faces the possibility of having a colostomy, Gary falls apart. Bobby arrives and is at Gary’s side when he learns Val’s surgery was a success and a colostomy wasn’t needed.
Cast: Patrick Duffy (Bobby Ewing), James Houghton (Kenny Ward), Kim Lankford (Ginger Ward), Michele Lee (Karen Fairgate), Claudia Lonow (Diana Fairgate), Constance McCashin (Laura Avery), Donna Mills (Abby Cunningham), Don Murray (Sid Fairgate), Patricia Murray (Sandy), John Pleshette (Richard Avery), Arthur Rosenberg (Dr. Harper), Ted Shackelford (Gary Ewing), Steve Shaw (Eric Fairgate), Joan Van Ark (Valene Ewing)
“The Loudest Word” is available on DVD. Watch the episode and share your comments below.
Dallas Scene of the Day: ‘Never Cross Daddy’
September 12, 2012 by 5 Comments
Gruff daddy
In “Dallas’s” fourth-season episode “The Quest,” Miss Ellie vows to stop the Takapa Lake development project and exits the Southfork dining room, leaving Jock (Jim Davis), J.R. (Larry Hagman) and Bobby (Patrick Duffy) at the table.
BOBBY: Daddy? Daddy?
JOCK: [Looks up from his newspaper] What?
BOBBY: Don’t you think you should tell Mama you’re one of the Takapa developers?
JOCK: Look, Bobby, I run my business, and I decide when and where I’ll tell anyone about it. You understand?
Ray (Steve Kanaly) enters.
RAY: Morning. I don’t mean to rush you, Jock, but you were supposed to meet those builders over there at 10 o’clock.
JOCK: Well, you’re not rushing me, Ray. [Rises] I got nothing to say more here, anyway.
BOBBY: Daddy, I mean it. I think you should tell her.
JOCK: Are you telling me what I gotta do these days, Bobby?
BOBBY: No, sir. No, I’m not. I just think it’s fair that she knows, that’s all.
JOCK: [Crosses his arms] Well, how can a man be fair when his own wife barely speaks to him? You tend to your politics, Bobby, or whatever it is these days. Ray and I’ll take care of Takapa. You understand? Ready, Ray?
RAY: All set, Jock.
Jock and Ray leave.
J.R.: Bobby, I thought you learned something when you were a young boy. I guess I was wrong.
BOBBY: Learned what?
J.R.: Never cross Daddy when it comes to business. Never.
Critique: ‘Dallas’ Episode 69 – ‘The Quest’
September 12, 2012 by 8 Comments
Not what she seems
Things are never quite what they seem in “The Quest.” Several characters go through this episode under false impressions, usually because they’re being duped by the people closest to them.
Consider J.R., who continues to pursue Leslie, not just because he finds her sexually desirable, but also because he believes she has his best interests at heart. This is established during the previous episode, “Start the Revolution with Me,” when J.R. tells Leslie she could “run the world.” Her response, delivered perfectly by Susan Flannery: “No, J.R. But I’d be delighted to help you run it.”
What J.R. doesn’t know is Leslie is secretly tape-recording their conversations. Why? The audience doesn’t know, but it seems safe to assume Leslie is looking out for herself, not J.R.
The idea that Leslie isn’t quite what she seems is also symbolized when J.R. arrives unexpectedly on her doorstep and finds her wearing a bathrobe. He’s confident she’ll let him spend the night, but she tells him she has another date and removes the garment, revealing she’s fully clothed. “I always put it on when I put my makeup on,” Leslie says. You can feel J.R. deflate.
Other example of deceptions and false assumptions in this episode: Mitch is impressed with Lucy’s domestic proclivities, unaware she has secretly hired a maid to clean the condo while he’s in class. Cliff believes Donna is going to help him get appointed to the state senate, only to discover she’s recruited Bobby for the job. Sue Ellen suspects J.R. is having her followed, only to learn he couldn’t care less how she spends her time.
Miss Ellie is the victim of the biggest deception of all. She continues to lead the campaign against the Takapa development, unaware Jock is behind the project. Then again, it’s not like Jock has much of a chance to tell his wife. Ellie has barely spoken to him since Lucy’s wedding, when she lashed out at him for neglecting Gary.
Yet “The Quest” also includes a sweet scene where Ellie comes home late, finds Jock asleep in a chair and tenderly covers him with a blanket. The gesture lets us know she still loves Jock, despite her angry outward attitude.
On “Dallas,” sometimes when things aren’t what they appear, it’s a good thing.
Grade: B
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Another Ewing cover-up
‘THE QUEST’
Season 4, Episode 15
Airdate: February 13, 1981
Audience: 23.8 million homes, ranking 1st in the weekly ratings
Writer: Robert J. Shaw
Director: Gunnar Hellström
Synopsis: J.R. continues pursuing Leslie, while Alex gives up on Pam. Donna persuades Bobby to run for Dave’s state senate seat, infuriating Cliff. After confronting the man who has been following her, Sue Ellen makes a shocking discovery.
Cast: Barbara Bel Geddes (Miss Ellie Ewing), Len Birman (Claude Brown), Claudia Bryar (cleaning lady), Jeff Cooper (Dr. Simon Elby), Jim Davis (Jock Ewing), Patrick Duffy (Bobby Ewing), Woody Eney (Appleton), Joel Fabiani (Alex Ward), Susan Flannery (Leslie Stewart), Anne Francis (Arliss Cooper), Tom Fuccello (Senator Dave Culver), Meg Gallagher (Louella), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Ron Hayes (Hank Johnson), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Sherrill Lynn Katzman (Jackie), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), John Lehne (Kyle Bennett), Monte Markham (Clint Ogden), Leigh McCloskey (Mitch Cooper), Victoria Principal (Pam Ewing), Charlene Tilton (Lucy Cooper), Martin West (Phil McKenna)
“The Quest” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.
Dallas Styles: Pam’s Perm
September 11, 2012 by 11 Comments
Twisty
In “Start the Revolution with Me,” Victoria Principal sports a new hairstyle – a frizzy permanent, one of the fashion fads of the early 1980s.
The look demonstrates how Pam is always ahead of the curve, and it also gives “Dallas” a chance to show how cool Miss Ellie is. She’s the only character to comment on Pam’s new style, telling her, “I love your new hairdo.”
But there’s symbolism in Pam’s do, too. In “Dallas’s” previous episode “Making of a President,” Sue Ellen urges Pam to have an affair with Alex. “Pam, I just want you to protect yourself,” Sue Ellen says. “The Ewing men are all the same. Bobby and J.R. are into the same power trip, and for you to survive, you have two choices: You can either get out, or you can play by their rules.”
Pam seems to resist the advice, but we know she’s really tempted by Alex. This means Pam is becoming more like her morally ambiguous in-laws – particularly Sue Ellen, who has cheated on J.R. with at least three men (Ray, Cliff and Dusty) at this point during “Dallas’s” run.
So is it any wonder Pam shows up in “Start the Revolution with Me” wearing a perm?
Think about it: A “permanent wave,” according to Wikipedia, is created by stretching and softening hair and molding it around the shape of a perm rod. By allowing herself to get close to another man, isn’t Pam doing something similar – stretching the boundaries of matrimony, relaxing her standards, molding herself into the shape of a Ewing? Or maybe Pam just wants Bobby to notice her.
Whatever the case, the perm doesn’t last long – and thankfully, neither does Pam’s flirtation with infidelity.
Dallas Decoder 