J.R.’s Masterpiece – Dallas Decoder

The Dallas Decoder Interview: Patrick Duffy

June 15, 2015 by Chris Baker 64 Comments

Patrick Duffy as Bobby Ewing

Patrick Duffy is everything you would expect him to be: smart, thoughtful, funny and above all, kind. I was honored to interview him recently, and I’m excited to share our conversation with my fellow “Dallas” fans.

It’s been eight months since “Dallas” was canceled. How’s life treating you?

Well, it’s been more than a year since the show ended because we were canceled long after we finished filming the third season. It’s been a year of catching up with your own private life, which you never put totally on hold when you’re working, and spending time in the place that you really love to be. I do miss the day-to-day experience of being with those close friends of mine from the show.

Let’s talk about the cancellation. Why do you think TNT dropped the show?

I think it’s not even a secret as to why it was canceled: the regime change at TNT. We had two very strong advocates in [executives] Steve Koonin and Michael Wright. They both left, and in that vacuum, other people wanted to make their mark. They thought “Dallas” harkened back instead of leaning forward. They wanted to clean house, and we happened to be one of the victims.

Bobby Ewing, Dallas, Linda Gray, Sue Ellen Ewing, TNT

The unexpected

It’s still heartbreaking for fans. How about you?

As Linda [Gray] will tell you, this isn’t our first day at the picnic. We’ve both had shows canceled before. It was a bit of a shock because it was more unexpected than in previous cancellations, where you know the ratings are dying and it’s just a matter of time. This one caught most of us by surprise.

The ratings did drop in the third season, though. What do you attribute that to?

I think everyone would assume part of it was Larry [Hagman] dying. I would not even assume that. I would take that as a definite. [TNT] also split the third season, and we were doing very well under the old method of airing a full season at a time. I don’t really know what to think. I feel the quality of the shows — oddly enough — improved in the third year. Larry’s passing made everybody up their game, which is why I was more than a little surprised and disappointed that we weren’t picked up.

I agree that in a lot of ways, the show was only getting better.

I really thought we had the potential to prove to the world that the show is not about one person. Larry said that year after year. The show is “Dallas,” and “Dallas” can be anything if it’s done correctly. He said that when I left the show, he said it when other people left the show, and he would have said it when he left the show. It would have been harder for him to say it. … [Laughs]

Some fans cite the drug cartel storyline as an example of the new “Dallas” straying too far from its origins. What’s your take?

I don’t know if I agree with that. We see a lot of news about the influence of the drug trade in mid- to southern Texas. So I didn’t object to it. I thought it was a viable subject line. I think it might have been overemphasized. It might have been better as a tangential story instead of an absolute focus, and I think we expanded our cast a bit precipitously. I loved every regular cast member we added, but “Dallas” has always been about the Ewing family, and when you expand it too much and too soon, I don’t think the show stayed as “pure” as it might have been. But those are little things.

Fired up

You inspired a lot of fans during the #SaveDallas campaign. What was it like to see so many people rallying behind the show?

I had a double feeling about it. I was so encouraged that so many viewers saw value in our show. At the same time, it was bittersweet because I was more than 75 percent sure nothing was going to happen at TNT. I knew that they weren’t going to say, “Oops” [and reverse the cancellation]. And I knew just enough of the financial complexities of making “Dallas” that it would be next-to-impossible for a new network or entity to take it over. So I felt it was wonderful [that #SaveDallas] was so wishful and positive and hopeful, and yet the Titanic is going down. You can bail as much as you want — and God love everybody who had a bucket — but it’s still going down.

A lot of fans haven’t given up.

I know. I go on Twitter and see how many people are still hashtagging #SaveDallas. And I don’t want to deter anybody from fulfilling every conceivable idea they might have. I live my life that way. I encourage everybody to do their best. I’ve had both my boys in competitions of various sorts over the years, and as a parent you sometimes think, “Oh my God, they’re going to lose so bad.” But what do you do? You don’t say to your kid, “You know, you’re going to lose son, but. …” So you just say, “You can do it. Come on!”

You weren’t involved in the behind-the-scenes discussions, but as far as you know, was there ever a point where the show came close to finding a new home?

I know that [showrunners] Cynthia [Cidre] and Mike [Robin] were desperately meeting with people — bona fide executive meetings all over the place. And Peter Roth at Warner Bros. was devastated when the show was canceled. He wanted to do everything conceivable to see if there was a place where it could reside. But when I would talk to them and they would report with ever-increasing regularity how this conversation fell through, and how that deal couldn’t happen, I started to just think, “Well, I have a feeling we’re putting this one to bed.”

It sounded as if the CW was a real possibility at one point.

Yeah. I think the reason is because of the CBS and Warner Bros. affiliation and the connection to Les Moonves [the CBS president and chief executive officer who once worked for Lorimar, producer of the original “Dallas.”] There were a lot of historical lines there. If a family member was going to bail you out, maybe that would be the one. But again, I think the financial complexity just doomed us.

Ann Ewing, Bobby Ewing, Brenda Strong, Dallas, Linda Gray, Patrick Duffy, Sue Ellen Ewing, TNT

The end?

So you think “Dallas” is over for good?

I’ve learned to never say never. I died once and came back, but I don’t see the situation resolving itself. You would have to gather together the same group of people who’ve been spending the past year moving forward with their careers. But if it happened and I were available, I’d be the first person in line for wardrobe.

Bobby was the steward of Southfork. Would you be interested in taking a creative role behind the scenes — becoming the steward of “Dallas”?

I don’t know if I’m the type of creative person who can do that. “Dallas” is unique. If I understood it and if Larry understood it, the final reunion movie [1998’s “War of the Ewings”] would not have been the turkey it was. We were in charge of that one and it was terrible. I’ll be the first to admit that. So no, I don’t believe I could pick up the reins and produce a continuation of “Dallas.” Cynthia could, and I think she would do it in a heartbeat if she were available and somebody asked her to pick it up again. But I don’t think I know anybody else that could do it.

Do you have any idea what was in store for Bobby? There were a few scripts written for the fourth season. Everyone is dying to know what was in those storylines.

[Laughs] Nothing ever crossed my desk to read for the fourth season, but Cynthia and I were very close and hopefully will remain so for the rest of our lives. And she was telling me what would happen and a lot of it had to do with Christopher’s death. What does it do to Bobby to lose his adopted son, and then what’s in the history of “Dallas” that would eventually bring him out of that? And there are a lot of characters invented in the first incarnation of “Dallas” that could be brought in to play on the new show in a very appropriate way.

Ooh. Can you give an example?

I know Steve [Kanaly] was going to be brought in for a lot of episodes in Season 4. Cynthia knew that he was a definite positive for the show.

So maybe we would finally have seen Bobby’s other son, Lucas, who was raised by Ray Krebbs?

Well, I think that’s got to be the elephant in the room whenever you talk about Bobby losing one son — who is an adopted son. Family was the most important thing to Bobby. So where is the handoff in his mind of who takes over when Bobby dies? That’s his mission, to find that person. So I can’t imagine that they would leave that stone unturned.

I’m also curious about this half-sister of John Ross’s. Any idea who J.R.’s daughter was going to be?

I don’t know at all what they had in mind in terms of casting. I can’t imagine. It’s not uncommon for Texas oil billionaires to have dual families. H.L. Hunt had two families simultaneously for years. And Larry talked about the idea when he was alive. What if J.R. had an entire second life?

Simmer down now

So when you look back on the new “Dallas,” what are the highlights?

For me, personally, I loved the maturation of the character of Bobby. I thought Cynthia hit the right note with his aging process, who he was after we saw him after that length of time. She maintained Bobby’s essence, but she gave him that sort of calm outlook. “I’ve lived long enough now. I’m not quite as fiery as I used to be. I know the drill.” I really liked that. I felt very comfortable in his shoes at that time. And speaking of shoes, when the new show was starting production, I went back and thought, “Well, maybe Bobby’s not so cowboy anymore.” And I told wardrobe, find me a really nice pair of Italian slip-on shoes for Bobby to wear. And I put them on the first day of work and went back to Rachel [Sage Kunin, the show’s costume designer] and said, “Dear God, get me the boots. I cannot be Bobby Ewing in these shoes!”

Really?

Really! It didn’t feel right. Linda told me years ago that she can’t be Sue Ellen in flats. She’s got to wear high heels. Sue Ellen wears heels. Bobby has to have boots, and once I came to that realization, then I was okay. [Laughs] But I agreed with everything that Cynthia put him through in the course of those three years. Certain things I objected to, but I know they were right.

Can you give an example of something you objected to?

Well, the thing that I thought was devastating to the character of Bobby was in the reading of [J.R.’s] will when we find out Mama gave half of Southfork to John Ross.

Bobby Ewing, Dallas, John Ross Ewing, Josh Henderson, TNT

Enemy mine

Yeah, what’s up with that?

