Larry Hagman – Dallas Decoder

Dallas Scene of the Day: ‘Sly, Why Did You Betray Me?’

December 9, 2013 by Chris Baker 2 Comments

Dallas, J.R. Ewing, Larry Hagman, To Catch a Sly

What he always wanted

In “To Catch a Sly,” a seventh-season “Dallas” episode, J.R. (Larry Hagman) stands in his office doorway as Sly (Debbie Rennard) gets ready to leave for the night.

J.R.: Sly, would you mind hanging around for just a few more minutes? There’s something I’d like to discuss with you.

SLY: [Nervous] Uh, yes, sir.

He goes to his bar and opens a wine bottle. She slowly enters the room.

J.R.: Join me?

SLY: No, thank you.

J.R.: You’re not going to let me drink alone. You’re a white-wine lady, aren’t you?

SLY: Mm-hm.

J.R.: You know, you’ve been looking a little peaked lately, Sly. [Pours a glass]

SLY: Well, I’ve just been having some personal problems. It’s nothing serious.

J.R.: [Turns to face her] If it’s the problem I’m thinking of, it’s very serious indeed. [Hands her the glass] You nervous? [Silence] Well, maybe you have your reasons. Sit down, Sly. [She moves to a chair in front his desk. He stands near the desk and retrieves a stack of photographs.] You recognize anybody in these pictures? [He sits next to her and flips through the pictures, which show her with Cliff in various settings.] Hm? Sure, you do. This is you, and this is Cliff Barnes, a man you know feels as kindly towards me as I do to him.

SLY: [Weeping, looking down] I’m sorry, J.R.

J.R.: Sly, why did you betray me to that man?

SLY: He forced me. He found out my brother is in jail and that he’s up for parole soon. And he promised that if I helped him, he’d talk to the right people and get him off. Cliff used to be with the district attorney’s office.

J.R.: Yes, I know. One of the darker periods of our city’s history. Why didn’t you come to me, Sly?

SLY: I couldn’t. I was so scared. Don’t you see? He threatened me. He said if I didn’t help him, he’d make sure my brother served his full sentence. And he had years and years to go. [Faces him] J.R., I love my brother. I couldn’t pass up a chance to help him. I’m so sorry. I didn’t want to do it. You have every right to fire me. Even to call the police.

J.R.: I’d never do that. You didn’t try to cover up after I showed you these pictures. That pleases me.

SLY: I didn’t mean to hurt the company, J.R.

J.R.: No, of course you didn’t. As a matter of fact, I’m glad I found out it was you. Not somebody else. Because I can trust you, Sly. And you’ve given me something I’ve always wanted: a way of communicating with Cliff Barnes.

SLY: What do you mean?

J.R.: He doesn’t have to know I found out about you. And you can be very useful in passing on information — information I control.

SLY: You’re going to set him up?

J.R.: Mm-mm. He set himself up. What I’m going to do is bring him down — and bring him down very, very hard.

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Debbie Rennard, Larry Hagman, To Catch a Sly

Critique: ‘Dallas’ Episode 142 — ‘To Catch a Sly’

December 9, 2013 by Chris Baker 11 Comments

Dallas, Debbie Rennard, J.R. Ewing, Larry Hagman, Sly Lovegren, To Catch a Sly

Spy another day

One of the reasons J.R. Ewing is so entertaining is because he’s always a few steps ahead of the “Dallas” audience. We watch him plot and scheme, never knowing what trick he’s going to pull out of his sleeve next. That’s why the show’s seventh-season corporate espionage storyline is so unusual. From the beginning, viewers know Cliff Barnes is blackmailing J.R.’s secretary Sly into leaking Ewing Oil secrets, but J.R. is in the dark. Interestingly, this never makes Larry Hagman’s character seem weak or even vulnerable. In fact, it has almost the opposite effect, because we know once J.R. finds out who’s betraying him, there’s going to be hell to pay.

Indeed, that’s pretty much what happens in “To Catch a Sly.” When the episode begins, J.R. has just learned Cliff has a spy at Ewing Oil but he doesn’t know who it is, so he goes to work trying to root out the fink. He finally discovers Sly is the culprit in the fourth act, and in the closing moments, he confronts her. This scene begins with Sly at her desk at the end of a workday, getting ready to go home. J.R. appears in his office doorway and summons her inside. She swallows hard before entering the room, where J.R. makes small talk and begins opening a bottle of wine. “You know, you’ve been looking a little peaked lately, Sly,” he says. She tells him she’s been having “some personal problems,” adding that “it’s nothing serious.” J.R. turns toward her, hands her the glass of wine he just poured and says, “If it’s the problem I’m thinking of, it’s very serious indeed.” Uh-oh.

What follows is one of the great “Dallas” moments. Sly sits in one of J.R.’s guest chairs as he walks to his desk and retrieves a stack of photos that show her and Cliff during some of their secret meetings. The director, Michael Preece, keeps Debbie Rennard in the foreground as Hagman hovers in the distance, holding the pictures aloft. With this shot, Preece encapsulates the whole storyline: Here’s J.R., the businessman who’s been betrayed; Sly, the secretary who’s been forced to double-cross her boss; and Cliff, the smarmy enemy who’s stooped to a new low in his never-ending quest for vengeance. As soon as I saw how Preece framed this scene, I knew it would be the image that accompanied this critique.

As the sequence continues, J.R. slowly shuffles through the photos, showing them to Sly one by one. “You recognize anybody in these pictures?” he asks. She stares at the floor in silence. “Sure, you do,” he says. “This is you, and this is Cliff Barnes.” Hagman’s voice is calm, soft, almost melodic. It reminds me of Mister Rogers addressing an audience of children, although when J.R. speaks this way, it’s anything but reassuring. Preece, who has been focusing on the pictures in a tight close-up, pans upward and allows Hagman’s face to fill the frame. Finally, J.R. poses the question he’s been waiting to ask: “Sly, why did you betray me to that man?”

The line alleviates the tension because it suggests J.R. is going to stop torturing Sly with politeness and cut to the chase. He listens as she tearfully explains how Cliff pressured her to sneak him advanced information about J.R.’s business dealings by threatening to prevent her jailed brother from being paroled. In a clever touch, Rennard doesn’t make eye contact with Hagman until Sly says, “J.R., I love my brother. I couldn’t pass up a chance to help him.” Preece cuts to a reaction shot from J.R., whose face displays a flicker of recognition. He knows a thing or two about brotherly love, after all.

