The fifth season is finding its footing with a number of intriguing plots off n' running. DALLAS needed to up its game in the face of formidable competition from DYNASTY, which was beginning its second season and the first to feature breakout character Alexis.
On that note, I just can't help believing Morgan Brittany was cast and is being ramped up to play this show's answer to Alexis. She could pass for Joan Collins' daughter, and she possesses the same blend of disarming charm veiling sharpened claws and fangs. That Katherine (emphasis on the "cat"!) is going to make Cliff's life even more of a horror show is foreshadowed by her simmering resentment over Cliff's occupying and redecorating Daddy's old office and relegating his old oak cabinet to the storage room. By her own admittance, she hasn't been in the office since age three, so why did she suffer (feign?) such an emotional blow that she had to storm out of the office all verklempt? I'd say good riddance, but... I know she'll be back as a thorn in Cliff's side.
Speaking of "Daddy," as the boys refer to Jock, am I the only one increasingly vexed by this charade the producers are playing? Jim Davis died on April 26, 1981, and here we are almost seven months later, and everyone is chatting on the phone with Jock and praising his south-of-the-border wildcatting for Uncle Sam. We all know he's gone--and much missed!--so why drag out the inevitable "reveal"? This protracted delay will only blunt the emotional impact when we do someday share the loss with the characters.
I also resist believing that Jock would be on board with J. R.'s once again risking Ewing Oil in a grandstand play to get John Ross back on Southfork. I can't believe the Jock that J. R. is supposedly speaking with on the phone would want John Ross back at Southfork at any cost. Jock was a practical man who would probably assume these marriage squabbles will work themselves out. He wasn't one for complex backroom deals and zero-sum games like the one J. R. is playing.
J. R.'s insane plot to buy all the crude oil and thus deny a single drop going to the Farlows' refineries in some mad belief this will prompt Clayton and Dusty to banish Sue Ellen and John Ross back to Southfork is mind-bogglingly bonkers. But this crazy notion has given the audience a boon in opening the door--literally--for the welcome return of Dennis Patrick as Vaughn Leland.
Dennis Patrick is an amazing and an amazingly underappreciated actor. If you've been privileged to see Patrick as Jason McGuire on DARK SHADOWS or in the unforgettable film JOE, you can really appreciate his style here. His face is as versatile as Frank Gorshin's and he speaks volumes with a tilt of his head, a raised eyebrow, and that smile! Vaughn is grinning not so much at the prospect of a winning deal or even a romp with Afton, but at finally getting revenge on J. R. for playing him as a patsy in the ill-fated Southeast Asian disaster that cost Vaughn his wife and reputation. J. R. Only makes matters worse by dismissing and downplaying those losses and reminding Vaughn of how much money he later made on the deal. What does a marriage or a valued reputation mean to J. R. when there's money to be made?
Making his sole DALLAS appearance is Philip R. Allen, fondly recalled as Roy Turner on THE BAD NEWS BEARS sitcom. He played Lloyd Bettenger, erstwhile oil industry newsletter writer, tapped by Vaughn for his expertise on oil prices in the next 30 days. Allen's blink-and-you'll-miss-him scene with Vaughn takes place in an upscale proto-Hooter's eatery. Yikes, I thought that amply endowed waitress was going to spill over into Vaughn's drink when she brought over the phone. A subtle touch was Vaughn's glancing over his shoulder for another peek as she traipsed away, which established he's an old lech that could be swayed by the "perk" J. R. added to the arrangement to seal the deal.
Vaughn, in the cat bird seat, as J. R. phrased it, proves himself a master at 4-D chess. He has J. R. perfectly positioned for a delicious denouement that would give Vaughn control of Ewing Oil and leave J. R. working for him. I loved J. R.'s face in the closing freeze frame, as if only when actually articulating the words did he realize with what high stakes he is gambling.
To me, the other subplots are secondary to whatever webs of deceit J. R. is weaving this week. Pam in the mental hospital is, as other reviewers have noted, a regrettable (mis)handling of a once strong character. At least Dr. Conrad has a little more spunk than that store mannequin Dr. Elbee!
Bobby's playing with fire by considering a black-market baby, even if it was Kristin's. This revolting development is sure to be disastrous personally and professionally. It's like watching an accident about to happen and being powerless to stop it (yelling at my television has yet to prove effective, though I keep on a'yelling!).
I have tried to muster interest in Lucy and Mitch's forever flailing and floundering marriage and just can't. I winced at their reconciliation scene where Mitch said he'll never be a Ewing if he goes into plastic surgery, and Lucy bleats something cliched about wanting them to just be happy. Ugh.
Ray and Donna's subplot still feels like a false nose affixed to the larger Southfork narrative. Donna's "if you can't beat him, join him" solution to Ray's newfound fever for wheeling and dealing appears poised on the slippery slope to disaster. What, Ray never watched a Thin Man movie? Well, I guess cowboys are early to bed and early to rise so he didn't catch the late show like the rest of us.
SPOILER: More foreshadowing with Clayton Farlow wistfully recalling his late wife coupled with Miss Ellie waxing romantic to Donna about her love for Jock. The writers have the characters on the chessboard and Cupid will soon have them in his sights. Fire when ready!