Yeah, well, that’s exactly what I said when I read it in the script! First, I called Cynthia and said, “What the hell?” [Laughs] I thought, “Nooo.” First of all, how did that stay hidden for 30 years? But it added such a tension in the storyline. It made me as an actor find different things to do. But I never would have entertained that if I had been in charge and somebody would’ve suggested it. I would have said, “No, that can’t be. That wouldn’t happen. Mama wouldn’t do that. I’m sorry.” But it was the right thing to do.

It really helped elevate Josh Henderson’s character to be Bobby’s new adversary.

And he had one of the hardest parts. How do you be the new J.R. Ewing? But Josh’s growth pattern as an actor playing that part for three years was probably the largest bell curve. And he really filled that responsibility. Brenda Strong had the other hardest part. How do you replace Pamela?

She also had to replace Miss Ellie, in a sense.

She had to replace everybody! [Laughs] She had to replace Sheree [J. Wilson], she had to replace Pamela, she had to replace Mama. My favorite horse, my dog. She had a thankless job and she did it. She was the perfect choice and the perfect rendition of who could fill those responsibilities on “Dallas.”

You’ve mentioned Larry. Do you miss him?

No, I don’t. I’ve said that from the day after he died. I don’t think I’ll ever miss him in the sense that — right now, I’m looking at a picture of the two of us. I’m sitting at my desk and there’s a picture of him and me here, holding a big fish between us that we caught in the river that runs through my ranch.

Bobby Ewing, Dallas, J.R. Ewing, Larry Hagman, Patrick Duffy, TNT

Brothers

I think we saw that picture on the show.

Probably. We donated a lot of pictures for the show. But I think until the day I die, I will be so satiated with my relationship with Larry. There are no empty spots. There is a sense of longing for the day-to-day connection. That I miss. I miss the phone ringing and he’d go, “Hi-ditty-ditty.” He would always do a little Irish tune before he would say, “Hey.” Those are the moments I miss. But just as I was telling you that, I hear it in my ear. I hear it as clear as if the phone had just rung and he had done it.

I know you remain close to Linda, who’s getting ready to publish her book. Will you write one?

Nope. I admire Linda for writing her book. Larry wrote his. I am too private a person. My private life and my private feelings are exactly that, and if you write a book, it should make you want to be honest. I’ve always had the title of my autobiography, which is “What I Choose to Recall.” I stole the lyrics from Merle Haggard song.

I love that song.

Yeah, and to me it’s the perfect title for an autobiography that’s not totally honest.

That song played during “J.R.’s Masterpiece” during the memorial sequence.

Really? [Singing] “Everything does change, except what you choose to recall.” [Laughs] Had I written it, that would have been the title of my autobiography.

Share your comments below and read more Dallas Decoder interviews.

Filed Under: Interviews, News Tagged With: #SaveDallas, Brenda Strong, Cynthia Cidre, J.R.’s Masterpiece, Josh Henderson, Larry Hagman, Leslie Moonves, Linda Gray, Michael M. Robin, Michael Wright, Patrick Duffy, Rachel Sage Kunin, Save Dallas, Sheree J. Wilson, Steve Kanaly, Steve Koonin, TNT, War of the Ewings

The Dal-List: 37 Reasons to Love ‘Dallas’

April 2, 2015 by Chris Baker 45 Comments

Dallas, J.R. Ewing, Larry Hagman, Linda Gray, Sue Ellen Ewing

Love to love them

“Dallas” debuted 37 years ago today. Here’s why we still love the Ewings.

Bobby Ewing, Dallas, Pam Ewing, Patrick Duffy, Victoria Principal

Drive us crazy

37. “Digger’s Daughter.” Bobby marries Pam, Lucy and Ray take a roll in the hay and Jock calls J.R. a jackass. Could this show have gotten off to a better start?

Big house on the prairie

36. Southfork. To a lot of us, the white house on Braddock Road is more revered than the one on Pennsylvania Avenue.

Bobby Ewing, Dallas, Jim Davis, Jock Ewing, J.R. Ewing, Larry Hagman, Linda Gray, Patrick Duffy, Sue Ellen Ewing

Is blood thicker than liquor?

35. Bourbon and branch. Forget oil. This is what really fueled the Ewing empire.

Can’t touch this

34. Every time Jock asks for “a touch” of bourbon. Spoiler: It was always more than a touch.

Barbara Bel Geddes, Dallas, Miss Ellie Ewing

Stop or mom will shoot

33. “Ray, get me the shotgun out of the hall closet.” The quintessential Miss Ellie moment.

Long walk

32. Pam’s middle screen during the opening credits. It never changed! For almost a decade, she never stopped crossing the Southfork lawn.

Dallas, J.R. Ewing, Knots Landing, Larry Hagman

Fishy

31. J.R.’s first visit to “Knots Landing.” J.R.: Hey, that is good. What do you call this? Valene: Tuna fish.

Smirky

30. Kristin Shepard. So much more than the answer to a trivia question.

About face

29. Sue Ellen’s 180s. No one does the slow, dramatic turn better.

Clean scream

28. The cleaning lady who found J.R. Her reaction alone made it worth waiting eight months to find out who shot him.

Moment of truth

27. “It was you, Kristin, who shot J.R.” The most famous line in “Dallas” history.

Daddy’s decree

26. “Real power is something you take.” Or maybe this is the show’s most famous line. Six words that encapsulate the Ewing creed.

He sizzles

25. Breakfast on the patio. Would you like some insults with your bacon?

Them pipes!

24. The musical stylings of Miss Afton Cooper. She can steal us away anytime she wants.

Bleeds it leads

23. Headlines like these. The editors of The Dallas Press: The only people more obsessed with the Ewings than we are.

Snake in the grass

22. “Hey, Ray. … You getting good mileage on Donna’s car?” So nice of him to be concerned, isn’t it?

Dallas, Donna Culver Krebbs, Susan Howard

Wind ’em up

21. Donna vs. Bonnie. “Dallas’s” best barroom brawl.

Bobby Ewing, Dallas, J.R. Ewing, Larry Hagman, Linda Gray, Patrick Duffy, Sue Ellen Ewing

Will power

20. Daddy’s will. Pitting your hyper-competitive sons against each other in a yearlong battle for control of the family empire? Sounds like a plan!

Watch out, wallpaper

19. “I’m going to drink myself into oblivion.” And she damn near did.

Paging KITT

18. The synthesized seventh-season theme music. We half expect Knight Rider to come roaring into the credits.

Bobby Ewing, Christopher Ewing, Dallas, Eric Farlow, Pam Ewing, Victoria Principal

Oh, that lighting!

17. Bradford May’s cinematography. The Ewings never looked as gorgeous as they did from 1983 to 1984.

J.R. Ewing here

16. The phone at the Oil Baron’s Club. Be careful with that thing or you’ll poke out Dora Mae’s eye!

Charlene Tilton, Christopher Atkins, Dallas, Lucy Ewing, Peter Richards

Yes, sparklers

15. Lucy’s modeling career. There’s nothing about this picture I don’t love.

Dallas, Katherine Wentworth, Morgan Brittany

Hat attack

14. Katherine Wentworth. How can you blame a gal for going a little nuts over Bobby Ewing? Also: the hats!

Turban renewal

13. When Sue Ellen changed into this outfit to go to the movies. What, you mean you didn’t wear something similar when you saw “Porky’s II” in 1984?

The best loser

12. Cliff Barnes. As essential to the “Dallas” mythology as any Ewing. Ken Kercheval is brilliant.

Drip drop

11. “Marilee, you all right, honey? Did it go up your nose?” Best pool dunking ever.

Buzz kill

10. When Bobby flat lines, jolting Pam. Gets us every time.

Who says cowboys don’t cry?

9. … And then when Ray loses it. Few things move me more than this moment.

What a dream

8. The dream season. Look, we love Bobby as much as anyone, but this is one of “Dallas’s” best years — especially where the leading ladies are concerned.

Mr. Clean

7. Bobby’s return. Was the dream explanation a cop-out? Sure, but who’s going to complain about seeing Patrick Duffy in the shower?

The long goodbye

6. Pam. Give the lady her due: Fans spent twice as long clamoring for her return as she spent on the show.

Dallas, John Ross Ewing, J.R. Ewing, Larry Hagman, Omri Katz

Word

5. “John Ross, this is Ewing Oil.” Chills.

A star is born

4. Brad Pitt’s hair. Also: “Randy”!

Dallas, J.R.'s Masterpiece, Linda Gray, Sue Ellen Ewing

Woman of the hour

3. “J.R.’s Masterpiece.” Linda Gray’s tour de force. If you can watch this episode without bawling like a baby, you’re stronger than me.

Dallas, John Ross Ewing, Josh Henderson, TNT

Another star is born

2. “I am not my father!” Chills again!

Forever our hero

1. Larry Hagman. How we loved this man. What an actor! What a guy! We’ll never stop missing him, and we’ll always be grateful he shared his gift with the world.

