Things Ewings Say

August 7, 2012 by 15 Comments
Things Ewings Say copy

Don’t darlin’ her either

J.R. isn’t the only sharp-tongued Ewing on TNT’s “Dallas.” To help you prepare for tomorrow’s telecast of “Revelations,” the first-season finale, we offer this review of memorable lines from other characters.

• “Count your blessings, Christopher. Those two old geezers would still find a reason to fight.”

Lucy (Charlene Tilton), after her cousin announces J.R. and Cliff won’t be able to attend his wedding in “Changing of the Guard”

• “We ain’t family, bro.”

John Ross (Josh Henderson) to Christopher in “Hedging Your Bets”

• “OK, can we just go bake something?”

Rebecca (Julie Gonzalo), after failing to hit the target during shooting practice with Ann in “The Price You Pay”

• “Hair loss isn’t one of them, right?”

Bobby (Patrick Duffy), upon hearing his new medication has side effects in “The Price You Pay”

• “You got your daddy’s charm. Let’s hope you didn’t get his morals.”

Miss Henderson (Margaret Bowman), responding to John Ross’s sweet talk in “The Last Hurrah”

• “He was dyslexic, not stupid.”

Elena (Jordana Brewster), responding to J.R.’s quip about John Ross’s childhood aversion to reading, in “The Last Hurrah”

• “I know all the things Daddy used to say.”

Bobby, after J.R. quotes Jock for the umpteenth time, in “Truth and Consequences”

• “I like your husband. And I always thought his brother was a prick.”

Harris (Mitch Pileggi), agreeing to Ann’s request to help Bobby by cancelling his contract with J.R. in “Truth and Consequences”

• “The people in Texas are way too friendly. It tries my nerves.”

Tommy (Callard Harris) in “The Enemy of My Enemy”

• “What now?”

John Ross, after Bobby and Christopher enter his room in “The Enemy of My Enemy”

• “I’m sorry I threw up in your bathroom.”

Rebecca to Elena in “Collateral Damage”

• “The first thing I thought was, ‘Yep, he’s his mama’s son.’”

Lucy, recalling the time she found John Ross drunk after he broke into the Southfork liquor cabinet as a child, in “Collateral Damage”

• “You’ve been writing more prescriptions than Michael Jackson’s doctor – which is odd, since all of your patients are dead.”

Sue Ellen (Linda Gray), blackmailing a medical examiner in “No Good Deed”

• “If I catch you anywhere near Bobby’s room, I’ll shoot you. And since you have no heart, it’ll be somewhere more vital.”

Ann (Brenda Strong), chasing J.R. away from her ill husband in “Family Business”

What’s your favorite quote from “Dallas’s” first season? Share your choices below and read more features from Dallas Decoder.

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Things Ewings Say (J.R. Edition)

August 6, 2012 by 25 Comments
Things Ewings Say (J.R. Edition) copy

Bullet-proof

If the first season of TNT’s “Dallas” taught us anything, it’s this: J.R. Ewing (Larry Hagman) still has a way with words. With “Revelations,” the eagerly awaited season finale two days away, here’s a look back at some of his best lines.

• “Son, the courts are for amateurs and the faint of heart.”

Responding to John Ross’s suggestion that he could win a legal fight with Bobby in “Changing of the Guard”

• “Son, never pass up a good chance to shut up.”

Imparting more wisdom to John Ross in “Hedging Your Bets”

• “I hate to hit a man below the belt, but you know I will.”

Threatening Mitch Lobell in “Hedging Your Bets”

• “Time has not been kind to that face.”

Upon seeing Cliff Barnes for the first time in many years in “The Price You Pay”

• “Bullets don’t seem to have much an effect on me, darlin’.”

Greeting a shotgun-wielding Ann in “The Price You Pay”

• “I’m going to tell you the truest thing my daddy ever told me: Nobody gives you power. Real power is something you take.”

Quoting Jock to John Ross in “The Price You Pay”

• “Those people are not passing away because of old age. They’re trying to get away from the food.”

Describing the culinary options at his nursing home in “The Price You Pay”

• “That Mexican girl?”

Describing Elena in “The Last Hurrah”

• “Our girl is crazier than an outhouse rat.”

Describing Marta in “The Last Hurrah”

• “Are you really going to break bread with this lowlife?”

