Who’ll Ask #DallasChat’s 500th Question? It Could Be You

May 19, 2014 by 4 Comments
Dallas, J.R. Ewing, Larry Hagman, TNT

Thanks for the memories

Who wants to make #DallasChat history?

The next edition of #DallasChat, our weekly “Dallas” discussion on Twitter, will be held Monday, May 19, from 9 to 10 p.m. Eastern time. The theme will be “Memories and Milestones.” At the end of the discussion, I’ll ask the 500th #DallasChat question — and I want you to tell me what that question should be.

Leave your suggestions in the comments section below, tweet them to me @DallasDecoder or post them to my Facebook page. I’ll choose the best question and ask it at the end of the chat.

If you’re new to #DallasChat, here’s how it works: For one hour, I tweet 10 questions to my fellow “Dallas” fans. Each question is numbered and includes the hashtag #DallasChat, so your answers should do the same. Please include the show’s official hashtag, #DallasTNT, in your tweets too.

Here’s a sample exchange:

Q1. When did you begin participating in #DallasChat? #DallasTNT

A1. I was here for the first #DallasChat on April 29, 2013. Fifty discussions later, I’m still chatting! #DallasTNT

Here are two tips:

• During the discussion, enter #DallasChat in Twitter’s search field. This will help you watch the search results so you can follow the conversation. Click “All” to see all the related tweets.

• Be sure to include #DallasChat in your tweets. This allows the other participants to see your contributions to the conversation.

This will be an historic #DallasChat. Don’t miss it!

Filed Under: #DallasChat, #DallasChat announcements, Opinion Tagged With: ,

The Dal-List: 10 Reasons TNT Should Renew ‘Dallas’ (Again)

April 25, 2014 by 58 Comments
Dallas, John Ross Ewing, Josh Henderson, Linda Gray, Sue Ellen Ewing, TNT

Never turn your back on a Ewing

We’ll find out who survived the Southfork fire when “Dallas’s” third season resumes on Monday, August 18, but there’s an even bigger cliffhanger afoot: Will TNT give the series a fourth season? To ensure the cable channel’s executives make the right decision, here are 10 reasons TNT should renew “Dallas” again.

Dallas, John Ross Ewing, Josh Henderson, TNT

Watch like you mean it

10. “Dallas” is TNT’s most-watched show (right now). “Dallas’s” midseason cliffhanger episode clocked 2.1 million viewers on April 14, making it TNT’s most-watched regularly scheduled show last week. Only the cable channel’s NBA coverage performed better. One week earlier, “Dallas” finished first overall, besting basketball and the ever popular “Law & Order” reruns. TNT, surely you wouldn’t drop your top show at the moment!

Christopher Ewing, Dallas, Jesse Metcalfe, TNT

Audiences grow back too!

9. “Dallas’s” ratings are growing. Yes, we all know “Dallas’s” numbers dipped this year, but they’re bouncing back. Since March 17, when the show hit a series low of 1.78 million viewers, “Dallas’s” audience on Mondays at 9 p.m. has grown 15 percent, with that cliffhanger episode hitting 2.1 million viewers. This means for the past five consecutive weeks, the show’s numbers went up.  This is what’s known as “momentum,” TNT.

Christopher Ewing, Dallas, Jesse Metcalfe, TNT

Not that kind of hit, dude

8. “Dallas” is a DVR hit. Last season, roughly 800,000 DVR users recorded “Dallas” each Monday night and watched it within the next three days. This number has pretty much held steady this year, lifting “Dallas’s” Monday night average of 1.9 million viewers to 2.8 million viewers overall. This means “Dallas” has one of the most reliable DVR audiences in prime-time cable television. That’s nothing to skip over, TNT.

Dallas, John Ross Ewing, Josh Henderson, Julie Gonzalo, Pamela Rebecca Barnes Ewing, TNT

Real. Love.

7. Adults love “Dallas.” This might be the most important number of all: “Dallas” is averaging 1.2 million adults between ages 25 and 54 (including DVR users). Why should you care? First, TNT targets 25-to-54-year-olds, so these are the viewers the channel cares about most. Second, last year, “Dallas” averaged 1.5 million 25-to-54-year-olds, so even though the show has declined overall, it’s held fairly steady with TNT’s favorite viewers.

Dallas, Elena Ramos, Jordana Brewster, TNT,

Who knew?

6. “Dallas” is TNT’s biggest show on social media. “Dallas” has 1.6 million Facebook “likes” and 88,800 Twitter followers — more than any other TNT series. In fact, TNT’s biggest hit, “Major Crimes,” has only 488,000 Facebook likes and 12,500 Twitter followers. That’s right: “Dallas” is three times as big as “Major Crimes” on Facebook and seven times as big on Twitter. Suck on that, “Major Crimes”! (Sorry, “Major Crimes.” Couldn’t resist.)

Dallas, Emma Bell, Emma Ryland, Julie Gonzalo, Pamela Rebecca Barnes Ewing, TNT

Feel the heat

5. “Dallas” has buzz. “Dallas” raised a ruckus with that notorious three-way in the midseason cliffhanger, but the show has made its mark in other areas too. Entertainment Weekly went gaga over Judith Ryland’s coke-snorting scene, and on separate occasions, Judith and Sue Ellen each wound up near the center in EW’s weekly “Bullseye” feature. You know what show hasn’t hit EW’s “Bullseye” this year? “Major Crimes.” Just sayin’.

Ann Ewing, Brenda Strong, Dallas, Harris Ryland, Mitch Pileggi, TNT

Love. Really?

