Critique: TNT’s ‘Dallas’ Episode 6 – ‘The Enemy of My Enemy’

July 12, 2012 by 30 Comments
Dallas, Enemy of My Enemy, Linda Gray, Sue Ellen Ewing, TNT

Compromised integrity? Check.

At long last, Sue Ellen.

Linda Gray comes off the sidelines in “The Enemy of My Enemy” – and not a moment too soon. Last week, in a candid interview with Ultimate Dallas, Gray politely – but pointedly – expressed her disappointment with the limited amount of screen time she’s received on TNT’s “Dallas.” As she reminded fans, Sue Ellen’s fate rests with the new show’s writers, who are now working on the second-season scripts.

Although “The Enemy of My Enemy” was filmed months ago, it serves as Exhibit A in the case for giving Sue Ellen a more prominent role on the show. Gray makes this one of TNT’s strongest episodes yet. She only appears in three scenes, but she dominates each one – not by chewing scenery but through the force of her grace and elegance. The actress has inherited Barbara Bel Geddes’ mantle as “Dallas’s” elder stateswoman, and that’s why I hope TNT will keep her front and center. This show needs her.

The nice thing about “The Enemy of My Enemy” is how it gets Sue Ellen involved in the fight over Southfork while finally delving into the subplot about her gubernatorial run, which has been simmering on the back burner all season.

In the storyline, John Ross asks his mama to use her political connections to persuade trucking magnate Harris Ryland to ship the oil being pumped out of Southfork. Initially, Sue Ellen resists (“John Ross, if I go down that road….”), but she eventually gives in and visits Ryland, offering him a coveted appointment in her administration if he’ll help her son. Ryland, played with wicked charm by Mitch Pileggi, rejects the offer because he says he doesn’t want Sue Ellen to compromise her integrity. Nevertheless, he agrees to help John Ross – and to demonstrate his admiration for Sue Ellen, he cuts a big check to her campaign.

The first time I watched this episode, seeing Sue Ellen sell out made me cringe. This didn’t feel like something the new, improved version of our beloved heroine would do. But then I thought about Sue Ellen’s guilt over her shortcomings as a mother when John Ross was younger. I can see how her judgment might be clouded where he’s concerned.

Besides, let’s face it: A saintly Sue Ellen is a boring Sue Ellen. Like I wrote earlier this week, I’m happy the character has changed with the times, but the show needs to reveal Sue Ellen’s humanity, and her foibles in “The Enemy of My Enemy” feel credible. It’s worth noting Sue Ellen’s actions also place her squarely in the tradition of other “Dallas” mothers (Miss Ellie, Rebecca Wentworth) who make questionable choices on behalf of their adult sons.

In addition to finally giving Sue Ellen a meaningful storyline, I like how scriptwriter Gail Gilchriest brings Elena and Rebecca together in “The Enemy of My Enemy.” Having Elena drive Rebecca to the doctor is a clever way to highlight the uneasy bond developing between these characters, whose relationship is beginning to recall the one shared by “Dallas’s” ultimate frienemies, Sue Ellen and Pam.

I also appreciate how director Jesse Bochco showcases some of the lighter moments in “The Enemy of My Enemy.” At the end of the episode, I love when Bobby and Christopher storm into John Ross’s room, prompting his exasperated, “What now?” There’s also an amusing scene before the opening credits, when the roughneck Earl interrupts Bobby and John Ross’s argument on the Southfork patio.

“Mr. Ewing?” Earl says.

“Yeah?” Bobby answers.

“I meant John Ross.”

Of course, I’d be remiss if I didn’t point out this episode’s big historical inaccuracy: The discovery that Miss Ellie’s father left her sons the mineral rights to Southfork contradicts long-established “Dallas” lore. In the past, major storylines have hinged on the fact Ellie controlled the ranch’s mineral rights.

The other eye-roller comes when Bobby discovers his grandfather’s prized pistol in the safe deposit box. During the original show’s classic “Jock’s Trial” episodes, we learned Ellie’s father had given the gun to Jock before his death, signaling he had finally accepted the young oil baron as a member of his family.

