Critique: ‘Dallas’ Episode 185 — ‘The Verdict’

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

Stand by your woman, man

Bobby Ewing fights to save Jenna in “The Verdict,” but the real man of the hour is Patrick Duffy. After an unusually long stretch of disappointing episodes, Duffy takes his 12th turn in the “Dallas” director’s chair and helps get the series back on track. His understanding of what the audience wants to see — combined with his ability to draw solid performances from his fellow actors and his knack for visual storytelling — make “The Verdict” the show’s strongest entry since “The Brothers Ewing.” I don’t think it’s a coincidence that Duffy helmed that episode too.

Interestingly, while “The Brothers Ewing” works because it allows several characters to play against type, “The Verdict” succeeds because it shows our favorites returning to form. This is true for Bobby, particularly in the scene where he goes to Los Angeles and delivers an impassioned speech to Ann McFadden, hoping to persuade her to come home with him to testify on Jenna’s behalf. Most importantly, though, “The Verdict” finds J.R. getting his groove back after spending most of the eighth season moping over his various business and romantic frustrations. During the course of this hour, J.R. springs a trap on hapless bureaucrat Nathan Billings, shares a passionate embrace with Mandy Winger and clashes with Sue Ellen, punctuating their argument with an especially menacing expression. Isn’t it nice to see Larry Hagman having fun again?

My favorite performance in “The Verdict,” though, belongs to Stephen Elliott as Jenna’s attorney Scotty Demarest, who is sly and drawl-y enough to out-Matlock Andy Griffith. How can you not love the scene where Scotty approaches Jenna on the witness stand, hands her the gun used to kill Naldo and asks her to unlock it? She has no idea where the safety lever is, making Scotty’s stunt “Dallas’s” version of O.J. Simpson trying on the bloody glove. David Paulsen’s script gives Elliott some hoot-worthy dialogue here, particularly when Scotty turns to the jury and says, “The prosecution wants you to believe that under the effects of chloroform, this little lady here can grab [a gun] away from a man bigger, stronger than she, find the safety, release it, shoot, before he could stop her?” The only thing missing is a Johnnie Cochrane-style refrain: If she can’t find the lever, you must free her!

I applaud Duffy, in his role as director, for giving Elliott so much latitude, but I admire Duffy’s sense of imagination even more. He’s always demonstrated a flair for interesting camera angles, going back to the shot of Bobby and Pam on the Southfork staircase in 1981’s “The New Mrs. Ewing,” the first “Dallas” episode he helmed. In one scene in “The Verdict,” Duffy puts the camera in the jury box, allowing us to see the action unfold in the courtroom the way the anonymous characters sitting in judgment of Jenna are seeing it. It’s a small but clever touch.

Duffy has also mastered the art of efficient storytelling. When the judge begins reading the jury their instructions, Miss Ellie rushes out of the courtroom, followed by Clayton, who comforts her in the corridor. This kills two birds with one stone: It gives Donna Reed and Howard Keel their only meaningful scene in the episode, but it also signals to the audience that the trial is winding down — without forcing us to sit through the judge’s speech. In an earlier scene, we hear Scotty urging Jenna to allow her daughter Charlie to testify, but instead of showing Elliott and Priscilla Beaulieu Presley, Duffy fixes his camera on Ellie and Clayton as they take their seats in the courtroom, and then he pans to Scotty and Jenna. It’s another small touch, but it’s a way of keeping Reed and Keel’s characters in the action.

Besides being entertaining, these visual flourishes distract us from “The Verdict’s” bonkers view of the criminal justice system. During his testimony, Bobby pulls out a letter from Veronica Robinson, a star witness who was murdered before she could clear Jenna in Naldo’s death, and proceeds to read it to the jury. On what planet would this be admissible evidence? Shouldn’t the prosecution want to authenticate the handwriting? Does no one want to hear from someone who witnessed Veronica write the note? Why does Bobby get to read it aloud? And while we’re on that subject, don’t jurors usually have assigned seating in courtrooms? The extras in “The Verdict” never seem to sit in the same seat twice. (By the way: Heidi Hagman, Larry’s daughter, plays the forewoman.)

“The Verdict” also knows when to give the audience more information than the characters, including a brief scene in which Bobby and Pam share a tender moment in Christopher’s Southfork bedroom, unaware that Jenna is lurking in the doorway. Just as importantly, this episode knows when to keep viewers in the dark. We go through the hour suspecting that J.R. is setting up Billings, but we don’t receive confirmation until the next-to-last scene, when we discover the delightfully named Rhonda Cummings — future “War of the Ewings” star Michelle Johnson — is using a hidden camera to film her tryst with Billings, undoubtedly so J.R. can use it against him later.