On that note, I just can't help believing Morgan Brittany was cast and is being ramped up to play this show's answer to Alexis. She could pass for Joan Collins' daughter, and she possesses the same blend of disarming charm veiling sharpened claws and fangs. That Katherine (emphasis on the "cat"!) is going to make Cliff's life even more of a horror show is foreshadowed by her simmering resentment over Cliff's occupying and redecorating Daddy's old office and relegating his old oak cabinet to the storage room. By her own admittance, she hasn't been in the office since age three, so why did she suffer (feign?) such an emotional blow that she had to storm out of the office all verklempt? I'd say good riddance, but... I know she'll be back as a thorn in Cliff's side.
Speaking of "Daddy," as the boys refer to Jock, am I the only one increasingly vexed by this charade the producers are playing? Jim Davis died on April 26, 1981, and here we are almost seven months later, and everyone is chatting on the phone with Jock and praising his south-of-the-border wildcatting for Uncle Sam. We all know he's gone--and much missed!--so why drag out the inevitable "reveal"? This protracted delay will only blunt the emotional impact when we do someday share the loss with the characters.
I also resist believing that Jock would be on board with J. R.'s once again risking Ewing Oil in a grandstand play to get John Ross back on Southfork. I can't believe the Jock that J. R. is supposedly speaking with on the phone would want John Ross back at Southfork at any cost. Jock was a practical man who would probably assume these marriage squabbles will work themselves out. He wasn't one for complex backroom deals and zero-sum games like the one J. R. is playing.
J. R.'s insane plot to buy all the crude oil and thus deny a single drop going to the Farlows' refineries in some mad belief this will prompt Clayton and Dusty to banish Sue Ellen and John Ross back to Southfork is mind-bogglingly bonkers. But this crazy notion has given the audience a boon in opening the door--literally--for the welcome return of Dennis Patrick as Vaughn Leland.
Dennis Patrick is an amazing and an amazingly underappreciated actor. If you've been privileged to see Patrick as Jason McGuire on DARK SHADOWS or in the unforgettable film JOE, you can really appreciate his style here. His face is as versatile as Frank Gorshin's and he speaks volumes with a tilt of his head, a raised eyebrow, and that smile! Vaughn is grinning not so much at the prospect of a winning deal or even a romp with Afton, but at finally getting revenge on J. R. for playing him as a patsy in the ill-fated Southeast Asian disaster that cost Vaughn his wife and reputation. J. R. Only makes matters worse by dismissing and downplaying those losses and reminding Vaughn of how much money he later made on the deal. What does a marriage or a valued reputation mean to J. R. when there's money to be made?
Making his sole DALLAS appearance is Philip R. Allen, fondly recalled as Roy Turner on THE BAD NEWS BEARS sitcom. He played Lloyd Bettenger, erstwhile oil industry newsletter writer, tapped by Vaughn for his expertise on oil prices in the next 30 days. Allen's blink-and-you'll-miss-him scene with Vaughn takes place in an upscale proto-Hooter's eatery. Yikes, I thought that amply endowed waitress was going to spill over into Vaughn's drink when she brought over the phone. A subtle touch was Vaughn's glancing over his shoulder for another peek as she traipsed away, which established he's an old lech that could be swayed by the "perk" J. R. added to the arrangement to seal the deal.
Vaughn, in the cat bird seat, as J. R. phrased it, proves himself a master at 4-D chess. He has J. R. perfectly positioned for a delicious denouement that would give Vaughn control of Ewing Oil and leave J. R. working for him. I loved J. R.'s face in the closing freeze frame, as if only when actually articulating the words did he realize with what high stakes he is gambling.
To me, the other subplots are secondary to whatever webs of deceit J. R. is weaving this week. Pam in the mental hospital is, as other reviewers have noted, a regrettable (mis)handling of a once strong character. At least Dr. Conrad has a little more spunk than that store mannequin Dr. Elbee!
Bobby's playing with fire by considering a black-market baby, even if it was Kristin's. This revolting development is sure to be disastrous personally and professionally. It's like watching an accident about to happen and being powerless to stop it (yelling at my television has yet to prove effective, though I keep on a'yelling!).
I have tried to muster interest in Lucy and Mitch's forever flailing and floundering marriage and just can't. I winced at their reconciliation scene where Mitch said he'll never be a Ewing if he goes into plastic surgery, and Lucy bleats something cliched about wanting them to just be happy. Ugh.
Ray and Donna's subplot still feels like a false nose affixed to the larger Southfork narrative. Donna's "if you can't beat him, join him" solution to Ray's newfound fever for wheeling and dealing appears poised on the slippery slope to disaster. What, Ray never watched a Thin Man movie? Well, I guess cowboys are early to bed and early to rise so he didn't catch the late show like the rest of us.
SPOILER: More foreshadowing with Clayton Farlow wistfully recalling his late wife coupled with Miss Ellie waxing romantic to Donna about her love for Jock. The writers have the characters on the chessboard and Cupid will soon have them in his sights. Fire when ready!