Upon learning Sue Ellen plans to have lunch with Cliff in “The Last Hurrah”

• “Well what fun would I get out of telling you that?”

His response when John Ross asks where he’s going in “Truth and Consequences”

• “For a chance to make money from me, Cliff Barnes would push his mama in a puddle of piranhas.”

Assessing his chances of joining Cliff’s high-stakes poker game in “The Enemy of My Enemy”

• “A cheated man is a dangerous man. Just ask my son.”

Describing Frank Ashkani in “Collateral Damage”

• “OK, I admit, I have lapses where I do wrong now and then.”

Offering Bobby the understatement of a lifetime in “Family Business”

What’s your favorite J.R. quote from “Dallas’s” first season? Share your choices below and read more features from Dallas Decoder.

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TNT’s Dallas Styles: Bobby’s Pajamas

August 2, 2012 by 2 Comments

Dead men don’t wear plaid. Right?

In “Family Business,” TNT continues an old “Dallas” tradition: using the Ewings’ sleepwear to telegraph their vulnerabilities.

The practice can be traced to “Spy in the House,” the original show’s third episode, when a sexually neglected Sue Ellen buys a negligee, hoping to arouse J.R.’s interest. Her plan doesn’t work: J.R. calls the nightie “cheap” and storms out of the room, leaving his wife in tears.

In the second-season episode “Survival,” a bathrobe-clad Jock weeps when he learns a plane carrying J.R. and Bobby has crashed. Later, in the third-season episode “Ellie Saves the Day,” Jock and Miss Ellie are both wearing robes when they learn J.R.’s latest oil deal has brought the Ewing empire to the brink of collapse.

And when we encounter a deeply depressed J.R. at the beginning of “Changing of the Guard,” TNT’s first “Dallas” episode, what’s he wearing? You guessed it: a robe and pajamas.

In “Family Business,” Patrick Duffy sports plaid pajamas and what appears to be a dark green robe after Bobby is diagnosed with a life-threatening cerebral aneurysm. The PJs, like the reading glasses perched on Bobby’s nose, remind us our silver-haired hero is entering the twilight of his life – a point Bobby himself makes when he poignantly reminds J.R., “Nobody lives forever.”

But the sleepwear lets us know something else too: Even in pajamas, Patrick Duffy is still dashing.

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Critique: TNT’s ‘Dallas’ Episode 8 – ‘No Good Deed’

July 26, 2012 by 21 Comments
Dallas, John Ross Ewing, Josh Henderson, No Good Deed, TNT

Up close

In “No Good Deed,” John Ross is jailed for a murder he didn’t commit and then savagely beaten by a couple of inmates who are connected to the real killers. The Ewings respond to this crisis by rallying around their tarnished golden boy, making this the first time the characters on TNT’s “Dallas” begin to feel like a real family. Not coincidentally, it’s also the first time the new show begins to really feel like the old one.

The original “Dallas” is often described as a series about rich people behaving badly, but the deeper truth is that “Dallas,” at its heart, was a show about family. TNT seems to fully realize this in “No Good Deed.” This is an hour of big, dramatic moments that once again demonstrate an essential “Dallas” tenet: No matter how much the Ewings fight among themselves, when outside forces descend upon Southfork, they all pull together.

Several scenes in this episode give me chills. In the first, Bobby is in the den, railing to his lawyer about J.R. and the plot to steal Southfork, when Ann enters the room with a stricken look on her face. “It’s John Ross,” she says. The goose bumps return in the next scene, when we see Bobby, Ann, Elena and Christopher burst through the emergency room doors and circle a badly shaken Sue Ellen.

As good as these moments are, “No Good Deed” also benefits from its many scenes of quiet familial warmth: J.R. arrives at John Ross’s hospital bedside in the dark of night and gently strokes his sleeping son’s hair. Bobby visits Miss Ellie’s grave and vows to protect the family, finally recognizing the people who live on the ranch matter more than the land itself. John Ross and Christopher stand in the Southfork driveway, shake hands and acknowledge they’re not that different from one another after all. “We’re both just trying to make our fathers proud,” Christopher says.

Then there are “No Good Deed’s” small but meaningful details: When a trembling Sue Ellen fumbles with a coffee dispenser in the hospital waiting room, Ann takes the cup and pumps the coffee for her. During a family conference in the Southfork living room, Ann rubs the back of a worried Elena. John Ross calls Sue Ellen “mama” when she brings him home from the hospital.