Indeed, this is the moment we know J.R. is going to show Sly mercy. He tells her that he’s pleased she didn’t try to “cover up” when he confronted her with the pictures, and then Hagman lifts the corners of his mouth, ever so slightly. You can practically see the wheels turning inside J.R.’s head. He suggests he’s going to turn Sly into a double agent, using her to feed Cliff bad information. “You’re going to set him up?” she asks. J.R. shakes his head no. “He set himself up,” he says. “What I’m going to do is bring him down — and bring him down very, very hard.”

The episode ends there, leaving us with plenty to ponder. For starters: How twisted is it that J.R. turns out to be pleased by this turn of events? He now has an excuse to go after Cliff with gusto, not that he needs one; batting around Cliff has always been J.R.’s favorite sport. For a moment, I also wondered if J.R.’s vow to “bring him down” reflected paternal feelings toward Sly. In other words: Does he want to avenge her honor after Cliff took advantage of her? Ultimately, I decided that’s not what’s happening here. I have no doubt J.R. has affection for Sly, but if he really cared about her, would he turn her into a double agent? Isn’t he treating her like a pawn, just like Cliff did?

Regardless, Rennard does a nice job conveying Sly’s shame and guilt, as well as the character’s paranoia in her earlier scenes in “To Catch a Sly,” when Sly realizes J.R. is closing in on her. This episode also reminds us how much Hagman’s performance has evolved over the years. Remember: This isn’t the first time one of J.R.’s secretaries has betrayed him. In “Spy in the House,” the show’s third episode, Julie Grey sneaks a copy of Ewing Oil’s notorious “red file” to Cliff. When J.R. discovers Julie double-crossed him, he looks devastated, but Hagman offers no hint that J.R. feels personally wounded by Sly’s treachery. At this point during “Dallas’s” run, the actor had long since honed J.R.’s killer instincts, and that’s what he gives the audience here.

David Paulsen’s sharp script gives us lots to consider besides this final scene. For example, when J.R. drops by Cliff’s office and plants the recording device in his phone, I wondered: Would Cliff really be foolish enough to allow J.R. to use his office when he isn’t there? I decided he would be. I’ve always believed Cliff doesn’t want to beat J.R. as much as he wants to be J.R. Cliff mimics his enemy as far back as the second-season episode “For Love or Money,” when he uses one of J.R.’s own lines to break up with Sue Ellen. Cliff also emulates him when he blackmails Sly, tossing around the word “baby” the way J.R. does “darlin’.” So in “To Catch a Sly,” when J.R. shows up on Cliff’s doorstep to congratulate him on his recent victories over Ewing Oil, I can buy that Cliff is so blinded by the idea that J.R. is impressed with him that he lets down his guard and leaves him alone in his office. Besides, just because Cliff is devious doesn’t mean he’s smart.

“Dallas’s” various romantic entanglements also take interesting twists in “To Catch a Sly.” The episode opens with the newly divorced Pam awakening after sleeping with Mark for the first time, while Bobby continues to resist bedding Jenna, even though she says she wants to have sex with him. Did you ever expect to see a Ewing man insist on taking things slowly with a woman? Meanwhile, Sue Ellen’s ongoing May/December flirtation with Peter Richards leaves me feeling a little cold, at least in this episode. Until now, I’ve been intrigued by Sue Ellen and Peter’s connection, but he seems a little bratty — not to mention stalkerish — when he follows her to her appointment with hairdresser Mr. David. (By the way: Mr. David has evidently moved to new digs since the exterior of his salon doesn’t match the building used in the previous season. And where’s the valet parking?)

Finally, a few words about the technology displayed in “To Catch a Sly.” This episode seems to offer more than the usual share of gadgets and gizmos that were considered cutting-edge in 1983 and now seem hopelessly dated. Examples: J.R. wears a pager on his belt when he visits Cliff’s office, and after he bugs his phone, he listens to the recorded conversations on what appears to be a Sony Walkman. (How, exactly, does the little device that J.R. drops into Cliff’s receiver yield audiocassette recordings of Cliff’s calls?) Later, when Katherine goes to the library to dig up dirt on Jenna, she looks up old newspaper articles on microfiche. Finally, when J.R. brings John Ross to the Ewing Oil offices, the little boy pounds on the keyboard attached to Sly’s computer, which has a monitor that seems to display graphics in two colors: white and blue.

Look closely and you’ll also see the logo of the company that made the machine: Texas Instruments. What else would you expect from the Ewings?

Grade: A

_______________________________________________________________________________________________________________________________________________

Busted

‘TO CATCH A SLY’

Season 7, Episode 11

Airdate: December 9, 1983

Audience: 23 million homes, ranking 3rd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: J.R. discovers Sly is spying on him for Cliff and decides to turn her into a double agent. Bobby is bothered when he discovers Pam slept with Mark. Katherine noses around in Jenna’s past. Sue Ellen begins planning the annual Ewing Barbecue and feels envious when Lucy expresses interest in dating Peter.

Cast: Mary Armstrong (Louise), Christopher Atkins (Peter Richards), John Beck (Mark Graison), Morgan Brittany (Katherine Wentworth), James L. Brown (Detective Harry McSween), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Sherril Lynn Katzman (Jackie Dugan), Ken Kercheval (Cliff Barnes), Lisa LeMole (Judy Baker), Edward Mallory (Stanger), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Danone Simpson (Kendall), Charlene Tilton (Lucy Ewing), Deborah Tranelli (Phyllis)

“To Catch a Sly” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: David Paulsen, Debbie Rennard, For Love or Money, Larry Hagman, Michael Preece, Richard Lewis Warren, Spy in the House, To Catch a Sly

Dallas Parallels: The Saboteurs

December 4, 2013 by Chris Baker 12 Comments

J.R. Ewing is a man of many talents, but he takes special delight in the fine art of sabotage. During the original “Dallas’s” seventh season, after Cliff Barnes blackmails J.R.’s secretary Sly into spying on her boss, J.R. retaliates by turning one of Cliff’s employees against him. J.R.’s ultimate goal: to ruin Cliff, once and for all.

The scheme begins when J.R. tricks Cliff into investing in some expensive offshore oil leases in the Gulf of Mexico. Once Cliff is leveraged to the hilt, J.R. bribes Max Flowers, Cliff’s foreman, to slow down the drilling so Cliff won’t strike oil before his bank loan comes due, thus bankrupting him.