Or is that why Bobby seems to smile mischievously when he pulls the gun out of the lockbox in this episode? In that instant, does he realize his granddaddy pulled a fast one on Jock, all those years ago?

Maybe the Southworths were more like the Ewings than they cared to admit.

Grade: B

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Dallas, Enemy of My Enemy, John Ross Ewing, Josh Henderson, Linda Gray, Sue Ellen Ewing, TNT

Empire of the son

‘THE ENEMY OF MY ENEMY’

Season 1, Episode 6

Telecast: July 11, 2012

Writer: Gail Gilchriest

Director: Jesse Bochco

Audience: 5.3 million viewers (including 3.6 million viewers on July 11, ranking 26th in the weekly cable ratings)

Synopsis: With Rebecca’s help, Bobby and Christopher find an old legal document that will give Bobby control of Southfork’s mineral rights. After business partner Vicente Cano threatens him, John Ross turns to Sue Ellen, who persuades Harris to transport the oil pumped out of Southfork. Bobby punches Harris after he sends Ann a locket that upsets her. John Ross fears Marta is stalking Elena. In Las Vegas, J.R. tries to muscle in on Cliff’s high-stakes poker game. Rebecca tells Tommy she’s pregnant.

Cast: Carlos Bernard (Vicente Cano), Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Rebecca Ewing), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Matthew Posey (Earl), Brenda Strong (Ann Ewing), Faran Tahir (Frank), Leonor Varela (Marta del Sol)

“The Enemy of My Enemy” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

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Linda Gray is Speaking Up — Just Like Sue Ellen Would

July 10, 2012 by 5 Comments
Dallas, Linda Gray, Sue Ellen Ewing, TNT

Still our girl

Atta girl, Linda Gray.

In a candid interview with Ultimate Dallas last week, the actress expressed her disappointment with the amount of screen time her character, the indomitable Sue Ellen Ewing, has received on TNT’s “Dallas” revival. The cable channel has telecast five hours so far, and Gray has been missing from two of them.

“I’m not happy not to be in an episode. I’m not a happy camper,” Gray told the fan site, adding viewers should “go and rattle cages” if they want to see more of Sue Ellen.

Let’s be clear: Gray doesn’t sound at all angry during the interview. In fact, she seems pretty enthusiastic about the show overall. (In addition to a transcript, Ultimate Dallas has posted an audio recording of its conversation with the actress.)

Still, I suspect it took more than a little courage for Gray to admit she’d like to be given more to do. We’ve all seen Hollywood sideline older actresses, and I’m sure there are plenty of people in the entertainment industry who will look at Gray and think she should be happy to have a steady gig, even if she isn’t getting as many scenes as she’d like.

That’s why I’m proud of the actress. Gray is demonstrating she’s learned a thing or two from her “Dallas” alter ego, who has always had to fight to make her own way in the world.

Think about it: Sue Ellen has been part of our popular culture since the Carter era, and in that time she’s gone from an alcoholic Stepford wife to a confident, independent woman. In the history of prime-time television, few characters have endured as long as Sue Ellen, and fewer still have changed as much.

‘Dallas’s’ Secret Weapon

Make no mistake: “Dallas” is Sue Ellen’s story as much as it is J.R. and Bobby’s – and Linda Gray has always been the show’s secret weapon.

Since I began re-watching the original series for Dallas Decoder, I’ve been struck by the quiet power of Gray’s performances. I marvel at her work in classic early episodes like “John Ewing III, Part 2,” when Sue Ellen confesses her affair with Cliff in a heartbreaking, four-and-a-half-minute monologue. Her work later in the series, particularly during the unfairly maligned “dream season,” blows me away too.

Most surprisingly, Gray dominates the famous “Who Shot J.R.?” episodes, more so than Larry Hagman. She is mesmerizing in “A House Divided,” the season-ending cliffhanger where J.R. is shot, and she absolutely owns “Who Done It?” the most-watched “Dallas” episode ever.

Gray still impresses me. She hasn’t been given much to do on TNT’s “Dallas,” but when she appears, she lights up the screen. With the exception of Hagman, no one on the new show is as charismatic as Gray.

