Critique: TNT’s ‘Dallas’ Episode 36 — ‘Hurt’

September 2, 2014 by 23 Comments
Bobby Ewing, Dallas, Hurt, Patrick Duffy, TNT

His kingdom of dirt

Bobby Ewing is the steward of Southfork, but Patrick Duffy is the steward of Bobby Ewing. In “Hurt,” Duffy steps behind the camera and directs his first “Dallas” episode in more than two decades, demonstrating how well he knows both his character and the mythology that defines this franchise. This is an hour rooted in “Dallas” history, with references to Jock, Miss Ellie, the Barnes/Ewing feud and of course J.R., whose presence here is as strong as it was in last year’s funeral episode. Just as importantly, “Hurt” reveals Duffy’s knack for the conventions of modern “Dallas” storytelling, including cinematic, made-for-HD shots of Southfork and a musical montage that’s destined to be remembered as one of this show’s most moving.

Between the two of them, Duffy and scriptwriter Aaron Allen transform “Hurt” into a showcase for the “Dallas” ensemble, beginning with the riveting post-credits showdown, when Elena gathers the Ewings together and exposes the plot to frame Cliff. The staging evokes memories of the original cast standing around the living room, knocking back drinks and trading quips, although it also plays like a parlor scene out of a Miss Marple mystery. (One difference: On “Dallas,” everyone is guilty of something.) Next, Josh Henderson and Julie Gonzalo’s estranged spouses, John Ross and Pamela, have a nicely measured confrontation on the Southfork lawn, followed by a long-awaited moment of catharsis for Brenda Strong’s Ann, who finally gets to say what every fan’s been thinking lately: Isn’t Bobby being a hypocrite when he accuses his wife of keeping secrets from him?

Duffy also elicits a strong performance from Jordana Brewster, who brings the right mix of determination and doubt to Elena’s scenes, as well as another moving turn from Marlene Forte and a fun-but-too-brief appearance by Ken Kercheval, who gives us a glimpse of old-school Cliff Barnes giddiness when the character learns he’ll be getting out of jail. Of course, no one delivers for Duffy quite like his longtime friend and co-star, Linda Gray. In one of “Hurt’s” most powerful scenes, she confronts Bobby about not telling her the truth about J.R.’s death, allowing Gray to go from anger to disbelief to bitter disappointment. Her parting shot — “Miss Ellie would be ashamed of you” — is one for the ages. I can’t imagine any words that would hurt Bobby more, can you? (Also: Shades of Barbara Bel Geddes’ memorable “You both sicken me!” line to Jim Davis and Larry Hagman in “The New Mrs. Ewing,” the first of 29 episodes Duffy helmed during the original show’s run.)

Bobby and Sue Ellen’s scene also allows “Dallas” to address a mystery that has puzzled fans since her eulogy in “J.R.’s Masterpiece”: Why did J.R. invite his ex-wife to dinner if he knew he was never going to make it back to Dallas in the first place? I’ve always thought of J.R.’s invitation as a metaphor — he wasn’t asking Sue Ellen on a date, he was asking her to forgive him — which seems to be the subtext of Gray’s next great scene, when Sue Ellen visits Bum’s humble home in her quest for answers. The conversation ends with Bum asking Sue Ellen to forgive him. Her haunting response: “You’re not the one I need to forgive.” (In a lovely nod to Kevin Page, the wonderful actor and artist who makes Bum so sweetly charming, we also learn the character is the painter behind the J.R. portrait hanging at Ewing Global.)

Of course, Duffy is smart enough to give himself several good scenes too. If Bobby has gotten a little off course this season — always yelling at Ann and John Ross — “Hurt” might be remembered as the episode that puts him back on track, or at least the segment that makes him sympathetic again. In “Hurt’s” most poignant moment, Bobby enters Southfork, which stands empty after the rest of the Ewings have walked out on him. For an instant, he’s become J.R. at the end of the original series, wandering around that big house after he’s driven away everyone else. Then, with Johnny Cash’s “Hurt” playing in the background, Bobby demolishes his study in a flash of rage. The song might have been written about the horrors of drug addiction, but with its references to a “crown of thorns” and an “empire of dirt,” is it not also the perfect song for our favorite martyr-like rancher?

I also have to appreciate how expertly this sequence is edited, especially when Cash sings “my sweetest friend” and J.R.’s face, smiling from behind the framed glass, fills the screen. Indeed, “Hurt” can be seen as a kind of companion piece to the elegiac “J.R.’s Masterpiece.” It’s fitting that our hero’s final scheme falls apart here, given how many of his schemes backfired during the original series. Allen’s script seems to acknowledge this when Elena delivers her comments about how the Ewings “rushed to sentimentalize” J.R. after his death. She might as well be talking about the “Dallas” audience — although for the record, I believe J.R. did change in old age. Of course, I’m also the first to admit that I’ve always worshipped at the altar of J.R. Ewing, even before he was redeemed.

