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    Scowls and Suspense

    Ewings get anxious as Dallas sets up Pamela's return

    Elaine Liner
    Apr 8, 2013 | 11:07 pm

    Everyone’s so tense on Dallas this season. No wonder Emma Ryland, the tarty equestrian played by Emma Bell, is hooked on benzos. When weepy birth mom Annie Ewing (Brenda Strong) confronted her about a stash of anti-anxiety meds in her sock drawer, Emma deflected by narcing on Sue Ellen (Linda Gray), accusing her of being back on the sauce.

    Emma, as shaky as Patty Duke in Valley of the Dolls, went out and scored 50 more pills by “entertaining” a rodeo-riding drug dealer. We assume he stayed on her for at least eight seconds to seal the deal.

    In the second half of this week's double episode, Emma was pulled over and arrested for being higher than a penthouse pigeon. She blamed a raccoon in the road, then went into a long rehash of who her character is, including reminding us that she was abducted by her birth dad at the State Fair of Texas 20 years earlier.

    That's enough to make us all beg for some dolls. (Hey, cowboy, is that a pill bottle in your pocket, or are you happy to see me?)

    A big weakness of the current reincarnation of the 1980s CBS TV series, now on cable’s TNT, is that the writers persist in giving every character the same angry, anxious energy. They’re all hard-charging, constantly in conspiratorial mode.

    The collective facial expression is the scowl. Nobody ever relaxes or cracks a smile. It's telling that the lightest moment of the season was Sue Ellen's half-drunk eulogy over J.R.'s grave. (A performance for which Linda Gray should be worshipped forevermore.)

    This week’s scowl-filled, back-to-back episodes, titled “A Call to Arms” and “Love and Family,” offered more of the same. The Ewings’ oil business is going broke, thanks to a big rig explosion in the Gulf engineered by nemesis Cliff Barnes (Ken Kercheval). Cliff then bought the Ewings’ upside-down loans and celebrated by telling his daughter, Pamela (Julie Gonzalo), that he’s not at all sorry she miscarried Christopher Ewing’s twins in that rig disaster because “it would have tied you to the Ewings forever.”

    He’s wrong. It’s the writers of this show that keep the Ewings and Barnes trapped in a Möbius loop.

    This week’s big plot bidness:

    Annie does the dishes: Oddly, Southfork employs only one rarely seen servant, even though Texans half as well off as the Ewings now have English-trained butlers answering their front doors. Annie, Bobby’s Wife No. 2, is the one to wag coffee cups to the sink and cook dinner for the clan in Southfork’s retro-’80s-ugly kitchen.

    If Dallas were more like Dallas, Annie would have a personal Pilates trainer, her own boutique on Lovers Lane and … some friends.

    Who’ll play Pamela Barnes? For weeks, Dallas has hinted that Bobby's first wife, Pamela Barnes Ewing, played in the 1980s by Victoria “Wonderbody” Principal, is dead or “off the grid” in Abu Dhabi. But this week, somebody dug up bank records showing that a “Patricia Barrett,” whose signature looks like old Pamela’s, has been withdrawing funds from a Barnes family Swiss account since 1988. She’s alive!

    Later, Bobby sees a surveillance photo of Pam and reminded us that she was “badly burned” in a long ago car wreck. Sounds like a season two cliffhanger is afoot, starring an actress who will look sort of like the 1980s Principal after a lot of cosmetic surgery. In other words, like Principal looks now.

    Coots in cahoots: Gov. McConaughey (Steven Weber, wearing Rick Perry pompadour hair) and baddie Ryland Harris (Mitch Pileggi), who is also Emma’s birth daddy, were thick as thieves this week. This plot should be more interesting, especially with a hammy actor like Weber playing a sleazoid Texas politician.

    But so far it’s a nothingburger. Also, somebody please coach Weber how believably to utter Texanisms like “guaran-damn-tee” and “cattywampus.”

    Speaking of beef: Elena (Jordana Brewster) brought in takeout ribs from Sonny Bryan’s to the Ewing Energies office this week. As if she eats.

    Local spotted: Uptown Players theater actor Bob Hess played the nervous banker who had to break it to Bobby Ewing that Cliff Barnes had bought his loan and bankrupted Southfork. Again. This same plot happened in the 1980s series.