Why do you love “Dallas”? Share your comments below and read more “Dal-Lists.”

Filed Under: Dal-Lists, Opinion Tagged With: Audrey Landers, Barbara Bel Geddes, Brad Pitt, Bradford May, Christopher Atkins, Digger’s Daughter, Fern Fitzgerald, J.R.’s Masterpiece, Jim Davis, Josh Henderson, Ken Kercheval, Larry Hagman, Linda Gray, Mary Crosby, Morgan Brittany, Patrick Duffy, Steve Kanaly, Susan Howard, Victoria Principal, Who Shot J.R.?

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

September 2, 2014 by Chris Baker 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

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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.

Filed Under: Critiques, Critiques (TNT) Tagged With: Aaron Allen, Barbara Bel Geddes, Brenda Strong, Carlos Bernard, Collateral Damage, Emma Bell, Hurt, J.R.’s Masterpiece, Jim Davis, Jordana Brewster, Josh Henderson, Julie Gonzalo, Larry Hagman, Let Me In, Linda Gray, Marlene Forte, Mitch Pileggi, New Mrs. Ewing, Patrick Duffy, TNT

Critique: TNT’s ‘Dallas’ Episode 35 — ‘Dead Reckoning’

August 26, 2014 by Chris Baker 24 Comments

Dallas, Dead Reckoning, Elena Ramos, John Ross Ewing, Josh Henderson, TNT

Losin’ it

“Dead Reckoning” is another episode about loss and how the “Dallas” characters cope with it. In this one, John Ross suffers the demise of his marriage to Pamela and his dream of “becoming” J.R., while Christopher bids farewell to his latest love and the Ramoses mourn Drew’s death. This is the TNT series’ strongest hour this season, elevated by graceful writing and direction and heartfelt performances from virtually everyone in the cast. More than anything, “Dead Reckoning” proves an old “Dallas” truism: This show is at its best when things for the Ewings are at their worst.

Like so many recent episodes, “Dead Reckoning” showcases Josh Henderson, beginning with the scene where John Ross stands with Bum in the charred remains of his Southfork bedroom and laments his efforts to emulate his father. Henderson makes his character’s regret feel genuine here, as well as in a later scene, when John Ross sits at Pamela’s hospital bedside and pleads with her to give their marriage another chance. It recalls a memorable moment from the original series, when J.R. sat on Sue Ellen’s bed, proclaimed his love and begged her to forgive him for his latest indiscretion. You have to wonder: Even when John Ross is vowing to be a better man, does he realize he’s still emulating J.R.?

Henderson’s delivery in the scene with Pamela deserves special attention. John Ross tells his wife he’ll be “different” four times in quick succession; at one point, Henderson allows his voice to crack and at another, he trips over his words. It’s almost as if John Ross is trying to convince himself he’s capable of changing as much as he’s trying to persuade Pamela. (It’s also a point of distinction between John Ross and the silver-tongued J.R., who was never at a loss for words and rarely showed vulnerability.) Julie Gonzalo is pitch perfect too: She makes Pamela seem hurt and angry, but not soap opera bitchy. The dialogue here is also revealing, especially when Pamela notes the similarities between her husband and her father. Talk about a cruel twist for John Ross: He’s spent much of his life modeling himself after J.R., only to learn the woman he loves considers him another Cliff.

Julia Cohen’s solid script also does a nice job drawing cross-generation parallels between Sue Ellen and Pamela. When Pamela tells Sue Ellen the doctor won’t discharge her until he’s convinced she’s not a danger to herself, Pamela rolls her eyes and says, “It’s ridiculous.” It’s a small moment, but the hint of uncertainty in Gonzalo’s voice lets us know Pamela is more vulnerable than she seems, recalling all the times Sue Ellen served as “Dallas’s” resident queen of denial.

Later, after the two women admit to each other how terrified they are by their recent near-death experiences, Pamela tells Sue Ellen she isn’t going to divorce John Ross because she doesn’t want him to snag her Ewing Global shares. Gray allows her character a subtle smile here, suggesting Sue Ellen feels torn. On the one hand, she undoubtedly feels obligated to support John Ross; on the other hand, Sue Ellen must admire Pamela’s determination not to allow a man to take advantage of her — even if that man is Sue Ellen’s own son.

The other great performance in “Dead Reckoning” comes from Marlene Forte, who gives me chills in the scene where Carmen sees Drew’s body in the morgue, collapses into Bobby’s arms and lets out a painful wail. Anyone who’s ever witnessed a mother lose a son knows how real this scene feels. Forte is also wonderful when Carmen receives Drew’s belongings and wonders why his St. Christopher’s medal isn’t among the possessions. There’s no doubt that medal is going to pop up again — recall that in the previous episode, Nicolas yanked off Drew’s necklace before he was executed — but it’s also a nice reminder of the importance of Carmen’s faith. It’s the kind of detail you don’t often get on a show like this.

I also love the quiet dignity Forte brings to the scene where Carmen stands over Drew’s casket and strokes his military uniform before leaning down and kissing him. The actress gets lots of support from Jordana Brewster, who makes Elena’s grief palpable, as well as Juan Pablo Di Pace, who looks positively stricken in Nicolas’s scenes with Elena and Carmen. It would be easy to overlook Patrick Duffy in these scenes, since Bobby does little more than stand around with the Ramoses as they deal with the fallout from Drew’s death, but isn’t it reassuring to see Bobby there? If nothing else, this episode reminds us how heroic Duffy’s character can be when he’s not yelling at John Ross or Ann.

There’s much more to like about “Dead Reckoning,” which is also another technical achievement for this series. This episode was filmed in the winter, allowing Anton Cropper, a first-time “Dallas” director, to use the stark Texas landscapes to emphasize the sense of loss and despair. Cropper also delivers several nifty shots, including the cinematic opening scene, where Drew’s body is dumped at his father’s old drill site, as well as an Altman-esque moment where Sue Ellen, Bobby and Christopher move out of the frame in mid-conversation, revealing another exchange happening between Elena and Carmen. I also like the musical montage near the end of the episode, when we see the workers who must clean up all the messes these characters create: the funeral director who receives Drew’s uniform, the coroner piecing together evidence from his death, the fire marshal examining evidence from the Southfork fire. (In a similar spirit, Texas actress Cynthia Jackson’s small role as the no-nonsense nurse who refuses to be charmed by John Ross is easily one of this season’s best moments.)

Other highlights in “Dead Reckoning” include lovely turns from Jesse Metcalfe and AnnaLynne McCord, whose characters, Christopher and Heather, share a bittersweet farewell. I’m sorry to see “Dallas” say goodbye to McCord, as well as Donny Boaz, who plays Bo; the McCabes bring down-to-earth sincerity to “Dallas” at a time when the show can really use it, as evidenced by the increasingly silly drug cartel storyline and this episode’s odd, out-of-place scene where a tarted-up Emma meets with Luis, the cartel emissary. I’m more forgiving of Elena’s quest for revenge, although I can’t help but think how much more poignant her end-of-episode reunion with John Ross would seem if she wasn’t playing him to get her hands on J.R.’s letter.

Speaking of our late hero: I also can’t help but notice the parallels between this episode and “J.R.’s Masterpiece,” last year’s instant-classic salute to Larry Hagman’s iconic character. Both segments show us distraught family members going to a morgue to identify a dead loved one, as well as scenes where survivors receive beautifully written letters from the deceased (Emma in “Dead Reckoning,” Sue Ellen in “J.R.’s Masterpiece”), drunken hookups that begin on the Southfork lawn (John Ross and Elena, John Ross and Emma) and heroines knocking back glass after glass of booze (Elena, Sue Ellen). The two episodes also feature Harris’s unwelcome arrival at Southfork and shots of the Ewing cousins sitting together at the kitchen counter, drinking.

Is the show paying homage to itself, or are these similarities merely coincidental? Either way, this is probably the first time “Dallas” has come close to matching the emotional resonance of “J.R.’s Masterpiece.” Here’s hoping it won’t be the last.