Elena’s comments are an example of how Allen’s “Dallas” scripts always contain dialogue that sticks with you. Another example is Henderson and Gonzalo’s conversation on the lawn in “Hurt.” John Ross: “If you give me the chance, Pamela, I’ll fix everything.” Pamela: “I don’t want you to fix things. I want you to stop breaking them.” I also love this episode’s sharper exchanges, beginning with John Ross’s farewell to Elena and Nicolas, which Henderson delivers with perfect acidity (“Y’all can both go to hell”), as well as Bobby’s description of his family’s longest-running conflict and Elena’s non-role in it: “The Barnes/Ewing feud is a whole other beast. And it doesn’t involve you. You want to take that dog for a walk? Fine. But if it bites somebody, it’s because you let it.” This sounds like the sort of thing a Texan would say, does it not?

I also like how “Hurt” gives the “Dallas” women the upper hand in several scenes. It’s good to see Sue Ellen figure out Bum shot J.R., and I appreciate how Elena puts the power to pardon Cliff in Pamela’s hands, although I’m not sure what to make of Elena giving Pamela land that Jock “stole” from Digger. Then again, the origins of the Barnes/Ewing war have always been kind of murky. In that spirit, I even like Ann’s common-sense prescription to resolving the conflict — “You end a blood feud by walking away from it” — although I sure as hell hope no one on this show ever follows that advice.

I even like “Hurt” because of what it doesn’t contain: Duffy and Allen give us no whiplash-inducing plot twists, choosing instead to offer character-driven surprises like the revelation about Bum’s artistic skills. Yes, this episode’s drug cartel sequences get in the way of the real drama involving the Ewings, but at least one of those scenes features Emma Bell’s Emma Ryland, who is always a kick. Her conversation with Luis about the Beach Boys is kind of kooky, but it’s also an example of another Allen signature: Recall Carlos Bernard’s monologue about dancing in “Collateral Damage” and Mitch Pileggi’s speech about Komodo dragons in “Let Me In.” Sometimes it’s clearer than others what the characters are really saying in these scenes, but for me at least, figuring it out is part of the fun.

Ultimately, any complaints about the cartel scenes are quibbles, because no matter how you slice it, this is a terrific hour of “Dallas.” It’s an achievement for everyone involved, but most of all Duffy, whose turn in the director’s chair marks the first time someone who had a hand in shaping the storytelling on the original series does something similar for the sequel. We’ve known for a while that Duffy is still capable of dazzling us when he steps in front of the “Dallas” cameras, and now we know the same is also true when he works behind the scenes.

Grade: A

_______________________________________________________________________________________________________________________________________________

Bobby Ewing, Dallas, Hurt, Patrick Duffy, TNT

Hurts so good

‘HURT’

Season 3, Episode 11

Telecast: September 1, 2014

Writer: Aaron Allen

Director: Patrick Duffy

Synopsis: Elena tells the Ewings how J.R. swindled her father and also exposes Bobby, John Ross and Christopher’s conspiracy to frame Cliff for J.R.’s “murder.” Bobby is chastised by Ann, Pamela and Sue Ellen, who later confronts Bum. Bobby agrees to give Elena restitution and land and arranges for Cliff to be pardoned, but Elena gives both the parcel and the clemency paperwork to Pamela, telling her she should decide if her father gets out of prison. John Ross learns Nicolas sent the video to Pamela and retaliates by telling Nicolas that Elena slept with him to get her hands on J.R.’s letter. Nicolas forgives Elena and leaves town with her, but not before consulting the mysterious Victor Des Lauriers about Ewing Global’s looming initial public offering. Christopher realizes Nicolas is Elena’s childhood friend, Joaquin. Harris tells Emma about his work with the CIA after he learns she’s been meeting with the cartel.

Cast: Emma Bell (Emma Ryland), Jordana Brewster (Elena Ramos), Juan Pablo Di Pace (Nicolas Treviño), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Antonio Jaramillo (Luis), Ken Kercheval (Cliff Barnes), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Max Ryan (Victor Des Lauriers), Brenda Strong (Ann Ewing)

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

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The Dallas Decoder Interview: Aaron Allen

January 22, 2013 by 28 Comments
Aaron Allen

Aaron Allen

Aaron Allen wrote “Collateral Damage,” one of the standout episodes from the new “Dallas’s” first season, as well as “Venomous Creatures,” the second half of the two-hour season premiere, airing Monday, January 28 on TNT. I spoke to him last week about what we can expect from the Ewings this year.

“Dallas’s” second season is almost here. How is this year going to compare to Season 1?

In broad terms, the first season was about the battle for Southfork. The second season is going to be more about the battle for Ewing Energies. Thematically, the first season was about the characters finding out who they were. Like Christopher, because he’s adopted, felt like he had to prove himself to be a Ewing. And John Ross was kind of conflicted: “Should I be the person my father expects me to be? Or should I be my own person?” And then by the end of the first season, both characters were kind of crystallized into what they were going to be. John Ross had his heart broken by Elena and embraced his bad side, while Christopher felt like he had proven himself. So in the second season, now that these people know who they are, we’re going to see they’ve embraced their destinies and they’re using that to their advantage.