The twist isn’t unexpected, but the reveal is fun nonetheless. It’s also nice to know “Dallas” still has the ability to pull itself out of the doldrums, although as we reach the end of the eighth season, I’m only sorry these recoveries are so frequently necessary to begin with.

Grade: A

_______________________________________________________________________________________________________________________________________________

Dallas, Scotty Demarest, Stephen Elliott, Verdict

We, the jury

‘THE VERDICT’

Season 8, Episode 24

Airdate: March 15, 1985

Audience: 19.3 million homes, ranking 5th in the weekly ratings

Writer: David Paulsen

Director: Patrick Duffy

Synopsis: Bobby obtains valuable evidence from Ann, but Jenna’s trial ends with a guilty verdict. After the Texas Energy Commission shuts down a Ewing Oil field, J.R. sets up the chairman, Nathan Billings, with a prostitute. Donna refuses to return to Ray, while Jamie resists Cliff’s romantic overtures. J.R. tells Mandy that he may not be with Sue Ellen much longer.

Cast: Victor Campos (Mendoza), Roseanna Christiansen (Teresa), Pat Colbert (Dora Mae), Patrick Duffy (Bobby Ewing), Stephen Elliott (Scotty Demarest), Eric Farlow (Christopher Ewing), Rosemary Forsyth (Ann McFadden), Conroy Gedeon (Dr. Finch), Linda Gray (Sue Ellen Ewing), Heidi Hagman (Jury Forewoman), Larry Hagman (J.R. Ewing), Nanci Hammond (Secretary), Jenilee Harrison (Jamie Ewing), Susan Howard (Donna Krebbs), Michelle Johnson (Rhonda Cummings), Steve Kanaly (Ray Krebbs), Omri Katz (John Ross Ewing), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Virginia Kiser (Judge Roberta Fenerty), Allan Miller (Assistant District Attorney Frederick Hoskins), Bill Morey (Leo Wakefield), William Edward Phipps (Ewing Oil Foreman), Priscilla Beaulieu Presley (Jenna Wade), Victoria Principal (Pam Ewing), Nicholas Pryor (Nathan Billings), Donna Reed (Miss Ellie Farlow), Debbie Rennard (Sly), Sherril Lynn Rettino (Jackie Dugan), Barbara Rhoades (Lila Cummings), Deborah Shelton (Mandy Winger), Wesley Thompson (Bailiff), Charlene Tilton (Lucy Ewing)

“The Verdict” is available on DVD and at Amazon and iTunes. Watch the episode and share your comments below.

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

Bobby Ewing, Dallas, Hurt, Patrick Duffy, TNT

His kingdom of dirt

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

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

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

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

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

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

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

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

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

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

Grade: A

_______________________________________________________________________________________________________________________________________________

Bobby Ewing, Dallas, Hurt, Patrick Duffy, TNT

Hurts so good

‘HURT’

Season 3, Episode 11

Telecast: September 1, 2014

Writer: Aaron Allen

Director: Patrick Duffy

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

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

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

Dallas Parallels: The Good Husband

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

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

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

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

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

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

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

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

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

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

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

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

Thank goodness.

 

‘She Needed Me’

Smug

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

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

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

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

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

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

 

‘She’s Holding Something Back’

Smarmy

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

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

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

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

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

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

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

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

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

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

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

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

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

The Art of Dallas: ‘The New Mrs. Ewing’

J.R. and Leslie (Larry Hagman, Susan Flannery) watch Bobby’s televised victory speech in this 1981 publicity shot from “The New Mrs. Ewing,” a fourth-season “Dallas” episode.

Dallas Scene of the Day: ‘You Both Sicken Me!’

Ouch

Ouch

In “Dallas’s” fourth-season episode “The New Mrs. Ewing,” Jock (Jim Davis) slams closed the doors to the Southfork living room, where he stands alone with J.R. (Larry Hagman).

JOCK: I couldn’t believe it. My own son, letting some little no-account alley cat swing you by your big toe. Letting her screw up the deal with the cartel. I thought I brought you up better than that. A woman’s place is in the bedroom, sure as hell not in the boardroom.

Miss Ellie (Barbara Bel Geddes) enters.

ELLIE: Very nice, Jock.