The nice thing about Julia Cohen’s script is that it doesn’t just make the Ewings feel like a real family, it also makes them feel like real individuals. “No Good Deed” is centered around the theme of sacrifice – Bobby offers to lift the ban on drilling the ranch, Sue Ellen surrenders her integrity, Christopher forgoes a piece of his gas hydrate project – and by seeing what the Ewings are willing to give up, we discover who these characters really are. (Shades of “Ellie Saves the Day,” one of the greatest episodes from the original series.)

“No Good Deed’s” most heartbreaking moment belongs to Sue Ellen, who musters the courage to bribe the medical examiner, only to discover her ethical lapse was for nothing. I can’t help but feel sorry for her when she stands at John Ross’s bedside and proudly predicts Marta’s death will be ruled a suicide, only to learn the charges against her son have been dropped because new evidence has emerged clearing him. It’s tragic stuff, but isn’t it nice to see Ann provide Sue Ellen with so much support and comfort throughout her ordeal?

Of course, the character who provides “No Good Deed” with its heart is the young man who is at the center of it all: John Ross. Yes, we feel sympathetic toward him after that savage beating, but those cuts and bruises merely symbolize how he’s finally become a flesh-and-blood character.

John Ross seems genuinely ashamed of his role in the plot to steal Southfork, as evidenced by his willingness to stay in jail rather than reveal his relationship with Marta and risk losing Elena’s faith in him. He also refuses to blame J.R. for his misfortune, another sign this is no longer the petulant brat we met in “Changing of the Guard.” I’ve been a fan of Josh Henderson’s from the beginning, but “No Good Deed” finally makes me a fan of John Ross.

“No Good Deed” is also distinguished by Michael Katleman’s arty direction, including the moody opening scene, where Henderson and Jordana Brewster’s faces fill the screen, recalling the tight close-ups that were a signature of the old “Dallas.” And while TNT’s show has a style all its own, there are times I wish it more deliberately mimicked its predecessor. How cool would it have been to hear a few notes of Jerrold Immel’s “Dallas” theme music when J.R. received the call about John Ross’s beating, the way we did in the classic episode “Swan Song,” when J.R. got the call Bobby was dying?

Katleman also does a masterful job in “No Good Deed’s” final scene, when Tommy backs Rebecca against the wall, threatens her and then plants his mouth on hers, thus revealing the Sutters aren’t siblings after all. I suspect that creepy buss will have “Dallas” fans buzzing today, but I hope they don’t allow the shock value to obscure all the warm and wonderful moments to be found in “No Good Deed.”

The Sutters may not be family, but after this episode the Ewings finally are, and my goodness, isn’t that nice to see?

Grade: A

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Dallas, John Ross Ewing, Josh Henderson, J.R. Ewing, Larry Hagman, No Good Deed, TNT

Touching

‘NO GOOD DEED’

Season 1, Episode 8

Telecast: July 25, 2012

Writer: Julia Cohen

Director: Michael Katleman

Audience: 5 million viewers (including 3.3 million viewers on July 25, ranking 24th in the weekly cable ratings)

Synopsis: When Cano’s thugs beat John Ross in jail, Sue Ellen bribes the medical examiner to rule Marta’s death a suicide so her son will be freed. Her sacrifice is for naught: Christopher gives Cano the South American rights to his gas hydrate project, which prompts Cano to release evidence that clears John Ross. Christopher makes amends with John Ross and reconciles with Rebecca, who is later confronted by Tommy, who isn’t really her brother.

Cast: Amir Arison (Varun Rasmussen), Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Damon Carney (Paul Jacob), Akai Draco (Sheriff Derrick), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Marisol Ramirez (Detective), Brenda Strong (Ann Ewing)

“No Good Deed” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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TNT’s Dallas Styles: Marta’s Dress

July 19, 2012 by 12 Comments

Unraveled

All season long, TNT’s “Dallas” has used Marta’s hair and wardrobe to telegraph her shifting moods and evolving identity. This practice continues in “Collateral Damage,”when the bipolar vixen goes off her medication – and eventually, off the deep end.

When we meet Marta in TNT’s “Dallas” pilot, “Changing of the Guard,” the character pretends to be a wealthy land conservationist who wants to buy Southfork and turn it into a nature preserve. She wears her hair up, but once her true motives are revealed – “Marta” is actually Veronica Martinez, who is secretly plotting with John Ross to seize the ranch – we begin seeing her with hair down, literally and figuratively.