Grade: A

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Mother’s day

‘DEAD RECKONING’

Season 3, Episode 10

Telecast: August 25, 2014

Audience: 1.84 million viewers on August 25

Writer: Julia Cohen

Director: Anton Cropper

Synopsis: The cartel makes it look like Drew shot himself, but when Carmen learns her son is dead, she refuses to believe he committed suicide. When the fire marshal’s investigation reveals Drew set the Southfork blaze, Elena tells Carmen how J.R. cheated the Ramoses, which prompts Carmen to tell Elena about the letter J.R. wrote before his death. Elena seduces a drunk John Ross and finds the letter, which outlines the scheme to frame Cliff. Pamela tells Sue Ellen she won’t divorce John Ross because she doesn’t want to lose her Ewing Global shares to him. Emma blames Harris for Drew’s death and tells Luis to put her father back in jail. Christopher pays for Bo to have spinal cord surgery in Israel and bids farewell to Heather, who makes plans to leave Dallas to be with her ex-husband and their son, Michael.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Ryland), Donny Boaz (Bo McCabe), Jordana Brewster (Elena Ramos), Dallas Clark (Michael McCabe), Juan Pablo Di Pace (Nicolas Treviño), Akai Draco (Sherriff Derrick), Patrick Duffy (Bobby Ewing), GiGi Erneta (Dr. Bosnar), DentonEverett (Dr. Levi Sussman), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Cynthia Jackson (Nurse Harlan), Antonio Jaramillo (Luis), John McCalmont (Detective Marc Linnell), Jesse Metcalfe (Christopher Ewing), Joe Nemmers (Lt. Bennett), Ben Panchasarp (medical examiner), Pete Partida (Jacobo), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Javier Andy Zavala Jr. (nurse)

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

Filed Under: Critiques, Critiques (TNT), Opinion Tagged With: AnnaLynne McCord, Anton Cropper, Dead Reckoning, Donny Boaz, J.R.’s Masterpiece, Jordana Brewster, Josh Henderson, Juan Pablo di Pace, Julia Cohen, Julie Gonzalo, Linda Gray, Marlene Forte, Patrick Duffy, TNT

3 Days, 33 Episodes: Here’s How to Catch Up on TNT’s ‘Dallas’

August 15, 2014 by Chris Baker 2 Comments

Dallas, John Ross Ewing, Josh Henderson, J.R. Ewing, Larry Hagman, TNT

Look back

Did you promise yourself you’d spend the summer getting acquainted — or reacquainted — with TNT’s “Dallas”? Did you fail to keep this promise? Relax: You still have time. Grab your DVDs and downloads and have a marathon of your own this weekend. Here’s how to watch all 33 hours of the show before the third season resumes on Monday, August 18.

Friday, August 15

9 to 11 p.m. Kick off your marathon on Friday night at 9 o’clock — the holiest hour of the week for “Dallas” fans — with a double feature of the TNT’s show’s first two episodes: “Changing of the Guard” and “Hedging Your Bets.”

Can you watch the former without getting chills when J.R. (Larry Hagman) doffs his cowboy hat, flashes his grin and declares, “Bobby may not be stupid, but I’m a hell of a lot smarter”? Can you watch the latter without getting choked up when our hero tells Sue Ellen (Linda Gray) she’s “still the prettiest girl at the ball”? Me either.

Christopher Ewing, Dallas, Elena Ramos, Jesse Metcalfe, Jordana Brewster, TNT

First time for everything

Saturday, August 16

7 a.m. Rise and shine, darlins! With so much “Dallas” to watch today, there’ll be no sleeping in. Resume your marathon with “The Price You Pay,” in which Julie Gonzalo’s character receives a smartphone pic of her husband kissing another woman. Get used to it, honey.

8 a.m. Have breakfast with “The Last Hurrah,” in which John Ross (Josh Henderson) squirts Elena (Jordana Brewster) with his hose. Insert your own joke here.

9 a.m. Have you done your workout yet? Download “Truth and Consequences” to your mobile device and head to the gym. Mitch Pileggi’s debut as Harris Ryland is bound to get your heart racing.

10 a.m. Got errands to run? Chores to complete? You’ve got one hour. Make the most of it.

11 a.m. We learn jewelry makes Ann (Brenda Strong) cry in “The Enemy of My Enemy.” Then again, doesn’t everything?

Noon. Grab lunch while watching “Collateral Damage,” in which Vicente Cano (Carlos Bernard) wonders if John Ross: 1) is a good dancer, and 2) has any oil in his pipeline. OMG, Vicente was such a flirt!

1 p.m. Tommy (Callard Harris) plants a kiss on Rebecca in “No Good Deed” — which is almost as creepy as when Nicolas starts smooching Elena in Season 3.

2 p.m. Bloody monkeys, Johnny Cash and the redemption of J.R. Ewing. It’s “Family Business” — one of my favorite episodes of this show.

3 p.m. Carmen (Marlene Forte) gets one of the crummiest chores in “Dallas” history — returning Elena’s engagement ring to John Ross — in “Revelations.” Also: More Johnny Cash!

4 p.m. Have you taken a bathroom break yet? If not, take care of that now, and then hurry back to your TV or tablet to watch the second-season opener, “Battle Lines,” in which Christopher (Jesse Metcalfe) learns his wife is really his cousin. Ick.

5 p.m. In “Venomous Creatures,” J.R. saves Sue Ellen from going to jail and Judith Light discovers a taste for “Dallas” scenery.

6 p.m. Drew (Kuno Becker) arrives in “Sins of the Father” — his hair won’t show up for several more episodes — and calls John Ross “J-Ro.” Thank heavens that didn’t catch on. Also: Ann shoots Harris!

7 p.m. Has your family seen you at all today? Why not take a break from the Ewings and go have dinner with them.

8 p.m. to midnight: The next four episodes are a murder-a-thon, so brace yourself. Frank (Faran Tahir) offs himself in “False Confessions,” Brenda Strong kills it during Ann’s testimony scene in “Trial and Error,” Vicente bites the dust in “Blame Game,” and then the saddest shot of all: the death of J.R. Ewing in “The Furious and the Fast.”

Midnight. The nice thing about a late-night viewing of “J.R.’s Masterpiece” is that no one else in your house is awake to see you bawling. Once you’ve dried your tears, catch some shut-eye. Tomorrow is going to be another big day.

Dallas, Judith Light, Judith Ryland, TNT

Leg up

Sunday, August 17

8 a.m. You did a hell of a job yesterday, “Dallas” fan. Your reward: You get to start your Sunday with the wonderfully wacky hodgepodge that is “Ewings Unite!” Miss Ellie disinherits Bobby from beyond the grave, Valene (Joan Van Ark) reveals she’s as loony as ever and Cliff becomes the most hated man in the history of “Dallas” fandom.

9 a.m. Audrey Landers shows she can slink around a corner better than anyone in “Guilt and Innocence.”

10 a.m. In “Let Me In,” Harris reveals his fondness for: 1) TV nature documentaries, 2) Almonds, and 3) Hunting Ramoses.

11 a.m. John Ross and Pamela get wet in “A Call to Arms.”

Noon. You know what goes good with a nice, leisurely Sunday brunch? Watching Bobby take that badass, slow-motion walk away from Cliff at the end of “Love and Family.”

1 p.m. Christopher discovers the mystery lady under the big hat is not his mama in “Guilt by Association.” It’s not Aunt Katherine either, sadly.

2 p.m. Kevin Page joins Mary Crosby as an answer to “Dallas’s” most famous trivia question in “Legacies.”

3 p.m. You might think this would be a good time to take a break, but you’d be wrong. The die is cast and there’s no turning back, so keep plugging away with the third-season episodes, beginning with “The Return,” in which J.R.’s belt buckle begins wearing John Ross. Also: Hello, Nicolas (Juan Pablo Di Pace)!

4 p.m. Time for “Trust Me” a.k.a. “Judith’s Snow Day.”

5 p.m. In “Playing Chicken,” Professor Bobby Ewing teaches us about endangered wildlife.

6 p.m. “Lifting the Veil” is the episode that should’ve included Sue Ellen’s comparison of Emma (Emma Bell) to Kristin, but instead it’s the episode that gives us scenes of hookers in canine costumes.

7 p.m. Dinnertime! Enjoy a glass of J.R. Ewing Bourbon (surely you have some, right?) while watching “D.T.R.” After the episode, check your bottle and make sure Sue Ellen didn’t bug it.

8 p.m. Despite the title “Like Father, Like Son,” John Ross wants you to know that he is not his father! Also: Carter McKay has grandchildren!

9 p.m. Pamela rocks Stella McCartney in “Like a Bad Penny.”

10 p.m. It’s finally time for “Where There’s Smoke.” Southfork goes up in flames and you get to go down for a well-deserved rest. Don’t forget to watch “Dallas’s” midseason premiere Monday night!

What are your favorite “Dallas” episodes? Share your choices below and read more features from Dallas Decoder.

Filed Under: Features, Features Tagged With: Audrey Landers, Battle Lines (2013), Blame Game, Brenda Strong, Callard Harris, Carlos Bernard, Changing of the Guard (2012), D.T.R., Emma Bell, Enemy of My Enemy, Ewings Unite!, Family Business, Faran Tahir, Furious and the Fast, Guilt and Innocence, Guilt By Association, Hedging Your Bets, J.R.’s Masterpiece, Jesse Metcalfe, Joan Van Ark, Jordana Brewster, Josh Henderson, Juan Pablo di Pace, Judith Light, Julie Gonzalo, Kevin Page, Kuno Becker, Larry Hagman, Last Hurrah, Legacies, Let Me In, Like a Bad Penny, Like Father Like Son, Linda Gray, Love and Family, Marlene Forte, Mary Crosby, Mitch Pileggi, No Good Deed, Patrick Duffy, Playing Chicken, Price You Pay, Return, Revelations, Sins of the Father, TNT, Trial and Error, Truth and Consequences, Venomous Creatures, Where There’s Smoke

‘Dallas’ is Bringing the Heat. Now Let’s See Some Heart.