4. Metacritic loves “Dallas.” From a creative standpoint, “Dallas” has never been better, but don’t take my word for it: Users at Metacritic, the online review aggregator, currently give the show’s third season a score of 8.6 (out of 10), up from a 6.7 for Season 2 and a 7.3 for Season 1. This means “Dallas” outranks the current cycles of “Scandal” (7.4), “The Walking Dead” (7.4), “Downton Abbey” (7.3) and, yes, “Major Crimes” (5.5).

Dallas, John Ross Ewing, Josh Henderson, TNT

A star is born

3. Two words: “Josh Henderson.” “Dallas” is blessed with one of the strongest acting ensembles on television, but this season, Henderson has emerged as first among equals. He’s delivering a remarkably complex performance, alternately making John Ross a source of scorn and sympathy. (Remind you of someone else we once knew?) Trust me: Henderson is going to be a big star someday. Hold on to him as long as you can, TNT.

Dallas, Linda Gray, Sue Ellen Ewing, TNT

Always our darlin’

2. Two more words: “Linda Gray.” As much as we love everyone on “Dallas” — and we adore them all! — Gray is special. Our admiration for her knows no limits. Dare I suggest she’s the main reason most of us watch, DVR, tweet and Facebook the show? No one does a better job evoking the old Hagman magic, and if there’s any justice in the world, TNT will renew “Dallas” and campaign like hell to get Gray the Emmy she deserves.

Bobby Ewing, Dallas, Patrick Duffy, TNT

Grrr

1. If you don’t renew “Dallas,” Bobby Ewing will be pissed. And take our word for it: You don’t want him mad at you. Just ask Ann.

 

 

 

 

 

 

Why do you think TNT should renew “Dallas”? Share your thoughts below and read more “Dal-Lists.”

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

April 21, 2014 by 26 Comments
Dallas, John Ross Ewing, Josh Henderson, TNT

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.

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The Dallas Decoder Guide to Household Safety

April 14, 2014 by 8 Comments
Bobby Ewing, Christopher Ewing, Dallas, Jesse Metcalfe, Patrick Duffy, TNT, Where There's Smoke

Here they go again

No one should be surprised to see Southfork go up in flames in “Where There’s Smoke,” TNT’s latest “Dallas” episode. The Ewings aren’t exactly the poster family for exercising care and caution around the house, are they? Here’s a look at the everyday, common sense practices they routinely ignore.

B.D. Calhoun, Dallas, Hunter von Leer, J.R. Ewing, Larry Hagman

Don’t hit the snooze button

Lock your doors. It sounds so simple, and yet the Ewings never seem to grasp the importance of this one. When B.D. Calhoun (Hunter von Leer) tried to kill J.R., did he swarm Southfork with his band of gun-toting mercenaries-for-hire? Nope. Calhoun simply walked into the house in the middle of the night, climbed the stairs, slipped into J.R.’s room and left a ticking time bomb on the nightstand. Several years later, when Vicente Cano decided to hold the Ewings hostage in their living room, he too waltzed in through the front door. Sheesh! Look, Southfork doesn’t have that many entrances. Is it that hard to remember to lock them?

Dallas, J.R. Ewing, Larry Hagman

Looks right at home

Avoid fires. We can all agree open flames inside a home are almost never a good idea, right? So could someone please explain why J.R. (Larry Hagman) had all those candles burning at Southfork on the night Ray showed up to confront him over Mickey Trotter’s accident? I mean, it’s not like J.R. was trying to set a romantic mood for Sue Ellen, who was passed out drunk upstairs. Anyhow, J.R. and Ray got into a huge fistfight, the candles went crashing to the floor and before you knew it, the house was ablaze. Everyone escaped unharmed, although poor John Ross was so traumatized, he emerged from the tragedy looking like a different kid.

Alexis Smith, Dallas, Jessica Montfort, J.R. Ewing, Larry Hagman

Nuts for breakfast

Know your houseguests. Is there a polite way to ask potential guests if they have a history of mental health issues? If so, please pass this tip along to the Ewings, who are constantly offering room and board to people who belong in an insane asylum, not the spare bedroom at Southfork. Over the years, the Ewings’ overnight guests have included Jessica Montfort (Alexis Smith), who ended up kidnapping Miss Ellie and stuffing her in the trunk of her car; sex-crazed drug dealer Tommy McKay, who practically tried to rape April Stevens in John Ross’s bed; and that dreadful Cousin Jamie, who wasn’t crazy but drove everyone else bonkers.

Dallas, Donna Culver Krebbs, Ray Krebbs, Steve Kanaly, Susan Howard

Oh, Donna

Don’t provoke the animals. Oh, look. Here’s dear, pregnant Pam, who gets in accidents the way other people catch colds. Pam can’t find her husband Bobby, so she’s decided to ride her horse out to the barn to look for him. Pam, given your condition, are you sure that’s a good idea? Oops, too late: Pam fell off the horse. Oh, no. What’s happening now? Is our buddy Ray (Steve Kanaly) trying to introduce his pregnant wife Donna (Susan Howard) to one of the Southfork bulls? Ray, given your wife’s condition, are you sure that’s a good idea? Oops, too late: The bull got spooked and tried to charge Donna, who’s been knocked out cold. Sigh.

Bobby Ewing, Dallas, Patrick Duffy, Ray Krebbs, Steve Kanaly

Ka-booom!