When you look back on Season 1, what do you think worked well? What, if anything, are the writers doing differently?

Some of the later episodes in the first season really worked because you saw all the Ewings banding together to fight one foe. There’s just something energizing about that. So we’ve taken that into consideration, and I think we’ve got a lot more scenes where it’s the family kind of working together toward something. But once they’ve fought off the bad guys, they’re just going to be cannibalizing each other once again.

Dallas Decoder Interview - Aaron Allen 2

J.R. in “Venomous Creatures” (Skip Bolen/TNT)

What about Larry Hagman’s death? I know you can’t give away plot details, but generally speaking, how is the show dealing with this loss?

Larry was an incredible guy and we’ll all miss him very much. Not only was he an incredible human being, but he was an incredible character to write for. When he passed, we knew we had a responsibility to the fans to pay tribute to him and to respect his character, and I believe we have. But even though he’s gone, he’s still very much part of the story. We have some really fun, delicious storylines that are going to come out of this.

Something tells me Hagman would appreciate that. Did you get to work with him very closely?

I didn’t have a ton of direct contact with him. He wasn’t in my first episode from Season 1 very much because he was going through a lot of his treatment at that time. But my first episode in Season 2 is actually a very heavy Larry episode, so I got to see him work quite a bit. And he was just a joy to work with. Everybody loved him. He joked around with everybody. He was a delight.

Well, J.R. has never been more fascinating. Everyone always refers to him as the villain of “Dallas,” but to me he’s the hero, and I think we see that on the new show.

It’s a balance because J.R. loves his family, and he’ll do whatever it takes to protect them. But sometimes that means doing terrible things to other people. That’s my favorite kind of bad guy, the one who has sympathetic qualities. I think J.R. was a very sympathetic character.

Do you have other favorite characters to write for?

Well, speaking of villains, I love writing for Harris Ryland. I mean, he’s a villain, plain and simple. When it comes down to the Ewings versus the world, it’s helpful to have him around. He’s really a devil.

And in “Venomous Creatures,” we’re going to meet his mother, played by Judith Light.

She’s a hoot. Her character chews the scenery. Judith’s a terrific actress to work with. Just watching her swing for the fences with her character was a lot of fun. I think fans will love her.

Her casting raised some eyebrows because she’s only a few years older than Mitch Pileggi. What do you make of that?

[Laughter] I don’t think it really matters in the end. An example would be Harrison Ford and Sean Connery in “Indiana Jones and the Last Crusade.” I think there was only a 12-year age difference between those two. People bought that. I think people will definitely buy this too. We wanted there to be something a little strange about Harris and Judith’s relationship, so I think the casting plays in our favor there.

Switching gears for a moment, can you talk a little bit about how the writing process on “Dallas” works?

On our show and most others, you have a staff of writers starting with the executive producers at the top. On our staff we have eight writers. Cynthia Cidre, who developed and runs the show, guides the writing process, along with Robert Rovner, the other writing EP. For the first few weeks of the season, we all sit around a big table and talk about the storylines, the characters and generally where we’re going. And then we start breaking down each episode individually, and that takes a couple of weeks. And then one writer is assigned to write the script for each episode, and as that writer is working on his or her script, the other writers are talking about the next episode.

Once a script is written, how long does it take to produce it?

Well, then you go into pre-production, which takes about a week. You’re meeting with the director, you’re going through the script, you go and scout locations. And then you start production, which lasts about seven or eight days.

It sounds relentless.

It all happens pretty fast. One of the thrilling things about working in TV is that you write something and then a month later it’s filmed, whereas in feature films it can take years to get things done.

Getting back to the show itself, were you a fan of the original “Dallas”?

I’m 31, so when the original show was on, I was too young to be among the target audience. But I’ve always a big fan of the brand of the show – the big family soap opera. I loved “Six Feet Under.” I loved “Big Love.” And I was always conscious of “Dallas.” It was such a phenomenon. I knew it was a huge part of pop culture, like when “The Simpsons” did “Who Shot Mr. Burns?” So I always understood where that came from. But it wasn’t really until I got the job on the new show that I went back and watched a bunch of episodes of the old one. And the whole “Who Shot J.R.?” thing was great. I also liked the storyline when John Ross was kidnapped from the hospital, and when Pam wanted to be a mother to little John Ross and Bobby had to gently remind her it wasn’t her baby. I love the emotional stories.  The business stories can sometimes make my head hurt!

You mentioned “Big Love,” which you wrote for before joining “Dallas.” I’ve always thought there were parallels between those shows. Both are about big western families with lots of secrets.

Yeah, absolutely. I think the Henricksons and the Ewings would definitely respect one another because of the value they place on family. It’s that us-versus-them mentality. When the Henricksons were under attack, they would set aside all their bickering and it was them against the people trying to persecute them. The Ewings are the same way.

And I think J.R. might’ve appreciated having more than one wife at a time.

[Laughter] Yeah, I think he could have flourished in that environment.

Share your comments below and read more interviews from Dallas Decoder.