Sue Ellen is Us

Of course, I’ve had a soft spot for Sue Ellen since I was a kid. I’ve come to see the character as an avatar for the gay rights movement, but the truth is, Sue Ellen serves as a stand-in for anyone who has ever had to stand up for themselves. In other words: Sue Ellen is us.

I think that’s why she’s always been a fan favorite. Remember, “Dallas” was prime-time television’s 26th most popular series until the 1989-90 season, when Gray left and it plunged to 43rd.

To be fair, because Sue Ellen is so beloved – and because she’s changed so much over the years –I would imagine the character is tough to write for. I wish TNT’s writers had made more of an effort during the new show’s early episodes, but as we head into the first season’s home stretch, Sue Ellen seems poised to get more screen time.

The character is featured in several pivotal scenes in “The Enemy of My Enemy,” the episode TNT will telecast tomorrow night. As audiences will see, some of Sue Ellen’s old habits endure, a revelation I welcome. I’m glad Sue Ellen has changed with the times, but it’s also good to see she’s still human.

And as much as I appreciate Gray’s suggestion that fans “rattle cages” and demand to see more Sue Ellen in the future, I don’t believe television scripts should be crowd-sourced. Cynthia Cidre, the creative force behind TNT’s “Dallas,” has a vision for the series, and she deserves an opportunity to fulfill it.

But let’s face it: Unless that vision includes Sue Ellen, it won’t really be “Dallas.”

Do you want to see more of Sue Ellen on “Dallas”? Share your comments below and read more opinions from Dallas Decoder.

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Dallas Drinks: The Bobby

July 9, 2012 by Leave a Comment

This summer, the “Dallas” fans at Dallas Decoder and Cook In/Dine Out are offering “Dallas Drinks,” a series of cocktails inspired by the characters from TNT’s new series. This week: The Bobby, a drink that’s as all-American as Patrick Duffy’s classic character.

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TNT’s Dallas Styles: Ann’s Pearls

July 5, 2012 by 12 Comments

She wears them well

On the original “Dallas,” Miss Ellie’s pearl necklace symbolized her role as wife, mother and fount of wisdom. Along with the beloved matriarch’s sack dresses, those little white beads became Ellie’s most enduring signature.

On TNT’s “Dallas,” Ann’s beads serve as visual shorthand for her role as Bobby’s wife and the new woman of Southfork. The first time we see her wearing them, during that terrific dinner scene in “Changing of the Guard,” TNT’s first “Dallas” episode, we know instantly what kind of character Ann is supposed to be.

Of course, putting Ann in pearls automatically invites comparisons to Miss Ellie, which is a bit risky since Barbara Bel Geddes is so revered among “Dallas” diehards. Indeed, while I tend to see Ann’s pearls – along with her Ellie-esque penchant for guns – as affectionate tributes to Bel Geddes’ character, some of my fellow “Dallas” fans seem to view them as cheap mimicry.

Perhaps this explains “The Last Hurrah” scene where J.R. gives Ellie’s pearl necklace to Sue Ellen. It’s as if the “Dallas” producers, anticipating there might be some Ann skeptics in the audience, wanted to make sure everyone understood the character doesn’t have a monopoly on white beads. In other words: Brenda Strong might be playing the new lady of the manor, but Linda Gray has inherited Bel Geddes’ mantle as “Dallas’s” elder stateswoman, so Sue Ellen gets the honor of possessing the pearls Ellie actually wore.

But give Ann her due. In “Truth and Consequences,” the character begins coming into her own, especially in the scene where she meets Rebecca for coffee and offers the confused young woman comfort (“You’re young, Rebecca. You make mistakes when you’re young. It doesn’t mean you can’t change.”), as well as a little tough love (“Your choices are yours.”).

Strong is terrific in this scene, which demonstrates how, even though Ann doesn’t have children of her own (that we know of, that is), she has the potential to become a significant maternal figure to “Dallas’s” younger characters.

I also think it’s notable that Ann is sans necklace when she visits ex-husband Harris Ryland in “Truth and Consequences” and asks him to help slow down the drilling on Southfork.  Since Ann’s pearls symbolize her role as Bobby’s wife – and since her meeting with Ryland takes place behind Bobby’s back – it’s probably best she leaves the beads at home.