Be a good neighbor. When you have a dispute with a neighbor, do you try to resolve it by talking things out? If so, you’re nothing like the Ewings, whose preferred approach to conflict resolution is to start blowing stuff up. Just ask Carter McKay. After he bought the ranch next to Southfork and got into a spat with the Ewings over water rights, they responded by stuffing McKay’s dam full of dynamite and blasting it to smithereens. This led to a war between the McKays and the Ewings — no, seriously, both families hired their own armies — which is surely a violation of the Braddock homeowners’ association bylaws.

Charlene Tilton, Dallas, Linda Gray, Lucy Ewing, Ray Krebbs, Sue Ellen Ewing, Steve Kanaly

Not now, Lucy

Beware of heights. Elevated spaces can be dangerous. We all know this, right? So why can’t the Ewings and their friends steer clear of them? Klutzy Pam fell from the hayloft — and suffered a miscarriage, no less. Sue Ellen (Linda Gray) and Clayton each tumbled down the stairs — although not at the same time, thank goodness. And when a couple of renegade oil barons began chasing secretary Julie Grey, she went to the roof of her building because … well, why not? Then there’s poor Kristin, who figured the Southfork balcony was the perfect place to try to blackmail the man she once pumped full of lead. We all know how well that turned out.

Christopher Ewing, Dallas, Joshua Harris

Killer fashions

Protect the kids. Do you see the tragedy that’s about to unfold in this picture? I’m not referring to the fact that little Christopher (Joshua Harris) is pulling Bobby’s gun out of the bedroom closet so he can play with it. Ewings love guns; that’s just a fact of life and nothing will ever change it. No, I’m talking about that L.A. Gear shoebox. Does this mean Pam wore L.A. Gears, the gaudiest sneakers known to man? You don’t suppose they were neon pink high-tops, do you? Look, I don’t care if it was the ’80s; how could Pam subject her family to those ugly shoes? For goodness sake, Pam, think of the children!

Bobby Ewing, Cliff Barnes, Dallas, J.R. Ewing, Ken Kercheval, Larry Hagman, Patrick Duffy

Way to make a splash

Don’t go near the water. You know what swimming pools are for? Swimming. They’re not the place to settle scores with Cliff Barnes (Ken Kercheval) and they’re not the place to work out Ewing Oil business disputes. Of course, just try telling this to the Ewings, who are constantly shoving their enemies — and each other — into the Southfork pool. Everyone gets dunked — fully clothed and against their will — at one point or another. Or at least that’s what used to happen on “Dallas.” This might be the one area of household safety where the Ewings have learned their lesson, which is kind of a shame. I mean, where’s the fun in that?

Bobby Ewing, Dallas, Patrick Duffy

What have they done now?

Get some insurance. Maybe the reason the Ewings aren’t more careful around the house is because they’ve got the best insurance policy ever: Bobby (Patrick Duffy). No matter what mishaps befall these people, they know good ol’ Bob will save the day. Southfork catches fire? Bobby will come along in the nick of time to make sure everyone gets out alive. Range war with McKay? Bobby will go Chuck Norris on his ass and single-handedly disarm his militia. That termite Cliff starts a pool fight? Well, Bobby won’t break up the scuffle, but he’ll make damn sure Barnes gets the beating he deserves. Bobby, this is why we love you. Never leave us, OK?

What have the Ewings taught you about household safety? Share your comments below and read more “Dallas Decoder Guides.”

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The Dal-List: 31 Things That Happen When You Watch ‘Dallas’

April 7, 2014 by 9 Comments
Dallas, John Ross Ewing, Josh Henderson, TNT

Mr. Cool

What happens when “Dallas” fans watch the show? Here are 31 experiences we all share when we tune in to TNT on Monday nights.

1. You settle into your comfiest chair with a pint of ice cream and/or a tall glass of wine and think, “It’s ‘Dallas’ night. Life is good.”

2. The teaser scene starts. If it features Josh Henderson, you reach for something to fan yourself.

3. The theme song begins and you get chills because it’s biologically impossible to not get excited when you hear this music.

4. You see the three-way split-screen opening credits. You feel joy.

5. Before the first commercial break, someone blackmails someone else. (Note: This will happen at least six more times before the episode ends.)

6. Sex!

Dallas, Linda Gray, Sue Ellen Ewing, TNT

How does she do it?

7. Linda Gray appears and looks fantastic. You turn to the spouse/roommate/cat sitting next to you and say, “How does she manage to get more beautiful each week?”

8. The spouse/roommate/cat doesn’t make a peep because you’ve trained him/her/it to be completely silent when “Dallas” is on.

9. Is Sue Ellen blackmailing someone? Putting John Ross in his place? It doesn’t matter. Whatever she’s doing, you think, “Gray is totally crushing this scene.”

10. Someone mentions J.R. You smile and feel thankful for all the wonderful performances Larry Hagman gave us over the years.

11. Bobby (Patrick Duffy) calls John Ross “boy.” You realize you never get tired of hearing him do this.

12. Brenda Strong appears and you can’t help but wonder: Is Ann is going to shoot someone tonight?

13. Something happens in the storyline that doesn’t quite add up but you decide not to dwell on it because the rest of the show is So. Damn. Good.

14. You suddenly get a hankering for a Miller Lite. You’re not sure why.

15. You hop onto Twitter, read the cast’s tweets and feel impressed by how cool the actors are.

16. “Maybe I should buy a Microsoft Surface,” you think.

17. You notice how fantastic Jordana Brewster and Julie Gonzalo’s hair looks and wish Charles Yusko could style your hair too.