By TNT’s sixth “Dallas” episode, “The Enemy of My Enemy,” Marta is in full “Fatal Attraction” mode and determined to steal John Ross from Elena. The tightly wound Marta shows up on his doorstep in a skintight dress, hoping to seduce him, only to be rejected once again.

When John Ross sees Marta again in “Collateral Damage,” she has come undone. The skintight dress has been replaced by something much looser; it falls off Leonor Varela’s shoulder, which seems appropriate given how her character is falling apart.

The dress’s metallic color is also telling. Until now, Marta has been depicted as a duplicitous villainess, but in Varela’s haunting final scene, it’s hard to not feel sorry for her. Marta is neither good nor bad; like all great “Dallas” characters, she lies somewhere in between. It’s another reason why the gray dress is fitting, even if it doesn’t quite fit.

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Critique: TNT’s ‘Dallas’ Episode 7 – ‘Collateral Damage’

July 19, 2012 by 37 Comments
Christopher Ewing, Collateral Damage, Dallas, Jesse Metcalfe, TNT

Cry, cry again

“Collateral Damage” gets it right. This episode offers solid writing, stylish direction and strong performances, all while making good use of established “Dallas” lore. Overall, this is the new show’s best hour since the pilot, “Changing of the Guard.”

I’m sure many viewers will remember “Collateral Damage” as the episode where Marta meets her maker, but as haunting as the sight of her bloodied body atop that crushed car is, it’s not the image that sticks with me most. No, that distinction belongs to the scene in the doctor’s office, where Christopher and Rebecca are shown the sonogram of their unborn twins as Bobby and Ann watch silently.

Julie Gonzalo and Brenda Strong are good here, but it’s the guys who move me most. Jesse Metcalfe is establishing himself as television’s best crier, while Patrick Duffy has matured into the rarest of Hollywood species: the actor who doesn’t need dialogue to perform. The look on Duffy’s face tells us everything we need to know about the pride and joy Bobby feels at that moment.

And while I’m sure “Dallas” newcomers appreciated this scene, it holds special meaning for me and, I suspect, other longtime fans. We once watched a twentysomething Bobby bring his young bride home to Southfork, and now we see him on the brink of becoming a grandfather. We remember Christopher arriving at the ranch as a babe-in-arms, and now he’s embarking on his own journey to fatherhood. For “Dallas” diehards, this is a big, meaningful moment, and director Steve Robin deserves our thanks for slowing things down so we could absorb the weight of it.

My other favorite “Collateral Damage” scene opens with John Ross sitting in a posh restaurant, reminiscing about the time he broke into the Southfork liquor cabinet as a child to sneak his first taste of bourbon. “That’s when you found me,” John Ross says as the camera pans across the table to reveal his dining companion: Lucy. “You were half past gone on the floor,” she quips. “And the first thing I thought was, ‘Yep, he’s his mama’s son.’”

I adore this exchange because it demonstrates how TNT’s “Dallas” can bring together younger characters and longtime favorites in ways that serve current storylines while also honoring the old show’s past. Even though we never witnessed John Ross sneaking liquor on the original “Dallas,” it isn’t hard to imagine it happening off-screen. The same thing can’t be said for many of the historical revisions TNT’s writers have made this season.

John Ross and Lucy’s scene also works well because, frankly, it’s nice to be reminded of a time when Southfork was full of family – something I hope the new series will get back to soon. Additionally, I’m happy to see TNT showcase Charlene Tilton, a onetime ingénue who now possesses a wonderfully worldly, been-there-done-that charm. I hope we see more of her in the future.

Aaron Allen’s “Collateral Damage” script also includes a nicely written scene where Sue Ellen oh-so-subtly pressures Elena to bail out John Ross. Jordana Brewster more than holds her own against Linda Gray during this exchange, particularly when Elena questions if Sue Ellen still cares about Bobby and his family – something I’ve wondered myself. Sue Ellen’s response (“Elena, when the day comes that you have to choose between your child and anybody else, I hope you choose wisely.”) illuminates the character’s thinking, reminding us that even though Sue Ellen has changed, she hasn’t lost all her old impulses.