    Vocabulary lesson: Rodeo groupies are called “buckle bunnies.” Cute.

    Smuggler’s blues: Harris Ryland is some kind of smuggler. Bobby Ewing followed one of his big rigs to an “East Dallas storage facility,” but all the cops found in the unit was a bunch of boxes of high-priced women’s shoes.

    Bobby, who’s no Barnaby Jones, didn't nose around enough to discover that the shoes were a decoy for another storage unit filled with … sump’n bad.

    Best revenge: John Ross (Josh Henderson) and Pamela Rebecca Barnes (Gonzalo) exchanged vows in a quickie wedding at the end of the second episode this week. Cliff ain’t gonna like that.

    Next Monday, 7 pm, is the two-hour season finale of Dallas on TNT. Meanwhile, catch reruns online.

    John Ross and Pamela (Josh Henderson and Julie Gonzalo) bonded over her miscarriage of his cousin's twins on TNT's Dallas.

    Photo by Zade Rosenthal
    John Ross and Pamela (Josh Henderson and Julie Gonzalo) bonded over her miscarriage of his cousin's twins on TNT's Dallas.
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    Movie Review

    Jessica Chastain drama Dreams stumbles through steamy romance

    Alex Bentley
    Feb 27, 2026 | 1:30 pm
    Isaac Hernández and Jessica Chastain in Dreams
    Photo courtesy of Teorema
    Isaac Hernández and Jessica Chastain in Dreams.

    The opening scenes of the new drama Dreams are bracing, fictional sequences that call to mind real-life scenarios. In them, a young Mexican man named Fernando (Isaac Hernández) goes through a somewhat harrowing journey from the back of a semi truck in South Texas all the way to San Francisco. It’s a familiar immigrant story that seems to set the stage for a film with something interesting to say.

    It turns out, however, that Fernando has not made the long and arduous trek for a job. Instead, it’s to be with Jennifer McCarthy (Jessica Chastain), a rich woman who helps lead a foundation dedicated to multiple things, including funding dance academies. Fernando, a talented dancer, and Jennifer have been in an off-and-on affair for years, with Jennifer wanting to keep their relationship a secret.

    Although both are drawn to each other in an inexplicable, lustful way, their bond is tenuous, with each of them dissatisfied for different reasons. Fernando clearly sacrifices much more of himself than Jennifer, who wants for nothing except maybe more affection from her father, Michael (Marshall Bell), and brother, Jake (Rupert Friend).

    Writer/director Michel Franco seems to try to inject tension into Fernando and Jennifer’s relationship from the start, an attempt that is only halfway successful. It’s clear from the way they greet each other - not to mention a steamy sex scene shortly thereafter - that they have known each other for a good length of time. Franco is able to get across this familiarity with an economy of scenes, and the intensity of their bond holds for a while.

    But as the film progresses and both of them grow disenchanted with their arrangement, Franco starts taking the story in some odd directions. The biggest issue is that it’s never clear at what point in time the story is taking place. Fernando ends up making multiple trips back and forth across the border, with Jennifer doing the same at one point, and Franco’s use of flashbacks muddies the waters, wrong-footing the audience when he should be trying to draw them further into Fernando and Jennifer’s complications.

    Revelations in the final act make the story even more confusing, as both main characters start saying and doing harsh things that seem to come out of nowhere. That would be all well and good if Franco actually committed to their changes of heart, but he keeps things wishy-washy for most of the final 15 minutes, resulting in an ending that makes little sense for either character.

    Despite the story issues, both Chastain and Hernández give compelling performances. Chastain has been a little under the radar since winning an Oscar for The Eyes of Tammy Faye, but she keeps this character interesting longer than it should have been. Hernández has limited credits and appears to have been cast for his dancing ability, but he goes toe-to-toe with Chastain on more than one occasion and acquits himself well.

    Dreams had all of the ideas to explore a more in-depth story about the complicated immigration policies between Mexico and the U.S., or how wealthy people take advantage of those less fortunate. But Franco never finds the right footing, settling instead for a titillating and somewhat mystifying relationship story that feels half-baked.

    ---

    Dreams is now playing in select theaters.

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