18. You see everyone’s amazing clothes and wonder if Rachel Sage Kunin would be willing to go shopping with you.

19. Nicolas appears. It occurs to you: Juan Pablo Di Pace is wearing too much clothing.

Dallas, Emma Bell, Emma Ryland, TNT

Love to hate

20. Emma (Emma Bell) does something scandalous and you love it even though you pretend to hate her.

21. Harris (Mitch Pileggi) does something mean and you love it even though you pretend to hate him.

22. Christopher (Jesse Metcalfe) doesn’t smile until Heather (AnnaLynne McCord) shows up but it’s OK because it’s the best smile ever and it’s always worth the wait.

23. Fracking!

24. Also: “Heritage!” “Tradition!” “Legacy!”

25. More sex.

26. Judith Light does something nuts.

27. The episode ends with a twist. You exclaim, “How did I not see that coming?!” followed by, “How is the show over already?!”

28. Once again, your spouse/roommate/cat knows better than to answer.

29. You think, “I can’t wait to read Dallas Decoder’s critique of this episode, which will probably be posted on Wednesday unless he’s busy in which case I’ll have to wait until Thursday.”

30. TNT plays the previews for next week’s show. You look at the nearest calendar and curse it because you have to wait seven whole days for another episode.

31. The closing credits end and TNT starts replaying the episode. You grab another pint of ice cream and/or refill your wineglass and start all over.

What did I overlook? Share your comments below and read more “Dal-Lists.”

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

April 3, 2014 by 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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Dallas, Linda Gray, Like Father Like Son, Sue Ellen Ewing, TNT

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.

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

March 19, 2014 by 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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Afton Cooper, Audrey Landers, Dallas, Julie Gonzalo, Lifting the Veil, Pamela Rebecca Barnes Ewing, TNT

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.

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The Dal-List: Classic ‘Dallas’s’ 8 Southfork Weddings, Ranked

March 17, 2014 by 10 Comments
Dallas, John Ross Ewing, Josh Henderson, Julie Gonzalo, Lifting the Veil, Pamela Rebecca Barnes Ewing, TNT

The tradition continues

John Ross and Pamela (Josh Henderson, Julie Gonzalo) eloped on “Dallas” last season, but they’ll get a traditional Southfork wedding in “Lifting the Veil,” TNT’s latest episode. Here’s a list of the eight Southfork weddings seen on the original show, ranked in order of preference. (Also, check out my recent list of all the Ewings who had multiple weddings, including ceremonies that occurred off-camera.)

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

Wrong way, Bob

8. Bobby Ewing and Jenna Wade (1984). Yes, I know. Bobby and Jenna never got married. But they did have a Southfork wedding; she never bothered to show up. I suppose I should cut Jenna some slack since the reason she skipped out on the ceremony was because her slimy ex-husband, Renaldo Marchetta, kidnapped her and forced her to remarry him instead … but I say nuts to that! I don’t care if Naldo was holding a gun to Jenna’s head; how could she leave Bobby (Patrick Duffy) standing at the altar — especially when he looked so darned handsome in his gray morning coat and striped pants? The ceremony ended with Ray apologizing to the crowd after Bobby dashed off to find his runaway bride. Am I the only one who wishes he hadn’t located her?

Bobby Ewing, Charlene Tilton, Charlie Wade, Clayton Farlow, Dallas, Donna Krebbs, Donna Reed, Howard Keel, Jenna Wade, J.R. Ewing, Larry Hagman, Linda Gray, Leigh McCloskey, Lucy Ewing, Miss Ellie Ewing Farlow, Dr. Mitch Cooper, Patrick Duffy, Priscilla Beaulieu Presley, Omri Katz, Ray Krebbs, Shalane McCall, Steve Kanaly, Sue Ellen Ewing, Susan Howard

Standing room only

7. Lucy Ewing and Mitch Cooper (1985). Lucy and Mitch’s second wedding was not nearly as grand as their first. It took place in the Southfork living room, which is probably better than the driveway, but nonetheless required the cast to squeeze into what looked like pretty tight quarters. This was Charlene Tilton’s final “Dallas” appearance for a while — the Coopers moved to Atlanta after the ceremony — and it was nice to see everyone give Lucy such a warm sendoff. Even J.R. got sentimental, telling his least-favorite niece, “Lucy, I never thought I’d say this, but I’m really going to miss you, honey. It won’t be the same without you to fight with.” The best part, though: The ceremony inspired Bobby to dump Jenna and go back to Pam. Karma’s a bitch, darlin’.

Barbara Bel Geddes, Bobby Ewing, Dallas, J.R. Ewing, Larry Hagman, Miss Ellie Ewing, Patrick Duffy

Mama’s boys

6. Miss Ellie Ewing and Clayton Farlow (1984). Ellie and Clayton had the healthiest marriage Southfork has ever seen — yes, even healthier than the one she had with Jock — and I’m sure they had a perfectly lovely wedding, but we don’t really know since “Dallas” never showed us the big event. We only saw Mama (Barbara Bel Geddes), looking so pretty in her purple suit, as she came down the stairs and joined Bobby and J.R. (Larry Hagman), who were supposed to walk her down the aisle. And then … cut to commercial! No shot of the crowd, no exchange of vows, no scenes of J.R. biting his tongue when the minister asked if anyone had objections. To make matters worse, when Ellie got back from her honeymoon, she looked like Donna Reed. (Nice lady, but not our Mama.)