JOCK: Oh, didn’t hear you come in, Ellie.

ELLIE: Obviously.

JOCK: Now, look Miss Ellie, you know I didn’t mean to –

ELLIE: I know what you meant. You believe that the woman’s place is two steps behind the man – except when walking through a minefield.

JOCK: You don’t understand, Ellie. J.R. let that uppity Leslie Stewart spoil his deal with the cartel.

ELLIE: Well, you and J.R. should know all about spoilers, Jock.

JOCK: Now, what’s that supposed to mean, Miss Ellie?

ELLIE: Everything you touch you spoil. Relationships, people’s lives.

J.R.: Well, Mama, I think you’re exaggerating a little bit.

ELLIE: Am I? J.R., you and your daddy use people up and then throw them away. Even members of your own family. [She begins to leave, then turns to face them.] You both sicken me!

She leaves, slamming the door behind her.

Critique: ‘Dallas’ Episode 71 – ‘The New Mrs. Ewing’

Hitched

Hitched

“The New Mrs. Ewing” is probably supposed to refer to Donna, who marries Ray in this episode’s fourth act, but it could easily apply to any of “Dallas’s” women. There’s something new about all of them in this installment.

Consider Sue Ellen, who is depressed at the top of the hour because Dusty has sent her away. She visits Dr. Elby, who declares her willingness to let Dusty go is a sign of personal growth. “By putting Dusty’s desires before your own, you’ve made a really mature decision,” Elby says.

With her spirits lifted, Sue Ellen turns again to Clint, only to discover he now has cold feet about having an affair with her. This time, Sue Ellen doesn’t take “no” for an answer. She aggressively seduces Clint, and while I suppose we should admire her for taking charge of her own sexuality, isn’t this just another example of Sue Ellen only being able to find fulfillment in the arms of a man?

Leslie also takes on a new role in “The New Mrs. Ewing” when she dares to offer an opinion during J.R.’s meeting with Jordan and Marilee, who want him to join the cartel’s new strip-mining venture. Leslie tells the group the unsavory project could ruin the image she has cultivated Ewing Oil – a comment that angers Jordan and Marilee and embarrasses J.R., who chastises Leslie for interfering with his business.

But the reprimand J.R. gives Leslie is nothing compared to the chewing-out he receives when Jock gets wind of her antics. “My own son, letting some little no-account alley cat swing you around by your big toe,” Jock says. The line is undeniably corny, but I suspect it’s only because scriptwriter Linda Elstad wants us to see how ridiculous Jock’s views are.

The other “Dallas” women also move into new roles in this episode, including Lucy, who gets a job as a spokesmodel (“Miss Young Dallas”) for Alex’s latest magazine, and Pam, who becomes a political wife when Bobby wins his state senate race. Meanwhile, Miss Ellie adopts a new, angrier persona: She gets into an argument with Jock and J.R., telling them, “You both sicken me.”

Wow, that’s harsh! As far as this new Mrs. Ewing is concerned, I think I’d like the old one back.

Grade: B

_______________________________________________________________________________________________________________________________________________

Step by step

Step by step

‘THE NEW MRS. EWING’

Season 4, Episode 17

Airdate: February 27, 1981

Audience: 23.5 million homes, ranking 2nd in the weekly ratings

Writer: Linda Elstad

Director: Patrick Duffy

Synopsis: Bobby is elected state senator, hires Cliff as an aide and tells Alex to stay away from Pam. Leslie costs J.R. a deal, angering him. Sue Ellen sleeps with Clint. Lucy becomes Miss Young Dallas. Ray and Donna are married. Miss Ellie learns Jock is behind the Takapa development.

Cast: Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Jeff Cooper (Dr. Simon Elby), Jim Davis (Jock Ewing), Patrick Duffy (Senator Bobby Ewing), Joel Fabiani (Alex Ward), Fern Fitzgerald (Marilee Stone), Susan Flannery (Leslie Stewart), Meg Gallagher (Louella), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Susan Howard (Donna Culver), Steve Kanaly (Ray Krebbs), Sherrill Lynn Katzman (Jackie), Howard Keel (Clayton Farlow), Ken Kercheval (Cliff Barnes), Monte Markham (Clint Ogden), Leigh McCloskey (Mitch Cooper), Victoria Principal (Pam Ewing), Robert Sampson (Justin Carlisle), Don Starr (Jordan Lee), Charlene Tilton (Lucy Ewing), Morgan Woodward (Punk Anderson)

“The New Mrs. Ewing” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.