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    Methane smethane

    Dallas drives in circles as it prepares for J.R. Ewing's inevitable demise

    Elaine Liner
    Mar 4, 2013 | 11:12 pm

    The Texas Motor Speedway was the main location for episode 7 of Dallas, titled “The Furious and the Fast.” Retired drag racer Ricky “The Rooster” Rudd took the wheel of the methane-fueled stock car that methane-fueled Ewing heir Christopher (Jesse Metcalf) sent around the track to show off against gas-powered vehicles.

    Still awake? Yeah. This was an hour of going in circles, with too much empty footage shot from Rudd’s POV inside the car, and the Ewing clan standing around trying to look worried that the thing would crap out. For some reason, 150 laps around the track meant the difference between the Ewings staying oil-and-methane rich or joining the 47 percenters.

    The script by Julia Cohen, directed by Rodney Charters, was as dull as an oil change. Dialogue like “Get the regulator out of the prototype!” (uttered by Christopher) ain’t gonna win any Emmys. Or keep many fingers off the clicker button.

    The script was as dull as an oil change. Dialogue like “Get the regulator out of the prototype!” ain’t gonna win any Emmys.

    This week’s installment accomplished only two important plot points: getting Gary Ewing (Ted Shackelford) back into the cast and setting up the demise of J.R. Ewing (Larry Hagman), which they did in a clunky way, to get to the March 11 episode’s funeral gathering at Southfork.

    Other pit stops:

    Hide and seek with J.R.: Patching together whatever footage they had of Larry Hagman (he died November 23, after completing five episodes this season) meant recycling some snatches of phone conversations his character had previously with oily son John Ross (Josh Henderson). First they had J.R. making phone calls from Abu Dhabi. Then, in the final scene this week, John Ross was on the horn with his dad when he heard two gunshots. Anyone checked to see if Kristin Shepard lives in Abu Dhabi now? (She’s the character who shot J.R. in the 1980 cliffhanger.)

    Direct from Knots Landing: Welcome back, Ted Shackelford, playing the black sheep Ewing brother, Gary. “Who the hell let you off the cul de sac?” cracked John Ross, seeing his uncle stride into the office of Ewing Energies. Nice reference there to Dallas spin-off Knots Landing, which put Gary, wife Valene, and other soap opera hysterics and hotties in side-by-side mini-mansions on a sunny Southern California suburb. That show, by the way, ran 14 years on CBS and continued for two years beyond the end of the original Dallas.

    Gary and Sue Ellen bond over java: Both recovering alcoholics, Gary Ewing and J.R.’s ex, Sue Ellen (Linda Gray, rocking another great hair clip this week), flirted over coffee. “The beverage of choice for alcoholics everywhere,” said Sue Ellen. In that scene, we learned that Valene dumped Gary because he went back on the booze, but he’s sober again and will side with Bobby Ewing (Patrick Duffy) in the family’s fight over oil drilling rights on Southfork.

    Dallas is like The Truman Show: Clocks meant nothing, the sun rose and set several times a day, and continuity was crazy. Annie (Brenda Strong) and her long-lost daughter Emma (Emma Bell) went horseback riding by dawn’s early light. In the next scene, the guys were locking up the race car for the night. At the same time, Emma was being tucked into bed by her creepy dad (Mitch Pileggi) with daylight streaming in through the windows. And then the car race began in the noonday sun but finished in darkness a few laps later.

    Judith Light gets heavy: Some delightfully creepy moves by the actress in the role of Judith Ryland, sworn enemy of all Ewings. When she tried to ship granddaughter Emma back to England, the girl foiled the plan by running off to Southfork and begging for sanctuary, telling Annie that granny treated her like a dressage horse. Well, if the horseshoe fits ...

    Methane of Cawdor: Christopher is a walking infomercial about the stuff. Drag racers and funny cars are already running on “nitromethane” fuel in the real world. But every time characters talk about it on Dallas, the show’s energy disappears. Ironic.

    Prescription for madness: Harris chides daughter Emma for not taking her “meds,” alluding to panic attacks, anxiety and “chaos” that ensues when she doesn’t stay on the pills. That’s setting up something cocoa puffy later on for sure.