This must be one of the dirty tricks J.R. teaches John Ross, because three decades later, the son pulls a similar stunt. It begins during the second season of TNT’s “Dallas,” when John Ross is secretly plotting to seize control of Ewing Energies from his partners, who include onetime love Elena Ramos. To nab her share, John Ross bribes Brian “Bubba” Davis, Elena’s foreman, to drill in the wrong direction on land where she’s trying to strike oil. By delaying Elena’s strike, John Ross hopes to prevent her from repaying a loan to his mother Sue Ellen, thus putting Elena’s piece of Ewing Oil in play.

Both storylines include scenes where the victims (Cliff, Elena) visit their drilling sites with their siblings (Pam, Drew) and talk about how proud their deceased fathers would be if they strike oil. The strongest similarities, however, are found in scenes where the saboteurs (J.R., John Ross) meet with the duplicitous foreman (Flowers, Bubba) to discuss their schemes.

In the 1984 episode “Turning Point,” J.R. ducks into a dive bar and sits in a booth across from Flowers, who worries a member of his crew will figure out what he’s up to and tip off Cliff. J.R. expresses confidence the plan will work and dismisses his enemy’s capabilities. “You’re just going to have to make sure he keeps getting the short straw. Hell, he’s used to that anyway, isn’t he?” J.R. says.

The parallel sequence is found in the 2013 episode “False Confessions.” This scene also takes place in a dive bar, where the principals sit across from each other in a darkened booth. Like Flowers, Bubba worries someone close to the victim — in this case, Elena’s fiancée Christopher — will figure out the scheme against her. Like J.R., John Ross expresses confidence the plan will succeed and takes a swipe at his rival. Referring to Christopher, John Ross says, “It’s good that he thinks he has a chance. That’ll make it hurt more when he loses.”

Originally, I ended this post by pointing out how J.R.’s plot fails, while John Ross’s plan succeeds, but as Dallas Decoder reader Stephan points out in the comments section below, neither scheme is particularly successful. In J.R.’s case, Cliff fires Flowers and replaces him with a new foreman who hits a gusher at the 11th hour, saving Cliff from bankruptcy. Meanwhile, Elena fails to strike oil on her land and loses her share of Ewing Energies, but only after Sue Ellen invokes a morals clause in her contract with Elena.

So more than anything, J.R. and John Ross’s forays into sabotage confirm what we already know: Like father, like son.

‘Someone Might Tip Him Off’

Dallas, Denny Miller, Max Flowers, Turning Points

Tipped?

In “Turning Point,” a seventh-season “Dallas” episode, J.R. (Larry Hagman) enters a bar and sits at a booth across from Flowers (Denny Miller).

J.R.: Hello, Flowers. I hardly recognized you.

FLOWERS: That’s okay. Want a beer?

J.R.: Yeah, sure. If that’s all they got.

FLOWERS: [To a waitress] Hon, bring us a couple beers.

J.R.: So how’s everything in the gulf? Cliff Barnes ready to strike oil?

FLOWERS: Not yet. But the whole operation’s got me worried.

J.R.: Yeah? Why’s that?

FLOWERS: Well, you’ve been paying me a lot of money to slow things down. I don’t think I’ve been able to slow them down enough.

J.R.: Well, now, you’ve been doing a good job so far.

FLOWERS: Oh, I know. I’ve been able to miss the most promising geological formations. Barnes is so dumb, he doesn’t know that. But the crew is getting suspicious, and someone might tip him off.

J.R.: Well, you’ve just got to get rid of any potential troublemakers.

FLOWERS: Oh, I’ve been trying to do that. And I’ve hired the worst crew I could find. But you know, that’s hard to do. [J.R. chuckles.] Most of those guys are pretty sharp.

J.R.: Well, you’ve just got to hold it up for another couple of weeks at the most. Barnes is just about to run out of money.

The waitress sets two beers on the table.

FLOWERS: Thanks. If he was drilling any other tract, it’d sure be easier. He’s got possibly the richest tract in the gulf.

J.R.: Yeah, I know that. If it wasn’t, he wouldn’t be pouring every dollar he can get his hands on into it.

FLOWERS: Okay. I just wanted you to know that I’m doing my best. But sooner or later, even an idiot with a long straw could suck up oil out of that tract.

J.R.: You’re just going to have to make sure he keeps getting the short straw. [Sips his beer] Hell, he’s used to that anyway, isn’t he? [Chuckles]

‘He’s On Your Tail’

Dallas, Brian Bubba Davis, Matthew Posey, TNT

Tailed?

In “False Confessions,” a second-season “Dallas” episode, John Ross (Josh Henderson) enters a bar and sits at a booth across from Bubba (Matthew Posey).

JOHN ROSS: [Slaps an envelope on the table] Let’s call that your severance.

BUBBA: [Peeks inside] Much obliged, John Ross. But you should know that Christopher’s after me. He thinks you put me up to it.

JOHN ROSS: Just because he’s a pussy doesn’t mean he ain’t smart.

BUBBA: [Chuckles] You’re not concerned that he’s on your tail?

JOHN ROSS: It’s good that he thinks he has a chance. That’ll make it hurt more when he loses.

What do you think of J.R. and John Ross’s schemes against Cliff and Elena? Share your comments below and read more “Dallas Parallels.”

Filed Under: Dallas Parallels, Features Tagged With: Denny Miller, False Confessions, Josh Henderson, Larry Hagman, Matthew Posey, TNT, Turning Point

‘Dallas’ Season 3: Let’s Speculate!

December 2, 2013 by Chris Baker 24 Comments

Uncovered

TV Guide’s ace columnist, William Keck, delivered a must-read preview of “Dallas’s” third season earlier today. Now it’s time for fans to fill in the blanks with their own theories about what we might see when TNT begins televising the new episodes on Monday, February 24.

• One of Keck’s most intriguing tidbits: The new season will feature a pregnancy storyline. Almost any of the show’s leading ladies could become expectant mothers, but my money is on Emma (Emma Bell). Imagine the complications that would ensue if John Ross (Josh Henderson) impregnates his wild-child mistress! Pamela is also a possibility, although would the producers force Julie Gonzalo to wear a padded tummy for a second season in a row? One out-there contender: Suppose Ann (Brenda Strong) delivered a late-in-life bundle of joy to Bobby (Patrick Duffy)?

• The new season will also include a shooting, a death and a wedding, Keck reports. I have no idea which characters might get shot and/or die, but the nuptials seem easy to figure out: After John Ross and Pamela’s quickie wedding in Las Vegas at the end of Season 2, aren’t they due for a lavish Southfork ceremony?