April 21, 2014 by Chris Baker 26 Comments

III

Did “Dallas” go too far by showing John Ross, Pamela and Emma’s three-way in last week’s midseason finale? I say no. The scene put a fitting punctuation mark on a storyline that’s been building all year while continuing some longtime “Dallas” traditions, including the original show’s practice of pushing the envelope in its depiction of sexuality. I liked it, but now it’s time for the new series to get back to emulating its predecessor in other ways — starting with restoring its focus on the Ewings and delving deeper into their lives. To put it another way: “Dallas” has shown us the heat; now it needs to show us some heart.

Before I get to that, let’s address the controversy over the threesome. Many viewers have taken to Facebook and Twitter to decry the scene, saying they were offended by the sight of John Ross, Pamela and Emma making out — especially when the women kissed. If you find this distasteful, probably nothing I can say will change your mind, but let me point this out: These characters are consenting adults. They’re acting in the privacy of a hotel room, and no one is being forced to do anything against their will. (Yes, Pamela is under the influence of drugs, but she apparently decided to sleep with her husband and his mistress before she popped the pills.) Contrast this with J.R.’s extra-marital affairs on the old show, which almost always took place behind Sue Ellen’s back. To me, that’s more immoral than a consensual threesome.

Some fans also say the “Dallas” three-way is too graphic. I suppose whether or not you agree depends on your definition of “graphic.” In this case, there’s a lot of kissing but not much nudity: John Ross takes off his shirt, but the women remain in their lingerie. It strikes me as much less explicit than what I saw a few nights later on another cable drama, “Mad Men,” when Roger Sterling woke up in a room full of half-naked bodies after an orgy. For the record, this didn’t offend me either because it helped illustrate Roger’s ongoing womanizing, which is central to his character.

Ultimately, this is why I believe “Dallas’s” threesome works: It serves the story. From the beginning, the John Ross/Pamela/Emma triangle has been about the characters using sex to achieve some other purpose: John Ross sleeps with Emma to gain access to her father’s secret files; Pamela buys a sexy corset to surprise her husband and help him take his mind off his problems; Emma buys the same outfit to seduce John Ross and one-up Pamela. In the midseason finale, sex is once again used as a tool when Pamela lures John Ross and Emma into the ménage a trois, only to spring a drug-induced seizure on them. It’s kind of poetic.

Let’s not forget that sex has always been part of “Dallas.” The first episode in 1978 showed the teenaged Lucy rolling around in the hay with silver-haired Ray. “Dallas” went on to break ground in other ways too: Lucy became engaged to a closeted gay man in 1979, which ended up being one of television’s first sympathetic portraits of homosexuality, and during the mid-1980s, the show hinted Grace was more than a mere “assistant” to Angelica Nero. “Dallas” also gave us prostitutes, J.R.’s affairs and Sue Ellen’s foray into the lingerie business — which included plenty of shots of Mandy Winger modeling nighties that were every bit as revealing as Pamela and Emma’s corsets — along with countless scenes of shirtless men kissing women wrapped in bed sheets. Sometimes it was tawdry and sometimes it was romantic — just like on the new “Dallas.”

Did the producers of the TNT series go out of their way to be a little more provocative than usual with the three-way? Of course they did. They wanted to grab as big an audience as possible in order to keep fans hooked during the show’s four-month hiatus. This is also nothing new: Cliffhangers are a “Dallas” tradition going back to the days of “Who Shot J.R.?” By today’s standards, this latest stunt was a success: The midseason finale, “Where There’s Smoke,” debuted to 2.1 million viewers on April 14. It was “Dallas’s” second biggest audience of the year, although it’s probably nothing compared to the chatter the episode inspired on social media and around office water coolers. People are buzzing about a “Dallas” cliffhanger again. When was the last time that happened?

So does this mean the new show should spice things up even more? I think that would be the wrong lesson to take from last week’s ratings bump. Instead, I hope the producers will remember this: Sex on the original “Dallas” was always balanced by moments of familial warmth, like the quiet scenes where Miss Ellie dispensed wisdom to one of her troubled children or the humorous occasions where Bobby bested J.R. with a wink and a grin. There’ve been flashes of these kinds of scenes this year — the women of Southfork sit around the patio planning Pamela’s wedding, Bobby introduces John Ross to the lesser prairie chicken — but they’ve been too far and few between. In their place, we’re getting scenes about Mexican drug lords, upscale brothels and misguided quests for “justice.”

More problematic is this: Two-and-a-half seasons into TNT’s “Dallas,” fans still aren’t sure what makes some of the main characters tick. Jordana Brewster is a terrific actress, but poor Elena has whiplashed from being “good” to “bad” and back again. Constantly adding new players to the mix isn’t helping us get to know the people we should be paying attention to. It’s not like the new “Dallas” isn’t capable of delving deep: One of the reasons “J.R.’s Masterpiece” remains the TNT show’s high-water mark isn’t just because it paid such loving tribute to Larry Hagman’s character — it’s also because it opened a window into Sue Ellen’s psyche and allowed Linda Gray to deliver one of her finest performances.

The closest we’ve come this year is the powerful scene where John Ross confronts his mother about her alcoholic relapse. Frankly, this is another reason I’m willing to cut the show some slack when it comes to that now-notorious threesome. I’ve seen what Josh Henderson’s character can do when his clothes come off, but I’ve also seen what happens when John Ross bares his soul. Doesn’t everyone else on “Dallas” deserve the same opportunity?

What do you think? Share your comments below — please be respectful — and read more opinions from Dallas Decoder.

Filed Under: Opinion, Opinion Tagged With: J.R.’s Masterpiece, Josh Henderson, Larry Hagman, Linda Gray, TNT, Where There’s Smoke, Who Shot J.R.?

Critique: TNT’s ‘Dallas’ Episode 31 — ‘Like Father, Like Son’

April 3, 2014 by Chris Baker 31 Comments

Dallas, John Ross Ewing, Josh Henderson, Like Father Like Son, Linda Gray, Sue Ellen Ewing, TNT

Revealed

Josh Henderson is a revelation in “Like Father, Like Son.” I’ve admired Henderson’s work on “Dallas” from the beginning, but I didn’t know he was capable of the kind of performance he delivers in this episode. In some scenes, I want to reach through my screen and break John Ross in two; in others, my heart breaks for him. This reminds me of the early days of the original series, when we were beginning to discover what J.R. Ewing and Larry Hagman were made of. John Ross is becoming as bad as J.R.; will we one day say Henderson is as good as Hagman? Time will tell, but what a thrilling prospect to consider.

The dramatic highpoint in “Like Father, Like Son” is the scene where John Ross confronts Sue Ellen over her betrayal. This is a two-minute emotional roller coaster, and Henderson brings us along for the whole gut-wrenching ride. We feel everything John Ross does: his rage when he storms into his mother’s house, his incredulity when she accuses him of cheating, his disappointment when he realizes how drunk she is. I especially love when John Ross holds up Sue Ellen’s bottle of booze and says, “Why are you doing this to yourself again, huh?” It’s one of the best lines in Julia Cohen’s taut script because it shows how much John Ross cares about Sue Ellen while inviting us to consider what it must have been like for him to grow up with an alcoholic mother. As much time as I’ve devoted to “Dallas” over the years, I’m not sure that’s something I’ve thought much about until now.

Of course, nothing gives me chills like the moment John Ross slams his hand on Sue Ellen’s kitchen counter and exclaims, “I am not my father!” Henderson delivers the line with such uncontrolled force, it feels like the most genuine thing John Ross has ever said. Indeed, his statement is very true: John Ross loves J.R. and takes pride in being his son, as evidenced by the fact that he runs around wearing Daddy’s wristwatch. But I believe John Ross sees himself as being a better man than J.R. We witnessed this in the first-season classic “Family Business,” when John Ross urged J.R. to return ownership of Southfork to the cancer-stricken Bobby, and we see it again in this episode, when John Ross rejects Candace’s overtures. (Would J.R. have turned down the advances of a comely secretary?) This is why Sue Ellen’s accusations sting her son more than we might have expected.

Yet no matter how much John Ross might want to think of himself as being “better” than J.R, he can’t resist all of his dark impulses: At the end of “Like Father, Like Son,” John Ross takes advantage of Sue Ellen’s relapse by blackmailing Judge Blackwell to send her to rehab against her will. (Blackwell: “You certainly are just like your father.” John Ross: “You hear that enough, eventually you start to believe it.”) Is John Ross doing this because it will help his mother, or because it will make it easier for him to take Ewing Global public and seize control of the company? Perhaps we’ll never know, and maybe in John Ross’s mind, there’s no difference. I’m not sure J.R. saw too many distinctions when he committed Sue Ellen to a sanitarium during the original “Dallas.” Yes, J.R. knew his wife needed help for her alcoholism, but he was also eager to get her out of the way before she spilled their marital secrets to the rest of the family.