April Stevens Ewing, Bobby Ewing, Dallas, Patrick Duffy, Sheree J. Wilson

Welcome to the jungle

5. Bobby Ewing and April Stevens (1990). Here’s a ceremony I wish we hadn’t seen — not because I don’t like Bobby and April (Sheree J. Wilson) as a couple, but because the producers filmed their wedding on a soundstage instead of the “real” Southfork. The result: It’s like the Ewings have landed on one of the fake-looking planets the Enterprise crew used to visit on “Star Trek.” I mean, check out this picture. Why does Southfork look like a jungle? It was nice to see all the pre-wedding festivities, though, including Bobby’s bachelor party at the Oil Baron’s Club and April’s bridal shower in the Southfork living room. Although I can’t help but wonder: Why was the guest list at April’s shower dominated by Bobby’s family and the Ewing Oil secretaries? Didn’t the poor girl have any friends of her own?

Oh, what now?

Oh, what now?

4. Bobby and Pam Ewing (1986). Right before these nuptials began, tipsy Ray blabbed the big secret that Jenna was pregnant with Bobby’s child, which almost made Pam call the whole thing off. (Must Jenna ruin everything?) But then the ceremony began, and it was a hoot: As Cliff escorted Pam down the aisle, he warned her that she was “walking straight into hell.” Meanwhile, when best man J.R. reminded Bobby that it wasn’t too late to change his mind, Bobby threatened to kick J.R.’s butt, prompting the minister to shush them both. The best part: During the vows, we saw flashbacks to Bobby and Pam’s first ceremony, which occurred off-camera in 1978. Sure, the show muffed some details — Duffy’s jacket and Victoria Principal’s hair were all wrong — but it was still a nice touch.

Dallas, J. Eddie Peck, Tommy McKay

Something blue

3. J.R. Ewing and Cally Harper (1989). This wedding was absolutely nuts, which is why I loved it. As soon as J.R. and Cally said “I do,” a big storm swept over Southfork, forcing everyone to spend the night at the ranch. Sue Ellen took the room across the hall from the newlyweds, Cliff bunked on the sofa, Carter McKay raided the refrigerator in the middle of the night and Lucy ran around filming everything with a camcorder that was as big as her. The most insane moment of all: Shirtless wacko Tommy McKay (played by the gloriously named J. Eddie Peck) — tried to put the moves on April — in little John Ross’s bedroom, no less! — and when she rebuffed him, he burst onto the balcony, smashed a bottle of booze against the wall and started screaming in the rain. I guess that was one way to cool off.

Charlene Tilton, Dallas, Lucy Ewing

Altar girl

2. Lucy Ewing and Mitch Cooper (1981). The first Southfork wedding seen on “Dallas” was also filmed on the soundstage, so the show staged the ceremony on the driveway set since, you know, there was no lawn. Otherwise, the producers spared no expense, even bringing in Gary and Val, Lucy’s deadbeat parents from “Knots Landing,” to witness the nuptials. In fact, there were so many extras on the dance floor, I was afraid they were going to waltz right over Sue Ellen, who sat around flirting with snoozetastic Clint Ogden. I also loved when Jock and his sons ducked into the living room to conduct a little business on Lucy’s wedding day (shades of “The Godfather”), although the best part of all came when J.R. and Afton snuck off during the reception to have sex — in the bed he shared with Sue Ellen!

Cliff Barnes, Dallas, J.R. Ewing, Larry Hagman

Back off, Barnes!

1. J.R. and Sue Ellen Ewing (1982). Now this is everything a Southfork wedding should be. One year after J.R. and Sue Ellen were divorced, they got hitched again because, you know, why not? The wedding was so big, it couldn’t be contained to a single episode: Part 1 ended with the minister asking if anyone had objections to the couple’s remarriage, and even though everyone should’ve stood up, the only person who did was Cliff (Ken Kercheval). So did he interrupt the nuptials? Nah. At the beginning of Part 2, we realized he was just stretching his legs. The ceremony continued and then it was on to the reception, which was ruined when J.R. and Cliff started a brawl that began on the dance floor and ended in the swimming pool. Perfect! The only thing that would’ve made this more fun was if Jenna had gotten dunked too. (Oh, quit your moaning. You know she deserved it.)

What’s your favorite “Dallas” wedding? Share your comments below and read more “Dal-Lists.”

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The Dal-List: 15 Reasons You Should Be Watching ‘Dallas’

March 10, 2014 by 32 Comments
Dallas, John Ross Ewing, Josh Henderson, Julie Gonzalo, Pamela Rebecca Barnes Ewing, TNT

Watch and love

What’s that, you say? You’re not watching the new season of “Dallas”? Well, put down that bottle of stupid pills and listen up. Here are 15 excellent reasons to start tuning in to the series, which TNT shows every Monday night.

Dallas, Judith Light, Judith Ryland, TNT

Snow’s the boss

15. Judith Ryland is nuts. Remember Angela Bower, Light’s sensible, self-controlled character on “Who’s the Boss?” Well, go ahead and put that performance out of your mind because Angela is nothing like Judith Ryland, the coke-snortin’, drug-traffickin’, truth-bomb-droppin’, cane-thumpin’ control freak Light plays on “Dallas.” Judith is the most wicked and unpredictable character on television today. What will crazy lady do next? I have no clue, but I can’t wait to find out.

Dallas, Juan Pablo Di Pace, Nicolas Trevino, TNT

Delicious

14. Di Pace = Divine. So the Ewings are sitting around their boardroom, being Ewings, when all of a sudden some dude named “Nicolas Treviño” waltzes in and starts bossing everyone around. Who is Nicolas? Who cares! What matters is that he’s played by Juan Pablo Di Pace, who is absolutely delectable. I mean, look at this guy. How is he even real? Di Pace is suave, charming and so far, he’s had sexual chemistry with virtually everyone he’s had a scene with. Don’t you want to be there when Judith meets him?