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Dallas Parallels: Fatal Falls

October 29, 2012 by 8 Comments

A beautiful woman feels mistreated by her Ewing lover. She is distressed, distraught, desperate. There’s a confrontation. Harsh words are exchanged. Before you know it, the woman has plunged to her death, leaving the police to sort out if this was a suicide or murder.

Sound familiar? This scenario has played out on “Dallas” more than once. More than twice, actually.

In the original show’s second-season episode “The Red File, Part 1,” J.R.’s ex-secretary and on-again/off-again mistress Julie Grey realizes he doesn’t love her, so she decides to give Cliff Barnes a copy of J.R.’s “red file,” which details his shady dealings with Jeb Ames and Willie Joe Garr. Dumb move, darlin’: When Jeb and Willie Joe find out what Julie’s up to, they show up at her apartment and chase her to the roof – and then they chase her off it.

Flash forward two seasons: In “Ewing-Gate,” Kristin Shepard, another of J.R.’s ex-mistresses/ex-secretaries, threatens to spill the beans about their secret love child if he doesn’t pay her more hush money. When J.R. refuses to give in to Kristin’s scheme, she shows up at Southfork and, after a confrontation with J.R., falls from the balcony and drowns in the swimming pool.

Now, flash forward three decades: In “Collateral Damage,” an episode of TNT’s “Dallas,” John Ross races to the high-rise hotel room of his ex-lover Marta del Sol, who has tricked him into believing she has kidnapped his girlfriend Elena. Once John Ross realizes this is a ruse, he leaves, passing two shadowy men on his way to the elevator. Marta ends up reaching the driveway before John Ross.

Echoes from both older episodes reverberate in the newer one. All three women feel used by the Ewing men in their lives, but they’re also victims of their own deceit: Julie secretly copied J.R.’s red file and Kristin fooled both J.R. and Jordan Lee into believing they fathered her child, while Marta cheated business partner Vicente Cano during their Southfork swindle.

There are other similarities: Marta dies at the hands of two men, just like Julie. The shot of Kristin’s dead body (in “Missing Heir,” the episode that follows “Ewing-Gate”) is creepily reminiscent of the haunting image of Marta’s bloodied corpse. The police briefly suspect J.R. killed Kristin, while John Ross is arrested for Marta’s murder.

Eventually, John Ross is cleared of wrongdoing, just like J.R. was in Kristin’s death. But did John Ross learn a lesson? Or like his daddy, will he continue to get involved with dangerous women? Most importantly: Will those women be smart enough to steer clear of heights?

 

‘What Do You Want?’

Baby daddy?

In “Ewing-Gate,” a fourth-season “Dallas” episode, J.R. (Larry Hagman) walks into his office, followed by the visiting Kristin (Mary Crosby).

J.R.: What ill wind blew you into Dallas? I thought we had a deal. [Sits his briefcase on his desk]

KRISTIN: The baby’s just fine, J.R. Thank you for asking. He looks just like his daddy.

J.R.: [Turns to face her] What do you want?

KRISTIN: More.

J.R.: Do you now?

KRISTIN: I’m tired of your little monthly checks, J.R. I picked up some very expensive habits in California – and I want you to pay for them.

J.R.: This is not the time to try to negotiate with me, Kristin.

KRISTIN: Well, now I think it’s the perfect time. Judging from what I read in the papers, you’re making the headlines everywhere. Poor Jock and Miss Ellie. They must be shattered. Think of how they’d feel if they read about a paternity suit on top of everything else.

J.R.: All right, but you gotta give me time. I can’t pull too much out of the bank right now.

KRISTIN: Don’t take too long, J.R. I’m not very patient.

J.R.: You’ll be hearing from me real soon. Where can I call you?

KRISTIN: [Rises] I’ll call you, J.R. Somehow, I’d feel safer that way. Don’t take too long now. [Walks toward the door, stops, turns to face him] Oh, and give my love to Sue Ellen.

 

‘What the Hell Do You Want?’

Oh daddy, what a babe!

In “Collateral Damage,” TNT’s seventh “Dallas” episode, John Ross and Marta (Josh Henderson, Leonor Varela) argue in her hotel room.

MARTA: Vicente froze my bank accounts. I have no money. And I really need to get out of the country.

JOHN ROSS: How much?

MARTA: What?

JOHN ROSS: Money. How much money?

MARTA: I don’t want money.

JOHN ROSS: Then what the hell do you want?

MARTA: I want you to take responsibility. You got me into this. You need to help me!

JOHN ROSS: Marta, I’m here to find Elena. Where the hell is she? [She stares at him silently.] You don’t have her.

MARTA: It was the only way to get you here.

JOHN ROSS: You stole that phone.

MARTA: [Goes to him] You need to help me. Please, John Ross. Please. [He notices a camera in the corner.]

JOHN ROSS: [Pushing her away] You’re filming this? What did you think was going to happen here? What is wrong with you?

MARTA: I have earned what I have. I’ve earned my way out of the slums of Caracas.

JOHN ROSS: Congratulations.

MARTA: I need to watch out for myself. I thought we had that in common. But you’re just a spoiled boy. You’re not entitled to anything. Not me. Not your girlfriend’s love. Nothing.