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The Art of TNT’s Dallas: ‘Truth and Consequences’

July 5, 2012 by Leave a Comment

Elena and John Ross (Jordana Brewster, Josh Henderson) talk during the Ewing Barbecue in this publicity shot from “Truth and Consequences,”the fifth episode of TNT’s “Dallas.” Photo credit: Zade Rosenthal/TNT.

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Critique: TNT’s ‘Dallas’ Episode 5 – ‘Truth and Consequences’

July 5, 2012 by 21 Comments
Ann Ewing, Brenda Strong, Dallas, TNT, Truth and Consequences

The ex files

“Truth and Consequences” offers a nice showcase for Brenda Strong and Julie Gonzalo, who haven’t had much to do on TNT’s “Dallas” until now. Both actresses make the most of the opportunities they’re given, delivering solid performances that add dimension to their characters, Ann and Rebecca, the newest Ewing wives.

Throughout this episode, Ann reminds me of “Dallas” heroines past. Seeing her stand up to J.R. (“They warned me. My whole marriage, they told me about you.”) recalls some of Pam’s best confrontations with him, while the scene where Ann, clad in her signature pearls, offers Rebecca some much-needed motherly advice evokes warm memories of Miss Ellie. This isn’t a coincidence. Ann exists to fill the void left by both Pam and Ellie, two of the old show’s most beloved characters, which means Strong might have the most thankless job of all among TNT’s “Dallas” cast.

This is why Ann’s visit to smug ex-husband Harris Ryland, played to the hilt by Mitch Pileggi, is so pivotal. With this exchange, Ann begins to come into her own as a character. She may not share Pam’s history with Bobby or Ellie’s connection to the land, but at least now we know Ann is willing to stick her neck out to help her husband fight for Southfork. This is the kind of wife our hero deserves, and the classy Strong fills the role nicely. Bravo.

Gonzalo does impressive work in “Truth and Consequences,” too. The young actress is moving during Rebecca’s tearful confession to Christopher in the barn (“You need to believe I love you!”), and her desperation is palpable when Rebecca turns to Ann for comfort and counsel. I’m not convinced the audience should trust Rebecca, but Gonzalo is helping transform her into “Dallas’s” most intriguing character.

Given this episode’s emphasis on the women of Southfork, it seems like this would have been an ideal time to let viewers continue getting reacquainted with Sue Ellen, but she doesn’t appear in “Truth and Consequences.” This is the second TNT episode in which Sue Ellen is missing in action; the character is also absent from “The Price You Pay.”

I find this astonishing. Like I wrote last month, with the exception of Larry Hagman, no actor on TNT’s “Dallas” has as much presence as Linda Gray, and it’s a shame the producers have struggled to find a meaningful storyline for her.  The good news is this begins to change with next week’s episode, and not a moment too soon.

Overall, “Truth and Consequences” is a strong hour, with good writing from Robert Rovner and stylish direction from Randy Zisk, whose past credits include “Revenge” and the David Jacobs-produced “Lois & Clark” and “Bodies of Evidence.” I especially like the “Truth and Consequences” scene where J.R. quotes Jock (“Daddy always said beautiful women were the most dangerous”), which prompts an exasperated Bobby to respond, “I know all the things Daddy used to say.” This might be the season’s best line.

Other highlights: the scenes where John Ross and Christopher each show up on Elena’s doorstep at different points during the same night. (Some girls have all the luck.) Elena’s exchange with John Ross is particularly good. I love when he tells her, “You’ve accused me of awful things that I did not do, and yet I’m still here, at your door, asking you to take a chance on me.” Josh Henderson really makes me care about John Ross here; this is probably the actor’s best scene so far.

Moments like these compensate for some of “Truth and Consequences” shortcomings, beginning with J.R. and John Ross’s silly scene at Cowboys Stadium. On “Dallas,” J.R. is supposed to be a prominent Texan, but I don’t think he’s famous enough to warrant having his face flashed on a Jumbotron. The sequence makes TNT’s “Dallas” too self-aware; J.R. is a folk hero in real life, not within the context of the narrative. Not helping matters: Jerry Jones’ cameo, an unwelcome reminder of his appearance in “War of the Ewings,” “Dallas’s” abysmal 1998 reunion movie.