Regardless of John Ross’s motivation, I admire Henderson’s willingness to take his character into such dark territory. I also have to hand it to Linda Gray, who fearlessly takes Sue Ellen back to her roots. In the confrontation with John Ross, Sue Ellen stands in her kitchen, drinking openly; there’s no more discreet nipping from the flask. This is not the confident, successful Sue Ellen we’ve come to know; this is the old-school, deeply vulnerable Sue Ellen. She lashes out at John Ross and blames him for her problems (“You did this to me!”), just like she used to do with J.R. I’ve gotten so used to seeing Gray play Sue Ellen as a functional alcoholic, it’s surprising to see the character lose control like this.

The most startling moment: John Ross denies he’s cheating and Sue Ellen screams, “Bullshit!” Did you ever dream you’d see Miss Texas use this kind of language? It’s shocking, and yet it makes perfect sense: The love of Sue Ellen’s life is dead, her relationship with her son is broken, and now she’s back on the bottle. Sue Ellen’s entire identity is slipping away; of course her sense of decorum would go with it. I also love Gray’s reaction shots during this sequence. As John Ross loses control and gets choked up, so does Sue Ellen. Just as our hearts break for John Ross, so does hers. It’s similar to what Gray did in “J.R.’s Masterpiece,” when she became the audience’s avatar and allowed us to express our grief through her. Will someone please give this woman an Emmy already?

Together, Sue Ellen’s relapse and John Ross’s descent into full-fledged J.R.-dom fit with the broader theme of “Like Father, Like Son,” which shows how the “Dallas” characters struggle to break old patterns. We also see this when Ann urges Emma to find a man who will love her and not use her for sex. The pained expression on Emma Bell’s face at the end of this scene suggests Ann’s words have sunk in, but of course Emma later has, ahem, relations with John Ross in exchange for the file he wants on the judge. (After he satisfies her — without ever undressing himself, notably — she tells him, “Now go home and kiss your wife.” This might be “Dallas’s” naughtiest moment ever.) Even Bobby gives in to his baser instincts, using his new position as the railroad commissioner to threaten Nicolas. I suppose I should chastise “Dallas” for once again taking a dim view of public service, but at least Bobby isn’t patronizing Judith’s brothel like most of the other political figures on this show.

There’s much more to like about “Like Father, Like Son,” especially the slow-motion sequence that director Steve Robin gives us at the end of the episode, when John Ross walks away from Bobby after telling him he’s going to use Sue Ellen’s power of attorney in his bid to take Ewing Global public. Unlike Patrick Duffy’s slow-mo walk during Season 2, which felt so triumphant, Henderson’s version is positively chilling. I also love Jesse Metcalfe’s adorable scenes with Dallas Clark (yes, that’s his name), the child actor who plays little Michael, as well as Metcalfe’s charming rapport with AnnaLynne McCord’s Heather. McCord has proven an especially welcome addition to this show. I know a lot of fans watch “Dallas” for escapism, but isn’t it nice to see Heather experience a real-life problem like finding last-minute child care?

This episode’s other highlight: The dueling boys’ and girls’ nights out on the town, although just once, I’d like to see television characters in these kinds of settings have to shout at each other over the sound of the music, the way people do in real-life nightclubs. As my husband Andrew pointed out, the sequence with the women brings a touch of “Sex and the City” to “Dallas,” except one of the ladies is cheating with the other’s husband, and a third is trying to prove it. By the way: Cynthia Addai-Robinson brings an undeniable sense of cool to her scenes as Jasper, Elena’s private eye. How much fun would it be to see her go toe to toe with Kevin Page’s Bum (who is sadly missing from this episode, along with Mitch Pileggi’s Harris)?

Meanwhile, some fans are wondering how Carter McKay, George Kennedy’s character from the original “Dallas’s” final seasons, has a grandson as old as Hunter, who is introduced in this episode as one of John Ross’s childhood friends. As far as we know, Tracey and Tommy, Carter’s children, didn’t have kids of their own. In light of this episode’s boardroom showdown, there’s also confusion in Fan Land about the ownership of Ewing Global and how it’s divided. I, too, wish the show handled these details better, so my only advice to fellow fans — and I know this won’t satisfy many of you — is to just go with it.

My other gripe has to do with Harris’s accordion file. It’s become a treasure trove for storyline purposes, so I wish the show had made it an updated version of J.R.’s infamous “red file” instead; it would have been another nifty way to keep Larry Hagman’s spirit alive. Then again, Josh Henderson is doing a pretty good job of doing that on his own.

Grade: A

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Slipping away

‘LIKE FATHER, LIKE SON’

Season 3, Episode 6

Telecast: March 31, 2014

Audience: 1.82 million viewers on March 31

Writer: Julie Cohen

Director: Steve Robin

Synopsis: Bobby gives control of his Ewing Global shares to Christopher and, in his new role as railroad commissioner, vows to scrutinize Nicolas’s Texas holdings. Elena hires a private eye to follow John Ross and discovers he’s cheating with Emma. John Ross’s childhood friend, Hunter McKay, gives him the idea of taking Ewing Global public. John Ross gets support from Nicolas, who aims to take control of the company once it goes public, and also Sue Ellen, but when she gets the impression John Ross is cheating with Candace, she votes against her son, incurring his wrath. John Ross blackmails a judge into having Sue Ellen committed to rehab against her will and tells Bobby he has her power of attorney, which gives him her vote to take the company public.

Cast: Cynthia Addai-Robinson (Jasper), Emma Bell (Emma Ryland), Donny Boaz (Bo McCabe), Jordana Brewster (Elena Ramos), Dallas Clark (Michael), Jude Demorest (Candace), Juan Pablo Di Pace (Nicolas Treviño), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Rick Herod (Judge Blackwell), Fran Kranz (Hunter McKay), Jesse Metcalfe (Christopher Ewing), Bryan Pitts (paramedic), Brenda Strong (Ann Ewing), Kenneisha Thompson (police officer)

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

Filed Under: Critiques, Critiques (TNT), Opinion Tagged With: AnnaLynne McCord, Cynthia Addai-Robinson, Dallas Clark, Emma Bell, Family Business, George Kennedy, J.R.’s Masterpiece, Jesse Metcalfe, Josh Henderson, Julia Cohen, Kevin Page, Larry Hagman, Like Father Like Son, Linda Gray, Patrick Duffy, Steve Robin, TNT

Critique: TNT’s ‘Dallas’ Episode 29 — ‘Lifting the Veil’

March 19, 2014 by Chris Baker 23 Comments

Dallas, John Ross Ewing, Josh Henderson, Lifting the Veil, Linda Gray, Sue Ellen Ewing, TNT

Long time coming

“Lifting the Veil” reveals new truths about several “Dallas” characters, beginning with John Ross. We’ve always known he was as ambitious and as charming as J.R., but in the scene where Sue Ellen confronts him about his infidelity and he treats her cruelly, we discover the son can also be as mean as the father. This episode offers fresh insight into Sue Ellen’s psyche as well. It’s clear now that she’s having trouble letting go of the past, although to be fair, every time she takes a nip from her flask, we’re reminded that the past has a pretty firm grip on her too.

The confrontation between mother and son is the hands-down highlight of “Lifting the Veil,” an hour that brims with history and heartache. The scene begins when Sue Ellen enters John Ross’s bedroom while he’s getting ready for his wedding and tells him she knows he’s been cheating with Emma. John Ross dismisses the relationship as “just business,” which only disgusts Sue Ellen further. “Just like your daddy, finding a way to explain infidelity,” she says. John Ross responds by pointing out the smell of alcohol on his mother’s breath, but she doesn’t back down and threatens to tell Pamela about his affair. John Ross is nonplussed. He brushes past Sue Ellen and delivers his lowest blow yet: “You have looked the other way you’re whole life, Mama. One more time’s not going to hurt.”

Josh Henderson does a nice job bringing John Ross’s dark side into the light, just like Larry Hagman used to do with J.R. For Henderson, though, this amounts to a creative risk: Until now, he’s played John Ross as a (mostly) likable rapscallion, but in this scene, the actor shows us he’s equally adept at making his character seem like an unapologetic jerk. Henderson makes John Ross’s ever-growing hubris feel believable throughout this episode (including during his pre-wedding visit to the brothel), but especially in this scene. Linda Gray, in the meantime, is as magnificent as ever. You can feel Sue Ellen’s pain when Gray delivers that “just like your daddy” line; it’s the character’s saddest moment since her graveside eulogy for her ex-husband in “J.R.’s Masterpiece.” In some ways, “Lifting the Veil” serves as a kind of companion piece to the funeral episode. The first one shows Sue Ellen grieving the loss of J.R.; in the second, she mourns his “return” through the sinful nature of their son.