• According to Keck, Christopher (Jesse Metcalfe), who sports a beard in the Season 3 cast portrait that accompanies the TV Guide article, will meet his new love interest Heather (AnnaLynne McCord) when he stumbles upon her fighting with her ranch hand ex-husband. Again, this is pure speculation, but a recent tweet from the set suggests Donny Boaz, who appeared last season as Bo, the ranch hand who supplied Emma will pain pills, will be back next season. Could he be Heather’s ex?

• Keck tells us we’ll finally meet Joaquin, the mystery man Elena (Jordana Brewster) met in Mexico during the second-season finale. The article doesn’t mention who has been cast in this role, but I wonder: Will Nicolas Trevino, the new character played by Juan Pablo Di Pace, turn out to be Joaquin?

Consider this: On April 23, about a week after TNT showed the finale, the Elena character tweeted, “Can’t wait to introduce you all to my uncle Joaquin. He’s quite a character. And a potentially powerful ally.” This tweet is no longer in the character’s feed. Could this mean the producers’ vision of Joaquin has evolved from someone avuncular to someone younger like Di Pace?

• Sue Ellen (Linda Gray) will continue drinking in Season 3 after discovering John Ross is cheating on Pamela. According to Keck, “Sue Ellen’s struggle will climax in a midseason cliffhanger similar to one of the original series’ memorable season enders.” What could this mean? Is Sue Ellen going to wreck her car? Shoot someone? Make another movie?

• Keck reports Bobby might cheat on Ann, either with a “familiar face from the past (Priscilla Presley’s Jenna Wade?) or a lovely newcomer.” Nothing to add here, except this: !

• It looks like “Dallas” won’t forget Larry Hagman anytime soon. Showrunner Cynthia Cidre tells Keck, “We open with Bobby at the Ewing cemetery looking at the graves of J.R., Miss Ellie and Jock, saying, ‘I guess I’m the only one left now.’” The only question raised by this revelation: How many tissues will we need to get through that scene?

What do you think of the storylines previewed by TV Guide’s William Keck? Share your comments below and read more news from Dallas Decoder.

Filed Under: News, News Tagged With: AnnaLynne McCord, Brenda Strong, Cynthia Cidre, Donny Boaz, Jesse Metcalfe, Jordana Brewster, Josh Henderson, Juan Pablo di Pace, Julie Gonzalo, Larry Hagman, Linda Gray, Mitch Pileggi, Patrick Duffy, Priscilla Presley, TNT

Dallas Scene of the Day: ‘I Want That Little Insect to Bite’

December 2, 2013 by Chris Baker 1 Comment

Buck Stops Here, Dallas, J.R. Ewing, Larry Hagman

The exterminator

In “The Buck Stops Here,” a seventh-season “Dallas” episode, J.R. (Larry Hagman) is seated in his office at night when Harry (James L. Brown) knocks on the door.

HARRY: Evening, J.R.

J.R.: Come in, Harry.

HARRY: [Enters the room, closes the door behind him] What’s up?

J.R.: Two very important deals were stolen out from under me by Cliff Barnes. They were hush-hush, strictly confidential. Brokers that I’ve known and trusted for years came to me and told me I was the only one they were talking to. But Barnes beat me out. That greedy little cockroach is getting information before I can act. He has a spy working for him.

HARRY: Well, the first thing we have to do is set out a trap.

J.R.: All right. Let’s talk about the bait. I want that little insect to bite — and bite hard.

Filed Under: Dallas Scenes of the Day, Dallas Scenes of the Day (Classic), Features Tagged With: Buck Stops Here, James L. Brown, Larry Hagman

Critique: ‘Dallas’ Episode 141 — ‘The Buck Stops Here’

December 2, 2013 by Chris Baker 8 Comments

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

Round and round

“The Buck Stops Here” memorably ends with Pam Ewing and Jenna Wade competing against each other in a mechanical bull-riding competition. It’s an appropriate metaphor for these characters, whose lives go up and down but rarely move forward. For example, during the course of this episode, we learn Pam is still hung up on ex-husband Bobby, even though she’s also in a relationship with Mark Graison. Meanwhile, Jenna has returned to town after a long absence and rekindled her romance with Bobby, but he upsets her when he asks if he’s the father of her daughter Charlie. If it feels like you’ve seen both of these stories before, it’s because you have.

Let’s start with Pam. She spends most of “Dallas’s” previous season trying to choose between Bobby and Mark, a storyline that makes her seem more than a little wishy-washy. Once Pam divorces Bobby, the writers begin to rehabilitate her character, even giving her a promising new career in the oil industry. It’s the return of the smart, confident Pam that Victoria Principal played exceedingly well during “Dallas’s” early years. Too bad it doesn’t last. In “The Buck Stops Here,” Principal’s character is back where she was a year earlier, torn between Bobby and Mark.

At least Arthur Bernard Lewis’s script makes Pam aware that she’s emotionally stuck. In the first act, Pam confides her conflicted feelings to Katherine, a scene that is probably meant to make Pam seem introspective but instead makes her seem whiny and not in control of her own emotions. At one point, Katherine tells her, “You know, sometimes I don’t understand you at all.” Pam’s response: “Sometimes I don’t understand myself at all.” The exchange brings to mind “Dallas’s” fifth season, when Pam was unable to explain the erratic behavior she exhibited before her mental breakdown — a storyline I’d just as soon not be reminded of.

The weak plotting leaves me feeling bad for Principal, an enormously appealing actress who deserves better material. Don’t get me wrong: I want Bobby and Pam back together as much as anyone, but if the show was going to insist on breaking them up, at least give Pam something better to do than to pine after her ex-husband. On the other hand: I’ll confess I get a kick out of seeing Pam and Jenna shoot daggers at each other throughout the charity rodeo and the mechanical bull-riding competition. There’s also the terrific scene where Jenna compliments Pam on her performance, telling she’s going to be “a tough act” to follow. “I am a tough act to follow,” Pam responds. On this show, have truer words been spoken?

“Dallas” struggles to come up with a fresh angle for Jenna too. The show introduces the character in the second-season episode “Old Acquaintance,” when Jenna — played by Morgan Fairchild — is depicted as a scheming heiress who tries to break up Bobby and Pam by insinuating Charlie is Bobby’s daughter. Eventually, Pam confronts Jenna and forces her to admit that Jenna’s ex-husband is the little girl’s father. In Season 3, Jenna — now played by Francine Tacker — returns briefly and once again tempts Bobby, except this time Charlie’s paternity isn’t part of the equation. So why is Bobby suddenly pestering Jenna about the issue in “The Buck Stops Here”? My guess is the producers figured audiences wouldn’t remember this subplot was resolved years earlier, although I have no idea why they think “who is Charlie’s father?” is such a compelling storyline in the first place.