Speaking of illumination: “Collateral Damage” sheds a little more light on the dark secret being kept by Ann, Bobby’s new wife. The evidence suggests Ann once had a daughter, although we don’t know what happened to her. According to one wild theory making the online rounds, Rebecca is Ann’s daughter, the result of a one-night stand with Cliff a quarter century ago. (Strong portrayed an unnamed woman Cliff slept with in “Cat and Mouse,” a 1987 “Dallas” episode.) I suppose anything’s possible, but for now I’m content to enjoy the mystery.

Finally, some praise for the fantastic “Collateral Damage” sequence where a frantic John Ross goes to Marta’s hotel room, believing she’s kidnapped Elena, only to discover it’s just another one of Marta’s deceptions. The whole thing plays like a fevered dream – the camerawork is shaky and the film looks like it’s been sped up – making this one of TNT’s niftiest “Dallas” scenes yet.

Until this moment, Marta seemed destined to become another crazed stalker from soap opera central casting, but Leonor Varela’s mesmerizing performance makes the character feel utterly human. Rather brilliantly, Allen’s script gives Marta a line about how she “earned” her way out of “the slums of Caracas,” a neatly efficient way to generate sympathy for the character before she dies.

From this perspective, Marta resembles another tragic “Dallas” vixen: Julie Grey, Tina Louise’s character from the old show’s early years. I don’t think it’s a coincidence Marta plunges to her death after encountering a couple of henchmen, just like Julie did during the old show’s classic “The Red File, Part 1” episode.

Clever homages like this help “Collateral Damage” earn its “A” grade, which is the first one I’ve awarded since “Changing of the Guard.” Something tells me it won’t be the last.

Grade: A

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Charlene Tilton, Collateral Damage, Dallas, Lucy Ewing, TNT

Missing cousin

‘COLLATERAL DAMAGE’

Season 1, Episode 7

Telecast: July 18, 2012

Writer: Aaron Allen

Director: Steve Robin

Audience: 5.2 million viewers (including 3.9 million viewers on July 18, ranking 13th in the weekly cable ratings)

Synopsis: Under pressure from Cano, John Ross invites Lucy to join him in the battle for Southfork, but she sides instead with Bobby. Ryland has Bobby arrested for assaulting him but drops the charges. Bobby tells Ann her past doesn’t matter to him. Christopher tells Elena he wants her back, but he’s at Rebecca’s side when she learns she’s pregnant with twins. Sue Ellen persuades Elena to use her oil to help John Ross, who is arrested after Marta plunges to her death from a high-rise balcony.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Sutter), Linda Gray (Sue Ellen Ewing), D’Laine Gutmann (nurse), Larry Hagman (J.R. Ewing), Peyton Hayslip (Dr. Lauren Barstow), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Leonor Varela (Marta del Sol)

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

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TNT’s Dallas Styles: Tommy’s Hat

July 12, 2012 by Leave a Comment

The outsider

In “The Enemy of My Enemy,” Tommy comes charging into Rebecca’s apartment, grumbling about the crowd at the coffee shop he’s just returned from. “People in Texas are way too friendly. It tries my nerves,” he says.

The line reminds us that Tommy is an outsider in Dallas – and so does the hat Callard Harris wears in this scene. The headgear appears to be a straw fedora, trimmed with a plaid ribbon. Notably, it isn’t a Stetson, the style favored by the Ewing men.

In addition to offering another demonstration of Tommy’s distinctive fashion sense – he memorably wore flip-flops to Christopher and Rebecca’s wedding in “Changing of the Guard,” the first episode of TNT’s “Dallas” – the hat recalls the fedora Digger Barnes wore on the original “Dallas.”

This might be another sly homage to the old show. Like Tommy, Digger was also an outsider who coveted the Ewings’ wealth. Of course, the source of Digger’s envy was always apparent: He believed Jock “stole” Miss Ellie and cheated him out of his rightful share of Ewing Oil.

Tommy’s motivation remains a mystery – along with any other connections he and Rebecca may share with classic characters like Digger.

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TNT’s Dallas Styles: Ann’s Pearls

July 5, 2012 by 12 Comments

She wears them well

On the original “Dallas,” Miss Ellie’s pearl necklace symbolized her role as wife, mother and fount of wisdom. Along with the beloved matriarch’s sack dresses, those little white beads became Ellie’s most enduring signature.