What do you think of J.R. and John Ross’s entanglements with Julie, Kristin and Marta? Share your comments below and read more “Dallas Parallels.”

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Dallas Parallels: The Good Husband

October 22, 2012 by 18 Comments

The original “Dallas’s” pilot, “Digger’s Daughter,” opens with Bobby and Pam racing home to Southfork after their spur-of-the-moment elopement in New Orleans. Later, J.R. hints his younger brother doesn’t know his new wife as well as he should – a suggestion Bobby flatly rejects. As he declares in the episode’s final scene, “Pamela’s past is none of my business. She was not my wife in the past – but she is now.”

Looking back, I can’t help but think maybe J.R. had a point. Don’t get me wrong: Bobby and Pam’s love story was written in the stars, but throughout their marriage – er, marriages – Bobby seems to be constantly finding out things about Pam he didn’t know.

Examples: In Season 2, Bobby is surprised to learn she was married to another man before him. In Season 4, he’s shocked to find out she came this close to having an affair. In Season 11, Bobby is stunned when Pam, after being badly burned in a car crash, runs away to spare him the indignity of having a wife who isn’t pretty.

You have to wonder: Would these two have benefitted from a longer engagement?

History seems to be repeating itself on TNT’s “Dallas.” Bobby and third wife Ann have been married for several years when the new series opens, but it’s clear he doesn’t know her as well as he thought.

It begins in “The Enemy of My Enemy,” when Bobby finds Ann sobbing on the Southfork patio after receiving a mysterious locket from her ex-husband Harris Ryland. Bobby, ever the hothead, goes charging into Ryland’s office, grabs him by the lapels and backhands him.

This recalls the scene in the classic show’s second-season episode “Double Wedding,” when Bobby angrily confronts Pam’s first husband Ed Haynes, whose sudden return rattles her as much as the locket upsets Ann. Bobby is just as angry with Haynes as he is with Ryland, and both scenes end with Bobby jabbing a finger in the other man’s face and delivering an ultimatum (To Haynes: “I want you out of Dallas!” To Ryland: “You stay away from Ann!”).

In “Collateral Damage,” TNT’s next episode, after Ryland has Bobby arrested for assault, Bobby follows his lawyer’s advice and begrudgingly apologizes. But Ryland has a trick up his sleeve: He tells Bobby that Ann is “holding something back” and hands him an envelope. “Take a look inside,” Ryland says. “Come to your own conclusions. There’s a lot about Annie you don’t know.”

Here, we see parallels to the older show’s fourth-season episode “The New Mrs. Ewing,” when Bobby confronts Alex Ward, the magazine publisher who has been wooing Pam. Both scenes take place in the other man’s office, both suggest the other man has a sexist attitude toward his secretary (Ward calls his “hon,” Ryland refers to his as “dear”) and during both confrontations, Bobby threatens to pulverize the other man. (To Ward: “I’ll beat the hell out of you.” To Ryland: “I will beat you into next Sunday.”)

Most importantly, both scenes end with the other man turning the tables on Bobby. Just as Bobby is unsettled by Ryland’s envelope, he’s unnerved when Ward suggests Pam wanted to sleep with him because she felt neglected.

Bobby and Pam’s relationship survived her flirtation with Ward, and my guess is Bobby and Ann are going to be fine too. In the closing moments of “Collateral Damage,” Bobby shows Ann the envelope from Ryland. “I don’t need to open this,” Bobby says as he sets it aside and touches his wife’s face. “Everything I need to know about you is right here.”

The line evokes memories of Bobby’s “Digger’s Daughter” declaration that Pam’s past is “none of my business.” It also reminds us: On “Dallas,” some things never change.

Thank goodness.

 

‘She Needed Me’

Smug

In “The New Mrs. Ewing,” a fourth-season “Dallas” episode, Bobby (Patrick Duffy) bursts into the office of Alex Ward (Joel Fabiani) as Ward’s secretary is leaving.

WARD: [To the secretary] It’s all right, hon. Go out and close the door please. [To Bobby] What are you doing here?

BOBBY: I just came to tell you to stay away from my wife. You’ve been chasing her. I want you to stop it right now.

WARD: I don’t deny that I find your wife attractive. And I also admit that I tried my very best to charm her [stands up, faces Bobby]. But only because I felt she needed me. If I hadn’t felt that way, I never would have raised an eyebrow. I don’t play games I don’t feel I can win.

BOBBY: Listen you phony, my wife is not first prize in some game. Now I’m warning you: Stay away from her. This time I’m talking. Next time, I’ll beat the hell out of you.

WARD: If you’re really concerned about your wife, let me make a suggestion: Talk to her. I made my move only because I knew there was something wrong with your marriage [walks to the door, holds it open for Bobby]. After all, she’d never have even looked at me if there hadn’t been.

 

‘She’s Holding Something Back’

Smarmy

In “Collateral Damage,” TNT’s seventh “Dallas” episode, Bobby (Patrick Duffy) is seated across from Harris Ryland (Mitch Pileggi) at the desk in Ryland’s office.