J.R.’s purchase of Southfork, just days after Marta bought it from Bobby, strains credibility, too. It reminds me of “The Decline and Fall of the Ewing Empire,” the next-to-last episode of the original series, when Ewing Oil changed hands two or three times in the course of a single episode.

Likewise, I find it hard to believe Bobby’s hands are as legally tied as Lou, his new lawyer (played by terrific “24” vet Glenn Morshower), claims. The sale to Marta was fraudulent because Marta isn’t really Marta, yet her sale to J.R. is perfectly legal? I wanted Lou to run that by me one more time, but alas, the show moved on instead.

That’s the thing about TNT’s “Dallas:” It’s always moving on.

Grade: B

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Christopher Ewing, Dallas, Julie Gonzalo, Rebecca Sutter Ewing, Truth and Consequences, TNT

Double life wife

‘TRUTH AND CONSEQUENCES’

Season 1, Episode 5

Telecast: July 4, 2012

Writer: Robert Rovner

Director: Randy Zisk

Audience: 5.1 million viewers (including 3.4 million viewers on July 4, ranking 16th in the weekly cable ratings)

Synopsis: Rebecca confesses Tommy sent the e-mail to Elena, prompting Christopher to kick the Sutters off Southfork. Bobby vows to reclaim the ranch after J.R. reveals he’s the new owner and departs Dallas, leaving John Ross in charge until he returns. To slow down J.R. and John Ross, Ann persuades her ex-husband, trucking magnate Harris Ryland, to not haul the oil pumped out of Southfork. Christopher discovers proof John Ross knew Marta’s true identity before she tricked Bobby into selling the ranch.

Cast: Jordana Brewster (Elena Ramos), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Rebecca Ewing), Larry Hagman (J.R. Ewing), Callard Harris (Tommy Sutter), Josh Henderson (John Ross Ewing), Jerry Jones (himself), Jesse Metcalfe (Christopher Ewing), Glenn Morshower (Lou), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Leonor Varela (Marta del Sol)

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

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Dallas Drinks: The Rebecca

July 2, 2012 by 2 Comments

This summer, the “Dallas” fans at Dallas Decoder and Cook In/Dine Out are offering “Dallas Drinks,” a series of cocktails inspired by the characters from TNT’s new series. This week: The Rebecca, a drink that packs a lot of punch – just like Julie Gonzalo’s performance.

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Drill Bits: For Patrick Duffy, Edits Go with the TV Territory

June 29, 2012 by 2 Comments
Ann Ewing, Bobby Ewing, Brenda Strong, Dallas, Patrick Duffy, Price You Pay, TNT

Don’t cut Bobby!

TNT’s “Dallas” has given audiences lots of great scenes this season, but some of the best moments – like J.R. and Sue Ellen’s dance at the Ewing barbecue in “The Last Hurrah” – have been left on the cutting room floor.

As Patrick Duffy sees it, that’s showbiz.

“Several of my favorite scenes didn’t make it to the show,” the actor told me during a conference call with bloggers and critics last month. “These scripts are so compact and so intense and every scene is so brilliantly done. You finish filming and you think I can’t wait to see that – and then it’s edited out. … You just can’t put everything in each episode.”

In some cases, scenes are merely shortened, not completely cut. “I had a scene with Jesse [Metcalfe] in a barn, which they only kept the lead-in scene for that,” Duffy said. “And they eliminated it. It was one of my favorite ones [from] that episode.”

TNT’s “Dallas” is the fourth weekly series for Duffy, who takes a Zen-like approach to the cuts. “I’ve learned to let those feelings go and just enjoy what I see,” he said.

Besides, the footage isn’t really lost. “It still exists somewhere,” Duffy said, adding the deleted scenes could wind up on TNT’s “Dallas” DVD releases.