On TNT’s “Dallas,” Ann’s beads serve as visual shorthand for her role as Bobby’s wife and the new woman of Southfork. The first time we see her wearing them, during that terrific dinner scene in “Changing of the Guard,” TNT’s first “Dallas” episode, we know instantly what kind of character Ann is supposed to be.

Of course, putting Ann in pearls automatically invites comparisons to Miss Ellie, which is a bit risky since Barbara Bel Geddes is so revered among “Dallas” diehards. Indeed, while I tend to see Ann’s pearls – along with her Ellie-esque penchant for guns – as affectionate tributes to Bel Geddes’ character, some of my fellow “Dallas” fans seem to view them as cheap mimicry.

Perhaps this explains “The Last Hurrah” scene where J.R. gives Ellie’s pearl necklace to Sue Ellen. It’s as if the “Dallas” producers, anticipating there might be some Ann skeptics in the audience, wanted to make sure everyone understood the character doesn’t have a monopoly on white beads. In other words: Brenda Strong might be playing the new lady of the manor, but Linda Gray has inherited Bel Geddes’ mantle as “Dallas’s” elder stateswoman, so Sue Ellen gets the honor of possessing the pearls Ellie actually wore.

But give Ann her due. In “Truth and Consequences,” the character begins coming into her own, especially in the scene where she meets Rebecca for coffee and offers the confused young woman comfort (“You’re young, Rebecca. You make mistakes when you’re young. It doesn’t mean you can’t change.”), as well as a little tough love (“Your choices are yours.”).

Strong is terrific in this scene, which demonstrates how, even though Ann doesn’t have children of her own (that we know of, that is), she has the potential to become a significant maternal figure to “Dallas’s” younger characters.

I also think it’s notable that Ann is sans necklace when she visits ex-husband Harris Ryland in “Truth and Consequences” and asks him to help slow down the drilling on Southfork.  Since Ann’s pearls symbolize her role as Bobby’s wife – and since her meeting with Ryland takes place behind Bobby’s back – it’s probably best she leaves the beads at home.

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Drill Bits: TNT’s ‘Dallas’ Wrangles Big Audience

June 15, 2012 by 1 Comment
Ann Ewing, Brenda Strong, Changing of the Guard, Dallas, Linda Gray, Sue Ellen Ewing, TNT

Reason to celebrate

The June 13 debut of TNT’s “Dallas” drew 6.9 million viewers, becoming the year’s most-watched premiere of a cable drama or comedy. The audience included a healthy 1.9 million viewers between the ages of 18 and 49, the group advertisers pay a premium to reach.

“Dallas’s” two-hour premiere drew more viewers than any program on the broadcast networks between 9 and 11 p.m. and made TNT the evening’s most-watched basic cable channel.

Also worth noting: “Dallas’s” opening night drew a bigger crowd than the first episodes of other top cable dramas, including “Mad Men” (1.65 million viewers in 2007), “Breaking Bad” (1.35 million, 2008) and “Walking Dead” (5.3 million, 2010).

Yes, “Dallas’s” 6.9 million number is nowhere near the 83 million viewers who saw the old show’s most-watched episode: “Who Done It?”, the 1980 broadcast that revealed the identity of J.R.’s shooter. But c’mon, there were only three networks back then!

Comparing TNT’s two-hour premiere to other episodes from the original “Dallas” series is trickier. In those days, Nielsen usually counted the number of households that watched television, not individual viewers.

For example, the fourth-season episode “No More Mister Nice Guy, Part 2,” the old show’s second highest-rated broadcast, was seen in 31.1 million homes. “Dallas’s” lowest-rated episode, “Fathers and Sons and Fathers and Sons,” which aired during the final season, was seen in 8.9 million homes, ranking 52nd for the week.

And in case you’re wondering, “Digger’s Daughter,” the original “Dallas’s” first episode, was seen in 15.7 million homes, ranking 18th in the weekly ratings, while “Conundrum,” its 1991 finale, was seen in 20.5 million homes, ranking 2nd.

Metcalfe’s Favorite Scenes

Christopher Ewing, Dallas, Jesse Metcalfe

Jesse speaks

In my “Changing of the Guard,”critique, I praised Jesse Metcalfe’s terrific performance in the scene where Christopher and Elena finally come clean with each other on the day of his wedding to Rebecca.

When I spoke to Metcalfe during a conference call with bloggers last month, he told me he likes that scene, too. So does he have favorite moments from other episodes?