RYLAND: Getting the police involved, I hate stooping to that. It’s an ugly gesture. I apologize.

BOBBY: If by “ugly” you mean “cowardly,” then yes, it was very ugly.

RYLAND: Then if you’re not here to apologize, I’m afraid it’s going to have to be a necessary gesture.

BOBBY: It’s not necessary, Harris. I apologize.

RYLAND: [Picks up the phone] Linda, call my lawyer. Tell him I want to drop all charges against Mr. Ewing. Yeah, thank you dear [hangs up the phone]. See? It was painless.

BOBBY: I want to be very clear, Harris. My apology doesn’t mean I take back what I did. You mess with my wife in any way, and I will beat you into next Sunday.

RYLAND: Not if you’re smart, you won’t.

BOBBY: I was more than ready to go to court. But I didn’t want to drag it out and cause my wife more pain – pain you are responsible for.

RYLAND: You know, I thought you might come asking. So, here you go. [He retrieves an envelope from a nearby cabinet and tries to hand it to Bobby. When Bobby doesn’t take it, Ryland drops it on the desk.] That’s why you’re here, isn’t it? To find out what kind of person your wife really is.

BOBBY: [Stands] I know what kind of person my wife really is.

RYLAND: She’s holding something back – and you wanna know what. [Slides the envelope across the desk] Here’s your what. Why don’t you go ahead and take a look inside. Come to your own conclusions. There’s a lot about Annie you don’t know.

What do you think of Bobby’s confrontations with the other men in his wives’ lives? Share your comments below and read more “Dallas Parallels.”

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The Best & Worst of TNT’s Dallas: Season 1

September 7, 2012 by 26 Comments

The first season of TNT’s “Dallas” brought the Ewings back to series television after a two-decade absence. I loved it – mostly.

Performances

Dallas, J.R. Ewing, Larry Hagman, TNT

The Great One

The new “Dallas” cast divides into two categories: Larry Hagman and everyone else. As the now-elderly J.R., Hagman was sometimes mischievous, sometimes moving and always magical. Trying to figure out how Hagman does what he does is futile, so I just sit back and enjoy the ride. Nominate him in a supporting category if you must, but if Larry the Great doesn’t take home an Emmy next year, we should all raise hell.

Dallas, Julie Gonzalo, Rebecca Barnes, Rebecca Sutter, TNT

Your next queen

Among the rest of the cast, give it up for Julie Gonzalo, who made Rebecca’s desperation palpable as the character’s world collapsed in the season’s final hours. Seeing Rebecca drag around Tommy’s dead body in “Revelations” reminded me of when Abby Ewing did something similar on “Knots Landing” – which is fitting since Gonzalo seems destined to claim Donna Mills’s crown as television’s next great queen bee.

Storylines

The war for Southfork was the ideal vehicle to re-introduce “Dallas,” not just because the storyline ensnared every character – even Gary got involved – but also because it helped keep alive the memory of Miss Ellie, whose ghost looms over the new show the way Jock’s did on the old one.

The most incomplete plot: Sue Ellen’s run for governor. The character’s foray into politics can be seen as a logical outgrowth of her civic activism on the original show (remember all those Daughters of the Alamo luncheons Sue Ellen hosted?), but I wish the new series had acknowledged some of the skeletons rattling around her closet. Given Sue Ellen’s scandalous past, shouldn’t voters have been more skeptical of her candidacy?

Episodes

Dallas, John Ross Ewing, Josh Henderson, TNT

Scarred, inside and out

“Family Business,” the episode where J.R. returns the Southfork deed to Bobby, is as good as any of the best entries from the classic series. This intimate hour offered poignant performances from Hagman and Patrick Duffy, but no one moved me like Josh Henderson, especially in the scene where John Ross pours out his heart to Elena about his failure to live up to J.R.’s legend (“I spent my entire life missing him, wanting to be with him, wanting to be him.”).

“The Last Hurrah,” the Ewing barbecue episode, was the season’s biggest letdown. It brought together more original cast members than any other TNT entry – in addition to J.R., Bobby and Sue Ellen, we also saw Cliff, Ray and Lucy – yet these old favorites shared little screen time. On the other hand, allow me to defend “The Last Hurrah’s” much-maligned calf-birthing sequence, a metaphor I appreciated, even if the snarkmeisters at Entertainment Weekly didn’t.

Scenes

As fantastic as J.R. and John Ross’s tense-then-tender “shaving scene” was in “The Price You Pay,” nothing wowed me like Ann’s sting against smarmy ex-husband Harris Ryland in “Revelations.” What a great scene! I liked Brenda Strong’s character from the beginning, but this was the moment that made me love her. Somewhere, Miss Ellie is smiling.

Twists

Ann Ewing, Brenda Strong, Dallas, TNT

Great twist!

The new “Dallas’s” twist-a-minute storytelling was often too much, but not always: The moment Ann exposed the mic she was using to record Ryland’s confession was terrific, and so was the big reveal at the end of “Changing of the Guard,” when the audience learned J.R. and Marta were in cahoots.