At least Jenna comes off as a little more clear-eyed than Pam. The character has felt more down-to-earth and interesting since Priscilla Presley took over the role three episodes ago. Some of this comes from the writing — Jenna has lost her fortune and is now working as a waitress to pay the bills — but some of it also comes from Presley, who instills her character with much more backbone than I remembered. In one of “The Buck Stops Here’s” best scenes, Katherine tries to bribe Jenna into moving to Houston and leaving Bobby alone. Katherine pretends she’s acting in Pam’s interest, but Jenna is savvy enough to realize Katherine wants Bobby for herself. I also like the scene where Bobby takes Jenna to dinner at the Oil Baron’s Club (which makes its debut in this episode) and asks her if she misses being rich. “Damn right I do,” she says. Isn’t it kind of refreshing to see the working class depicted as something other than noble?

Besides recycling old storylines, “The Buck Stops Here” demonstrates the sexism that pervades this era of “Dallas.” At the beginning of the episode, when Pam and Katherine have their heart-to-heart talk, Katherine is aghast to learn Pam and Mark have never had sex. “You can’t expect a man to wait forever. This isn’t the 19th century,” she says. It also seems like every man on this show has at least two women interested in him: Mark is romancing Pam while being chased by snooty socialite Tracy Anders, while Pam, Jenna and Katherine are all in love with Bobby.

(Frankly, everyone’s interest in Patrick Duffy’s character mystifies me a little, at least in “The Buck Stops Here.” Notice how Bobby cheerfully tells Katherine all about his wonderful afternoon with Jenna, even though Katherine confessed her own unrequited romantic feelings for Bobby during the previous episode. Likewise, isn’t it kind of crass of Bobby to plant such a passionate kiss on Jenna at the end of this episode, knowing that his ex-wife is watching them? Where’s the sweet, sensitive Bobby that we all know and love?)

Amid all the complications and sexism that characterize Bobby and Pam’s love lives, Sue Ellen’s May/December romance with camp counselor Peter Richards feels like a breath of fresh air. At least this is a love triangle where one woman (Sue Ellen) is the object of affection for two men (J.R. and Peter). The previous episode ended with Sue Ellen and Peter sharing a brief kiss, but in “The Buck Stops Here,” she meets Peter for lunch — the restaurant’s name isn’t shown, but I’d recognize the inside of a 1980s Pizza Hut anywhere — and wisely tells him that their relationship can’t go any further. It’s nice to see Sue Ellen grow as a character, even as some of her “Dallas” sisters struggle to move forward.

Of course, even though I like seeing the Ewing and Barnes women take center stage for a change, I can’t help but feel bad for J.R., who doesn’t have much to do in “The Buck Stops Here” except to stand by helplessly as Cliff steals another deal from him. In fact, Larry Hagman is completely absent from the episode’s fourth act, an extreme rarity on this show. It’s no fun to watch our hero get beat, but but I’m heartened by the scene where J.R. summons Harry McSween to his office to help him set a trap for his enemy. “I want that little insect to bite — and bite hard,” J.R. says. The line leaves me rubbing my hands in glee. J.R. vowing to exterminate Cliff? Oh, this is going to be fun!

Grade: B

_______________________________________________________________________________________________________________________________________________

Bobby Ewing, Dallas, Jenna Wade, Patrick Duffy, Priscilla Presley

Busy Bobby

‘THE BUCK STOPS HERE’

Season 7, Episode 10

Airdate: December 2, 1983

Audience: 22.3 million homes, ranking 3rd in the weekly ratings

Writer: Arthur Bernard Lewis

Director: Leonard Katzman

Synopsis: Peter tells Sue Ellen he loves her, but she insists it’s merely an infatuation. Pam sleeps with Mark after she spots Bobby kiss Jenna passionately. After J.R. loses another deal to Cliff, he realizes Ewing Oil has a mole.

Cast: Christopher Atkins (Peter Richards), Mary Armstrong (Louise), John Beck (Mark Graison), Tye Bell (Buzz), Morgan Brittany (Katherine Wentworth), James L. Brown (Detective Harry McSween), Jack Collins (Russell Slater), Joe Dorsey (Ben Kesey), Patrick Duffy (Bobby Ewing), Eric Farlow (Christopher Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Roy McAdams (rodeo announcer), Andrea McCall (Tracy Anders), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Danone Simpson (Kendall), Don Wood (Dan Fuller)

“The Buck Stops Here” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Arthur Bernard Lewis, Buck Stops Here, Francine Tacker, Larry Hagman, Morgan Brittany, Morgan Fairchild, Old Acquaintance, Patrick Duffy, Priscilla Beaulieu Presley, Victoria Principal

Dallas Parallels: Teach Your Children Well

November 27, 2013 by Chris Baker 7 Comments

J.R. imparts a lot of wisdom to John Ross over the years — and like all fathers, sometimes he has to repeat himself before the lessons sink in.

In “Battle Lines,” one of the original “Dallas’s” eighth-season episodes, J.R. is leaving for work when he runs into John Ross on the Southfork patio. The little boy has heard Uncle Bobby is in the hospital after being shot and wants to know if Daddy is going to take control of Ewing Oil now that Bobby is sick.

J.R. sits in a patio chair, looks John Ross in the eye and gently explains that’s not how he operates. “There’s something I want to explain to you, son,” J.R. says. “One of these days I expect to control all of Ewing Oil, and Bobby won’t work there. He’ll be doing something else. But I want you to remember that he’s my brother — and I love him very much. And it just wouldn’t be fair to take advantage of him while he’s sick. That’s just something you don’t do to the people you love.”

This is a sweet father-son moment and a nice reminder that J.R. has limits. But how much of an impression does his lesson make on John Ross?

In “False Confessions,” one of TNT’s second-season “Dallas” episodes, Bobby is once again involved in a shooting — except this time, Bobby has been accused of gunning down archenemy Harris Ryland. The shooting occurs while J.R. and John Ross are plotting to seize control of Ewing Energies, and so John Ross suggests using Bobby’s arrest to gain leverage against him in their takeover scheme.

Once again, J.R. sets his son straight — but this time, he’s not as nice about it as he was when John Ross was a child. “You still got a lot to learn, boy. When the family’s in trouble, we don’t take advantage,” J.R. says.

To be fair, J.R. doesn’t always play by this rule, as Bobby and the other Ewings would surely attest. One example: In the TNT episode “Family Business,” when J.R. resists John Ross’s plea to give Southfork back to the cancer-stricken Bobby, J.R. snaps, “You’re confusing emotion with business.”