I also like how Bethany Rooney, a first-time “Dallas” director, stages John Ross and Sue Ellen’s confrontation. The conversation unfolds while he’s fastening his cuff links and putting on his jacket; the casualness of his actions makes his words seem even more devastating. This is one of those times I wish TNT’s Southfork sets more closely resembled those used on the original “Dallas.” J.R. and Sue Ellen’s old bedroom was such a battleground; how cool would it have been to see John Ross and Sue Ellen clash in that setting? On the other hand: the newer bedroom has become a consequential place in its own right. This is where Sue Ellen once slapped J.R. and where she got drunk on the night before his funeral. It’s where John Ross defended his relationship with Pamela to his father and now, it’s where he defends his unfaithfulness to her to his mother.

Speaking of Pamela: I also like the “Lifting the Veil” scene where John Ross pleads with her to go through with their wedding, despite the fact that he was missing for much of the day. Henderson is so heartfelt, it almost inoculates John Ross from the anger we feel toward him after he’s mean to his mama. (Emphasis on “almost.”) Julie Gonzalo makes Pamela’s disappointment palpable, and I like how Taylor Hamra’s script gives her a line where she notes how much John Ross’s apologies sound like the ones Cliff used to offer her. It’s a subtle reminder that Pamela is still haunted by her daddy, just like John Ross is haunted by his.

This brings me to a gripe: I wish “Lifting the Veil” played up the old Barnes/Ewing feud a little more. The wedding of J.R.’s son and Cliff’s daughter is a moment of consequence to students of “Dallas” mythology; I’m glad Rooney gave us a glimpse of the framed photograph of J.R., but I would’ve also loved a shot of Cliff, stewing in his Mexican jail cell, knowing his daughter was marrying a Ewing back home. Likewise, “Dallas” does such a nice job of incorporating Audrey Landers into the narrative whenever she guest stars — Sue Ellen and Afton’s bitchy exchange was a special treat for longtime fans — so I can’t help but wonder why the show seems to struggle to find meaningful things for Steve Kanaly and Charlene Tilton to do when Ray and Lucy visit.

Additionally, it’s worth noting this episode takes place in a single day — you’d have to dig deep into “Dallas’s” past, all the way back to 1978’s “Barbecue,” to find another — although I wish the focus remained on the doings at Southfork the way it does in the early episode. I could do without most of the “Lifting the Veil” scenes set at the brothel (the fanciest little whorehouse in Texas?), especially the silly bit with the railroad commissioner and his canine fetish. The revelation that Judith Ryland is the madam is also a bit much, especially when you consider the show has already established her as a drug smuggler. Does Mother Ryland rob banks too? On the other hand: I like the twist that Harris is secretly working with John Ross’s secretary, Candace, although I’m not wild about his scheme to use her to collect, uh, DNA evidence from John Ross in order to frame him for a sex crime.

My reservations about the Rylands aside, you’ve got to love Judith Light’s 1980s lion’s–mane hair in her brothel scene, as well each actor’s pitch-perfect look at the wedding. Since interviewing “Dallas” costume designer Rachel Sage Kunin and hairstylist Charles Yusko, I’ve developed a much greater appreciation for how crucial the wardrobe and hair teams are to establishing each character’s persona. To see what I mean, go watch the wedding scenes at the end of the new show’s first episode, “Changing of the Guard.” Notice how much more sophisticated and womanly Gonzalo’s character looks in “Lifting the Veil” when compared to the earlier wedding? The two sequences were filmed just two years apart, so the change in the actress’s appearance is achieved mostly through Yusko and Kunin’s magic.

In a show that has more than its share of big stars, it’s always worth remembering that some of the brightest work behind the scenes.

Grade: B

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Like father, like husband

‘LIFTING THE VEIL’

Season 3, Episode 4

Telecast: March 17, 2014

Audience: 1.8 million viewers on March 17

Writer: Taylor Hamra

Director: Bethany Rooney

Synopsis: John Ross blackmails a Texas land-use commissioner into giving him a permit to drill on Southfork, while Harris tells Judith he’s secretly working with Ewing Energies secretary Candace, who’s going to help Harris frame John Ross so he can blackmail him and reclaim his files. Sue Ellen confronts John Ross about his affair with Emma, but John Ross dismisses his mother’s concerns and exchanges vows with Pamela. Christopher returns from Mexico and warns Elena that Nicolas is married, but Nicolas assures Elena he’s getting a divorce. Later, Lucia arrives in Dallas and threatens to expose secrets from Nicolas’s past if he doesn’t reconcile with her, while Christopher and Heather make love.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Ryland), Jordana Brewster (Elena Ramos), Angélica Celaya (Lucia Treviño), Candace (Jude Demorest), Juan Pablo Di Pace (Nicolas Treviño), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Ewing), Currie Graham (Commissioner Stanley Babcock), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Steve Kanaly (Ray Krebbs), Audrey Landers (Afton Cooper), Judith Light (Judith Ryland), AnnaLynne McCord (Heather), Jesse Metcalfe (Christopher Ewing), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Charlene Tilton (Lucy Ewing), Denyse Tontz (Chastity), Erika Page White (Sapphire)

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

Filed Under: Critiques, Critiques (TNT), Opinion Tagged With: Audrey Landers, Barbecue, Bethany Rooney, Changing of the Guard, Charlene Tilton, Charles Yusko, J.R.’s Masterpiece, Josh Henderson, Judith Light, Julie Gonzalo, Larry Hagman, Lifting the Veil, Linda Gray, Rachel Sage Kunin, Steve Kanaly, Taylor Hamra, TNT

Drill Bits: ‘Dallas’ Season 2 Arrives on DVD

February 11, 2014 by Chris Baker 6 Comments

Ann Ewing, Bobby Ewing, Brenda Strong, Dallas, Emma Bell, Emma Ryland, Patrick Duffy, TNT

They’re here

“Dallas’s” second season arrives on DVD today, and not a moment too soon. Fans now have less than two weeks to catch up with the Ewings before TNT begins televising Season 3 on Monday, February 24. It’s a good thing many of us have a long weekend coming up. We’re going to need it.

The four-disc set, which sells for $39.98, includes all 15 second-season episodes, along with lots of extras. The highlights:

• An extended version of “J.R.’s Masterpiece.” The instant-classic funeral episode offers about six minutes of extra footage, including Ann’s eulogy, which is based on a conversation Brenda Strong had with Larry Hagman before he died.

The latter nugget is one of the tidbits you’ll hear from executive producers Cynthia Cidre and Michael M. Robin on the audio commentary. Other revelations: Cidre and Patrick Duffy initially believed Bobby shouldn’t speak at the funeral, and the scene where the Ewings arrive in Nuevo Laredo to retrieve J.R.’s body was filmed at the Fort Worth stockyards.

• More than 15 deleted scenes. In one sequence, Bobby comes onto the Southfork patio and finds J.R. listening to his ex-wife being interviewed on the radio. Says J.R.: “You just missed it, Bob. Sue Ellen called me a philanderer — on the radio. I’m not saying I don’t deserve it. I’m just surprised she didn’t used a dirtier word.” You’ll also see Ann and Bobby discuss Christopher’s search for Pam. “I think that sometimes the past is best left alone. … I’d just hate for Pam to cause you or Christopher any more pain,” Ann says.

• Cast interviews. The cast’s panel discussion at last year’s Paley Fest television festival is included, along with a feature where the actors recall working with Hagman. (Robin’s tribute is especially moving.) Also included: an interview that Hagman recorded around the time the new “Dallas” debuted in 2012. In a particularly poignant moment, he praises his new co-stars and says, “We’ve got four wonderful young actors that are going to drag me through another 13 years. At least I hope to hell they will.”

As if the DVD isn’t enough, TNT also announced plans yesterday to televise every episode from “Dallas’s” first two years before Season 3 begins. The 25-hour marathon starts Sunday, February 23, at 8 p.m.

You dirty boy

Presenting Mr. Henderson

TNT set hearts aflutter last week when it shared sexy shots of Elena (Jordana Brewster), Pamela (Julie Gonzalo), John Ross (Josh Henderson) and Christopher (Jesse Metcalfe) on Facebook and Twitter and asked “Dallas” fans which character should be the “face” of the show’s third-season advertising campaign.

The winner: John Ross, whose image received 31,000 “likes” on Facebook and 360 “favorites” on Twitter. Something tells me his daddy would be awfully proud.

I’ve posted all four images on Dallas Decoder’s Facebook and Pinterest pages. Which one do you like best?

Look Who’s Talking

The “Dallas” cast will soon be making the talk-show rounds to promote the third-season premiere. Last week, the folks who operate Linda Gray’s Facebook page announced she’ll appear soon on NBC’s “Today,” CNN’s “Piers Morgan Tonight,” Bravo’s “Watch What Happens Live” and Katie Couric’s syndicated show.