Meanwhile, what should have been the season’s biggest twist – the revelation that Rebecca is Cliff’s daughter – was no surprise at all, at least not to “Dallas” diehards. Gonzalo’s character’s first name was a huge tipoff, and once we discovered Cliff had become a high-stakes gambler, her “Changing of the Guard” reference to her poker-playing daddy became another big clue. Still, seeing Cliff emerge from his jet in the final moments of “Revelations” – and then hearing Frank Ashkani refer to Rebecca as “Miss Barnes” – was pretty damn cool.

Cameos

Charlene Tilton’s appearance in “Collateral Damage,” when Lucy and John Ross reminisced about his boyhood antics while brunching at the Omni, was fabulous. Let this serve as the model for integrating old favorites into new storylines.

Less enthralling: The “Truth and Consequences” scene featuring Jerry Jones. Nothing against the Dallas Cowboys owner, but why remind fans of the dreadful 1998 reunion reunion movie “War of the Ewings,” which also featured a Jones cameo?

Homages

Dallas, Leonor Varela, Marta Del Sol, Veronica Martinez, TNT

Nut’s landing

The TNT series spent a lot of time honoring its predecessor. Among the best tributes: Ann’s penchant for shotguns and pearls (a la Miss Ellie), Marta’s deadly dive in “Collateral Damage” (shades of Julie Grey) and John Ross’s “Changing of the Guard” meeting with Marta at Cowboys Stadium, which evoked J.R.’s many stadium encounters in days of yore.

Of course, I’d be remiss if I didn’t also point out some of the historical liberties the new show took: Ellie’s commitment to a sanitarium after Jock’s death (when did this happen?), Grandpa Southworth giving the Ewing brothers the Southfork mineral rights (Ellie controlled them on the old show) and Cliff’s visit to Islamabad in the early 1980s (did he do it during the summer reruns?).

Villains

Carlos Bernard was effectively oily as Vicente Cano and Faran Tahir makes Frank a genuinely frightening dude, but my prize for best villain goes to Mitch Pileggi, whose Harris Ryland was creepy and charming all at once. Here’s hoping Pileggi will become the new “Dallas’s” answer to Jeremy Wendell, J.R.’s best adversary from the old show, played by the great William Smithers.

Supporting Players

Dallas, Margaret Bowman, Mrs. Henderson, TNT

Mrs. Henderson, Presented

Let’s hear it for the supporting actors – many of them honest-to-goodness Texans – who didn’t log a lot of screen time but made each moment count. My favorites: Richard Dillard, who was perfectly sleazy as Bobby’s double-dealing lawyer Mitch Lobell; Glenn Morshower as Lobell’s no-nonsense replacement, Lou; Brett Brock, who had real presence as John Ross’s private eye, Clyde Marshall; Kevin Page, who was oddly endearing as J.R.’s henchman Bum; and Margaret Bowman, who was a hoot as Southfork neighbor Miss Henderson.

Music

TNT’s heavy use of music on “Dallas” might be the new show’s best innovation of all. In “Hedging Your Bets,” J.R. and Sue Ellen reunited at the Cattle Baron’s Ball to the sounds of Justin Townes Earle’s gorgeous “Midnight at the Movies,” while Adele’s “Turning Tables” was the ideal soundtrack for Christopher and Rebecca’s “Changing of the Guard” wedding sequence.

The real highlight: the instant classic montage that concluded “Family Business,” when Bobby’s collapse and Rebecca and Tommy’s gun struggle played out as Johnny Cash’s “The Man Who Came Around” boomed in the background. And while Cash’s “God’s Gonna Cut You Down” was a fine choice to end “Revelations,” I hope the show doesn’t return to that particular well for awhile.

Costumes

Dallas, Linda Gray, Sue Ellen Ewing, TNT

Cool zip

The zip-front dress Sue Ellen wore when she visited Ryland in “The Enemy of My Enemy” was the perfect garment for a woman who was exposing her vulnerabilities in a bid to help her son. I also liked how the dress showed Linda Gray, now in her 70s, could still be sexy and playful.

Sets

Loved the groovy spectrum artwork in Sue Ellen’s office. Hated the watercolor painting of Jock and Ellie that hangs in the Southfork living room.

Quips

As much as I enjoyed all the hilarious stuff that came out of J.R.’s mouth, Sue Ellen delivered the season’s best line in “No Good Deed” when she blackmailed the hapless medical examiner by reminding him, “You’ve been writing more prescriptions than Michael Jackson’s doctor – which is odd, since all of your patients are dead.”

Biggest head-scratcher: “We ain’t family, bro.” – John Ross’s putdown of Christopher in “Hedging Your Bets.”

Behind the Scenes

Much praise goes to the many talented folks on the other side of the camera, including Michael M. Robin, the most inventive director in the history of the “Dallas” franchise; cinematographer Rodney Charters, who makes the real-life Dallas look so good, the city should name a street after him; and the TNT Publicity Machine, which did a helluva job promoting the show in the months before its debut.