So much for not taking advantage of family, huh? Then again, this is J.R. Ewing we’re talking about. Of course he’s going to break the rules — even his own.

‘It Just Wouldn’t Be Fair to Take Advantage’

Battle Lines, Dallas, J.R. Ewing, Larry Hagman

Play fair

In “Battle Lines,” an eighth-season “Dallas” episode, J.R. (Larry Hagman) stands over John Ross (Omri Katz), who is cleaning his bike on the Southfork patio.

JOHN ROSS: Are you going to see Uncle Bobby at the hospital?

J.R.: Well, I might drop in on him this afternoon. [Looks at his watch] I’ve got an awful lot of work to do at the office.

Sue Ellen (Linda Gray) exits the house and stands on the patio, listening.

JOHN ROSS: Maybe I can go to the office and help you.

J.R.: [Chuckles] Well, that’s a good idea. Maybe we ought to wait until you’re a little older, though, huh?

JOHN ROSS: Daddy are you going to be running Ewing Oil all by yourself?

J.R.: Well, I’m just going to run it until Bobby gets back. Why do you ask that?

JOHN ROSS: Well, you said you were going to run the company all by yourself some day and then give it to me.

J.R.: Well, I couldn’t take it away from Bobby while he’s in the hospital.

JOHN ROSS: But Mama said Bobby can’t see right now.

J.R.: [Sits in a patio chair] John Ross, there’s something I want to explain to you, son. One of these days I expect to control all of Ewing Oil, and Bobby won’t work there. He’ll be doing something else. But I want you to remember that he’s my brother — and I love him very much. And it just wouldn’t be fair to take advantage of him while he’s sick. That’s just something you don’t do to people you love. But when he’s well — and able to defend his shares in Ewing Oil — well, I’m going to fight for it. And of course I’ll win. Then I’m going to give you the whole company — and you’ll never have to share it with anybody. Now you understand that?

JOHN ROSS: I think so.

J.R.: Good. And you’ve got to remember: With family, you play fair. Because there are rules to follow. And if you do, you’ll be able to live with yourself.

‘When the Family’s in Trouble, We Don’t Take Advantage’

Dallas, False Confessions, J.R. Ewing, Larry Hagman

Fair play

In “False Confessions,” a second-season “Dallas” episode, J.R. (Larry Hagman) is standing at his bedroom window, ending a phone call, when John Ross (Josh Henderson) enters.

JOHN ROSS: What’s going on?

J.R.: Bobby got arrested for shooting Harris Ryland.

JOHN ROSS: You serious? [Steps forward] You think that will help us get him out of Ewing Energies?

J.R.: You still got a lot to learn, boy. [Slides his cell phone in his pocket] When the family’s in trouble, we don’t take advantage.

JOHN ROSS: You got a problem with me?

J.R.: You damn right I do. [Steps forward] I hear you’ve been cavorting with Pamela Barnes. What do fathers say? I’m not mad, I’m just disappointed? Well, I am both.

JOHN ROSS: Who I cavort with ain’t none of your business.

J.R.: It is when her last name is Barnes. [Sits] What do you want with Christopher’s scraps anyway?

JOHN ROSS: I’m working her.

J.R.: And apparently not learning from your mistakes. You already got in bed with one crazy woman in that Marta. Not a good idea to get in bed with another one.

JOHN ROSS: I’ve got a plan to get her shares of Ewing Energies after the divorce.

J.R.: You let that Barnes girl get a piece of our company and you’re inviting a vampire into our home. She’ll suck the life out of us. That’s why I’ve seen to it that there won’t be a divorce.

JOHN ROSS: How’s that?

J.R.: I made a deal with Cliff’s man Frank. We’ve got a plan to take Pamela out of the picture.

JOHN ROSS: You must be getting senile in your old age, Daddy, because I’m the one calling the shots here. Remember?

J.R.: You asked me to teach you every dirty trick I know so we can take Ewing Energies. I teach by example.

JOHN ROSS: What do you and Frank plan on doing to Pamela?

J.R.: You got feelings for this girl?

JOHN ROSS: No.

J.R.: Then why do you care?

What do you think of the lesson J.R. teaches John Ross? Share your comments below and read more “Dallas Parallels.”

Filed Under: Dallas Parallels, Features Tagged With: Battle Lines (1984), False Confessions, Josh Henderson, Larry Hagman, Linda Gray, Omri Katz, TNT

Critique: ‘Dallas’ Episode 140 — ‘Morning After’

November 25, 2013 by Chris Baker 6 Comments

Christopher Atkins, Dallas, Linda Gray, Morning After, Peter Richards, Sue Ellen Ewing

Special needs

The characters on “Dallas” usually have affairs when they fall in lust or in love, but neither scenario is true for Sue Ellen Ewing and Peter Richards. Their romance is based on their mutual neediness. Sue Ellen, having been betrayed by J.R. once too often, needs to be reminded of what life was like before it turned into one extended heartache. Peter, a bright young man who is eager for the world to take him seriously, needs to feel like a grownup. Put another way: She needs to feel younger, he needs to feel older. This doesn’t make their relationship right, but I can see why they’re drawn to each other.

In “Morning After,” Sue Ellen and Peter finally acknowledge what’s happening between them. It begins when Peter visits Southfork and overhears J.R. and Sue Ellen arguing. J.R. wants his wife to sleep with him; when she refuses, he suggests it’s because Peter is “getting” to her. Sue Ellen insists this isn’t true but wonders if J.R. is jealous. His response: “Jealous? Are you kidding? The one thing I don’t have to worry about is a schoolboy with a crush on my wife.” The next day, Peter persuades Sue Ellen to meet him at a quiet pier, where he says he doesn’t think he should continue working with John Ross because he’s developed feelings Sue Ellen. She tells Peter it’s “not so unusual” for a young man to be attracted to an older woman, comparing him to a student who develops a crush on a teacher. Sue Ellen urges him to not “give up” on John Ross, who adores Peter and would be sad to lose him as his counselor. “It’ll all work out. You’ll see,” she says.

