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    Of countesses and kings

    With so many bullets and dredged-up rivalries, Dallas is drilling in the wrong direction

    Elaine Liner
    Feb 11, 2013 | 11:39 pm

    Consider J.R. Ewing the Dowager Countess of Southfork. Quick with a quip even in his dotage (he’ll be eulogized by episode eight), J.R. has a way of snapping off the end of his conversations with lesser mortals the way Dame Maggie Smith’s character does on Downton Abbey.

    Notice how young actor Josh Henderson, playing J.R. and Sue Ellen’s son, John Ross, tries more each week to sound like Larry Hagman as this reboot of Dallas moves toward Hagman’s death. Good luck with that.

    In this week’s episode — No. 4, if you’re counting — writer Taylor Hamra gave old J.R. some doozies in the dialogue department. “Like invitin’ a vampire into our home,” he says of John Ross’ “cavortin’” with Ewing enemy Pamela Barnes (Julie Gonzalo).

    They’ve pumped so many bullets into so many characters, the series could be sponsored by the NRA.

    And when J.R.’s little brother takes the rap for last week’s shooting of family nemesis Harris Ryland (actually, Bobby’s wife Ann pulled the trigger), J.R. observes that he won’t try talking Bobby out of being valiant: “I’ve got a better chance of winning the Good Samaritan award.”

    Theme of this episode: “Drillin’ in the wrong direction,” a reference to a Southfork oil well operation sabotaged by John Ross. Also applies to John Ross’ bedroom explorations with the oily temptress, Pamela, and to his wooing of her daddy, Cliff Barnes, to double-cross J.R.

    It also applies to the clunky plotting this season. They’ve dredged up too many old Dallas rivalries and pumped so many bullets into so many characters, the series could be sponsored by the NRA. They’re even playing “Who shot Harris Ryland?,” with that character, played by Mitch Pileggi, coming out of his coma and implicating Bobby as the would-be murderer, not real shooter Ann (Brenda Strong, weeping buckets as always).

    Light in the darkness: The great Judith Light plays this season's biggest heavy. She's Harris Ryland’s mother, making her Ann Ewing’s ex-mom-in-law and grandmother to Ann’s long-lost daughter. (Their family tree has to be a weeping willow.)

    This week, Miss Light, beige hair wrapped up in a vicious French twist, delivered a soliloquy at her son’s hospital bedside, where she spat out words of hate about Ann. Then, in a moment right out of Shakespearean soap opera, she whispered in comatose Harris’ ear: “Sleep well. Gather your strength. When you wake, you will be king once more.”

    She’d be better if she dropped that community theater Streetcar Named Desire accent.

    Judith Light would be better if she dropped that community theater Streetcar Named Desire accent.

    Real Dallas actors with screen time: Ochre House Theatre’s Matthew Posey had four good scenes this week as the bought-off drilling foreman working on the sly for John Ross Ewing. Posey can guzzle fake booze and act, and chew food and act, all while wearing double denim (which can’t be said for some of the stars of this series).

    Longtime Dallas stage actress Pam Dougherty pounded a gavel with great conviction as a judge. (We hear she was wearing Birkenstocks under her judicial robes in that scene.) Uptown Players’ stage manager Cathy O’Neal was in the gallery in the courtroom scene.

    We’ve been there: White Rock Lake got name-checked as the site where the corpse of murdered Tommy Sutter (killed last season) was discovered. And the first sight of original Dallas series veteran Ken Kercheval, back as Cliff Barnes, came in a secret meeting with John Ross in what looked like the empty audience section of Gexa Energy Pavilion at Fair Park.

    No reason was given why ol’ Cliff was sitting around the empty venue. Grabbing an early seat for One Direction perhaps?

    CSI: Dallas: Aforementioned Sutter corpse was given the CSI gruesome close-up treatment in a montage showing bullets extracted from the moldering flesh. Then, to a pounding score of tough guitar chords, they ran through some zippily edited ballistics tests. This episode was directed by San Antonio native Stephen Herek, who directed the feature films Mr. Holland’s Opus and The Mighty Ducks.

    Sue Ellen as Cassandra: Like a seer from mythology, Sue Ellen Ewing (Linda Gray, growing more fabulous by the week) warns son John Ross about the consequences of bringing Cliff Barnes back into their lives. “Be prepared to face the full weight of his fury,” she says of J.R.’s wrath.

    Hard scene to swallow: “Smiling Frank” (Fahran Tahrir), the Barnes family muscle, was arrested for last season’s murder of Tommy Sutter. In court Frank blurted out that he also murdered Tommy’s sister, Becky.

    As the extras in the courtroom mumbled “watermelon, watermelon,” Frank pulled a cyanide capsule out of his pocket and swallowed it, a grabbed-from-headlines twist from this real-life case.

    Coming up: J.R. disappears. Bobby is framed for attempted murder. Keep those tear ducts clear, Annie!

    ---

    New episodes of Dallas air at 8 pm Mondays, with repeats online and on cable’s TNT.

    Larry Hagman and Josh Henderson on Dallas.

    Photo courtesy of TNT
    Larry Hagman and Josh Henderson on Dallas.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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