Dallas, Elena Ramos, John Ross Ewing, Jordana Brewster, Josh Henderson, Linda Gray, Sue Ellen Ewing, TNT

Watch and learn

13. You can learn stuff. Did you know that in Texas, a company can’t unload a major division unless a “supermajority” of its shareholders approve the sale? Or that sometimes oil-rich “shale formations” can rise within a property’s “surface rights”? I know both things are true because “Dallas” tells me so. I’ll confess: I’m sometimes dubious of the veracity of the legal and technical mumbo-jumbo these characters spout, but it mostly checks out. So do your brain a favor and start watching. You’ll be entertained and enlightened.

Bum, Dallas, Kevin Page, Steve Jones, TNT

Bum in the night

12. Bum. You know what’s really cool about “Dallas” this season? Kevin Page is being featured more prominently than ever. His character, Steve “Bum” Jones, will go down in TV history as the last guy to shoot J.R., but Page’s greatest contribution to the show might be the way Bum has become John Ross’s conscience. And am I the only one who’s noticed Page’s off-the-charts chemistry with Linda Gray? He’s now a vital part of “Dallas.” Here’s hoping Bum gets bumped up to a series regular soon.

Christopher Ewing, Dallas, Jesse Metcalfe, TNT

Perfection

11. Jesse Metcalfe has a beard now. I know what you’re thinking: Metcalfe has such a nice face, why cover it up? I felt that way when I heard about the beard too. But then I saw it and oh my goodness it’s the best beard in the history of facial hair. (Yours is nice too, Mr. Pileggi.) I mean, take a look at that thing. What’s not to love? The sad part is the beard is going to go away midseason, but that’s still a good a reason to watch the show. Let’s all savor every second of Christopher’s scruff before he shaves it off.

Bobby Ewing, Dallas, Patrick Duffy, TNT

Total. Badass.

10. Bobby Ewing is still pissed! Remember when Bobby screamed at Ann before J.R.’s funeral last season? Well, Patrick Duffy continues to bring an edge to his character this year. Who didn’t love Bobby’s recent “stupid pills” quip, or how he always looks like he wants to throttle John Ross? There’s also this: Duffy’s portion of “Dallas’s” new opening credits feature last year’s scene in which Bobby did that badass, “Reservoir Dogs”-style slow-mo walk. Now we get to relive it each week!

Ann Ewing, Brenda Strong, Dallas, TNT

Feel the love

9. Brenda Strong is awesome. We love Ann Ewing. We love how she stands by Bobby, how she embraces the Ewings for all their Ewing-ness, how she never seems to regret that one time she tried to kill Harris. That’s what makes Strong such an amazing actress. No matter what the script calls for, she never let us lose sight of her character’s humanity — even when Ann grabs her gun and starts shooting people. And isn’t it cool that Patrick Duffy finally has a leading lady who can look him in the eye?

Dallas, Elena Ramos, Jordana Brewster, TNT

Spy in the house

8. Elena Ramos is a sneaky bitch. Did you watch the first two seasons of TNT’s “Dallas”? Remember how Jordana Brewster’s character never had much to do? Yeah, well, those days are over. Elena found out J.R. Ewing screwed over her daddy and now she’s joined forces with Cliff Barnes to secretly plot against the rest of the Ewings. Does it make sense? No, but Brewster is such a good actress, she makes it all seem perfectly reasonable. Isn’t it great to see her get a juicy storyline to sink her teeth into?

Dallas, Emma Bell, Emma Ryland, TNT

So good at being bad

7. Emma Ryland is a naughty bitch. Look, I love my bitches, OK? One of my all-time favorite “Dallas” characters is Mary Crosby’s Kristin Shepard, the shrew who shot J.R. The old show killed off Crosby waaay too soon, but now that we have Emma Bell slinking around Southfork, it’s almost like Kristin’s back. Bell’s character, shameless Emma Ryland, is an oversexed vixen who can’t keep her hands off John Ross. (Blame her?) It doesn’t hurt that Bell is also a terrific actress. No one does bad better.

Dallas, Julie Gonzalo, Pamela Rebecca Barnes Ewing, TNT

We’re not worthy

6. Julie Gonzalo is fabulous. Is there a more fascinating young heroine on television today than Pamela Barnes Ewing? The answer is no, there is not. Every season, Gonzalo unravels new layers of her character; she’s played Pamela as a sweet-as-spun-sugar ingénue, a corporate tigress, a devastated daughter, and now a suspicious bride. Gonzalo’s talents know no bounds, and even though I’m a gay man, I’m kind of in love with her. (It’s cool, though, because my partner loves her too.) All hail Queen Julie!

Dallas, Harris Ryland, Mitch Pileggi, TNT

This stud’s for us

5. Ryland, Harris Ryland. Mitch Pileggi may be best known as Skinner on “The X Files,” but is there any doubt Harris Ryland is the role he was born to play? Pileggi brings a wicked, Hagman-esque gleefulness to his “Dallas” performances; he’s so damned charismatic, you can’t help but root for Harris, no matter how mean he is to the Ewings. This character is constantly keeping us on our toes — now that we know he’s CIA, should we trust him? — but one thing is certain: Pileggi is a total stud.

AnnaLynne McCord, Dallas, Heather, TNT

Dressed to thrill

4. This is the best-dressed cast on TV. One of “Dallas’s” biggest stars works behind the camera: Rachel Sage Kunin, the show’s insanely gifted costume designer. In every scene of every episode, Kunin somehow chooses the absolute perfect look for each character. One example: Heather’s sexy dress/cowgirl boots combo, which showed how the character was both tough and feminine. Kunin isn’t just the show’s wardrobe chief; she’s a storyteller in her own right — and a hugely talented one at that.