Except this is “Dallas,” and so of course things won’t work themselves out. To begin with, Sue Ellen is also attracted to Peter, although she doesn’t want to admit it. Why? Scriptwriter David Paulsen never makes this clear, but it seems safe to assume the always ladylike Sue Ellen believes it would be wrong for a woman in her 40s to desire a college student like Peter. Regardless of the character’s motivation, Linda Gray does a nice job bringing Sue Ellen’s conflicted feelings to light. This is especially true in the scene where Sue Ellen shoots down Lucy’s suggestion that Peter has a crush on her. Gray delivers her lines with just enough defensiveness in her voice to let the audience know that Sue Ellen doesn’t believe a word of what she’s saying. Charlene Tilton’s skepticism in this scene is also pitch-perfect. When Sue Ellen insists Peter is nothing more than John Ross’s friend, Lucy snaps, “He’s John Ross’s friend? John Ross is 5 years old. Peter is in college.”

Sue Ellen’s denials bring to mind one of “Dallas’s” earlier May/December romances: Jock’s affair-of-the-heart with Julie Grey. Like Sue Ellen does with Peter, Jock initially denies anything is happening between him and Julie, although he eventually realizes their relationship is wrong and ends it. Also, like Sue Ellen and Peter’s romance, Jock and Julie’s affair is rooted in mutual neediness: He needs Julie to help reclaim his vitality after his heart attack, while she needs Jock to validate her self-worth. One difference between the two relationships: Julie fools herself into thinking it’s OK to pursue Jock, but Peter does no such thing when it comes to his feelings toward Sue Ellen. Even after Peter eavesdrops on J.R. and Sue Ellen’s spat and realizes they aren’t the happy couple they pretend to be in public, Peter tells Sue Ellen their friendship can’t continue. “You’re married. I just don’t think anything should happen between us,” he says.

Ultimately, this is why Sue Ellen is so attracted to Peter: Unlike the husband who has caused her so much pain, Peter is principled. He still has some growing up to do, though. The day after Sue Ellen’s conversation with Peter at the pier, she drops John Ross off at camp and discovers Peter hasn’t shown up for work. Sue Ellen returns to the pier, where she finds Peter sitting on the dock, looking like a sad little boy. She again reassures him that everything will work itself out, then holds his hand and walks him toward her car, where, in the episode’s final scene, he kisses her. The sentimental underscore lends this scene a “Summer of ’42” vibe, and Christopher Atkins is earnest enough to make Peter’s kiss seem gentle and sweet. But isn’t it also kind of childish? For all of Sue Ellen’s talk about how mature Peter is, he apparently isn’t grown up enough to control his impulses.

Sue Ellen and Peter’s relationship will take more twists and turns as “Dallas’s” seventh season progresses, but by the end of “Morning After,” it feels like their affair is already doomed. The qualities that attract these characters to each other are the same qualities that seem destined to tear them apart them. Sue Ellen is drawn to Peter’s youth and, having had her first taste of self-empowerment in the previous episode, she seems to enjoy being the dominant player in their relationship. Notice how she goes to the pier to retrieve him, and she takes his hand and walks him to her car. Peter’s attraction to Sue Ellen, in the meantime, is based on how she treats him like a man. As their relationship deepens and she asserts herself more, will he still feel the same way?

Peter isn’t the only character who comes clean in “Morning After.” In one of this episode’s most interesting scenes, Katherine finally tells Bobby she loves him and is surprised to see the revelation shocks him. I suspect a lot of “Dallas” fans probably share Katherine’s surprise, although Bobby’s explanation (“You’re Pam’s sister. I could never think of you in any other way.”) seems reasonable to me. Regardless, I feel sorry for Katherine. Yes, she did an awful thing by working with J.R. to orchestrate Bobby and Pam’s breakup, but Morgan Brittany imbues her character with such sad desperation that she becomes a sympathetic figure. I also have to admire how Katherine goes after what she wants, unlike so many of the other women on this show who never seem fully in control of their own lives.

Other notable moments in “Morning After” include the scene where Cliff invites Pam to join him for a business dinner with Ben Kesey, whose oil company Cliff wants to buy. Of course, smarmy Cliff arrives late because he knows Kesey will be attracted to his sister and wants them to have plenty of time alone together. This won’t be the first time Cliff will use a woman named Pam in this manner, is it? Fortunately, in “Morning After,” Victoria Principal’s Pam is smart enough to figure out what’s happening and calls Cliff on his manipulation. Too bad Donna doesn’t demonstrate the same gumption in her scene with Paul Morgan. After she thanks Morgan for defending Ray during his murder trial, Morgan flirts with Donna shamelessly, predicting she’ll “wake up one day and leave that guy.” Why doesn’t Donna slug him? On the other hand, Morgan isn’t wrong, is he?

The other great scene in “Morning After” showcases Larry Hagman’s wonderful chemistry with Tilton. It begins when J.R. arrives for breakfast on the Southfork patio, ranting about his brawl with Cliff at the Oil Baron’s Ball the previous night. When J.R. reveals Cliff bit him, Lucy snickers. Says J.R.: “It’s not a laughing matter, young lady. A human bite is a very serious thing. Don’t you worry. I’ll take care of Cliff Barnes.” Lucy’s response: “Are you going to bite him back?”

Perfect.

Grade: B

_______________________________________________________________________________________________________________________________________________

Who bit J.R.?

‘MORNING AFTER’

Season 7, Episode 9

Airdate: November 25, 1983

Audience: 21.2 million homes, ranking 3rd in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: After Cliff is named oil baron of the year, he gets into a fistfight with the Ewings. Katherine declares her love to Bobby, who says he considers her a friend. Peter confesses his crush to Sue Ellen and kisses her. Cliff uses information from Sly to steal another deal from J.R.

Cast: Christopher Atkins (Peter Richards), John Beck (Mark Graison), Morgan Brittany (Katherine Wentworth), Glenn Corbett (Paul Morgan), Joe Dorsey (Ben Kesey), Patrick Duffy (Bobby Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Ken Kercheval (Cliff Barnes), Audrey Landers (Afton Cooper), Shalane McCall (Charlie Wade), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Debbie Rennard (Sly), Charlene Tilton (Lucy Ewing), Debi Sue Voorhees (Caroline), Tom Williams (Joe Clooney), Morgan Woodward (Punk Anderson)

“Morning After” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.

Filed Under: Critiques, Critiques (Classic), Opinion Tagged With: Charlene Tilton, Christopher Atkins, David Paulsen, Larry Hagman, Linda Gray, Morgan Brittany, Morning After

One Year Later, Larry Hagman’s Legacy Lives

November 21, 2013 by Chris Baker 18 Comments

Remember the titan

The first anniversary of Larry Hagman’s death is November 23, although to me, he never really went away. Hagman’s old “Dallas” episodes run on a seemingly endless loop in my house. I watch him all the time, and that would probably be true even if I didn’t write and edit this website. Larry Hagman still brings me joy. The other day, I re-visited the 1983 segment where J.R. goes to the Oil Baron’s Ball and slyly insults every relative seated near him. With each gleeful quip, Hagman’s smile couldn’t be contained. Neither could mine.