Red, White and Ewing

TNT’s next “Dallas” episode, “Truth and Consequences,” will debut Wednesday, July 4, at 9 p.m. The cable channel had planned to pre-empt the show on Independence Day, when prime-time viewership levels tend to plummet, but reversed course and announced the schedule change yesterday. No reason was given for the about-face.

Speaking of ratings: “The Last Hurrah,” “Dallas’s” June 27 telecast, was seen by 4.1 million viewers, a small dip from the previous episode’s numbers. This week’s audience included 1.4 million adults between the ages of 18 and 49, the viewers advertisers covet.

Hopefully “Dallas’s” numbers will hold steady on July 4. Before “Truth and Consequences” premieres that evening, TNT plans to show back-to-back reruns of “Dallas’s” first four hours, beginning at 5 p.m.

And in case you’re wondering: No, this won’t be “Dallas’s” first holiday premiere.

The old show aired fresh episodes on at least seven official or “almost official” holidays: “Barbecue Two” (New Year’s Day 1982), “Mama Dearest” (New Year’s Eve 1983), “Ray’s Trial” (Veteran’s Day 1983), “Dire Straits” (Valentine’s Day 1986), “Territorial Imperative” (Halloween 1986), “The Call of the Wild” (Veteran’s Day 1988) and “The Sting” (Inauguration Day 1989).

Line of the Week

“Rebecca, you strike me as an extremely resourceful woman. I’m sure you’ll figure that out.”

I loved John Ross’s comment to Rebecca in “The Last Hurrah” – not just because Josh Henderson’s delivery was so Hagman-esque, but also because the line kind of paid tribute to the enigmatic Rebecca, who is becoming one of my “Dallas” favorites. (By the way: If you thought Julie Gonzalo was terrific in this week’s episode, wait until you see next week’s installment.)

I also couldn’t help but notice John Ross’s line echoed the “compliment” J.R. gave his favorite sister-in-law (“You’re a very clever woman, Pam. You’ll think of something.”) in “Fallen Idol,” an episode from the original show’s second season.

Take a Shot of J.R.

A reminder: This week’s “Dallas Drinks” offering is The J.R., a shot of bourbon, peppermint schnapps and black-as-oil coffee liqueur. It’s mighty delicious – the recipe comes from Cook In/Dine Out – but it has a lot of kick. You’ve been warned.

While I’m shamelessly plugging my own stuff, a reminder that I’m in the midst of critiquing the original show’s “Who Shot J.R.?” episodes. My “A House Divided” critique was posted this week; I’ll get to the “No More Mr. Nice Guy” two-part episode next week, followed by “Nightmare” (Monday, July 9) and “Who Done It?” (Tuesday, July 10).

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

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TNT’s Dallas Styles: Bobby’s Leather Coat

June 28, 2012 by 6 Comments

Full leather jacket

Bobby wears a brown leather coat in “The Last Hurrah,” but it’s not the same jacket he sported throughout the original “Dallas’s” 14-season run.

On the old show, Bobby rocked a snap-collared motorcross jacket that symbolized the character’s inherent coolness. The first time we see Bobby, in the first scene of “Dallas’s” first episode, “Digger’s Daughter,”he’s wearing the jacket while zooming down the highway in a red convertible with a beautiful redhead at his side. Back then, Bobby was kind of a badass; the jacket was part of that persona.

The coat Patrick Duffy wears in “The Last Hurrah” is more of a traditional western style. It drapes the actor’s broad frame, falling just past his waist. Unlike the tighter motorcross jacket from the old show, this coat is looser, reflecting Bobby’s maturity.

The new coat reminds me of the one Jim Davis wore during the original “Dallas’s” early seasons. This might not be a coincidence. Now that Bobby has succeeded Jock at the head of the Southfork dinner table, it seems possible the new coat is as much a tribute to Davis as it is to the more youthful version Duffy wore during “Dallas’s” first go round.

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The Art of TNT’s Dallas: ‘The Last Hurrah’

June 28, 2012 by Leave a Comment

J.R. (Larry Hagman) has breakfast at Southfork on the morning of the final Ewing Barbecue in this publicity shot from “The Last Hurrah,” the fourth episode of TNT’s “Dallas.” Photo credit: Zade Rosenthal/TNT.

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