Of course, if you can’t wait to hear the scoop on “Dallas,” check out the highlights from Gray’s recent conversation with Dallas Decoder and other bloggers.

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

Filed Under: Drill Bits, News Tagged With: Cynthia Cidre, J.R.’s Masterpiece, Jesse Metcalfe, Jordana Brewster, Josh Henderson, Julie Gonzalo, Larry Hagman, Linda Gray, Michael M. Robin, TNT

Here’s Everything That’s Happened on ‘Dallas,’ Ever*

February 5, 2014 by Chris Baker 10 Comments

Ain’t over yet

It’s never too late to start watching “Dallas.” If you missed the original show and the first two seasons of TNT’s sequel series, fear not: This post will tell you everything you need to know before Season 3 begins on Monday, February 24. (*OK, this isn’t really everything that’s happened on “Dallas.” For that, you’ll have to keep reading Dallas Decoder every day.)

The Original Series (1978 to 1991)

In the beginning

Bobby Ewing (Patrick Duffy), the youngest son of a rich oil and cattle clan, marries Pam Barnes (Victoria Principal) and brings her home to Southfork, the Ewing ranch. This upsets everyone, especially Pam’s daddy Digger (David Wayne), who blames Bobby’s daddy Jock (Jim Davis) for stealing his sweetheart, Miss Ellie (Barbara Bel Geddes), and cheating him out of half of Ewing Oil. While Bobby’s devious brother J.R. (Larry Hagman) is building the family empire and catting around, J.R.’s neglected wife Sue Ellen (Linda Gray) becomes an alcoholic and has an affair with Cliff (Ken Kercheval), Pam’s vengeful brother. Later, J.R. and Sue Ellen have a son, John Ross, while Bobby and Pam adopt Christopher, the orphaned child of Sue Ellen’s sister Kristin Shepard (Mary Crosby) and sleazy Jeff Faraday (Art Hindle). Elsewhere, Ray Krebbs, Southfork’s foreman, discovers Jock is his daddy and marries savvy politico Donna Culver (Susan Howard), while Lucy (Charlene Tilton), the daughter of J.R. and Bobby’s middle brother Gary (Ted Shackelford) and his wife Valene (Joan Van Ark), gets engaged to everyone.

End of an era

More drama: Digger dies and so does Jock, leaving Ellie to hold the family together with help from second hubby Clayton Farlow (Howard Keel). Southfork burns down, but the Ewings rebuild it. Cliff hooks up with Afton Cooper (Audrey Landers), who gives birth to their daughter Pamela Rebecca, but Afton refuses to let Cliff near the child because of his fixation with destroying the Ewings. Cliff and Pam’s half-sister Katherine Wentworth (Morgan Brittany) arrives, becomes obsessed with Bobby and tries to kill him, then vanishes under a big hat. Sue Ellen beats the bottle and divorces J.R., while Pam has a bad dream, gets burned in a car crash and runs away. Bobby has an on-again, off-again romance with first love Jenna Wade (Priscilla Beaulieu Presley), who gives birth to their son Lucas and then marries newly divorced Ray. James (Sasha Mitchell), J.R.’s illegitimate son, shows up for a while and emulates the old man. Bobby marries April (Sheree J. Wilson), but she dies. J.R. marries Cally (Cathy Podewell), but she leaves. In the end, Cliff finally takes over Ewing Oil, leaving J.R. alone and suicidal.

Bobby Ewing, Dallas, Patrick Duffy, Swan Song

Hurts so good

Best Episode: “Swan Song.” The eighth-season finale finds J.R. and Sue Ellen’s marriage on the rocks, unlike the vodka she’s secretly swilling in her bedroom. Meanwhile, Bobby chooses Pam over Jenna, but crazy Katherine runs him over with her car. The episode ends with the Ewings bidding farewell to Bobby in a deathbed scene that’s so beautifully written and acted, you almost wish it wasn’t part of Pam’s dream. Almost.

Dallas, J.R. Ewing, Larry Hagman, Who Shot J.R.?

Shot in the dark

J.R.’s Greatest Moment: Who shot J.R.? Sure, taking a couple of slugs to the gut is no fun for our hero, but at least he makes billions of dollars in a risky offshore oil deal before he’s gunned down. Oh, and in case you didn’t hear, J.R.’s assailant turns out to be Kristin, his sister-in-law/ex-secretary/ex-mistress, who’s revealed as the shooter in one of the most-watched broadcasts in television history. (Props to Sue Ellen, who figures it all out.)

TNT Season 1 (2012)

Christopher Ewing, Dallas, Jesse Metcalfe, John Ross Ewing, Josh Henderson, TNT

When cousins clash

J.R. emerges from a nursing home and tricks Bobby into selling him Southfork so he can tap the ocean of oil flowing beneath it. Like their fathers, John Ross and Christopher (Josh Henderson, Jesse Metcalfe) butt heads, except their rivalry has an added twist: John Ross has fallen for Elena Ramos (Jordana Brewster), who was Christopher’s childhood sweetheart. Christopher marries Rebecca Sutter (Julie Gonzalo), unaware that she’s the daughter of Cliff, who is now the gazillionaire owner of Barnes Global and still hell-bent on destroying the Ewings. Rebecca kills her lover Tommy Sutter (Callard Harris) in self-defense and has Cliff’s henchman Frank Ashkani (Faran Tahir) dispose of the body. Meanwhile, Sue Ellen runs for governor; Bobby’s new wife Ann (Brenda Strong) feels threatened by ex-husband Harris Ryland (Mitch Pileggi), who knows she’s harboring a dark secret; and John Ross, Christopher and Elena form a company, Ewing Energies, but the partnership is threatened when Elena breaks her engagement to John Ross and reunites with Christopher, who dumps the pregnant Rebecca.

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

Bad does good

Best Episode: “Family Business.” In one of Hagman’s most poignant performances, J.R. learns Bobby is secretly battling cancer and returns Southfork to him, ending the season-long war for the ranch. Later, in a chill-inducing musical montage (set to Johnny Cash’s “The Man Comes Around”), poor Bobby suffers a seizure and Rebecca shoots Tommy, splattering blood over her unborn twins’ stuffed animals. Hmmm. Foreshadow, much?

Pass the torch

J.R.’s Greatest Moment: Who loves J.R.? His son John Ross, who ends the season by gazing at the Dallas skyline with dear old dad and asking him to teach him “every dirty trick” he knows so he can push Christopher and Elena out of Ewing Energies. J.R. beams with pride and tells John Ross that he’s his son “from tip to tail.” Hey, J.R. may have given up the fight for Southfork, but he wasn’t giving up his devious ways — thank goodness.

TNT Season 2 (2013)

Cliff Barnes, Dallas, Ken Kercheval, TNT

All about evil

Rebecca reveals she’s Pamela Rebecca Barnes and hooks up with John Ross. Ann shoots Harris after learning he kidnapped their daughter Emma when she was a baby and sent her to be raised by his control-freak mother, Judith (Judith Light). Ann gets probation, Harris recovers and Judith falls down the stairs. Frank takes the blame for Tommy’s death and kills himself at the request of Cliff, who causes Pamela’s miscarriage. When J.R. is murdered in Mexico, it appears Cliff is the killer, so Bobby, Christopher and newlyweds John Ross and Pamela plant evidence on Cliff to make sure he’s arrested. Oh, and Christopher also discovers Cliff covered up his mom’s death. Elsewhere, John Ross somehow inherits half of Southfork; Sue Ellen loses the election but continues to tangle with Governor McConaughey (Steven Weber); Emma (Emma Bell) sleeps with Elena’s ne’er-do-well brother Drew (Kuno Becker), becomes John Ross’s mistress and turns Harris in to the cops for drug trafficking; and when Christopher dumps Elena, jailbird Cliff asks her to become his proxy at Barnes Global, which the Ewings now control.

Dallas, J.R.'s Masterpiece, Linda Gray, Sue Ellen Ewing, TNT

Mourning glory

Best Episode: “J.R.’s Masterpiece.” Our hero is laid to rest in an instant-classic hour that brings back several stars from the original series. The highlight: On the night before J.R.’s burial, Sue Ellen takes a heartbreaking tumble off the wagon, then delivers a mesmerizing eulogy for the man she calls “the love of my life.” Can someone please explain how Linda Gray didn’t win an Emmy for this performance?

Only you

J.R.’s Greatest Moment: Who killed J.R.? J.R. did, of course. It turns out he was dying of cancer and arranged his own death so Cliff could be framed for the crime, thus ending the Barnes-Ewing feud … for about 2 minutes, at least. Only a handful of people know the truth, including Bobby, J.R.’s loyal private eye Bum (Kevin Page), Christopher and John Ross, who gets it right when he says, “The only person who could take down J.R. … was J.R.”

What are your favorite “Dallas” memories? Share them below and read more features from Dallas Decoder.