Do I wish Hagman were still around, filming new episodes of TNT’s “Dallas” revival? Of course, although given the remarkable body of work he left behind (more than 380 appearances as J.R. in the various “Dallas” shows, spinoffs and sequels), to want more from him feels almost greedy. Likewise, while I’ll always regret that I never met my hero, I did get to speak to him on the phone once. How lucky am I? By most accounts, Hagman was a hell of a guy — joyful, generous, wise, progressive, amusingly eccentric — and so one year after his death, whatever sadness I feel is reserved for the people who knew him best. As a fan, I lost an actor whose work I admired from afar. But Hagman’s family and friends? They lost a real, special man.

Don’t get me wrong: Hagman’s death upset me a year ago. He died on the day after Thanksgiving, giving Black Friday a whole other meaning. Now the timing feels kind of cosmic. The anniversary of his death will always come two days after the anniversary of the “Who Shot J.R.?” revelation and around Thanksgiving, reminding us to feel grateful for the wonderful performances he gave us. We can also feel thankful to the people who help keep Hagman’s memory alive, including the folks who run his Facebook page, which offers a treasure trove of rare photographs and other mementos. For that matter, we should also give thanks to the “Dallas” producers and cast members, who have done an impressive job honoring their show’s biggest star. The episode where Hagman’s alter ego is laid to rest, “J.R.’s Masterpiece,” lived up to its title, but the tributes haven’t stopped there. Showrunner Cynthia Cidre has promised to keep Hagman’s name atop the production call sheets for the duration of the series, reminding the cast and crew that “Dallas” is the house Hagman built.

There are also hints that J.R. will figure into next season’s storylines, wheeling and dealing from beyond the grave, and a recent tweet from the set suggests Josh Henderson will sport his on-screen daddy’s signature wristwatch and belt buckle. If the producers are looking for one more way to honor Hagman, “Dallas” fan Joe Siegler has a nifty suggestion: Instead of continuing to have the cast take turns delivering each episode’s “Previously on ‘Dallas’” voiceover, why not use Hagman’s version exclusively? This would be a small gesture, but I can’t imagine a better way to start each new hour of “Dallas” than by hearing J.R.’s voice.

Of course, Hagman’s legacy extends beyond the show he made famous. We live in a golden age of television drama, populated by antiheroes like Walter White and Don Draper. None of them would exist if J.R. Ewing hadn’t come first. What a shame so many TV critics neglect to mention that. Even more shameful: Hagman’s omission from the special tributes during this year’s Emmy broadcast and his snub in the dramatic supporting actor race. Few performers deserved Emmy recognition more than Hagman this year — and not just because he didn’t receive a trophy during the original “Dallas’s” heyday. Hagman did some of the best work of his career on the TNT series. One example: last year’s “Family Business” episode, which showcased his powerful, poignant portrait of the aging J.R.

On the other hand: Who needs Emmys? If the past year has taught me anything, it’s how much affection “Dallas” fans have for Hagman. Our love for him is deep and real, and it will sustain his legacy for a long time to come. It’s another reason I don’t feel a strong sense of loss as the anniversary of his death approaches. The truth is, Larry Hagman isn’t really gone; he just lives in our hearts now.

How will you remember Larry Hagman and J.R. Ewing? Share your comments below and read more opinions from Dallas Decoder.

Filed Under: Opinion, Opinion Tagged With: Cynthia Cidre, Family Business, J.R.’s Masterpiece, Josh Henderson, Larry Hagman, TNT, Who Shot J.R.?

‘Dallas’: Season 3 Begins February 24 on TNT

November 18, 2013 by Chris Baker 19 Comments

Christopher Ewing, Dallas, Jesse Metcalfe, Josh Henderson, Legacies

The boys are back

“Dallas” will begin its third season on Monday, February 24, at 9 p.m., TV Guide reported today. The series will telecast eight episodes and then take a midseason break before resuming in the summer. Altogether, the season will consist of 15 hours.

“Dallas,” which will start its third season more than 10 months after its second-season finale, will be part of TNT’s aggressive push to capture more viewers during the winter months. The cable channel will pair “Dallas” with the new reality show “The Private Lives of Nashville Wives,” which will be shown Monday nights at 10, beginning February 24. TNT is also bringing back two of its top-rated summertime crime dramas, “Rizzoli & Isles” and “Perception,” for a four-week run on Tuesday nights, beginning February 25.

Wisely, TNT is saving this programming slate until after the Winter Olympics. NBC will broadcast the games from Sochi, Russia, beginning Friday, February 7. The closing ceremonies are slated for Sunday, February 23.

Of course, even though “Dallas” will get a pass from the Olympics, the show will still have its work cut out for it. Its Monday competition will include NBC’s “The Voice,” ABC’s “Dancing with the Stars,” Fox’s “The Following” and two CBS sitcoms, “Mike & Molly” and “Mom.”

“Dallas” averaged 2.7 million viewers on Monday nights during Season 2, although the audience climbed to 3.8 million when DVR users who record the show and watch it within seven days were counted. The audience included 1.6 million adults between ages 25 and 54, a demographic that TNT targets, and 1.4 million adults between 18 and 49, another group advertisers pay a premium to reach.

This will be the first time “Dallas” will start a new season without Larry Hagman, who died last year during production of Season 2 and whose famous character J.R. Ewing was laid to rest in the instant-classic “J.R.’s Masterpiece” episode. The show plans to keep J.R.’s memory alive while also continuing to focus on the Ewings’ next generation, led by cousins John Ross and Christopher (Josh Henderson, Jesse Metcalfe).

Producers are otherwise keeping a tight lid on the new season’s storylines, although a handful of clues and revealing tweets have surfaced since production began last month. TNT has also announced two new characters for Season 3: Nicolas, a billionaire played by new regular Juan Pablo Di Pace, and Southfork ranch hand Heather, who’ll be played by guest star AnnaLynne McCord in a multi-episode arc.

Other Season 3 guest stars are slated to include Cliff Barnes (Ken Kercheval) and Judith Ryland (Judith Light), as well as three fan favorites who’ll appear in a special wedding-themed episode: Ray Krebbs (Steve Kanaly), Lucy Ewing (Charlene Tilton) and Afton Cooper (Audrey Landers).

Are you excited about “Dallas’s” return on February 24? Share your comments below and read more news from Dallas Decoder.