Dallas, Linda Gray, Sue Ellen Ewing, TNT

Always our darlin’

3. Sue Ellen is drunk again. Hold on, darlins. I’m not celebrating the fact our beloved heroine has fallen off the wagon. OK, I guess I am celebrating it, but only because I know Sue Ellen’s road back to sobriety is going to be a blockbuster television — and that means we’re going to be treated to another knockout performance from Linda Gray. As phenomenal as she was last year, my gut tells me Gray is going to be even more spectacular this season. Who knew such a thing was even possible?

Dallas, John Ross Ewing, Josh Henderson, TNT

The son also rises

2. This guy. Oh, Josh Henderson. Where do I even begin with you? You impress the hell out of me. Your performance honors both of your TV parents: In your capable hands, John Ross is as ambitious as J.R. and as sensitive as Sue Ellen. You’re also a brilliant foil for Uncle Bobby and Cousin Christopher and the perfect match for Pamela. And then there’s that smile of yours, which is sweet, sly and oh-so-sexy — all at once. Is John Ross now one of the best reasons to watch “Dallas”? Damn skippy, he is.

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

Do it for him

1. This guy too. No one loved a good time more than Larry Hagman, the great actor who brought J.R. Ewing to life. If Mr. Hagman were still here, I have a feeling he’d love how much fun TNT’s “Dallas” has become. Everyone involved in creating the show — the writers, the directors, the actors, the crew — is making Mr. Hagman proud by churning out the most consistently entertaining hour of television, week after week. Now it’s time for the audience to do its part by watching and enjoying the show!

What do you love about “Dallas’s” third season? Share your comments below and read more “Dal-Lists.”

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Critique: TNT’s ‘Dallas’ Episode 27 — ‘Trust Me’

March 5, 2014 by 44 Comments
Dallas, Harris Ryland, Judith Light, Judith Ryland, Mitch Pileggi, TNT, Trust Me

Snow job

Is “Trust Me” the most audacious episode in “Dallas” history? It’s hard to think of another one that shocked me more. Judith Ryland seals a deal with a Mexican drug lord by snorting a few lines of coke, Harris Ryland is revealed as a CIA informant — these are not the kinds of things we’re used to seeing on this show. Some fans are upset with the producers for taking our beloved franchise in such wild directions, but you’ll hear no complaints from me. “Dallas” measures its longevity in decades; at this point, I’d be disappointed if the people in charge weren’t exploring fresh storytelling terrain.

Besides, it’s not like the twists and turns come from out of nowhere. Both scenes fit with the theme of “Trust Me,” which shows how the characters deal with the people who doubt them — and how they deal with their doubts about themselves. The word “trust” pops up repeatedly: Harris tells Judith that Emma can’t be trusted. Elena and Nicolas each tell Carmen to trust their choice to work against the Ewings. Elena tells Christopher to trust her ability to handle Nicolas. Bobby wonders if the old Southfork seismographs can be trusted. Even when “trust” isn’t used, it’s implied: Witness the scene where John Ross stands in front of Pamela, raises his right hand and swears he isn’t cheating with his new secretary. Talk about splitting hairs.

And then there’s Judith’s coke-snorting scene. It’s inexplicably staged in some kind of dirt-floored equestrian arena, where the Mexican drug lord Luis is surrounded by an entourage that includes a young man holding a golden box of cocaine, several thugs toting big guns and two costumed rodeo performers who stand on horses, twirling lassos. A setting like this wouldn’t feel out of place in a Tarantino film. Judith and Harris arrive to meet with Luis, and before you know it, she’s putting Luis’s hands all over her body and talking about the importance of trust in business relationships. Judith implies the point of her self-directed pat down is to prove she’s not wearing a wire, but does anyone doubt she’s also seeking cheap thrills? For that matter, isn’t she also telegraphing a message about her mettle to Harris, who stands next to her, his mouth agape?

The scene continues with Judith shrewdly explaining how she’s going to use shell companies, wastewater trucks and unmapped roads to smuggle Luis’s drugs into Texas — and then we get to the moment that sent “Dallas” fans into a tweeting frenzy on the night “Trust Me” debuted. Judith leans into Luis’s cocaine box, snorts, throws back her head and delivers her hashtag-ready exclamation: “Hot damn! Mama like.” She even rubs a little coke on her gums for good measure. I suppose this is another way for Judith to prove her trustworthiness to the cartel, but let’s not kid ourselves: “Dallas” is trying to shock us — not that there’s anything wrong with that. I love this show’s insistence on being unpredictable. If this scene does nothing else, it demonstrates how eager the people who make “Dallas” are to entertain us. How can you not appreciate that?

As much as I admire Judith Light’s fearlessness in this scene, I have to hand it to Mitch Pileggi, whose reaction shots are priceless. (Director Millicent Shelton, who also helmed last season’s Harris-centric “Let Me In,” is smart enough to keep cutting back to him throughout Judith’s antics in the arena.) I also love how Light and Pileggi play off each other in their other scene in “Trust Me,” when Judith returns to the Ryland roost and announces she’s taking charge of the family trucking — er, transportation — business. Bruce Rasmussen’s script gives Light one delicious line after another, including an allegory that could have rolled off the silver tongue of J.R. Ewing: “Money and morality are like two cars on a one-lane road. When they meet, morality’s going to end up in the ditch.” Light savors every syllable, and once again, Pileggi holds his own. I think it’s telling that after I saw “Trust Me,” I spent more time quoting one of Harris’s lines (“You think you know what you’re getting into, but you don’t”) than any of Judith’s. I don’t know what I love more: Pileggi’s Texas accent, or the way he snarls his dialogue.