Of course, the biggest hat tip goes to Cynthia Cidre, the new “Dallas’s” creative force. After an uneven start, Cidre – with help from a team of talented writers – brought “Dallas” back to its roots as a character-driven family drama. Let’s hope they keep the momentum going in Season 2.

What do you love and loathe about the first season of TNT’s “Dallas”? Share your comments below and read more “Best & Worst” reviews.

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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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Drill Bits: Ratings Rise Again for TNT’s ‘Dallas’

July 20, 2012 by 8 Comments
Charlene Tilton, Collateral Damage, Dallas, Lucy Ewing, TNT

Viewers love Lucy

TNT’s “Dallas” isn’t pulling the kind of numbers it did on opening night, but the show continues to perform well. The July 18 telecast of the latest episode, “Collateral Damage,” was seen by 3.9 million viewers, making it that evening’s second most-watched cable program behind USA’s “Royal Pains.”

“Dallas’s” July 18 audience included 1.2 million viewers between the ages of 18 and 49, the group advertisers covet.

This is the second week “Dallas’s” audience grew. The July 11 telecast of “The Enemy of My Enemy” attracted 3.6 million viewers, ranking 26th in the weekly cable ratings. On July 4, “Truth and Consequences” was seen by 3.4 million viewers, finishing 16th.

“Dallas’s” numbers haven’t gone unnoticed by the press: Larry Hagman graces this week’s Entertainment Weekly cover, while USA Today, in an article this week about the broadcast networks’ summer struggles, called the series “a summer bright spot.”

Read All About It

Speaking of Entertainment Weekly: Karen Valby has penned a terrific spread that includes some juicy tidbits from the season’s remaining episodes (murder! near-death experiences! marriage proposals!).

Also featured: a preview of the second season’s overarching theme and sidebars on Patrick Duffy and Hagman’s bromance, Josh Henderson and Jesse Metcalfe’s rivalry and yes, J.R.’s eyebrows.

The other highlight: Jill Greenberg’s fantastic photos, including a cute recreation of this season’s best scene.

If you’re a “Dallas” fan, you owe it to yourself to purchase a copy (or two).

Strong Emmy Contenders

“Dallas” won’t be eligible for Emmys for another year – and if Hagman isn’t nominated, Dallas Decoder is going to raise hell – but Brenda Strong, a.k.a. Ann Ewing, received a nod yesterday for her voiceover work during the final season of ABC’s “Desperate Housewives.”

This is Strong’s second Emmy nomination for narrating “Desperate Housewives.” The award will be handed out during this year’s Creative Arts Emmys ceremony, which will be held Saturday, September 15.

What is Ann’s Secret?

While we’re on the subject of Brenda Strong: In a new interview with Celebuzz, the actress reveals Ann is “going to have a mini breakdown, and then it’s like a phoenix rising from the ashes. She’s going to come back stronger than she was before.”

To hear Strong describe it, “No Good Deed,” next week’s “Dallas” episode, will be essential viewing. “[B]y the time I got the script for episode eight, I couldn’t turn the pages fast enough,” she says. “I called our writer and said, ‘Thank you for giving me such an interesting woman to play.’”

Gray and Gonzalo in the News

Dallas, Julie Gonzalo, Rebecca Sutter Ewing, TNT

Many faces of Rebecca

Two other “Dallas” leading ladies – Linda Gray and Julie Gonzalo – also gave revealing interviews in the press this week:

• In a chat with the McClatchy-Tribune newspapers, Gray recalls what it was like to balance the demands of fame, family and career during the original show’s heyday. “I was just kind of going along, this is part of the job and trying to fit it all in. And I couldn’t do it,” Gray says.

• Gonzalo tells the entertainment news site Collider.com she uses “different voices” to play the mysterious Rebecca. “The scenes that I have with Tommy and another member of the family, I’m changing faces all the time, but that’s the most fun I had,” Gonzalo says.

Hagman’s Ten Grand Ten Gallon

Larry Hagman wears a $10,000 Stetson and has a “personal costumer” who holds it for him between takes. These and other interesting tidbits – including cool insights from “Dallas” wardrobe designer Rachel Sage Kunin – are included in USA Today’s recent article on prime-time television headgear.

Line of the Week

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

Lucy Ewing (Charlene Tilton) in “Collateral Damages,” recalling the time she found John Ross drunk after he broke into the Southfork liquor cabinet as a child. Only on “Dallas” do sentimental childhood memories involve children getting soused.

Pow!

In “Truth and Consequences,” we saw Metcalfe’s character, Christopher Ewing, beat the stuffing out of brother-in-law Tommy Sutter (Callard Harris). Fittingly, The Christopher, the latest cocktail from Cook In/Dine Out, also packs a punch. If you like your “Dallas Drinks” spicy, be sure to give this one a try.

“Drill Bits,” a roundup of news about TNT’s “Dallas,” is published regularly. 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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The Art of TNT’s Dallas: ‘Collateral Damage’

July 19, 2012 by Leave a Comment

John Ross and Marta (Josh Henderson, Leonor Varela) confront each other in “Collateral Damage,” the seventh episode of TNT’s “Dallas.”

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