“I probably have a favorite moment from every episode,” Metcalfe said. “It’s really difficult for me to pick just one scene. I mean, the fun thing about this show is that it’s a magnificent ensemble.”

We agree!

‘Dallas,’ Then and Now

How does “Digger’s Daughter,” “Dallas’s” first episode from 1978, compare to “Changing of the Guard,” the first hour of TNT’s “Dallas” series?

• First line of dialogue

1978: “Bobby James Ewing, I don’t believe you!” (Pam)

2012: “John Ross, wake up!” (Elena)

• Saltiest language

1978: “You jackass!” (Jock)

2012: “It’s bullshit!” (John Ross)

• J.R. loves red …

1978: Files

2012: Jell-O

• Bobby’s reason to celebrate

1978: A wedding!

2012: A birthday!

• Words spoken by Sue Ellen

1978: 38

2012: 120 (approximate)

• Get a room! (But not that one!)

1978: Lucy and Ray in the hayloft

2012: Christopher and Rebecca in the locker room

• Last line of dialogue

1978: “Well, I surely won’t do that again.” (J.R.)

2012: “The fun is just beginning.” (John Ross)

Line of the Week

“You are still the prettiest girl at the ball.”

There were a lot of great lines in the back-to-back “Dallas” episodes TNT telecast June 13, but if I had to pick a favorite, it was J.R.’s parting words to Sue Ellen at the end of their long-awaited reunion in “Hedging Your Bets.”

In the first episode of “Dallas Round-Up,” TNT’s post-show webcast, “Dallas’s” executive producer and head writer Cynthia Cidre revealed the line was suggested by another of the show’s writers, Robert Rovner.

When Rovner pitched the line to her and the other writers, “we all got misty-eyed,” Cidre recalled.

Diva Declared

The arrival of TNT’s “Dallas” wasn’t the only big event in the Ewing-verse this week: A few hours before the show debuted, Katherine Wentworth was crowned the winner of the Dallas Divas Derby race.

David W., whom I interviewed last month, created the derby, which pitted 32 of the original show’s heroines and villainesses against each other in a two-month brackets-style competition. The final race came down to Katherine (Morgan Brittany) and Sue Ellen (Linda Gray); when all was said and done, Katherine received 2,494 votes, or 424 more than Sue Ellen.

Be sure to also check out David’s insightful review of the TNT series, as well as his sentimental introductory post, in which he recalls his childhood love of “Dallas.”

Get Your Drink On

A reminder: This week, my husband Andrew and I began offering “Dallas Drinks,” a series of cocktails inspired by the characters on the TNT show. First up: The John Ross; we’ll post another recipe next week.

Be sure to visit Andrew’s blog, Cook In/Dine Out, too. As you’ll see, he’s an amazing cook. Heck, he could probably teach Carmen Ramos (Marlene Forte) a thing or two!

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

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TNT’s Dallas Styles: Marta’s Hair

June 15, 2012 by 5 Comments

‘Hedging Your Bets’

On TNT’s “Dallas,” there is no greater chameleon than Marta del Sol, the sexy siren who specializes in deceiving Ewing men. Bobby believes he’s selling Southfork to Marta and J.R. believes he’s buying it from her, but neither brother knows the truth: Marta is really plotting with John Ross to seize the ranch and the ocean of oil flowing beneath it.

‘Changing of the Guard’

“Dallas” uses two hairstyles to showcase Marta’s two faces. When Leonor Varela appears in scenes with Larry Hagman and Patrick Duffy, her hair is usually worn up. In scenes with Josh Henderson – with whom Varela has smoking chemistry, by the way – those gorgeous tresses almost always fall onto her shoulders.

It makes sense: John Ross is the only character who knows the truth about Marta – namely, that she isn’t really Marta del Sol, which is the big secret revealed at the end of “Hedging Your Bets.” Figuratively and literally, John Ross is the only person with whom Marta can let her hair down.

I’m amazed at how different Varela looks with each style. The first time I saw Marta with her hair down, at the end of “Changing of the Guard,” it took me a minute to realize I was looking at Marta. I thought some new femme fatale was being introduced.

Regardless of how she wears her hair, one thing is certain: Beware of Marta del Sol!

(Or whoever she is.)

Filed Under: Dallas Styles, Dallas Styles (TNT), Features Tagged With: , , , , , ,
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