It’s also worth noting how much “Trust Me” humanizes Harris Ryland. In the scene where Judith negotiates the new deal with the cartel, notice how Harris doesn’t say a word until Luis implies he’ll hurt Emma if the Rylands don’t hold up their end of the bargain. “My daughter has nothing to do with this!” he says. For that matter, notice how Harris keeps a framed photograph of Ann with baby Emma in his office. This is a man who cares about the women in his life, even if he sometimes calls them names. (Pileggi’s other great line in this episode describes Emma: “She’s a little monster who put me in jail.”)

This also explains why I welcome the episode-ending revelation about Harris’s connection to the CIA, which requires more than a little trust on Bobby and Ann’s behalf. Like Larry Hagman, Pileggi is such a charismatic actor you can’t help but root for his character, no matter how wicked he becomes. I was having a hard time cheering for Harris, though, knowing that he was a drug trafficker. Now I’m glad I can cast those concerns aside. (I can cast them aside, right “Dallas”?) I don’t think there’s any danger of Harris turning into a white knight, but I’m glad to know there are lines he won’t cross.

Of course, as much as the Rylands fascinate me, I would be remiss if I didn’t point out how good the rest of “Trust Me” is. The Southfork barbecue scenes evoke the spirit — if not the down-home grandeur — of Ewing shindigs from days gone by. It’s fun to see John Ross rankle all the women in his life — mother, wife, mistress — by chatting up the other pretty ladies. (One is played by “Survivor” contestant Andrea Boehlke, who is Josh Henderson’s girlfriend in real life.) The only thing I enjoy more is Pamela’s hot dance with the ever-intriguing Nicolas Treviño — not just because it’s good to see Pamela give her flirtatious husband a taste of his own medicine, but also because it demonstrates why the magnetic Juan Pablo Di Pace is such a smart addition to this show. Di Pace enlivens every scene he appears in; as one of my fellow fans pointed out on Twitter the other night, he has chemistry with everyone, including Jesse Metcalfe’s Christopher, whose tête-à-tête with Nicolas over a couple of Miller Lites is another barbecue highlight.

Rasmussen’s script allows “Dallas’s” supporting performers to shine too. No one impresses me more than Kevin Page, whose character Bum has become the conscience of this show. Besides Judith Light’s dialogue, Page has the episode’s most memorable line when he shows John Ross the pictures he took of him and Emma and says, “Grow into your father’s greatness, not his weakness.” Bum’s mysterious-but-strong connection to J.R. makes him the only character on this show who can get away with putting John Ross in his place; he could become an even more effective surrogate father than Uncle Bobby. It’s tempting to chastise Bum for deceiving Sue Ellen about John Ross’s adultery, except there’s no doubt he’s only trying to spare her heartache. And am I the only one who wants to see more scenes between Page and Linda Gray?

This episode’s other M.V.P.: Marlene Forte, who has two great scenes. In the first, Carmen is aghast to learn Elena is working against the family to whom Carmen has pledged her loyalty; in the second, Carmen comes face to face with Nicolas, a boy she helped raise who is now Elena’s partner in crime. I love when Carmen touches the medal around Nicolas’s neck and tells him, “If even for a moment I sense that you are leading either of my children into the darkness, not even St. Christopher will be able to save you.” I’ve always believed Carmen has the potential to become one of this show’s moral centers, and now it looks like that might be happening.

It’s true that Nicolas’s backstory with the Ramoses is a little odd: I suppose we’re meant to believe Carmen and her husband raised him in Mexico but left him behind when they moved to Texas with their biological children, which is why Nicolas isn’t familiar to the Ewings. It’s another example of how the details on this show are sometimes fuzzy, although I’ve learned it’s not worth sweating the small stuff because the new “Dallas” almost always gets the big picture right. Will I still feel that way at the end of this season? Who knows? I have no idea where this series is headed next, but after watching its first 27 hours, I have faith in the people who make it. They’ve earned my respect — and my trust.

Grade: A

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Bum, Dallas, Kevin Page, TNT, Trust Me

Independent lens

‘TRUST ME’

Season 3, Episode 2

Telecast: March 3, 2014

Audience: 1.9 million viewers on March 3

Writer: Bruce Rasmussen

Director: Millicent Shelton

Synopsis: At Sue Ellen’s request, Bum follows John Ross, but Bum lies and tells her there’s no evidence her son is cheating on Pamela. At the Ewing Barbecue, Christopher and Heather grow closer and Pamela arouses John Ross’s jealousy by dancing with Nicolas. Elena snoops around Bobby’s laptop and discovers an email that connects him and Carlos to Rhonda. Judith takes over Harris’s drug trafficking operation and negotiates a new deal with the cartel. When Bobby and Ann begin investigating Harris’s release from jail, Harris reveals the truth to them: He’s secretly working with the CIA to bring down the cartel.

Cast: John Athas (U.S. Attorney Ellis Larsen), Emma Bell (Emma Ryland), Andrea Boehlke (barbecue guest), Jordana Brewster (Elena Ramos), Christian Clemenson (Howard Rieder), Candace (Jude Demorest), Juan Pablo Di Pace (Nicolas Treviño), Akai Draco (Sherriff Derrick), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Antonio Jaramillo (Luis), Judith Light (Judith Ryland), AnnaLynne McCord (Heather), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing)

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

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