    Best tweet from J.R. during the show: “Of course, once we’re done fightin’ the enemy, we’ll always start fightin’ each other again. Some traditions never die.”

    Best line this week: “When they figure out how to run a car on bullshit ... ” Hey, it’s cable! Where they run weekly drama series on the stuff!

    Coming up: J.R.’s funeral next week brings more familiar faces back to Southfork, including Steve Kanaly as Ray Krebbs.

    ---

    New episodes of Dallas air at 8 pm Mondays on cable’s TNT, with frequent reruns.

    Patrick Duffy, Brenda Strong, Jordana Brewster and Ted Shackelford (back as Gary Ewing) in Dallas.

    Photo courtesy of TNT
    Patrick Duffy, Brenda Strong, Jordana Brewster and Ted Shackelford (back as Gary Ewing) in Dallas.
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    Movie Review

    Reminders of Him blends trauma and romance in slight but effective story

    Alex Bentley
    Mar 12, 2026 | 11:30 am
    Maika Monroe and Tyriq Withers in Reminders of HIm
    Photo by Michelle Faye / Universal Pictures
    Maika Monroe and Tyriq Withers in Reminders of HIm.

    Texas author Colleen Hoover has gone from being a popular writer to a full-on celebrity in the 2020s, with the new film Reminders of Him marking the third adaptation of her books in just 19 months (a fourth, Verity, is scheduled for release in October 2026). All of her books that have been adapted so far - most notably It Ends With Us - are female-led stories that feature elements of romance and trauma, catnip for studios looking to appeal to the underserved demographic of women.

    Leading the way in this film is Kenna Rowan (Maika Monroe), who returns to her hometown of Laramie, Wyoming after spending years in prison for killing her boyfriend, Scotty (Rudy Pankow), in a car accident. That relationship resulted in a daughter, Diem (Zoe Kosovic), whom Kenna gave birth to while imprisoned and is now being raised by her grandparents, Patrick (Bradley Whitford) and Grace (Lauren Graham).

    Yearning to be a part of Diem’s life, Kenna tries to reconnect with Patrick and Grace, only to be rebuffed by Scotty’s best friend, Ledger (Tyriq Withers), a former NFL player who now owns a local bar. In running interference, Ledger starts to become closer to Kenna, discovering that her tragic mistake shouldn’t be the only thing that defines her.

    Directed by Vanessa Caswill and written by Lauren Levine, the film features mostly surface level examinations of its themes and average performances, yet it winds up being effective thanks to a willingness not to rush through its storytelling beats. The filmmakers take the slow and steady approach toward the coupling of Kenna and Ledger, setting up their bond through a series of heart-to-heart conversations that makes any romance feel earned.

    The majority of the focus is on Kenna reclaiming her place in the world, and on Ledger coming to terms with the fact that the person who killed his best friend is not inherently a bad person. The film definitely could have gone deeper in its explorations of grief and anger, but the sheer amount of time it takes in addressing the characters’ doubts and fears turns out to be sufficient for a film that’s not aiming to be considered a dramatic masterpiece.

    It also helps that Caswill and Levine do a solid job of establishing the variety of characters that inhabit the film. Kenna and Ledger don’t always feel like fully-formed people, but they become so through their interactions with each other and the other townspeople. Lady Diana (Monika Myers), a girl with Down syndrome who lives in Kenna’s apartment complex, and Roman (Nicholas Duvernay), Ledger’s co-worker at his bar, help to broaden the appeal of the two leads.

    Monroe has, to this point, been best known for starring roles in horror films like It Follows and Longlegs. While she does somewhat well in this role, her delivery is often more flat than you’d expect for a character going through what she does. Withers thankfully doesn’t remind viewers of his recent bomb Him, demonstrating a crossover appeal that should serve him well in the future. Whitford and Graham don’t get to do much, but their combined experience gives their roles exactly what is needed.

    It may sound like damning with faint praise, but Reminders of Him is a competently made film that knows how to serve its core audience without insulting anyone who may not automatically be all-in for such a story. The filmmakers don’t try to force any of the key moments down the audience’s throat, and that stands out in a genre that’s not always known for its subtlety.

    ---

    Reminders of Him opens in theaters on March 13.

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